Sittende kvinne, fru Elsbetha Thorsen (født Heftye) med langt kjede, hvit kyse og hvitt sjal over skuldrene. Hviler armen på et bord.
Seated woman, mrs Elsbetha Thorsen (born Heftye) with long necklace, white bonnet and white shawl over her shoulders. Her arm resting on a table.
Typical of daguerreotypist C.F.Stelzner.
Bakteppet har en skjøt til høyre i likhet med flere andre norske daguerreotypier. Antatt å være av samme fotograf. Blåtonen i sjalet skyldes overeksponering.
The backdrop has a seam to the right as seen in other Norwegian daguerreotypes (Norsk Folkemuseum). Assumed taken by the same photographer. The blue tint on the shawl is due to overexposure.
Stelzner advertized in Morgenbladet newspaper in the summer of 1843 that he would be making daguerreotype portraits in Christiania (now Oslo). The lable on the verso shows his Hamburg address as it was used by him untill nov. 1844.
Image description
Sittende kvinne, fru Elsbetha Thorsen (født Heftye) med langt kjede, hvit kyse og hvitt sjal over skuldrene. Hviler armen på et bord.
Seated woman, mrs Elsbetha Thorsen (born Heftye) with long necklace, white bonnet and white shawl over her shoulders. Her arm resting on a table.
Subject name
Thorsen, Elsbetha (b. Heftye); Thorsen, Elsbetha (født Heftye)
The Norsk Folkemuseum is Norway’s largest museum of cultural history. Bogstad Manor is one of several partners of the Foundation.
Creator
Name
Stelzner, Carl-Ferdinand (1805-1894)
notes
Der Daguerreotypist Stelzner gehört zu den frühesten Porträtphotographen Deutschlands. In Paris hatte er sich 1831-1834 zum Miniaturmaler ausbilden lassen, wo er auch das neue Daguerreotypieverfahren schon kurz nach dessen Bekanntgabe beim Erfinder selbst erlernte, der dort öffentliche Demonstrationen abhielt. Im September 1842 eröffnete Carl Ferdinand Stelzner gemeinsam mit Hermann Biow ein erstes Atelier in Hamburg. 1854 erblindete Stelzner in Folge des Umganges mit der hochgiftigen Entwicklersubstanz Quecksilber.“ (Jochen Voigt: Spiegelbilder. Europäische und amerikanische Porträtdaguerreotypie 1840–1860, Chemnitz 2007, S. 66.);
Stelzner advertized in the Norwegian newspaper Morgenbladet in the summer of 1843 that he would be making daguerreotype portraits in Christiania (now Oslo). The lable on the verso of daguerreotype FAU067 shows his Hamburg address as it was used by him untill nov. 1844. It seems that he used two similar lables when in Norway, both name the same address in Hamburg, Caffamacherriehe No. 32 but With a different type font, seen easiest in the style of his "z" in Stelzner, where one version is a long "z" (see GBB-57505) and the other is short (GBB-57520) Some lables are on white (coated or uncoated surface) paper as in GBB-57505 and others on yellow (coated) paper as in FAU067.
Stelzner's photographic advertisment is seen in newspaper Morgenbladet dated 20.08.1843 where he informs of an 8 day stay in the city (see record text-test2Morgenbladet20-08-1843). On this occasion (may be the first) he arrived on asugust 10th by steamboat Christiania bound from Copenhagen.
link biography http://historiccamera.com/cgi-bin/librarium2/pm.cgi?action=app_display&app=datasheet&app_id=2485&
A lot of Stelzner's daguerreotypes are presented by the MKG Collection in Hamburg http://sammlungonline.mkg-hamburg.de/en/search?s=Stelzner&h=0&sort=scoreDesc
Comments
Comments
No comments