© President and Fellows of Harvard College
Identification and Creation
Object Number
Eugen Wiškovský, Czech (Kolín, Czech Republic 1888 - 1964 Prague, Czech Republic)
Other Titles
Series/Book Title: Reconstructing the Original: Czech Abstractions 1922-1935
Work Type
1933, printed 1994
Physical Descriptions
Gelatin silver print
Gelatin silver print
image: 37.5 x 27.6 cm (14 3/4 x 10 7/8 in.)
sheet: 38 x 28.2 cm (14 15/16 x 11 1/8 in.)
Inscriptions and Marks
  • inscription: On verso, in graphite: 9. [over] Eugen Wiskovsky [over] Insulator, 1933 [over] /9 [over] Jaroslav Andel Antonin Dusek Gary Schneider 1994
Estate of Eugen Wiškovský, 1994, to; [Gary Schneider and John Erdman, New York] (1994-2011), gift/sale; to Harvard Art Museums, 2011. Note: Printed in collaboration with the artist or the artist's estate and retained by Schneider/Erdman per agreement.
Acquisition and Rights
Credit Line
Harvard Art Museums/Fogg Museum, Schneider/Erdman Printer's Proof Collection, partial gift, and partial purchase through the Margaret Fisher Fund
Accession Year
Object Number
Modern and Contemporary Art
The Harvard Art Museums encourage the use of images found on this website for personal, noncommercial use, including educational and scholarly purposes. To request a higher resolution file of this image, please submit an online request.

Label Text: Analog Culture: Printer’s Proofs from the Schneider/Erdman Photography Lab, 1981–2001 , written 2018
Conceived and published by curator Jaroslav Anděl, this portfolio contains “reconstructions” of Czech modernist photographs from the 1920s and ’30s. Printed from negatives that Anděl transported from Eastern Europe, each photograph replicates as closely as possible the artist’s style and printing aesthetic. In the early 1990s, these artists were little known in the United States. Anděl hoped that museums would purchase this curated set of photographs, which provided a condensed survey of Czech modernism, to add to their collections.Schneider worked closely with Anděl, sometimes making as many as 30 proofs in the process. The project was especially difficult because the original prints were in European museums or private collections and thus could not be modeled after. Anděl had one print Schneider could reference—the photograph by Drtikol—but in all other cases Schneider made the prints based on a combination of Anděl’s verbal descriptions, his knowledge of each artist, and feedback on proofs. As Anděl wrote in his essay accompanying the portfolio, the making of the photographs was akin to “aesthetic archaeology,” a rediscovery of each artist’s work through the process of reconstructing it in the darkroom.

Publication History

Jennifer Quick, ed., Analog Culture: Printer’s Proofs from the Schneider/Erdman Photography Lab, 1981–2001, exh. cat., Harvard Art Museums (Cambridge, MA, 2018), pp. 81, 85, fig. 10, ill. (color)

Exhibition History

Analog Culture: Printer’s Proofs from the Schneider/Erdman Photography Lab, 1981–2001, Harvard Art Museums, 05/19/2018 - 08/12/2018

Subjects and Contexts

Analog Culture

Related Works

This record has been reviewed by the curatorial staff but may be incomplete. Our records are frequently revised and enhanced. For more information please contact the Division of Modern and Contemporary Art at am_moderncontemporary@harvard.edu