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‎[Photographs of Italy]. - [MAGNIFICENT COLLECTION OF PHOTOGRAPHS OF ITALY]‎

‎[Circa 1870-1880]. An extensive series of 132 stunning photographs of Italy and Italian artwork, most measuring 25 x 17 cm, some slightly smaller, some slightly larger, all mounted on leaves measuring 30x42 cm. and bound in three exquisite near contemporary (ab. 1900) oblong black half morocco bindings with four raised bands, gilt spines, boards with elaborately gilt corners, gilt border and to the middle of front boards a gilt vignette, gilt title (""Italian"" i.e. either Norwegian or Danish for Italy). and gilt volume-number. Housed in three equally elegant half morocco boxes with with gilt spines, marbled edges, and with middle of boards corresponding to those of the bindings. The boxes are also from ab. 1900. The boxes have a few traces of wear, but all in all, the set is in splendid condition.Many of the photographs have numberings and several of them also mention the motiv.Volume I contains 46 photographs, 8 by (Giacomo or his son Carlo) Brogi, 1 by Pompeo Pozzi, 4 by Maug and 33 unsigned. Most of the pictures are of ancient Roman buildings and renaissance art works. A few of the photos are from Milan.Volume II contains 49 photographs, 2 by Volpato and 2 by Brogi, the remaining 45 are unsigned. The first half depicts ancient Roman statues renaissance painting. The last part consists of photos portraying vast landscapes around the bay of Naples and Mount Vesuvius and cityscapes Volume III consists of 37 unsigned photographs of artworks mainly from Museo di Napoli.‎

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‎An extensive and stunning collection of photographs from Italy, a splendid example of a Victorian Grand Tour photo album from Milan in the north down to Rome and ending in Napoli, photos prepared while the traveler shopped and visited the Italian sites.Photography studios in different Italian cities developed different specialties and were especially oriented towards the three genres of portraiture, views and art reproductions, of which the present collection is a fine example. ""Among the activities of the most renowned firms (Brogi and Pozzi), there was ample space for the reproduction of works of art and monuments most representative of the art historical tradition and natural beauty of Italy. Nature was not only seen as such, but as an integral part of the landscape, and essential element of a whole in which nature and history, culture and nature harmoniously balanced and completed each other"". (Hannavy, Encyclopedia of Nineteenth Century Photography)Most of the photographs by Brogi are presumably from his first Pompeii campaign from 1879-1880 which we exhibited in Milan the year after. ‎

‎[2 albums de photographies sur l'Algérie et la Tunisie/2 albums of photographs of Algeria and Tunisia].‎

‎Circa 1930. 1930 2 vols Oblongs (275 x 370 mm) ( 280 x 360 mm) de : 86 photographies (180 x 13mm) réparties sur [24] ff., [1]f avec 11 petites photos.; 92 photographies (150 x 955mm), (130 x 170 mm), (255 x 195 mm) sur [24] ff. Dont [2]ff. (petites photographies), [3] ff. Blancs. Vol. 1: Chagrin bordeau, dos à nerfs orné. Vol 2: chagrin vert, dos lisse muet.‎

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‎Magnifique Album en deux volumes circa 1930 sur lAlgérie et la Tunisie, comportant environ 200 photographies de paysages urbains et ruraux, portraits et scènes de vie. Les photographies du premier volumes sont maintenues par une feuille de papier épais partiellement collée sur une page cartonnée, au recto et au verso, permettant de les glisser dans un cadre enjolivé dun filet rouge. Celles du second volume sont maintenues au recto dune feuille de papier épais contrecollée à la suivante et percée de 4 encoches permettant de les glisser dans les coins. Les photographies du premier volume sont titrées à lencre noire tandis que celles du second le sont au crayon à papier ou directement en bas de celles-ci. De tailles variables et ne disposant pas toutes dun titre, elle sont presque toutes prises au format paysage. Lensemble se consacre majoritairement à des villes algériennes et tunisiennes telles quAlger, Biskra, Blidah, Timgad, Carthage et Tunis, ainsi quà leurs environs. Ci-dessous, la liste de toutes les photographies titrées avec le numéro de page (vol. 1) ou du feuillet (vol. 2): Volume 1: 6. «Souks, Tunis, mosquée El Zitouna»; 7. «Tunis, mosquée Sidi Ben Zia»; 13. «Entrée du Bardo»; 14. «Alger, un cimetière arabe»; 18. «Rue dAlger»; 18. «Alger, entrée de la Kasbah»; 19. «Alger, la Kasbah, une rue»; 21. «LEscadre à Alger, «La touche Tréville»; 21. «Port dAlger»; 22. «Alger. Palais du Gouverneur»; 23. «Alger. Place du gouvernement»; 23. «Alger. Place du gouvernement»; 24. «Vue du désert prise du Col de Sfa»; 24. «Caravane dans le désert près Biskra»; 25. «Biskra. Entrée du désert. Piste»; 25. «Une caravane en marche»; 26. «Biskra. Rue des Ouled Maïls»; 27. «Tunis. Rue et mosquée El Zitouna»; 27. «Biskra. Un enterrement arabe»; 31. «Un déraillement près Biskra»; 36. «Blidah. Le ruisseau des singes»; 36. «Viaduc dans les gorges de la Chiffa»; 37. «Près Blidah. Gorges de la Chiffa. Ruisseau des singes»; 37. «Blidah.»; 42. «En route pour le Tell près Biskra»; 44. «Carthage. Fouilles. Musée Byrsa». Volume 2: 1. «Marseille. Funiculaire menant à N. D. de la Garde»; 1. «N. D. de la Garde».; 2. «Valence»; 3. «Valence. Cathédrale»; 3. «Alicante. Promenade sur le port»; 4. «Alicante. Un arroseur municipal»; 4. «Elché. Plantation de palmiers»; 5. «Elché»; 6. «Elché»; 7. «Elché»; 8. «Elché»; 9. «La Lealtard saludando el dia de San Ildefonso (23 Enero 1894). Cartagene. Vue prise de la maison de Monsieur Figuera»; 9. «Cartagene. Le Besos (Cap. Franco) à son départ pour Oran»; 10. «Oran. Vue prise à bord du Besos»; 10. «Oran. Dans le haut de la ville»; 12. «Oran. Cour de la mosquée du Pacha»; 12. «Oran. Le village nègre»; 13. «Clemcem. Chemin conduisant à la mosquée de Sidi-Bon-Meddu»; 16. «Alger. Place du gouvernement. Statue du duc dOrléans. Mosquée de la mairie»; 16. «Place du gouvernement»; 17. «Alger. Port. Escadre de lamiral Gervais»; 18. «Alger. La Kasbah. Rue de la Mer Rouge»; 19. «Allée des bambous au jardin dessai»; 20. «Alger. Jardin dessai. Allée des dattiers»; 20. «Alger. Jardin dessai. Aloës en fleur»; 21. «Alger. Jardin dessai. Fleurs, palmiers chamaerops, rosiers grimpants»; 22. «Gorges de la Chiffa près Blidah. Ruisseau des singes»; 22. «Route des gorges»; 23. «Gorges de la Chiffa»; 24 «Entrée des gorges de la Chiffa»; 25. «Sur la route de Biskra»; 26. «Avant des gorges dEl Kantara»; 26. «Goerges dEl Kantara. Première oasis»; 27. «Dans les gorges dEl Kantara»; 27. «Oasis dEl Kantara»; 28. «Biskra. Place du marché»; 28. «Ouled Maïl»; 29. «Environs de Biskra (arabes nomades)»; 30. «Caravanes près Biskra»; 31. «Le désert (une prise du col de Sfa»; 31. «Au vieux Biskra»; 32. «Au vieux Biskra»; 33. «Vieux Biskra»; 34. «Femme de la tribu des Ouled Naïls»; 34. «Jeune femme arabde et son enfant»; 34. «Femme mauresque»; 34. «Femme des Ouled Naïl»; 34. «Musicien Algérien»; 34. «Chameaux sabreuvant»; 34. «Mchari monté par un Tarqui»; 35. «Sahara algérien. Caravane en marche»; 36. «Biskra. Passage de lOuled El-Outaïa par une caravane»; 36. «Biskra. Femme des Ouled-Naïls»; 37. «Casino de Biskra. Bergère et son troupeau de chèvre»; 37. «Timgad. Ruines du temple de Jupiter»; 38. «Timbad»; 39. «Constantine. Près des murs de la ville»; 41. «Tunis. Porte de France»; 41. «Une rue»; 42. «Ruines de Carthage»; 42. «Tunis»; 43. «Tunis. Barbouchi dans la cour de la maison»; 43. «Palais du Bardo. Les lions de Venise»; 44. «Bardo de Tunis»; 45. «Carthage. Le R. P. Delattre»; 46. «Le Ville dOran, de la compagnie transatlantique». 2 vol. Oblong (275 x 370 mm) ( 280 x 360 mm) of : 86 photographs (180 x 13mm) spread over [24] ff, [1]f with 11 small photographs; 92 photographs (150 x 955mm), (130 x 170 mm), (255 x 195 mm) on [24] ff. Including [2]ff. (small photographs), [3] ff. Blank. Vol. 1 : Bordeaux chagrin, decorated spine. Vol 2 : green chagrin, smooth mute back. Magnificent Album in two volumes circa 1930 on Algeria and Tunisia, comprising about 200 photographs of urban and rural landscapes, portraits and scenes of life. The photographs of the first volume are maintained by a sheet of thick paper partially glued on a cardboard page, front and back, allowing to slide them in a frame embellished with a red net. The photographs of the second volume are held on the front of a sheet of thick paper glued to the next one and pierced with 4 notches allowing to slide them in the corners. The photographs of the first volume are titled in black ink while those of the second volume are titled in pencil or directly at the bottom of them. Of varying sizes and not all with a title, they are almost all taken in landscape format. The set is mainly devoted to Algerian and Tunisian cities such as Algiers, Biskra, Blidah, Timgad, Carthage and Tunis, as well as their surroundings. Below is a list of all the photographs titled with the page number (vol. 1) or sheet number (vol. 2): Volume 1: 6. "Souks, Tunis, El Zitouna mosque"; 7. "Tunis, Sidi Ben Zia mosque"; 13. "Entrance to the Bardo"; 14. "Algiers, an Arab cemetery"; 18. "Algiers, entrance to the Kasbah"; 19. "Algiers, the Kasbah, a street"; 21. "The Wing in Algiers, "The Treville touch"; 21. "Port of Algiers"; 22. Governor's Palace"; 23. "Algiers. Place du gouvernement"; 23. "Alger. Place du gouvernement"; 24. "View of the desert taken from the Col de Sfa"; 24. "Caravan in the desert near Biskra"; 25. "Biskra. Entrance to the desert. Track"; 25. "A caravan on the move"; 26. "Biskra. Street of Ouled Maïls"; 27. "Tunis. Street and mosque El Zitouna"; 27. "Biskra. An Arab funeral"; 31. "A derailment near Biskra"; 36. "Blidah. The stream of monkeys"; 36. "Viaduct in the gorges of the Chiffa"; 37. "Near Blidah. Gorges of the Chiffa. Ruisseau des singes"; 37. "Blidah"; 42. "En route to the Tell near Biskra"; 44. "Carthage. Excavations. Byrsa Museum". Volume 2: 1 "Marseille. Funicular leading to N. D. de la Garde"; 1. D. de la Garde"; 2 "Valencia"; 3 "Valencia. Cathedral"; 3. "Alicante. Walk on the port"; 4. Municipal sprinkler"; 4. "Elche. Plantation of palms"; 5. "Elché"; 6. "Elché"; 7. "Elché"; 8. "Elché"; 9. "La Lealtard saludando el dia de San Ildefonso (23 Enero 1894). Cartagene. View taken from the house of Mr. Figuera"; 9. "Cartagene. The Besos (Cap. Franco) on its departure for Oran"; 10. "Oran. View taken on board the Besos"; 10. "Oran. In the upper part of the city"; 12. "Oran. Courtyard of the mosque of the Pasha"; 12. "Oran. The Negro village"; 13. "Clemcem. Path leading to the mosque of Sidi-Bon-Meddu"; 16. Algiers. Place du gouvernement. Statue of the Duke of Orleans. Mosque of the town hall"; 16. Place of the government"; 17. Algiers. Port. Wing of the admiral Gervais"; 18. "Algiers. The Kasbah. Rue de la Mer Rouge"; 19. "Allée des bambous au jardin d'essai"; 20. Algiers. Garden of test. Alley of the date palms"; 20. Algiers. Jardin d'essai. Aloes in flower"; 21. "Algiers. Jardin d'essai. Flowers, chamaerops palms, climbing roses"; 22. "Gorges of the Chiffa near Blidah. Ruisseau des singes"; 22. "Route des gorges"; 23. "Gorges de la Chiffa"; 24 "Entrée des gorges de la Chiffa"; 25. "Sur la route de Biskra"; 26. Before the gorges of El Kantara"; 26. "Goerges of El Kantara. First oasis"; 27. in the gorges of El Kantara; 27. oasis of El Kantara; 28. Biskra. "Caravans near Biskra"; 31. "The desert (a shot of the Sfa pass)"; 31. "In old Biskra"; 32. "In old Biskra"; 33. "Old Biskra"; 34. "Woman of the Ouled Naïls tribe"; 34. "Young Arab woman and her child"; 34. "Moorish woman"; 34. "Woman of the Ouled Naïl"; 34. "Algerian musician"; 34. "Camels drinking"; 34. "Mchari mounted by a Tarqui"; 35. "Algerian Sahara. Caravan on the move"; 36. Passage of the Ouled El-Outaïa by a caravan"; 36. Woman of the Ouled-Naïls"; 37. "Casino of Biskra. Shepherdess and her herd of goats"; 37. "Timgad. Ruins of the temple of Jupiter"; 38. "Timbad"; 39. "Constantine. Near the city walls"; 41. "Tunis. Gate of France"; 41. "A street"; 42. "Ruins of Carthage"; 42. "Tunis"; 43. "Tunis. Barbouchi in the courtyard of the house"; 43. "Bardo Palace. The lions of Venice"; 44 "Bardo of Tunis"; 45 "Carthage. The R. P. Delattre"; 46. The City of Oran, of the transatlantic company ".‎

‎A. Chekhov. Documents. Photos. Anton Chekhov. Documents. Photographs. In Russia‎

‎A. Chekhov. Documents. Photos. Anton Chekhov. Documents. Photographs. In Russian /A. Chekhov. Dokumenty. Fotografii. Anton Chekhov. Documents. Photographs. Authors - compilers I. M. Varentsova and F. Shcheboleva. Translated into English by R. Kozakova. M. Soviet Russia 1984. Contact us for details or to request photos of available books. Delivery of this book could take longer than normal due to additional handling time before shipping, and no rush delivery options are available. Please let us know if you have a specific date by which you need to receive your order.SKUalb7518aab9294ae17e‎

‎Byen bag regnen. Fotografier fra København. [The City behind the Rain. Photographs from Copenhagen].‎

‎[Copenhagen, 1987]. Queer 4to. Original dark grey wrappers. Very slight sunning to spine and a tiny nick to upper part of front wrapper. An 1988-inscription to front free end-paper. A very small oval stamp and two small spots to title-page, otherwise internally near mint. 53, (4, -index) pp., containing 128 full-page b/w photographs.‎

‎The uncommon first edition of Krass Clement's fourth book, being one of the most sought-after of his works. The renowned Danish photographer Krass Clement (born in Copehagen 1946) counts as one of the most esteemed Danish photographers, and his ""Byen bag Regnen"" as one of the most popular Danish photography-books ever printed. Clement's interest in photography developed already in his childhood, and he began photographing as early as the late 50'ies. He was educated as a film-director but soon turned professionally to still photography. His first book, Skygger af øjeblikke (Shadows of the Moment), appeared in 1978, followed by Det tavse land (The Silent Land) from 1981 and Gentagelsens fest (The Party of Repetition) from 1984, before his great work on Copenhagen, ""The City Behind the Rain"", appeared in 1887, presenting his magnificent melancholic, but also humorous and inspiring photographs from the 1960'ies and 80'ies of different aspects of Copenhagen and Copenhageners.His work, often presented in book-form, his favourite medium, is considered highly inspiring and poetical, in spite of their melancholic character, which makes them oddly compelling. His social-realist portrayal of Copenhagen in the 60'ies and 80'ies is very different from other contemporary works, and his critical but still sympathetic approach, with a sharp eye for the humorous, makes it both lively and of great artistic value. Clement is the first artist photographer to receive a lifelong disbursement from The State Art Foundation, and his works are displayed at both MOMA and the National Library in Paris.‎

‎The Tordenskjold-expedition. 71 albumen prints from the 1860'ies to 1873. - [FINE COLLECTION OF EARLY PHOTOGRAPHS FROM EAST-ASIA DOCUMENTING THE LAYDOWN OF THE FIRST TELEGRAPH CABLES IN EAST-ASIA]‎

‎1870-1872. Folio-oblong (395 x 320 mm). Original brown half calf, recased - the original cloth (with gilt lettering to the front) has been expertly mounted on to the new boards, and most of the original gilt leather spine has been preserved over a perfectly matching new lovely brown half calf. ""Tordenskjold / 1870 - 1873"" in gilt lettering, partly worn of, to front board. End-papers renewed. 71 albumen print in various sizes and by various photographers (see below) mounted on 59 contemporary white cardboard leaves (measuring 370 x 310 mm), all re-hinged. The album was water-damaged at some point, but has been expertly and neatly restored and appears in overall very good condition with good tones. 1, Oval photo of Tordenskjold (205 x 60mm) 2, Photo of Tordenskjold (190 x 143 mm) 3, Crew aboard Tordenskjold (200 x 14 mm) 4, Crew aboard Tordenskjold (157 x 128 mm) 5, Crew and equipment aboard Tordenskjold (228 x 176 mm) 6, Naval officers about Tordenskjold (167 x 130 mm). 7, 8 small photos of various places on one plate (274 x 190 mm) 8, The harbor of Port Said. By Hippolyte Arnoux (247 x 190mm) 9, Muddigging machines in the channel of Port Said. By Hippolyte Arnoux. (245 x 190mm) 10, Port Said. By Hippolyte Arnoux. 11, Malta (262 x 207 mm) 12, Two photos of Malta (each measuring 134 x 120 mm) 13, Two photos of Gibraltar (Each measuring 148 x 114) 14, Deep Water Bay, Hong Kong (194 x 130 mm). 15, Two photos depicting telegraph-house and ships in Deep Water Bay (each measuring 150 x 112) 16, Boat with people. By Felice Beato, coloured (294 x 235 mm) 17, House next to river. By John Thomson, December 1870 (278 x 225 mm) 17, Seamen’s hospital in Hong Kong. (261 x 190 mm) 18, Hong Kong. (270 x 195 mm) 19, Hong Kong, by Floyd (270 x 192 mm) 20, Hong Kong, by Floyd (240 x 190 mm) 21, Two photos of sites in Hong Kong (each measuring 165 x 127 mm) 22, Five Sikhs in Hong Kong (215 x 244 mm) 23, Group of women in Hong Kong, (326 x 215 mm) 24, Two photos of Hong Kong harbour, one photo depicting “Cella” (182 x 105" 130 x 98 mm) 25, Villa at Canton. (264 x 190 mm) 26, Pagode in Xuexiu Park, Guangdong. By William Pryor Floyd. (195 x 246 mm) 27, Boats in Canton. William Pryor Floyd,(270 x 223 mm) 28, Pou-Ting-Qua’s Garden, Canton. By John Thomson. (289 x 230 mm) 29, Fields in Canton. (205 x 155 mm) 30, Houses in Canton. (267 x 210 mm) 31, Canton harbor. By John Thomson. (245 x 202 mm) 32, Boat on the Canton river. (274 x 204 mm) 33, Wall around Canton. (260 x 200 mm). 34, Boats in Canton (293 x 225) 35, Telegraphstation in Woosung. (150 x 110 mm) 36, Boats in Foochow. (287 x 232 mm) 37, Temple in Foochow. By John Thomson (190 x 237 mm) 38, Pagode in Foochow. Presumably by John Thomson. (287 x 220 mm). 39, Tomb of Fou Tcheou. By John Thomson. (290 x 225 mm). 40, Temple in Shanghai. (237 x 188 mm). 41, Shanghai. (232 x 176 mm) 42, Chaochow bridge, Kwangtung. By John Thomson. (266 x 204 mm). 43. Panorama of Nagasaki consisting of two photos. (371 x142 mm) 44, Two photos of Nagasaki. Felice Beato. (Each measuring 169 x 119 mm). 45, Two photos from Nagasaki. Presumably by Felice Beato. (Each measuring 165 x 118 mm) 46, Two photos from Nagasaki. Presumably by Felice Beato. (Each measuring 165 x 118 mm) 47, Temple in Nagasaki. Presumably by Felice Beato. (169 x 118 mm). 48, Photo of Japanese woman in kimono. By Felice Beato. (205 x 255 mm). 49, Two photos of officers in house in Yokohama. (162 x 125 mm). 50, The Abbot and Monks of Kushan Monastery. By John Thomson. (287 x 204 mm). 51, Wooden structure, presumably Nagasaki. Presumably by Felice Beato. (270 x 208 mm) 52, Pagode, presumably Nagasaki. Presumably by Felice Beato. (234 x 185 mm) 53, Cityscape with lake, presumably Nagasaki. Presumably by Felice Beato.. (280 x 228 mm). 54, Two photos, cemetery and stairs to temple. By Felice Beato. (Each measuring 168 x 118 mm). 55, People standing outside house, presumably Hong Kong. By John Thomson. (185 x 155 mm) 56, Guangzhou Great Norh Gate, Canton. By John Thomson (245 x 156 mm). 57, Two photos, one of the building of a telegraph station (presumably in Wladivostok) and a view of Wladivostok from the sea (154 x 123 130 x 99 mm). 58, Seascape of two ships. (130 x 140 mm). 59, Ship laying for anchor. (170 x 123 mm)‎

‎Exceedingly rare photo-album documenting the Danish vessel Tordenskjold’s mission in laying the very first telegraph cables in East Asia thereby connecting China and Japan to the global telegraph system. The album consists of photos taken aboard the vessel Tordenskjold, of Tordenskjold itself along with its crew, by an unknown photographer, and of photographs of the visited cities and surrounding areas by some of the finest photographers operating in East Asia at the time, such as John Thomson, William Floyd, Felice Beato and, in Egypt, Hippolyte Arnoux - all photographs presumably brought home by William Lund, Captain on board Tordenskjold. Through some of the earliest photos taken in China, Japan, and of the excavation of the Suez Canal, the present album depicts a pivotal moment in international relations and communications. Submarine telegraph cables were first brought to China by Danish magnate Carl Fredrick Tietgen (1829-1901), who in 1870 set up the Great Northern China and Japan Extension Company. The company was created to build and operate a telegraph cable connecting Hong Kong, Shanghai, and Japan, continuing on to Vladivostok on Russia's East coast. From Vladivostok, a cable ran along the Trans-Siberian Railway, linking Hong Kong to telegraph networks in Britain, Europe, and America. Tietgen fought off strong competition - primarily English-, and eventually won the concession to lay and operate new telegraph cables connecting Russia, China and Japan. Tietgen and his partners had embarked upon a grand and risky project. Undersea cables would need to be laid in waters that had not been sounded, cables were to be brought ashore on coasts where the prevailing conditions were not known, and it was uncertain whether the respective governments would grant permission. Everything – cables, stations, wire, and apparatus – was to be brought from Europe and had to function as a coherent system. Two chartered English steamships ‘Cella’ and ‘Great Northern’ were to transport and lay the cables, and the propeller-driven Danish frigate ‘Tordenskjold’ was to sound the waters near Nagasaki and Vladivostok, it had to also carry a relatively small amount of cables, and it was to keep away uninvited guests (of which there were plenty in the South China Sea). “As a small nation with negligible military resources, Denmark could provide a useful – politically neutral – centre for telegraph links to major European powers such as Britain, Russia and the emerging new power of Prussia. The Danes were able to utilize the technical know-how which had been accumulated with great difficulty, and occasionally heavy economic losses, in the preceding decades by British and American entrepreneurs. The competition between the Danish and British groups of telegraph entrepreneurs for first access to the Chinese market was preliminarily resolved when the directors of the two companies negotiated a secret agreement in May 1870. The Danish group had acquired an advantage in terms of timing by winning the Russian concession in 1869, and had to cover shorter distances by sea cables from Vladivostok to Nagasaki and Shanghai. But the British group had the advantage of better access to capital and a more extensive technical experience with submarine cable manufacture and operation. The essence of the agreement was that the line between Hong Kong and Shanghai should be established and operated by the Great Northern the companies would share the income for telegrams which passed this section of the line and they would run offices in Hong Kong and Shanghai jointly. The agreement provided the Danes with assured landing rights in Hong Kong and with British diplomatic support for attempts to secure landing rights in China. Permission to bring submarine telegraph cables into Chinese treaty ports was obtained in 1870 from the Chinese Government (i.e., the office of foreign affairs, known as the Zongli Yamen) by the British Minister in Peking, Thomas Wade. At the same time, the Danish government had dispatched a diplomatic envoy, Chamberlain Julius Sick, at the Great Northern’s expense to China and Japan to obtain the necessary concessions. The cable between Hong Kong and Shanghai was laid in 1870–1871 with the assistance of the frigate Tordenskjold, which the Danish government had generously allocated to the task. The Great Northern had a great deal of technical problems with the cables they had bought from the British manufacturer since the quality of the insulation was not as good as expected. Therefore, the official opening of the line between Shanghai and Hong Kong was delayed until April 1871. During the remainder of that year the company struggled to finish cable sections from Shanghai to Nagasaki, and from Nagasaki to Vladivostok. Communication between Shanghai and Europe via these cables and the Russian Siberian lines was officially inaugurated on 1 January 1872.” (Erik Baark: Wires, Codes and People The Great Northern Telegraph Company in China 1870–90) The album covers and illustrates one on the most fascinating periods in the process of internationalization in the late modern period: The Suez Canal had just opened and ‘Tordenskjold’ was the first Danish ship to sail through it. The submarine cables linked the major hubs in East Asia to the Western world and helped facilitate an unprecedented growth in the region. Overall, the laying of the submarine cable in 1870-71 was a transformative event for East Asia in general. It played a critical role in the area's economic and social development, helping to make it the global commercial center it is today. ‎

‎Sue la transmission de photographies à l'aide d'un fil télégraphique. (Transmission of photographs by telegraph wire).‎

‎(Paris, Gauthier-Villars), 1903. 4to. No wrappers. In: ""Comptes Rendus Hebdomadaires des Séances de L'Academie des Sciences"", Tome 136, No 20. Pp. (1165-) 1216. (Entire issue offered). Korn's paper: pp. 1190-1192 and one diagram in the text. Disbound.‎

‎First printing of one the papers in which Korn describes his invention in 1902 of the telephotographic machine (later the fax-machine).In 1902, Arthur Korn (1870-1945) in Germany invented telephotography, a means for transmitting still photographs by means of electrical wires. In 1907, Korn sent the first inter-city fax when he transmitted a photograph from Munich to Berlin. By 1906 his equipment was being put into regular service for transmission of newspaper photographs between Munich and Berlin via telegraph circuits. (Shiers & Shiers ""Early Televison"" No.303).‎

‎"Album with 30 original photographs of Palastine (ladscapes, monuments; persons...) Period 1875 - 1895. In fine condition."‎

‎" Album with 30 original photographs, album size 23 x 30 cm. Consists of 24 board-like leaves with 30 tipped on original photographs ( tipped on recto & verso on the first 6 leaves; the following onlt recto side). Photo size is 216 x 278 mm ( 23l are landscape format ; 7 are in portrait format). The album is in very good condition as are the photographs. The album has a half leather back and shows some wear at the binding. The interior with the photographs is in fine condition. Félix Bonfils started as a photographer in Beirut in 1867, he died in 1885. His son Adrien and his wife Marie-Lydie Cabanis continued his business after his death. The photographs are in fine condition, a few may show some tiny damage at a corner (occured during the mounting process). 27 are signed in the negative by Bonfils. 1 is signed by Hippolyte Arnoux, 2 are unsigned. Photographs with a manuscript caption: numbers 848, 668, 302, 264, 868, 899, 839, 861, 244, 318, 793, 388 (H.Arnoux), 324, 287, 154, 263 IV, 167, 281, 292, 407, 278. The following numbers have a printed caption (often in French and English) : 1042, 303, 840, 321, 1209, 309. Three photographs are unsigned or have an undecipherable number."‎

‎Photographs of Philippines‎

‎Philippines, years 50/60. 1 set of original photographs from Philippines, depicting natural sceneries, buildings, houses and people. Some pictures wear the Gerald Thomson (Masonic Temple) stamp, some others by Hamilton Wright from New York. All photographs in good condition. 12 photographs (26*20 cm) and 6 photographs (18*13 cm)‎

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‎Original photographs on Luzon Island, Manila, Jolo, etc.‎

‎NATIONAL GEOGRAPHIC MAGAZINE, VOL. 183, N° 6, JUNE 1993 (Contents: Chesapeake Bay-Hanging in the Balance, By Tom Horton Photographs by Robert W. Madden. The Iceman, By David Roberts Photographs by Kenneth Garrett Paintings by Greg Harlin...)‎

‎National Geographic Society. 1993. In-8. Broché. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 134 pages. Illustré de nombreux photos en couleur. Quelques planches dépliables.. . . . Classification Dewey : 420-Langue anglaise. Anglo-saxon‎

‎Contents: Chesapeake Bay-Hanging in the Balance, By Tom Horton Photographs by Robert W. Madden. The Iceman, By David Roberts Photographs by Kenneth Garrett Paintings by Greg Harlin. Silence of the Songbirds, By Les Line Photographs by Scott Goldsmith. Corn, the Golden Grain, By Robert E. Rhoades Photographs by Peter Essick. Bangladesh: When the Water Comes, By Charles E. Cobb, Jr. Photographs by James P. Blair. Classification Dewey : 420-Langue anglaise. Anglo-saxon‎

‎Nostitz, I.G. Photographs of Count Nostitz. Photographs du Comte Nostitz. Vienn‎

‎Nostitz, I.G. Photographs of Count Nostitz. Photographs du Comte Nostitz. Vienna: J. Blechinger, 18/Nostits, I.G. Svetopisi grafa Nostitsa. Photographies du Comte Nostitz. Na fr. yaz.. Vena: I. Blekhinger (J. Blechinger), 18 Nostitz, I.G. Photographs of the Count of Nostitz. Photographs du Comte Nostitz. Vienna: J. Blechinger, 1896. 1 title, 1 chapter, 16 lines 31 - 43.5 sm.. SKUbd-9f83bf5f61bc2c66.We have thousands of titles and often several copies of each title may be available. Please feel free to contact us for a detailed description of the copies available. The delivery of this book might be delayed beyond the usual time due to extended processing and preparation before shipment, and faster shipping options are not offered. Please inform us if you need the order by a certain date or have a deadline.SKUbd-9f83bf5f61bc2c66‎

‎Album with 34 original photographs. Antwerpen-Antwerp.‎

‎"8. 30 photographs size 22 x 16,3 cm, and 4 with size 15 x 10,5 cm, mounted on board 35,5 x 27,5 cm, contemporary half morocco binding. The photographs are not signed. They can be dated on iconographical grounds between 1872 and 1882. Street and harbour views; 14; statues; 7; church and building interiors; 6; partly foxed, and some photographs shows slight marginal oxydation still a very nice album with interesting and high quality photographs."‎

‎Album with 13 original albumine photographs depicting engravings of the ceiling of the Sistine Chapel in the Vatican, designed by Michelangelo Buonarotti.‎

‎" Paris, Atelier Central de Photographie, s.d. ( ca. 1865), 13 original photographs (200 x 305 mm), mounted on stiff board, with the company's blindstamp in the margin. The photographs depict interpretation engravings of the Sistine Chapel in the Vatican : a general view of the ceiling and 12 detailed views of the paintings in between the windows. In E.A. McCauley's study on Collard ( Industrial Madness, commercial photography in Paris 1848 - 1871 - pp 221) the author mentions a contract made out by Collard for reproductive photography of Italian art based on engravings by Forster. Probably these photographs are derived from this contract. Also bound in in the album : Logia di Rafaele nel Vaticano, 9 large similar photographs, one with a blind stamp in the margin : ''Photographie LAMPUÉ rue Saint Jacques Paris''; and another 10 leaves containing each 4 original photographs ( postcard format) of groteskes ( unsigned. The plateds bound in a red half morocco contemporary binding, boards covered with marbled paper, (paper at back cover partly gone, some signs of use at binding, on the whole still a good binding. Interior fine notwithstanding some sparse faint marginal stains. Interesting early album with reproductive photography of Italian art in the Vatican."‎

‎Composite travel album with 20 original photographs (albumine prints) of Egypt.‎

‎ Egypt/Paris, s.d. (ca. 1895), oblong album 44 x 30 cm, bound in red quarter morocco, marbled endpapers., Contains 20 cardboard-mounted original photographs. Size approx. 235 x 285 mm. Seventeen of the photographs are signed by Bonfils in the negative. They are numbered and with a title caption in the negative. One photo seems to be of much earlier date. The photographs don't show any fading of soiling. The album with the photographs is in near pristine state. Some of the boards show some undulating but everything is in very good condtion. Some of the boards show the small oval blindstamps of the Parisian art-and print dealer Goupil. His name is a warrant for the highest quality. It shows in this finely preserved album. We calculate the album at an approx. price of 100 Euro per picture. Most of the pictures show views of Cairo, one picture shows the grave of Mohammed's daughter in Damas. A complete list of the pictures, with photo number and title captions, in format Excell, can be had upon e-mail request (we don't send pictures, but of the outside of the album). The listed price is for the complete album.‎

‎NATIONAL GEOGRAPHIC MAGAZINE, VOL. 184, N° 6, DEC. 1993 (Contents: Himalayan Caravans, Article and photographs by Eric Valli and Diane Summers. Glass: Capturing the Dance of Light, By William S. Ellis Photos by James L. Amos. The Superior Way of Life...)‎

‎National Geographic Society. 1993. In-8. Broché. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 137 pages. Illustré de nombreuses photos en couleur. 1 planche dépliable.. . . . Classification Dewey : 420-Langue anglaise. Anglo-saxon‎

‎Contents: Himalayan Caravans, Article and photographs by Eric Valli and Diane Summers. Glass: Capturing the Dance of Light, By William S. Ellis Photographs by James L. Amos. The Superior Way of Life, By Noel Grove Photographs by Medford Taylor. St. Petersburg, Capital of the Tsars, Article and photographs by Steve Raymer. Passion Vine Butterflies, Article and photographs by DarlyneA. Murawski. Classification Dewey : 420-Langue anglaise. Anglo-saxon‎

‎The Bloomsbury Photographs.‎

‎<p>Maggie Humm rassemble une sélection de ces photographies pour nous offrir un portrait frais du groupe Bloomsbury, les montrant dans une nouvelle intimité domestique. Elle donne vie à la texture de Bloomsbury: leurs loisirs, enfants, vêtements, maisons, domestiques, animaux de compagnie, vacances. Plusieurs photographies sont floues comme prises dans un moment de hâte, et des gros plans non protégés reflètent des relations personnelles complexes. Les photographies de Bloomsbury ne sont pas simplement des documents, mais des témoignages de relations, d’amitiés et de la signification de vies empathiques.</p><p>Maggie Humm est vice-présidente de la Virginia Woolf Society of Great Britain et professeur émérite d’études culturelles à l’université d’East London. Son travail sur Bloomsbury comprend Femmes modernistes et cultures visuelles: Virginia Woolf, Vanessa Bell, Photographie et cinéma, The Edinburgh Companion to Virginia Woolf and the Arts et son roman Talland House.</p><p>Photography framed the world of the Bloomsbury Group. The thousands of photographs surviving in albums kept by Virginia Woolf, Vanessa Bell, Dora Carrington, and Lytton Strachey, among others, today offer us a private insight into their lives.</p><p>Maggie Humm brings together a curated selection of these photographs to offer us a fresh portrait of the Bloomsbury Group, showing them in a new, domestic intimacy. She brings to life the texture of Bloomsbury: their pastimes, children, clothes, houses, servants, pets, holidays. Several photographs are blurred as if taken in a hurried moment of time, and unguarded close-ups reflect complex personal relationships. The Bloomsbury Photographs are not simply documents, but testimonies of relationships, friendships, and the significance of empathetic lives.</p><p>Maggie Humm is vice-chair of the Virginia Woolf Society of Great Britain and emeritus professor of Cultural Studies at the University of East London. Her work on Bloomsbury includes Modernist Women and Visual Cultures: Virginia Woolf, Vanessa Bell, Photography and Cinema, The Edinburgh Companion to Virginia Woolf and the Arts and her novel Talland House.</p> New Haven, 2025 Yale 240 p., nombreuses photographies N/B, reliure toile editeur 22 x 27,5‎

‎Neuf‎

‎Great mastery in photographs Legendary perfection: The Bolshoi in photographs. ‎

‎Great mastery in photographs Legendary perfection: The Bolshoi in photographs. In Russian /Bolshoe masterstvo v fotografiyakh Legendary perfection: The Bolshoi in photographs. Moscow: KPMG: TASS 2014. 160 p. We have thousands of titles and often several copies of each title may be available. Please feel free to contact us for a detailed description of the copies available. SKUalb2fcaf94d7992a0fb.‎

‎Early Louis Sullivan Building Photographs‎

‎, William K Stout Pub, 2001 Hardcover with dusjacket, + slipcase, in-folio 39x32cm. Illustrated allfords large-format reproductions of 125 b&w images of early buildings designed by Louis Sullivan. ISBN 9780970973115.‎

‎The photographs were made with care by Sullivan's photographers in close collaboration with him, using large view cameras, hand-ground lenses, and special films. For more than 40 years, Crombie (1914-1999) championed the photographs as the primary means for understanding Sullivan's work. In a collaborative effort, he and Plank (U. of Virginia) prepared an exhibit in 1991; and then, although Crombie felt that the photographs speak more than words could ever convey, Plank undertook investigation of the photographers and the provenance of the photographs, as well as preparation of interpretive text. ‎

‎Unique collection of 130 original black-white photographs, made by a corporal of the Belgian Army, from 1915 till 1917 at the frontline in West Flanders (Belgium), depicting various scenes (commando post, emergency bridge, allied airplane, bombed churches, portraits, trenches, provision train, reconnaissance zeppelin, air defense artillery, etc.)‎

‎s.l., 1915-1917 Collection of 130 original photographs contemporary printed on POP (Printing-out-paper), dimensions: 6x9cm., most of the pictures are sharp and in good condition while few of them are overexposed or somewhat vague, there is a short description written in pencil on the backside of most of the pictures which allows to identify some dates and/or names and/or locations, the pictures were taken by a Flemish corporal of the Health division of the Belgian Army, who served in the region of the Yser near Diksmuide and Perwys. This collection offers a unique insight of daily military life at the frontline of Worldwar I in West Flanders (Belgium), B100357‎

‎Manuscript Album with original photographs made on the occasion of the gift of the lace collection owned by John Tricks Spalding to the City of Nottingham in 1923.t‎

‎18. Nottingham, March 5th 1923, in-folio album, 35 x 28 cm, 42 leaves of stiff grey board, first two leaves contain a manuscript vellum leaf (framed in the board) describing the gift procedure, finely calligraphed, coloured and illustrated in the mediaeval style, the following 39 leaves contain the mounted photographs of the lace pieces, each with a manuscript caption written unto the board, some leaves contain two (smaller) photographs, many photographs contain more than one item, last leaf left blank. Bound in full red morocco, both covers decorated with fine gilt fillets and some floral ornaments, front cover center with the large initials J.T.S., smooth flat spine, all edges gilt, binding signed O. & J. Abbott Nottingham. The album is in near mint condition. Unique and finely made album presented by the city of Nottingham (Mayor Manning) on the fifth of March 1923 to John Tricks Spalding on the occasion of the official acceptance by the City and County of Nottingham of a collection of 156 pieces of lace, donated by the same JTS to the city. The collection had been on display for some time at the Textile Gallery in the Castle Museum. The two manuscript leaves are very finely written, illustrated and coloured in the mediaeval style, containing e.g. an initial with a bird, the coat of arms of the city of Nottingham, a view of the castle, the common red seal of the city, signed by the mayor and the town clerk. The photographs, bright lace on a dark background, depict e.g. ca. 50 pieces of Italian lace (Venice , Milan), ca. 19 pieces of Point d'Alençon , 11 pieces of Mechelen Lace (Flanders) .... J.T.S. was born in Exeter in 1844 and died at Nottingham in 1924. From Exeter his family moved to London, where he married in St. Martin in the Fields in 1868. The Spaldings were glove, lace and hosiery merchants. JTS moved to Nottingham where he became mayor in 1907-1908.‎

‎Japanese photo album. 50 coloured photographs in postcard format. Lacquered covers.‎

‎"11. S.l.s.d. (Kobe-Yokohama ca. 1900 ?), 50 coloured postcard size photographs, some with caption in the negative, mounted on 25 boards ( recto and verso), black lacquered covers with view of Fuyijama and a heron in the forefront at the frontcover. Sold as a collection of photographs because all the boards are loose. Some very faint foxing, most of the photographs slightly faded. Among the titled photographs; Shijogawara Kioto (see Cornell University item Image ID1570034).."‎

‎Fotografier efter Maliningar af Aug. Bang. Till Karl och Helene. (Album with original photographs).‎

‎"14. S.l. s.d. ( Stockholm, ca. 1890), in-folio, oblong, 33,5 x 47 cm, album with original photographs, mounted on stiff boards, large gilt title on front cover, album tied with red silk ribbon. Large fine photography album presented to ''Karl and Helene (?) '' with 18 leaves containing 14 large photographs and 4 smaller photographs (three leaves remained empty). The album opens with a view of the painter, holding his palet, in his studio. On the easel ; a two masted ship under sail , with a smoking funnel - this painting returns on one of the following pages. Most of the paintings depicted are marine paintings or coastal landscapes. One painting depicts two giant Egyptian pharao statues. The last three paintings depict opulent house interiors . Based on his studio picture we estimate the photographs to be taken around 1890, the painter being then 60 years old. Probably unique document."‎

‎Photography album containing 27 large original photographs of Yorkshire landscape made by William Marshall .‎

‎"8. North Yorkshire, photography album by William Marshall , s.d. (ca. 1938-1948), oblong format, 28 x 38 cm, imitation leather album with a metal ring binding, contains 1 portrait of the photographer and 27 photographs ( 19 x 24 cm) mounted on stiff black board. The photographs have written captions in white ink. Finely preserved photo album which can be dated from the sparse motorcars on some pictures ; early Forties of the last century. The black/white photographs depict village views and landscapes in North Yorkshire ; Burnsall , Red Lion at Burnsall , Appletreewick with the New Inn, Gayle and geese at Gayle , Simon's seat , Hubberholme , Hubberholme bridge , The George Inn , Dent church , Fountains Abbey , Jervaulx Abbey , Bainbridge, Gordale Scar , [...]. The album opens with a portrait of the photographer and a note explaining that his widow Marion donated the album to a friend. The photographs have apart from their documentary interest also a definite pictorial charm."‎

‎Souvenir du Chateau de Pierrefonds - Album with 12 original photographs.‎

‎"7. S.l., s.d. (ca.1890), album with 12 original photographs, 13 x 19 cm, photographs; 9 x 15 cm, mounted on boards, within a typographical border, bound in publisher's red calico (percaline) with gilt lettering on frontcover. 12 Original photographs of the famous Pierrefonds castle after its restoration. The restoration was a pet project of emperor Napoleon III. The endpapers of the album have been renewed, some of the photographs with a few tiny spots, a marginal inkstain on the first board (not on the picture). Still a fine/good album."‎

‎Collection of 13 photographs (albumine) of Antwerp , signed G.H. phot.‎

‎"2. S.l.s.d. (ca. 1880-1890), collection of twelve original photographs, views of Antwerp and the interior of the Plantin-Moretus Museum. 13 signed by G.H; and numbered in the negatif '' N° 8 ; 140c ; 84 ; 5 ; 155 ; 156bis ; 32 ; 96 ; and on the museum Plantin-Moretus the n°s. 124 ; 536 ; 501 ; 525 ; 524 ''. Albumine photographs, 2 phot. with the size 272 x 212 mm, the others size 120 x 180, tipped on to stiff boards (removed from an old album). Photographs with some slight creases, but still good/fine impressions. Added is a collection of 10 similar photographs of paintings from Antwerp museums, these are loose, not tipped on."‎

‎Album with 96 original photographs of Egypt. Period 1875 - 1895. In fine condition.‎

‎" Album with 96 original photographs, album size 26 x 34 cm, 6 cm thick. Consists of 48 board-like leaves with 96 tipped on original photographs ( tipped on recto & verso on the leaves). Photo size is 220 x 280 mm ( allmost all are landscape format ). The album is in very good condition as are the photographs; only 2 or 3 are slightly faded, 3 showing a tear which was there before they were tipped on to the leaf. 2 of the album leaves have come loose. The album has a half leather back, the leaves are kept together with two steel pins. The photographs can be dated between 1875 and 1895. Most of them are albumine prints, 7 are salt prints. A complete description with the titles ( captions ) can be had upon email request. Here follows the list of photographers with number of items. Abdoullah Frères - 5 pict. / H. Arnoux - 6 pict. / Beato - 5 pict. / Bonfils - 17 pict. / Fiorillo - 6 pict. / Lekegian - 3 pict. / Sébah - 15 pict. / Zangaki - 1 pict. / Zangorski - 16 pict. / The photographers of 22 pictures remain unidentified. The album offers a great variety of sujects, but all on Egypt. There are 24 views of temples and another 8 views of Karnak. 6 town views of Alexandria , 9 of Cairo , 7 of Suez and the canal , 15 views of the Nile and surroundings, 5 mosques , 4 of the Arab Museum , 4 of persons. Very well preserved and interesting 19th c. collection of views in Egypt. Total price is based on 45 Euro per pictures ( album sells as one item - no separate pictures can be had ). A complete description with the titles ( captions ) can be had upon email request.."‎