bulletin Banking and Financial History e.V.) Banking and Financial History (The European Association for Association for eabh (The European Finance & Photography Finance & 2021 and Photographic Mediums’ equipment. © National of Greece Bank of © National equipment. Mediums’ and Photographic Polytheama of the Department with its lens from projector A Photograph: eabh bulletin 2021 Finance & Finance & bulletin Photography 3 BULLETIN eabh EMAIL EMAIL [email protected] TEL 36 50 84 650 +49(0)69 WEBSITE bankinghistory.org ISSN 2219-0643 LICENSE NC ND BY CC SUBMISSIONS SUBMISSIONS email All submissions by

, am Main, 2021. All rights reserved. All rights 2021. am Main, Frankfurt eabh, LANGUAGE EDITOR LANGUAGE Chloe Colchester Richard McBurney, grand-creative.com McBurney, Richard EDITORS eabh Carmen Hofmann, eabh Gabriella Massaglia, D-60314, 126-128, Landstrasse Hanauer am Main, Frankfurt KEY TITLE TITLE KEY eabh bulletin Association for The European eabh - e.V. Banking and Financial History DESIGN © 4 INTRODUCTION Dear members and friendsDear of eabh, financial institutions. many collections of the archival part of a key are Photographs set and universality immediacy their power, documentary their charge, emotional Their any for an asset provide they well, Used documents. archival other them apart from financial institution. countries. different 17 financial institutions in eleven articles from features volume This 150 a span of over institutional practice glimpses of provide Almost 300 photographs and money; buildings, office members, about staff stories reveal The photographs years. innovation, industrial and financial movements, cultural fashion, about us tell they and and much more. leisure, colonization, gender, poverty, the connections explore to project wider a of and part a series, of This issue is the first and partner its member invite to like would eabh finance and photography. between the series. of volume the second to contributing join in by institutions to do they How financial institution? your for collections important photographic are Why of appeal has the emotional How and identity? culture corporate defining to contribute lock-down during the 2020/21 employees your with engage to you helped photographs What sources? as historical photographs of the use enhance can archivists period? How digital collections? by being presented opportunities are new enjoy you hope we in the meantime, and, responses your hearing to look forward We reading this volume. The editors

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CONTENTS

Contents

d Street: At work and play and play work At d Street: WORLD BANK WORLD Picturing development Photo collection of NN Group collection of Photo BANK COMMERCIAL Empire banking in the Russian export Agricultural archives photographic UniCredit’s NATIONAL BANK OF NATIONAL and photographer banker Jurist, Stojanović: Marko BANK OF SLOVAKIA NATIONAL Slovenska banka Národná of Archives the collection of The photograph NN GROUP The photographic collections of the San Paolo Banking Institute of Turin of Institute Banking the San Paolo collections of The photographic the HAEU at history Image collections on finance and banking archives Sanpaolo photographic The Intesa NATIONAL collection multi-image spectacle and its photographic pioneer A Polytheama: Creating the European 's audiovisual collection audiovisual Bank's Central the European Creating 1563 FONDAZIONE the Compagnia di San Paolo of Archive the Historical From UNION (HAEU) OF THE EUROPEAN ARCHIVES HISTORICAL CROATIAN NATIONAL BANK NATIONAL CROATIAN collection photography Bank’s National The Croatian BANK DEUTSCHE collection The photo Kleinhans: Lutz CENTRAL BANK EUROPEAN photographs branch the past: Barclays Views of collection photographic Ireland’s Bank of Central ABN AMRO collection photographic historical AMRO ABN The Archives Historical Italy’s of the Bank collections of The photography 54 Lombar

- - - th e, e,

century: from chairs of the board the board chairs of from century: st f origin and function, ABN AMRO’s his- AMRO’s ABN origin and function, f What sets this collection apart is its siz What sets sizeable sub-collection consists of thou- sub-collection consists of sizeable The collection includes diversity. scope and number The total items. 100,000 an estimated back registration uncertain due to remains but also because the collection is still logs, very the collection is The scope of growing. - remarka is collection The topographic broad. thousands of addition, In comprehensive. bly and Internet sites. and Internet Another In terms o In terms

of that little from differs collection probably photo torical date The oldest photos companies. larger or other The digital images. are the most recent the 1860s, from and photography and portrait emphasis is on unpop- or in populated whether situations, work capturing or and cashiers of house staff front with the offices, ulated It fur or clients. staff for events or at in the back office, - world locations or branches from been preserved images have Aires, Buenos Istanbul, London, Singapore, Kong, wide: Hong Penang, São Paulo, Jeddah, Johannesburg, Chicago, Shanghai, IndiesEast Dutch former The on. so Antwerp—and Mombasa, well-represented. particularly are (Indonesia) 19 the late members from staff of photographs sands of work of Gerald van der Kaap, in addition to work by inter by work in addition to Kaap, der van Gerald of work Martin Gursky, Andreas names such as known nationally num- also a remarkable are There Vitali. and Massimo Parr such and sculptors painters made by photographs of ber However Dibbets. Jan and Warmerdam van as Marijke - photo will be the historical this article of the main focus collection. graphic Intranet or magazines staff for material nishes illustrative century to the early 21 early the to century 6 ABN AMRO ABN estimated estimated includes an an includes The collection The collection 100,000 items. 100,000 Jaap-Jan Mobron Jaap-Jan century pho- century th photographic collection photographic The ABN AMRO historical The AMRO historical ABN O started purchasing purchasing O started ABN AMR ABN by Dana Lixenberg and the experimental and the experimental Lixenberg Dana in situ by An image of the bank, the and beyond tography are represented. The focus is on work by Dutch Dutch by work is on The focus represented. are tography van Ed photographer such as the street photographers Mechanicus, Philip photographers portrait the Elsken, der - photogra the naturalist Balen, van Céline Breukel, Koos people living on the of the portraits Diederix, Elspeth pher margins modern photography relatively late, the the late, relatively modern photography visual traditional being on the more focus with as is the case the 1990s, arts up to - There collections. corporate most older modest in remains art photography its collection of fore 20 within late all movements and not size

The ABN AMRO Art & Heritage department manages one manages one department Heritage Art & AMRO ABN The Netherlands, the collections in corporate the largest of col- this that fact the Just diverse. most the certainly and as well as art contemporary and modern includes lection is There it special. makes objects and archives historical art and of within the main categories diversity also great the art collection includes: sculp- example, For history. in a work art, video and conceptual installations, tures, and forms techniques, and graphic painting of huge range about are there total, In photography. art including sizes, a num- art, of works modern and contemporary 5,000 modest a to thanks year every grow to continues that ber of consists collection historical The budget. acquisitions coins and and archives; sub-collections: shares more many boxes objects; money and films flyers, advertising medals; maps and safes; and fire and period furniture; coats-of- atlases; machines and façade models and gold scales; sculptures arms, least and last but not books and paintings, photography. historical

eabh bulletin eabh bulletin 7 ABN AMRO ABN 1 1. Dealing room of the ABN AMRO head office, Foppingadreef Amsterdam, 1998. Photo: Bert Verhoeff. © ABN AMRO/Bert Verhoeff AMRO/Bert © ABN Verhoeff. Bert Photo: 1998. Amsterdam, Foppingadreef office, head AMRO ABN the of room Dealing 1. ABN AMRO ABN ------terests in the former in the former terests sonal mark. For example, N.E. N.E. example, For sonal mark. Direc Managing Onnes, Rost Bank-Unie, Hollandsche of tor in doc interested keenly was the construction umenting the bank’s of and renovation His years. the over premises in several survives interest albums and series. attractive also were Building reports of forerunners other by made Asian such as the AMRO, ABN selections bore a purely per a purely selections bore Through its business in Through sonal details and special features were often written on on written often were and special features sonal details the photos. the back of behind a left Society Trading the Netherlands colonies, from dating photographs colonial of collection sizeable East the Dutch of records with sizeable , 1870–1940 - Suriname and the Neth for extent a lesser Indies and to - includes exten It Aruba). and (Curaçao Antilles erlands development land of number a of documentation sive - tell of portraits of series companies and an exceptional world. the all over offices at the company’s working ers - submit photo periodically to required was Each office Per purposes. identification for its employees of graphs head office of the Netherlands Trading Society in Bat- Society Trading the Netherlands of head office the of colony in the former Jakarta) (present-day avia Amster the and of 1930s, East Indies in the early Dutch Amster the of on the Rembrandtplein dam head office renovation, its extensive and damsche Bank in the 1920s, in the 1960s and 1970s. modernization and extension build- bank new an important of the completion After pho- to hired often was photographer a professional ing, empty completely and the typically the exterior tograph used regularly were these series the 1920s, From interior. which with publications promotional for as illustrations world. the to office its new presented the bank proudly is that done by assignment such a photo of An example the of the head office and 1936 of in 1926 Dijk van Jan Vijzelstraat, Amsterdam’s on Society Trading Netherlands When Archives. City Amsterdam the of location the now (Paul photographer a 2001, in this building left bank the both of a record make to again approached was Riel) van Bank building on Amsterdamsche this building and the sale by be put up for soon would which Rembrandtplein, the Historical commissioned by was work This the bank. department. Archives - photo to when it came policy its own pursued banks dictated usually Business considerations records. graphic the sometimes but being taken, pictures the kind of 8 - - - - ABN AMRO ABN social context, after all. after social context, always worked and still work in a and still work worked always a unique picture of broader socio- of broader a unique picture The photo collection also provides also provides collection The photo historical developments within the developments historical banking system and beyond; banks banks and beyond; system banking economic, technological or cultural- economic, technological - o collec ographic collection of ABN AMRO AMRO ABN collection of ographic preserved and made accessible since the and made accessible since the preserved oundation set-up has been maintained up to to up maintained been has set-up oundation The phot The f The Formally The phot rent make-up of ABN AMRO Bank. Each of the constituent the constituent Each of Bank. AMRO ABN of make-up rent reflects the numerous mergers which resulted in the cur resulted which mergers numerous the reflects

- founda Heritage Art & AMRO ABN The day. the present while collection entire the of ownership legal has the tion con- This protective with the bank. its economic use lies - expe AMRO ABN when in 2007 worth its struction proved foreign three a consortium of by rienced a hostile takeover among the consor cut up and distributed was and banks, this fate. spared was collection The bank’s tium partners. founding of the ABN AMRO Historical Archive department department Archive Historical AMRO ABN the of founding the bank of the legacy from the collection derives in 1992, its predecessors: holdings of with the accumulated together Algemene Bank Amster Nederland (ABN), ABN AMRO,

dam-Rotterdam Bank (Amro Bank), Fortis, Rotterdamsche Rotterdamsche Fortis, Bank), Bank (Amro dam-Rotterdam - (Neth Handel-Maatschappij Nederlandsche VSB, Bank, Spaarbank te Centrumbank, the Society), Trading erlands - Nederlandsch-Indis Bank, Amsterdamsche Rotterdam, to Zoonen, & Mees R. Bank, Twentsche Handelsbank, che in created was art department separate A name but a few. renamed Art Foundation, Amro Bank: the Amro the by 1976 the merger in 1991 after Art Foundation AMRO ABN the and historical the 2010, In Bank. Amro ABN and between that added to was Bank Nederland Fortis art collection of follow merged were banks these two after AMRO ABN of the 2012, In government. Dutch the by nationalization ing to Archive Historical with the merged was art department a Finally, department. History Art & AMRO ABN the form Art AMRO ABN chosen in 2020: was name department new Heritage. & tion also provides a unique a unique tion also provides socio-eco- broader of picture - cul or technological nomic, developments tural-historical and system within the banking worked always banks beyond; in a social con- work and still include Examples all. after text, the pneumatic tube systems the monotonous in the 1900s, typists in the 1920s, of rows holiday associations or the staff (and the computer of the introduction in the 1950s, resorts 1970s, in the garden the office the mini skirt) in the 1960s, and so on. in the 1980s, rooms trading the impressive and directors to desk clerks and doormen, either posed in posed in either and doormen, desk clerks to and directors the purpose for whether individual portraits, for or groups purposes. other for or identification of

eabh bulletin eabh bulletin 9 ABN AMRO ABN 2 2. ABN Office Marktstraat 34 in Delfzijl, 1970. Photo: Aart Klein. © ABN AMRO/Aart Klein AMRO/Aart © ABN Aart Klein. Photo: 1970. 34 in Delfzijl, Marktstraat ABN Office 2. ABN AMRO ABN 4 10 ABN AMRO ABN 5 3 3. Twentsche Bank Office Prins Hendrikkade Amsterdam, 1954. Photo: Ad Windig. © ABN AMRO © ABN Windig. Ad Photo: 1954. Amsterdam, Hendrikkade Prins Bank Office Twentsche 3. AMRO ABN © Salomon. Erich Photo: 1934. Tropenmusuem, in the present Aalst van Karel for party Retirement 4. AMRO ABN © 1935. ca. school savings, promoting Alkmaar the Nutsspaarbank of Photo 5.

eabh bulletin eabh bulletin 11 9 7 11 ABN AMRO ABN 10 6 8 6. Boardroom (‘Governors’ Chamber’) former head office of the Nederlandsche Handel-Maatschappij, Vijzelstraat Amsterdam, 2001. Photo: Paul van Riel. Paul Photo: 2001. Amsterdam, Vijzelstraat Handel-Maatschappij, Nederlandsche of the office head Chamber’) former (‘Governors’ Boardroom 6. Koot Max © Koot. Max Photo: 1985. ca. Wal in Eindhoven, ABN Office 7. Dijk. van J. Photo: 1936. Amsterdam, Vijzelstraat Trading Society, Netherlands of the office the head of department Secretaries’ 8. AMRO ABN © 1867. Society, Trading the Netherlands of agency Yokohama the of Personnel 9. AMRO ABN © 1913. Society, Trading the Netherlands of agency the Semarang of Staircase 10. AMRO © ABN 1985. Kong, Hong Road in Wan ABN Office Cheung Sha 11. ABN AMRO ABN

15 13 12 ABN AMRO ABN on the occasion of the signing of a bond loan in the boardroom (‘Large Meetingroom’) of the ABN head office, Vijzelstraat Amsterdam, 1986. 1986. Amsterdam, Vijzelstraat office, ABN head the of Meetingroom’) (‘Large a bond loan in the boardroom the signing of on the occasion of Photo: Ton ter Heege. © ABN AMRO/Ton ter Heege ter AMRO/Ton ABN © Heege. ter Ton Photo: Dinner 14 12 15. Hollandsche Bank-Unie office building on Coolsingel in Rotterdam, 1952. © ABN AMRO © ABN 1952. Rotterdam, in on Coolsingel building office Bank-Unie Hollandsche 15. 12. Supervisory Board meeting of the Spaarbank te Rotterdam in the head office, 1900. Photo: Carl Mögle. © ABN AMRO © ABN Mögle. Carl Photo: 1900. office, in the head Rotterdam the Spaarbank te of meeting Board Supervisory 12. AMRO ABN © 1895. tellers, of portraits a series of part of Society, Trading the Netherlands of agency Kong Hong the Shau of Kung Leung Assistant-teller 13. 14.

eabh bulletin eabh bulletin 13 ABN AMRO ABN 16 16. Back gallery of the Padang sub-agency of the Netherlands Trading Society, Dutch East Indies, ca. 1910. © ABN AMRO ABN © 1910. ca. Indies, East Dutch Society, Trading the Netherlands of sub-agency the Padang of Back gallery 16. ABN AMRO ABN - - - eservation of the his- of eservation reception of East Indian mon- of reception spouses at the and their archs the of the bank, of head office Bern- that Prince internship held at the bank before hard - the then Prin his marriage to and Juliana, Queen, later cess, for party the retirement of Karel the board chairman of - Tro Aalst in the present van ays a difficult task in a corpo- a difficult task in ays

Acquisition is alw Acquisition The management and pr The management its heritage is by which safeguarding in environment rate - tech in photo Advancements task. a core not definition in the manage- challenge an extra created have nology in recent photography historical the collection of of ment - pro occasions to on several nal specialist has been hired a the collection, into insight and better order vide more - tech using diverse recorded work collection that holds - heliogra print, light offset, platforms: digital and niques Polaroids, carbon print, albumin print, lithography, vure, and black-and-white, colour slides, screen small and large - print disordered, and loose or carousel boxes, in stored A4, 5x5 cm, from ranging in sizes or sheets ing as contact single negatives, sizes, in non-standard or A3 and larger neg- and duplicate inter-positives in strips, in films or diskettes, 5 ¼ and 3.5” USB sticks, DVDs, CDs, atives, Not-yet-examined drives. hard and external disks ZIP - inven mapped and cleaned, been sub-collections have pack in the correct and repackaged registered toried, partly be done, to remains work of Plenty aging material. the collection. of the growth due to torical photo collection of ABN AMRO has received received has AMRO ABN of collection photo torical an exter example, For years. in recent attention extra in a hat, briefcase or sling, he was the first to succeed succeed the first to was he sling, or briefcase in a hat, - casinos and ball law, of in courts in taking photographs his for renowned was He being noticed. without rooms the rich photographed Salomon approach. new entirely gestur i.e. settings, his time in everyday of and famous ing, smoking and, above all, talking. He invariably offered offered invariably He talking. all, above smoking and, ing, making such subjects, his surprised to the photographs - wel a considered increasingly was that he an impression - an equal: the gentle importantly, more and, come guest, The camera. (candid) invisible with the man photographer - original photo of a set collection contains photo bank’s all reportage Salomon in 1934–1937, Erich by taken graphs the of Society: Trading series concerning the Netherlands The people photographed Amsterdam. penmuseum in attitude that is the un-posed and spontaneous show these each of Fortunately, work. Salomon’s so typical of well. exceptionally has survived photographs 14 - - ABN AMRO ABN in recent years. in recent The management and has received extra attention attention extra has received preservation of the historical of the historical preservation photo collection of ABN AMRO of ABN AMRO collection photo - - Bank col the Rotterdamsche wonderful picture of the changing the changing of picture wonderful ork of Dr Erich Salomon (1886–1944), Salomon (1886–1944), Erich Dr ork of ertising pho- The w The All in all, a All in all, Adv The main part of The main regarded as a pioneer of photographic journalism, occu- journalism, photographic of as a pioneer regarded Concealing a camera pies a special place in the collection.

- banking has been pre and back-office front-office of face small both of taken pictures in the thousands of served detailed and more general branches—offering and large or empty whether and interiors, exteriors their views of anon- by the collection is made part of large A occupied. is also there but as mentioned, ymous photographers, pho- including the abstract names, famous from work God- photographer the celebrity Rien Bazen, tographer the modernist landscape photographer fried de Groot, - the photojournal Koot, Max the portraitist Aart Klein, and Cas Oorthuys, Mentzel Vincent Heege, ter Ton ists work studio, Oosterhuis the pioneering Pieter from work his documentation for best known Meyboom, Marius by - the German photogra (1944–45), Famine the Dutch of - photogra portrait Spies and the celebrated Hans pher Jacob Merkelbach. pher, tography commissioned by by commissioned tography a small but the bank forms the histor part of attractive collection; some- ical photo - times well-known photogra Ad such as hired, were phers Toussaint. Windig and Dolf by taken The photographs can be such photographers emphasis in pho- witness the we In fact aesthetic. highly when pho- period, pre-war the from shifting tography give striving to character, documentary had a tography building, a of image impressive especially and complete a and structures emphasis on form—shapes, a growing to more by followed man and his environment, lines—or unusual perspec record to taken photos spontaneous

lection shows its provincial network. A picture of nearly nearly of picture A network. its provincial lection shows 1960 has survived, around the period from branch every Amster photographers. professional by taken mostly - series pro had a similar damsche Bank/Incasso-Bank hundreds a series of the same time and duced at roughly have enlargements of and a number glass negatives of in Bank branches VSB ABN and most series of A survived. the banks of The managing boards the 1980s also exists. for posing either the collections, in prominently figure occa- at official captured or photographs group portraits, with subject popular another were vaults Banking sions. Bank. AMRO ABN today’s of the forerunners situations. and serendipitous tives

eabh bulletin eabh bulletin 15 ABN AMRO ABN 17 17. Twentsche Bank office A.J. Ernstraat in Amsterdam, 1962. Photo: Dolf Toussaint. © Dolf Toussaint heirs Toussaint © Dolf Toussaint. Dolf Photo: 1962. Amsterdam, in Ernstraat A.J. Bank office Twentsche 17. ABN AMRO ABN -

ography is the quintessential medium of our our medium of quintessential the is ography Phot reach can that language visual an engaging speaks It day. - can repre It people. young especially wide audience, a - organisa responsible socially modern, a as bank the sent use in social ideal for is therefore and photography tion, in a lim- this is happening only moment the At media. the task for is another Here way. and non-structured ited has recently in this direction step major A department. website, a bespoke of with the introduction been taken little space too (much) offered website as the corporate The https://art-heritageabnamro.nl. this department: for demon- 2020, launched in September was which site, the collection as a of and quality the diversity strates collection. including the photo whole, Author’s profile who has and art historian is a historian Mobron Jaap-Jan department & History Art AMRO ABN with been affiliated the depart- for as being responsible well As since 1993. his activ and online publications, popular academic, ment’s on aspects of and tours exhibitions ities include arranging banking history. Contact ABN AMRO Mobron: Jaap-Jan [email protected] https://art-heritageabnamro.nl of a (temporary) exhibition in one of the bank’s offices, offices, the bank’s of in one exhibition a (temporary) of publication and (digital) with an accompanying possibly wall- using decoration of but also as a form guided tour, old bank branches. of blow-ups photo sized 16 - - - ABN AMRO ABN Art & Her Art & efore always looking for looking for always efore o this problem is the occa- o this problem care of what is in fact shared cultural property. of what is in fact shared care the bank’s role in society over the centuries, at home at home the centuries, over in society role the bank’s A collection can legitimize the bank historically, show show historically, the bank can legitimize A collection art and historical property with the public, property art is the bank and historical giving something back to society, as it were, by taking taking by as it were, society, to giving something back and awareness of the bank. By sharing its collection of of the of bank. its collection By sharing and awareness and abroad, and underline and visualize the social role the role social and and underline visualize and abroad, The department is ther The department Although the collection managed by A partial solution t A itage is certainly comparable to a museum collection in a museum collection in to comparable itage is certainly which the in the context and size, its nature of terms - and there business-oriented is carried out remains work in the d’être raison The department’s commercial. fore the company of final instance lies in the business model the museum collection. of the maintenance for that pays the show historically, the bank collection can legitimize A at home and the centuries, over in society role bank’s and the social role visualize and underline and abroad, art sharing its collection of By the bank. of awareness is giv the bank with the public, property and historical taking care by were, as it society, back to ing something also supports It property. cultural shared what is in fact of and the company of identity the corporate pride, company the bank. of the unique character

good opportunities to deploy its collections, including including its collections, deploy good opportunities to can be used in the form The latter collection. the photo - pre fill or to photographers professional sional hiring of the in 2016–2017 example, For in the collection. vent or typical photographed Verhoeff Bert photographer press front- various at and conditions situations work unusual Heritage & Art of the on behalf locations and back-office also been catalogues have back In addition, department. photographers from (including image rights) purchased the bank in the past. for a lot worked who have

decades (as well as for other sub-collections). Digital Digital sub-collections). other as for well decades (as irrelevant, almost storage physical makes photography transfer for motivation or reason so that an important reor department—relocations, history the company to ganisations, staff turnover and so on—has largely disap- and so on—has largely turnover staff ganisations, acquisitions policy, active more a requires This peared. lacking. are usually which the time and resources for

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17 ABN AMRO ABN responsible organisation. responsible It can represent the bank as a modern, socially socially as a modern, the bank It can represent It speaks an engaging visual language that can It speaks reach a wide audience, especially young people. people. especially young a wide audience, reach Photography is the quintessential medium of our day. medium of our day. is the quintessential Photography 18 18. Cement loaders during the construction of the Batavia (Jakarta) office of the Netherlands Trading Society, 1930. © ABN AMRO © ABN 1930. Trading Society, Netherlands of the office (Jakarta) the Batavia of loaders during the construction Cement 18. ABN AMRO ABN - - - -

the search was extended extended was the search thanks to the enthusiastic par the enthusiastic to thanks cur and former of ticipation the Histor employees, rent many received Archives ical as gifts both photographs, Photographic The loan. on and but grown have Archives spurred have gaps remaining out- afield, further searches supple- to the Bank, side of At the same time, At documents, of fonds own Archives’ the Historical to A little history history A little an began Archives Historical Italy’s the Bank of In 1997, and directorates Bank’s campaign among the awareness hidden any help locate them to encourage to branches gather this enabled us to photographs; of repositories in analogue for photographs of number a considerable The Archives. held at the Historical now which are mat and this initiative, part in take to was invited staff Bank’s - rep widen the perspectives and sources internal ment and State organisations, cultural turned to We resented. uncover agencies to and photo archives historical private - its represent through Italy, that the Bank of traces further eco- visits, official meetings, during formal has left atives, with fruitful, has proven nomic summit and so on; this too made. visible progress the time span they cover, the places photographed, and and photographed, the places cover, the time span they employed. photography of genres important most the on the some considerations offer we conclude, To Historical the Photographic of and form content future in the digital age. Archives 18 - - BANK OF ITALY BANK In this short In this short Anna Rita Rigano 1 communications tool used by used by tool communications internal and external purposes. and external internal banks and financial institutions: banks Photography is a fairly common is a fairly Photography photographs are employed for both for employed are photographs ography is a fairly common communica- is a fairly ography Bank of Italy’s Historical Archives Archives Historical Italy’s Bank of Phot The photography collections of the collections of the The photography A few years have passed since May 2011, when the Bank of when the Bank of 2011, passed since May have years few A - part in eabh Archi (ASBI) took Archives Historical Italy’s (Financial) Collections of ‘Photography on Workshop val the The goal of View’. Historical Corporate Companies—A impor about the existence, learn more ‘to was meeting tance and use of corporate photography collections in collections in photography corporate tance and use of public’. a broader for (financial) organisations win- a the images offer First, purposes. nal and external moments significant into dow an institution of in the life recording and its employees, important by attended events economic figures political or change of track keeping or in the institu- and growth and assets estate real tion’s Second, its art collections. raise is used to photography publicizing the opening of an institution, of visibility the cam- its promotional in the conduct of or branches new in Bank of absent is nearly purpose This latter paigns. since the Bank has not collections, photography Italy’s but purposes, marketing for use photography needed to record to as a tool narrowly has used it more instead Let propaganda. than for institutional activities rather are the collections describe how briefly us therefore contain, they materials the types of size, their organized, tions tool used by banks and financial institutions: to and financial institutions: to banks used by tions tool inter both for employed are photographs skeletonize, - that conversa of will pick up the thread we overview, - the Photo activities of on the an update tion and provide and its collections. Archives graphic

eabh bulletin eabh bulletin 19 BANK OF ITALY BANK 1 1. Portrait of Paolo Baffi Paolo of Portrait 1. BANK OF ITALY BANK - have appeared appeared have 5 The Collection of almost almost The Collection of 4 the 1800s to the early 2000s 2000s the early the 1800s to this in add to to and expects currently are They the future. and num- being organized the fonds of and many bered Starting restored. been have Italy’s 2018 the Bank of from has joined Archives Historical Photographic the Census of throughout operating Archives the branch buildings located in the in the buildings located the branch tains a number of album series, including: including: album series, of tains a number Images of It con It and has started digitization for conservative and con- conservative digitization for and has started 3

ried out on the buildings that are subject to restrictions to to restrictions subject to ried out on the buildings that are value. and artistic historical their protect ‘Branches- ‘Branches-Regions’, ‘Branches-Colonies’, plus Giglio Collection’, ‘The Rocco and Miscellaneous’ black large A in folders. stored photos single numerous to is dedicated the mid-1950s album from photo white and The album headquarters. Italy’s the Bank of Koch, Palazzo a tour take us to allows agency the Sciamanna photo of of members of the and the offices rooms the reception of the past and the compare and to Board, the Governing the art collection and the Bank’s of arrangement present 3). underlying stylistic choices (Photograph the colonies of areas extra-metropolitan sultation purposes. A look at some collections Collection (Stabili) Property in black mainly negatives), few (very images positive 5,000 1930 to roughly the period from and covering white and a on planning and its focus its stands out because of 1985, a com- by that it is united which ensures specific subject, its the collection comes from name of The mon theme. ‘Buildings called the then original holding department, 1930s has supported which since the early Directorate’, - Ita the Bank of in recording services the photographic is particu- It and in all its branches. buildings in Rome ly’s and geographical because the time-frame significant larly the changes made follow and enable us to broad are reach the adjacent to and in some cases even the buildings, to evaluate to The collection is also consulted urban areas. car be to needs work restoration and maintenance what all the other open archives, the photographic collections collections the photographic open archives, all the other possesses around now The Bank growing. continually are of the second half from produced photographs 50,000 - Herit Cultural for the Ministry by promoted the country age in various publications. The Bank of Italy, an actor in the in the an actor Italy, The Bank of publications. various in bank, as the currency-issuing colonial expansion country’s even cases and in many from scratch offices built its own 20 - - BANK OF ITALY BANK add to this in the future. add to 50,000 photographs produced produced photographs 50,000 The Bank now possesses around possesses around The Bank now to the early 2000s and expects to to and 2000s expects the early to from half of the the1800s second f materials added to the the added to materials f - - - - for The Historical Archives Collection, containing containing Collection, Archives The Historical 2 In 2006, then, In 2006, The second source o The second source mer Governor Guido Car Governor mer his archive, heirs donated li’s - one that ena valuable very a Gov all of track bles us to In activities inside and outside the Bank. Carli’s ernor Niccolò of the archive donation of the received we 2015, are We the Institute. of General Director former Introna, of repository rich another of finalizing the acquisition now Baffi (1911–1989), Paolo Governor those of photographs, - the Histori them to donate has decided to whose family the Bank piece of needful key This is another Archives. cal 1). (Photograph memory collective Italy’s of tion contains the Bank’s oldest photographic riches: the the riches: oldest photographic the Bank’s tion contains which is a 1867 and 1868, between created Album, Alinari and staff the Bank’s of all-encompassing portrait kind of - (Photo expansion geographical Bank’s the of a symbol 2). graph There are essentially two channels through which the which the through channels two essentially are There The first consists materials. obtains Archives Photographic the by acquired and/or been taken that have photos of - the pro to connected functions are whose Directorates, the Bank’s by photographs, of gathering duction and/or in the abroad offices the representative and by branches - Prop the of consists group This work. their course of the Archives, Affairs General the (Stabili), Collection erty the Board, Governing the to Secretariat the of Archive Collection, the Delegations Office Collection, Branch This last collec Collection. the Directorates finally, and, The collections ings that accompany the correspondence. Our hopes hopes Our the correspondence. ings that accompany among the papers is a rich col- Hidden rewarded. were var and fragmented lection, many in but certainly, ied, And so the interesting. ways Collections have Photographic grow. to continued which frequently contain photographs and/or draw and/or photographs contain which frequently

photographs belonging to the textual fonds, falls into the the into falls fonds, the textual belonging to photographs same category. - acquisi and donations of consists Archives Photographic Archives, Baffi the Archives, Carli the include These tions. Acquisitions External and the Archives family the Introna the 1990s the end of between above, As stated Collection. a obtained Archives the Historical 2000s, and the early - profes agencies or press from photographs of number photographs copies of were others sional photographers; and finally archives, institutions or other from acquired with As members. staff the Bank’s by donated were others

eabh bulletin eabh bulletin - - - vitae is extensive (1914– vitae is extensive The Guido Carli Archives comprise comprise Archives The Guido Carli es The archives were The Archives ona were archives Family Intr Carli Archiv curriculum Guido Carli’s ities during the period 1949–1992. The archive is partially is partially The archive ities during the period 1949–1992. and, chronologically arranged 34 albums are organized: event. by within each one, social the to linked images of shortage also no is there ever, as Christmas such the Bank, activities of and recreational employees of the children gifts to of the delivery lunches, 9). (Photograph exhibitions and the Epiphany, for digitalized) being images (currently positive of albums 55 pho- white and black and colour loose, 1,000 and around public activ Guido Carli’s document that mainly tographs the Bank of Governor industry, head of 1993): economist, - the photo part of large A minister. Treasury and Italy, of and the Italy at the Bank of work his to relates graphs the salient of One it. represented he which at events the of reading annual the doubt a without is moments at the held which is traditionally ‘Concluding Remarks’, Annual the of publication the by accompanied May, of end in the preparation moments But the backstage Report. the from photographs: in captured also are event the of attended the text, of practice reading the joint of ‘ritual’ How its printing. to drafting, in its involved those by only monochrome 500 around in 2015 and consist of donated them portray Some of loose and in albums. photographs, (1868–1955), Introna Niccolò of activities institutional the his to and images relating comprise portraits while others Banca in 1886 by hired Introna, home and personal life. with other merged which later d’Italia, nel Regno Nazionale climbed the career Italy, the Bank of form to banks regional Supervision of Head General, become Inspector to ladder was he In 1944, in 1928. General Director Deputy and later parts of the liberated (for Administrator Special appointed - Ita the Bank of of with taking delivery tasked was and Italy) and found in Fortezza that had been left gold reserves ly’s which he became in year the same 1945, Allies on May the by see can therefore We in 1946. resigned He General. Director branches, the Bank’s visits to career: in Introna’s moments official buildings, or construction sites new of inaugurations but also period, during the Fascist especially ceremonies, 10). occasions (Photograph some informal photographs and to respect their contextualization and and contextualization their respect and to photographs collection is a This remarkable original provenance. their life, images (still positive of genres of variety a of mixture Fascism, ceremonies, events, official portraits, furnishings, and police photos forgers’ buildings sites, damage, war architec colonial art, of works of reproductions dossier, ture, work or recreational activities, family photographs, photographs, family activities, recreational or work ture, chronologically stretches it and etc.) holidays, Christmas 8). (Photograph the 1970s to the 1800s the end of from

21 - - - - BANK OF ITALY BANK This archive stems from from stems archive This Italy’s Historical Archives Collection Archives Historical Italy’s ffairs Archive Archive ffairs e of the Secretariat to the Governing Board the Governing to the Secretariat e of The Bank of Archiv General A General 9,500 about contains currently which collection, This Archives the Historical from includes photographs images, Spe- catalogued and digitized. re-organized, files, paper preserve to it together in putting has been taken cial care attached and the correspondence the between link the

The Secretariat to the Governing Board, which works works which Board, Governing the to Secretariat The Board, Governing Italy’s the Bank of the members of for consisting of photographs, of archive a sizeable donated roughly photographs of boxes of 50 albums and a number which is cur This archive, 1960–2009. years the covering assort- an contains numbered, and being organized rently positives, (negatives, materials photographic of ment white in black and digital photos, prints, contact slides, - sub of a range styles covering of variety in a and colour) of the celebration the images of Without a doubt, jects. - in Hon the Day (1993), anniversary 100-year the Bank’s the Baffi (1986), Menichella Donato the Governor of our the Bank in of Meetings Annual General the Lectures, - Govern the of members the and 2000s, 1990s and the of are occasions formal various in photographed ing Board, Baffi, Paolo These include Guido Carli, importance. great Padoa Tommaso Ciampi, Azeglio Carlo Ossola, Rinaldo Lamberto Fazio, Antonio Desario, Vincenzo Schioppa, (Photographs Draghi. Saccomanni and Mario Fabrizio Dini, 6 and 7). the by taken the photographs of in 2011, the contribution, events while photographing Directorate Affairs General un-num- of fond is a it Currently the Bank. within held plates and photographic prints contact slides, films, bered which the Direc in year the 2003, 1985 to dating from the private homes of its employees, adapting them to them to adapting its employees, of homes the private their to authorities, the governmental the instructions of the architects of the tastes and to urban environments Tripoli of While in the cases the projects. commissioned for the Moorish, was style the architectural Mogadishu, and was the building where Benghazi, be said for same cannot building while the branch in appearance, rationalist more the redevelop to project a larger part of was Rhodes in 5). 4 and (Photographs port area island’s torate stopped using analogue cameras. The fond will be will be The fond using analogue cameras. stopped torate digital files. with the addition of in the future expanded photographs the subjects of important most Among the shareholders, of Meeting Annual General the Bank’s are of governors by visits official inaugurations, conferences, cer portraits, group delegations, or banks central foreign at the Bank’s events celebrations, retirement emonies, used in bank and the machinery works printing and its coin collections. production, note BANK OF ITALY BANK 4 6 3 22 BANK OF ITALY BANK y in honor of Donato Menichella. From left to right: Governor of the Bank of Italy, Carlo Azeglio Ciampi with Federico Caffè and Tommaso Padoa Schioppa. Padoa Schioppa. Tommaso and Caffè with Federico Ciampi Azeglio Carlo Italy, the Bank of of Governor right: to left From Menichella. Donato of in honor y  Da 1986 Koch, Palazzo Rome, 5 2 2. Alinari Album. Employees on a business trip to Frankfurt, 1868 Frankfurt, on a business trip to Employees Album. Alinari 2. Gualino art collection the Riccardo from tapestries two walls the On the 1950s. of second half lounge, Participants’ Album. Koch’ ‘Palazzo 3. mid-1930s building c. branch the Mogadishu of façade Main 4. mid-1930s c. building, branch the Rodhes of façade Main 5. 6.

eabh bulletin eabh bulletin 8 23 BANK OF ITALY BANK reasury, . Rome, Palazzo Koch, 1991/1992 Koch, Palazzo Rome, Draghi. Mario reasury, 9 7 The Governor of the Bank of Italy, Carlo Azeglio Ciampi, heading to the Annual General Meeting with the Board of Directors and the General Director of the of Director and the General Directors of with the Board Meeting Annual General the to heading Ciampi, Azeglio Carlo Italy, the Bank of of The Governor T 8. Counterfeiters laboratory. Milan, 1959 Milan, laboratory. Counterfeiters 8. 1963 Koch, Palazzo Rome, the Concluding Remarks. of reading the joint for Meeting 9. 7. 7. BANK OF ITALY BANK 24 BANK OF ITALY BANK 11 10 10. Colonel James Penick of the Allied Finances Agency returns the gold of the Bank of Italy to the General Director Niccolò Introna. Rome, May 1945 May Rome, Niccolò Introna. Director the General to Italy the Bank of of the gold returns Agency Allied Finances the of Penick James Colonel 10. 1939 ‘The Brigands’, performance: Theatrical 11.

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en to the corresponding paper- the corresponding en to

century Bank of Italy opened branches in opened branches Italy Bank of century th f the 20 f Il potere dell’immagine. Ritratto della Banca Ritratto dell’immagine. Il potere 2003. (ed). . //www.khi.fi.it/pdf/photothek/florence_declaration_EN.pdf //www.khi.fi.it/pdf/photothek/florence_declaration_EN.pdf //www.censimento.fotografia.italia.it/ eabh‚ Papers. - Call for View’ Historical Corporate A M Miraglia della Banca d’Italia. storica (Collana Laterza nel 1868. Roma, Nazionale 14). Serie documenti, http: the same name giv The collection keeps the beginning o At based fond. Libya, Eritrea, Somalia and Rhodes in order to promote Italian economic Italian promote to Somalia and Rhodes in order Eritrea, Libya, the Ethiopia, conquest of Italy’s After . in expansion and commercial After too. in that region branches further opening of the approved Institute and Dalmatia also included part of territory the Italian I, War World Pola, (Fiume, Tolmin Zadar, Pula, opened in Rijeka, were and branches the occupation of the Italian II, War World During Tolmino). Zara, Kotor, Split, opened in Ljubljana, were branches Yugoslavia, Kingdom of All the extra- Sebenico). Cettigne, Cattaro, Spalato Sibenik (Lubiana, Cetinje, https://www. Source: II. War World closed after were branches metropolitan bancaditalia.it/pubblicazioni/quaderni-asbi/2017-003/index.html https: 2020. July accessed on 10

Contact Italy Bank of Anna Rita Rigano: [email protected] www.bancaditalia.it/chi-siamo/asbi/ 1 2 (Financial)Companies— of Collections ‘Photography 3 4 - tech metadata, arrangements, of system virtual a by term that factors updates—all software and refreshing nological digitiza- time, the same At evaluated. carefully be to have - preserva done for if even collections, the analogue tion of certainly online consultation, for just tion purposes and not origi- the of elements the tactile and surface replace cannot - trans a not is photograph a of entry catalogue a as just nal, - informa a useful but is rather words, into the image lation of tool. tion and research ©ASBI All photographs: Author’s profile the at Philosophy and Letters in graduated Rigano Rita Anna dip- in 1983 and then in Paleography, Messina of University - Vati Segreto Archivio science at the lomatic and archival 1985, from Starting Archives). Apostolic Vatican cano (now cataloguing photography, with historical work to she began she Since 1990, techniques. recognition and photographic the Bank of of Archives at the Historical working has been col- the photographic she has curated since 1997, and, Italy history development in Economic She holds a PhD lections. Rome Guido Carli of LUISS-University the from and theory Society (Italian SISF the of member ordinary an is She (2005). Photography). of the Study for 5 6 25 - BANK OF ITALY BANK It is a statement that one should one that statement a is It 6 tains more than 1,600 images, obtained from from obtained images, than 1,600 tains more - that photogra the fact used to are we wadays No External acquisitions collection This acquisitions External miscellaneous

ship of the shot. The Historical Archives mainly use the Min- mainly Archives The Historical the shot. ship of catalogue system photograph Heritage’s Cultural for istry stand- Fonds FF—Photographic standard, (F—Photography and is years many use for widespread which has been in ard), catalogued in a data- are Photographs researchers. to familiar it possible to will make up and running, once fully base that, paper holdings: entire Archives Historical the through search videos. film clips and interviews, photographs, files, is made up has become a digital medium; its materiality phy and is no longer and contrast luminosity saturation, colour, of However, image. in its positive film or on a piece of captured any become not has it storing and beauty its lost not has it space the storage the support medium, of The fragility safer. - none tangible, not though methods, preservation the and - be appropri to be taken: that precautions theless require needed is approach different a usable, and preserved ately it against protect collection to with a digital photographic so that it can be obsolescence and instability technological long preserved images are Digital the future. used long into bear in mind, when working on organizing a photographic col- a photographic on organizing working when in mind, bear understand its layers, to when trying and archive lection or assembly. subsequent or evolution its natural from resulting thanks photographs, when cataloguing true holds same The the the materiality, grasp possible to which it is often to value the taken, were which they in the context technique, and the author moment, that given of and the authenticity , this seems to be the appropriate be the appropriate this seems to , conclude this excursus To 2009 the in the guidelines of a statement recall occasion to be cannot photographs of ‘The study declaration: Florence conserved: are which they in the context from extrapolated an autonomous is in its materiality The archive the archive. pho- the single the sum of simply not and unique structure, it’. constitute that tographs Archival research and some thoughts on the future research Archival collection con press and photo agencies (Ansa, Olympia Publifoto, Team, Team, Olympia Publifoto, agencies (Ansa, and photo press Bank by donated or Archives Institutes, Sansone), Antonio typical photographic of includes an assortment It employees. digital pho- prints, contact slides, images, (positive materials of variety in a photographs) and colour white black and tos, for selected were materials The purchased and styles. genres The the photographs. of and the quality value historical their - represent the Bank’s of the participation images document events, official conferences, summits, in international atives - share states, foreign of representatives by visits meetings, from received Photographs and so forth. meetings holders’ parties activities, recreational capture mainly employees Bank 11). the Bank (Photograph of within the life moments other or BANK OF ITALY BANK - - - - 2 A good example of how bank bank how of good example A the by is illustrated history is collection photographic Bank Plain branch the former The photographs in Norwich. with written - histo together ries and building plans piece picture. a complete together banking families the many Of in 1896 to that came together the Gur Co., & Barclay form well- were Norwich neys of

0s Barclays undertook a major interior interior a major undertook 0s Barclays 1775, John and Henry Gurney opened the opened the Gurney and Henry John 1775, In May In the 197 years Three Augustine’s. Bank in St and Norwich Norfolk con- a recently bought Gurney Bartlett son, Henry’s later, wine mer a Alderman Poole, house belonging to structed oper As the Gurney Plain in Norwich. at 3 Redwell chant, the street so the house became a landmark, ation grew, 1896 following years In the ‘Bank Plain’. as being known form to bankers Quaker with other merged when Gurneys was part refit The branches. all its UK of refit and exterior and Barclays of the merger after process a re-branding of adopted that Barclays at this point was It in 1969. Martins ver stylised simpler, and new blue identity its corporate sion of the Spread Eagle logo which it had been associated which it had been associated Eagle logo the Spread sion of style counters the traditional went Out with since 1690. coun- new glass screens, by replaced were which and grills, an open-plan arrangement. in some branches, and, ters commu- local the deal to great a contributed and known Norwich. of Mayors Lord members being with family nity the from hold are we that photographs The main series of Bank Plain building in 1926. the new construction of

1 26 - BARCLAYS James Darby includes images of branches images of branches includes The collection is extensive and and The is extensive collection and military the UK. across bases from and almost all major towns cities, including villages and other villagescities, including and other locations such as factories, hospitals as factories, locations such Views of the past the of past Views - Barclays branch photographs photographs branch Barclays y of the branches the branches of y Man Barclays Group Archives is responsible for safeguarding the the safeguarding for is responsible Archives Group Barclays bank. British universal a PLC, Barclays of memory corporate correspondence including ledgers, diverse, are The records bank fittings and such as old artefacts physical and even five website launched their team When the archive signs. was be digitized to the first collections one of ago, years branches. past and present collections of the photographic The collection is extensive and includes images of branches branches and includes images of The collection is extensive villages including and cities, towns almost all major from such as locations and other hospitals and military factories, the UK. bases across moved have or exist, no longer centre old city the grand from business smaller to branches The in shopping malls. units or an us of remind photographs the cor were when banks era the High Street, of nerstones situated being literally often often were buildings Branch the street! of on the corner arms of cornices and coats fancy with designed specifically in old bank interest of a lot get We the doorways. above - own as the current well as historians from both branches if identify to possible These are branches. former of ers see a pho- to and people love look for what to know you Martins a or Barclays a was when the building of tograph in a moment represent they all photographs, Like Bank. old adver signage, road furniture, street time— showing use to have we Sometimes and buildings. vehicles tising, when a date estimate to in the picture these clues present it was taken.

eabh bulletin eabh bulletin 27 BARCLAYS 1 1. An image from 1926 showing construction of the main domed roof of construction 1926 showing from An image 1. 3 5 28 BARCLAYS 4 2 2. The main counter of the earlier (pre-1926) building looking east building looking (pre-1926) the earlier of The main counter 2. in 1965 Bank Plain exterior 3. the era of and confidence the prosperity The banking hall highlights 4. in 1984 refurbishment The main banking hall after 5.

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f photographs is generally very high, high, very is generally photographs f https://www.archive.barclays.com The quality o The quality s Group Archives ref 513/6 ref Archives s Group chive website website chive The photographs can be found on the branch photos section of the Barclays the Barclays section of photos on the branch can be found The photographs Ar Barclay

1 2 Author’s profile the and spent in 2011, qualified as an archivist Darby James Archive working at the Highland his career of years first in Museum History and the People’s Inverness in Centre now He in 2018. Barclays to moving before Manchester, to the access providing staff, five of in a team works for and constituents its predecessors Barclays, of archives customers. and external internal both Contact Group Barclays Darby: James [email protected] www.archive.barclays.com and the creation of managerial suites and interview rooms, rooms, and interview managerial suites of and the creation history. of years 200 after date bringing Bank Plain up to nineteenth early very being the exceptions the obvious the photographs digitization has allowed images; century and become a audience wider a much by viewed be to and banking practices the architecture lasting memorial to the digital era. before Archives Group © Barclays All photographs: 29 BARCLAYS before the digital era. before by a much wider audience and become a lasting a lasting and become wider audience a much by memorial to the architecture and banking practices practices and banking the architecture to memorial Digitization has allowed the photographs to be viewed be viewed to the photographs allowed Digitization has 70s, the banking hall required signifi- the banking hall required 70s, By the 19 By a modern and more the needs of meet to alterations cant £3.4 million major A banking. style of customer-focussed 1982 and August begun in was programme refurbishment Timothy Sir The Chairman, 1984. December by completed - ‘time-cap burying a by the event commemorated Bevan, postage stamps and photographs coins, containing sule’ of redesign the work involved The and staff. the branch of entrance, wheelchair a of the provision the banking hall, Barclay & Co., it was becoming clear that a radical change change that a radical becoming clear was it Co., & Barclay busi- expanding Barclays’ accommodate to necessary was Bank Plain of the length extended now The frontage ness. to became inadequate on the corner and the single door in done was The rebuilding clientele. admit a burgeoning Office Head with the Local Phase one began parts. two and the old garden) of the limit the South (at portion to - exten All the rooms. the directors’ towards progressed and the site demolished were the original house sions to underneath. wells disused several revealing excavated, completed was 1929 and July in The second phase began than more covered now rooms The strong 1931. in October square 40,000 covering offices, new and feet square 5,000 the long- was banking hall The new above. built were feet, wide 71½ feet by long, 150 feet measuring est in England, of a height panelled to were walls The high. and 52½ feet pillars foot 40 sixteen and marble, black and grey in feet 7½ the near bays Within seven with gold leaf. decorated were electric flood lamps, ‘revolutionary’ concealed were ceiling banking illuminated ‘the most beautifully making Norwich Public local press. to according outside London’ premises with the hall, double doors at each end of by was entrance the end of the Northern At porches. entrance impressive depart- Tax and Income Foreign the Securities, were hall in located were machines waste and work Ledger ments. the to at the Southern end led and an archway the centre of the local directors. offices - -

titled ’54 Lombard Street: At At Street: ’54 Lombard titled are a mixture of sepia and black and sepia of a mixture are the of many great A white. and been cap- have photographs (possibly tioned—somebody writ- has the photographer) each to next mounts the on ten naming the people photograph, - provid sometimes them and in also dates Other ing the date. names occasion- to next appear these that thought is it and ally, which people at mark the dates the Bank. for working started tographs show members of staff in in staff members of show tographs f the photographs are small (approx are the photographs f The office pho The office The majority o The majority en The albums are imately 4x7 cm), and are contained within mounts which within mounts contained and are imatelycm), 4x7 photographs Larger a page. to photographs house four The photographs sporadically. a page also occur glued to shots, group formal a mix of and contain and Play’ Work at social of the staff and photographs scenes, office ‘candid’ challenges the technical about what is known Given events. the of any what extent to 1900s, the early in photography of are but there candid is debatable, truly were photographs natural. which seem surprisingly shots certainly sur by been caught have they looking as if workplace, their sleeves within three binders to retain the integrity of each each of the integrity retain binders to three within sleeves consult them. while still making it possible to album them look directly most of with a pen in hand, Often prise. faintly others alarmed, Some look slightly at the camera. Unsurprisingly, smiling. clearly very some are suspicious, being from far very are but they men, white all are they obviously was Short hair bank clerk clones. anonymous 30 BARCLAYS Maria Sienkiewicz Maria as the centre of the English of the English as the centre heart for over two centuries. centuries. two over heart for predecessors, had been at its had been at its predecessors, Lombard Street was renowned renowned was Street Lombard banking world, and the Barclay and the Barclay world, banking partnership, through its various its various through partnership, At work and play work At 54 Lombard Street Street 54 Lombard

clays do not know how the the how know do not clays - cen- th The archivists at Bar The archivists The albums contain These albums contain no information about the about the no information contain These albums 1 century. th They archive. the corporate part of form albums came to rather member, a staff of work be the private to appear at arrived They record. than an officially-commissioned a mass influx in 1989 as part of in Manchester the archive at together been brought that had previously material of well used— been had clearly They head office. the London placed so the archivists disintegrating, was the binding the then assembled sleeve, within a Melinex each page tury. Barclays had been formed had been formed Barclays tury. in 1896 company as a limited twenty of an amalgamation by - and the Lom banks, private - had pre premises Street bard of Bar been the office viously in the leading banks one of and Co., Tritton Bevan, clay, as the renowned was Street Lombard that amalgamation. part- and the Barclay world, banking the English of centre had been at its predecessors, various its through nership, centuries. two over heart for Within the archives of Barclays Bank, in amongst the ledg- Bank, Barclays of Within the archives and all the other registers premises books, minute ers, small photograph three are banking records, standard albums. the staff of 350 photographs 54 at head office Barclays’ of at London in Street Lombard the 20 the beginning of Bank’s financial dealings or its strategic direction, but they but they direction, its strategic financial dealings or Bank’s as a life of view a personal of example stand out as a rare the start of the at bank clerk 20

eabh bulletin eabh bulletin 31 BARCLAYS 1 1. Shots of staff on days out and at sporting events out and at sporting on days staff of Shots 1. 5 6 3 32 BARCLAYS 4 2 2-3. Typical ‘candid’ scenes showing men apparently interrupted at their work at their interrupted men apparently scenes showing ‘candid’ Typical 2-3. environment natural in their ledgers of example great A 4. worked they how of evidence of but lots with no people, scene rare A 5. this picture of visible in the centre is clearly telephone An ornate 6.

eabh bulletin eabh bulletin 9 8 33 BARCLAYS 10 7 7. Shots taken from the customer’s perspective are relatively rare relatively are perspective the customer’s from taken Shots 7. posed obviously more were which shots group of examples good Two 8-9. work at their interrupted men apparently scenes showing ‘candid’ Typical 10. 16 12 14 34 BARCLAYS t from a day out. Note the tiny rosette they are all wearing. The tall man in the middle of the back row (without a hat) is Mr H S Davy, who was the was who H S Davy, is Mr a hat) (without row the back The tall man in the middle of wearing. all are they rosette the tiny Note out. a day t from Group sho Group One War World service during to die on active man Barclays first 13 13 11 11-15. Shots of staff on days out and at sporting events out and at sporting on days staff of Shots 11-15. 16.

eabh bulletin eabh bulletin - - - for an example using one of using one of an example for working conditions to men’s men’s conditions to working of that many fact The fashion. named also opens the men are spe- very the collection up for those indi- into research cific the years, In recent viduals. added indi- have team archive the cata- names to viduals’ the albums to for logue entry This searching. facilitate better

3 ographs have been barely used beyond used beyond barely been have ographs https://livesofthefirstworldwar.iwm.org. ol by Charles Dickens (1843) told the story of miserly of the story (1843) told Charles Dickens ol by y of the photographs have been digitized. been digitized. have the photographs of y

Man The phot See https://livesofthefirstworldwar.iwm.org.uk/searchlives/ Barclays Group Archives ref 33/929 ref Archives Group Barclays Christmas Car A and his over-worked was Bob Cratchit Scrooge. Ebenezer businessman, clerk. under-paid is at The main site uk/ arthur%20zillwood%20warner/filter the photographs

Bar online, available currently not are Although they digi- the share to happy be would Archives Group clays collection wonderful This is a with researchers. tal images with huge potential! Archives Group © Barclays All photographs: 1 2 3 Author’s profile Author’s profile and spent in 1996, Sienkiewicz qualified as an archivist Maria public sec working in the career her of years the first eight Archivist. in 2004 as Group Barclays to moving before tor to the access providing staff, five of leads a team She now for and constituents its predecessors Barclays, of archives She is also an honor customers. and external internal both with in connection University, at Liverpool supervisor ary based at Barclays. PhDs AHRC-funded two Contact Group Sienkiewicz: Barclays Maria [email protected] https://www.archive.barclays.com - them regu use of made have team The archives Barclays. on articles and exhibitions illustrate to years the over larly - poten is there believe but colleagues, for history banking from subjects ranging of variety use on a wider much tial for during lives who lost their men of has enabled a number photographs their and identified, be to One War World of Lives Museum’s War the Imperial been added to have . War the First World 35 - BARCLAYS to men’s fashion. men’s to There is potential for much much for is potential There wider use on a variety of subjects of subjects variety wider use on a ranging fromranging conditions working century which would alter which would alter century th However, these photographs these photographs However, - to 2 vidence of camaraderie between the the between camaraderie vidence of en more unusual are the photographs that were were that the photographs are unusual en more It is this e It Ev These office pho These office

ing tea, and playing musical instruments. Collars and ties are Collars and ties are instruments. playing musical and tea, ing frequent make boaters but straw much in evidence, very still - these photo of atmosphere and the general appearances, and happy. is relaxed graphs the most striking thing about all of perhaps, men that is, the Knowing out. and office the in both photographs, the to is easy it worked, which bank clerks strict rules under - little bet dull and routine, were lives imagine that their before time the in Cratchit Bob Dickens’s of that than ter had his epiphany. Scrooge out and sport- which include days outside the office, taken of variety can be seen participating in a The staff ing events. is and there tug-of-war, to and cricket tennis from sports, a finishing line. crossing runners of action shot a great even tak on bikes, donkeys, on boats, rowing in pictured are Staff this world beyond recognition. beyond world this graphs also provide rare views views rare also provide graphs environment. working the of have do seem to While banks of photographs commissioned buildings, their of the exteriors highly are these photographs banking halls, their and of have would spaces that to access unusual in facilitating in worked who to all but the men off-limits been strictly - and pre a significant form which now The ledgers, them. ‘natural can be seen in their the archives, cious part of on desks, piled up shelves, up on environment’—lined visible, banking is of The paraphernalia open and in use. round photographs—the the to backdrop the forming in Seen scales. and coin shovels spikes, wells, ink rulers, accompanying and their the high sloped desks detail, on paper of scraps are there worn, and look scuffed stools gleaming mahogany the imposing from cry far the floor—a new are evidence Also in hall. banking the of marble and harbingers of and telephones, lights inventions—electric come in the 20 the changes to

de rigueur, but there’s quite an array of facial hairstyles hairstyles facial of array an quite but there’s de rigueur, to through faces clean-shaven from ranging on display, While they and full beards. moustaches waxed splendid, shirts and ties, waistcoats, jackets, smart wearing all are dress, in their individuality of evidence of is plenty there coloured through expressed ties, patterned waistcoats, the and even squares pocket occasional buttonhole. give an impression of a workforce at ease with each other other with each at ease workforce a of an impression give to and happy workplace, in the surroundings and their outside the office. spend time together -

selves within the organization. within the organization. selves the During these launches, collection was photographic the deal as part of used a great campaign marketing Bank’s in news arti- featured was and social media posts and cles, The informative booklets. Inde- Shillings and ‘Pounds, the 75th exhibition, pendence’ and exhibition anniversary - the evo detailed video (which the bank since 1943) lution of and an additional informative the use of made great booklet, collection, photographic banks tographic collection was realised realised was collection tographic

The Bank’s pho The Bank’s the the Bank upon the launch of to as a genuine asset the catalogue, archive online the room, reading Archive’s and anniversary, 75th their celebrating exhibition Bank’s Shillings and Inde- ‘Pounds, titled exhibition the Bank’s - little knowl was there this, to Prior all in 2017. pendence’, collection photographic the bank’s of value the edge of using it as a his- public interest, garnering to in relation the to due solely social media, using it for or tool, torical them- the archives surrounding knowledge lack of wider can a photograph value displaying the unique evidential is The collection narrative. an historical provide to serve held at the exhibitions various use due to in constant now school/ or visits, VIP Night, Culture it be for whether Bank, and social events; landscape photographs; bank confer photographs; landscape and social events; - ‘miscellane also the dreaded and ences and social events; 1). album (Photograph ous’ 36 of these institutions. Sinéad McDonnellSinéad CENTRAL BANK OF IRELAND BANK CENTRAL The value of visuals The value for displaying their historical their historical displaying for and currency, they are also an also an are they and currency, asset for revealing the character the character revealing asset for timelines through subjects such subjectstimelines such through as corporate events; architecture; architecture; events; as corporate Not only are financial institutions’ financial institutions’ Not only are an asset collections photographic - photographic collection photographic Central Bank of Ireland’s of Ireland’s Bank Central tographic collection begins in 1932 with with collection begins in 1932 tographic Our pho Our - Ire Bank of the Central of nor makes Brennan Joseph land). in appearance official his next col- photographic the Bank’s the first of lection in a portrait Central the of meeting Board Bank Com- Ireland’s Bank of seated he is where mission, - The photo centre. and front 1932–2019 years the covers collection at present graphic build- various themes including of encompassing an array and coin designs; the the bank; banknote by ings owned sports staff portraits; staff senior the ; to change over - the Brit from all the attendees of portrait framed a large Conference, Conference/Ottawa Economic ish Empire Irish del- which included three - (Ire O’Kelly T. egates—Seán Sean 2nd ); land’s of Taoiseach (former Lemass - Bren Joseph and Ireland); the Currency of (Chairman nan Commission and first Gover

Established in 1927 as the , the Cen- Commission, Established in 1927 as the Currency and the management for is responsible Ireland Bank of tral - as being Ire well as the Irish banking system, of regulation Cen- of System within the European representative land’s affairs. monetary international and for (ESCB) Banks tral more holdings comprise Archive’s the Bank present, At over Bank publications, 2,000 files, paper than 12,000 and artefacts various 250 ledgers, plans, 600 architectural - contin with the archive items, photographic some 6,000 growing. uously

eabh bulletin eabh bulletin 37 CENTRAL BANK OF IRELAND BANK CENTRAL 1 1. First meeting of the Board of the Central Bank of Ireland, 1st February 1943. Joseph Brennan, first Governor of the Central Bank of Ireland seated third from the right from third seated Ireland of Bank the Central of Governor first Brennan, Joseph 1943. February 1st Ireland, Bank of the Central of the Board of meeting First 1. 38 3 2 2. Story boards featured in the Central Bank of Ireland’s visitor centre, detailing the history of the Central Bank of Ireland and featuring images from the Bank’s archive the Bank’s from images and featuring Ireland Bank of the Central of the history detailing centre, visitor Ireland’s Bank of in the Central featured boards Story 2. 1940’s c. Ireland, Bank of Commission/Central the Currency of headquarters former Place, sitting outside Foster Clerks Lady 3.

eabh bulletin eabh bulletin 39 4 4. Central Bank of Ireland colleagues enjoying a work social event, 1955 social event, work a enjoying colleagues Ireland Bank of Central 4. 40 CENTRAL BANK OF IRELAND BANK CENTRAL 6 5 5. Left - Dame Street Tower, designed by Irish architect Same Stephenson during construction c. 1976; Right – Dame Street Tower c. 2016, prior to the Bank’s move to move the Bank’s to prior 2016, c. Tower Street – Dame Right 1976; c. during construction Same Stephenson Irish architect designed by Tower, Street - Dame Left 5. Bridge Ha’penny the famous feature photographs Both Quay. Wall building on North the new Dublin City Quay, Wall on North situated headquarters new Ireland’s Bank of Central 6.

eabh bulletin eabh bulletin 41 CENTRAL BANK OF IRELAND BANK CENTRAL 9 8 7 7. Draft design of the £100 B Series banknote, featuring Gráinne Mhaol. This banknote was never circulated due to lack of demand lack of due to circulated never was This banknote Mhaol. Gráinne featuring the £100 B Series banknote, design of Draft 7. a series was The Ploughman series 1929-1953. between in circulation were These notes as the Ploughman Banknotes. also known banknote, £50 Consolidated 8. withdrew that the banks with the arrangment Irish banks eight for measure as a transitional Ireland Commission of the Currency issued by Irish banknotes of issues individual banknote previous their c.1980 Centre in the Currency during printing over being checked Series B £5 banknotes 9. - - - has also has also Currency be a favourite to proved researchers, amongst external with annual statistics showing making up approx this topic ity of the population who lived who lived the population of ity will during the 1970s in Ireland this dispute, memories of have are than not often and more the in seeing interested hugely as construction photographs, see a you often very not it’s floors being hoisted building’s - up (Photo the ground from 5 and 6). graphs - read Archive’s in the viewed material 30% of imately in the interested particularly are Numismatists ing room. and B, A Series old Irish banknotes—namely design of the Cen- from Images banknotes. and the Consolidated been used in numerous have archives Ireland Bank of tral - web and on numismatic and online, printed publications, The Bank has approval). copyright relevant (following sites based on these bank solely and exhibitions talks hosted that is of in particular note One reviews. with great notes, the public is the Irish £100 B Series banknote, to interest in 16th cen- figure historical (an O’Malley Grace featuring known she is commonly in Irish folklore Irish history, tury was note This as Granuaile). anglicized Mhaol, Gráinne as demand of lack due to public general the to released never with its draft along unknown, largely was and its design publications in many featured This design is now designs. architecture and currency. Since the launch of the online online the launch of Since the and currency. architecture - archi from requests has received Archive the catalogue, the the collection containing view to students tectural on located headquarters former Bank’s the images of architect by built was This building Dublin. Street, Dame 1978 in late completed was The building Sam Stephenson. when all 2017, until headquarters the Bank’s was and it the river down located headquarters the new moved staff was building Street Dame The Wall Quay. North at Liffey - ‘sus only style and is Ireland’s in a Brutalist constructed cen- floors hanging from its eight with pended building’, ground was built on the Each floor cores. concrete tral building courted This particular place. into and then raised the as during its construction it exceeded controversy, and feet thirty by original planning permission height approval a new until year a put on halt for was building the and style of this controversy, Due to granted. was students. amongst topic be a popular to proves it building, also regularly are ‘Tower’ Street the Dame of Photographs major public as general the at aimed exhibitions in used 42 - - - currency. CENTRAL BANK OF IRELAND BANK CENTRAL With regard to external external to regard With come under architecture and and under architecture come researchers, the most requested the most requested researchers, photographs fromphotographs our collection - - ard to external researchers, the most the most researchers, external to ard t only are financial institutions’ photographic photographic financial institutions’ are t only With reg No

requested photographs from our collection come under under come collection our from photographs requested collections an asset for displaying their historical timelines timelines historical displaying their for collections an asset architecture; events; subjects such as corporate through the char revealing for also an asset are they and currency, from spanning photographs Staff these institutions. of acter enjoying staff feature the present-day to the 1940s through birth- celebrating events, in sports participating out, days and parties; retirement and promotions Christmas, days, have We taking part in the annual theatrical production. truly photographs of theme find this particular come to Archives the In 2018, past and present. staff, captivates that needed the partic a project introduce decided to collection As the photographic willing staff. all ipation of the Bank, to new is relatively Archive and the is so large, fea- to name all staff to be able difficult it quite found we placed on the Bank’s was An appeal in these photos. tured in help- interested anyone for calling all staff, to intranet individuals in the col- name the unknown Archive ing the inter great was There lection. staff fifty est in this and over reading Archive’s the visited weeks the following over room the thousands through look to name any and photographs of - The pro recognized. one they cata- helped to only ject not it holdings, Archives’ logue the - to appre the staff also allowed the collection of the size ciate to them opportunity and gave lane and memory down travel col- a laugh between enjoy Following leagues and friends. the by contacted was Archive the this project, on from var discuss in the Bank to Communications Department the these events, Through events. ious planned retiree mem- staff former fifty over the names of received Archive with this Archive in assisting the interested were bers that mem- staff past other contacted then retirees The project. room in the reading had groups we long bers and before with the which then coincided weeks, five for week every its col- add to to photographs more even receiving Archive makes Archive that the This is an ongoing project lection. have and all contributions year, every to arrange an effort these of While many Archive. the to value great been of - availa are they the public, to available not are photographs 4). 3 and (Photographs family members and staff ble to group visits; the photographs are usually the part of the the the part of usually are photographs visits; the group 2). longest (Photograph around individuals linger exhibition

eabh bulletin eabh bulletin Author’s profile as Ireland Bank of joined the Central Sinéad McDonnell in 2019. Manager Archives and became in 2016, Archivist the National in archivist as project worked She previously master’s She has her in 2014 and 2015. Ireland of Library the from Management and Records Archives in degree degree undergraduate College Dublin and her University College Dublin. the University also from Archaeology in Contact Ireland of Bank Central Sinéad McDonnell: [email protected] archives.centralbank.ie 43 through the years. through CENTRAL BANK OF IRELAND BANK CENTRAL The photographic collection of the Central Bank of Bank of of the collection Central The photographic Ireland provides a captivating historical record of the of the record historical a captivating provides Ireland Bank, its staff, its buildings, and the nation’s currency currency its buildings,Bank, and the nation’s its staff, tographic collection of the Central Bank Bank the Central of collection tographic to preserve the history of the Central the Central of the history preserve to The pho In order

of Ireland provides a captivating historical record of the the of record historical a captivating provides Ireland of currency and the nation’s its buildings, its staff, Bank, the section of important is a hugely It years. the through unique are as they the Bank, of the history and for archives collection is the photographic Digitizing the Bank itself. to - Ire Bank of the Central of Archive the for step the next audience wider a reach hope to we this, and through land, the bank. of visual history with them the and share Ireland Bank of © Central All photographs: the Currency visited team Archive the Ireland, Bank of prior processes all banknote-printing document to Centre The team in Ireland. printing banknote cessation of the to dyes, plates, printing machines, printing photographed some photographs are There workwear. staff and even and due opened in 1974, Centre when the Currency from be released cannot some photographs reasons, security to in the Currency staff the printing However, the public. to has work lifelong that their appreciative highly are Centre a pho- of in the form and preserved been documented can be these photographs of number A print. tographic be will hopefully and consumption, general for released the end of observe to used in an upcoming exhibition of work the celebrate and to in Ireland printing banknote 9). (Photograph staff the printing and online informative sources. The bank does not hold hold The bank does not sources. and online informative the of evidence photographic only banknote, this physical to valuable it is extremely and therefore designs, proposed 7 and 8). (Photographs Irish banknotes of the history - fifty videos, as well as around well as around as videos, fifty analogue photographs. fifty in taken photographs Most the are years the last twenty In addi- the Bank. of property were photographs other tion, specific pho- from purchased institutions, or tographers such as national museums and preserve to in order archives, history. the Bank’s

twithstanding the relatively short period of of short period twithstanding the relatively fortunately, the collection contains only a small a small only contains the collection fortunately, No Un systematic recording of official and important as well as well as and important official of recording systematic now and slowly the collection has grown events, informal some photographs, digital than 100,000 includes more photo A period. the pre-1990s from photographs of number in the CNB’s found was period the 1945–1963 album from and con- author an anonymous by created archives, central the buildings of the of photographs white and black taining Republic People’s for the Head Office of the offices branch the Federal Bank of ‘People’s entitled The album, . of Peo- the for Office Yugoslavia—Head of Republic People’s leg- a visual is offices’, branch with Croatia of Republic ple’s a federal was when Croatia the period banking from of acy

Bank. Since digitization the scope of work has increased increased has work of scope the digitization Since Bank. pur various used for being photography video and with poses. This provided an authentic picture of events and and events of picture an authentic This provided poses. period of or moment the CNB at a particular activities of while used at the beginning, was one camera Only time. and taking indoor for equipment is complete there today as for well as video recordings, and photographs outdoor video editing. and processing photography

44 Ena Kurolt CROATIAN NATIONAL BANK NATIONAL CROATIAN important but interesting important but interesting over the years to provide a a provide to the years over moments and experiences. record of important, and less record This small collection has grown grown has This small collection - photography collection photography is celebrating the thirtieth anniversary anniversary thirtieth the celebrating is the publishing department of the CNB CNB the of department publishing the The Croatian National Bank’s National Bank’s The Croatian said the famous American landscape pho- said the famous 1 In 2001 In The CNB ‘Whatever else a photograph may be about, it is always it is always be about, may else a photograph ‘Whatever about time’,

proposed using photography to record the history of of the history record to using photography proposed the CNB main of history the as well as Croatia in money to granted was permission year building and in the same their the purpose of for all employees of photographs take an This sparked site. intranet the Bank’s publication on inside and outside the both events in recording interest responsibilities and ified the short its relatively Due to bank. the central functions of - photo the factors, and some other existence period of small. the CNB remains collection of graphic - pre us to allow Photographs Misrach. Richard tographer, significant relive to eternity, for moments important serve an his- of the atmosphere feel really to or on, later events in the held the photographs This is true of period. torical This small Bank (CNB). National the Croatian collection of a record provide to years the over collection has grown moments but interesting and less important important, of Croatia, The Constitution of 2021. in its establishment of 1990, in December adopted the CNB as the designated - the Repub of bank central its and defined Croatia lic of - while the Reg responsibilities, Bank National ulation on the 1991 on 8 October Croatia of replace and the decision to - the Cro by dinar Yugoslav the and spec defined atian dinar and experiences. and experiences.

eabh bulletin eabh bulletin 45 CROATIAN NATIONAL BANK NATIONAL CROATIAN 1 1. Croatian banknotes, 2017 kuna banknotes, Croatian 1. 7 5 3 46 CROATIAN NATIONAL BANK NATIONAL CROATIAN 6 4 2 2. Commemorative gold and silver coins, 2017 coins, and silver gold Commemorative 2. 2012 Bank Council, National the Croatian session of Last 3. 2018 Week, Rights during the Consumer protection on consumer a lecture delivers Bojan Fras Vicegovernor 4. 2009 Street, Jurišićeva in the CNB building in the restaurant of Opening 5. 2014 with journalists, Breakfast 6. 2017 Hall’), (‘Horseshoe Hall Tribunal Arbitration the Former and ceiling of walls the Painting 7.

eabh bulletin eabh bulletin 12 11 9 47 CROATIAN NATIONAL BANK NATIONAL CROATIAN 10 8 8. Lecture for pupils entitled ‘Let’s go back to school’, 2019 school’, back to go ‘Let’s pupils entitled for Lecture 8. 2004 Games, the Bankers for CNB athletes of Departure 9. 2007 ball, Stability 10. 2005 Blood donation, 11. 2004 Street, Jurišićeva in warehouse the to Street in Račkoga warehouse the from documentation Moving 12. 16 18 14 48 CROATIAN NATIONAL BANK NATIONAL CROATIAN 17 15 13 13. Banknote authentication at the National Counterfeit Centre, 2004 Centre, Counterfeit at the National authentication Banknote 13. 2005 Hall’), (‘Horseshoe Hall Tribunal Arbitration at the Former Lecture 14. 2019 party, Christmas 15. 2008 Street, Jurišićeva the CNB building in halls in the renovated of Opening 16. 2008 Street, the CNB building in Račkoga of the façade of Renovation 17. 2001 in the main CNB building, Hall the Round of Redecoration 18.

eabh bulletin eabh bulletin 22 20 49 CROATIAN NATIONAL BANK NATIONAL CROATIAN 21 19 19. Press conference of the IMF, 2001 the IMF, of conference Press 19. 2019 Borrowing’, for as the Foundation Test ‘Financial Literacy entitled debate Student 20. 2019 the kuna, of 25th anniversary the Celebrating 21. 2018 Hall, the Round of tour Bank, National at the Croatian days Open 22. 26 24 50 CROATIAN NATIONAL BANK NATIONAL CROATIAN 27 25 23 23. Press conference entitled ‘Comparison of bank fees’, 2018 bank fees’, ‘Comparison of entitled conference Press 23. 1997 in the project, participants and other Matejka, Adolf Mr Group, Working the of Head region. Danube the Croatian the kuna into Introducing 24. 2014 Institute, Monetary coins. of Minting 25. 2014 Čakovec, Currency’, National the Croatian of – Creation ‘KUNA entitled Filming a documentary 26. 2014 CNB, Hall, Round 27.

eabh bulletin eabh bulletin July July accessed on 31 of the CNB’s visual commu- the CNB’s of - is inte photography nication, communication at the to gral being with photographs CNB, and external for used both - web on the purposes, internal in publications and social site, - Although the archi networks. the pho- of documentation val the CNB of collection tography it is be completed, to yet has future for a good starting point photographs because research

http://aaronschuman.com/misrach_interview.html http://aaronschuman.com/misrach_interview.html 2020

Ena Kurolt: Croatian National Bank National Croatian Kurolt: Ena [email protected] www.hnb.hr 1 Author’s profile Ms Croatia. Gradiška, in 1986 in Nova born was Kurolt Ena and Documen- at the Library Associate is a Senior Kurolt and Bank (CNB) National the Croatian of tation Centre She graduated the CNB since 2018. for working has been - Language and Litera Sciences and Russian in Information . of the University from ture Contact - Cro former of as the photographs well as national currency, A projects. various in used frequently are atian currencies and banknotes of photographs sub-series comprised of new educational activi- various be used for to coins is intended As an element and so on. publications, website articles, ties, to the opportunity provide a time machine—they like are look back on past to generations and future present both history. country’s their part of are that they times and feel - the Croa the collection of part of are All photographs @ Bank tian National 51 - various projects. projects. various CROATIAN NATIONAL BANK NATIONAL CROATIAN machine—they provide the the provide machine—they Photographs are like a time a time like are Photographs As Croatia entered entered As Croatia anniversary of the the of anniversary part of their country’s history. part of their country’s history. th opportunity to both present and and both present opportunity to past times and feel that they are are that they times andpast feel future generations to look back on on look back to generations future - national currency, as well as the photographs of of as the photographs as well national currency, former Croatian currencies are frequently are currencies Croatian former used in commemorative coins, banknotes and coins of the of the and coins banknotes coins, commemorative - catalogued accord are photographs A comprehensive series of photographs documenting documenting of photographs series A comprehensive ehensive series of photographs docu- photographs series of ehensive worth mentioning the photographs taken in in taken the photographs mentioning worth A compr A It is It The series of the and coins of banknotes coins, commemorative menting introduction of the kuna in 2014: ‘Bearing in mind the time ‘Bearing in mind the time the kuna in 2014: of introduction that the fact and the kuna adoption of and circumstances country any for event is an important the cash changeover the as one of be noted this may system, and its monetary joint through realised the CNB, of projects most complex institutions well as many as CNB employees many of efforts bank’. and persons outside the central July (ERM II) in Mechanism Rate Exchange the European the euro joining towards taking a huge step 2020—thus wor moments historical new will soon face CNB area—the video form. and photographic in both being captured of thy 1994 when the modern kuna (lit. ‘marten’, a reference to to a reference ‘marten’, when the modern kuna (lit. 1994 as a unit of the marten the pelt of use of the historical as the dinar the Croatian replaced trade) in medieval value out in pointed Vujčić Boris As Governor national currency. the 20 his speech on the occasion of

ees in gatherings and events and events ees in gatherings - Peri institutions. foreign domestic and other by organised for important and events anniversaries of odic celebrations and gatherings informal and operations, history the Bank’s events and even children, for Christmas parties and plays on camera. also been captured donating blood have for his- the CNB’s The collection from and subject. date ing to the and of all its governors of includes photographs tory which is a listed main building, as photographs well as building, equip- and other furniture of of interior of and details ment of Photographs value. great - gath conferences, professional educational workshops, erings, occasional activities and other CNB with associated events been preserved, activities have the participation of have as and employ Bank officials state of the Federal People’s Republic of Yugoslavia and, as as and, Yugoslavia of Republic People’s the Federal of state attention. of worthy is certainly such, DEUTSCHE BANK DEUTSCHE of estab- of the special the special The idea - collabora working lishing a Kleinhans and tion between spon- Deutsche Bank grew to the day from taneously the between interactions day and the photographer press of officers public relations top 1986 which traced the city’s the city’s which traced 1986 in urbanity regain to efforts postmodernism. the period of

, Deutsche Bank became Kleinhans most Deutsche Bank became Kleinhans most , In addition to its artistic significance, In addition to collection Deutsche photo Kleinhans’ Lutz of attraction which the with perspective Bank lies in the long-term large Frankfurt companies. While continuing to work full- work to While continuing companies. Frankfurt large the FAZ time for established was The contact client. private important - spokes press Deutsche Bank’s Weber, Walther through ‘in-house and Kleinhans soon became the man at the time, The institution. credit largest Germany’s of photographer’ Geld— magazine the Deutsche Bank customer design of also 1980s—was the late to 1970 from released was which in his hands. mainly urban environment, as well as documenting the city’s the city’s as documenting well as urban environment, on region, Rhine-Main Outside the Frankfurt social life. he In 1971, photographs. took he rarely hand, the other portrait— city acclaimed illustrated published a highly of exploration visually a presented —which Frankfurt - The multimedia presenta skyscrapers. new the town’s the radical portrayed Kleinhans in 1973 by tion directed and War World the Second after the cityscape of renewal Ameri- North in several Frankfurt promote used to was in book illustrated another by followed was can cities; it 52 - social life. DEUTSCHE BANK DEUTSCHE Reinhard Frost Reinhard For more than four decades decades than four more For Lutz Kleinhans Lutz well as documenting the city’s as documenting the city’s well Frankfurt urban environment, as as environment, urban Frankfurt record of the development of the of the of the development record Kleinhans created a photographic a photographic Kleinhans created - - - —first as a contract employee, employee, as a contract —first (FAZ) as Lutz Kleinhans, what did he photograph photograph he did what Kleinhans, Lutz as more than four decades Kleinhans created a a decades Kleinhans created than four more For Who w Who The Deutsche Bank photo collection The Deutsche Bank photo photographic record of the development of the Frankfurt the Frankfurt of the development of record photographic

for his client Deutsche Bank, and how is his photo collec is his photo and how Deutsche Bank, his client for the Histor tion being used by the Deutsche of ical Institute Bank? Kleinhans came from the son was and Frankfurt near in school, After a tax official. of - studying phys 1946 he began Frank of ics at the University in an interest began He furt. which he pur photography, then sued first as a hobby, before studies, his finance to photography make to them up in order give deciding to as a worked Kleinhans 1949 From his main profession. Rhine- newspapers in the daily various for photographer school, at a photography training In addition to area. Main for areas about potential himself educate to he continued 1957 he 1953 to From photographer. as professional working , Rundschau the Frankfurter for as a photographer worked Frankfurter its competitor—the to which he switched after Allgemeine Zeitung 1993. to 1973 from photographer then as a permanent In 2009, the Historical Institute of Deutsche Bank acquired Deutsche Bank acquired of Institute the Historical In 2009, collection Deutsche Bank comprising around the photo Lutz use from of rights and their image negatives 18,000 In photographer. Frankfurt a busy Kleinhans (1926–2011), - photogra editorial an as work full-time his to addition Klein- Allgemeine (FAZ), Zeitung Frankfurter the for pher Deutsche for ‘house photographer’ a as worked hans also 1989. 1967 to Bank from

eabh bulletin eabh bulletin 53 DEUTSCHE BANK DEUTSCHE 1 1. The source material: 18,000 images on negative strips on negative images 18,000 material: The source 1. DEUTSCHE BANK DEUTSCHE 3 54 DEUTSCHE BANK DEUTSCHE 4 2 2. Lutz Kleinhans (1926-2011) in action for Deutsche Bank in 1986 in action for Kleinhans (1926-2011) Lutz 2. in 1968 Kobe of the city loan for a Signing of 3. skyline significantly enriched the Frankfurt 1982 – the Deutsche Bank towers view Helicopter 4.

eabh bulletin eabh bulletin 55 DEUTSCHE BANK DEUTSCHE 5 5. Deutsche Bank’s first high-rise in downtown Frankfurt, 1971 Frankfurt, high-rise in downtown first Deutsche Bank’s 5. DEUTSCHE BANK DEUTSCHE 56 DEUTSCHE BANK DEUTSCHE 6 6. Celebrating 100 years of Deutsche Bank on the River Rhine, April 1970 Rhine, Deutsche Bank on the River of years 100 Celebrating 6.

eabh bulletin eabh bulletin 57 DEUTSCHE BANK DEUTSCHE 7 7. Private clients at Frankfurt city branch, 1970 branch, city at Frankfurt clients Private 7. DEUTSCHE BANK DEUTSCHE 9 58 DEUTSCHE BANK DEUTSCHE 8 8. Vote count at Deutsche Bank’s annual general meeting in Düsseldorf, 1968 in Düsseldorf, meeting annual general at Deutsche Bank’s count Vote 8. 1967 Abs, J. Hermann spokesman legendary with Deutsche Bank’s meeting board Last 9.

eabh bulletin eabh bulletin 59 DEUTSCHE BANK DEUTSCHE 10 10. At the centennial celebration of Deutsche Bank in April 1970, the audience was homogeneous: one age, one sex, and uniform clothing. uniform and one sex, one age, homogeneous: was the audience April 1970, Deutsche Bank in of celebration the centennial At 10. DEUTSCHE BANK DEUTSCHE

13 15 60 DEUTSCHE BANK DEUTSCHE during a consultation at Deutsche Bank branch in Frankfurt. Since the introduction of small loans, the major German banks have opened up to new new opened up to have German banks the major small loans, of Since the introduction in Frankfurt. during a consultation at Deutsche Bank branch ess conference in October 1974, the Management Board and the foreign representatives of Deutsche Bank were ready to answer questions. questions. answer to ready were Deutsche Bank of representatives and the foreign Board the Management 1974, in October ess conference A builder A posed. is undoubtedly in 1979, taken But this photo, groups. customer At a pr At The pennants with the respective national flags gave the event the appearance of an international summit conference. an international of the appearance event the gave national flags with the respective The pennants 14 12 11 15. Visit of a delegation of Universal Oil Produtcs at Deutsche Bank in Frankfurt, 1974. In the 1970s Lutz Kleinhans liked to experiment with unusual camera angles. with unusual camera experiment to Kleinhans liked Lutz In the 1970s 1974. at Deutsche Bank in Frankfurt, Produtcs Oil Universal of a delegation Visit of 15. 11. At the evening banquet and ball in Frankfurt’s Palmengarten, on the other hand, society was more mixed. more was society hand, on the other Palmengarten, and ball in Frankfurt’s banquet the evening At 11. 12. 1971 the bank, into employee type of new whole a brought computers with large processing Data 13. 14.

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- - - with its approxi o collection Deutsche Bank Contact Deutsche Bank Frost: Reinhard [email protected] https://www.db.com/who-we-are/history/archives ried out for Deutsche Bank in other major German cities. cities. German major Bank in other Deutsche ried out for decades. ing three Deutsche Bank of Institute Historical of All images courtesy © Author’s profile at and history studied German philology Frost Reinhard he has been historian Since 1996, University. Frankfurt has pub- He Deutsche Bank. of Institute at Historical including publications on banking history, lished several Deutsche (2009), Banking its Retail Deutsche Bank and Wallich. Hermann (2014), Region Bank in the Rhine-Ruhr Shanghai and Berlin (2017) in , Banker A Frankfurt, these were the only assignments Kleinhans car assignments the only were these Frankfurt, Management Board pho- take to opportunities Kleinhans had several Lutz 1967 and 1970. between meetings during board tographs Kleinhans appointed, was member board When a new initially While Kleinhans portraits. a series of took usually in executives members and other board of pictures takes in work to to his home them invited he later offices, their atmosphere. a relaxed The phot Kleinhans physically Lutz by photographs 18,000 mately 6x6 and in the formats strips negative of in the form exists - photo black-and-white of Although the number 3x2 cm. photographs, colour of the number outweighs far graphs - photo colour of a series feature to the collection began in the mid- frequent more became which 1969, after graphs in October the negatives the acquisition of After 1980s. on digitized was photographs of stock the complete 2009, soon archived was and the original negatives the basis of of the database into integrated were files All image after. Thus, with metadata. and provided Institute the Historical In throughout. known are recording and place of the date the persons identify to it has been possible cases, many deal a great which involved in the photographs, depicted - photo group in the case of especially work, detective of 150th anni- Deutsche Bank’s the occasion of On graphs. Lutz by with 150 photographs book an illustrated versary, collection Deutsche Bank has his photo Kleinhans from - represent a offering been published in 2020 (in German), Deutsche Bank cover for work his of cross-section ative 61 ------DEUTSCHE BANK DEUTSCHE - in the photo themes can be identified eral Sev Annual general meetingsAnnual general among Lutz segment the largest forms This annual event the long- Here, Deutsche Bank. for orders Kleinhans’ striking. is particularly event this annual of evolution term a mass this occasion into of sees the development One by shareholders hundred several which attracted event, thousand at the end of and several the 1960s, the end of meetings annual general Since Deutsche Bank’s the 1980s. in headquarters bank’s the at only not place take to used In contrast to industry, banks can’t come up with spectac come up can’t banks industry, to In contrast - no aspira halls, —no factory production from motifs ular bond signings, offer they instead goods, tional consumer of meetings specialist departments, conferences, press But in in local branches. work at and the tellers executives, on every Kleinhans focused banking business, addition to bank all the mechanization of it is above And here life. day con- the 1970s, the beginning of At the eye. ing that catches both dominate to continued technology office ventional work terminals at the with areas, and back-office customer the . visible at the end of becoming stations only mixed. to be more began staff of teams During this time, Banking business Festivities Festivities April Bank in Deutsche of celebration centennial the At Kleinhans Lutz days, several place over which took 1970, of The crowd in action. permanently were and his team Bank centenary the Deutsche for who gathered guests German business and politics. of Who Who’s a offers graphs made between 1967 and 1989. and 1989. 1967 made between graphs photography Architectural occupies a special position photography Architectural Deutsche Bank and is limited for among the commissions - photograph Kleinhans began When Lutz buildings. a few to Frankfurt the 1960s, the of end the at Bank Deutsche ing vertical, the to the horizontal shifting from was cityscape the sky. into growing towers office and more with more this to address the first photographers Kleinhans is one of photographs series of Large books. change in his illustrated first high-rise Deutsche Bank’s the construction of of exist cor today’s 1970, around Frankfurt building in downtown for Deutsche Bank-Towers—a headquarters—the porate and the bank’s region Taunus in the centre training mer Frankfurt. in Eschborn near centre technical photographer—or picture editor, as he preferred to call call to as he preferred editor, picture photographer—or the changes in Deutsche Bank’s himself—documents life. and inner public appearance - - ailable infor Based on the av mation regarding the individ- mation regarding Archives the ECB ual items, all the group able to was - nega prints, photographic still digital images slides, tives, footage and the audiovisual ‘For series (e.g., to according ‘Cultural Members’, Board mer - Vernis o ECB ‘Opening days’,

of the magnetic or analogue video video analogue or magnetic the of ent of the photographic prints and still and still prints the photographic of ent The cont The majority The digital images includes portraits, group events, objects objects events, group digital images includes portraits, (e.g., landscapes and interiors a banknote) or a picture (e.g. - foot The audiovisual a building). of exterior or interior general conferences, press varies from content files age sage’) as well as the itemization of individual items (e.g., sin- (e.g., individual items of as the itemization well as sage’) variety a great These series contain print). gle photographic of still digital photographs formats, prints photographic of files. footages and audiovisual sizes, various

tapes sent to the ECB Archives had not been properly been properly had not Archives the ECB to tapes sent labeled. described or or (re)wound periodically stored, to be employed had effort a considerable Consequently, - pres proper a lack of Due to these tapes. in re-arranging - deteri had sometimes recordings of the quality ervation that these tapes held was biggest risk The ECB’s orated. video- original the only e.g. video material, irreplaceable ade- maintained is not this material If a speech. tape of meaning that the original tape it could be lost, quately, anymore. viewed be cannot - and prop processed case, any in rearranged be needed to were cases protective Some CDs/DVDs preserved. erly ones. with new replaced were and these broken, 62 - Isabella Asaro CENTRAL EUROPEAN prints and still digital images and still digital images prints includes portraits, group events, events, portraits,includes group The content of the photographic of the photographic The content objects, landscapes and interiors. Introduction and background Introduction audiovisual collection audiovisual - the audiovis received Archives - dig both (containing the CDs and DVDs f Most o Most When the ECB When the ECB Creating the European Central Bank’s Bank’s Central the European Creating ital images and audiovisual footage) deposited with the with the deposited footage) ital images and audiovisual pack as their be rehoused need to did not Archives ECB Some handling and preservation. proper for aging allowed no If in groups. packaged or stacked, delivered were CDs may pressure the accumulated action had been taken, CD/DVD, the of deformation or warping in resulted have These CDs/DVDs loss. content the risk of increasing

- con the Communications Directorate, from ual records catalogue re-arrange, to was needed effort siderable - the audiovis and re-house including: neg- ual material, Compact Discs slides, atives, Discs Versatile Digital (CD), tapes and magnetic (DVD), Some of prints. photographic were prints the photographic each other, stuck to partially running the risk of thereby and other deterioration colour damage. potential Until 2010, the Division Official Publications and Library Publications and Library Official Division the 2010, Until - responsi was Communications Directorate the of (PAL) that given records, audiovisual of the management ble for the most of made had Communications Directorate the Bank (ECB). Central the European of records audiovisual up an audiovisual set made to was the decision In 2010, when time the At Archives. ECB the of part as collection handed over was records the audiovisual of the majority - system not were they Communication Directorate the to - prop or labeled, described, adequately arranged, atically stored. erly

eabh bulletin eabh bulletin 63 EUROPEAN CENTRAL BANK CENTRAL EUROPEAN 1 1. ECB Press Conference held in 2000 Conference Press ECB 1. 64 EUROPEAN CENTRAL BANK CENTRAL EUROPEAN 2 2. ECB lnauguration Ceremony held at the Alte Oper, 30 June 1998 June 30 Oper, Alte held at the Ceremony lnauguration ECB 2.

eabh bulletin eabh bulletin 3 65 EUROPEAN CENTRAL BANK CENTRAL EUROPEAN 4 3. & 4. ECB lnauguration Ceremony held at the Alte Oper, 30 June 1998 June 30 Oper, Alte held at the Ceremony lnauguration ECB 4. & 3. - - emaining items (275 (275 emaining items Archives assessed: 1,568 video tapes, video tapes, assessed: 1,568 Archives alue der to ensure compliance with German copy German with compliance ensure to der batch includes all items which have been been have which items all includes batch The ECB The ECB or In ort and feasibility of obtaining copyright authorisa- copyright obtaining of ort and feasibility Historical v Historical Eff needed. if tion, The first which hence for (and public interest be of assessed to which the ECB for and/or issue exists) no copyright completed was digitization Their holds the copyright. 2018. in November includes the r The second batch which the for items), series of analogue audio-visual before be reviewed authorisation needs to copyright were these can be undertaken; digitization process any criteria: key two assessed against

The second batch (material with initial no ECB copyright) copyright) with initial no ECB (material The second batch and series) & April 2019 (1,405 items in handed over was 2020. January in completed was ing the first phase of the project. The evaluation of the the of evaluation The the project. of ing the first phase with the sup- carried out was items analogue audio-visual services. legal the ECB of port and involvement (9,857 prints photographic 508 series of audio tapes, 1,054 - nega of series 194 slides, 311 prints), photographic single established that for was It single negatives). (11,906 tives and prints photographic 6,694 tapes, video (107 series 275 issues required copyright and 17 audio tapes) negatives ECB the digitized, items of the majority For clarification. pro- to rights sufficient has or copyright the holds either use. future with the digitization and envisaged ceed audio-visual the digitize to decided was it legislation, right batches: separate in two items • • • • Assessing copyright for the ECB’s audio-visual audio-visual the ECB’s for Assessing copyright collection dur assessed were the analogue items of The copyrights arrangement does not exist, the copyright situation needs situation needs the copyright exist, does not arrangement any to identify owner copyright every with be clarified to infringement. risk of particular 66 - - - EUROPEAN CENTRAL BANK CENTRAL EUROPEAN professional archivist. professional es a common chal- our researchers and learning opportunities for the opportunities the for and learning our researchers The digital domain creates exciting opportunities for opportunities for exciting The digital domain creates Old audio-visual recordings can only be only can recordings audio-visual Old 1 - a comprehen material, audio-visual arding Reg This diverse collection shar This diverse played on specific equipment, once that has become obso- on specific equipment, played digitization and migration for opportunity of window the lete - digitization and migra complete to Failure closed. will have - val in the loss of resulted will have these recordings tion of - as the invest well as content irreplaceable uable and often the in 2017, Therefore date. had made in it to the ECB ment to launch a digitization project decided to Archives ECB preservation long-term ensure to and accessibility increase The collections. archival analogue audio-visual the ECB of to company a European 2017 to July in awarded was contract recordings. audio-visual the ECB the digitization of perform tainty for envisaged future use. If such a comprehensive such a comprehensive If use. future envisaged for tainty lenge: sustainability. lenge: rules and copyright works Audio-visual difficul- poses clearance copyright works, audio-visual For be involved may copyrights different of number large A ties. certain own may as each contributor in a single production, contribution. his/her to parts thereof) related (or copyrights all copyrights covering arrangement contractual sive work audio-visual a given for owners and all copyright cer legal the necessary secure to in order is preferable

The start of the for digitization project ECB items audiovisual the the impact of consider needed to Archives The ECB the for digital formats in the use of increase continual and for Analogue standards video. audio or of recording council meetings, governing council meetings, executive executive council meetings, governing council meetings, The neg- etc. campaign, awareness Euro meetings, board receptions, farewell from varies and slides content atives - govern Banknotes, ‘DesignEuro’ portraits, presidential executive council meetings, general ing council meetings, etc. meetings, board is a consider and there evolving, continuously mats are be digi- that needs to analogue material of volume able (DVCAM video formats digital Some early urgently. tized be need to so they been superseded, have DVCPRO) or formats. digital with updated made compliant

eabh bulletin eabh bulletin tape and audiotape deteriorate over time. Video Video time. over deteriorate tape and audiotape Archives has referred for the description of the audio- of the description for has referred Archives The ECB The ECB institutions and recognised some international to visual items Photographic European (Safeguarding SEPIA e.g., programmes, Standard International General (ISAD-(G)), Access), Images for Sound Association of (International IASA, Description, Archival Dublin Core. Archives), and Audio-visual Analogue video Analogue due to risk materials be high to considered and audio tapes are damage, mechanical tapes, the of deterioration chemical potential Videotape/ handling. and poor mould, obsolescence, equipment damage through by also be shortened may longevity audiotape’s appliances. wrong on the viewed if especially use,

1 2 Author’s profile Author’sprofile in Institute Monetary joined the European Asaro Isabella visual collection of audio the for responsible is She 1997. Bank and has guided the digitization Central the European objectives keys her of One visual records. audio of project their and preserve these items access to facilitate is to institutional memory. Contact Bank Central European Asaro: Isabella [email protected] https://www.ecb.europa.eu/home/

67 - - EUROPEAN CENTRAL BANK CENTRAL EUROPEAN ems of the collection are the collection are ems of visual content, as well as the as the well as visual content, reservation format: MXF, Mezzanine for Mezzanine MXF, format: reservation : Preservation format: TIFF, Access for Access TIFF, format: es: Preservation This schema was developed, implemented implemented developed, was schema This 2 : Preservation format: Broadcast Broadcast format: : Preservation ecordings The audio-visual it The audio-visual Digitizing audio- Digitizing Digital imag Digital Thumbnail JPEG format: mat: JPEG, r Audio MP3 format: Access WAVE, Video files: P mat: MOV and Access format: MP4 format: Access and mat: MOV

described and captured based on an agreed, common set common set based on an agreed, described and captured metadata. of Currently the volume of ECB’s digital content stands at: stands at: digital content ECB’s of volume the Currently format); videos (per 1,167 format); (per slides/images 6,965 will steps next The format). (per audio recordings 1,100 and to content this digitized ingest of the continuing involve to (DP) Repository Preservation institutional Digital our preservation. its long term secure • Moving into the file-based world the file-based into Moving proxies, viewing have to need archives audio-visual Digital - profes internal for quality sorts: 1) medium two of usually band- As access. web for quality low sional access; and 2) quality medium and low of definition the increases, width upgrade periodically the need to leading to will change, generation proxy to approach efficient An these proxies. Archives ECB (the master 1.) levels: component has three mezzanine (the 2.) format), an uncompressed used have 3.) and proxies); new generating for coding most efficient levels). quality more one or (of proxies viewing (‘access’) (with the item of each kind for formats different Three been used: have audio files) of exception • • capture and to describe different audio-visual materials materials audio-visual describe different and to capture schema enables This schema. metadata common one in item audio-visual any of retrieval to and the identification as required. and is continuously maintained based on an agreed based on an agreed maintained and is continuously the base to and provides best practice, archival of set course, of is, digital content new of ongoing management to be have factors Many process. off’ ‘one a simple not property, and intellectual copyright notably considered, systems, storage codecs, formats, file the choosing of and frameworks, standards metadata of the development - strat migration sets, skill staff workflows, new developing chal- with most as But, factors. name but a few to egies, opportunities exciting the digital domain creates lenges, - the pro and learning opportunities for researchers our for archivist. fessional © ECB All photographs: -

is now one of the most the most one of is now

tance and financial activi- appointed a publicly ties to Pie di San the Opere council, a pub- which became Paolo, institution in credit lic-law into evolve later would 1932; it Banking Institute San Paolo the insti- of The role Turin. of War in the post-World tute the period, II reconstruction - pres its territorial of extent its of the diversification ence, advent of the liberal state in 1853, King King 1853, in state liberal the of advent Compagnia di San Paolo With the With Vittorio Emanuele II circumscribed the activity of the the of the activity II circumscribed Emanuele Vittorio all assis- entrusting sphere, the religious Compagnia to - Euro the in position leading its and activities banking for foundations the laid market, (ECU) Unit Currency pean of decades After afield. and further in Italy its expansion the implemen- of 1992 (part of the privatization growth, the the passage of due to banking privatization tation of activ the Institute’s in 1991) sundered Law Amato-Carli to entrusted were banking activities Henceforth ities. S.p.A. San Paolo company up joint-stock set a newly while its Sanpaolo), become Intesa go onto would (which the Compagnia managed by were activities philanthropic the revived that foundation non-profit a Paolo, San di name. historical mission Its in . foundations private important (1595), that provided financial and religious assistance. The The religious assistance. financial and that provided (1595), leading bequests, through increased assets Compagnia’s financial activities, of a range of development the rapid to a peak in the mid-1700s. that reached

1 68 4 - orical orical FONDAZIONE 1563 FONDAZIONE Mariastella Circosta Mariastella In order to provide first hand hand first provide to In order access to historical resources resources historical to access (scholar) audiences, Fondazione Fondazione audiences, (scholar) has systematically developed its its developed has systematically and to their inventories to broad broad to their inventories and to own digital photo library project. digital photo own and third, the Ufficio Pio the Ufficio and third, 3 (1683), that evolved into the the into that evolved (1683), 2 the Compagnia di San Paolo Paolo di San the Compagnia From the Historical Archive of of Archive the Historical From Fondazione 1563 considers digital hist 1563 considers Fondazione The photographic collections of the collections of the The photographic San Paolo Banking Institute of Turin of Banking Institute San Paolo Educatorio Duchessa Isabella; Duchessa Educatorio - the Com in 1563, Turin from citizens seven by Founded and assist the poor to established was pagnia di San Paolo the oversaw It Protestantism. of the spread contain to di Pietà Monte the institutions: first, various of creation need of those in desperate provide to 1579), (pawnshop, the educational usury; second, to with an alternative cash Casa del Soccorso women, for and charitable institutes The history of Compagnia di San Paolo and of the di San Paolo The of Compagnia history of Turin Banking Institute San Paolo images a fundamental resource resource images a fundamental - and advance the study for in humani- research of ment tool as the primary well as ties, dissemination knowledge for and forms narrative through - pro to In order digital media. to his- vide first hand access their and to resources torical (scholar) broad to inventories has Fondazione audiences, its developed systematically an thus giving rise to project, library digital photo own 13,500 images. over to access point important

The Historical Archive of the Compagnia di San Paolo, the Compagnia di San Paolo, of Archive The Historical con- Cultura, e la l’Arte 1563 per Fondazione managed by of the history collection that traces a photographic serves doc providing Turin, of Banking Institute the San Paolo umentation of its credit activities, as well as its philan- as its well as activities, credit its of umentation initiatives. and cultural editorial thropic, (1589) and Casa del Deposito and (1589)

eabh bulletin eabh bulletin 69 FONDAZIONE 1563 FONDAZIONE 1 1. Giovanni Battista Berra, Educatorio Duchessa Isabella. Internal front of the building, around 1898, albumen print 1898, around the building, of front Internal Duchessa Isabella. Educatorio Berra, Battista Giovanni 1.

8 - - century. The aim The aim century. th ganized exhibitions of of exhibitions ganized to the 20 to th 7 ary serves as a support for the activities of of the activities as a support for serves ary Fondazione 1563 has or Fondazione The libr as exhibitions well as at its headquarters its documents Exhibitions can be public engagement. facilitate online to Archives (the Archivissima as such event, a bigger part of dissemi- cultural to devoted days international or festival), promoted Week Archives such as the International nation, - coordi It (ICA). Archives on Council International the by - based on archi volumes and publishes a series of nates a broad the publications cover The themes of research. val art and architec of such as the history subjects, of range for available contributions and other research make is to institutions. and cultural universities scholars, researchers and the interested public, whether in Italy or or in Italy whether public, and the interested researchers in login is required online access: a simple free to abroad, comprises a The online archive see the images. to order that pages) digitized 400,000 (or items 60,000 of total of years 430 In total and downloaded. can be consulted of and a total with 5 libraries together online, are history collections. and 8 biographical volumes 10,000 its and Paolo Compagnia di San of Archive the Historical purchases recent to And it is still growing—thanks users. and foreign and Italian with foundations and exchanges companies. institutes, cultural universities, archives, banks, publi- and other inventories collections of large are There - histori of works and archives historical by edited cations and banks by published and economic nature cultural cal, of includes the fond the library companies; furthermore The the Compagnia di San Paolo. of Archive the Historical mono- modern printed of book collections consist largely and degree old periodicals and a small collection of graphs which documents, 10,000 about are there total, in theses; and the artistic mono- publications, include the bank’s have and magazines books Many it commissioned. graphs online in the digital available freely and are been digitized System Library the University is part of The library library. Turin. of the University managed by SBA-Unito, Polo as social and well as music, philosophy, literature, ture, the 16 from political history Digital photo library Digital photo was 1563 Fondazione of project library The digital photo and tools enrich online research to the desire born out of and Collections (DAC). Archives Digital by is supported This initiative seeks to respond to problems of sustaina- of problems to respond to seeks This initiative - availa and information making assets by and access, bility inter facilitating and by people, of number a larger ble to access to promotes library The digital photo operability. the San Paolo of the history 13,500 images covering over document fonds archival Its Turin. of Banking Institute and Italy in Piedmont, Turin, in the institute of the history 70 - FONDAZIONE 1563 FONDAZIONE It also sup- also It 5 ed to the classifi- ed to Innovative tools allow allow tools Innovative 6 ed by the archive is an an is the archive ed by century—and Jolanda and and Jolanda century—and th century. The documents come come The documents century. th and 20 th to the 20 to th om 1989 to 2015 the archive was housed at the housed at the was the archive 2015 om 1989 to Fondazione 1563 is committ Fondazione Fr The heritage preserv

- the Edu hillside; today Turin on Reale, Vigna di Madama a has been turned into Palace Isabella Duchessa catorio has documentation the historical where modern facility with spaces equipped wide storage in been organized technologies. conservation advanced cation, study, digitization and dissemination of its his- dissemination of digitization and study, cation, can be accessed The documentation documents. torical Digital room virtual reading in the easily and consulted and Collections (D.A.C.). Archives Angelo Dragone’s Fond for modern and contemporary art, art, modern and contemporary for Fond Angelo Dragone’s the art critic and and papers of the books which preserves Turin. scholar from As noted above, Fondazione 1563 is an independent body body 1563 is an independent Fondazione above, As noted - and it is responsi Compagnia di San Paolo, by overseen of and promotion management the conservation, ble for mission is to Its the Compagnia. of archive the historical - archi cultural, the artistic, enrich and promote preserve, and support research heritage and to documentary and val in the humanities. programs training advanced Fondazione 1563 per l’Arte e la Cultura and its 1563 per l’Arte Fondazione activities is to foster civil, cultural and economic development in in economic development and cultural civil, foster is to public pursuing goals of in, operates the communities it is active The foundation and social usefulness. interest health, policies, social education, and higher in research of is a member It activities. cultural artistic heritage and and the Italian (EFC) Centre Foundation the European and Saving Origin Banking of Foundations Association of (ACRI). Banks important resource for the social, economic and cultural economic and cultural the social, for resource important a num- to it is connected and Italy; Piedmont of history to only and it is open not archives, Italian other of ber public. the general but also to scholars and researchers the purchase through been augmented holdings have Its such as and libraries: archives private important other of the engineers Giuseppe and of archive the professional resource important Fond—an Gallo’s Gallo, Bartolomeo in ecclesiastical architecture of studying the history for in the 19 Piedmont

from the Compagnia itself as well as from the Monte di di the Monte from as well as itself the Compagnia from Bank and the San Paolo San Paolo Pie of the Opere Pietà, Turin. of ing Institute ports a research programme on the ‘Age and the Culture of of and the Culture ‘Age on the programme ports a research The grants. research for an annual award offering Baroque’, 450-year covering material preserves archive historical spanning documentation) of kilometres linear (two history the 16 from

eabh bulletin eabh bulletin - and in the and in the 11 century; its premises give on to on to give its premises century; - Duchessa Isa the Educatorio th - in the Ital both orio participated a healthy climate, away from the disturb- from away climate, a healthy designed in premises the city, ing noise of - school building mod the new to according a the building, of the inauguration For els. launched was campaign photographic large the modern premises illustrate to in order the the classrooms, school, the boarding of garden, the large equipped laboratories, - with souve students provide and also to The Educat The purpose of International Exposition in 1911, promoted for the 50th the 50th for promoted Exposition in 1911, International occasions unification: on these two Italian of anniversary propaganda carried out for were campaigns photographic the adminis- War, World the First after In 1921, purposes. concerned about the decline in the Educatorio, of trators illustrated a new print decided to students, of the number album an is there Then images. nineteen with brochure and teachers the students of portraits photographic of 1911/1912. year the school made for all school courses, of 1935 on back to campaign dates The last photographic booklet an advertising the publication of the occasion of Istituto Regio and the annexed the Educatorio to relating ). 1–4 Domenico Berti (Photographs Magistrale The Monte di Pietà The Monte cen- in the ancient has been located di Pietà The Monte since the 18 Turin of tre a street that assumed the name of via Monte di Pietà. The The di Pietà. via Monte assumed the name of that a street Giuseppe by and redesigned restructured was institute - in the pres 1902, in October and re-inaugurated Pastore Bon- Letizia Princess of III, Emanuele Vittorio King ence of the In 1909, Filiberto. Emanuele Aosta of and Duke aparte - fres make commissioned to was Gaidano Paolo painter and ceiling to walls the for friezes coes and ornamental

educational institutions for girls, who could access them by could access them by who girls, institutions for educational the tuition. paying or places free the of taking advantage to was in 1883) adopted name the institution bella (the by family, a of mothers and educated teachers expert train intellectual moral, with a good religious, them providing work. and physical education without neglecting women’s inaugu- was the Educatorio building of new the In 1893, with an area di Francia, in Barriera located was It rated. photographic Four class and institution. their of photos nir the 1898 and 1935 by carried out between were campaigns of owner Berra, Battista studios Giovanni photographic Ambrosetti; Pasta then G. Subalpina; Bernardo Fotografia successeur; Gibelli Reproduc Vallois David-Edmond Jean celebrate in 1898 to Turin Exposition held in ian General Albertine Statute, the of the 50th anniversary tive Art. tive

71 - - - th FONDAZIONE 1563 FONDAZIONE access to over over to access 13,500 images. library promotes library promotes The digital photo The digital photo - chitectural drawings drawings chitectural anches in the area 10 orio Duchessa Isabella ers of the San Paolo Banking Institute of of Banking Institute the San Paolo ers of ographs are sorted by collections, but other but other collections, by sorted are ographs te di Pietà te ography: the artistic monographs by San Paolo by the artistic monographs ography: All images and data are subject to the Creative the Creative to subject are images and data All Phot 9 and projects The San Paolo: agencies and br The San Paolo: Art phot Gallo: ar Giuseppe and Bartolomeo The Educat The Mon Headquart di Pertengo Turinetti - Palazzo Turin

The Educatorio Duchessa Isabella The Educatorio provision the through women young of protection The housing at the Casa del Soc of and the offer dowries of (1683) has been and in the Casa del Deposito corso (1589) 16 the since mission Paolo San di Compagnia the of part enced so that one can search for photographs by using a map. using a map. by photographs for enced so that one can search The San Paolo: agencies and The San Paolo: these collections, of Two Gallo: Bartolomeo and and Giuseppe , area the in branches been geo-refer have , projects and drawings architectural • • • • • - the fol divided into is currently library The digital photo collections: lowing • thematic paths have been identified. Groups of images are images are of Groups been identified. thematic paths have information documents; and relevant metadata to linked techniques and photographic about the photographers, Through well. as recorded publications are and relevant func search collections’ the ‘explore the filters search apply is able to tion each user typol- monograph, find the collection, to each and subject of technique, author, ogy, - inven Thus a photograph’s digital object. be properly may card tory/cataloguing a broader to being linked contextualized allow The goal is to context. documentary familiar whether users, of range wide a way in a access information to not, or with this material path so as to research own their tailor them to that allows - mate archival digitized the to context and content assign then allows tool The search choosing. own their rial of identify in addition to the metadata retrieve to the user and printable in downloadable summary ing a descriptive formats. - web the on available are These materials internationally. is also project library The photo as digital galleries. site his- and public telling history for resource an important projects. tory Commons Attribution-NonCommercial-NoDerivatives 4.0 4.0 Commons Attribution-NonCommercial-NoDerivatives license. International century. Over time, the two bodies were transformed into into transformed were bodies the two time, Over century. 4 3 72 FONDAZIONE 1563 FONDAZIONE asta, Educatorio Duchessa Isabella. Group of students of the Complementary Course who took part in the international gymnastic competition gymnastic part in the international who took Course the Complementary of students of Group Duchessa Isabella. Educatorio asta, Bernardo P Bernardo print silver gelatin 1911, 1911, in May Turin held in 2 2. Bernardo Pasta, Educatorio Duchessa Isabella. Party uniform, 1911, gelatin silver print silver gelatin 1911, uniform, Party Duchessa Isabella. Educatorio Pasta, Bernardo 2. 3. print silver gelatin 1911, school, Physics Duchessa Isabella. Educatorio Pasta, Bernardo 4.

eabh bulletin eabh bulletin - - nal courtyard of the building, with a very modern glass and modern glass and very with a the building, of nal courtyard was offices the old courtly of The renovation wing. steel the banks of with the modernization carried out in tandem a drive-in mechanized; were works services: the counter up; internal set was cash service bank and continuous service and mail the pneumatic televisions, closed circuit dis- to gallery exhibition an installed; were system safe a and put in place, was documents historical bank’s the play designed. were cars for hall and a sorting area a campaigns photographic by well-documented All this is Augusto studios such as Moisio; various carried out by while the destruc Rampazzi; Ferruzzi; Publifoto; Pedrini; post- of work bombing and the war-time tion caused by - prob the photographs by is attested reconstruction war Service in Technical the Institute’s by commissioned ably 9–12). activities (Photographs the restructuring support of - the appropri of the purchase which required interior, Dezzutti Mario architect The mouldings. decorative ate and the new he completed 1961 and in became involved, in the inter built were which modern bank headquarters, The San Paolo: agenciesThe San Paolo: and branches in the area the the 1920s led to economic crisis of The international and the industrial groups some Piedmontese collapse of Paolo bank this the San for but that financed them; banks In 1931 the expansion. territorial in a period of ushered the the deposits of over take able to was bank San Paolo and Liguria; and the in Piedmont Italiana Agricola Banca three only had in 1928, which hitherto, bank San Paolo grew outside the city, branches and three Turin agencies in in the spread and 110 branches agencies in the city ten to - strength the institute In 1950, regions. north-western the modernization of with organisation territorial its ened new of with the opening and points operating numerous At in Piedmont. offices representative and two branches of the meetings of the minutes the 1960s, the beginning of the the decisions regarding record Directors of the Board that ten showing network, the territorial of strengthening eighteen and another operating begun had branches new - while reno premises, acquired in newly had been settled Next branches. new sixty-one for in progress were vations into gone which had Grasso, Banca was incorporated be to during incorporations subsequent liquidation 1965-1969; of the network of enabled the expansion the seventies as in the well as the peninsula, in the north of branches and 260 branches comprised the institute 1975 By south. - as an interna it had established itself years within a few and across Europe across operating tional banking group - a rich photo preserves archive The historical world. the the of digitized, partially only yet as collection, graphic in Piedmont, and agencies located branches institute’s

73 - - - - th th cen- th FONDAZIONE 1563 FONDAZIONE and 18 th century, and had a and had a century, th published for the 350 published for 12 ous photographic campaigns were carried carried were campaigns ous photographic Numer In 1942 and 1943 the aerial bombings of Turin severely dam- severely Turin and 1943 the aerial bombings of In 1942 serious suffered Turinetti and the Palazzo aged the square, of In 1951 the building became the headquarters damage. the of with the approval Banking Institute the San Paolo acquiring suitable headquar In addition to Italy. Bank of confer bank, a new needed space for the institute ters In 1955 the shops. and offices spaces, cultural ence rooms, the of renovation the on worked Midana Arturo architect the oversaw San Carlo; he Caffè building and the adjacent palazzo’s the as well as facades Baroque the of restoration succession of owners belonging to the Turinese nobility. nobility. Turinese the belonging to owners succession of tury photographs. The modernization works still continued still continued works The modernization photographs. tury Carlo Ceppi, the architect designed by in the council hall, - the fres the making of entrusting who in 1909 suggested the to and ceiling walls the of friezes coes and ornamental Gaidano. Paolo painter studios the photographic 1902 and 1940 by out between di Sambuy; Bernardo Edoardo Battista Berra; Giovanni Confalonieri; F.lli La Zincocelere Ambrosetti; then G. Pasta on the instance, For Pedrini. Augusto Gherlone; Comm. the 1913 publication, occasion of Headquarters of the San Paolo Banking Institute Banking Institute of the San Paolo Headquarters di Pertengo Turinetti - Palazzo in Turin - pro a major part of was di Pertengo Turinetti The Palazzo the 16 between design that, ject in the city’s tional can piece we spaces. archive the photographic Using and architecture the building’s of the evolution together an auction room the construction of instance, For design. the con- demolished for later was (which pawned goods for 19 two by attested is hall) central the of struction the central hall. The premises were expanded in the 1930s 1930s the in expanded were premises The hall. central the func more and with larger the Monte provide to in order centuries, shaped architectural configuration to Turin, Turin, to configuration shaped architectural centuries, in 1563. state the Savoy of which became the capital city on the cor San Giorgio, block of in the historic Located the Teresa, Via Santa Piazza San Carlo and between ner France Cristina of of built during the regency was palazzo - Carlo di Castel by a project as part of Savoy of in the 18 enlarged was It lamonte. year of the foundation of Compagnia di San Paolo, the the di San Paolo, Compagnia of foundation the of year the of facade the portrayed Pasta Bernardo photographer with hall including the central rooms various building and deposit safe the skylight, large its and balcony elegant its the on boardroom the and basement, the in kept boxes record to was commissioned A photographer first floor. - Photo in the 1960s. the pawnshop the modernization of a jewel, on the shelves—a pawned goods stored of graphs in Turin of life a slice of machine—reveal washing a or fan ). 5–8 the 60s (Photographs 8 6 century, albumen print century, th 74 FONDAZIONE 1563 FONDAZIONE 7 5 5. Costi, Luigi, Auction room of the Monte di Pietà: exterior, last quarter of the 19 of quarter last exterior, di Pietà: the Monte of room Auction Luigi, Costi, 5. 6. Safe-deposit box room at the Institute’s headquarters in via Monte di Pietà, after 1902, gelatin silver print silver gelatin 1902, after di Pietà, via Monte in headquarters at the Institute’s room box Safe-deposit 6. celloidin print 1902 and 1927, between di Pietà, via Monte in headquarters the Institute hall of Central 7. celloidin print 1902, before main entrance, di Pietà: via Monte in Headquarters di Sambuy, Edoardo 8.

eabh bulletin eabh bulletin century, gelatin silver print silver gelatin century, th century, gelatin silver print silver gelatin century, th 12 10 75 FONDAZIONE 1563 FONDAZIONE 11 9 9. San Carlo Square, view of the Renaud di Faliçon Palace and the monument to Emanuele Filiberto, second half of the 20 of second half Filiberto, Emanuele to and the monument Palace di Faliçon the Renaud of view San Carlo Square, 9. 10. San Carlo Square, interiors of the Caffè San Carlo after the aerial raids of July 1943, second half of the 20 of second half 1943, July of raids the aerial San Carlo after the Caffè of interiors San Carlo Square, 10. sleeve steel with glass and courtyard external renovation: San Carlo building after Rampazzi, Fotografico Laboratorio 11. print silver gelatin 1963, post bank, drive-in renovation: San Carlo building after Rampazzi, Fotografico Laboratorio 12. 13 relating to the private the private to relating Fondazione 1563 has been engaged engaged been has 1563 Fondazione The first acquisition, The In addition, which serves as an access point to thousands thousands to as an access point which serves 14

which is freely available to all (Photographs 17–20). all (Photographs to available which is freely and Giuseppe and Bartolomeo Gallo: drawings projects architectural collections making the of the overview complete to In order mention to it is important library, up the digital photo fond, documentary Gallo’s Giuseppe and Bartolomeo professional documenting drawings 6,000 which holds over firms main architectural the of one by out carried work during architecture, religious in specializing Piedmont in the history belong to does not This fond the past century. purchased was but Banking Institute, the San Paolo of closely but separate two consists of It heirs. Gallo’s from Gallo Giuseppe the engineer of the archive fonds: linked Gallo (1897– Bartolomeo his son of and that (1860–1927) sites numerous over took He an engineer. was who 1970), the construction novo, ex construction and began, under plans sketched on the basis of often churches, other of of the declaration obtained fond Gallo’s his father. out by for Superintendence Archival the from interest historical Valley. Aosta and the Piedmont consisting Giuseppe Gallo (1860–1927), of archive the construction sites, to files relating drawings, of and photographic books letter copy of volumes four 2006 in supplemented was material, printed and his son of on the drawings focused a second one, by with numerous together (1897–1970), Bartolomeo than 4,700 More the 1960s. from prints photographic and storage improve to been digitized have drawings the into and studies merged Inventories consultation. by curated no.4, l’Arte’, per ‘Quaderni della Fondazione Gallo. Giuseppe e Bartolomeo Il Fondo Volpiano, Mauro dell’Ottocento l’architettura per e documenti Fonti prints and photographic The drawings in Piemonte. while the within the collection, can be consulted Giuseppe on DAC. can be consulted inventory entire the the portal of is part of fond Gallo’s e Bartolomeo System Archival the National of archives architects’ (SAN), are now featured in a digital gallery. More recently, recently, More a digital gallery. in featured now are online, available volumes 1563 has made all the Fondazione repository, dedicated a browse possible to now is it and

of documents held by the historical archives. The portal The portal archives. the historical held by documents of coming from collects and enhances the documentation and architects firms of the professional of the archives research for resource an important engineers and offers cities and landscape, architecture, of the history into 21–24). (Photographs in the region infrastructure Cultural of the Ministry run by with the national project 76 - - - - FONDAZIONE 1563 FONDAZIONE f enhancing the photographic enhancing the photographic f art books promoted by the San Paolo the San Paolo by promoted art books f the initial volumes was the preser was volumes the initial f The process o The process The focus o The focus The series of vation and restoration of Piedmont’s art historical herit- art historical Piedmont’s of and restoration vation - emerg was when Italy published at a time were They age. on the was the economy war, of the devastation ing from was reconstruction urban of work large-scale the and up, on low was heritage cultural of and preserving underway, of majority vast the years thirty next the Over agenda. the But dur Piedmont. to devoted be largely would volumes the president, was Zandano when Gianni ing the 1980s, that volumes publish chose to Institute Banking San Paolo The art and abroad. in Italy its expansion demonstrated on volumes three Gianni Carlo Sciolla edited historian and subsequently 1991–94, published between drawing, the by edited were in Italy painting on mural volumes four 1995–98. between Mina Gregori art historian comprising these publications, for accumulated material has involved in total, art photographs 8,000 roughly photographs Many inventorying. cataloguing, restoration,

Banking Institute of Turin has made a contribution to art to a contribution has made Turin of Banking Institute herit- the Italian of the protection and research historical - tra book type of that the ensuring by generally, age more the In 1951 value. scholarly of is as a gift, offered ditionally of the then president by was commissioned first monograph volumes fifty-six further a Coda; Dante Anton Institute the fourteen first The 2006. and then between published were - art histo Bernardi; the art critic Marziano by edited were museum superintendents, architects, archaeologists, rians, - edit the oth go on to would professors university directors, appeal public broad have to intended were books The ers. bank’s the as but region; the to relating topics address to and covered. material so did the ambit of expanded territory

Art photography: the artisticArt monographs photography: of the 1951–2006 San Paolo the San by promoted initiatives cultural the many of One enhance artistic her to Turin of Banking Institute Paolo the was This 1951–2006. between undertaken was itage, would which volumes, illustrated fifty-seven publication of publishing and artistic pho- of a mark in the history make pho- famous of the collaboration to due in Italy, tography Rampazzi, Ferruccio Pedrini, Augusto such as tographers its role, the bank’s The series documents Carrieri. Mario taking on the func investments, and cultural strategies that the economic and social relations representing tion of such themes. the choice of explained Liguria, Lombardy, Puglia and in Rome from the mid-1940s the mid-1940s from and in Rome Puglia Lombardy, Liguria, - and ren inaugurations the occasion of On the 1960s. to pho- service commissioned technical the bank’s ovations, 13–16). (Photographs undertaken work record to tographs

eabh bulletin eabh bulletin 16 14 77 FONDAZIONE 1563 FONDAZIONE 15 13 13. City bank agency no. 15. Turin. External facade, around 1959 around facade, External Turin. 15. no. bank agency City 13. 1958 around Portrait, with counter. Interior bank branch. d’Asti Villanova 14. 1960 around facade, External bank agency. Caramagna Ronco, - Ottica G. Foto 15. 1958 November facade, External bank branch. Savona 16. 20 18 78 FONDAZIONE 1563 FONDAZIONE Roman theater of Turin: detail of the auditorium seen from the east, around 1968, gelatin silver print silver gelatin 1968, around the east, seen from the auditorium of detail Turin: of theater Roman anni Paolo e Giovanni Antonio Recchi, “Diana the huntress”, Central compartment of the ceiling of the Hunting Room, Valentino Castle, Turin, around around Turin, Castle, Valentino Room, the Hunting the ceiling of of compartment Central the huntress”, “Diana Recchi, Antonio e Giovanni anni Paolo ancesco Ladatte, Decorative sculpture in gilded bronze for the furniture of Pietro Piffetti (detail), around 1964, gelatin silver print gelatin silver 1964, around (detail), Piffetti Pietro of the furniture for bronze in gilded sculpture Decorative ancesco Ladatte, Giov print silver gelatin 1961, Fr Mario Carrieri, Mario 19 17 17. Guarino Guarini, Church of San Lorenzo (detail of the dome), Turin, around 1964, gelatin silver print silver gelatin 1964, around Turin, the dome), of (detail San Lorenzo of Church Guarino Guarini, 17. 18. 19. 20.

eabh bulletin eabh bulletin 23 22 79 FONDAZIONE 1563 FONDAZIONE 24 21 21. Church of Nazarene Jesus, Turin, 1913 Turin, Jesus, Nazarene of Church 21. Biella and Elizabeth, Paul Saints of Church Bonda, Giovanni 22. 1964 Bra, dei Fiori, the Madonna of Sanctuary Rampazzi, Giustino 23. Savigliano Sant’Andrea, of the church of Bell tower Testa, F. 24.

L’Istituto delle Opere Pie di San Paolo nel 350° nel 350° Pie di San Paolo delle Opere L’Istituto . 1563-1950 Torino, di Paolo San Bancario L’Istituto L’Istituto di San Paolo di Torino dalle origini ai giorni dalle origini ai giorni Torino di di San Paolo L’Istituto Contact e la l’arte 1563 per Fondazione Circosta: Mariastella della Compagnia di San Paolo Cultura [email protected] fototeca.fondazione1563.it References Emanuele. Tesauro, Historia della venerabilissima 1657. di San l’invocatione sotto Catolica, Compagnia della Fede Torino: , Torino Sinibaldo; di II Città nell’Augusta Paolo, Zappata; edizione mod- B. G. Torino: 1701. accresc., ediz. 2003. Anna. Cantaluppi, di cura a commentata e erna Compagnia di San Paolo. Torino: 1913. Author’s profile Author’s profile and an archivist. is an art historian Circosta Mariastella in the manage- specializing a freelancer as worked She public and both of and enhancement conservation ment, she In 2016 archives. and historical contemporary private, where e la Cultura l’Arte 1563 per Fondazione the entered projects out carrying library photo digital the manages she collections enhance the photographic and activities to the library. while overseeing and . Torino: Istituto delle Opere Pie di Pie di delle Opere Istituto Torino: . anno di sua esistenza San Paolo. 1937. bancario San Paolo. Istituto Torino: . nostri 1563-1936 1951. bancario San Paolo. Istituto Torino: di Bancario San Paolo L’Istituto 1963. Mario. Abrate, bancario San Paolo. Istituto Torino: . Torino 80 - - - - - FONDAZIONE 1563 FONDAZIONE coordinated by by coordinated 15 and digitization of further images. Fondazione 1563 plans to enrich the digital photo the photo digital enrich to 1563 plans Fondazione library with the digitization of inventory books and and books library with the inventory digitization of paper catalogues and with subsequent cataloguing catalogues and cataloguing with subsequent paper Future challenges Future Archive the Historical heritage of The photographic teachers, pupils, covering Compagnia di San Paolo, of churches, squares, buildings, halls, classrooms, faces, being augmented art is constantly of works monuments, a into feeding that are digitization projects with new Fondazione value. historical exceptional of resource with the library enrich the digital photo 1563 plans to catalogues and paper books inventory digitization of fur and digitization of cataloguing with subsequent and of and the improvement exhibitions Online images. ther the histor and of library the digital photo the portal of visual making the aimed to steps further are ical archive Bank the San Paolo Compagnia di San Paolo, of history available funds acquired other and Turin of Institute ing public. a broader to di San Paolo Compagnia © Fondazione photographs: All BY-NC-ND CC Heritage and Activities and Tourism: the Censimento delle delle the Censimento Tourism: and Activities and Heritage Italia, in fotografici e degli archivi raccolte - Documen the and Catalog the for Institute Central the Italiano – Centro with Camera tation in collaboration the the support of with and Turin in la Fotografia per art and architec contemporary for Directorate-General ture and urban suburbs. Accurate documentation under documentation Accurate and urban suburbs. ture and enhance- the protection pins national policies for identify to will serve It heritage. photographic of ment and the fonds photographic different between links at a institutions between co-operation possibilities of national level.

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easingly focusing on Digital Humanities on Digital focusing easingly fficio Pio is the oldest instrumental body of body fficio Pio is the oldest instrumental established in 1589 by Compagnia di San Paolo in di San Paolo Compagnia established in 1589 by , established in 1683 by Compagnia di San Paolo in Turin Turin in di San Paolo Compagnia established in 1683 by , tatute was the constitution adopted by the Kingdom by the constitution adopted was tatute photographic collections and archives in Italy aims to in Italy collections and archives photographic o download the photographs in jpeg and png format the photographs o download orio Duchessa Isabella, name assumed by Casa del Soccorso and by name assumed orio Duchessa Isabella, Archives and Collections (DAC) is the information system that system is the information and Collections (DAC) Archives //archiviostorico.fondazione1563.it/il-progetto/ //creativecommons.org/licenses/by-nc-nd/4.0/ //www.byterfly.eu/islandora/object/f1563:monart //www.byterfly.eu/islandora/object/f1563:monart //san.beniculturali.it/web/san/home //fototeca.fondazione1563.it , nel 350° anno di sua esistenza Pie di San Paolo delle Opere stituto http: http: The Census of hold reasons various who for the subjects way, in a participatory identify, on the type, information reporting archives, collections or photographic stored; materials the photographic of characteristics and consistency will heritage cultural of sector this important of knowledge systematic and its protection the policies for set to which on element be the key enhancement. Fondazione 1563 has been incr Fondazione undertaking and it is currently research conduct advanced to as a tool of Archive the Historical of enhance accessibility to digital projects the past exhibitions of track as keeping well as Compagnia di San Paolo and seminars conferences also organizes It 1563. Fondazione by curated on digital humanities. focused https: http: Digital through web, heritage accessible on the historical the preserved makes inventories. all available the online publication of is possible t It the image. of card and the complete pixels) (1422x793 https: Albertine S The L’I itself). the Istituto by 1913 (published Torino, Casa del Soccorso, Turin, born in daughters young and educate ‘receive to intended Turin, life’. the dangers of to exposed easily more therefore father, without their girls in difficult situations, In addition to against but also boarders the Compagnia, the members of of relatives a fee. of payment Casa del Deposito violence. and exploitation victims of women to hospitality which provided Educat from education, girls a complete young gave in 1883, Casa del Deposito Piazza in today’s in the purpose-built site high school, to elementary Bernini in Turin. U Established in 1595, within the areas autonomy has operational It Compagnia di San Paolo. of Compagnia and has the objective established by intervention of social and or vulnerability in situations of supporting people and families reference with particular region, within the Piedmont economic hardship of about 150 to the action thanks Pio operates Ufficio area. Turin the to are: intervention of Its areas operators. of and a staff delegates volunteer reintegration; inclusion and prevention; poverty poverty; against fight projects. European in force remained This document Turin. 1848 in on 4 March Sardinia of with a when Italy, period 1944-1946, the two-year 1848 until March from abandoning the government, of form chose the republican referendum, government. of form monarchical

14 15 6 7 8 9 10 13 Websites http://www.fondazione1563.it/ http://archiviostorico.fondazione1563.it/ http://fototeca.fondazione1563.it/ 1 2 3 4 5 11 12

81 - - La - Polit FONDAZIONE 1563 FONDAZIONE La Com- La con prefazione di Soffietti, I. Soffietti, di prefazione con Storia dell’arte e tutela del pat- e tutela dell’arte Storia Le figlie della Compagnia: Casa figlie della Compagnia: Casa Le La Compagnia di San Paolo: mer Paolo: San di Compagnia La I censi presso la Compagnia di San la Compagnia di San I censi presso Archivio Storico dell’Istituto Bancario dell’Istituto Storico Archivio (Atti della libertà del all’albero Dal trono Per una storia della Compagnia di San Paolo della Compagnia di San Paolo una storia Per Torino: Compagnia di San Paolo. Compagnia di San Paolo. Torino: , Cinque e Seicento tra torinese e funzionari nell’élite canti di), cura C.(a – Rosso, S. – Mamino, M. in Masoero, dell’Ot- l’architettura per e documenti Fonti Gallo. tolomeo l’arte per Fondazione Torino: voll. 2 , in Piemonte tocento della Compagnia di San Paolo. 2013. Michela. Macco, Di “biblio- della contributo Il italiano. artistico rimonio , in Torino di bancario San Paolo dell’Istituto d’arte” teca Barberis Walter, , 1563-2013 Compagnia di San Paolo La Einaudi. Torino: voll. 2 ), di cura Anna (a and Cantaluppi Merighi, Giorgio, and Cantaluppi, Anna. 1991. Anna. Cantaluppi, and Giorgio, Merighi, duchessa Educatorio del deposito, Opera del soccorso, Torino: , 2 voll. moderna e contemporanea età fra Isabella Compagnia di San Paolo. Giuseppe e Bar Il Fondo 2009. di). cura (a Mauro Volpiano, pagnia di San Paolo nel passaggio dall’Antico Regime all’età all’età Regime nel passaggio dall’Antico pagnia di San Paolo in , repubblicana Compagnia Torino: G. di Montanari, e saggio introduttivo di San Paolo. Anna. 1999. Cantaluppi, Parigi, Torino, I. di Carlo Emanuele nell’età ica e cultura Torino, di studi. (AttiMadrid internazionale del convegno Olschki. S. Leo Firenze: 81-93. 1995): pp. febbraio 21-24 Studi Del Servizio Seg- and Ufficio Giuseppe, Locorotondo, 1963. di). cura reteria (a Torino. di San Paolo bancario Istituto Torino: . Torino di San Paolo Perino, Prola “Duch- Storia dell’educatorio 1980. Rita. “Domenico statale magistrale e dell’Istituto essa Isabella” Piemontesi. Studi Centro Torino: Berti”. 1999. Franco. Lupano, e il Compagnia di San Paolo La 1814 – Torino di nella Città i poveri per servizio sanitario 185. di). cura (a Bruno and Signorelli, Egidio, Walter, Crivellin, 200-2007. di San Paolo. Compagnia Torino: voll. 3 , (1563-1853) 2013. ). di cura Anna (a and Cantaluppi, Walter, Barberis, Einaudi. voll. Torino: 2 , 1563-2013 Compagnia di San Paolo and Signorelli, Egidio, Walter, Crivellin, Anna, Cantaluppi, 2011. ). di cura (a Bruno convegno, Torino, 11-13 settembre 1989). Roma: Istituto Istituto Roma: 1989). settembre 11-13 Torino, convegno, Stato. Zecca dello e poligrafico 1997. Paola. Giordano, secoli XVIII e XIX, nei Paolo am for pri- am for the HAEU the HAEU agreements and Council regulations con- and Council regulations agreements Further the public in 1986, Since it opened to The HAEU runs an educational progr stipulating the functions and framework the legal solidated the archives preserve is: to remit Its the HAEU. of features them accessible for make EU institutions; to by deposited - facil rule; to with the thirty-year in accordance research to Union; the European of the history on research itate and to integration; in European public interest promote EU Institutions. in the functioning of enhance transparency and conferences organizes schools, and secondary mary as many well with the EUI as seminars in collaboration Gas- Alcide De manages the Universities, European other Having grants. research assigns and Centre peri Research the the HAEU from for a priority was an online presence web and its was created start; in 1990 its first database database The 522,050 in 1994. launched was presence 60,578 files, archival 449,965 register items descriptive has steadily increased its institutional deposits. It now now It its institutional deposits. increased has steadily - pro material archival of metres 11,000 holds approximately Council, the European Commission, the European duced by Justice, Court of the European Parliament, the European - Invest the European Auditors, Court of the European Besides these institutional name but a few. Bank—to ment individ- deposits from the HAEU has collected holdings, non-EU integration, European to who contributed uals political groups movements, pro-European Organisations, pri- from extracts as well as Parliament, European the of Presently, and institutions. foundations collections, vate - its prestig in the deposits of 258 fonds the HAEU stores Villa Salviati. Florentine in the ancient ious premises - Euro of assist the study institutions to the European from WWII. after history pean integration 82 - HAEU Juan Alonso Fernandez 1 ounded Archives were affiliated with with affiliated were Archives ounded se the photographic collection of the the collection of se the photographic banking history at the Historical at the history Historical banking Image and collections on finance The newly f The newly We analy We Archives of the (HAEU) of the European Archives the European University Institute (EUI), a European a European (EUI), Institute University the European Communi- the European by created institution, research (Italy). up in Florence and set in 1975 states member ties’ and History of Department the EUI’s of The researchers archives the historical explore to the first were Civilization material archival transferred and subsequently the ECSC of

The Historical Archives of the European Union Union of the European Archives The Historical estab- was Union European the of Archives Historical The the European the Council of a decision of lished in 1983 by 354/83) Council (No and Euratom Community Economic Com- the European the Commission of and the decision of - the Euro of Archives open up the Historical munities to which had been (ECSC) Community pean Coal and Steel functional since 1952. - Invest the European carried out by projects development 1959– operation of years in its initial Bank in Europe ment visual is a good photographs high-quality of This set 1971. in the 60s. industrial development European of record col- the analogue photography in comparison to Finally, the challenges posed by will present we the EIB, lection of the eabh collection. using digital photography

In this article, we will present the history and mission of and mission of the history will present we In this article, (HAEU) and Union the European of Archives the Historical delve will We manage. they documentation of type what workflow as the well collections as the photographic into to manage images professionally, staff the HAEU’s used by provenance the principle of for respect why and explain objective, complete, a more promotes and the context accessing and analyz of way and transparent democratic ing images.

eabh bulletin eabh bulletin 83 HAEU 1 1. Overhead camera digitisation of the HAEU digitisation of camera Overhead 1. HAEU

6 - - Dublin Dublin Whereas Whereas 7 the HAEU HAEU the were incor were 9 It is captured in in is captured It 4 In 2018, - and Sepiades interna 8 kept in preservation boxes in in boxes preservation in kept - tem with controlled deposits and humidity. perature to system a new implemented visualize describe and better with a material its audio-visual The on user-experience. focus described are photographs the following level at dossier regulations ISAD-G archival tional standards and, also, at item level. For For level. at item also, and, fields description new this, IPTC, the on based Core tributing institution, the loca- tributing institution, the description, the title, tion, further providing notes any pho- of the type clarification, it is a whether (i.e. tograph indeed or a negative positive, to support as relates a slide), was which it upon the material and amongst its size produced, , the images managed by the HAEU the HAEU by images managed the , its format. its format.

Additionally Once they are stored individually, the images are are the images individually, stored are they Once 5 they are not digitized yet or if they are particularly inter particularly are they if or yet digitized not are they - with a sys out The digitization is carried in them. ested dig- allows system This camera. based on an overhead tem and detail of level with a higher resolution, itizing in higher speed than a flatbed scanner. at greater RAW format that is later converted to JPEG for consul- for JPEG to converted that is later format RAW - Addition preservation. long digital for TIF tation and to plastic placed in acid-free images are the analogue ally, passed the that have polypropylene) or (polyester sleeves plas- where preservation—except long-term for test PAT with albumin such as is the case recommended, tic is not prints. libraries, museums and communications departments museums and communications departments libraries, place we them in isolation, and study items isolate to tend con- wider within its material on situating our value more within our this background capture we sure make We text. porated and structured according to the ISAD-G descrip- to according and structured porated the most detailed provide we This means that tion areas. of the origin and context explain possible to information including by example, collections; for the images in our - possible the pre where code, identification the image’s con- the its author, taken, was that the picture cise date components, other - sys classification archival to according contextualized are provenance. the principle of that respect tems 84 - HAEU meetings, institutional meetings, institutional European institutions by institutions by European photographic collections. collections. photographic is working on digitizing its on digitizing its is working trace the establishment of the establishment of trace documenting conferences, documenting conferences, visits around the world, key key the world, visits around of educational and scientific of educational and scientific projects throughout Europe. Europe. throughout projects and facilitate access, the HAEU the HAEU access, and facilitate More than 60,000 photographs photographs than 60,000 More personalities, as well as a plethora as a plethora as well personalities, In order to guarantee preservation preservation guarantee to In order These These contain photographs of projects in in projects of photographs contain and of the Community’s Euro-Arab the Community’s and of Euro-Arab 3

to guarantee preservation and facilitate and facilitate preservation guarantee to The fonds of the European Space Agency Agency Space European the of fonds The 2 In order The photographic collections are an integral part of the the of part an integral collections are The photographic HAEU. the at preserved archives private and institutional of the establishment trace photographs than 60,000 More - meet conferences, documenting by institutions European personalities, key world, the around visits institutional ings, projects educational and scientific of as a plethora well as co-oper international instance, For Europe. throughout the by financed ation projects are Communities European - in photo documented well within the collections graphic the European of fonds archival other the of and Commission Campaigns EU Institutions. pro-European of and events in illustrated are movements European the of fonds the des the Union Movement, (UEF) européens fédéralistes - the German fed and that of eralist writer and The papers Claus Schöndube. journalist gen- Director Klaus Meyer, of Com- Economic at the European development for eral commission, munity photographs, 1,143 posters, 7,630 audio recordings, 291 291 audio recordings, 7,630 posters, 1,143 photographs, (figures interviews history oral and 698 video recordings 2019). for collections of the HAEU The photographic various African countries financed by the European Eco- European the by financed countries African various II con- the Lomé of in the framework nomic Community (1978–1982) vention access, the HAEU is working on digitizing its photographic on digitizing its photographic working the HAEU is access, ana- handling of excessive avoid This aims to collections. if photographs consult the as users only logue originals,

and of the European Free Free European the of and Association include Trade - materi audio-visual various - pro its of track als keeping and activities. grammes crucial to are visual records the of the history recounting process integration European additional insights and offer actors key of activities professional and personal the into not do Photographs history. European contemporary in simply complement available; documents the textual own. their of resource a historical are they dialogue (1975). dialogue

eabh bulletin eabh bulletin - - - in photo-jour Finally, there are are there Finally, 16 15 nalism during this time period. nalism during this time period. portraits two only are There are but both in the collection, setting. in a project taken taken the images are of Most tion from the project itself and and itself the project tion from docu- objective its ensure to common for was as mentation, photo-essays these images is diverse since since these images is diverse and Helmut Först. and Helmut 14 ographs always show contextual ele- contextual show always ographs f the photographs are in black and white, white, in black and are the photographs f Other relevant photographers were Giulio Giulio were photographers relevant Other 13 On other occasions, the EIB hired well-known well-known hired the EIB occasions, other On 12 The authorship of Most o Most The phot and Fabrizio Parisio and Fabrizio In in each country. photographers different the EIB hired highly were who photographers for opted they some cases, - photogra of type a industrial photography, in specialized case for the was This in high demand at the time. phy who Baranger, Henri headed by a company Cie, & Baranger the EIB funded Oraison job documenting did an excellent carried out in the Provence-Alpes- project hydro-electric included taking oblique pho- which and region d’Azur Côte tographs. Many of the images were published in glossy corporate corporate in glossy published were the images of Many the bank in of achievements key flag up the to brochures operation. of years its first photographers, who were not specialized in industrial pho- specialized not were who photographers, Venetian a Jarach, Dino was artists these of One tography. cinema fashion, of world in the involved photo-journalist carried project Romeo Alfa the who documented and art out in Naples. black and combination of is a there in some cases, but because This is interesting photography. and colour white since a rarity was photography colour in the 50s and 60s, widespread not was and its use expensive very still was it the 70s. until taken which are a few except the day, during and outdoors in operation. factories or facilities document indoors to and many wide angle lenses no use of virtually is There - poste with the classic 50mm lens or taken photographs - with the inten This is likely included. lengths are focal rior angle brackets. caused by distortion the avoiding tion of or field is high and open-medium of the depth Likewise, the most of Therefore used. not are closed diaphragms quite a few images of unknown authorship. unknown images of a few quite construc interiors, be it machinery, each project, of ments tion processes or facilities. Human figures are featured too too featured are figures Human facilities. or tion processes to that contributes element secondary as a serve they but People project. which is the development the main theme, with engaged and are at the camera looking directly not are - invis also remains The photographer on the project. work distrac any prevent done to most probably was This ible. 85 - -

HAEU 11 contextual elements of each elements of each contextual The photographs always show show always The photographs project, be it machinery, interiors, interiors, project, be it machinery, construction processes or facilities. or facilities. processes construction in its early years is illustrated is illustrated years in its early elop- were commissioned to record the the record to commissioned were historical archives were deposited at the the at deposited were archives historical This respect for the context promotes a more a more promotes the context for This respect

10 The images These dev The EIB’s activity The EIB’s Its Its democratic, critical and transparent reading of the pho- of reading and transparent critical democratic, - photo the to related documents textual since tographs, - informa more Therefore origin can be accessed. graph’s the images. of the intent understand to tion is available classification scheme, allowing for a richer appreciation appreciation a richer for allowing scheme, classification sig- historical a photograph’s of critical analysis and more nificance. projects’ impact and to communicate its achievements. its achievements. communicate impact and to projects’ photographic high-quality are positives the that fact The were suggests that they larger, cm or 18x24 sized copies, purposes. publicity and for documentary for both taken

docu- well are projects ment The photographs. by mented - original photo of first transfer financed projects from graphs Investment the European by in received was HAEU Bank to and positives 252 paper This collection consists of 2019. Lux Italy, France, carried out in , projects features ing documentation to assess the project’s progress as well well as progress project’s the assess to documentation ing trans- as financial files on loan and repayment. fers 1959 and 1971. between and Germany embourg HAEU, under the terms of a convention signed on the first signed on the first a convention of the terms under HAEU, the new the EIB has been part of Since 2015, 2005. July of the terms which set Agreement, Partnership Framework the and partnership between enhanced co-operation for HAEU and EU institutions. the Bank by granted loans to relating the sub-fonds by include 25 projects The sub-fonds 1959 and 1971. between Italy, Germany, Luxembourg, Belgium, carried out in France, African the Coast carried out by as one in the Ivory well as is Each project (AASM). and Madagascar States Associated of the stages of all files detailing by documented extensively legal proposals, preliminary This includes loan contracts. the control/monitor loan contracts, and contracts, documents

Images and industrial development: the the Images and industrial development: Bank Investment collection of the European is an autonomous Bank (EIB) Investment The European - was cre Union that European within the financial body Its 1957. signed on 25 March Rome, of Treaty the by ated eco- the development, to contribute is to mission primary EU Member of nomic and social cohesion and integration and the projects regional in investments through States - The EIB also supports EU develop sector. infrastructure ment worldwide. co-operation HAEU

5 3 86 HAEU ted a loan of 5 million u.a. (unit of account) for the production of diesel engines at Alfa Romeo in Pomigliano d’Arco (Naples). (Naples). d’Arco in Pomigliano Romeo Alfa diesel engines at of the production for account) of (unit 5 million u.a. a loan of ted o Électricité de France (EDF) for the construction of a hydroelectric power plant in the south of the country, Provence-Alpes-Côte d’Azur region. region. d’Azur Provence-Alpes-Côte the country, in the south of plant power a hydroelectric of the construction (EDF) for de France o Électricité In 1960 the EIB gran BEI 2155 – HAEU, Jarach Dino Photo: Loan t Loan First project funded by the Bank in France. Photo: H. Baranger & Cie – HAEU, BEI 2143 Cie – HAEU, & Baranger H. Photo: the Bank in France. funded by project First 4 2 5. Financing of agricultural schemes and improvement of waste management in the forest areas of South-West France. Photo: Unknown - HAEU, BEI 2148 - HAEU, Unknown Photo: France. South-West of areas in the forest management waste of schemes and improvement agricultural Financing of 5. 3. Loan to the construction of a hydro-electric power plant exploiting waters of the Taloro River in Sardinia. Photo: Unknown author - HAEU, BEI 2154 - HAEU, author Unknown Photo: in Sardinia. River Taloro the of waters exploiting plant power a hydro-electric of the construction to Loan 3. 4. 2. 2.

eabh bulletin eabh bulletin 9 7 87 HAEU ted loans to companies specializing in wood pulp, like in the Belgian company Cellulose des Ardennes which received funds in 1961. This project This project funds in 1961. which received Ardennes Cellulose des in the Belgian company like pulp, wood companies specializing in loans to ted o Société Aquitaine-Chimie for the construction of an acetylene, a chemical compound, factory in the Basses-Pyrénées department, today known as known today department, in the Basses-Pyrénées factory a chemical compound, an acetylene, of the construction for Aquitaine-Chimie o Société or a construction of a thermal power station in West Berlin. This was the first project funded in Germany, in the ’Land’ of Berlin. Because of the unique of Because Berlin. of ’Land’ in the funded in Germany, project the first was This Berlin. West in station a thermal power of a construction or or a construction of a hydroelectric power plant by the river Our in Vianden, Northern Luxembourg. First project funded in Luxembourg. Photo: Photo: funded in Luxembourg. project First Luxembourg. Northern Vianden, in Our the river by plant power a hydroelectric of a construction or EIB also gran of the construction The loan subsidized coal mines. of the closures hit by has been hard this region In fact, renewal. industrial regional of in a context occurred - author Unknown Photo: the Bank in Belgium. by funded project the first was and Belgium, Wallonia, Virton, closed to in Harnoncourt, pulp factory a paper BEI 2142 HAEU, Pyrénées-Atlantiques, South-West France. Photo: Unknown author - HAEU, BEI 2144 - HAEU, author Unknown Photo: France. South-West Pyrénées-Atlantiques, Loan t Loan Loan f Loan BEI 2164 Berlin - HAEU, Bewag, Photo: the bank. a loan from to the governors of the agreement obtain to it had been a long procedure the territory, of status 8 6 Loan f Loan BEI 2163 - HAEU, author Unknown 7. 7. 9. 8. 8. 6. 6. HAEU 88 HAEU o the Deutsche Bundesbahn for the electrification of the North-South axis’ rail, strategic infrastructure linking the northern ports with the south of the country. the country. of with the south linking the northern ports infrastructure strategic rail, North-South axis’ the of the electrification o the Deutsche Bundesbahn for Loan t Loan BEI 2165 - HAEU, author Unknown Photo: 8 10. 10.

eabh bulletin eabh bulletin 89 HAEU 12 11 ) participating at the conference ‘Banking and Finance in (eabh) participating at the conference Banking and Financial History for Association the European Chairman of Deputy Pohl, fred Annual Conference ‘The Critical Function of History in Banking and Finance’ held in Nicosia, Cyprus, 15-16 May 2009. Photo: Photo: 2009. May 15-16 Cyprus, held in Nicosia, in Banking and Finance’ History of ‘The Critical Function Annual Conference the 2009 eabh of esentation Pr HAEU EABH-109 author, Unknown Man HAEU EABH-103 author, Unknown Photo: 01-02/06/2007. Malta, Valletta, held in Perspective’ Historical A the Mediterranean: 12. 12. 11. 11. HAEU HAEU 17 xample of this type of archival treatment treatment archival of this type of xample A good e A Regarding digital preservation, most of the digital the digital most of digital preservation, Regarding were received mainly on optical media (CD or DVD) DVD) or media (CD on optical mainly received were Investment the European by produced is the photographs - the devel documenting of with the intention Bank (EIB) during the 1960s it carried out in Europe projects opment - the pro accompanied by are The photographs and 1970s. the apart from so that, these projects of duction files Conclusion to the workflow its professional The HAEU has adapted they do this, To require. that photographs management preservation access, specific digitization, incorporated have the His- of the strengths of One policies. and description for is the respect Union, European the of Archives torical the photographs This allows provenance. the principle of the insti- of the activity to according be contextualized to that The fact those documents. person producing tution or for allows production, their from isolated not the images are analysis. and democratic objective complete, a more consideration particular aspects, such as individual depos- such aspects, particular consideration photos. of nature polysemic the inherent or contracts itor digi- of number large the regarding the debates Some of - the evalu formalize to not or whether on tal images are that base photographs the transferred ation policies for In and content. aesthetics criteria: selection on two their technically or repetitive having avoid would you way, this images that are or dark...) focus, of images (out incorrect the con- Likewise, value. evidential or no documentary of the and be reduced would images these cost of servation be would and there relevant be would images consulted the application imply would this However, no duplicates. - and the original narra the report that modify criteria of management more selection involves Furthermore, tive. apply be to would seems that the best scenario It time. be it the pho- unit, selection policies in the producing the institution. or tographer images - pres the for files The master format. JPEG and in sequential However TIF. images should be photographic of ervation format, TIF or in RAW exist do not photographs since many in Both format. JPEG the original preserve decided to was it used and in those were cameras amateur where the events first are JPEGs the used, were cameras professional where modifi- any undergone not have so that they generation during capture. the camera those made by cations beyond JPEG the digital files in access to have only we Sometimes, dig- long-term ideal for is not the quality Although format. in the standard a de facto is the format ital preservation, - genera first usually are files the and sector photographic we applied) and therefore was compression further tion (no format. this in adopting flexible can be more 90 - - HAEU

a total of 244 244 of a total of the photographs the photographs of tention was to give the audience audience the give to was tention of photography in the 60s and 70s in the 60s and 70s photography of Archival appraisal is used as a general method, method, general a used as is appraisal Archival

The history Although their in Although their The collection is composed of In this sense, the case study In this sense, eabh collection elements that appear in the image are in focus and there is is and there in focus image are in the appear that elements the elements. blurring of also no selective

an objective view, without using artistic license, the analy license, without using artistic view, an objective - profes are that the photographers shows the images sis of composition. photographic for with a high respect sionals composed and the photographers perfectly The images are are They composition. and formal perspective with played variety large The accomplished photographs. technically - that the photo styles and the fact countries, authors, of documentary to and linked well-contextualized are graphs collection a fantastic this photographic make evidence, place that took the industrial development of visual record 60s and 70s. 50s, during the Europe in parts of techniques; on specific authors and photographic focuses industrial in (European) the trends on is no literature there hope that this first we Hence, years. in those photography collection the EIB photographic systematize to attempt visual the understanding of a better towards will be useful period. this in industrial development European of culture

tion of photographs. An event that was previously illus- previously was that An event photographs. tion of than more consists of now with 25 photographs trated images. 120 into take needs to but its application in photography born images. than 900 digitally and more positives paper images of number a large contains event or Each dossier the produc has inflated digital technology how that show The images in in the eabh collection is paradigmatic. found workshop and research numerous this collection document statutory their the eabh and some of by organised events The photographs 1990 and 2013. held between meetings in and conferences meetings openings, workshops, illustrate are an The images finance and banking history. of the field ana- to Contrary the eabh. of the activity sample of excellent these images have in the EIB fonds, found logue photography Even process. selection a previous through gone not often of high number very a still contain usually they have, they if a common aspect in digital production. photographs, We will now examine how some of the aspects of pho- the aspects of some of how examine will now We discussed we that and management analysis tographic The management the digital image. when archiving change is complicated archives digital images in photographic of a new images and the need for of quantity the large by traditional the with associated not preservation, type of with the digital file. object but physical The challenges of born-digital photos: The challenges of born-digital photos: the

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Accessed Accessed 24 Accessed 24 June 2020. June 24 Accessed es from libraries and museums are the and museums are libraries es from e. “Photographic Activity Test” [online] [online] Test” Activity “Photographic e. f the Alfa Romeo company, which produced company, Romeo Alfa the f the most pioneering works at the photo essay level essay at the photo works the most pioneering al international standard archival description: adopted description: archival standard al international online] https://www.dublincore.org/ online] ted the electrification of the North-South railway axis’ rail axis’ railway North-South the of the electrification ted Accessed 24 June 2020. June 24 Accessed thaler, Mary Lynn, and Diane Vogt-O’Connor. 2006. 2006. Vogt-O’Connor. and Diane Lynn, Mary thaler, dwin; Lusenet, Yola de. SEPIADES: Cataloging photographic de. Yola dwin; Lusenet, IPTC Photo Metadata [online] https://iptc.org/standards/photo- [online] Metadata Photo IPTC documented the exploitation of a lignite field for the construction of of the construction a for field a lignite of the exploitation documented vant institutions in the sector, such as Photo Consonsortium, Consonsortium, such as Photo institutions in the sector, vant ] archives have many potential uses and an archivist cannot know know cannot uses and an archivist potential many have ] archives tween the nine Member States of the European Economic Economic the European of States the nine Member tween records that they house. In addition to the information contained the information In addition to house. that they records The actions. of as evidence value also have they records, in archival legal power—as them greater gives records archival of value evidential Duff, accountability”. of and as agents in court, as evidence documents, A. David Wallace, Emily; Karen Suurtamm, Andrew; Flinn, M.; Wendy p. investigation’. a preliminary archives: ‘Social justice impact of 2013. https://link- [online] Dordrecht Science+Business Media 332 Springer springer-com.eui.idm.oclc.org/article/10.1007%2Fs10502-012-9198-x In this sense one of on and epic report is the obsessive industrial development applied to Smith Eugene American photographer the by Pittsburgh of the city published in Popular was much tension, after which, in the 1950s and Ziff-Davis. York: New Annual 1959. Photography Ritzen of Chicago: Society Management. & Care Archival Photographs. p.117. American Archivist, “[... than rearranging Rather be in the future. what these uses may exactly preserve archivists an audience, to ‘useful’ be that might way in a records original in their can be understood so that records the original order in a the records and analyse interpret users to for giving room context, and Loo, Roweena Kim Eberhard, Jackie, Bettington, ways.” multitude of Society Australian Canberra: archives. Keeping 2008. Smith (eds.). Clive 18. p. Archivists, of “What first distinguishes archiv 2020. June 15 Accessed oblique photography. angle.’ a specified by vertical the from tilted kept Retrieved (2005). . Aviation of Dictionary An Illustrated (n.d.) https://encyclopedia2.thefreedictionary.com/ 14 2020 from October oblique+photography o EIB financed the plant The Renault. company with the French in conjunction diesel motors industrial cooperation. European of an example was project They Southern Italy in Lucania, plant thermoelectric power documen He the country with the south of northern ports linking Germany’s On 31 October 1979, the second Convention of economic cooperation of the second Convention 1979, 31 October On be countries (ACP) Carribean and Pacific African, and 57 (EEC) Community (Togo). signed in Lomé was Rele camera on an overhead only a digitisation station based recommend Bea. Martínez, Carles; Mitjà, scanners. to is superior as the quality Europeana [online] Digitization” For Recommendations “General https://www.photoconsortium. 2017. WP3, - Facsheet Photography net/wp-content/uploads/2017/06/003_general_reccomendations.pdf. 2020. June 20 Accessed Institut Image Permanence https://www.imagepermanenceinstitute.org/tests/pat.html. 2020. June gener ISAD (G): 19-22 Sweden, Stockholm, Standards, on Descriptive the Committee by 1999. September IPTC. metadata/ [ Dublin Core E Klijn, https://www.ica.org/sites/default/files/WG_2004_ collections [online] PAAG_SEPIADES-Cataloguing-photographic-collections_EN.pdf 2020. June 24 Accessed

17 11 axis is deliberately which the camera in aerial photography type of ‘A 12 13 14 15 16 3 4 5 6 7 8 9 10 91 - HAEU

Accessed 30 June 2020. June 30 Accessed o the public of the historical archives of the of archives the historical o the public of digital production poses new challenges challenges poses new digital production Archives of the European Union (HAEU). “About the Archives” Archives” the “About (HAEU). Union the European of Archives Finally, European Economic Community and the European Atomic Energy Energy Atomic and the European Community Economic European https://eur-lex.europa.eu/legal-content/EN/ [online] Community TXT/HTML/?uri=CELEX:31983R0354&qid=1427281881827&from=EN Historical https://www.eui.eu/Research/HistoricalArchivesOfEU/ [online] AbouttheHistoricalArchives. Council Regulation (EEC, Euratom) No 354/83 of 1 February 1983 1 February of 354/83 No Euratom) (EEC, Council Regulation concerning the opening t 2020. June 20 Accessed

1 2 Contact HAEU Alonso Fernandez: Juan [email protected] https://www.eui.eu/Research/HistoricalArchivesOfEU Author’s profile archivist is an audio-visual Alonso Fernandez Juan the European of Archives at the Historical employed - and Documen in History is graduated He (HAEU). Union has de Barcelona. He Autònoma tation at the Universitat and in photographic experience of years than 12 more management. audio-visual

for photographic archives due to the enormous quantity the enormous quantity due to archives photographic for digi- the HAEU’s of One preservation. images and their of - This col collections is in the eabh fonds. tal photographic the huge by is marked digital collections, other like lection, that the pic and the fact event per pictures of quantity images, you can consult the contracts, the instructions for for the instructions consult the contracts, can you images, and the files the legal phases, different and its project the as isolated is not therefore, The image, made. payments - and its anal it is contextualized Instead object. a mere can be that content or its aesthetic can go beyond ysis The EIB the image. of observation the mere gleaned from - testi graphic wonderful a collection is also photographic the mon- applied to photography documentary of mony European in so common projects, industrial of itoring can see compelling You in the 1960s. work developmental of vehicles workers, the industrial landscape, of snapshots aerial photography. and even portraits the time, tures were taken in JPEG, a good format for dissemina- for a good format JPEG, in taken were tures The digital preservation. long-term ideal for tion but not its methodologies and adapt be pragmatic has to archive good access and preservation to guarantee workflows and these born-digital pictures. of © eabh 11–12 / © EIB 2–10 / 1 © HAEU Photographs: HAEU - -

olving because acquisitions olving because acquisitions to digital photography) taken taken digital photography) to continent in almost every than 1,500 different more by - profes both photographers, Subjects sionals and amateurs. to linked events include major banking institu- of the history and Italy in offices large tions, in remote branches abroad, notable of portraits locations, in personnel portrayed figures, - envi at ease, or workplace the artwork disasters, ronmental - and advertis reproductions, Such an extensive ing images. 3 - exam and provides day, the present to century th Featuring 12 kilometres of documentation, the the documentation, of kilometres 12 Featuring The collection is ev tographic collection is notable for its size, historical historical its size, for collection is notable tographic pho of and range named photographers of number time span, dating from images, 300,000 over comprises It subjects. the mid-19 - pro the photographer’s due to only This is not ied quality. the hinges on the purpose of and skill but fessionalism commission. the client’s of and the nature shoot its surveys of as a Archive the Historical made by are ongoing. repositories archival branches and offices, of - vari the collections from also the photographic are There Sanpaolo. Intesa into ous banking institutions incorporated ples of diverse photographic techniques (from ambrotype ambrotype (from techniques photographic diverse ples of var of images include to bound is collection photographic with Intesa Sanpaolo over the course of a process of incor of a process the course of Sanpaolo over with Intesa porations, mergers and acquisitions of bank shareholdings shareholdings bank of acquisitions and mergers porations, 1808. dating back to

92 2 - - - This This 1 of subjects. of subjects. INTESA SANPAOLO INTESA Serena Berno Serena Featuring 12 kilometres of of 12 kilometres Featuring collection is notable for its size, its size, is notablecollection for historical time span, number of number of time span, historical named photographers and range and range named photographers documentation, the photographic documentation, the photographic - The Intesa Sanpaolo Sanpaolo The Intesa photographic archives photographic ’s Historical Archive is one of the the one of is Archive Historical ’s The institute century: Banca Intesa and Sanpaolo IMI. With 90,000 90,000 With and Sanpaolo IMI. Banca Intesa century: th Intesa Sanpaolo was established on 1 January 2007 from from 2007 January established on 1 was Sanpaolo Intesa in the founded originally banks Italian two of the merger 16 in Milan Inaugurated Italy. in created first banking archives the Banca Commer of Archive in 1984 as the Historical employees and 19 million customers, it is the leading bank and 19 million customers, employees in Italy. with Banca institution that merged ciale Italiana—an to serves in 2001—it Intesa its hold- and promote protect heritage. documentary ings of that the mergers However, Italian bank the affected have in the last twenty ing system had significant have years of work on the repercussions which the Archive, Historical supervising from has shifted - Ital the Banca Commerciale historical of documents iana’s managing an entire to interest archives’—namely of ‘system the credit those belonging to banking group. the new joined institutions that have but also numerous archives scattered throughout Italy (to (to Italy throughout scattered archives but also numerous which the Histor bodies) 17 conservation are there date - and pro registers site dedicated A oversees. Archive ical merged that have 320 banks over of vides an overview includes not only directly managed assets from Cassa di Cassa di from managed assets directly only includes not in 1823), (founded Lombarde Risparmio delle Provincie Banca Commerciale (1892), Veneto Ambrosiano Banco (1931), Italiano-IMI Mobiliare and Istituto (1894) Italiana

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93 INTESA SANPAOLO INTESA century Banca Commerciale Italiana working men’s club. Photo by Jean Giletta, Nice. Nice. Giletta, Jean by Photo club. men’s working Italiana Banca Commerciale century th tecarlo Casino in an album from the late 19 the late Casino in an album from tecarlo 1 © Archivio Storico Intesa Sanpaolo Intesa Storico Archivio © The Mon 1. 1. INTESA SANPAOLO INTESA 94 INTESA SANPAOLO INTESA 2 2. Portrait of friends from the Bazzi Galli family archive, Corleone, 30 May 1864. Unknown photographer. © Archivio Storico Intesa Sanpaolo Intesa Storico Archivio © photographer. Unknown 1864. 30 May Corleone, archive, the Bazzi Galli family friends from of Portrait 2.

eabh bulletin eabh bulletin 95 INTESA SANPAOLO INTESA 3 3. David Rockefeller on a Lambretta during a visit to the Innocenti factory, Milan, 1957. Photo by Publifoto, Milan. © Archivio Storico Intesa Sanpaolo Intesa Storico Archivio © Milan. Publifoto, by Photo 1957. Milan, factory, the Innocenti visit to during a on a Lambretta Rockefeller David 3. INTESA SANPAOLO INTESA 96 INTESA SANPAOLO INTESA 5 4 4. The Buthier Electric Consortium building site for the construction of a dam in the Valle d’Aosta, Italy, 1962. Photo by Aldo Moisio, Turin. Aldo Moisio, by Photo 1962. Italy, d’Aosta, Valle a dam in the of the construction for Electric Consortium building site The Buthier 4. Sanpaolo Intesa Storico Archivio © photographer. Unknown 1967. post Paraguay, Sudameris S.A., de Comercio the Banco Paraguayo of Villaricca branch 5.

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97 INTESA SANPAOLO INTESA vening of the inauguration of the Teatro alla Scala opera season, 7 December 1959. Photo by Publifoto, Milan. Milan. Publifoto, by Photo 1959. 7 December season, alla Scala opera Teatro the of the inauguration of vening Milan, Piazza della Scala on the e Piazza della Scala Milan, © Archivio Storico Intesa Sanpaolo Intesa Storico Archivio © 6 6. 6. INTESA SANPAOLO INTESA

98 INTESA SANPAOLO INTESA in Milan, February 5, 1960. 1960. 5, February the film La in Milan, dolce vita of at the premiere Mastroianni and Marcello Anita Ekberg with actors Fellini Federico or 7 Photo by Publifoto, Milan. © Archivio Publifoto Intesa Sanpaolo Intesa Publifoto Archivio © Milan. Publifoto, by Photo The direct 7. 7.

eabh bulletin eabh bulletin - an association of an association of 8 Such was the the was Such 9 partnered the first the first partnered 10 involved the creation of of the creation involved 11 country where state resources resources state where country banking institu- scarce, are important an play can tions - valua a in safeguarding role whole the for asset ble cultural community. photographic exhibition dedi- exhibition photographic Archive. the Publifoto to cated were workshops Teaching case with Intesa Sanpaolo’s Sanpaolo’s with Intesa case the Publifoto of 2015 purchase archive agency photojournalist of a patrimony (1937–1997), million seven approximately - In 2019 Camera-Cen ships. Fotografia la per Italiano tro in Turin age management of an archive an archive of age management the and meeting this size, of an immediate needs for bank’s through investment on return ini- promotional large-scale the are An example tiatives. partner public and private role of managing the photographic col- photographic the managing of role The dual The launched, sponsorship of the international visual narrative visual narrative the international sponsorship of launched, The Move on Cortona festival organisations, linked to the world of photography. These These photography. of world the to linked organisations, his- of value the recognize made the bank have initiatives think about it to prompted and have photography, torical its economic as one of archives photographic purchasing have in the art market Although investments investments. - invest Italy, in a century over for well-established been new: in a is comparatively archives in photographic ment analogue photographs covering news, politics, customs, customs, politics, news, covering analogue photographs taken architecture, and landscape sport, culture, society, or photographers, own the agency’s by and abroad in Italy for agencies foreign and Italian or professionals other by 2017 Since the end of as distributor. acted whom Publifoto Sanpaolo His- the Intesa has been managed by the archive Archive. torical lections of the banks that merged with the group, together together with the group, that merged the banks lections of from disconnected archive photographic with the broader reflection. internal profound has necessitated the bank, herit- striking a balance between has involved work Our public, not to mention other archives and public or private private public or and archives other mention to not public, culture. and photography of field the in operating entities - the Net join to asked was Archive the Historical In 2016, Photography, of the Promotion for work an exhibition of photos taken from the Publifoto as well well as the Publifoto from taken photos of an exhibition

99 6 - - - 7

investments. 4 INTESA SANPAOLO INTESA institution, or beyond. have prompted it to think think it to prompted have These initiatives have made made have These initiatives the bank recognize the value the value recognize the bank of historical photography, and and photography, of historical archives as one of its economic as one of its economic archives about purchasing photographic photographic about purchasing orical Archive applies applies Archive orical whether it be within the banking whether it be within the banking active contribution to developing developing to contribution active an awareness of business culture, of business culture, an awareness Archival photography can make an an can make photography Archival

5 - - e’s funda- e’s stematic approach enables us to respond respond enables us to approach stematic and what has it yielded? The first step The first step yielded? what has it and The method that the Hist The method The archiv This sy How did we come to have curatorial control of of control curatorial have to come we did How tion, as well as its potential uses. In this way, it was pos- was it way, In this uses. as its potential well as tion, the coming for work establish priorities and plan sible to and promotional conservation to respond would that years communicate to initiatives as the bank’s well as urgencies, other and develop the group heritage of the documentary files, archival online new websites, as such innovations, an assessment was made of made of was an assessment each collec status of and conservation content the size,

tion, and to prompt individuals linked to the history of the the of the history to linked individuals prompt and to tion, family their donate to with the group amalgamated banks yielding unex has been a success: initiative This archives. - pro which at times have photos, exceptional or pected as con- well as puzzles, historical to vided missing pieces in general. photography of the history tributing to to the heritage under its protection is rigorous: it aims to to it aims is rigorous: its protection the heritage under to the collec of the reputation use and promote facilitate mental activities of heritage heritage activities of mental by supported are conservation technologies new the use of and periodic online publica- feature These currently tions. broadened have They photographs. registered 50,000 in particularly collection, the photographic of awareness but also among the interested the academic community,

that archival and demonstrate the bank, from requests to - develop to contribution an active can make photography within it be whether business culture, of ing an awareness or the banking institution, - Histori the date, To beyond. to has been asked Archive cal initiatives, of assist in a number commu- internal from ranging - agree commercial nication to sponsorships. even or ments towards initiating the inter towards the collec of nal management with place in 2008 tion took - photo the entire of a survey Adopting graphic patrimony. the by the model introduced - Founda Mellon W. Andrew with the in collaboration tion, Center Preservation Weissman Library, University Harvard of this collection,

educational materials, publications and exhibitions. educational materials, INTESA SANPAOLO INTESA 100 INTESA SANPAOLO INTESA 9 8 8 & 9. Inside the Intesa Sanpaolo Publifoto Archive, Milan, 2019. Photo by Pino Musi. © Pino Musi and the Archivio Storico Intesa Sanpaolo Intesa Storico Archivio and the © Pino Musi Pino Musi. by Photo 2019. Milan, Archive, Sanpaolo Publifoto Inside the Intesa 9. 8 &

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ounded in 2011 by a group of organisations of a group ounded in 2011 by ed, others include: teaching at the include: teaching others ed, F L’album fotografico di Luigi Canzi. Ritratti Luigi Canzi. di fotografico L’album

ecently designed a photographic museum in Turin, in Turin, museum in designed a photographic ecently A Methodology A entitled Paper White reservation Milan: Edizioni Gallerie d'Italia - Skira. d'Italia Gallerie Milan: Edizioni t, which includes the Historical Archive, specifies that the specifies that Archive, which includes the Historical t, Memorie di Valore. Guida ai patrimoni Valore. di Memorie (2016), F. and Pino, A. example, the elimination of activities such as the manual transcription the elimination of example, esa Sanpaolo is the product of the amalgamation of over 300 over of the amalgamation of esa Sanpaolo is the product ttps://asisp.intesasanpaolo.com ttp://camera.to/ ttps://www.cortonaonthemove.com/ ttp://www.mostranoi.it/ ttps://www.centrorestaurovenaria.it/ h http://www.retefotografia.it/. h h h h In addition to the activities list In addition to such as articles and exhibition publications, producing Archive; Historical Archive media and the Historical via social catalogues; and communicating website:https://asisp.intesasanpaolo.com/publifoto/ the by hosted was War World Second Milan during the the bombing of 2020. and November in Milan in October Gallerie d’Italia For prints of the backs from or registers original agency the from information of the photographs). locating and interpreting for source fundamental (a Milan: Hoepli. See The Historical See Milan: Hoepli. Sanpaolo. di Intesa storico dell’Archivio Sanpaolo, (Milan: Intesa Italiano Mobiliare the Istituto of Heritage at https://progettocultura. downloadable 2019) 14, n. Monografie, intesasanpaolo.com/archivio-storico/pubblicazioni/monografie/ the-historical-heritage-of-the-istituto-mobiliare-italiano/ Library, University Harvard by promoted the project Regarding see the 2012 P Banta Melissa by written Collections, Photograph Surveying for and Robert Bernier Brenda Robb, Andrew Messier, with Paul at https://preservation.library.harvard.edu/ available Burton, white-paper-methodology-surveying-photograph-collections r The bank has in fact a leading role. will play Archive which the Publifoto The organisational structure of the Art, Culture and Historical Heritage and Historical Culture Art, the of structure The organisational Departmen and the management include Archive the Historical of responsibilities permanent (including digital) under documentation all the of protection Banca sections of the central from it originates whether conservation, banks. other group’s the from Sanpaolo or Intesa Mignone, Int banks, co-operative banks, rural pawnbrokers, banks, institutions—savings and banks entities public law Catholic banks, companies, credit ordinary To the centuries. over joined the group have national interest—which of banking pre-existing and heritage of on the history information provide the has created Archive Historical Sanpaolo the Intesa documentation, at available the group, guide to ‘genealogical’ a project, Map’ ‘Historical https://mappastorica.intesasanpaolo.com and institutions engaged in the common goal of promoting and promoting in the common goal of and institutions engaged conferences, organizes the network culture, disseminating photographic disseminating the photographic and opportunities for training internal This includes the on an annual basis. archives its members’ heritage of October held at the end of an annual event Archives, Open of Week important its members’ of visits special openings and guided that offers curators. respective their held by collections, photographic https://progettocultura.intesasanpaolo.com/archivio-storico/pubblicazioni/ https://progettocultura.intesasanpaolo.com/archivio-storico/pubblicazioni/ One such example are the photos from the Bazzi and Galli Archives, Archives, the Bazzi and Galli from the photos are such example One Casone and downloadable Laura by monographs in two explored https://progettocultura.intesasanpaolo.com/archivio-storico/ at pubblicazioni/monografie/ della and Fotografie published in 2016, 1855-1918, e storica famiglia tra has also just It di Giulio Bazzi (2019). mondiale dall’Archivio guerra Prima notebooks photographic the series of of volume the third been released from Photographs (2020), R. and Cassanelli Berno S. in English): (available East" "Near and mines in the Nogara Bernardino Empire. the Ottoman (1900-1915), https://progettocultura.intesasanpaolo.com/archivio-storico/ pubblicazioni/quaderni-fotografici/

15 3 5 6 7 8 10 11 12 13 14 1 2 4 9

- 101 12 INTESA SANPAOLO INTESA Specialized Specialized 15 However, the bank receives the bank receives However, 14 we are developing a new, in-house in-house a new, developing are we for the restoration and digitization of pho- of and digitization the restoration for entorying and archival study, identifying con- identifying study, and archival entorying 13 To this end, To Inv staff will therefore become a fully-employed resource due due resource become a fully-employed will therefore staff - contri and the scientific professionalism, training, their to can offer. bution they

numerous internal and external requests for the use of the use of for requests and external internal numerous led us to times have and short response its photographs need We work. our to approach ‘traditional’ question the satisfactory, will produce solutions that innovative seek to - and profes budget time, that optimize results high quality sionalism in the field. dig- restoration, will encompass conservation, that process streamlining thereby preservation, itization and long-term cost associated and and the risks procedures management the aims to This project photographs. of with the transfer , such as artificial technologies, most advanced and activities that can be automated of archivists relieve to professionalism. their under-exploit currently Contact Sanpaolo Berno: Intesa Serena [email protected] https://asisp.intesasanpaolo.com Author’s profile from Studies Archival in Berno earned a Masters Serena as a photographer’s working while Milan of the University in the preservation specialized She subsequently assistant. Bauer, at CFP archives photographic of and management She is currently in Milan. institute training a professional the Intesa collections of the photographic of the curator Archive, and Publifoto Archives Historical Sanpaolo Group Notebooks the Photographic of and she is the Editor collections. the photo series and the online catalogues of as the bank archives and an exhibition on Italian music, on Italian an exhibition and archives bank the as ities for sustaining the continuous long-term promotion promotion long-term continuous the sustaining for ities Archive. the Publifoto of

- and photo Archive the Publifoto from plates tographic own The bank’s the IMI patrimony. from prints graphic their from benefitted and included were collections photo public. among the general visibility diffusion and cat- work, priorities and conducting restoration servation activ the primary remain should aloguing and digitization, , drew from both archives. archives. both from drew , canzonette solo erano Non NOI. an agreement reached Archive the Historical Furthermore, - Cen and Restoration Conservation Reale Venaria with La tre in Turin INTESA SANPAOLO INTESA - - - -

3 in London and New York to to York and New in London well as history, their present muse- renowned other as by and cultural theatres ums, world. the institutions across track was Kapsampelis Nikos and ing these developments Polytheama screening the first the National of in the pavilion (NBG) at the Greece Bank of Fair International Thessaloniki

technical equipment was acquired and a and a acquired was equipment technical was 2 In 1978, production. Over the next decade, new new decade, the next Over production. Polytheama is drawn, it speaks and it sings.’ and it speaks is drawn, Polytheama productions by of Polytheama history by productions A 20-year the National Bank of Greece multi-projec in 1977, in Greece appearance their Before museums been used by had already tion presentations be used on to went that Polytheama well so went in 1977 come. to years the the NBG for by the sce- wrote photographs, take to Greece elled all over - the pres of narios and decided on the style and rhythm visual and all the and synchronizing directing entations, compos- with artists, collaborated They audio effects. of value enhance the aesthetic to and others actors ers, each team of talented people was brought together to work on on work to together brought was people talented of team of the creation for responsible were They the productions. as well as and content on the subjects working the shows, trav They screenings. the of programming electronic the cinematography, together with well-written narrative narrative with well-written together cinematography, each Poly composers, Greek famous and music by script in word ‘Every and has artistic merit. theama is informative a - 102 was was cho- 2 NATIONAL BANK OF GREECE BANK OF NATIONAL Polytheama projection or multi-screen or multi-screen projection e combined and e combined and The term Polytheama The term chosen to describe a multi- describe to chosen effects, which until then had until then had which effects, Chrysalena Antonopoulou Chrysalena Antonopoulou remained unknown in Greece. in Greece. unknown remained slideshow set to words and audio and audio words set to slideshow Thessaloniki International 1 - - cul dynamic, a (…) . Polytheama and its photographic collection andits photographic A pioneer multi-image spectacle Visual and audio elements ar Visual and audio elements ‘… a new word emerged from the Greek vocabulary to to vocabulary the Greek from emerged word a new ‘… activity: modern a name that truly Greece Bank of the National by project tural and the most with fantasy Inspired, history’. ‘creates mul- these technology, audio-visual up-to-date recent, image and into transform able to are ti-image screenings as well as the simplest circumstance, word, a sound even story.’ sophisticated most the sen to describe a multi-projection or multi-screen slide- multi-screen or multi-projection a describe to sen then had which until and audio effects, words to set show in Greece. unknown remained the pub- spectacle that captures in a multi-level ration, from elements photography, Incorporating attention. lic’s electronically co-ordinated by computers. Through multi- Through computers. by co-ordinated electronically various in on a screen appear photographs ple projectors, nar voice-over music and a combinations accompanied by Fair, 1977. The National Bank of Greece, in collaboration in collaboration Greece, Bank of The National 1977. Fair, company, with a small private a mul- presents and creates about ti-image presentation the the bank for of the history Kapsampelis, Nikos first time. pub- the bank’s of a member well as division, lic relations of as an artist and a student Spy painter Greek the famous is using modern Vasileiou, ros at the technology audio-visual a Panayiotopoulos, with Kostas Together pavilion. bank’s then at the beginning producer, journalist and radio writer, with the scenario come up have they writing career, his of term Polytheama The the first production. for

eabh bulletin eabh bulletin 103 NATIONAL BANK OF GREECE BANK OF NATIONAL 1 ‘Foreigners in Greece’, produced in 1978. produced in Greece’, ‘Foreigners the Polytheama Slide from 1. NATIONAL BANK OF GREECE BANK OF NATIONAL - - screen Polytheama Polytheama productions as part of its its as part of productions s were presented at com- presented were s ported the creative team in in team the creative ported than More projects. its new were shows different thirty the the end of until completed when the department 1990s, They ceased its operations. topics, of wide range a covered educat- aimed at informing, and inspiring entertaining ing, managed They audience. their all ages, of viewers reach to in the big cities but only not were who across the country, about curious and enthusiastic Documen- spectacle. this new the department’s tation from that an esti- reveals archive to northern Greece, bringing the bringing the northern Greece, to display 5 was shown for four months, hosting hosting months, four for shown was Polytheama Polytheama Polytheama communities closer to the beauty, history and tradition and tradition history the beauty, to communities closer one of his closest collaborators, was made head of the new the new head of made was closest collaborators, his one of the impor NBG recognized of The administration unit. Polytheama Polytheama of value tance and sup- and strongly policy social responsibility corporate attended 46,000 of audience mated mercial fairs, festivals and other events held in the cul- held events other and festivals fairs, mercial Can- Australia, in diaspora serving the Greek centres tural always was Greece Bank of The National ada and the US. dias- Greek between links the in maintaining interested homeland and their world the communities around pora In the enthusiastic. was the shows of and the reception the Australia, 1988 in EXPO of World the for pavilion Greek ‘Aegean’ vis- 250,000 than more attracting day, per screenings 24 - conti Australian the of a tour by followed was it itors; the coun- communities across Greek so that many nent toured shows In 1992 two see it. a chance to could get try and Journey’ An Epic ‘. in the US and Canada: in presented were Time’ in Space and Panorama A ‘Thrace. as well as institutions, and cultural commercial museums, coun- both of schooling and educational establishments the for shows the of importance the of Indicative tries. representatives of the attendance was communities Greek and the diplomatic associations and societies all Greek of and historic, mythological, ‘a made shows Both corps. reference’ geographic

Polytheama Polytheama demand for The great in 1987. ings in Greece a special space in the Mela the opening of led to shows Athens, the NBG in of sites the central one of building, basis, place on a permanent could take screenings where visit the shows people to more making it possible for 6–15). (Photographs - - 104 Pol has artistic merit. - had been pre NATIONAL BANK OF GREECE BANK OF NATIONAL together with well-written with well-written together Incorporating photography, photography, Incorporating narrative script and music by and music by script narrative is informative and and Polytheama is informative famous Greek composers, each each composers, Greek famous elements from cinematography, elements from cinematography, - - - and Photo Polytheama f eek Ministry of Culture and and Culture of eek Ministry it made an impression. Screenings Screenings it made an impression. 4 be translated into three languages, English, English, languages, three into be translated productions were were productions on the Acropolis and its history to accompany accompany to and its history Acropolis on the had not only become become only had not In 1983, the Gr In 1983, The Department o The Department - an exhibi organized Monuments Acropolis the of vation Acropolis about the Athens in Gallery tion in the National invited They in its restoration. involved and the research a present and create to Greece of Bank National the ytheama Mid- from Acropolis ‘The the title Under the exhibition. - multi-image pres a 42-minute-long Day’ Our to Ages dle - 1983 the exhibi and in September produced, was entation The visitors. thousands of tion opened its doors attracting that the requested committee the organizing year, next Polytheama audience an international to cater to and Russian, French Acropolis. about the conferences as international well as 1985 and 1986 and even years in the place took The tour the first time a Polytheama wasn’t though it outside Greece, sented the Preser for with the Committee Sciences together projects were completed and presented—largely at com- and presented—largely completed were projects and outside Greece. inside and exhibitions fairs mercial ‘Salesmen in Cyprus’, of ‘The History in Greece’, ‘Foreigners the among were Thessaloniki’ of History ‘The and Greece’ Pol the 1980s, By first shows. ytheama a regular feature of the bank’s the bank’s of feature a regular Relations Public of Division screenings activities but the that had become so popular Polytheama in schools and being shown and professional universities, confer scientific unions, other and exhibitions cultural ences, the country. across festivals spectacle impressed The new with its pioneer viewers its - enthu and gained technology its artistic for siastic reviews value. informative and quality the history, on Greek focused presentations Polytheama country, the of parts and cities different of local history and the life artistic movements culture, the environment, of modernization and the evolution artists, of work and 1–4). (Photographs science and technology graphic Media was officially formed in February 1986, 1986, February formed in officially was Media graphic - Fol division. the public relations the jurisdiction of under Kyriakis, Spyros Kapsampelis, Nikos the death of lowing

- the Brit in , Museum place in the Pushkin took in Headquarters and the UNESCO in London ish Museum 5). places (Photograph among other Paris,

eabh bulletin eabh bulletin 5 105 NATIONAL BANK OF GREECE BANK OF NATIONAL 4 3 2 ‘Foreigners in Greece’, produced in 1978. produced in Greece’, ‘Foreigners the Polytheama Slides from 2-4. Amsterdam. Kerk, in Nieuwe Day’, Our to Ages Middle from Acropolis ‘The the Polytheama of and the presentation Acropolis on the the exhibition for Brochure 5. NATIONAL BANK OF GREECE BANK OF NATIONAL 7 9 106 NATIONAL BANK OF GREECE BANK OF NATIONAL 8 6 ‘We and our tradition’, produced in 1980. produced tradition’, and our ‘We the Polytheama Slides from 6-9.

eabh bulletin eabh bulletin 11 13 107 NATIONAL BANK OF GREECE BANK OF NATIONAL 12 10 ‘We and our tradition’, produced in 1980. produced tradition’, and our ‘We the Polytheama Slides from 10-12. in 1987. produced tomorrow’, of pilots today, men of ‘Young the Polytheama Slide from 13. NATIONAL BANK OF GREECE BANK OF NATIONAL 16 108 NATIONAL BANK OF GREECE BANK OF NATIONAL 15 14 ‘Athens’, about everyday life in the capital of Greece. in the capital of life about everyday ‘Athens’, the Polytheama Slides from 14-15. ‘Aegean’. the Polytheama in German for Brochure 16.

eabh bulletin eabh bulletin 18 21 109 NATIONAL BANK OF GREECE BANK OF NATIONAL 20 19 17 ‘Aegean’ was presented. ‘Aegean’ the Polytheama where Australia, in Brisbane, EXPO 1988, World in pavilion The Greek 17-18. presentation. a Polytheama in Canada attending students Greek 19. 1982). (November Vasiliou Spyros painter Greek about the famous the Polytheama for the 11 screens of the setting Kapsampelis for Nikos Design by 20. in 1983. Gallery at the National Vasiliou’ ‘Spyros the Polytheama of the screening before Moments 21. NATIONAL BANK OF GREECE BANK OF NATIONAL 25 23 110 NATIONAL BANK OF GREECE BANK OF NATIONAL 26 24 22 22-23. The amphitheater at the pavilion of National Bank of Greece for the Thessaloniki International Fair. Fair. Thessaloniki International the for Greece Bank of National of at the pavilion The amphitheater 22-23. productions. Polytheama for projectors of the setting Designs for 24-25. in 1991. in Luxemburg Embassy at the Greek in space and time’ panorama A ‘Thrace. Polytheama of screening the From 26.

eabh bulletin eabh bulletin - production, the the production,

presentations, this archive con- this archive presentations, productions. collection e element of the creation of the shows the shows of the creation of e element A cor A offered technical support to other organisations, organisations, other support to technical offered and Photographic Media was acquired acquired was Media Photographic and Polytheama Polytheama to the slideshow of the synchronization course, of was, electronic through achieved was This sound and music. by image switching timing of the exact of programming was, the presentation part of visual The the projectors. voice-over the with synchronized perfectly way, that in Greece Bank of Since National and the music. narration in these multi-image productions present the first to was Poly of creators which the cases in were there Greece, theama Finally, productions. own build their tried to who later the cessa- led to digital technology of the establishment Polytheama tion of The the Depart- and collection of the archive 2011, January In of ment Greece. Bank of the National of Archive the Historical by the last Polytheama after years a few For the of shows organizing kept Department the of members was since its archive but ever productions, existing already A inactive. mostly Division, Relations the Public by kept the about the activities of information of source valuable Polytheama of creators and concerning the production documents of sists mostly scripts of including drafts these shows of presentation productions, the on notes languages, in different written other or bank the and department the between letters articles in the brochures, information and flyers parties, and much more. press every screen, two projectors were used to switch from one one from switch used to were projectors two screen, every - (Photo effects transition using fade other, the to picture 20–26). graphs 111 - of the time. NATIONAL BANK OF GREECE BANK OF NATIONAL production was to was to production production. production. part of its informative and and its informative part of documentary value. They capture aspects of life in in aspects of life capture documentary They value. address different themes of interest for the society the society for themes interest of different address Greece, from Greece, and they the country, the big cities to productions, present great great of Polytheama present productions, the years The numerous photographic images collected through through images collected photographic The numerous wever, the direction didn’t end there. The The end there. didn’t the direction wever, Ho productions that were displayed outside Greece, outside Greece, displayed were that productions and played a decisive role in creating in creating role a decisive and played Polytheama one from varied used and screens projectors of number four used only shows the Some of next. the to production The needed. were more or twelve while in others screens, for scratch designed from was the presentation of format every of Bank National The the show. of the final impression was Thessaloniki Fair in the International pavilion Greece’s with screenings, spectacle’s host the new to redesigned For the main area. of built in front a small amphitheatre come up with the idea for the subject of the presentation. the presentation. of the subject with the idea for come up Polytheama of Department the the members of Usually the for the proposal submitted Media and Photographic when the topic also cases were but there production, new con- who party third a with collaboration in decided was cho- was the subject Once the production. to tributed pho- took and research conducted team working the sen, often Very narration. the visualize would that tographs through travel had to and photographers the director and cap- people meet cities, different visit the country, visual ele- to collect all those effort in their nature, ture Polytheama that gave ments The creation process process The creation Polytheama each new for The first step the text writing of and the The direction artistic power. voice- of the images in the form accompany would that the vital stages of the most of two were narration, over a Polytheama of process creative of their homeland. These are but a few examples of Poly of examples but a few are These homeland. their of theama land- the Greek audiences to international introducing 16–19). (Photographs and culture history scape, NATIONAL BANK OF GREECE BANK OF NATIONAL 112 NATIONAL BANK OF GREECE BANK OF NATIONAL 29 28 27 ‘Epirus. A big journey’. A ‘Epirus. the Polytheama for the shooting from transparencies Panoramic 27-29.

eabh bulletin eabh bulletin 113 NATIONAL BANK OF GREECE BANK OF NATIONAL 30 and Photographic Mediums’ equipment. Mediums’ and Photographic Polytheama of the Department from sound system Four-channel 30. NATIONAL BANK OF GREECE BANK OF NATIONAL 114 NATIONAL BANK OF GREECE BANK OF NATIONAL 31 and Photographic Mediums’ equipment. Mediums’ and Photographic Polytheama of the Department with its lens from projector A 31.

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115 NATIONAL BANK OF GREECE BANK OF NATIONAL to kiss you; then it is that the sky with its stars embraces you; and we, dazzled tell your story… your dazzled tell we, and you; embraces with its stars it is that the sky then you; kiss to 33 32 at flood came, the earth also shook, and the vale of Tempe was cut in half. Then the whole lake passed through the fissures and thundered and thundered the fissures passed through whole lake Then the was cut in half. Tempe of vale and the earth also shook, the at flood came, o cover the area of the Aegeis. Thus was formed the sea we call the Aegean. call the we the sea formed was Thus Aegeis. the of the area o cover long ago – it could be a hundred thousand years ago – in Thessaly, between the heights of Pelion, Ossa and Kissavos, was a lake as wide as a sea, wide as a sea, as a lake was Ossa and Kissavos, Pelion, of the heights between Thessaly, – in ago years thousand – it could be a hundred long ago stical as a lament, triumphal as a war dance, you reflect the images of heroes, you send messages by flute and harp, you guard ancient temples, citadels temples, ancient you guard and harp, flute by you send messages heroes, of the images reflect you dance, war triumphal as a as a lament, stical s a name lost in legends. One of these tells how the sea was named the Aegean after Aegeus of Pandion, King of Attica and father of Theseus. This tragic This tragic Theseus. of and father Attica King of Pandion, of Aegeus after Aegean named the was the sea how these tells of One in legends. s a name lost Aegean… When the gre t down It’ with the Minotaur.’ in his fight victory signify to sail on his ship, white the hoist to when his son forgot the sea into himself threw father ‘ My and statues. Then it is that the sun descends low Very kilometers. than 120 square much more covered This lake Karla. or Voiviida, of lies the lake today where

in 1982. produced , Polytheama ‘Aegean’ the and slides of the text from Abstract 32-33. NATIONAL BANK OF GREECE BANK OF NATIONAL

37 35 116 NATIONAL BANK OF GREECE BANK OF NATIONAL to kiss you; then it is that the sky with its stars embraces you; and we, dazzled tell your story… your dazzled tell we, and you; embraces with its stars it is that the sky then you; kiss to at flood came, the earth also shook, and the vale of Tempe was cut in half. Then the whole lake passed through the fissures and thundered and thundered the fissures passed through whole lake Then the was cut in half. Tempe of vale and the earth also shook, the at flood came, o cover the area of the Aegeis. Thus was formed the sea we call the Aegean. call the we the sea formed was Thus Aegeis. the of the area o cover long ago – it could be a hundred thousand years ago – in Thessaly, between the heights of Pelion, Ossa and Kissavos, was a lake as wide as a sea, wide as a sea, as a lake was Ossa and Kissavos, Pelion, of the heights between Thessaly, – in ago years thousand – it could be a hundred long ago stical as a lament, triumphal as a war dance, you reflect the images of heroes, you send messages by flute and harp, you guard ancient temples, citadels temples, ancient you guard and harp, flute by you send messages heroes, of the images reflect you dance, war triumphal as a as a lament, stical s a name lost in legends. One of these tells how the sea was named the Aegean after Aegeus of Pandion, King of Attica and father of Theseus. This tragic This tragic Theseus. of and father Attica King of Pandion, of Aegeus after Aegean named the was the sea how these tells of One in legends. s a name lost Aegean… When the gre t down It’ with the Minotaur.’ in his fight victory signify to sail on his ship, white the hoist to when his son forgot the sea into himself threw father ‘ My and statues. Then it is that the sun descends low Very kilometers. than 120 square much more covered This lake Karla. or Voiviida, of lies the lake today where

36 34 in 1982. produced , Polytheama ‘Aegean’ the and slides of the text from Abstract

34-37.

eabh bulletin eabh bulletin

News (USA), 21 April 1992 21 (USA), News travelled abroad was in 1979, for the Cyprus the Cyprus for in 1979, was abroad olytheama travelled act translation of the term would be ‘Multivision’ be would the term of act translation periodic publication for the NBG personnel, edited by: Nikos by: edited the NBG personnel, periodic publication for translated by the author) by translated Emeis, September issue 9, Panagiotopoulos, P. Nikos Kougeas, Vassilis Karolas, the author) by 1986 (translated The first time a P about the a Polytheama places, among other In 1983, Fair. International (Archive in Strasburg. Parliament in the European shown was Sea Aegean Historical Mediums, and Photographic Polytheama of the Department of NBG) Archive Sunday The Greek Emeis, periodic publication for the NBG personnel, issue 9, September September issue 9, the NBG personnel, periodic publication for Emeis, 1986 ( The ex

4 5 1 2 3 Author’sprofile Athens, born in 1983 in was Antonopoulou Chrysalena in Finance and holds a MSc Economics She studied Greece. Bank of the National for working She started and Banking. she became a member 2010, In September in 2006. Greece the NBG of Management Archive for the Department of of Head she is 2017 October and since Archive Historical Service. Archive the Photographic Contact Greece Bank of National Antonopoulou: Chrysalena [email protected] https://www.nbg.gr/en

- - 117 NATIONAL BANK OF GREECE BANK OF NATIONAL essive collection of more more of collection essive presentations. The work of tal- of work The presentations. productions, present great documentary value. value. documentary great present productions, The collection includes magnetic tapes and audio tapes and The collection includes magnetic The highlight is the impr The highlight

- carou projector in their kept than 23 thousand slides, the multi-image for used slides, the final Apart from sels. Polytheama of collection the photographic presentations, transparencies, panoramic slides, rejected or includes draft at the years, the over taken, and photographs negatives photographic The collection of world. the around shows and catalogued. arranged has been organized, records offering the slides, from been created copies have Digital from access the images easily the chance to researchers Polytheama the pioneer on these worked who photographers and inspired ented great collection of preserved a perfectly has left shows 27–29). (Photographs value and aesthetic documentary electronically as the well as the sound, where cassettes, synchronization, the projectors’ for encoded programme - (Photo equipment the technical of Part recorded. were - slide pro containing 30–31) has been acquired, graphs - sys sound four-channel and two-channel lenses, jectors, the special construction for parts of and the metal tems a rich form they Altogether, the projectors. of the setting The numerous information. visual and historical of source Pol of years the through images collected photographic ytheama the big cities from in Greece, life aspects of capture They inter of themes different address and they country, the to the NBG for step The next the time. of the society est for be to would the collection, regarding Archive, Historical present and screenings the of some reconstruct digitally as part only this time not audience, a new to them again heritage (Pho- cultural but also the country’s the NBG’s of 32–37). tographs Greece of Bank © National All photographs:

NATIONAL BANK OF GREECE BANK OF NATIONAL - - 4 cen- th - Stojano 5 2

At the time when Stojanović chose to become a a become to chose Stojanović when time the At 3 He worked briefly in public administration. He He in public administration. briefly worked He jurist, be an excellent to himself shown Having Glavna (Glavna Supervision of Budgetary as a clerk at the Office tojanović became a legal advisor and proxy to King Milan. King Milan. to and proxy advisor became a legal tojanović lawyer, there were only twenty-five lawyers in the Princi- the in lawyers twenty-five only were there lawyer, (1868). in ten those only and of Serbia, of pality tury. The conflict between the progenitors of two national national two of the progenitors between The conflict tury. dynasty) Karađorđević (the Petrović Karađorđe dynasties, ing in the houses of Uzun Mirko, a renowned leader of of leader a renowned Mirko, Uzun ing in the houses of Kosta and General (1804–1813), the First Serbian Uprising Serbian Prince the under-age to regent the future Protić, King: 1882– and later 1868–1882, (Prince: Milan Obrenović he graduated school, grammar at the finishing After 1889). the Belgrade, School of at the Higher with honours in Law University. Belgrade of forerunner Principality of Serbia, on the border with the Austrian Austrian with the on the border Serbia, of Principality school primary a acquired he hometown, his In Empire. school the grammar from graduated and later education, serv by himself he supported While at school, in Belgrade. vić revealed his patriotism, and courage, through his atti- through and courage, his patriotism, vić revealed domestic politics had been Serbia’s the dynasties. tude to the 19 dynastic struggles throughout by wracked w super the highest institution for ) in Belgrade, kontrola well as spending, and budget accounts vising government was he Soon, Serbia. western as a court clerk in Loznica, from and Mijović, Josif lawyer the with intern an as hired - on his own—remain practice he established a legal 1870 - on 21 Septem his death until this profession ing true to 1923. ber S the ruling dynasty since he could be critical of However, the of the absolutist tendencies given so, rightfully (and (1889– Aleksandar King son Milan’s rulers), dynasty’s representation. legal to his right 1903) revoked - - 118 Saša Ilić Sonja Jerković in Šabac, a a in Šabac, ) was the most was ) NATIONAL BANK OF SERBIA BANK OF NATIONAL 1 Marko Stojanović Stojanović Marko Марко Стојановић Марко Jurist, banker and photographer and photographer Jurist, banker small town on the River Sava, in the northwest of the the of the northwest in Sava, River on the small town Biography April 1844 born in was Stojanović Marko Marko Stojanović (Serbian: Stojanović Marko influential legal representative of the Privileged National Bank National Privileged the of representative legal influential Serbia) Bank of National the Serbia (now the Kingdom of of lawyer, Belgrade a renowned was He Vice Governor. and its amateur a passionate as well as philanthropist, official, public his time. to witnesses bear whose photographs photographer dec several Serbia after of picture social a broad paint They that in a country diplomacy and fraught armed strife ades of hav Empire, the Ottoman from been liberated had recently on 13 its independence at the Berlin Congress ing regained pal- the magnificent captured camera Stojanović’s 1878. July and Pest in modelled on those aces in the capital, as mud and well as elite, merchant wealthy the and built by on the out- boroughs and undeveloped in poor hovels straw by or residents, poverty-stricken by erected the city, skirts of and neighbouring areas rural from newcomers poorer even and zeal and anthropological With an ethnological countries. photographs took Stojanović interest, of an equal measure ladies in gowns tailcoats, in expensive urban gentlemen of successful business- fashion, European in the latest tailored but he also photographed officials, political and military men, vagabonds. and tattered beggars destitute sellers, market as rickety well coaches as elegant feature His photographs public celebrations grandiose witness to His lens is carts. ox circumstances of an interplay By festivities. family and small, aficiona- photography of number with the growing together - Serbian photogra early study to keen dos and researchers the held by opus is now photographic his substantial phy, Serbia. Bank of at the National digital archives

eabh bulletin eabh bulletin 119 NATIONAL BANK OF SERBIA BANK OF NATIONAL 1 1. Marko Stojanović (1844–1923), photo by Isaak Levi Isaak by photo (1844–1923), Stojanović Marko 1. NATIONAL BANK OF SERBIA BANK OF NATIONAL - - - 15 are held in the in the held are century. Among many many Among century. th documents 13 agement with the National Bank, Bank, with the National agement For many years he was a council- was he years many For and early 20 early and th 12 14 Together with Weifert, members of the manage- members of Weifert, with Together Stojanović was also either a member, or a board a board or member, a either also was Stojanović his eng Through Locally, Stojanović performed a number of of a number performed Stojanović Locally, , of several public organisations. Worthy of note is is note of Worthy public organisations. several of , t and other experts, Stojanović helped to establish establish to helped Stojanović experts, other and t bian people in areas under the Ottoman rule, notably in in notably rule, the Ottoman under bian people in areas and Kosovo of the territory i.e. Serbia, South Serbia (Old well as Vardar), along the River and Macedonia Metohija, within the these parts to unify support the efforts as to Serbia. Kingdom of - Soci Sava the St of a founder was he initiatives, other The Society Board. its Governing of and a member ety the Ser support and protect established in 1886 to was men and composed Bank, the National of foundations the legal and other rulebooks statutes, for proposals of a number and a copious a deep trace left versatility His acts. internal handwritten his of collection member - sports organisa the of in the management his engagement he but and Fighting, Gymnastics for tion called the Society and Foundation the Kolarac of on the boards also served Coun- the Supreme on Spasić, Nikola of the Foundation and on the Council of Church, the Serbian Orthodox cil of name to Education, of with the Ministry the Foundations but a few. the to contribution his most important gave Stojanović in he participated advisor, legal As a business. of world the Privileged of and the establishment the preparations the first Serbia in 1884, the Kingdom of Bank of National in and served bank in the modern Serbian state, central with the Along his life. the end of until its management Ser and Belgrade the of representatives most significant the of was a member he bian business and financial elite, dec almost four for Board Governing Bank’s National representative. legal as acting as the Bank’s well as ades, and (1890–1902 Vice Governor as twice elected was He his close friend and associ- when at the time 1912–1923), held widely a man the Governor, was Weifert George ate the Serbian of governor been the most renowned have to 1912–1926). bank (1890–1902, central Yugoslav and duties and functions. he where municipality, the Belgrade of in the assembly lor the of including the drafting activities, many conducted as elected was and in 1882 he proposal, municipal budget He municipality. the Belgrade the court of of a member the which committees expert several of a member was - unfa of consequences the analyse to hired municipality and paving street about electrification, contracts vourable tramcars. of introduction ethics that contributed to the development of the national the national of the development to that contributed ethics 19 late the in state - 120 6 7 NATIONAL BANK OF SERBIA BANK OF NATIONAL 11 and, as its member, he he as its member, and, - joined the Progres He company in a litigation in a litigation company 9 10 8 to being a lawyer, a profession that that a profession lawyer, a being to Stojanović’s engagements can be char engagements Stojanović’s decades, Stojanović served as a legal advi- a legal as served Stojanović decades, Some of In addition Over A masterful orator and an outstanding lawyer, and an outstanding lawyer, orator masterful A - pro in the most famous the lawyer one of was tojanović sive Party at its formation in 1881 in at its formation Party sive acterised as ‘national work’, in accordance with the social with the social in accordance work’, ‘national as acterised

allowed him to earn enough to cover his basic existential his basic existential cover earn enough to him to allowed activities in the from away shy did not Stojanović needs, on the was he 1878 onwards, October From public sphere. with composing a commission tasked the legal of board representatives. on legal law draft

- in Serbia and rep consulate Austro-Hungarian the to sor citizens. its of interests estate-related the real resented - rep him acting as a legal of records newspaper are There Šilka a Pest-based of resentative Society. Agricultural the Serbian of debts 1888 over from - an entre Klajn, a Mr represented Stojanović earlier, year A a con- municipality to the Belgrade who offered preneur in Bel- the first tramcar the construction of cession for declined). was (which grade

S the of One date. to in Serbian history proceedings bate Ilija M. and richest Serbian tradesmen, most renowned his his possessions to of all left had (1800–1878), Kolarac purposes education the Serbian people for and country However, will and testament. in his last and social progress a court launched ones) no direct heirs (he had indirect his In the will. last Kolarac’s dispute to case in an attempt - Sto 1879 and 1880, between that ran court proceedings, to intention the testator’s succeeded in defending janović the Serbian peo- of the benefit for establish a foundation him earned legacy this defending in success his and ple, only not of and the respect among lawyers special renown well. as generations later but of his contemporaries,

and Miloš Obrenović (the Obrenović dynasty), who had who had dynasty), Obrenović (the Obrenović and Miloš (1804–1815), the Serbian revolution been the leaders of the throne. for changes violent in crude and had resulted dethroned was Aleksandar which King in The last coup, put an end 1903), Coup, May (the murdered and brutally assumed dynasty and a new dynasty, the Obrenović to the erase to sought Karađorđevićs—who the throne—the and circumstances, In these predecessors. their of memory proposed Stojanović in mind, with national reconciliation both commemorate to be erected monument that a joint - rea and Data entitled brochure a in Miloš and Karađorđe 1904. and Miloš dated Đorđe to a monument sons for - the Constitu members of the core became one of later a democratic with drafting tasked was which tional Board, the on While 1989). January 2 of (as 1888 in constitution - and his contribu commendably, worked Stojanović Board, stands out. election law the draft tion to

eabh bulletin eabh bulletin Being a great Being a great 30 and the poor, and the poor, 28 Sadly, the Fund’s Fund’s the Sadly, 25 27 class, which was at the at the was which class, th He was a member of the Maternity Maternity the of a member was He 23 When the fighting ended, and Stojanović Stojanović and ended, fighting the When 29 when extending aid, Stojanović did not did not Stojanović aid, when extending 26 orms of gratitude of his home country. On On his home country. of gratitude orms of 31 For his activities and devotion, Marko Stojanović Stojanović Marko his activities and devotion, For In addition to aiding the needy In addition to Finally, anniversary of the Serbian Kingdom, on 6 March March 6 on Kingdom, Serbian the of anniversary th In 1913, he initiated the formation of the St George George the St of the formation he initiated In 1913, 24 - a humanitarian organi Fund, Disability Serbian National (1912–1913) Wars the Balkan of veterans aiding sation for orphans. and widows families, their and activities, which were endorsed by renowned business- renowned by endorsed were which activities, were personages, and cultural as scientific well as men, of the outbreak by year next very the stopped abruptly financial assis- gave Stojanović Meanwhile, I. War World victims of and helping debtors for Board the Main tance to 1915. in war the Stojanović also sought to promote education. In 1903, he he In 1903, education. promote to sought also Stojanović of Metropolitanate the to a financial contribution gave the purpose of for in Priština, seated and Prizren, Raška which Monastery, constructing a school in the Gračanica also gave He Empire. the Ottoman part of was at the time and Library such as the National libraries, many to books school. boarding Sava’s St of the Library earned some f 16 the but only, national surroundings even his local or look to earth- the devastating after Thus, well. that as beyond was Stojanović 1894, July on 10 in Constantinople quake for aid collecting for Board Mediation the to appointed was and hard worked city; he the inflicted of the residents his duties on the Board. to dedicated very 1898, by King Aleksandar’s decree, Stojanović received received Stojanović decree, Aleksandar’s King by 1898, 4 Eagle, White the of the Order - moth assistance to provided that a society Association, ers. gifts and engagement in various charity organisations. He He organisations. charity various in gifts and engagement - Edu Assistance and Association for the of a member was alms gave he frequently and in Belgrade, Orphans cation of poor. the Belgrade to of his native tongue and an advocate for the the for and an advocate tongue his native connoisseur of he set in 1914 and style, language culture of preservation works awarding for Belgrade, of up a fund at the University law, international in the and the private for assets Bank allocated his death the National and after this foundation. than more not to presented order, time the highest state 150 persons. returned to the liberated country, he invested a good deal a good deal he invested country, liberated the to returned Fund the Disability the activities of in renewing energy of 1920, early in campaigns; humanitarian wider and organising disabled in Belgrade. the to socks 500 pairs of he presented by collected were and some made, were the socks Some of commended not was Such a gesture and daughters. wife his the ministers but also by the Disabled, of the House by only and the navy. defence social policy, of 121 - - 21 18 NATIONAL BANK OF SERBIA BANK OF NATIONAL 16 by introducing paper paper introducing by Stojanović gave an an gave Stojanović 17 19 He had a pronounced philanthropic philanthropic had a pronounced He ork at the National Bank, Stojanović Stojanović Bank, ork at the National 22 20 At Stojanović’s initiative, the National Bank set Bank set the National initiative, Stojanović’s At With such an approach, Besides his w Besides his and published at least wrote Stojanović Marko A report by the Governing Board, composed soon soon composed Board, the Governing by report A a fund for supporting agricultural literature, the aim of the aim of literature, agricultural supporting a fund for - contri the was great how shows demise, Stojanović’s er enty papers, including debates, articles, interpretations interpretations articles, including debates, papers, enty up extensive from switch to farmers educate to was which important particularly was This production. intensive to than more for accounted farmers where a country for its population. 80% of

immeasurable contribution to the efforts to sever Serbia Serbia to sever the efforts to contribution immeasurable banking’ of way ‘oriental the from also participated in the establishment or activities of other other activities of or in the establishment also participated Administration, Monopoly such as the financial institutions, Cooperative. and the Belgrade Bureau Credit Belgrade tw his which etc., practice, judicial on papers regulations, of highly. very regarded

aft the of the development to gave which Stojanović bution that the say to is safe ‘It says: The report Bank. National because Marko, Mr of Bank is the life the National of life worked and no one time at the bank, more no one spent the Bank than for and did more affairs at the bank’s harder Marko.’ Mr

archive funds of the National Bank: minutes from man- from Bank: minutes the National funds of archive con- shareholder action from of points meetings, agement quote To correspondence. as everyday well as ferences, every law, every letter, relevant ‘every contemporaries: his be not could and regulation Statute every amendment, him- composing them Marko Mr without issued or written part in the drafting’. taking an active or self and a sense of what the community needed. He carried carried He needed. what the community and a sense of trait with financial contributions, help others out activities to - to pre rates interest acceptable and defining banknotes - in res persons involved the key one of was He usury. vent I, War World in Bank National the of property the cuing Skopje Kruševac, Niš, via transported be had to it when kept was it where in France, Marseille to Thessalonica and Super the of member a Jovanović, Mata years. three for hearing in his memoirs that upon wrote Board, visory which Serbia, ultimatum to Austro-Hungarian about the - the Govern members of 1914), July (28 war the preceded be had to vault the of that the contents realised ing Board - Stojano Marko to eyes their ‘turned all and they moved, cir difficult these in do to what him asking silently vić’, seventies, and although in his war, the After cumstances. activities bank’s the central in expanding engaged was he liquidating the territory, Yugoslav the entire throughout the exchanging bank, Austro-Hungarian the of operations system. and aligning the monetary currencies NATIONAL BANK OF SERBIA BANK OF NATIONAL ------he 36 As later scientific cri- scientific As later 37 stas Jovanović, the father of of the father Jovanović, stas Serbian photography; would prove to be a master be a master to prove would 1901, June 1 On photographer. of exhibition the first Serbian was photographers amateur kasina held in the Građanska around where club in Belgrade, their exhibited 140 amateurs - photo Stojanović’s works. a under exhibited were graphs catalogue title: Varsummary the from ious Photographs - Sto Marko as Seen by Century th

38 In it, he drew attention to the work work the to attention he drew In it, 34 ographs of Marko Stojanović not only only not Stojanović Marko of ographs poses. 35 The phot It seems probable that Stojanović began exper began that Stojanović probable seems It but have stood the test of time. Over recent dec recent Over time. of the test stood but have ting with photography in the 1890s guided by Ana- by guided 1890s the in photography with ting 39 when they his contemporaries, of the attention drew jour Serbian illustrated in published occasionally were nals, tique will confirm, Stojanović’s work stood out because it out because it work stood Stojanović’s will confirm, tique artifi- typical of without the restraint and life true to was cial ‘arranged’ or ation of the Professor’s son, Dušan Debeljković and the and the Dušan Debeljković son, the Professor’s ation of and Bel- Belgrade Debeljković, Serbia (B. Bank of National 19 of at the End gradians pub- review the In Animals. and Groups People, of Lives glasnik journal Srpski književni lished in the prestigious critic Pavle the renowned by Herald) (Serbian Literary - Stojano Rhacusinus), the pseudonym (under Popović ranked were and figures portraits the head, studies of vić’s collection of a rich presents ‘Stojanović among the best: - interest personalities, Belgrade of and figures portraits often and his shots and groups’, faces humorous ing types, The and action. movement of moments’ ‘frozen represent his photographing, chooses the time of skilfully author his por of and some posed, artificial or not subjects are genuine masterpieces. are traits of amateur photographer, Marko Stojanović. Debeljković Debeljković Stojanović. Marko photographer, amateur of 1973 in photographs Stojanović’s possession of came into who Marinković, Olga daughter, devoted Marko’s to thanks albums. photo into photographs father’s her had arranged felt Debeljković Professor work, the author’s by Impressed but this in a monograph, merit publishing would that they co-oper 2008 through until realised be not would idea imen

. bian Photography in Serbia in the catalogue to the exhibition, Old Ser the exhibition, in the catalogue to in Serbia ades his works have either featured in or have been the been the have in or featured either have works ades his . As a sign of gratitude for financial assistance, the the financial assistance, for gratitude As a sign of . janović) 500 digital around presented monograph the of editor the National to photographs Stojanović’s Marko copies of Archives. Bank’s - 122 33 NATIONAL BANK OF SERBIA BANK OF NATIONAL Stojanović’s work stood out out stood work Stojanović’s artificial or ‘arranged’ poses. artificial‘arranged’ or because it was true to life and and life true to because it was without the restraint typical of of typical without the restraint - into the the into 32 Marko Stojanović was also significant for the the for significant also was Stojanović Marko Stojanović was a typical representative of the the of representative a typical was Stojanović A very interesting anecdote is associated with with associated is anecdote interesting very A ade commercial elite whose members often estab- often whose members elite ade commercial ational Bank and its history because he preserved the the because he preserved ational Bank and its history tojanović. As a very busy lawyer, he had abundant inter abundant he had lawyer, busy very As a tojanović. Photographical opus Photographical pho- (1916–2003), Debeljković Branibor Professor In 1977 of and historian researcher pedagogue, tographer-artist, photography of the development portrayed photography, N the of The oldest archives the bank. of earliest archives in their been preserved not obviously Bank have National in all likelihood were as they volume and original order to What has been preserved I. War World in destroyed - contain business archives Stojanović’s in fact are date documents the oldest and most significant ing some of the of room the reading that reason, For and artefacts. Marko named after was Archives Serbia’s Bank of National in 2009. Stojanović

- Stojano Serbian language, of Five vić had six daughters. maturity, to who lived them, members of married to were families. Belgrade prestigious married the son daughter One a renowned Ristić, Jovan of who and statesman Serbia at the Ber represented Belgr With his partners. business their with ties lished family - Papa Panagiotis of the daughter was who Aspazija, wife emi- a Greek kostopoulos, school grammar doctor, grant, the translator and teacher Odyssey Homer’s of wealthy his status as a confirmed He 1878. of lin Congress building a house in class by the upper of representative and the central was then as now, which, St. Knez Mihailova capital. the Serbian part of most representative

S most probably one occasion, On national correspondence. not was which Trieste, from a letter he received in 1879, - an inven out on the typewriter, but typed handwritten whose and earlier, years ten only modernized was tion that launched had been Remington by industrial production and he this device curious about was Stojanović in 1873. a requesting Italy, from typewriter a Cyrillic soon ordered when he typed However, letters. of specific distribution them 1880 and submitted in early out the first petitions - the peti handle to how know not did clerks court, the to be sub- should that they prescribed tions because the law ‘in mitted writing’.

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- - ade business circles and sup- ade business circles Milojević, the first Serbian pho- Milojević, - Jovano Anastas tographer the renowned vić and his son, Konstantin Viennese architect Mile the architect Jovanović, poli- the historian, Atonović, the court’ of ‘man tician and writers the Čedomilj Mijatović, and Milovan Milićević Milan Đ. Museum the National Glišić, the Valtrović, Mihailo manager Library and National writer Stanojević, Dragiša manager e some of the most important the most important e some of ojanović had particular respect towards the the towards respect had particular ojanović St Being close to Belgr Being close to His lens captur wit- he whose development and he lived where city Bel- of Europeanisation of The process nessed and felt. became the city when in 1841, began civil society grade started Belgrade Serbia. of the Principality the capital of a small From and change its urban appearance. grow to he also immor endowments, of the concept of portive industrialists, and early merchants mostly talised people, Serbia: the Kingdom of to wealth who bequeathed their - Uni the Belgrade of benefactor the greatest Ćelović, Luka who bequeathed his entire Krsmanović, Aleksa versity, Rista Milenković, goals, patriotic for the state to property wife whose means private and man of merchant a Belgrade Hill, Topčider on Monastery Vavedenje built the Persida whose benefactor a great Spasić, Nikola his death, after build the Zvezdara to things, among other used, was legacy Hospital. City

names of the Serbian scientific, artistic and cultural elite: elite: artistic and cultural the Serbian scientific, names of Jovan the geographer University, the Belgrade of professors the chemist Marko Kovačević, Ljubomir the historian Cvijić, of Faculty the Belgrade of and founder the doctor Leko, T. - Jova Đorđe sculptor the Batut, Jovanović Milan Medicine min- prime of bust completed just the with poses (who nović Nikola and Todorović Sava painters the Đorđević), V. ister Balugdžić, critic Živojin and literary diplomat the minister, others. and many Nikola Hristić, Nikola Pašić, Sava Grujić, Vladan Đorđević, Đorđević, Vladan Grujić, Sava Pašić, Nikola Hristić, Nikola foreign and domestic ministers, Stojanović), Ljubomir are counsellors state generals, parliament, of members charac Stojanović’s and at leisure. work at both pictured ters convey the tragic dynastic division of the Serbian soci- division of dynastic the tragic convey ters Cincar-Marković, Dimitrije General on focuses eye ety—his commander and minister prime last Obrenović’s Aleksandar as Konstantinović, Aleksandar General guard, the royal of organisers the key one of Genčić, as politician Đorđe well this King. of and assassination of - - and beginning of and beginning of 123 th century, and the people and the people century, th e one of the the e one of NATIONAL BANK OF SERBIA BANK OF NATIONAL offer a good record of the of the a good record offer who lived and worked in it. and worked who lived Marko Stojanović photographs photographs Stojanović Marko end of the 19 the 20 transformation of Belgrade at the at the of Belgrade transformation - century, and the people who who people the and century, th aged, educated and recognized and recognized educated aged, includes includes 40 Being socially eng Being socially His work His work The National Bank and its people ar The National and beginning of the 20 the of beginning and th lived and worked in it. in worked and lived

among his contemporaries, Stojanović captured a range range a captured Stojanović contemporaries, his among political and part in public, personalities taking active of attraction particular A and Serbia. Belgrade of life cultural photographed often were that they the fact comes from table, tavern at a promenade, on a and at ease, unofficially Ristić, (Jovan ministers Prime conversations. in private or trait photography in particular. in particular. photography trait capture to the opportune moment had a good sense of He when especially events, certain at personalities significant digni- and domestic state foreign senior photographing Archduke, Austro-Hungarian the photographed He taries. Belgrade, visit to during his incognito Ferdinand, Franz and his father Obrenović Aleksandar and the Serbian King at a ceremony, army the active of then commander Milan, Prince the Montenegrin visit of a and he photographed and the procession in 1896, Belgrade to Petrović Nikola Obrenović Aleksandar and Mašin Draga of wedding at the he immortalised the dynasty, the change of After in 1900. Serbia in 1903 and to Karađorđević King Petar coming of in 1904. his coronation and cityscapes, panoramic and streets of photographs were but people buildings, and por still, important more Thus attention. Stojanović’s that gained themes several Kumanudi Hrisante the house of photographed Stojanović Ser the Kingdom of Bank of National the Privileged where - neo-renais and the magnificent up in 1884, set was bia in 1890. Bank constructed the National sance palace of events record to point vantage the as serves often This the blacksmith diverse: His subjects are in the street. the 1905 the design of the basis for was whose portrait on different Weifert in gold; Governor banknote 20-dinar a Jovanović, occasions; Mata the National colleague from Board, Supervisory Bank’s with whom he together made saving to contribution a key the National of the property I. War Bank in World acters he photographed, whose photographs offer a good a good offer whose photographs he photographed, acters the at the end of Belgrade of the transformation of record 19 sole subject of exhibitions (B. Debeljković 1977; Jerković Jerković 1977; Debeljković (B. exhibitions of sole subject entirely dedicated exhibition, latest The Ilić 2009). and S. as author the presented Stojanović, Marko of work the to char the much like photographer, and relaxed a natural NATIONAL BANK OF SERBIA BANK OF NATIONAL 3 5 124 NATIONAL BANK OF SERBIA BANK OF NATIONAL 4 2 2. Mata Jovanović (1848–1933), member of the National Bank’s Supervisory Board Supervisory Bank’s the National of member (1848–1933), Jovanović Mata 2. 1905 from banknote the 20-dinar the design of the basis for was whose portrait Blacksmith 3. in Belgrade Austria-Hungary, of the throne to presumptive heir Ferdinand, Franz 4. King Milan Obrenović and former Obrenović Aleksandar King 5.

eabh bulletin eabh bulletin 9 7 125 NATIONAL BANK OF SERBIA BANK OF NATIONAL 8 6 6. Coronation of King Petar Karađorđević, Cathedral Church, Belgrade, 1904 Belgrade, Church, Cathedral Karađorđević, King Petar of Coronation 6. wedding A city 7. ladies City 8. Serbian geographer renowned the most (1865–1927), Cvijić Jovan 9. NATIONAL BANK OF SERBIA BANK OF NATIONAL 12 126 NATIONAL BANK OF SERBIA BANK OF NATIONAL 11 10 10. Boza seller seller Boza 10. at the market vendors Pepper 11. police scribe buying eggs A 12.

eabh bulletin eabh bulletin 127 NATIONAL BANK OF SERBIA BANK OF NATIONAL 13 13. A girl on the pavement A 13. NATIONAL BANK OF SERBIA BANK OF NATIONAL 17 15 128 NATIONAL BANK OF SERBIA BANK OF NATIONAL 16 14 14. A tramcar accident tramcar A 14. on the balcony wife and daughters Stojanović’s M. 15. Street Mihailova Knez 16. Bank the National of Governor (right), Weifert George 17.

eabh bulletin eabh bulletin 19 129 NATIONAL BANK OF SERBIA BANK OF NATIONAL 20 18 18. A Belgrade merchant with his wife with his merchant Belgrade A 18. and endower Serbian merchant well-known a (1854-1929), Ćelović Luka 19. elite commercial Belgrade’s 20. NATIONAL BANK OF SERBIA BANK OF NATIONAL 22 130 NATIONAL BANK OF SERBIA BANK OF NATIONAL 21 21. The Romani selling geese The Romani 21. transport Firewood 22.

eabh bulletin eabh bulletin 131 NATIONAL BANK OF SERBIA BANK OF NATIONAL 23 23. Boys from a poor Romani suburb Romani a poor from Boys 23. NATIONAL BANK OF SERBIA BANK OF NATIONAL 132 NATIONAL BANK OF SERBIA BANK OF NATIONAL 24 24. A makeshift seesaw makeshift A 24.

eabh bulletin eabh bulletin 26 27 133 NATIONAL BANK OF SERBIA BANK OF NATIONAL 25 25. A Danube fisherman having lunch fisherman having Danube A 25. 1904 Kalemegdan, Museum, the Military of Opening 26. Street flooding the Karađorđeva Sava The River 27. NATIONAL BANK OF SERBIA BANK OF NATIONAL 134 NATIONAL BANK OF SERBIA BANK OF NATIONAL 28 28. M. Stojanović’s grandchildren Stojanović’s M. 28.

eabh bulletin eabh bulletin 135 NATIONAL BANK OF SERBIA BANK OF NATIONAL 29 29. M. Stojanović’s daughter Olga with her friend, holding a spit with a roasted lamb on it with a roasted holding a spit friend, with her Olga daughter Stojanović’s M. 29. NATIONAL BANK OF SERBIA BANK OF NATIONAL 136 NATIONAL BANK OF SERBIA BANK OF NATIONAL 30 30. Olga, daughter of M. Stojanović M. of daughter Olga, 30.

eabh bulletin eabh bulletin - Srp- (King (King side of the city either—its homeless, poor, poor, homeless, either—its the city side of - photograph from refrain does not ojanović his close of taking photos enjoyed ojanović St St ing the ‘darker’ - a ram of in front photographed children thin and ragged roof— a caved-in with planks, rickety shackle hut made of uncer reflect whose faces the city, to arrivals the newest see-saw on an improvised and children kruna tavern, ska a by is drawn attention Stojanović’s and playing leapfrog. - weap Turkish soldiers and Turkish imprisoned of transport camp, a Serbian army in 1912, War the First Balkan ons after military procured newly of and the parade kitchen a military standing guard. reservist a third-class trucks, His lens captures members. family friends and in particular on a beautiful glass-panelled and all six daughters wife his his first ball, to her going off Mara his daughter balcony, as a little girl before Olga daughter and dearest youngest - and a roast friends, with her party a fancy-dress to leaving His dedication on it. mutton roasted with freshly ing spit - chil well, as his grandchildren with continues family to the Mihailo, to married was who Mara daughter his of dren while playing whom he photographs Ristić, Jovan son of be this would that it without knowing basket, woven in a of become the father would who Ristić, Marko grandson, Serbian surrealism. shackles in heavy a prisoner captures He tainty. with clerk police the also but assassin), attempted Milan’s photographs to take and he is also the first gendarmes, the near beggar a notices He (1909). prison a of inside Market. Stojanović’s eye catches haulers in horse-drawn horse-drawn in haulers catches eye Stojanović’s Market. of vendors street carriers, newspaper carts and porters, awaiting woodcutters fishermen, eggs and peppers, geese, with bundles the Roma with hand saws, wood cut to orders washers… gold shoulders, their hung over - - - 137 NATIONAL BANK OF SERBIA BANK OF NATIONAL (a drink made drink made (a eye of a contemporary. of eye century it had grown it had grown century th - modernization and Euro e of Stojanović’s opus reveals a modest artist who opus reveals Stojanović’s create pieces of art. It is precisely in this way that that of art. pieces in this way It is precisely create he created not only exceptional photographs but but photographs not only exceptional he created photographed out of pleasure, without aspiring to to without aspiring out of pleasure, photographed general character of an epoch, often invisible to the the to invisible often of an epoch, character general also genuine documents offering a glimpse into the the into a glimpse also genuine documents offering Though an advocat

peanization, Marko Stojanović does not flee reality, but also but also reality, flee does not Stojanović Marko peanization, he towns other and Belgrade of side the different captures peo- ‘small’ ordinary, he records With equal passion, visited. few A quarters). city the mahala (poor ple and people of edifices and elegantly modern Belgrade from away streets to hard worked who people photographs he clad ladies, boza sellers of labourers, bread, earn their vendors at the Grand or corn flour) of boiled extract from into a middle-sized European city with buildings and pal- and buildings with city European middle-sized a into and other neo- aces built in the neo-classical, through regulated was infrastructure City eclectic styles. introduc and network supply water the of expansion the tion of the sewage system, regulation, marking and pav regulation, system, the sewage tion of (1893), the city of electrification start of streets, ing of 1894), as of tramcars (electric tramcars of introduction the changes and follows Stojanović his lens, Through etc. - chroni He and its inhabitants. the city of transformations tramcar, in a moving dynamics embodied city cled the new over such as a tramcar accidents, type of but also a new tracks, railway photographs He St. Dušana Cara in turned a truck and even light, electrical street streets, well-paved He holiday-goers. for transport as a means of refurbished and man- and in the rhythm changes in clothing, captures - he chron Belgrade, in European the Perceiving life. of ner long high-collared elegant clothes, icled ladies in refined with and embroidery, lace with adorned often dresses, and ornaments, floral or hats rich in feathers voluminous city dress; wedding a bride in a modern parasols; elegant holding hats, top shiny and tailcoats formal in gentlemen orna- with richly sticks walking indispensable more ever handles and furled umbrellas. mented Balkan-Oriental town, by end-19 by town, Balkan-Oriental NATIONAL BANK OF SERBIA BANK OF NATIONAL century. century. th

He has published a substantial number of scientific papers. scientific of number has published a substantial He Contact Serbia Bank of National Jerković: Sonja [email protected] Serbia Bank of Saša Ilić: National [email protected] www.nbs.rs Authors’ profiles profiles Authors’ of the Faculty from in history graduated Jerković Sonja her she took where Belgrade, of University Philosophy, the King- Bank of with a thesis on the National (2019) PhD 1918-1931. and Slovenes/Yugoslavia Serbs, dom of in the as an archivist worked she 1995–2005, Between - pres 2005 until and from Belgrade, of Archives Historical the of Archives in the she has been employed date ent Serbia. Bank of National Philos- of the Faculty from in history Saša Ilić graduated PhD his he also took where Belgrade, of University ophy, of in the economy experts with a thesis on foreign (2018) as worked he 1996–2005 Between 1945–1950. Yugoslavia 2005 and from Yugoslavia of Archives in the an archivist Archives in the he has been employed date present until Director). as (2006–2013 Serbia of Bank National the of his- economic and social the researching in engaged is He in the 20 and Europe Yugoslavia Serbia, of tory

- - 138 NATIONAL BANK OF SERBIA BANK OF NATIONAL 41 tographs authored by Marko Marko by authored tographs Stojanović’s opus reveals a modest artist who who a modest artist opus reveals Stojanović’s In addition to pho In addition to Particularly significant are those of Stojanović’s Stojanović’s of those are significant Particularly tographed out of pleasure, without aspiring to create create aspiring to without pleasure, out of tographed tographs which show buildings that are now gone. This This gone. now are that buildings show which tographs Digital Archive Archive (24) Digital pho not that he created way in this is precisely It art. pieces of but also genuine documents photographs exceptional only epoch, an of character the general a glimpse into offering a contemporary. of the eye to invisible often Archives, Serbia Bank of @ National All photographs:

pho the Military of the first building of with the photo is the case he which I, War World in destroyed in Kalemegdan, Museum 1904. 22 September its opening, of on the day took also been preserved. have him of photographs Stojanović, - also a passion a close friend, by taken probably were They The Levi. Isaak merchant the Belgrade photographer, ate at the cameras their acquired probably them most of two of the end until friendship continued same time and their used sev Stojanović data, available to According lives. their a plate (9x13 cm), camera stereo camera—a types of eral box-form i.e. camera, and a detective (13x18 cm) camera This 12 shots). (for 12 plates which contained camera plate it and he held on to his favourite was camera detective take used it to frequently his friend Levi his life; throughout among the precur were and Levi Stojanović Finally, photos. - which repre of some Serbian collage photographs, sors of genuine studies in psychology. sent

eabh bulletin eabh bulletin Century as Seen by Marko Stojanović, Stojanović, Marko as Seen by Century th ), Dokumenti o spoljnoj politici Kraljevine Srbije 1903- o spoljnoj politici Kraljevine Dokumenti ), , Uprava, Zapisnik sa 30. sednice Upravnog odbora, [Minutes from [Minutes odbora, sednice Upravnog Zapisnik sa 30. Uprava, , arodne banke [National Bank Archives], ANB 1/I, „Istorijska arhiva’, arhiva’, „Istorijska ANB 1/I, Archives], Bank [National banke arodne were provided by private lenders only, without the involvement of the involvement without only, lenders private by provided were XLI, br. 9, 31. 3. 1910, 1. 1910, 3. 31. 9, br. XLI, , No. 126, 3. 6. 1944, 10; Divna Gačić, Marijana Ratkelić Lazić, Stara Lazić, Ratkelić Marijana Gačić, 10; Divna 1944, 6. 3. 126, No. , va iskra, III, No. 7/1901, 197; Ibid., V, No. 6/1903, 165, 167, 187. 167, 165, 6/1903, No. V, Ibid., 197; 7/1901, No. III, iskra, va eštaj Narodne banke za 1923. godinu [Report of the National Bank for Bank for the National of godinu [Report za 1923. banke eštaj Narodne eštaj Upravnog odbora Društva za potpomaganje i vaspitanje sirotnevaspitanje i za potpomaganje Društva odbora eštaj Upravnog van Aleksijević (ed.), Godišnjica Srpskog narodnog invalidskog fonda Sveti fonda invalidskog narodnog Godišnjica Srpskog (ed.), Aleksijević van eme, 7. 5. 1928, 4; Službeni vojni list [Official Military Gazette], XXXIX, No. XXXIX, Gazette], Military list [Official vojni 4; Službeni 1928, 5. 7. eme, eme, 22. 9. 1923, 5; Pravda, 22. 9. 1923, 1. 1923, 9. 22. 5; Pravda, 1923, 9. 22. eme, 7. 1925, 11. 27. eme, avda, XII, No. 110, 22. 4. 1915, 2. 1915, 4. 22. 110, No. XII, avda, institutions. Pr Vr 159. 1920, 1. 30. 5, Andrija Radenić (ed. Serbia], the Kingdom of of Policy about the Foreign 1914 [Documents 3; 1889, 8. 12. 232, No. II, novine, 168); Male 200 (doc. 1991, Beograd, I/1, the of (Report 5/1912 No. XXXIII, Gazette], glasnik [Educational Prosvetni 471. 1911), for Library the National of Librarian ANB 1/II 2. unit No. arh. 1923, 9. 26. Board] the Governing the 30th session of 1. 1883, 1. 26. 19, No. L, Serbian Newspaper], and Medals’, on Orders [‘Law Kolo izložbe) (katalog Halasa, Endrea iz kolekcije pisaća mašina,—izbor dobra Halas Endre the Collection of from Selection Typewriter—A [The Good Old 9–10. 2017, Sad, Novi catalogue)], (exhibition 19 of at the End and Belgradians Loans Loans N Arhiv Saša 1914-1919; War Bank during National Notes: Jovanović’s Mata 20, dos. the [Saving ratu’ svetskom u Prvom banke Narodne trezora „Spasavanje Ilić, Sonja 62-76; 2014, 1–2, Arhiv, War], World in the First Vault Bank National i Slovenaca/Jugoslavije Hrvata Srba, Kraljevine banka Narodna Jerković, R. the Kingdom of Bank of disertacija [National doktorska godine, 1918-1931. of Faculty Belgrade, dissertation], and Slovenes/Yugoslavia, Croats Serbs, 95-183. 2018, Philosophy Težak, Izv XI. 1924, Belgrade, 1923], Year the Vr Izv the Main of Report godini [Annual u 1886. radu o svom dece u Beogradu in in Belgrade Children Poor Educating Aiding and for the Society of Board 51, XX No. 303; ibid., 1902, 12. 15. 50, No. XX, 22; BON, 1887, Beograd, 1886], 305. 1902, 12. 25. Vr Jo 11, Vol. Fund], Disability Serbian National George St of [Anniversary Đorđe 1930. Belgrade, No Belgrade, 2008, 34-35; Jerković, Ilić, cited work, 20, 22; Aleksanda Božović, Božović, Aleksanda 22; 20, work, cited Ilić, Jerković, 34-35; 2008, Belgrade, House, Stojanović’s [Marko 15 u Beogradu’ Pariska Stojanovića, Marka ‘Kuća 91-102. 10/2009, No. Nasleđe, in Belgrade], St. 15 Pariska srpska Stara Debeljković, Dušan: Branibor son, Debeljković’s professor by 2005. Belgrade, [Old Serbian Photography], fotografija 166. 76. 1993, Belgrade, 1839-1940], Photography

18 27 28 29 125-126. 1894, 7. 10. 29, No. XII, 30 BON, novine Srpske i medaljama’, o ordenima ‘Zakon 170; 1898, 3. 1. 5, br. V, 31 Branič, 32 Belgrade Debeljković, in: Branibor Belgradians’, of ‘In search 33 Miljana Laketić, 19 20 21 5. 2/1904, No. X, 22 Branič, 23 24 25 26 17 40 Jerković, Ilić, cited work, 2. work, cited Ilić, Jerković, 40 201. 198, fotografija, srpska Stara Debeljković, 41 34 The study based on the exihibition and catalogue from 1977 was editedwas 1977 and catalogue from based on the exihibition The study 34 and Belgradians… Belgrade 35 Debeljković, 198. fotografija, srpska Stara 36 Debeljković, 6/1901, iskra, 386; Nova 1901, June 1 Belgrade, II/5, glasnik, 37 Srpski književni Serbianof [History 1839-1940 fotografije srpske Istorija Todić, 38 Milanka 39 139 NATIONAL BANK OF SERBIA BANK OF NATIONAL century, by 13 days. This paper uses dates according dates uses paper This days. 13 by century, century, the two calendars differed by 12 days, and at 12 days, by calendars differed the two century, th y sculptor Đorđe Jovanović), which Stojanović not only not Stojanović which Jovanović), Đorđe sculptor y th visnost, II, No. 2, 6. 1. 1882, 7; Državni kalendar Kraljevine Srbije Kraljevine kalendar 7; Državni 1882, 1. 6. 2, No. II, visnost, estić, Radoš Ljušić, Programi i statuti srpskih političkih stranaka Programi Radoš Ljušić, estić, . Hristić, Zapisi starog Beograđanina [Records of an Old Belgrader], an Old Belgrader], of [Records Beograđanina Zapisi starog Hristić, . vine, III, No. 80, 21. 3. 1890; Nedelja, II, No. 6, 14. 6. 1909, 22; ibid., II, II, 22; ibid., 1909, 6. 14. 6, No. II, 1890; Nedelja, 3. 21. 80, No. III, vine, 4. a, 22. 9. 1923, 4; Vreme, 22. 9. 1923, 5; Pravda, 22. 9. 1923, 1. 1923, 9. 22. 5; Pravda, 1923, 9. 22. Vreme, 4; 1923, 9. 22. a, a, 22. 9. 1923, 4; Vreme, 22. 9. 1923, 5; Pravda, 22. 9. 1923, 1; Sonja 1923, 9. 22. 5; Pravda, 1923, 9. 22. Vreme, 4; 1923, 9. 22. a, . It is possible that this discrepancy is due to the fact that the Julian that the the fact is due to is possible that this discrepancy It . ti u Beogradu 1879-1889, Dokumenta Uprave grada Beograda [Living Beograda grada Uprave Dokumenta 1879-1889, ti u Beogradu eštaj Narodne banke za 1923. godinu [Report of the National Bank for Bank for the National of godinu [Report za 1923. banke eštaj Narodne atstvo, 19/1925, 331. 19/1925, atstvo, anič, XIV, No. 1-6, January–June 1929, 23. 1929, January–June 1-6, No. XIV, anič, 2. 21. II, novine, 205; Male 1890, III, ibid., 706-707; 20/1888, No. II, anič, anič, XII, No. 5-6/1906, 406-407; Težak, XIX, 1888, 593-594; Beogradske 1888, XIX, Težak, 406-407; 5-6/1906, No. XII, anič, Turlakov (ed.), Memoari Vukašina J. Petrovića [Memoirs of Vukašin J. J. Vukašin of [Memoirs Petrovića J. Vukašina Memoari (ed.), Turlakov grade kao odraz vlasnikovog sopstva’, Zgrada Fakulteta likovnih umetnosti likovnih Fakulteta Zgrada sopstva’, vlasnikovog odraz kao grade Izv XI. 1924, Belgrade, 1923], Year the in Belgrade 1879–1889, Documents of the Belgrade City Administration], Administration], City the Belgrade of Documents 1879–1889, in Belgrade 1. 17. 3, No. XI, 458; ibid., 1892, 12. 25. 52, No. X, 111; BON, 2007, Belgrade, XIII, 25; ibid., 1893, 2. 14. 7, No. XI, 18; ibid., 1893, 1. 31. 5, No. 3; ibid., 1, 1893, 2. 22. 8, No. XXI, 112; ibid., 1901, 6. 10. 22, No. XIX, 68; ibid., 1895, 4. 16. 17, No. 61. 1903, 3. 2. 9, No. XXI, 60; ibid., 1903, neza Srpska 1898], Year the Serbia for the Kingdom of of Calendar za godinu 1898 [State 5. 1923, 9. 22. Vreme, 2; 1915, 6. 30. 179, br. XII, 152; Pravda, 1898, Beograd, no Male Srbije 1884- Kraljevine banka narodna 17; Privilegovana 1909, 6. 28. 8, No. Serbia 1884–1909], the Kingdom of Bank of National 1909 [Privileged Bank [National 1884-1934 banka Narodna 70; 68, 35, 32, 1909, Belgrade, 5; 1923, 9. 22. Vreme, 258; table behind p. 85, 6, 1934, Belgrade, 1884–1934], 1. 1923, 9. 22. Pravda, Br Žive u Beogradu istorija nasleđe budućnost [‘House of Marko Stojanović: Marko of nasleđe budućnost [‘House istorija u Beogradu of The Building self’, owner’s the of as a reflection the building of identity 13. 2019, Belgrade, future], heritage, history, Arts in Belgrade: of the Faculty Br Kr Vasilije 1918], until Parties Serbian Political of and Statutes do 1918 [Programmes 109. 1991, Belgrade, Br 5; 1923, 9. 22. Vreme, 92; 30/1892, ibid., 465; 26/1890, 7; Otadžbina, 3, 1889, 1. 1923, 9. 22. Pravda, Pravda, 27. 2. 1934, 5; Jelena Perać, „Kuća Marka Stojanovića: identitet Stojanovića: Marka „Kuća Perać, Jelena 5; 1934, 2. 27. Pravda, z Br BON), text: (in further Newspaper] Municipal [Belgrade novine opštinske 262. 24/1887, No. VI, As for the exact date of his birth, printed records mention 4 and 15 April 15 4 and mention records printed his birth, of date the exact As for 1844 the Gregorian by replaced was in use in Serbia at the time (it was calendar changed because of later was and that the date 1919) January in calendar sources, the made in one of was that an error it is evident so, Even this. because in the 19 It so happened that after World War II, the monument was removed from removed was the monument II, War World so happened that after It Radoš Church. the Serbian Orthodox of the Patriarchate to the square 2004, Belgrade, Historiography], [Engaged istoriografija Angažovana Ljušić, 152–15 Politik N Kosta 347. 1989, Belgrade, S. 19. 2009, Belgrade, Petrović], (b The monument atwas placed on the square for, finances but also provided proposed, six park Kalemegdan in 1929, Belgrade the most famous to the entrance in his stood the sculpture Meanwhile, passed away. Stojanović after years did not Belgrade of because the municipality years, than 20 more house for 9. 1929, 6. 24–25. Vreme, displaying it. publicly to consent to the new, in the main text, while citations from text, in the main calendar Gregorian new, the to used in that are the original dates, include newspapers and documents those sources. Politik by Photographs of Reality: Exhibition of Reflection A Saša Ilić, Jerković, Bank (Exhibition the National of Vice Governor two-time Stojanović, Marko 4. 2, 2009, Serbia, Bank of National Belgrade: Catalogue), the start of the 20 the start of

14 15 16 13 8 10 11 12 7 9

1 4 5 6 2 3 NATIONAL BANK OF SERBIA BANK OF NATIONAL - -

photo paper, which has which has paper, photo 2 f photographs in archive depots depots in archive photographs f film and negatives. The boxes The boxes film and negatives. called a material made of are in which is produced Prolux, has an environment, alkaline an is colour-fast reserve, alkaline and allows and less absorbent, years. at least 50 for archiving made of are The envelopes 90g/m a composition of 50% cellulose cellulose 50% a composition of ograph Collection consists of two parts: parts: two Collection consists of ograph The conservation o The conservation The Phot Historical section of the Photograph Collection section of the Photograph Historical the from obtained part holds materials The historical donations, and other predecessors legal NBS’s of archives banka Štátna of employees by donated items especially for envelopes paper and archive photographs, bags for ester requires special packaging material: archive boxes and poly and boxes archive material: special packaging requires NBS Archives’ fonds and collections. At present, however, however, present, At collections. and fonds Archives’ NBS inventory of via a search viewed be finding aids can only to planned is it development, system’s the of part As units. things, among other enable, to in order this option expand scans. stored and their individual items of viewing the a historical part containing photographs, films and slides films and slides photographs, part containing a historical with photographs part and a modern 1993, made before Slovenska banka Národná when 1993, January 1 after from whose catalogue, Each part has its own established. was the preserved of the contents by is determined structure his- ‘The collection of one catalogue is entitled materials; collec ‘The is entitled and the other photographs’ torical and 50% cotton, and a pH of 7.5–9.5. of and a pH and 50% cotton, NBS activities’. to related photographs tion of - 140 . So any . Andrea Leková Andrea NATIONAL BANK OF SLOVAKIA BANK OF NATIONAL Photographs as archival archival as Photographs documents bring a unique, vivid vivid a unique, documents bring image of the past—a moment of image moment of the past—a of time captured in a tangible form. in a tangible form. time captured e information system is connected to to is connected system e information ds of the the ds of , the photographs were mostly part of part of mostly were the photographs , The photograph collection of the collection the of The photograph The eArchiv The recor Originally Archives of Národná banka Slovenska banka of Národná Archives one interested can view the available finding aids for the the for finding aids the available view can one interested NBS’s Research Archive Portal, which is available to the the to which is available Portal, Archive Research NBS’s (https://archiv.nbs.sk) website via the NBS public

individual files; they were attached to texts in the files in the files texts to attached were individual files; they however, Now, collections. separate form and did not - the legislation govern under it is in Slovakia, ing archives photographic store to required in order separately materials acidic them against protect to products. degradation are Collection Photograph form in electronic maintained information in the eArchive provide they collection, and fond archival each For system. scheme (classifying primary scope, the main data on origin, composition, condition, physical groups), into documents find- create it possible to makes The system and so on. the Pho- For and collections. fonds registered ing aids for been created. catalogues have two Collection, tograph units and indi- inventory in each finding aid are Recorded indi- where is (which unit inventory each for items vidual document the scan of A found). be can vidual photographs be would which in this case, each item, can be attached to with its description. a photograph a scan of

Photographs as archival documents bring a unique, vivid vivid bring a unique, documents as archival Photographs in a tangi- time captured of the past—a moment image of (NBS Slovenska banka Národná of Archives The ble form. Pho- their in thousand photographs hold several Archives) established in 1996. Collection, tograph

eabh bulletin eabh bulletin 141 NATIONAL BANK OF SLOVAKIA BANK OF NATIONAL 1 1. The building of Bratislavská všeobecná banka/Bratislava General Bank on Michalská Street in Bratislava Street Bank on Michalská General banka/Bratislava všeobecná Bratislavská The building of 1. NATIONAL BANK OF SLOVAKIA BANK OF NATIONAL - - os by Rudolf Rudolf os by - titled Person The group en The group pho- portrait ages features probably donated to the col- to donated probably (Pho- an employee lection by inter particular Of 14). tograph photographs est is an album of the bomb dam- documenting War age World inflicted during Komárno, of II on the towns historic (whose Zámky Nové in destroyed were centres 1945) and Levice. distilleries (Photograph 9), 9), distilleries (Photograph homes firms and shops, mills, different people from of (Photograph Slovakia parts of guesthouses and health 10), Tatras in the High resorts and also small 11), (Photograph ordinary houses belonging to loan applicants. - photo by mainly captured is unit the inventory from graphs - českosloven banka Štátna of - Czech Bank of State (the ská which (1950–1989) oslovakia the of includes photographs new openings of following: and meetings bank branches; bank man- of conferences workplaces; agement; bank May attending employees 5); (Photograph parades Day for organised sporting events

terest are photographs of industrial enter of photographs are terest The collection also includes phot Of in Of tographs of leading figures in the Slovak financial sector, financial sector, in the Slovak leading figures of tographs on the profiles their illustrate used as to and these are Archive Portal. Research in 1945 taken banka, Slovenská of an employee Návrat, 13). 12 and (Photographs Bratislava the bombing of after the of leading figure Dubček (a Alexander by Photographs were Tisou nad Čierna visited who Spring) Prague 1968

prises and farmsteads which received various types of types of various received which farmsteads prises and - pre legal were that banks commercial from loans largely and photographs Slovenska, banka Národná decessors of - also photo are There included in loan files. properties of sawmills, farms, large 8), buildings (Photograph of graphs Revolution (Photograph 3) and photos of the first ATMs in in ATMs the first of photos 3) and (Photograph Revolution (1948–1989) communist era The 4). (Photograph Slovakia 6 and 7). (Photographs bank employees 142 Slovenska. now Slovakia. now NATIONAL BANK OF SLOVAKIA BANK OF NATIONAL farmsteads which received received which farmsteads 1993, when Národná banka banka when Národná 1993, The Photograph Collection Collection The Photograph Slovenska was established. established. was Slovenska Of interest are photographs photographs are Of interest of industrial enterprises and and enterprises of industrial The most used photographs The most used photographs films and slides made before films and slides made before 1993, and a modern part with part and a modern with 1993, part containing photographs, part photographs, containing are those of buildings of former those of buildings of former are predecessors of Národná banka banka of Národná predecessors consists of two parts: a historical parts: a historical of two consists photographs fromphotographs 1 January after commercial banks that were legal legal that were banks commercial central banks operating in what is in what is operating banks central various types of loans largely from largely of loans types various f f ographs are those of build- those of are ographs - - the historical part is divided part is divided the historical The most used phot The historical part o The historical The catalogue for enská (the National Bank of Bank of National (the enská the con- Czechoslovakia); building the new struction of banka národná Slovenská of Bank) National Slovak (the Also pop- II. War during World for of photographs are ular (Pho- banks commercial mer For institutions. financial 1 and 2) and people’s tographs first exchange the one of of is a photo there example, Velvet the 1989 after open in Bratislava to offices the collection currently con- the collection currently - (dat photographs tains 1,092 slides four ing 1917–1992), (1943) and negative one (1978), (1977). a postcard what is now in operating banks central former ings of the the following: of including photographs Slovakia, Slovak (the banka národná Slovenská of headquarters branches in Bratislava; Street on Štúrova Bank) National banka Rakúsko-uhorská of Bank), Austro-Hungarian (the of becoming branches later Českoslov banka Národná

into four main groups: Banks’ buildings and group pho- buildings and group Banks’ main groups: four into estate Real Personages; employees; banks’ of tographs within the Created Uncategorised. and clients, banks’ of on the basis mainly units arranged inventory are groups Each inventory thematically. or persons, natural or legal of items: unit includes registered neg- photographs, specifically postcards. films, atives,

československá (State Bank of Czechoslovakia), the imme- the Czechoslovakia), of Bank (State československá - process the gradual Through NBS. of predecessor diate well as fonds, archival ing of that fonds of as the revision the past over processed were are additional items years, 50 col- the historical added to are The photographs lection. but white, black and mostly of state and their in size vary In the 1950s and preservation. were fonds the archival 1960s, premises, in unsuitable stored - mate the photographic where moisture from rials suffered damage. and light

eabh bulletin eabh bulletin 3 5 143 NATIONAL BANK OF SLOVAKIA BANK OF NATIONAL 4 2 2. The interior of Tatra banka in Martin banka Tatra of The interior 2. Bratislava in Street on Špitálska office The exchange 3. 1991 Bratislava, Bank in Credit banka/General Všeobecná úverová of ATM The first 4. in Bratislava Street its buildings on Štúrova of in front československá banka Štátna of employees parade, Day May 5. NATIONAL BANK OF SLOVAKIA BANK OF NATIONAL 144 NATIONAL BANK OF SLOVAKIA BANK OF NATIONAL 6 6. Shooting competition for employees of Štátna banka československá, Bratislava Petržalka, 1953 Petržalka, Bratislava československá, banka Štátna of employees for competition Shooting 6.

eabh bulletin eabh bulletin 145 NATIONAL BANK OF SLOVAKIA BANK OF NATIONAL 7 7. Morning exercises of employees of Štátna banka československá, Bratislava-vidiek branch, 1960 branch, Bratislava-vidiek československá, banka Štátna of employees of exercises Morning 7. NATIONAL BANK OF SLOVAKIA BANK OF NATIONAL 146 NATIONAL BANK OF SLOVAKIA BANK OF NATIONAL 9 8 8. Construction of Stavebné družstvo Legiodomy on Račišdorfská Street in Bratislava, 1923 in Bratislava, Street on Račišdorfská Legiodomy družstvo Stavebné of Construction 8. 1919 Tomášovce, Spišské Liehovar 9.

eabh bulletin eabh bulletin 147 NATIONAL BANK OF SLOVAKIA BANK OF NATIONAL 10 10. House with pub in Lučenec, 1942 with pub in Lučenec, House 10. NATIONAL BANK OF SLOVAKIA BANK OF NATIONAL 12 14 148 NATIONAL BANK OF SLOVAKIA BANK OF NATIONAL 13 11 11. Pension Boda, Nová Lesná, 1935 Lesná, Nová Boda, Pension 11. 1945 Bratislava, Bombing of 12. 1945 Bratislava, Bombing of 13. 1968 August Tisou, at Čierna nad with delegation Dubček Alexander 14.

eabh bulletin eabh bulletin 16 149 NATIONAL BANK OF SLOVAKIA BANK OF NATIONAL 15 15. Juraj Spusta, member of the management board of Malacká ľudová banka in Malacky banka ľudová Malacká of board the management of member Spusta, Juraj 15. Spusta Juraj of photo the Back of 16. NATIONAL BANK OF SLOVAKIA BANK OF NATIONAL 22 20 18 150 NATIONAL BANK OF SLOVAKIA BANK OF NATIONAL 21 19 17 17. Appointment of the first Governor of Národná banka Slovenska, Vladimír Masár, by the Slovak President, Michal Kováč, 1993 Kováč, Michal President, the Slovak by Masár, Vladimír Slovenska, banka Národná of Governor the first of Appointment 17. 2003 in Bratislava, the eabh conference of Participants 18. 2008 the euro, to marking also the changeover in Bratislava celebrations Eve Year’s New 19. 1997 June on 16 headquarters the NBS’s of stone the foundation of Laying 20. April 1998 in headquarters the NBS’s of construction of State 21. 2000 in September headquarters the NBS’s of construction of State 22.

eabh bulletin eabh bulletin lic use by television and radio and radio television lic use by - munici media, print media, and groups interest palities, indi- and private associations, pho- of number A viduals. the used for were tographs the NBS of presentation web on the Research Archives Portal. Archive the past few years, the bank has been adding adding the bank has been years, the past few Over Author’s profile at the and philosophy studied history Leková Andrea - Brati in Comenius University of Philosophy of Faculty - Uni the of Education of Faculty the at German and slava at Národná worked Since 2002 she has Prešov. of versity She deals mainly archivist. as a senior Slovenska banka and her fonds banks’ mortgage of with the processing banking in and commercial mortgage covers research the Second period and during in the inter-war Slovakia War. World Contact Slovenska banka Národná Leková: Andrea [email protected] www.nbs.sk Collection Usage of the Photograph - archi the Slovak to Collection belongs The Photograph and, Archives NBS of the management heritage under val the is the part of it with the Securities Collection, along the for used primarily is It use. most sees that collection and Archives the the NBS (especially needs of internal thematic exhibitions, when organising Section), Registry and publishing activities. conferences, Days, NBS Open pub- for also requested are the photographs However, Bratislava Slovenska, banka @ Národná All photographs: photographs to its collection through acquisitions. Most Most acquisitions. its collection through to photographs belonged) that belong (or buildings of pictures them are of photographers. Slovak renowned by taken the bank, to 151 - - NATIONAL BANK OF SLOVAKIA BANK OF NATIONAL has been adding photographs to to has been adding photographs Over the past few years, the bank the bank years, few the past Over its collection through acquisitions. acquisitions. through its collection

ograph in the Photograph Col- Photograph in the ograph tographs covering activities in the history history the in activities covering tographs ge share of the photographs show differ show the photographs of ge share The pho A lar A The catalogue for The oldest phot The oldest ent stages in the construction of the bank’s headquar the bank’s stages in the construction of ent and the stone the foundation the laying of ters—including Some of 20–22). in 2002 (Photographs opening ceremony on the 30th the room decorate used to were these photos the NBS Bank where building, the headquarters of floor meets. Board films of majority The overwhelming in colour. are NBS’s of in as individual items also preserved, are these events of DVDs; and CDs The collection also includes the collection. digital. solely are 2007 dating from the photographs

The second part of the Photograph Collection is dedicated is dedicated Collection the Photograph The second part of both being added to is constantly It NBS activities. to with the files that the NBS - pro gradually Centre Registry the NBS cesses and submits to with dona- as well as Archives, It NBS employees. tions from - inven 1,806 contains currently units and approximately tory photographs. 20,000 the his- captures part this bank central Slovakia’s of tory Slovak when the bank and the independent 1993, from The pho- 2016. and runs up to established, were Republic to according chronologically, groups divided into are tos They a thematic basis. and then on origin, of years their (Photograph life in the bank’s events at major taken were feature they bodies; bank’s the of at meetings and 17) conferences visits, foreign the bank, of representatives and social activities, staff life, working 18), (Photograph was event significant particularly One sports activities. in the euro to koruna the Slovak from the changeover 19). 2009 (Photograph Contemporary section of the Photograph Collection section of the Photograph Contemporary lection is a 1917 photograph of Juraj Spusta, a member of of a member Spusta, Juraj of lection is a 1917 photograph (Malacky banka ľudová Malacká of body administrative the which 16), 15 and Photograph Bank) (Photograph People’s at 31 Károly Körper at the studio of in Bratislava taken was Street and at 8 Mariánska utca) (Korház Street Špitálská also made by were photographs Historical utca). (Maria in Bratislava, studios photo once prestigious other several and Street studio on Ružová the Mindszenty example for Street. studio on Laurinská the Marguerite

NATIONAL BANK OF SLOVAKIA BANK OF NATIONAL - - - the the o collection in num-

The phot

bers: 10,000 photos, 40,000 40,000 photos, bers: 10,000 slides and 1,000 negatives, whole The albums. 225 photo collection is cata- historical TMS. accessible in are graphs object photographic Every the registrar, by is digitized digitization company. a by or than 60 photo In 2019 more and digitized were albums in custom-made, then packed boxes. acid-free - Nation (RVS), ings Sociëteit ale Levensverzekering-Bank, Many and others. Delta Lloyd these companies had activ of we therefore and ities abroad, out- life of pictures also have side the Netherlands. The more accessible the collection becomes, The more more it is used. In 2019, for example, the restaurant in in the restaurant example, for In 2019, it is used. more of staff with photos was decorated office Amsterdam the

logued in The Museum System (TMS), a database used used database a (TMS), System Museum The in logued - photo than 7,500 More museums. international many by photographs feature people of note, events, buildings and buildings and events, note, people of feature photographs and culture the company’s reflect They rituals. company the cen- across life office a changing into us an insight give photographers Dutch prominent the 1890s, From turies. Molk and Pieter Philip Mechanicus d’Oliveira, Jaap such as (Pho- the offices document commissioned to were enboer NN, of predecessors hold the collections of We 1). tograph Verzeker Rotterdamse 1845, van Nederlanden De as such 152 NN GROUP Ingrid Elferink Ingrid Elferink across the centuries. across of note, events, buildings and buildings and events, of note, The photographs feature people people feature The photographs 10,000 photos, 40,000 negatives, negatives, 40,000 photos, 10,000 company rituals. They reflect the the reflect They rituals. company insight into a changing office life life office a changing insight into The photo collection in numbers: in numbers: collection The photo company’s culture and give us an us an culture and give company’s 1,000 slides and 225 photo albums. albums. slides and 225 photo 1,000 About managing and the gems… o collection consists of thousands of thousands of o collection consists of Photo collectionNN Group of Photo The phot photos, negatives, photographic slides and photo albums. albums. slides and photo photographic negatives, photos, the photographers, and professional amateur by Taken

The photo collection Group of NN The photo history N.V.’s NN Group Financial services company his- NN’s for is responsible in 1992, formed department, the Over collection. torical con- have employees years, objects documents, tributed a for intended and photos First the museum. company looked department records The this collection. after - profes not were employees but thanks sional archivists, a great have now we them to The photographic collection. anni- used for was collection but its manage- and exhibitions, publications versaries, in the same kept was Everything a priority. not was ment Consequently in boxes. way: not were the photographs When a conserved. properly registrar photo professional the photographs hired, was they the attention received of beauty the and deserved realized. was the collection This article consists of two parts, the first part is about about is part first the parts, two of consists article This and use, management its origin, collection itself, the photo people of and the second part is about the photography the gems. in the collection, present

eabh bulletin eabh bulletin 153 NN GROUP 1 1. Lunchbreak at head office in The Hague, 1971. Color slide. Photo: Philip Mechanicus (Amsterdam). TMS 8393/HA NN Group NN TMS 8393/HA Mechanicus (Amsterdam). Philip Photo: slide. Color 1971. Hague, The in office at head Lunchbreak 1. NN GROUP 4 154 NN GROUP 3 2 2. Entrance at NN Group Office Amsterdam, 2019. Digital photo. Photo: Peter Tijhuis (Amsterdam). HA NN Group HA NN Tijhuis (Amsterdam). Peter Photo: photo. Digital 2019. Amsterdam, Office at NN Group Entrance 2. NN Group TMS 11795/HA (Marseille). Fabre J. Photo: Albumen print. 1890. in France, Agent 3. NN Group TMS 5394-11/HA Albumen print. 1867. album, in photo RVS of carrier Ross, F.A.J. 4.

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- - o album from 1867, a a 1867, o album from In a special phot (yearbook) (yearbook) This so-called smoelenboek’s all document to was goal administrative name and the alphabetical employees, and additions. deletions is full of register pho- 700 the album has nearly In total, Based on in-house. taken were that tos women that can estimate we this album, the in employees of 20% made up about days in those Societeit Hollandsche head office in the Netherlands. We have have We Netherlands. in the head office and Swedish German, French, of portraits the agencies for who ran gentlemen other 3). (Photograph company of to the director staff gift from wedding all of photos find 28 portrait we the RVS, in because This is unusual, members. staff 1867 making a carte could cost de visite er photo album of the Hollandsche Soci- the Hollandsche album of photo er A lat A Department photos made in 1894 as a gift was album special photo Another his on Henny Christiaan director and founder to staff from almost 1845 after van De Nederlanden from retirement album leather decorated This richly service. of years 50 with all employees, of portraits with gilt edging contains and seven started, which they in year name and the their were photos office These Zutphen. in the office of photos the boardroom and show the local photographer by taken in and the employees Henny Carel son and successor of Poli- and affairs Foreign Accounting, the Reinsurance, Dijk the employees, one of to Thanks cies departments. in 1945, later years the album 50 who annotated erman, Dijkerman about the men in the pictures. a lot know we 15 aged only in 1891, company at the started each annotated He employee. youngest then the was he his and position of the name only describing not photo, sometimes and interesting also but colleagues, former his for Some of information! personal background quite (and drank others nice, always not were colleagues mer wads—a tobacco chewed still others at home), only not In short, appreciated. universally not was which practice eteit provides an insight into its employees in the 1960s. in the 1960s. its employees into an insight provides eteit 5 and 6). (Photographs directors, photos were used as an administrative tool. tool. used as an administrative were photos directors, the of outside working agents insurance the example, For To correspondence. by appointed often were Netherlands carte the to de visite their sent they themselves introduce - a good impres give The portraits wages! week’s almost a in 1867 (Pho- carrier clerk and insurance the office sion of 4). tograph - - 155 NN GROUP The more The more The photo The photo accessible accessible becomes, the the becomes, the collection the collection collection not not collection is in full swing. more it is used. it is used. more only matters but but only matters - to collection not only only collection not to century these were painted painted were these century th anniversary of one of one of of anniversary th ead about NN’s history history ead about NN’s the depot moved from from moved the depot engthen internal ties within the company within the company ties engthen internal This shows that the pho This shows In 2020, You can r can You To str To our predecessors, De Nederlanden van 1845, which was was which 1845, van De Nederlanden predecessors, our Unfortunately, company. insurance established as a fire but the coronavirus, cancelled due to were activities many mem- all the staff made for was a special online magazine used. were photos which many in bers, but is in full swing. matters Portraits in the prominently members feature board of Portraits 19 collections; in the early The employees in the picture The employees in the company worked who the people years, 175 In NN’s a pho- creating on camera captured been frequently have work of years 175 valuable. very heritage that is tographic Ede to Arnhem, where the historical collec the historical where Arnhem, to Ede well-conditioned in a re-housed was tion col- the photo for with a special area place, Nationale-Nederlanden In 2020, lection. the 175 celebrated parties and being together! farewell outings, company ing, the of in the midst distant that seems quite Something NN the former of the photos This makes coronavirus. twice as important. in the office employees

- organisa in the interest their and develop colleagues our tell we tion and its identity, the from with images illustrated stories given are Presentations collection. photo shown. are photos many where website. and collection on the NN Group Instagram the Nationale-Nederlanden On Throwback it is (nn_nederland) account a histor with a post of Thursday, every (#TBT) Thursday though And even event. with a current in line ical photo people know online, be consulted the collection cannot photos of number a large example, For us. find to where at the exhibition the collection has been on display from - Foto in the Nederlands works’ ‘Rotterdam 18 September from museum in Rotterdam 2021. January 17 2020 until members from the 1970s. For the entrance of the same the same of the entrance For 1970s. the from members - 450 passport photo a mosaic using created we building, 2). 1940s (Photograph in the employees of graphs on canvas but from 1850 photographic portraits came into came into portraits 1850 photographic but from on canvas although captured, less frequently were Employees play. the In addition to in the collection. present are they members and supervisory of board portraits official many NN GROUP 6 8 156 NN GROUP 7 5 5. Page from photo album staff members, ca. 1960. Gelatin silver print. TMS 13818-0014/HA NN Group NN Group TMS 13818-0014/HA print. Gelatin silver 1960. ca. members, album staff photo from Page 5. NN Group TMS 13818-0014/HA print. Gelatin silver 1960. ca. members, album staff photo from Cutout 6. NN Group TMS 5319-28/HA print. collodion silver Daylight 1894. album, in photo Dijkerman J.C. 7. NN Group TMS 5319-35/HA (Zutphen). Reesinck J.C. Photo: print. collodion silver Daylight 1894. album, in photo Department Policy 8.

eabh bulletin eabh bulletin 12 10 157 NN GROUP 11 9 9. Office of RVS in Rotterdam, 1931. Daylight gelatin silver print. TMS 6105-13/HA NN Group NN 6105-13/HA TMS print. gelatin silver Daylight 1931. Rotterdam, RVS in of Office 9. NN Group TMS 6105-25/HA print. silver gelatin Daylight 1931. in Rotterdam, RVS of operators Telephone 10. NN Group TMS 8004/HA Gerrit Schilp (Den Haag). Photo: Negative. 1966. machines, with Hollerith room Punch 11. Group NN TMS 8016/HA Haag). Gerrit Schilp (Den Photo: Negative. 1966. Rotterdam, in the office leaving Employees 12. NN GROUP 16 14 158 NN GROUP 17 15 13 13. Staff of Nationale Levensverzekering-Bank, 1903. Gelatin silver print. TMS 7727/HA NN Group NN Group TMS 7727/HA print. Gelatin silver 1903. Levensverzekering-Bank, Nationale of Staff 13. NN Group TMS 13723/HA print. Gelatin silver 1907. Hollandsche Societeit, of and staff Directors 14. NN Group 7253/HA TMS (Voorburg). den Hoek van A.S. Photo: print. Gelatin silver in 1958. Onboarding 15. NN Group HA TMS 8846/ Thuring (Den Haag). Fotobureau Photo: print. Gelatin silver in 1976. Onboarding 16. Group NN HA TMS 10109/ Thuring (Den Haag). Fotobureau Photo: print. Gelatin silver in 1987. Onboarding 17.

eabh bulletin eabh bulletin - - bies’. The photo showed the the showed The photo bies’. with their along newcomers, names and the department Pho- for. work to were they the company and the office office and the company the also common at was building At NN predecessors. other a photo the day, the end of and published in taken was with the magazine the staff ‘New or us’ to ‘Welcome title anniversary and we see the entire see the entire we and anniversary th ay, the historical photo collection cap- photo the historical ay, employees were captured in the so-called the so-called in captured were employees In this w In this New tographers were hired, and later the in-house photo ser the in-house photo and later hired, were tographers interesting so photos these makes What used. was vice of attire the standard styles; from is the changing fashion shorter, the skirts get and jeans, T-shirt a suit and tie to from hair women’s and long, short to goes from hair men’s The has a perm. and in the 1980s everyone short, long to In the fashions. the latest followed employees insurance been have original prints than 700 collection more photo - regu still employees Current 1958–1997. from preserved, for is online and magazine The staff these photos. use larly be still colleagues to are there anniversary or a farewell 15–17). (Photographs photos in the introduction found introduction photos. Beginning in 1958, onboarding days days onboarding in 1958, Beginning photos. introduction van at De Nederlanden employees new for organized were to introduced were the newcomers which in day A 1845. history. our the people of tures @ NN Group All photographs: - in the meet and employees agents with directors, staff, with the is staged, The photo the head office. of ing room probably that they a table around arranged employees 14). 13 and sat at (Photographs never Contact NN Group Ingrid Elferink: [email protected] https://www.nn-group.com/our-company/our-history/ historical-collection.htm Author’s profile Author’s profile and the his- the history for is responsible Ingrid Elferink the as head of She started NN Group. collection of torical and She is an archivist at ING in 1993. Department History in pho- masterclasses of a number completed has recently processes. tographic celebrates their 100 their celebrates - - - - - 159 NN GROUP cen- th clothing of the people. the of people. clothing a record of changes to the the to of changes a record moments in time, creating moments in time, creating the photo collection captures captures collection the photo Spanning more than 150 years, than 150 years, more Spanning furnishing of the offices and the and the of the offices furnishing years, the photo col- the photo years, - the Nation of anniversary th we have no information about a photo photo a about information no have we Spanning more than 150 Spanning more Sometimes Sometimes tors in it, and we can see one woman, a Miss Huizer. In In a Miss Huizer. woman, can see one we and in it, tors dif see a completely we 1907, from portrait, group another Societeit Hollandsche the Here, people. of group ferent tury, the companies were still small enough to record all all record still small enough to were the companies tury, to see It is interesting plate. on a single photographic staff chose the location and composi- the photographers how at the 50 example, For tion. - tradi very in a was portrayed staff the entire ale in 1903, What with people sitting and standing in line. way, tional no direc are is that there is special about this portrait Group portraits Group of many portraits, group many The collection contains the 20 of At the turn staff. the entire which feature of record a creating time, in moments captures lection of and the clothing the offices the furnishing of changes to dif taken have photographers years, the Over people. the or even an entire photo album. Nevertheless, due to the the due to Nevertheless, album. photo an entire even or down. be tracked can often something expertise, curators’ that we can identify photos, office of album In one untitled Rotter RVS in of the office the head of are the photos dam, and we also know the name of the director. On the the On the director. the name of also know we and dam, can we walls calendars on the May 15 and 14 dates the see that know we Therefore 1931. over visited the photographer the com- capture to days two In on camera. interior pany’s the album shows 28 pictures, the director, the doorman, the the canteen, room, conference the telephone warehouse, the offices. and other operators, this beautiful why and was, who the photographer But 9 and 10). (Photographs still unknown is created, was album - Photogra the lens. looking through to approaches ferent corpo- to approach an innovative Gerrit Schilp took pher a make to commissioned was In 1966 he photography. rate Lev Nationale the of magazine the staff series for photo the the opening of was The occasion ensverzekering-Bank. we negatives In 38 Rotterdam. in head office refurbished an from taken modern office the images of see dream-like in motion work, at depicted are Employees unusual angle. a of fragment a only see we sometimes and blurred, and 11 and 12). leg (Photographs his notes provide a source of information about office life life about office information of a source provide his notes learn from could never we that century the at the turn of 8). 7 and alone (Photographs the photos NN GROUP ORYOL COMMERCIAL BANK COMMERCIAL ORYOL -

an area of agri- of an area 1 –1873 five joint-stock joint-stock five –1873 In 1872

at the very end of the eco- end of very at the the early nomic boom of the were The founders 1870s. Jewish well-known railway Samuel Solomon- contractor (1837–1888), Polyakov ovich mer guild leading Russian the Yelets of and the mayor chant, Dmitry Governorate, in Oryol (?–1891); Rusanov Sergeyevich - interna Petersburg the St. with an tional banking house ‘Georg Austrian background, as well as Co’, & Wyneken banking house from another with dealing Petersburg St. Obolonsky ‘Vasily export grain also involved. were and Co’, - cre were banks commercial

cultural export, with the participation of the Polyakovs, the Polyakovs, with the participation of export, cultural About the Oryol Commercial Bank About the Oryol Commercial 1872, in operations started Bank Commercial Oryol The Black Earth Region, in the Central ated leadership traditions, and close ties with the regional elite elite with the regional and close ties leadership traditions, lead- and officials senior landowners, merchants, (largely attribute To ). zemstvo or the local self-government, ers of data various used we the context, and clarify photographs com- personnel and made a about the bank and its senior bank build- of and exteriors the interiors of study parative al. et the time (Salomatina of Empire ings in the Russian 2020). al. 2019; Salomatina et

- - - 160 regional elite. elite. regional Dmitrii S.Dmitrii Parfirev ORYOL COMMERCIAL BANK COMMERCIAL ORYOL and close ties with the ties with the and close Sofya A.Sofya Salomatina eabh eabh 2016; century banking banking century ( photographs; they show the the show they photographs; th as employees and the bank’s and the bank’s as employees leaders in this workspace. The The in this workspace. leaders The album contains only seven only seven The album contains Oryol Commercial Bank, as well Bank, as well Oryol Commercial by the economic upsurge of the of the upsurge the economic by growing public status, facilitated public status, facilitated growing interiors of the head office of the of the office of the head interiors 1890s, stable leadership traditions, traditions, 1890s, stable leadership the bank’s increased business and business and increased the bank’s photographs, taken in 1899, record record in 1899, taken photographs,

- - in the Agricultural export banking century. Our paper paper Our century. th The album contains This bank was deeply deeply was This bank 2019–20; Kirikov 2001; Datieva 2001), how 2001), 2001; Datieva Kirikov eabh 2019–20; Photo album of the Oryol Commercial Bank of 1899 Bank the album of Oryol Commercial Photo buildings are recorded in a large number of visual sources, sources, visual of number large a in recorded are buildings tended because these buildings including in photographs, and the banking the urban environment, dominate to public impor of were ones, private even institutions, study used for mainly are bank buildings Images of tance. well as and urban planning, architecture of ing the history public spaces of design as the interior 2017; The exteriors and interiors of the 19 of and interiors The exteriors cial Bank, as well as employ well as cial Bank, leaders in ees and the bank’s The this - photo workspace. record in 1899, taken graphs, public status, business and growing increased the bank’s stable the 1890s, of the economic upsurge by facilitated they photographs; seven only the head of the interiors show Commer Oryol of the office deals with the representation with the representation deals commercial regional Russian of banking at the time. ever, these visual documents are rarely used for banking banking for used rarely are documents visual these ever, the lat- is of This paper 1994). studies (Lamoreaux history ama- an on focuses It type. ter of photographs album of teur Bank Commercial the Oryol in the kept now made in 1899, State the Russian collection of . Library exports in agricultural involved at the end Central from 19 the of

eabh bulletin eabh bulletin 161 ORYOL COMMERCIAL BANK COMMERCIAL ORYOL 1 1. Lazar Polyakov, board chair of the Oryol Commercial Bank in 1876–1903, photo from the 1900s (presumably) (The Russian commercial and industrial circles. 191–, 275) 191–, circles. and industrial commercial (The Russian the 1900s (presumably) from photo Bank in 1876–1903, Commercial the Oryol of chair board Polyakov, Lazar 1. ORYOL COMMERCIAL BANK COMMERCIAL ORYOL ORYOL COMMERCIAL BANK COMMERCIAL ORYOL - cen- th - Pol 1899–1901, - person senior the bank’s f In the crisis of be to appeared banks yakov’s At the in a difficult situation. of representatives 1901 of end were Finance of the Ministry - the govern into introduced It all these banks. of ing boards sat in council and were candi- were sat in council and board. the governing for dates recruited were The officials the bodies of the regional from Finance (branches of Ministry and commercial the state of tax chamber banks, mortgage and the Ministry and treasury) (vice-gover Affairs Internal of chancellery). governorate nors,

Looking at the list o Looking tury. These buildings have survived and a branch of the the of and a branch survived These buildings have tury. 3–6). in them (Photographs located is now Russia Bank of The Oryol Commercial Bank in photos Bank in The Oryol Commercial to the opportunity the 1890s presented The success of of build- group This the bank. for head office build a new in numerous style is depicted Revival ings in the Russian 20 in the early Oryol of and postcards photographs turned out that the banks’ problems were caused mainly mainly caused were problems banks’ the that out turned his prin- and of personally, Polyakov of the bankruptcy by Com- the Oryol However, cipal banking house in Moscow. - sound in the Pol relatively considered was Bank mercial and the the chair resigned Polyakov In 1903, group. yakov posi- and the chair’s Bank, Commercial the Oryol of board vacant becoming Romer, Vladimir by over taken was tion local coa- an active this stage, At his death in 1907. after the as a part of assets the bank’s keep able to was lition estab- Moscow, in with the head office Bank United new in 1909. banks the surviving Polyakov lished from

nel (members of governing board, candidates to this this to candidates board, governing of nel (members members), council directors, and deputy directors board, - trad large a coalition of was can see that the bank we - high pro landowners, large products, ers in agricultural (zem- of local self-government and leaders vincial officials in participated families the merchant of Members stvo). activists zemstvo and The officials board. the governing community, who developed a network of banks and finan- and banks of network a developed who community, 1). (Photograph years 20 the next cial companies over affairs; in Oryol involved directly not was Polyakov Lazar fig- The key in Moscow. was group his business of the core then and his death in 1891, until Rusanov was in Oryol ure Vladimir banker professional by over taken was his role 2). (Photograph Romer

- 162 century. th 20 ORYOL COMMERCIAL BANK COMMERCIAL ORYOL The success of the 1890s of the 1890s The success This group of buildings in the of buildings in the This group postcards of Oryol in the early Oryol in the of early postcards in numerous photographs and and photographs in numerous a new head office for the bank. for the office head a new Russian Revival style is depicted is depicted style Russian Revival presented the opportunity to build build the opportunity to presented - - situation was unfavourable in Cen- in unfavourable was situation erning board consisted of Samuel Samuel of consisted erning board - the num y The first gov Judging b Judging The economic tor, banker, and a prominent figure in the Moscow Jewish Jewish Moscow in the figure and a prominent banker, tor, chief and the former Rusanov, Dmitry (chair), Polyakov - the Rus Bank of the State of branch the Oryol of manager the post of In 1876 Golyashkin. Alexander sian Empire, brother—Lazar younger Samuel’s by over taken was chair contrac railway an entrepreneur, (1842–1914), Polyakov ber of managers and stock of ber Commercial the Oryol holders, institu- a hermetic was Bank - rep shareholders Eleven tion. the capital at 81% of resented May on 22 the first meeting In the 1890s the list of 1874. the inclusion due to apparently expanded, stockholders however, opened, were branches where regions new of partici- stockholders short: 41 stayed investors the list of the capital). of (61.4% April 1907 on 17 in the meeting pated elected a few only were there the charter, to According members, board posts in the bank: three and appointed who could be a mem- one director including the chair, and three the board to candidates three the board, of ber By deputies). or council members (deputats, supervisory - and Mos Petersburg St. of banks the large comparison, council members and 10–15 board had five usually cow members. - (approxi ‘long depression’ during the global Russia tral exacerbated prices in agrarian the fall 1873–1892): mately Commercial The Oryol banking depression. the protracted how survive, able to was Bank ever, and from the beginning the beginning and from ever, - net the 1890s its branch of other to spread gradually work cen- the in regions agrarian - Euro of west south and tre, 1908 By (Image 1). pean Russia in 12 the bank had 23 branches governorates.

Services for the trade in agricultural products (credit and and (credit products in agricultural the trade Services for in the role important a particularly played payments) was it medium-sized, was bank The operations. bank’s million rubles and five since 1874 one million rubles worth deposits. attracting actively was and it since 1895, Wyneken and Obolonsky. Only three out of these five five these of out three Only Obolonsky. and Wyneken Com- and the Oryol start operating, able to were banks 1890s the Until the most successful. was Bank mercial the along Governorate, in Oryol operated the bank only Cen- from route the principal trunk railway, Riga-Tsaritsyn ports (Image 1). and Baltic borders west the to Russia tral

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- - erning Board’ (Pravlenie). This (Pravlenie). erning Board’ we if conclusion can be inferred depicted the rooms compare with the in all the photographs ground the of plan published stairs. Unfortunately, this is the this Unfortunately, stairs. that the bank’s evidence only Currently, once existed. archive - bank docu no archival are there - in Mos or Oryol in either ments on the tab- The inscription cow. the person standing above let on the stairs is almost illegible, ‘Gov this is the but most likely

two photos in the album show the show the album in photos two ograph 10 is a view of the main hall from the from hall main the of view a is 10 ograph Phot The first The floor. This staircase led to the room of the governing board board the governing of room to the led This staircase floor. 14. in photograph shown desks Employee 9. in photograph the stairs shown of top and on the bal- behind the counter on the right, located are with windows service the customer are the counter On cony. - (presuma ‘Transfers’ left): to right (from on top inscriptions In pho- (presumably). accounts’ ‘Current and ‘Deposits’, bly), the of side the opposite from shown is hall this 11 tograph there windows service The customer 10. in photograph view ‘Special are on reads on top visible inscription the and one left right, the On accounts). credit (customer Accounts’ Current ‘It with the inscription is a plaque there wall, on the opposite Polyakov, S. L. chair the board under built in 1897–1899 was architect of design and supervision by Romer, E. V. director cus- numerous designed for In the main hall, Rodionov’. K. S. with communicate to sit in order had to a customer tomers, the whereas at the counter, window via a a bank employee a coun- standing before a customer was option familiar more a priority. not was service This suggests that speed of ter. 9 shows Photograph 8 and 9). hall (Photographs entrance with is the door There the main hall. leading to a staircase the of the right to ‘Archive’, marked it, above an inscription a dozen professional photographers in Oryol in the 1890s. 1890s. in the in Oryol photographers professional a dozen but copies of original prints, not are The photographs and stains. scratches with creases, damaged photographs the paper (in our the album for retouched not were They which sug- and cropped), been retouched have photos 1899, been made after have may gests that these copies of whom the memory for someone as a gift to possibly impor were in the photographs the bank and the people the album came into the how of is no mention There tant. but it is probable Library, State Russian the possession of the until than in Oryol), (rather in Moscow kept was that it This is the subject Revolution. the 1917 October of advent section. the next of century.

- - th th 163 the 19 ORYOL COMMERCIAL BANK COMMERCIAL ORYOL elements of pre pre-Petrine pre-Petrine elementspre of Russian architecture married married Russian architecture to new building technologies building technologies new to available in the second half of half of in the second available The Russian Revival style used used style TheRevival Russian - evival style used elements of of elements style used evival ographic session is recorded in the seven in the seven session is recorded ographic tographs of the bank’s interiors appear to to appear interiors bank’s the of tographs ect Sergey Konstantinovich Rodionov Rodionov Konstantinovich ect Sergey The Russian R The Russian This phot The pho The Archit pre-Petrine Russian architecture married to new build- new to married architecture Russian pre-Petrine the 19 of second half in the available ing technologies

pages, which has cardboard in the album, photographs and an embossed silk) fly-leaves (watered moiré white and 1899’, Bank. Commercial ‘Oryol inscription cover These pho- 7). (Photograph request made by was which many blurred, some are quality, amateur of are tographs than more were there whereas the light, against shot are ceived as a norm at that time. Some photographs depict depict photographs Some time. that at norm as a ceived these workplaces; managers at their and senior employees but group banking, everyday staged scenes of not were in front posed seated were which people in photographs and novelty capture to an attempt was It the camera. of routine. a daily but not originality, the head office of mark the completion to been taken have the unlike that, note to is interesting It building in 1899. designed in an were the interiors façade, Revival Russian the classical style— of elements retaining eclectic manner, per apparently was design that workspace to an approach century. The style allowed the bank’s leaders to express express leaders to the bank’s The style allowed century. is noteworthy It institution. their of the national context were and Moscow Petersburg in St. that banking buildings period. this in style Revival in the Russian created not primar capitals, both in styles dominated historical Other with continuity marking of way a as neo-Renaissance, ily Nevertheless, Ages. Middle the late of bankers the Italian and public build- businesses of examples many were there style. Revival ings designed in the Russian head the new to commission a received (1859–1925) the both region: Moscow the in worked often He office. community— Jewish and the Moscow Church Orthodox among his had been numbered Polyakov including Lazar pur was block A customers. in these buildings chased for Gostinaya between Oryol, River and the Orlik Square 6 and the Gostinaya, (now River, the Orlik Bank of Right at Gost- The building 22–24). built in street, on Oryol inaya, - housed the operat 1897–1899 3 and 4), ing hall (Photographs the where the second building, were employees of apartments the on completed was located, in embankment River Orlik 5 and 6). 1900 (Photographs ORYOL COMMERCIAL BANK COMMERCIAL ORYOL ORYOL COMMERCIAL BANK COMMERCIAL ORYOL century. Collection of the Oryol Regional Museum Regional the Oryol Collection of century. th century. Collection of the Oryol Regional Museum Regional the Oryol Collection of century. th 4 6 3 164 ORYOL COMMERCIAL BANK COMMERCIAL ORYOL tate Council: Historical essay. 1907, 154) 1907, essay. Council: Historical tate Vladimir Romer, director 1877–1899, board member 1878–1907, board chair 1903–1907 of the Oryol Commercial Bank, photo from the 1900s (presumably) (The the 1900s (presumably) from photo Bank, Commercial the Oryol of 1903–1907 chair board 1878–1907, member board 1877–1899, director Romer, Vladimir S 5 2 6. The Oryol Commercial Bank, view from the riverbank, 2020, photo taken by the authors by taken photo 2020, the riverbank, from view Bank, Commercial The Oryol 6. 4. The Oryol Commercial Bank, view from the central street (Gostinaya St., 6), 2020, photo taken by the authors by taken photo 2020, 6), St., (Gostinaya street the central from view Bank, Commercial The Oryol 4. 20 early 22–24), River, the Orlik Bank of Right (now the riverbank from view Bank, Commercial The Oryol 5. 3. The Oryol Commercial Bank, view from the central street (now Gostinaya St., 6), the early 20 the early 6), St., Gostinaya (now street the central from view Bank, Commercial The Oryol 3. 2. 2.

eabh bulletin eabh bulletin 8 165 ORYOL COMMERCIAL BANK COMMERCIAL ORYOL 9 7 7. Cover of the photo album of the Oryol Commercial Bank. 1899. Collection of the Russian State Library State the Russian Collection of 1899. Bank. Commercial the Oryol album of the photo of Cover 7. Library State the Russian Collection of 1. sheet album, Photo 1899. lobby. Entrance 8. Library State the Russian Collection of 2. sheet album, Photo 1899. hall. the operating to staircase A 9. ORYOL COMMERCIAL BANK COMMERCIAL ORYOL ORYOL COMMERCIAL BANK COMMERCIAL ORYOL 11 166 ORYOL COMMERCIAL BANK COMMERCIAL ORYOL 10 10. The operating hall from the top of the stairs shown in photograph 9. Photo album, sheet 3. Collection of the Russian State Library State the Russian Collection of 3. sheet album, Photo 9. in photograph shown the stairs of the top hall from The operating 10. Library State the Russian Collection of 4. sheet album, Photo 10. in photograph the perspective to side relative the opposite hall from The operating 11.

eabh bulletin eabh bulletin 13 167 ORYOL COMMERCIAL BANK COMMERCIAL ORYOL 12 12. Bank employees, presumably middle managers. Photo album, sheet 6. Collection of the Russian State Library State the Russian Collection of 6. sheet album, Photo middle managers. presumably Bank employees, 12. Library State the Russian Collection of 7. sheet album, Photo desks. Employees’ hall. the operating of The balcony 13. ORYOL COMMERCIAL BANK COMMERCIAL ORYOL ORYOL COMMERCIAL BANK COMMERCIAL ORYOL 168 ORYOL COMMERCIAL BANK COMMERCIAL ORYOL Image 1 Image 14 ussian State Library ussian State The leaders of the Oryol Commercial Bank. Vladimir Romer, a board member and director, sits on the right. 1899. Photo album, sheet 5. Collection of the Collection of 5. sheet album, Photo 1899. sits on the right. and director, member a board Romer, Vladimir Bank. Commercial the Oryol of The leaders R 14. 14. Image 1. Railways and waterways in European Russia in 1901. The localities with branches of the Oryol Commercial Bank are marked in red. The map was prepared prepared was The map in red. marked Bank are Commercial the Oryol of with branches The localities in 1901. Russia in European waterways and Railways 1. Image Salomatina Sofya & Valetov © Valetov. Timur by

eabh bulletin eabh bulletin - - ession is that the two older older ession is that the two milievich Romer (1840–1907), mem- (1840–1907), Romer milievich olyakov, the chair of the board, is not in in is not the board, of the chair olyakov, the young man in the background, only one one only man in the background, young the The visual impr The As for Lazar P Lazar E Vladimir ) of Oryol Governorate since 1906. Governorate Oryol ) of zemstvo status than lower of not are people in the photograph in top were sons Polyakov’s of sons and two Romer’s of photographs identified Unambiguously posts in the bank. of portraits however, known, not people are these three of in found members are family and Polyakov’s Romer’s other Romer, Vladimir of brother elder the as such publications, compar By Polyakov. Lazar of and the adult children pho- man in the Oryol young with the ing these images rather a Romer that he resembles it is evident tograph, the son 1917), (1870–after Romer Fyodor than a Polyakov. an and branches of an inspector was Romer, Vladimir of became a fully-fledged He in 1899. director acting deputy and he in 1907, member a board in 1901, director deputy - Bank in Mos the same position in the United over took branches of network with a large bank the universal cow, In Bank in 1909. Commercial the Oryol over which took Moscow. in his family with lived Romer Fyodor 1910s the chil- his other of and several Romer Vladimir of widow The probably was so the album Moscow, to also moved dren this family. someone from by kept

- (Photo known well is his appearance this photograph: him. a gift to was that the album is thus unlikely It 1). graph this the photographs of quality the poor due to Moreover, important be an to appear session does not photographic of the building. opening ceremony such as an official event, is sitting at the desk on and director, the board of ber publications too in other are His photographs the right. subject Austrian an the son of was Romer 2). (Photograph who managed large but noble descent, of not was who place to one from moved frequently and Russia in estates - Smolensk Governo in born was Romer Vladimir another. Novhorod-Siverskyi in gymnasium a from graduated rate, direc as a deputy and started Governorate), (Chernigov this mod- From bank in 1872. commercial in the Oryol tor gradually Romer career his est position at the beginning of com- of councillor elite: the Oryol of became a member the sta- title that gave —the sovetnik (kommertsii merce landowner, a large merchants), to nobility hereditary tus of - various local charitable organ of member a public figure, and Empire, the Russian of the orders of cavalier isations, the self-government Council from the State of a member ( of board and council members, including the few rare pho- rare including the few council members, and board of on the premise worked and then could find, we tographs the to list could be similar in the that the people itemized attribution, an exact While not people in the photograph. way. this can be drawn conclusions some important - - 169 ORYOL COMMERCIAL BANK COMMERCIAL ORYOL century. The hall The hall century. th - fore the in portable heater fired at which these employees are sitting, sitting, are employees these which at became the central space for customer customer space for became the central ograph 12 shows a separated space in the space in the a separated 12 shows ograph A hall A The desk, The There is a coal- There Phot The leaders of the Oryol Commercial Bank in the Bank in the of theThe Oryol Commercial leaders photographs older leaders: three see the bank’s we 14 In photograph an easy is not It about thirty. man of younger men and a because photographs, people in historical identify task to we in this case So, scant. comparison are for visual materials information biographical the names and available collected during the 19 services in most banks was probably the workplace of a middle manager. The The a middle manager. of workplace the probably was in the located were employees ordinary of workplaces and 10–12) (Photographs main hall behind the counters that all is noteworthy It 13). (Photograph on the balcony be open to in the open space: banking had to were desks few were that there is obvious it In addition, the public. separate no need for was so there in the bank, employees departments. for rooms ground. This suggests that the photograph was taken taken was that the photograph This suggests ground. have would heating furnace when season, cold the in been a could have It hall unevenly. such a large warmed April held on 9 meeting the stockholders close to date adopted calendar Julian the to according 1899 (28 March The arrival year. at this time of snows it often in Russia): one of the bank, council members to the supervisory of com- 14, (Photograph Moscow from came whom probably the of be indicative may section), the next in mentary meeting. forthcoming

operating hall, opposite the main entrance. In the back the main entrance. opposite hall, operating - as in photo is the same counter there on the left, ground, - ‘Securities Depart are at the top The inscriptions 11. graph ‘Special ‘Commission Department’, (presumably), ment’ are bank employees four In the centre, Accounts’. Current middle managers probably These are sitting at the desk. and accountants departments, of and specialists (heads whose names adviser), legal positions, cashiers in senior - but it is impos in published sources, found sometimes are them in this photo. identify sible to

indexed the impersonal nature of the relationships the relationships of the impersonal nature indexed and banking personnel (Lamoreaux customers between the pub- determined customers of The number 1994). a and particularly one, a private even a bank, lic status of trust in its oper maintain to and served bank, joint-stock Bank, Commercial the case in the Oryol was This ations. open hall. in the large served were the customers where high public status the bank’s for reason another However, system a through governorate the within integration was with the local elite. personal ties of ORYOL COMMERCIAL BANK COMMERCIAL ORYOL ORYOL COMMERCIAL BANK COMMERCIAL ORYOL - - The amateur photo album of of album photo amateur The surviving artefact 1899 is a rare Conclusion mercial Bank can give rise to rise to Bank can give mercial and hypotheses interesting and even however, guesswork, form, in such an imperfect the coali- reveals the result the bank, around forces tion of people regional the which in occupied leading positions, ties close the bank’s despite the Polyakov of with the core in Moscow. group - people in photo of identification century is not guaranteed because because guaranteed is not century th w leaders of the banking group, which which the banking group, leaders of w century bank buildings stress stability stability bank buildings stress century th The successful The successful The Mosco The 19 mation about people associated with the Oryol Com- Oryol with the associated mation about people there are too few positively identified portraits for com- for portraits identified positively few too are there commoners. mention to not the elite, of even parison, A visual ones. than sources written more many are There infor with biographical the photographs comparison of through the language of architecture, yet the banks were were the banks yet architecture, the language of through entered Bank Commercial Oryol Indeed, institutions. fragile with together the century, crisis at the turn of a period of Finance of The Ministry group. Polyakov Lazar the entire the neg- fearing out, Bank bailed the group and the State the finan- result, As a bankruptcy. major of effects ative hidden largely remained banks Polyakov’s of cial problems bank con- and the Oryol the public, section of a large from the albeit as part of in the same building, tinued operating 1909. Bank from United 19 in the late graphs associated with the Oryol Commercial Bank, which oper Bank, Commercial with the Oryol associated This is one of Russia. Central of region in the agrarian ated its new of perception the bank’s for sources direct the few since the bank’s had passed years 27 1899, By building. and the behind it, were years the difficult foundation, The photo the bank. successful for generally were 1890s pub- high its record to aspiration bank’s the album proves to service its and traditions, national in rooted status, lic pho- this amateur same time, the At customers. numerous have to appeared premises new session in the tographic Later, the employees. for event been an extraordinary kept memory, family became a part of these photographs managers. top former the bank’s one of of the family by part in the took Bank, Commercial included the Oryol the photographic however, construction project, Oryol the that emphasized an event record session appears to activities. in the bank’s residents Oryol of role

- - - - 170 ORYOL COMMERCIAL BANK COMMERCIAL ORYOL associated with the Oryol with the Oryol associated direct sources for the bank’s the bank’s for sources direct Russia. This is one of the few Russia. This is one of the few The amateur photo album of of album photo The amateur perception of its new building. building. of its new perception 1899 is a rare surviving artefact 1899 is a rare in the agrarian region of Central of Central region in the agrarian Commercial Bank, which operated Bank, operated which Commercial at the details shows that at that at shows at the details is not easy to identify the elderly grey-haired grey-haired the elderly identify to easy is not It It Looking closely Looking man in the foreground at the retired general’s left. Nikolai Nikolai left. general’s at the retired man in the foreground most is the bank leader (?–1909) Rimsky-Korsakov Petrovich have although his photographs with this image, associated - Governo in Oryol well-known was He either. survived not visited rarely single, was he a noble and a landowner, rate: in local self-government involved deeply was and his estate board council (duma) and executive the city of as a member In addition ). uprava council (zemskaya the governorate of Bank, Commercial in the Oryol being a council member to and the bank discount of a member was Rimsky-Korsakov - in assessing the credit-worthi as an expert loan committee a simi- of a member was he Moreover, landowners. ness of well as Bank, the State of branch in the Oryol committee lar Land Noble in the State the nobility of as a representative the chan- of thus personified one Rimsky-Korsakov Bank. in the bank and the nobility communication between nels of Governorate. Oryol Vladimir Romer’s left there is a man in the uniform of a a of is a man in the uniform there left Romer’s Vladimir or mil- civilian official, retired gen- equal to rank a of itary, a high status indicating eral, Among Empire. Russian the in the council members there gen- one retired only was Alexander in 1898–1900: eral (1845–1918), Behrs Andreevich Tolstaya, Sophia of brother - Tol Leo writer the of wife the latest Unfortunately, stoy. - Alexan of photographs known the 1880s, from Behrs are der use and it is impossible to in his identity confirm them to career, his military began Behrs 1899. of the photograph vice-gov as civilian service and served to then switched holders meeting. ser government from Retired 1883–1893. Oryol of ernor Polyak in the Lazar worked and in Moscow he lived vice, and in the Moscow Society, Insurance Commercial ov’s bank, mortgage stock joint Land Bank in the 1900s (the - Governo in Oryol whose agent Polyakov, by controlled as a council Behrs, If Bank). Commercial the Oryol was rate a was he Moscow, from the meeting had come to member, the of centre and the Moscow Oryol connection between Polyakov. Lazar in the absence of banking group Vladimir Romer. They appear to be Romer’s distinguished distinguished be Romer’s to appear They Romer. Vladimir (deputies), members council probably are They guests. at the bank, often very appeared have not would who annual stock the for in preparation involved were but

eabh bulletin eabh bulletin - - - - Vestnik Mosk Vestnik (4): pp. 321–340. 321–340. pp. 15 (4): Insider lending: Banks, per lending: Banks, Insider uropean Russia, its borders were defined differently, but it most differently, defined were its borders Russia, uropean The Central Black Earth Region is an agrarian area in the centre of of in the centre area is an agrarian Black Earth Region The Central E Tula and Tambov, , Oryol, , , included the often governorates.

1 sonal connections, and economic development in indus and economic development sonal connections, Cam- York: New Cambridge [England]; . England trial New Press. bridge University of (Collection kollektsiya muzei kraevedcheskii Orlovskii Museum). Regional the Oryol Commer (Oryol bank fotoal’bom kommercheskii Orlovskii the Russian Collection of 1899. album). cial Bank photo Library. State commercial (The Russian mir torgovo-promyshlennyi Russkii Champagnier. M. A. by Edited 191–. and industrial circles). ‘Bankovskaia 2019. Parfirev. and Dmitrii Sofya, Salomatina, kom- Orlovskogo fotoal’bom fotografiiakh: v istoriia in pho- 1899 goda (Banking history banka mercheskogo 1899)’. bank of commercial the Oryol album of photo A tos: . istoriya In: Ekonomicheskaya Lamoreaux, Naomi R. 1994. 1994. R. Naomi Lamoreaux, - ‘Region 2020. Parfirev. and Dmitrii Sofya, Salomatina, i Poliakovy imperii: elita Rossiiskoi bankovskaia al’naia (The regional gg. 1872–1908 bank, kommercheskii Orlovskii and the The Polyakovs Empire: in the Russian banking elite In: 1872–1908)’. Bank, Commercial Oryol 1: pp. 68–94. 68–94. 1: pp. Seriia 8: Istoriia, universiteta. ovskogo

- - - 171 ORYOL COMMERCIAL BANK COMMERCIAL ORYOL century, regional regional century, th century, with an emphasis with an emphasis century, th . bulletin eabh Finance. & Architecture 2019/20. . Frank . eabh bulletin Finance. & Architecture 2017. . Frank . eabh bulletin Finance. & Architecture 2016. on banking services to agricultural export via railways, and and via railways, export agricultural on banking services to bankers. regional of on the social networks Literature & Sources & Sources Literature banks Moscow of ‘The architecture 2001. Natalia. Datieva, In: centuries’ twentieth and early nineteenth in the late Contact University State Moscow Lomonosov Parfirev: S. Dmitrii [email protected] University State Moscow Salomatina: Lomonosov A. Sofya [email protected] by edited , 1861–1914 urban culture, in Russian Commerce - Pet A. Yuri and Anan’ich, V. Boris Brumfield, William Craft Wilson Center Woodrow Washington: 139–166. pp. rov, Press. University Hopkins Johns : Press; eabh. Authors’ profiles Authors’ of History in the student is a postgraduate Parfirev Dmitrii His- of Faculty Department; Slavs Western Southern and - Rus (Moscow, University State Moscow Lomonosov tory, East- of include the history interests His research sia). in the 20 of history ern Europe, ical Information Science Department, Faculty of History, History, of Faculty Science Department, ical Information Her Russia). (Moscow, University State Moscow Lomonosov his- banking and financial the with deal interests research and early the nineteenth of in the second half in Russia tory focused project research latest Her centuries. twentieth Black Earth in the Central banks commercial on joint-stock 19 the of in the last third Region studies, and the history of the Oryol region. region. the Oryol of history and the studies, Histor the of Professor Associate an is Salomatina Sofya furt am Main eabh. furt am Main eabh. Main am Frankfurt ocherk (The State istoricheskij sovet: Gosudarstvennyj L. and M. G. A. by Edited 1907. essay). Council: Historical ‘Rossia’. Press Petersburg: St. Levenson. Petersburg of Architecture ‘The 2001. Boris M. Kirikov, Cen- Twentieth and Early Nineteenth in the Late Banks In: Commerce 1861–1914, culture, urban in Russian turies’. and Anan’ich, V. Boris Brumfield, William Craft by edited Wilson Woodrow Washington: 111–138. pp. Petrov, A. Yuri Press. University Hopkins Johns Baltimore: Press; Center ORYOL COMMERCIAL BANK COMMERCIAL ORYOL

- The subject matter ing education, employment employment ing education, of evolution the leisure, and offices like assets estate real and and agencies in Italy Roma SpA, with about 12,000 12,000 about with SpA, Roma pos- slides, pieces (negatives, and and CD-ROMs) itives - photogra Torboli, Ferruccio the in service of already pher Audiovisual Credito Italiano with about 40,000 Centre, slides, (negatives, pieces and CD-ROMs). positives a now is there In addition digital archive. the business beyond extends though that in the bank, of - encompasses an exten itself cover material, of range sive ographic section is estimated to com- to section is estimated ographic The phot century, by the photographic archive of Giuseppe Giuseppe of archive the photographic by century, th prints, 28,000 positives, 130,000 albums, prise 600 photo 1900s to the early from date They matrices and negatives. the last period of for complemented, These are the 2000s. the 20 notes. For photo albums, in addition to the elements just just the elements to in addition albums, photo For notes. highlight, to appropriate considered was it mentioned, the indivi- accompanying the captions available, where dual images. abroad and the most significant moments of corporate corporate of moments and the most significant abroad activities recreational events, such as institutional life many The collections feature campaigns. and promotional Rampolla, photographer already in service of Banca di Banca di in service of already photographer Rampolla, 172 UNICREDIT Francesca Malvezzi Francesca promotional campaigns. campaigns. promotional The subject matter extends extends The subject matter estate assets like offices and and offices assets like estate an extensive range of material, of material, range an extensive and leisure, the evolution of real of real the evolution and leisure, agencies in Italy and abroad and and agencies in Italy and abroad the most significant moments of beyond the business of the bank, beyond covering education, employment education, employment covering events, recreational activities and recreational events, corporate life such as institutional as institutional such life corporate though that in itself encompasses though that in itself encompasses - Credit Historical Archives, established in established in Archives, Historical Credit the description of of the description For The Uni UniCredit’s photographic archives photographic UniCredit’s as materials, the photographic documentations, the paper for an like the file, of the description to given was preference - photo dates, chronological title, with: complete album, and documentation, and type of number studios, graphy The photographic archive of UniCredit in Italy consti- in Italy UniCredit of archive The photographic about the information of source varied a rich and tutes history. bank’s since the acquired documents preserve to 1951 in order renamed (Banca di Genova, in 1870 foundation company’s the most important one of are in 1895), Italiano Credito contain The archives collections in Italy. business archival well as Italiano, UniCredit/Credito of records the historical by acquired been which have banks the Italian of as many these had of Many the Group. Mediaeval late in the roots such Modern early period or Cassa di Banca 1473, as: Rolo Vicenza Risparmio di Verona Cassamarca, Ancona, Belluno e Torino, Cassa di Risparmio di e Trento Cassa di Risparmio di Cassa di Risparmio Rovereto, - with Capita along Trieste, di Banca over which took lia SpA, and Sicilia di Banco Roma, di pri- The archives’ Bipop-Carire. conserve, mission is to mary - facili and promote protect, impor this of study the tate heritage. tant

eabh bulletin eabh bulletin 173 UNICREDIT 1 1. Credito Italiano, WWI Victory Celebration in front of the Milan Headquarters, 1918 the Milan Headquarters, of in front Celebration Victory WWI Italiano, Credito 1. UNICREDIT

- - - , Europea and Civitas Madre ito Italiano Audiovisual Centre Centre Audiovisual Italiano ito UniCredit. to coming before col- 5,000 about of Composed slides, 25,000 negatives, our and loose positives 10,000 this col- about 350 CD-ROMS, sporting events, lection covers branch conferences, press and the interior openings, confer buildings, of exterior meetings, conventions, ences, lunches/dinners gala events, employees of and portraits is section A managers. and slides, the color to dedicated publications two for created - documenta t photographic

the most part the albums hold three types of types of the most part the albums hold three For The most recen progress the illustrate that those are There photographs. the restruc branches, new in banking: the opening of The Banco di Roma photographic section The Roma photographic di Banco has S.p.A. the Banco di Roma section of The photographic its to time prior over transfers numerous been subject to Among in 2002. inventory and a related arrangement new photo the series of are there materials the most important estate the real of the evolution document albums made to These and abroad. in Italy bank both the Roman of assets Guarneri and Felice S.p.A. albums (Banco di Roma photo metadata and the related been reproduced have archive) Among Srl. GAP the company by been associated have negatives about 6,000 are matrices there the printing groups, two into is divided The section on glass plates. comprising 141 albums (1912–1977) photo the collection of and positives and the collection of in 100 folders, albums, com- matrices (1900ca.–1992), the loose photographic prising 188 folders. - technol new of the introduction the old ones, turing of albums docu- Other equipment. professional ogies for which at or the branches by organized the events ment with as meetings well as participated, the branches

tion mainly consists of the core collection made by Fer by collection made core the of consists mainly tion - at the Cred worked who a photographer Torboli, ruccio Antica , Italiano Credito of - and archaeo masterpieces Italian the main which cover Since the middle ages. to the prehistory from logical sites, delivering digitally, mainly worked the photographer 2003, files (2003–2011). photo 80,000 approx. there are also images collected into albums and on slides, slides, albums and on into also images collected are there 1,400 dossiers have over Currently, negatives. but fewer been inventoried. been inventoried.

1 174 UNICREDIT century century often lacking. lacking. often th tographs in the in the tographs photographic records are are records photographic is of great historical value. value. historical is of great The series of photographs of photographs The series The destruction of materials The destruction of materials in some areas due to conflict conflict due to in some areas dedicated to foreign branches branches foreign to dedicated and war means that accessible that accessible means and war

- photographs dedicated to foreign foreign to dedicated photographs tographic images were produced mainly mainly produced were images tographic Many thousands of thousands of Many Amongst the most significant pho Amongst the most significant The series of The pho The The Credito Italiano/UniCredit photographic section section photographic Italiano/UniCredit The Credito 20 the early period from the chronological covers The Credito Italiano/UniCredit Italiano/UniCredit The Credito - Ital Credito of archives dedicated three the are collection (1880) S.p.A. Banco di Roma (1870), S.p.A. iano/UniCredit (1924). S.p.A. Spirito and Banco di Santo section photographic branches is of great historical value. The destruction of The destruction of value. historical great is of branches means war and conflict to due areas some in materials lacking. often are records that accessible photographic as most people living Just - the Ita abroad, working and pho- took many lian bank staff - bran overseas of tographs well as ches and surroundings - and recreatio work daily as of hel- which are nal activities, - recons to ping researchers past of aspects truct different . abroad life our in arrived photographs our the inter through repositories of Part offices. estate nal real - also entrus was filming the professional external to ted photographers. photographs depicting the staff (top management and and management (top the staff depicting photographs abroad. banks of the expansion showing and employees) to the early 2000s. Amongst the earliest noteworthy Amongst the earliest noteworthy 2000s. the early to to the series dedicated are in the archives photographs campaign carried out in the main Italian the advertising War World loans during the First war promote cities to and the series dedicated to foreign branches, especially especially branches, foreign to series dedicated the and the one in China. corpo- exclusively the 1980s and for the 1950s to from of the architecture document to in order purposes, rate and workplace the of the evolution branches, the bank‘s the record shoots the photo of Most at the company. life offices, branch and agencies city of renovation or opening - confe document that photos numerous also are there but Furthermore, exhibitions. and opening ceremonies rences, - pre the bank’s of photographs of number is a large there the from works important Other and employees. sidents recording Mulas Mario by 100 prints period include over recreational center, the data processing courses, training dating The material canteens. activities and the company loose photos; composed of is mainly the 70s back to

eabh bulletin eabh bulletin 175 UNICREDIT 2 2. Banco di Roma, Damasco Branch, 1920 Branch, Damasco Banco di Roma, 2. UNICREDIT 4 5 176 UNICREDIT 3 3. Banco di Roma, Istanbul-Pera Branch, 1923 Branch, Istanbul-Pera Banco di Roma, 3. 1925 Branch, Rodi Banco di Roma, 4. 1925 Shanghai, Temple, Loongwha la Cina, per Banca Italiana 5.

eabh bulletin eabh bulletin 177 UNICREDIT 6 6. Banco Italo-Egiziano, Alexandria, the Minet el Bassal Cotton Exchange, 1930 Exchange, el Bassal Cotton the Minet Alexandria, Banco Italo-Egiziano, 6. UNICREDIT 178 UNICREDIT 8 7 7. Credito Romagnolo, Ravenna Branch Team’s Trip to Verona, 1936 Verona, to Trip Team’s Branch Ravenna Romagnolo, Credito 7. 1965 Radiology, of Congress XI International Spirito, Banco di Santo 8.

eabh bulletin eabh bulletin 179 UNICREDIT 9 9. Credito Italiano, Alaska Mountaneering Expedition, 1971 Expedition, Mountaneering Alaska Italiano, Credito 9. UNICREDIT 180 UNICREDIT 10 10. Credito Italiano, 1972 Rome Expo - Distribution of brochures, 1972 brochures, of Expo - Distribution Rome 1972 Italiano, Credito 10.

eabh bulletin eabh bulletin ). ographic archives are housed in our housed in our are archives ographic The phot erent materials relating to WWI, in a wide array of formats, from formats, of wide array in a WWI, to relating materials erent Credito Italiano during the war is well represented in the archives with in the archives represented well is war during the Italiano Credito diff Most and drawings. posters to and negatives prints photographic but a portion also (1914–1918), war during the created were them of of the commemoration for such as photos topics with post-war deals as soldiers. fallen employees, [email protected]

1 Author’s profile works and in Humanities a degree has Malvezzi Francesca several for where Archives, Historical at the UniCredit she has been planning and managing the cataloguing years the ongoing to and contributing and digitization programs the Group. of on the history research Contact UniCredit Malvezzi: Francesca [email protected] https://www.unicreditgroup.eu/en/unicredit-at-a-glance/ our-identity/our-history.html facilitate interpretation: corporate books, institutional institutional books, corporate interpretation: facilitate - and account administrative diaries, letters, documents, to relating as documentation well as ing documents, brochures posters, operations; credit and financial legal, - advertis branches, to relating and prints customers for audiovisuals (1916–2000); etc. banking products ing for or bank products marketing for staff, training for created history life the bank’s for deemed significant events for Among etc.). presentations, conferences, (inaugurations, relating posters advertising the series of these materials, and the period War World loans during the First war to post- and the immediate War World the Second between impact. visual a considerable period have war by can be accessed Lampugnano building in Milan and Archives Historical the UniCredit through appointment ( S.p.A. © UniCredit All photographs: - - 181 UNICREDIT ove the accuracy of the descriptions, the descriptions, of the accuracy ove er the merger between Banco di Roma and and Banco di Roma between the merger er To impr To Aft UniCredit Historical Archives holds related materials to to materials holds related Archives Historical UniCredit

Conclusion been used all the collections have While portions of This been exhibited. never them have most of extensively, is about photographs information is because descriptive were collections photographs Many to access. difficult - pho who used them, the people by re-catalogued never were the moment in the heat of projects used for tographs in the original series and the subject or re-filed not often overlooked. often was in the shoot portrayed the event this of An on-going cataloguing and digitization program at present. heritage is in progress - crea in 1992 and the resulting Spirito Banco di Santo were archives the photographic , tion of are fonds The archival archives. Rampolla’s by increased with and type, size different of materials composed of - The photogra part as digital documents. an important Audiovisual the by out carried partly were services phic years) few a for worked the photographer (where Office con- press posters, billboards, commercials, to and relate of exteriors and interiors inaugurations, branch ferences, project conventions, conferences, buildings and locations, dinners, gala talk shows, events, meetings, presentations, years during the last thirty Pino Rampolla, by and portraits his activity. of

The Banco di Santo Spirito photographic section section photographic Spirito The Santo di Banco section is photographic Spirito The Banco di Santo and negatives photographs white black and made up of illus- The photographs the mid-30s and 1988. between the decades across the changes in the branches trated and the works renovation construction or documenting Banco, by promoted Events offices. new acquisition of and executive agencies of such as the inauguration and participation in trade in Rome) (especially offices sec The importance. national of and conferences fairs ing system (and especially Banco di Roma) assumed a assumed a Banco di Roma) especially (and ing system the Finally, and economy. in society role prominent more in S.p.A. Banco di Roma of presence the attest albums 1930s and between Africa and Mediterranean the eastern and such as drawings visual materials 1940s; as do other but banking to limited not are images These sketches. the of and the nature life everyday of features convey itself. territory - fold than 220 more series for tion is described in three ers and albums. - inten These events economic personalities. political and when the bank the 1930s of half sified in the second UNICREDIT in 2018. It was was It in 2018. 2 decided that the first series to to decided that the first series - and made avail be digitized be the historical would able since images, project-related docu- this series provides project of evidence mentary local communi- workers, sites, economic of progress and ties, the 1950s to between babwe, The images record the 1980s. - Bank pro World the impact of different in jects on people world. the around countries - photogra by taken were Most the Bank; many by phers hired - pro for commissioned were be used purposes to motional Photo Catalog Photo

development in WBG member countries—those images images countries—those WBG member in development of comprised Mostly requested. frequently most are that the of record a this series offers images, white black and Zim- to Afghanistan from in countries work Bank’s World the External by prepared reports or newsletters in internal was department Affairs The External Department. Affairs groups with external relations with maintaining charged the the public, such as the media, and shareholders, in order countries and member community development the of work the mission and of appreciation broaden to provided were Because these images Bank Group. World communications, commemorations, presentations, and and presentations, commemorations, communications, with the long-term Archives, WBG The publications. collection photographic the access to providing goal of launched the online online platform, a self-service through 182 the world. the world. WORLD BANK WORLD Shiri Alon Shiri staff and external clients. clients. staff and external different countries around around countries different The images record the impact of the impact of The images record World Bank projects on people in people in on Bank projects World demand, requested both by Bank Bank both by demand, requested Historical photographs are in high in high are photographs Historical Picturing development development Picturing This paper will focus on the WBG WBG on the will focus This paper 1 The Archives photographic collection photographic Archives Bank Group The World Current uses of the collection Current requested in high demand, are photographs Historical use in for clients external and Bank staff by both The World Bank Group (WBG) Archives stores over over stores Archives (WBG) Bank Group World The the received—by created—or records of feet 217,000 it one of making in 1944, WBG since its establishment records development-related of collections the largest con- holdings Its world. in the such media of variety a sist of - photo documents, as textual image moving maps, graphs, its Within audio records. and the institu- protect mission to WBG and the of tional memory its public access to provide to offers the archives records, World via the information of variety a online access to Bank website. external Archives’ photographic collection, and the ongoing efforts and the ongoing efforts collection, photographic Archives’ The col- online. available publicly the photographs make to a mil- half lection holds over field lion images documenting coun- in member operations funded through tries (projects loan official grants), loans or his- as other well as signings, and personalities. events toric a brief providing In addition to the photographic of overview the chal- address will this paper collection and its uses, in managing and digitizing encounters lenges the archives still images. our

eabh bulletin eabh bulletin 183 WORLD BANK WORLD 1 1. ‘Tranquilino Flori and Felix Moreno, Ecuador, 1957’ by World Bank Group/Paul Sanche is licensed under CC BY-NC-SA 4.0. BY-NC-SA CC is licensed under Sanche Bank Group/Paul World by 1957’ Ecuador, Moreno, Flori and Felix ‘Tranquilino 1. WORLD BANK WORLD - - - -

ble formats such as the neg- ble formats - require and resource atives; and financial, (human, ments with the Beginning technical). photographs, project-related demand most in are since they was as negatives, and available the first choice for an obvious have do not we As selection. digitize to in-house capability ed images are loaded into the the loaded into ed images are Once the digitiz Once

CMS, the cataloguers can add the metadata via free text text via free the cataloguers can add the metadata CMS, Tele- Press The International menus. fields and drop-down already are fields standard (IPTC) Council communications were fields customized in the CMS; however, available robust and a more WBG taxonomy the reflect added to Cataloguing capability. and discovery search keyword projects the Bank and its development to images related activities and the institution’s of good knowledge requires the of vocabulary as the well as there, work who the people images in the collection. institution and the types of challenges. The total number of prints, slides, negatives, negatives, slides, prints, of number The total challenges. - account million, a half a over be to estimated is albums and dupli- of Examples duplication. of the possibility ing for plus negatives, from created versions the print cation are - which include near-iden strips themselves, the negative The strategic a scene. of or a sitter of either tical shots, considered: this scope and size of a collection planning for - vulnera of the conservation request; of the frequency with aligned partner strategic a volumes, large in negatives expert who is an services and center records off-site our per to contracted was media formats in digitizing older form the digitization. They undertook this task within the the within task this undertook They digitization. the form and full custody Center WBG Records the space of secure The has been maintained. WBG staff by the materials of and drives, hard us on to returned were versions digitized con- Archives’ and the the network uploaded onto were the exter to which links (CMS), system management tent (API). interface an application program through nal site var by conducted was cataloguing metadata the Initially we but when time permitted, and staff ious contractors with a defined that scaling-up this process soon realized - mate catalogued of volume the would increase workflow a built-in through and quality consistency rial and improve skills of the data entry Leveraging step. control quality fur Center, Records WBG colleagues in the off-site our four- A cataloguing images. for provided was training ther to cataloguers five for delivered was session training day on this series. work to be up-to-speed would they ensure which is created, was a cataloguing manual In addition, updated. regularly

5 8 - 184 WORLD BANK WORLD and download. Access Open 7 - Devel and Open 6 To date, approximately 8,000 8,000 approximately date, To from Peru—are to Afghanistan images—spanning 79 countries images—spanning 79 countries available online for public access public access online for available The most recently digi- The most recently 10 - - - pro site, Operations & the Projects to 4 ). It is important to note that, although although that, note to is important It ). - images—span 8,000 approximately e, 9 the photographs, we use the Creative Com- use the Creative we the photographs, To dat To For - informa which provides 3 tized series of photographs, ranging from the 1950s to the the the 1950s to from ranging photographs, series of tized in the cataloguing queue but currently are which 1980s, staff annual meetings, images of feature yet, published not and staff senior former of as portraits well as activities, directors. executive Practicality of managing a collectionPracticality never holdings have photographic Archives WBG As the - the stra entirety been catalogued and described in their has posed this initiative for planning and budgeting tegic in the spirit of the Bank’s Open Archives Open the Bank’s in the spirit of nal Affairs Department prior to their transfer to the WBG WBG to the transfer to their prior Department Affairs nal for point a good starting series has offered this Archives for because it can be useful digitization and cataloguing searches. and filtered cataloguing metadata - availa Peru—are to Afghanistan from ning 79 countries the site, On access and download. public ble online for key by searchable are photos - num project country, word, dec and region, topics, ber, WBG the In addition to ade. pho- Catalog, Photo Archives’ the to linked also are tographs Operations & Projects Bank’s site, with captions and contextual information from the Exter from information and contextual with captions tion on the Bank’s operational operational tion on the Bank’s listing and providing work: project development about every information contextual linking the By 1946. dating back to countries in all member photos historical mons NonCommercial ShareAlike (CC-BY-NC-SA) license (CC-BY-NC-SA) ShareAlike mons NonCommercial

- with the corre viewed can be photographs ject-related financial information and other records sponding textual the of picture better a providing grant, or loan, the about and its impact. project opment Agendas (Access to Information, to (Access Agendas opment the majority of our photographic holdings include images holdings include images photographic our of the majority of a number the Bank, by hired photographers by taken or photographers, other by been taken have images may not have we and institutions, and organisations other pho- These those. to license Common Creative a added included and are holdings our within found are tographs for requests Client and research. reference for on the site issuing or creating the to referred are photographs these in progress, work Catalog is a As the Photo institution. on the site available yet not images for searching anyone Archives. WBG the can contact and Open Data and Open

eabh bulletin eabh bulletin 185 WORLD BANK WORLD 2 2. ‘Man working on bridge, Gabon, 1961’ by World Bank Group/John Moss is licensed under CC BY-NC-SA 4.0. BY-NC-SA CC is licensed under Moss Bank Group/John World by 1961’ Gabon, on bridge, working ‘Man 2. WORLD BANK WORLD 186 WORLD BANK WORLD 3 3. Metal cylinder and worker, Austria’ by World Bank Group is licensed under CC BY-NC-SA 4.0. BY-NC-SA CC is licensed under Bank Group World by Austria’ worker, and cylinder Metal 3.

eabh bulletin eabh bulletin 187 WORLD BANK WORLD 5 4 4. ‘Meter reading course, Busan, Korea, 1980’ by World Bank Group/Keum Yong Choi is licensed under CC BY-NC-SA 4.0. BY-NC-SA CC licensed under Choi is Yong Bank Group/Keum World by 1980’ Korea, Busan, course, reading ‘Meter 4. 4.0. BY-NC-SA CC Chernush is licensed under Bank Group/Kay World by 1978’ Bangladesh, weave, to how ‘Learning 5. WORLD BANK WORLD 188 WORLD BANK WORLD 6 6. ‘Acacia market, Colombia, 1974’ by World Bank Group/Edwin G. Huffman is licensed under CC BY-NC-SA 4.0. BY-NC-SA CC is licensed under Huffman G. Bank Group/Edwin World by 1974’ Colombia, market, ‘Acacia 6.

eabh bulletin eabh bulletin 189 WORLD BANK WORLD 7 7. ‘Woman carrying wheat, Damota, Ethiopia, 1975’ by World Bank Group/Ray Witlin is licensed under CC BY-NC-SA 4.0. BY-NC-SA CC Witlin is licensed under Bank Group/Ray World by 1975’ Ethiopia, Damota, wheat, carrying ‘Woman 7. WORLD BANK WORLD 190 WORLD BANK WORLD 8 8. ‘Train, Australia’ by World Bank Group is licensed under CC BY-NC-SA 4.0. BY-NC-SA CC is licensed under Bank Group World by Australia’ ‘Train, 8.

eabh bulletin eabh bulletin 191 WORLD BANK WORLD 9 9. ‘Loan Signing for Belgium Industry Project, March 1, 1949’ by World Bank Group/Gretchen Van Tassel is licensed under CC BY-NC-SA 4.0. BY-NC-SA CC is licensed under Tassel Van Bank Group/Gretchen World by 1949’ 1, March Project, Belgium Industry Signing for ‘Loan 9. WORLD BANK WORLD 192 WORLD BANK WORLD 10 10. ‘Man pumping water, Lilongwe, Malawi, 1972’ by World Bank Group/James Pickerell is licensed under CC BY-NC-SA 4.0. BY-NC-SA CC is licensed under Pickerell Bank Group/James World by 1972’ Malawi, Lilongwe, water, pumping ‘Man 10.

eabh bulletin eabh bulletin 193 WORLD BANK WORLD 11 12 11. ‘New bridge construction, Mikongo, Gabon, 1967’ by World Bank Group/Alain Prott/CIRIC is licensed under CC BY-NC-SA 4.0. BY-NC-SA CC is licensed under Prott/CIRIC Bank Group/Alain World by 1967’ Gabon, Mikongo, construction, bridge ‘New 11. 4.0. BY-NC-SA CC under is licensed Group Bank World by Italy’ plant, manufacturing ‘Automobile 12. WORLD BANK WORLD - - -

ing image for both Bank staff Bank staff both ing image for as via the site and the public the through as internally well ArtificialCMS. intelligence and machine learning tools - being investi currently are use cases as various in gated via tagging metadata well: - auto-tran image recognition; continue we As etc. scription; these use cases, explore to considering sev also are we what as: such questions eral - avail are tools the box out of this purpose and how able for - add meta to e also thinking about how

We ar We and information lacking contextual photographs data to would This approach. considering a crowdsourcing are unidentified to information add to way be an engaging with public participation images; and could encourage word search and downloading of sound clips and mov of and downloading search word be easily Can such tools they? are and reliable accurate with and integrate requirements our meet to customized to experts subject matter from What is required the CMS? considerations Other the application? and train customize to control human quality understanding the need for are maintain what is needed to and tagging, erroneous catch different address to future the in tool the customize and images. of categories and new materials series of Future uses and uses goals Future and catalogu- this ongoing digitization The success of digitizing further consider us to has prompted ing project image moving audio and and cataloguing the significant key include would This Archives. WBG the of holdings 194 WORLD BANK WORLD in development. in development. and promote shared shared and promote prosperity worldwide. prosperity We have an incredible and and an incredible have We documentary evidence to the the documentary to evidence unique opportunity to open this open this unique opportunity to Bank’s work to eliminate poverty poverty eliminate to work Bank’s world and offer a full picture of the the of a full picture and offer world collection, together with public access to the Bank’s the Bank’s to access with public together collection, We continue to explore ways in which this incredible this incredible in which ways explore to continue We archival holdings, can boost knowledge and research and research holdings, knowledge can boost archival A considerable amount of time was spent on on spent was time of amount considerable A veloping a thesaurus which would be helpful for the the for be helpful would which a thesaurus veloping de when adding metadata describe the photos cataloguers to in work is still a the taxonomy Although and keywords. CMS the has been added to terms of a basic set progress, descrip- and consistent accurate more for which allows The tion capability. and search in the pho- language inherent con- is always captions tograph as when cataloguing, sidered as the time and context well taken was which the image in The captioned. and originally the cap- use for we approach - verba type them tions is to while field, the caption tim into - paraphras title a new creating the from ing the information the pho- Since most of caption. - unti in the collection are tos titles new can create we tled, the original cap- for while allowing language, using defined often it is not Fortunately, describe the photograph. tion to be would that descriptions or terms come across we that series considering that this today, deemed inappropriate But it is the 1980s. the 1950s to described through was in the cataloguing mindful of very are we that something organisation an international of within the context process and inclusion. diversity justice, equality, and the issues of considering are we website, the develop to continue we As the captions the origin of for an explanation the addition of Archives the by written been not have that they clarify to at the time the Department Affairs External but by team, and processed. taken was photograph

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and climate change: and climate 16 for International Archives Week Archives International for 12 - in devel and research can boost knowledge 14 social development and Flickr 15 11 collection project. Contact Bank Group World Alon: Shiri [email protected] https://www.worldbank.org/en/about/archives Author’s profile McGill has an MLIS from a Canadian national, Alon, Shiri currently and Canada) Québec, (Montréal, University Archives Bank Group World in the Archivist as an works to Access the Shiri is part of USA. DC, Washington in photo and manages the historical team Information How can the collection help member countries can the collection help memberHow countries and the in the future? at large public col- which this incredible in ways explore to continue We - archi the Bank’s with public access to together lection, holdings, val photograph-related projects and with the WBG Archives. Archives. WBG the with and projects photograph-related social media activities on part in two took recently We Instagram - Pro work. the Bank’s by affected ultimately haps still are) research this collection can inform viding online access to on gender, opment. Many of these images portray extreme poverty poverty extreme these images portray of Many opment. community but also economic development, and hardship, offer they lives; peoples’ to and improvement engagement per (and were the people and places that of a reminder and we hope to promote social media engagement to to social media engagement promote hope to we and in promoting especially and sharing, boost awareness and events. milestones WBG historical that are world-wide themes and challenges being faced communities and their people, of images through captured and - his land, the Bank’s visual language of the provide - economic devel of the story to and its contribution tory have we Bank Group, World at the As archivists opment. open this docu- to and unique opportunity an incredible of picture a full and offer world the to evidence mentary shared and promote poverty eliminate to work the Bank’s worldwide. prosperity WORLD BANK WORLD ISSN LICENSE 2219-0643 CC BY NC ND