Directory Z

Francisco Zagala

Pontevedra, Galicia, Spain

  • Fot. Zagala – Estanco de la Peregrina

Francisco Zagala (1842 to 1908) photographer, Pontevedra, was born in Verín, and moved to study and train in photography in Madrid .

Zagala was a republican who participated in the events of the Democratic Sexenio. This was a revolutionary period lasting from the overthrow of Queen Isabella II after the Glorious Revolution on 30 September 1868, to 29 December 1874 and the Bourbon Restoration when Isabella’s son Alfonso XII became King after a coup d’état by Martínez-Campos. In 1869 the Sexenio spawned the most progressive 19th-century Spanish constitution.

Around 1880 Zagala settled in Pontevedra in a photographic studio called La Madrileña, in the Plaza de La Estrella though this card was published from the Peregrina tobacconist shop. He was one of the first Spanish photographers to take over from the foreigners who settled in Spain in the middle of the 19th century. As well as studio portraits, he also did outdoor photography and made art reproductions. His record of events included the arrival of the railway in 1884, the inauguration of the Méndez Núñez in 1888 – one of the first hotels to open in the city, the Lérez spa in 1906 and the visit of the politician Canalejas in August 1907. His work features in Virginia de la Cruz Lichet’s book The portrait and death. The tradition of post mortem photography in Spain.

Zagala became the official photographer of the Archaeological Society of Pontevedra on its foundation in 1894. He accompanied the president, Casto Sampedro, and the other members on their excursions, carrying out a considerable work of graphic compilation of archaeological remains and monuments of historical interest that until then were abandoned and forgotten.

Zagala, an affable but reserved character, remained active in public affairs such as the creation of the Chamber of Commerce and stood in municipal elections for the Republican Party. In 1907 he was elected provincial president of the party, a position he held until his death the following year.

Sources: wikipedia; Museo Pontevedra

Carl Zander, Berlin

  • Carl Zander, Berlin

Carl Zander, (born 1872), artist, Berlin. As well as postcards, Zander also undertook commercial design, advertising and book covers. Despite the seriousness of his etching and other monochrome images, Zander seems to have been something of a lad: In 1907 he provided the illustrations for the Mahlsdorf poet Karl Kohlis’ 400 page volume Das Wein-Turnier. Ein Zechbrevier (Drinker’s Guide to the Wine Tournament). In 1908 the periodical publication Ex libris Buchkunst und angewandte Graphik (Ex libris book art and applied graphics) listed Zander at 13 Lietzenburgerstrasse Berlin W 15 and praised the happy and boistrous procession and crowing cock of his festive card. The same volume lists him with others under the heading Tauschablehnungen (Exchange rejections) which suggests that he had offered without success to exchange an example of his work.

Constantine Zangaki,

  • C. Zangaki, photogaphe
  • C. Zangaki photogaphe.

George and Constantine Zangaki were brothers, two Greek photographers active between the 1870s and 1890s who specialized in historic or ancient Egyptian scenes, producing prints for the tourist trade. They worked from Port Said and Cairo. Many of the Zangaki photographs are signed with a brother’s initial and/or a place of business, e.g., C. Zangaki or Zangaki, Cairo. The Zangaki brothers travelled along the Nile accompanied by a horse-drawn darkroom wagon to document the Egyptian scenery and events. Images included topographical views and Egyptians going about their daily lives. Their work is quite easily recognisable, even when unsigned, if only for the stiff, artificial poses and fixed stares of their subjects. The emphasis of the portraits is firmly on composition rather than psychological insight. Their genre studies of picturesque locals were aimed principally at the tourist market. Their work also proved popular with those who were disinclined to travel but were nevertheless eager for images that held novelty and curiosity.

Source: luminous-lint wikipedia

Carl Zanger

Freiburg im Breisgau, Germany

  • POSTKARTENVERLAG v. CARL ZANGER, FREIBURG i. B

Carl Zanger, haberdasher and postcard publisher, Freiburg published paintings of the Black Forest by artists including local artists H. Dischler, C. Schuster, Ludwig Zorn and G. Koschewa. Divided-backs featured the work of Wilhelm Hasemann.

Zedler & Vogel

Darmstadt, Hesse, Germany

  • Verlag von Zedler & Vogel, Kunstanstalt, Darmstadt
  • Lichtdruck von Zedler & Vogel, Darmstadt 1904 Hauptnjederlage in Rheinland und Westfalen Gerhard Thien, Elberfeld
This photograph of the 1870 War Memorial in Cassel was published in 1901

Zedler & Vogel, publishers and print shop, Darmstadt. Photographer Carl Zedler (29 April 1864 to 23 August 1942) and Hermann Christian Vogel used the light printing (collotype) technique to produce 1,890 sequentially-numbered postcards, mostly photographs. They also produced books of pictures of German towns with wonderful Jugendstil covers and worked until at least 1925. The Zedler & Vogel company still existed as an art institution in 1942 under the direction of Heinrich Zedler, Carl’s son. The company headquarters were located at 20 Lagerhausstrasse, next to a printing press run by Christian Friedrich Winter, a brother-in-law of Carl Zedler.

In 1904 Zedler & Vogel’s principal place of business in Rhineland and Westphalia was Gerhard Thien, Elberfeld.

Zehlendorf & Kleinmachnower Real Estate Stock Company, Berlin NW7

  • Partie aus dem Terrain der Zehlendorf-Klein-Machnower Terrain-Aktiengesellschaft

This card was issued by the Zehlendorf & Kleinmachnower Real Estate Stock Company. These are two places about 6 kilometres apart, south-west of Berlin. The company was one of several development companies established in the area at the turn of the century It developed the von Hake family estates for housing under the direction of Herr Ficus. Zehlendorf contains some of the most well-known natural settings in Berlin, including parts of the Grunewald forest and the Schlachtensee, Krumme Lanke and Waldsee lakes. It has large affluent residential neighbourhoods, some with cobbled streets. When American forces occupied Berlin and later were stationed in Berlin during the Cold War, they stayed at the Steuben Barracks.

In the first half of the 20th century, Kleinmachnow grew from a rural village to a suburb municipality of the Berlin Metropolitan Area. The construction of the Berlin Wall cut Kleinmachnow off from West Berlin. The community’s location near the border meant it was relatively isolated in the GDR. Since the German reunification, Kleinmachnow has been part of the growth of the countryside areas outside Berlin.

The building site for the new church, opposite the junction of the extended Haupt-Strasse and Grunewald-Strasse in Zehlendorf, was donated by the company, on the condition that construction of the church began in 1906. Extensive terrain had to be ceded for the church, school and other community services, as well as for the planned electric railway and the electric tram connection between Zehlendorf and Klein-Machnow. Up to the end of WWII the line to Berlin was known as the Bankers’ Line after the wealthy commuters it carried. Zehlendorf is now one of the most expensive areas in Berlin for housing.

Source: Zehlendorf einst und jetzt. Geschichtliches und Erlebtes P. Kunzendorf 1906

Ottmar Zieher, Munich, Germany

  • Ottmar Zieher, Munich (Baviere)
  • Ottmar Zieher, München
  • KUENSTLERPOSTKARTE No 1676 von OTTMAR ZIEHER KUNSTANSTALT MUENCHEN
  • HELIOCOLORKARTE VON OTTMAR ZIEHER, MUNCHEN
  • O.Z. above M in a shield held by a male figure in a cassock decorated with a cross.
a card of artwork by M Zeno Diemer

Ottmar Zieher (7 August 1857 to 27 November 1924) was a German publisher of picture postcards, who employed various artists for his editions in Munich and Leipzig. He also published portraits of heads of state. Between 1903 and 1906, he published a series of colour post cards, each depicting different contemporary stamps of a particular country, the Carte Philatelique déposée D.R.G.M. 222744. His postcards also included works of the artist M Zeno Diemer.

Source: pinterest

This card has the logo O.Z. above M in a shield held by a male figure in a cassock decorated with a cross.

Woldemar Zobel

Dresden, Germany

  • Dresdner Kunstinstitut Woldemar Zobel W.W.H.

Woldemar Zobel, (1869 to 1933) printer, 9 Seidnitzer Strasse, Dresden. Zobel’s father Moritz Zobel started the business with another but in 1890 closed the firm in Struvestrasse and had his own larger factory, Lithographie und Steindruck (both words mean lithography) built in Seidnitzer Strasse. Up to 90 workers were employed in this four-floor factory – stonemasons, stonecutters, printers, lithographers bookbinders and office clerks. Zobel entered his father’s firm as executive secretary in 1894. In the 1899 address book the firm was listed as a stock corporation, father Moritz as director, and Woldemar as executive secretary. Moritz senior died in 1900, highly honoured by the Jewish community; since 1893 he had been the chairman of the board of the Dresden synagogue. Woldemar carried on the firm until 1910. Although he appears on Ellis Island passenger lists along with Rudolf and Lotte Zobel, his children born 1904 and 1909 respectively, he died in Hamburg.

Source: Stolpersteine-Hamburg

Antonio Zonini

Sassari, Sardinia, Italy

  • Prem . Stab. Fot. A. Zonini – Sassari

Antonio di Pietro Zonini, first floor 42 Corso Vittorio Eman, was one of a number of photographers to open portrait studios in Sassari in the 1880s. The wording on this card identifies Zonini’s as a prize-winning photographic establishment, no doubt a reference to his bronze medal in the Sardinian Exhibition of the Turin Italian Exposition of 1898. Sassari is the second-largest city of Sardinia in terms of population and one of the oldest cities on the island. Zonini specialised in Sardinian costume and in October 1902 deposited a number of photographs of local costumes by way of copyright claims. His postcards don’t seem to extend beyond the undivided-back era.