Photographers: Pascal Sébah (1823-1886), Abdullah Frères (active 1858-1900), Luigi Fiorillo (active ca. 1850s-1880s). Views of Egypt. 1880s-1890s. 57 albumen prints mounted to gilt-edged album pages (slightly soiled, some foxing). Each ca. 21 x 27 cm (26 x 35,5 cm) or reverse. Each numbered, titled and signed in negative on lower portion of print. Bound in full-parchment album with gilt-embossed ornamentation.
This album comprises a variety of views of Cairo, featuring iconic landmarks such as the Pyramids of Giza, the Citadel, and the Mosques of Sultan Hassan, Sultan Barquq, and Muhammad Ali, along with the City of the Dead and the Mosque of Amr ibn al-As. It also captures scenes of daily life, including students studying the Qur’an and a muezzin calling to prayer. Additionally, the album contains photographs of several artifacts from the Grand Egyptian Museum in Cairo, as well as views of the Ezbekieh Gardens and the Palace of Gezira. – Some scuff marks, fading and signs of oxidation along edges of prints, otherwise in good condition.
Portraits of husband and wife. 1850s. 2 hand-colored salted paper prints in ornately carved wooden frames (slightly scratched). Each ca. 19 x 15,5 cm (37 x 31 cm). Photographer's studio stamp embossed on mount below image, one with photographer's label attached to frame verso, both annotated in blue ink on frame verso.
Hermann Seligmann Emden was a German copper engraver, lithographer, and photographer recognized for his contributions to early photography and credited with creating one of Germany’s first photographically illustrated books. He adeptly combined traditional printmaking techniques with innovative photographic methods, capturing a diverse range of subjects, including landscapes, architectural details, and portraits. – In very good condition.
Georgian Military Road. 1883. 30 albumen prints mounted to album pages (slightly soiled). Each between 10,7 x 13,8 cm and 13,2 x 21,7 cm (23,7 x 31,5 cm). Each with photographer's embossed signature stamp in lower right corner of print and titled in pencil below image on mount. Bound in full-canvas album (corners rubbed) with gilt-stamped title Grusinische Militärstrasse Wladikawkas-Tiflis, Reise 1883 and small map from 1875 on the inside cover.
This 1883 album documents the Georgian Military Road, a historic route through the Caucasus Mountains linking Vladikavkaz and Tbilisi. Photographed by Dmitri Ivanovich Ermakov, who began his career in 1868, the images capture dramatic landscapes, landmarks, and settlements along the route. Widely regarded as the foremost documentarian of Georgian life in the late 19th and early 20th centuries, Ermakov traveled extensively across the region. His legacy is preserved by the National Museum of Georgia, which houses a significant collection of his negatives. – Some small surface irregularities and light fading, otherwise in very good condition.
Ethnographic Portraits
Ethnographic portraits of various countries
Los 4034
Schätzung
600€ (US$ 645)
Photographer unknown. Ethnographic portraits of various countries. 1890-1900. 6 albumen prints. Most circa 17 x 22 cm and reverse, some 13 x 10 cm. Each mounted to board (soiled, traces of use), annotated in ink in German on mount verso.
This intriguing collection of images features people from Borneo, "Deutsch-Neuguinea", New Zealand, Africa and Siam. – Some fading, especially in edges, some slightly soiled, otherwise in good condition.
Egypt, Sinai and Palestine. 1862. Bound volume with a total of 37 albumen prints mounted to album pages (some foxing). Each circa 16 x 23 cm or reverse. The majority signed and numbered in negative, each with printed caption on mount. With contents, title and illustration on frontispiece. Bound in green leather-backed cloth album (corners rubbed, spine torn) with gold-embossed title on front cover (cover loose). William MacKenzie, London, Glasgow & Edinburgh, 1862.
Francis Frith, initially an apprentice in a cutlery business and later a partner in a grocery firm, shifted his focus to photography in the early 1850s. Between 1856 and 1860, he embarked on three expeditions to Egypt, Sinai, and Jerusalem, capturing striking images of ancient monuments using the wet collodion process. This Supplementary Volume to Egypt, Sinai, and Palestine features some of his earliest photographs of iconic sites, including Cairo, the Pyramids at Giza, Thebes, Luxor, the temples at Karnak, as well as significant locations like Jerusalem, Damascus, Gaza, and Nubia. Frith’s work played a pivotal role in fueling the growing Western fascination with Egyptology and the region’s cultural heritage. – Some foxing and time-staining on album pages, some prints slightly faded along edges, some with minimal surface scuff marks, otherwise in very good condition.
Portrait of a youth in Roman tunic. Circa 1900. Albumen print. 22,3 x 16,5 cm. Photographer's stamp, address "Via Campania lett: B Roma" and number "1156" in blue crayon on the verso.
Vincenzo Galdi was an Italian photographer and protégé of Wilhelm von Plüschow, celebrated for his contributions to nude photography. Originally a model in many of his mentor’s photographs, Galdi quickly gained a reputation as one of the most prolific and bold nude photographers in Naples and later in Rome during the late 19th century. – Some light handling marks, pressure marks in corners from album slits, some fading in edges, otherwise in very good condition.
Gloeden, Wilhelm von
Young male nude with a column capital
Los 4037 [*]
Schätzung
1.500€ (US$ 1,613)
Young male nude with a column capital. 1890s. Albumen print mounted to board. 17 x 23 cm (24 x 32 cm). Numbered "31" in lower left corner.
Wilhelm von Gloeden was a German photographer known for his idealized images depicting male nudes, often set in the natural landscape of Taormina, Sicily. His work, which evoked themes of classical antiquity, became famous for its aesthetic beauty and subtle homoeroticism, gaining recognition among art collectors in Europe. While controversial at the time for its subject matter, von Gloeden’s photography has since been recognized as pioneering in the fields of both art photography and the male nude genre. – Minimal fading along edges of print, otherwise in excellent condition.
Lit.: Italo Zannier. Wilhelm von Gloeden Fotografie: Nudi, Paesaggi, Scene di Genere. Alinari, 2008. ill. p. 116.
Farmyard near Hamburg. 1857. 2 albumen prints with cut/rounded corners. Each circa 12 x 9,5 cm. Each mounted to original board, each signed by the artist in ink in lower right on mount.
The German painter Berend Goos sold 64 of his works to the Hamburg Art Association (HH Kunstverein) in 1855, 1859, and 1864. He frequently photographed landscapes and rural scenes, using them as references for his paintings. – One with a few light spots in upper left, minimal fading in edges, otherwise in good condition. With: Berend Goos. Two pencil drawings and one oil sketch of clouds. 1853-1879. Some traces of use, some pinholes in corners, a few spots.
Provenance: Robert Lebeck Collection
Photographers: Giorgio Sommer (1834-1918), Alfred Noack (1833-1895), Achille Mauri (1806-1883) and Francesco Bosetti (dates unknown). Travel album of the Grand Tour. 1890s. 110 albumen prints mounted to album pages (some loose). Each between 17,5 x 22,5 cm and 22 x 28 cm or reverse (36 x 45 cm). Some titled and numbered in negative on lower margin. Bound in richly carved full-leather album (some scratches on back cover, edges rubbed).
This 19th-century travel album features a selection of photographs from key European cultural and scenic destinations, including Heidelberg, Aachen, London, Holland, Switzerland, Genoa, Lago di Como, Lago Maggiore, Naples, Amalfi, Pompeii, and Paestum. – Some fading, otherwise all in good to very condition.
Photographer: Charnaux frères (attributed to). Grotte de Grindelwald. 1860s. Gold-toned albumen print. 18,7 x 16 cm. Mounted to card, annotated in ink below the image on the mount.
The Grindelwald Glacier was one of the most breathtaking glacier formations in Switzerland, featuring towering ice structures and unusual shapes. By 1855, it had descended to the valley floor. In 1863, the Bernese company Schegg & Böhlen received a concession for commercial ice mining. The harvested ice blocks were transported to Interlaken and exported to Paris for use as a coolant. – Minimal fading in lower edge, a few light surface scuff marks, otherwise in very good condition with strong tones.
Oriental rifles and pistols. Circa 1857. Albumen print with cut corners mounted to orignal album card (lower left corner torn). 20 x 28,8 cm (31,2 x 37,2 cm). Ruled in green ink around the image.
This photograph features a collection of intricately decorated oriental firearms, including flintlock and matchlock rifles and pistols from the Ottoman Empire, Persia, Mughal India, and Afghanistan. Adorned with elaborate inlays and carvings, these weapons reflect the rich artistic traditions of their respective cultures and were likely part of the prestigious Ambras Collection, established by Archduke Ferdinand II in the 16th century. While functional, these firearms mostly served as ceremonial pieces and status symbols, highlighting the cultural exchange between the East and Europe during the 19th century. – Some scuff marks and handling creases, otherwise a strong print in very good condition.
Photographer: John Burke and William Baker (1843-1900, dates unknown), John Edward Saché (1824-1882). Views of India. 1870s. 11 albumen prints. Each 20,7 x 28 cm and smaller. Several with photographer's name and number in the negative in lower corners.
Some with surface rubbing/scratching, a few small tears, a few with foxing, traces of previous mounting on the verso, otherwise in good condition and several with strong tones.
Photographer: Chautauqua Photo Co. Views of Pittsburgh industry. Circa 1900. 2 vintage collodion paper prints. 18 x 24 cm and 12 x 19 cm. Each mounted to board, 1 with company name in the negative in lower left, annotated in pencil in German on mount recto/verso.
Some surface scuff marks/pitting, one with spot in lower right, otherwise in good condition.
Grand Canyon of the Yellowstone. 1871/1872. Albumen print mounted to board. 33,3 x 24,7 cm. Titled in negative on lower margin; annotated in pencil by another hand, typewritten description on label attached to verso.
William Henry Jackson was a pioneering photographer celebrated for his extensive documentation of the American West in the late 19th century. His work with the U.S. Geological Survey resulted in some of the earliest images of Yellowstone, which were instrumental in its designation as the first national park. Known for his large-format and meticulously detailed landscapes, Jackson’s photographs captured the natural beauty and grandeur of iconic sites such as the Grand Tetons and Mesa Verde, making a lasting contribution to the visual heritage of the United States. – Corners slightly bumped, some light scuff marks, otherwise a fine tonal print in very good condition.
Photographer: Baron Raimund Stillfried-Ratenicz (1839-1911), Felice Beato (1832-1909), Kusakabe Kimbei (1841-1932), and unknown. Japanese portraits. 1870s-90s. 28 hand-colored albumen prints. Each circa 24 x 20 cm. Some with number and title in lower corners in the negative, most mounted to board and matted.
Baron Raimund von Stillfried-Ratenicz, Felice Beato, and Kusakabe Kimbei were influential photographers who played key roles in documenting Japan during the late 19th century. Stillfried and Beato, both foreign photographers, captured the landscapes, architecture, and people of Japan, with Beato’s work being among the first visual records of the country for Western audiences. Kusakabe Kimbei, a Japanese photographer who trained under Stillfried and Beato, became known for his hand-colored images of traditional Japanese scenes, catering primarily to Western visitors during the Meiji period.This attractive group includes photographs of street sellers, monks, priests, geishas, wrestlers, tattooed men and craftsmen. The coloring is often exceptionally subtle and finely executed. – Several faded, especially in edges, some with light scuff/handling marks, some with light spots, otherwise most in good condition.
Lit.: Claudia Gabriele Philippe/Dietmar Siegert/ Rainer Wick (eds.). Felice Beato in Japan. Photographien zum Ende der Feudal Zeit 1863-1873. Heidelberg 1991, ill. pp. 155, 160, 168 and 172.
Alfried Wieczorek/Claude W. Sui (eds.). Ins Land der Kirschblüte. Japanische Reisefotografien aus dem 19. Jahrhundert. Heidelberg 2011, ill. p. 144 (Farmer with grass coat-Kimbei).
Photographer: Baron Raimund Stillfried-Ratenicz (1839-1911), Felice Beato (1832-1909), Kusakabe Kimbei (1841-1932) and unknown. Landscapes, temples and villages of Japan. 1860s-90s. 26 hand-colored albumen prints. Each circa 22 x 29 cm. Some with number and title in lower corners in the negative, most mounted to board and mounted in mats.
In good to very good condition.
Lit.: Claudia Gabriele Philippe/Dietmar Siegert/ Rainer Wick (eds.). Felice Beato in Japan. Photographien zum Ende der Feudalzeit 1863-1873. Heidelberg 1991, ill. pp. 45,108 and 178.
Photographer: Baron Raimund Stillfried-Ratenicz (1839-1911), Felice Beato (1832-1909) and unknown. Japanese portraits. 1870s-90s. 22 hand-colored albumen prints. Each circa 24 x 20 cm and reverse. Some with number and title in lower corners in the negative, most mounted to board and mounted in mats.
This attractive group includes portraits of farmers, teachers, Kendo fighters, geishas and musicians. – Several faded, especially in edges, some with light scuff/handling marks, some with light spots, otherwise most in good condition.
Lit.: Luke Gartlan. A Career of Japan. Baron Raimund von Stillfried and Early Yokohama Photography. Leiden/Boston 2016, ill. p. 201.
Claudia Gabriele Philippe/Dietmar Siegert/ Rainer Wick (eds.). Felice Beato in Japan. Photographien zum Ende der Feudalzeit 1863-1873. Heidelberg 1991, ill. p. 151, 168 and 170.
Photographers: Felice Beato (1832-1909), Baron Raimund von Stillfried (1839-1911), or Adolfo Farsari (1841-1898). Trades of Japan. 1870s. 3 albumen prints matted and mounted in wooden frame. Each ca. 20 x 26 cm (42 x 52 cm). One numbered in negative in lower left margin.
These photographs show traditional Japanese artisans and street vendors from the Meiji era, engaged in their crafts such as umbrella-making, basket-weaving, and selling household items. The detailed composition and focus on daily life make these images a classic example of the Yokohama school style, popular among Western collectors at the time. – A few light scuff marks, otherwise in excellent condition.
Lit.: Wieczorek, Alfried, and Claude W. Sui. Ins Land der Kirschblüte: Japanische Reisefotografie aus dem 19. Jahrhundert. Berlin: Kehrer Verlag, 2011, ill. p. 138.
Photographer: Baron Raimund Stillfried-Ratenicz (1839-1911), Felice Beato (1832-1909) and unknown. Japanese landscapes, temples and villages. 1880s. 9 albumen prints. Each circa 20 x 24 cm and reverse. Some with number and title in lower corners in the negative, most mounted to board and mounted in mats.
In good to very good condition.
Lit.: Luke Gartlan. A Career of Japan. Baron Raimund von Stillfried and Early Yokohama Photography. Leiden/Boston 2016, ill. pp. 54 and 62.
Photographer: Baron Raimund Stillfried-Ratenicz (1839-1911), Felice Beato (1832-1909) and unknown. Ainu villages, Hokkaido and group portraits. 1880s. 7 (some hand-colored) albumen prints. Each circa 20 x 24 cm and reverse. Some with number and title in lower corners in the negative, most mounted to board and mounted in mats.
The indigenous Ainu people originally inhabited the main Japanese island of Honshu before being gradually pushed further north. They lived as hunters, gatherers, and fishers, cultivating a unique and independent culture. By the late 19th century, the Ainu faced increasing assimilation due to political pressure from the Meiji government. Today, only a small number of Ainu remain on the Japanese island of Hokkaido, the Kuril Islands, and Sakhalin. After enduring a long history of discrimination, their language, religion, and culture were officially recognized by the Japanese government in 2008. Historical records of Ainu culture are now rare, making this collection particularly significant. Of special interest are the photographs of their small settlements and group portraits depicting them in traditional clothing. – A few prints with isolated spots, otherwise in good to very good condition.
Lit.: Luke Gartlan. A Career of Japan. Baron Raimund von Stillfried and Early Yokohama Photography. Leiden/Boston 2016, ill. p.138.
Photographers: Kozaburo Tamamura (1856-1923) and Kusakabe Kimbei (1841-1934). Views of Tokyo. 1890s. 49 hand-colored albumen prints mounted to gilt-edged album boards. Each circa 20 x 26 cm (26 x 33 cm). Most with number and title in lower edge in the negative. Bound in black and gold silk album with chord binding (edges slightly worn).
This album features views of Mount Atago, Tokyo Imperial Palace, Prince Hotta’s Garden, Mukojima Garden, Shiba Toshogu Shrine, Kameido Tenjin Shrine, Sengaku Temple, Ueno and Asakusa, along with a two-part panoramic view of Tokyo (with some emulsion loss at the lower edge). – Some prints buckled through mounting, a few with some wear/spots, otherwise most in good to very good condition.
Photographer unknown. Selected images of Japan. Circa 1900. 9 albumen prints (8 hand-colored). Circa 18,8 x 24 cm and reverse. Each mounted to both sides of board.
Several images depict the harvesting of tea plantations, while others show wrestlers, women dining, and the bustling harbor of Hankou, China. – Some lightly faded, one with rubbed spot, some handling creases, one with buckling, one with some foxing, otherwise in good condition.
Le Gray, Gustave
Brig on the Water (Brick au Claire de Lune)
Los 4053
Schätzung
20.000€ (US$ 21,505)
Brig on the Water (Brick au Claire de Lune). 1856. Albumen print. 31,5 x 40,5 cm. Photographer's red signature stamp in lower right, mounted to board, matted and framed under museum glass in wooden frame.
Gustave Le Gray’s first exhibited seascape, Brig on the Water, is a seminal piece within his photographic career and was shown at a private meeting of the Photographic Society of London in November 1856, as well as several other venues that year and the following year. This image is considered one of his major masterpieces. The photograph’s striking composition, featuring a solitary ship against the sea and expansive sky, captivated viewers and critics alike, earning widespread acclaim for its technical mastery in capturing light and atmosphere. It quickly became a sensation across Europe, with 800 prints ordered within two months of its release, as noted in a London printseller’s advertisement in The Times in November 1856. Le Gray's albumen prints, often toned with a gold chloride solution, as the print offered here, display a rich violet-purple hue that has contributed to their enduring beauty. Today, prints of this iconic image are housed in major collections worldwide, including the Musée d’Orsay, the Metropolitan Museum of Art, the Princeton University Art Museum, the National Gallery of Art in Washington, the Nelson-Atkins Museum, the Portland Museum of Art, and the Victoria and Albert Museum. – Some vertical surface scratches in upper right, a few small surface irregularities, more visible in raking light, otherwise a strong, tonal print in very good condition.
Lit.: Sylvie Aubenas. Gustave Le Gray, 1820-1884. Los Angeles: The J. Paul Getty Museum, 2002. ill. pl. 128, p. 108.
Ken Jacobson. The Lovely Sea-View: A Study of the Marine Photographs Published by Gustave Le Gray, 1856-1858. Petches Bridge, 2001. ill. title page, p. 8, and back cover.
Karen Hellman, ed. Real/Ideal: Photography in Mid-Nineteenth-Century France. Los Angeles: J. Paul Getty Museum, 2016. ill. pl. 118.
Gordon Baldwin (ed.). Looking at Photographs: A Guide to Technical Terms. Los Angeles: The J. Paul Getty Museum. ill. p. 6.
Leuzinger, Georges and Albert Frisch
Early views of Brazil and the Amazon
Los 4054 [*]
Schätzung
4.000€ (US$ 4,301)
Early views of Brazil and the Amazon. ca. 1865. 19 albumen prints mounted to board (slightly soiled, some foxing). Each ca. 19 x 23 cm or reverse (27 x 37) cm. Most numbered, titled and signed in negative on lower margin of print.
This selection of photographs by Albert Frisch and Georges Leuzinger represents some of the earliest photographic documentation of the Amazon region. In 1867, Frisch embarked on an expedition commissioned by Leuzinger’s studio in Rio de Janeiro, capturing images of indigenous peoples, natural landscapes, and scenes spanning from Manaus to the Peruvian border. Frisch’s use of photomontage and combination printing techniques adds a distinctive artistic quality to these photographs, while also serving as rare historical records of the Amazon. – Some light fading, scuff marks and/or small tears, otherwise in good to very good condition.
Siegestor, Munich. 1860. Albumen print mounted to board (some handling creases). 20,5 x 15 cm (39 x 30 cm). Photographer's studio stamp embossed in lower margin of mount; titled in lower margin, annotated by another hand in pencil on recto; typewritten description on label attached to verso.
Mey & Widmayer, established in Munich in 1838, initially focused on publishing and lithography before transitioning to photography in the course of the 1850s. The studio became renowned for its meticulous documentation of Munich's architectural and cultural heritage. In addition to their photographic output, Mey & Widmayer produced detailed maps and prints, significantly contributing to Munich's cultural landscape during the 19th century. – Some scuff marks and slight fading along edges of print, otherwise in very good condition.
Views of Berlin. Circa 1904-1907. 7 collodion paper prints. Various sizes, between 17 x 23 cm and 23 x 29 cm. All with photographer's logo, negative number and date in the negative in lower right corner. Each with photographer's stamp, address Berlin S.O. 26, Kottbusserufer 57 on the verso; as well as with other stamps and annotations in pencil on the verso.
The views featured in this selection of photographs include notable landmarks such as the University of Berlin (now Humboldt University), Charlottenburg Castle, Charlottenburg City Hall, the Art Academy, the Technical University, as well as a scenic perspective of the Tiergarten. – Handling creases, stronger in corners, a few cracks in the emulsion, some with minimal paper loss in corners, otherwise in good condition.
Photographer unknown. View of the Principality of Monaco. Circa 1880. 2-part albumen panoramic print. 21,5 x 57,5 cm. Title and number in lower edge in the negative, mounted to 2 boards (slight foxing soiling on verso), annotated in pencil below the image on the mount.
This early view of Monaco features the castle and the surrounding landscape. Monaco’s rise to a glittering tax haven began on February 2, 1861. In the treaty between Charles III and Emperor Napoleon III, Monaco lost 80% of its territory, but France guaranteed the sovereignty of the principality. The simultaneous abolition of the customs border led to an upswing in trade. As a result, France built a railroad line from Nice to Genoa and agreed to construct a station in Monaco in 1868. This development laid the foundation for growing tourism. Finally, in 1866, the casino was built in the Monte Carlo district. The revenues from the new casino were so significant that, in 1869, direct taxation on the still few residents could be abolished. – A few light surface scuff marks and rubbed spot in right section, otherwise a in very good condition.
Muybridge, Eadweard
Animal Locomotion. An Electrophotographic Investigation of Consecutive Phases of Animal Movements
Los 4058
Schätzung
10.000€ (US$ 10,753)
Animal Locomotion. An Electrophotographic Investigation of Consecutive Phases of Animal Movements. 1872-1885. Bound volume with a total of 21 collotypes on plates. Each circa 46 x 60 cm. Each with printed caption, number and Muybridge's copyright on plate. Title page with dedication by Muybridge to "Sir Fredk Leighton Baron P.R.A. with the homage of the author June 1889" and later dedication by Lord Leighton "To Linley Sambourne from an old friend. July 22, 1896" in pencil. Bound in half morocco, cloth-covered album (corners rubbed, some scratches) gilt morocco cover label "Animal Locomotion. By Eadweard Muybridge. 1872-1885. Plates. University of Pennsylvania". University of Pennsylvania, Philadelphia, 1887.
Grolier, Truthful Lens, 123. Parr/Badger, The Photobook I, 52. This album features an important collection of Eadweard Muybridge’s groundbreaking “instantaneous photography,” a self-developed technique that enabled high-precision stop-motion images using an early rapid-acting shutter. Initially focusing on horses, Muybridge expanded his repertoire to include athletes, birds, lions, and camels, famously capturing the first image of a galloping horse with all four hooves off the ground in 1872. By 1885, he had amassed over 20,000 photographic negatives, comprising 781 sequential photo plates taken from multiple cameras positioned at carefully planned locations and angles, each illustrating a subject in continuous motion.
Muybridge’s handwritten dedication on the title page to Frederic Leighton, one of Victorian England’s celebrated artists, underscores the influence of his movement studies on contemporary artists such as Thomas Eakins, Frederic Remington, Ernest Meissonier, Edgar Degas, and the French inventor Étienne-Jules Marey. Notably, Leighton passed away in 1896, the same year he gifted this particular copy to his “old friend,” the renowned Punch cartoonist Edward Linley Sambourne.
The complete eleven-part work Animal Locomotion contains 781 numbered plates. The accompanying Author’s Edition, offered here, featured a removable subscription leaf that allowed subscribers to choose their preferred plates, resulting in varied content across different sets. This copy includes plates 3, 133, 152, 174, 187, 214, 279, 289, 347, 408, 465, 471, 565, 616, 626, 647, 659, 710, 721, 739, and 755. The exceptionally fine collotypes were printed by the Photo-Gravure Company in New York.
– Edges of plates time-stained and with some moisture staining, images not affected, images very finely printed and in very good condition.
Cow of the Ayrshire Race. 1856. Varnished salted paper print mounted to board. 20,2 x 28,5 cm (30,5 x 47,3 cm). Photographer's signature stamp and negative number in the negative in lower right, titled "Kuh von der Ayrshire Race" in black ink below the image on the mount, numbered "M 86" in pencil, Établissement Bovin label embossed onto top left corner of the mount.
Adrien Tournachon, the younger brother of Gaspard-Félix Tournachon (better known as Nadar), briefly collaborated with his brother after opening a photographic studio. However, competitive tensions arose in 1855, leading to a court ruling that Félix, the more accomplished photographer, was “the only, the true Nadar,” preventing Adrien from using the name “Nadar jeune.” In 1856 and 1860, Adrien photographed prize-winning livestock at Paris agricultural fairs, utilizing the faster collodion wet plate process instead of the slower paper negatives previously used. At the 1856 fair, he successfully produced over 120 negatives, around 50 of which were printed and included in an album presented to the minister of agriculture and commerce. The photograph offered here is printed using the vernis-cuit technique, where the paper is coated with layers of gelatin and tannin to give it the appearance of varnished leather. – A few light surface scratches, slightly faded in areas, otherwise a rich dark print in very good condition.
Netherlands
Views of Rotterdam, Amsterdam, Haarlem and Antwerp
Los 4060
Schätzung
400€ (US$ 430)
Photographer unknown. Views of Rotterdam, Amsterdam, Haarlem and Antwerp. 1870s. 4 albumen prints. Each circa 15,7 x 19 cm. Each mounted to board (slightly soiled, slight foxing), each titled in ink below the images on the mount as well as annotated and dated in ink on mount verso.
Some light spots in corners, a few light surface scuff marks, Antwerp print with foxing, otherwise in good condition and with strong tones.
[*]: Regelbesteuert gemäß Auktionsbedingungen. [^]: Ausgleich von Einfuhr-Umsatzsteuer.
* Alle Angaben inkl. 25% Regelaufgeld ohne MwSt. und ohne Gewähr – Irrtum vorbehalten.
Galerie Bassenge
Erdener Str. 5A
14193 Berlin
Öffnungszeiten:
Montag bis Donnerstag, 10–18 Uhr,
Freitag, 10–16 Uhr
Telefon: +49 30 8938029-0
Fax: +49 30 8918025
E-Mail: info (at) bassenge.com
Impressum
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© 2024 Galerie Gerda Bassenge
Galerie Bassenge
Erdener Str. 5A
14193 Berlin
Öffnungszeiten:
Montag bis Donnerstag, 10–18 Uhr,
Freitag, 10–16 Uhr
Telefon: +49 30 8938029-0
Fax: +49 30 8918025
E-Mail: info (at) bassenge.com
Impressum
Datenschutzerklärung
© 2022 Galerie Gerda Bassenge