1040
novine” (Serbian Popular Newspaper) states that
Dimitrije Novaković made the fi rst daguerreotype of
the city of Belgrade. Serbian press reports about an-
other domestic author—Milija Marković, a clergyman,
who learned the technique from a German traveling
photo grapher Adolf Deitsch in 1850. Josif Kappilleri,
traveling daguerreotyper, came to Belgrade in 1844, and
Florian Gantenbein came from Switzerland to open a
permanent studio in Belgrade in 1860.
The appearance and publishing of collections of
photographs in the format and outfi t of cartes-de-visite
coincided with the incline of the fi rst Serbian dynasty:
Obrenović’s. Early studios of cartes-de-visite portraits,
as Richard Musil and Mirić, Panta Hristić, Anastas
Stojanović, Ðoka Kraljevački, Aleksa Mijović, Milan
Jovanović and others, introduced the international lan-
guage of Disderi’s portrait into Serbian photography.
Their work is no different from the work of foreign
photographers such as Nicolaus Stockmann, Moric
Klempfner and Lazar Lezter.
The value of documentary approach becomes particu-
larly apparent during Serian-Turkish war 1876–1878.
Ivan Gromann, a Russian photographer, made a series
of photographs in the wet plates technique about the
scenes of war as well as fragments of everyday life in
the south of Serbia. His intention was to perceive and
document reality in its totality.
Milanka TodiĆ
See also: Cartes-de-Visite; and Wet Collodion
Positive Processes.
Further Reading
Antić, Radmila, Anastas Jovanović, talbotipije i fotografi je,
Beograd: Muzej grada Beograda, 1986.
Boev, Petar, Fotografsko izkustvo v Bulgaria (1856–1944), Sofi ja:
Državno izdateljstvo Septemvri, 1983.
Debeljković, Branibor, Stara srpska fotografi ja, Old Serbian
Photography, Beograd: Narodna biblioteka Srbije, National
Library of Serbia, 2005.
Eder, Josef Maria, History of Photography, New York: Columbia
University Press 1945, 379.
Faber, Monika, The First Decade of the New Medium 1839–
1950, The Eye and the Camera, Paris: Seul, 2003, 69.
Girard, Gérard, “Notes on Early Photography in Albania” in His-
tory of Photography, Volume 6, Number 3, 1982, 241–256.
Jankulovski, Robert, Exhibition at Fotofakt, Skopje: Gallery
Skopje, 2001.
Kadaré, Ismail, Albanie, visage des Balkans. Ecrits de lumière
(photographies de Pjetër, Kel et Gegë Marubi), Paris: Ar-
thaud, 1995.
Malić, Goran, Milan Jovanović, fotograf, Milan Jovanović, The
Photographer, Beograd, Srpska akademija nauka i umetnosti,
Serbian Academy Science and Arts, 1997.
Marušić, Nikola, Istorija fotografi je u Bosni i Hercegovini do
1918 , Photography in Bosnia and Herzegovina to 1918, Tuzla:
Foto-savez Bosne i Hercegovine, Photographic Association
of Bosnia and Herzegovina, 2002.
Nixon, Nicola, “Albania at the turn of the 19th Century: The
Photos of the Marubi Family” in Tirana Times, September
12, Tirana 2005, 8.
Stardelov, Igor, Manaki, Skopje: Kinoteka na Makedonija,
2003.
Todić, Milanka, Fotografi ja u Srbiji u 19 veku, Photography in
Serbia in 19th Century, Beograd: Muzej primenjene umet-
nosti, Museum of Applied Arts, 1989.
Todić, Milanka, Istorija srpske fotografi je (1839–1940), The His-
tory of Serbian Photography (1839–1940), Beograd: Prosveta,
Muzej primenjene umetnosti, 1993.
Todić, Milanka, “Anastas Jovanović: Calotype Portraits and
Cityscapes, Photography and Research in Austria—Vienna,
the Door to the European East, Passau: Dietmar Klinger
Verlag, 2002, 13–21.
Todorova, Maria, Imagining the Balkans. New York: Oxford
University Press, 1997.
http://home.drenik.net/foto/anastas/index.htm
http://www.shkoder.net/foto/foto_mf.htm
http://www.mymacedonia.net/links/manaki.htmOVERSTONE, LORD (1796–1883)
English patron
Samuel Jones-Loyd, fi rst, and only, Baron Overstone,
was an infl uential banker, a collector of Italian, Dutch,
and French old-master paintings, and a munifi cent
patron of the arts. He was one of the organizers of and
lenders to the Manchester Art Treasures exhibition of- His place in nineteenth-century photographic
history is due to his connection with Julia Margaret
Cameron and her family, to whom he provided substan-
tial long-term fi nancial support, in large part because of
the friendship he had formed at Eton College with her
husband, Charles Hay Cameron.
It was Mrs. Cameron’s habit to give albums of her
work to members of her family and to famous men
whom she admired, like Sir John Herschel and George
Frederick Watts, both of whom sat to her. As a likely
acknowledgement of the largesse that had underwritten
her photographic endeavors, on August 5, 1865, Mrs.
Cameron gave Lord Overstone an album containing 111
photographs that she had made in the previous eighteen
months, beginning with some of her earliest images. She
indexed them in three categories: “Portraits,” “Madonna
Groups,” and “Fancy Subjects for Pictorial Effect.”
Inevitably, Overstone became one of her sitters, but not
until 1870.
Gordon Baldwin
OWEN, HUGH (1808–1897)
As a photographer, Hugh Owen is now chiefl y remem-
bered for his photographs of the objects exhibited at
the Great Exhibition of 1851 (otherwise known as
Exhibition of Works of Industry of All Nations) and for
being the fi rst photographer to photograph a cornfi eld
(an achievement since early emulsion usually rendered