Publikacje
Detailed information on Polish publications concerning photography in 2003. Digitalized and reedited material
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Detailed information on Polish publications concerning photography in 2003. Digitalized and reedited material
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Information relating to a portrait of Franciszek Traeger (ill. 1) dating from the time of his sojourn in Warsaw in the autumn of 1854 (date of arrival: 18th October) in Teodor Juliusz Willnow’s photographic atelier on Mazowiecka Street (land registry no. 1347d; ill. 2). This picture is of significance to the history of Warsaw photography, since, together with a number of photographs by Marcin Olszyński and Karol Beyer, it comprises a group of early positives preserved on paper from the first half of the 1850s. It is also the oldest known picture produced by Willnow (not counting a daguerotype portrait of Illarion Wojnow from sometime between 1851 and June 1854), and the only likeness of Traeger, who was the first mayor of Łódź. Digitalized and reedited material
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This article discusses in detail 24 selected pictures taken by Jerzy Chojnacki (1909-1988; ill. 12) in the midst of the Warsaw Uprising. Chojnicki completed his art studies in 1939 and to enter the Polish resistance movement called the Home Army (Armia Krajowa) during the Second World War. When the war ended he became a sculptural artist. In August 1944 this man took pictures in the Old and New Town districts of Warsaw (ill. 13 – a map depicting the neighbourhoods where he took his pictures comes, as well as the precise spot on Freta where he buried the negatives), documenting events from behind the front lines of the Uprising, of which 202, measuring 6 by 9 cm, survived. These pictures represent only part of his works; the rest, which he almost certainly handed over to the Army leaders, perished. Chojnacki never described his pictures in such a way that in order to solve their iconography it would be necessary that each of them might be universally and minutely analysed, drawing attention to all details, and, comparing them with other pictures with the help of specialist as well as recollective literature concerning the Uprising. The article’s two authors divided up the work between themselves: I. Maliszewska worked out Chojnacki’s biogramme together with his Uprising adventures, while Z. Walkowski subjected to analysis, as well as identifying, the pictures, and he it was also who drew the plans marking out the barricades (green) along with the places where nearly every single picture was taken (red dots) and the area taken in by the given camera shot (yellow). He distinguished eight neighbourhoods (ill. 14) in which Chojnacki made pictures. (...) The photographs presented in this article, identified, analysed, illustrated with maps and descriptions of the carnage, now become legible and full of content, transforming themselves from a young sculptor’s amateurish snapshots into a vital historical document of the events and appearance of the Old Town during the Warsaw Uprising. Digitalized and reedited material
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Reviews of the selected photographic exhibitions in Poland in 2011
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The article tries to reconstruct the journey of Louis Birk, German daguerreotypist deriving presumely from Hirschberg (Jelenia Góra), through Lower Silesia in the years 1843-1846. Basis for these deliberations are numerous press insertions from that time. Only German summary available.
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Book review: Jacek Strzałkowski, Słownik fotografów [Lexicon of Photographers], Łódź, J. Strzałkowski, 2010
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In the spring of 2010 and early 2011, two Polish libraries purchased 9 daguerreotype portraits which were purportedly the work of Damme (Figs. 11, 15-17). The punchmark “C. DAMME | DANZIG” appeared at the bottom of two of the plates, and the portraits were all mounted in cases, with the name of the daguerreotypist on a label at the base (Fig. 14), and in two of the cases, cards bearing hand-lettered inscriptions executed in ink were stuck on the inside on the tops. Unfortunately, however, they were not the work of Damme, but appropriately characterized anonymous American daguerreotypes, of which there are many on the Polish antiques market and which can be obtained at no great cost. What betrayed their falsity were the characteristic frames with the gold, metal mounts and their often fanciful contours as well as the inscriptions embossed on the plates. Damme did not have a punchmark of this type, he never marked his plates. Furthermore, the fact that the daguerreotype images lacked the round table with the two turned legs and painted background with a panorama of Gdańsk, which were characteristic traits of Damme’s atelier, also made their authenticity suspect (Figs. 9-10). A daguerreotype purportedly showing a likenesses of George Sand also appeared on the market, reputedly made by the best Polish daguerreotypist of the nineteenth century, Karol Beyer of Warsaw. Again it bore a punchmark on the plate and a card with an inscription and the irm’s label on the inside of the case (Fig. 19) and was copied onto the small carte de visite (cabinet card) format with a dry stamp in French (Fig. 18).
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An interview with Csaba Almási J., a renowned Hungarian fashion-photographer.
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Events related to an old photography, by Polish Society of Photography Historians in the period 1998-2000. Digitalized and reedited material
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The present text analyses a part of the exhibition composed of earlier photographs, from around 1860, displaying views of the Tatras, Zakopane and Kuźnice, as well as portraits of folk types and known personages (e.g. mountain guides). Digitalized and reedited material
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The article presents a monographic exhibition of Hermann Krone (1827-1916), a wellknown German daguerreotypist and photographer born in Wrocław (Breslau). The exhibition was organised by the Kupferstich-Kabinett in Dresden, where it was held in summer 1998. Presented in Wrocław between March 26 and May 9, 1999, when it was partly modified and supplemented with photographs from the National Museum selected by the curator Adam Sobota. Digitalized and reedited material
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The analysed manuscript was discovered by D. Junevičius among archival materials of the Society of the Friends of Learning in Vilnius. In his autobiography Bułhak presents the most important facts from his life and describes his work as a photographer. It was written at the request of Władysław Zahorski, a physician and historian who gathered materials for his work on eminent personages of Vilnius of his time; a task which, in fact, was never accomplished. Digitalized and reedited material
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Photographic exhibitions in Poland 1999/2000. Digitalized and reedited material
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The Author pays attention to the necessity to consider all the accessible archival sources in research in the history of professional photography. However, in her work on photography in Piotrków Trybunalski till 1939 M. Lachowicz-Skrzyńska did not refer to documents of the Piotrków gubernial authorities, which arc now kept at the State Archives in Lodz. On the grounds of the above documents J. Strzałkowski verified and completed information about particular photographic ateliers and their owners, presented by M. Lachowicz-Skrzyńska. Digitalized and reedited material
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The Museum can boast of a large collection of photographs taken by Jan Bułhak and his son Janusz. These arc negatives (including glass ones), contact photographs and enlargements. The subjects of the photographs correspond with the program of „native photography”, conceived by Jan Bułhak in the second half of the 1930s. The glass negatives ( 6 x 9 cm) present landscapes of the Nowogródek (Nawahrudak) and Vilnius regions together with Vilnius itself between the two Word Wars. These photographs were arranged by the author in two cycles: „Lithuania” and „Poland in Photographs”. The glass negatives (9 x 12 cm and 10 x 15) depict Vilnius just after the city had been taken over by the Russian army in July 1944. The glass negatives (6 x 5 cm) and the enlargements (44,5 x 59 cm), made by Jan Bułhak together with his son Janusz in 1946-9, present the ruins of Warsaw in the wake of Word War II and the first stages of reconstruction of the city’s Old Town. From the same time come Jan Bułhak’s photographs (13 x 18 cm) taken all over post-war Poland, forming two cycles: „Cities and Towns” and „Landscapes of Poland from 1945-8”. The majority of these photographs were displayed at the exhibition „Jan Bułhak” in May 1995, held at the Museum of the History of Photography in Krakow. In 1996 a catalogue, The Vilnius of Jan Bułhak, was elaborated by J. Kucharska, A. Rybicki, and M. Skrejko on the basis of this exhibition. Digitalized and reedited material
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An album of Jan Bułhak’s photographs presented to Helena and Ignacy Paderewski by Józef Piłsudski In the autumn of 1919, Józef Piłsudski, the head of the Polish state, presented to Ignacy Paderewski, the famous pianist and the Prime Minister and Minister of Foreign Affairs, an album with photographs entitled „Lithuania” by the Vilnius photographer Jan Bułhak (fig. 1). On the second page of the album there is a hand-written dedication to Helena and Ignacy Paderewski, dated April 19, 1919 (fig. 3), in which Piłsudski thanked the Paderewskis for their understanding and political support during his military expedition to Vilnius in 1919. The album is in the possession of the Institute of Musicology of the Jagiellonian University in Cracow. The present article briefly considers the circumstances of the capture of Vilnius by the Polish army from the hands of the Bolsheviks during the military campaign in April 12-19, 1919 and Piłsudski’s stay in the capital of Lithuania between April 21 and 27 the same year. It also presents the correspondence between Piłsudski and Paderewski from that time. The authors analyse the album composed of forty-eight photographs arranged at random. The careless character of the album was due to the haste of its preparation and difficulties in obtaining photographic and bookbinding materials during the military campaign which had not finished in this area. The album contains fourteen photographs of Vilnius (fig. 4), two photographs of its vicinities (Kalwaria and Puszkarnia), as well as of numerous photographs of other localities, such as Nieśwież (Niaswiż; fig. 6) with a castle of the Radziwiłł family and Bohdanów an estate of the painter Ferdynand Ruszczyc (fig. 5). There arc also many photographs of landscapes and motifs of nature, so characteristic of the work of Bułhak, one of the most eminent Polish photographers. Digitalized and reedited material
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