View allAll Photos Tagged joaillier
Maker: J.P. Sebah (1872-1947)
Born: Turkey
Active: Turkey/Egypt
Medium: albumen print
Size: 8.5" x 10.7"
Location: Egypt
Object No. 2012.625
Shelf: D-32
Publication:
Other Collections:
Provenance: Philippe Doublet
Rank: 35
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
Bain News Service,, publisher.
Scutari, Turkey
[between ca. 1910 and ca. 1915]
1 negative : glass ; 5 x 7 in. or smaller.
Notes:
On negative: Sebah et Joaill[ier], Vue panoramique de Scutari.
Title from data provided by the Bain News Service on the negative.
Photo shows a distant view of Üsküdar (Scutari), Istanbul from the Galata Tower in Beyoglu. A similar image taken by Ottoman photographers Sebah and Joaillier is found at: hdl.loc.gov/loc.pnp/pan.6a35826 (LOT 8931, no. 1). (Source: Flickr Commons project, 2008)
Forms part of: George Grantham Bain Collection (Library of Congress).
Subjects:
Turkey
Format: Glass negatives.
Rights Info: No known restrictions on publication.
Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA, hdl.loc.gov/loc.pnp/pp.print
General information about the Bain Collection is available at hdl.loc.gov/loc.pnp/pp.ggbain
Higher resolution image is available (Persistent URL): hdl.loc.gov/loc.pnp/ggbain.12260
Call Number: LC-B2- 2606-1
Colorized by Artificial Intelligence Algorithm Tool from originally scanned hi-res photo.
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Colorized by Artificial Intelligence Algorithm Tool from originally scanned hi-res photo.
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Gold Caps by FAILE Joaillier (Jeweler)
10K 14K 18K 22K Gold Caps
Keep dry
Also available: Dollar symbol necklace
Stencil graffiti seen on a wall in Amsterdam.
More FAILE: www.faile.net
Maker: Pascal Sebah (1823-1886)
Born: Turkey
Active: Turkey/Egypt
Medium: albumen print
Size: 4 1/2" x 6"
Location: Egypt
Object No. 2016.980b
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
Roland GASCHEN, joaillier, AUBERT, horloger, BLUM et ZULLIG, graveur
La Montre Extra Plate SA
Montre de poche
Genève, 1997
Or jaune, or gris, diamants, rubis
Inv. H 2010-0036. Don Roland Gaschen, 2010
Christmas window reflections of a jeweller in Saint-Lambert. Reflets de vitrines de Noël à Saint-Lambert. Also in the cartier Le Petit Champlain in Québec City.
See large on black 'Louis Perrier Joaillier'
We affectionately call my hometown commercial district "Le Village" and "The Village". Nous appellons affectueusement le centre commercial de ma ville "Le Village" ou "The Village".
Saint-Lambert, Québec, le 5 décembre, 2006.
Voir/See set: Noël Christmas
The map link on the bottom right is always wrong! It say Old Montréal which is across the river!!! I assure you that I placed the photos on the exact street location in Saint-Lambert.
See/Voir set Saint-Lambert
Neón de una joyería en la calle Gambetta
Duprat Bijoutier, Arcachon
Joaillier, bijoutier
5 Avenue Gambetta, 33120 Arcachon
Arcachón, es una localidad y comuna francesa situada en el departamento de Gironda en la región de Aquitania.
Arcachón fue constituida comuna por por Decreto imperial de Napoleón III el 2 de mayo de 1857, coincidiendo con la inauguración de la línea de ferrocarril Burdeos-La Teste-Arcachón.
Con anterioridad, la comuna había sido tradicionalmente un pequeño establecimiento de pescadores que con el auge a lo largo de la primera mitad del siglo XIX, de la moda de las estaciones balnearias, fue adquiriendo renombre y popularidad, como destino vacacional, entre las clases acomodadas de Francia.
Los hermanos Péreire, principales accionistas de la compañía Compagnie des Chemins de Fer du Midi crearon la llamada ville d’Hiver, una de los cuatro centros de ocio a partir de los cuales se desarrolló la actividad económica de la comuna.
A partir de 1862 se emprendió un programa de urbanismo por el que se trazaron las principales calles y avenidas a la par que se construyeron numerosas residencias y mansiones.
En 1863, la actividad turística recibió un nuevo impulso con la estancia del Emperador y desde entonces, su reputación se fue afirmando hasta que en 1926 fue declarada oficialmente "estación balnearia".
Desde 1985, la ville d’Hiver es reconocida como monumento histórico de Francia.
Fotografía tomada en Arcachon, Gironda, Francia, en el verano de 2009 (Arcachon, Gironde, France)
“Fındıklı Yokuşu’nun kuzeyindeki Pürtelâş mahallesinde olup adını verdiği semtte Marmara’ya ve Boğaziçi’ne hâkim bir tepede yer alır. Caminin adı, Kanûnî Sultan Süleyman’ın Hürrem Sultan’dan doğan ve yirmi iki yaşında ölerek (960/1553) Şehzade Mehmed ile birlikte Şehzade Camii’ndeki türbeye gömülen oğlu Cihangir’den gelmektedir. Mimar Sinan’a yaptırılan ilk cami 967’de (1559-60) tamamlanmıştır. [...] Evliya Çelebi’den bu yapının kare planlı, tek kubbeli ve tek minareli olduğu öğrenilmektedir. Cami, tarihi içinde beş yangın geçirmiş ve her seferinde yenilenmiştir. 1307’de (1890) II. Abdülhamid tarafından yeniden yaptırılan bugünkü cami de genel hatları ile tek kubbeli ve kare planlıdır. Üç bölümlü son cemaat yerinin iki köşesinde iki minaresi vardır. [...] Cihangir Camii gerek planlanması gerekse süslemeleriyle gayet ölçülü bir eserdir. İçerideki kalem işleri büyük ölçüde devrinin özelliklerini korumaktadır.”
Kaynak: Ara Altun, “TDV İslâm Ansiklopedisi”, 1993, Cilt 7, ss. 539-540.
Cihangir Camii
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.
Christmas window reflections of a jeweller in Saint-Lambert. Reflets de vitrines de Noël à Saint-Lambert. Also in the cartier Le Petit Champlain in Québec City.
See large on black 'Louis Perrier Joaillier'
We affectionately call my hometown commercial district "Le Village" and "The Village". Nous appellons affectueusement le centre commercial de ma ville "Le Village" ou "The Village".
Saint-Lambert, Québec, le 5 décembre, 2006.
Voir/See set: Noël Christmas
The map link on the bottom right is always wrong! It say Old Montréal which is across the river!!! I assure you that I placed the photos on the exact street location in Saint-Lambert.
See/Voir set Saint-Lambert
Maker: Pascal Sébah (1832-1886) & Polycarpe Joaillier (1848-1904)
Born:
Active: Turkey/Egypt
Medium: album cover
Size: 10 1/8 in x 7 1/8 in
Location: Turkey
Object No. 2017.1064
Shelf: C-0
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
Dated about 1900, the backstamp to the portrait of the girl includes "S&J Successeurs" indicating the Abdullah Freres studio had already been bought by Sebah and Joaillier.
René Lalique - 1860-1945
maître-verrier bijoutier joaillier médailleur français.
c. 1897–8
Gold, enamel, chrysoprase, chalcedony, moonstones and diamonds
‘dragonfly-woman’ corsage ornament
Without doubt one of the most spectacular pieces of jewellery ever created by René Lalique, the great modern jewellery artist, this ‘dragonfly-woman’ corsage ornament was presented with enormous success at the Paris Exposition in 1900, where the artist’s Art Nouveau jewellery work met with great acclaim. The hybrid figure, at once beautiful and horrible, consists of an enormous gold and enamel dragonfly, bearing articulated open wings, with extremely fine opaline enamel decoration enriched by diamonds, enamel work and moonstones.
Colorized by Artificial Intelligence Algorithm Tool from originally scanned hi-res photo.
Please follow, like and leave a comment.
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Visit my portfolio sites:
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www.youtube.com/channel/UC8JtcV_EejccsUNXSK_ejcw Springs of Eden
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 !!!)
Elle est la plus ancienne famille de joailliers au monde. La saga des Mellerio, 14 générations d'artistes au service du luxe, dure depuis plus de 400 ans. Toujours dirigée par la famille fondatrice, la maison de joaillerie a vécu son histoire à l'ombre de celle de la France. Ses créations ont été portées par les plus grandes Dames de leur époque. À Paris, rue de la Paix, les descendants continuent de puiser leur inspiration dans les 100.000 dessins de bijoux des archives familiales.
93 Harbi’nde hayatını kaybeden yaklaşık beş bin Rus askeri için Rus hükûmeti bir şapel yaptırmak ve dağınık hâlde gömülmüş olan naaşları burada toplamak ister. Osmanlı hükûmetiyle yapılan görüşmeler neticesinde yapının Ayastefanos’ta (günümüzde Yeşilköy) inşa edilmesine karar verilir. Mimar Bozarov tarafından tasarlanan ve yapımına 1895’te başlanan anıt, I. Dünya Savaşı’nda Rus İmparatorluğu’nun Osmanlı Devleti’ne savaş ilan etmesinin ardından 14 Kasım 1914’te havaya uçurulmuştur.
Kaynak: “Dünden Bugüne İstanbul Ansiklopedisi” (Afife Batur, “Ayastefanos Rus Anıtı”), Kültür Bakanlığı ve Tarih Vakfı ortak yayını, 1993, Cilt 1, ss. 467-468
Ayastefanos Rus Anıtı, Yeşilköy, İstanbul
Fotoğraf: Sébah & Joaillier
Ed. Max Fruchtermann, 1902
#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.
couteau Laguiole molaire de mammouth .Atelier de coutellerie fine christophe lacaze Le joaillier du couteau Estaing aveyron France.
René Lalique - 1860-1945
maître-verrier bijoutier joaillier médailleur français.
c. 1897–8
Gold, enamel, chrysoprase, chalcedony, moonstones and diamonds
‘dragonfly-woman’ corsage ornament
From the gaping mouth of the insect, with its griffin’s claws, a chrysoprase female bust emerges whose head is covered by a helmet decorated with two beetles in enamelled gold. The slender body of the insect, also in enamelled gold, features chalcedony en cabochon. Combining the female figure with the insect, which attracts and repels at the same time and, in becoming a hybrid creature with ferocious griffin’s claws, this world of contrast and opposites that is so typical of the taste of the era finds its highest example in this piece of jewellery.