This carte de visite portrait of an attractive family includes two men, one woman, one child, and the family’s pet dog. The dog appears to be a poodle or perhaps part poodle. This photograph was taken by Ernst Gopel (1862-1919). He operated a studio in Aalborg, Denmark between 1895 and 1919. (SOLD)
A pretty woman poses for her photograph at the studio of Hansen & Weller in Copenhagen, Denmark. The studio’s address was 28 Bredgade. The woman is playing her violin with her bow. Her hair is up and she appears to be wearing a corset , giving her a lovely figure. One of the photographers is George Emil Hansen (1833-1891). He was a pioneer Danish photographer. His father and brother were also photographers. He won photography awards in London (1862) and Berlin (1865). Hansen was the photographer of the Danish Royal Family. His photographic work spanned from 1856 through 1891. There is a gold lettered word embedded in the lower right corner of the image. The word is “emeret”; and research may illuminate the word’s meaning. “Emeret” most likely signifies that the person in the photograph had retired from a notable profession, such as acting or teaching, or was being honored post-career. It is likely a Scandinavian variant or typographical version of the Latin word “emerita” (female form of emeritus). SOLD
This carte de visite photograph features a young woman posing for her portrait at the studio of Christensen & Morange. The studio was located in Amagertorv, Copenhagen, Denmark. Amagertov is the most central square in central Copenhagen. SOLD
This uncommon vintage real photo postcard features pretty American silent film actress, Octavia Handworth (1887-1978). She was of Danish heritage. She showed much musical talent as a youngster and she was sent to Copenhagen to live with relatives and study music. She returned to the US at age twelve, continued music studies and was hired by an opera company at age sixteen. However, she determined that her real passion was for acting. She was married to Harry Handworth, an actor, producer and film director. Handworth headed Excelsior Feature Film Company. Her second marriage was to actor, Gordon De Main. She began her acting career on stage on the East Coast. She is known for the films “When Fate Leads Trump” (1914), “The Path Forbidden” (1914), “The Great Ruby” (1915), and “Too Much Bull” (1915). Much of her career, she appeared in short films for companies like Pathe, and Lubin. She did however make a half dozen feature films. There was much competition to become a major actress in film, and Octavia failed to reach that status. She retired from acting in 1921 after appearing in the film, “Footlights”. According to the IMDb, Octavia has 61 acting credits between 1910 and 1921. This postcard presents Octavia with a bit of an impish expression. This card was published by Kraus Manufacturing Company (New York) for the Pathe film company. Interestingly, the caption on the front of the card describes Octavia’s appearance. She is said to be blonde, light complexioned, and to have had gray eyes. SOLD
Karina. She was celebrity enough to use only her first name. More modern performers who are recognized by just one name include Elvis, Madonna, and Adele. Who was Karina? As the caption on the postcard asserts, Karina was the premiere dancer at the Royal Opera House and the founder of Madame Karina’s Royal School of Dancing. The school was under the patronage of Queen Alexandra (of Denmark). The Queen was a staunch supporter of the opera ballet from 1913 through the 1920’s. Karina was Danish and active in the 1910’s and 1920’s. Two portraits of Karina can be found in Great Britain’s National Portrait Gallery. The photograph seen on this postcard was taken by the esteemed studio of Elliott & Fry. This Victorian photographic studio and photographic film manufacturer was founded in 1863 by Joseph John Elliott and Clarence Edmund Fry. For an entire century the studio took and published images of leading Victorian luminaries from the fields of science, public service, art, politics, as well as celebrities of the day. SOLD
This carte de visite photograph features a father and son posing for their portrait at the studio of Ernst Gopel. The boy is wearing a nautical style outfit. The studio was located in Aalborg, Denmark. Aalborg is the fourth to largest city in Denmark. This cdv is in very good condition (see scans).
Buy this original Carte de Visite Photograph (includes shipping within the US) #2616
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Buy this original Carte de Visite Photograph (includes international shipping outside the US) #2616
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$36.50
This cabinet card photograph features four siblings. The foursome include three brothers and one sister. The children are identified by first name via an inscription on the reverse of the photo. The boys are Emil, Carl, and Niels. I am unable to decipher the sister’s name though it is clear that she was born in 1890. The image comes from the studio of Budtz Muller & Company which was located in Copenhagen, Denmark. Bertel Christian Budtz Muller (1837-1884) was a Danish photographer. Muller began his career as a pharmacist before he became a popular photographer in Copenhagen. In 1884, Muller’s studio was taken over by Ludvig Offenberg. Despite the change of ownership, Offenberg did not change the name of the studio. It is interesting to note that Muller’s will included a provision to set up a fund to support needy photographers. It is also of note that Muller is also known for his portrait of writer, Hans Christian Andersen. SOLD
A little girl, likely toddler age, sits on a chair, and looks at the photographer with an expression of dismay. Sitting below the child is a black dog in a protective position. The dog does not seem to be enjoying himself either. The dog has a similar appearance to a Labrador Retriever. Note the unusual and beautiful chair that is occupied by the toddler. Also note the rope on the floor which can be seen in the right side of the image. I wonder if the rope is holding the child in place or the dog in place. The photographer of this photograph is J. P. Eskildsen and his studio was located in Lawler, Iowa. An inscription on the reverse of the photo indicates that the child’s name is Mary Redman. J. Peter Eskildsen was born in Denmark in 1870. He married Emma Schlatter in Lawler (1891). The couple had at least one child. Arthur Eskildsen was born in 1893. J. P. found a path to citizenship in 1895. Research reveals that he may have had additional studios in Iowa besides the one in Lawler (Fredericksburg, Jerico, and Waucoma). Initial investigation found some information about young Mary Redman. She appears in the 1910 US census along with the rest of her family. They Redman’s were living in Stapleton, Iowa. Living in the residence was Mary’s parent’s John W. Redman (born 1860) and Trena M. Redman (born 1867). Also in the home were Mary’s (age 4) siblings; Hazel (age 19), Lee (age 18), Lowman (age 15), and Harold (age 13). The 1920 US census finds the family still living in Stapleton but the household has shrunk to include Mary’s father (worked as a carpenter), sister Hazel (worked as a teacher), and of course Mary (attended school). Mary’s mom likely had passed away and sister Hazel likely took up some parenting duties. (SOLD)
This cabinet card features what appears to be four siblings gathered together for their portrait at the studio of Gunnar Mogensen. The boy in the photograph is wearing a sailor style suit and his sisters are all dressed in white with dark belts. The older sister has very long hair, while in contrast, the two younger girls are wearing short hairstyles. Mogensen’s studio was located in Silkeborg, Denmark. To view other Danish photographs, click on the category “Denmark”.
When does the fun start? That seems to be the question on the faces of the six young lads posing for their photograph at the studio of Julius Jacobsen, in Copenhagen, Denmark. The boys are dressed up in their finest clothing for this group photograph. Jacobsen took on the ambitious task of photographing six young boys. Jacobsen’s studio was located in Copenhagen, Denmark. It appears that the lads were not in a very cooperative mood at the time of the photograph. They appear bored, sleepy and irritated. Some of them have mischievous expressions but probably they are just boys being boys. How are these six kids related in terms of being photographed together. Perhaps they are classmates? They seem somewhat affectionate in the photograph leading one to believe that they knew each other well.
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