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Daguerreotype: FotoGLV2000/9966 1845-1855

  • Collection: Albertina, Austria i
  • Language: German
  • Type: European
  • Deeplink: http://daguerreobase.org/en/type/5a21e3c2-c9fc-11e3-8e03-7bf794d2d7c0 RDF Logo

Summary

Summary

Identification
FotoGLV2000/9966
Dated
Source
Begin
1845
End
1855
Image description
Porträt des Redakteurs Reitmayer, um 1850.
Tags
portrait; man; journalist; reit; mann; karierte weste; checked cardigan; zigarre; cigar; zylinder hut; cylinder hat; kravatte; kravattennadel; kariertes tischtuch; mutton chops; kotletten

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Object

Object

Identification
FotoGLV2000/9966
Dated
Source
Begin
1845
End
1855
Number of plates
1
Remarks general
Dauerleihgabe der Höheren Graphischen- Bundes- Lehr- und Versuchsanstalt Wien
Assessments
Provenance
Image description
Porträt des Redakteurs Reitmayer, um 1850.
Subject name
Keyword technique
Daguerreotypie
links
Stereo plates
No
Collection
Identifier
Albertina, Austria
Description
Der überwiegende Teil des Daguerreotypiebestandes kam im Jahr 2000 als Dauerleihgabe der Höheren Graphischen Bundes- Lehr- und Versuchsanstalt in die Albertina. Durch Neuankäufe bedeutender Daguerreotypien wurde die Sammlung in den letzten Jahren gezielt vertieft und erweitert.
Creator
Name
Mutterer, Albin
notes
1826 - 1873 “(1826-1873) Schuhwichserzeuger, dann Fotograf. Geb. in Krotzingen/Schwarzwald, 1840 erste Daguerreotypien in Wien, 1848 erstes Atelier in Wien gemeldet, gest. in Wien, nach dem Tod Weiterführung des Ateliers durch Bruder Josef M. — Bekannter Wiener Fotograf in den 50er u. 60er Jahren, dessen Spezialität ‘Toten-Photographien‘ waren, wendete alle zeitgenössischen Verfahren an: Daguerreotypie, Kalotypie, Salzpapier, Nasses Kollodium.“ in: Otto Hochreiter, Timm Starl, “Lexikon zur österreichischen Fotografie“, in: Geschichte der Fotografie in Österreich, Band 2, hrsg. von Otto Hochreiter und Timm Starl im Auftrag des Vereins zur Erarbeitung der Geschichte der Fotografie in Österreich, Ausst.-Kat., Bad Ischl 1983, 93-209, 158
Assessment
Previous altering
Yes
Treated
Yes
Date altering start
1960
Date altering end
2000
Remarks
provisorische Kartonbehausung
Signs
Remains on plate; Resealed, improvised and atypical housing; Severe abrasion

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Housing

Housing

Mat
Material
Missing
Spacing paper
Painted
No
Texture
No
Present
Unknown
Painted
Unknown
Case
Rails decoration remarks
Cover
Rails
Decoration remarks
Binding
 
Frame
 
Finishing paper
 
Backing
Material
Missing
Recessed
Unknown
Access panel present
Unknown
Hanging system
Present
Unknown
Finishing paper
Unknown
Cover glass
Present
No
Painted
No
Strass
No

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Plate

Plate

Plate size other
80 x 64 mm
Polishing lines
Annotation
Surface
Goldtoning present
Yes
Coating present
Yes
Applied coloring present
No
Securing
Securing retained by housing
Unknown
Shape
Rectangle
Material
Copper, silver-plated

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Hallmark

Hallmark

No plate-mark information available for this record

Comments

Comments

Albin Mutterer was well-known in Vienna for his portrait photographs of the wealthy society as well as his portraits of deceased persons. Mutterer took portraits of the dead not only if they would appear to be asleep, but apparently if they would be alive with the eyes wide open and propped before the camera. The Albertina also owns a salt-print photograph of the editor Reitmayer which was made in 1864 and which is considered today as one of the most astonishing portraits of a deceased. However, there are conspiciously similarities between the salt print and this daguerreotype. My research on Mutterer's techniques show that the portrait of 1864 is actually a copy of the daguerreotype. I wrote a paper on this topic which I would like to share with Daguerreobase. My research paper can be downloaded here: https://www.essex.ac.uk/arthistory/research/pdfs/rebus-issue-7/munforte.pdf

Placed by Patrizia Munforte on

Albin Mutterer was well-known in Vienna for his portrait photographs of the wealthy society as well as his portraits of deceased persons. Mutterer took portraits of the dead not only if they would appear to be asleep, but apparently if they would be alive with the eyes wide open and propped before the camera. The Albertina also owns a salt-print photograph of the editor Reitmayer which was made in 1864 and which is considered today as one of the most astonishing portraits of a deceased. However, there are conspiciously similarities between the salt print and this daguerreotype. My research on Mutterer's techniques show that the portrait of 1864 is actually a copy of the daguerreotype. I wrote a paper on this topic which I would like to share with Daguerreobase. My research paper can be downloaded here: https://www.essex.ac.uk/arthistory/research/pdfs/rebus-issue-7/munforte.pdf

Placed by Patrizia Munforte on