1096
dir. Wilhelm J. Burger; no number in 1923; from vol. 62, 1926,
subtitled as Zeitschrift für wissenschaftliche und angewandte
Photographie und die gesamte Reproduktionstechnik, edited
by Adolf Schirtlich; from vol.77, 1941 edited by Othmar Hel-
wich; vol. 81, 1945, vol. 107, 1971, dir. Othmar Helwich.
Richard Zahlbrecht, and Joseph Maria Eder, Wien 1955.
Otto Hochreiter, Timm Starl (ed.), Exh.cat. Der zweite Eindruck,
Bildbeigaben der Photographischen Correspondenz 1864–
1971 , Österreichisches Fotoarchiv im Museum Moderner
Kunst, Wien 1984.
PHOTOGRAPHISCHE RUNDSCHAU
The magazine Photographische Rundschau was
launched in Vienna in 1887. Its subtitle read ‘Cen-
tralblatt fuer Amateurphotographie. Organ des Club
der “Amateur-Photographen” in Wien’ and displayed
clearly the aims of this new addition to the world of
photographic periodicals. The Photographische Rund-
schau was among the earliest magazines specifi cally
produced for amateurs, for non-specialists in both art
and science. The fi rst editors of the periodical were Carl
Srna and Carl Schiendl, who was replaced from issue
No. 5 by Charles Scolik, then a well-known author on
photography.
With the second year the Photographische Rundschau
moved from Vienna to Halle on Saale, to the publishing
house of Wilhelm Knapp, one of the fi rst specialists
in photography. With volume 8, 1894, the magazine
not only changed the title—Photographie Rundschau.
Zeitschrift fuer Freunde der Photographie—and its
editorship but shifted towards a broader understand-
ing of photography at all. Richard Neuhauss, the new
editor, was a renowned scientist in photo chemistry but
had fi rm roots in the fi ne art photography movement as
well. The publication now was lavishly illustrated with
at least four pages of perfect prints in different tech-
niques, mostly phototypes or heliotypes, often enough
even three-colour prints.
With volume 19, 1905, the magazine was united with
Photographisches Centralblatt from Vienna but kept its
subtitle and hosted a trifolium of editors: Richard Neu-
hauss, Fritz Matthies-Masuren and Hermann Schnauss.
Fritz Matthies-Masuren was a painter and fine-art
photographer, and as an art critic he gained enourmous
infl uence on the German scene short before World War
I. In 1907, Neuhauss vanished from editorship in favour
of Robert Luther, and Schnauss was replaced by Otto
Mente; both were lecturers in photo-chemistry and gave
the magazine a more scientifi c note. By 1912, volume
26 of the Photographische Rundschau was united with
volume 49 of the Photographische Mitteilungen to
become Photographische Rundschau und Mitteilun-
gen as which it was published for the next 32 years
(and counted as the older one). If one credits the later
magazine Fotografi e—the offi cial GDR publication in
amateur photography—as the subsequent follower of
the earlier periodical, the Photographische Rundschau
has existed for exactly 103 years, up to 1990.
The long history and the number of changing editors
set light to the social role the Photographische Rund-
schau played. It was the earliest amateur periodical
in German language but it contained larger parts of
scientifi c news as well as messages from clubs and
congregations. The main reason to subscribe this
magazine, at least after 1894, was its perfect illustration
with photographs from masters of the art. Later, there
were more luxuriously illustrated periodicals like the
Sonne or the Kunst in der Photographie, but it was the
Photographische Rundschau where young followers
of the art could see images by important professionals.
Accompanied by lengthy debates on the pros and cons
of printing processes, by long critical essays on exhibi-
tions and contests, the magazine secured its reader with
the information necessary to take part in most of the
photographic affairs in Germany.
And the Photographische Rundschau even set sails
for one phrase, maybe by incident: In August 1905, the
Belgium fi ne art photographer Alexandre published an
image in this magazine, showing a number of soldiers
on horses in a hollow valley, under the title ‘Avantgarde
im Hohlweg’ (Avantgarde in the defi le). Six years before
Guilleaume Apollinaire’s fi rst use of the word avantgarde
in the context of fi ne art, the Photographische Rundschau
seems to have contributed to the critic’s vocabulary.
Rolf SachssePHOTOGRAPHS OF THE GEMS OF
THE ART TREASURES EXHIBITION
(MANCHESTER, 1857)
A major concern of mid-Victorian Britain was the
relationship between art and industry. One of the key
movements in this debate was The Exhibition of the Art
Treasures of the United Kingdom held in Manchester
in 1857. The site of the exhibition was the Manchester
Cricket Club’s ground at Old Trafford. It was opened
by Prince Albert on the 5th May 1857 in the presence
of Queen Victoria, remaining open for 142 days and
closing on the 17th October that year. In retrospect, this
exhibition was one of the most spectacular art exhibi-
tions of the nineteenth century.
At the time, Manchester was at the centre of Britain’s
industrial heartland. A French social commentator of
the period on visiting the great mill town of Manches-
ter in 1835 was appalled by what he found: ‘A sort of
black smoke covers the city.... Under this half-daylight
500,000 human beings are ceaselessly at work.... From
the foul drain, the greatest stream of human industry
fl ows out to fertilise the world.’ (Journeys to England
and Ireland, 1835).
The main exhibition hall was a vast iron and glass