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tion and planning of a “State Photographic Collection”
by the Senate of Hamburg. Many of the pictures for
the collection were taken by Minya Diéz-Dührkoop,
the daughter of the well-known photographer, Rudolph
Dührkoop (1848–1918), and Anton Joachim Christian
Bruhn, who was initially a carpenter but made pho-
tography his primary profession about 1900. Bruhn’s
photographs of Hamburg are strong atmospheric images,
many of which depict the working class of a major port
city. From 1908 to 1912 over one thousand 18x24 cm.
photographs were taken under Juhl’s direction.
Ninety of these were put together in a portfolio in
- The mayor of Hamburg at the time, Dr. Johann
Heinrich Burchard, was also very supportive of this
project. Burchard unfortunately died a month before
the project’s completion. The bound portfolio, however,
was dedicated to Burchard’s memory. The collection
was titled, “Ernst Juhl, Hamburg and the Hamburg
Landscape,” photographed by the Commission of the
Free and Hanseatic City of Hamburg. Copies were made
of the portfolio in two different editions, one bound
in parchment, the other bound in a half-linen binding.
Copies were for sale and used as gifts for Hamburg
citizens who contributed special services to the city.
The photographs taken for this project, in general,
emphasized the pictorial and artistic, rather than pure
documentary qualities.
Juhl’s own private photography collection began in
earnest, probably about 1893. His collection began to
particularly expand in 1899 after he purchased a num-
ber of calotypes from James Craig Arman and work
from David Octavius Hill, Robert Adamson, and Julia
Margaret Cameron. A special exhibit of Juhl’s collec-
tion was held in Berlin from May 8-June 30, 1910 at
the Kunstgewerbe Museum. Juhl’s collection, now in
Hamburg’s Museum für Kunst and Gewerbe, and Berlin
contains examples of quality work from photographers
working throughout the world at the turn of the century.
Major names, such as Stieglitz, Steichen, Käsebier,
Hofmeister, Kühn, etc. who were experimenting with
various photographic techniques and content imagery,
fi ghting for the role of photography as a signifi cant art
form, are to be seen in the collection. Due to fi nancial
diffi culties for Juhl’s widow, Henny, the collection was
sold after Juhl’s death.
Ernst Juhl died on August 16, 1915. In a com-
memorative statement, Dr. Willi Warstatt wrote, “Er
war seiner der bedeutendesten Freunde und Forderer der
Kunstlerischen Photographie, und sein Tod wird nicht
nur in Deutschland, sondern auch über die Grenzen
unseres Vaterlandes hinaus Anteilnahme und Trauer
erregen.” (“He was one of the most meaningful friends
and supporters of art photography, and his death will
evoke sympathy and grief not only in Germany, but far
past the borders of our fatherland.”)—Quoted in Rudi-
ger Joppien, Eine Schöne und auf dem Kontinent wohl
einzige Sammlung; Die Sammlung Ernst Juhl (Hanburg,
Museum für Kunst und Gewerbe, 1989, 21.)
Katherine HoffmanBiography
Ernst Juhl was born on December 10, 1850, one of fi ve
children in Hamburg, Germany. He attended the Gym-
nasium in Hamburg and the Technische Hochschule in
Hannover, studying engineering. His attempts to work
in business were somewhat unsuccessful, and following
marriage to Johanna Julie Auguste Jacoby (Henny) and
starting a family, Juhl became much more interested in
the arts and photography. From 1893–1903 he, with
the Society for the Promotion of Art Photography,
which he had started, organized ten international art
photography exhibitions at the Hamburg Kunsthalle.
In 1902 he was forced to give up the art direction of
the “Photographische Rundschau.” From 1908–1912
Juhl directed the planning and organization of a State
Photographic Collection by the Senate of Hamburg. He
died on August 16, 1915.
See also: Photo-Club de Paris; Photographische
Rundschau; and Dührkoop, Rudolf and Minya.Further Reading
Evers, Bernd, Kunst in der Bibliothek. Berlin: Akademie Verlag,
1994.
Juhl, Ernst, and Margret Kruse, Kunstphotographie um 1900:
die Sammlung Ernst Juhl. Hamburg: Museum für Kunst und
Gewerbe Hamburg, 1989.
Juhl, Ernst, Camera-Kunst: eine internationale Sammlung
von Kunst-photographien der Neuzeit. Berlin: G. Schmidt,
1903.
——, Das Lichtbild als Kunstwerk. Hamburg, 1897.
——, Internationale Kunst-Photographen. Hamburg, 1900.
——, Hamburg—Land und Leute der Niederelbe, Aufgenommen
im Auftrag der Freien und Hansestadt Hamburg. Hamburg,
1912.JÚNIOR, CHRISTIANO (1832–1902)
José Christiano de Freitas Henriques Júnior was born
in Portugal, in the small island of Flores, Azores archi-
pelago, in 1832. He is known for his work in Brazil,
Argentina and other South American countries. Noth-
ing is known about his fi rst years in Portugal where he
remains unknown, he is not even mentioned in the only
Portuguese History of Photography, written by a fellow
Azorean. Even on his small island, his memory seems
to be lost. Following the path of many of his fellow
countrymen, he migrated to Brazil in 1855. His photo-
graphic activities started in Maceio, northeast Brazil,
in the early 1860’s. He went to Rio de Janeiro in 1863,
where as a partner of several photographic studios, he