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This is a linked photograph that Visual Ancestor does not host. See URL below for source.
This is a linked photograph that Visual Ancestor does not host. See URL below for source.
Photograph
| Photograph: | 50001-2045 |
| Group: | 50001 |
| Image Number: | 2045 |
| Disposition: | Public Institution |
| Image Status: | Linked |
| Location: | Online |
| Image Type: | Cardstock |
| Event: | Portrait |
| Num Persons: | 1 |
| Part of Album: | No |
| URL: | https://www.loc.gov/pictures/collection/lilj/item/2017659688/ |
| Date (Est): | 1880-1940 |
| Determination: | Deduction |
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| Front Inscription: | None |
| Back Inscription: | None |
| Other Inscription: | Civil War veteran Wilmon Whilldin Blackmar with Grant's chair |
| Provenance: | None |
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| Active: | True |
| Access: | Group |
| Created: | March 7, 2025 |
| Contributor: | CuratorInChief |
| Curator: | CuratorInChief |
| Archivist: | CuratorInChief |
c1838e72-eb06-47cc-ab89-89673dd11e40
Persons
Photographer
| Photographer: | 20561 |
| Individual Name: | Partridge |
| Business Name: | Partridge Studios |
| Determination: | Photographer Stamp |
| Num Locations: | 3 |
| Location Number: | 1 |
| Determination: | Photographer Stamp |
| Loc Begin Date: | Unknown |
| Determination: | Unknown |
| Loc End Date: | Unknown |
| Determination: | Unknown |
| Address: | 2832 Washington St. |
| City: | Boston |
| State: | MA |
| Country: | United States |
| Note: | None |
| Active: | True |
| Archivist: | CuratorInChief |
8dfbfd1e-ece1-49a2-b774-c9371f5e494a
| Location Number: | 2 |
| Determination: | Photographer Stamp |
| Loc Begin Date: | Unknown |
| Determination: | Unknown |
| Loc End Date: | Unknown |
| Determination: | Unknown |
| Address: | 19 Harvard St. |
| City: | Brookline |
| State: | MA |
| Country: | United States |
| Note: | None |
| Active: | True |
| Archivist: | CuratorInChief |
4288570e-650a-4c8d-b577-5ebfe05fb5c7
| Location Number: | 3 |
| Determination: | Photographer Stamp |
| Loc Begin Date: | Unknown |
| Determination: | Unknown |
| Loc End Date: | Unknown |
| Determination: | Unknown |
| Address: | 18 Blue Hill Ave. |
| City: | Roxbury |
| State: | MA |
| Country: | United States |
| Note: | None |
| Active: | True |
| Archivist: | CuratorInChief |
a54623ca-8677-413f-819e-d45689098179
License and Citation
| License: | Public Domain Linked: Visual Ancestor provides linked access to this and other related digital works which we do not own and which are hosted on someone else's website or web service that are not affiliated with us. We have done so based upon evidence that these works exist within the Public Domain with no rights restrictions upon them, nor any other restriction on their use. We hold this belief based upon the rights statement provided by the host, in conjunction with the age and nature of these works, and lack of evidence of any copyrights in legal effect. However, we do not provide any guarantee, implied or actual, that this is necessarily the case and advise you to arrive at your own conclusion before using these works. If you do have evidence that these works are protected by a legally valid copyright, please report such evidence both to us and the host for immediate action. Submit take-down request. More about licensing. |
| Citation: | Partridge of Partridge Studios (Est. 1880-1940). Civil War Veteran Wilmon Whilldin Blackmar With Grant's Chair. https://www.loc.gov/pictures/collection/lilj/item/2017659688/. In the digial collection Liljenquist Family Collection of Civil War Photographs. Library of Congress Prints and Photographs Division, Washington, D.C. 20540. June 17, 2025. |
Facial Recognition
Facial Recognition is an advanced feature of Visual Ancestor whereby each face within this photograph (up to a maximum of ten) is compared to all other faces in the Visual Ancestor Library. Faces that are similar above a 92.00% similarity thresshold are presented. The higher the similarity, the more likely the faces are of the same person.
Facial Recognition is only available for members of the Visual Ancestor Library. Membership is free -- join today.
Notes
Notes about Altering Photographs
It should always be the case to present the original, unaltered photograph as it really exists as the true obverse "a" side, and likewise the original, unaltered back side as the true reverse "b" side. This ensures the true nature and appearence of the photograph is preserved in an original and unaltered state. If the photograph warrants repair, enhancement, or restoration, this would make for excellent "additional sides" to include along with the original "a" and "b" sides. This is why some photographs have these additional "c" and sometimes "d" sides.
Notes about Photograph Quality
For best preservation, photographs should be scanned at a minimum resolution of 600 dpi (dots-per-inch) for the obverse side, and a minimum of 300 dpi for the reverse side. It is better to capture too much quality and image detail than too little. Tiny photographs can be scanned at 1,200 dpi. Scanners usually have settings that allow you to adjust scanning resolution.
Image compression also plays a factor in image quality. Higher compression means image quality is lower, but the file size commensurately decreases. File formats that are "lossless" have no compression (thus maximum quality), but may consume more memory space than what is really needed. Visual Ancestor uses JPG images with 5% compression (95% quality factor) for the obverse side, and 10% compression (90% quality factor) for the reverse side.
Notes about Shading and Hues
The shading and hues of color of a photograph can vary from when it appears in an album page (usually lighter and dominated by lighter hues) to when it is scanned alone (usually darker and dominated by darker hues). This is due to how a scanner or camera adjusts the overall shading and coloring of the overall image based upon the entire field of light that it captures.
The surface area of album pages, which are usually very light in shading, influences how the photographs appear therein. This is why a photograph in an album page may appear lighter and dominated by lighter hues, while the exact same photograph when viewed alone may appear darker and dominated by darker hues.
It should always be the case to present the original, unaltered photograph as it really exists as the true obverse "a" side, and likewise the original, unaltered back side as the true reverse "b" side. This ensures the true nature and appearence of the photograph is preserved in an original and unaltered state. If the photograph warrants repair, enhancement, or restoration, this would make for excellent "additional sides" to include along with the original "a" and "b" sides. This is why some photographs have these additional "c" and sometimes "d" sides.
Notes about Photograph Quality
For best preservation, photographs should be scanned at a minimum resolution of 600 dpi (dots-per-inch) for the obverse side, and a minimum of 300 dpi for the reverse side. It is better to capture too much quality and image detail than too little. Tiny photographs can be scanned at 1,200 dpi. Scanners usually have settings that allow you to adjust scanning resolution.
Image compression also plays a factor in image quality. Higher compression means image quality is lower, but the file size commensurately decreases. File formats that are "lossless" have no compression (thus maximum quality), but may consume more memory space than what is really needed. Visual Ancestor uses JPG images with 5% compression (95% quality factor) for the obverse side, and 10% compression (90% quality factor) for the reverse side.
Notes about Shading and Hues
The shading and hues of color of a photograph can vary from when it appears in an album page (usually lighter and dominated by lighter hues) to when it is scanned alone (usually darker and dominated by darker hues). This is due to how a scanner or camera adjusts the overall shading and coloring of the overall image based upon the entire field of light that it captures.
The surface area of album pages, which are usually very light in shading, influences how the photographs appear therein. This is why a photograph in an album page may appear lighter and dominated by lighter hues, while the exact same photograph when viewed alone may appear darker and dominated by darker hues.