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Jules Kanzler

  • Given name:
    Jules
  • Last name:
    Kanzler
  • Alternative names:

    Ю. Канцлер, Жюль Канцлер, Izzet Kaya Kanzler

  • Place of Birth:
    Crimea (UA)
  • Place of Death:
    Burlingame (US)
  • Profession:
    PainterPhotographer
  • Introduction:

    Kanzler spent part of his life in the Russian Empire as a painter and the other in Turkey as a photographer who “documented” the early years of the Turkish Republic.

    Word Count: 30

  • Signature Image:
    Jules Kanzler (Les Russes sur le Bosphore Almanac, 1927).
  • Content:

    Jules Kanzler spent part of his life in the Russian Empire as a painter and the other in Turkey as a photographer. He is known not only as a photographer who portrayed the Russian-speaking émigrés of Istanbul but also as a figure who “documented” the early years of the Turkish Republic.
    Born in Crimea (one can draw many parallels between him and Semion Lifshitz), the artist studied at Odessa Art School, lived there for some time, and even organised a solo exhibition in France. After the Revolution of 1917, he moved to Istanbul, which he already knew due to the fact that in 1910 he had visited the city in order to participate in one of the local exhibitions. After Kanzler moved to Istanbul, he decided to dedicate himself to photography and open his own photo studio. Firstly, because he was deeply interested in this field, and secondly, because this profession was quite profitable at that time. Kanzler's photo studio moved from one building to another two times but was always located on Istiklal Avenue (previously Grande Rue de Péra). The photo studio was very popular among both Russian émigrés and local residents. The reasons for this were not only Kanzler's strong work ethic and accuracy, but also the uniqueness of his photographic works, which looked more like oil paintings. According to Evren Burçak, he also took photographs of Istanbul, which resembled picture-postcard views rather than images of city life. Seemingly, this was due to his education. In the 1920s, he actively communicated with many Russian émigrés and knew them personally. Thus, some famous artists left their works in his photo studio in order to find clients (in a likely manner Muhsin Ertuğrul met Nikolai Peroff and invited him to work at the Istanbul theatre). Furthermore, photographs from Kanzler's archive were published in the almanac Les Russes sur le Bosphore, a joint work of Russian émigrés in Istanbul.
    His talent did not go unnoticed, and soon he was invited to work as a photojournalist to “document” the process of the Turkish Republic's formation and the activities of its founders. The TBMM archive contains an album of photographs taken during the celebrations of the tenth anniversary of the Republic’s foundation. Judging by the available sources, which unfortunately are not so numerous, Kanzler was married to a (presumably) Turkish woman, lived near Taksim Square (close to Rudolf Belling), continued to take photographs, and was on friendly terms with Turkish artists. After the Second World War, he moved to California where he continued to make pictures: mainly wedding portraits, and portraits of children and graduating students. Being a member of the local Turkish-American colony, he attended a civic reception on the occasion of the birthday of Celal Bayar in Los Angeles: "There was Jules Kanzler, a photographer who had made pictures of President Bayar during the 26 years he worked in İstanbul" (Anonymous, "Turkish President Meets 500 at Civic Reception", 1954). Unfortunately, there is no information about how his life ended.

    Word Count: 501

  • Media:
    Jules Kanzler (Les Russes sur le Bosphore Almanac, 1927).
    Valentina Taskina, by Jules Kanzler (Güneş, 9 August 1990).
    Photographs of artworks by young Turkish painters, Jules Kanzler, 1929 (Uyanış, 19 September 1929, p. 42).
    Photo by Jules Kanzler of one of the participants in the beauty contest (Cumhuriyet, 15 May 1929, n.p.).
    Photographs by Jules Kanzler (Uyanış, 18 April 1929, p. 1).
    Advertisement for Jules Kanzler's photo studio in Istanbul (Derjavnaya Rus', n.d., p. 21).
    Advertisement for Jules Kanzler's photo studio in Burlingame, California (The Times (San Mateo, California), 6 February 1948, p. 6).
  • Bibliography (selected):

    Anonymous. “Photo Russe Electrique.” Presse du Soir, April 1920, n.p.

    Anonymous. "Turkish President Meets 500 at Civic Reception." The Los Angeles Times, 10 February 1954, p. 14.

    Aygun, Ekaterina. “İkinci Ev Bulma Öyküsü.” Sanat Dünyamız, no. 177, 2020, pp. 46–51.

    Bournakine, Anatoliy, editor. Russkiye na Bosfore. Les Russes sur le Bosphore. Imp. L. Babok & fils, 1928.

    Deleon, Jak. “Beyoğlu’nda İz Bırakanlar 2.” Güneş, 9 August 1990, n.p.

    Evren, Burçak. “Jules Kanzler.” Tombak, no. 27, 1999, pp. 4–6.

    Ziflioğlu, Vercihan.“Beni Unutma Rusyam” Asırlık Sürgün. Kuzey Işığı Yayınları, 2019.

    Word Count: 89

  • Archives and Sources:

    Slavonic Library (Slovanská knihovna) in Prague.

    Archive of Grand National Assembly of Turkey.

    The Republican Archive of the Prime Ministry (Turkey).

    Word Count: 21

  • Author:
    Ekaterina Aygün
  • Exile:

    Istanbul, Ottoman Empire/Turkey (1920–1946).

  • Known addresses in Metromod cities:

    Grand Rue de Pera 197 (now presumably İstiklal Caddesi 133), Beyoğlu, Istanbul (studio); Grand Rue de Pera 374/376 (now presumably Istiklal Caddesi 150), Beyoğlu, Istanbul (studio); Grand Rue de Pera 67 (now presumably Istiklal Caddesi 51), Beyoğlu, Istanbul (studio); Gayret Apartmanı, Ayaspaşa (could be Talimhane), Beyoğlu, Istanbul (residence).

  • Metropolis:
    Istanbul
  • Ekaterina Aygün. "Jules Kanzler." METROMOD Archive, 2021, https://archive.metromod.net/viewer.p/69/2949/object/5138-10436710, last modified: 17-09-2021.
  • Rudolf Belling
    Sculptor

    As a professor at the Academy of Fine Arts and Technical University in Istanbul from 1937 until 1966, Rudolf Belling taught his students the technicalities of form, material and proportion.

    Word Count: 28

    Rudolf Belling during an interview shortly after his arrival in Turkey, 1937. Yedigün, no. 212, vol. 9, March 1937, p. 8 (Archive Burcu Dogramaci).
    Rudolf Belling with a student in front of copies of antique sculptures, 1937. Yedigün, no. 212, vol. 9, March 1937, p. 9 (Archive Burcu Dogramaci).Rudolf Belling. “Heykeltraşlık.” Arkitekt, no. 12, 1936, p. 348 ([url]http://dergi.mo.org.tr). Here, Belling explains his future teaching programme at the Academy of Fine Arts. Below, his likewise newly-appointed colleague, the French artist and professor of painting Léopold Lévy, expresses himself.Rudolf Belling, Draft for the monument Atatürk hands over responsibility for the Republic to the youth, Istanbul University, 1938, model, second version, published in the journal Ar, no. 19, 1938, p. 8 (Archive Burcu Dogramaci).Studio exhibition class of Rudolf Belling at the Academy of Fine Arts, 1940, published in Güzel Sanatlar Dergisi, no. 4, 1942 (Archive Burcu Dogramaci).Studio exhibition class of Rudolf Belling at the Academy of Fine Arts, 1940: Hüseyin Özkan Anka, Athlet, before 1940, published in Güzel Sanatlar Dergisi, no. 4, 1942 (Archive Burcu Dogramaci).Rudolf Belling, Monument for Ismet Inönü, Courtyard of the Agricultural Faculty of the University of Ankara, 1943/44 (Photo: Burcu Dogramaci, 2004).Rudolf Belling with students at the Academy of Fine Arts, Istanbul, c. 1945, 1st from left: Hüseyin Gezer, photographer unknown (Rudolf-Belling-Archiv, Krailling).Rudolf Belling, Moulding for the Istanbul University, entrance to conference room of the Faculty of Natural Sciences, 1946, detail (Photo: Dogramaci, 2002).Rudolf Belling, Skulptur 49 (In Memoriam Dreiklang), 1949, bronze, Collection Elisabeth Weber-Belling, Krailling (Nerdinger 1981).Rudolf Belling, Segelmotiv, 1959/1962, Bank für Gemeinwirtschaft, Hamburg, Dornbusch/Rolandsbrücke (Photo: Burcu Dogramaci, 2020).Rudolf Belling, Blütenmotiv (called Schuttblume), 1967/1972, Olympiapark, Munich, (Photo: Burcu Dogramaci, 2019).
    Istanbul
    Nikolai Peroff
    PainterArt restorerIconographerChoir DirectorCharitable Society’s ChairmanScene Designer

    Nikolai Peroff lived in Istanbul until the end of his life. He was engaged in restorations, carried out scene decorations, and did a lot for the Russian churches in Karaköy.

    Word Count: 31

    Nikolai Peroff, 1941 (Hagop Ayvaz Collection, Hrant Dink Foundaiton Archive, Istanbul).
    Nikolai Peroff, 1941 (Hagop Ayvaz Collection, Hrant Dink Foundaiton Archive, Istanbul).Nikolai Peroff (Tarih ve Toplum, no. 150, June 1996).Photograph of Nikolai Peroff's work, Istanbul, 1921. Source: Scrapbook “To Mr. and Mrs. Stearns from Russian Painters”, p. 7 (Stearns Family Papers. Archives & Special Collections. The College of the Holy Cross).One of the works by Nikolai Peroff as a scene designer (Tarih ve Toplum, no. 150, June 1996)."Dekor: N.Peroff", Şehir Theatre, Istanbul (Akşam, 16 December 1954, p.4)."Dekor: Peroff", Şehir Theatre, Istanbul (Akşam, 17 February 1955, p. 7).Father Viktor in front of the wall that was painted by Nikolai Peroff, Aya Andrea Russian Orthodox Church (Photo: Ekaterina Aygün, 2019).Church (Aya Andrea) parishioners at the beginning of the 1960s, Nikolai Peroff is the fourth from the right (© Aya Andrea Russian Orthodox Church’s archive).
    Istanbul
    Nikolai Kalmykoff
    PainterScene DesignerMuralist

    Kalmykoff played an active part in the Union of Russian Painters in Constantinople and at the same time worked as a stage designer. Later he acquired the Turkish citizenship.

    Word Count: 29

    Nikolai Kalmykoff (http://www.antikalar.com/naci-kalmukoglu).
    Nikolai Kalmykoff (http://www.antikalar.com/naci-kalmukoglu).Naci Kalmukoğlu, Liman (© Ankara Devlet Resim ve Heykel Müzesi).Naci Kalmukoğlu, Köyde tütün işleyenler (© Ankara Devlet Resim ve Heykel Müzesi).Works by Nikolai Kalmykoff (Ulus, 12 February 1941, p. 2).Works by Nikolai Kalmykoff (Ulus, 13 February 1941, p. 1).Nikolai Kalmykoff by Turkish caricaturist Ratip Tahir Burak (Ulus, 27 March 1943, p. 2).Exhibition in Ankara (Ulus, 28 March 1943, p. 2).Fortuneteller, by Nikolai Kalmykoff (Ulus, 15 November 1947, p. 3).
    Istanbul
    Les Russes sur le Bosphore
    Almanac

    The almanac Les Russes sur le Bosphore is a joint work of Russian-speaking émigrés in Istanbul who were faced with the challenge of leaving the country or becoming naturalised.

    Word Count: 30

    Cover of Les Russes sur le Bosphore Almanac, 1927.
    Cover of Russians on the Bosphorus (Les Russes sur le Bosphore Almanac, 1927).Newspaper announcement concerning the publication of the almanac (Radio Newspaper, 1927, n.p.).Newspaper announcement concerning the almanac’s publication and its points of sale (Radio Newspaper, 1927, p. 3).Self-portrait by Nikolai Saraphanof who created an elegant cover for the almanac, 1927 (Russkiye na Bosfore. Les Russes sur le Bosphore Almanac, 1928, n.p.).
    Istanbul
    Margarete Schütte-Lihotzky and Wilhelm Schütte Apartment
    Residence

    The exiled architects Margarete Schütte-Lihotzky and Wilhelm Schütte lived from 1938 in an apartment in Kabataş, on the European side of Istanbul. The flat has been preserved in numerous photographs, allowing the interior design to be reconstructed. The view of the Bosporus from the balcony was spectacular.

    Word Count: 48

    Margarete Schütte-Lihotzky and Wilhelm Schütte on the balcony of their apartment, Cili Apartman House, Izzet Paşa Sokak No. 28, Kabataş, c. 1938, detail (ÖGFA, Archive Wilhelm Schütte).
    Margarete Schütte-Lihotzky and Wilhelm Schütte on the balcony of their apartment, Cili Apartman House, Izzet Paşa Sokak No. 28, Kabataş, c. 1938 (ÖGFA, Archive Wilhelm Schütte).Anonymous. “‘Cili’ kira evi. Taksim. Mimar Zeki Sayâr.” Arkitekt, no. 1, 1936, p. 1: View from the street ([url]http://dergi.mo.org.tr).Anonymous. “‘Cili’ kira evi. Taksim. Mimar Zeki Sayâr.” Arkitekt, no. 1, 1936, p. 4: View from the street of the rear of the building, which overlooked the sea ([url]http://dergi.mo.org.tr).Anonymous. “‘Cili’ kira evi. Taksim. Mimar Zeki Sayâr.” Arkitekt, no. 1, 1936, p. 6 ([url]http://dergi.mo.org.tr).Contemporary view of Cili Apartman House, Izzet Paşa Sokak No. 28, Kabataş, now Hacı Izzet Paşa Sokak No. 18, Beyoğlu (Photo: Thomas Flierl, 2019).Entrance to Cili Apartman House, Izzet Paşa Sokak No. 28, Kabataş, now Hacı Izzet Paşa Sokak No. 18, Beyoğlu (Photo: Thomas Flierl, 2019).Margarete Schütte-Lihotzky and Wilhelm Schütte in their living room, 1939, photographer unknown, 11,2 x 8,7 cm (University of Applied Arts Vienna, Collection and Archive, Inv.Nr. F/151).Margarete Schütte-Lihotzky and/or Wilhelm Schütte, Apartment in Istanbul, view from the balcony, c. 1939–1943, 7 x 7 cm (University of Applied Arts Vienna, Collection and Archive, Inv.Nr. F/152).Apartment in Istanbul, worktable, c. 1943, 6 x 6 cm (University of Applied Arts Vienna, Collection and Archive, Inv.Nr. F/142). Wilhelm Schütte's workplace with the typewriter on which he wrote his essays for the journal Arkitekt. The photograph may have been taken by Schütte.Apartment in Istanbul, dining area, c. 1943, 6 x 6 cm (University of Applied Arts Vienna, Collection and Archive, Inv.Nr. F/147). The three prints on the wall refer to trips taken by the architects to Japan and China in the 1930s.The photograph may have been taken by Wilhelm Schütte.Margarete Schütte-Lihotzky and Wilhelm Schütte (standing, 2nd left) in front of the school in Karapürsek, September 1938, photographer unknown (ÖGFA, Archive Wilhelm Schütte). Soon after their arrival, the two architects visited village schools in the wider vicinity of Ankara and Istanbul.Margarete Schütte-Lihotzky, Dr Kemal Özsan House, 1939, 51 x 43 cm (University of Applied Arts Vienna, Collection and Archive, Inv.Nr. 137/2. Reproduction: Robert Newald; © Luzie Lahtinen-Stransky). The drawing shows floor plans and views of the facades. The house should have been built in Istanbul but was never realised.Wilhelm Schütte, Ankara Yenişehir Orta Okulu [Secondary School in Ankara Yenişehir), 1.5.1939 (ÖGFA, Archive Wilhelm Schütte).Wilhelm Schütte. “Th. Fischer ve Proporsiyonlar.” [Theodor Fischer and the proportions] Arkitekt, no. 9–10, 1940, p. 224 ([url]http://dergi.mo.org.tr).Wilhelm Schütte. “Adolf Loos.” Translation Halet Çambel. Arkitekt, no. 1–2, 1941, p. 41 ([url]http://dergi.mo.org.tr).Wilhelm Schütte. “Karl Friedrich Schinkel 1781–1841. Bugün bizlere ne ifade eder?.” [Karl Friedrich Schinkel 1781–1841. What does he tell us today?] Translation: Adnan Kolatan. Arkitekt, no. 5–6, 1943, p. 131 ([url]http://dergi.mo.org.tr).Wilhelm Schütte. “Zelzele sahalarının yeniden imari hakkında düşünceler.” [Thoughts on reconstruction in earthquake zones] Arkitekt, no. 3–4, 1940, p. 75 ([url]http://dergi.mo.org.tr).Wilhelm Schütte. “Zelzele sahalarının yeniden imari hakkında düşünceler.” [Thoughts on reconstruction in earthquake zones] Arkitekt, no. 3–4, 1940, p. 77 ([url]http://dergi.mo.org.tr).Wilhelm Schütte. “Yer Depremleri Hakkında Yeni Araştırmalar.” [New findings about earthquakes] Arkitekt, no. 9–10, 1943, p. 211 ([url]http://dergi.mo.org.tr).
    Istanbul
    Semion Markovich Lifshitz
    Photographer

    Sam Sanzetti was a precocious photographer and portrait artist, whose signature style came to define the aesthetic of the Shanghai bourgeoisie. The portraits produced in Sanzetti Studio, masterfully retouched and delicately hand-tinted, reflected the growing fascination with Hollywood.

    Word Count: 38

    Sam Sanzetti, photography (© Israel-Asia Center).
    Sam Sanzetti's studio on Nanking Road, photography (© Israel-Asia Center).S. M. L. Sanzetti, photographer’s signature, studio photograph, 1927, author’s collection.Whitey Smith Band, manipulated photography, The China Press, 3 April 1929.Semion Lifshitz in Shanghai, photography, around 1940 (© China).
    Shanghai