University of Basel

Visual Archive Southeastern Europe

Biography

Abdullah Fréres[Objects]

The three brothers of Armenian descent, Vhichen (1820–1902), Hovsep (1830–1908) and Kevork Abdullah (1839–1918), were among the most famous photographers of the Ottoman Empire. They started working in photography in Constantinople in 1858. In 1862 Sultan Abdulaziz appointed the Abdullah Fréres official court photographers and honored them as Outstanding Artists of the City. In 1867 they opened a photographic studio in Constantinople’s Pera district. In 1886, at the request of the Khadive in Egypt, they also opened a branch in Cairo, Egypt. In 1899 they sold their firm to Sébah and Joaillier.

Pop de Alamor, S. & Abinun, Jakob (n.d.)[Objects]

Jakob Abinum opened a photographic studio in Sarajevo in 1910. There is no information available about his work with Pop de Alamor.

  • Marušic, Nikola (2002): Istorija fotografije u Bosni I Hercegovini do 1918. History of Photography in Bosnia and Herzegovina to 1918. Tuzla: Hercegtisak, 95.

Abinun, Samuel (*-1915)[Objects]

Samuel Abinun had a photographic studio in Sarajevo (68 Franz Joseph Street) around 1900. He probably died in 1915 and was buried at the Sarajevo Jewish Cemetery.

  • Marušic, Nikola (2002): Istorija fotografije u Bosni I Hercegovini do 1918. History of Photography in Bosnia and Herzegovina to 1918. Tuzla: Hercegtisak, 95.

Atelier Rembrandt[Objects]

No information available.

Bottini, Francois (n.d.)[Objects]

Francois Bottini came to Sarajevo as a photographer before 1890. His studio was not registered.

  • Marušic, Nikola (2002): Istorija fotografije u Bosni I Hercegovini do 1918. History of Photography in Bosnia and Herzegovina to 1918. Tuzla: Hercegtisak, 62.

Božić, Đ. (n.d.)[Objects]

Đuro or Đorđe Božić opened a photographic studio in Sarajevo during the interwar years.

Buchwald, Emil (n.d.)[Objects]

Emil Buchwald moved to Sarajevo around 1895 and opened his photographic studio in Ćemaluša Street. He was also known as a publisher during Bosnia’s Austro-Hungarian period.

Csonka, Simon (n.d.)[Objects]

Simon Csonka was a Hungarian photographer who established his first studio in Pest (Hungary) in the 1860s. At that time he spelled his name Skonka Simon. After Budapest had been created in the unification of Pest, Buda and Obuda, he moved to a studio in Kerepesi Street, near the Fenykep uveg terme. He was still active around 1900.

Čurčić, Vesilj (1868-1959)[Objects]

Vesilj Čurčić was a Sarajevan archeologist and ethnologist at the National Museum (Landesmuseum) in Sarajevo, where he worked from 1891 until 1924. He studied in Vienna under Prof. Moritz Hoernes, a well-known archeologist and editor of “Wissenschaftliche Mitteilungen aus Bosnien und der Herzegovina” science magazine. Čurčić took pictures for the National Museum and its Herald (Glasnik Zemaljskog Muzeja), which was established in 1889.

  • Marušic, Nikola (2002): Istorija fotografije u Bosni I Hercegovini do 1918. History of Photography in Bosnia and Herzegovina to 1918. Tuzla: Hercegtisak, 169.

Deutsch, Armin (n.d.)[Objects]

Armin Deutsch was a photographer who probably came to Nevesinje from Veliki Bečkerek around 1895. He also worked in Mostar.

  • Marušic, Nikola (2002): Istorija fotografije u Bosni I Hercegovini do 1918. History of Photography in Bosnia and Herzegovina to 1918. Tuzla: Hercegtisak, 42.

Drakulić, Nikola (n.d.)[Objects]

No information available.

Ellinger, Ede (~1840–~1920)[Objects]

Ede Ellinger was a Hungarian court photographer who owned a studio in Budapest’s fourth district (11 régiposta-u.) in the second half of the 19th century.

  • Beyer, Andreas (ed.) & Deutsches Dokumentationszentrum für Kunstgeschichte Marburg (2004): Allgemeines Künstlerlexikon: die bildenden Künstler aller Zeiten und Völker, Vol. 33. Munich et al.: Saur, 308.

Färber, Heinrich (n.d.)[Objects]

Heinrich Färber owned a photo studio in Sarajevo’s Appelquai around 1900.

  • Marušic, Nikola (2002): Istorija fotografije u Bosni I Hercegovini do 1918. History of Photography in Bosnia and Herzegovina to 1918. Tuzla: Hercegtisak, 166.

Foto-Atelier Chicago[Objects]

This studio probably existed during Sarajevo’s Austro-Hungarian period and was situated on Zirkusplatz.

Foto Putnik[Objects]

Foto Putnik was a photographic studio in Sarajevo and existed at least until World War II.

Foto RAZ[Objects]

Foto RAZ was a photographic studio in Sarajevo and existed at least until World War II.

Foto Rekord[Objects]

Foto Rekord was a photographic studio in Sarajevo during the interwar period and existed at least until World War II.

Foto Serna[Objects]

Foto Serna was a photographic studio in Sarajevo and existed at least until World War II.

Halačević, Nusret (n.d.)[Objects]

Nusret Halačević belongs to an old Sarajevan family. During the interwar period he had a photographic studio in Telali Street and prior or afterwards in 14 Kočićeva.

Herbst, B. (n.d.)[Objects]

He owned a photographic studio in Dervent/Bosnia around 1900.

Herz, Henrik (1858-1932)[Objects]

Henrik Herz had a photographic studio in Budapest, 16 Rákóczi (Kerepesi) útca, around 1900. He was born in Aszód and died in Budapest.

Hoiger, Anton (n.d.)[Objects]

He moved to Sarajevo around 1895 and opened a photographic studio in the city. For a while he ran the “Rickert & Hoiger” studio with Anton Rickert.

  • Marušic, Nikola (2002): Istorija fotografije u Bosni I Hercegovini do 1918. History of Photography in Bosnia and Herzegovina to 1918. Tuzla: Hercegtisak, 41.

Janovská, J. K. (painter, n.d.)[Objects]

No information available.

Jellasca, Anton (1825-1892)[Objects]

Anton Jellasca had a photographic studio in his hometown of Ragusa (Dubrovnik) from the 1850s until 1892. He also opened a branch in Cattaro (Kotor) in the 1860s. There he was the Montenegrin Prince’s court photographer from 1867 until 1873. He was also a purveyor of the Viennese court. He died in 1892. After his death his partner Carl Weber, with whom he had been working from the 1870s onward and who was married to Jellasca’s daughter, took over the studios, still signing the photographs “A. Jellasca & C. Weber”.

  • Austro-Hungarian Monarchy (1899): Handbuch des allerhöchsten Hofes und des Hofstaates seiner k. und k. apostolischen Majestät für 1899. Vienna: K. u. K. Hof- und Staatsdruckerei.
  • Malic, Goran (2001): Istorija fotografije: počeci fotografije u Crnoj Gori. In: Refoto 5, 50-51.
  • Pavlović, Milija & Mikota, Miroslav (2009): 19th Century Photography Worldwide and in Croatia: http://bib.irb.hr/datoteka/464244.rad2-Pavlovic-Mikota-BB2009.pdf
  • Grčević, Nada (1981): fotografija devetnaestog stoljeća u hrvatskoj. Zagreb: Društvo povjesničara umjetnosti Hrvatske.

Anastas Jovanović (1817-1899)[Objects]

Anastas Jovanović (1817-1899) is considered one of the first photographers from the Balkans. He was also a very productive visual artist, leaving behind many lithographs, sketches, drawings, and aquarelles. He developed close ties with the Serbian ruling dynasty of the Obrenović family, through whom he gained many important positions. However, those positions at times also limited his possibilities to travel.

Anastas Jovanović was born into an influential family in Vratse (Ottoman Empire) in 1817. His father Jovan was a trader, who was born in Berkovitsa (Ottoman Empire) and who died in 1831 in Vratse. His trading journeys often led him to Belgrade, where his brother-in-law worked as head tailor (terzibaša) for the Prince of Serbia, Miloš Obrenović I. In 1826, at the age of nine, Anastas Jovanović accompanied his father to Belgrade, where he stayed and remained with his uncle. After his father's death, Anastas Jovanović's mother, Marija, and his siblings, Katarina and Mihailo, joined him in Belgrade. That same year Anastas Jovanović began an apprenticeship as a tailor, which he, however, gave up but a year later, after the Serbian State Printing Office had opened in Belgrade, where he started to work in the typefoundry. His talent attracting attention, Anastas Jovanović was awarded a scholarship to Vienna in 1838. In the course of the following two years he finished his basic education at the Greek school in Vienna, attended drawing classes with Carl Gselhofer at the Academy of Fine Arts in Vienna and trained as a lithographer and photographer with the well-known German-Austrian artist Johann Stadler. In 1840 he already did lithographs on his own and at the same time learned about Louis Daguerre’s invention. With the help of influential Viennese Serbs he bought his first camera a year later and made his first daguerreotype of Prince Mihailo in 1841. Between 1841 and 1861 Anastas Jovanović stayed in Vienna. However, he lost his scholarship because of political changes and a new ruling house (Karađorđević) in Serbia. During that time he continued making lithographs and used his camera primarily to produce models for them. His idea was to print a series of lithographs of prominent Serbs, which he would call “Spomenici Srpski“ (Serbian Memorials). As another means of income he started producing icons and other religious objects. According to Anastas Jovanović's son, Konstantin A. Jovanović, Jovanović had already established quite a big store in Vienna between 1856 and 1857, where he sold hand-made icons and other religious objects. In 1848 Anastas Jovanović got married and in 1849 the couple had their first child, Konstantin Jovanović, who later became a famous architect. In 1850 Anastas Jovanović was allowed to enter Serbia for the first time and he continued spending time there during the 1850s before returning to Belgrade in 1859 together with the Obrenović ruling dynasty, which regained the throne. In 1861 Anastas Jovanović was entrusted with running the court of Mihailo Obrenović III, of whom he had become a close friend during his exile in Vienna. Upon the death of his wife, he re-married in 1868 in Belgrade and had two more children: Jovan, who later became a chemist, and Katarina, who became a writer. In the same year his close friend and ally Mihailo Obrenović III was assassinated. Henceforth Anastas Jovanović retired from public life. However, throughout his life he continued engaging himself in photography and in passing his knowledge on to others. He died in 1899 in Belgrade, 18 years after his second wife's death.

  • Antić, Radmila (1977): Anastas Jovanović, prvi srpski fotograf. Beograd: Galerija Srpske Akademije Nauka i Umetnosti.
  • Debeljković, Branibor (1977): Stara Srpska fotografija. Beograd.
  • Djurić-Zamolo, Divna (1967): Sačuvani lik Beograda na fotografijama A. Jovanovića, I. Gromana i M. Jovanovića. Godišnjak Grada Beograda XIV: 141-167.
  • Jovanović, Konstantin (2012): Razne uspomene Konstantina A. Jovanovića na vladare Srbije i Crne Gore 19. Veka. [Konstantin A. Jovanović' memories of the rulers of Serbia and Montenegro in the 19th Century]. Edited by Danijela Vanušić. Beograd: Muzej Grada Beograda.
  • Todić, Milanka (2002 ): Anastas Jovanović: Calotype Portraits and Cityscapes. IN: Photography and Research in Austria: Vienna, the Door to the European East. The proceedings of the Vienna Symposium. European Society for the History of Photography Symposium 2001. Dietmar Klinger Verlag: 17- 20.
  • Vasić, Pavle (1962 ): Život i delo Anastasa Jovanovića, prvog srpskog litografa. Beograd.
  • Vasić, Pavle (1964): Anastas Jovanović (1817-1899): katalog radova. Novi Sad: Galerija Matice srpske.

Milan Jovanović (1863-1944)[Objects]

Milan Jovanović (1863–1944) is mostly remembered for his photographic portraits of Belgrade bourgeoisie, which formed the core of his work. He also made panorama photographs of Belgrade, ethnographic photographs and postcards.

Milan Jovanović was born into a wealthy, artistic family in Vršac in 1863. His father Stevan Jovanović (1834–1923) opened a photographic studio in Vršac after completing an apprenticeship in a chemical drugstore in Prague and after working in a trade business in Timișoara, where he met his future wife, Ernestine Deot, with whom he had three sons. Milan Jovanović’s older brother, Pavle (Paja Jovanović, 1859–1957), became one of the most important Serbian painters. Also his second oldest brother, Svetislav Jovanović (1861–1935), became quite a successful artist. Ernestine Deot died in 1866 and Stevan remarried a year later. With his second wife, Maria de Ponti, he had another three sons and two daughters. One of them, Aleksandar-Šandor Jovanović (1868–1953), became a pharmacist, while the other two sons, Đura and Ivan, also became photographers. Sofija, Milan Jovanović's half-sister, died at the age of 17. His other half-sister, Tinka, opened and ran a boarding school for young women in Vienna.

Between 1869 and 1873 Milan Jovanović attended the Serbian elementary school in Vršac. In 1873 he changed to the Realschule, where classes were taught in German. His further educational career is not elaborated well. However, it has been recorded that he had followed his older brothers, who have both studied at the Academy of Fine Arts in Vienna and later worked in Vienna, Munich and Paris. After a series of sojourns to those cities, Milan Jovanović moved to Belgrade in 1887 and opened up a photographic studio with the help of his family.

His oeuvre can be divided into three major periods (see Malić): During the first period, between 1887 and 1893, Jovanović's work started to mature and to outgrow the contemporary state-of-the-art of photographic practice in Belgrade. His photographic studio became strong competition for Nikola Lekić's at the time leading studio. In 1892 Jovanović won the golden medal in photography at the craft exhibition in Vranje, which he proudly mentioned on many of the card mounts he used for his photograhs.

The second creative period encompasses the years of 1893 to 1903. In 1893 Jovanović was granted Serbian citizenship and appointed court photographer to the Serbian King Aleksandar I Obrenović. Three years later he also became court photographer to the Montenegrin Prince King Nikola I Mirkov Petrović-Njegoš.

The third of Jovanović's creative periods (1903–1914) was marked by two major political changes: In 1903 the House of Obrenović was overthrown and replaced by the House of Karađorđević with Petar I Karađorđević becoming the new King of Serbia. Jovanović never regained his former importance at court. In 1907 he participated in the London “Balkan States Exhibition”. Upon the outbreak World War I in 1914 Jovanović left Belgrade and joined the Serbian Army. When he returned from the war, he resumed his professional work shortly before retiring. He died in Belgrade in 1944.

  • Debeljković, Branibor (1977): Stara Srpska fotografija. Beograd.
  • Djurić-Zamolo, Divna (1967): Sačuvani lik Beograda na fotografijama A. Jovanovića, I. Gromana i M. Jovanovića. Godišnjak Grada Beograda XIV: 141-167.
  • Djurić-Zamolo, Divna (1968): Beograd sa starih fotografija [Old photographs of Belgrade]. Beograd: Turistička štampa.
  • Malić, Goran (1997): Milan Jovanović Fotograf. Beograd: Publikum.
  • Todić, Milanka (1989): Fotografija u Srbiji u XIX veku. [Photography in Serbia in the 19th Century]. Beograd: Muzej primenjene umetnosti.
  • Todić, Milanka (1991): Fotografija kod Srba 1839 – 1989.

Kajon, Daniel A. (1860-1918)[Objects]

Danial A. Kajon was a Sarajevan who opened a printing press in his hometown in 1892 and a bookshop in 1893. Around 1900 he established a photographic studio in Sarajevo. He was the editor of the “La Alborada” magazine from 1900 until 1901.

  • Marušic, Nikola (2002): Istorija fotografije u Bosni I Hercegovini do 1918. History of Photography in Bosnia and Herzegovina to 1918. Tuzla: Hercegtisak, 97, 151.

Karahasanović, M. (n.d.)[Objects]

M. Karahasonović moved to Sarajevo from Foča during the interwar period. He opened a photographic studio in Baščaršija, located at the entrance of the “Gazi” hotel.

Bogdan Dimitrov Karastoyanov (1899–1962)[Objects]

Bogdan (Boncho) was born the oldest son of photographer parents Dimitar and Rayna Karastoyanovi. After graduating from Robert College in Istanbul (1917) and from the “School for Reserve Officers” in Sofia (1919), Bogdan studied photochemistry at the Berlin Polytechnic as well as art photography in Paris, where he worked for the “Valery” studio as a senior photographer. Upon returning to Bulgaria in 1927 he became a member of the “Bulgarian Photo Club”, founded in 1920. In 1920 Bogdan married Zorka Natova, with whom he had two children: Emil, born in 1921, and Margarita, born in 1927. Bogdan Karastoyanov was actively involved in the professional Bulgarian photography scene; he was a member of the Bulgarian Photographic Craft Cooperation (established in 1928) and editor-in-chief of the cooperation’s “Photograph” magazine (1931–1932). Bogdan Karastoyanov was appointed court photographer in 1938. He was among the first Bulgarian photographers to use Autochrome Lumière, an early color photography process and he was also a pioneer in introducing artistic nude photography in Bulgaria. His 1937 “Compendium in Photography” had an important influence on the development of photography in Bulgaria. From the 1940s onward Bogdan became increasingly interested in filmmaking. He is now considered one of the most important Bulgarian cinematographers of the 1940s and 1950s. As of 1948 Bogdan Karastoynov worked for “Bulgarian Cinematography”, mostly on historical movies. In 1953 he was awarded the “Dimitrov Award” for contributions to science, arts and culture, the People’s Republic of Bulgaria’s most prestigious award in the field of arts and sciences.

  • Boev, Petar (1972): Fotografskite „dinastii“ v Balgaria. In: Balgarsko Foto, Vol. 8: 12-13.
  • Boev, Petar (1973): Dimitar Karastoyanov 1856 – 1919. In: Balgarsko Foto, Vol. 7: 28-30.
  • Boev, Petar (1977): Fotografi v Osvoboditelnata voyna 1877-1878. In: Balgarsko Foto, Vol. 6: 1–3.
  • Boev, Petar (1983): Fotografskoto izkustvo v Balgaria /1856 - 1944/. Sofia: DI "Septemvri".
  • Ivanova, Evgenia (2008): Foto Stoyanovich. Sofia: Balkani.
  • Parvanova, Mariyana (2010): Neizvestno za izvestni balgarski rodove. Vol. 3, Sofia: Iztok-Zapad.
  • Pechev, Ivan (1971): Semeyniyat album na Boncho Karastoyanov. In: Balgarsko Foto, Vol. 3: 18-20.
  • Penkova, Pavlina (1996): Albumat, podaren na Tsar Ferdinand. In: Balkanistic Forum, Vol. 1-2: 130-132.
  • Popsavova, Dora (1984): Fotografskite snimki kato istoricheski izvori. Sofia: St. Cyril and St. Methodius National Library.
  • Simeonova, Ruzha: Iz CV-to na balgarskata fotografia. Source: http://zonazdrave.com/content/view/964/44 (accessed 25.06.2013).

Bozhidar Dimitrov Karastoyanov (1903–1956)[Objects]

Bozhidar Dimitrov Karastoyanov was born a son of photographer parents Dimitar and Rayna Karastoyanovi. He studied photography in Vienna and in Paris, where he worked at G.L. Frères Manuel’s studio. In 1928 he opened his own studio in Sofia, which gained a reputation for modern portraiture and became a meeting place for Sofia’s political, intellectual and cultural elite. Bozhidar was Bulgaria’s official national photographer. In October 1930 he attended and recorded the marriage of Tsar Boris III of Bulgaria and Giovanna of Italy, daughter of Victor Emmanuel III of Italy, in Assisi. Bozhidar is also known as a photojournalist who contributed for Bulgarian and international magazines. Moreover, he participated in exhibitions in London, Berlin, Paris. Bozhidar Karastoyanov married Bozhanka Bozhilova, and in 1926 their daughter Rayna (Reni) was born. After the political changes of 1944, Bozhidar Karastoyanov and his family were detained and deported to Pleven. In the last decade of his live, Bozhidar worked for the Holy Synod, taking portraits of Bulgarian priests and photographs of churches and monasteries. Bozhidar Karastoyanov’s photographic work includes the genres of landscape, nature, architecture, and street photography. He is, however, best known for his portraits. His granddaughter, Bilyana Braykova Karastoyanova, upholds the Karastoyanov family’s professional tradition having also become a photographer and cinematographer.

  • Boev, Petar (1972): Fotografskite „dinastii“ v Balgaria. In: Balgarsko Foto, Vol. 8: 12-13.
  • Boev, Petar (1973): Dimitar Karastoyanov 1856 – 1919. In: Balgarsko Foto, Vol. 7: 28-30.
  • Boev, Petar (1977): Fotografi v Osvoboditelnata voyna 1877-1878. In: Balgarsko Foto, Vol. 6: 1–3.
  • Boev, Petar (1983): Fotografskoto izkustvo v Balgaria /1856 - 1944/. Sofia: DI "Septemvri".
  • Ivanova, Evgenia (2008): Foto Stoyanovich. Sofia: Balkani.
  • Parvanova, Mariyana (2010): Neizvestno za izvestni balgarski rodove. Vol. 3, Sofia: Iztok-Zapad.
  • Pechev, Ivan (1971): Semeyniyat album na Boncho Karastoyanov. In: Balgarsko Foto, Vol. 3: 18-20.
  • Penkova, Pavlina (1996): Albumat, podaren na Tsar Ferdinand. In: Balkanistic Forum, Vol. 1-2: 130-132.
  • Popsavova, Dora (1984): Fotografskite snimki kato istoricheski izvori. Sofia: St. Cyril and St. Methodius National Library.
  • Simeonova, Ruzha: Iz CV-to na balgarskata fotografia. Source: http://zonazdrave.com/content/view/964/44 (accessed 25.06.2013).

Dimitar Anastasov Karastoyanov (1856–1919)[Objects]

Dimitar, son of Viktoria and Anastas Nikolov Stojanović / Karastoyanov (1822–1880), was born in 1856 in Samokov, which at the time was part of the Ottoman Empire. In 1863 Anastas Karastoyanov’s family moved to Belgrade, where Anastas became court photographer. Dimitar studied photography with his father in Belgrade. After the end of the Russo-Ottoman War of 1877-1878, Dimitar and his brother Ivan (1853–1922) inherited one of the first photographic studios in Sofia from their father. After Anastas’s death in 1880, Ivan and Dimitar continued the business under the name of “Brothers Karastoyanovi”. They had separate studios from 1886 onward. Karastoyanov’s state-of-the art studios, all which were located in central Sofia, quickly gained a good reputation for offering modern, European-style salon portraiture. In 1886 Dimitar Karastoyanov was awarded the "Silver Medal for Art and Science", an award created by Prince Alexander von Battenberg on March 24th 1883 to honor outstanding achievements in the arts, sciences and in matters of economy. Both brothers, Ivan and Dimitar, participated in the 1892 photo exhibition at the First International Agrarian and Industrial Fair in Plovdiv. Both were awarded honorary diplomas. Dimitar left Sofia between 1891/1892 and 1894 for political reasons. He opened a studio in Plovdiv but returned to Sofia after Stefan Stambolov’s resignation as Primeminister. Having applied for the position, Dimitar Karastoyanov was appointed military photographer by the Bulgarian King Ferdinand I during the Balkan Wars of 1912–1913. He was assigned to General Headquarters. Karastoyanov had a network of international contacts and worked in a broad European context. Photographs by Dimitar and Ivan were published in various Bulgarian illustrated magazines and almanacs as well as in French magazines such as “L’Illustration” or in England in “The Daily News” or “Illustrated London News”. The brothers Ivan and Dimitar Karastoyanov worked with and trained in their own studios new photographers - Bulgarians as well as foreigners, such as Ksenofont Smrikarov, Ferdinand Grabner, and Moritz Kurtz (Curtius). In 1898 Dimitar Karastoyanov married Rayna Baldzhieva (1878–1958). Rayna graduated from Sofia’s First Women’s High School and started to work as a retoucher in her husband’s photographic studio. However, she soon became a photographer herself. Although Rayna worked independently and continued the photographic business until approximately 1936 after Dimitar’s death in 1919, there are hardly any photographs signed by her personally. The family had four sons: Bogdan, Vladimir, Bozhidar and Lyuben. Bogdan (Boncho) and Bozhidar Karastayanov became the Karastoyanov family’s third generation of photographers.

  • Boev, Petar (1972): Fotografskite „dinastii“ v Balgaria. In: Balgarsko Foto, Vol. 8: 12-13.
  • Boev, Petar (1973): Dimitar Karastoyanov 1856 – 1919. In: Balgarsko Foto, Vol. 7: 28-30.
  • Boev, Petar (1977): Fotografi v Osvoboditelnata voyna 1877-1878. In: Balgarsko Foto, Vol. 6: 1–3.
  • Boev, Petar (1983): Fotografskoto izkustvo v Balgaria /1856 - 1944/. Sofia: DI "Septemvri".
  • Ivanova, Evgenia (2008): Foto Stoyanovich. Sofia: Balkani.
  • Parvanova, Mariyana (2010): Neizvestno za izvestni balgarski rodove. Vol. 3, Sofia: Iztok-Zapad.
  • Pechev, Ivan (1971): Semeyniyat album na Boncho Karastoyanov. In: Balgarsko Foto, Vol. 3: 18-20.
  • Penkova, Pavlina (1996): Albumat, podaren na Tsar Ferdinand. In: Balkanistic Forum, Vol. 1-2: 130-132.
  • Popsavova, Dora (1984): Fotografskite snimki kato istoricheski izvori. Sofia: St. Cyril and St. Methodius National Library.
  • Simeonova, Ruzha: Iz CV-to na balgarskata fotografia. Source: http://zonazdrave.com/content/view/964/44 (accessed 25.06.2013).

Ivan Anastasov Karastoyanov (1853–1922)[Objects]

Ivan Anastasov Karastoyanov was the oldest son of Viktoria and Anastas Nikolov Stojanović / Karastoyanov (1822–1880). Ivan was born in 1853 in Samokov, which at the time was part of the Ottoman Empire. In 1863 Anastas Karastoyanov’s family moved to Belgrade, where Anastas became court photographer. Ivan first studied photography with his father in Belgrade and then went to Vienna to continue his training. In 1872 the “Pravo” (‘Law’) magazine of Tsarigrad advertised a course in photography, which Ivan was teaching in his hometown of Samokov. He also published one of the first practical guides to photography in Bulgarian. In 1876 Ivan underwent military training at the Belgrade Artillery School and during the Russo-Ottoman War of 1877–1878 him and his father moved to Svishtov (today situated in Bulgaria) with the intention of working as war photographers for the Russian Army. After the end of the war, Ivan and his brother Dimitar (1856–1919) inherited one of the first photographic studios in Sofia from their father. After Anastas’s death in 1880, Ivan and Dimitar continued the business under the name of “Brothers Karastoyanovi”. They had separate studios from 1886 onward. Karastoyanov’s state-of-the art studios, all which were located in central Sofia, quickly gained a good reputation for offering modern, European-style salon portraiture. In 1888 Ivan Karastoyanov was appointed court photographer. Both brothers, Ivan and Dimitar, participated in the 1892 photo exhibition at the First International Agrarian and Industrial Fair in Plovdiv. Both were awarded honorary diplomas, Ivan was awarded also with a gold medal. In 1919 the “Bulgarian Photographic Unity” was established as the first association of professional photographers in Bulgaria with Ivan Karastoyanov as its first head. Having studied in Vienna, Bad Grönenbach, and Berlin, Ivan Karastoyanov had established a wide international network and thus worked in a broad European context. Photographs by Ivan and Dimitar were published in various Bulgarian illustrated magazines and almanacs as well as in French magazines such as “L’Illustration” or in England in “The Daily News” or “Illustrated London News”. The brothers Ivan and Dimitar Karastoyanov worked with and trained in their own studios new photographers - Bulgarians as well as foreigners, such as Ksenofont Smrikarov, Ferdinand Grabner, and Moritz Kurtz (Curtius). In 1921 Kurtz [Curtius] became Bulgarian court photographer and ran his studio under the name “Moritz Kurtz – former Ivan Karastoyanov”.

  • Boev, Petar (1972): Fotografskite „dinastii“ v Balgaria. In: Balgarsko Foto, Vol. 8: 12-13.
  • Boev, Petar (1973): Dimitar Karastoyanov 1856 – 1919. In: Balgarsko Foto, Vol. 7: 28-30.
  • Boev, Petar (1977): Fotografi v Osvoboditelnata voyna 1877-1878. In: Balgarsko Foto, Vol. 6: 1–3.
  • Boev, Petar (1983): Fotografskoto izkustvo v Balgaria /1856 - 1944/. Sofia: DI "Septemvri".
  • Ivanova, Evgenia (2008): Foto Stoyanovich. Sofia: Balkani.
  • Parvanova, Mariyana (2010): Neizvestno za izvestni balgarski rodove. Vol. 3, Sofia: Iztok-Zapad.
  • Pechev, Ivan (1971): Semeyniyat album na Boncho Karastoyanov. In: Balgarsko Foto, Vol. 3: 18-20.
  • Penkova, Pavlina (1996): Albumat, podaren na Tsar Ferdinand. In: Balkanistic Forum, Vol. 1-2: 130-132.
  • Popsavova, Dora (1984): Fotografskite snimki kato istoricheski izvori. Sofia: St. Cyril and St. Methodius National Library.
  • Simeonova, Ruzha: Iz CV-to na balgarskata fotografia. Source: http://zonazdrave.com/content/view/964/44 (accessed 25.06.2013).

Bilyana Braykova Karastoyanova (1991- )[Objects]

Bilyana Braykova Karastoyanova is the great-granddaughter of the photographer Bozhidar Dimitrov Karastoyanov. After graduating from the National High School of Polygraphs and Photography in Sofia in 2010 she became a student of Film and Television Cinematography at the Southwest University of Blagoevgrad. Bilyana Braykova Karastoyanova has participated in photo contests, exhibitions and has won several awards. Bilyana Braykova Karastoyanova is one of the private donators to the VASE online archive.

Rayna Baldzhieva Karastoyanova (1878–~1958)[Objects]

Rayna Baldzhieva graduated from Sofia’s First Women’s High School and married in 1898 the photographer Dimitar Anastasov Karastoyanov. Rayna started to work as a retoucher in her husband’s photographic studio. However, she soon became a photographer herself. Although Rayna worked independently and continued the photographic business until approximately 1936 after Dimitar’s death in 1919, there are hardly any photographs signed by her personally. The family had four sons: Bogdan, Vladimir, Bozhidar and Lyuben. Bogdan (Boncho) and Bozhidar Karastayanov became the Karastoyanov family’s third generation of photographers.

  • Boev, Petar (1972): Fotografskite „dinastii“ v Balgaria. In: Balgarsko Foto, Vol. 8: 12-13.
  • Boev, Petar (1973): Dimitar Karastoyanov 1856 – 1919. In: Balgarsko Foto, Vol. 7: 28-30.
  • Boev, Petar (1977): Fotografi v Osvoboditelnata voyna 1877-1878. In: Balgarsko Foto, Vol. 6: 1–3.
  • Boev, Petar (1983): Fotografskoto izkustvo v Balgaria /1856 - 1944/. Sofia: DI "Septemvri".
  • Ivanova, Evgenia (2008): Foto Stoyanovich. Sofia: Balkani.
  • Parvanova, Mariyana (2010): Neizvestno za izvestni balgarski rodove. Vol. 3, Sofia: Iztok-Zapad.
  • Pechev, Ivan (1971): Semeyniyat album na Boncho Karastoyanov. In: Balgarsko Foto, Vol. 3: 18-20.
  • Penkova, Pavlina (1996): Albumat, podaren na Tsar Ferdinand. In: Balkanistic Forum, Vol. 1-2: 130-132.
  • Popsavova, Dora (1984): Fotografskite snimki kato istoricheski izvori. Sofia: St. Cyril and St. Methodius National Library.
  • Simeonova, Ruzha: Iz CV-to na balgarskata fotografia. Source: http://zonazdrave.com/content/view/964/44 (accessed 25.06.2013).

Klösz, György (n.d.)[Objects]

György Klösz was a photographer who had his studio in Budapest, 49 városligeti fasor, around 1900.

Knešević, Georgije (n.d.)[Objects]

Georgije Knešević (also known as Knežević or Knezović) was a travelling photographer who started his career around 1849 in Pešt (Hungary). Around 1854 he went to Novi Sad and later to Sarajevo. He also worked in Veliki Bečkerek, Buda, Arad, Segedin, Pecs, Sremski Karlovci, Mitrovica, Lore (near Kovin), Šabac, Belgrade and Zadar. He regularly went to Sarajevo between 1854 and 1872.

  • Marušic, Nikola (2002): Istorija fotografije u Bosni I Hercegovini do 1918. History of Photography in Bosnia and Herzegovina to 1918. Tuzla: Hercegtisak, 33-36.
  • Grčević, Nada (1981): fotografija devetnaestog stoljeća u hrvatskoj. Zagreb: Društvo povjesničara umjetnosti Hrvatske, 162, 190.

Kosel, Hermann Clemens (1867-1945)[Objects]

Hermann Kosel’s photographic studio was registered in Franz Josefs-Kai 5, Vienna. It was later moved to Aspernplatz.

Moritz Kurtz [Curtius] (n.d.)[Objects]

Moritz Kurtz [Curtius] worked in the photographic studio of Ivan Anastasov Karastoyanov. In 1921 Kurtz [Curtius] became Bulgarian court photographer and ran his studio under the name “Moritz Kurtz – former Ivan Karastoyanov”.

Laforest, Francesco (n.d.)[Objects]

Laforest was trained as a photographer in Vienna, his hometown. He started working as a photographer in Zadar in the early 1860s. Afterwards he moved to Šibenik and in the 1870s to Split. In 1883 he moved to Mostar and some years later to Kotor.

  • Marušic, Nikola (2002): Istorija fotografije u Bosni I Hercegovini do 1918. History of Photography in Bosnia and Herzegovina to 1918. Tuzla: Hercegtisak.
  • Grčević, Nada (1981): fotografija devetnaestog stoljeća u hrvatskoj. Zagreb: Društvo povjesničara umjetnosti Hrvatske, 162, 175, 179.

Landau, Alexander (n.d.)[Objects]

Alexander Landau studied at “Graphische Lehr- und Versuchsanstalt” in Vienna in 1888/89. He had a photographic studio in Banja Luka during the Austro-Hungarian occupation of Bosnia. He was a member of the Photographic Association in Vienna (Photographische Gesellschaft) as of 1901.

Lederer, Ignatz (n.d.)[Objects]

He moved to Sarajevo around 1895 and opened his studio in Franz Joseph Street. In 1913 he established the “Lederer & Poper” photographic studio.

  • Marušic, Nikola (2002): Istorija fotografije u Bosni I Hercegovini do 1918. History of Photography in Bosnia and Herzegovina to 1918. Tuzla: Hercegtisak, 41, 62, 97.

Lisac, Ivica (n.d.)[Objects]

Ivica Lisac took over the Färber & Schmidt studio in the interwar period. His photographic studio was located in a courtyard next to the National Bank in King Peter’s Street (ulica kralja Petra), today known as ulica Maršala Tita (opposite the Orthodox church).

Löwy, Josef (n.d.)[Objects]

Löwy Josef was a court photographer who had his studio in Vienna’s first district (21 Weihburggasse).

Madame Julie (n.d.)[Objects]

She was probably a travelling photographer who came to Bosnia before 1900.

Rista Marjanović (1885–1969)[Objects]

Rista Marjanović (1885–1969) is considered the pioneer of Serbian photo-journalism. He was born into a family of traders in Šabac in 1885. There he completed four years of grammar school before moving to Belgrade to study at Rista and Beta Vukanović's school of painting and to learn photography at the prominent photo atelier of court photographer Milan Jovanović. From Belgrade he moved to Paris. In 1908 Rista Marjanović became a correspondent and photographer for the Paris edition of "New York Herald". In 1912 he travelled back to Serbia and captured the battlefields of the Balkan Wars with his camera. In 1914 he became the official war photographer of the Serbian Army High Command and continued his work on the battlefields. During the war his photographs were published in foreign newspapers and also exhibited in Paris, London and in the United States together with photographs taken by the Allies. In 1919 he finally left the "New York Herald" and moved to Belgrade, where he started to work at the Central Press Association and Press Department of the Ministry of Foreign Affairs. That same year he changed jobs and started to work at the National News Agency „Avala“, where he remained during the following years. After WWI Rista Marjanović also engaged in the film industry. With the assistance of Andra Glišić he produced the first film in the newly founded Kingdom of Serbs, Croats and Slovenes, titled „Stvaranje Jugoslavije“ („The Making of Yugoslavia“). Avala was shut down during the German occupation 1941 – 1944. Rista Marjanović continued taking photographs secretly. At the end of WWII the first Yugoslav national news agency, „Tanjug“, moved to Belgrade and Rista Marjanović started to work there as a consultant and stayed until his retirement. He died in 1969 in Belgrade, leaving behind over 8500 photo negatives.

  • Gordić, Milojko (1973): Zbirka foto-negativa Riste Marjanovića. Catalogue. Beograd: Zavod za Zaštitu spomenika kulture grada.
  • Jovičić, Stevan (2010): Kinematografija u Srbiji 1896–1941. In: Südslavistik Online. Zeitschrift für südslavische Sprachen, Literaturen und Kulturen 2: 23-33.
  • Marjanović, Rista (1987): Ratni Album Riste Marjanovića 1912 – 1915. Edited by Dragoje Todorović. G.Milanovac: Dečije novine.
  • Milatović, Petar (2006): Vremeplov crno-belih kvadrata: Let ptičica i granata. In: Politikin Zabavnik No. 2821
  • Stanić, Biljana (2011): Fotografije Riste Marjanovića: 1941 – 1945: Iz Zbirke Muzeja Grada Beograda. Catalogue. Beograd: Muzej Grada Beograda.

Mioni, Luigi (n.d.)[Objects]

Around 1875 he worked as a photographer in Pula (Istra) in the Hotel ‘Ribolli’. He also worked in Split and Trieste.

  • Grčević, Nada (1981): fotografija devetnaestog stoljeća u hrvatskoj. Zagreb: Društvo povjesničara umjetnosti Hrvatske, 162, 175, 179.

Mlađenović, Justina (n.d.)[Objects]

She owned a photographic studio in Travnik around 1900.

Neumann, Božidar (n.d.)[Objects]

No information available.

Patzelt, Johann (n.d.)[Objects]

Probably he went from Vienna to Bosnia. Around 1895 he moved as a photographer from Karlovac (Croatia) to Banja Luka.

  • Marušic, Nikola (2002): Istorija fotografije u Bosni I Hercegovini do 1918. History of Photography in Bosnia and Herzegovina to 1918. Tuzla: Hercegtisak, 41-42, 62.
  • Grčević, Nada (1981): fotografija devetnaestog stoljeća u hrvatskoj. Zagreb: Društvo povjesničara umjetnosti Hrvatske, 134.

Photographie Etienne[Objects]

No information available.

Pietzner, Carl (1853-1927)[Objects]

A Viennese court photographer who had his studio in Vienna and branches in other parts of the Monarchy. He bought the “Würthle & Sohn” studio in Salzburg (9 Schwarzstraße) in 1904.

  • http://fotobiobibliografie.albertina.at/cgi-bin/such_ausgabe.pl?scid=968&lang=de&n=Pietzner%2C%20Carl
  • http://wiki-de.genealogy.net/Pietzner_(Wien)/Fotostudio

Pop de Alamor, S. & Abinun, Jakob (n.d.)[Objects]

Jakob Abinum opened a photographic studio in Sarajevo in 1910. There is no information available about his work with Pop de Alamor.

  • Marušic, Nikola (2002): Istorija fotografije u Bosni I Hercegovini do 1918. History of Photography in Bosnia and Herzegovina to 1918. Tuzla: Hercegtisak, 95.

Reiffenstein, Bruno (n.d.)[Objects]

No information available.

Rickert, Anton (n.d.)[Objects]

He went to Bosnia with the Austro-Hungarian army and opened his studio in Sarajevo in 1879. The same year his first Sarajevo photograph is dated. His studio, which he ran until approximately 1900, was not registered. He was also a publisher for the National Museum’s (Glasnik Zemaljskog Muzeja) herald. For a while he ran the “Rickert & Hoiger” studio with Anton Hoiger.

  • Marušic, Nikola (2002): Istorija fotografije u Bosni I Hercegovini do 1918. History of Photography in Bosnia and Herzegovina to 1918. Tuzla: Hercegtisak, 40, 59, 169.

Sárosý, M. B. (n.d.)[Objects]

He was active as a photographer in Zagreb around 1866.

  • Grčević, Nada (1981): fotografija devetnaestog stoljeća u hrvatskoj. Zagreb: Društvo povjesničara umjetnosti Hrvatske, 85.

Schädler, Anton (*-1912)[Objects]

Anton Schädler was a photographer who worked for the Viennese “C. Angerer & Göschl” art institute. He opened the first photographic studio in Sarajevo towards the end of 1878, soon after he had come to Bosnia with the army. His first photograph dates from 1879.
From 1879 until 1881 his studio was located in Obala Street (Appel Quai) and he used to print “Fotografisches Atelier des Schädler & Abt. in Sarajewo” on his photographs, which he changed to “Fotografisches Atelier des Anton Schädler” from 1881 until 1890. In 1888 Crown Prince Rudolph awarded him the “Goldene Busennadel in Brillanten und Anerkennung”, which he from then on also wrote on the back of his photographs. As of 1890 his new and lushly furnished studio was in Ćumurija Street. He also published his photographs in magazines such as Nada. In 1909 he was the cashier of the Health and Support Association (Kranken- und Unterstützungsverein) in Sarajevo. He died in 1912.

  • Marušic, Nikola (2002): Istorija fotografije u Bosni I Hercegovini do 1918. History of Photography in Bosnia and Herzegovina to 1918. Tuzla: Hercegtisak, 45-51.

Schiller, Friedrich (1850-1928)[Objects]

Friedrich Schiller opened a photographic studio in Baden in 1870. In 1899 he was appointed official court photographer and he opened a branch in Vienna’s sixth district (107 Mariahilferstraße) around 1900. In 1905, he retired into private life.

  • Hochreiter, Otto & Starl, Timm (eds.) (1983): Geschichte der Fotografie in Österreich, Vol. 2: 176.
  • Österreichische Akademie der Wissenschaften (eds.) (1994): Österreichisches Bibliographisches Lexikon 1815-1950, vol. 10: 134.

Schneeweis, Edmund (1886-1964)[Objects]

Edmund Schneeweis was born on 31 July 1886 in Rozstání/Moravia. He was a professor of Slavic studies at the Universities of Prague, Rostock, Berlin and Belgrade. In 1912 he became a member of the association of anthropology (Verein für Volkskunde) in Vienna. In the summer of 1912 he undertook a study tour to Bosnia, Serbia and Bulgaria, financed by the imperial-royal Ministry of Culture and Education. In the course of the tour he established a body of 120 ethnographical photographs as well as an extensive collection of ethnographica (artifacts). He died in Berlin on 6 September 1964.

  • Safranek, Helga: Biographie von Edmund Schneeweis. Österreichisches Museum für Volkskunde, unpublished.

Schultheis, Mathias (n.d.)[Objects]

He moved to Donja Tuzla as a photographer around 1895.

  • Marušic, Nikola (2002): Istorija fotografije u Bosni I Hercegovini do 1918. History of Photography in Bosnia and Herzegovina to 1918. Tuzla: Hercegtisak, 42, 62.

Anastas Nikolov Stojanović/Karastoyanov (1822–1880)[Objects]

Anastas Nikolov Stojanović/Karastoyanov is considered one of the first photographers in the Balkans. He was also a very productive visual artist, leaving behind many lithographs, and drawings.

Anastas was the eldest son of typographer, printer, editor, and teacher Nikola Karastoyanov. He trained with icon painters in his hometown of Samokov (Ottoman Empire, now Bulgaria), became a lithographer and engraver and specialized in prints, illuminated letters, and in illustrating texts published in his father’s printing workshop. Anastas also wrote two handbooks (introductions / compendiums) on iconography (Ερμηνεία). In 1862 Anastas Karastoyanov went to Belgrade to buy letters for his father’s printing press. However, instead of returning to Samokov he remained in Serbia for various reasons. In Belgrade he met Anastas Jovanović, who was a well established painter, photographer and Hofmarschall (Lord Stewart of the Household) of Prince Mihail Obrenović’s at the time. Jovanović introduced Anastas Karastoyanov to photography and supported him in opening his own photographic studio. In 1863 Karastoyanov registered in Belgrade under the name of “Anastas N. Stojanovits”, became a resident of Serbia (podanik) and was appointed “court photographer”. During the Russo-Ottoman War of 1877–1878 he moved to Svishtov (today situated in Bulgaria) with the intention of working as a war photographer for the Russian Army together with his son Ivan. After the end of the war Anastas Nikolov Karastoyanov settled in Sofia and founded one of the first photographer’s studios in the capital of the newly establishment Principality of Bulgaria. Anastas and his wife Viktoria Karastoyanovi had two daughters and two sons. In 1880 Anastas died, leaving his studio to his sons Ivan (1853–1922) and Dimitar (1856–1919), who continued the business under the name of “Brothers Karastoyanov”. They had separate studios from 1886 onward.

  • Boev, Petar (1972): Fotografskite „dinastii“ v Balgaria. In: Balgarsko Foto, Vol. 8: 12-13.
  • Boev, Petar (1973): Dimitar Karastoyanov 1856 – 1919. In: Balgarsko Foto, Vol. 7: 28-30.
  • Boev, Petar (1977): Fotografi v Osvoboditelnata voyna 1877-1878. In: Balgarsko Foto, Vol. 6: 1–3.
  • Boev, Petar (1983): Fotografskoto izkustvo v Balgaria /1856 - 1944/. Sofia: DI "Septemvri".
  • Ivanova, Evgenia (2008): Foto Stoyanovich. Sofia: Balkani.
  • Parvanova, Mariyana (2010): Neizvestno za izvestni balgarski rodove. Vol. 3, Sofia: Iztok-Zapad.
  • Pechev, Ivan (1971): Semeyniyat album na Boncho Karastoyanov. In: Balgarsko Foto, Vol. 3: 18-20.
  • Penkova, Pavlina (1996): Albumat, podaren na Tsar Ferdinand. In: Balkanistic Forum, Vol. 1-2: 130-132.
  • Popsavova, Dora (1984): Fotografskite snimki kato istoricheski izvori. Sofia: St. Cyril and St. Methodius National Library.
  • Simeonova, Ruzha: Iz CV-to na balgarskata fotografia. Source: http://zonazdrave.com/content/view/964/44 (accessed 25.06.2013).

Strelisky, Sándor (n.d.)[Objects]

This court photographer had a photographic studio in Budapest, 9 Dorottya utcza.

Tausch, Walter (n.d.)[Objects]

He was an Austrian photographer who moved to Sarajevo on behalf of the Austro-Hungarian government in 1910. Immediately after his arrival he opened a studio in Kulovica Street. He was one of the few colonists who stayed in Sarajevo after WWI. In 1919 he took pictures of Sarajevo’s old Bazar. His studio was called “Photographische Kunstanstalt Sarajevo, neben Apollotheater”.

  • Marušic, Nikola (2002): Istorija fotografije u Bosni I Hercegovini do 1918. History of Photography in Bosnia and Herzegovina to 1918. Tuzla: Hercegtisak, 98, 133.

Tomlinović, Stjepan (Stevan)[Objects]

He owned a photographic studio in Nova Gradiška (Croatia) as of 1870. In 1877 he took photos of the voivodas of the Herzegovinian uprising. He moved to Mostar around 1895.

  • Grčević, Nada (1981): fotografija devetnaestog stoljeća u hrvatskoj. Zagreb: Društvo povjesničara umjetnosti Hrvatske, 144.

Topič, František (1857-1924)[Objects]

Topič was born in 1857 in Draškovice, a small village near Pardubice in Bohemia. In 1885 he moved to Tuzla as an officer of the new Austro-Hungarian administration and he afterwards became head of the regional office in Donji Unac (today called Drvar). At that time he already worked as a photographer for the Viennese “C. Angerer & Göschl” art institute and for the Bošnjak and Bosnischer Bote magazines. In 1894 he became a secretary and photographer at the National Museum (Landesmuseum) in Sarajevo. From that time on he was also Nada magazine’s editor of photography. In 1903 he was awarded the Golden Cross of Merit (Goldenes Verdienstkreuz) for his photographic work. In 1916 he was drafted into military service, yet he returned to the museum after the war in 1918. In March 1919 he retired and went back to Královské Vinohrady in Bohemia, which is now a district of Prague. Topič was married and had five children. His family sold his entire collection to the National Museum in Sarajevo in 1955. In 1984 Nikola Marušić arranged an exhibition of Topič’s photographs in Ilidža as part of “Poetika prostora” (“The Poetra of Space”), a cultural event.

  • Marušic, Nikola (2002): Istorija fotografije u Bosni I Hercegovini do 1918. History of Photography in Bosnia and Herzegovina to 1918. Tuzla: Hercegtisak, 52-56.

Topić-Ostoico, Mariana Konštantina (n.d.)[Objects]

No information available.

Türk von Ramstein, Othmar (1843-1904?)[Objects]

He was a court photographer, whose studio was registered in Vienna’s eigth district (4 Breitegasse) in 1879.

Vágó, Bertalan (n.d.)[Objects]

He was a Hungarian photographer who owned a studio in Budapest around 1900. Some of his photos were included in the book Az Ezeréves Magyarország és a Milléiumi Kiállitás: Das Tausendjährige Ungarn und die Millenniums-Ausstellung. Sammlung von Photographien hervorragendster Gegenden, Städtebilder und Kunstschätze Ungarns sowie der Sehenswürdigkeiten der Ausstellung, which was published in Budapest in 1896.

Viditz, August (n.d.)[Objects]

He was sent to Bosnia from Vienna to photographically document the construction of the railway line from Bosanski Bod to Sarajevo. In 1896 some of his photos from Bosnia were exhibited at the Millenium Exhibition in Budapest.

  • Marušic, Nikola (2002): Istorija fotografije u Bosni I Hercegovini do 1918. History of Photography in Bosnia and Herzegovina to 1918. Tuzla: Hercegtisak, 50, 157.

Vlajo, Cesar (n.d.)[Objects]

He was active as a photographer in Mostar in the 1890s. He is sometimes also mentioned as Vlado Cezar.

  • Marušic, Nikola (2002): Istorija fotografije u Bosni I Hercegovini do 1918. History of Photography in Bosnia and Herzegovina to 1918. Tuzla: Hercegtisak, 62, 95.

Walenta, Franz (n.d.)[Objects]

No information available.

Zimolo, Anton & Vlahović, Jovan[Objects]

Jovan Vlahović moved to Mostar after he had worked in Belgrade and Požarevac. Around 1888 first photographs appeared, bearing the inscription “A. Zimolo & Vlahovic”. Their studio was located in Mostar (51 Carina Street).

  • Marušic, Nikola (2002): Istorija fotografije u Bosni I Hercegovini do 1918. History of Photography in Bosnia and Herzegovina to 1918. Tuzla: Hercegtisak.

Zimolo, Anton (n.d.)[Objects]

He moved to Mostar from Italy in 1886. His studio was located in the Brankovac district. He opened a photographic studio with Jovan Vlahović in Mostar around 1888.

  • Marušic, Nikola (2002): Istorija fotografije u Bosni I Hercegovini do 1918. History of Photography in Bosnia and Herzegovina to 1918. Tuzla: Hercegtisak, 40-42, 60-61, 117.