Baker & Sons, Newland’s Daguerreotype, and Others
A Group of Eight Cased Daguerreotype Portraits, Including Sitters of British and Indian Origin, by Baker & Sons, Newland‘s Daguerreotype, and Others
The collection includes five hand-tinted daguerreotype portraits, each stored in its original velvet-lined leather case featuring tooled borders and functional brass clasps; three of the portraits bear the gilt-stamped logo of Baker’s Photographic Gallery in Calcutta, one is unsigned but matches the studio's style, and one has no attribution, likely originating from a contemporary regional studio in Bengal, some with arched or oval mats with...
The collection includes five hand-tinted daguerreotype portraits, each stored in its original velvet-lined leather case featuring tooled borders and functional brass clasps; three of the portraits bear the gilt-stamped logo of Baker’s Photographic Gallery in Calcutta, one is unsigned but matches the studio's style, and one has no attribution, likely originating from a contemporary regional studio in Bengal, some with arched or oval mats with engraved borders, including portraits of three seated European women, one Bengali woman, and two European men, variously tinted. 1 is Newland's daguerreotype.
INDIA IN REFLECTION: COLONIAL PORTRAITURE IN THE DAGUERREIAN AGE—A GROUP OF EIGHT CASED DAGUERREOTYPES INCLUDING WORKS BY BAKER & SONS, NEWLAND’S STUDIO, AND OTHERS
a) A Mother and Child, Calcutta
Photographed by Baker’s Photographic Gallery, Calcutta, mid-19th century
Quarter plate (12.8 x 10.2 cm), hand-tinted, sealed behind an oval brass mat and cover glass, within the original full brown morocco case with red velvet lining, double brass clasps, and the blind-stamped “BAKER’S CALCUTTA PHOTOGRAPHIC GALLERY” insignia on the upper lid, the reverse bearing remnants of a pasted paper label.
This sensitively composed ambrotype captures a compelling maternal portrait—likely a colonial European woman posed with her infant—in a classic mid-19th-century indoor studio arrangement. The infant’s diaphanous gown and delicate hand-tinting evoke the sentimental and commemorative values associated with family portraiture in the Victorian age, particularly among expatriate communities in British India. The sitters’ solemn demeanour is characteristic of photographic conventions at the time, where lengthy exposure times and formal restraint underscored the portrait’s gravitas.
b) An Oval Daguerreotype Portrait Of A Young European Man, With Hand-Coloured Details
Photographed at Baker & Sons, Calcutta, circa 1860s
Daguerreotype (oval), 10.8 x 8.2 cm, finely hand-tinted with blue and pink highlights to the sitter’s bowtie, lapels, and boutonnière; housed in the original tooled brown leather case, lined with dark plum velvet, secured with a working brass clasp; gilt-embossed studio mat, unmarked. The case lid is blind-stamped with the “BAKER’S CALCUTTA PHOTOGRAPHIC GALLERY” insignia on the upper lid.
The image captures a seated young European man, formally dressed with a cravat, waistcoat, and floral lapel decoration, posed against a neoclassical column and studio furnishings. The sitter’s expression, fashion, and stylised pose allude to the conventions of mid-19th-century colonial portraiture in India. The subtle hand-tinting heightens the decorative appeal of the work.
c) A Cased Daguerreotype Portrait of a Seated Woman
Photographed at Baker & Sons, Calcutta, circa 1860s
Daguerreotype, plate size 10.8 × 8.2 cm (approx. 4¼ × 3¼ in), quarter-plate format; presented in a dark brown leather-covered wooden case with original maroon velvet lining and intact brass clasp; the image bordered by a finely engraved oval gilt metal mat and decorative preserver.
This intimate quarter-plate daguerreotype portrays a poised European woman, seated in a studio setting, her dark voluminous dress rendered in rich tonal contrast against the backdrop. Her jewellery—earrings and an elongated chain—is subtly hand-tinted in gold, enhancing the sitter’s refined appearance. The depth of field, luminosity, and the sitter’s three-quarter pose suggest the technical sophistication typical of professional studios operating in British India and the wider colonial circuit in the 1850s and early 1860s.
d) A Cased Daguerreotype Portrait of a Standing Woman Beside a Curtain
Photographed at Baker & Sons, Calcutta, circa 1860s
Daguerreotype, plate size 10.8 × 8.2 cm (approx. 4¼ × 3¼ in), quarter-plate format; housed in a brown leather-covered wooden case with deep maroon velvet lining and functional brass clasp; the plate bordered with a finely chased gilt mat and patterned preserver. The reverse of the case is blind stamped: "BAKER’S / CALCUTTA / PHOTOGRAPHIC GALLERY."
This sensitively composed quarter-plate daguerreotype presents a studio portrait of a European woman standing near a curtained backdrop. The sitter, dressed in a voluminous dark gown with a white collar and sleeve accents, is positioned against a table and swagged curtain—an arrangement that mirrors popular mid-19th-century English and colonial photographic studio conventions. Her serene expression and frontal stance evoke a composed elegance, while the meticulous detail in her dress and accessories suggests both affluence and formality.
The scene’s careful staging, with the curtain acting as a visual frame, reflects the visual vocabulary of Victorian photographic portraiture—particularly among expatriate communities in India. Though unsigned, the technical execution—balanced lighting, clarity, and sharpness—hints at a studio of considerable professional calibre.
e) A Cased Daguerreotype Portrait of a Seated Woman in Profile
Photographed at Baker & Sons, Calcutta, circa 1860s
Daguerreotype, plate size 10.8 × 8.2 cm (approx. 4¼ × 3¼ in), quarter-plate format; preserved in a brown leather-covered wooden case with dark burgundy velvet interior and working brass clasp; gilt arched mat and patterned metal preserver. The reverse of the case is blind stamped: "BAKER’S / CALCUTTA / PHOTOGRAPHIC GALLERY."
This elegant and sensitively posed ambrotype captures a European woman seated indoors, her hands resting gracefully atop a book or cloth, her gaze directed towards the right, and the setting framed by a brocade curtain backdrop. Her attire—a dark gown with a white collar and lace cuffs—conveys the dignity and restraint of mid-Victorian portraiture, with subtle hand-tinting to the cheeks and hands enhancing the realism of the likeness. Set against a painted backdrop resembling an architectural arcade with foliage—a popular aesthetic in mid-19th-century photographic studios.
The use of a strict side profile, rare in daguerreian portraiture, evokes classical silhouette traditions and lends this work a sculptural presence. The formality of attire, confident bearing, and careful orchestration of the setting suggest a sitter of some social standing.
f) A Cased Daguerreotype Portrait of a Seated European Gentleman with a Straw Hat
Photographed at Baker & Sons, Calcutta, circa 1860s
Daguerreotype, plate size 10.8 × 8.2 cm (approx. 4¼ × 3¼ in), quarter-plate format; housed in a maroon leather-covered wooden case with dark red velvet interior lining; complete with gilt oval mat and pressed decorative metal preserver, secured by a functioning brass clasp. The back panel bears a gold-stamped oval cartouche reading "BAKER’S / DAGUERREOTYPE."
This expressive quarter-plate daguerreotype portrays a European gentleman seated in a formal studio setting. He is shown wearing a light-coloured suit and cravat, posed in a confident three-quarter profile while holding a wide-brimmed straw hat in his lap—an accessory suggestive of his colonial setting. His gaze is directed slightly away from the camera, adding a naturalistic quality to the image.
Rendered with exceptional tonal clarity, the portrait combines relaxed elegance with formal composition. The sitter's facial hair and receding hairline lend an air of distinction, while the tactile rendering of textures—jacket lapels, ribboned hat, and cushioned chair—demonstrates the technical finesse of the studio. The absence of a studio mark leaves the photographer unidentified, but the quality and pose are typical of Anglo-Indian portrait studios active in the mid-19th century.
g) A Cased Daguerreotype Portrait of a Young Indian Woman
Possibly Baker & Sons, Calcutta, or another Anglo-Indian Studio, circa 1855–1865
Daguerreotype, plate size 6.3 × 5 cm (approx. 2½ × 2 in), sixteenth-plate format; housed in a black leather-covered wooden case with maroon velvet lining, decorative pressed gilt metal mat, and patterned preserver; single working clasp.
This rare sixteenth-plate daguerreotype depicts a young Indian woman seated in a three-quarter pose, dressed in a finely patterned saree draped in the traditional manner. Her expression, simultaneously poised and self-aware, reflects the nuanced tension between individual agency and the controlled studio portraiture conventions of the period. Her hair is carefully parted, and she wears a small ear ornament—subtle indicators of regional identity and social status.
While unsigned, the refined lighting and textural clarity suggest the hand of a professional Anglo-Indian studio such as Baker & Sons or a similar Calcutta-based photographer active during the 1850s–60s. Daguerreotypes of Indian female sitters from this era are particularly scarce, especially in such well-preserved and intimate formats. This example offers compelling evidence of the early intersection between colonial photography and indigenous representation.
h) A Cased Daguerreotype Portrait of a Seated Woman
Newland's Daguerreotype Studio, Calcutta, circa 1855
Daguerreotype, plate size 8.2 × 7 cm (approx. one-sixth plate), sealed within a gold-coloured brass mat and simple preserver; housed in a burgundy leather-covered wooden case with maroon velvet lining, with a single working clasp; the lower half of the case’s lid impressed with the oval studio stamp "NEWLAND'S / CALCUTTA / DAGUERREOTYPE" in gilt.
This striking portrait captures a young woman in a three-quarter seated pose, her hair centrally parted and adorned with small earrings, her expression composed and introspective. The sitter wears a richly textured dress with delicate detailing and a brooch at her collar, the jewellery enhanced by subtle hand-tinting. She sits slightly turned, one hand resting on her lap, the other on the armrest, conveying a sense of relaxed dignity.
The portrait exemplifies the careful control and posed stillness associated with mid-century daguerreotype studios, likely operating in a colonial context. The absence of studio markings or a backstamp suggests it may have been produced by a travelling or provincial Anglo-Indian photographer. Though unsigned, the execution demonstrates technical proficiency, particularly in facial rendering and lighting.
Baker’s Photographic Gallery
This finely preserved group of six cased daguerreotypes originates from Baker’s Photographic Gallery, a leading studio in colonial Calcutta operating during the mid-19th century. Among the earliest photographic establishments in India, Baker’s was renowned for its refined portraiture catering to both European expatriates and Indian elites during the early years of photography in the subcontinent. The presence of the gallery’s distinctive studio seal on all six cases and the consistent use of rich velvet lining and repoussé brass matwork attest to a studio-standardised finish characteristic of Baker’s Calcutta operations.
Daguerreotypes were a technically challenging yet visually arresting medium, and their use in India, particularly in Bengal, was relatively rare by the 1860s as the medium began to give way to albumen prints and carte-de-visite photography. The rarity of Indian daguerreotypes, especially those executed under formal studio conditions, makes this collection a significant survival. The selection includes both Indian and European sitters, offering a compelling microcosm of colonial portraiture—ranging from the stoic elegance of a European matron posed before a draped column backdrop to the striking, sensitively hand-tinted image of a young Bengali woman, her sari rendered with detail in textile texture and tonal subtlety.
Although Baker’s is historically overshadowed by contemporaries such as Johnston & Hoffmann or Bourne & Shepherd, it played a formative role in developing photographic practices in Calcutta in the 1850s–60s. The studio’s branding suggests that its clientele included both British administrators and Indian nobility—significantly contributing to the visual archive of early studio portraiture in colonial India.
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