“Stop to see one of the earliest forms of photography, a daguerreotype from 1839. This image of a child offers a direct, almost haunting connection to the very dawn of photographic portraiture.”
This daguerreotype, a very early form of photography, captures Eben Matthews as a child in 1839. He looks directly out at us, his expression serious and still, as was common for photographic subjects who had to hold poses for several minutes. The delicate, almost ethereal quality of the image is characteristic of daguerreotypes, which are unique, direct positives on a polished silver surface. The lack of color emphasizes the texture of his clothing and the subtle play of light and shadow on his face. This portrait offers a rare glimpse into the early days of photography, when the medium was a marvel, capable of freezing a moment in time with unprecedented clarity and detail, a stark contrast to the painted portraits that dominated before its invention. It serves as a poignant reminder of childhood in a bygone era, preserved through a revolutionary new technology.
- Artist
- Artist Unknown - The Mercat Cross, Aberdeen
- Date
- 1839
- Medium
- Daguerreotype
- Location
- Art Institute of Chicago
- Dimensions
- Plate: 8.1 × 6.9 cm (3 1/4 × 2 3/4 in.); Case: 9.5 × 8.1 × 1.5 cm (3 3/4 × 3 1/4 × 5/8 in.)
- Collection
- Photography and Media
- Culture
- United States
- Credit line
- Gift of Miss Laura Matthews
What to Notice
Five details hide in plain sight. Here’s where to look.

The delicate, almost mirrored surface of the daguerreotype itself.
The child's surprisingly formal clothing for a young boy.
The subtle, almost imperceptible tinting that may be present.
The way light reflects off the child's eyes, giving them a lifelike quality.
1 more detail is waiting.
See all 5 in Art Whisper →Stand in front of it and listen
The full narration walks you through Eben Matthews as a Child — the story behind it, the details most visitors miss, and why it matters. Free in the Art Whisper app.
Artist Unknown - The Mercat Cross, Aberdeen
This 'Artist Unknown' represents a vast collection of anonymous creators, whose works like 'Boston Common' and 'Self Portrait' offer glimpses into diverse historical periods and artistic practices.
Further Works by Aberdeen
Southern Barbarians
1625 · Art Institute of Chicago
Baskets with Flowers of the Four Seasons
1701 · Art Institute of Chicago
Flower Arrangements
1595 · Art Institute of Chicago
Sketchbook: Souvenir of Naples
1821 · The Metropolitan Museum of Art
The Five Points
1822 · The Metropolitan Museum of Art
Side Chair
1750 · Art Institute of Chicago
Pair of Side Chairs
1770 · Art Institute of Chicago
Punch Bowl
1789 · Art Institute of Chicago
More works to explore
Beyond Aberdeen: works from the same years.
Same era · 1820s–1850s
The Estuary Farm
Léon-Victor Dupré · 1831 · Art Institute of Chicago
Same era · 1820s–1850s
Hamlet and Horatio in the Graveyard
Eugène Delacroix · 1839 · Department of Paintings of the Louvre
Same era · 1820s–1850s
Stormy Sea Breaking on a Shore
J. M. W. Turner · 1840 · Yale Center for British Art
Same era · 1820s–1850s
The Virgin Adoring the Host
Jean-Auguste-Dominique Ingres · 1841 · Pushkin Museum of Fine Arts
Same era · 1820s–1850s
Young Woman
Jean-François Millet · 1844 · Art Institute of Chicago
Same era · 1820s–1850s
Wooded Landscape
Gustave Courbet · 1848 · Art Institute of Chicago
Same era · 1820s–1850s
Mount Chocorua and Moat Mountain from North Conway
William Hart · 1850
Same era · 1820s–1850s
Olive Trees
Vincent van Gogh · 1853 · The Metropolitan Museum of Art
Same era · 1820s–1850s
The Fortune Teller (La Bonne Aventure)
Jacques-Louis David · 1824 · Fine Arts Museums of San Francisco
Same era · 1820s–1850s
Woman in a Blue Dress
School of William Matthew Prior · 1840 · Art Institute of Chicago
Same era · 1820s–1850s
Designs for a Decorated Dish, or Platter, and a Biscuit Barrel
Alfred Henry Forrester [Alfred Crowquill] · 1845 · The Metropolitan Museum of Art
Same era · 1820s–1850s
Mr. James Mackie
Samuel Alcock & Company · 1830 · Art Institute of Chicago
