. Hugo Brehme
Wick, like most photographers active in Mexico in the early twentieth century, has been little studied, but doing justice to the true multi-analyzed his photographic production. A different method of approach to it is its catalog , address initially undertaken by Susan Toomey Frost as a tool in shaping their collection.
In the text: "Hugo Brehme: A GIANT OF THE MEXICAN PHOTOGRAPHY" by Dennis Brehme read:
"Your file was so well organized, all the cards were carefully numbered albums, and never failed to reverse the name, address and "Property" or "artistic property." The magazine "Our Town", organ of the Federal District, from July 4, 1930 was written in relation to the famous photographer:
"Your library view of Mexico is comprised of about twenty thousand pictures ... " After 1930 Brehme clear that continued to work ...
is a formidable collection, unfortunately there do not know if the albums mentioned by Dennis Brehme found somewhere, and any library-related even remotely Brehme contains a number similar material, the National Photo Gallery on your Hugo Brehme has registered 2.323 pieces, including positive and negative, the collection of Susan Toomey Frost donated to Texas State University comprising 1.800 parts, to mention a few.
The work done by Hugo Brehme can be divided into two, the material which was intended to be played in prime form as a postcard, or in conjunction with printed material in books and magazines, on the other cabinet work or personal orders, parties, weddings, etc.., second facet of which we know very little, is what we call material private. Work aimed at public and massively distributed was integrated into the albums mentioned by Dennis Brehme, or what I call "catalog" and the numbers assigned, "Brehme number" (No B).
trying to reinstate a catalog we face different challenges, in the case of SINAFER Brehme fund, only about a third of the material containing the number B, and negatives provide little information regarding the postcards. Gather a representative database on which work was the first goal. Besides
collaboration Susan Toomey Frost, we have a database with more than 4 billion records, which has given us interesting results. The data points have changed since the time of writing, new information is added constantly, but the conclusions remain the same.
postal n º B Left Tlalmanalco Mor 6137. Right hand photo printing ink 4-3/4x 6-3/4, 8-3/4 6-6/8x mount, Tlalmanalco Mor.
Another version inked with measures 10x13 1 / 4 inches, "Tlaltenango Mich." The correct location is Tlaltenango although the abbreviation "Mich." corresponds to Michoacán and must be "Mor." Morelos.
records linked to a number B are 4.100, plus some hundreds of images to which they have not been able to assign a number, the images used in books and journals by Brehme not include the number B, or large-format photographs and mounted. Brehme negative working with teachers who did not play in his image and need a printed image data for validation, which is not always possible. In the case of prints on photo paper medium format, often the information is placed in pencil on the back, and / or may be an ink stamp with different information, in large format only includes the geographic location of the outlet and signature. In contrast, the vast majority of the postcards include No B, tagline, as well information by means of rings and kill seals, photographic survey data, the types of cards, etc.
In the 4,100 records, we include two basic data types:
Records on versions
Records Repeated
The "records releases" are those where a set share the same n º B, but differences were observed in format, production process or signs, with the same image. For example if two cards share the same image and same number B, but were printed in two different types of postcard, or include various information about the study Brehme Photographic namely 27 or Cinco de Mayo Francisco I. Madero 1, classify as versions. Some case has two other versions and even six or more, giving a temporary setting for its production and popularity of the image. When the difference is just finishing a sepia toned and the other in green, but the rest of the information is the same, do not consider "version", and only consider the variation in tone, it actually makes the basis of data more widely by not directly accounting for these differences.
Card No B 149 versions.
The "repeated records" are those where two different images share the same registration number (No. B).
B 141 Card No repeated.
Let's start with the questions: How real is a collection of 20 000 views of Mexico?
To date the highest number B is the 24337, where we consider the total work Brehme and not just prior to 1930. Among the highest number B and B No 9652 are only 15 records. These records mostly have the distinction of being recycled, where prior registration is used again with a different name.
Recycled No B 10224 Teotihuacan Pyramid of the Sun Original No B 224 Teotihuacan pyramid.
No B 10131 The project includes five different views of pre-Hispanic pottery and utensils on display at the National Museum, the rest have no indication of relationship to other records. The Fund
Hugo Brehme the INAH National Photographic Library located in Pachuca, are conserved negative information on their guard following type of "negative number", "slide number", ie
Title: Peak Orizaba
No B: 2457
negative number: 36089
Slide Number: 36090
Stock Number (SINAFER): 476860
By the dominant negative and slide numbers appear linked to a catalog number Brehme, only a small number do not include Brehme, they would be able to be original negatives or teachers, so we can take the data as a record number for negative and slide copies, or a subsequent reclassification and "Not like Brehme number."
Hugo Brehme Bottom of SINAFER was formed in part by the partial donation of the collection of Juan Manuel Casasola in 1977, who acquired the archive in 1973 by Arno Brehme, retaining a part for him, and other funds as Culhuacan.
One might assume that the more recent was the work of Hugo Brehme most likely would have to find it, then why have a huge gap in the numbering above No. B 9652, in the range of nine thousand are 6 records, in the range of the eight thousand are 5 records, in the numbering less than 7969 there is no material B consistently, over four thousand.
foundation could infer the existence of a catalog with about ten thousand records with consecutive numbering, but by no means a catalog of 20 000 records. The same thing we would consider that only a part the material was included in the catalog, the rest was discarded and integrated to a general file.
When formed the catalog?
oldest Postcards from the study are set out in the streets of San Juan de Letran, Mexico City, is also a print on photo paper 10 "x 13-3/4" from the collection of Susan Toomey Frost , being the oldest piece to date production in 1912, there are images that predate its creation but have not found positive verifiable contemporary.
Postal No B 166
Postcards with dates attested by the postmark appearing in 1913, the hypothesis would be that the catalog was first assembled between 1914 and 1916, as the postal n º B 166 with postmark of 1916 is the record dated, labeled and numbered older. Wilhelm Weber partner and friend of Hugo Brehme is responsible for managing the business, which include the creation and maintenance of your catalog according to Dennis Brehme.
When Weber began working with Brehme? Wilhelm Weber
42 years old Hamburg embarks on the famous steam Ypiranga on March 28, 1914, so arrived in Veracruz in April 1914 (at time of incident Veracruz), and maybe there established contact with Brehme, had previously lived in Schwäbisch Hall, Germany, and declared merchant.
During the San Juan de Letran Brehme (1912-1919), at least 262 images are entered into the catalog. Until the period Cinco de Mayo (1919-1927), accumulate at least 7122 images. The number Brehme highest included in the records of artistic and literary property in 1924, is No. B 6743, these data indicate as the catalog grows in a slow until 1920, less than a thousand records, and very rapidly between 1921 - 24. Could tentatively say that 10% of catalog records are prior to 1920, 60% between 1921-24, and only 30% between 1925-54. In the first 15 years of residence in Mexico Hugo Brehme, the photographer creates 70% of the catalog of images for their cards and the remaining 29 years, 30% ... (Do not forget that we refer to the catalog, not the creation of the images themselves)
images are not added in chronological order, there is a tendency to create thematic units, the mechanism was probably collect material, then make the selection and finally integrate the catalog.
Filtering and repeated data between versions for unique records, These are: 2.744, closer to 10% of repeated, more images without numbering. We attribute the repeated human error logs, view Susan Toomey Frost, but the percentage is too high for this, we detected a few cases apart, and mention a few. The first is the image number B 1071, in registration with artistic and literary property was used a negative where no B appears as "71" and the registry covers the image "1071", only the copy of the AGN appears the number B 71, postal versions marketed "1071", the latter being the correct number, is a human error.
Another case is the first six catalog records, which appear in duplicate, one series corresponds to the Cañada de Contreras in the Federal District and the other to the building known as the House of Tiles, Distrito Federal. The likely explanation: the series is to organize a thematic principle, and each starting with the numeral "1" after organizing the first two numbers is chosen by Universal. These examples are the direction of Cinco de Mayo 27.
The last exception to be mentioned are multiple records of the details of the Aztec Calendar, are included in the registration number B 8133 with 22 different shots.
In the book, The so-called "Calendar Aztec, Hermann Beyer, Verband deutscher reichsangehöringer, 1921, read:
"First, we hit this a small token of gratitude to the noble Mexican nation, sad hours that has preserved its estimation and affection, and another a humble example of cultural activity on Mexican soil deployed by the German colony, which belongs to both the author and photographer most of the engravings (Mr. Hugo Brehme) and the printing house (Müller Brothers) ... " might assume that the work was made especially for the publication in that year.
Brehme The hypothesis is that negative works with teachers and each Once I needed to make a new print run reproduced the negative, therefore there are variations in typography, writing and placement of the n º B and labels, likely to commit human error, sometimes a "2" becomes "5" or vice versa, or a "3" "8", etc., sometimes preceded by or postponed at # B a consonant letter to differentiate runs. Explain the rest of the repeated records is more complex. Yes
withdraw all records where we can not prove conclusively their origin before 1930, and taking into account the above cases, the number of repeated records is reduced to "zero" ... We are beginning to human error since 1930.
Does this mean that there is a catalog prior to 1930 and another after 1930?
No, there is no evidence for it. There are images produced after 1930, but with previous versions, therefore we consider them prior to 1930, leaving a percentage too small and dispersed to imply the existence of two catalogs.
How do we determine the creation of the material prior to 1930?
First criterion: postmarks, stamps, writing in the context dates when the order was used, but unfortunately this information is not abundant, most of the postcards in libraries or on the market have remained unused.
Postcard Ixtaccihuatl No B 482, from Miraflores, 2-cent postage stamp series, 1921, White River postmarked 1929, blue line card.
Second, images published in books Picturesque Mexico Mexiko 1923 and 1925. There are a number of publications prior to 1930 where Hugo Brehme part, but could not see them all in a timely manner which images to testify include: Seen in a Mexican plaza: a summer's idyll of an idle summer, George F. Weeks, Flemming H. Revell company, 1918. Zeitschrift of Volcanology, Volume 6, volcanic Institute Immanuel Friedlander, Hans Reck, D. Reimer, 1922. Beautiful Mexico: its story, legends, and scenic charm, Vernon Quinn, Frederick A. Stokes Company, 1924. Iberica, Ibero-American Institute, Hanseatic publisher Instead A.-G., 1924. Die Neue Rundschau, S. Fischer, 1924. North America: its people and the resources ... Joseph Russell Smith, Harcourt, Brace and Company, 1925. Research on the diluvial climate in Mexico, Friedrich Robert Jaeger, J. Perthes, 1926. Tribes and Temples, Frans Ferdinand Blom, Olver La Farge, Tulane University, Middle American Research Institute, 1927. Mexico and Central America: a geographical reader, Harry Alverson Franck, FA Owen Publishing Co., 1927. Theosophical path illustrated monthly, volume 32, Katherine Augusta Westcott Tingley, New Century Corporation, 1927. Mexico: cultural and economic-scientific, Alexander Stelzmann, Quitzow, 1927. Mexico, land, people and economics, Karl Sapper, LW & Son, 1928, etc.
México Pintoresco 1923, página 129-130.
Postal n º B 145 Lago de Patzcuaro, Mich., Tarjeta línea azul.
Izquierda, National Geographic 1914, attributed to Albert L. Godoy same as appears in Picturesque Mexico. No postal Right B 145, card K Ltd. is evident as postcards produced after 1930 kept the issue, and although the picture is from the same series is a different take. We know then that the pictures are created before 1914.
Left image Mexiko 1925. No postal Right B 305 Stone sacrifices Mexico, Agfa card, it is obvious retouching was done in lithographic printing.
postal It was published under number B 300, Green Velvet kodak card. This registration number and picture are correct for 1930, Image No. B 305 after 1930 seems to be a reproduction, registration number B 305 prior to 1930 for the Aztec calendar, the latter after 1930 are two different pictures.
"We noticed a trend of Hugo Brehme to participate in a scientific publications in Germany." Apparently in 1924 Brehme I printed the same images of Mexico picturesque Rotophot AG Berlin, 11x9 and 5x7 formats.
lithographic printing 5x7 Left mounted and signed by Hugo Brehme. Right postal n º B 2132 Taxco Gro, card K Ltd.
Third Postcard trade mark Artura, which is identified by a stamp box (box to paste the stamp), a square or rectangle constructed by the word Artura repeated four times , and the legend inside "Place stamp here", which is indicative of belonging to the era Kodak, 1909-1924. There is another difference between the types of cards, "Arthur" employed by Brehme, which use Roman or serif typeface, and those that are Gothic or Sans Serif.
Of the eleven cases under the brand Brehme Photographic Study of San Juan de Letran, correspond to "Arturo Romano," 9 a postcard "Artura Gothic" and a print on photo paper, the period includes St. John Lateran until 1912-1919. The images of this period are extremely rare for two reasons, a small production and a loss of material by high-time effects, we found 17 cases of Roman Artura cards.
Postal n º B 236 (you get to later), Artura card Romana (Artura Serif), postmarked by May 1913, printed typographically:
Hugo Brehme
FOT. 1A
S. 3
LATERAN JUAN AP
POST. 5253. MEXICO DF
Postcards Arthur stopped producing in 1924, which does not mean its disappearance from the market automatically on the database identified 407 cards "Artura Gothic", 303 with the address Cinco de Mayo 27; 102 without direction and the direction of Francisco I. Madero. Brehme period at Cinco de Mayo, covers from 1919 to 1927. The odds suggest that it is extremely rare or even improbable Artura card use of any type after 1930, the Roman type apparently stopped producing before.
Postal n º B 5864 Ruins of Tepoztlan, card Artura Gothic (Artura Sans Serif), ink stamp:
artistic property
-de-
Hugo Brehme, photographer
Mexico DF - 5253 ap
hauling for photographs not only depends on the formulas and processes to replace silver halide, it is also determining the emulsion type of paper, to achieve the reddish green cards using Kodak Brehme Green Velvet, formerly known as Arthur Carbon Green. Kodak began producing it in 1912, to settle in Mexico, September 12, 1922 is also manufactured in the country, so in 1927, Kodak cards appear with the legend Green Velvet "seal" instead of "place stamp here", Green Velvet Kodak cards found with the address of Cinco de Mayo with dates from 1919, and manufactured in Mexico under the direction of Avenida Madero. Later cards use EKC (Eastman Kodak Company) Kodak Mexicana ltd., Displayed no address or addresses or Av Juárez Av Madero 88. Kodak Mexicana DOPs Cards (Silver Gelatin Prints Developed-Out, manufactured between 1925 to 1942), we only found one case with the direction of Avenida Madero and the other without direction. Since 1930 the German card favors Agfa, even during the years of World War II, both in its native form, as well as its subsidiaries: Agfa-Ansco (made between 1931-1940), Ansco (made between 1940-1960), and Gavaert. Other types used are K ltd. (Manufactured from 1918 to 1936) without direction or using the Av Madero, sometimes with stamps of "The Picture", and unbranded cards or little-known manufacturers. For all types except Artura card, you must have one or more additional data to the card type to determine their age before 1930.
identified Azo brand card with printing on two lines: "Parental Control. / Modale exclusive "La Casa Osuna" -; and the same image is Brehme Postcard No. B 1520, Madero Avenue address in Green Velvet Kodak card, so there is no evidence of Azo card use by Brehme.
Fourth, the twenties are highly active and sends editorial Brehme postcards produced mechanically. The cards that we call "double line" (Black printed lines), "sour" (acidic) Blue Line (Blue Divided Back) and "black line" (Black line).
a) The card "double line" and "sour" are identified on the reverse with the author's name, the data of the study, Av Five May 27, n º B and typographically printed label, leaving the image free of any mark. Cards "double line" are printed on alkaline material or acid-free and traditional lithographic process, resulting in tonal quality images and detail. Instead of "acid" as its name implies are printed on plain paper and acid, offset lithographic process, poor image quality and preserving today with great physical deterioration. Printed in shades of green, black, red or reddish brown.
Postal No. B 73 from Volcanoes San Miguel, double line card. The name of this type of card is taken by the two vertical divisions are made with a double line on the left reads:
Hugo Brehme, MEXICO - Av Cinco de Mayo N º. 27
PO No. 5253 - Covered Property - Copyright
Postal n º B 442 San Angel, DF El Carmen, acid pitch black card. It reads:
Covered Property - Copyright
Hugo Brehme, Mexico, Avenida Cinco de Mayo N º. 27. PO Box 5253.
b) Cards, Blue Line, are photo cards (RPP) but produced mechanically. Used postcard sensitized virgin on both sides, so you can print the back unmarked Manufacturer typographically. The back is printed in blue ink on the left side: "Hugo Brehme is the property-copyright," the card is divided in two with the vertical line marks a dotted box for the stamp, and leave 4 lines for address three points and a run. Different runs are printed, the first with Roman font, in the later Gothic typeface in turn is no difference in the past in terms of proportion of spaces having the address space for large or small, there are variations in the tones of the hauling.
Postal n º B 171 Mexico City The Flying Card, blue line Romana, reads:
Hugo Brehme, Mexico City's property, copyright
In front, the image is printed with a margin white, and the method invented by E. Porzholt, the cliche previously sensitized and exposed to duplicate the image before it revealed it added the number B and the name in Roman typeface. In the latter type of cards do not identify the study as literal. Susan Toomey Frost gives them a period extending from 1923 to 1934, according to the postmark, but in the same way that we see the gradual disuse Artura card after completing their manufacture, the same process occurs with the mechanically printed cards Brehme, occur in a period and circulated for a while after that, so presumably its production before 1930.
Moreover Brehme in 1931 using part of its remaining batch of cards "sour" and "blue line" to retrace them in the back is printed typographically, black ink cursive, in the space designated for the text, the following Legend:
"Mexico, the friendly land, sends you cordial Greetings and invite you to enjoy natural beauties STI, STI fabulous traditional hospitality and Its Attractions. Mexican Government Tourism department. P. de la Reforma No. 35 Mexico City. " Postal n º B Amecameca 6023Panorama the Popocatepetl, Gothic blue line card, recycled for the tourism campaign.
c) Cards "black line" photo card with no brand printed on the reverse in black ink line and the lines for the address. Later borderless prints or label the image printed on the reverse includes typographically No B, sign and address the study of Cinco de Mayo 27.
Postal black line, n º B 45:
N º .45. Mexico DF San Esteban.
Property from Hugo Brehme, Copyright
Avenue May 5, 1927. PO Box 5253. Mexico DF
not be confused with other types of cards used by little-known manufacturers Brehme. Left, black line card pin generally pops up with a circular ink stamp: Hugo Brehme, Mexico DF, Madero 1.
Right, black line card with the initials TM with an ink stamp prior to 1930.
Fifth Brehme edit mechanically sends a postcard size booklet removable card (Memory of Mexico), at least 12 different models (some reprints), when we refer to the booklet in its original state, on its cover is I could read for example: "Remembrance of Mexico-City, 12 Post-Series" B ", Photography Brehme, May 5th Ave # 27, Mexico City." Unfortunately no reference is included on the printer, nor the exact year of production, and individual cards have no information on the direction of the study. There are differences in the method of detachment of the cards, print colors and typography. According to kill seals the material covers the period 1919-1929, and each booklet took between 10 and 12 postcards. In Mexico, Brehme is not the first nor the only person using this booklet, the house "The Trade" of Veracruz, the previously used (1909).
Home
Remembering Mexico booklet series VI.
Mexico Remembrance Card Series 1 italic, roulette, No. B 208.
Left, Mexico Remembrance Card Series 1 italic, perforated No. B 757, postmarked 1923.
Right, Mexico Remembrance card series 1 square roulette No B 757, postmarked 1927.
can see how the editing work on matrices is different.
Sixth ostensibly images are discarded outside the period of their topics, for example to display the building of the National Monument to the Revolution, the Casino de la Selva, etc.
Seventh, cards or photos are included with the direction San Giovanni in Laterano or Cinco de Mayo.
Eighth records Artistic and Literary Property.
Ninth ink stamp (which corresponds to May 5, 1927): ARTISTIC PROPERTY
- de -
photographer Hugo Brehme, Mexico DF - Rev 5253
These are the nine criteria used to distinguish the work of Hugo Brehme as prior to 1930.
Why intentionally repeated records after 1930?
That same year, Hugo Brehme photo studio burns, that amount was the loss is a mystery, expressions ranging from "some of their material" to the owner of Excelsior, 7 February 1930: "Nothing is saved in the popular art house" ...
spend several things from this date: There is an intense advertising effort by Brehme in their favor (paying or exchanging); Brehme more actively involved promoting their photographs in books, magazines, brochures, guidebooks, government tourism campaigns, etc., often at the discretion of courtesy .
There is a gradual reduction in the interest of the photographer to continue producing as your health is waning. Few changes, your trip are less frequent, we work with preset interest (contracts), there is no apparent freedom of his youth and in general is accompanied by his son. The variety of finishes and dark toning are also reduced, appear simply in black shirts and black, according to Dennis Brehme the laboratory came to be twenty assistants for the work of developing and printing. The artistic quality of the images is reduced between the years 1930 to 1940, stagnation and Hugo Brehme creative agony seems to be long, painful and starting in 1930. We have no clear idea of \u200b\u200bwhat work is authored by Arno Brehme, including that of Luis Quintero, a way of knowing who made the bad shots.
Another interesting factor is to determine whether Max Brehme contributes to the catalog, he takes over the Hugo business in Mexico for much of 1923 and 1924, Hugo remains the same period in Germany.
Brehme in the business of sales of the cards fell, but not to the same level, in the words of Luis Quintero Brehme assistant from 1928, the studio work is what pays the bills, no work Hugo like to do, the German Leica cameras are introduced to the market in 1930 and probably Arno Brehme who bring them to Mexico until 1933, another initiative to alleviate the economic problems. In the thirties there are conflicts among photographers, before the arrival of foreign competitors driven by the nationalistic policies in Europe by market manipulation by importers and distributors of photographic materials, by increasing pressure of the big houses American Photo and Kodak photo for providing the services of photographers such and printing, as this is the specialization of Brehme would be among the hardest hit, then the Second World War it impossible to work.
From 1930 he begins to develop a school of imitators of Hugo Brehme, including major competitors of all life as Osuna and FM ("Felix Martin?), Which mimic, or the mysterious LW, what more peculiar is the same Hugo Brehme imitating Hugo Brehme.
There is always a first time for a photograph is not an exception, who create the models and stereotypes is not easy to determine, the vision of Hugo Brehme on the Capilla Real in Cholula, Puebla, it seems marks a stereotype. Guillermo Kahlo used the same model (top left) but with a very particular, applying an intense visual distortion typical of his style, but also in other cases we used a rigorous orthometric, its image is dated 1911. The two central postal correspond to Brehme, No. B 1562 Chulul Pyramid, Pue., And No. B 5893 Cholula Pyramid, are not only different views but are separated chronologically, the n ° B 5893 is used in Mexico Quaint and compared with those of Kahlo, the urban landscape and wooded differ being Brehme earlier. The upper right post an anonymous "19 Dome of the Capilla Real Cholula. Pue \u200b\u200b19", and postcards below "8 Chapel Royal Cholula Try out. PostaMex" and other anonymous we can add many more cases are followers of a stereotype, that of Brehme. The interesting thing is why Brehme again make the same decision years later with no B 1562 did have an image so popular and successful.
postal Left No B 6743 Puebla Cathedral, Artistic and Literary Property 1924, AGN. Right
photo No B 6743 Blibliotecas the U.S. Congress, the same image number B 5893.
superficial perception would lead us to think that imitators seeking to exploit the fame of Brehme, we would say unfair competition, burning studio Brehme at the pinnacle of his fame, there is a national and international market hungry for his stuff, although detailed study is warranted FM Osuna and apparently they ran a market as broad as Brehme and catalogs are also impressive; suddenly Brehme not have the capacity to supply the market. While other photographers Brehme decays begin to fill the void, in quantity and quality, a pending to study the Mexican card between 1930 and 1940. There is enough material to think of a more prolific Osuna Brehme, with a longer working life, traveling extensively to gather information from more places to which the German never came, and the quality of his work makes him a worthy rival in to FM or Felix Martin is an editor, unknown if it participates in some time as a photographer, so the quality of the material is varied.
The evidence we suggest that Brehme file loss during a fire in 1930, was significant, even catastrophic features. There are images very popular at that moment and then simply stop making the case for mechanical printing cards recycled in 1931, instead of producing new fall within the scheme, which would seem a lucrative advertising offers in favor of the Mexican Government do with second hand ... Brehme was a prolific photographer, devoted follower of the light, making patient to achieve desired obvious choice to put in the catalog, the rest went to general file, after the fire some retain records No B same but the image is remplazada por otra de menor calidad, misma época, misma serie de trabajo, o se remplaza por una fotografía nueva, reprografías o se cambian de orden. En otros casos no sobrevive ni la copia perfecta ni las descartadas, siendo la imagen muy solicitada se reproduce la toma, se busca el mismo ángulo, la misma luz, pero el paso del tiempo traiciona el esfuerzo, es una nueva fotografía, Brehme imitando a Brehme.
Izquierda postal nºB 1089 Cuernavaca Mor., registro Propiedad Artística y Literaria AGN 1924.
Derecha arriba, postal nºB 1089 Cuernavaca Mor. SINAFO 372912.
Derecha abajo. postal No B 1091 Cuernavaca Mor. The Plaza., Green Velvet Kodak card, printed typographically reads:
INSURED PROPERTY
Hugo Brehme
5 MAY 27
MEXICO, DF
Left No B Post 3490 National Theater, Mexico City, Stamp Box Gevaert triangular card.
Right, postal n º B 3490 Bellas Artes., Divided Gevaert card. the exhibition opens Palace of Fine Arts in 1934, the first postcard is still under construction, at first glance seem to be a reframing but two different pictures.
The images created after 1930 and entered into the catalog, serve the purpose of filling the gaps, while continuously through advertising emphasizes how varied and comprehensive collection is the best in all of Mexico ... Sometimes seeking thematic coherence, in other cases are completely different, so are the pictures of the Casino de la Selva in Cuernavaca, the town of San Luis Potosi Tamazuchale, or Blue Water Spa in Puebla, home of The National , etc., placed in an arbitrary, repetitive and over sized amount. Of all the places recorded in the book "Mexico Picturesque" and "Mexiko" failed to recover at least one image of each postcard version, leaving geographic areas not represented in our study. The original catalog was equipped with a variety of themes and composition, the new introductions is a selection of the perfect shot, it includes everything, there are exceptions like the work done in the Paricutín in the year 1943 and is of Arno Brehme.
The original catalog of 1930, "Ten or nine thousand images" never recovered numerically, even entering the previously discarded material, using the study material (Pictures), field social life of the German community in Mexico, scenes of the Mexican Revolution, dubious source material and all material created after 1930. There is a chance that at some point you lose interest to complete the catalog and it stops working.
Postal n º B unknown Chapultepec Military College Kodak card Velvet Green, printed reads:
COVERED PROPERTY
Hugo Brehme
5 MAY 27
MEXICO DF
postcard probably contains an image prior to the revolution, with the cadets of the school in Prussian-style uniform, as is marked by May 5 occurred between 1918 and 1927, but is highlighted with an ink stamp:
Hugo Brehme. - MEXICO DF
AV. FI MADERO N º 1 - SECTION
Copyright 2253 - Copyright.
postal Therefore after 1930 was recycled.
Through advertising we know the existence of a collection of views on Guatemala and Central America, which recovered only three samples, with no B c23, 40 and 57. Do we consider repeated, all fall into the category, or as part of another catalog? The absence of American material is intriguing, how can this disparity, more than four thousand samples of work in Mexico Brehme and three for Central ... Regardless of the partial or total loss of the file, samples should be somewhere, and they are not, the case is as mysterious as the work done in Africa, unlike in 1930 Brehme view of Africa does not sell . One possibility would be to sell views of Central, but not Brehme creations. Brehme in 1931 working in Südamerika editing, project by Karl Von Schumacher.
Maudslay during his expedition of 1883 made a mold of the face of Stela E at Quirigua, Guatemala, causing the release of the nose and then cementing the Sylvanus G. first visit Morley in 1910 testifies to the preservation of the nose that is lost when the trail drops to the ground due to severe flooding and which had been previously inclined to believe that was the original position. Therefore the German photographer based in Guatemala Adolf Biener portrays between 1915 and 1917, it is surprising how similar the postcard produced by Biener (right) and the image is credited Brehme No B c23 (left), especially taking into account ease that changes the appearance of a tropical forest, both images are contemporary.
In 1930 on the occasion of commemorating the twentieth anniversary of the revolution of 1910, the Biblioteca Nacional (UNAM) An exhibition of books and pamphlets, photographers Augustine V. Casasola and children and Hugo Brehme were the only invited to participate ... why, being then the great majority of the photographers during the Revolution were still alive and would have been feasible location. The Casasola sent one hundred amplifications, while the German photographer seventy portraits, reports the publication "University of Mexico: Volume 1, Autonomous University of Mexico, 1931." It is suspected the involvement of Brehme also be invited after the fire in his studio ...
Prior to 1930 did not locate any image clearly identifiable as "Mexican Revolution" in the catalog, there are few that can be mistaken for rural retreat. The cottages are a classic topic Picturesque Mexico in the late nineteenth and early twentieth centuries, popular on postcards, but for 1923 when Brehme published his book Picturesque Mexico are a reminder pointless and does not include images of cottages. In the publication "Mexiko" Geo A. Schmidt, Berlin 1925, Hugo Brehme provides some images of the revolutionary period including Cabins.
We have seven rural samples: No. B 166, 168, 1717, 3557, 3571, 4480, 5818, the first two could even be prior to 1910 are included in the catalog in 1916, the rest are entered before 1927. However, in the catalog rebuilt identified more than 120 images with no clearly B of "Revolution." While the catalog was assembled respecting a chronological order, the postcards of the "Revolution" they do in general terms, forming groups, 1.-Zapatismo and wood tragic 2.-Ten, 3 .- Participation in Veracruz 4. - Mexico City 1914, many of them fall into the category repeated, with the image of revolution which can not be verified as before 1930, as the database grows the number of repeated images do as well.
Again we come to the question: are two catalogs?
if we assume the probability to be true, Hugo Brehme would be the most prolific photographer of the Mexican Revolution with a catalog of more than nine thousand images selected, which of course was lost in the fire, since it does not produce Brehme's postcards "revolution" during the Revolution, something else strange, as in other cases we find to a composite file of unpublished images. On the other hand, the Mexican view catalog would be even more incomplete in prior to 1930. The theory would their pros and cons, requiring more time and space for analysis by adding to it all the knowledge acquired about how to think and act Hugo Brehme.
The conclusion of our study is as follows: Hugo Brehme lost most of its work in 1930, which he never recovered, surviving the file itself acquired by Juan Manuel Casasola and divided later came to understand the three thousand images, we ignore that was what really became, speak of a relative loss of 70%, while the analysis of the collection of postcards indicate between 70 and 80% of the catalog, it concidero a catalog of 20 thousand images the loss would be 90%. But it is a constant effort to keep alive a true in reverse: "Hugo Brehme has the best and most comprehensive collection of views of Mexico" are the undoubted talent for publicity and propaganda of Brehme that after more than fifty years his death and a hundred of his arrival in Mexico no one doubted his word ...
One of his compatriots said: "A lie repeated a thousand times becomes truth."
Joseph Goebbels, and advertising is the art of fallacies.
we may never know the ten thousand images of the catalog, some bred for many years and huge quantities, others certainly did not attract the attention and the odds do not help to find them much more difficult is to understand what was the actual amount of the photographic work of Brehme, yes in 1930 before the fire had twenty thousand images then only know less than 10 % of its total work.
The latest edition of Alchemy # 40 "False, appropriations and other misrepresentations" comes in handy when, in the words of its editor José Antonio Rodríguez:
"Research by another route photography in various ways, is a fragile document. And obviously not only by its supports but by their cultural uses. We have assumed that the photograph in Alchemy, as a socio-cultural object, has many stories, and one of them is that we now show. The way that takes different directions depending on who's working. In this sense, when we speak of weakness, we are also referring to its volatility. That is, the various meanings it takes all visual document as you drive. Throughout the story using a picture has always been the mark of the multidirectional, or because no credit is given to the author, or because it is not the author who is said, or for incidental or economic interests because it has two or more creators. This is an undeniable phenomenon that has occurred over the existence of the photographic medium and its use. It is a story in other stories. Of course, a hidden fact that it need not evident, and many do not ventilate should ... "Hugo Brehme has become a media product, his work on the subject of speculation, the words of José Antonio Rodríguez is a really solid as a wall, many are not true should ventilate the life and work of Hugo Brehme.
Article 
CSS3 is allowing 
