Views of Palestine, mostly taken in Jerusalem, including market scenes, animals (camels, donkeys), encampments and buildings. There are portraits... Show moreViews of Palestine, mostly taken in Jerusalem, including market scenes, animals (camels, donkeys), encampments and buildings. There are portraits of children, women, religious figures, Arabs and Jewish types, young and old men performing their daily life activities and Westerns, possibly Nadar's traveling companions, yet to be identified. One photograph of Mar Saba Monaster in Hebron. Photographs are not staged, people are not orientalist figures, but on the contrary, they feature directly, looking into the camera. Whether they are caught working or posing for the photographer, their attitude shows a natural curiosity. In the fall of 1892, Paul Nadar traveled to Palestine to cover the inauguration of the railway connecting Jerusalem to Jaffa, together with the archaeologist Albert Tissandier, Mr. Sauvage, mining engineer, and Mr. Geiser, director of the Polytechnic School of Zurich. His work on the railroad line lasted only a few days, but he took advantage of his trip to go on the traditional "Grand Tour" visiting Alexandria, Cairo, Beirut, Tyr and Zion, and Damascus, as well as stopping in Greece and Constantinople on his way home. He used a Kodak N ° 2 camera which produces circular format views, as during his trip to Turkestan in 1890. Jerusalem [?]. Hebron. Mar Saba Monastery. Street scenes. Shops. Hose rider. Jewish types. Priest. Children. Camp. Westerners. Albert Tissandier [?] Title and date devised by Library staff. Photograhs on boards by Landry & Deschavannes (L. & D.) witht paper overmount of Nadar studio "Office Général de Photographie. 53 rue des Mathurins. Paris. Nadar". Main Heritage Compact General HC.HP.2016.0046 2-D Graphic Item-ID: i23169084 BIB-ID: 2451798 Paul Nadar's correspondence describing the stages of his journey is kept in the collections of the National Institute of Art History in Paris, whereas his correspondence and papers are held at the manuscript department of the National Library of France. Show less
Photographs show two young water carriers and one blind beggar. Both these subjects were very common in Orientalism painting. Alexandre Brignoli... Show morePhotographs show two young water carriers and one blind beggar. Both these subjects were very common in Orientalism painting. Alexandre Brignoli was an Italian professional photographer active in Cairo between 1860 and 1870. His studio was based at the Hôtel du Commerce and his production almost exclusively consists of Orientalist portraits. His work seemed to be more aimed at artists than almost any other commercial work in the Middle East and North Africa. See Ken Jacobson Odalisques & Arabesque: Oriental Photography 1839-1925, Quaritch, London, 2007. Title and date devised by Library staff. Main Heritage Compact General HC.HP.2018.0256 2-D Graphic Item-ID: i25237755 BIB-ID: 2686962 Show less
