Sixth plate ambrotype portrait of an unidentified young man posed in a studio interior, shown standing at a lectern or podium while reading from an open book. He is dressed in a dark jacket with a light shirt and tie, his head inclined downward in concentration. The composition is formal and contemplative, emphasizing literacy and intellectual pursuit rather than direct engagement with the camera. The photographic process is ambrotype on glass, consistent with mid-19th-century studio practice.
The scene is arranged to suggest scholarly or professional study. Multiple books are stacked on the podium beneath the open volume, reinforcing the theme of education, learning, or possibly clerical or academic training. Such constructed studio tableaux were deliberately staged to convey character and aspiration, particularly in portraits of young men during this period. The subject’s calm posture and absorbed expression indicate that the act of reading is central to the image rather than incidental.
The ambrotype is housed in a full case with an ornate gilt brass mat featuring a deeply embossed scrolling foliate design and oval opening. No photographer’s imprint or identifying text is visible on the image or mat. The overall presentation reflects a carefully composed mid-19th-century studio portrait that departs from standard seated likenesses in favor of a narrative depiction centered on intellect and study.
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The Elsa Schaar Collection is a large, intact assemblage of early American photographic portraiture dating circa 1839–1870, formed primarily between the 1920s and 1950s by collector and antiques dealer Elsa Schaar Beugler Haase (1894–1976). The collection comprises 453 photographic works, including 258 daguerreotypes and ambrotypes in a wide range of original cases, 139 tintypes, 56 carte-de-visite photographs, and several Civil War–era and tintype albums. Elsa Schaar, based largely in Elmira, New York, actively bought, sold, and corresponded with collectors nationwide, often through ads in Hobbies (later Antiques & Collecting Magazine), developing a focused interest in early portrait photography. Following her death, the collection passed intact to her brother, architect William R. Schaar, and is now being offered by his descendants, preserving a clear and well-documented line of descent spanning more than a century