While quite rare, studioaguerreotypes of a patent model or invention do surface on occasion. Most, however, are images of obscure machines or unidentifiable objects whose use is left to the viewer’s imagination. Poor lighting and photographic technique are also often also the case in a studio still-life, resulting in an underexposed daguerreotype with no visible detail. This exceptional quarter plate daguerreotype of a carriage falls on the opposite end of that spectrum, with spectacular lighting, wonderful detail, an identified daguerreotypist, and a traceable patent, No. 7,835, from December 17, 1850 ( copies of the original drawing and patent are included). The image, by W.A. Reed, Quincy, IL (identified by a brass mat stamp), is masterfully accomplished with a gorgeous tonal hue. It was a well executed design: Reed choose a white background and an equally bright floor covering to compliment the blacks in the wagon. The carriage has been skillfully arranged with the front wheels turned to give the image a lovely three dimensional quality. A large sign is visible on the front and reads, EVERETT 'S, IMPROVED COUPLING, PATENTED 1850, MADE BY EDWARD EVERETT .

Edward Everett (1818-1903) was an artist and a draftsman born in London at the advent of the industrial revolution. His father was an American buyer and exporter who moved the family to Quincy, IL in 1840, where he operated a dry good, hardware and grocery store. In 1841 Everett advertised his services as a machinist and engineer, but by1843 he had joined Capt. James Morgan’s Quincy Riflemen. The Riflemen saw limited service in the 1845 Mormon War and the company was reformed a year later for the Mexican War. Upon arrival in Texas (July 24 th 1846), Everett’s companywas transferred to Camp Crockett at the

headwaters of the San Antonio River, where, by special order of Col. John Hardin, Everett and two lieutenants were assigned to collect information on the history and customs of the area. Everett made ink sketches of the Alamo and San José Mission. On September 11 th, while trying to break-up a disturbance, he was shot in the knee by a Texan named Hardy. Everett made numerous sketches of the San Antonio area and drew maps of Texas while recuperating. His watercolors of the missions in San Antonio currently hang in the Amon Carter Museum in Fort Worth. He also helped supervise the remodeling of the Alamo “Long Barracks.”

After his discharge from the military, Everett lived in Washington, D.C. for three years, before returning to Illinois, where he married Mary A. Billings in October, 1857. During the Civil War Major Everett served as an assistant quartermaster general for the State of Illinois. He later moved to Sing Sing, New York, before making his home at Roxbury, near Boston, Massachusetts. He died on July 24, 1903, and is buried in Boston's Forest Hills Cemetery. Despite having an artistic ability, Everett thought of himself as a mechanical engineer. Late in life he wrote a lengthy review of his military career, including his travels to and in Texas entitled "A Narrative of Military Experience in Several Capacities," which was published in 1906 by the Illinois State Historical Society.
Source: Handbook of Texas Online , s.v. ","

According to Craig’s Registry, the daguerreotypist, Warren A. Reed, was first listed in the Quincy, IL directory in 1854. However, identified images by him have been found that date to as early as the late 1840’s. Research conducted by Cheryl Pence at the Abraham Lincoln Presidential Library in Springfield IL turned up The History of Adams County, printed in 1879, which indicates that Reed’s gallery was the oldest established photograph house in Quincy, “being 30 years established.” In 1857-1858 Reed was listed in partnership with Miss C.J. McCormick. This was actually his wife, Candace McCormick, whom he married on June 27, 1842. According to an obituary in the April 27, 1858 addition of Quincy’s Daily Whig Republican Newspaper, Warren Reed died from consumption the day before at 35 years of age. It went on to state that “we knew Mr. Reed well and can testify to the many excellencies of character. The community has sustained a loss, in his death, not easily repaired.” His wife assumed the ownership of the gallery and continued as the proprietor under the name Mrs. W.A. Reed. Her gallery burned in 1878 although she rebuilt and in doing so refitted it with improved instruments and accommodations.

This image is in excellent condition with a light tarnish pattern on the perimeter. There are a few very small copper spots on the bottom right perimeter. In the same area are some light extremely small marks that are visible in the scan. It is housed in a full leather case with a silk red pad on the inside. There is one area of leather loss on the front bottom right corner of the case. This is a stand-out piece that would be at the forefront of any collection!

$22,000.00