Front / Recto

  • Title After the Carnival (Po karnevalu)
  • Negative Date 1926
  • Print Date 1926
  • Medium Gelatin silver print
  • Dimensions Image 11 5/8 × 9 1/4" (29.5 × 23.5 cm)
    Mount 19 11/16 × 17 1/2" (50 × 44.4 cm)
  • Place Taken Kolín
  • Credit Line Thomas Walther Collection. Gift of Shirley C. Burden, by exchange
  • MoMA Accession Number 1674.2001
  • Copyright © 2015 Miloslava Rupešová

Back / Verso

  • Mount Type Mount (original)
  • Marks and Inscriptions Signed in pencil on mount recto, bottom right: Funke [underlined]. Inscribed in pencil on mount recto, bottom right: P 8606008. Label affixed to mount recto, bottom-right corner, with text printed in black ink: 214. Inscribed in black ink on mount verso: J. Funke–Kulin III–19.–Czechoslovakia./4. Staircase of old Prague./(bromide.). Inscribed in pencil on mount verso, top right: 214. Label affixed to mount verso, bottom center, with text printed in black ink: Ved Oslo Kamera Klubs/Internationale utstilling av/Foto-Kunst 15.–31. mai/1926 er dette billede an-/tat til ophaengning. Stamped in black ink on mount verso, bottom right: JB. TOLL[illegible characters]TOLLOPS. OSLO. Inscribed in pencil on mount verso, bottom right: R578/4. Inscribed in pencil on mount verso, bottom right: →S.L. Wien.
  • Provenance The artist, Prague; by inheritance to the artist’s wife, Anna Funkova, Prague, 1945; by inheritance to the artist’s daughter (Miloslava Rupesová-Funkova), Prague [1]; to Galerie Rudolf Kicken, Cologne, 1996 [2]; purchased by Thomas Walther, 1997 [3]; purchased by The Museum of Modern Art, New York, 2001.
    [1] Miloslava Rupesová-Funkova became the executor of the estate after Anna Funkova's death.
    [3] Galerie Rudolf Kicken invoice, February 27, 1997, p. 3; MacGill/Walther 2001(3), p. 7; and Rudolf Kicken, conversation with Simon Bieling, Kicken Berlin, February 17, 2004. The print was exhibited in Seen & Unseen at Robert Miller Gallery, New York, 1997.

Surface

  • Surface Sheen Matte
  • Techniques Mount
    Enlargement
  • PTM
    View of the recto of the artwork made using reflectance transformation imaging (RTI) software, which exaggerates subtle surface details and renders the features of the artwork plainly visible. Department of Conservation, MoMA
  • Micro-raking
    Raking-light close-up image, as shot. Area of detail is 6.7 x 6.7 mm. Department of Conservation, MoMA
    Raking-light close-up image, processed. Processing included removal of color, equalization of the histogram, and sharpening, all designed to enhance visual comparison. Department of Conservation, MoMA

Paper Material

  • Format Metric
  • UV Fluorescence Recto negative
    Verso no data
  • Fiber Analysis No fiber data available
  • Material Techniques Baryta-less paper
  • XRF

    This work was determined to be a gelatin silver print via X-ray fluorescence (XRF) spectrometry.

    The following elements have been positively identified in the work, through XRF readings taken from its recto and verso (or from the mount, where the verso was not accessible):

    • Recto: Al, Si, P, S, Ca, Cr, Fe, Cu, Zn, Ag, Pb
    • Mount: Al, Si, S, K, Ca, Ti, Fe, Zn, Pb

    The graphs below show XRF spectra for three areas on the print: two of the recto—from areas of maximum and minimum image density (Dmax and Dmin)—and one of the verso or mount. The background spectrum represents the contribution of the XRF instrument itself. The first graph shows elements identified through the presence of their characteristic peaks in the lower energy range (0 to 8 keV). The second graph shows elements identified through the presence of their characteristic peaks in the higher energy range (8 to 40 keV).

    Areas examined: Recto (Dmax: black; Dmin: green), Verso or Mount (blue), Background (red)
    Elements identified: Al, Si, P, S, K, Ca, Ti, Cr, Ag
    Areas examined: Recto (Dmax: black; Dmin: green), Verso or Mount (blue), Background (red)
    Elements identified: Fe, Cu, Zn, Ag, Pb

In Context

Historical Publications

  • Foto, no. 1 (1928) (as Po karnevalu).

Historical Exhibitions

  • Oslo Camera Club. Internationale utstilling av FotoKunst. May 15–31, 1926. (this print)

    15th Pittsburgh Salon of Photographic Art (no. 102). 1928.

    The Bridge of Allan and District Photographic Society, Stirling, Scotland. Fifth Annual Exhibition (International) (no. 50). 1928.

    Leicester and Leicestershire Photographic Society, England (no. 113). 1928.

    Maidstone, England (no. 128). 1928.

    Edinburgh Photographic Society. 67th Annual Open Exhibition. 1929.

    Toronto Camera Club. 38th Annual Exhibition. 1929 (no. 102).

    Tokyo. Fourth International Photographic Salon of Japan (no. 122). 1930.

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