‎FREUND (Gisèle).‎
‎Photographs.‎

‎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

‎Collection of 15 original colour photographs depicting Louvain beguines in the 1970's (13x14cm.)‎

‎Leuven, s.d. (1970's) Collection of 15 original colour photographs, size ca. 13 x 14 cm., kept in an album (and easily removable if wanted). In fine condition. The photographer Paul Victor Maes was a painter from Louvain (Belgium, °1924, cfr. Arto 2000 II p.95). These pictures were made in the 1970's as documentation for paintings he made or intended to make. They depict mostly portraits of Louvain beguines. They have an important iconographical value as they portray the last three remaining beguines - sister Virginie, Colette and Julia - in their traditional surroundings. The last beguine left the Louvain beguinage in 1988. So these pictures document the ultimate moments of the once very important beguinage mouvement which had its roots in 12th century Flanders and had spread out, at the height of their development, all across North-Western Europe. B100511‎

‎[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.‎

‎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 collection of photographs of India. Two albums and a group of loose photographs‎

‎Ahemdnagar N/A 1917 Une collection fascinante de photographies de la famille du Dr Max Amann. Cette collection se compose de trois parties : (1) Album de photos du Dr Max Amann, contenant principalement des photos de voyages en Inde dans les années 1906-10. Plein cuir en parfait état de propreté. "A ma chère mère pour Noël 1906 ! Bombay, 27 juillet 1906". On y trouve des photographies du voyage en Inde sur le SS Egypt via Port Saïd (9 janvier 1906), le canal de Suez, Aden, Bombay (Mumbai), les grottes de Kanheri (Kennery Caves), la gare de Borivali (Borioli), Bassein Road, Matheran, Ahmedabad, Sarkhej, Ghat Koopar, etc. L'album contient 96 photographies. (2) Un album contemporain en crocodile avec des bords intérieurs dorés (signes d'usure, fermoir en métal manquant) qui représente la famille Amann avec 43 portraits et photos de famille (y compris Jacob Amann, propriétaire du café), principalement de Munich. 43 photographies dont 16 au format cabinet et 27 au format carte de visite, vers 1890-1910. Les photographies sont en bon état. (3) 15 photographies détachées de formats divers, la plupart d'Inde, dont deux photos de groupe avec le Dr Max Amann du camp d'internement britannique "Parole Camp Ahmednagar, Section I" datées du 29 juillet 1917 et du 12 janvier 1919 (photo de P. Karadi Nursoo & Sons, Ahmednagar). Au verso, inscription et une photo avec le cachet de la censure, ainsi que deux photos de femmes de la famille à Matheran, février 1915, plus un fakir, une danseuse, Delhi Durbar (procession), Taj Mahal. La plupart sont en très bon état, à l'exception de la dernière image du Taj Mahal qui est partiellement endommagée. Un total de 154 photographies, qui semblent toutes être des photographies originales, plutôt que des images touristiques. Le camp d'internement d'Ahmednagar, situé dans l'État du Maharashtra, dans l'ouest de l'Inde, à environ 120 kilomètres de Mumbai (anciennement Bombay), est devenu l'un des principaux centres de détention de la Grande-Bretagne impériale dans le sous-continent, accueillant des milliers de détenus depuis la guerre des Boers jusqu'aux deux guerres mondiales. Lorsque la Première Guerre mondiale a éclaté, Ahmednagar a été réactivé en tant que centre d'internement, accueillant principalement des ressortissants allemands et autrichiens résidant en Inde britannique. En mars 1917, le camp comptait 1 621 hommes, représentant une répartition démographique entre les prisonniers de guerre (28 %) capturés principalement sur des navires allemands et les internés civils (72 %) qui étaient engagés dans les affaires, la gestion commerciale ou le travail de missionnaire avant leur détention.‎

‎A fascinating collection of the family photographs of Dr Max Amann. This collection is made of three parts: (1) Photo album by Dr. Max Amann, mainly with photographs from trips to and from India from the years 1906-10. Full leather in clean and tidy condition. "To my dear mother for Christmas 1906! Bombay, July 27, 1906." Included are photographs of the journey to India on the SS Egypt via Port Said (January 9, 1906), the Suez Canal, Aden, Bombay (Mumbai), Kanheri Caves (Kennery Caves), Borivali Station (Borioli), Bassein Road, Matheran, Ahmedabad, Sarkhej, Ghat Koopar, etc., most of which are inscribed on the album card. This contains 96 photographs. All are clean and tidy silver gelatin, with good composition and featuring locals, street scenes etc. (2) A contemporary crocodile-print album with gilt inner edges (signs of wear, metal clasp missing) which is of the Amann family with 43 portrait and family photos (including Jacob Amann, cafe owner), mainly from Munich. 43 photographs of which 16 are in cabinet format and 27 are in visiting card format, circa 1890-1910. Photographs are in good condition. (3) 15 loose photographs in various formats, mostly from India, including two group shots with Dr. Max Amann from the British internment camp "Parole Camp Ahmednagar, Section I" dated July 29, 1917 and January 12, 1919 (photo by P. Karadi Nursoo & Sons, Ahmednagar). Verso inscribed and 1 with censor's stamp, as well as 2 photos of female relatives in Matheran, February 1915, further fakir, dancer, Delhi Durbar (procession), Taj Mahal. Mostly are in very good condition, apart from the last image of the Taj Mahal which is partially damaged. A total of 154 photographs, which appear to all be original photographs, rather than tourist images. Ahmednagar internment camp, located in Maharashtra state in western India about 120 kilometers from Mumbai (formerly Bombay), became one of imperial Britain's principal detention centres in the subcontinent, housing thousands of detainees from the Boer War through both World Wars. With the outbreak of World War I, Ahmednagar was reactivated as an internment facility, primarily housing German and Austrian nationals residing in British India. By March 1917, the camp held 1,621 men, representing a demographic split between prisoners of war (28%) captured mainly from German vessels and civilian internees (72%) who had been engaged in business, commercial management, or missionary work prior to their detention. .‎

‎[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.‎

‎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. ‎