Benjamin Upton (13 results)

Condition: New.

Pamphlet. Condition: Used - Good. Boston: Dutton & Wentworth's Print, 1840. 24 pages. 'Select Hymn'. 9 x 5.5", blue printed wrapper. American Imprints 40-7119. Historical society rubberstamp, few smudges, VG.

Pamphlet. Condition: Used - Good. Sutton, MA: Printed by Sewall Goodridge, 1809. 27 pages. 8 x 5'', disbound. Shaw & Shoemaker 19258 (CSmH; ICT; MBC; MWA; NN). Removed, foxed, G.

Condition: New. KlappentextrnrnThis is a reproduction of the original artefact. Generally these books are created from careful scans of the original. This allows us to preserve the book accurately and present it in the way the author intended. Since the origina.

Stereoview albumen print 3.5" x 6.5" on 4.25" x 7" paperboard mount; numbered 60 in the negative. One in a series of St. Augustine stereoviews in Upton's Florida Views series. On the verso is a detailed listing of his five series of Florida photographs, "from the Stereoscopic to the largest Photographs made." The Smithsonian Institution offers the following note on Upton: "Benjamin Franklin Upton (1818-after 1901) was a daguerreotypist, photographer, and inventor. He began his career making daguerreotypes in Brunswick, Maine, (circa 1844-1847) then opened a gallery in Bath, Maine, where he obtained several patents for inventions and products associated with daguerreotyping. Upton and his family moved to St. Anthony, Minnesota, in 1856, where he photographed at American Indian agencies nearby, including the Chippewa and Winnebago agencies and Dakota prisoners at Fort Snelling after the 1862 uprising. He copyrighted the series Upton's Collection of Photographic Views in 1865. Upton moved to Florida in 1875." CONDITION: Good, light toning and rubbing on paperboard, left image tonality higher than right image.

Condition: New. Print on Demand.

Kartoniert / Broschiert. Condition: New. KlappentextrnrnThis monograph is an up-to-date, in-depth and more advanced continuation of its accompanying monograph entitled Brain-Body Interactions: Contemporary Outcome Prediction in Aneurysmal Subarachnoid Hemorrhage using Bayesian Neural N.

Condition: New. PRINT ON DEMAND.

No Binding. Condition: vg+. The First Edifice of Local Government in Minnesota.Important photograph of Ramsey County's first courthouse, taken a few years after its completion in 1851.The construction of the courthouse lasted from 1850 to August 18. Albumen photograph mounted on original card mount. The card is a bit wavy. Numbered "34" in ink along the upper right corner of the mount. Ink-stamped on the verso "Published by E. A. Bromley, Minneapolis, from the original Upton negatives." and "Hill Reference Library St. Paul" along with a library catalog number in pencil. The First Edifice of Local Government in Minnesota.Important photograph of Ramsey County's first courthouse, taken a few years after its completion in 1851.The construction of the courthouse lasted from 1850 to August 1851. It was built on the square bounded by Fourth and Fifth, and Wabasha and Cedar Streets.A manuscript annotation below the printed caption reads "Torn down to give place to the new Court House".Dane Smith's 1993 article "A Short and Happy History of Ramsey County and Its Two Earlier Courthouses" notes that the land for the courthouse was donated by Vetal Guerin, one of St. Paul's earliest settlers. At the time the courthouse was built it was perhaps the first permanent administrative structure in Minnesota. In its earliest configuration, Ramsey County covered a much larger portion of the state than it does today.The courthouse was designed by pioneer physician Dr. David Day.According to a flyer distributed in 1932, the original courthouse "was the pride of the city, all important meetings and many theatrical performances being held there."When the 1851 courthouse was razed, the Saint Paul Pioneer Press added up the legal activities that had taken place there over thirty-five years and found that they included 40,295 criminal cases, 475,000 records filed for real estate, and 35,000 marriage license applications.ProvenanceDeaccessioned from the James J. Hill Reference Library, St. Paul, Minnesota.Such early Minnesota photographs are rare and almost unobtainable outside institutional deaccessions. Map.

No Binding. Condition: vg+. Wonderful early landscape photograph of Rochester, Minnesota, (famously now home to the Mayo Clinic) by Benjamin Upton, republished by Edward A. Bromley after his acquisition of the plates in 1878.The bird's-ey. Albumen photograph mounted on original card mount. The card is a bit wavy. Numbered "51" in ink along the upper right corner of the mount. Ink-stamped on the verso "Published by E. A. Bromley, Minneapolis, from the original Upton negatives." and "Hill Reference Library St. Paul" along with a library catalog number in pencil. Wonderful early landscape photograph of Rochester, Minnesota, (famously now home to the Mayo Clinic) by Benjamin Upton, republished by Edward A. Bromley after his acquisition of the plates in 1878.The bird's-eye view looks over the historical city center, with several large brick buildings, as well as open land and single-family residences.We have traced an example of the photo at the Minnesota Historical Society.ProvenanceDeaccessioned from the James J. Hill Reference Library, St. Paul, Minnesota.Such early Minnesota photographs are rare and almost unobtainable outside institutional deaccessions. Map.

No Binding. Condition: vg+. Wonderful early landscape photograph of St. Paul, Minnesota, by Benjamin Upton, republished by Edward A. Bromley after his acquisition of the plates in 1878.The bird's-eye view looks southeast across present-da. Albumen photograph mounted on original card mount. The card is a bit wavy. Numbered "50" in ink along the upper right corner of the mount. Ink-stamped on the verso "Published by E. A. Bromley, Minneapolis, from the original Upton negatives." and "Hill Reference Library St. Paul" along with a library catalog number in pencil. Wonderful early landscape photograph of St. Paul, Minnesota, by Benjamin Upton, republished by Edward A. Bromley after his acquisition of the plates in 1878.The bird's-eye view looks southeast across present-day downtown St. Paul towards Dayton's Bluff.The photograph is labeled in early ink manuscript "J. Fletcher Williams Homestead", "Territorial Capitol", and "Catholic Cathedral."The town very much still has the feel of a ramshackle frontier community, with wood-panel and brick buildings scattered among fields of undeveloped land.The photograph was probably taken in the fall or early spring, as the trees have no leaves. This makes it easier to see many of the buildings in the background.ProvenanceDeaccessioned from the James J. Hill Reference Library, St. Paul, Minnesota.Such early Minnesota photographs are very rare and almost unobtainable outside of institutional deaccessions. Map.

No Binding. Condition: VG+. Wonderful early landscape photograph of St. Paul, Minnesota, by Benjamin Upton, republished by Edward A. Bromley after his acquisition of the plates in 1878. The bird's-eye view looks west across the Mississippi Riv. Albumen photograph mounted on original card mount. The card is a bit wavy. Numbered "45" in ink along the upper right corner of the mount. Ink-stamped on the verso "Published by E. A. Bromley, Minneapolis, from the original Upton negatives." and "Hill Reference Library St. Paul" along with a library catalog number in pencil. Wonderful early landscape photograph of St. Paul, Minnesota, by Benjamin Upton, republished by Edward A. Bromley after his acquisition of the plates in 1878. The bird's-eye view looks west across the Mississippi River over present-day downtown St. Paul from Dayton's Bluff. The photograph is labeled in early ink manuscript "Wabasha St. Bridge", "Lower Levee", "Prince's Saw Mill", "Capitol Building", and "Fuller House." There is exceptional detail of activity along the river, with at least six steamboats moored on the riverfront. Provenance Deaccessioned from the James J. Hill Reference Library, St. Paul, Minnesota. Such early Minnesota photographs are very rare and almost unobtainable outside of institutional deaccessions. Map.

Thirty-two cdvs (27 by Whitney, 4 by James Martin, 2 by Benjamin Upton and 2 on unidentified mounts), plus three albumen photographs, one mounted on card stock measuring 5¼ x 4¼ inches, and two mounted on card stock measuring 6 x 4 inches. A striking and important group of Indian portraits taken by Joel Whitney in St. Paul, Minnesota, around the time of the Sioux Uprising of 1862. The Dakota War, or Sioux Uprising, was one of the last large scale attempts by Native Americans to expel white settlers from their territory. Denied rations and annuities promised by treaty in return for the forfeiture of the majority of their land, the Sioux decided that an armed revolt was the only option to save their people. Dakota warriors in Minnesota felt the time was ripe for victory, as more and more American men joined the Union during the Civil War, leaving Minnesota largely unprotected by the American military. U.S. Army regiments recalled from the battlefields of the Civil War defeated the Sioux at Wood Lake on September 23, 1862. In the weeks following, U.S. Army Colonel Henry Hastings Sibley arrested more than 2,000 Santee Sioux and instituted a military commission that found 303 guilty of capital crimes under legally circumspect proceedings. President Lincoln upheld the convictions of thirty-eight Sioux and ordered their execution by hanging at Mankato, Minnesota, on December 26, 1862, the largest mass execution in U.S. history. The present group of photographs includes portraits of five men who are identified as having participated in the massacre: Thaóyate Dúta (Little Crow), the Chief of the Santee Sioux who led his people into battle; PaHa Uza Tanka (The Great Scalp Taker), Te-He-Do-Ne-Cha (One Who Forbids His House), Marpiya Okinajin (Cut Nose) and Do-Wan-Sa (The Singer) - all of whom were executed. Also pictured are Ta-Tanka-Nazin (Chief Standing Buffalo), who argued for peace, and "Old Bets," a Sioux squaw reputed to be 120 years old, who was kind to white captives in her village and is arguably one of the most identifiable and most photographed Sioux from this period. Other identified persons in the group include: Ma-Za-Oo-Nie (The Little Bird Hunter); Can-Ku Was-Te-Win (Good Road Woman) and Anpetu-Sapa-Win (Black Day Woman); Winnesheik and other Winnebago chiefs in the prison at Fort Snelling (who, although non-combatant, were forced into the camp at Fort Snelling with their people and ultimately exiled to the Dakotas). In addition to the portraits of the Santee Sioux, there are thirteen additional portraits of representatives from various bands of the Chippewa people. Joel Emmons Whitney (1822-86) was a pioneering Minnesota photographer and businessman. Whitney learned the art of daguerreotyping from Alexander Hesler, and opened a studio in St. Paul in 1851. He continuously updated his techniques, innovating and offering new products. By 1855, he was advertising paper photographs, which were touted as significantly cheaper than daguerreotypes. In 1860 he introduced the public to the carte-de-visite, which was an incredibly popular format throughout the decade. Whitney produced views of the area, portraits upon request, and - perhaps most notably - portraits and images of the local Native Americans. Whitney had been photographing Native Americans in the area and those who came through the town on their way to Washington for treaty talks. In the summer of 1862, however, the Sioux Uprising spurred new interest in Native American photographs and gave Whitney a unique opportunity for his enterprise. After the Sioux Uprising, Whitney became the principal portrait photographer of those captured and held at Ft. Snelling. Other photographers represented include James Martin and Benjamin Franklin Upton. Little is known about James E. Martin. He is first listed as a photographer in St. Paul's business directory in 1858. He issued cartes-de-visite and stereoscopic photographs, including subjects related to the 1862 Sioux Uprising. Martin's Gallery is listed at two or three different locations until 1870, at which time the business directory shows the gallery under different ownership. Martin remained active after the sale of his studio in partnership with B. F. Upton of St. Paul. Benjamin Franklin Upton (1818-1901) was born in Dixmont, Maine and began his photography career as a daguerreotypist. In 1856, he started working in St. Anthony, Minnesota, where he established a reputation as a photographer of the Sioux and Chippewa Indians. Upton did not make studio photographs; instead, he preferred to work in the out of doors, and develop his photographs out of a wagon-based studio. As Upton did not have the ability to publishing his photographs for a wider audience, there was a period during which Whitney published Upton's photographs on his own studio mounts. The photographs included in the present collection are as follows (captions are within quotes). References are to the Minnesota Historical Photo Collectors Group (MHPCG) catalog list of Whitney cartes-de-visite and to Riggs' numerical list of Sioux executed in Mankato, Minnesota on December 26, 1862. Three albumen photographs mounted on card stock are loose and not within the album; these portraits are untitled but and bear manuscript identification and are noted below: 1) "Winnesheik and Friends. Winnebagos." This photograph is an enlarged version of MHPCG 93. According to the Minnesota Historical Society, Winneshiek appears second from left with other Winnebago (Ho-Chunk) leaders likely at Fort Snelling in 1862 or 1863. Note: Following the Sioux Uprising, all Indian tribes from southwestern Minnesota, which included non-combatant Winnebago bands, were held captive in Fort Snelling and ultimately exiled from Minnesota. MHPCG 93. 2) "Te he si pa Sioux Dandy." Misidentification of MHPCG 19, "Te-Na-Se-Pa A Sioux Dandy." Also known as Do-wan-sa (The Singer). Do-wan-sa was executed in Mankato, MN on December 26, 1862 with thirty-seven other Sioux f.