ACTA HISTRIAE
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UDK/UDC 94(05) ISSN 1318-0185ACTA HISTRIAE 31, 2023, 1, pp. 1-182
UDK/UDC 94(05) 
Zgodovinsko društvo za južno Primorsko - Koper
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ACTA HISTRIAE
31, 2023, 1
KOPER 2023
ISSN 1318-0185
e-ISSN 2591-1767
ACTA HISTRIAE • 31 • 2023 • 1
ISSN 1318-0185                UDK/UDC 94(05)             Letnik 31, leto 2023, številka 1
e-ISSN 2591-1767
Darko Darovec
Gorazd Bajc, Furio Bianco (IT), Stuart Carroll (UK), Angel Casals Martinez (ES), 
Alessandro Casellato (IT), Flavij Bonin, Dragica Čeč, Lovorka Čoralić (HR), Darko 
Darovec, Lucien Faggion (FR), Marco Fincardi (IT), Darko Friš, Aleš Maver, Borut 
Klabjan, John Martin (USA), Robert Matijašić (HR), Darja Mihelič, Edward Muir 
(USA), Žiga Oman, Jože Pirjevec, Egon Pelikan, Luciano Pezzolo (IT), Claudio 
Povolo (IT), Marijan Premović (MNE), Luca Rossetto (IT), Vida Rožac Darovec, 
Andrej Studen, Marta Verginella, Salvator Žitko
Urška Lampe, Gorazd Bajc, Lara Petra Skela, Marjan Horvat, Žiga Oman
Gorazd Bajc (it.), Lara Petra Skela (angl.)
Urška Lampe (angl., slo.), Gorazd Bajc (it.), Lara Petra Skela (angl.)
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ACTA HISTRIAE • 31 • 2023 • 1
Volume 31, Koper 2023, issue 1
VSEBINA / INDICE GENERALE / CONTENTS
Andriy Klish, Yuriy Drevnitskyi & Stepan Pryidun: Cooperation of Ukrainian 
and Slovenian Deputies in the Vienna Parliament in the Late 19th Century ..................
Cooperazione dei deputati ucraini e sloveni nel parlamento 
di Vienna alla fine del XIX secolo
Sodelovanje ukrajinskih in slovenskih poslancev v 
dunajskem parlamentu konec 19. stoletja 
Michał Dworski: The Balkans as a Gateway to Polish Independence. 
The Face of the Balkan Policy of the Hôtel Lambert towards National 
Movements Forming within the Borders of the Ottoman Empire ................................
I Balcani come porta dell’indipendenza polacca. Le caratteristiche della 
politica balcanica dell’Hôtel Lambert nei confronti dei movimenti 
nazionali formatisi entro i confini dell’Impero ottomano
Balkan kot pot do poljske neodvisnosti. Obraz balkanske politike Hotela Lambert v 
odnosu do nacionalnih gibanj, ki so se oblikovala znotraj meja Osmanskega cesarstva 
Ivan Bogavčić & Iva Salopek Bogavčić: The First Croatian Series of 
Postcards of Rijeka and Surroundings Issued between 1889 and 1891 .......................
La prima serie di cartoline croate di Fiume e dintorni pubblicata tra il 1889 e il 1891
Prve hrvaške razglednice Reke in okolice, izdane med letoma 1889 in 1891
Raisa Jafarova: Women from Shusha Who Were Exposed to Repression 
during the “Great Terror”: In the Archival Documents of the State 
Security Service of the Republic of Azerbaijan ..........................................................
Le donne di Shusha esposte alla repressione durante il «grande terrore»: nei documenti 
d’archivio del Servizio di sicurezza di stato della Repubblica dell’Azerbaigian
Ženske iz Šuše, ki so bile izpostavljene represiji med »velikim terorjem«: v arhivskih 
dokumentih Službe državne varnosti Republike Azerbajdžana
1
17
UDK/UDC 94(05) ISSN 1318-0185
e-ISSN 2591-1767
65
39
ACTA HISTRIAE • 31 • 2023 • 1
Mehmet Salih Erkek: The Assassination of General Ismail 
Mahir Pasha in Istanbul (1908) ....................................................................................
L’assassinio del generale Ismail Mahir Pasha a Istanbul (1908)
Atentat na generala Ismaila Mahirja Pasho v Istanbulu (1908)
Goran Marković: Relationship between Legislative and Executive 
Powers in the Yugoslav Socialist Constitutions ..........................................................
Relazione tra il potere legislativo e quello esecutivo nelle 
costituzioni jugoslave socialiste
Odnos med zakonodajno in izvršno oblastjo v jugoslovanskih 
socialističnih ustavah
Dragutin Papovıć: Cold War Diplomacy and US-Socialist 
Yugoslavia Fruitful Relations: An Examination of the 
Establishment of US-Montenegro Cooperation in 1980 ...............................................
La diplomazia della Guerra fredda e le relazioni proficue tra gli Stati Uniti 
e la Jugoslavia socialista: un’analisi sull’instaurazione della 
cooperazione tra gli Stati Uniti e il Montenegro nel 1980
Diplomacija hladne vojne in plodni odnosi med ZDA in 
socialistično Jugoslavijo: Preučitev vzpostavitve 
sodelovanja med ZDA in Črno goro leta 1980
Marta Verginella: Boris Pahor – testimone della 
distruzione del corpo nei lager nazisti ...........................................................
Boris Pahor – Witness of the Destruction of the Body in the Nazi Camps
Boris Pahor – pričevalec uničenja telesa v nacističnih taboriščih
163
139
113
83
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Ivan BOGAVČIĆ & Iva SALOPEK BOGAVČIĆ: THE FIRST CROATIAN SERIES OF POSTCARDS OF RIJEKA ..., 39–64
THE FIRST CROATIAN SERIES OF POSTCARDS OF RIJEKA 
AND SURROUNDINGS ISSUED BETWEEN 1889 AND 1891 
Ivan BOGAVČIĆ
Institute for valorisation and interpretation of postcards, Tućanova 3, 10 000 Zagreb, Croatia
e-mail: ivan.bogavcic@gmail.com
Iva SALOPEK BOGAVČIĆ
Institute for valorisation and interpretation of postcards, Tućanova 3, 10 000 Zagreb, Croatia
e-mail: iva.s.bogavcic@gmail.com
ABSTRACT
The primary aim of the paper is to analyse the entirety of the first Croatian series 
of postcards depicting Rijeka, Opatija, Trsat, Sušak, Kraljevica, Volosko, Bakar, and 
Lovran from 1889 to 1891 and examine their impact on mass printing of photographs, 
the development of postcards, and impact on the development of tourism. Postcards 
are understood as integral multilevel hereditary information carriers, which are, 
essentially, communicators. The main focus is given to the photographers Alois Beer 
and Ilario Carposio, the printing house Stabilimento Tipo – Lithografico Fiumano, 
the engraver V. Turati Inc., and other participants in the process of creating post-
cards. The first analysis is based on the evaluation and selection of old postcards, the 
second one is based on comparing photographs with woodcuts and halftone printing 
in printed publications, and the third analysis is based on the comparison of quantita-
tive available data of postcards with the information from the La Bilancia and La 
Varietà newspapers.  
Keywords: earlier postcards, Rijeka, Opatija, halftone printing, Stabilimento Tipo-lito-
grafico fiumano, Alois Beer, Ilario Carposio
LA PRIMA SERIE DI CARTOLINE CROATE DI FIUME 
E DINTORNI PUBBLICATA TRA 1889 E IL 1891
SINTESI
L’obiettivo principale dell’articolo è quello di analizzare l’intera serie di cartoline 
croate che ritraggono Fiume, Abbazia, Tersatto, Sussak, Portorè, Volosca, Buccari e La-
urana dal 1889 al 1891 ed esaminare il loro impatto sulla stampa di massa di fotografie, 
lo sviluppo delle cartoline e l’impatto sullo sviluppo del turismo. Le cartoline sono intese 
come portatrici integrali di informazioni ereditarie a più livelli, che sono, essenzialmente, 
Received: 2022-10-12                            DOI 10.19233/AH.2023.3
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Ivan BOGAVČIĆ & Iva SALOPEK BOGAVČIĆ: THE FIRST CROATIAN SERIES OF POSTCARDS OF RIJEKA ..., 39–64
comunicatori. L’attenzione è rivolta soprattutto ai fotografi Alois Beer e Ilario Carposio, 
alla tipografia Stabilimento Tipo – Litografico Fiumano, all’incisore V. Turati Inc. e ad 
altri partecipanti al processo di creazione delle cartoline. La prima analisi si basa sulla 
valutazione e sulla selezione di vecchie cartoline, la seconda sul confronto tra le foto-
grafie e le xilografie e i mezzitoni delle pubblicazioni a stampa, mentre la terza analisi si 
basa sul confronto tra i dati quantitativi disponibili delle cartoline e le informazioni dei 
giornali La Bilancia e La Varietà.
Parole chiave: prime cartoline, Fiume, Abbazia, stampa a mezzatinta, Stabilimento 
Tipo-litografico fiumano, Alois Beer, Ilario Carposio
INTRODUCTION 
The reason for the problematisation of the first series of postcards in Croatia 
depicting Rijeka and its surroundings was that Rijeka was chosen as the cultural 
capital of Europe in 2020.1 This event has served as a stimulus for understanding 
the visual identity of the city of the late 19th century and the beginning of the 
20th century on the example of the now discarded symbol of tourism – postcards. 
Since the second half of the 19th century, the territories of Istria, Dalmatia, and 
the exotic Balkan regions have been of interest to French, English, and German 
photographers and lithographers who published motifs from these regions in books 
and various other types of publications. Illustrated newspapers of that age were 
full of exotic motifs from faraway Africa and Asia, or Dalmatia, the Balkans, and 
Istria. Such motifs in photographs and lithographs of the second half of the 19th 
century are complemented by panoramic views or motifs of newly built objects in 
order to represent a place as well as possible. The emergence of a new media – the 
postal card, which has spread throughout Europe since 1. 10. 1869, can be traced 
chronologically, based on the information on the back of the illustrated postal card 
printed in 1894 for the occasion of the 25th anniversary of the first printed postal 
card (Bogavčić private collection, Jubiläums Karte, 1894).2  
The postcard as a new medium, created after the postal card, appeared in the 
early 1870s on the territory of the Austro-Hungarian Monarchy (Ferchenbauer, 
2008, 234; Krátký, 2019, 41), France (Frech, 1991, 8), and Germany (Degen, 1998, 
1 The presentation on the topic “Rijeka on the First Croatian Series of Postcards from 1889 to 1890”, VI 
Croatian Congress of Historians, Rijeka, 29. 11. – 2. 10. 2021, was given on 29. 11. 2021.  
2 An illustrated postal card, the back of which shows information about the years of printing of the first 
postal cards throughout Europe and the world, so for Austro-Hungarian Monarchy the date given is 1. 
10. 1869, for Switzerland, Luxembourg, and some German states it is 1870, Kingdom of Italy 1874, 
Principality of Serbia 1873, etc. 
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Ivan BOGAVČIĆ & Iva SALOPEK BOGAVČIĆ: THE FIRST CROATIAN SERIES OF POSTCARDS OF RIJEKA ..., 39–64
12–13) and its origins can be traced in their development from illustrated postal 
cards to postcards. In Croatian, but also in a broader context, postcards originate 
from the form of hand-illustrated postal cards to the emergence of the first printed 
illustrated postal cards, which preceded the serial mass-production of postcards 
(Bogavčić & Salopek Bogavčić, 2020, 126–129). The appearance of Rijeka post-
cards in this paper is considered in the context of the appearance of similar series in 
Tyrol and Trieste, which arose immediately before the Rijeka series or at a similar 
time. Series of postcards on such territories as Kingdom of Italy3 (Torboli, 2022, 
2, 216–286), Archduchy of Austria below the Enns and County of Tyrol4 (Torboli, 
2022, 90–91, 128, 130, 135–36) and the Kingdom of Bohemia5 (Degen, 1998, 
14–21) are first created in the 1880s. The Croatian context of the development of 
the first series of postcards is connected with the first postcard of Opatija, created 
immediately before the Rijeka series of postcards, i.e., no later than 1888 (Bogavčić 
& Salopek Bogavčić, 2020, 129).  
The first Croatian series of postcards from 1889 to 1891 shows the area of 
Rijeka6 and its adjacent parts of the Margraviate of Istria (Opatija, Lovran, Volo-
sko, and the Istrian coast) and parts of the Modruš-Rijeka County (Sušak, Trsat, 
Bakar, and Kraljevica). The paper will compare how the photographs by recognised 
authors relate to the motifs on the postcards, analyse the dynamics and techniques 
under which they were printed, analyse how the postcards were distributed, and 
also emphasize what the impacts of the first series of postcards were. 
Understanding the contextualization of the origin of the first series of postcards 
is complemented by further comparison and analysis of data at three levels. The 
first level of analysis was based on the evaluation of numerous domestic and foreign 
private and public collections of photographs and postcards. The secondary level of 
assessment, based on the analysis of photographs and printed publications, is sup-
plemented by analyses of printing processes. Based on the quantitative analysis of 
the postcards and the consideration of articles from the La Varietà and La Bilancia 
newspapers, the process of issuing the first batch of postcards was reconstructed 
as the third methodological level. The results were obtained on the volume, time, 
quantity, and dynamics of printing of the postcards of the aforementioned series, 
which were additionally supplemented with data on the distribution and sale of 
postcards. Thus, quantitative analysis on a small sample of found and preserved 
postcards made it possible to estimate the total circulation, as well as analyse 
3 Italian postcards date from the mid-1870s, postal cards from 1873, while the first large series of Italian 
postcards, according to the Torboli was created simultaneously with the Rijeka series and contains 240 dif-
ferent motifs. 
4 Austrian postcards were first created in 1870/71, the series of illustrated postal cards of Vienna and Tyrol 
was created in the mid-1880s, while the postcard series of Tyrol was created in the late-1880s.  
5 Bohemian postcards were created in the 1870s, and in the late 1890s, a series of the Sokol movement post-
cards was created. 
6 Corpus separatum, the City of Rijeka and surroundings (Fiume város és kerülete). Rijeka was separate part 
from Kingdom of Croatia and Slavonia directly connected with Lands of the Crown of Saint Stephen. 
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Ivan BOGAVČIĆ & Iva SALOPEK BOGAVČIĆ: THE FIRST CROATIAN SERIES OF POSTCARDS OF RIJEKA ..., 39–64
the use of the language of their users, the impact of legislation on printing, the 
dynamics of postal use of the preserved postcards, and the general enterprise of 
printing the first batch of postcards by a printing company such as Stabilimento 
Tipo-litografico Fiumano.
VALORISATION OF POSTCARDS 
The understanding of postcards as a source of information or as an information 
communicator (Maroević, 1993, 123), and not only as illustrations, was preceded 
by a systematic collecting, evaluation, analysis, and synthesis of various aspects 
of postcards. This methodology was supplemented by quantitative analyses that 
would allow evaluating the postcards in their totality on the basis of visual, 
printed, linguistic, material-figurative, technical-technological, symbolic, socio-
logical, operational, and similar content. Quantitative analysis of postcards in 
various public and private collections makes it possible to determine how rare 
the postcards are, understand their circulation, and trace the flow of audience 
interest in it, depending on whether it has been printed in several editions or 
only a single edition. For the purposes of this research, many museums, libraries, 
and archival public and private collections in Croatia and in abroad7 have been 
consulted, and, in the collections of the Maritime and Historical Museum of the 
Croatian Littoral, Rijeka8, and the National and University Library of Zagreb9, 
one postcard from this series in each location have been discovered. There are 
seven large private collections of Rijeka postcards in Rijeka, and in five of them, 
not a single postcard from this series exists, although the collections number 
several thousand different units of examples of Rijeka postcards from the end of 
the 19th century to the Second World War. One item from this series was found in 
one private collection, while in the largest collection of Rijeka postcards,10 there 
are around ten different items from this series (Smešny, 2020, 97–106). In other 
private collections in Croatia there are two postcards from this series11, while in 
foreign private collections, such as the Vujičić private collection12, there are two 
postcards from this series. 
7 The following postcard collections were examined: the Maritime and Historical Museum of the Croa-
tian Littoral, the Museum of the City of Rijeka, the National and University Library, the Maritime 
and Historical Museum of Istria, the Croatian State Archive, the Museum of Tourism, the Hungarian 
Archives, Museum and Library Database- Hungaricana , the Österreichische Nationalbibliothek – An-
sichtskartenportal, etc.
8 Historical and Maritime Museum of the Croatian Littoral, Rijeka, Postcard Collection, Fiume, veduta gen-
erale, KPO-ZR 309, PPMHP 111815.
9 National and University Library of Zagreb (hereinafter NUL), Postcard Collection, Tersatto, GZ 30/1987. 
10 The largest collection of Rijeka postcards, Vladimir Smešny, has been the basis for cataloguing the post-
cards of the City of Rijeka since 1889. Four volumes have been released up to the year 1925. 
11 One postcard is from Mario Kuzmanović private postcards collection, Slavonski Brod and other owner 
wants to remain anonymous. 
12 Milan Vujičić private postcards collection, Vienna. 
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Ivan BOGAVČIĆ & Iva SALOPEK BOGAVČIĆ: THE FIRST CROATIAN SERIES OF POSTCARDS OF RIJEKA ..., 39–64
The Lukan private collection13 had one such postcard, which was presented as a 
gift on the occasion of the creation of this paper to one of the authors. The Bogavčić 
private collection14 features about twenty different examples of postcards of this 
series.  The first series of the Rijeka postcards is specific because of a small number 
of preserved examples, which makes it extremely rare, and also because of the fact 
that this is the first Croatian “mass” printed series of postcards. For comparison, 
in 1896, an extensive series of postcards were printed on the occasion of the Mil-
lennial Exhibition in Budapest, of which three postcards show areas in Kingdom 
of Croatia and Slavonia (Plitvice Lakes and Zagreb) and City of Rijeka (Viestnik 
Županije virovitičke, 1. 9. 1896, 2) and they cannot be considered rare based on 
their frequency, since several hundred examples of each motif have been preserved. 
Therefore, in order to understand the emergence of postcards in Croatia at that time, 
it is necessary to analyse its various aspects, such as material, size, form, type of 
printing, printing language, role of the publisher, author, printer, distributor and 
seller, as well as the handwritten messages of the users, postal use, motifs, owner-
ship, the social interactions of the users, and others elements that can be found on 
the postcards.   
In total, 24 different motifs were found on 44 postcards of the specified series 
of Rijeka and the surrounding area in all public and private collections. Based 
on the analysis of the periodicals of La Bilancia and La Varietà, the existence of 
14 additional motifs was recorded, which make up the whole of the 38 motifs of 
that first series. (Table 1). Out of the 38 motifs from the first series of postcards, 
nine motifs remain unknown, while five motifs were found based on literature: Via 
Governo, Hohe See (Costa Istriana con una Nave in Pericolo), Tunnel Mundung 
(Sbocco del Tunnel al Dolaz) Stadtisches Schulgebaude (Edificio della Scuole), 
Magy. kir. Tengereszeti Akademia (Accademia di Marina) (Smešny, 2020, 105). Of 
the fourteen unknown motifs and motifs known only from the literature (designa-
tion 0A and 0B in Table 1), a visual representation of five of them (designation 
0B) was found in the literature, whereas for nine motifs (designation 0A) it is 
unknown what they looked like. The analysis of the found postcards showed that 
thirteen motifs were found in one item (designation 1 in Table 1), five motifs were 
found twice (designation 2 in Table 1), three motifs were preserved three times, 
and three more motifs were preserved four times (designations 3 and 4 in Table 1). 
The analysis showed that the most preserved motifs were the most general since 
panoramic and general images of the city of Rijeka and Opatija were preserved in 
several examples (3–4 items), unlike the individual building motifs (Villa Ružić, 
etc.) or certain small settlements in the vicinity (Kraljevica), which were not found 
at all.  The above is the result of the users’ demand for common and familiar motifs 
that symbolised the settlement.  
13 Walter Lukan private postcards collection, Vienna. 
14 Ivan Bogavčić private postcards collection, Zagreb. Dimensions of all postcards from this serie in Bogavčić 
private postcards collection are around 140x 85 mm.  
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Ivan BOGAVČIĆ & Iva SALOPEK BOGAVČIĆ: THE FIRST CROATIAN SERIES OF POSTCARDS OF RIJEKA ..., 39–64
FROM PHOTOGRAPHY TO POSTCARDS 
Rijeka newspapers 15 published articles about the novelty – the arrival of postcards. 
No magazine, newspaper, or any other publication of that time in the territory of 
modern Croatia16 have published an article about the advent of postcards until 189217 
(Bogavčić, 2014, 28–29). Why did this happen in Rijeka, and not in Split, which al-
ready in 1880 had the first postcard18 in region (Bogavčić & Salopek Bogavčić, 2020, 
128)? The possibility probably lies in a number of circumstances that have made Rijeka 
as well as its surroundings one of the more innovative and fashionable centers of the 
Monarchy since the second half of the 19th century. The printing house that printed the 
first batch of Croatian postcards Stabilimento Tipo-litografico Fiumano, has existed in 
Rijeka since 1862. Its owner Emidio Mohovich (Mohovich, 2021) was a Croatian jour-
nalist and publisher who initially worked together with Carl Huber (Smokvina, 2003, 
186). Stabilimento Tipo-litografico Fiumano printed numerous pamphlets, statistical 
reviews, gymnasium reports, economic and industrial reviews of Rijeka, as well as the 
newspapers Giornale Di Fiume (1865 – 1871), La Bilancia (1868 – 1919) and La Vari-
età (1882 – 1896.) From the 1860s, Rijeka competed with Trieste and thus became an 
increasingly important industrial centre, which, with its port, shipbuilding, metallurgy, 
and chemical industries, stimulated the development of transport and, consequently, 
tourism. The adoption of the City Charter in 1872, the appearance of the Southern 
15 La Bilancia, 13. 9. 1889: Novita in Carte di Corrispodenza, 2., La Varietà, 14. 9. 1899, Novita in Carte di 
Corrispodenza, 2.
16 It was divided in Triune Kingdom of Croatia, Slavonia and Dalmatia with separate City of Rijeka and Mar-
graviate of Istria. 
17 The Research Legacy of Giardini, 1994, 4. 
18 One of the oldest Croatian postcards depicting Split from 1880. is illustrated postal card with in advance 
printed postal stamp at reverse side (similar as postal stationary). 
Motifs
Information about the 
type and number of 
motifs 
Number of preserved / 
found postcards
1 
item
2 
items
3 
items
4 
items
Unknown image motives (0A) 9
Known image motifs from 
literature (0B) 5
Known image motifs based 
on postcards 24 13 5 3 3
Total motifs 38
Table 1: representation of the number of preserved postcards based on motifs.  
ACTA HISTRIAE • 31 • 2023 • 1
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Ivan BOGAVČIĆ & Iva SALOPEK BOGAVČIĆ: THE FIRST CROATIAN SERIES OF POSTCARDS OF RIJEKA ..., 39–64
Railway in 1873 in Rijeka, and the adoption of a town-planning plan in 1874 (Žic, 
1999, 82–83.) influenced the additional development of the city in the communication 
and urban planning sense. Opatija, in turn, developed as a tourist destination in the 
1840s, and realised its potential in the 1880s, when it became a health and tourism 
centre (Kranjčević & Muzur, 2020, 135). The vistas of the city were interesting not only 
to ordinary citizens and visitors but were also considered special and were presented 
(in the 1880s) as a gift. Sets of photographs by Carlo Zamboni and Illario Carposio 
were presented as a gift to the Royal Family upon their visit to Rijeka in 1885. (Labus 
& Smokvina, 1995, 300; Smokvina, 2003, 194). The Stabilimento Tipo-litografico 
Fiumano printing house collaborated not only with many local photographers, but also 
with the official monarchical photographer. Thanks to foreign photographers, photog-
raphy “came to life” in Rijeka from 1844 to 1861 (Labus & Smokvina, 1995, 299). 
After the opening of Emidio Mohovich’s store in 1865, photographs were sold there 
as part of the assortment (Smokvina, 2003, 187). In Mohovich’s newspaper, Giornale 
di Fiume, many photographers with whom he worked advertised their services, from 
Ignazio Pollak, Salamon Hering (Labus & Smokvina, 1995, 299) to photographers like 
Ilario Carposio and Carlo Zamboni von Lorbeerfeld, who advertise themselves in La 
Bilancia (Smokvina, 2003, 192, 197). It seems that Emidio Mohovich also collaborated 
with Alois Beer, the official photographer of the Imperial and Royal Navy. Based on 
Fig. 1: Alois Beer, Fiume von Hafen (Smešny private collection, Smešny, 2020, 3, 
photograph cca 1880). 
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photographs of Rijeka from the second half of the 19th century, one can see how the 
motifs from the photographs taken in the 1870s and 1880s were used as photographic 
templates for the first series of postcards of Rijeka and its surroundings. 
Of at least seventeen motifs on postcards issued before September 13, 1889 
(Smešny, 2020, 97–105; Bogavčić private collection, 1889–1891) for fourteen of them, 
it is known what they looked like, for at least seven, this research determined that 
these were photographs by Ilario Carposio, used as postcard templates, and two were 
made based on photographs by Alois Beer. Looking at the available and published 
photographs of Ilario Carposio, one can see how the photographs, which were used 
as templates for postcards, were created mainly in the early 1880s, for example, the 
published photographs The Corso (Galić, 1995, 66), Theatre (Dubrović, 1995, 54), or 
the panoramic photograph of the View of Rijeka from Trsat (Smokvina, 2004, 17). An 
interesting example is a photo of I. R. Accademia di Marina made by Ilario Carposio19, 
that was template for woodcut, published in the book Fiume und Seine Umgebungen 
(Littrow, 1884, 26–27), and then again photograph template for the postcard printed in 
1889. Two motifs from postcards printed in September 1889 – Trsat and the motif of the 
Rijeka port (Porto Interno) (Bogavčić private collection, 1889–1891) – were printed 
according to the photographic templates of Alois Beer. In the example of a photo of the 
Rijeka port by Alois Beer named Fiume von Hafen20 (Albertina Foto, GLV2000/18385), 
which was determined after 187521, it can be seen how the photograph was a template 
for the woodcut Le Port de Fiume (Bogavčić private collection; Bauron, 1888, 65) 
(Figure 2). 
The book lists M. L’abbe P. Bauron as the author of the photograph. A similar photo 
template by Alois Beer (Smešny, 2020, 3) (Figure 1) was used to create one postcard 
(Figure 3) as part of the first batch of postcards, i.e., Porto Interno22 (Bogavčić private 
collection, 1889–1891). Both photos are numbered 2292 (Smešny, 2020, 3) and were 
made from the same negative, but have significantly different frames. In addition to 
the shifts in framing, the photographs differ in that the one from which the postcard 
was made was additionally retouched (one boat is missing and the flag is flat).  The 
photograph from which the Porto interno postcard was made was a template for the 
subsequent creation of many lithographic postcards with the same port motif found in 
the postcard editions of Carl Otto Hayd (Smešny, 2020, 39), A. Rosenblatt (Smešny, 
2020, 135), Carl Spies (Smešny, 2020, 168, 170), etc. 
19 The authors would like to thank Miljenko Smokvina for allowing them to view the copies of photos by 
Ilario Carposio.
20 Alois Beer, Croatiche Kuste, Fiume von Hafen, no. 2292, 490, in: Albertina Foto GLV2000/18385. https://
sammlungenonline.albertina.at/?query=search=/record/objectnumbersearch=[FotoGLV2000/18385]&sho
wtype=record (last access: 2022-07-07).
21 Alois Beer, Croatiche Kuste, Fiume von Hafen, no. 2292, 490, in: Albertina Foto GLV2000/18385. https://
sammlungenonline.albertina.at/?query=search=/record/objectnumbersearch=[FotoGLV2000/18385]&sho
wtype=record (last access: 2022-07-07).
22 The postcard with the second title - Porto, was probably printed after the first edition was sold out, as can 
be seen from the title in newspaper articles and on the Type C reverse side. 
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Based on the catalogue of photographs by Alois Beer (Katalog von Land-
schaftsaufnahmen von Alois Beer, 1892, 32)  it is possible to determine that he 
also took the photo of Tersatto (Smešny, 2020, 3), which was also taken after 
1875 (Katalog von Landschaftsaufnahmen von Alois Beer, 1892, 32), and was 
the basis for creating a postcard (Smešny, 2020, 102; Bogavčić private collec-
tion, 1889–1891), which is engraved AV (ph). In this series of photographs made 
by Alois Beer there are ten photographs of Rijeka and Trsat, numbered from 
2290 to 2300 (Katalog von Landschaftsaufnahmen von Alois Beer, 1892, 32). 
In the catalogue of photographs by Alois Beer, a series of photographs of the 
Istrian coast ends with a photograph of Lovran, i.e., number 2261, and a new 
series of photographs begins with the photographs of Bakar (2320 and 2321) 
and Kraljevica (2324). Postcards of Lovran and Kraljevica that might have been 
printed on September 14, 1889 are perhaps based on photographs by Alois Beer. 
In addition to the fact that a couple of postcards of Rijeka and its surround-
ings were based on the photographic templates by Alois Beer, they were also 
created on the photographic templates by authors who tended to photograph 
the city itself more, such as Ilario Carposio and possibly Carlo Zamboni von 
Fig. 2: Le Port de Fiume, illustration M. 
l’abbe P. Bauron, Les Rives illyriennes: 
Istrie, Dalmatie, Monténégro, Woodbury-
type, 1888 (Bogavčić private collection).
Fig. 3: Fiume Porto Interno. Postcard 
issued before 13. 9. 1889, postal use 
26. 12. 1893 (Bogavčić private collec-
tion, 1889–1891). 
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Lorbeerfeld. Thus, out of 14 postcards created around 14. 9. 1889, six of them 
had a photographic template based on the photography of Ilario Carposio, six 
were based on unknown photographic templates (one, possibly, I. Carposio)23 
and two were certainly based on Alois Beer’s photography. The time range of 
photographs that served as a photographic template ranges from 1875 to 1888. 
Perhaps the earliest photographs were taken based on Alois Beer’s catalogue 
around 1875, while the latter ones may have been created around 1887 or 1888, 
e.g., when the construction of the Continental Hotel was completed, also called 
the “Bačić Palace” in honour of its owner Hinko Vitez Bačić (Bacich), that is, 
as the very name of the postcard says “Sussak (Palazzo Baccich)” (La Varietà, 
19. 10. 1889, 1).24 Comparing postcards with photographs, it was noticed that 
sometimes the frame of the motif on the postcard is significantly reduced than 
the frame of the photograph. The above can be seen by comparing the photo 
of the Ürmeny Square and Insula Gorup25 with the postcard entitled Mercati 
coperti26 (Smešny, 2020, 98). The postcards of the first Croatian series were 
printed until the beginning of 1890 and, accordingly, the photographs that 
served as photographic templates could have been created by 1890. However, 
these are mostly photographs that were created in the 1880s. 
THE ROLE OF THE ENGRAVER IN THE PRODUCTION OF POSTCARDS
By linking which photographic templates the postcards were created from, 
it is possible to determine the authorship of the photographer, more accurately 
determine the mutual dating and whether there was subsequent interference 
on the postcard in relation to the original photo, as well as to compare the 
frame of the postcard with the frame of the photograph. In general, most of 
the postcards before 1918 were created by a photo-mechanical process from 
photographs, using halftone printing and collotype processes, while a smaller 
part was created using lithographic techniques and photographic methods. The 
halftone printing with which this series of postcards was created was mainly 
used until 1895, and after that, the postcards were mostly printed with col-
lotype. Halftone printing is a graphic process consisting of two sequences: the 
first is for creating a reprophotographic screen template (a halftone negative) 
from a photograph, and the second is for transferring a print which reproduces 
photographs to a metal plate (often zinc) using mechanical printing (Stulik & 
Kaplan, 2013, 5), i.e., prints a postcard or other types of illustrated print. The 
size and location of the dots affect the lighter or darker tone of the image, and 
23 Based on the information about the negative of the photo provided by mr. Smokvina (the original is in the 
Magyar Nemzeti Múzeum Magyarország, neg. 64413, motif of the Accademia di Marina).
24 La Varietà, 19. 10. 1889: Carte di Corrispondenza delle Vedute di Fiume e Contorni, 1.  
25 PPMHP, 101078, author unknown, circa 1884. In: Digital PPMHP. https://digitalni.ppmhp.
hr/?pr=i&id=15985 (last access: 2022-07-10). 
26 The postcard is included in the Smešny private collection of postcards, Rijeka. 
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for newspapers and some other printed materials printed on coarser paper, a 
coarser screen was used, while for artistic images, thinner paper and a finer 
screen were used. This process made it possible to print photos more mas-
sively, which before the introduction of halftone printing were redrawn manu-
ally by engraving a wooden block from which they were printed (Smokvina, 
1995, 222). The first successful and commercial halftone prints appeared in 
France in 1881, and then in Germany in 1882, while since 1883 it has been 
used for newspaper and magazine illustrations, which have become popular 
since 1893, thanks to Max Levy (Stulik & Kaplan, 2013, 5–7).
This novelty was made by engravers or illustrators who would sometimes 
sign their work in the corner of the metal plate/stencil/cliche. Of the ten de-
termined Rijeka postcards printed before September 13, 1889,  six of them 
have the V.T. inscription (in the lower left or right corner of the graphic part 
of the postcard) or the V.Turati Inc. inscription (Bogavčić private collection, 
1889–1891) Such an inscription is also found on one postcard of Opatija 
(Figure 5, 6 – photograph of Abbazia, Hotel Stefania and the postcard with 
the same motif and inscription V.Turati Inc.) printed before September 13, 
1889 (Bogavčić private collection, 1889–1891). These are probably mostly 
photographic templates of Ilario Carposio. Based on the fact that the specified 
inscriptions do not appear on postcards after 13. 9. 1889, it can be concluded 
Fig. 4: Example of one back side of the postcard with four different types of postal 
printed languages, Type D (Bogavčić private collection, 1889–1891).
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that the engraver V.T. participated in the creation of the first postcards of this 
series. 
V.T or Turati V. or V.Turati Inc (Turati V., 2022) was an illustrator and en-
graver company that had operated in Kingdom of Italy since 188427. Initially, 
after its founding, the company was “an artistic institution for the application 
of photography: an illustrated circular” (V.Turati inc., 2022), and after patent-
ing photomechanical engraving in 1884, it was, in time, transformed into Stab. 
tipografico e di fotoincisione V. Turati, i.e., the company of Vittorio Turati 
from Milan. The company (Turati V., 18?, 2–3)  patented photo-mechanical 
engraving in 1884. that didn’t need retouching28. They advertised that it could 
use a technique called Typophotography (Vittoriotypy) for fast machine repro-
duction of photographs in conventional printing by thousands of copies. The 
company used typophotography as a photo-mechanical process, then photoz-
incotyping as a photochemical process and zincotyping as a chemical process. 
They used special cliches (metal plates/stencils), which they advertised as 
different from those used before. The company stressed that their stencils can 
serve more than a hundred thousand copies without wearing out (Turati, 18?, 
2–3). By enlarging the printed photo on the Porto Interno postcard (Figure 8), a 
circular screen with mostly regular patterns is observable, and in some places, 
there are elements of an irregular pattern, typical of the early period, until the 
Ives/Levy cross-dot screen was introduced circa 1893. The aforementioned 
postcards of the Rijeka series were created using halftone printing, which was 
probably a low-resolution photolithography with a flat ink application (Stulik 
& Kaplan, 2013, 35). On this postcard, the medium resolution of the halftone 
printing screen (grid) was used – because the dots are not visible to the naked 
eye, but with a slightly better magnification they are clearly visible and the 
quality is about 150 lpi 29 (Stulik & Kaplan, 2013, 6, 9).
Some postcards like Via del Governo II (Smešny, 2020, 105) Trsat, Bakar, 
Hotel Quarnero Opatija, and the motif of Marina con Baragozzi (Bogavčić 
private collection, 1889–1891) also have an inscription that can be assumed 
belong to another engraver/illustrator. The inscription on the postcard reads 
AV30 ph (?) in the lower left or right corner of the image. Variations of the ph 
signatures exist also on the other Rijeka postcards like La Torre del Orologio 
(Smešny, 2020, 97) Riva Stefania (Balazs, 1994, X, illust. 59) Mercati Co-
perti (Smešny, 2020, 98) Ponte Girante Sulla Fiumara and Lovrana (Bogavčić 
private collection, 1889–1891) About a dozen postcards do not have any il-
lustrator inscriptions, and on the postcards that were not locate, the possible 
27 Stab. tipografico e di fotoincisione V. Turati, Milano.
28 Patent of an Italian industrial enterprise.
29 Lines per inch (measurement for printing resolution).
30 This might have been the work of the Bohemian illustrator and forester Vaclav Leo Anderle (1859–1944) 
who is best known in Croatia for his illustrations of the books by Dragutin Hirc, such as the Croatian Lit-
toral, Plitvice Lakes and Gorski Kotar. 
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signatures remain unknown. Based on all of the above, it is obvious that 
Stabilimento Tipo-lithografico Fiumano had a foreign associate who used the 
latest methods to make cliches out of photographs, from which the illustrated 
parts of the postcards were printed. Thanks to the use of halftone printing, a 
larger circulation of illustrated printed publications was achieved, and these 
photographs could be more represented in print media.   
«NOVITA IN CARTE DI CORRISPONDENZA»31 
In September 1889, the Rijeka newspapers La Bilancia and La Varietà 
mention a novelty in correspondence cards (Bogavčić, 2014, 28), calling it 
«cartoline postali colle vedute» (La Bilancia, 18. 9. 1889, 2), which can be 
translated as postal card with a picture (dopisnica sa slikom)32 (Bogavčić 
& Salopek Bogavčić, 2020, 126), i.e., later as a picture postcard (karta 
razglednica)33 (Dom i svijet, 5. 2. 1899, 80). This was a novelty in which for 
the first time it was necessary to buy a postage stamp and paste it on the postal 
card, on which there was not only the correspondence area but also an il-
lustration. Postal cards of that time were printed as “total” or postal stationary 
(Ganzsache, 2022), and there was no need to additionally buy postage stamps. 
The new postcards were printed on thin greyish-green cardboard of the default 
postal card format34, and on the back35, there was space for correspondence 
and an illustration. Not only have both newspapers of the Stabilimento Tipo-
litografico Fiumana publishing house brought forth the information about the 
emergence of a new form of communication, but they had also reported in 
detail on the motives, circulations, points of sale, and similar data related 
to the first series of postcards. Based on newspaper articles, it is possible to 
systematically trace the arrival of the first Croatian series of postcards, that 
is, in what dynamics certain motives appeared, which was rarely observed in 
other cities of Croatia36. After examining the listed newspapers articles, it was 
31 A new type of correspondence card, which still has not been named on 13. 9. 1889.
32 The linguistic construction of picture postal cards was often used in the late 19th and early 20th centuries de-
noting a postcard. This syntagm was created and used as a translation of the German Correspondentz-karte 
syntagm and was used before the term “postcard”. Furthermore, it continued to be used for quite a long time 
after the creation of the term “postcard”.   
33 Postcards were called “picture postal cards” because they were created from postal cards, and for a while 
there was no adequate term found in the language that would not depend on the term of postal cards. 
Confirmation of the first use of the term postcard is found in the syntagm “picture postcards”, which is a 
translation of the German term Ansichtskarten. 
34 The dimensions of postal cards at that time were 142 x 85 mm. 
35 At that time, the rear part was intended for private use, that is, for the sender’s text, while the front side 
was the official side of the postcard with the address and other official postage markings, including postage 
stamps. Later, the two terms are reversed, and the term “front” is used for the side with the visual image, 
and the “back” side denotes the part intended for the address.
36 This was noted, for example, in Zadar, as well.  
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evident how in the middle of September 1889, (La Bilancia, 13. 9. 1899, 2; 
La Varietà, 14. 9. 1899, 2) at least sixteen different motifs on postcards were 
being sold. 
The exact number of this first part of the series of postcards remains un-
clear since the mentioned articles exhaustively list the motifs of the Rijeka 
postcards, and together they list the motifs of the Opatija postcards as “vari-
ous picturesque vistas of Opatija” (La Bilancia, 13. 9. 1899, 2; La Varietà, 
14. 9. 1899, 2). The postcards were sold in several shops in Rijeka and could 
be bought in bulk at the Stabilimento Tipo-litografico Fiumano in packs of 
100 pieces (La Bilancia, 13. 9. 1889, 2). These postcards were sold for two 
kreutzers each, and two or five additional kreutzers needed to be attached 
to them, depending on where they were sent. The circulation of this series 
of postcards is estimated from two to five thousand items per motif, in total 
about one hundred thousand postcards. The postcards were sold in about eight 
locations in Rijeka:
Fig. 5: Ilario Carposio – Fiume, Abbazia, Photograph of hotel Stefania, after 1885 
(Bogavčić private collection, 1889–1891). 
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1. Stabilimento Tipo-litografico Fiumano, Via Governo (La Bilancia, 13. 
9. 1889, 2) 
2. Polonio – Balbi, Libreria in Piazza Adamich (La Varietà, 14. 9. 1889, 2) 
3. G.B. Schnautz, Via del Corso (La Bilancia, 14. 1. 1890, 2)
4. F.A. Schnantz, Cartoleria in Piazza Adamich (La Varietà, 14. 9. 1889, 2)
5. Vittorio Macchioro, Via del Governo (La Varieta, 19. 10. 1889, 1)
6. Ant.  Bastianchich, Via del Lido (La Bilancia, 14. 1. 1890, 2)
7. Marco Oberdorfer, Negozio al Corso (La Varieta, 19. 10. 1889, 1) 
8. S. Gozzano, Via del Teatro (La Bilancia, 14. 1. 1890, 2) 
If we examine the motifs mentioned in the first edition of 13. 9. 1889, 
we can establish that they were divided into the motifs of Rijeka, the motifs 
of Opatija, and the surroundings of Rijeka. The motifs of Rijeka include: 
Fiume (Veduta Generale di Fiume), Teatro Comunale – La Piazza Urmeny col 
Teatro Comunale, Via del Corso – Il Corso, Via del Governo, Piazza Adamich, 
Cassa Comunale di Risparmio, I. R. Accademia di Marina, R. Governo Mar-
ittimo (Edifizio del r. Governo marittimo/Quello del r. Governo marittimo) 
and Porto Interno. The motives of Opatija were not listed exhaustively but 
were described as “diverse pittoresche vedute d’Abbazia”, which implies that 
there were already several Opatija motifs in the first series of postcards (La 
Bilancia, 13. 9. 1889, 2). This first part of the postcard series also featured 
postcards with the surroundings of Rijeka, i.e., the postcards of Tersatto, Buc-
cari, Portore, Volosca, and Susak. It is obvious that this is the motif of Susak 
– Palazzo Bachich, given that in a newspaper article dated 27 September, this 
motif is included in the group of those that have already been published, while 
for another motif of Sussak (Villa Ruzic) it was stated that it was still being 
prepared. This article lists all the motifs, but the motif of Riva Szapary is 
particularly interesting, and was not specified in previous articles (La Varietà, 
27. 9. 1889, 2). The first assumption is that it was a recently released motif, 
but based on the date indicated by the sender on the reproduced postcard 
(Balazs, 1994, 59), we can establish that it was printed together with all the 
motifs already mentioned before 13. 9. 1889. The motifs of Opatija are listed 
by name in this article, Hotel Stefania and Hotel Quarnero, which were prob-
ably released in the first half of September 1889, as well as the motifs listed 
so far. (La Varietà, 27. 9. 1889, 2). New postcard motifs were announced 
for the next issue, i.e., Rijeka motifs: La Torre dell Orologio, Molo Zichy, 
Riva Stefania, Sbocco del Tunnel, Mercati Coperti, and Ponte Girante sulla 
Fiumara. The motifs of the surroundings were also announced. Sussak (Villa 
Ruzic) and Lovrana. 
Based on the articles (La Bilancia, 12. 10. 1889, 2; La Varietà, 14. 10. 1889, 
1) it became known that some of the previously announced motifs were printed, 
i.e., five motifs, La Torre dell Orologio, Molo Zichy, Riva Stefania, Sbocco del 
Tunnel, and Mercati Coperti. All previous motifs printed on postcards were 
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summarised (La Varietà, 19. 10.  1889, 1) and can be divided into three types: a) 
postcards whose existence has already been confirmed on the basis of previous 
newspaper articles, b) postcards that were announced on 27 September and the 
printing of which was confirmed (Ponte Girante sulla Fiumara, Sussak Villa 
Ruzic, Lovrana) and c) a new hitherto unknown motif (Via del Governo due 
Diverse)37.  
In mid-November (La Varietà, 21. 11. 1889, 1) information about four new 
postcards appears: Palazzo Governiale (Palazzo governiale), Edifizio Sco-
lastico Maschile (Edifizio delle scuole comunali maschili in via Clotildee), 
Villa Angiolina in Abbazia, Costa Istriana con una Nave in Pericolo (Nave in 
pericolo sulla costa Istriana).  At the beginning of 1890, a series of articles 
presents a complete list of postcards issued by that time, which include new 
motifs of Rijeka, such as Rada di Fiume (Canale della Fiumara), new motifs 
of Opatija, such as Veduta Generale, Parco, Porto, Stabilimenti Bagni, Villa 
Elisabetta, and from the vicinity of Rijeka, the Marina con Baragozzi (La 
Bilancia, 14. 1. 1890; 23. 1. 1890; 12. 2. 1890).
Apart from the 37 motifs listed so far, after 1890, a postcard with the Via 
del Molo motif was published, which, as is known, was printed based on a 
photograph by Ilario Carposio (Dubrović, 1995, 53) after the second half of 
1890, because it depicts the motif of the new bell tower of the Church of St. 
Vitus, erected on 7 June 189038 (PPMHP, 101177/1). This postcard was printed 
no later than August 1891, based on postal use.39 
The analysis of newspaper articles and found examples of postcards es-
tablished the dynamics of the publishing of postcards from September 1889 
to August 1891. During this period, motifs of the city of Rijeka were printed 
the most, 21 in total, followed by eight Opatija motifs, two Sušak motifs 
and two general naval motifs, as well as one motif each of Trsat, Kraljevica, 
Bakar, Volosko, and Lovran. Most of the postcards, 17 of them, were printed 
in the first wave of the series release, that is, in September 1889. In October 
1889, nine postcards were printed. In November, four more were printed, and 
in December or January 1890, seven postcards were printed. An additional 
postcard of this series was printed no later than mid-August 1891.
TEXTS OF THE FIRST SERIES OF POSTCARDS   
The texts on the postcards can be divided into texts that were used when 
printing the postcards, and texts used by senders. The printed texts on the 
postcards are divided into texts on the front and back sides of the postcards. 
37 Up to this point, only one motif of Via Governo was known. 
38 PPMHP, 101177/1, foto: Ilario Carposio, 07.06.1890. In: Digital PPMHP. https://digitalni.ppmhp.
hr/?pr=i&id=16084 (last access: 2022-07-10).
39 Postal use, 19. 8. 1891.
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Fig. 6: Abbazia - Hotel Stefania. Postcard issued before 13. 9. 1889, postal use 
15.4.1890. V.Turati inc. engraved (Bogavčić private collection, 1889–1891).
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The address side, i.e., the reverse side of the postcard is subject to postal 
legislation, which cannot be said about the front side, on which the illustration 
and the place reserved for the sender’s text are located. The printed text on 
the front side of this series of postcards always consists of the name of the 
settlement, and, often, the name of a particular motif that the postcard depicts. 
The postcards of this series are printed in Italian, and some of them contain 
only the name of the settlement (for example, Fiume), which is the same for 
several other languages like German or Hungarian (Bogavčić private collec-
tion, 1889–1891). 
When analysing the reverse sides, four different types of the reverse side 
of the postcards were noticed: 
A) the reverse side without any printed elements
B) the reverse side with the printed bold font “Carta di Corrispondenza” 
and four dotted horizontal address lines
C) the Type B reverse side, on which “Levelező-Lap.” is written in bold 
simple letters over “Carta di Corrispondenza”
D) the reverse side, on which “Levelező-Lap. – Correspondenz-Karte” 
is printed in the upper row in elongated letters above the four dot-
ted address lines, and below, in significantly smaller letters, “Carta 
di Corrispondenza. – Karta Dopisnica” (Bogavčić private collection, 
1889–1891): (Figure 4). 
The Type A reverse side is probably a typo or a trial print that was not in-
tended for sale and postal use, but was used by someone who thus preserved 
this type of reverse side, which is by far the rarest and is not only a rarity 
in this series of postcards but also a rarity in the postal use of postcards in 
general. It is rare to find such examples preserved without a printed back, 
and even rarer that they were also postally used. The Type B reverse side 
was printed first, as the printing language of the front and back is the same, 
that is, both sides are in Italian. The publishers quickly realised that the 
postcards with the reverse side of Type B did not comply with postal legisla-
tion in the Rijeka area, and subsequently added Hungarian to the previously 
printed postcards. On the territory of the Hungarian postal administration, 
postcards and postal cards had to be named in Hungarian, that is, the type of 
postal item had to be printed in Hungarian (Levelező-Lap). This is evident 
when comparing the position of the printed Italian text, which is located on 
the Type B and Type C reverse sides in the same place with respect to the 
frame, and the Hungarian text was subsequently printed above the Italian 
text, thus creating a disharmonious composition on the Type C reverse side. 
Considering that the postcards of this series also depicted the surroundings 
of Rijeka and were used in settlements included in the Austrian postal zone, 
it was very quickly noticed that even the Type C reverse sides did not fully 
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Ivan BOGAVČIĆ & Iva SALOPEK BOGAVČIĆ: THE FIRST CROATIAN SERIES OF POSTCARDS OF RIJEKA ..., 39–64
Fig. 7: Trieste-Piazza Giuseppina, postcard, postal use 19. 7. 1891 
(Bogavčić private collection, 1889–1891).   
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Ivan BOGAVČIĆ & Iva SALOPEK BOGAVČIĆ: THE FIRST CROATIAN SERIES OF POSTCARDS OF RIJEKA ..., 39–64
comply with the rules in force in this area.40 In order to comply with postal 
laws both in Cislantania and Translantania, the publishers created the Type 
D reverse side, which has been preserved on the largest number of known 
postcards, over 80% of them, and which contained all four languages, with 
Hungarian and German being more prominent in size and position, since 
they were official, compared to Italian and Croatian.  Postcards of Type B 
and Type C were printed exclusively in September 1889, and, perhaps, in 
early October 1889, and they were postally used mostly in 1889 or 1890. 
The postcards with motifs of the first part of the series from September 1889 
were re-printed with a new reverse side (Type D). 
A total of 34 postally-used postcards were registered41, and the sender’s 
language on them was analysed, as well as the locations of outgoing and 
incoming mail. German was used on more than half of the postcards used, 
while Hungarian42 and Croatian were used on 20%, respectively, and Italian 
was used on about ten per cent. Interestingly, the use of German decreases 
in more recent usage, so that in earlier periods it was used on almost 70% 
of postcards, and in the period around 1898, its usage was reduced to 20%. 
Analysing where the postcards are addressed, it can be seen that about 20% of 
the postcards are addressed to Kingdom of Hungary, Kingdom of Croatia and 
Slavonia and Archduchy of Austria and about ten per cent to the Margraviate 
of Istria, about five per cent to Dalmatia, and about 20% to other locations 
such as Kranjska, Kingdom of Italy, German Empire, Republic of France, and 
the Kingdom of Bohemia. From the above, it can be seen that almost 90% are 
addressed within the Monarchy and only about 10% outside the Monarchy. The 
location of outgoing mail on postcards is most often the one also depicted on 
the motifs, and about 90% of the postcards in this Rijeka series were delivered 
from Rijeka, Opatija, and the surrounding area. Two examples of postcards 
bought in Rijeka are interesting, one of which was written in Split and sent 
from Dubrovnik to Zagreb, and the other was sent from Zsebely to Szegeden. 
The first case probably involved a ship voyage from Rijeka to Dalmatia, and 
in the second case, the sender probably bought the postcards in Rijeka and 
subsequently used them elsewhere.   
POSTAL USE OF INDIVIDUAL POSTCARDS  
Of the 44 found postcards of Rijeka and its surroundings, 34 were postally 
used. Analysing the time of use of these postcards, it is possible to determine 
how the use is grouped into three periods: the first period – from 1889 to 1891, 
the second period – from 1893 to 1894, and the third period – from 1897 to 
40 La Bilancia, 8. 10. 1889: Carte di corrispondenza colle vedute di Fiume, 2.
41 Analysis of language was made on 34 postally used postcards.
42 On two postcards it is unclear whether Croatian or Slovenian was used, given the brevity of the message. 
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Ivan BOGAVČIĆ & Iva SALOPEK BOGAVČIĆ: THE FIRST CROATIAN SERIES OF POSTCARDS OF RIJEKA ..., 39–64
1899. (Chart 1). In the first period, slightly more than 50% of postcards were 
used and about 25% in the other two periods, respectively. It is interesting to 
note how these periods coincide with the key years of the history of Rijeka 
postcards. The first period corresponds to the emergence of the first series 
of Rijeka postcards, the second period corresponds to the more “mass” use 
of lithographic postcards in Rijeka, and the third period corresponds to the 
beginning of the “mass” collotype printing of postcards in Rijeka and Croatia. 
It can be assumed that the more widespread use of lithographic and collotype 
printed postcards stimulated the sale and use of previously printed postcards 
from the first series of postcards of Rijeka.   
ACHIEVEMENTS OF THE FIRST SERIES OF POSTCARDS 
OF RIJEKA AND ITS SURROUNDINGS
When studying the context of Rijeka postcards, a series of Trieste post-
cards43 (Bogavčić private collection, Trieste-Piazza Giuseppina) was recorded, 
which were printed in the same way, on paper of the same type and colour as 
the Rijeka series of postcards.  
Considering the above, we can assume how this series of Trieste postcards 
arose under the influence of Rijeka’s printing achievements of that time, as 
well as the influence of Italian successes in engraving (Figure 7 – Trieste post-
card). From the motif standpoint, the first series of postcards of Rijeka and its 
surroundings influenced the emergence of postcards called the “Red Series”, 
created around 1899 (Smešny, 2020, 103; Bogavčić private collection, V.T., 
1899). These are identical photo templates that were used in the first batch 
of postcards, with the only difference being that the graphic images were 
43 The postcards of Trieste were printed no later than 1891, based on postal use. 
Chart 1: Postal use of postcards by year.
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Ivan BOGAVČIĆ & Iva SALOPEK BOGAVČIĆ: THE FIRST CROATIAN SERIES OF POSTCARDS OF RIJEKA ..., 39–64
made in red halftone. Shape-wise, and partially motif-wise, the first series 
of postcards of Rijeka and its surroundings influenced a series of postcards 
called “Unio Fiume” (Smešny, 2020, 185–187; Bogavčić private collection, 
“DELTA” Forgo HID, 1899). 
The photographs that served as templates for the first series of postcards were taken 
by photographers of the 1870s and 1880s, such as Alois Beer, Ilario Carposio, and pos-
sibly Carlo Zamboni, and have been used on postcards since 1889. In addition, they can 
also be found as sources for making lithographic postcards. At the end of September 
1890, Mohovich’s Stabilimento printed an album which included “...36 vistas, includ-
ing 20 of Rijeka, 8 of Opatija, 8 vistas of Trieste, Susak, Bakar, Kraljevica, Volosko, 
and Lovran. The album is intended for foreigners who, after visiting the city, can take 
home memories of the most beautiful vistas of our region ... ” (Smokvina, 2003, 202).
CONCLUSION 
This paper highlights two key theses necessary for understanding postcards: 1) The 
postcard is a hereditary source of data, not just an illustration, and 2) the evaluation and 
interpretation of postcards make it possible to understand how the first Croatian series 
of postcards arose under the influence of communication, economics, and tourism in the 
Monarchy and European context. Postcards as an integral heritage object can be under-
stood “in totality” only by observing at the variety of visual, textual, material, forma-
tive, functional, socio-symbolic, technical and technological qualities. Understanding 
the contextualization of the origin of the first series of postcards is complemented by 
further comparison and analysis of data at three levels. The first level of analysis was 
based on the evaluation of numerous domestic and foreign private and public col-
lections of photographs and postcards. The secondary level of assessment, based on 
the analysis of photographs and printed publications, is supplemented by analyses of 
printing processes. Based on the quantitative analysis of the postcards and the con-
sideration of articles from the La Varietà and La Bilancia newspapers, the process of 
issuing the first batch of postcards was reconstructed as the third methodological level. 
The results were obtained on the volume, time, quantity, and dynamics of printing 
of the postcards of the aforementioned series, which were additionally supplemented 
with data on the distribution and sale of postcards. Thus, quantitative analysis on a 
small sample of found and preserved postcards made it possible to estimate the total 
circulation, as well as analyse the use of the language of their users, the impact of 
legislation on printing, the dynamics of postal use of the preserved postcards, and the 
general enterprise of printing the first batch of postcards by a printing company such as 
Stabilimento Tipo-litografico Fiumano. The mass production of postcards in Kingdom 
of Croatia, Slavonia and Dalmacia (Triune Kingdom), Margraviate of Istria and City 
of Rijeka and surroundings began with the Rijeka postcard series in 1889. Although 
Rijeka was corpus separatum directly connected with Lands of the Crown of Saint 
Stephen, this Rijeka postcards series depicts beside Rijeka motives, surrounding areas 
at Kingdom of Croatia-Slavonia and Margraviate of Istria. Appearance of this postcards 
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Ivan BOGAVČIĆ & Iva SALOPEK BOGAVČIĆ: THE FIRST CROATIAN SERIES OF POSTCARDS OF RIJEKA ..., 39–64
series was a result of the regional influ-
ences of Kingdom of Italy, Archduchy of 
Austria below te Enns, County of Tyrol 
and the Kingdom of Bohemia, where 
similar series of postcards appeared in the 
1880s. Rijeka with its surroundings, as 
an important industrial and tourist centre, 
was an attractive motif in photographs, 
and subsequently, on postcards. The rarity 
of the Rijeka series is evidenced by the 
data that out of 38 registered motifs, only 
24 were observed on preserved postcards, 
and five more motifs were visually identi-
fied based on literature. The above is a 
small fraction of the estimated around one 
hundred thousand that had been printed 
and distributed in at least eight locations in the city of Rijeka, of which only 44 items 
were found at the time of writing of this paper. The feat of printing postcards was 
started by the printing company Stabilimento Tipo-litografico Fiumano with twenty 
years of experience, which apparently used the services of the associate V. Turati Inc. 
and AV ph (?), who, from the photographs by Alois Beer and Ilario Carposio taken 
in the 1870s and 1880s, created cliches/stencils using photomechanical processes and 
printed the postcards using halftone printing. Such a new product can be understood 
as a mass printed photograph, which, due to the combination of image, text, and postal 
use, was also called a picture postal card, that is, a postcard. This series of postcards 
had a direct impact on the Trieste series of postcards, as well as an indirect one on the 
further development of the “golden age” postcards in region. 
Fig. 8: Enlarged part of the Fiume 
Porto Interno postcard, halftone printing 
(Bogavčić private collection, 1889–1891).
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Ivan BOGAVČIĆ & Iva SALOPEK BOGAVČIĆ: THE FIRST CROATIAN SERIES OF POSTCARDS OF RIJEKA ..., 39–64
PRVE HRVAŠKE RAZGLEDNICE REKE IN OKOLICE, IZDANE 
MED LETOMA 1889 IN 1891
Ivan BOGAVČIĆ 
Inštitut za valorizacijo in interpretacijo razglednic, Tućanova 3, 10 000 Zagreb, Hrvaška
e-mail: ivan.bogavcic@gmail.com
Iva SALOPEK BOGAVČIĆ 
Inštitut za valorizacijo in interpretacijo razglednic, Tućanova 3, 10 000 Zagreb, Hrvaška  
e-mail: iva.s.bogavcic@gmail.com
POVZETEK
V tem delu sta izpostavljeni dve ključni tezi, pomembni za razumevanje razglednic 1) 
razglednica je dediščinski vir podatkov in ne le ilustracij, 2) vrednotenje in interpretacija 
razglednic nam pomagata razumeti, kako je prva hrvaška serija razglednic nastala pod 
komunikacijskimi, gospodarskimi in turističnimi vplivi v hrvaškem in evropskem konte-
kstu. Razglednice kot dediščinski objekt, iz javnih in zasebnih zbirk, razumemo kot celoto 
šele z opazovanjem različnih vizualnih, besedilnih, materialnih, oblikovnih, funkcio-
nalnih, socialnih, simboličnih in tehnično-tehnoloških lastnosti. Množična proizvodnja 
razglednic na Hrvaškem se je začela z reškimi razglednicami leta 1889, kar je posledica 
regionalnih vplivov Kraljevine Italije, Nadvojvodine Avstrije pod reko Anižo, Grofovine 
Tirolske in Češkega kraljestva. Reka, Opatija in okolica kot industrijska in turistična 
središča so bile privlačen motiv fotografij in razglednic. Kako redka je reška serija, pove 
podatek, da je od 38 evidentiranih motivov le 24 na ohranjenih razglednicah, še pet mo-
tivov pa je vizualno določenih na podlagi literature. To je le delček od ocenjenih sto tisoč 
natisnjenih in razdeljenih na Reki, od katerih je bilo v času pisanja tega dela najdenih 
le 44 primerkov. Razglednice je tiskalo podjetje Stabilimento Tipo-litografico fiumano z 
dvajsetletnimi izkušnjami, ki je uporabljalo storitve sodelavcev V. Turati inc. in AV ph 
(?), ki sta v sedemdesetih in osemdesetih letih iz fotografij Aloisa Beera, Ilaria Carposia 
s fotomehaničnimi postopki ustvarjala klišeje ter z avtotipijo tiskala razglednice. Nov 
izdelek je nastal s kombinacijo slike, besedila in storitve pošte in se je imenoval dopisnica 
s sliko. Članki v časopisih La Bilanca in La Varieta nam pomagajo razumeti razsežnosti 
tega podviga, sistem prodaje in distribucije ter dinamike izdajanja ter pregled motivov. 
Reška serija je neposredno vplivala na tržaško serijo razglednic in posredno na nadaljnji 
razvoj razglednic »zlate dobe«, ki je vplivala na razvoj turizma in modo »nošenja domov 
spominov z najlepšimi vedutami«.  
Ključne besede: najzgodnejše razglednice, Reka, Opatija, avtotipija, Stabilimento Tipo-
-litografico fiumano, Alois Beer, Ilario Carposio
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