id:			160952
accession number:	1999.22
share license status:	CC0
url:			https://clevelandart.org/art/1999.22
updated:		2023-04-22 12:24:34.722000

Black Horseman in Front of a Doorway, c. 1855. France, 19th century. Salt print from wet collodion negative; image: 15.5 x 13.5 cm (6 1/8 x 5 5/16 in.); mounted: 47 x 30.6 cm (18 1/2 x 12 1/16 in.); matted: 50.8 x 40.6 cm (20 x 16 in.). The Cleveland Museum of Art, John L. Severance Fund 1999.22

title:				Black Horseman in Front of a Doorway
title in original language:	
series:				
series in original language:	
creation date:			c. 1855
creation date earliest:		1850
creation date latest:		1860
current location:		
creditline:			John L. Severance Fund
copyright:			

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culture:	France, 19th century
technique:	salt print from wet collodion negative
department:	Photography
collection:	PH - French 19th Century
type:		Photograph
find spot:	
catalogue raisonne: 

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CREATORS

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measurements: Image: 15.5 x 13.5 cm (6 1/8 x 5 5/16 in.); Mounted: 47 x 30.6 cm (18 1/2 x 12 1/16 in.); Matted: 50.8 x 40.6 cm (20 x 16 in.)
state of the work:	
edition of the work: 	

support materials:


inscriptions:

	inscription:	written in pencil on recto: "N1186"
	translation:	
	remark:		

	inscription:	Embossed in the top right corner: "BRISTOL FRANCAIS/ A. BINANT / A PARIS
	translation:	
	remark:		

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CURRENT EXHIBITIONS

	title:		Cheating Death: Portrait Photography’s First Half Century
	opening date:   2016-10-22T04:00:00
	<i>Cheating Death: Portrait Photography’s First Half Century</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 22, 2016-February 5, 2017).

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LEGACY EXHIBITIONS

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PROVENANCE

	Ex-collection of the Galerie Texbraun, Paris, France
	date: 
	footnotes: 	
	citations: 	


	(Charles Isaacs Photographs, Inc., New York, NY)
	date: 
	footnotes: 	
	citations: 	


	The Cleveland Museum of Art, Cleveland, OH
	date: March 1, 1999
	footnotes: 	
	citations: 	


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fun fact:


digital description:


wall description:
The genre of equestrian portraiture dates back to classical antiquity, but translating it to photography was tricky because of the long exposures required by the early processes. Some examples by Nadar evoke conventions of studio portraiture, such as employing a large painted backdrop to disguise the actual locations, which were probably outdoors. In this slightly earlier photograph, there is no such artifice.
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RELATED WORKS

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CITATIONS

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IMAGES

web:	https://openaccess-cdn.clevelandart.org/1999.22/1999.22_web.jpg
print:	https://openaccess-cdn.clevelandart.org/1999.22/1999.22_print.jpg
full:	https://openaccess-cdn.clevelandart.org/1999.22/1999.22_full.tif