1141
Paris, London or Berlin to learn the trade, nevertheless
after 1851 they travelled in order to study the collodion
process. Unfortunately, most towns do not have any
documentary archives, nor information on the number
of photographic concerns nor how long they lasted.
Warsaw. From January 1839, frequent articles ap-
peared on the subject of daguerrotype photographs; by
October of the same year daguerrotype photographs
sent over from Paris and Berlin as well as the work of
the physicist, A. Radwański, were being exhibited. In
November, a French revue was sold that included an
article by M. Strasz discussing the daguerrotype process
and A. Giroux’s camera that had been brought over from
Paris was sold for 1000 roubles. The bibliophile, S.
Mielżyński, translated the revue in Paris and then sent
it on to Posen, where it appeared in the press prior to
November 13. In January 1840, a new translation was
sold in Warsaw. The following people used daguerrotype
photographs to enhance their work: the artists: M. Za-
leski (1839–42) and A. Wysocki (1841–42); the astrono-
mer: A. Prażmowski (1839) and the lithographer: M.
Scholtz (1840–41), who from 1842 earned money on his
daguerrotype photographs From 1842, itinerant daguer-
rotypists from Berlin and Vienna came to Warsaw. The
most famous establishments were as follows: K. Beyer
(1845–77) who produced scenes of Polish towns, cata-
logues exhibiting ancient and historical monuments and
thousands of portraits; K. Brandl (1857–98) the creator
of nature photographs; J. Mieczkowski (1850–1915)
who took part in 9 exhibitions and who was awarded
a prize for his portraits.The fi rst photographic fi rms
that were set up in larger towns were in: Częstochowa
(1864, M. Arbus); Kalisz (1857, S. Fingeruth); Kielce
(approx. 1858, W. Krajewski); Lublin (1857, T.Boretti);
Łódź (1862, D. Zoner), E. Stummann from 1874 and B.
Wilkoszewski from 1888 took photographs of towns;
Piotrków (1865, K. Suplik); Płock (1864, P. Pawłowski);
Radom (1860, L. Makarski).
Lwów, the capital of Galicia, discovered daguer-
rotype photography due to the work of Professor
J.Gloisner. People could pay to have their portraits taken
at H. Chołoniewski’s and J. Pohlman’s establishment
(1843) as well as at Szarmacki and J.Dobrowolski’s
photographic fi rm (1844). E.Trzemeski (1869–post
1914) left the greatest heritage. In 1883 he took 20
photos related to Jan III Sobieski and scenes of Galicia
(a gift for the Photographic Society in Paris in 1886)
and produced albums of the following towns: Podhorce
and Zloczów. In 1890 together with J. Eder he published
a zincography. T. Szajnok, active from 1863 until his
death in 1894, produced phototype samples which he
sent to Paris in 1870, he published albums of the towns
of Krasiczyn and Żólkiew in 1868–69 and in March
1891 helped to set up the fi rst association of amateur
photographers—the Amateurs Club. After 1861, J. Eder,
published a series of photographs of Cracow, Przemyśl,
Rzeszów, Rabka and railway train stations. Those that
most frequently exhibited their works in western Europe,
were: T. E.Bahrynowicz, J. Eder, Z. Goldhammer, N.
Lissa and D. Mazur.
Cracow, the ancient capital of Poland, that was just
a small provincial town in the 19th century, discovered
daguerrotype photography in 1840 via the work of
the physicist S.L.Kuczyński, in 1844 via the work of
A.Wysocki, and approximately in 1850 the work of
J.Schindler. Itinerant photographers were as follows: H.
Wilczek (1843), J.W. Weniger (1851) and A. Weidl from
Vienna (1854), K. Szczepkowski (1844–47), D. Zoner
(1844,1847), I. Marek (1849,1856/57), Birnstein (1856),
F. Gantenbein (1858). Most probably, the fi rst permanent
establishment was that of S. Żabieński (1845–52), then
W. Maliszewski (1848–80), S. Balicer (approx. 1848),
I. Mażek (1860–63) and Ignacy Krieger with his son
Natan (1860–1926), who after 1870 produced 113
photographs of historical monuments, peasant types and
Stachowicz’s drawings and sold them in four sizes. The
most famous fi rm was that of W. Rzewuski (1859–96)
who focused on wealthy people, town scenes and works
of art. A. Szubert from 1867 took photos of the sur-
rounding countryside of Cracow and also concentrated
on various works of art; he was awarded many prizes at
a number of exhibitions. Manuals began being published
in Cracow: A. Karoli (1893), W. Kleinberg (1894) and
A. Larisch (approx. 1902).
The Tatra mountains and its inhabitants, a 110 ki-
lometers south of Cracow, were photographed by: A.
Szubert (from 1871), W. E.Radzikowski (1891–99)
and M. Karłowicz (after 1902). In the spring of 1871,
the members of the Association in Berlin organized
an excursion to the Tatra mountains, and in 1872 their
chairman, H.W. Vogel, took a number of photos there.
Photographers tended to limit themselves to portraits
in the other towns of Galicia. After 1870 some fi rms
opened up but there were very few of them. There were
two famous photographers from Kamieniec Podolski
namely J.Kordysz (approx. 1860–71) a member of the
French Society of Photographers who exhibited town
scenes and peasant types at their exhibition of 1863
and M.Greim, who subsequently bought his fi rm and
continued with his activities. Polish people were a ma-
jority in the area where Poznan was the capital. From
1842 various photographers worked there namely: J.T.
Willnow from Berlin and Tuch from Hamburg. The fi rst
permanent establishment was that of B. Filehne (1844–
approx.1880). The family of A. Zeuscher produced the
greatest number of photographs of Poznań inhabitants
(1857–1915). After the revolution of 1863/64 many
emigrant Poles earned a living from photography: C.
Mietkiewicz and N. Straszak in Brussels, W.Ostroróg
“Walery” in Paris, J. Kordysz in Kiev, J. Migurski in