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Anton Hautmann was born in Munich, June 20, 1821, son of the sculptor Joseph Hautmann. The April 8, 1842 he enrolled at the Akademie der Künste Bildenden in Munich, which was also attended by by his brother Johann Nepomuk; their teacher was Ludwig von Schwanthaler. In 1847 he won a scholarship to Italy going to Padua and then in Rome, where he stayed until 1849. Because of the French occupation in May 1849 he moved to Florence, 5145 Via dei Ginori (Palazzo Ginori), to stay with Raffaello Metzger also from Munich, son of Giovanni, who was a painter, printmaker and collector. A permit for a foreign passport, valid for three years, was issued 9th December 1850 for Florence, Rome, Naples, Lombardy and Veneto, Sardinia which released him from the Kingdom of Bavaria.
In 1851 he married Elena, the sister of Raffaello Metzger, and opened a sculpture studio at 4367 (then 18) Via della Scala. In 1855 news of his sculptural works was published and some of them were photographed by Alphonse Bernoud. He exhibited Love in the smithy of the volcano in the sculpture section of the Esposizione Italiana 1861 in Florence. Probably in about 1858 the study in Via della Scala became the seat of the ‘Stabilimento Fotografico A. Hautmann'. Raffaello Metzger took up photography at around the same time and in 1861 appears to have the studio at 5505 Via San Zenobi. Hautmann had business relationships with several artists and photographers of his time, including Bernoud and Noack.
Anton Hautmann died on 1st December 1862, after a short illness and was buried in the cemetery of San Miniato al Monte in Florence. After his death the studio was directed by Elena for a short time and then by his son Giovanni (1858-1924), who turned it into an art gallery. In the 1880s the atelier at 18 Via della Scala was used by his daughter Paolina Hautmann who was a portrait painter.
Hautmann’s work includes photographic portraits in various formats (including Florentine artists), studies of landscape and figures in medium format, genre scenes, and many stereoscopic views. The technical and formal quality of his photographic prints is always very high. He has used different cameras and different types of lenses, including some of the Thierry company, Munich, and the L. & H. Wulff company, Paris. The stereoscopic photographs can be dated between 1858 and 1862 and thus belong to the first period of stereoscopic snapshot of urban spaces and landscapes. They include subjects of Florence, Fiesole, villages and countryside of the Mugello Valley, Pisa, Arezzo, Empoli, Pistoia, Lucca, Siena, Viareggio. Only some of the stereoscopic views present a negative number; the highest number so far known is the 634. It is historically important that the vast collection of stereoscopic views of Florence includes the first snapshots of urban life in Florence.