{"links":{"self":"https://arvasarchive.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=tintypes+%28prints%29","last":"https://arvasarchive.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=tintypes+%28prints%29\u0026page=1"},"meta":{"pages":{"current_page":1,"next_page":null,"prev_page":null,"total_pages":1,"limit_value":10,"offset_value":0,"total_count":6,"first_page?":true,"last_page?":true}},"data":[{"id":"viu_repositories_3_resources_1551","type":"collection","attributes":{"title":"African American man tintype portrait, 1865/1900","creator":{"id":"https://arvasarchive.org/catalog/viu_repositories_3_resources_1551#creator","type":"document_value","attributes":{"value":"Max Rambod","label":"Creator"}},"abstract_or_scope":{"id":"https://arvasarchive.org/catalog/viu_repositories_3_resources_1551#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eThis collection features one 2.25 X4\" tintype photograph of an unidentified African American man dressed in a three-piece suit with a bowtie, pocket square, and derby hat with a sash perched at a stylish angle on his head. The man leans against a marble column against a plain background in a studio. \u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/viu_repositories_3_resources_1551#breadcrumbs","type":"document_value","attributes":{"value":{"id":"viu_repositories_3_resources_1551","ead_ssi":"viu_repositories_3_resources_1551","_root_":"viu_repositories_3_resources_1551","_nest_parent_":"viu_repositories_3_resources_1551","ead_source_url_ssi":"data/oai/UVA/repositories_3_resources_1551.xml","aspace_url_ssi":"https://archives.lib.virginia.edu/ark:/59853/190885","title_filing_ssi":"African American man tintype portrait","title_ssm":["African American man tintype portrait"],"title_tesim":["African American man tintype portrait"],"unitdate_ssm":["c. 1865-1900"],"unitdate_bulk_ssim":["c. 1865-1900"],"normalized_date_ssm":["1865/1900"],"normalized_title_ssm":["African American man tintype portrait, 1865/1900"],"text":["African American man tintype portrait, 1865/1900","MSS 16795","Archival Resource Key","/repositories/3/resources/1551","African American young men","tintypes (prints)","The collection is open for research use.","\"African Americans' engagement with photography in the 19th century began a tradition for Black photographers' use of photography today to promote social change. African Americans, whether they are in front or behind the camera, create empowering images that define the beauty and resilience contained within the Black experience.\" (1)","\"To pose for a photograph became an empowering act for African Americans. It served as a way to counteract racist caricatures that distort facial features and mocked Black society. African Americans in urban and rural settings participated in photography to demonstrate dignity in the Black experience.\" (1)","\"For African Americans in particular, photographic portraits offered a means of self-representation and empowerment. The abolitionist Frederick Douglass—who was himself the most photographed man of the 19th century—consistently championed the medium for its capacity to affirm the humanity and dignity of its sitters and challenge dehumanizing, racist stereotypes. Other Black Americans, including native Virginian James Presley Ball (1825–1904), practiced and shaped the medium from its earliest years.\" (2)","Sources:\n\"How Black people in the 19th century used photography as a tool for social change\"\nhttps://www.si.umich.edu/about-umsi/news/how-black-people-19th-century-used-photography-tool-social-change","\"A Powerful Influence: Early Photographs of African Americans from the Collection of Dennis O. Williams\" Virginia Museum of Fine Arts. Dr. Sarah Kennel, curator. November 19, 2022- June 15 2023.\nhttps://vmfa.museum/exhibitions/exhibitions/powerful-influence-early-photographs-african-americans-collection-dennis-o-williams/","Tintypes were portable, cheap, and fast to make. They came onto the scene in 1853 and were used through 1930. Photographers could easily sell their services at fairs or travel to battlefields. 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African Americans, whether they are in front or behind the camera, create empowering images that define the beauty and resilience contained within the Black experience.\" (1)\u003c/p\u003e","\u003cp\u003e\"To pose for a photograph became an empowering act for African Americans. It served as a way to counteract racist caricatures that distort facial features and mocked Black society. African Americans in urban and rural settings participated in photography to demonstrate dignity in the Black experience.\" (1)\u003c/p\u003e","\u003cp\u003e\"For African Americans in particular, photographic portraits offered a means of self-representation and empowerment. The abolitionist Frederick Douglass—who was himself the most photographed man of the 19th century—consistently championed the medium for its capacity to affirm the humanity and dignity of its sitters and challenge dehumanizing, racist stereotypes. 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African Americans, whether they are in front or behind the camera, create empowering images that define the beauty and resilience contained within the Black experience.\" (1)","\"To pose for a photograph became an empowering act for African Americans. It served as a way to counteract racist caricatures that distort facial features and mocked Black society. African Americans in urban and rural settings participated in photography to demonstrate dignity in the Black experience.\" (1)","\"For African Americans in particular, photographic portraits offered a means of self-representation and empowerment. The abolitionist Frederick Douglass—who was himself the most photographed man of the 19th century—consistently championed the medium for its capacity to affirm the humanity and dignity of its sitters and challenge dehumanizing, racist stereotypes. Other Black Americans, including native Virginian James Presley Ball (1825–1904), practiced and shaped the medium from its earliest years.\" (2)","Sources:\n\"How Black people in the 19th century used photography as a tool for social change\"\nhttps://www.si.umich.edu/about-umsi/news/how-black-people-19th-century-used-photography-tool-social-change","\"A Powerful Influence: Early Photographs of African Americans from the Collection of Dennis O. Williams\" Virginia Museum of Fine Arts. Dr. Sarah Kennel, curator. November 19, 2022- June 15 2023.\nhttps://vmfa.museum/exhibitions/exhibitions/powerful-influence-early-photographs-african-americans-collection-dennis-o-williams/","Tintypes were portable, cheap, and fast to make. They came onto the scene in 1853 and were used through 1930. Photographers could easily sell their services at fairs or travel to battlefields. 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When that negative is placed on a dark background, the transparent areas appear black, which makes the plate look like a positive image."],"prefercite_html_tesm":["\u003cp\u003eMSS 16795, African American man tintype portrait, Albert and Shirley Small Special Collections Library, University of Virginia Library.\u003c/p\u003e  "],"prefercite_tesim":["MSS 16795, African American man tintype portrait, Albert and Shirley Small Special Collections Library, University of Virginia Library."],"scopecontent_html_tesm":["\u003cp\u003eThis collection features one 2.25 X4\" tintype photograph of an unidentified African American man dressed in a three-piece suit with a bowtie, pocket square, and derby hat with a sash perched at a stylish angle on his head. The man leans against a marble column against a plain background in a studio. \u003c/p\u003e","\u003cp\u003eThe tintype was invented in 1855, one decade before the emancipation of enslaved African Americans across the United States. 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His suit, medium, and background suggest a date roughly within the mid-to-late nineteenth century.","These portraits come from a time just after emanicipation when African Americans were creating new lives for themselves. 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African Americans, whether they are in front or behind the camera, create empowering images that define the beauty and resilience contained within the Black experience.\" (1)","\"To pose for a photograph became an empowering act for African Americans. It served as a way to counteract racist caricatures that distort facial features and mocked Black society. African Americans in urban and rural settings participated in photography to demonstrate dignity in the Black experience.\" (1)","\"For African Americans in particular, photographic portraits offered a means of self-representation and empowerment. The abolitionist Frederick Douglass—who was himself the most photographed man of the 19th century—consistently championed the medium for its capacity to affirm the humanity and dignity of its sitters and challenge dehumanizing, racist stereotypes. Other Black Americans, including native Virginian James Presley Ball (1825–1904), practiced and shaped the medium from its earliest years.\" (2)","Sources:\n\"How Black people in the 19th century used photography as a tool for social change\"\nhttps://www.si.umich.edu/about-umsi/news/how-black-people-19th-century-used-photography-tool-social-change","\"A Powerful Influence: Early Photographs of African Americans from the Collection of Dennis O. Williams\" Virginia Museum of Fine Arts. Dr. Sarah Kennel, curator. November 19, 2022- June 15 2023.\nhttps://vmfa.museum/exhibitions/exhibitions/powerful-influence-early-photographs-african-americans-collection-dennis-o-williams/","Tintypes were portable, cheap, and fast to make. They came onto the scene in 1853 and were used through 1930. Photographers could easily sell their services at fairs or travel to battlefields. Some of the most common subjects were Civil War fields and soldiers, who would send photos home to loved ones.","Tintype creates a photographic image on a thin sheet of metal or iron that has been coated with a dark lacquer or enamel.The metal plates are coated with chemicals, exposed to light in a camera, and processed with additional chemistry. This creates an underexposed negative image. When that negative is placed on a dark background, the transparent areas appear black, which makes the plate look like a positive image.","This collection features one 2.25 X4\" tintype photograph of an unidentified African American man dressed in a three-piece suit with a bowtie, pocket square, and derby hat with a sash perched at a stylish angle on his head. The man leans against a marble column against a plain background in a studio.","The tintype was invented in 1855, one decade before the emancipation of enslaved African Americans across the United States. His suit, medium, and background suggest a date roughly within the mid-to-late nineteenth century.","These portraits come from a time just after emanicipation when African Americans were creating new lives for themselves. 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African Americans, whether they are in front or behind the camera, create empowering images that define the beauty and resilience contained within the Black experience.\" (1)\u003c/p\u003e","\u003cp\u003e\"To pose for a photograph became an empowering act for African Americans. It served as a way to counteract racist caricatures that distort facial features and mocked Black society. African Americans in urban and rural settings participated in photography to demonstrate dignity in the Black experience.\" (1)\u003c/p\u003e","\u003cp\u003e\"For African Americans in particular, photographic portraits offered a means of self-representation and empowerment. The abolitionist Frederick Douglass—who was himself the most photographed man of the 19th century—consistently championed the medium for its capacity to affirm the humanity and dignity of its sitters and challenge dehumanizing, racist stereotypes. Other Black Americans, including native Virginian James Presley Ball (1825–1904), practiced and shaped the medium from its earliest years.\" (2)\u003c/p\u003e","\u003cp\u003eSources:\n\"How Black people in the 19th century used photography as a tool for social change\"\nhttps://www.si.umich.edu/about-umsi/news/how-black-people-19th-century-used-photography-tool-social-change\u003c/p\u003e","\u003cp\u003e\"A Powerful Influence: Early Photographs of African Americans from the Collection of Dennis O. Williams\" Virginia Museum of Fine Arts. Dr. Sarah Kennel, curator. November 19, 2022- June 15 2023.\nhttps://vmfa.museum/exhibitions/exhibitions/powerful-influence-early-photographs-african-americans-collection-dennis-o-williams/\u003c/p\u003e","\u003cp\u003eTintypes were portable, cheap, and fast to make. They came onto the scene in 1853 and were used through 1930. Photographers could easily sell their services at fairs or travel to battlefields. 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Other Black Americans, including native Virginian James Presley Ball (1825–1904), practiced and shaped the medium from its earliest years.\" (2)","Sources:\n\"How Black people in the 19th century used photography as a tool for social change\"\nhttps://www.si.umich.edu/about-umsi/news/how-black-people-19th-century-used-photography-tool-social-change","\"A Powerful Influence: Early Photographs of African Americans from the Collection of Dennis O. Williams\" Virginia Museum of Fine Arts. Dr. Sarah Kennel, curator. November 19, 2022- June 15 2023.\nhttps://vmfa.museum/exhibitions/exhibitions/powerful-influence-early-photographs-african-americans-collection-dennis-o-williams/","Tintypes were portable, cheap, and fast to make. They came onto the scene in 1853 and were used through 1930. Photographers could easily sell their services at fairs or travel to battlefields. 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When that negative is placed on a dark background, the transparent areas appear black, which makes the plate look like a positive image."],"prefercite_html_tesm":["\u003cp\u003eMSS 16795, African American man tintype portrait, Albert and Shirley Small Special Collections Library, University of Virginia Library.\u003c/p\u003e  "],"prefercite_tesim":["MSS 16795, African American man tintype portrait, Albert and Shirley Small Special Collections Library, University of Virginia Library."],"scopecontent_html_tesm":["\u003cp\u003eThis collection features one 2.25 X4\" tintype photograph of an unidentified African American man dressed in a three-piece suit with a bowtie, pocket square, and derby hat with a sash perched at a stylish angle on his head. The man leans against a marble column against a plain background in a studio. \u003c/p\u003e","\u003cp\u003eThe tintype was invented in 1855, one decade before the emancipation of enslaved African Americans across the United States. 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His suit, medium, and background suggest a date roughly within the mid-to-late nineteenth century.","These portraits come from a time just after emanicipation when African Americans were creating new lives for themselves. 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May, Jr. with his wife Ella and children Linda and Billy.","Letters in the collection are primarily written by or to Virgil, Jr. and Ella, including ten letters the former wrote to his parents during his surgeon internship at Robert Packer Hospital in Sayre, Pennsylvania.","Albert and Shirley Small Special Collections Library","Materials are in English."],"collection_title_tesim":["May family papers, 1870/1945"],"collection_ssim":["May family papers, 1870/1945"],"level_ssm":["collection"],"level_ssim":["File","Collection"],"unitid_ssm":["MSS 16057","Archival Resource Key","Previous Archival Resource Key","/repositories/3/resources/896"],"unitid_tesim":["MSS 16057","Archival Resource Key","Previous Archival Resource Key","/repositories/3/resources/896"],"repository_ssm":["University of Virginia, Special Collections Dept."],"repository_ssim":["University of Virginia, Special Collections Dept."],"creator_corpname_ssim":["Albert and Shirley Small Special Collections Library"],"creators_ssim":["Albert and Shirley Small Special Collections Library"],"acqinfo_ssim":["Accession number 2019-0197, purchased November 2015."],"access_subjects_ssim":["letters (correspondence)","tintypes (prints)","cabinet photographs","family papers"],"access_subjects_ssm":["letters (correspondence)","tintypes (prints)","cabinet photographs","family papers"],"has_online_content_ssim":["false"],"extent_ssm":["0.4 Cubic Feet 1 document box"],"extent_tesim":["0.4 Cubic Feet 1 document box"],"genreform_ssim":["letters (correspondence)","tintypes (prints)","cabinet photographs","family papers"],"date_range_isim":[1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research use.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for research use."],"arrangement_html_tesm":["\u003cp\u003eFiles are arranged chronologically.\u003c/p\u003e  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Files are arranged chronologically."],"bioghist_html_tesm":["\u003cp\u003eVirgil May, Sr. and his wife Mamie lived in Richmond during the early- and mid-20th century. One of their twin sons, Virgil R. May, Jr., graduated from Hampden-Sydney College in 1939, while the other, Phil, graduated from Virginia Military Institute the same year. Virgil Jr. went on to become a doctor and married Ella Stowe.\u003c/p\u003e","\u003cp\u003eSource: Materials within collection.\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical Note"],"bioghist_tesim":["Virgil May, Sr. and his wife Mamie lived in Richmond during the early- and mid-20th century. One of their twin sons, Virgil R. May, Jr., graduated from Hampden-Sydney College in 1939, while the other, Phil, graduated from Virginia Military Institute the same year. Virgil Jr. went on to become a doctor and married Ella Stowe.","Source: Materials within collection."],"prefercite_html_tesm":["\u003cp\u003eMSS 16057, May familly papers, Albert and Shirley Small Special Collections Library, University of Virginia.\u003c/p\u003e  "],"prefercite_tesim":["MSS 16057, May familly papers, Albert and Shirley Small Special Collections Library, University of Virginia."],"relatedmaterial_html_tesm":["\u003cp\u003eA related collection can be found at MSS 16433, Stowe grocery store ledgers, Albert and Shirley Small Special Collections Library, University of Virginia.\u003c/p\u003e  "],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["A related collection can be found at MSS 16433, Stowe grocery store ledgers, Albert and Shirley Small Special Collections Library, University of Virginia."],"scopecontent_html_tesm":["\u003cp\u003eThe May family papers (1870-1945; 0.4 cubic feet) document the lives of a couple generations of the Richmond-based May family. 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May, Jr. with his wife Ella and children Linda and Billy.","Letters in the collection are primarily written by or to Virgil, Jr. and Ella, including ten letters the former wrote to his parents during his surgeon internship at Robert Packer Hospital in Sayre, Pennsylvania.","Albert and Shirley Small Special Collections Library","Materials are in English."],"collection_title_tesim":["May family papers, 1870/1945"],"collection_ssim":["May family papers, 1870/1945"],"level_ssm":["collection"],"level_ssim":["File","Collection"],"unitid_ssm":["MSS 16057","Archival Resource Key","Previous Archival Resource Key","/repositories/3/resources/896"],"unitid_tesim":["MSS 16057","Archival Resource Key","Previous Archival Resource Key","/repositories/3/resources/896"],"repository_ssm":["University of Virginia, Special Collections Dept."],"repository_ssim":["University of Virginia, Special Collections Dept."],"creator_corpname_ssim":["Albert and Shirley Small Special Collections Library"],"creators_ssim":["Albert and Shirley Small Special Collections Library"],"acqinfo_ssim":["Accession number 2019-0197, purchased November 2015."],"access_subjects_ssim":["letters (correspondence)","tintypes (prints)","cabinet photographs","family papers"],"access_subjects_ssm":["letters (correspondence)","tintypes (prints)","cabinet photographs","family papers"],"has_online_content_ssim":["false"],"extent_ssm":["0.4 Cubic Feet 1 document box"],"extent_tesim":["0.4 Cubic Feet 1 document box"],"genreform_ssim":["letters (correspondence)","tintypes (prints)","cabinet photographs","family papers"],"date_range_isim":[1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research use.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for research use."],"arrangement_html_tesm":["\u003cp\u003eFiles are arranged chronologically.\u003c/p\u003e  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Files are arranged chronologically."],"bioghist_html_tesm":["\u003cp\u003eVirgil May, Sr. and his wife Mamie lived in Richmond during the early- and mid-20th century. One of their twin sons, Virgil R. May, Jr., graduated from Hampden-Sydney College in 1939, while the other, Phil, graduated from Virginia Military Institute the same year. Virgil Jr. went on to become a doctor and married Ella Stowe.\u003c/p\u003e","\u003cp\u003eSource: Materials within collection.\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical Note"],"bioghist_tesim":["Virgil May, Sr. and his wife Mamie lived in Richmond during the early- and mid-20th century. One of their twin sons, Virgil R. May, Jr., graduated from Hampden-Sydney College in 1939, while the other, Phil, graduated from Virginia Military Institute the same year. Virgil Jr. went on to become a doctor and married Ella Stowe.","Source: Materials within collection."],"prefercite_html_tesm":["\u003cp\u003eMSS 16057, May familly papers, Albert and Shirley Small Special Collections Library, University of Virginia.\u003c/p\u003e  "],"prefercite_tesim":["MSS 16057, May familly papers, Albert and Shirley Small Special Collections Library, University of Virginia."],"relatedmaterial_html_tesm":["\u003cp\u003eA related collection can be found at MSS 16433, Stowe grocery store ledgers, Albert and Shirley Small Special Collections Library, University of Virginia.\u003c/p\u003e  "],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["A related collection can be found at MSS 16433, Stowe grocery store ledgers, Albert and Shirley Small Special Collections Library, University of Virginia."],"scopecontent_html_tesm":["\u003cp\u003eThe May family papers (1870-1945; 0.4 cubic feet) document the lives of a couple generations of the Richmond-based May family. Photograph subjects in the collection include J.A. May in his Confederate Army uniform post-Civil War, J. Howard May, Jr. as an infant, Virgil May, Sr., Phil May with relatives at Virginia Military Institute, and Virgil R. May, Jr. with his wife Ella and children Linda and Billy.\u003c/p\u003e","\u003cp\u003eLetters in the collection are primarily written by or to Virgil, Jr. and Ella, including ten letters the former wrote to his parents during his surgeon internship at Robert Packer Hospital in Sayre, Pennsylvania.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Contents Note"],"scopecontent_tesim":["The May family papers (1870-1945; 0.4 cubic feet) document the lives of a couple generations of the Richmond-based May family. Photograph subjects in the collection include J.A. May in his Confederate Army uniform post-Civil War, J. Howard May, Jr. as an infant, Virgil May, Sr., Phil May with relatives at Virginia Military Institute, and Virgil R. May, Jr. with his wife Ella and children Linda and Billy.","Letters in the collection are primarily written by or to Virgil, Jr. and Ella, including ten letters the former wrote to his parents during his surgeon internship at Robert Packer Hospital in Sayre, Pennsylvania."],"corpname_ssim":["Albert and Shirley Small Special Collections Library"],"names_ssim":["Albert and Shirley Small Special Collections Library"],"language_ssim":["Materials are in English."],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":8,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-07-23T21:41:25.324Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/viu_repositories_3_resources_896"}},{"id":"viu_repositories_3_resources_1552","type":"collection","attributes":{"title":"Two African American women tintype, 1865/1900","creator":{"id":"https://arvasarchive.org/catalog/viu_repositories_3_resources_1552#creator","type":"document_value","attributes":{"value":"Max Rambod","label":"Creator"}},"abstract_or_scope":{"id":"https://arvasarchive.org/catalog/viu_repositories_3_resources_1552#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eThis collection features an undated tintype photograph of two unidentified African American women dressed in Victorian-style dresses and hats. One of the women holds a bouquet that drapes over a bridge made of branches that the two figures are posed on in a photography studio. It measures 2.5 X 3.5 \". \u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/viu_repositories_3_resources_1552#breadcrumbs","type":"document_value","attributes":{"value":{"id":"viu_repositories_3_resources_1552","ead_ssi":"viu_repositories_3_resources_1552","_root_":"viu_repositories_3_resources_1552","_nest_parent_":"viu_repositories_3_resources_1552","ead_source_url_ssi":"data/oai/UVA/repositories_3_resources_1552.xml","aspace_url_ssi":"https://archives.lib.virginia.edu/ark:/59853/190887","title_filing_ssi":"Two African American women tintype","title_ssm":["Two African American women tintype"],"title_tesim":["Two African American women tintype"],"unitdate_ssm":["c. 1865-1900"],"unitdate_bulk_ssim":["c. 1865-1900"],"normalized_date_ssm":["1865/1900"],"normalized_title_ssm":["Two African American women tintype, 1865/1900"],"text":["Two African American women tintype, 1865/1900","MSS 16796","Archival Resource Key","/repositories/3/resources/1552","African Americans","tintypes (prints)","The collection is open for research use.","\"African Americans' engagement with photography in the 19th century began a tradition for Black photographers' use of photography today to promote social change. African Americans, whether they are in front or behind the camera, create empowering images that define the beauty and resilience contained within the Black experience.\" (1)","\"To pose for a photograph became an empowering act for African Americans. It served as a way to counteract racist caricatures that distort facial features and mocked Black society. African Americans in urban and rural settings participated in photography to demonstrate dignity in the Black experience.\" (1)","\"For African Americans in particular, photographic portraits offered a means of self-representation and empowerment. The abolitionist Frederick Douglass—who was himself the most photographed man of the 19th century—consistently championed the medium for its capacity to affirm the humanity and dignity of its sitters and challenge dehumanizing, racist stereotypes. Other Black Americans, including native Virginian James Presley Ball (1825–1904), practiced and shaped the medium from its earliest years.\" (2)","Sources:\n\"How Black people in the 19th century used photography as a tool for social change\"\nhttps://www.si.umich.edu/about-umsi/news/how-black-people-19th-century-used-photography-tool-social-change","\"A Powerful Influence: Early Photographs of African Americans from the Collection of Dennis O. Williams\" Virginia Museum of Fine Arts. Dr. Sarah Kennel, curator. November 19, 2022- June 15 2023.\nhttps://vmfa.museum/exhibitions/exhibitions/powerful-influence-early-photographs-african-americans-collection-dennis-o-williams/","Tintypes were portable, cheap, and fast to make. They came onto the scene in 1853 and were used through 1930. Photographers could easily sell their services at fairs or travel to battlefields. Some of the most common subjects were Civil War fields and soldiers, who would send photos home to loved ones.","Tintype creates a photographic image on a thin sheet of metal or iron that has been coated with a dark lacquer or enamel.The metal plates are coated with chemicals, exposed to light in a camera, and processed with additional chemistry. This creates an underexposed negative image. When that negative is placed on a dark background, the transparent areas appear black, which makes the plate look like a positive image.","This collection features an undated tintype photograph of two unidentified African American women dressed in Victorian-style dresses and hats. One of the women holds a bouquet that drapes over a bridge made of branches that the two figures are posed on in a photography studio. It measures  2.5 X 3.5 \".","The tintype was invented in 1855, one decade before the emancipation of all enslaved African Americans across the United States. 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African Americans, whether they are in front or behind the camera, create empowering images that define the beauty and resilience contained within the Black experience.\" (1)\u003c/p\u003e","\u003cp\u003e\"To pose for a photograph became an empowering act for African Americans. It served as a way to counteract racist caricatures that distort facial features and mocked Black society. African Americans in urban and rural settings participated in photography to demonstrate dignity in the Black experience.\" (1)\u003c/p\u003e","\u003cp\u003e\"For African Americans in particular, photographic portraits offered a means of self-representation and empowerment. The abolitionist Frederick Douglass—who was himself the most photographed man of the 19th century—consistently championed the medium for its capacity to affirm the humanity and dignity of its sitters and challenge dehumanizing, racist stereotypes. Other Black Americans, including native Virginian James Presley Ball (1825–1904), practiced and shaped the medium from its earliest years.\" (2)\u003c/p\u003e","\u003cp\u003eSources:\n\"How Black people in the 19th century used photography as a tool for social change\"\nhttps://www.si.umich.edu/about-umsi/news/how-black-people-19th-century-used-photography-tool-social-change\u003c/p\u003e","\u003cp\u003e\"A Powerful Influence: Early Photographs of African Americans from the Collection of Dennis O. Williams\" Virginia Museum of Fine Arts. Dr. Sarah Kennel, curator. November 19, 2022- June 15 2023.\nhttps://vmfa.museum/exhibitions/exhibitions/powerful-influence-early-photographs-african-americans-collection-dennis-o-williams/\u003c/p\u003e","\u003cp\u003eTintypes were portable, cheap, and fast to make. They came onto the scene in 1853 and were used through 1930. Photographers could easily sell their services at fairs or travel to battlefields. 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African Americans, whether they are in front or behind the camera, create empowering images that define the beauty and resilience contained within the Black experience.\" (1)","\"To pose for a photograph became an empowering act for African Americans. It served as a way to counteract racist caricatures that distort facial features and mocked Black society. African Americans in urban and rural settings participated in photography to demonstrate dignity in the Black experience.\" (1)","\"For African Americans in particular, photographic portraits offered a means of self-representation and empowerment. The abolitionist Frederick Douglass—who was himself the most photographed man of the 19th century—consistently championed the medium for its capacity to affirm the humanity and dignity of its sitters and challenge dehumanizing, racist stereotypes. Other Black Americans, including native Virginian James Presley Ball (1825–1904), practiced and shaped the medium from its earliest years.\" (2)","Sources:\n\"How Black people in the 19th century used photography as a tool for social change\"\nhttps://www.si.umich.edu/about-umsi/news/how-black-people-19th-century-used-photography-tool-social-change","\"A Powerful Influence: Early Photographs of African Americans from the Collection of Dennis O. Williams\" Virginia Museum of Fine Arts. Dr. Sarah Kennel, curator. November 19, 2022- June 15 2023.\nhttps://vmfa.museum/exhibitions/exhibitions/powerful-influence-early-photographs-african-americans-collection-dennis-o-williams/","Tintypes were portable, cheap, and fast to make. They came onto the scene in 1853 and were used through 1930. Photographers could easily sell their services at fairs or travel to battlefields. Some of the most common subjects were Civil War fields and soldiers, who would send photos home to loved ones.","Tintype creates a photographic image on a thin sheet of metal or iron that has been coated with a dark lacquer or enamel.The metal plates are coated with chemicals, exposed to light in a camera, and processed with additional chemistry. This creates an underexposed negative image. When that negative is placed on a dark background, the transparent areas appear black, which makes the plate look like a positive image."],"prefercite_html_tesm":["\u003cp\u003eMSS 16796, Two African American women tintype, Albert and Shirley Small Special Collections Library, University of Virginia Library.\u003c/p\u003e  "],"prefercite_tesim":["MSS 16796, Two African American women tintype, Albert and Shirley Small Special Collections Library, University of Virginia Library."],"scopecontent_html_tesm":["\u003cp\u003eThis collection features an undated tintype photograph of two unidentified African American women dressed in Victorian-style dresses and hats. One of the women holds a bouquet that drapes over a bridge made of branches that the two figures are posed on in a photography studio. It measures  2.5 X 3.5 \". \u003c/p\u003e","\u003cp\u003eThe tintype was invented in 1855, one decade before the emancipation of all enslaved African Americans across the United States. The medium of the photograph and the women's dress roughly dates this to the mid-to-late nineteenth century. \u003c/p\u003e  "],"scopecontent_heading_ssm":["Content Description"],"scopecontent_tesim":["This collection features an undated tintype photograph of two unidentified African American women dressed in Victorian-style dresses and hats. One of the women holds a bouquet that drapes over a bridge made of branches that the two figures are posed on in a photography studio. It measures  2.5 X 3.5 \".","The tintype was invented in 1855, one decade before the emancipation of all enslaved African Americans across the United States. The medium of the photograph and the women's dress roughly dates this to the mid-to-late nineteenth century."],"corpname_ssim":["Albert and Shirley Small Special Collections Library","Max Rambod"],"names_coll_ssim":["Max Rambod"],"names_ssim":["Albert and Shirley Small Special Collections Library","Max Rambod"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":0,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-07-23T21:40:42.029Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viu_repositories_3_resources_1552","ead_ssi":"viu_repositories_3_resources_1552","_root_":"viu_repositories_3_resources_1552","_nest_parent_":"viu_repositories_3_resources_1552","ead_source_url_ssi":"data/oai/UVA/repositories_3_resources_1552.xml","aspace_url_ssi":"https://archives.lib.virginia.edu/ark:/59853/190887","title_filing_ssi":"Two African American women tintype","title_ssm":["Two African American women tintype"],"title_tesim":["Two African American women tintype"],"unitdate_ssm":["c. 1865-1900"],"unitdate_bulk_ssim":["c. 1865-1900"],"normalized_date_ssm":["1865/1900"],"normalized_title_ssm":["Two African American women tintype, 1865/1900"],"text":["Two African American women tintype, 1865/1900","MSS 16796","Archival Resource Key","/repositories/3/resources/1552","African Americans","tintypes (prints)","The collection is open for research use.","\"African Americans' engagement with photography in the 19th century began a tradition for Black photographers' use of photography today to promote social change. African Americans, whether they are in front or behind the camera, create empowering images that define the beauty and resilience contained within the Black experience.\" (1)","\"To pose for a photograph became an empowering act for African Americans. It served as a way to counteract racist caricatures that distort facial features and mocked Black society. African Americans in urban and rural settings participated in photography to demonstrate dignity in the Black experience.\" (1)","\"For African Americans in particular, photographic portraits offered a means of self-representation and empowerment. The abolitionist Frederick Douglass—who was himself the most photographed man of the 19th century—consistently championed the medium for its capacity to affirm the humanity and dignity of its sitters and challenge dehumanizing, racist stereotypes. Other Black Americans, including native Virginian James Presley Ball (1825–1904), practiced and shaped the medium from its earliest years.\" (2)","Sources:\n\"How Black people in the 19th century used photography as a tool for social change\"\nhttps://www.si.umich.edu/about-umsi/news/how-black-people-19th-century-used-photography-tool-social-change","\"A Powerful Influence: Early Photographs of African Americans from the Collection of Dennis O. Williams\" Virginia Museum of Fine Arts. Dr. Sarah Kennel, curator. November 19, 2022- June 15 2023.\nhttps://vmfa.museum/exhibitions/exhibitions/powerful-influence-early-photographs-african-americans-collection-dennis-o-williams/","Tintypes were portable, cheap, and fast to make. They came onto the scene in 1853 and were used through 1930. Photographers could easily sell their services at fairs or travel to battlefields. Some of the most common subjects were Civil War fields and soldiers, who would send photos home to loved ones.","Tintype creates a photographic image on a thin sheet of metal or iron that has been coated with a dark lacquer or enamel.The metal plates are coated with chemicals, exposed to light in a camera, and processed with additional chemistry. This creates an underexposed negative image. When that negative is placed on a dark background, the transparent areas appear black, which makes the plate look like a positive image.","This collection features an undated tintype photograph of two unidentified African American women dressed in Victorian-style dresses and hats. One of the women holds a bouquet that drapes over a bridge made of branches that the two figures are posed on in a photography studio. It measures  2.5 X 3.5 \".","The tintype was invented in 1855, one decade before the emancipation of all enslaved African Americans across the United States. The medium of the photograph and the women's dress roughly dates this to the mid-to-late nineteenth century.","Albert and Shirley Small Special Collections Library","Max Rambod","English"],"collection_title_tesim":["Two African American women tintype, 1865/1900"],"collection_ssim":["Two African American women tintype, 1865/1900"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MSS 16796","Archival Resource Key","/repositories/3/resources/1552"],"unitid_tesim":["MSS 16796","Archival Resource Key","/repositories/3/resources/1552"],"repository_ssm":["University of Virginia, Special Collections Dept."],"repository_ssim":["University of Virginia, Special Collections Dept."],"creator_ssm":["Max Rambod"],"creator_ssim":["Max Rambod"],"creator_corpname_ssim":["Albert and Shirley Small Special Collections Library","Max Rambod"],"creators_ssim":["Albert and Shirley Small Special Collections Library","Max Rambod"],"acqinfo_ssim":["This collection was purchased from Max Rambod, Inc. by the Small Special Collections Library at the University of Virginia Library on  01 March 2023."],"access_subjects_ssim":["African Americans","tintypes (prints)"],"access_subjects_ssm":["African Americans","tintypes (prints)"],"has_online_content_ssim":["false"],"extent_ssm":["0.03 Cubic Feet One letter-sized folder"],"extent_tesim":["0.03 Cubic Feet One letter-sized folder"],"genreform_ssim":["tintypes (prints)"],"date_range_isim":[1865,1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research use.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for research use."],"bioghist_html_tesm":["\u003cp\u003e\"African Americans' engagement with photography in the 19th century began a tradition for Black photographers' use of photography today to promote social change. African Americans, whether they are in front or behind the camera, create empowering images that define the beauty and resilience contained within the Black experience.\" (1)\u003c/p\u003e","\u003cp\u003e\"To pose for a photograph became an empowering act for African Americans. It served as a way to counteract racist caricatures that distort facial features and mocked Black society. African Americans in urban and rural settings participated in photography to demonstrate dignity in the Black experience.\" (1)\u003c/p\u003e","\u003cp\u003e\"For African Americans in particular, photographic portraits offered a means of self-representation and empowerment. The abolitionist Frederick Douglass—who was himself the most photographed man of the 19th century—consistently championed the medium for its capacity to affirm the humanity and dignity of its sitters and challenge dehumanizing, racist stereotypes. 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African Americans, whether they are in front or behind the camera, create empowering images that define the beauty and resilience contained within the Black experience.\" (1)","\"To pose for a photograph became an empowering act for African Americans. It served as a way to counteract racist caricatures that distort facial features and mocked Black society. African Americans in urban and rural settings participated in photography to demonstrate dignity in the Black experience.\" (1)","\"For African Americans in particular, photographic portraits offered a means of self-representation and empowerment. The abolitionist Frederick Douglass—who was himself the most photographed man of the 19th century—consistently championed the medium for its capacity to affirm the humanity and dignity of its sitters and challenge dehumanizing, racist stereotypes. Other Black Americans, including native Virginian James Presley Ball (1825–1904), practiced and shaped the medium from its earliest years.\" (2)","Sources:\n\"How Black people in the 19th century used photography as a tool for social change\"\nhttps://www.si.umich.edu/about-umsi/news/how-black-people-19th-century-used-photography-tool-social-change","\"A Powerful Influence: Early Photographs of African Americans from the Collection of Dennis O. Williams\" Virginia Museum of Fine Arts. Dr. Sarah Kennel, curator. November 19, 2022- June 15 2023.\nhttps://vmfa.museum/exhibitions/exhibitions/powerful-influence-early-photographs-african-americans-collection-dennis-o-williams/","Tintypes were portable, cheap, and fast to make. They came onto the scene in 1853 and were used through 1930. Photographers could easily sell their services at fairs or travel to battlefields. Some of the most common subjects were Civil War fields and soldiers, who would send photos home to loved ones.","Tintype creates a photographic image on a thin sheet of metal or iron that has been coated with a dark lacquer or enamel.The metal plates are coated with chemicals, exposed to light in a camera, and processed with additional chemistry. This creates an underexposed negative image. When that negative is placed on a dark background, the transparent areas appear black, which makes the plate look like a positive image."],"prefercite_html_tesm":["\u003cp\u003eMSS 16796, Two African American women tintype, Albert and Shirley Small Special Collections Library, University of Virginia Library.\u003c/p\u003e  "],"prefercite_tesim":["MSS 16796, Two African American women tintype, Albert and Shirley Small Special Collections Library, University of Virginia Library."],"scopecontent_html_tesm":["\u003cp\u003eThis collection features an undated tintype photograph of two unidentified African American women dressed in Victorian-style dresses and hats. One of the women holds a bouquet that drapes over a bridge made of branches that the two figures are posed on in a photography studio. It measures  2.5 X 3.5 \". \u003c/p\u003e","\u003cp\u003eThe tintype was invented in 1855, one decade before the emancipation of all enslaved African Americans across the United States. The medium of the photograph and the women's dress roughly dates this to the mid-to-late nineteenth century. \u003c/p\u003e  "],"scopecontent_heading_ssm":["Content Description"],"scopecontent_tesim":["This collection features an undated tintype photograph of two unidentified African American women dressed in Victorian-style dresses and hats. One of the women holds a bouquet that drapes over a bridge made of branches that the two figures are posed on in a photography studio. It measures  2.5 X 3.5 \".","The tintype was invented in 1855, one decade before the emancipation of all enslaved African Americans across the United States. The medium of the photograph and the women's dress roughly dates this to the mid-to-late nineteenth century."],"corpname_ssim":["Albert and Shirley Small Special Collections Library","Max Rambod"],"names_coll_ssim":["Max Rambod"],"names_ssim":["Albert and Shirley Small Special Collections Library","Max Rambod"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":0,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-07-23T21:40:42.029Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/viu_repositories_3_resources_1552"}},{"id":"viu_repositories_3_resources_413","type":"collection","attributes":{"title":"Virginia photography studios photographs","abstract_or_scope":{"id":"https://arvasarchive.org/catalog/viu_repositories_3_resources_413#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eThe collection contains tintypes, cabinet cards, cartes-de-visite and photographs chiefly from studios in Staunton, Va. Studios in Bridgewater, Charlottesville, Harrisonburg, Lynchburg, and Richmond are also represented. Among the few identified subjects are Friends at Olivet Church, Staunton, Va.; D[avid] V. Ruckman Home, Long Glade, Va.; William Bedford Campbell, David Van Meter Ruckman, II, children of Uncle Glen Ruckman, Pauline Ruckman, James Buxton Perry, Sam Ruckman, Glen Huston Byrd, Anne Irvine, Mrs. Rod Dudley. Of interest are interiors of an unidentified Victorian home, outdoor scenes of cattle, and a studio portrait of four fashionably dressed girls eating bananas.\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/viu_repositories_3_resources_413#breadcrumbs","type":"document_value","attributes":{"value":{"id":"viu_repositories_3_resources_413","ead_ssi":"viu_repositories_3_resources_413","_root_":"viu_repositories_3_resources_413","_nest_parent_":"viu_repositories_3_resources_413","ead_source_url_ssi":"data/oai/UVA/repositories_3_resources_413.xml","aspace_url_ssi":"https://archives.lib.virginia.edu/ark:/59853/356","title_filing_ssi":"Virginia photography studios photographs","title_ssm":["Virginia photography studios photographs"],"title_tesim":["Virginia photography studios photographs"],"unitdate_ssm":["1860s-1930s"],"unitdate_inclusive_ssm":["1860s-1930s"],"normalized_title_ssm":["Virginia photography studios photographs"],"text":["Virginia photography studios photographs","MSS 14250","Archival Resource Key","/repositories/3/resources/413","cabinet photographs","cartes-de-visite (card photographs)","photographs","tintypes (prints)","The collection contains tintypes, cabinet cards, cartes-de-visite and photographs chiefly from studios in Staunton, Va. 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Ruckman Home, Long Glade, Va.; William Bedford Campbell, David Van Meter Ruckman, II, children of Uncle Glen Ruckman, Pauline Ruckman, James Buxton Perry, Sam Ruckman, Glen Huston Byrd, Anne Irvine, Mrs. Rod Dudley. 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