APA 6th Edition Kreačič, G. (2014). Dvjesto godina povijesti celjsko-samoborskog umjetničkog roda Wiesner Livadić kroz obiteljske fotografije. Arhivski vjesnik, 57 (1), 213-250. Preuzeto s https://hrcak.srce.hr/139177
MLA 8th Edition Kreačič, Goranka. "Dvjesto godina povijesti celjsko-samoborskog umjetničkog roda Wiesner Livadić kroz obiteljske fotografije." Arhivski vjesnik, vol. 57, br. 1, 2014, str. 213-250. https://hrcak.srce.hr/139177. Citirano 30.07.2021.
Chicago 17th Edition Kreačič, Goranka. "Dvjesto godina povijesti celjsko-samoborskog umjetničkog roda Wiesner Livadić kroz obiteljske fotografije." Arhivski vjesnik 57, br. 1 (2014): 213-250. https://hrcak.srce.hr/139177
Harvard Kreačič, G. (2014). 'Dvjesto godina povijesti celjsko-samoborskog umjetničkog roda Wiesner Livadić kroz obiteljske fotografije', Arhivski vjesnik, 57(1), str. 213-250. Preuzeto s: https://hrcak.srce.hr/139177 (Datum pristupa: 30.07.2021.)
Vancouver Kreačič G. Dvjesto godina povijesti celjsko-samoborskog umjetničkog roda Wiesner Livadić kroz obiteljske fotografije. Arhivski vjesnik [Internet]. 2014 [pristupljeno 30.07.2021.];57(1):213-250. Dostupno na: https://hrcak.srce.hr/139177
IEEE G. Kreačič, "Dvjesto godina povijesti celjsko-samoborskog umjetničkog roda Wiesner Livadić kroz obiteljske fotografije", Arhivski vjesnik, vol.57, br. 1, str. 213-250, 2014. [Online]. Dostupno na: https://hrcak.srce.hr/139177. [Citirano: 30.07.2021.]
Sažetak This article presents selected photographs – ateliers’ portraits of four generations of Wiesner Livadić and Tompa family members from the final decades of the Habsburg Monarchy. Photographs were discovered in 2012 in the family collection of Vanda Kreačič, born Tompa. They were all taken in ateliers of acknowledged photographers of the time including Ilaria Carposia from Rijeka (Fiume), brothers Varga and Ivan Standla from Zagreb, Leopold Bude from Graz and several court photographers - Hof-Photographen - from Vienna such as Ludwig Angerer, Adèle Perlmutter, Nikolas Stockmann, Fritz Luckhardt, and Julius Gertinger. A special mention is made of A. E. Disdéri, French photographer who introduced business card format - carte de visite -- format of half the photographs in the collection. The portraits were made between 1860 and 1899 with only few taken in the early 20th century. The article also contains research results on Ferdo Wiesner Livadić’s family tree on his mother’s side. In Celje (germ. Cilli) parish books surname Wiesner is not mentioned prior to the arrival of Ferdo’s father. As Franz Wiesner could have arrived to Celje from any part of the Monarchy, research of his ancestors was not possible. Research of ancestors on his mother’s side could go back for only a century. His mother’s ancestors were civil servants, just like Ferdo’s father. For example his grand-grandfather Ignacije Wersin was a scribe while his grandfather Urban Dornik was listed in parish books as a painter. Apart from classical atelier photo portraits the collection contains several figural portraits taken in the studio with the full use of atelier accessories required by production standards of the time. Three photographs of buildings that housed Tompa family members at the end of the 19th and beginning of the 20th century are also included. The first is Tompa rural manor (curia) in Repišće, where Wanda Wiesner, granddaughter of Ferdo Wiesner Livadić, the renowned Croatian composer and one of the central figures of the Illyrian movement, married Janko Tompa, the member of lesser nobility. The other two represent currently disintegrating mansion Mayerberg/Prešnik near Celje in Slovenia, by Janko and Kamilo Tompa, sons of nobleman Janko Tompa and his wife Wanda (born) Wiesner. Only seven portraits have been identified with full certainty. Persons on four additional portraits have been identified with high probability. All efforts to identify persons on remaining photographs through analyses, comparisons, review of historical data available about these ateliers, as well as written remarks on the back of several photographs – all of which helped place the photographs into their proper historical time frame – did not provide satisfactory answers. Because of their documentary and artistic value, two photographs of the Tompa family taken by the Croatian historian, conservator and the director of the Museum of Zagreb Gjuro Szabo on their lands in Repišće 1910 are also included.