Whole plate composite portrait daguerreotype. [Boston, Massachusetts]: Albert Sands Southworth and Josiah Johnson Hawes (attributed), ca 1850-1853. Housed within an extraordinary custom matte-gilt multi-aperture mask under glass within an early, heavy molded walnut and parcel-gilt wall frame. Framed to approx. 12.5 x 14.5 in.

The monumental plate features a daring and technically breathtaking composite presentation of Commodore Charles Morris (1784–1856), USN. Arranged in a radial constellation surrounding a larger central oval bust, eight peripheral oval cameos depict Morris in varied degrees of profile, three-quarter, and frontal views, effectively creating a 360-degree sculptural study of the aging naval commander. Posed in full dress uniform with high standing collar, epaulets, and double-breasted brass buttons, Morris projects the austere, resolute dignity of a legendary veteran of the Barbary Wars and the War of 1812. Morris is famous for leading the boarding party that burned the captured frigate Philadelphia in Tripoli harbor (1804) and serving as First Lieutenant aboard USS Constitution during her historic victory over HMS Guerriere (1812).

Southworth & Hawes were peerless masters of multi-lens and multiplex studio experimentation, utilizing custom sliding plate holders and complex multiplying cameras to create inventive promotional displays and composite family constellations. While a related paper-print composite of Morris resides in institutional archives (including the Boston Athenaeum and George Eastman Museum), this original whole-plate daguerreotype stands as a singular, monumental achievement in antebellum American portraiture.

[Daguerreotype, Whole Plate, Southworth & Hawes, Albert Sands Southworth, Josiah Johnson Hawes, Boston Photography, Commodore Charles Morris, Charles Morris, US Navy, War of 1812, USS Constitution, Old Ironsides, Multi-Aperture, Composite Daguerreotype, Multiplying Camera, Early American Photography, Museum Quality]

Good condition. The plate retains remarkable sharpness and clarity throughout each of the nine individual portraits, with strong midtones and rich separation. The plate surface exhibits several superficial scratches traversing the central portrait and surrounding images. The heavy period walnut frame retains its warm original patina and parcel-gilt slip with minor, honest wear.