The 'Námořní deník Erwina Dubského' exhibition presents Captain Erwin Dubský's extensive collection from his 1874-1876 circumnavigation. Visitors can explore a globally unique ensemble of photographic albums, with a significant focus on pioneering Japanese photography, alongside ethnographic materials and travel documentation. This display offers insights into a rarely seen historical collection.
Read curatorial context and practical visitor information for Námořní deník Erwina Dubského at Galerie Rudolfinum in Prague
This exhibition showcases the 'Sea Diary' of Erwin Dubský, a captain in the Austro-Hungarian navy, featuring his collection of artworks, ethnographic material, and contemporary documentation gathered during his 1874-1876 circumnavigation. The exhibition highlights a unique collection of photographic albums, with a significant focus on Japanese photography.
The exhibition "Námořní deník Erwina Dubského" (Erwin Dubský's Sea Diary) delves into the extensive collection amassed by Erwin Antonín Anna Dubský, a captain in the Austro-Hungarian navy, during his circumnavigation aboard the corvette Erzherzog Friedrich from 1874 to 1876. Although much of his original collection of over 1300 items has been lost, the exhibition prominently features a remarkably preserved set of nine photographic albums documenting the various countries visited. Dubský intentionally collected photographs from studios in different ports, resulting in a globally unique ensemble of exceptional preservation and careful curatorial selection. This collection, previously unknown to the public, includes over 158 Japanese photographs by pioneers of Japanese photography, offering views of cities like Nagasaki, Kyoto, Kobe, and Osaka, as well as genre scenes. The exhibition specifically highlights works by Ueno Hikoma, Ičida Sóta, and Raimunda von Stillfried-Ratenicz, whose Yokohama studio nurtured a generation of Japanese artists. Also featured are portraits of the Emperor and Empress from 1872 by Učida Kuiči. The exhibition itself was divided into two parts due to the sensitivity of the original materials, with the first part running from December 7, 2006, to February 5, 2007, and the second from February 7 to April 15, 2007. The exhibition was curated by Filip Suchomel.
The text mentions that 'admission is voluntary,' indicating a flexible ticketing policy. It also notes that the last entry is allowed 30 minutes before closing time. The exhibition was split into two parts, and visitors could return to see the remaining sections if they didn't have enough time on their initial visit, implying that admission might be linked to museum entry rather than a separate exhibition ticket, with flexibility for repeat visits within the exhibition period.
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