At this point, the author of this article will digress and return for a moment to the previously described history of the Kral family from Vienna. Well, it turned out that among the photographs placed in the collective album included photographs depicting Emma and Moritz Kral as well as Moritz with an infant (Gertrud Kral?). The costumes and hairstyles of the portrayed people, as well as the photographic technique used (distinctive retouch, contrasts, rigid cardboard base), suggest that the photographs were taken at the beginning of the XX century. The identification of the couple in the photograph was possible thanks to hand-written information on the reverse side. The discovery of "new photos" was not a big surprise for the employees of the PMM archive, but in this particular case, it was a delightful surprise. The collection related to the Kral family has been “enriched” with new photographs.
The remaining bulk of photographs without annotation have been combined into thematic collections, e.g. portraits of women, couples, children's photographs, group photographs.
It is also worth adding a few more words about the state of preservation of the photographs in question. Most of them are in good condition. The photographs are clear, legible and, above all, preserved in their entirety. Paradoxically, photographs from the beginning of the XX century are the best preserved. It may be a result of the high quality of services provided at that time. A few photographs are accompanied by certificates of renowned photographic studios, mainly in Austria, Germany, Czechoslovakia and Poland, such as Carl Pirtzner – Kaiserlicher und Königlicher Hofphotograph, Vienna; Alfred Hoffmann – Brüx, Bahnhofstraße 442. Kunstanstalt für Photographie und Malerei; M. Laurisch – Kunstanstalt für Photographie und Malerei. Atelier und Gärten, Wien II, Untere Augartenstr. 9; Edward Morawetz - Nowy Targ - “Janina” Photo Shop and Studio, Cracow, Starowiślna 21, Branch of Rabka-Zdrój, Foto N. Mazelman, Nalewki 10 (Warsaw).
Since photography was not very common at that time and somewhat reserved for the affluent, one may assume that the people in the photograph were quite successful. It is evidenced by the places and idyllic atmosphere captured on the prints, among others: exotic beaches, mountain and seaside resorts, promenades of well-known holiday resorts, such as Oak Creek Canyon, Split, Venice, Paris, Amsterdam, Zakopane, Cracow, Rabka Zdroj, Rytro.
In conclusion, both briefly discussed groups of sources stand out against the entire archival resources of the Museum at Majdanek. Firstly, they were created in different places and at different times, and had many creators. Secondly, they are incredibly diverse in form and content. And finally, they do not refer directly to any of the death camps mentioned in the text. The only thing these artefacts have in common is their place of discovery and the sombre reflection that ensues after viewing them, that no one is safe in the face of war, regardless of their wealth status and social position. These historical testimonies compel us to think.
Picture of unidentified women.
Fotoatelier Torelli, Budapest