hammerschmidt wilhelm 1830 (5 risultati)

Hardcover. Condizione: Very Good. Folio album (ca. 32x25 cm). 30 card stock leaves. With thirty albumen photographs, including twenty-nine large ones, from ca. 23x31 cm (9 x 12 ¼ in) to ca. 16,5x23 cm (6 ½ x 9 in); one smaller photo is ca. 12x17,5 cm (4 ¾ x 7 in). Five photos numbered and signed "Wilhelm Hammerschmidt" in negative (two photos additionally mounted on the photographer's card with printed captions in French and German on the mounts), one photo captioned in negative, twenty photos with period pencil and/or ink captions in English and/or French on the mounts (one most certainly done by Van Lennep). First leaf with a period ink inscription "Henry J. Van Lennep. 1869.". Period maroon half morocco with cloth boards and gilt-lettered title "Palestine and Egypt" on the spine. A couple of images mildly faded, occasional foxing throughout, binding neatly repaired on the spine and corners, but overall a very good album of interesting photos. Historically significant collection of excellent large early albumen photographs of Palestine, Lebanon, Syria, and Egypt, dating back to the late 1860s. The album was compiled by noted Christian missionary, traveller, writer and artist Henry John Van Lennep, a graduate of Amherst College and Andover Theological Seminary (Mass.) He is well-known for the skillful drawings illustrating his travel accounts and historical researches, including the sumptuous chromolithographed "Oriental Album: Twenty Illustrations, in Oil Colors, of the People and Scenery of Turkey, with an Explanatory and Descriptive Text" (New York, 1862). A large collection of Van Lennep's papers and artwork is now deposited in the Amherst College ( see more). The first flyleaf of the album bears an ink inscription "Henry J. Van Lennep. 1869," and a photo of the Dome of the Rock in Jerusalem has Van Lennep's handwritten note on the mount: "The so-called "Mosk of Omar," erected by Emperor Constantine over our Savior's tomb & called by him "Anastasis" (Eus. Vit. Const. III. 333)" (referring to Eusebius' Vita Constantini). Most likely, Van Lennep bought or compiled the album at the end of his missionary work in the Middle East - he left for the United States in 1869 (the same year he signed the album) and stayed there till the end of his life. The album contains a number of interesting well-taken views of the iconic sites of Levant and Egypt (with five signed by Wilhelm Hammerschmidt in negative), some taken from unusual angles. The photos show the harbour and cityscapes of Beirut, Narh al Kalb River with the Roman bridge, Jerusalem (the Dome of the Rock taken from the distance and close-up, the Damascus Gate), Damascus («St. Paul Gate»; the courtyard of the Umayyad Mosque, captioned «Church of St. John, Damascus, changed to a Mosk"), Bethlehem, Nazareth, three views of the Baalbek temples, Pompey's Pillar and Cleopatra's Needle in Alexandria, the Great Pyramids and the Sphinx of Giza, Heliopolis obelisk, Trajan's kiosk on the Philae Island, sites of Karnak (the Gate and Pylon, obelisks) and Luxor (the column hall) temples, bas-reliefs of the Ramesseum, an elaborately carved entrance to a tomb, and others. Overall an attractive collection of large early photos of the Levant, Egypt and Palestine, related to a noted American missionary in the Middle East. Van Lennep "served as a missionary with the American Board of Commissioners for Foreign Missions for twenty-nine years beginning in 1840, in Smyrna (1840-44 and 1863-69), Constantinople (1844-54), and Tocat (1854-56). Van Lennep travelled extensively throughout the region of western Asia and Egypt. After losing his sight from cataract in 1869, he returned to the United States. He taught as a professor of natural sciences and languages at Ingham University, a women's college in Le Roy, New York (1876-78), and subsequently was co-principal, with his son E.J. Van Lennep, of the Sedgwick Institute, a small private boarding school in Great Barrington, Mass. Van Lennep was proficient in numerous languages and was also a skillful artist, sketching (in pencil or pen and ink) scenes from his extensive travels. Many of his drawings appeared in published works, which include The Oriental Album: Twenty Illustrations, in Oil Colors, of the People and Scenery of Turkey, with an Explanatory and Descriptive Text (1862); Travels in Little-known Parts of Asia Minor: with Illustrations of Biblical Literature and Researches in Archaeology (1870); and Bible Lands: Their Modern Customs and Manners Illustrative of Scripture (1875). He also executed several drawings for Professor Edward Hitchcock, including his Geology of Massachusetts (1841) and Illustrations of Surface Geology (1860)" (Amherst College Archives and Special Collections). Born in Berlin, Wilhelm Hammerschmidt was already a professional photographer when he settled in Cairo, Egypt, around 1860. There he established the Hammerschmidt shop, where he sold photographic materials to other early photographers such as Henry Cammas. Hammerschmidt exhibited ten views of Egypt at the Société Française de Photographie in 1861 before becoming a member the following year. He also made costume and ethnographic studies, exhibiting those at the Exposition Universelle in Paris in 1867. Hammerschmidt also made photographs in Syria and Nubia, now Sudan" (Wilhelm Hammerschmidt / J. Paul Getty Museum online). Hammerschmidt is considered one of the first photographers to produce high-quality detailed images of Egypt and his travels and photographs of Upper Egypt and Nubia predates popular tourism in Egypt. He appears to have collaborated with the pioneering photochemist Hermann Wilhelm Vogel (1834-1898) which would explain the high quality of Hammerschmidt's photographs.

No Binding. Condizione: Very Good. The panorama comprises 4 albumen prints mounted to period card, overall measuring 106 x 22 cm, each card hinged with fabric tape. Signed and numbered 'W. Hammerschmidt 100' in the negative, with printed titles in French and German on lower margin of the cards. Born in Berlin, Wilhelm Hammerschmidt was already a professional photographer when he settled in Cairo, Egypt, around 1860. Egypt at that time was the active centre for many European professional photographers. There he established the Hammerschmidt shop, where he sold photographic materials to other early photographers such as Henry Cammas. Hammerschmidt exhibited ten views of Egypt at the Société Française de Photographie in 1861 before becoming a member the following year. He also made costume and ethnographic studies, exhibiting those at the Exposition Universelle in Paris in 1867. Hammerschmidt also made photographs in Syria and Nubia, now Sudan. Hammerschmidt travelled to Palestine, Syria, Lebanon and Nubia. He captured many ethnographic studies exhibiting them at the Exposition Universelle de Paris in 1867. #9396.

None. Condizione: None. Seventy-five original albumen photos, including one large image ca. 26x36 cm (10x14 in), 57 photos from ca. 22,5x28,5 cm (8 ¾ x 11 ¼ in) to ca. 18x25 cm (7 ¼ x 9 ¾ in), 11 images from ca. 16x23 cm (6 ¼ x 9 in) to ca. 11x19,5 cm (4 ¼ x 7 ½ in), and six smaller photos ca. 5,5x9 cm (2 ¼ x 3 ½ in) or slightly smaller. Over fifty images with captions and/or numbers in negative; over forty with the photographers' credentials in negative; ca. twenty-five with period pencil captions on verso. Six images by Francis Frith mounted on period album leaves; all but one with his signatures in negative; four with later red pen captions on verso. Most photos slightly waved, minor creases or tears on extremities, several with remnants of old mounts on verso, one with two holes in the left upper corner, one with old repairs with tape on the margins, a few photos mildly faded, but overall a very good collection of interesting photos. Historically significant, extensive collection of seventy-five original albumen photos of Egypt and its people, taken by several prominent studios of the second half of the 19th century. The largest image is an early view of the Kiosk of Trajan (part of the Temple of Isis) on the island of Philae, looking north, with the Nile bank and a docked dahabiya on the right. Six early photos by Francis Frith (dating back to ca. 1857-1558), mounted on period album leaves, include three views of Cairo (a distant view of the Citadel and Muhammad Ali mosque taken from the Mokattam Hills, madrasa and mosque of Sultan Qaytbay, a street in the Old Cairo area), and three of the Near East - Baalbek temple complex (columns of the temple of Jupiter with the temple of Bacchus in the back), the north shore of the Dead Sea and Mount Horeb, Sinai. Over a dozen views of Cairo (including two early images by Wilhelm Hammerschidt) show the city with the Delta Barrage in the background, Citadel and Muhammad Ali mosque, Necropolis with the Citadel in the background, lion sculptures at the entrance to Qasr el Nil/El Gezira bridge, opening of the El-Gezira bridge for the water traffic, Gezira Palace, Ablution Fountain in the courtyard of Muhammad Ali mosque, interior of Sultan Barquq mosque, a street in old Cairo, garden in the courtyard of a hotel in Helwan, "village Com-el-Assuit," &c. Over a dozen views of Alexandria (mostly, by Luigi Fiorillo) show the city's harbour and port, general views, Pompey's Pillar, Cleopatra's Needle (moved to New York and installed in Central Park in 1881), the Hippodrome, abandoned palace of Said Pasha in the El Max neighbourhood, Muhammad Ali Square, Mahmudiyya Canal, and Ras El-Tin Palace. An early interesting photo depicts a street in Alexandria with trees on both sides and Pompey's Pillar in the background. Nine photos of the Pyramids of Giza include general and close-up views of the Pyramids and the Sphinx, featuring Arab villages, Nile channels, camel riders, a traveller in a horse-drawn cart, palm groves, Arab guides atop the Sphinx, &c. Fifteen views of the Suez Canal by Zangaki Brothers show Port Said (general views, Suez Canal Company's office, the Quay, the Lighthouse, Palais Hollandaise, Rue du Commerce, Eastern Exchange Hotel - including a rare photo when the terraces were not closed off with glass windows), Suez (new quay on reclaimed land/ "quai de terre plein", Port Tewfik), and several photos of steamers passing through the canal. There are also several portraits of Egyptians and Middle Eastern people ("Chech Arabe," a man wearing a turban, women wearing elaborate costumes, smoking "le nargile" (hookah), a boy with donkey, an adolescent girl, "Fille de Prince du Mt. Liban"), views of the fallen colossal statue of Ramses II near the ruins of Memphis in Bedrechen/Badrashim, an Arab village on the Nile, &c. Six smallest photos, evidently made to be sold as cartes-de-visite (but not yet mounted on card, which is a rare example), show the Pyramids of Giza, the Great Pyramid, Cairo Citadel and Muhammad Ali Mosque, dredges working on the excavation of the Suez Canal, and two portraits of Egyptian women with closed faces. Overall, an interesting, extensive collection of early original studio albumen photos of Egypt and its people in the second half of the 19th century.

None. Condizione: None. Oblong Folio album (ca. 23,2x30,8 cm). 11 card stock leaves. With 23 albumen prints ca. 19,1x25,8 cm (7 ½ x 10 in) and one newspaper clipping ca. 15,8x21,8 cm (6 ¼ x 8 ½ in). No captions. Period papered boards fastened with a string. Boards with tears, but overall a very good album with strong, interesting photos. Historically important collection of twenty-three large, excellent early photographs of iconic sites in ancient Egypt, likely taken by its pioneering photographers Wilhelm Hammerschmidt and/or Maison Bonfils photographic company. The attribution is based on two images in our collection that closely match photographs from Documents Archéologiques sur l'Égypte, Nubie, Syrie (P. Verdier de Latour, 1875), credited to Hammerschmidt and Bonfils. The photographs from our album were likely taken in the 1860s, as the image of the Mosque of Sultan Hassan does not show the adjacent Al-Rifai Mosque, whose construction began in 1869. Many of these photos capture famous monuments in their original state, such as the Abu Simbel Temple before its relocation in the 1960s due to the flooding caused by the construction of the Aswan High Dam, and the Philae temple complex before it was submerged by the Aswan Low Dam in the early 20th century. The photos show: Cairo: View from the Citadel with the Mosque of Sultan Hassan, Mosque of Mahmud Pasha, Sultaniyya Mausoleum - Tombs of Caliphs & Tomb of Mamluks (part of the Sultaniyya complex has disappeared, with its current remains restored in modern times; in 2023, the minaret was disassembled for a highway roundabout, with plans to relocate it), Funerary complex of Sultan Qaytbay; Luxor: Temple of Khonsu (before 2008 restoration), Grand colonnade of Amenophis (before 2001 restoration); Nubia: Temple of Al-Maharraqa (relocated in the 1960s as part of the International Campaign to Save the Monuments of Nubia), Temples at Wadi es-Sabua (relocated in the 1960s because of the Aswan Dam), Abu Simbel Temple (relocated in the 1960s), Kiosk of Qertassi (taken at its original location before being moved inland in the 1960s due to the rising waters of Lake Nasser), the approach to Philae, Trajan's Kiosk (relocated from Philae during the 1970s rescue efforts); Nile's First & Second Cataracts. "Born in Berlin, Wilhelm Hammerschmidt was already a professional photographer when he settled in Cairo, Egypt, around 1860. There he established the Hammerschmidt shop, where he sold photographic materials. Hammerschmidt exhibited ten views of Egypt at the Société Française de Photographie in 1861 before becoming a member the following year. He also made costume and ethnographic studies, exhibiting those at the Exposition Universelle in Paris in 1867. Hammerschmidt also made photographs in Syria and Nubia, now Sudan" (Wilhelm Hammerschmidt / J. Paul Getty Museum online). Hammerschmidt is considered one of first photographers to produce high quality detailed images of Egypt and his travels and photographs of Upper Egypt and Nubia predate popular tourism in Egypt. He appears to have collaborated with the pioneering photo chemist Hermann Wilhelm Vogel (1834-1898) which would explain the high quality of Hammerschmidt's photographs." Maison Bonfils was started by Felix Bonfils (1831-1885) in Beirut in 1867 and was "to become one of the most successful photographic businesses in the world. They photographed most of the important sights in the Middle East and their views were widely distributed" (Jacobsen p. 216). Bonfils' "stock had variety enough to please all and ranged from classical landscapes and biblical scenes to ethnographic portraits" (Perez, p. 141). Overall, historically important collection of large, excellent early photographs of iconic sites in ancient Egypt.

None. Condizione: None. Oblong Quarto (ca. 16x25 cm). 32 thick paper album leaves. With 60 albumen photos, all ca. 5,5x9 cm (2 ¼ x 3 ½ in). The photos are mounted on slightly bigger original card and then inserted in window mats with empty backs, allowing to see the versos. Eight photos are partly hand-coloured; two photos are captioned in negative. Sixteen photos with paper labels of "W. Hammerschmidt, Caire d'Egypte, Berlin" on verso (containing printed captions); one photo with a printed caption and credentials of "W. Hammerschmidt, Phot." on verso. Two photos with printed credentials of "Royer & Aufière Photographes, Désiré & Cie Successeurs," four photos with printed credentials of "Royer & Aufière" (rare), "H. Délié et Cie", "E. Neurdein" and "Photographie Jules Deplanque" on verso, one photo with an ink stamp "Fotografia Egiziana, Cairo, Luigi de Michele" on verso. Several photos with period or later ink or pencil captions on versos. Period maroon full morocco album with elaborate blind-stamped ornaments on both boards; spine with raised bands. Decorative brass clasps; marbled endpapers; all edges gilt. Binder's paper label on the front pastedown endpaper. Several leaves slightly age-toned or with minor foxing, two window mats with minor tears, but overall a very good album with strong interesting photos. Rare attractive keepsake album of sixty early carte-de-visite photographs of Egypt, taken by several local businesses, including a noted Cairo studio of Wilhelm Hammerschmidt and an early Cairo partnership of Louis Royer and Clovis Aufière (fl. ca. 1860s). Invented in the middle 1850s, photograph portraits and views in the format of "carte-de-visite" (ca. 85x55 mm) gained popularity in the 1860s and became objects of collecting, especially photos of celebrities and famous sites around the world. Most photos in the album (ca. 50) are portraits of Egyptians and scenes from their life (water carriers, musicians, "Bedouins from Giza," camel, oxen and donkey riders, sellers of oranges or sugar canes, elders, beggars, barber and his client, a "tobacco cutter," women with water jugs, smoking hookah, posing in traditional clothing, with covered faces, Nubian women, mothers with children, &c.). Two photos after paintings portray Ismail Pasha, the Khedive of Egypt and ruler of Sudan (1863-1879) and "Vice-roi d'Egypt" - apparently, Ibrahim Pasha of Egypt (March-November, 1848). The other photos are views of Cairo (the Citadel and Muhammad Ali Mosque, Mosque of Qani-Bay and other examples of Mamluk architecture, "houses in Copts in Cairo"), Suez Canal, Pompey's Pillar in Alexandria, a dahabiya on the Nile, &c. Overall a beautiful album with well-preserved early carte-de-visite photographs of Egypt. A list of available captions: Marchande d'oranges (Egypte) [ink caption; ink stamp of a private "Collection Sirot-Angel" on verso; 14. Femme fumant la narguilèh [paper label of W. Hammerschmidt]; 54. Mucisien barberin [paper label of W. Hammerschmidt]; Ismail Pasha, Vice-roi d'Egypte [printed caption, studio card of E. Neurdein]; 6. Jeune fille arabe voilée [paper label of W. Hammerschmidt]; 70. Ane chargé dune outre d'eau [paper label of W. Hammerschmidt]; 1. Anier avec son baudet [paper label of W. Hammerschmidt]; 76. Buffle monté par un gamin [paper label of W. Hammerschmidt]; 67. Chameaux de charge [paper label of W. Hammerschmidt]; 53. Joueur de luth et de clavicorde [paper label of W. Hammerschmidt]; 65. Négre à chameau [paper label of W. Hammerschmidt]; 48. Porteur d'eau [paper label of W. Hammerschmidt]; 39. Bédouins de Gizéh [paper label of W. Hammerschmidt]; 47. Vendeur d'eau [paper label of W. Hammerschmidt]; 50. Coupeur de tabac [paper label of W. Hammerschmidt]; 24. Femme portant des cruches d'eau [paper label of W. Hammerschmidt]; Vice-roid'Egypte [pencil caption; studio card of Jules Deplanque]; 52. Joueur de kemengéh [paper label of W. Hammerschmidt]; 1200. Maisons du Caire et la citadelle [manuscript ink caption]; 84. Barque de voyageurs ou dahabijéh descendent le Nil [paper label of W. Hammerschmidt]; Chantier 6. Curve in the canal, xii, 73 [captioned in negative]; Egyptiennes femmes [manuscript ink caption]; Vue du Canal de Suez [captioned in negative] ; 170. Maisons Cotes au Caire [studio card of W. Hammerschmidt]. "Born in Berlin, Wilhelm Hammerschmidt was already a professional photographer when he settled in Cairo, Egypt, around 1860. There he established the Hammerschmidt shop, where he sold photographic materials to other early photographers such as Henry Cammas. Hammerschmidt exhibited ten views of Egypt at the Société Française de Photographie in 1861 before becoming a member the following year. He also made costume and ethnographic studies, exhibiting those at the Exposition Universelle in Paris in 1867. Hammerschmidt also made photographs in Syria and Nubia, now Sudan" (Wilhelm Hammerschmidt / Getty Museum Collection; see more ). Hammerschmidt is considered one of the first photographers to produce high quality detailed images of Egypt and his travels and photographs of Upper Egypt and Nubia predate popular tourism in Egypt. He appears to have collaborated with the pioneering photo chemist Hermann Wilhelm Vogel (1834-1898), which would explain the high quality of Hammerschmidt's photographs. Ermé Désiré opened his photo studio in Cairo in ca. 1864 and became known for the series of views of the construction of the Suez Canal and numerous photos of Cairo, produced on the assignment of Ismail Pasha, the Khedive of Egypt. He also took classical ethnographic portraits of local people, from beggars and street sellers to Egyptian dignitaries and officers of the Khedivial army. "Royer and Aufière had a partnership in Cairo probably during the early 1860s. The work of this pair is rare and identified photographs have consisted mostly of carte-de-visite portraits of native types taken in the studio, some of which are beautifully composed. They are also important as they represent examples of early pho.