E. Csorba Csilla: A kamera poétája. Adré Kertész-fotó a Petőfi Irodalmi Múzeum gyűjteményeiből (Budapest, 2019)

E. Csorba Csilla: A kamera poétája. André Kertész fotói a Petőfi Irodalmi Múzeum gyűjteményeiben / Csilla E. Csorba: The Poet of the Camera Photographs by André Kertész in the Collections of the Petőfi Literary Museum

18 Only fragments of her biography are known; see Brigitte Ollier - Elisabeth Nora, Rogi André. Photo sensible, Paris, Editions du Regard, 1999; E. Csorba Csilla: Magyar fotográfusnők 7900-7945, Budapest, Enciklopédia, 2001, 40-42., 262.

19 György Bölöni, Kertész, a sötét kamara varázslója, Lantos Magazin, 15 June 1930, Voi. II, No. 12, 997.

20 Párizstól Pocsolyavárosig. Bölöni György és Itóka levélnaplója, 1906-1912, selected, annotated and foreword by Csaba Nagy, Budapest, PIM, 2005.

21 Commemoration of Ady on 30 January 1932 in the ceremonial hall of the House of Hungarians (9, Square de Vergennes), and the unveiling of Imre Huszár’s statue of Ady. (PIM, Any. 76.i4i/f)

22 It is a challenge to find one’s way around the Parisian organizations devoted to Ady. Club Jeunesse, the gathering of Hungarian college students, also held an Ady evening in 1932 with support from the Ady Endre Cultural Society, which was present until the late 1930s. (PIM, Any. 76.141/d/e/h)

23 Letter from Brassai (Gyula Halász) to his parents, Paris, 2 December 1924, In: Brassai, Előhívás, Bucharest, Kriterion, 1980,142. (PIM, Any. 74.102/g)

24 Krisztina Passuth, Párizsi beszélgetés André Kertésszel, Paris, 25 October 1982, Új Művészet, 1994, Voi. V, No. 6, 74.

25 György Bölöni, Az igazi Ady, Paris, 1934, Editions Atelier de Paris. For the genre of The Real Ady, see Csilla E. Csorba: "For him especially, objects open up and reveal their hidden faces.” Napút, 2019, XXI/2,117-120.

26 Several subscription sheets can be found in the Petőfi Literary Museum. (PIM, Any. 73/23/a)

27 György Bölöni, Kertész, a sötét kamara varázslója, Lantos Magazin, 15 June 1930, II/12. (Typed article, PIM Library, G307) Their cooperation was not limited to one instance. For example, Bölöni saw to Kertész’s request to the German Embassy, where he took 12 photographs in that rare location. György Bölöni, Indiskréciók a párisi német nagykövetségről. (Typed article, PIM Library, G238)

28 The Real Ady, 71.

29 György Bölöni, Kertész, a sötét kamara varázslója.

30 It is not so well-known that György Bölöni also asked Ady’s photographer, Aladár Székely, to work with him, but the letter sent from Paris must have been lost. Székely saw only the nearly ready volume with Kertész’s photographs and expressed his appreciation with the words “superb artistic illustrations”. Aladár Székely’s letter to György Bölöni, Budapest, 4 April 1934, (PIM, V. 4132/337/1)

31 Károly Kineses - Magdolna Kolta, Hazai anyag. Fotónapló. André Kertész és a magyarok, Budapest, House of Hungarian Photographers - House of Mai Manó, 2005. The album André Kertész by Michel Frizot and Annie-Laure Wanaverbecq (Paris, 2010) devotes a chapter to the volume The Real Ady and includes seven photos from the series, 218-222. Wanaverbecq remarks that the unsigned montage was made from Kertész's images, which copied Ady’s registrations in Parisian hotels one under another. (The Real Ady, 1934, 249,)

32 Ibid. 69.

33 Ibid. 68-69, 128. It is interesting to compare the perfectly arranged picture with photographer Aladár Székely’s faithful image, which was taken in the first half of the 1920s in Ady’s room in the Hőtel de I’Europe. In the ownership of the Hungarian Museum of Photography, Kecskemét.

34 Ibid. 71-72.

35 Itóka. Ady Párizsban, Bucharest, Kriterion, 1977. The years spent with Ady were recalled by Itóka Bölöni in 1922 in Bécsi Magyar Újság, in the series Ady Párizsban.

69