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A touch of poison would do the trick. Atelier Renée and Alexander J.E. Bradley Photography present 'A Dangerous Game of Kiss and Tell'.
Pasqual Sébah was one of the most important professional photographers of his time in the Ottoman Empire. Today, his works are highly sought after by museums and collectors.
Of Syrian or Lebanese origins, Sébah (1823-1886) was a leading photographer in Constantinople, now the city of Istanbul. In 1857 he opened a studio, which he called "El Chark," next to the Russian Embassy on the Grande Rue de Pera, the main shopping street of the European part of the city. He sold photographs of the city, ancient ruins in the surrounding area, portraits, and images of local people in traditional costumes to tourists. His prints are signed P. Sébah.
Sébah rose to international prominence because of his well-organized compositions, careful lighting, effective posing, attractive models, and great attention to detail. His career coincided with intense Western European interest in the "Orient," which was viewed as exotic and fascinating.
In 1860, he secured the collaboration of the French photographer A. Laroche to direct his studio. As Sébah's technician, Laroche turned out photographic prints of superior quality.
Sébah's career was accelerated through his collaboration with the artist, Osman Hamdi Bey (1842-1910). Osman Hamdi Bey posed models, often dressed in elaborate costumes, for Sebah to photograph. The painter then used Sébah's photographs for his celebrated Orientalist oil paintings.
In 1873, Osman Hamdi Bey was appointed by the Ottoman court to direct the Ottoman exhibition in Vienna and commissioned Sébah to produce large photographs of models wearing costumes for a sumptuous album, "Les Costumes Populaires de la Turquie." The album earned Sébah a gold medal awarded by the Viennese organizers, and another medal from the Ottoman Sultan Abdulaziz.
In that same exceptional year of 1873, Sébah opened a branch in Cairo, Egypt, on the Esbekieh next to the French Embassy, where he installed his associate, Laroche. (The Cairo studio remained in business until 1898.)
In 1883, Sébah suffered a stroke. He died on June 15, 1886, and his brother Cosmi managed the business until Johannes (1872-1947), Pascal’s son, was old enough to take over.
Johannes (Jean) grew up to become a talented photographer in his own right, but to profit from his father’s fame, he signed his photographs J. Pascal Sébah. In 1888 he went into partnership with a French photographer resident in Istanbul, Polycarpe Joaillier. The firm of Sébah and Joaillier were named the official photographers of the Sultan, and at his command took photographs all over his empire.
Joaillier returned to Paris in the early 1900s, but Jean Sébah continued the studio, forming a partnership in 1910 with Hagop Iskender and Leo Perpignani. The latter left the firm in 1914. Jean Sébah and Hagop Iskender retired in 1934, leaving the business to Iskender's son, Bedros Iskender and his partner, Ismail Insel. Ismail Insel eventually became sole partner and renamed the studio Foto Sabah, which remained in business until 1952. (Sabah means "morning" in Turkish.)
With all the changes, the studio that Pascal Sébah began in 1857 lasted 95 years.
(from Wikipedia)
The Galata Tower (Galata Kulesi in Turkish) — called Christea Turris (the Tower of Christ in Latin) by the Genoese — is a medieval stone tower in the Galata/Karaköy quarter of Istanbul, Turkey, just to the north of the Golden Horn. One of the city's most striking landmarks, it is a high, cone-capped cylinder that dominates the skyline and offers a panoramic vista of Old Istanbul or Constantinople and its environs.
The nine-story tower is 66.90 meters tall (62.59 m without the ornament on top, 51.65 m at the observation deck), and was the city's tallest structure when it was built. The elevation at ground level is 35 meters above sea-level. The tower has an external diameter of 16.45 meters at the base, an 8.95 meters diameter inside, and walls that are 3.75 meters thick.
There is a restaurant and café on its upper floors which command a magnificent view of Istanbul and the Bosphorus. Also located on the upper floors is a night club which hosts a Turkish show. There are two operating elevators that carry visitors from the lower level to the upper levels.
History
The tower was built as Christea Turris (Tower of Christ) in 1348 during an expansion of the Genoese colony in Constantinople.The Galata Tower was the tallest building in Istanbul at 219½ feet (66.9 m) when it was built in 1348.[2] It was built to replace the old Tower of Galata, an original Byzantine tower named Megalos Pyrgos (English: Great Tower) which controlled the northern end of the massive sea chain that closed the entrance to the Golden Horn. That tower was on a different site and was largely destroyed in 1203, during the Fourth Crusade of 1202–1204.[3]
The upper section of the tower with the conical cap was slightly modified in several restorations during the Ottoman period when it was used as an observation tower for spotting fires.
According to the Seyahatname of Ottoman historian and traveller Evliya Çelebi, in circa 1630-1632, Hezarfen Ahmet Çelebi flew as an early intercontinental aviator using artificial wings for gliding from this tower over the Bosphorus to the slopes of Üsküdar on the Anatolian side, nearly six kilometres away.[4] Evliyâ Çelebi also tells of Hezarfen's brother, Lagari Hasan Çelebi, performing the first flight with a rocket in a conical cage filled with gunpowder in 1633.
Starting from 1717 the Ottomans began to use the tower for spotting fires in the city. In 1794, during the reign of Sultan Selim III, the roof of the tower made of lead and wood, and the stairs were severely damaged by a fire. Another fire damaged the building in 1831, upon which a new restoration work took place.
In 1875, during a storm, the conic roof on the top of the building was destroyed. The tower remained without this conic roof for the rest of the Ottoman period. Many years later, in 1965-1967, during the Turkish Republic, the original conical cap was restored. During this final restoration in the 1960s, the wooden interior of the tower was replaced by a concrete structure and it was commercialized and opened to the public.
From the top of the tower, the first French panorama painter Pierre Prévost drew in 1818 his "Panorama de Constantinople" which was later exhibited in Paris in 1825.[5]
The panorama image shown below is composed of ten photos[6] taken from the Galata Tower by the photographic firm of Sébah & Joaillier, and is most likely to have been taken in the 1880s.
Maker: Sebah & Joaillier (attrib)
Born:
Active: Turkey/Egypt
Medium: albumen print
Size: 10 1/2 in x 8 in
Location:
Object No. 2022.538
Shelf: A-16
Publication:
Other Collections:
Notes: aka Fontanie des eaux douces d'Asi Bosphore
To view our archive organized by themes and subjects, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
This is the last photo in the series "A Dangerous Game of Kiss and Tell" with jewellery by Atelier Renée. I hope you enjoyed the project as much as I enjoyed shooting it. Big shout out to Manon Abramovicz-Fontbonne for her stunning work and creativity.
Atelier Renée and Alexander J.E. Bradley Photography present 'A Dangerious Game of Kiss and Tell'. - www.atelierrenee.fr
La gracieuse Princess Durri-Chechvar Sultane, fille de S.M. le Calife. Young girl (alternate spelling: Hadice Hayriye Ayshe Dürrühsehvar), daughter of Caliph Abdulmecid II, half-length portrait, seated, facing left, approximately 9 years old. Photograph by Sebah & Joaillier, July 1923.
Princess Durru Shahvar , whose father was raised by a branch of the Ottoman monarchy deeply interested in modernizing reforms and believed in modern education for women including his wives and daughter, became a popular public figure after her arrival in Hyderabad. She believed that women should earn their own living, and helped to remove the practice of purdah.
From the U.S. Library of Congress.
[PD] This picture is in the public domain in the United States.
Professeur et eleves turcs.
A photograph made by Sébah & Joaillier, photographers of the Sultan. (Konstantinopel / Istanbul)
Interieur du Grand Bazar.
A photograph made by Sébah & Joaillier, photographers of the Sultan. (Konstantinopel / Istanbul)
Paysan turc fumant le narguile.
A photograph made by Sébah & Joaillier, photographers of the Sultan. (Konstantinopel / Istanbul)
Maker: Pascal Sebah (1823-1886)
Born: Turkey
Active: Turkey/Egypt
Medium: albumen print
Size: 13 1/2 in x 10 1/2 in
Location:
Object No. 2021.738
Shelf: F-7
Publication:
Other Collections:
Provenance: Vintage Works
Rank: 200
Notes: Pascal Sébah (1823–1886) was a photographer in Constantinople (now Istanbul) and Cairo, who produced a prolific number of images of Egypt, Turkey and Greece to serve the tourist trade. Pascal Sébah was born in Constantinople, then the capital of the Ottoman Empire, to a Syrian Catholic father and an Armenian mother. He initially worked in collaboration with the French photographer, Henri Bechard. After receiving medals at the International Exhibition in Paris, he decided to open his own studio in Istanbul in 1857. Sébah's studio was known as ''El Chark (meaning "The Orient"), situated at 439 Grande Rue de Pera in the center of the city and close by the Embassies and hotels where tourists congregated. Sébah primarily produced photographs for the tourist trade. By the second half of the 19th-century, tourist travel to Egypt had created strong demand for photographs as souvenirs. Sébah was amongst a group of early photographers, who made their way to Cairo and Istanbul to capitalise on this demand. By 1873 Sébah was successful enough to open a second studio in Cairo. He exhibited at Ottoman exhibition in Vienna, Austria in 1873. He established a valuable working relationship with Turkish painter Osman Hamdi Bey taking photographs as part of the artist's preparation and in which he experimented with light and shade. In turn, Hamdi Bey selected Sébah to illustrate his text on the popular costumes worn by Turkish people, entitled Les Costumes Populaires de la Turquie en 1873: ouvrage publié sous le patronage de la Commission impériale ottomane pour l'Exposition universelle de Vienne published in 1873. Following his death on 25 June 1886, the studio continued in business. It was managed by his brother, Cosmi, and in 1888 Pollicarpe Joiallier became a partner. At this time the company was renamed Sebah & Joaillier. Pascal's son, Jean Pascal Sébah, also joined in 1888 and went on to run the studio with other photographers. The firm developed a reputation as the leading representative of Orientalist photography and in 1889 was appointed the Photographers by Appointment to the Prussian Court. Sébah's studio continued operations, in one form or another, until 1952 at the same address then moved until its closure in 1973. (source: Wikipedia).
To view our archive organized by themes and subjects, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
Cafe turc.
A photograph made by Sébah & Joaillier, photographers of the Sultan. (Konstantinopel / Istanbul)
Fotoğraf - Photo: Sébah & Joaillier
#SALTAraştırma, Fotoğraf ve Kartpostal Arşivi
#SALTResearch, Photograph and Postcard Archive
Repository: SALT Research
Rights Info: This material can be used under Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International (CC BY-NC-ND 4.0) license.
Maker: Pascal Sebah (1823-1886)
Born: Turkey
Active: Turkey/Egypt
Medium: albumen print
Size: 10 1/4 in x 7 7/8 in
Location:
Object No. 2021.657
Shelf: D-31
Publication:
Other Collections:
Provenance
Notes: Pascal Sébah (1823–1886) was a photographer in Constantinople (now Istanbul) and Cairo, who produced a prolific number of images of Egypt, Turkey and Greece to serve the tourist trade. Pascal Sébah was born in Constantinople, then the capital of the Ottoman Empire, to a Syrian Catholic father and an Armenian mother. He initially worked in collaboration with the French photographer, Henri Bechard. After receiving medals at the International Exhibition in Paris, he decided to open his own studio in Istanbul in 1857. Sébah's studio was known as ''El Chark (meaning "The Orient"), situated at 439 Grande Rue de Pera in the center of the city and close by the Embassies and hotels where tourists congregated. Sébah primarily produced photographs for the tourist trade. By the second half of the 19th-century, tourist travel to Egypt had created strong demand for photographs as souvenirs. Sébah was amongst a group of early photographers, who made their way to Cairo and Istanbul to capitalise on this demand. By 1873 Sébah was successful enough to open a second studio in Cairo. He exhibited at Ottoman exhibition in Vienna, Austria in 1873. He established a valuable working relationship with Turkish painter Osman Hamdi Bey taking photographs as part of the artist's preparation and in which he experimented with light and shade. In turn, Hamdi Bey selected Sébah to illustrate his text on the popular costumes worn by Turkish people, entitled Les Costumes Populaires de la Turquie en 1873: ouvrage publié sous le patronage de la Commission impériale ottomane pour l'Exposition universelle de Vienne published in 1873. Following his death on 25 June 1886, the studio continued in business. It was managed by his brother, Cosmi, and in 1888 Pollicarpe Joiallier became a partner. At this time the company was renamed Sebah & Joaillier. Pascal's son, Jean Pascal Sébah, also joined in 1888 and went on to run the studio with other photographers. The firm developed a reputation as the leading representative of Orientalist photography and in 1889 was appointed the Photographers by Appointment to the Prussian Court. Sébah's studio continued operations, in one form or another, until 1952 at the same address then moved until its closure in 1973. (source: Wikipedia).
To view our archive organized by themes and subjects, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
maison du maître-verrier René Lalique
René Jules Lalique,
né le 6 avril 1860 à Aÿ, dans la Marne
mort le 1er mai 1945,à Paris
maître verrier, bijoutier, joaillier et médailleur français.
son 1er show room en 1901 - plus tard sera transféré Place Vendôme
décor ronces et pommes de pin
Il aurait donc tout dessiné lui-même, les architectes (les frères L et A Feine) ne furent que des exécutants, leurs noms ne figurent pas sur la façade
House of the glass-maker René Lalique - 1860 - 1945
his first show room later onn trasfered to Place Vendome
decoraton pine-cones brambles
he designed everything by himself, the architects (the brothers L. and A. Feine) folloed his instructions, they did not even sign their names on the facade of the building
maison du maître-verrier René Lalique
René Jules Lalique,
né le 6 avril 1860 à Aÿ, dans la Marne
mort le 1er mai 1945,à Paris
maître verrier, bijoutier, joaillier et médailleur français.
son 1er show room en 1901 - plus tard sera transféré Place Vendôme
décor ronces et pommes de pin
Il aurait donc tout dessiné lui-même, les architectes (les frères L et A Feine) ne furent que des exécutants, leurs noms ne figurent pas sur la façade
House of the glass-maker René Lalique - 1860 - 1945
his first show room later onn trasfered to Place Vendome
decoraton pine-cones brambles
he designed everything by himself, the architects (the brothers L. and A. Feine) folloed his instructions, they did not even sign their names on the facade of the building
A Photo by "Ali Mannan"
Camera; Samsung Galaxy S7 Edge
Location; Galata Tower, Istanbul, Turkey
....
The Galata Tower (Galata Kulesi in Turkish) — called Christea Turris (the Tower of Christ in Latin) by the Genoese — is a medieval stone tower in the Galata/Karaköy quarter of Istanbul, Turkey, just to the north of the Golden Horn's junction with the Bosphorus. One of the city's most striking landmarks, it is a high, cone-capped cylinder that dominates the skyline and offers a panoramic vista of Istanbul's historic peninsula and its environs.
....
DESCRIPTION; The nine-story tower is 66.90 m (219.5 ft) (62.59 m (205.3 ft) without the ornament on top, 51.65 m (169.5 ft) at the observation deck), and was the city's tallest structure when it was built. The elevation at ground level is 35 m (115 ft) above sea-level. The tower has an external diameter of 16.45 m (54.0 ft) at the base, an inside diameter of 8.95 m (29.4 ft), and walls that are 3.75 m (12.3 ft) thick.
There is a restaurant and café on its upper floors which command a magnificent view of Istanbul and the Bosphorus. Also located on the upper floors is a night club which hosts a Turkish show. There are two operating elevators that carry visitors from the lower level to the upper levels.
....
HISTORY: The Romanesque style tower was built as Christea Turris (Tower of Christ) in 1348 during an expansion of the Genoese colony in Constantinople. Galata Tower was the tallest building in Istanbul at 219.5 ft (66.9 m) when it was built in 1348. It was built to replace the old Tower of Galata, an original Byzantine tower named Megalos Pyrgos (English: Great Tower) which controlled the northern end of the massive sea chain that closed the entrance to the Golden Horn. That tower was on a different site and was largely destroyed in 1203, during the Fourth Crusade of 1202–1204.
The upper section of the tower with the conical cap was slightly modified in several restorations during the Ottoman period when it was used as an observation tower for spotting fires.
According to the Seyahatname of Ottoman historian and traveller Evliya Çelebi, in circa 1630-1632, Hezarfen Ahmet Çelebi flew as an early intercontinental aviator using artificial wings for gliding from this tower over the Bosphorus to the slopes of Üsküdar on the Anatolian side, nearly six kilometres away. Evliyâ Çelebi also tells of Hezarfen's brother, Lagari Hasan Çelebi, performing the first flight with a rocket in a conical cage filled with gunpowder in 1633.
Starting from 1717, the Ottomans began to use the tower for spotting fires in the city. In 1794, during the reign of Sultan Selim III, the roof of the tower was made of lead and wood, and the stairs were severely damaged by a fire. Another fire damaged the building in 1831, upon which a new restoration work took place.
In 1875, during a storm, the conical roof on the top of the building was destroyed. The tower remained without this conical roof for the rest of the Ottoman period. Many years later, during the restoration works between 1965 and 1967, the conical roof was reconstructed. During this final restoration in the 1960s, the wooden interior of the tower was replaced by a concrete structure and it was commercialized and opened to the public.
From the top of the tower, the first French panorama painter, Pierre Prévost, drew his "Panorama de Constantinople" in 1818, which was later exhibited in Paris in 1825. The panorama image was composed of ten photos taken from the Galata Tower by the photographic firm of Sébah & Joaillier, and is likely to have been taken in the 1880s.
Maker: Pascal Sebah (1823-1886)
Born: Turkey
Active: Turkey/Egypt
Medium: albumen print
Size: 10 1/2 in x 8 1/4 in
Location: Italy
Object No. 2015.849
Shelf: A-20
Publication:
Provenance:
Other Collections:
Notes: Pascal Sébah (1823–1886) was a photographer in Constantinople (now Istanbul) and Cairo, who produced a prolific number of images of Egypt, Turkey and Greece to serve the tourist trade. Pascal Sébah was born in Constantinople, then the capital of the Ottoman Empire, to a Syrian Catholic father and an Armenian mother. He initially worked in collaboration with the French photographer, Henri Bechard. After receiving medals at the International Exhibition in Paris, he decided to open his own studio in Istanbul in 1857. Sébah's studio was known as ''El Chark (meaning "The Orient"), situated at 439 Grande Rue de Pera in the center of the city and close by the Embassies and hotels where tourists congregated. Sébah primarily produced photographs for the tourist trade. By the second half of the 19th-century, tourist travel to Egypt had created strong demand for photographs as souvenirs. Sébah was amongst a group of early photographers, who made their way to Cairo and Istanbul to capitalise on this demand. By 1873 Sébah was successful enough to open a second studio in Cairo. He exhibited at Ottoman exhibition in Vienna, Austria in 1873. He established a valuable working relationship with Turkish painter Osman Hamdi Bey taking photographs as part of the artist's preparation and in which he experimented with light and shade. In turn, Hamdi Bey selected Sébah to illustrate his text on the popular costumes worn by Turkish people, entitled Les Costumes Populaires de la Turquie en 1873: ouvrage publié sous le patronage de la Commission impériale ottomane pour l'Exposition universelle de Vienne published in 1873. Following his death on 25 June 1886, the studio continued in business. It was managed by his brother, Cosmi, and in 1888 Pollicarpe Joiallier became a partner. At this time the company was renamed Sebah & Joaillier. Pascal's son, Jean Pascal Sébah, also joined in 1888 and went on to run the studio with other photographers. The firm developed a reputation as the leading representative of Orientalist photography and in 1889 was appointed the Photographers by Appointment to the Prussian Court. Sébah's studio continued operations, in one form or another, until 1952 at the same address then moved until its closure in 1973. (source: Wikipedia).
To view our archive organized by Collections, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
Photo by: Attributed to J. Pascal Sebah, Smyrne, Turkey
Date: c. 1870
Type: Albumen
Info: "Sébah's date of birth, place of birth and place of death are unknown. He was a commercial photographer who opened a studio in Constantinople in 1868 and specialized in photos for tourists. Eventually Sébah entered into a partnership with Joaillier. Sébah photographed Egypt extensively and also was associated with the Société française de photographie." -- getty.edu/vow/ULANFullDisplay?find=&role=&nation=...
He was active from 1856 to 1900. His works are featured in numerous museums, most notably Fine Arts Museums of San Francisco, Metropolitan Museum of Art Timetable of Art History, New York City,
Musée d'Orsay Collection Database, Paris, France, Museum of Fine Arts, Boston, San Francisco Museum of Modern Art, Courtauld Institute of Art, London, UK, etc. -- www.artcyclopedia.com/artists/sebah_j_pascal.html
Charles' employer, Holland-China Trading Company (HCHC), was founded by several people, including Albert Hotz, through Hotz, s'Jacob & Co (Albertus Paulus Hermanus Hotz, born in Rotterdam in 1855, died in Italy in 1930).
When I searched the internet for more information on Albert Hotz, I was in for a surprise. There was a newspaper article, mentioning that he was an early photographer:
"Een lid der Rotterdamsche firma S.C.P. Hotz & Zoon, de heer A. Hotz, heeft een reis naar Perzië gemaakt en is daarvan nu teruggekeerd. Hij brengt, schrijft men uit Londen aan de "N. R. Ct." geen ongunstig nieuws uit Teheran mede.
Door hem zijn ernstige pogingen in het werk gesteld om den handel tusschen Nederland en Perzië, vroeger, naar men weet, van groot belang, weer te verlevendigen. Met dat doel is een kleine vennootschap opgericht, waarbij eenige Nederlandsche fabrikanten van naam betrokken zijn. Deze vennootschap beoogt het invoeren van Europeesche fabrikaten, inzonderheid Nederlandsche, te Teheran, waar een Hollandsche bazaar met den afzet zal worden belast.
De vertegenwoordiger van Nederland in de Perzische hoofdstad, de heer Knobel, heeft groote belangstelling voor dit plan aan den dag gelegd en stelt zich veel voor van de te verkrijgen inkomsten.
De heer Hotz is een ernstig liefhebber der photographische kunst en heeft met zijnen Kodak een groot aantal landschappen in Perzië afgebeeld. Deze afdrukken, vermenigvuldigd, vergroot en duurzaam gemaakt door het platinotypische proces, zijn ten deele vereenigd in een smaakvol album, dat een getrouw beeld geeft van het hedendaagsche en ook van het oude Perzië.
Van bijzondere waarde zijn de kleurige platen van de bouwvallen van Persepolis en van Ispahan, vooral die waarop de graven der "opperhoofden" van de Oost-Indische Compagnie op het Armenische kerkhof te Julfa zijn weergegeven."
(Royal Dutch Library, Delpher.nl, Haagsche Courant, 31 July 1893)
Would any of these photo have survived? And, were any photos of China to be found, A. Hotz being a founder of Holland-China Trading Company. Soon, I found reference to the Hotz collection at Leiden University. Indeed, there were Chinese images to be found, and a wonderful portrait of Albert Hotz and his wife Lucy Helen Woods.
Hotz was also mentioned in Mattie Boom's thesis. She wrote that Hotz traveled from Persia to China, via the old Silk Road, still in use in the 1890s. In London, well-known China-photographer John Thomson printed Hotz' photographs. He may have also sold Hotz a collection of Chinese photographs, currently held at Leiden University Library.
"De Rotterdammer Albert Paul Herman Hotz (1855-1930) was zo’n reizende ondernemer die graag fotografeerde. Hij trok in 1874 voor het eerst naar Perzië waar hij ging handelen in tapijten, textiel en olie. In Teheran had hij vanaf 1890 zijn zogeheten ‘Tehran Toko’ waar hij zijn handelswaar doorverkocht. Teheran was de standplaats, maar vandaaruit deed het bedrijf ook zaken met China. De zijderoute was in de late 19de eeuw nog steeds dezelfde levendige weg als in de eeuwen daarvoor. Via deze route werden handelsbetrekkingen met China onderhouden. Hotz ondernam de tocht verschillende malen."
"Er zijn meer dan twintig fotoalbums van Hotz met zijn eigen foto’s bewaard gebleven (afb. 132). Deze foto’s werden door de bekende China-fotograaf John Thomson voor Hotz afgedrukt op het fraaie platinapapier. Mogelijk maakte Thomson ook de albums. Hotz had, toen hij in Londen woonde, Thomson ontmoet op een van de bijeenkomsten van de Royal Geographical Society. De mannen raakten in gesprek toen Thomson een van zijn voordrachten over China met projectie van lantaarnplaatjes hield. Ook Hendrik Dunlop die als vertegenwoordiger bij de firma Hotz werkte, ging via Teheran en Shiraz langs de zijderoute naar China. Achterin Dunlops album Shiraz zitten een paar kleine foto’s die hij rond 1895 in China maakte, waaronder een van de theefabriek van Fuzhou."
(Mattie Boom 2017, Erasmus Universiteit Rotterdam, Kodak in Amsterdam. De opkomst van de amateurfotografie in Nederland 1880-1910, p. 113)
There is an exhibition in Rijksmuseum (Amsterdam) by Mattie Boom, about amateur photography in the Netherlands, 15 February - 10 June 2019.
www.rijksmuseum.nl/en/press/rijksmuseum-exhibition-traces...
Courtesy Leiden University Library, Special Collections, Or. 26.590 Hotz album 27, Or. 26.591 Hotz album 28, Or. 27.133 (1) Aktetas van Haccius.
Portefaiz. A photograph made by Sébah & Joaillier, photographers of the Sultan. (Konstantinopel / Istanbul)
Pont de Galata.
A photograph made by Sébah & Joaillier, photographers of the Sultan. (Konstantinopel / Istanbul)
maison du maître-verrier René Lalique
René Jules Lalique,
né le 6 avril 1860 à Aÿ, dans la Marne
mort le 1er mai 1945,à Paris
maître verrier, bijoutier, joaillier et médailleur français.
son 1er show room en 1901 - plus tard sera transféré Place Vendôme
décor ronces et pommes de pin
Il aurait donc tout dessiné lui-même, les architectes (les frères L et A Feine) ne furent que des exécutants, leurs noms ne figurent pas sur la façade
House of the glass-maker René Lalique - 1860 - 1945
his first show room later onn trasfered to Place Vendome
decoraton pine-cones brambles
he designed everything by himself, the architects (the brothers L. and A. Feine) folloed his instructions, they did not even sign their names on the facade of the building
Maker: Pascal Sebah (1823-1886) & Polycarpe Joaillier (1848-1904)
Born:
Active: Turkey/Egypt
Medium: albumen print
Size: 8.25" x 10"
Location: Turkey
Object No.2016.035
Shelf: A-16
Publication:
Other Collections: J. Paul Getty Museum
Notes: The partnership founded in 1888 between Jean [Pascal] Sébah, son of Pascal Sébah (1823-1886), and Polycarpe Joaillier in Constantinople. They became official photographers to the Sultan. The Yıldız Hamidiye Mosque, also called the Yıldız Mosque, is an Ottoman imperial mosque located in Yıldız neighbourhood of Beşiktaş district in Istanbul, Turkey, on the way to Yıldız Palace. The mosque was commissioned by the Ottoman sultan Abdul Hamid II, and constructed between 1884 and 1886. The mosque was built on a rectangular plan and has one minaret. The architecture of the mosque is a combination of Neo-Gothic style and classical Ottoman motifs.
To view our archive organized by themes and subjects, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
The caption is unreadable (?? groupe ?? d'eau)
A photograph made by Sébah & Joaillier, photographers of the Sultan. (Konstantinopel / Istanbul)
"In December 1931 [...] the mosaics of Hagia Sophia began to be uncovered under the auspices of the Byzantine Institute of America. The work went well, and three years later, on November 24, 1934, the Turkish Council of Ministers decreed that the Mosque of Aya Sofya should be secularized and turned into a museum, because of its historical significance... [as] a unique architectural monument of art."
Robert S. Nelson, "Hagia Sophia, 1850-1950: Holy Wisdom Modern Monument," University of Chicago Press, 2004, p. 155
Photo: Sébah & Joaillier
#SALTResearch, Ali Saim Ülgen Archive
Repository: SALT Research
Rights Info: This material can be used under Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International (CC BY-NC-ND 4.0) license.
Vue panoramique et la mosquee Suleymanie.
Panoramic view and the Süleymaniye mosque.
Photograph by Sebah and Joaillier ca. 1900
Joaillière de la Bijouterie Serge Gagnon, sur la rue St-Vallier, dans St-Sauveur. Je la fréquente depuis des années. Fondée en 1927, ils en sont à leur troisième génération d'horlogers-bijoutiers et leur service est impeccable. Beau métier !! J'ai d'autres photos sur ma galerie.
Vue Panoramique de la ??? Serail.
View of Istanbul from the Galata tower.
A photograph made by Sébah & Joaillier, photographers of the Sultan. (Konstantinopel / Istanbul)
Quartier Turc a Scutari et vue de la Mosquee Validé.
The turkish quarter in Scutari (Üsküdar) and the Mosque Validé
Photograph by Sebah and Joaillier ca. 1900
This story is actually my earlier BrandenburgerTor anecdote all over again only now I had accomplices. In short, how three people can frustrate many tourists by just doing what they love...
The Galata Tower is a medieval stone tower in the Galata district of Istanbul, Turkey. It's one of the city's most striking landmarks, as a high, cone-capped cylindrical construction. It dominates the skyline and gives you an impressive panoramic view of Old Istanbul, the Golden Horn and of course the Bosphorus Strait. The nine-story tower is a huge 66.9234 meters tall and just a 'measly' 62.59 meters without the ornament on top.
At the top of the Galata Kulesi (the Turkish name for the tower) there is a observation rotunda (at a height of 51.65 meters). They call it the observation deck, but it's actually a small fenced ledge circling the tower. The ledge is so small, that every morning the first visitor determines if the other tourists circle the tower clockwise or anti clockwise. And don't even think you can change it. You will literally cross paths with many angry tourist (as they were told on the tour bus it will leave in ten minutes... grrrrrr...)
So, this being said, I challenged myself to do a 180+ degree pano. Just as photographic firm of Sébah & Joaillier did in 1880 (yes, that's correct 1880!!!) of Constantinople from the same tower. Oké, that's before the more than wonderful PS Tool "Photo Merge" was invented, but still they did a magnificent job. This pano is now preserved and archived in the World Digital Library of the Library of Congress of the United States Congress and on Wiki;-)
However, a 180+ pano takes time to make, right! About 15 minutes at least; including an overlap of about 70% between photos to adjust for the curvature and distortion, as it's not a completely level pano.
I presume the number of visitors in 1880 were by far smaller than nowadays and also had more time. Even wonderful photo merge - sadly enough - doesn't help in this department either. And to cricle the tower after each one or two shots for another mini-series just isn't a real option. The chances you always end-up at the same position are way beyond the " μ " range (a factor 10-6).
Luckily I wasn't alone in this -awful - sensation of being push along like toothpaste being push out of the tube. A lovely couple, or I should say, a loving couple wanted some time to enjoy the view while holding each other lovingly tight. But there was no way the other bus tourist would let them. Push, push and push. Cause they only had ten minutes to lift-off for the next stop (in Paris, Rome, Madrid or Narvik for that matter).
In noticing both each other's problems, we nonverbally struck a deal. Or a pact, so you may. We was to do as if we're doing a photo shoot!! The couple become famous (and got increasing rights to stay in one place), I had more than enough reasons to stay in one place and the bus load would certainly need more than 5 minutes to figure out who those celebs were.
And for about 5.22.149 minutes this plan worked phenomenally. The shit load in front even started taking pictures of the couple (famous or not). But as the tower is cylindrical, only a view of them noticed our fun. Soon enough complaints and protests were traveling up the line. Predominantly about the bus leaving in 4 minutes.
We could ignore those complaints for a couple of minutes more. But me turning away from the couple with every shot a took (and I took 37) didn't help our case either. So, where's a dustcart crew when you need them; in Berlin they're there and ready to help you at a moment's notice!!
All-in-all we had stopped the tourist paste for little over 9 minutes. Beyond that we would not have made off the Galata Ttower alive. And if we did, we would for certain been driven over by the chauffeur of the bus and had become road kill.
In the lift down I definitely got some angry looks. Looks that plainly stated that I had ruined the Istanbul highlight, as if this was the only sight they were allowed to see by the bus driver. After all their next stop was Paris, Rome, Madrid or Narvik...
Technical stuff
This pano is made-up of 37 individual photos. Of course hand-held. A tripod simply doesn't fit on the Ledge of the Galata Tower.
The initial merge was done by PS and afterwards I manually fixed a couple of problems. I sharpened the pano by using the High Pass filter set at 10. After that I desaturated the whole ensemble by adding a black-and-white layer. Furthermore a added some contrast and curvature; in layers of course.
The actual photo is 13431 x 3942 pixels. Mid-size wall paper! I rezised the PS file (268MB) it to a reasonable 1500x502 at 72dpi (767Kb).
Sorry for the copyright watermarks, however, Flickr is being bombarded by people copying photos and making them their own. Grrrrr
For now, I wish you all seasonal greetings and cheers,
AJ
Padişahların İstanbul’da bulunduğu zamanlarda her hafta yinelenen cuma selamlığı, 1453’ten halifeliğin kaldırıldığı 1924’e kadar düzenlendi. Selamlıklar İstanbullular için özel bir anlam ifade eder, halk kuşluk saatlerinden itibaren alayın geçeceği sokak ve caddeleri doldururdu. 19. yüzyılda resmî bir tören niteliği kazanan cuma selamlığı için gidilecek camiyi padişah belirler, genellikle saraya yakın camiler seçilirdi. Ayasofya, Sultanahmet ve Süleymaniye camileri tercih edilen başlıca mekânlarken, 18. yüzyılda cuma selamlığı için deniz yolunun da kullanılmaya başlanmasının ardından Beşiktaş ve Üsküdar’daki camiler de sıklıkla kullanıldı.
Ortaköy Camii’ndeki Cuma Selamlığı, İstanbul
Fotoğraf: Sebah & Joaillier
Engin Özendes’in #SALTAraştırma korumasına devrettiği nadir cam negatiflerden
Repository: SALT Research
Rights Info: This material can be used under Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International (CC BY-NC-ND 4.0) license.
Maker: Sebah & Joaillier
Born:
Active: Turkey/Egypt
Medium: phototypographique
Size: 6 1/8 in x 4 3/8 in
Location:
Object No. 2022.534m
Shelf: PER-1884
Publication: Association Belge de Photographie, Brussels, No. 12, Vol ll, 1884, frontispiece
Other Collections:
Notes: Reproduction phototypographique directe d'une epreuve photographique, par le procede brevete de Mr Meisenbach de Munich
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