Iranian mihran (5 risultati)

No Binding. Condizione: Very Good. Original sepia-toned photograph printed in a period photograph paper. 19x25 cm. Descriptive text in French. Chipped and tear on margins. Iranian was born in 1890 in Constantinople, Istanbul. It is known that he established his studio in 1891 in Pera district of Constantinople - the center of Armenian cultural and political life. In 1895 he enters into partnership with another photographer by the name of Gugasyan. By 1900s the business seems to have wound down as the images marked with his studio signature don't exhibit any over elements of the new century. Of all the major Armenian studios from Istanbul, Iranian's photographs are the rarest, and less than 300 are known to have survived. Iranian's primary subject was the city of Constantinople, its picturesque landscape, architectural heritage, and the many types of artisans and workers that populated its streets. Using the latest photography techniques, which allowed for very rapid exposures, Iranian captured the bustle of the city streets with remarkable clarity. Teeming with life and movement these images have a remarkable immediacy and documentary veracity quite unlike similar views produced by other photographers of the period. The typical approach for many of Iranian's contemporaries such as Sebah & Joalier or Guillame Berggren was to achieve as clear a picture as possible with perfectly balanced compositions and highly visible details - the hallmark of a 'good' commercial photographer. In contrast, Iranian's street views are full of photographic 'ruptures' - blurred figures in movement, surprised glances of people caught unawares - which give his works the viscerality of snapshots. But above all, Iranian was a master at capturing the mood of a place. Catching the Ottoman capital on the brink of rapid transformation, the photographer aimed to record many of its ancient streets and quarters disappear or change the appearance. Thus, like the Parisian street photography of Atget, Iranian's images are 'nostalgic for the present' that is irrevocably slipping into the past. In his studio, the clientele had the choice of a large range of costumes and props through which the modern urbanite could slip into the role of some long-gone ethnic or street type and become a part of history. It is this sense of melancholy that gives Iranian's photographs their subtle emotional power. This is also perhaps the reason why he was ultimately not as successful as a commercial photographer. Modernity had captured the imagination of the people and the wistful romanticism of Iranian's markedly less spectacular images was fast going out of fashion. The small legacy he has left behind is nevertheless of significance in the history of Near-Easter photography. He was one of the rare Ottoman photographers with an individual and subjective approach, which deserves a proper evaluation. Signed by Author(s).…

Condizione: en trés bon état. ISTANBUL 1895 une photographie originale albuminée en noir, format : 25,8 x 20,5 cm, VOIR SITE BNF - GALLICA : Panorama de Constantinople pris de la tour de Galata / M. Iranian, photographe, Auteur : Iranian, Mihran (18.-19.?). Photographe, Éditeur : M. Iranian (Istanbul), Date d'édition : 1895, Sujet : Istanbul (Turquie), Sujet : Vues panoramiques -- 1870-1913 en trés bon état Superbe Photographie .TRÉS RARE . en trés bon état (very good condition).…

Collection of 32 albumen photographs of Turkey, Palestine, and Egypt, assembled by a German traveller who took part in an organised journey accompanying Kaiser Wilhelm II's state visit to the Ottoman Empire in 1898. Preserved in a portfolio with the title "Orient-Reise 1898. H.B.", the photographs mainly depict mosques, palaces, churches and other important landmarks encountered along the route and include works by several of the leading commercial photographers active in the region: Mihran Iranian (fl. 1891-1900), the American Colony Photography Department (fl. 1890s-1940s), Maison Bonfils (1867-1918), and the Zangaki brothers (fl. 1870-1890).The trip was organised by Carl Stangen's Reisebüro in Berlin, the first German international travel agency. In October 1898, Stangen organised a tour to the Middle East whose participants travelled in connection with Kaiser Wilhelm II's voyage to the Levant. The unidentified owner of the present collection, with the initials "H.B., was part of the Stangen group and travelled with the party through Turkey and Palestine, where Wilhelm dedicated the newly built Lutheran Church of the Redeemer on 31 October. When the imperial party returned to Germany, the group continued to Egypt. Of particular importance in the present collection is the single unsigned photograph, which shows the sizeable Stangen group posing at the pyramids of Giza. H.B. is likely among them, but has not been identified.The other photographs depict landmarks encountered during the trip. The ten smallest photographs, taken by the Armenian photographer Mihran Iranian, are all of Constantinople (present-day Istanbul), including the Hagia Sophia, Sultan Ahmed Mosque, Nusretiye Mosque and Dolmabahçe Palace. Iranian's photographs are among the rarest produced by the major Armenian photographic studios active in the city, with fewer than 300 images known to survive. Eleven photographs signed by the American Colony Photo Department concentrate on Jerusalem and its surroundings, including the Western Wall, Jaffa Gate, Church of the Holy Sepulchre, Al-Aqsa Mosque, Mount of Olives, Garden of Gethsemane and sites at Bethlehem. The American Colony photographers extensively documented Wilhelm II's visit to Jerusalem in 1898, making their presence in this collection especially interesting. The remaining ten photographs, taken by Bonfils and the Zangaki brothers, show Cairo, its Citadel and other sites in Egypt.The portfolio is somewhat rubbed, especially on the spine. The photographs are warped, but otherwise in good condition.l Cf. Hannavy, Encyclopaedia of 19th-century photography, pp. 173-175 (Bonfils), and p. 1521 (Zangaki). Contemporary portfolio, half green morocco and dark blue pebble-grained cloth sides, with "Orient-Reise 1898" and "H. B." stamped in gold on the front board, lined with floral paper, green closing ties. With 32 albumen prints (ca. 18.5 x 25.7 cm and ca. 23.5 x 27.7 cm) mounted on cardstock, most signed and captioned in French the negative, a German manuscript caption in red ink below.…

An engrossing Gilded Age photograph album compiled by a member of a tour party sailing from New York on a Mediterranean cruise aboard the White Star liner RMS Celtic. Of particular importance is a small group of superb photographs of Constantinople by the Armenian photographer Mihran Iranian, whose rare, improvisatory, vérité-style images survive in relatively small numbers, especially when compared with the output of larger studios such as Bonfils, also represented here. The finely detailed albumen and silver gelatin prints vividly record Madeira (12), Gibraltar (2), Algiers (10), Malta (8), Athens (10), Constantinople (14), Smyrna (6), Ephesus (6), Palestine (14), and Jerusalem (15). The voyage opened at Funchal, Madeira, with scenes of the rugged coastline, panoramic views, the mountain funicular, winemaking, local residents, ox-drawn carros de boi, and palanquin-bearers - described by the compiler as transport "for feeble visitors". After Gibraltar, the party proceeded to Algiers, where the photographs include a busy harbour, quays crowded with boats and horse-drawn trolleys, the compiler's hotel near the Place de la République, Moroccan soldiers, and an Arab musical troupe in Biskra. A notable image shows the stationery and publishing house of Adolph Jourdan, its advertising clearly legible. Malta is represented by harbour views, street scenes, St John's Co-Cathedral, and a portrait of a "Maltese Lady" in faldetta, bearing the imprint of Richard Ellis, a pioneer of Maltese photography. Egypt was quarantined in the winter of 1902, and the itinerary diverted to Greece, opening with hand-coloured views of Athens and the Parthenon, followed by silver gelatin photographs of the Acropolis, the Temple of Jupiter, and the Temple of Theseus. In late February 1902 the Celtic secured permission to enter Constantinople, where the compiler obtained a group of photographs by Mihran Iranian (fl. 1891-1905). Iranian's images - among the rarest of all Istanbul studios - capture the city's streets, architecture, and working life with striking immediacy. Present here are views of the Süleymaniye Mosque from the harbour, Sarayburnu, the Galata Bridge, a panoramic view of the Golden Horn, street vendors selling simit, artisans at work, and a porter carrying a barrel. A fine exterior view of Hagia Sophia is by another Armenian photographer, Bogos Tarkulyan (Phebus Efendi), founder of the Phebus studio. The tour continued to Smyrna and Ephesus, shown largely through the Rubellin studio, with a panoramic view of Smyrna, railway scenes, Ottoman soldiers, and major classical ruins. From Haifa, many travellers joined the Samaria Camping Party; included is a group portrait at Shiloh by Khalil Raad, regarded as the first Arab photographer in Palestine. Further images show Cana of Galilee, Nazareth, Mount Tabor, Tiberias, and Jerusalem, with strong representation from the Bonfils studio, including views of the Damascus Gate, the Tower of David, and local figures. The album closes with evocative scenes of daily life, including Bedouin portraits and women carrying firewood into Jerusalem. Launched in April 1901, RMS Celtic was the first of White Star's "Big Four" liners and a survivor of wartime service. The compiler was one of many passengers on the highly popular cruises organized by Frank C. Clark of New York, whose chartered steamships carried hundreds of tourists annually to Egypt and the Holy Land between 1895 and 1925, offering comparatively comfortable travel at a formative moment in the history of modern tourism. Gannit Ankori, Palestinian Art, 2006; Getty, Early Photographers in Greece and the Mediterranean, The Getty Research Institute, 2018; John Hannavy (ed.), Encyclopedia of Nineteenth-Century Photography, 2008; Ruth Kark, American Consuls in the Holy Land, 1832-1914, 1994; McReady & Tyndall, The Cruise of the Celtic Around the Mediterranean, 1902; Oztuncay, The Photographers of Constantinople, I, p. 315; Michael Wong, Malta: The Richard Ellis Archive 1862-1924, British Photographic History, 2011. Landscape quarto (290 x 375 mm). Typescript table of contents on ruled paper (6 and a half pages, recto only, trimmed at right margin, browned and a little ragged); 100 original albumen and silver gelatin print photographs mounted recto and verso on 47 dark grey heavy card stock mounting leaves, black linen hinges; (formats from 140 x 200 mm up to 255 x 310 mm, three of them lengthy folding panoramas, 180 x 901 mm, 210 x 580 mm., and 210 x 535 mm. respectively), the majority captioned in the negative, many with studio stamps, all numbered in reference to typed table of contents. Recent black grain limp leather post-binder, silk moiré effect pastedowns, nickel-plated screw posts. Some chipping and wear at the edges of the mounting leaves, occasional short closed tears, slight bowing of leaves from the mounting of the photos as usual, lacking one leaf with 3 photos which is listed in table of contents, the second panorama with minor chipping to upper right-hand corner image not affected, a few other photos with very minor damage from lifting in a few spots, remains very good.…

Collection of 32 albumen photographs of Turkey, Palestine, and Egypt, assembled by a German traveller who took part in an organised journey accompanying Kaiser Wilhelm II's state visit to the Ottoman Empire in 1898. Preserved in a portfolio with the title "Orient-Reise 1898. H.B.", the photographs mainly depict mosques, palaces, churches and other important landmarks encountered along the route and include works by several of the leading commercial photographers active in the region: Mihran Iranian (fl. 1891-1900), the American Colony Photography Department (fl. 1890s-1940s), Maison Bonfils (1867-1918), and the Zangaki brothers (fl. 1870-1890).The trip was organised by Carl Stangen's Reisebüro in Berlin, the first German international travel agency. In October 1898, Stangen organised a tour to the Middle East whose participants travelled in connection with Kaiser Wilhelm II's voyage to the Levant. The unidentified owner of the present collection, with the initials "H.B., was part of the Stangen group and travelled with the party through Turkey and Palestine, where Wilhelm dedicated the newly built Lutheran Church of the Redeemer on 31 October. When the imperial party returned to Germany, the group continued to Egypt. Of particular importance in the present collection is the single unsigned photograph, which shows the sizeable Stangen group posing at the pyramids of Giza. H.B. is likely among them, but has not been identified.The other photographs depict landmarks encountered during the trip. The ten smallest photographs, taken by the Armenian photographer Mihran Iranian, are all of Constantinople (present-day Istanbul), including the Hagia Sophia, Sultan Ahmed Mosque, Nusretiye Mosque and Dolmabahçe Palace. Iranian's photographs are among the rarest produced by the major Armenian photographic studios active in the city, with fewer than 300 images known to survive. Eleven photographs signed by the American Colony Photo Department concentrate on Jerusalem and its surroundings, including the Western Wall, Jaffa Gate, Church of the Holy Sepulchre, Al-Aqsa Mosque, Mount of Olives, Garden of Gethsemane and sites at Bethlehem. The American Colony photographers extensively documented Wilhelm II's visit to Jerusalem in 1898, making their presence in this collection especially interesting. The remaining ten photographs, taken by Bonfils and the Zangaki brothers, show Cairo, its Citadel and other sites in Egypt.The portfolio is somewhat rubbed, especially on the spine. The photographs are warped, but otherwise in good condition.l Cf. Hannavy, Encyclopaedia of 19th-century photography, pp. 173-175 (Bonfils), and p. 1521 (Zangaki). Contemporary portfolio, half green morocco and dark blue pebble-grained cloth sides, with "Orient-Reise 1898" and "H. B." stamped in gold on the front board, lined with floral paper, green closing ties. With 32 albumen prints (ca. 18.5 x 25.7 cm and ca. 23.5 x 27.7 cm) mounted on cardstock, most signed and captioned in French the negative, a German manuscript caption in red ink below.…