Articles From the Experts

Auction No. 44 of Enakor Auction House is the first auction in Bulgaria on the subject of the Bulgarian monarchy. It is dedicated to the family of Ferdinand I of Bulgaria and gives the opportunity to take a closer look at the monarchic family, to get in touch (in some cases almost intimately) with its personalities, world and history, through 129 artefacts. Some of the items in the auction are collected as single artefacts, but for the most part they belong to thematic and category collections. The largest category collection consists of 84 photographs (lots 1-84). The second largest collection is of memorabilia objects (associated with a specific person), numbering 19 (lots 93, 95, 97-99, 102-104, 106-113, 115, 128-129). In third place are the works of fine, decorative and applied art, which include 15 artefacts (fine art – lots 36, 85, 87, 100, 101; decorative art – 86, 88-92; applied art – lots 94, 96, 105, 114). Printed editions in the auction are 7 items (lots 116-121, 126-127). Another 4 letters and invitations are included (lots 122-125).

We decided to organize an auction on this topic for two occasions. First, we wanted to honour the historical event of the transfer of the remains of Tsar Ferdinand I of Bulgaria from Coburg to Sofia and their burial in the crypt of the Vrana Palace, which happened on May 29 this year. Secondly, we wanted to commemorate the 130th anniversary of the birth of Tsar Boris III.

In the first part of the article, we will present the personality of Tsar Ferdinand as well as the works of fine, decorative and applied art that are included in the auction. In the second part, we will present the lots of the photographs, the photographers, as well as the prints, letters and invitations included in the auction.

ABOUT FERDINAND I OF BULGARIA

As with almost everything and everyone in our history, assessments of Ferdinand l’s reign are contradictory and often one-sided. The reason for this is rooted to the greatest extent in the ideology long imposed in the communist era about the damage of monarchy and monarchs for Bulgaria. Ferdinand was declared the sole one to be responsible for the two national catastrophes. Of course, like any ruler whose personality plays the role of the embodiment of the community, of the symbol of society and the state, he should fully bear the responsibility, but still – not alone, because Tsar Ferdinand was not a one-person ruler and did not make the major or operational decisions alone. In a constitutional monarchy – with an elected parliament, government, judiciary and military authorities – the blame cannot and should not be placed solely on him. There is another – the desire to annex the territories with Bulgarian population remaining in the Ottoman Empire was a popular desire and the monarch could not disregard it. We do not even know whether the criminal madness of attacking the Allied armies on June 16, 1913, which led to the First National Catastrophe, took place with his consent. Tony Nikolov presents the situation in the following way (Nikolov 2024): ‘But even if the decision is Tsar Ferdinand’s, it is not his alone. And it is not only of the political elite. Everybody forgets and seems to want to forget one thing: the pressure from the street and the cafes, from the front and the rear, from politicians, journalists and the most ordinary people, from Macedonians and Macedonists. We forget about how everyone (the people – this mysterious body!) insists: “What are we still standing!”, “Why aren’t we fighting?”. And most importantly: ‘We will not give up anything!’“

In 1928, on the occasion of the 1,000th anniversary of Tsar Simeon the Great and the 50th anniversary of the liberation of Bulgaria, the former Tsar addressed his second fatherland with the following manifesto:

“I had only one wish, only one dream, only one goal, which I pursued selflessly, namely, to see a Bulgaria which had accomplished its national ideals, which stood side by side with the cultured nations of Europe and was building up its spiritual and economic progress in peaceful labour. In this ardent aspiration, which coincided perfectly with that of the Bulgarian people, I was not supported by Fate. The incredible efforts and the enormous sacrifices of the Bulgarian people were not crowned with the desired success, but the exploits of the brave Bulgarian people will be one of the brightest pages of Bulgarian history and will serve as a worthy example for future generations to follow. ……
The fiftieth anniversary of the new Bulgaria coincides with the tenth anniversary of my departure into exile. I wished only the good of the Bulgarian people, and it seems to me that I did not deserve this fate, because as the head of the state I twice led it towards the realization of the Bulgarian ideals. Villains or hostile forces destroyed the way and thus thwarted the unification of the Bulgarian people, for which I dreamed and for which I finally sacrificed myself!
When the Bulgarian nation celebrates its fiftieth anniversary, let it know that, though far from it, a pain-filled, suffering soul is moved by the heartiest wishes for its good and bright future!“

After all, with his abdication King Ferdinand bears with dignity his personal responsibility for the unfulfilled goals and the losses suffered by our country. When we make judgements, all deeds should be taken into account, not just the failures. Moreover, Ferdinand’s positive deeds and successful achievements for Bulgaria are indeed many, and in my opinion – weigh at least a little more than the unsuccessful ones.

First, Ferdinand saved Bulgaria when he himself offered to become Bulgarian knyaz, at a very critical moment for the existence of the young Bulgarian state, in which a coup against knyaz Batenberg was carried out on the orders of Russia and with Russophilist plots. Bulgaria left without a ruler and none of the representatives of the monarchical families in Europe was willing to take the great risks, including for their lives (Nikolov 2024). In the early years (and later), when no European bank would lend to Bulgaria, he and his mother, the Princess Clementina, financed with personal funds huge and important public projects for the modernization of Bulgaria, such as the construction of the railway.

A great contribution of Ferdinand is the rapid and sustainable establishment of our modern state. Bulgaria became a Central European state in spirit, content, practice and materialization, thanks also to the enormous efforts of its longest reigning monarch. During his time, the main institutions, the parliamentary system, the army, the infrastructure were built on the European model. Starting with the modernization of the palace immediately after his arrival in Bulgaria (Karakashev 2009), within a few years Sofia was covered with new public and private buildings with modern architecture (Yokimov 2009), comparable to the architecture in the most representative European capitals. Long boulevards were designed, new bridges were built. Sofia became a delightful European city with pretty homes and well-planned streets (Zheleva-Martins 2009), with a zoo and museums.

The once deforested mountains have been reforested through strict measures. Industry develops, the road network multiplies, and new schools open their doors. (Nikolov 2024) In Varna and Burgas, construction of ports begins, more railways are laid, telegraph and telephone connections are introduced. The army was modernized and reinforced in a few years and in the following decades was prepared to fight out three wars. Together with the modernization and rapid economic development of the country, the proclamation and diplomatic assertion of Bulgarian Independence is without doubt the most significant state achievement of Tsar Ferdinand I of Bulgaria.

Ferdinand made personal sacrifices for Bulgaria. One of the biggest was the conversion to the Orthodox faith of the heir to the throne Boris, which led to a rift with his wife and her family, also with his mother, and last but not least – with the Catholic European rulers and the Pope. The monarch suffered the public disgrace of his personal excommunication from the Roman Catholic Church (Nikolov 2024). Ferdinand is a complex and multifaceted personality, in some cases controversial, but that is by definition what great personalities are (the average, ordinary, straightforward person is not capable of anything special, let alone great). Ferdinand was known for his great foresight. He was at the same time very diplomatic and very brave. In his very first speech in Bulgaria he stated his goals for the vassal state (to Turkey and practically to Russia also) he had just headed – “Long live a free and independent Bulgaria!“. The monarch is a modern, sophisticated man, he insists on etiquette, manners and politeness, he wants to change everything he does not like in the Balkan way of life at the end of the 19th century. His biographer Stephen Constant writes of his passion for regal luxury: “Pride in his French ancestors, the kings, shone brightly in his awareness of his Bourbon ancestry and especially in his constant reflection on the genealogical and biological link between himself and the Sun King, Louis XIV, the embodiment and apotheosis of the monarchical idea.The elaborate court ceremonial, festivities and elegance that Ferdinand introduced to Bulgaria were not based on the petty ceremonial of the German princely courts.They were an expression of Ferdinand’s, and his mother’s, attitude to the Golden Age.” (Nikolov 2024).

Tsar Ferdinand is exceptionally erudite – he is the author of serious scientific works and has world-renowned scientific contributions in ornithology, entomology and botany, he is one of the authorities in the field of phalleristics. Stephen Constant writes that he has taken a great interest not only in natural history but also in history, studying carefully the genealogy of his ancestors (Nikolov 2024). As one of the few monarchs who were active scholars, he had a great deal to contribute to the formation of scientific institutions in modern Bulgaria. The main one is for the development of natural sciences, which include his personal scientific interests (Popov 2009). He founded the Royal Museum of Natural History (now the National Museum of Natural History at the Bulgarian Academy of Sciences), the Royal Zoological Garden, the Royal Scientific Library, the Royal Botanical Gardens, and the Royal Entomological Station. He founded but failed to complete the Black Sea Biological Station. His frequent natural history expeditions contributed greatly to the museum collections of the institutions he founded in Bulgaria. He made great efforts to preserve natural resources, organizing mass reforestation of cut forests and eroded soils, creating strictly protected areas, the forerunners of modern nature reserves. He has repeatedly lectured on the need for nature conservation on the international scientific and political scene (Popov 2009).

Ferdinand’s contribution to the development of the arts and arts-related public institutions is also fundamental. His attitude was a conscious and deliberately pursued cultural policy, in the context of the overall development of the strengthening young state. His role in the development of the fine arts and its institutions was particularly strong. With his personal contribution to the development of the award system (of orders and medals) and coinage, Ferdinand I of Bulgaria virtually created and motivated the development of medal and coin art as subspecies of applied arts in Bulgaria (Kolbasova 2020:59-89). The first medal, which from the idea to the realization was made in Bulgaria in 1901, was the commemorative medal “25 years of the April Uprising 1876”. The project was commissioned to Anton Mitov, Boris Shats, Marin Vassilev and Ivan Murkvička, with the final version developed by Boris Shats (Kolbasova 2020:61-62). The medal was produced in Sofia, in the jewellery factory of Nikola Sabev. In addition to Boris Shats, Andrei Nikolov and Haralampi Tachev were also active in the art of medal making at the time (Kolbasova 2020:88). In the context of Bulgaria’s award system, our current auction features stars from two orders issued to Ferdinand I – the Star of the Order of St. Cyril and Methodius (lot 91) and the Star of the Grand Cross of the Order of St. Alexander (lot 92). Haralampi Tachev, mentioned as a medalier, is present in the auction with a project for a calendar of the Bulgarian Red Cross (lot 89).

Ferdinand consistently took care of art education and the development of modern artistic taste in Bulgaria, including through the purchase of valuable artworks from around the world. This year we were reminded of this with the exhibition of the German artist Franz von Stuck (1836-1928) in the National Gallery’s “Square 500” in Sofia. The exhibition brought together two of the artist’s iconic works – “Lucifer”, 1890, purchased for the palace collection by Knyaz Ferdinand in 1891 from an exhibition in Munich, and “The Guardian of Heaven”, 1889, kept in Franz Stuck’s house museum in Munich.

In her article “Tsar Ferdinand I and Bulgarian Fine Arts” Ruzha Marinska argues the importance of the topic with the following arguments (Marinska 2009): “Firstly, the personality of Tsar Ferdinand I in the existing literature and historical tradition is interpreted, it seems to me, too unambiguously, flatly, regardless of the evaluative nuances – denial or admiration. In the Bulgarian mind, this image exists mainly in its statesmanlike hypostasis. At the same time, without neglecting his remarkable and renowned qualities as a natural scientist, I believe that there is sufficient, albeit fragmentary and unreflected, evidence that speaks of his exceptional knowledge in the field of fine arts. These are qualities which go decisively beyond the usual education of a crowned personage. I have strong grounds for arguing that Tsar Ferdinand’s interest in the fine arts was an important, intimate part of his personality, and not merely an amusement, a common entertainment, or a prestigious gesture of patronage.”

The State School of Drawing and its first professors – Anton Mitov, Boris Shats and Ivan Murkvička. Bulgarian Historical Archive at the National Library “St. Cyril and Methodius, coll. “Portraits and Photographs (National Academy of Art 2024)

The founding of the State School of Drawing in Sofia in 1896 was supported and decreed by Knyaz Ferdinand. As an expert connoisseur and admirer of fine art, the monarch was interested from the very beginning in the first sprouts of secular art in Bulgaria. There are reports that he even attended lectures at the first class of the painting school in 1989-1902 (Angelova 2017). From this first year class, the auction features works by two artists who were favourites of Ferdinand I. One is Nedyalko Karaneshev, with the extremely valuable lithograph, worked and printed in Florence in 1904 (lot No. 88). The second is Haralampi Tachev, author of the project for the “Calendar of the Bulgarian Red Cross”, from 1936 (lot No 89). Throughout his long reign, the ruler regularly made large purchases of works of fine art for his personal collection from the exhibitions of Bulgarian artists. Andrey Protič writes on this subject, “The largest art collection in Bulgaria is owned by the Knyaz” (Marinska 2009). It began with the 1892 First Bulgarian Industrial and Agricultural Exhibition in Plovdiv, which also had an art department. It was there that he met Ivan Murkvička and Anton Mitov, and probably supported their idea of establishing a painting school even then. On his trips to Western Europe he often bought works and invited famous artists to come and teach at the Painting School in Bulgaria. This is how Boris Shatz was invited and became the third of the founders of the Painting School and its first professors. Throughout the years of his reign, the monarch granted multi-year scholarships to many talented art students to study at the best art education centres in Europe (Marinska 2009).

The monarch not only appointed representatives of Bulgaria to organize exhibitions of Bulgarian artists abroad, but also took a keen interest in how our artists were presented and received by the public outside Bulgaria. There is evidence in a letter to the Tsar, shown in an exhibition a few years ago, from Prof. Hans von Petersen. Petersen was the President of the 10th International Art Exhibition in Munich in 1909, at which he was Bulgaria’s representative, appointed personally by the monarch (The Art Palace Gallery 2019).

Ferdinand made an unusually large number of commissions for portraits of members of the royal family to a large number of Bulgarian artists. First of all, these are the three mentioned – Ivan Markvička (1856-1938), Anton Mitov (1862-1930) and Boris Shats (1866-1932). Other artists whom Ferdinand appreciated and commissioned were Ivan Dimitrov (1850-1944), Nikola Mikhailov (1876-1960), Georgi Evstatiev (1876-1923), Tseno Todorov (1877-1953), Andrey Nikolov (1878-1959), and Yaroslav Veshin (1860-1915). A rare photograph of an official oil portrait of Knyaz Ferdinand by Yaroslav Veshin, painted in 1902, is offered in our auction (lot 36).

The King-Father’s interest in Bulgarian art did not cease after his abdication. A catalogue from an exhibition of Kiril Tsonev in 1934 states that Ferdinand (Marinska 2009) owned his works. Probably these paintings were bought during Kiril Tsonev’s exhibitions in Germany and other European countries in the 1920s. Ruzha Marinska has asked regretfully what is the fate of the Tsar’s personal collection, have at least its inventories been preserved. We still have no answer to these questions.

WORKS OF FINE, DECORATIVE AND APPLIED ART IN THE AUCTION

The most valuable lot from the fine art group , lot 36, is the aforementioned photographic reproduction (by E. Sumovsky) of a formal portrait of Prince Ferdinand by Yaroslav Veshin, from 1902, oil on canvas. Veshin was one of Ferdinand’s most appreciated Bulgarian artists, his official court painter, to whom the monarch gave many commissions for portraits of members of the royal family and of himself. Prince Ferdinand presented the painting in question to Tsar Nicholas II of Russia when he visited St Petersburg in 1902.

According to our consultant Dr. Alexander Vachkov, the Knyaz is depicted in the uniform of the Russian army. “The ruler commissioned this parade portrait most likely in connection with taking over the command of the 54th Minsk Infantry Regiment from the Russian Army. This is the reason why he is in Russian uniform. Given that the command in question was accepted on 31 May 1902, it can be assumed that the portrait was painted in the second half of 1902.“Dr. Vachkov also said that he had not come across any information about the existence of this portrait in the archive of Yaroslav Veshin, whom the researcher had studied. Other experts on the history of the Bulgarian monarchs also said that this portrait was unknown to them. Of course, we cannot exclude the possibility that the painting is in the depot of a Russian museum and no one has ever paid attention to it, but there is also a strong possibility that it has not survived. It is possible that this photograph is the only document of the painting’s existence, which is its special significance and value.

Lot 87 contains two drawings in gouache and watercolour on paper, part of a stained glass window project for the Church of St. George in Muran, Slovakia, which church was built by the Coburg family. One of the projects depicts Tsar Ferdinand as the ruler of the Bulgarians and a warrior saint.

You can win lot 100 with a design for the coat of arms of Prince Ferdinand by Stefan Badzhov (1883-1953). The professor of decoration at the Industrial Art School, the remarkable painter and graphic artist, the founder of modern decorative art in Bulgaria – Stefan Badzhov (Miteva 2014:71-89), was the author of many other types of projects for official works of applied art related to the Bulgarian monarchy and court. He created the state coat of arms of the Bulgarian Kingdom of 1930 (Georgieva 2002; Miteva 2014:153-156), also orders, medals, insignia, ciphers, diplomas, certificates, banknotes, stocks, emblems, postage stamps, uniforms, etc. In 1912, Tsar Ferdinand commissioned him the projects for the design of the Chapel of Sts. Peter and Paul in the palace in Sofia, the artwork of which the artist fully executed. He was also commissioned the interior design of the palace in Sofia, as well as the palaces “Vrana”, “Tsarska Bistritsa” and “Sitnyakovo”.

Lot No. 101 is a bronze miniature sculpture, a bust of Tsar Ferdinand by E. Janauchek, probably from 1904. One of the most interesting artefacts, in terms of the technology, is Lot No. 85. It is a heliogravure lithograph of a portrait of Prince Ferdinand, printed by R. Lehner commissioned by the University of Hove, Germany, accompanied by an autograph of the ruler. Heliogravure (or photogravure) was the earliest photographic method of capture, invented in the 1820s by Joseph Niepce, and is a combination of photographic and engraving techniques (see Photogravure, Photogravure Workshop 2024).

Among the objects of decorative art in the auction, more special is the portrait of Tsar Ferdinand, woven on silk, by Kuzman Chekov (unknown – 1957), which we offer under lot No. 86. Kuzman Chekov was a revolutionary, a participant in the Ilinden-Preobrazhensky Uprising, who, after completing his sentence in an Ottoman prison, was fortunate enough to receive a scholarship and travel to Lyon, where he studied the craft of weaving and embroidering silk cloth (see Kuzman Chekov; Chekov 2016, 2024;Piskulyiska 2014). In Bulgaria, he founded the first textile silk factory, where he also produced artworks on silk. He was a royal silk supplier under Tsar Ferdinand (Chekov 2016, 2024). He made portraits of celebrities with an embroidery pantograph machine (Piskuliyska 2014). These include portraits of the royal family, the most famous of which is that of Tsar Ferdinand offered at this auction. A copy of the same textile portrait is part of the exhibition of Regional Museum of History in Ruse (see Kuzman Chekov).

Lot No. 88 is a lithograph by Nedyalko Karaneshev (1876-1964), printed in 1904 in Florence, where after 1902 the graduate of the State Drawing School in Sofia specialized in painting, at the Academy of Fine Arts under Giovanni Fatori (Georgieva 2019; Ileva 2020). Karaneshev’s works usually represent themes and subjects from the National Liberation Struggle and the Bulgarian Revival. Completely in this vein, the lithographs in the auction contains more than 40 portrait images and scenes, which are composed under the title “A lineage of Bulgarian freedom fighters and spiritual national heroes”. Among them, the rulers Knyaz Batemberg and Knyaz Ferdinand are centrally placed, while the portrait of the heir to the throne, Knyaz Boris of Tarnovo, is presented at the top right. The great value of the lithograph is because it is one of the few, and perhaps the only, work by Nedyalko Karaneshev known so far from his Florentine period (Kostadinova 2020). Moreover, the artefact in lot No. 88 is in excellent condition, in contrast to the other known print in Bulgaria, which is badly damaged (“Nedyalko Karaneshev” 2022). Another lithograph by an unknown author with a similar composition, but on a different subject, represents “Builders and Warlords of the Bulgarian Army 1879-1941”, lot No. 90.

Lot No. 89 is a project for a “Calendar of the Bulgarian Red Cross”, from 1936, worked in gouache and pencil on paper, by the famous artist Haralampi Tachev (1875-1941), which includes portraits of Tsar Boris and Tsarina Ioanna. Haralampi Tachev is known to the public for the facade decoration of landmark buildings in the capital, such as the Theological Faculty, the Synodic Palace, the St. Alexander Nevsky Cathedral, St. Nicholas of Sofia church, the Mineral Bath, etc. The artist-decorator Haralampi Tachev, besides being the author of a number of masterpieces of architecture and jewellery art, has worked in many other areas of fine and applied art: heraldry, applied graphics, mural painting, stained glass, interior and exterior design, painted landscapes, illustrations for newspapers and calendars, designs for banknotes, stamps and diplomas, etc.

The most valuable artefacts in the decorative arts group are two orders. Lot No. 91 includes the “Star” of the Order of St. Cyril and Methodius, an issue of Tsar Ferdinand I, established on 18 May 1909 on occasion of the declaration of Independence and the elevation of Bulgaria from a principality to a kingdom. The Order is the highest award of the Kingdom of Bulgaria. Its founder, Tsar Ferdinand I, conceived it long before its creation. Friedrich von Rosenfeld developed the designs, as with many other Bulgarian decorations. The fact that the order could not have more than fifteen living knights brought it closer to the medieval orders of chivalry, in which, besides the monarch, several of the most deserving nobles of the state were members. The Order’s design and organization were modeled after the French “Royal Order of the Holy Spirit,” founded in 1578 by King Henri III of Valois. It was the highest knightly order of the French monarchy for several centuries. King Ferdinand I was undoubtedly acquainted in detail with this order, as he was particularly fond of his kinship ties with the French royal court. The Order of “Sts. Cyril and Methodius” has a Grand Necklace, the privilege of the Grand Master, the reigning ruler; a Small Necklace, worn by the heir to the throne and his brothers; and a Grand Cross and Star, which are awarded to the Knights of the Order. The ribbon is worn on the left shoulder and is a light peach colour, harmonising with the motto of the decoration. By preference, King Boris III almost always wears the Order’s Small Necklace. The motto of the Order is “From the East Comes the Light” (Ex Oriente lux).

The second order, under No. 92, is the Star to the Grand Cross of the Order of St. Alexander, an issue of Knyaz Ferdinand I. The date of foundation is 25. 12. 1881, production is of Auguste Krely, Paris. The Order of Saint Alexander ranks after the Order of St. St. Cyril and Methodius and the Military Order of Valour in the hierarchy of Bulgarian decorations. It is a domestic or dynastic order established by Knyaz Alexander I Battenberg in 1881. The Knyaz even before his arrival in Bulgaria conceived the award. Friedrich von Rosenfeld again prepared the designs. The motto of the order reads “WITH US IS GOD”.

One of the extremely valuable lots in the group of applied arts is No. 94 – a silver royal coat of arms of Ferdinand of Bulgaria in gold woven cloth. Probably the coat of arms was part of the decoration of the royal carriage. An identical artefact is present in the collection of the National History Museum in Sofia.

Two jewels with venzels of Bulgarian rulers are present in the auction. The gold cufflinks with the venzel of Queen Eleonora, lot No. 96, are a fine example of Art Deco jewellery. They are decorated with white, green and red enamel – in the colours of the Bulgarian flag. The gold brooch with the venzel of Tsar Boris III on an oval pendant with blue enamel – lot No. 105 – is of Austrian manufacture. Similar jewellery with royal venzels is still worn today by European monarchs and members of their families. For example, a few years ago, at one of the UK’s biggest social events – the famous Ascot horse races – King Charles III was twice seen wearing a tie pin with the venzel of King Boris III of Bulgaria (The Bulgarian Trail 2022). Monarchs give to each other such jewels on important occasions, the jewels remain in the monarchies collections and continue to be in use.

The last object from the representatives of applied arts is a hammered copper plate from 1937, made on the occasion of the birth of Prince Simeon of Tarnovo. It depicts a scene from the reign of Tsar Simeon the Great, whose name the heir to the throne bears. The non-precious metal from which the plate is made does not diminish its historical, cultural and artistic value. On the eve of the approaching new war, Tsar Boris deliberately used non-precious materials to make commemorative objects. Moreover, he did not share his father’s passion for luxury in general.

In addition to delving into the past, exploring and vividly touching the pages of history, this auction offers connoisseurs and collectors the opportunity to add to their collections a large number of photographs, works of art or memorabilia related to members of the royal families of the Bulgarian dynasty of Ferdinand I of Saxe-Coburg-Gotha. Many of the photographs bear autographs and dedications written personally by the portrayed, including child autographs of the royal heirs. Many of the artifacts are extremely rare, and some are one-of-a-kind specimens of high museum value. Several of the lots have their twins in Bulgarian museum exhibitions. All the artworks and objects in the auction are in excellent condition and are accompanied by additional information about their stories. Each artifact is a priceless part of Bulgarian history and culture, which we have a duty to preserve and pass on to the next generations of Bulgarians.

Rositsa Gicheva-Meimari, PhD

Senior Assistant Professor in the Art History and Culture Studies Section and member of the Bulgarian-European Cultural Dialogues Center at New Bulgarian University.

Bibliography:

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Kovacheva 2009: Ковачева, Веселина (ред.), „Епохата на цар Фердинанд I“, сборник доклади от научна конференция, проведена на 20.11.2008 г. в София, т. 1-2. София, „Женска либерална мрежа“, 2009

Kuzman Chekov: Кузман Чеков, статия в Уикипедия – https://bg.wikipedia.org/wiki/%D0%9A%D1%83%D0%B7%D0%BC%D0%B0%D0%BD_%D0%A7%D0%B5%D0%BA%D0%BE%D0%B2 Посетена на 20.10.2024

Marinska 2009: Маринска, Ружа. Цар Фердинанд I и българското изобразително изкуство. В: Ковачева, Веселина (ред.), „Епохата на цар Фердинанд I“, сборник доклади от научна конференция, проведена на 20.11.2008 г. в София, т. 1. София, „Женска либерална мрежа“, 2009, с. 87-94.

Miteva 2014: Митева, Мария, Стефан Баджов (1883 – 1953): биография на декоратор. Институт за изследване на изкуствата, БАН, 2014. https://artstudies.bg/books/Stefan_Badjov.pdf Посетена на 20.10.2024

National Academy of Art 2024: На 14 октомври 1896 г. Държавното рисувално училище отваря врати. Сайт на НХА https://nha.bg/bg/novina/na-14-oktomvri-1896-g-durjavnoto-risuvalno-uchilishte-otvary-vrati  Посетена на 26.10.2024

“Nedyalko Karaneshev” 2022: Недялко Каранешев – живот и творчество. Изложба 145 години от рождението. Фейсбук стр. на Художествена галерия “Недялко Каранешев”, 16.02.2022 – https://www.facebook.com/permalink.php?story_fbid=pfbid0FknLYiBPMNN5B4jbzso18PE3D9pXYiK8RUoeexYL8dSxxnCR5eMZVvcDfnzzSnyLl&id=406350639468365 Посетена на 20.10.2024

Nikolov 2024: Николов, Тони. Дългото завръщане на цар Фердинанд в България. – Портал Култура, 31 май 2024. Ч. I https://kultura.bg/web/%D0%B4%D1%8A%D0%BB%D0%B3%D0%BE%D1%82%D0%BE-%D0%B7%D0%B0%D0%B2%D1%80%D1%8A%D1%89%D0%B0%D0%BD%D0%B5-%D0%BD%D0%B0-%D1%86%D0%B0%D1%80-%D1%84%D0%B5%D1%80%D0%B4%D0%B8%D0%BD%D0%B0%D0%BD%D0%B4-%D0%B2-%D0%B1/ ; Част II https://kultura.bg/web/%D0%B4%D1%8A%D0%BB%D0%B3%D0%BE%D1%82%D0%BE-%D0%B7%D0%B0%D0%B2%D1%80%D1%8A%D1%89%D0%B0%D0%BD%D0%B5-%D0%BD%D0%B0-%D1%86%D0%B0%D1%80-%D1%84%D0%B5%D1%80%D0%B4%D0%B8%D0%BD%D0%B0%D0%BD%D0%B4-%D0%B2-%D0%B1-2/ Посетена на 20.10.2024

Photogravure: Wikipedia article Photogravure – https://en.wikipedia.org/wiki/Photogravure Посетена на 21.10.2024

Photogravure Workshop 2024: Отворена покана за участие в уъркшоп „Фотогравюра върху мед“ – https://nha.bg/bg/novina/otvorena-pokana-za-uchastie-v-uurkshop-fotogravura-vurhu-med?fbclid=IwY2xjawGAaGdleHRuA2FlbQIxMAABHQnYvbfjfKM38EvBGp6rHnISy7ZgcvB9fuZOxeaAFnBTaP-rBmSQIX8q2A_aem_N3htYlBMLKO_TVaxCudQaA  Посетена на 21.10.2024

Piskulyiska 2014: Пискулийска, Зорница, Автореферат „Тъ̀каните на Уилям Морис и „Морис и ко” – влияние върху текстила в Европа през първите десетилетия на ХХ век.“ НХА, София, 2014. https://www.nha.bg/uploads/ckeditor/avtoreferat-.pdf Посетена на 24.10.2024

Popov 2009: Попов, Алекси. Ролята на цар Фердинанд за развитието на природните науки и защитата на природата. В: Ковачева, Веселина (ред.), „Епохата на цар Фердинанд I“, сборник доклади от научна конференция, проведена на 20.11.2008 г. в София, т. 2. София, „Женска либерална мрежа“, 2009, с. 56-62.

The Art Palace Gallery 2019: Галерия „Дворецът за изкуството“ във „Вести“ – https://www.vesti.bg/galerii/foto/dvorecyt-za-izkustvoto-7874/37819789 ; Публикуваните произведения и документи участват в едноименна изложба в Националната галерия през 2019 г. https://nationalgallery.bg/bg/exhibitions/the-palace-for-art/ Посетена на 16.10.2024

The Bulgarian Trail 2022: Българската следа на кралските надбягвания в Аскот. Как бижу, свързано с цар Борис III, се озова на вратовръзката на принц Чарлз?, публикация на БТВ от 26.06.2022 г. – https://btvnovinite.bg/predavania/tazi-sabota-i-nedelia/kak-bizhu-svarzano-s-car-boris-iii-s-ozova.html  Посетена на 15.10.2024

Yokimov 2009: Йокимов, Петър. Гражданската архитектура в европейския път на България на прехода между две столетия. В: Ковачева, Веселина (ред.), „Епохата на цар Фердинанд I“, сборник доклади от научна конференция, проведена на 20.11.2008 г. в София, т. 1. София, „Женска либерална мрежа“, 2009, с. 43-51.

Zheleva-Martins 2009: Желева-Мартинс, Добрина. Анализ на плана на София от 19071 публикуван послучай 20-годишнината от възкачването на Н.Ц.В. княз Фердинанд на българския престол. В: Ковачева, Веселина (ред.), „Епохата на цар Фердинанд I“, сборник доклади от научна конференция, проведена на 20.11.2008 г. в София, т. 1. София, „Женска либерална мрежа“, 2009, с. 9-16.