"PHOTOGRAPHY'S CAPACITY TO 'TAKE THEM THERE'" (PARR & BADGER): RARE 11-FOOT LONG PHOTOGRAPHIC PANORAMA OF CONSTANTINOPLE, CIRCA 1890, CONSISTING OF TEN FOLIO VINTAGE ALBUMEN PRINTS, BY THE FAMED MIDEAST STUDIO OF SÉBAH & JOAILLIER
(CONSTANTINOPLE) (ISTANBUL) SEBAH, J. Pascal and JOAILLIER, Polycarpe. Panorama de Constantinople, Pris de la Tour de Galata. [Constantinople: Sébah & Joallier, circa 1890]. Oblong folio (15 by 12 inches), original half red morocco, elaborately gilt-decorated red cloth, accordion-fold (leporello) panorama of ten vintage albumen prints (each measures 13-1/4 by 9-3/4 inches, for a total panoramic view of 11 feet); mounted on card stock, with renewed cloth hinges.
Rare exceptionally large photographic panorama of Constantinople, circa 1890, by the renowned studio of Sébah & Joaillier, with ten mounted vintage albumen prints linked together to offer a wonderful accordion-fold panoramic image of the city spanning 11 feet in length—an exceptional view of majestic mosques, churches and palaces—in original gilt-stamped binding.
This splendid gilt-stamped Panorama album of Constantinople contains an exquisite accordion-fold panoramic view of the city circa 1890. Created by the famed Mideast studio of Sébah & Joaillier, the album displays ten vintage albumen prints, each mounted on card stock and hinged with cloth to create a panorama 11 feet in length, offering an exquisite view of Constantinople's majestic palaces, mosques and churches, along with the rich splendor of Byzantine architecture. Sébah, trained in the studio of his Syrian-born father Pascal Sébah, was one of the most respected photographers of the era. At his father's death, Sébah partnered in 1888 with the French-born Joaillier. Based in Constantinople, they were named the official photographers of the Sultan, and became the chief "suppliers of evocative imagery to the increasing number of people who undertook the Victorian Grand Tour" (Hannavy, Encyclopedia of 19th-Century Photography I: 1730-4). The photographs of Sébah and Joaillier are a high point in late 19th-century photography, when albums such as these captivated a world newly spellbound "by photography's capacity to 'take them there,' and bring them directly in contact with the long ago and far away" (Parr & Badger I:18). Owner's card of Diran Mazlumian of "Stamboul" mounted to rear pastedown.
Hinges expertly renewed, corners gently bumped, cloth exceptionally clean, gilt quite bright. Albumen plates clean and fine. A beautiful copy of this splendid and rare panorama.