Héjjas Pál - Horváth M. Ferenc: Régi képeslapok - Old postcards - Alte Ansichtskarten, 1896 - 1950 - Váci Történelmi Tár 2. (Vác, 2001)

Város a Duna partján - történeti áttekintés

creations, so it is becoming to mention those artists whose pieces are included in the book. The first photographer, Rezső Erdőssy (Győr, 1838-Vác, 1897), to settle in Vác was from a hardware merchant family in Győr. His father was Holtzbauer Rezső. He Magyarized his name to Erdősi his penname being Erdőssy. He married Holzer Emilia of Vác in 1860 and presumably became a Vác dweller in 1865, although he had a studio in Budapest too. Henceforward he was a photographer - being the bailiff of the town at the same time. He had studios in the Deaf and Mute Institute in Star (today Kossuth) Street and in Budapest Road. Posterity can but regret that no trace was left of his nice plan, that is to publish an album about his contemporaries and the renowned buildings of the town. Vidor Kassay (Kossitzky), an actor, who lived in Vác painting and taking photographs after his retirement. Ferenc Regetzky took out or renewed his photographic license in 1902 although he opened his studio in 1894 in the building of the Main Square Savings Bank. Dezső Báskay (Budapest 1875-Vác 1946) moved to Vác in 1901 and married Irma Kálmán. He received his license in 1908 and established a studio in Széchenyi Street and in Csáky Károly Street No 16 (today Main Square 25) in the building of the Industrial Bank then he had a studio flat in Gyarmati (today Balassagyarmati) Road No 5. The building of the Industrial Bank served many generations of photographers as a studio. He had a shop of photographic articles from 1938. From 1919 he was a member of the local National Council of the Real Estate Committee. Lajos Hlatky operated as a photographer in the town from 1913 to 1940. His flat and his "Photographic and Photo-Enlarging Studio" was in Budapest Road No 22. Márton Bán (1884-1968) was a Piarist teacher the curator of the local museum. His photographs appeared in publications and on postcards but not in an enjoyable form, because of poor typographic technique. Among the photographers residing outside of Vác Károly Divald (1830-1897) deserves a mention. He worked as a pharmacist and as a photographer. He established a phototypic institute in Eperjes, then in Budapest. He primarily took townscapes, which he published in albums. His postcards based on his photos are the most popular these days and belong to the most valuable ones. Mór Erdélyi (Érsekújvár 1866-Budapest 1934) was an outstanding photographer of his age. He took photos of sporting events, town- and landscapes, prepared report and genre pictures. Furthermore: János Barasits (Bp), Arno Hajos (Bp)

, György Klösz (Bp)

, J. Knöpfmacher (Bp)

, György Monostory (Bp), Sáray (Bp). We also encounter artwork on postcards. Among their creators we can find local and outsider artists alike. Tivadar Dörre (Nemespécsely 1858-Bp 1932) painter and illustrator. His picture of Vác appeared in the series "The Austro-Hungarian Monarchy in Writing and Pictures". Dezső Fabry (Jászfényszaru, 1893) graduated a school of arts and crafts and served as a lieutenant in the Vác foot regiment between 1920-1926, then in the Cycling Battalion. He made several drawings and paintings of Vác. Gyula Háry (Zalaegerszeg, 1864-1946) painter, illustrator, applied arts designer who graduated an art school together with Mihály Bauer, the founder of Deákvár, and married Bauer's sister, Piroska. Sándor Kapás (Vác, 1868) was a sculptor. His painting "The View of Vác from the Papvölgy vineyards" appeared on both postcards and in a book. He made the statue of Beatific Vác, the Hermit. Gergely Borge (Pest, 1858-Ujpest, 1930) was a painter. He painted several evocative pictures of Vác. The first postcards were issued in a typography in Vienna, but more and more typographers and merchants of Vác joined in this action. We have to be content with listing their names and their working periods. Márton Bán, Piarist teacher in the '30's and '40's of the 20 century; István Beck stationer until 1903; Ernő Berger, typography owner, 1923-1949; Blau Miksa and Co (Weiss) 1910-1941; Demjén Lajos, stationer and bookseller, 19111944; Mór Deutsch and his successor bookseller and stationer, 1899-1927; (Nándor) Ergesper and (Emília) Wölcz paper- and booksellers, 1909-1918; Antaí Gulyás and his wife, merchants, 1914-1942; the Franciscan Kapisztrán Printery 1926-1949; Mór Kohn, typographer, 1889-1950; József Kurucz and his wife, newspaper- paper- and book sellers, 1916-1944; head quarters of the Royal Hungarian "Damjanich János No I Cycling Battalion; Mayer (Májer) László wine merchant, 1911-1949; Sándor Mayer, typography owner, in the one time building of the Ambro typography, and bookseller, 1883-1911; Gusztáv Perczián (Pertzián) and his wife, and then their children's spice-, lamp, glass- and porcelain ware store, 1894-1944; János Péteri, the landlord of the Pokol country tavern, 191 1-1927; Henrik J(oachim) Rosenbaum, merchant, 1904-1915; Ferenc Schmi(e)dt and his descendants' stationery, 1894-1949; Gizella Spitz in the '20's and György Szkuhra and his wife's stationery, 1915-1941. Apart from the Vác representatives, private people, among whom photographers of national reputation published postcards for commercial and promotional purposes: János Barasits, photographer (Bp), Károly Berger (Bp), Károly Divald (Bp), Mór Erdélyi (Bp), György Klein (Bp), Arno Hajós (Bp), György Klösz (Bp), J. Knöpfmacher (Bp), S. Meisel (Nizsna), György Monostory, photographer (Bp), Pick brothers (Vienna), Sáray (Bp), Emil Storch (Vienna), Ottmar Zieher (Munich); companies and firms: First Imperial Royal Danube Licensed Shipping Company (Erste K. K. Donau-Dampschiffahrtsgesellschaft)

, Antai Ganz (Bp), Postcard Publishing Company of Gárdonyi and Fenyvesi (Bp), Kodak factory (Vác), Hungarian Phototypical Company Ltd (Bp), Royal Hungarian Post (Bp), MAV (Bp), SMD Modiano Trieste. Owing to their outstanding quality, Ignác Tragor's unique cards, which are picture cuttings glued on bark, are worth a mention. The issues owned by the Museum of Vác are considered to be unique copies in the area of picture postcard publication. In defining the age of the postcards as they lacked the indication of the year of issue, we considered the dating and the postal stamp date. If these details were missing we could use bibliographical and archival data to define the age of the postcards, which did not necessarily coincide with the date of issue.