UNION CASES

Issue 2 (December 17, 2021)

© Bill Travis, “Jérémie,” inserted in a 19th-century union case, photo transfer on mother of pearl, 3 ¾ x 6 ½ in. (open), 2021.

When photographers started making portraits on silver-plated copper (daguerreotypes) and on glass (ambrotypes) in the mid nineteenth century, it quickly became apparent just how fragile these pictures were. You might scratch the surface, expose them to the sun, or just step on them (my own specialty). If the photographic portrait was to survive as a medium, something had to be done about preservation.

An empty union case with the original velvet and framing.

Enter the protective case, manufactured around the world but especially in the U.S. in the decades leading up to the Civil War. The thermoplastic “union case” proved especially popular. As you can see, many are quite beautiful.

Sample union case covers.

Though Abraham Lincoln was just a prairie lawyer when these cases appeared on the market, many remain as fresh as the day they left the studio, thanks to owners who kept them closed or forgot about them. The velvet retains its color; the metal frames their luster. The sparkle of life is still there.

© Bill Travis, “Bryan in Central Park,” inserted in a 19th-century union case, photo transfer on mother of pearl with mixed media, 3 ¾ x 6 ½ in. (open), 2021.

I began collecting empty union cases years ago. I wanted to explore their artistic potential. So I started making images to fit into these cases. The cases would help establish the size and the mood of the pictures I created. I was opening up a dialog with the early history of photography.

© Bill Travis, “Yanis,” inserted in a 19th-century union case, photo transfer on mother of pearl, 3 ¾ x 6½ in. (open), 2021.

One thing I especially respond to is the cases’ small size. It’s difficult for two people to handle a case at the same time. It’s just you and the picture. You share a private moment.

© Bill Travis, “Couple,” inserted in a 19th-century union case, photo transfer on 23k gold, 3 ¾ x 6 ½ in. (open), 2021.

Also, instead of the expected Victorians in stiff, black-and-white poses, I created images rich in color, sensuality, and sexuality. These cases, produced when our great-great-great-great-great grandparents were babes in arms, still hold a few surprises.

© Bill Travis, “Todd,” inserted in a 19th-century leather case, photo transfer on mother of pearl, 3 ¾ x 6 ½ in. (open), 2021.

You can see these and other available pieces here.

Each of these images is unique. There is only one.

In other news…

I want to thank Xavi Rixx for writing a brilliant article on my work and John Coulthart for this kind, insightful feature.

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