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Znajomi Norwida z albumu Marii de Bonneval

100%
Cedro A.
Studia Norwidiana
|
2019
|
vol. 37
159-179
PL
Artykuł ogólnie charakteryzuje zawartość albumu fotograficznego z XIX w., należącego do Marii de Bonneval z Gerliczów, siostrzenicy Konstancji Górskiej. Na tle dziejów ówczesnej fotografii i historii zdjęć cdv, które zrewolucjonizowały ówczesny rynek i obyczajowość, przedstawiona zostaje – z wykorzystaniem nieznanych dotąd materiałów – sylwetka właścicielki albumu, w której paryskim domu Norwid przez kilkadziesiąt lat gościł na prawach niemal domownika. Okazuje się, że z obejmującego 200 fotografii albumu, będącego obecnie w posiadaniu Fundacji Rodzinnej Blochów, ponad 70 postaci to osoby znane Norwidowi. Mamy więc sposobność po raz pierwszy zobaczyć podobizny wielu z nich, a album możemy traktować niemal jak dokument należący do samego Norwida.
EN
The article offers a general description of the contents of a 19th century photo album belonging to Maria de Bonneval née Gerlicz, the niece of Konstancja Górska. Along with the history of photography and CdV photos, which revolutionised the market and customs at that time, the figure of the owner of the album is presented – with the use of previously unknown materials. Norwid had been guest to her Parisian house for several decades, almost as a household member. It turns out that in this 200-photograph album currently owned by the Bloch Family Foundation, more than 70 people were known to Norwid. We have thus the opportunity to see the images of many of them for the first time, while the album can be treated as a document belonging to Norwid himself.
2
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Friends of Norwid from Maria de Bonneval’s album

100%
Cedro A.
Studia Norwidiana
|
2019
|
vol. 37 English Version
161-180
EN
The article offers a general description of the contents of a 19th century photo album belonging to Maria de Bonneval née Gerlicz, the niece of Konstancja Górska. Along with the history of photography and CdV photos, which revolutionised the market and customs at that time, the figure of the owner of the album is presented – with the use of previously unknown materials. Norwid had been guest to her Parisian house for several decades, almost as a household member. It turns out that in this 200-photograph album currently owned by the Bloch Family Foundation, more than 70 people were known to Norwid. We have thus the opportunity to see the images of many of them for the first time, while the album can be treated as a document belonging to Norwid himself.
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