View allAll Photos Tagged joaillier
Aquamarine platinum ring: unusual natural gemstone with harmonious inclusions, pave set with Paraiba tourmaline, rare Hauyne, sapphire and diamond. One of a kind ring made in France by joaillier artisans.
The central stone is a Portuguese round cut natural aquamarine unusually reverse set. This gem is totally natural in color and is not treated in any way. The bubble inclusions add a refreshing touch to the stunning beauty of the high dome stone, like a snow globe! Paraiba tourmaline, hauyne, blue sapphire and diamond set in pavé style complement the design.
Vue panoramique de Pera et de Galata
Panoramic view of Pera and Galata
Photograph by Sebah and Joaillier ca. 1900
Maker: J.P. Sebah (1872-1947)
Born: Turkey
Active: Turkey/Egypt
Medium: albumen print
Size: 10.5 x 8.25
Location: Egypt
Object No. 2008.068
Shelf: D-32
Publication:
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 Assyrian 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 Constantinople 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 met. 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 among a group of early photographers in Constantinople and Cairo to capitalize on this demand. By 1873 Sébah was successful enough to open a second studio in Cairo. The same year, he exhibited at the Ottoman pavilion of the Universal Exhibition in Vienna, Austria. 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 and then moved until its closure in 1973.
To view our archive organized by Collections, visit: OUR COLLECTIONS
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La Tour du joaillier De Beers à Ginza, Tokyo a été conçue et terminée en 2007 par l'agence d'architecture Jun Mitsui Associates
C'est un espace mixte de bureaux et de commerce.
Site de l'architecte Jun Mitsui
www.jma.co.jp/projects/de-beers-ginza-building/
L'immeuble De Beers sur MIMOA
www.mimoa.eu/projects/Japan/Tokyo/De%20Beers%20Ginza%20Tower
Selamlik was the Sultan's traditional ritual progress to the mosque for the friday prayers. The Mosque Hamidie was built under Abdülhamid II in 1885. Albumen print by Sebah & Joaillier.
c'est bien un anneau du XVe siècle. Réalisée en décembre 2015 par le laboratoire Oxford X-ray Fluorescence Ltd, une analyse indiquait déjà que son métal était «cohérent avec [leur] base de données des objets d'art en argent du XVème siècle». Ayant étudié sa forme et ses gravures, Anne-Sophie Aimé, Bijoutière Joaillière, est catégorique: «De par son apparence et les moyens de fabrication utilisés, nous avons une bague correspondant parfaitement à la typologie des bagues du XVème siècle.» Son confrère Louis-Guillaume Piéchaud, expert en orfèvrerie, confirme: «Il ne fait nul doute qu'il s'agit là d'un travail pouvant être daté du XVème siècle.»
Deuxième information: la nature de l'alliage et les lettres inscrites corroborent la description effectuée par Jeanne d'Arc dans les minutes du procès de Rouen (21 février-30 mai 1431): «Je ne sais proprement. S'il est d'or, il n'est pas de fin or. Je ne sais si c'était or ou laiton. Je pense qu'il y avait trois croix et non autre signe que je sache, excepté «JHESUS MARIA».» Des examens approfondis font effectivement apparaître des «traces de métal jaune» en plusieurs endroits. Ce qui fait dire à Anne-Sophie Aimé: «Nous sommes en présence d'une bague en argent plaqué or, soit du vermeil.» Selon Vanessa Soupault, expert en bijoux anciens et modernes, Docteur en Histoire de l'Art et Archéologie, «les inscriptions portées sur l'anneau (IHS d'un côté et MAR de l'autre) semblent correspondre à celles indiquées dans les minutes du procès.»
More beautiful window decorations at the Christmas Fair. Strasbourg, Alsace FR. See more of Dan's Windows at: www.flickr.com/photos/49304401@N00/albums/72157635892696804
Maker: J.P. Sebah (1872-1947)
Born: Turkey
Active: Turkey/Egypt
Medium: albumen print
Size: 10.5 x 8.25 in
Location: Egypt
Object No. 2008.065
Shelf: D-32
Publication:
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
Bosphorus, Therapia (Tarabya) and the German stationnaire "Loreley".
Photograph by Sebah and Joaillier. (around 1900)
The bridge spans the Arno at its narrowest point where a bridge was first built in Roman times The Roman piers were of stone, the superstructure of wood. The bridge first appears in a document of 996 After being destroyed by a flood in 1117 it was reconstructed in stone but swept away again in 1333 save two of its central piers It was rebuilt in 1345 . The jewellers & art dealers replace since 1593, the smelly tanners & butchers shops
During World War II, the Ponte Vecchio was not destroyed by Germans during their retreat on the advance of the liberating British 8th Army on August 4, 1944, unlike all other bridges in Florence, due to the fact the bridge being too narrow to enable tanks to cross (some say it was thanks to the good will of Hitler !)
Sa première construction en bois remonte à l'époque romaine. Détruit en 1333 par une crue, le pont est reconstruit en pierre en 1345. Ses boutiques étaient initialement occupées par des bouchers, des tripiers et des tanneurs, bientôt remplacées, en 1593, par la volonté de Ferdinand Ier de Médicis qui n'en supportait pas les odeurs fétides, par celles des joailliers et bijoutiers.
Contrairement à tous les autres ponts de Florence, le Ponte Vecchio échappa à la destruction le 4 août 1944, lors de l'avance de la 8ème armée britanique et !) la retraite des troupes allemandes : sa largeur, limitée, ne pouvait en effet livrer passage aux chars alliés (certains disent que, c'est grâce à l'intercession de Hitler, que le pont a survécu !!!)
Maker: Pascal Sebah (1823-1886)
Born: Turkey
Nationality: Turkey/Egypt
Medium: albumen print
Size: 10.5 in x 8 in
Location: Egypt
Object No. 2010.092
Shelf: D-32
Publication:
Other Collections: Auer Photo Foundation
Notes: No 12 in negative. 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
This historic fountain kiosk in Istanbul is located close to the Bab-i Hümayun (Emperors Gate) of the Topkapi sarayi (Topkapi Palace). It was erected between 1728 and 1729.
No photographers imprint, probably Sebah & Joaillier. 1880/90s
Unfortunately I can't make out the title of this photograph made by Sebah & Joaillier around 1900. All I can read is: "Promenade de ........" but I think this has been taken in Turkey, in the vicinity of Istanbul. Maybe one of my turkish friends can identify the place?
“Kadıköyün İstanbuldan da eski bir tarihe malik olduğunu, hattâ Kurbağalıdere yukarılarında ve Modada taş devrine ait eserlerin bulunduğunu biliyor muydunuz?”
1913-14 yıllarında Kadıköy Belediye Şubesi Müdürü olarak görev yapmış olan Celâl Esad Arseven’in “Hayat”ta yayımlanan “Kadıköy: 2650 Senelik Şehir” (1958) yazısının tamamı için: bit.ly/2g8x1eY
Fotoğraf: Sébah & Joaillier
Ed: Max Fruchtermann, 1906
#SALTAraştırma, Fotoğraf Arşivi
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 Sébah (1832-1886) & Polycarpe Joaillier (1848-1904)
Born: Turkey
Active: Turkey/Egypt
Medium: albumen print
Size: 10.3" x 102.3"
Location: Turkey
Object No. 2014.655c
Shelf: C-9
Publication:
Other Collections: Library of Congress, GEM
Provenance: Dr Jens Mattow
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
Maker: J.P. Sebah (1872-1947)
Born: Turkey
Active: Turkey/Egypt
Medium: albumen print
Size: 8.25" 10.5"
Location: Egypt
Object No. 2013.397
Shelf: D-31
Publication:
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 themes and subjects, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
General view of Prinkipo (Büyükada) taken from the sea.
Original title in french: Vue generale de Prinkipo, prise de la mer.
Büyükada is an island near Istanbul.
Photograph made by Sebah & Joaillier around 1900.
Colorized by Artificial Intelligence Algorithm Tool from originally scanned hi-res photo from the respective source.
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Maker: Pascal Sébah (1832-1886) & Polycarpe Joaillier (1848-1904)
Born: Turkey
Active: Turkey/Egypt
Medium: albumen print
Size: 10.3" x 102.3"
Location: Turkey
Object No. 2014.655b
Shelf: C-9
Publication:
Other Collections: Library of Congress, GEM
Provenance: Dr Jens Mattow
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
Maker: Pascal Sébah (1832-1886) & Polycarpe Joaillier (1848-1904)
Born: Turkey
Active: Turkey/Egypt
Medium: albumen print
Size: 10.3" x 102.3"
Location: Turkey
Object No. 2014.655e
Shelf: C-9
Publication: Sylvia Aubenas, Voyage en Orient, Editions Hazan, Paris, 1999, pg 43
Other Collections: Library of Congress, GEM
Provenance: Dr Jens Mattow
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
Sir Edgar Vincent
Photographer: Sébah & Joaillier
Ottoman Bank Museum
A Young, Dynamic and Ambitious Chief Executive Manager: Sir Edgar Vincent Sir Edgar Vincent, appointed chief executive manager to the Ottoman Bank in 1889, was a perfect choice for furthering the expansion of the bank’s commercial activity. He came from Cairo having proven his commercial genius and with a strong determination to radically change the marketing policies of the bank. Vincent commissioned a new building as the headquarters, matching the institution’s recently acquired power. Under his management, the bank experimented with novel techniques that varied from offering profitable checking and commercial accounts to widening credit opportunities and opening accounts, designed to attract a broadening clientele. In this vein, Vincent also paid particular attention to the proliferation of the bank network: new branches were opened in Adana and Konya (1889); in Denizli and Sofia (1890); in Balıkesir, Pera, Samsun, Trabzon and Uşak (1891); in Baghdad, Mersin, Bassorah and Ruse (1892); and in Ankara (1893). However, this dynamic manager’s ambition proved pernicious; in 1895, a speculative bubble of his own making burst into a stock exchange crisis that nearly swept away the Ottoman Bank itself.
SALT Research, Ottoman Bank Archive
Sir Edgar Vincent
Fotoğrafçı: Sébah & Joaillier
Osmanlı Bankası Müzesi
Genç, Dinamik ve Hırslı Bir Genel Müdür: Sir Edgar Vincent Kahire’de yöneticilik vasıfları ve ticari dehasını ispatlamış olan Sir Edgar Vincent, 1889’da İstanbul’a atandığında Osmanlı Bankası’nın çehresini değiştirmeye kararlıydı. Yeni genel müdür, bankanın ihtişamına yaraşır yeni bir genel müdürlük binası yaptırdı. Vincent’ın yönetimi altında, geniş kitlelere yönelik olarak avans ve mevduat imkânları artırılmış küçük tasarruf hesapları uygulaması başlatıldı. Bankanın şube ağı hızlı bir şekilde büyüdü: 1889’da Adana ve Konya; 1890’da Denizli ve Sofya; 1891’de Balıkesir, Beyoğlu, Samsun, Trabzon ve Uşak; 1892’de Bağdat, Mersin, Basra ve Rusçuk; 1893’te ise Ankara şubeleri açılarak hizmete girdi. Ancak Vincent aşırı hırsının kurbanı oldu; 1895’te kendi yaratmış olduğu spekülatif borsa hareketleri bir krize dönüşünce banka ciddi bir tehlike atlattı.
SALT Araştırma, Osmanlı Bankası Arşivi
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.
emiko oye neckpiece made from repurposed LEGO, rubber cording, sterling silver, paint. 24"L x 13.5"W x 3"D. 2008. Inspired by Cartier diamond and emerald necklace and Harry Winston pendant, 1960. photo by artist
Cartier was hailed as “Joaillier des Rois, Rois des Joailliers” (Jeweller to Kings, King of Jewellers). In 1904 he was honored with the royal warrant of supplier to the Royal Court of England. Cartier could not have been more beloved than by the Duke and Duchess of Windsor, who worked closely with him from the 1930s through the ‘60s to create an astounding collection that symbolized their notorious romance and showcased the exotic jewels of their travels. As noted in the book Famous Jewelry Collectors, "[their] collection was unique; not only were these jewels that had been chosen by a king to give a woman he loved and would give up his throne for, but they also included, in their own right, some of the most important examples of art and creativity of 20th century jewelers."
The Duchess 2 necklace and pendant set is based upon an emerald and diamond necklace mounted by Cartier, with a matching pendant by Harry Winston, 1960. This is a prime example of how a jewel's provenance can change from one royal court to another.
Initially, Harry Winston created an emerald and diamond necklace, remounted from anklets that he had purchased from the Maharajah of Baroda. At a Parisian ball, the necklace was the talk of the hour, and it was there that the Maharani of Baroda revealed to the Duchess of Windsor that the stones had first been hers. Disgruntled at the news of her jewels having been used in anklets, the fashionable Duchess exchanged the piece for Winston's massive 48.95 ct emerald pendant, the stone of which had once belonged to King Alfonso XIII of Spain.
Biographie d'Yann Arthus-Bertrand
Issu d'une famille de joailliers, Yann Arthus-Bertrand s'intéresse très tôt à la nature. Après avoir dirigé une réserve naturelle dans le sud de la France, il part au Kenya étudier le comportement des lions en compagnie de son épouse. C'est là qu'il découvre que la photographie lui permet de faire passer des messages qu'aucun texte ne pourrait transmettre. En à peine vingt-cinq ans, Yann Arthus-Bertrand publie plus de cinquante ouvrages : albums de Roland Garros, de Paris-Dakar, reportages sur Diane Fossey... Parallèlement à ces ouvrages, il fait paraître ses photos dans des revues comme Paris Match ou Géo, et crée, en 1991, l'agence Altitude, une banque d'images aériennes. Mais c'est en 1994 que cet amoureux des voyages et de la nature démarre sa plus grande aventure, avec la complicité de l'Unesco : un inventaire des plus beaux paysages du monde, vus d'en haut ; 'La Terre vue du ciel' fera le bonheur de milliers d'amoureux de la nature... et de la planète.
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Biography of Yann Arthus-Bertrand
Born into a family of jewelers, Yann Arthus-Bertrand early interest in nature. After leading a nature reserve in southern France, he went to Kenya to study the behavior of lions in the company of his wife. There he discovered that photography allows him to convey messages that no text could convey. In just twenty-five years, Yann Arthus-Bertrand published over fifty books, albums of Roland Garros, Paris-Dakar, reporting to Diane Fossey ... Alongside these works, he published his photos in magazines like Paris Match and Geo, and created in 1991, the agency Altitude, a database of aerial images. But it was in 1994 that this lover of travel and nature began his greatest adventure, with the complicity of Unesco: an inventory of the most beautiful landscapes in the world, seen from above; 'La Terre vue du ciel 'will delight thousands of nature lovers ... and the planet.
Also known as Unkapanı Bridge, Atatürk Bridge connects the district of Unkapanı to Azapkapı as an extension of the Atatürk Boulevard. It was originally built, on the order of Sultan Mahmut II’s wife Bezmialem Valide Sultan, in 1836 from wood. In 1875, a replacement bridge, designed by a French company, became the first iron bridge of Constantinople. In use until for over thirty years, it was again replaced, this time by moving the pre-existing Eminönü-Karaköy bridge, in 1912. After this structure was torn down by a storm in 1936, the current Atatürk Bridge was opened on October 29, 1939 by Lütfi Kırdar. The road surface of wooden parquet was covered with asphalt in 1954.
Photo: Sebah&Joaillier, Mustafa Hazneci
SALT Research, Photography Archive
Atatürk Bulvarı’nın devamı niteliğindeki Atatürk Köprüsü (eski adıyla Unkapanı Köprüsü), Azapkapı ile Unkapanı’nı birbirine bağlar. İlk olarak 1836’da, II. Mahmut’un eşi Bezmiâlem Valide Sultan tarafından inşa ettirildi. Bu ahşap köprü 1875’te, Fransız bir şirketin tasarladığı, kentin ilk demir köprüsüyle değiştirildi. 1912’ye kadar kullanılan demir köprü söküldükten sonra, yerine Karaköy ile Eminönü’nü birbirine bağlayan köprü getirildi. Ancak o da 1936’da bir fırtına sonucu yıkıldı. Günümüzde kullanılan köprü, 29 Ekim 1939’da Lütfi Kırdar tarafından hizmete açıldı. Çelik dubalar üstünde taşınan köprünün ahşap parkeli yolu 1954’te asfaltla kaplandı.
Fotoğraf: Sebah&Joaillier, Mustafa Hazneci
SALT Araştırma, Fotoğraf Arşivi
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 Sébah (1832-1886) & Polycarpe Joaillier (1848-1904)
Born: Turkey
Active: Turkey/Egypt
Medium: albumen print
Size: 10.3" x 102.3"
Location: Turkey
Object No. 2014.655a
Shelf: C-9
Publication:
Other Collections: GEM
Provenance: Dr Jens Mattow
Rank: 2298
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
Maker: Pascal Sebah (1823-1886)
Born: Turkey
Active: Turkey/Egypt
Medium: albumen print
Size: 4 1/2" x 6"
Location: Egypt
Object No. 2016.980n
Shelf: PHO-1891
Publication: Victor Bizot, Six months around the world, 1886-1887 Lyon, Imp. Schneider brothers, 1891. 8vo 134 pages with 15 albumen prints inset
Other Collections:
Provenance: Les Photographies dans Les Livres, Binoche et Giquello, Paris, November 4, 2011, Lot 60-A
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
Maker: Pascal Sebah (1823-1886)
Born: Turkey
Active: Turkey/Egypt
Medium: albumen print
Size: 10 1/4 in x 7 7/8 in
Location: Egypt
Object No. 2015.341
Shelf: D-32
Publication:
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
Maker: Pascal Sebah (1823-1886)
Born: Turkey
Active: Turkey/Egypt
Medium: albumen print
Size: 10" x 7.6"
Location: Turkey
Object No. 2013.624
Shelf: D-31
Publication:
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 themes and subjects, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
Üsküdar Karacaahmet Mezarlığı, İstanbul, 1875
Fotoğraf: Sébah & Joaillier
#SALTAraştırma, Fotoğraf Arşivi
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: 9.5 x 7.5 in
Location: Egypt
Object No. 2009.335
Shelf: D-32
Publication: Gardens of Sand, Commercial Photography in the Middle East 1859-1905, Turner, 2010, pg 66
Vaczek and Buckland, Travelers in Ancient Lands, A Portrait of the Middle East, 1839-1919, New York Graphic Society, Boston, 1981, pg 11
Other Collections: Clark and Joan Worswick Collection
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
Maker: Pascal Sebah (1823-1886)
Born: Turkey
Active: Turkey/Egypt
Medium: albumen print
Size: 10 5/16 in x 8 in
Location: Turkey
Object No. 2009.338
Shelf: A-16
Publication:
Other Collections:
Provenance: Vintage Works
Rank: 100
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
Colorized by Artificial Intelligence Algorithm Tool from originally scanned hi-res photo.
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