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TURKEY GREECE CABINET PHOTO CONSTANTINOPLE A GREEK WOMAN BY F.DUSSAP & CIE 1882
Societe Photographique, F. DUSSAP, 447 Grande Rue de Pera 447, CONSTANTINOPLE
See also: Photographers Represented in the Pierre de Gigord Collection[1] of Photographs of the Ottoman Empire and the Republic of Turkey, 1852-1950 a list of photographers, studios and publishers represented in the collection. Spellings of Armenian, Greek, and Turkish names appear as transliterated.
From Orientalism to Ottoman Palace Photography
Napoleon’s Egyptian campaign in 1798, and the opening of the Suez Canal in 1869, together with Britain and France’s policy in the Middle East, advanced the spread of Orientalism. Political circumstances made it necessary to situate this fascination for the Orient within a more realistic framework so that everyday life in the East now became a central point of interest for westerners. Close to 160 painters visited Istanbul in the 19th century, some of whom, including Camille Rogier (1810-1893), Amadeo Preziosi (1816-1882), Joseph Schranz (1803-1853), Leonardo de Mango (1843-1930), Fausto Zonaro (1854-1929), and Valeri Salvatore (1856-1946), remained in the city for long periods of time.
Along with painting, photography also became a means to present Orientalism in a more realistic way. Just as painters had done, a number of European photographers traveled to Ottoman territories. Among these were, Emile-Jean Horace Vernet, Frédéric Goupil Fesquet, Joseph-Philibert Girault de Prangey, George W. Bridges, Claudius Galen Wheelhouse, John Shaw Smith, Alfred-Nicholas Normand, Alphonse Durand, Dubois de Néhaut, Pierre Trémaux, Pietro Luchini, Claude-Marie Ferrier, Francis Bedford, Henri Bevan, Félix Bonfils, Frank Mason Good, Charles Gérard, and Jules Andrieu, to name only a few.
In 1841, the Scotsman James Robertson came to Istanbul with British technicians to work at the Imperial Mint. An engraver by profession, Robertson made great contributions to Ottoman coin and medal production. In 1855, he opened a photographic studio in Pera. With Félice Beato, he documented the Crimean War and joined the ranks of world-known photo reporters. Robertson is considered among the pioneers of Ottoman photographic art along with the Frenchman Ernest de Caranza, who was the first to systematically document Istanbul.
Source
[1] Spanning roughly one hundred years, the collection of over 6,000 photographic images forms a visual record of the late years of the Ottoman Empire and the formation and early years of the Republic of Turkey. The collection focuses on cultural and urban images, mainly of Constantinople (Istanbul), the capital of the Ottoman Empire, but other geographic areas, such as the Balkans, and other cities and towns within the empire such as Bursa and Smyrna (Izmir) are included, as are a few images from sites in Greece, Egypt, Jerusalem, India and China. The work of over 165 photographers is represented in the collection. The collection is supported by a small group of pamphlets and offprints regarding photography in the Ottoman Empire and by a small assemblage of photographic ephemera.
TURKEY GREECE CABINET PHOTO CONSTANTINOPLE A GREEK WOMAN BY F.DUSSAP & CIE 1882
Societe Photographique, F. DUSSAP, 447 Grande Rue de Pera 447, CONSTANTINOPLE
See also: Photographers Represented in the Pierre de Gigord Collection[1] of Photographs of the Ottoman Empire and the Republic of Turkey, 1852-1950 a list of photographers, studios and publishers represented in the collection. Spellings of Armenian, Greek, and Turkish names appear as transliterated.
From Orientalism to Ottoman Palace Photography
Napoleon’s Egyptian campaign in 1798, and the opening of the Suez Canal in 1869, together with Britain and France’s policy in the Middle East, advanced the spread of Orientalism. Political circumstances made it necessary to situate this fascination for the Orient within a more realistic framework so that everyday life in the East now became a central point of interest for westerners. Close to 160 painters visited Istanbul in the 19th century, some of whom, including Camille Rogier (1810-1893), Amadeo Preziosi (1816-1882), Joseph Schranz (1803-1853), Leonardo de Mango (1843-1930), Fausto Zonaro (1854-1929), and Valeri Salvatore (1856-1946), remained in the city for long periods of time.
Along with painting, photography also became a means to present Orientalism in a more realistic way. Just as painters had done, a number of European photographers traveled to Ottoman territories. Among these were, Emile-Jean Horace Vernet, Frédéric Goupil Fesquet, Joseph-Philibert Girault de Prangey, George W. Bridges, Claudius Galen Wheelhouse, John Shaw Smith, Alfred-Nicholas Normand, Alphonse Durand, Dubois de Néhaut, Pierre Trémaux, Pietro Luchini, Claude-Marie Ferrier, Francis Bedford, Henri Bevan, Félix Bonfils, Frank Mason Good, Charles Gérard, and Jules Andrieu, to name only a few.
In 1841, the Scotsman James Robertson came to Istanbul with British technicians to work at the Imperial Mint. An engraver by profession, Robertson made great contributions to Ottoman coin and medal production. In 1855, he opened a photographic studio in Pera. With Félice Beato, he documented the Crimean War and joined the ranks of world-known photo reporters. Robertson is considered among the pioneers of Ottoman photographic art along with the Frenchman Ernest de Caranza, who was the first to systematically document Istanbul.
Source
[1] Spanning roughly one hundred years, the collection of over 6,000 photographic images forms a visual record of the late years of the Ottoman Empire and the formation and early years of the Republic of Turkey. The collection focuses on cultural and urban images, mainly of Constantinople (Istanbul), the capital of the Ottoman Empire, but other geographic areas, such as the Balkans, and other cities and towns within the empire such as Bursa and Smyrna (Izmir) are included, as are a few images from sites in Greece, Egypt, Jerusalem, India and China. The work of over 165 photographers is represented in the collection. The collection is supported by a small group of pamphlets and offprints regarding photography in the Ottoman Empire and by a small assemblage of photographic ephemera.
| Series I. Large format albums, 1852-1920 |
| Series III. Loose and mounted photographs, 1850-1930, undated |
| Series IV. Panoramas, 1854-1919 |
| Series V. Card mounted photographs, 1851-1939 |
| Series VI. Tintypes, glass formats and printing blocks, 1890-1900, undated |
| Series VII. Lantern slides and glass plate negatives, 1850-1910 |
| Series VIII. Stereographs, 1850-1910, undated |
| Series IX. Photojournalism and press photographs, 1904-1959, undated |
| Series X. Documentation, 1850-1955, undated |