Palacios en el tiempo 2. 2

Transcription

2. 2
Palacios en el tiempo
Topkapı: instantes detenidos
Abdullah Frères
Grande porte dÉntrée
du Vieux Séraïl
[ca. 1880]
Copia original de época.
Inserto en álbum Hasköy
Hospital for Women,
fountains, mausoleums, and
other buildings and views
(lot 9534/18).
Papel allbuminado.
Library of Congress - Prints
and Photographs Division
(Washington). Colección
Abdülhamid II
Abdullah Biraderler
Grande porte dÉntrée
du Vieux Séraïl
[ykl. 1880]
Bkz. albüm. Hasköy
Hospital for Women,
(lot 9534/18).
Dönemin orjinal kopyası.
Albumen kâğıdı.
and Photographs
Division (Washington).
II. Abdülhamid Koleksiyonu
Zamanın içerisinde saraylar
2. 2
Topkapı: Durdurulmuş anlar
Basile Kargopoulo
Bab el Houmayoun
[ca. 1870]
Basile Kargopoulo
Bab el Houmayoun
[ykl. 1870]
Inserto en álbum.
Papel allbuminado.
Biblioteca de la
Universidad de Estambul.
90763-7
Bkz. albüm.
Dönemin orijinal kopyası.
Albumen kâğıdı.
İstanbul Üniversitesi
Kütüphanesi.
90763-7
Iranian
Porte du vieux Séraïl
[ca. 1870]
Iranian
[ykl. 1870]
Papel allbuminado.
Biblioteca de la
779-19-7
Albumen kâğıdı.
Kütüphanesi.
779-19-7
116 – 117
2. 2
Basile Kargopoulo
Porte des eunuques blancs.
Viex palais [ca. 1870]
Basile Kargopoulo
Viex palais [ykl. 1870]
Inserto en álbum.
Papel allbuminado.
Biblioteca de la
90751-7
Bkz. albüm.
Albumen kâğıdı.
Kütüphanesi.
90751-7
2. 2
Basile Kargopoulo
Extérieur de la Salle du
Trône du Vieux Palais
[ca. 1870]
Basile Kargopoulo
[ykl. 1870]
Inserto en álbum.
Papel allbuminado.
Biblioteca de la
90751-12
Bkz. albüm.
Albumen kâğıdı.
Kütüphanesi.
90751-12
Abdullah Frères
Vue du Trèsor Impérial
[ca. 1880]
Abdullah Biraderler
[ykl. 1880]
Papel allbuminado.
Biblioteca de la Universidad
de Estambul.
90614-44
Albumen kâğıdı.
Kütüphanesi.
90614-44
118 – 119
2. 2
Abdullah Frères
[ca. 1880]
Abdullah Biraderler
[ykl. 1880]
Inserto en álbum Vues
de monuments antiques et
modernes de Constantinople.
Papel allbuminado.
Biblioteca de la
90818-18
Bkz. albüm Vues de
monuments antiques et
Albumen kâğıdı.
Kütüphanesi.
90818-18
Abdullah Frères
Porte de lántique Trésor
intérieur du Palais Imperial
de Top-Capou
[ca. 1880]
Abdullah Biraderler
de Top-Capou
[ykl. 1880]
Papel allbuminado.
Biblioteca de la
90815-46
Albumen kâğıdı.
Kütüphanesi.
90815-46
2. 2
Abdullah Frères
Fontain arabesque.
Intérieur du Palais Impérial
de Top-Capou
[ca. 1880]
Abdullah Biraderler
Fontain arabesque.
de Top-Capou
[ykl. 1880]
Papel allbuminado.
Biblioteca de la
90815-47
Albumen kâğıdı.
Kütüphanesi.
90815-47
Abdullah Frères
Cheminée antique
et fontaine arabesque.
de Top-Capou
[ca. 1880]
Abdullah Biraderler
Cheminée antique
et fontaine arabesque.
de Top-Capou
[ykl. 1880]
Papel allbuminado.
Biblioteca de la
90815-48
Albumen kâğıdı.
Kütüphanesi.
90815-48
120 – 121
2. 2
Anónimo
Porte du vieux Serail
– avec les eunuques
Positivo sobre papel,
290 x 240 mm.
Suna and İnan Kıraç
Foundation- İstanbul
Research Institute
Anonim
– avec les eunuques
Kağıt üzerine pozitif,
290 x 240 mm.
Suna ve İnan Kıraç
Vakfı - İstanbul
Araştırmaları Enstitüsü
2. 2
Abdullah Frères
Vue de lÉntré du
Kherkhaï_Sheriff. Palais
Impérial de Top-Capou
[1880-1893]
Abdullah Biraderler
Vue de lÉntré du
Kherkhaï_Sheriff. Palais
[1880-1893]
Inserto en álbum.
Papel allbuminado.
Abdülhamid II
Albüm içinde.
Albumen kâğıdı.
and Photographs
Abdullah Frères
Vue de lÉntré dÁrz_
Odassi. Palais Impérial
de Top-Capou
[1880-1893]
Abdullah Biraderler
de Top-Capou
[1880-1893]
Inserto en álbum.
Papel allbuminado.
Abdülhamid II
Albüm içinde.
Albumen kâğıdı.
and Photographs
122 – 123
2. 2
Guillaume Berggren
Mosque de Bagdad
au vieux Serail
Guillaume Berggren
Mosque de Bagdad
au vieux Serail
211 x 272 mm.
Research Institute
Kağıt üzerine pozitif,
211 x 272 mm.
Suna ve İnan Kıraç
Vakfı - İstanbul
Araştırmaları Enstitüsü
Abdullah Frères
Kiosque de
Moustapha Pacha
[ca. 1880]
Abdullah Biraderler
Kiosque de
Moustapha Pacha
[ykl. 1880]
Inserto en álbum Vues
de monuments antiques et
Papel allbuminado.
Biblioteca de la
90818-16
Bkz. albüm Vues de
monuments antiques et
Albumen kağıdı.
Kütüphanesi.
90818-16
2. 2
Abdullah Frères
Vue du Kiosque de Bagdad
dans le jardin du Palais
Impérial de Top - Capou
[ca. 1880]
Abdullah Biraderler
[ykl. 1880]
Papel allbuminado.
Biblioteca de la
90815 - 45
Albumen kâğıdı.
Kütüphanesi.
90815-45
Abdullah Frères
Vue intérieure du Kiosque
de Bagdad (Palais
Impérial de Top-Capou)
[ca. 1880]
Abdullah Biraderler
de Bagdad (Palais
[ykl. 1880]
Papel allbuminado.
Biblioteca de la
90815-49
Albumen kâğıdı.
Kütüphanesi.
90815-49
124 – 125
2. 2
Abdullah Frères
Vue du Corridor du Palais
[1880-1893]
Inserto en álbum.
Papel allbuminado.
Abdülhamid II
Abdullah Biraderler
[1880-1893]
Albüm içinde.
Albumen kâğıdı.
and Photographs
2. 2
Abdullah Fréres
Vue dün Kiosque dans
le jardin du Palais
[1880-1893]
Inserto en álbum.
Papel allbuminado.
Abdülhamid II
Abdullah Biraderler
Vue dün Kiosque dans
le jardin du Palais
[1880-1893]
Albüm içinde.
Albumen kâğıdı.
and Photographs
126 – 127
2. 2
Abdullah Frères
Vieux Sérail. Vue dúne
des Cours (Palais Impérial
de Top-Capou)
[1880-1893]
Inserto en álbum.
Papel allbuminado.
Abdülhamid II
Abdullah Biraderler
des Cours (Palais Impérial
de Top-Capou)
[1880-1893]
Albüm içinde.
Albumen kâğıdı.
and Photographs
2. 2
Abdullah Frères
La Cour du Vieux Sérail. Vue
dúne des Cours du Palais
[1880-1893]
128 – 129
Abdülhamid II
Abdullah Biraderler
[1880-1893]
and Photographs
2. 2
Abdullah Frères
Vue dún des murs
interieurs du Palais
[1880-1893]
Inserto en álbum.
Papel allbuminado.
Abdülhamid II
Abdullah Biraderler
Vue dún des murs
interieurs du Palais
[1880-1893]
Albüm içinde.
Albumen kâğıdı.
and Photographs
2. 2
[s.a.]
Vue prise dans
le Palais Impérial
de Top-Capou
[1880-1893]
[s.a.]
Vue prise dans
le Palais Impérial
de Top-Capou
[1880-1893]
Inserto en álbum.
Papel allbuminado.
Abdülhamid II
Albüm içinde.
Albumen kâğıdı.
and Photographs
Abdullah Frères
Vue interieure
dÓrta-Capou (Palais
[1880-1893]
Abdullah Biraderler
Vue interieure
dÓrta-Capou (Palais
[1880-1893]
Inserto en álbum.
Papel allbuminado.
Abdülhamid II
Albüm içinde.
Albumen kâğıdı.
and Photographs
130 – 131
2. 2
Abdullah Frères
Bassin devant le Kiosque
de Bagdad (Palais Impérial
de Top-Capou)
[1880-1893]
Inserto en álbum.
Papel allbuminado.
Abdülhamid II
Abdullah Biraderler
de Top-Capou)
[1880-1893]
Albüm içinde.
Albumen kâğıdı.
and Photographs
2. 2
Abdullah Frères
Vue prise du Vieux Séraïl –
Colonne antique dans
le jardin du Palais Impérial
de Top-Capou
[ca. 1880]
132 – 133
Inserto en álbum Vues du
Bosphore. Papel albuminado.
Biblioteca de la
90813-37
Abdullah Biraderler
Vue prise du Vieux Séraïl –
Colonne antique dans
le jardin du Palais Impérial
de Top-Capou
[ykl. 1880]
Bkz. albüm
Vues du Bosphore.
Albumen kağıdı. İstanbul
Üniversitesi Kütüphanesi.
90813-37
3
c-1196
Detalle de una faja
de los adornos en la Sala
de los Escudos
[1871]
Inserta en el álbum
Espagne: 1877.
Papel albuminado a partir
de negativo de colodión
húmedo, 360 x 270 mm.
Colección particular
(Granada)
c-1196
Escudos (Armalı)
Salonu’nunda Süslemelerin
Kemer Detayı
[1871]
Bkz. el álbum Espagne: 1877.
Islak kolodyon negatifinden
albumen kâğıdına,
360 x 270 mm. Özel
Koleksiyon (Granada)
La mirada precisa
Belirgin bakış
3
c-1158 [a]
Capitel del patio de los
Leones (detalle con escala
de 1 m) [1871]
c-1158 [a]
Aslanlı Avlu’da Sütun
Başı (1 m ölçekli)
[1871]
Copia original de época
procedente del catálogo
LÉspagne et le Portugal
au point de vue artistique,
monumentale et pittoresque:
Carnet d´échantillons des
colections photographiques
de J. Laurent et C.ie.
Archivo del Patronato de
la Alhambra y Generalife /
Colección fotográfica.
f-5213
Alındığı katalog: L´ Espagne
et le Portugal au point de
vue artistique, monumentale
et pittoresque: Carnet
d´échantillons des colections
photographiques
Islak kolodyon
negatifinden albumen
kâğıdına, 360 x 270 mm.
El Hamra ve Generalife
Konseyi Arşivi / Fotoğraf
Koleksiyonu.
f-5213
134 – 135
c-1462
Techo de la Sala
de los Abencerrajes
[1871]
c-1462
Abencerrajes
Salonu’nun Tavanı
[1871]
(Granada)
Dönemin orijinal
kopyası. Islak kolodyon
Özel Koleksiyon
(Granada)
3
c-1482 [a]
Ajimez o ventana
de la sala de las
Dos Hermanas
[ca. 1874]
Modelo de yesería
elaborado por R.
Contreras. Copia
original de época.
Papel albuminado a
partir de negativo
de colodión húmedo.
(Granada)
c-1482 [a]
İki Kız Kardeş
Salonu’nun Penceresi
[ykl. 1874]
R. Conteras tarafından
hazırlanmış alçı oyma
modeli. Dönemin
orijinal kopyası. Islak
kolodyon negatifinden
albumen kâğıdına
Özel Koleksiyon
(Granada)
La mirada precisa
3
Belirgin bakış
c-1123
Babuchero de la sala
de las Dos Hermanas
[1871]
c-1123
İki Kız Kardeş
Salonu’ndaki Pabuçcu
[1871]
L´ Espagne et le Portugal
Colección fotográfica
photographiques
Islak kolodyon
Koleksiyonu
136 – 137
c-1149 [a]
Babuchero de la Sala
de la Barca (detalle con
escala de 1. m)
[1871]
c-1149 [a]
Barca Salonu’ndaki
Pabuçcu (1 m.
ölçekli detay)
[1871]
Fondo Fotográfico
Universidad de Navarra /
Fundación Universitaria
de Navarra
Dönemin orijinal
Navarra Üniversitesi
Fotoğraf Fonu /
Navarra Üniversitesi
Vakfı
3
La mirada precisa
c-555
Ventana de la sala
de las Dos Hermanas
[1871]
c-555
İki Kız Kardeş
Salonu’nun Penceresi
[1871]
c-1197
Puerta recién descubierta
en una alcoba de la sala
de las Dos Hermanas
[1871]
c-1197
İki Kız Kardeş
Salonu’nun Bir Odasında
Yeni Keşfedilen Kapı
[1871]
la Alhambra y Generalife/
Colección fotográfica .
f-5149
Alındığı katalog: LÉspagne
photographiques
Islak kolodyon
Koleksiyonu.
f-5149
f-5245
photographiques
Islak kolodyon
Koleksiyonu.
f-5245
3
c-1131
Puerta de la Sala
de los Abencerrajes
por la parte interior
[1871]
Espagne: 1877.
(Granada)
c-1131
Abencerrajes Salonu’nun
İç Taraftan Kapısı
[1871]
360 x 270 mm. Özel
Belirgin bakış
138 – 139
3
La mirada precisa
b-288
Auge en pierre de
la Salle de Justice
(avec échelle dún mètre)
[1871]
b-288
Auge en pierre de
la Salle de Justice
(avec échelle dún mètre)
[1871]
f-5258
Dönemin orijinal
Koleksiyonu.
f-5258
3
b-392
Vase arabe de lÁlhambra
[1872-1878]
Papel albuminado a
partir de negativo
de colodión húmedo.
Colección Casa Museo
Pinazo (Godella, Valencia)
b-392
[1872-1878]
albumen kâğıdına
Casa Museo Pinazo
Koleksiyonu (Valencia)
Belirgin bakış
140 – 141
3
b-42
Casque arabe de Boabdil
[ca. 1868]
Espagne: 1877.
(Granada)
b-42
[ykl. 1868]
330 x 240 mm. Özel
La mirada precisa
3
b-797
Tunique et épée de Boabdil,
dernier roi de Grenade
(au Marquis de Villaseca)
[1872-1878]
(Granada)
b-797
[1872-1878]
Islak kolodyon
Özel Koleksiyon
(Granada)
Belirgin bakış
142 – 143
3
La mirada precisa
b-201, b-202
b-202-bis
[Épée de Boabdil,
grandeur nature]
[1868]
b-201, b-202
b-202-bis
[Épée de Boabdil,
grandeur nature]
[1868]
Composición en tres
fragmentos. Papel
albuminado a partir de
tres negativos de colodión
húmedo, 270 x 1.100 mm.
(Granada)
3 parçada kompozisyon.
3 ıslak kolodyon
negatifinden
albumen kağıdına,
270 x 1.100 mm.
Özel Koleksiyon
(Granada)
3
Belirgin bakış
b-140
Épée de Boabdil,
(propriété de S.E. Mr. le
Marquis de Villaseca)
[ca. 1868]
b-140
Épée de Boabdil,
(propriété de S.E. Mr. le
Marquis de Villaseca)
[ykl. 1868]
Espagne: 1877.
(Granada)
Bkz. álbum
Espagne: 1877.
Dönemin orijinal
Özel Koleksiyon
(Granada)
144 – 145
La empresa Laurent: elaboración
y comercialización de productos fotográficos
4
c-235
Pabellón de levante
del patio de los Leones
[ca. 1865]
Copia original de
época procedente del
catálogo L´ Espagne et le
Portugal au point de vue
artistique, monumentale et
pittoresque: Carnet
photographiques
Archivo del Patronato
de la Alhambra y
Generalife / Colección
fotográfica . f-5123
c-235
Aslanlı Avlu’nun
Doğu Pavyonu
[ykl. 1865]
Dönemin orijinal
kopyası. Alındığı katalog:
Carnet d´échantillons
des colections
photographiques de
J. Laurent et C.ie.
Islak kolodyon
Koleksiyonu
f-5123
Laurent’in şirketi: fotoğrafik
ürünlerin üretimi ve ticarileştirilmesi
4
c-224 [a]
Galería norte del Patio
de los Arrayanes
[ca. 1863]
c-224 [a]
Mersinli Avlu’nun
Kuzey Galerisi
[ykl. 1863]
Inserta en la serie
Museos de España.
húmedo, montado sobre
cartón rotulado,
270 x 360 mm.
(Granada)
Museos de España
serisinden.
Dönemin orijinal
kâğıdına, işaretli
karton üzerinde,
270 x 360 mm.
Özel Koleksiyon
(Granada)
Dubois [fotógrafo
afincado en Granada]
[Fachada norte del Patio
de los Arrayanes]
[ca. 1863]
Dubois [Granada
şehrinde yaşayan
fotoğrafçı] [Mersinli
Avlu’nun Kuzey Cephesi]
[ykl. 1863]
húmedo, montado sobre
cartón con firma impresa,
270 x 360 mm.
(Granada)
Dönemin orijinal
kâğıdına, imza baskılı
karton üzerinde,
270 x 360 mm.
Özel Koleksiyon
(Granada)
146 – 147
La empresa Laurent: producción
4
c-550 [a]
El patio de los Leones
desde la Sala de los Escudos
[1866-1871]
c-550 [a]
Escudos (Armalı)
Salonu’ndan Aslanlı Bahçe
[1866-1871]
c-550 [b]
[1871]
c-550 [b]
Escudos (Armalı)
Salonu’ndan Aslanlı Bahçe
[1871]
(Granada)
Dönemin orijinal
Özel Koleksiyon
(Granada)
(Granada)
Dönemin orijinal
Özel Koleksiyon
(Granada)
4
c-550 [c]
en la Alhambra
[ca. 1874]
Inserta en álbum
Espagne, Portugal, Maroc:
Decembre 1883-Mars 1884
(volumen II).
(Granada)
c-550 [c]
El Hamra Sarayı Aslanlı Avlu
[ykl. 1874]
Bkz. álbum
Decembre 1883- Mars 1884
(volumen II).
360 x 270 mm. Özel
148 – 149
4
J. Laurent [Ch. Soulier]
[Páginas del álbum
muestrario de la firma
Laurent conteniendo
imágenes de Granada
reseñadas en el catálogo
de 1863] [ca. 1865]
Contactos en papel
albuminado a partir
de negativos de colodión
húmedo, posiblemente
estereoscópicos, utilizados
para la confección de
cartes de visite. Museo de
Historia (Madrid).
Álbum muestrario
nº 3. 1991/18/3
[1863 katalogunda gözden
geçirilen Granada
resimlerini içeren Laurent
şirketinin örnek
albümünden bir sayfa]
[ykl. 1865]
Islak kolodyon
negatiflerinden albumen
kağıdına kontakt baskı,
muhtemelen stereoskopik,
kartvizit üretiminde
kullanılan. Madrid Belediyesi
Müzesi. Örnek albüm
nº 3. 1991/18/3
4
150 – 151
4
64 4
La Alcazaba
[ca. 1857]
64 4
La Alcazaba (Kale)
[ykl. 1857]
Contacto en papel
negativo de colodión
estereoscópico.
Montado sobre cartón
en formato tarjeta de visita,
102 x 60 mm. Colección
particular (Granada)
Dönemin orijinal
kâğıdına kontakt baskı,
muhtemelen
stereoskopik. Kartvizit
formatında karton
üzerinde, 102 x 60 mm.
Özel Koleksiyon
(Granada)
648
Fachada del Palacio
de Carlos Quinto
[ca. 1857]
648
V. Karl Sarayı’nın
Cephesi
[ykl. 1857]
Contacto en papel
estereoscópico. Montado
sobre cartón en formato
tarjeta de visita,
102 x 60 mm. Colección
particular (Granada)
Dönemin orijinal
kâğıdına kontakt baskı,
muhtemelen
stereoskopik. Kartvizit
formatında karton
üzerinde, 102 x 60 mm.
Özel Koleksiyon
(Granada)
4
c-547
Bajo relieve del palacio
de Carlos Quinto
[1871]
L' Espagne et le Portugal
Papel albuminado a
partir de negativo de
colodión húmedo,
270 x 360 mm.
f-5139
152 – 153
c-547
V. Karl Sarayı’ndaki
yarım kabartma
[1871]
Dönemin orijinal
Islak kolodyon
negatifinden
270 x 360 mm.
Konseyi Arşivi /
Fotoğraf Koleksiyonu.
f-5139
4
c-1463
Detalle de la pared de
la sala de los Abencerrajes,
con escala de 1 m
[1871]
L' Espagne et le Portugal
f-5247
c-1463
Abencerrajes Salonu’nun
Duvar Detayı, 1 m. ölçekli
[1871]
Dönemin orijinal
270 x 360 mm. El Hamra
ve Generalife Konseyi
Arşivi / Fotoğraf
Koleksiyonu. f-5247
4
c-242 [b]
Los jardines de Generalife
[ca. 1881]
c-242 [b]
Generalife’nin Bahçeleri
[ykl. 1881]
(Granada)
Dönemin orijinal
Özel Koleksiyon
(Granada)
154 – 155
4
c-1138
Galería de Generaliff e
[1871]
Par estereoscópico en
papel albuminado montado
sobre cartón, 87 x 178 mm.
(Granada)
c-1138
Generalife Galerisi
[1871]
Dönemin orijinal
kopyası. Karton üzerinde
albumen kağıdına
stereoskopik çift,
87 x 178 mm. Özel
c-219
La Torre de los Picos
[1865–1871]
Par estereoscópico en
papel albuminado montado
sobre cartón, 87 x 178 mm.
(Granada)
c-219
Picos Kulesi
[1865–1871]
Dönemin orijinal
kopyası. Karton üzerinde
albumen kağıdına
stereoskopik çift,
87 x 178 mm. Özel
4
c-2209
Interior de la Mezquita
del Palacio de la Alhambra
[1879-1883]
c-2209
El Hamra Sarayı’ndaki
Caminin İçi
[1879-1883]
Copia original de
época. Positivo en papel
húmedo. Montado sobre
cartón en formato tarjeta
de álbum, 165 x 108 mm.
(Granada)
Dönemin orijinal
kopyası. Islak
kolodyon negatifinden
albumen kâğıdına.
Kartvizit formatında
karton üzerinde,
165 x 108 mm.
Özel Koleksiyon
(Granada)
c-1474
Vista general de la
Alcazaba ó ciudadela
[ca. 1874]
c-1474
Alcazaba (Kale)
Genel Görünümü
[ykl. 1874]
Tarjeta postal impresa
en 1902 a partir de la
imagen c-1174.
(Granada)
1902 yılında basılmış
kartpostal, görüntüden
c-1174.
Özel Koleksiyon
(Granada)
156 – 157
Inventario de la obra de J. Laurent
sobre Granada y la Alhambra
J. Laurent’in Granada ve El-Hamra
Hakkındaki Eserinin Envanteri
158 – 159
160 – 161
Las imágenes que comprenden el fondo de
temática granadina elaborado por la firma
J. Laurent se muestran organizadas en las
agrupaciones tradicionales utilizadas por la
empresa para clasificar sus fondos
y corresponden a las series a, b y c.
Estas tres series se completan con la
colección de imágenes estereoscópicas
elaboradas por C. Soulier y comercializadas
por J. Laurent desde 1863 en formato
estereoscópico y tarjeta de visita.
No se han incluido en el inventario aquellas
modalidades en formato estereoscópico
incluidas en la serie c, dado que muestran
vistas idénticas o muy similares a las
reproducidas en formato 270 x 360 mm.
Cada una de las imágenes se acompaña
de su numeración original o atribuida, título
original presente en el pie de foto o en la
entrada correspondiente del catálogo, fecha
concreta o aproximada de realización y, en
algunos casos, procedencia del negativo
o positivo original.
Las imágenes que J. Laurent sustituyó
manteniendo el mismo número se identifican
con una letra a continuación del número
–[a], [b] o [c]– que indica el orden
cronológico de sustitución.
Los recuadros sombreados se
corresponden con imágenes que aún no han
sido localizadas.
Los títulos de las fotografías corresponden
a los publicados en las cartelas originales de
los positivos.
J. Laurent imzasıyla işlenmiş olan Granada’ya
ait koleksiyonu oluşturan resimler, şirketi
tarafından koleksiyonlarını sınıflandırmak için
kullanılan geleneksel gruplandırma yöntemiyle
gruplandırılmış olup, bu gruplar a, b ve c
serilerine tekabül etmektedir.
1863 yılından günümüze, C. Soulier
tarafından işlenmiş ve J. Laurent tarafından
ticarileştirilmiş olan resimler, stereofonik
format ve kart vizit şeklinde üç seri koleksiyon
halinde tamamlanmıştır.
Bu envanter, eş görüntüleri içerdiğinden
ve de 270 x 360 mm formatındaki
reprodüksiyonlarına çok benzediğinden,
c serisinde yer alan stereofonik resimler
yer almamaktadır.
Her bir resime orijinal veya atfedilmiş
numarası, fotoğrafın altında veya katologda
resime ilişkin başlıkta yer alan orijinal ismi;
kesin ya da yaklaşık oluşturulma tarihi ve
bazılarında negatif veya orijinal pozitif resimin
kaynağı eşlik etmektedir.
J. Laurent’in aynı numarayla devam ederek
yerine koyduğu resimler numarayı takip
eden ve yerine koyma kronolojisinin sırasını
gösteren –[a] [b] [c] – harflerinden biri ile
özdeşleşmektedir.
Karanlık kareler, henüz yeri belirlenmemiş
resimlere tekabül etmektedir.
Fotoğrafların başlıkları, orijinal pozitif
baskılarda yer alan isimlerden alınmıştır.
Reproducciones
de pintura
Reprodüksiyon
resimler
a-637
Valdeperas
Prise de Loja par
Ferdinand le Catholique
[ca. 1867]
Archivo Ruiz Vernacci
nim-24500
a-593
J. Lozano
Marianne Pineda faisant
ses adieux aux soeurs
de S.te Marie Egyptienne
au moment de se rendre
en chapelle; Musée
National
[ca. 1867]
a-644
J. A. Vera y Calvo
Marianne Pineda marchant
a léchafaud et refusant
le pardon quón lui ofrre à
condition de dénoncer ses
complices [ca. 1867]
a-635
B. Soriano y Murillo
Le dernier soupir du maure
(au Musèe National).
[ca. 1867]
nim-1117
a-789
J. Rougeron
Danse de gitanes
en bohémiennes
[ca. 1871]
nim-24424
a-849
P. Gonzalvo y Pérez
Salón de Justicia de la
Alhambra de Granada,
visitado por unos árabes
(n.º 203. exp. de 1871)
[ca. 1871]
a-934
J. Laguna
en la Alhambra
(n.º 245 exp. de 1871)
[ca. 1871]
a-942
P. Gonzalvo y Pérez
Vue de la chapelle royale
et des tombeaux des Rois
Catholiques á Grenade
[1868-1872]
nim-4164
a-958
P. Macnab
Le Confessional en Espagne
[1868-1872]
a-969
P. Macnab
Bohémiens de Grenade
[1868-1872]
a-970
P. Macnab
Vue du Généralife
à Grenade
[1868-1872]
a-1178
M. Fortuny
Un jardin de Grenade
[1872-1878]
a-1179
M. Fortuny
Place de lÁyuntamiento
à Grenade
[1872-1878]
nim-4165
a-1161
A. Muñoz Degrain
Gitanos ou bohémiens
de Grenade
[1868-1872]
162 – 163
a-1182
J. Tapiró
La marchande de
fleurs (aquarelle)
[1872-1878]
a-1183
J. Tapiró
Cèlébration des offices
dans la chapelle royale
de Grenade
[1872-1878]
a-1184
T. Moragas
Un tribunal arabe
[1872-1878]
a-1196
P. Francés y Pascual
Une forge a Grenade
(1879)
[1872-1878]
a-1197
Une rue de Grenade
[1872-1878]
a-1274
M. Fortuny
Un tribunal arabe,
aquarelle
[1872-1878]
a-1287
La salle de bains de
lÁlhambra (aquarelle)
[1872-1876]
a-1288
Maison de los «oidores»
à Grenade, aquarelle
[1872-1878]
a-1308
M. Fortuny
Habitation de gitanos
à Grenade; (à S M. le
roi Alphonse XII)
[1872-1878]
a-1338
Autor desconocido
Portrait de Boabdil, dernier
roi de Grenade.
[1872-1878].
a-1501
Bataille de la Higueruela.
11º morceau (Salle des
bataillles de lÉscorial)
[1872-1878]
a-1722
P. Frances y Pascual
Les brodeuses de mantes
[1872-1878]
a-1941
M. Gómez Moreno
San Juan de Dios salvando
del incendio a los enfermos
del Hospital Real de
Granada (Expº. de 1881)
[ca. 1882].
a-2093
A. Muñoz Degrain
Grenade durant une averse
[1879-1896]
nim-0820
a-1761
A. Muñoz Degrain
[Isabelle la Catholique cède
ses joyaux pour léntreprise
de Cristophe Colomb]
[1872-1878]
nim-23664
nim-2490
nim-2603
a-2202
F. Pradilla
La rendición de Granada
(Palacio del Senado en
Madrid) [1879-1896]
nim-23668
a-2225
García y Ramos
«Pelando la pava»,
galanterie à la mode
dÁndalousie
[1879-1896]
a-2362
Caveau sépulcral des Rois
Catholiques á Grenade
[1879-1893]
nim-2614
a-2407
P. González Bolívar
Alamar, rey de Granada,
rinde vasallaje al rey
de Castilla Fernando el
Santo (premio de 3ª clase.
Exposición Nacional de
Bellas Artes 1884) [ca. 1884]
Archivo Ruiz Vernacci.
nim-1117
a-2382
S. Martínez Cubells
Un jardin à Grenade
[1879-1896]
a-2406
Proclamation de Boabdil
[1879-1896]
nim-8318
nim-3708
Reproducciones
de objetos artísticos
b-42
[1867-1868]
b-43
Beau casque arabe, ayant
appartenu à Boabdil,
[1867-1868]
b-90
Trophée n.º 4
Epée de Tolede de
Ferdinand le Catholique
[1867-1868]
b-92
Trophée n.º 6. Espadón
ou grande épée à deux
mains de Ferdinand V
le Catholique
[1867-1868]
Sanatsal obje
reprodüksiyonları
b-89
Trophée n.º 3: Epée
d´ Isabelle la Catholique
[1867-1868]
nim-3621
b-130
Bouclier árabe en bois
pris par D. Juan dÁutriche
au chef des Maures
soulevés dans les Alpujarras
[1867-1868]
nim-6257
b-140
Epée de Boabdil,
(propriété de S.E. Mr.
le Marquis de Villaseca)
[1867-1868]
nim-6430
b-176
Trophée n.º 12.
Epée de Boabdil, dernier
roi de Grenade
[1867-1868]
164 – 165
b-201
[Poignée de l´épée de
Boabdil, grandeur nature]
[1867-1868]
b-202
Fourreau de l´épée de
Boabdil, roi de Grenade,
grandr. nat. (prop. de Mr.
Le Marq. de Villaseca)
[1868-1872]
b-202-bis
Fourreau de dite
épée de Boabdil,
deuxième partie
[1867-1868]
b-203
Poignard avec sa gaine
ayant appartenu à Boabdil
[1868]
b-254
Vase arabe
[1868-1872]
nim-7051
b-285
Sceptre, couronne, épée
et missel avec son cofret,
des rois catholiques (de
la catedrale de Grenade)
[1871]
b-286
Tryptique émail de
Limoges ayant appartenu
au Grand Capitaine
(au Musée provincial
de Grenade)
[1871]
b-287
Statue dÍsabelle la
Catholique, de face
[1871]
b-287-bis
Statue dÍsabelle la
Catholique, de profil
[1871]
b-288
Auge en pierre de la
Salle de Justice (avec
échelle dún mètre)
[1871]
b-379
Alonso Cano
Saint Bruno
(à la Cartuja de Grenade)
[1871]
b-392
[1872-1878]
b-392-bis
[1872-1878]
b-554
Lampe arabe de la
mosquèe de l’Alhambra
de Grenade (au Musée
arqueologique de Madrid)
[1872-1878]
b-797
Tunique et épée
de Boabdil dernier
roi de Grenade au
Marquis de Villas7eca
[1872-1878]
nim-7134
nim-7614
b-883
Júpiter et Lèda,
bas-relief de la Salle
du Trésor (Alhambra)
[ca. 1880]
nim-2484
Monumentos y
vistas urbanas
b-1303
[Empuñadura de una
espada de Boabdil]
[ca. 1870]
nim-23499
c-218 [a]
Granada
[Puerta de la Justicia]
[ca. 1863]
c-218 [b]
La torre de Justicia
(entrada de la Alhambra)
[1871]
c-219 [a]
La torre de los Picos
[1871]
c-219 [b]
La torre de los Picos
[ca. 1874]
c-219-bis
La torre de los Picos,
desde el camino interior
[1871]
c-220 [a]
(Atribuida)
Porte du Vin
[ca. 1862]
c-220 [b]
La puerta del Vino,
por la parte de poniente
[1865-1871]
c-221
La puerta del Vino,
por la parte de levante
[1865-1871]
c-222
Fachada poniente
del palacio de
Carlos Quinto
[ca. 1863]
c-222-bis
Portada del palacio
de Carlos Quinto
[ca. 1879]
c-223 [a]
Vista interior del palacio
de Carlos Quinto
[ca. 1863]
Anıtlar ve Şehir
Manzaraları
166 – 167
c-223 [b]
Vista interior del Palacio
de Carlos Quinto
[1871]
c-224 [a]
[Galería norte del Patio
de los Arrayanes]
[ca. 1865]
c-224 [b]
Exterior de la galería
lateral izquierda del patio
de los arrayanes
[1871]
c-225 [a]
(Atribuida)
Patio de las Arrayanas
[ca. 1863]
c-225 [b]
Esterior de la galería
lateral derecha del
patio de los arrayanes
[1871]
c-226
Galería del patio
de la Alberca
[ca. 1863]
c-227 [a]
[Galerie qui mène a
la salle des Ambassadeurs]
[ca. 1866]
c-227 [b]
Galería que conduce a la
Sala de Embajadores
[1871]
c-228
Fondo o nicho de la
galería que conduce a la
Sala de Embajadores
[1871]
c-229 [a]
Galería de entrada
al patio de los Leones
[ca. 1863]
c-229 [b]
Testero del primer
cenador en el patio
de los Leones
[1871]
c-230 [a]
[Patio de los Leones]
[ca. 1863]
c-230 [b]
[Patio de los Leones.
Galería Sur y
pabellón occidental]
[ca. 1866]
c-230 [c]
Entrada del patio
de los Leones
[1871]
c-230 [d]
Entrada del patio
de los Leones
[1874-1881]
Biblioteca Nacional
de España
c-231
Entrada a la galería
izquierda del patio
de los Leones
[1865-1871]
c-232 [a]
[Fuente y patio
de los Leones]
[ca. 1863]
c-232 [b]
Fuente y patio
de los Leones
[1871]
c-232 [c]
Fuente y patio
de los Leones
[ca. 1874]
c-233 [a]
Fuente y patio
de los Leones desde
la parte de levante
[ca. 1866]
c-233 [b]
Fuente y patio
de los Leones desde
la parte de levante
[1871]
c-234 [a]
[Templete norte
del patio de los
Leones desde la
galeria derecha]
[ca. 1863]
c-234 [b]
Templete norte del
patio de los Leones desde
la galería derecha
[1871]
c-235
Pabellón de levante
[ca. 1863]
c-235-bis
Pabellón del patio
de los Leones
[ca. 1874]
c-236
Entrada de la sala de
Embajadores
[ca. 1863]
c-237 [a]
Ventana de
la mezquita
[ca. 1874]
c-237 [b]
Ventana de
la mezquita
[1871]
c-238 [a]
Entrada de la sala
de los Abencerrajes
[1863-1865]
c-238 [b]
Entrada de la sala
de los Abencerrajes
[ca. 1872]
168 – 169
c-238-bis
Entrada de la Sala
de los Abencerrajes
[1871]
c-239 [a]
El tocador de la Reina
[1871]
c-239 [b]
[ca. 1881]
c-239-bis [a]
(Atribuida)
[El tocador de la Reina]
[ca. 1863]
c-239-bis [b]
Vista del mihrab o
tocador de la Reina
[ca. 1874]
c-239-bis [c]
Vista del Mihrab ó
tocador de la Reina
[ca. 1874]
nim-5975
c-240 [a]
[La mezquita
y el Generalife]
[ca. 1866]
c-240 [b]
La mezquita
y el Generalife
[1871]
c-240 [c]
La mezquita
y el Generalife
[ca. 1874]
c-241
Vista de la Alhambra
desde la cuesta del Chapiz
[1871]
c-242 [a]
Los jardines
de Generalife
[1871]
c-242 [b]
Los jardines
del Generalife
[ca. 1881]
c-242-bis
Vista de la acequia
en Generalife
[ca. 1881]
c-243 [a]
[Interior de Generalife]
[ca. 1863]
c-239-bis [d]
[ca. 1881]
c-243 [b]
Interior de Generalife
[1871]
c-243 [c]
Vista interior de Generalife
[ca. 1881]
c-244 [a]
[La Mezquita]
[ca. 1863]
c-244 [b]
Ventana de la Mezquita
[1871]
c-245
Patio de la Mezquita
[1871]
c-246
[Formato panorámico,
270 x 600 mm]
Vista del Albaicín desde
la Sala de Embajadores
(Alhambra) [ca. 1871]
c-246 [a]
[Composición panorámica
en 2 fragmentos]
[1871]
c-246 [b]
en 2 fragmentos]
Vista del Albaicín [ca. 1881]
Frag. izqdo: Archivo
Ruiz Vernacci nim-1044.
Frag.mento der: Col.
Carmen de la Victoria.
Universidad de Granada
c-247 [a]
Vue de Grenade
(le théâtre)
[ca. 1865]
Colección fotográfica
c-247 [b]
desde la Ciudad
[ca. 1874]
c-248 [a]
Granada [Vue de
Grenade. La promenade
ou Carrera del Genil]
[ca. 1862]
nim-0313
c-248 [b]
Vista tomada desde
el Cubo en la Alhambra
[1871]
c-248 [c]
Vista tomada desde
el Cubo en la Alhambra
[ca. 1875]
c-321 [a]
Puerta de la Sala
de las Dos Hermanas
[ca. 1863]
170 – 171
c-321 [b]
Puerta de la Sala de las
Dos Hermanas
[ca. 1863]
c-460
J. Laurent - [José
Martínez Sánchez]
Puente de Tablate
[1866]
c-461
J. Laurent - [José
Martínez Sánchez]
Puente de Guadalfeo
[1866]
c-462
J. Laurent - [José
Martínez Sánchez]
Puente de Yzbor
[1866]
c-547 [a]
[Bajo-relieve del palacio
de Carlos Quinto]
[ca. 1871]
c-547 [b]
Bajo-relieve del palacio
de Carlos Quinto
[1871]
c-548 [a]
Puerta del patio
de la Alberca
[ca. 1871]
c-548 [b]
Puerta del patio
de la Alberca
[post. 1871]
c-549 [a]
Galería del patio
de los Leones
[1866-1871]
c-549 [b]
Galería izquierda
[1871]
c-550 [a]
El Patio de los Leones
desde la sala de los Escudos
[1866-1871]
c-550 [b]
[1871]
c-550 [c]
El Patio de los Leones
en la Alhambra
[ca. 1874]
c-550-bis
[Vista del Patio de los
Leones, tomada desde la
Sala de los Escudos]
c-551 [a]
Interior de la sala
de Justicia
[1871]
c-551 [b]
Interior de la sala
de Justicia
[ca. 1874]
c-551 [c]
Interior de la sala
de Justicia
[ca. 1874]
c-551-bis
Interior de la sala
de Justicia
[ca. 1874]
c-552 [a]
El Mirador de
Lindaraja en la sala
de las Dos Hermanas
[1871]
c-552 [b]
El Mirador de
de las Dos Hermanas
[ca. 1874]
c-552-bis [a]
El Mirador de
de las Dos Hermanas
[1871]
c-552-bis [b]
El Mirador de
de las Dos Hermanas
[ca. 1874]
c-553
Puerta del patio
de Machuca
[1871]
c-553-bis [a]
Puerta del patio
de Machuca
[1871]
c-553-bis [b]
Puerta del patio
de Machuca
[ca. 1881]
c-554
desde el Sacromonte
[1871]
c-555
Ventana de la sala
de las Dos Hermanas
[1871]
nim-3042
c-555-bis [a]
Ventana de la Sala
de las Dos Hermanas
[1871]
c-555-bis [b]
[Ventana de la Sala
de las Dos Hermanas]
[1871]
nim-6877
c-556 [a]
Galería del patio
de los Leones
[ca. 1871]
172 – 173
c-556 [b]
Galería derecha del
patio de los Leones
[1871]
c-556 [c]
Galería derecha del
patio de los Leones
[ca. 1874]
c-557 [a]
Vista interior de la
Sala de Embajadores
[ca. 1871]
c-557 [b]
Sala de Embajadores
[ca. 1874]
c-557-bis
Sala de Embajadores
[ca. 1874]
c-637
Bohèmiens ou gitanos
(dáprès nature)
[ca. 1871]
c-638
Bohèmiennes ou gitanas
(dáprès nature)
[ca. 1871]
c-639
Tribu de bohèmiens
(dáprès nature)
[ca. 1871]
c-640
Bohèmiens ou gitanos
(dáprès nature)
[ca. 1871]
c-641
Gitanos ou Bohèmiens
devant leur habitation
(dáprès nature)
[ca. 1871]
c-642
Habitaciones de los gitanos
en el Sacromonte
[1871]
c-643
Famille de bohèmiens
(dáprès nature)
[ca. 1871]
c-644
Les gitanos tondeurs de
mulets (dáprès nature)
[ca. 1871]
c-645
Tribu de bohémiens au
bivouac (dáprès nature)
[ca. 1871]
c-1100
Las torres Bermejas vistas
desde los adarves
[1871]
nim-9000
c-1101 [a]
Fuente del emperador
Carlos Quinto
[1871]
c-1101 [b]
Fuente del emperador
Carlos Quinto
[1871]
c-1102
Puerta interior de
la torre de Justicia
[1871]
c-1103
Vista de los adarves
y de la torre de la Vela
[1871]
c-1104
Vista general desde
la Artillería
[1871]
c-1105
Vista general de la
Alhambra desde la torre
del Homenaje
[1871]
c-1106
en 3 fragmentos]
Vista general panorámica
de la Alhambra desde la
torre del Homenaje
[1871]
c-1107
Vista general del patio de
los arrayanes y de la torre
de Comares (izquierda)
[1871]
c-1108
Vista general del patio de
los arrayanes (derecha)
[1871]
c-1109
Puerta de entrada al
patio de los Leones
[1871]
c-1110
Fondo o nicho de la
galería que conduce a la
Sala de los Embajadores
[1871]
c-1111
Ajimez en la Sala
de Embajadores
[1871]
c-1112
desde la puerta de entrada
[1871]
174 – 175
c-1113 [a]
Interior de la galería
y del templete poniente
[1871]
c-1113 [b]
Interior de la galería
y del templete poniente
[ca. 1871]
c-1114
Templete de levante del
patio de los Leones
[1871]
c-1114-bis
Templete de levante
[1871]
c-1115
Templete de levante
y puerta de la Sala de las
Dos Hermanas
[1871]
c-1116
Templete norte del
patio de los Leones
[1871]
c-1117
Templete norte del patio
de los Leones desde la
galería izquierda
[1871]
c-1118
Capitel de dos columnas
en el patio de los Leones
[1871]
c-1119
Capitel de dos columnas
en el patio de los Leones
[1871]
c-1120
Ángulo izquierdo del
patio de los Leones
[1871]
c-1121
Esterior de la galería
izquierda del patio
de los Leones
[1871]
c-1123
Babuchero de la Sala de
las Dos Hermanas
[1871]
c-1124
Imposta de la puerta
interior de la Sala de las
Dos Hermanas (detalle
con escala en 1 m
[1871]
c-1122
Puerta de madera de la
Sala de las Dos Hermanas
[1871]
c-1125 [a]
Friso de la pared de la
[1871]
c-1125 [b]
Friso de la pared de la
[1871]
c-1126
Detalle de la pared de la
[1871]
c-1127
Techo de la Sala de
las Dos Hermanas
[1871]
c-1128
Azulejos de la Alcoba
de las Dos Hermanas
[1871]
c-1129 [a]
Ventana de la Alcoba
de las Dos Hermanas
[1871]
c-1129 [b]
Ventana de la Alcoba
de las Dos Hermanas
[ca. 1874]
c-1130
Imposta y friso del arco
del Mirador de Lindaraja
[1871]
c-1131
Puerta de la Sala
de los Abencerrajes
por la parte interior
[1871]
c-1132
Entrada a la Sala
de Justicia
[1871]
c-1133
Interior de la Sala de Justicia
mirando al patio de los
Leones
[1871]
c-1134
Sala de Justicia desde
la galería
[1871]
c-1135 [a]
Puerta de la mezquita
[1871]
c-1135 [b]
Puerta de la mezquita
[ca. 1881]
c-1136
[1871]
c-1137
Inscripción de la casa árabe
de moneda en la mezquita
[1871]
nim-7135
176 – 177
c-1138 [a]
Galería del Generalife
[1871]
c-1138 [b]
Galería de Generalife
[ca. 1881]
c-1139 [a]
Puerta interior de Generalife
[1871]
c-1139 [b]
[Interior de Generalife]
[1871]
c-1140
El Ciprés de la Sultana
en Generalife
[1871]
c-1141
Vista de la Alhambra desde
el camino del Sacromonte
[1871]
nim-58037
nim-8001
c-1142
en 4 fragmentos]
Vista panorámica de la
Alhambra y de Granada
desde la plaza de
S. Nicolás
[1871]
c-1144
en 5 fragmentos]
Alhambra y de Granada
desde la Silla del Moro
[1871]
c-1143 [a]
Vista de Generalife y
de la Alhambra desde la
plaza de S. Nicolás
[1871]
c-1143 [b]
Vista de Generalife y
de la Alhambra desde
la plaza de S. Nicolás
[ca. 1881]
c-1145
y de Granada desde
la Silla del Moro
[1871]
c-1146 [a]
Capitel en el patio
de la Alberca (detalle
con escala de 1 m)
[1871]
c-1146 [b]
Capitel en el patio
de la Alberca (detalle
con escala de 1 m)
[1871-ca. 1874]
c-1147 [a]
Sepulcro de los Reyes
Católicos, en la capilla real
[1871]
c-1147 [b]
Catedral. Sepulcros
de los Reyes Católicos,
de Doña Juana y de
Felipe el Hermoso
[1871-ca. 1874]
c-1148 [a]
Vista de la Torre del
Homenaje, desde la
Sala de Embajadores
[1871]
c-1148 [b]
Vista de la Torre del
Homenaje, desde la
Sala de Embajadores
[ca. 1874]
c-1149 [a]
Babuchero de la sala
escala de 1 m)
[1871]
c-1149 [b]
escala de 1 m)
[1871-ca. 1874]
c-1150 [a]
Babuchero de la Sala de
Embajadores (detalle con
escala de 1 m)
[1871]
c-1150 [b]
de Embajadores (con
escala de 1 m)
[ca. 1881]
c-1151 [a]
Trozo de la Sala de
Embajadores (detalle
con escala de 1 m)
[1871]
c-1151 [b]
Trozo de la Sala de
con escala de 1 m)
[1871-ca. 1874]
c-1152
Trozo de la pared de
(detalle con escala de 1 m)
[1871]
c-1153 [a]
Adornos de la Sala
[de Embajadores] (detalle
con escala de 1 m)
[1871]
c-1153 [b]
Adornos de la Sala de
con escala de 1 m)
[1871]
c-1154 [a]
Trozo de la Sala de
con escala de 1 m)
[1871]
c-1154 [b]
Trozo de la Sala de
con escala de 1 m)
[1871-ca. 1874]
c-1155 [a]
Capitel de la Sala de
con escala de 1 m)
[1871]
178 – 179
c-1155 [b]
Capitel de la Sala
de Embajadores (detalle
con escala de 1 m)
[ca. 1871]
c-1156
Patio de los Leones, fachada
de las Dos Hermanas
[ca. 1874]
c-1157
Patio de los Leones,
pabellón del norte
[1871]
c-1158 [a]
Capitel del patio
de los Leones (detalle
con escala de 1 m)
[1871]
c-1158 [b]
Capitel del patio
con escala de 1 m)
[1874-1881]
c-1159
Capitel del patio
con escala de 1 m)
[1871]
nim-4981
c-1160
Capitel del patio de los
Leones (detalle con escala
de 1 m)
[1871]
c-1161 [a]
[Capiteles de dos columnas,
con escala de un metro]
[1871]
c-1161 [b]
[Capiteles de dos columnas,
con escala de un metro]
[1874-1881]
nim-8286
c-1162
Capitel del patio de
los Leones (detalle
con escala de 1 m)
[1871]
c-1163
Capitel del patio
con escala de 1 m)
[1871]
c-1164
Entrada de la Sala
de las Dos Hermanas
[1871]
c-1165
Azulejos de la Sala
de las Dos Hermanas
[1871]
c-1166
Azulejos de la puerta
de la sala de los Naranjos
[1871]
c-1167 [a]
Vista del Jardín de Lindaraja
[1871]
c-1167 [b]
Vista del Jardín de Lindaraja
[ca. 1881]
c-1168
Azulejos del Salón
de Lindaraja (con
escala de 1 m)
[1871]
c-1169
Trozo de la pared
de la Sala de la Justicia
[1871]
c-1170
Capitel de la Sala de Justicia
[1871]
c-1171
Detalle de una puerta
del patio de la Alberca,
con escala de 1 m
[1871]
c-1172
Capitel es el patio
de los Arrayanes, con
escala de 1 m
[1871]
c-1173
Detalle de la galería
del patio de los Arrayanes,
con escala de 1 m
[1871]
c-1174
Adornos y azulejos
de la Sala de la Barca
(con escala de 1 m)
[1871]
c-1175
Detalle de la pared
de la Sala de la Barca
(con escala de 1 m)
[1871]
c-1176 [a]
Pared y capitel del arco del
fondo de la Sala de la Barca
(con escala de 1 m)
[1871]
c-1176 [b]
Pared y capitel del arco del
fondo de la Sala de la Barca
(con escala de 1 m)
[1871-ca. 1874]
c-1177
Columna y arranque del
arco de la Sala de la Barca
(con escala de 1 m)
[1871]
c-1178
Capitel en el patio de los
Leones (con escala de 1 m)
[1871]
c-1179
[1871]
c-1180
[1871]
nim-6130
180 – 181
c-1181
Leones, con escala de 1 m
[1871]
c-1182
[1871]
c-1183
[1871]
c-1184
[1871]
c-1185
Fuente del patio
de los Leones
[1871]
c-1186
Alicatados del patio
de los Leones
[1871]
c-1187
Alicatados del templete
poniente del patio de
los Leones
[1871]
c-1188 [a]
Detalle de adornos de
la Sala de Embajadores,
con escala de 1 m
[1871]
c-1188 [b]
Detalle de adornos de
la Sala de Embajadores,
con escala de 1 m
[1871]
c-1189
Azulejos de la Sala
de Embajadores,
con escala de 1 m
[1871]
c-1190
Azulejos de la Sala
de Embajadores,
con escala de 1 m
[1871]
c-1191
Azulejos de la Sala
de Embajadores,
con escala de 1 m
[1871]
c-1192
Azulejos de la Sala
de Embajadores,
con escala de 1 m
[1871]
c-1193
Azulejos de la Sala
de Embajadores,
con escala de 1 m
[1871]
c-1194 [a]
Enjuta de la puerta
del medio de la Sala
de los Escudos
[1871]
c-1194 [b]
Enjuta de la puerta
del medio de la Sala
de los Escudos
[1871-1874]
c-1195
Detalle de la pared
en la Sala de los Escudos,
con escala de 1 m
[1871]
c-1196
Detalle de una faja
de los adornos en la Sala
de los Escudos
[1871]
c-1197
Puerta recién descubierta
en una alcoba de la Sala de
las Dos Hermanas
[1871]
c-1198
Enjuta interior de una
puerta de la Sala de las
Dos Hermanas
[1871]
c-1199 [a]
Azulejos de la Sala
de las Dos Hermanas,
con escala de 1 m
[1871]
c-1199 [b]
Azulejos de la Sala
con escala de 1 m
[1871]
c-1199 [c]
Azulejos de la Sala
con escala de 1 m
[ca. 1881]
c-1462
Techo de la Sala de los
Abencerrajes
[1871]
c-1463
con escala de 1 m
[1871]
c-1464
con escala de 1 m
[1871]
c-1465
Detalle de la sala
de los Abencerrajes,
con escala de 1 m
[1871]
c-1466
Enjuta y capitel del arco
de la alcoba de la Sala de
los Abencerrajes
[1871]
c-1467
La Alcazaba
[ca. 1874]
c-1468
Fachada de mediodía del
palacio de Carlos Quinto
[1871]
nim-8681
c-1468-bis
Portada del Palacio
de Carlos V, por la parte
del mediodía
[ca. 1879]
c-1469
Las angosturas
del río Darro
[ca. 1874]
182 – 183
c-1470 [a]
La plaza nueva
[1871]
nim-4893
c-1470 [b]
La plaza nueva
[1881]
c-1471
Ermita de San Sebastian
[1871-1874]
nim-6121
c-1472
Inscripción de la ermita
de San Sebastian
[1871]
nim-6125
c-1473
La torre del Agua y
el acueducto
[1871]
c-1474 [a]
Torres de la Vela y
de la Armería
[ca. 1874]
c-1474 [b]
Vista general de la
Alcazaba o ciudadela
[ca. 1874]
c-1475 [a]
Torre quebrada y entrada
á la de la Vela
[1871-1874]
c-1475 [b]
[Entrada al recinto
de la Alcazaba]
[1871-1874]
c-1475 [c]
Vista de la Alhambra y
de Granada, desde el
Sacromonte
[ca. 1881]
c-1476 [a]
de Carlos Quinto
[ca. 1874]
c-1476 [b]
de Carlos Quinto
[ca. 1881]
c-1477
Azulejos de la Sala
de Embajadores,
con escala de 1 m
[ca. 1874]
c-1478
Azulejos de la Sala
de Embajadores,
con escala de 1 m
[ca. 1874]
c-1479
La torre de las Damas
[ca. 1874]
c-1480 [a]
Torres de la Infanta
y de la Cautiva
[ca. 1874]
c-1480 [b]
Torres de la Infanta
y de la Cautiva
[ca. 1881]
c-1481 [a]
en la Alhambra
[ca. 1874]
c-1481 [b]
en la Alhambra
[ca. 1881]
c-1482
Ajimez o ventana de la
[ca. 1874]
c-1483
Vista interior de la Sala
de los Abencerrajes
[ca. 1874]
c-1484
[Sala de los Abencerrajes]
[ca. 1874]
nim-5794
c-1972
Groupe de bohèmiens
ou gitanos
[ca. 1863]
c-2170
Fachada de la Catedral
[ca. 1881]
c-2171
Catedral. Puerta del Perdón
[ca. 1881]
c-2172
Catedral. Vista de
la Nave principal
[ca. 1881]
c-2173
Catedral. Vista
general interior
[ca. 1881]
c-2174
Catedral. Puerta interior
de la Capilla Real
[ca. 1881]
Fondo Fotográfico
Universidad de Navarra /
Fundación Universitaria
de Navarra
184 – 185
c-2175
Catedral. Reja de
la Capilla Real
[ca. 1881]
c-2176
Catedral. Sepulcros
de los Reyes Católicos
en la Capilla Real
[ca. 1881]
c-2177
Catedral. Retablo de
la Capilla Real
[ca. 1881]
c-2178
Catedral. Boabdil
entregando las llaves
de Granada a los
Reyes Católicos,
fragmento del retablo
de la Capilla Real
[ca. 1881]
c-2179
Catedral. Bautizo de los
Moros, fragmento del
retablo de la Capilla Real
[ca. 1881]
c-2180
Puerta esterior de la
Capilla Real
[ca. 1881]
c-2181
Catedral. Vista general
esterior de la Capilla Real
[ca. 1881]
c-2182
Vista general esterior de la
Capilla Real, parte superior
[ca. 1881]
c-2183
Vista general de la
Sacristía de la Cartuja
[ca. 1881]
c-2184
Antigua casa
Ayuntamiento o Lonja
[ca. 1881]
c-2185
Vista de la Puerta Real
[ca. 1881]
c-2185
[Copia de reserva]
[Vista de la Puerta Real]
[ca. 1881]
nim-8032
nim-5800
c-2186
La Casa de los Tiros
[ca. 1881]
c-2187
La Casa de Castril
[ca. 1881]
c-2188
Iglesia de Santa Ana
[ca. 1881]
nim-2473
nim-2474
c-2189
La antigua Alhóndiga
ó Casa del Carbón
[ca. 1881]
c-2189-bis
La antigua Alhóndiga
ó Casa del Carbón
[ca. 1881]
c-2190
Vista interior de Generalife
[ca. 1881]
nim-2470
c-2191
Patio de una casa
morisca en el Albaycín
[ca. 1881]
c-2192
y del Albaycín desde
la fuente del Abellano
[ca. 1881]
c-2193
[Vista general del Patio
de los Leones]
[ca. 1881]
nim-3288
c-2194
La Sala de Justicia y
el patio de los Leones
[ca. 1881]
c-2195
[ca. 1881]
c-2196
[Vista interior de la Sala
de las Dos Hermanas]
[ca. 1881]
nim-5810
c-2197
Alcoba de la Sala de
las Dos Hermanas
[ca. 1881]
c-2198
de la Barca
[ca. 1881]
nim-3403
nim-9307
c-2200
[ca. 1881]
c-2201
Sala de los Divanes
[ca. 1881]
nim-3302
c-2199
de Embajadores
[ca. 1881]
c-2202
Sala de los Divanes
[ca. 1881]
c-2203
Galería que conduce
a la Sala de Justicia
[ca. 1881]
c-2204
Galería alta, resto
del palacio de invierno
[ca. 1881]
186 – 187
c-2205
[Interior de la puerta de
entrada a la Sala de las
Dos Hermanas]
[ca. 1881]
nim-5698
c-2206
Entrada al mirador
de Lindaraja
[ca. 1881]
c-2207
Capitel de la Sala de
los divanes
[ca. 1881]
c-2208
Mihrab de la Mezquita
del palacio de la Alhambra
[ca. 1881]
nim-2503
c-2209
del Palacio de la Alhambra
[ca. 1881]
c-2210
La Sierra Nevada
vista desde la Carrera
de las Angustias
[ca. 1883]
c-2211
Vista interior de la iglesia
de San Gerónimo
[ca. 1881]
c-2212
Retablo de la iglesia
de San Gerónimo
[ca. 1881]
c-2213
Vista de la Catedral y
de la Alhambra desde
San Gerónimo
[ca. 1881]
c-2214
Vista de San Juan de Dios,
de la plaza de toros y
de la Cartuja
[ca. 1881]
nim-28.3.42
c-2215
Vista de la Puerta de Elvira
[ca. 1881]
c-2215-[copia de reserva]
Vista de la Puerta de Elvira
[ca. 1881]
nim-2495
c-2767
Vista del antiguo pueblo
de Güevéjar
[ca. 1887]
c-2768
Vista del nuevo pueblo de
Güevéjar (tomada desde las
inmediaciones del antiguo)
[ca. 1887]
c-2769 [a]
Vista del nuevo pueblo
de Güevéjar (tomada desde
la carretera de Granada)
[ca. 1887]
c-2769 [b]
Güevéjar. Vista del pueblo
nuevo, tomada desde la
carretera de Granada
[ca. 1887]
c-2770 [a]
Iglesia del nuevo pueblo
de Güevéjar
[ca. 1887]
c-2770 [b]
Güevéjar. Vista de la
plaza del nuevo pueblo
[ca. 1887]
c-2771 [a]
Vista general de Albuñuelas
(barrio alto y de la Iglesia)
[ca. 1887]
c-2771 [b]
Albuñuelas. Vista
del barrio alto y de la Iglesia
[ca. 1887]
c-2772 [a]
Vista general del nuevo
pueblo de Arenas del Rey
(tomada desde las ruinas
del antiguo)
[ca. 1887]
c-2772 [b]
Arenas del Rey. Vista de
la plaza del pueblo nuevo
[ca. 1887]
c-2773
Ruinas del antiguo pueblo
de Arenas del Rey
[ca. 1887]
c-2774 [a]
Monumento del Rey
en la plaza del nuevo
pueblo de Alhama
[ca. 1887]
c-2775 [a]
Función de inauguración
en la Capilla del nuevo
pueblo de Alhama
[ca. 1887]
c-2775 [b]
Alhama. Vista de la
plaza del barrio nuevo
[ca. 1887]
c-2772 [c]
Arenas del Rey. Vista de
la plaza del pueblo nuevo
[ca. 1887]
c-2774 [b]
Alhama. Monumento
erigido a la memoria de
S. M. el Rey D. Alfonso XII
[ca. 1887]
188 – 189
c-2801 [a]
Vista del nuevo pueblo
de Alhama (tomada desde
la carretera de Loja)
[ca. 1887]
c-2801 [b]
Alhama. Vista del barrio
nuevo, tomada desde la
carretera de Loja
[ca. 1887]
c-2802
Vista del antiguo pueblo
de Alhama (tomada desde
la carretera de Loja)
[ca. 1887]
c-2803
Tajos de Alhama
[ca. 1887]
c-2804
Tajos de Alhama
[ca. 1887]
c-2805
Vista de Alhama
(tomada desde
el camino de Málaga)
[ca. 1887]
c-2806
Vista del barrio nuevo
de Zafarraya
[ca. 1887]
Serie
estereoscópicas.
Catálogo de 1863
Stereoskopik
Seri
1863 Kataloğu
est-629
J. Laurent [C. Soulier]
La Alhambra por la parte
del Mediodía
[ca. 1857]
c-2807
Vista de los cortijos
de Guaro
[ca. 1887]
est-627
Panorama de la Alhambra
y de la Vega de Granada
[ca. 1857]
est-628
La Alhambra desde el Darro
[ca. 1857]
est-630
Vista de Granada desde
la Sierra del Sol
[ca. 1857]
est-631
Vista de Granada,
hacia el Albaicín
[ca. 1857]
est-632
Panorama de Granada
desde San Miguel
[ca. 1857]
est-633
Panorama de Granada
desde los Olivares
[ca. 1857]
est-634
Panorama de Granada
[ca. 1857]
est-635
Vista panorámica de
la Sierra Nevada
[ca. 1857]
est-636
Vista panorámica de
Granada, hacia la Sierra
Nevada
[ca. 1857]
est-637
Alhambra y de Generalife
[ca. 1857]
est-638
Vista de San Juan de Dios
[ca. 1857]
est-639
Iglesia de San Felipe
[ca. 1857]
est-640
Catedral desde la Alhambra
[ca. 1857]
est-641- [s-820]
Catedral de Granada
[ca. 1862]
est-642- [s-827]
Catedral de Granada
[ca. 1862]
est-643
Vista panorámica
de la Torre Romana
en la Alhambra
[ca. 1857]
est-644
La Alcazaba
[ca. 1857]
est-645
Barrio de los gitanos
[ca. 1857]
est-646
Plaza de la Alameda
[ca. 1857]
190 – 191
est-647
La Torre de la Justicia
(entrada de la Alhambra)
[ca. 1857]
est-648 [a]
Fachada del Palacio
de Carlos V
[ca. 1857]
est-648 [b]
Fachada del Palacio
de Carlos V
[ca. 1857]
est-649 [a]
Patio de los Arrayanes
[ca. 1862]
est-649 [b]
Patio de los Arrayanes
[ca. 1857]
est-650
Patio de los Leones
[ca. 1862]
est-651
Patio y fuente de los Leones
[ca. 1857]
est-652
Fuente de los Leones
(Alhambra)
[ca. 1857]
est-653
Galería del Patio de los
Leones (Alhambra)
[ca. 1857]
est-654
Pabellón del patio
de los Leones (Alhambra)
[ca. 1857]
est-655
Entrada a la sala
de las Dos Hermanas
[ca. 1857]
est-656
Entrada a la sala de los
Abencerrajes (Alhambra)
[ca. 1857]
est-657 - [s-818]
J. Laurent
La Colegiata
[ca. 1862]
J. Laurent
Iglesia de S. Juan de Dios
[ca. 1862]
english te x ts
Within the Confines of one same Sea
The Palaces of the Alhambra and Topkapi in the Photography
of the Journeys to the Orient
english texts
The Spain of Charles V and the Turkish
Ottoman Empire of Suleiman the Magnificent:
two rivals in the west and east of the
Mediterranean, were the leaders of the
Christian and Muslim world in the 16th
century. The European elite learnt Spanish;
Charles V, who was born and grew up in
Flanders, and later learned Spanish, admired
the language so much that he actually said
“to be able to speak to God, one has to do so
in Spanish”. Spanish protocol was the order
of the day in all Spanish courts; Spanish 16th
century painting had a totally original style,
and it was impossible to be unaware of the
influence of the history of al-Andalus in
the wealth of Turkish culture.
Both Spanish architecture and music bore
the stamp of both the European and Islamic
Renaissance of al-Andalus. It is surprising to
witness the great similarity between Spaniards
and their great rivals, the Turks, much greater
than with the Christian countries themselves.
It is no accident that Turks, in spite of being
so different, feel at home in Spain.
Both Anatolia and the Iberian Peninsula,
on the two sides of the Mediterranean, have
been the cradles of great empires and different
cultures. The rich inheritance they possessed
has made possible the development of an
incomparable aesthetics and the creation of
great works in every facet of art. A specific
example of the heights reached by the
civilisation of al-Andalus is the Alhambra
in Granada, which has been the subject of
admiration for travellers passionate about
poetry and story.
The great Turkish poet, Yahya Kemal, who
was Turkish Ambassador in Madrid, described
the Alhambra palace as follows: “[…] One
enters the Alhambra through a simple outside
door. On entering, one does not realise
that one is entering an outstanding palace.
Once inside, I was so surprised that I closed
and opened my eyes as if, in a dream, I had
somehow left one world and entered another.
My surprise became increasingly greater as
I passed from one room to another. In an
immaculate whiteness, a vine-like pattern of
writings had entirely covered the walls with a
smiling beauty; the limitless combinations of
plaster relief and embroidery patterns had
covered the entire surface right to the very last
corners of the ceilings. Nevertheless, everything
continued to look incredibly white […]”
In our day, it is significant that the Palace of
Topkapi, centre of splendour on the opposite
shore of the Mediterranean, should house an
exhibition of photographs and other material
which reflect the Palace of the Alhambra
and other riches of al-Andalus. Topkapi was
the palace of one of the most important
gentleman of the Renaissance, Mehmed, the
Conqueror. This was also the house of Sultan
Suleiman, the so-called Lawgiver. Some parts
of the palace were designed by the great
architect, Sinan. This magnificent monument,
at the crossroads of the Bosphorus and the
Sea of Marmora, is the brother to Granada’s
Alhambra in the west.
The art of photography came upon the
scene as an outstanding tool for discovering
and immortalising. Thanks to photography, the
Alhambra, which had been forgotten for several
centuries, was rescued from oblivion. Apart
from what has been related to us by travellers,
such as Washington Irving, who adorned
their stories with their own imagination, only
photography has been able to faithfully recreate
this elegant dwelling place of humanity.
The exhibition on the Palace of the
Alhambra in the Palace of Topkapi is devoted
to lovers of history and art, to celebrate the
Second Forum of the Alliance of Civilisations,
jointly headed by Turkey and Spain. Today the
governments of these two countries, i.e. the
heirs to the two great empires within which
different cultures coexisted and intermingled
throughout history, Turkey and Spain, actively
continue and will continue to be an example of
tolerance for the contemporary world, since
this is the greatest need of the world today.
I feel that this exhibition will bring us closer
to the Turkish and Spanish people who live on
opposite shores of the fertile and prosperous
Mediterranean, and who tolerantly embrace
their differences.
Recep Tayyip Erdoğan
Prime Minister of the Republic of Turkey
english texts
It gives me great pleasure to admire the
beautiful photographs and the exhibits that
accompany them in this exhibition, which
honour those who have worked hard to
bring them to us.
If printing ushered in the opportunity
of democratising the written word with all
its consequences, photography, in a different
sense, furthered that democratisation of
knowledge, in that it captured for everyone,
our customs, dreams, hopes, and also that
daily life which can impose regulations upon us,
shielded behind precisely what is unknown
and, for that reason, is either feared or denied.
Consequently, if printing offered the
“eternally many” the treasures of books,
then photography reduced geographical
distance and that fear of “others”, knocking
down a fragile barrier which prevented access
to enriching discoveries. And perhaps the
most important thing: photography made into
a gift our concerns and prejudices because it
gave form to what, as a result of our habits
and prejudices, may have been no more
than unfounded speculation.
To a certain extent, a new lease of life
was being given to the philosophers who, on
this sea’s shores of light and shade belonging
to all, showed that democratic thought is
born from wonder; from the need to reveal
hidden realities, with the intuition that this
attitude reveals to us how much life makes
an everlasting appeal to hope.
“Western” travellers of the 19th
century carried their cameras just as their
predecessors, about the same task, took
their notebook with them, and their coloured
paints and crayons which recounted the
journey in images. These travellers ventured
beyond the Italian Mediterranean, on course
to the “Orient”, where intellectual training
drew to a close for those who, since they
were able to afford it, advocated a sort of
cosmopolitan thinking which they wanted
to experience personally.
The camera became the “public eye” which
bore testimony and also swept away ghosts,
leaving no possibility of rejoinder. It also wove a
mental framework of ties between civilisations,
whose differences ceased to be so great. When
these areas began to open up to the social and
economic changes which characterised the 20th
century–a presage of the convulsive nineteen
hundreds–this augured a future which would
require tenacity, new values and solidarity-based
rejection. And there were the photographs
needed to support this action.
“Within the confines of the same sea”:
photographers of the prestige of Jean Laurent
or Abdullah Fréres photographed the two
most significant and symbolic Islamic palaces at
each end of the Mediterranean: the Alhambra
and the Topkapı. It is true that at times
travellers rather twisted the truth, since they
stopped to look only at what confirmed their
own superficial clichés. But the mere fact of
“disseminating” and publicising photographs was
to establish a dialogue propitious to discovery.
Between the city of Granada and Istanbul,
a story “was read” which, like the bridges
and canals, allowed a going and returning,
the eye of those who approach and those who
move away. And, in this going and returning of
travellers, it was possible for friendly eyes to
meet and cross, because the waters of this sea
reflected diverse experiences, vicissitudes and
expressions which, nevertheless, expressed
a shared history, full of skilful examples and
mistakes, whose comprehension is the only
antidote to avoid repeating them.
The governments of Spain and Turkey,
from the “opposite ends of one same sea”
proposed to world governments–through
that “home for all” that must be the United
Nations–that they journey through our
time without arrogance and with respect.
The aim is clear: to attempt, through the
most powerful strength that human beings
possess, to uproot intolerance and destructive
fanaticism which are the greatest threat
to peace and freedom.
This strength is simply what comes from
thinking, words and committed dialogue.
As Prime Minister of Spain I would like to
thank seacex (Sociedad Estatal para la Acción
Cultural en el Exterior), the Alhambra and
Generalife Trust, and the Cervantes Institute on
the Spanish side, and the corresponding Turkish
institutions and authorities, for the opportunity
this offers us: the arts are the seeds of dignity
and justice which, when called upon, can bear
fruit from the most complex of situations.
Let this also be the case of this exhibition,
designed to accompany the 2nd Forum for
the Alliance of Civilisations in Istanbul.
José Luis Rodríguez Zapatero
President of the Government of Spain
english texts
In the mid 15th century, building began on
the Topkapı Palace as a residence for Sultan
Mehmed II after the Ottoman conquest of
Constantinople. At the same time, the Nazrids
undertook their last work on the Alhambra
Palace, the headquarters of the court of the
kingdom of Granada since its creation two
centuries earlier. At this crossroads in time
the whole of Europe was beginning to feel the
profound effects of the Renaissance’s classicist
influence, which manifested itself in physical
form in other great fortified palace cities, such
as the Kremlin of the new Muscovite Tsars.
This was an influence which even the Turkish
capital would not escape from, deeply furrowed
with civil works and replete with Italian artists
summoned by successive sultans. Nor did
Granada itself escape, with the complex of
the Alhambra having become the focus which
irradiated the Renaissance in the 16th century.
Nevertheless, this coincidence in time at the
beginning and end of the lives of the two great
Muslim palaces –seats of power located at the
two extremes of Europe– was to affect their
later development and their very content today:
in the Turkish case, as a total museum–site
and home to the royal collections–and in the
Spanish case, as a monument worthy of a
visit in itself.
These different destinies also involve a
difference in spatial horizons, beyond the
topographic similarity of the two palace
complexes. In keeping with deeply-rooted
oriental and Mediterranean tradition, they rise
up proudly over their respective city networks
lying below. In their beginnings both palace cities
looked out to a Mediterranean Sea, either
from a position of immediacy or distance,
where the battle for political and mercantile
control was being fought. And the two
palaces both tell us of this, through the
apparent serenity of their walls and gardens.
These palaces were now to be valued by those
imaginary Europeans, avid for an exoticism
which was in harmony with the historicist
criteria of Romanticism, proper to the
19th century.
For that reason, it is no surprise that
while the German historian, Leopold von
Ranker, drew the first comparison between
the decadence of the Spanish monarchy and
the crisis of the sick man of Europe which the
Ottoman Empire had become, a plethora of
artists and men of letters began to centre
their interest on architectural sites which, for
centuries, had served as the seat of the world’s
greatest powers, fighting for the domination
of a Mediterranean definitively displaced from
its ancient status as strategic axis of power.
It is this passion of nineteenth century
culture that was captured by photography
which, from its beginnings, set itself up as a
testimony to and transmitter of an aesthetic
taste bent upon tracking the formal similarities
of what was considered different. With all
this, those images transmit to us the reality of
a common past which, beyond differences in
time and space, make us able to feel we are
heirs to one same cultural background and
to the permanent tension between tradition
and modernity which Spaniards and Turks
experienced intensively when, in the rest
of this continent, the industrial revolution
and Liberalism began to triumph.
Exhibiting the best examples of these pioneering
photographic adventures is one of the best
ways of understanding how the image of
what we are has gradually been constructed.
Through two monuments which have become
national icons but whose historical and
artistic relevance transcends any frontiers or
disciplinary categories, we can advance not
only in the preservation of an increasingly
valued heritage, but also in the search for new
common challenges for two nations which
have never been resigned to the marginal
limits of a continent continuously examining
itself. In the era of globalisation and European
integration, Spaniards and Turks are once again
approaching our own significance within the
basin of a Mediterranean too long divided by
prejudices and distorted images. Together it is
our desire to formulate a number of questions
whose response can only come from dialogue
and collaboration. From this point of view the
present exhibition takes on full significance.
Organised in the Tokapi Palace and promoted by
the Spanish Government’s Sociedad Estatal para
la Accion Cultural Exterior de España, along
with the Alhambra and Generalife Trust, the
Cervantes Institute and the Topkapı Museum
itself, with the collaboration of the Spanish
Ministry of Foreign Affairs and Cooperation,
the Ministry of Culture, the Spanish Embassy in
Turkey and the Arts Council of the Andalusian
regional govt., this exhibition forms part of the
cultural programme for the 2nd Forum of the
Alliance of Civilisations, held in April 2009 in the
great city on the banks of the Bosphorus, which
continues to be an essential point of reference
for European culture.
Topkapı Sarayı
Sociedad Estatal para la Acción
Cultural Exterior de España (seacex)
Patronato de la Alhambra y el Generalife
Instituto Cervantes
Alhambra-Topkapı Sarayı
Two Palaces in the Photography of a Journey to the Orient
220 – 221
Alhambra-Topkapi Sarayi
Dos palacios en la fotografía del viaje a Oriente
english texts
Javier Piñar Samos
Carlos Sánchez Gómez
Curators of the Exhibition
Meeting places between East and West
One of the most outstanding features of
that part of the world which stretches out
to meet the Mediterranean is its cultural
diversity and the intense contact between its
peoples, evolving historically under changing
circumstances, already on the basis of the
domination of one culture over another
but structured through a balance between
equals. Since the dawn of historic civilisations,
the tension between centripetal or imperial
impulses and the trend towards dispersal
associated with the claim of difference
have marked its historical pace, making
the Mediterranean a setting for meeting,
coexistence or confrontation; an area for
extremely unusual cultural and human racial
mix, which stood the test of time. And it is
possibly this symbiosis between the desire
of each and every one of its peoples for selfaffirmation and the conviction of inhabiting a
world too restricting – where living alongside
one’s neighbour is inevitable and often
enriching – that best sums up that long and
complex history which is our heritage and
which we feel an active part of.
Up until the beginnings of the modern age,
the Mediterranean continued to see itself as
an almost self-sufficient microcosmos and the
cradle of civilisation, defending at all costs its
characteristic of crossroads, connecting all the
North roads with those of the South and East.
The world, however, was expanding in leaps
and bounds: even before the 19th century burst
upon the scene, the Mediterranean area had
already ceased to be the driving force of the
material and cultural innovation which were to
characterise contemporary societies.
This loss of centrality with regard to the
major trends of material and intellectual
progress did not prevent the area from
continuing to play the role of Europe’s cultural
reference point, or at least, of elements of
contrast. From the 17th century the British
institution of the Grand Tour had cultivated
travel to the south of continental Europe,
coinciding with the process of affirmation of the
great national states. Both Britain and France
understood at an early stage that their ruling
classes must confront nations and civilisations
different from their own; and measure and
establish their own identity against others1.
For this purpose, Italy presented itself as an
ideal destination, since it had all the ingredients
for that immersion process of initiation into
the origins of European culture; Rome or
Florence were the roots of western civilisation,
and Venice and Sicily a foretaste and almost
substitute for the Orient, without the need to
venture into that other Orient overseas. At the
same time as a school of government, national
affirmation and worldly culture, the Grand
Tour also constituted an artistic and intellectual
adventure which opened up to Europeans the
wealth of the Mediterranean landscape and
history.
In the 19th century, Rome, Venice or Naples
continued to be indisputable destinations on
cultural trips, however the horizon broadened
and was magnified towards the African and
Asian coasts where the diverse historic
civilisations which had populated that sea
took on a newfound value; civilisations whose
exploits and whose ruins covered even the
tiniest corners of their coastlines. While their
present took a backseat on the stage of the
world’s balance of power, the history of the
Mediterranean was to be rediscovered by
Romanticism, spread by its cultured elite and
plundered by the new liberal powers in its
renewed impulse for expansion.
And it is by virtue of these new cultural
concerns that the East and West reinitiated or
intensified a contact which would prove to be
mutually enriching, although this was far from
being a balanced relationship; as J. Goytisolo
has so aptly pointed out, Islam has traditionally
constituted, for Europeans, a kind of hollow
mould; the West’s negative: that which is
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rejected by Europeans but which constitutes,
in turn, its temptation2. Probably one of the
greatest new features contributed by the 19th
century in this respect was the realisation
that the Orient was something more than
Islam. Both in North Africa and the Fertile
Crescent, travellers attracted by the legacy
of history looked beyond the Islamic surface
which constituted its immediate present in
those territories, to learn of the testimonies
of cultures which had preceded them. In
Spain, in contrast, the worship of what was
eastern focussed very precisely on the art of
al-Andalus, expressed in the Alhambra, the
Alcázar of Seville and the Mosque of Cordoba.
All these constituted splendid testimonies to a
mythical time, archaeological traces which, far
from expressing the dominant culture of the
moment, now deserved the status of antiquities.
The Alhambra, in particular, was to become
a true Romantic sanctuary 3.
Andalusia, however, was located at the
extreme west of a vaster cultural route which
in the 19th century marked out the European
and African coasts of the Mediterranean to
embrace the lands which made up the Ottoman
empire; an empire sprawled across three
continents and a true mosaic of regions which
held the cradle of civilisation and a fair share
of its most outstanding cultural landmarks, from
Egypt and Greece to Jerusalem and opulent
Constantinople.
At the dawn of the contemporary world,
the Mediterranean world could feel proud of
its past, however over its present loomed the
certainty of missing the boat of history. At
opposite ends of that small sea, two ancient
countries lived on, which centuries before had
embodied emerging poles of civilisation and
had fought on its waters and banks: the Muslim
Ottoman Empire and the Spanish Catholic
monarchy. This lengthy dispute for hegemony
had ended in a certain equilibrium; from the 17th
century the Spanish monarchs ceased to be the
hegemonic power and were forced to devote all
their attention to the control of their American
colonial heritage, albeit giving way progressively
to other European powers. The Ottoman
Empire, for its part, put the brakes on its inertia
of expansion and, from then on, was forced to
negotiate a new status quo with neighbouring
powers, losing positions and territories in
Europe and Asia. At the start of the 18th
century, both empires were regionally stable
but a little distanced from the new scenarios
of power and conflict. It was from then on
that Turkey initiated a process of diplomatic
approaches to the rest of the European powers
which, at the same time was a discrete process
of cultural westernisation and administrative
modernisation, spurred from the seat of power.
For its part, the new Bourbon dynasty was
to try to put Spain back on European
coordinates again.
In a certain sense, the protagonism of
both powers had been slowly eclipsed, as
the borders between East and West became
fuzzier and the respective spheres of both
cultural domains – so abstract and so historically
confused – broadened progressively and
turned their back on the Mediterranean. In the
19th century the East was moving further and
further eastwards as European domination was
consolidated on the Asian continent and the
Chinese and Japanese worlds joined the world
stage. The driving force of the West, for its
part, had from the 17th century turned towards
the European Atlantic front, where the great
economic and socio-political transformations
destined to change the world were to evolve.
The true frontier of civilisation throughout
the 19th century moved on to express itself,
really, in terms of social change, political
progress and material growth, not so much
dependent on attitudes to life, religious
concepts or cultural contrasts. Orient and
Occident were to remain in the European
vocabulary as increasingly vague and confused
concepts which had been stripped of their
traditional meaning and were associated
with new content. This is how the West came
to embody the force of change, progress and
present time; as opposed to the East, anchored
in tradition, resistant to change and orientated
to the past. Without doubt, such associations
of ideas determined the way in which European
civilisation saw itself, and on these also
constructed the mental vantage point from
which it prepared itself to observe and describe
the surrounding world.
Spain -Turkey: gateway to the East- gateway
to the West
When a new European map was shaped,
due to the revolutionary and Empire wars,
and the forces of liberalism, nationalism
and industrialisation rapidly and radically
transformed the precarious equilibrium reached
at that time, Spain and Turkey had by then
ceased to be front line players on the world
stage. Neither was at the centre of European
power, nor did they form part of that distant
periphery where the last chapter of the colonial
carve-up between the major powers was to be
completed. In essence, they constituted border
territories where, perhaps in a more dramatic
way, the efforts of many peoples to embrace
modernity were expressed, as well as the
resistance posed by traditional mental attitudes
and respective oligarchies. Over the course of
the 19th century both countries were subjected
to processes of socio-political reform and
similar convulsive reactions, albeit in different
time frames4. As historic empires, they were
both subjected to a great deal of pressure from
emerging nationalist movements, experiencing
the vicissitudes of their liquidation. Similarly,
although with different intensity, Spain and
Turkey suffered economic and technological
dependency on the most dynamic European
powers, although they also borrowed from
them the instruments of progress which were
to modernise their respective societies.
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If something were to thoroughly define the
common history of the two countries over the
course of the 19th century it was the complexity
and slowness of their transformation, which
must needs conquer the resistance opposed by
the respective religious traditions; the autocratic
political models, and a number of social
structures which were hardly egalitarian. Finally,
Spain and Turkey were eventually to become
westernised – in the broadest sense of the
term – albeit through convulsive processes and
not without some setbacks. The difficulties and
delays in constructing an industrial and financial
economy, the successes and failures in the
reform of state institutions, the constant stops
and starts in the sphere of political liberalisation,
and the more accentuated continuing existence
of a traditional society, all in all, were to
mark out tortuous routes along the road to
modernity, making this the definitive substrate
of both countries in 19th century history.
This internal setting had an undoubted
effect on how European travellers perceived
the two countries. In its cultural dimension,
the most superficial manifestations of tradition
(clothes, customs, folklore, ethnic diversity);
all expressions of the vitality of pre-industrial
urban and rural life, provided both countries
with exceptional ingredients which were held
in high esteem by the cultured elite of Europe
and, to a great extent, were to later constitute
elements which would provide a more touristorientated offering. A wealth of monuments
and landscape sums up, on the cultural side, the
past and present of Spain and Turkey during the
19th century, shaping viewpoints and providing
inspiration for the essays and literary chronicles
of travellers of the time.
But the chance to confront the changing
reality with that contradictory and plastic
coexistence between old and new would not
have been possible without the opportunity
to actually make the journey, or the prior
opening-up of the two countries to the
European world. Technical advances simply
provided opportunities and swifter channels
of communication; firstly. the eastern
Mediterranean became more accessible thanks
to the development of steam ships, safer
sea routes and the construction of the Suez
Canal. If the travellers of the Grand Tour rarely
ventured beyond Venice, the romantic explorers
assiduously travelled around the North of
Africa – from Algiers to Cairo – and made
Jerusalem, Syria and Istanbul essential stages in
this trip to the heart of civilisation. Definitively,
the Orient had become closer and more
accessible, facilitating the rapid dissemination
of all its monuments and picturesque views,
coded by Romantic imagination.
A second factor of convergence was the
actual desire of both countries to join Europe.
The period of Tanzimat – made auspicious by
Sultan Mahmud II (1808-1839) and continued
by his son Abdül-Mecid (1839-61), culminating
with the autocracy of Abdülhamid II
(1876-1909) – initiated the Turkish road towards
modernisation; constituting, to a certain extent,
an epigone of the enlightened despotic regimes
which had flourished in Europe decades before
and, like them, suffered from the limitations of
a reformist model with no social change. But
on the material and cultural side it was a first
impulse of westernisation. Although the reign
of Abdül-Hamid II from 1878 was a serious
setback to the political reforms embarked on
by his predecessors, the channels of
contact with the West remained open and
modernisation did not stop. Along these
channels flowed loans, goods and passengers,
but also ideas. In Spain during the reign of
Isabel II, similar phenomena could be seen,
albeit at their own speed. Railway construction;
the appearance of the first banks and loan
institutions; the instinct to mine a rich mineral
heritage; the presence of foreign investment;
all constitute expressions of the peripheral
modernisation common to both countries.
Photography was a truly graphic expression,
in all senses, of these contrasts between
200 – 201
tradition and modernity, as well as the flow
of interests and knowledge which linked the
Mediterranean and European worlds during
the 19th century, bringing them inevitably
together. It must be borne in mind, in this
respect, that photography constituted, in turn
an invention, a product, a new resource of
communication and knowledge; and it is in that
very threefold nature that its cultural and social
significance resides. As a technological resource,
photography constituted an icon of modernity
which becomes rapidly international; the
photographic work of T. Gautier and E. Piot
in Spain, or that of Horace Vernet and Fesquet
Goupil in the Turkish Empire at dates as early
as 1840, testify to the rapidity with which
daguerreotype and calotype spread and
were accepted as native.
Although the professional practice of
photography in both countries began with
foreign operators, many of these settled
there for long periods of time or even
definitively, playing the role of disseminators
of the new techniques and instructors of
local photographers who followed in their
footsteps. In Turkey and, specifically, in Istanbul
the list of these early professionals was
lengthy – the Venetian, Carlo Naya, the Briton,
J. Robertson5 and his assistant F. Beato, the
German, Rabach – which also goes to show the
importance of the city as a photograph market.
In the case of Spain, suffice it to quote names
as mythical in the history of photography as
C. Clifford, L.L. Masson, Leygonie or J. Laurent
himself.
As a tool of knowledge, photography
was to meet a long felt need to overcome
the limitations inherent in the resources of
mechanical representation and reproduction
based on drawing. It was no accident that from
1839 onwards the Journey to the East was also
a photographic journey; the intense use made
of the new medium by the artist, Girault de
Prangey, throughout the eastern Mediterranean,
the photographic expeditions of Maxime Du
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Camp to Egypt, and Jacob Lorent to Syria,
Palestine, North Africa or Granada, bear
witness to the growing value of photography
as a resource for artists, archaeologists or
researchers. They were the executors of the
first photographic interpretations of that exotic
world which still surrounds the Mediterranean;
because its artistic wealth, its history and its
landscapes fully satisfied them, but also because
there the presence of the sun is assured, making
photographic work easier; hence the name of
pilgrims of the sun6.
Taking photographs to see and document,
but also to recall, to show or to entertain. As
regards the journeys to the Orient, widely
differing interests and motivations were to
merge: some inspired by scientific initiative
but most with a definite mercantile slant. In
its dimension of financial asset, photography
was able to generate around itself a growing
industry associated with the portrait and the
description of the world. Travel, as a way of
discovering the exotic, was one of the driving
forces of this new business of pictures, initiating
a genre which was to be widely explored and
capitalised on, as the 19th century advanced.
The driving force behind this demand was
simply a growing curiosity about far flung lands
in a world which was beginning to expand at
a dizzying pace, and to the tune of the new
means of transport and European global
domination. If it was impossible to travel round
it for pleasure – a luxury reserved for the elite
aristocracy and bourgeoisie – photography
was proving itself to be increasingly equipped
to provide a substitute visual spectacle which
was socially more acceptable. As the great
new railway lines and steamboats brought
places nearer and revealed new monument
sites, landscapes and colour, this new trade
democratised a graphic knowledge of what was
far away, and provided the illusion of a certain
ownership of its beauty and rarities.
Whether with one objective or another,
the routes traced across Spain and Turkey by
this legion of foreign and local photographers,
both private and commercial, constitute today a
very precious image of such a singular moment
in history. In them we find huge diversity of
content which expresses the very complexity
of societies in the course of modernisation.
Without doubt, photographic documentation
on monument sites takes precedence over
other subjects, consistent with the aesthetic
proposals of their authors and current
consumer tastes; but this work also acquaints
us with the heart beat of their very streets
and cities, and the variety of its people, albeit
through the prism of a genre photography
replete with picturesque ingredients; these
works talk of a time which already belonged
to the past. However, there is no shortage of
those documents created by the ruling classes
to manifest this will to modernise; collections
such as those contained in the numerous photo
albums produced by the sultan Abdül-Hamid
II to publicise himself to the major powers7, or
the photographic projects commissioned by the
governments of Queen Isabel II to show off the
progress of public works in Spain8, introduce us
to that other present linked to modernisation.
If the images of a timeless Alhambra or the
silhouette of the hill of Topkapı emerging
over the Bosphorus and the Golden Horn
constitute windows on the Orient, these other
photographic documents were designed to be
doors upon the West.
Alhambra-Topkapı Sarayı: two palaces
within the confines of one same sea
The Alhambra and Topkapı are two palaces
with great similarities as regards the political and
symbolic motivations behind them. Constructed
in the 14th and 15th centuries respectively,
both have survived their original function of
citadel-palace-fortress to now constitute a
focus of cultural irradiation and testimonies of
a syncretic civilisation. At the same time, they
have ceased to be exclusively monument sites
to reinvent themselves, moreover, as tourist
destinations.
Conceived from their origins as palace
cities within the city itself, they were built as
clearly delimited areas, isolating themselves
from the surrounding environment with their
walls and confirming their dominant position.
This demonstration of power is based firstly
on the choice of an elevated enclave from
which one can control the surrounding area and
protect oneself, if need be, from this. Topkapı
is built on the Seraglio Point (Saray Burnu),
on the hill where early Byzantium was built;
with the city lying behind it, it exercised visual
domination over the strategic corridor which
joins the Bosphorus and the Golden Horn. The
Alhambra dominates the medina of Granada
from the height of the hill of Sabika and isolates
itself from the neighbouring area of Albayzín by
a sturdy band of city walls which reinforce the
natural flank formed by the valley of the River
Darro.
The desire to dominate is also made
clear by a formal break with the past. In both
constructions there is a will to recreate from
a totally new layout; Topkapı was designed
and constructed on an abandoned enclave
and converted into an olive grove; the Nazrid
dynasty of Granada, for its part, refused to
inhabit the old Alcazaba Qadima, choosing
a new site on the other side of the river and
opposite the city. That back to the drawing
board approach did not, however, prevent
incorporating old buildings or successive
additions to the complex. As opposed to
western models of palaces, conceived as
compact structures and constructed in a short
period, Topkapı Sarayı and the Alhambra
constitute organic structures in which time
has woven and unwoven areas and buildings
which reflect styles, tastes and functions of
very different periods. The complex built by
Mehmed II was to incorporate buildings already
existing on its perimeter, such as the Haghia
english texts
Eirene, a unique Byzantine church in Istanbul
which preserves its atrium intact, this being used
for centuries as an armoury for the palace. In
the Nazrid complex of the Alhambra, from the
16th century, there were notable refurbishments
and extensions, producing, as a result, the
coexistence of styles where later expressions
of the art of al-Andalus merged with the
delicate Renaissance paintings of the Peinador
de la Reina (Queen’s Dressing Room) or the
definitive classicism of the unfinished palace
of Charles V.
unique example, adopting formulas of special
organisation which had already been applied
centuries before in the construction of the
Omeya and Abbasid palaces. In a way, Topkapı
constitutes the gigantic epigone of an extensive
building tradition which also includes the
Alhambra with its own particular identity.
As in the case of the Alhambra, the Topkapı
combined its residential function with the
public dimension of government headquarters
of the Ottoman sultans and their janissaries.
The main entry was through the Imperial
Gate (Bab-I Hümayün), although it had other
secondary gates in the wall itself – the Topkapı
Gate, the Balikhane Gate – and access to
the interior courtyards, such as the Gate of
Salutation (Bab-üs-Selâm), through which one
accesses the second courtyard. The use of
walls and courtyards, as well as the passage
between them through gates or doors is a
way of expressing systems of domination and
functional hierarchies; this spatial arrangement
being another link of identity between different
palace complexes.
The first courtyard was the service area
of the palace and was open to all, while most
of the second courtyard and its buildings,
presided over by the Tower of Justice, were
devoted to the Diwan or Imperial Council,
the headquarters of the Visiers and high
dignitaries. The pavilions of the judges
were located in the Orta Kapi – the official
entrance of the palace, between the first and
second courtyard – fitting with the tradition
that justice must be dispensed at the gates
of the palace. The third courtyard held the
Audience Chamber and the imperial school, an
important institution devoted to training public
servants, this also being the private area of
the sultan, where both the cloakroom and the
imperial treasury and harem were to be found,
the most complex structure of the palace.
This private palace was accessed through the
ceremonial gate known as the Babussaade
or the Gate of Felicity. The complex was
Topkapı
The palace of Topkapı (Topkapı Sarayı) was
the centre of Ottoman power for nearly four
hundred years, in that it was a royal residence
and administrative centre of the Empire from
1465 up to the mid 19th century. Its construction
on the site of the ancient Byzantine acropolis
was ordered by Sultan Mehmed II in 1460
and completed in 1478, although in later
centuries there were numerous extensions and
refurbishments and sporadic fires occurred,
forming the broad array of buildings which
make up the palace, a complex with a total
surface area of 700,000 m2, entirely encircled
by a city wall.
In 1853, Sultan Abdulmecid I (1839-1860)
was to move his residence and court to the
newly constructed palace of Dolmabahçe, a
more modern building and in keeping with the
courtly models of European baroque. From that
date Topkapı continued to serve up till 1909 as
a residence of the harems of previous sultans
and, after the proclamation of the Republican
regime in 1923, the monument complex was
restored and converted into a museum of
the imperial period, a function which it has
maintained up to the present.
The complex – made up of numerous
buildings structured around four courtyards
and surrounded by gardens and pavilions –
was constructed along the lines of Turkish
civilian architecture, of which this is its most
202 – 203
completed with numerous areas for services
such as kitchens, bathrooms, hospital, armoury
and accommodation for military personnel
and their servants.
Alhambra
Construction of the palace city of the
Alhambra began around 1250 with Muhammad
Yusuf ibn Nasr, founder of the Nazrid dynasty,
who was to govern the destiny of the kingdom
of Granada up till 1492. From this earlier period
dates the first complex of palaces and the
fortified perimeter. However, the best known
chambers of the complex were to be built by
his successors, Yusuf I and Muhammad V, during
the second half of the 14th century.
Its functioning as an independent urban
enclave was ensured by the construction of
the Acequia Real of the Alhambra, which
siphoned off water from the nearby River
Darro for irrigation and water supply for the
whole complex. For its part, the defensive
ring reinforced the natural conditions of the
enclave; the Alhambra thus took on the outside
appearance of a great fortress based on a
hillock, flanked to the north and south by river
valleys and protected to the east by the spurs of
the Sierra Nevada. This acropolis, constructed
over the city, maintained a visual and strategic
dominance only disputed by the neighbouring
enclave of the Albayzín, situated on the other
side of the River Darro and the site of the early
Muslim city of the Zirid period.
Merging in with the mountain relief of the
area, twenty or so towers of various types,
functions and characteristics marked out the
walled perimeter, delimiting a complex with
a surface area of around 11 Ha, which held a
small town, a military garrison and a complex
of palaces with their respective amenities.
This triple function defines a structure set
out into major areas; the Alcazaba (military
enclave), the Secano Gardens and the Calle
Real (architectural ruins and testimonies of the
palace city), and what the Christians termed
english texts
Casa Real Vieja (Old Royal House), consisting
of the palaces of Mexuar, Arrayanes, Leones
and Partal, which comprised the palace area
per se. These palaces are ordered around their
respective courtyards and had different uses
in their day; the quarters around the Patio de
los Arrayanes (Myrtle Courtyard) was devoted
to the administration of justice, the office of
State and the ceremonial apparatus, while
those grouped around the Patio de los Leones,
smaller in scale, and more private in character,
were the private rooms of the monarch and
the harem.
Beyond the walled area is a set of
orchards – among which the royal Generalife
stands out – covering another part of the hill.
After the Christian conquest, these extramural
areas were to be used in a very diverse way
– for convents, recreation areas, wood and
wasteland, while a major part of the palace city
was abandoned. The actual royal palaces were
brought within crown property and periodically
maintained and restored, thus ensuring their
survival, although notable changes occurred in
many of their premises as a consequence of
the reorganisation of rooms and their uses, the
unfinished construction of a new royal palace
attached to the Nazrid constructions – the
palace of Carlos V – and their waning
strategic importance. With these and other
modifications, the Old Royal House (Casa Real
Vieja) reached the end of the 18th century
in an unacceptable state of preservation. It
was due to the Napoleonic invasion that the
process of deterioration quickened its pace, as
a consequence of the military use of the site by
the French troops, the blowing up of part of its
fortifications, and the penury of the Bourbon
estate during the first third of the 19th century,
incapable of defraying minimum maintenance
costs. The evidence of this accelerated
deterioration was seen by the first Romantic
travellers who came to Granada in the 1830s,
left recorded in their drawings and earliest
photographic productions.
And it was precisely the growing consciousness
of monument sites and the criticism of many
of these travellers which gave impetus to their
preservation and restoration in later decades,
from which time the Alhambra was to begin
a new return to its most glorious past, which
has as its most relevant episode the restoration
work inspired by or embarked upon by
Rafael Contreras during the reign of Isabel II;
its conversion from royal palace to national
heritage as a result of the revolution of 1868;
the progressive return of areas and buildings
to the monument site, which had been sold
off in previous centuries; and the definitive
impulse towards preservation embarked upon
during the first third of the 20th century by a
new generation of architects, amongst whom
Leopoldo Torres Balbás9 was a key figure.
Thanks to this process the Alhambra
ceased to be a military, domestic and royal site
to become increasingly orientated towards
the concept of museum, a complex subject
for study, and with the essential scale of
contemporary tourist traffic, which has simply
cheapened the paths left by those 19th century
travellers. Neither photography nor travel
guides or books have made the Alhambra
into a monument, however they made an
indisputable contribution to projecting it beyond
its geographical limits: they gave it the status
of an essential sight to be seen and admired,
and placed it definitively within the geography
of tourism, massively augmenting its historical,
cultural and artistic significance.
In the time frame of the history of the
two complexes and in their very configuration
as complex areas of power, there are points
of contact to be seen; clear signs of an
aesthetic kinship made explicit in photographic
images, coincidences in their processes of
transformation into monument sites. Without
doubt, they also have contrasting features; their
own paths which have led them from different
origins and distant locations to an identity today
which is characterised by functional similarity.
The Alhambra and Topkapı Sarayı today
constitute cultural emblems of their respective
countries, tourist sites of the first order and
masterpieces of Islamic and Ottoman art;
but in their beginnings they were the last
architectural manifestation of a world destined
to disappear – in the case of the Nazrid
kingdom of Granada – and the expression of an
emerging power, which had settled in a recently
conquered city. The construction of Topkapı
Sarayı took place at the zenith of Ottoman
domination, exemplifying the desire of Sultan
Mehmed II to create a new palace city in the
heart of the Byzantine city. Topkapı constitutes
an act of affirmation very close in time to that
other act of conciliation whose protagonists
were Boabdil and the Catholic King and Queen
(Ferdinand and Isabella), causing capitulations
which brought the peaceful handover of the city
and the preservation of the lives and estates
of its settlers.
In the centuries to come, both buildings
were to have a divergent route: Topkapı
maintained its identity of a living palace and
heart of an empire up to the 19th century,
periodically renewing its physical appearance
and enriching itself in terms of construction and
décor. With successive additions, the Alhambra
was to cease to be a seat of power and was
only inhabited occasionally by the monarchs of
the Austrian empire; it thus remained an empty
site, trapped in time, where the fragile memory
of its settlers faded over time.
In the 1850s, coinciding with the
abandonment of the Ottoman palace by
the sultan and his court and its move to
Dolmabahçe Sarayı, the Alhambra started to
undergo the first restoration projects, in such a
way that both complexes began simultaneously
to take on the form of emblems of memory
and come together as museum sites along
a common path; Topkapı was to preserve
part of its brilliance and ornateness which it
had maintained up to modern times, serving
till 1909 as the residence of the harems of
english texts
previous sultans, while the Alhambra cast off
the negligence of time and staged a comeback
of medieval splendour thanks to 19th century
restoration work.
At the outset of the 20th century, the
public dimension and cultural and symbolic
functions of both sites were to be definitively
institutionalised. In 1924, after the advent of the
Turkish Republic, Topkapı Sarayı was restored
and converted into a museum of the Imperial
Age, almost at the same time as the architect,
Leopoldo Torres Balbás, began notable
conservation work within the context of a new
administrative organisation of the Alhambra10
which was fully directed towards culture
and tourism.
The different histories of the two
complexes have also marked the very content
they offer today; Topkapı Sarayı is a giant
depository of documents and works of art,
showing the public a tiny fraction of its vast
collections of exhibits of all types (clocks,
armour, weapons, ceramics and glass, imperial
costumes, jewellery, miniature paintings)
collected by the Ottoman sultans throughout
nearly five centuries. In contrast to the
opulence of the furnishings and fittings of the
Ottoman palace, from the Nazrid Alhambra
only one or two objects have been preserved;
its true wealth must be sought in its walls
lined with stuccoes and wainscoting, in the
mocárabe (loop-shaped) and bow and sash
ceiling ornamentation, the columns and arches
which support the fragile structures, the plant
figures, geometric and epigraphic decoration
which covers the skin of the palaces and which,
in the case of the epigraphy, rises to the true
standard of architecture, given its aesthetic
and semantic protagonism 11.
Nevertheless, what 19th century travellers
perceived and what photographers captured
in the fragile albumin papers is nothing other
than the beginnings of a number of changes
which were on the way. If the present of the
two palaces and their differing records as
decadent spheres of power made them hardly
comparable, the orientalist view gave them a
powerfully evocative dimension; more than
the formal similarities, it was the aesthetic and
symbolic interpretations which were to bring
them together.
Without doubt, the Alhambra and Topkapı
share numerous typological features proper
to Islamic architecture, which are manifested
in their conception as complex, independent
citadels in the spatial arrangement of their
different residential units around courtyards,
as well as the resources and decorative
work which cover their walls and ceilings.
But probably a more decisive factor in their
dissemination was the conception of both
palaces as splendid compendia of Islamic art
and, by extension, of eastern art. For travellers
and photographers of the 19th century, the
Orient was present in the ordered geometry
of the wainscoting, the serial structures
of loop-shaped ornamentation, and the
Iznik ceramics, the fine trace of the floral
motifs and the epigraphs painted on stucco;
the Orient is the twist which conceals the
magnificence of a gate or façade; the mystery
of the harem; the continuous movement
between light and shadow. Here also was the
proud cypress tree; the water in its sounds
and silent calm; the garden as a bank around
the house, bringing its scent into courtyards
and chambers. On this surface of sensations
materialised in stone and water, carved wood
and humble brickwork, the imagination of
the traveller may evoke the life of its ancient
inhabitants; the palace intrigues which feed
the imagination of legends. Topkapı and the
Alhambra lend themselves magnificently to
dreaming and the imagination, so close one to
the other, since they contain all the evocative
ingredients that European culture attributed
to the eastern world.
Nevertheless, photographic work on
both palaces is very unequal, both in terms
of volume and subjects represented. In
204 – 205
contrast to the Alhambra, Topkapı Sarayı
was hardly photographed during the 19th
century. Before 1853 it was the home of the
sultan himself, most probably with restricted
entry. After the court transferred to the
new palace of Dolmabahçe and, later to the
Palace of Yildiz, it continued to be a partially
private location, devoted to certain protocol
functions and home to the harems of previous
sultans. Such circumstances could explain
their use as a photographic motif. With the
exception of a few views of their exteriors,
the only systematic report on the complex
appears to be the one commissioned by Sultan
Abdul-Hamid, undertaken by the company,
Abdullah Frères, in the 1880s. In the collection
donated to the US National Library and the
British Museum one finds two albums devoted
totally or partially to Topkapı; the first of these
contains 48 photographs, while the second
has nine, almost all devoted to exhibits in the
imperial treasury12 .
The image of the palace which this small
photographic collection offers us is that of a
ceremonial area, described from a general view
of its pavilions, salons, libraries, courtyards
and access gates; not including, for example
any pictures of the harem, nor is any special
attention paid to recording decorative details.
For this reason, it is a view restricted to the
most public areas of the palace, supplemented
with a selection of exhibits held in the imperial
treasury (manuscripts, weapons, costumes
and thrones).
Beyond this monograph work, the
photographic presence of the palace complex
manifests itself as an essential reference
point in the abundant views taken over
Istanbul – some of which are exhibited in this
exhibition (Robertson, Abdullah) – particularly
from the Galata Tower or the minarets of the
main mosques. The origin of this type of views
is pre-photographic and links up with the
vedute tradition in which there are a number
of key late examples, such as the Panorama de
english texts
Constantinople, pris d’un des minarets de Ste.
Sophie; la litografie, composed by Louis Haghe
from an original drawing by Gaspard Fossati
and published in London in 1852, shows the
walls of Topkapı and the imperial gate near
Saint Sophia, and the first of its courtyards, the
Church of Saint Irene and the gardens around
the palace 13 . Inevitably, the picture reminds us
of the bird’s eye views composed by Alfred
Guesdon in Granada and other cities during
those same years.
The wealth and abundance of panoramic
views made up of several shots linked together
and mounted, form a nexus between the
two palaces and cities. As Romantic drawers
and painters had done decades before, the
photographer, Laurent, used with great skill
one of the best visual resources of Granada:
the possibility of observing it from the
vantage points offered by its acropolises.
Just as Istanbul has privileged vantage points
for observing and comprehending its urban
configuration from the Galata Tower or the
minarets of Santa Sophia, Granada looks
out from the heights of the Albayzín and
the Sabika, the Torre de la Vela (Tower of
the Candle) or the beauty spot of the Silla
del Moro (Seat of the Moor) to capture allembracing images of the monument site and
city pattern, or interior vistas which, like a
mirror, show viewpoints from opposite the
city but taken from the city itself.
Without doubt, Istanbul and Granada
were magnificent settings for this kind of
engrossed view which characterises cities with
interior vantage points, in the same way as
its landmarks and surface textures opened
them up to a broad surrounding landscape,
efficiently reproduced using the resource of
panoramic view. This aim to be all-embracing
and comprehensive stands out strongly in
work where several photographs have been
joined together to provide a view which could
only be seen if the eye of the observer turned
full circle, just as a tripod camera would do.
The first photographic images of the
Alhambra
Granada, offering ingredients of heritage and
folklore which were to be described and drawn
profusely from the 1830s onwards. For some
The eastern route, which is one of the key
years, the city of the Alhambra was frequented
expressions of cultural travel during a significant
by numerous intellectuals, travellers and artists
part of the 19th century, had in Granada and
who like Richard Ford, Girault de Prangey, J.F.
the Alhambra one of its undeniable stopovers.
Lewis, Owen Jones and J. Goury, David Roberts
Although this was the geographical south of
or Barón de Taylor, amongst others, left
Europe, really it formed part of the sensual and
abundant graphic records14.
The universal dissemination of the
colour-rich Orient which fascinated painters,
Alhambra was to be closely related from then
scholars, travellers and, by extension, that much
on to the legends of Washington Irving, the
wider public which adopted the tastes of the
elite and identified with their leisure pursuits. The travel testimonies of Gautier or Dumas, the
Alhambra is the southern gateway to the East, the precise advice of Ford’s handbook, or the
start or finish of many cultural journeys effectively imaginative drawings of Roberts in the guide
edited by Thomas Roscoe15. Shortly after
made, a mirror and summary of the oriental in
that bountiful imagination which it is now possible this, following the sketchers’ route, the first
photographers were to make an appearance,
to enrich with photographic records.
linked to commercial publishing or promoters
Before the first photographers made their
of graphics projects destined for select
appearance in the 1840s, the Alhambra had
minorities. Engraving and lithography were
already been amply discovered by travellers,
to take time in being ousted by photography
writers and artists. They were the first to fix and
but this would occupy a significant place
export – through illustrated guides, sketches and
amongst the images of the Alhambra. Editorial
lithographs – a particular image of the city and
initiatives such as those promoted by Louis
monument, where the romantic and oriental
de Clercq – Voyage en Orient (1859-1860) – ,
vision meet each other; the multicultural legacy
of its history, costumbrismo (a genre dealing with J.A. Lorent-Egypten, Alhambra, Tlemsen,
local customs) and certain folklore clichés then in Algier (1861) – or the Bisson brothers, Choix
d’ornements arabes de l’Alhambra (1853) – are
use. This passion for composing comprehensive
examples which express this trend and confirm
images of the place links up with the vedute
the Alhambra as an essential reference in
tradition associated with English-speaking
photographic travel to the Orient. It is difficult
travellers since the 18th century but varying
to explain the meaning and intensity of later
the focus of attention.
commercial photography of the Alhambra if
The 19th century put the undiscovered
these cultural trends and the practices common
Orient on the fashionable map; its history
to the cultured elite are not considered.
and archaeology, its exoticism, its geographic
Judging by the environment in which the first
uniqueness, and the desire for knowledge and
photographs were created, one must consider
appropriation which fuelled colonialism in the
this early work as heir to a theme-based
making, was a powerful influence. And the
tradition, although profoundly revolutionary
fashion of travel to Egypt, Algeria, Syria or
as regards its technological uniqueness and
Jerusalem advised starting in the south of Spain,
the way of representing the light, space and
a stopover point between Europe and the
Orient, where the traces of Muslim history were facade of the monument. They are impregnated
by the discovery of the Orient but also by
a well-documented precedent and certainly
accessible. In this kind of frontier, hybrid area was the changing appearance of the Alhambra,
english texts
subjected for many decades to a profound
restoration process of its most emblematic
rooms. The photographic images sometimes
show the extent of these transformations, but
their field of vision was to centre obsessively
on the restored areas and the list of ambiences,
courtyards, and large rooms produced by prephotographic records.
The starting point of photographic work
on the Alhambra was extremely early on. In
November 1839, three months after the official
announcement of the discovery of photography
in the French Academy of Sciences, the
Parisian optician and publisher, Nicolas-Marie
Paymal Lerebours (1808-1873), started up
his project of collecting views of the world’s
most important cities and monuments, the
most singular characteristic of which was the
use for the first time of the daguerreotype
as a source of illustrations. The argument of
veracity constituted a radical new feature,
consistent with a growing demand for realism
in representation. Gautier himself, around
that time, had already criticised the lack of
proportion inherent in artists’ views – referring
particularly to the Alhambra – and warned
about the contrast between the direct
view of spaces and the unreal sensation of
magnificence encouraged by artists: “The British
engravers and numerous artists who have
been published on the Patio de los Leones
provide only a fairly incomplete and very false
image: almost all of them lack proportion,
and with the overload required to give an
idea of the infinite details that makes up
Arabic architecture, you are led to think of a
monument of much greater importance”16.
In line with the criticisms expressed by
Gautier, all expectations and new features of
the time came together in the novel project
of Lerebours: the desire for knowledge of
the world and the taste for the representation
of objets d’art, the demand for precision
in representation, the creation of a graphic
encyclopaedia able to disseminate en masse
the image of the far-away from a set of
authentic works: lastly, the assumption of new
technologies at the service of picture publishing.
The commercial opportunity gave the
project major impetus, and the Excursions
Daguerriennes began to be published in
instalments from1842 onwards17. For this very
purpose the geographer, archaeologist and
librarian, Edmond F. Jomard, resided in Spain,
from 1842 to 1844 to compose a set of views.
Only three pictures were finally selected for
the work, out of the many he had to take:
the Seville Alcázar and two Granada motifs
(the Courtyard of the Lions and a view of the
Alhambra taken from the Albayzín).
The pictures in the Excursions daguerriennes
have more value for what they advertise
that what they actually show. Really, they
disseminated an image of Spain which was
rare, a true contrast to the abundant and
colourful productions on the subject produced
by the British and French artists during the
previous decade. This early quasi photographic
advance was simply the announcement of a
phenomenon which was about to appear;
and it would not be long. Jomard-Lerebours’
pictures are therefore material of transition,
a hybrid production which links a pictorial
past with a photographic future. But they do
so, centred around the same themes: the
attraction of the far away, the taste for the
cultural and ethnic picturesque, the fascination
with the East and what was eastern in Granada
and Seville, and with identical objectives – simply
to produce visual products orientated to a
clearly growing public.
The imaginary journey offered by the
publishing houses was thus the driving force
of the first photographic productions, giving
birth to a genre which was to be explored and
exploited to satiation as the century progressed.
Photography did not invent travel or recording
ancient buildings, but it was quickly to become a
powerful instrument at the service of publishing
requirements, and an effective ally of leisure
206 – 207
and erudite practices. Perhaps the best example
of these times of change is exemplified by the
famous French artist P. J. Girault de Prangey
(1804-1893), who did not hesitate to use
daguerreotype in his journeys through the
Orient, composing more than a thousand
plates on architecture between 1842 and 1844.
As a kind of recognition, the title of one of
his finest books of drawings – Choix dórnaments
Moresques de lÁlhambra, composed by
chromolithography and published in Paris in
1841 – was to be used as an inspiration for
a work with a very similar title, published
by Bisson brothers twelve years later; in it
the brilliant colours of the plates have been
substituted by discrete positive photographs on
salt paper, constructing with them one of the
first books published with photography18.
Nevertheless, Lerebours was not the first
to start building up the photographic image
of the Alhambra. Shortly before the arrival of
Jornard, Théophile Gautier (1811-1872) himself
had travelled through Spain in 1840 with the
aim of composing a set of articles for the Revue
des Deux- Mondes, one of the period’s most
prestigious travel publications. In his wanderings
he was accompanied by E Piot, carrying in his
luggage the first daguerreotype cameras which
had reached Spain, undoubtedly with the
intention of graphically documenting the places
they had been together. The incidents which
arose with the customs officials, due to the
strange appearance of a machine never seen
before, are well known; not so the photographs
which must have been produced throughout
the journey, never published and probably
lost for ever19.
The history of these pioneers is thus
initiated with the early reports by Gautier,
destined for a travel magazine, and Lerebours’
earlier mentioned editorial initiative,
i.e. with products made for their public
dissemination. But these beginnings may
lead to misunderstanding; really, not all the
photographers in the Alhambra during the
english texts
1840s and 50s had explicit commercial interests,
and many did not even seek to advertise their
work. John G. Crace, for example, did nothing
more than compose a small album for private
consumption which included three pictures
of the Alhambra, of which he only published
one20. The erudite Gustave de Beaucorps
took photographs, acquired others and even
lent them out so that Gustavo Doré could
use them to inspire some of his drawings,
but did not actually publish them. Nor did
Alphonse De Launay (1827-1906), author of
a brilliant report produced around 1854. For
its part, the Spanish collection composed by
E.K. Tenison around 1851 became an album
for private use and was only sold through the
company, Blanquart Evrard – a small fraction
of the photographs taken on his long Spanish
journey. Lastly, little or nothing is known of
the production and distribution of pictures
of the Alhambra by photographers as early
as E. Pec, P. Loubère, Falanpin or P. Marés.
In contrast, we could classify the studies
mentioned by Louis de Clercq or Jacob A.
Lorent, who took pictures more from passion
and erudition than for professional reasons, as
belonging to a discreetly commercial sphere,
although they made public a part of their work
through limited editions of albums and artistic
collections. They both constitute exemplary
models of photographic practice linked to
travel to the East, due both to the extent of the
geographical area they covered and the public
dimension of their work.
Louis de Clercq (1836-1901) was
fundamentally a traveller and archaeologist who
used photography as a documentary resource.
In 1859 he made an expedition to Syria and Asia
Minor, influenced by the archaeologist Melchior
de Vogüé, and accompanied by a historian
of castles from the time of the Crusades. In
December of that year he travelled to Egypt
and on returning to Europe passed through
Spain and photographed Granada intensively.
In contrast to other travellers, Granada was
not for him the gateway to the East, but rather
the happy ending to the journey. In May 1860
he signed the visitors’ book in the Alhambra,
devoting his time to taking pictures of the usual
rooms, and composing a set of panoramic
views of the city from the Torre de la Vela
watchtower, which are very early examples
of this technique and, without doubt, the
best of his contribution: the Albayzín from
the Torre de la Vela (from two together); a
view of the southern edge of the town, with
Torres Bermejas in the foreground (2 prints)
and a large panoramic view of the town centre,
mounted from four shots. With the pictures
taken during the journey he composed the
album, Voyage en Orient, 1859-1860, villes,
monuments et vues pittoresques, reccueil
photographique, made up of six major volumes,
of which the last was devoted to Spain, and
particularly to Granada. The author’s circulation
was only 50 copies, so the work must have
been little disseminated, restricted to the
erudite milieu and specialised institutions, such
as the Societé Française de Photographie,
where he exhibited his Spanish photographs
in 186121.
Jakob August Lorent (1813-1884), North
American by birth but resident in the German
city of Mannheim, travelled more intensively
and over a longer period than L. de Clercq
and had undoubtedly greater training and
photographic sensitivity – the product of a
continuous and methodical practice with this
milieu. He was not, however, a professional
photographer in the strict sense, although
he did participate in numerous photographic
events. Lorent personifies the prototype of
the erudite, cultured traveller who spread
the knowledge of the famous sights he visited
through exhibitions and publications.
From 1853 he embarked upon photography
and took part in numerous European
competitions with materials obtained on his
travels, and was appointed member of the
Societé Française de Photographie in 1858. From
then on and up till his death, his passion for
travel (Venice, Greece, Egypt, Nubia, Turkey,
Syria and Palestine) and for travel photography
was never to leave him. At the close of 1858
one of these exhibitions led him to the south
of Spain and Algeria, from where he returned
before June 1859. In Spain the only things that
interested him, judging by the rich collection of
graphic material produced on these, were the
Alhambra and in it the Patio de los Leones
and Patio de Comares.
There is nothing in Lorent’s Alhambra
pictures which could remind us of a
photographer who proposed to take pleasant,
conventional views of the place he visited.
More interested in ornamental motifs than
buildings, most of the thirty pictures taken
in the Alhambra have as a motif the parietal
decorations, approached through close-ups.
Beyond this collection and the inevitable views
of the whole site, the rest of the photographs
appear to be approached as exercises which
capture the light of the monument, a challenge
which he tackled with notable rigueur and
skill, judging by the complimentary comments
received by some of his photographs exhibited
in the Societé Française de Photographie. The
public impact of Lorent’s photographs does
not lie in the subject matter, not particularly
alluring for a non-specialised public, but rather
in the channels his work was circulated in,
as a result of his periodical involvement in
exhibitions and bibliographic publishing. In 1861
he was to publish six of his finest pictures of
the Alhambra in the work Egypten, Alhambra,
Tlemsen, Algier22, which was the first book of
photography with direct photographs of the
building.
Apart from these photographs for very
select clienteles, the real circulation of
photographs of the Alhambra up till the 1860s
was the work of professionals with explicit
commercial interests, i.e. people whose income
came from photographs for the public, by either
selling them to publishers, composing albums
english texts
directly and by commission, embarking on
institutional projects or depositing collections
in branch organisations. This is the case of
Leygonie and Masson – both living in Seville –
or J. Pedrosa, one of the few Spanish
professionals of the early period, to which
groups we should add the stereoscope work of
Charles Soulier (1857), or the also stereoscopic
images by Carpentier and the professionals sent
by the company, Gaudín (1858). This pioneer
edition, in its commercial sense, reached its
zenith with two renowned photographers:
Charles Clifford23 and Robert Peter Napper24,
major references for the contextualisation
of Laurent’s work.
Although Charles Clifford was not the first
to record the monument photographically, he
may be considered as the great artifice of what
must have been the most widely circulated
photographic views of the Alhambra. The
value of his work lies both in his undoubted
professional merit, and in having established
a particular way of selecting and coding what
was picturesque in monuments – broadly
exploited by photographers who followed
him – and in the international circulation his
photographs, thanks to the composition of
numerous albums and his prestigious European
clientele. The inheritance of Clifford – 80
photographs of the city and its heritage – brings
to an end a photographic period for the
Alhambra which concludes symbolically with
the royal visit of 1862, at the same time as
providing a photographic summary of one of
the most dynamic stages in the consolidation
and public dissemination of the monument,
both areas in which the personality and activity
of the interior decorator, Rafael Contreras,
made themselves patent. From then on, the
international image of the Nazrid monument
was to be consolidated photographically with
the images of Clifford, and iconographically
defined by the restorations tackled by
Contreras in the Palaces of Comares and
los Leones.
The photographic discovery of the Alhambra
and the elitist use of Clifford’s work could
be considered at an end in the 1860s, once
the pioneers were progressively substituted
by manufacturers of stereoscopes and the
major photography companies. The former
had selected a number of subjects which the
latter were to exploit intensively, centring their
attention on the restored areas of the building.
J. Laurent - Abdullah Frères - Pascal Sebah: a
new generation of commercial photographers
As has already been mentioned, the
photographic work on Topkapı Sarayı during
the 19th century is limited; not so commercial
photography on Istanbul, which is extremely
abundant and involves key names amongst
its authors. In the sizeable list of commercial
professionals worthy of note, living in the city,
is the saga of the Abdullahs and the figure of
Pascal Sebah, whose work is the counterpoint
of what was done by Laurent in Spain. The
proximity in time of their respective professional
careers, their similar conception of the
photographic business and the high technical
standard of composition in his work make these
photographers the most significant interpreters
of the international image of Istanbul and
Granada.
The photographer and French
businessman, Jean Laurent (1816-1886), did
his most relevant work in Spain, residing
in Madrid from the end of the 1840s up
till his death. Around 1856 he opened his
photographic studio, adding to it an auxiliary
sales outlet in Paris a decade later, from
where his images of Spain and Portugal began
distribution all over the European market.
The markedly commercial approach of his
production, held in a large archive and offered
through catalogues published regularly, made
his photography business the one which most
contributed to disseminating Spain’s image
208 – 209
in Europe over the second half of the 19th
century. After his death, the archive continued
active under the management of many
different owners, this being later acquired
by the Spanish state 25 .
This photography firm was an excellent
example of a company producing and publishing
photographs and one which adopted decidedly
industrial methods of production, diversification
of products on offer, and a broad network of
sales distribution. Over the course of thirty
years of uninterrupted activity, Laurent and
his partners, suppliers and assistants obtained
thousands of view of Spain, forming an
exhaustive and extremely valuable archive
which was the basis of their photographic
editions using developed paper and the printing
medium. The weight of this firm in establishing
the iconography on the Alhambra is justified
by the enormous dissemination of Laurent’s
work and because his production on the
site may be considered as the broadest and
most systematic of all studies produced by a
foreign photographer; this value is conferred
by the more than 300 plates composed on the
monument and the richness of his nuances
produced in a series built up over the course of
a long period from 1857 to 1887.
After Laurent’s death and the demise of
the company run by Laurent’s stepdaughter
and son-in-law, his photographic archive
continued active in the hands of successive
owners, in such a way that the legacy of
Laurent in the transmission of local iconography
long survived its original creator and was not
reduced to the albums and laminas produced
in his workshops. As a photographic archive
it was to be very much used from then on in
postcard publishing and as a graphic medium
for numerous monograph works and periodical
publications. The most widely disseminated
image of the Alhambra was therefore to
remain associated with Laurent’s particular
view. Although other collections made later
by local photographers – Charles Mauzaisse,
english texts
Rafael Garzón, J. G. Ayola, Señán and González,
and Linares26, among others – as abundant or
more so than those produced by the Madrid
firm, they never achieved equivalent projection
abroad. Laurent had the virtue of being the first
in publicising a series of views on the city and
its most emblematic monument, which were
to become classics; and just as the colourist
illustrations of David Roberts, the ambiences
and lithographic details by Girault de Prangey,
or the folkloric and expressive Gustave Doré
nourished a romantic and rather exotic view
of the place, Laurent’s photographs opened
up and moulded a different way of viewing and
admiring the Alhambra and the landscape it
is part of.
The volume and contents of a collection
of these characteristics must be explained
in close association with the uniqueness
and identity of the Alhambra as a subject
of photography, along with the eminently
commercial focus of a company devoted to
producing pictures. Laurent forms part of this
new generation of professionals which enters
into commercial exploitation of earlier visual
findings. His work inherits from Clifford the
ambition to produce a comprehensive list of
monuments of all Spain, however the dizzying
pace of the photography business now defined
a new scenario, where this work had to
compete with the extensive Spanish collections
made by French stereoscope companies and
other major European publishers.
Between 1860 and 1880, when Laurent
was producing at full tilt, British and French
companies such as Lévy, F. Frith, G.W. Wilson
or J. Valentine composed and marketed
extensive Spanish collections; and it is by
virtue of these major operators that the image
of the Alhambra – an essential motif in any
decent archive – entered the great international
distribution circuits. This new sales context was
to justify Laurent’s need and ability to produce
from one same photographic subject a number
of different sales products (stereoscopes,
pictures on cards of different formats, positive
copies in 27 x 36 cm format, authors’ albums,
printed productions), adapting through this to a
changing market, and taking on board the new
applications and possibilities of photography.
In any case, the images referring to the
Alhambra constitute a tiny fraction of a sizeable
archive of photographs of almost every
Spanish province, and reproductions of works
of art from numerous galleries. To be able to
organise such a vast collection and facilitate the
identification and acquisition of specific exhibits,
from a very early date Laurent organised his
fonds into several sections or series, publishing
sales catalogues and unequivocally identifying
negatives and their corresponding prints
through an enumeration which today is truly
valuable as a dating method. Although we know
this numbering was used at least from 1863, and
appears this way in many positives through ink
printing on the back of the photograph, the
numerical classification was not used generally
until the catalogue of 186727, a time at which it
began to appear in print along with the title of
the photograph on the card in the bottom lefthand corner of each positive.
Before that date, the non-existence of
numbering or even the title on the back made
it difficult to identify, forcing one to recur to
the notes on the back of the paper, or to
a comparative analysis with later versions.
Apart from these very early examples,
the photographs by Laurent’s studio are
unequivocal, precisely due to the coding linked
to the picture, a features which makes it similar
to other European studios who also used this
procedure – such as Frith, Lévy or Valentine –
and differentiates it from a significant number
of contemporary Spanish professionals such
as Masson, Clifford or Mauzaisse, who never
organised their work numerically.
Clearly these classification procedures
became essential for correctly handling an
archive of very voluminous views, marketed in
many different ways, amongst which the sale
of individual copies was usual. To make
circulation easier, in their Madrid and Paris
studio Laurent’s company used a collection of
sample albums or “Carnet d´échantillons” to
show clients the collection and make it easier to
select the pictures being ordered. The sample
album in the Madrid head office in 1873 was
composed of 32 volumes which were to grow
in the following years28.
A second additional tool which made it
easier to market copies was the periodical
printing of sales catalogues, published in
both Madrid and Paris. Up till the beginning
of the 1870s Laurent made at least three of
these on views of Spanish monuments and
towns29, although he also began others of a
more monographic nature (reproductions of
paintings, portraits, exhibits from the Royal
Armoury). Although the 1872 catalogue
included a significant proportion of the work
on the Alhambra, in the years to follow a large
number of photography expeditions had to be
embarked on and classified. These expeditions
centred on provinces destined to close gaps
in the collection, update old shots and offer
the most extensive possible photographic
repertoire on Spain. As a result of this work
the archive was increased substantially and
it became possible to produce a much more
complete and systematic sales catalogue,
conceived as the highpoint of Laurent’s
professional career, at the same time as a
tool usable for other purposes. In 1879 he
proceeded to publish the catalogue under
the name Guide du touriste en Espagne et en
Portugal ou itinéraire à travers ces pays, au point
de vue artistique, monumental et pittoresque,
replacing the more classic title used in his earlier
versions. The new title concealed the fact that
in reality this is a catalogue of photographs and
fully illustrates the aim of stimulating the visual
journey around Spain. This intention is even
more explicit in another edition at the same
time – Nouveau guide du touriste en Espagne et
en Portugal. Iitinéraire artistique – which now
english texts
contained introductions and texts by his sonin-law, A. Roswag, as a supplement to the lists
of photographs.
In line with this new sales strategy, this
ordering of his catalogued photographs was
not limited to providing and circulating a
mere collection of photographic products
on sale and an unconnected list of views
available for purchase. It also aimed to show
understandable places through a report built
up within a consistent photographic collection.
The presentation of the titles takes on a certain
literary construction, as if it were a guide to
famous monuments; the country is divided into
regions and the views are grouped by provinces.
In places such as Granada, where his production
was very extensive, the materials were
structured into major groups (outside views of
the old Arab palace, interiors, views of the city)
with their corresponding sections, attempting
to reproduce on paper the real sequence of
an organised visit to the courtyards, palaces
and halls. These topographical units made it
possible to locate images which were related
thematically or historically, although they would
have been produced at different times. At the
same time, it became possible to enrich this
graphic discourse by inserting materials from
the A and B series (reproductions of painting
and objets d’art), part of which had been
obtained in Granada itself (the gazelle jug, the
foundation plate of the Marístán hospital) or in
Madrid galleries and collections (lamp from the
Alhambra mosque, sword and helmet belonging
to Boabdil).
This ordering without doubt made placing
the desired images easier and constituted a
versatile instrument for the composition of
albums of a more personalised nature which
could be offered to a varied clientele with
diverse tastes and training. An example of
this is constituted by the album on Spain,
commissioned by Abdul Hamid II in the 1880s
and produced by Laurent’s firm. This album Is
currently to be found in Istanbul’s university
library as part of the collection of European
albums made by the sultan; it contains 102
photographs of Spain, six of these of the
Alhambra in Granada and the remainder of
Islamic monuments in Cordoba and Seville.
This indicates the buyer’s preferences in
subject matter and aesthetics and its nature
of made-to-measure work composed for a
specific client.
Maintaining a commercial archive of this
scale required updating the shots periodically
to include new views, substituting other poorer
ones or replacing worn-out negatives. In this
regard one of the most salient features of
Laurent’s collection on the Alhambra is the
broad span of time it covers, since he was able
to create and update it periodically through
acquisitions from other professionals over the
course of several visits to the city between 1857
and 1887, made by Laurent himself or entrusted
to assistants and collaborators. Between the
two dates there were updates of already made
takes and additions of new subject matter,
probably required by changing tastes, the
demands of the photography business, and the
type of iconography needed at any given time.
If the initial collection appears to be
made up of stereoscopic views, at the start
of the 1860s Laurent made his first attempts
at recording monuments using large format
plates. It was at the start of the 1870s when he
tackled a substantial extension of the Granada
series – with the Alhambra as almost the
exclusive motif – at the same time as having to
update old takes. In the 1880s, the company
proceeded to complete the collection devoted
to the Alhambra-Generalife in some detail
and introduced numerous views of other
monuments and urban areas of Granada,
unusual subject matter at that time and
probably motivated by the beginning of picture
publishing and the suitability of having a broader
range of pictures of the town.
Producing and reproducing the archive over
such a long period of time gave the collection
210 – 211
a major unique feature, since one can perceive
through it the passage of time. All the images
are a creative act but also the recording of
a precise moment in the history of a place,
capable of providing very useful information
on elements and details nonexistent today
or radically altered. The uniqueness of many
of these photographic documents on the
Alhambra resides both in the innate quality
of photography, in faithfully representing the
landscape of the palaces, and in the diachronic
dimension of the collection, which makes it
possible to observe one same area at different
times, providing a valuable visual testimony of
the transformed monument.
Since the 1850s, a part of the memory of
the Alhambra has been imprinted in old photos;
through them one can reconstruct some of
the important operations of architectural and
decorative restoration which were tackled in
those decades and which contributed, with their
hits and misses, to preserving the monument
and handing it down to future generations. Fairly
extensive projects – in the Patio de los Leones,
the Tocador de la Reina gallery, or the Patio del
Cuarto Dorado and façade of Comares – there
are a sequence of images through which it
is possible to continue the evolution of the
works and explore the way in which they were
approached. This uniqueness brings in a very
valuable documentary aspect work of Laurent’s
work, although probably far from the intentions
of the photographer, who only aimed to offer
to his clientele new, improved or renewed
frames of views which had been successful
in his catalogue. Due to this, the collection
includes numerous apparently repetitive shots,
taken from an identical viewpoint, but made
at different times. A unique image is an instant
frozen in time, however a collection made up of
successive takes describes to us a sequence of
change, providing an undoubted additional value.
Another of the most interesting aspects of
the collection is the profusion of photographs
which reproduce details of plasterwork, capitols
english texts
and other details which excellently sum up
the decoration characterising the monument
in such a unique way. With this work Laurent
made a significant approach to one of the most
interesting aspects of the Alhambra, since a
fair part of its faces are covered by decoration
in foliated forms and geometrical shapes, as
well as allegorical and poetic inscriptions in
Kufic and italic characters which are added to
other enveloping ones such as the plinths and
glazed ceramic paving, loop-shaped (mocárabe)
domes, and ceilings with bow and sash
ornamentation, offering a fascinating image for
its exuberance and richness of composition.
The narrative aim of Laurent’s photographic
production on the Alhambra – made explicit in
the reports on his main visits and the subject
and topographic ordering of the fonds – is
supplemented by these images with the
precision of scientific reproduction, making
clear that his approach was not limited to
describing in general terms the architectural
and decorative splendour of a culture which
had been extinguished, but to provide an
inventory of forms and materials, architectural
areas and units, and with a certain degree of
precision; numerous plates of details include,
for example, a metric scale reference next to
capitols and reproduce details little known up
till then. This photographic eye, attentive to
detail and a precise inventory, does not appear
to be directed at fascinating the traveller or
entertaining the tourist but rather at assisting
historians or proposing elements of reflection
for archaeologists or art critics. And it is in these
approaches to detail that the documentary
angle of the collection can be seen more clearly.
A last aspect to underline in the collection
is the interpretation of the Alhambra’s urban
setting, designed from panoramic views,
picturesque elements, objets d’art and the odd
architectural and environmental reference.
As has already been pointed out, the central
theme of Laurent’s Granada series was the
Alhambra and 75% of the photographs he took
in Granada are centred on this. A significant
proportion of the views of the city are in fact
conceived as a setting upon which the hill of the
Alhambra is positioned, or as a location from
which it may be seen, admired and understood
in its entirety. For this reason the brief
references to the city must be sought in a series
of panoramic views around building which are
also spectacular examples of photographic
composition. Similar to the great panoramic
view of Seville, produced from seven plates, in
Granada he produced four fine samples of this
type of composition30. All deserve praise for
the display of technique and aesthetics, at the
same time as being an explicit overview of the
mountain relief and urban landscape which is
the monument’s setting.
Amongst the remaining photographs, the
ones which stand out are the views shot close
to the hills, slopes and terraces which make up
the relief of the Darro valley, whether taken
from the walls of the Alhambra or the areas of
the town lying on the opposite side of the river.
This Sacromonte hill, full of prickly pear trees,
like no other witness, illustrates the expressly
frontier nature of the Alhambra, located in the
orchard which feeds the river and the Acequia
Real (irrigation system), in contrast to that
other skin which envelops part of the hillocks
of the opposite slope, covered with pitas and
prickly pears, announcing the closeness of the
desert and the drought which characterises a
fair part of the south of Spain. And it is from
this vegetation that the onlooker may discover
the hills of Granada; the river valley which
cleaves through the city, dividing it in two; the
contrast between the acropolis of Albayzín and
the Sabika, and that other, modern town which
merges in with the flat horizon of the meadow
or unfurls in search of the banks of the Genil.
Just as in Italy or Spain, the flourishing
tourist market was the driving force behind the
numerous photographic studios which opened
up in the main towns of the Ottoman empire,
particularly in Istanbul, whose cosmopolitan
rue de Pera became the photographers’ street31.
This avenue was the most westernised area
of the capital and was frequented by a large
number of foreigners, with many of the
embassies centred there, as well as numerous
theatres, restaurants, places of entertainment
and European-style boutiques. For that reason,
it was the best location for photo studios, since
it was a passing place for tourists and contacts
with the European world. Of the dozens of
establishments of this type which coexisted
in this street over the course of the second
half of the 19th century, we should mention
Nikolai Andreomenos (1850-1929), the Swedish
photographer Guillaume Berggren (1835-1920)
and, particularly, the businesses of Abdullah
and Sebah.
The three brothers of Armenian origin,
Kevork, Vilchen and Hovsep Abdullah32
set themselves up as photographers in
Constantinople in 1858. Two years earlier the
German chemist, Rabach, had opened his
Studio in Beyazit and Vichen had started with
him in touching up photos. When Kevork
returned to Venice where he had studied, the
three brothers bought the photographic studio
from the German and remained there till 1867,
moving then to the Grande Rue Pera, now the
avenue Istiklal, where they were to set up the
new business under the trade name of
Abdullah Frères.
In this studio they trained numerous
apprentices and the name of the company
appeared from then on associated with the
recommended route round Istanbul in the travel
guides. The secret of their success was precisely
in the careful detail of the touching up and in
the quality of collodion used in the emulsions,
able to contribute a high degree of fine quality
and a major balance of light in positives on
paper. As a result of their portrait of the Sultan
Abdulaziz in 1863, commissioned by the German
emperor, they were to be appointed official
photographers of the Turkish court, a status
which was confirmed by the sultan’s successor,
english texts
Sultan Abdulhamid. From then on they were
to become the official portrait photographers
of all the European sovereigns who visited
Turkey, and in 1867 they took part in the Paris
exhibition, exhibiting diverse views of Istanbul
in the Turkey pavilion. Both their portrait work
and the production of an extensive collection
on monuments and ambiences of Istanbul were
to give them a high degree of international
recognition.
Their commercial business was bolstered,
moreover, by official commissions; probably
the greatest of these was the project conceived
by Sultan Abdulhamid II, who commissioned
a gigantic photographic collection on the
Ottoman Empire, with the aim of publicising
it amongst the major powers. With this aim,
the Abdhullah studio composed a significant
part of the collection of photographic albums
presented by the sultan to Germany, Britain,
France and the United States. At least two of
these collections – the British Library and the
Library of Congress – have been preserved,
constituting a gigantic panorama of Turkish
monument heritage and a chronicle of the
modernisation of the country.
Nevertheless, it is probable that at some
time in the reign of Sultan Abdulhamid II the
Abdullahs fell from grace in the eyes of the
palace; in 1886 they opened a branch in Cairo,
where Kevork worked till 1895, when they
returned to Istanbul to found another studio,
but of lower standing, and resolve many
economic problems. Shortly afterwards, in
1899, they sold the business and archive to
the photographic studio, Sebah and Joaillier, a
fact which later led to confusion between the
productions of the two studios, since pictures
by Abdullah Frères were marketed under the
name of Sébah et Joaillier.
Pascal Sebah (1823-1886) was another of
Istanbul’s great commercial photographers.
In 1857 he opened his studio in Pera, in
association with the Frenchman, A. Laroche.
As in the case of the Abdullahs, he combined
public and private commissions: photographs
of monument sites with scenes of streets
and trading, offering photographs of both
Istanbul and the most attractive enclaves of the
empire. His work was to be characterised by
a high technical standard, based on balanced
compositions, control of lighting, attention to
detail, and very careful printing. In 1873 he took
part in the Vienna Exhibition with an album of
different types of popular Turkish costumes
which was awarded a gold medal. It was in that
same year when he moved to Egypt, where he
kept a studio open till 1880. On his return to
Istanbul (1884) he joined forces with the French
photographer P. Joaillier, creating the firm,
Sebah et Joaillier, active up to the start of the
20th century. On his death he was succeeded
212 – 213
by his son, Jean, who continued the association
set up and taken over by the Abdullahs. After
the withdrawal of Joaillier, who returned to
Paris in 1900, Jean Sebah was to continue
running the studio, associating himself in 1910
with H. Iskender and L. Perpanyani, who widely
marketed the photographic fonds of Sebah
and Abdullah up to the mid 20th century. The
studio closed definitively in 1952 after 95 years
of uninterrupted business.
This magnificent set of professionals,
through small and infinite elements of light,
created a whole imaginary universe of light
which was to act as a driver for mutual
knowledge between peoples and societies,
up till then distant from each other. The
fruitful relationship between orientalism
and photography did something more than
construct visual testimonies of the most
immediate present; it shed light on the past
of Mediterranean civilisations, in such a way
that a technological resource closely linked to
modernity was also an instrument for revealing
and disseminating a complex history. There is
no understanding without knowledge; and a
part of that knowledge is deposited in our own
visual heritage. Looking to the East through
these other photographic eyes, suspended
in time, constitutes today a kind of interior
journey and an invitation to reflect upon a
shared inheritance.
english texts
1. See de seta, Cesare,
"Avant la photographie",
en zannier, Italo, Le Grand
Tour in the photographs of
travellers of the 19th century,
Canal Éditions, Paris, 1997
2. goytisolo, Juan,
De la Ceca a la Meca,
Alfaguara, 1997, p. 17.
3. See requejo, Tonia,
"La Alhambra en el Museo
Victoria & Albert. Un
catálogo de las piezas de
la Alhambra y de algunas
obras neoNazrides",
in Cuadernos de arte e
iconografia, vol i - 1. 1988.
4. See martín asuero,
Pablo, "España -Turquía,
1700-1923, caminos
paralelos hacia la
Modernidad", Revista
Cervantes, 5 (2003)
5. See öztuncay, Bahattin,
James Robertson: pioneer
of photography in the
Ottoman Empire, Istanbul:
Eren, 1992
6. zannier, Italo,
"Photographers in the
places of the sun", in
Le Grand Tour in the
photographs of travellers
of the 19th century,
Canal Éditions, Paris, 1997
7. In 1893, Sultan
Abdul-Hamid (1842-1918),
an avid collector and
promoter of photography,
made a donation to
the American Library
of Congress of a huge
collection, made up of 1819
photographs contained
in 51 large format albums.
An identical set of albums
was also given to the
British Museum, now held
in the British Library. The
albums of the sultan must
have been designed as a
propaganda portrait of
his empire, directed at
the western audience, a
significant proportion of
his photographs containing
explicit references to
the modernisation work
undertaken by the rulers;
through his albums
parade institutions such
as law schools and fire
departments. Others,
in contrast, include
photographs of the
Sultan’s residences, his
horse and yachts, as well
as famous monuments
– mosques, churches,
museums, fountains,
palaces – of the Ottoman
and Byzantine periods.
Most of the photographs
of the collection are
signed by some of the
most important ottoman
photographers of the
period, such as Phébus,
Abdullah Frères, Ali Riza
Pasa, and Sébah et Joaillier,
who must have composed
these at different times over
the course of the 1880s.
The involvement of such
key professionals makes the
archive an excellent source
for reconstructing Ottoman
commercial photography
in the second half of the
19th century.
8. In 1866, Jean Laurent
received the official
commission to compose
diverse albums with
photographs of public
works tackled recently in
Spain, directed at offering
an image of modernity at
the Universal Exhibition
in Paris (1867). Given
the magnitude of the
photograph registering
operations which had
to be done throughout
Spain, Laurent sought
the collaboration of
the photographer José
Martínez Sánchez, sharing
the job and the work areas
out between the two.
See aa.vv. Public Works
of Spain: photographs by
Juan Laurent, 1858-1870,
Ciudad Real, University
of Castilla-La Mancha,
2003. díaz-aguado,
Cesar, "La fotografía de
obras públicas, carreteras,
puentes, faros y caminos
de hierro (1851-1878)" in
aa.vv. From Paris to Cadiz:
calotype and collodion,
mnac-fff, Barcelona,
2004.
9. See rodríguez,
domingo, j.m., "La
Alhambra restaurada:
de ruina romántica a
fantasía oriental", in aa.vv,
Luz sobre papel. La imagen
de Granada y la Alhambra
en las fotografías de
J. Laurent (exhibition
catalogue), Granada, 2007.
10. In 1905 the special
Committee for the
Alcázares, grounds, park,
gardens and buildings
of the Alhambra, had
been created: the first
administrative body
entrusted specifically
with managing the
monument; as a result
of this reorganisation, in
1909, for the first time an
entrance fee was charged
for visiting the palaces.
The Committee, however,
did not serve to face up
to the problems and bad
feeling had built up over
previous decades, so that
from 1907 the Alhambra
remained at the centre
of a controversy which
transcended the local
level and was kept alive
by differences in criteria
concerning the procedure
for preservation of
the site and its use as
a tourist resource and
monument, resulting in a
series of trusts forming
and breaking up. In April
1915, a Royal Decree finally
reorganised the Alhambra
conservation services,
dissolving the existing
Trust and creating the
figure of Special Inspector
of the monument, a post
held by the architect,
Ricardo Velázquez Bosco.
The orders governing
this avoided continuing
restoration and left the
drafting of a General Plan
for conservation, repair
and consolidation for the
Alhambra in the hands
of Velázquez. This was
drafted in the following
years, approved in 1918
and finally executed at a
basic level by Leopoldo
Torres Balbás between
1923 and 1936. At the same
time, an area of particular
importance was recovered
for public use; the long
lawsuit with the heirs of the
Marquises of Campotéjar
concluded in 1921 with
the transfer over to the
State of the Generalife
properties. All these
operations and a series
of later more sporadic
expropriations shaped
the perimeter of the
monument site which
we know today. See
álvarez lopera, j.,
La Alhambra entre la
conservación y la restauración
(1905-1915), Cuadernos
de Arte de la Universidad
de Granada, xiv, 29-31,
Granada 1977.
11. See puerta vílchez, j.m.,
"La Alhambra de Granada
o la caligrafía elevada al
rango de arquitectura",
in aa.vv., Siete paseos
por la Alhambra, Granada,
2007.
12. Album Topkapı
Sarayı, Istanbul, Ottoman
Empire. 1880-1893.
(48 albumen prints).
32 x 40 cm. (album).
Abdullah frères,
photographers
(41 photographs signed by
Abdullah and 7 attributed
to the firm). lot 9529.
Yildiz and Topkapı palaces,
tombs and Selamlik
procession. Istanbul,
Ottoman Empire. 18801893. 1 album (40 albumen
prints). Abdullah frères,
photographers.
lot 9524. Library of
Congress. Prints and
Photographs Division.
Washington, d.c
13. Library of Congress.
Prints and Photographs
Division
14. On the business of
travellers and artists in
Granada during the first
third of the 19th century,
see, among others,
robertson, i., Los curiosos
impertinentes: viajeros
ingleses por España desde
la ascensión de Carlos III
hasta 1855, Madrid, 1988.
viñes millet, c. Granada
en los libros de viajes,
Granada, 1982. garcía
mercadal, j., Viajes de
extranjeros por España
y Portugal, Madrid, 1962.
galera andreu, p., La
imagen romántica de la
Alhambra, Andalusian
Regional Govt., Ediciones
el Viso, 1992. marí, a.,
"Los viajeros románticos
franceses y el mito de
España", in aa.vv.,
La imagen romántica del
legado andalusí, El Legado
Andalusí-Lunwerg edts.,
1995. galera andreu, p.,
"La mirada romántica de
tres artistas británicos",
in Artistas románticos
británicos en Andalucía
[exhibition catalogue],
Granada, 2005.
15. ford, Richard,
A hand-book for travellers
in Spain, London, J. Murray,
1845. roscoe, Thomas,
L´ Espagne. Royaume de
Grenade, Paris, Louis
Janet, 1835.
16. gautier, t., Voyage
en Espagne, Paris, 1845
17. lerebours, n.-p.
(Noel Paymal). Excursions
daguerriennes: vues
et monuments les
plus remarquables du
globe, Rittner & Goupil,
Lerebours, H. Bossange,
Paris, 1842-1844
18. Bisson Frères, Choix
d'ornements arabes de
l'Alhambra offrant dans leur
ensemble une synthèse de
l'ornementation mauresque
en Espagne au xiii Siècle
reproduits en photographie
par MM Bisson Frères.
Paris, Gide et J. Baudry,
éditeurs, 1853
19. gautier, Théophile,
"Souvenirs de Grenade",
in Revue des Deux Mondes.
Quatrième serie, 1842.
20. Crace did publish
one photograph of the
Patio de los Leones in
The Photographic Album
for the Year 1857. See
english texts
gamonal torres, m.a.,
"Imagen romántica y
fotografía: Monumento,
ciudad y costumbrismo
en los primeros años de
la fotografía en España", in
aa.vv., La imagen romántica
del legado andalusí, El
Legado Andalusí-Lunwerg
edts., 1995. Crace’s album
is held in the photographic
archives of the Victoria &
Albert Museum.
21. durier, guy, place, j.m.,
Catalogue des expositions
organises para la Societé
Française de Photographie
(1857-1876). Paris, 1985.
22. lorent, j., Egypten,
Alhambra, Tlemsen,
Algier: photographische
skizzen von Dr. A.
Lorent, Buchdruckerei
von Heinrich Hogrefe,
Manheim, 1861. The
original edition includes
six photographs of the
Alhambra, including the
two which were presented
at the exhibition of the
Societé Française de
Photographie in 1859.
23. On the photographic
work of Clifford, See
fontanella, l., "Estancia
y actividades del fotógrafo
Clifford en España". In
Charles Clifford, Fotógrafo
en la España de Isabel II,
Madrid, 1996. On his
work on the Alhambra,
kurtz, g., "Clifford y la
Alhambra: aproximación a
su figura y a las fotografías
que realizara en la
Alhambra (h. 1853-1862)",
in piñar samos, j. (coord.),
Imágenes en el tiempo.
Un siglo de fotografía en
la Alhambra 1840-1940
Andalusian Regional Govt.,
Alhambra and Generalife
Trust, Granada, 2003.
piñar samos, j., sánchez
gómez, c., "Clifford y los
álbumes de la Academia",
in the Bulletin of the
Academia de Bellas Artes
de San Fernando, first and
second semester, 2004,
nos. 98 and 99.
24. On the photographic
work of Napper
in Granada and his
relationship with the firm,
Frith, See piñar samos,
j. and sánchez gómez,
c., "Ventanas abiertas al
paraíso. Tres fotografías
de R.P. Napper sobre
el Generalife", in aa.vv.,
21 Patios de la Acequia
Universidad de Granada,
2005. fontanella, Lee,
"Documento, romance
y refugio nostálgico",
In aa.vv., Napper i Frith:
un viatge fotogràfic per
la Ibèria del segle xix,
Barcelona, 2008
25. Vid perez gallardo,
Helena, "Jean Laurent
(1816-1886). Un fotógrafo
y su empresa", In aa.vv,
Luz sobre papel. La imagen
de Granada y la Alhambra en
las fotografías de J. Laurent
(exhibition catalogue,
Granada, 2007.
26. piñar samos, J., "José
García Ayola y los inicios
de la fotografía en
Granada", in José García
Ayola, fotógrafo de Granada
(12863-1900), Fundación
Caja de Granada, Granada,
1997. piñar samos, Javier,
"Turismo emergente y
mercado fotográfico en
torno a la Alhambra
(1842-1915)", in En la
Alhambra: Turismo y
fotografía en torno a
un monumento (exhibition
catalogue), Caja
Granada Social
Fund-Alhambra
and Generalife Trust,
Granada, 2006.
27. Catalogue des
principaux tableaux des
Musées dÉspagne (...) suivi
dún catalogue de quelques
tableaux modernes et des
principaux monuments
dÉspagne, Madrid, 1867
28. All the photos from the
Alhambra Archive in this
exhibition originally formed
part of one of these
simple albums. In 2006, the
Trust acquired a collection
of 149 photographs on
albumin paper, obtained
from collodion negatives
on glass plates, measuring
approx. 270 x 360 mm.
All have as motifs views
and sights of Granada and
the Alhambra, specifically,
including four panoramic
views made up of two or
more connected positives
of which two are complete
(c-246, c-1106) and two
incomplete (c-1142 and
c-1144). Although all the
positive copies on paper
are presented individually,
without any type of
secondary support, they
very probably formed part
of the albums produced
for J. Laurent’s Studio
in Paris from the end
of the 1860s. The set is
accompanied by an inside
paper front page which
corresponds to one of
the volumes of the simple
album, although there is
no precise indication of
its location in the general
collection. It contains
the following generic
title: "Oeuvres dárt en
Photographie. LÉspagne et
le Portugal: au point de vue:
artistique, monumental
et pittoresque:
Carnet d´échantillons:
des:colecctions
photographiques:de J.
Laurent et C.ie". The
text is completed by the
addresses of the studios
the firm had operating in
Madrid (Carrera de San
Gerónimo, 39) and Paris
(Richelieu, 90). Underneath
there is an empty, framed
rectangular card for noting
the series, the volume and
the photographs it contains.
This peculiarity indicates
that the front page of the
book and probably the
production of the albums
would have been after 1874,
given that it was that year
when the firm "J. Laurent y
Cia", a general partnership,
was opened. This included
the author himself, plus
his step-daughter, Catalina
M. Dosch and M. Sánchez
Rubio. Another fact which
endorses the production
of the albums during the
period 1874-1878 is the
identification of the author
on the card at the foot of
the picture. The pictures in
the album always bear
"J. Laurent. Madrid",
indicating that production
was before 1875, the
date after which the new
company used "J. Laurent y
Cia. Madrid: es propiedad:
déposé". The positive
copies on albumin paper
were originally stuck
on paper backing which
bore the number of the
214 – 215
photograph embossed in
black and with a template.
This number corresponded
to the general numbering
established by the company
from 1867. The use of thick
paper as a medium, instead
of the usual cardboard, was
advisable due to questions
of space and handling
the albumin, making it
possible for a conventional
volume to store a greater
number of images, using
both the front and back of
the sheets. The collection
acquired by the Trust is
thus a small part of this
general sample. In spite of
its numerical identification
it does not cover the
whole photographic
fond produced on the
Alhambra before 1872. The
series acquired appears
fragmented numerically,
with a significant
proportion of the
photographs on the town
missing, and some of those
on the monument. In spite
of this it is a fine collection,
given the good quality
of the copies and the
homogeneity in its making,
its consistence in time and
the existence of pictures
unknown till then, of which
the original negative has
not been preserved; this
is the case of the view of
the Albayzín made up of
two linked positives -246
[a]-, from the first version
Laurent made on the Patio
de Lindaraja -167 [a] - or
of the two views of the
Alcazaba -1474 [a] and
1475 [a]-, which were to be
replaced by other images
with a different content.
29. Catalogue of photos
sold at J. Laurent’s, Madrid,
1863. Catalogue des
principaux tableaux des
Musées dÉspagne (...) suivi
dún catalogue de quelques
tableaux modernes et des
principaux monuments
dÉspagne, 1867. Oeuvres
dárt en Photographie.
LÉspagne et le Portugal:
au point de vue:
artistique, monumental et
pittoresque.: Catalogue
(...) publié par J. Laurent,
París, 1872
30. c-246 [a] y c-246 [b]:
View of the Albayzín from
the Sala de Embajadores
(2 photographs). c-1106:
General panoramic view
of the Alhambra from
the Tower of Homage
(3 photographs). c-1142:
Panoramic view of the
Alhambra and Granada
from the Plaza de S.
Nicolás (4 photographs).
c-1144: Panoramic view of
the Alhambra and Granada
from the Seat of the Moor
(5 photographs).
31. öztuncay, Bahattin,
The Photographers of
Constantinople. Pioneers,
studios and artists from the
19th century, Istanbul,
Aygaz, 2003. beauge,
gilbert & çizgen, Engin,
Images d'Empire. Aux
origines de la photographie
en Turquie, Istanbul,
Institut d'Etudes françaises
d'Istanbul, 1994
32. See ozendes, Engin,
Abdullah Frères, Ottoman
Court Photographers, Yapý
Kredi Yayýnlarý, Ýstanbul,
1998. ozendes, Engin,
From Sebah & Joaillier to
Foto Sabah: Orientalism in
Photography, yky, Istanbul,
1999.
Catalogue
english texts
1. 1 Palaces in the town
The Alhambra in the
landscape of Granada
c-1142
Panoramic View of the
from the Plaza de San
Nicolás [1871]
Panoramic composition
in four fragments. Original
copy of the times.
Albumin paper from
damp collodion negative,
230 x 1340 mm.
Private collection
(Granada)
c-1144
Panoramic View of the
from the Seat of the Moor
[1871]
in five fragments. Original
copy of the time.
Albumin paper from
230 x 1720 mm.
Private collection
(Granada)
c-1475 [c]
View of the Alhambra
and Granada from the
Sacromonte [ca. 1881]
Original copy of the time.
Albumin paper from
270 x 360 mm.
Private collection
(Granada)
c-2192
and Albayzín from the
Fuente del Abellano
[ca. 1881]
Contained in the album
Decembre 1883 - Mars 1884
(volume II). Original copy
of the time. Albumin paper
from damp collodion
negative, 270 x 360 mm.
Private collection
(Granada)
c-554
from the Sacromonte [1871]
Positive Copy from
glass negative on the damp
collodion. Ruiz Vernacci
archive. Institute of Spanish
Heritage. Ministry of
Culture, nim-3042
629
The Alhambra around
Mediodía [ca. 1857]
Positive on glass
for projection lantern,
83 x 98 mm.
Private collection
(Granada)
632
Panorama of Granada
from San Miguel [ca. 1857]
Positive on glass
for projection lantern,
83 x 98mm.
Private collection
(Granada)
c-247 [b]
from the Town [ca. 1874]
Positive Copy from glass
negative on damp collodion.
Ruiz Vernacci Archive.
Institute of Spanish
Heritage. Ministry of
Culture, nim-0313
c-1104
General View from the
artillery [1871]
Original copy of the
time from the catalogue
L´ Espagne e le Portugal
au point deue artistique,
monumentale etittoresque:
Albumin paper from
270 x 360 mm. Archive of
the Alhambra and Generalife
Trust / Photography
collection. f-5158
c-1145
View of the Alhambra and
Granada from the Seat of
the Moor [1871]
Original copy of the time
from the catalogue
Albumin paper from
270 x 360 mm. Archive
of the Alhambra and
Generalife Trust /
Photography collection.
f-5202
c-248 [b]
View from the Cubo
in the Alhambra [1871]
Albumin paper from
of the Alhambra and
Generalife Trust /
f-5138
c-241
from the cuesta del
Chapiz [1871]
Albumin paper from damp
collodion negative,
270 x 360 mm. The
Trust / Photography
collection. f-5131
1. 2 Palaces in the town
Topkapı Sarayı in the
landscape of İstanbul
Robertson, James
[view of the port of
istanbul and Topkapı
Sarayı from the galata
tower] [1854]
Salt paper. 250 x 604 mm.
Research Institute
Abdullah, Fréres
[Port of Istanbul and
Topkapı Sarayı from
the Galata Tower] [1868]
time. Albumin paper
from damp collodion
negative. 223 x 569 mm.
Research Institute
Lehnert & Landrock
(Tunis)
Stambul mit der Sophien
Moschee [ca. 1900]
124 x 171 mm.
Research Institute
Berggren, Guillaume
[Sarayburnu panoraması]
120 x 248 mm.
Research Institute
Robertson & Beato
[Robertson, James]
[Beyazıt Yangın kulesinden
Topkapı Sarayı ve
Üsküdar panoraması]
[1858]
256 x 305 mm.
Research Institute
Abdullah, Fréres
Vue du port prise du Palais
Imperial de Top-Capou
[ca. 1880]
In album Vues du Bosphore.
time. Albumin paper.
Library of the University
of Istanbul. 90813-40
Abdullah, Fréres
Fontaine du Sultan Amhed
[ca. 1880]
In album.
time. Albumin paper
Abdullah, Fréres
Fontaine du Sultan Amhed
[ca. 1880]
In album.
time. Albumin paper
2. 1 Palaces over time
Alhambra: the restoring
impulse
c-1106
General Panoramic View
of the Alhambra from the
Tower of Homage [1871]
in three fragments.
Albumin paper from
300 x 800 mm.
Private collection
(Granada)
c-221
La Puerta del Vino from
the East [1865-1871]
Albumin paper from
360 x 270 mm. The
Trust / Photography
collection. f-5110
c-218 [a]
Granada the Tower
of Justice [ca. 1863]
time. Albumin paper from
260 x 350 mm. Descendents
of Orleans - Borbón Family
c-218 [b]
The Tower of Justice
entrance of the Alhambra)
[1871]
In album: Espagne: 1877.
Albumin paper from
360 x 270 mm.
Private collection
(Granada)
c-220 [a]
J. Laurent (attributed)
Porte du Vin [ca. 1862]
Albumin paper from
260 x 350 mm.
Private collection
(Granada)
c-239 bis [a]
J. Laurent (attributed)
The Queen’s Dressing Room
[ca. 1863]
collodion negative,
270 x 360 mm. Descendents
Orleans- Borbón Family
c-239 bis [b]
View of the Mihrab or
Queen’s Dressing Room
[ca. 1874]
Catalogue
english texts
collodion negative,
270 x 360 mm. The
Trust / Photography
collection. f-5129
Albumin paper from
270 x 360 mm.
The Alhambra and
Generalife Trust /
f-5157
collodion negative,
360 x 270 mm.
The Alhambra and
Generalife Trust /
f-5147
c-1479
The Ladies’ Tower
[ca. 1874]
from the catalogue
collodion negative,
360 x 270 mm.
The Alhambra and
Generalife Trust /
f-5256
c-1474 [a]
Towers of the Candle and
the Armoury [ca. 1874]
from the catalogue
collodion negative,
360 x 270 mm. The
Trust / Photography
collection. f-5251
c-553 bis [a]
Door of the Machuca
courtyard [1871]
360 x 270 mm. Private
collection (Granada)
c-1480 [a]
Tower of the Infanta and
Tower of the Prisoner
[ca. 1874]
from the catalogue
collodion negative,
360 x 270 mm. The
Trust / Photography
collection. f-5257
c-1475 [a]
The Torre Quebrada and
entrance to the Torre de
la Vela [1871-1874]
from the catalogue
collodion negative,
270 x 360 mm. The
Trust / Photography
collection. f-5252
c-245
Courtyard of the Mosque
[1871]
from the catalogue
collodion negative,
360 x 270 mm.
The Alhambra and
Generalife Trust /
f-5135
c-1103
View of the Parapet Walks
and the Tower of the Candle
[1871]
from the catalogue
c-553
Door of the
Machuca Courtyard
[1871]
from the catalogue
c-1481 [b]
Courtyard of the Mosque
in the Alhambra [ca. 1881]
In album Espagne, Portugal
Maroc: Decembre 1883Mars 1884 (volume II).
collodion negative,
c-553 bis [b]
Door of the Machuca
courtyard [ca. 1881]
216 – 217
360 x 270 mm.
Institute Gómez MorenoRodriguez-Acosta
Foundation (Granada)
270 x 360 mm. The
Trust / Photography
collection
c-224 [b]
Exterior of the left-hand
gallery of the Myrtle
Courtyard [1871]
In the album Espagne: 1877.
collodion negative,
c-557 bis
Interior View of the Hall
of Ambassadors [ca. 1874]
collodion negative,
270 x 360 mm. Photographic
Fond of the University
of Navarre / University
Foundation of Navarre
649 [b]
Myrtle courtyard (Alhambra)
[ca. 1857]
Positive on glass for
projection lantern,
83 x 98 mm. The Alhambra
and Generalife Trust /
Photography collection
c-230 [a]
Court of the Lions [Court
of the Lions] [1860-1862]
collodion negative. Seal
in ink with numbering on
reverse side of image,
350 x 260 mm approx.
Private collection (Granada)
c-1108
General View of the Myrtle
Courtyard (right) [1871]
from the catalogue
collodion negative,
360 x 270 mm. The
Trust / Photography
collection
c-236
Entrance to the Hall of
Ambassadors [ca. 1863]
from the catalogue
collodion negative,
c-234 [a]
[North Shrine of the Court
of the Lions from the righthand gallery] [ca. 1863]
collodion negative. Private
c-232 [a]
Fountain and Court
of the Lions [ca. 1863]
From the series
Museums of Spain.
time. Albumin paper
from negative of damp
collodion, mounted on
labelled cardboard,
270 x 360 mm.
Private collection
(Granada)
c-232 [b]
Source and Court
of the Lions [1871]
Albumin to paper from
270 x 360 mm.
Municipal Museum
of Madrid
c-232 [c]
Source and Court of the
Lions [ca. 1874]
In album Espagne,
Portugal Maroc: Decembre
1883- Mars 1884
(volume II). Original
copy of the time.
Albumin paper from
270 x 360 mm.
Private collection
(Granada) f-5211
c-1156
Court of the Lions,
facade of the Two Sisters
[ca. 1874]
Albumin paper from
270 x 360 mm.
The Alhambra and
Generalife Trust /
f-5211
c-238 [a]
Entrance of the Hall
of the Abencerrajes
[1863-1866]
time. Albumin paper
from damp collodion
Private collection
(Granada)
c-238 [b]
Entrance of the Hall of the
Abencerrajes [ca. 1872]
time. Albumin paper
from damp collodion
Private collection
(Granada)
Catalogue
english texts
c-551 bis
Interior of the Court
of Justice [ca. 1874]
Albumin paper from
360 x 270 mm.
Archive of the Alhambra
f-5144
c-222
West Facade of the Palace
of Charles Fifth [ca. 1863]
Albumin paper from
270 x 360 mm.
Archive of the Alhambra
f-1211
c-2194
The Court of Justice and
the Court of the Lions
[ca. 1881]
time. Albumin paper
from damp collodion
Private collection
(Granada)
c-1468
Mediodía Facade of the
Palace of Charles the Fifth
[1871]
from the catalogue
collodion negative,
360 x 270 mm. The
Trust / Photography
collection. f-5249
c-1167 [a]
View of the Garden of
Lindaraja [1871]
from the catalogue
Albumin paper from
270 x 360 mm.
The Alhambra and
Generalife Trust /
f-5221
c-1167 [b]
View of the Garden of
Lindaraja [ca. 1881]
c-243 [a]
Interior View of the
Generalife [ca. 1863]
From the series Museums
of Spain. Original copy of the
negative of damp collodion,
mounted on labelled
cardboard, 360 x 270 mm.
Private collection
(Granada)
c-243 [b]
Interior of the Generalife
[1871]
de J. Laurent et C.ie. Albumin
paper from damp collodion
The Alhambra and Generalife
Trust / Photography
collection. f-5133
c-243 [c]
Interior View of the
Generalife [ca. 1881]
In album Espagne, Portugal
Maroc: Decembre 1883-Mars
1884 (volume II). Original
copy of the time. Albumin
Private collection
(Granada)
c-1140
The Cypress Tree of
the Sultan’s wife in the
Generalife [1871]
from the catalogue
collodion negative,
360 x 270 mm. The
Trust / Photography
collection. f-5195
2. 2 Places over time
Topkapı: still moments
Abdullah, Fréres
Grande Porte dÉntrée du
Vieux Séraïl [ca. 1880]
Contained in the album
Hasköy Hospital for Women,
(lot 9534 / 18)
Albumin paper.
Library of Congress- Prints
(Washington). Abdülhamid
II Collection
Kargopoulo, Basile
Bab el Houmayoun
[ca. 1870]
In album. Original copy of
the time. Albumin paper
of Istanbul / 90763-7
Iranian
[ca. 1870]
time. Albumin paper
of Istanbul .779-19-7
Abdullah, Fréres
of Top-Capou [ca. 1880]
Abdullah, Fréres
Fontain arabesque.
Intérieur du Palais
[ca. 1880]
Kargopoulo, Basile
Viex palais [ca. 1870]
Abdullah, Fréres
Cheminée antique et
fontaine arabesque.
Intérieur du Palais Imperial
de Top-Capou [ca. 1880]
Kargopoulo, Basile
[ca. 1870]
Anonymous
–avec les eunuques
290 x 240 mm.
Research Institute
Abdullah, Fréres
Vue du Imperial Trèsor
[ca. 1880]
Abdullah, Fréres
Vue de lÉntré du Kherkhaï_
Sheriff. Palais Impérial de
Top-Capou [1880-1893]
Inserto en álbum. Copia
original de época. Papel
allbuminado. Library of
Congress - Prints and
Photographs Division
Abdülhamid II
Abdullah, Fréres
Vue du Imperial Trèsor
[ca. 1880]
Contained in album
Vues de monuments
antiques et modernes
de Constantinople. Original
copy of the time. Albumin
paper. Library of the
University of Istanbul.
90818-18
Abdullah, Fréres
de Top-Capou
[1880-1893]
Inserto en álbum.
Papel allbuminado.
Abdülhamid II
Berggren, Guillaume
Mosque de Bagdad
au vieux Serail
211 x 272 mm.
Research Institute
Abdullah, Fréres
Kiosque de Moustapha
Pacha [ca. 1880]
Contained in album
Vues de monuments
antiques et modernes de
Constantinople. Original copy
of the time. Albumin paper.
of Istanbul . 90818-18
Abdullah, Fréres
[ca. 1880]
of Istanbul /90815-45
Abdullah, Fréres
de Bagdad (Palais Imperial
de Top-Capou) [ca. 1880]
Abdullah, Fréres
des Cours(Palais
[1880-1893]
Abdülhamid II
Catalogue
english texts
Abdullah, Fréres
Vue dün Kiosque dans le
jardin du Palais Impérial de
Top-Capou [1880-1893]
Abdülhamid II
Abdullah, Fréres
Vue interieure dÓrta-Capou
(Palais Impérial de TopCapou) [1880-1893]
Abdülhamid II
Abdullah, Fréres
[1880-1893]
Inserto en álbum.
Papel allbuminado. Library
of Congress - Prints and
Abdülhamid II
Abdullah, Fréres
de Top-Capou) [1880-1893]
Inserto en álbum.
Papel allbuminado. Library
of Congress - Prints and
Abdülhamid II
Abdullah, Fréres
[1880-1893]
Abdülhamid II
Abdullah, Fréres
Vue prise du Vieux Séraïl
–Colonne antique dans le
jardin du Palais Imperial
de Top-Capou [ca. 1880]
Contained in album
Vues de monuments
antiques et modernes
de Constantinople.
Albumin paper. Library
of the University
Abdullah, Fréres
Vue dún des murs interieurs
du Palais Impérial de TopCapou [1880-1893]
Abdülhamid II
[s.a.]
Vue prise dans le Palais
[1880-1893]
Abdülhamid II
from the catalogue
collodion negative,
360 x 270 mm. The
Trust / Photography
collection. f-5213
c-1462
Ceiling of the Hall of the
Abencerrajes [1871]
Albumin paper from
c-1482 [a]
Ajimez or window of the
Hall of the Two Sisters.
[ca. 1874]
damp collodion negative.
Private collection
(Granada)
c-1196
Detail of a strip of
adornments in the Hall
of Shields [1871]
In the album
Espagne: 1877.
Albumin paper from
c-1123
Slipper holder from
the Hall of the Two Sisters
[1871]
from the catalogue
collodion negative,
360 x 270 mm. The
Trust / Photography
collection.
c-1158 [a]
Capital of the Court
of the Lions (detail with
scale of 1 m) [1871]
c-1149 [a]
Slipper holder of the Hall
of the Boat (detail with
scale of 1.m) [1871]
3 The right focus
218 – 219
360 x 270 mm.
Photographic fond
University of Navarre /
University Foundation
of Navarre
c-555
Window of the Room of
the Two Sisters [1871]
from the catalogue
collodion negative,
360 x 270 mm. The
Trust / Photography
collection. f-5149
c-1197
Door just discovered in an
alcove of the Hall of the
Two Sisters [1871]
from the catalogue
collodion negative,
360 x 270 mm. The
Trust / Photography
collection. f-5245
c-1131
Door of the Room
of the Abencerrajes from
the inside [1871]
time. Albumin paper
from damp collodion
Private collection
(Granada)
b-288
Auge en pierre de la Salle
de Justice (avec échelle
dún mètre) [1871]
collodion negative,
of the Alhambra and
Generalife Trust /
f-5258
b-392
[1872-1878]
Albumin paper from
damp collodion negative.
Collection Marries Pinazo
Museum (Valencia)
b-42
[Casque Arabe de Boabdil]
[ca. 1868]
collodion negative,
b-797
[1872-1878]
b-201 / b-202 / b-202-bis
[Épée de Boabdil, grandeur
nature] [1868]
Composition in three
fragments. Albumin paper
from three damp collodion
negatives, 270 x 1,100 mm.
b-140
Épée de Boabdil,
(propriété de S.E. Mr.
le Marquis de Villaseca)
[ca. 1868]
In the album
Espagne: 1877.
Albumin paper from
360 x 270 mm.
Private collection
(Granada)
4 The Laurent Studio:
Production and Marketing
of Photographic Products
c-235
East pavilion of the Court
of the Lions [ca. 1865]
from the catalogue
collodion negative,
360 x 270 mm. The
Trust / Photography
collection. f-5123
c-224 [a]
North gallery of the
Myrtle Courtyard
[ca. 1863]
From the series Museums
of Spain. Original copy of the
negative of damp collodion,
mounted on labelled
cardboard, 270 x 360 mm.
Private collection
(Granada)
Dubois [photographer
settled in Granada]
[North facade of the
Myrtle courtyard]
[ca. 1863]
collodion negative, mounted
on cardboard with printed
signature, 270 x 360 mm.
Private collection
(Granada)
Catalogue
english texts
c-550 [a]
The Court of the Lions from
the Hall of Shields
[1866-1871]
time. Albumin paper
from damp collodion
Private collection
(Granada)
c-550 [b]
The Court of the Lions
from the Hall of Shields
[1871]
c-550 [c]
The Court of the Lions
in the Alhambra [ca. 1874]
In album Espagne, Portugal,
Maroc: Decembre 1883-
Mars 1884 (volume II).
Albumin paper from
[Pages from the sample
album of the Laurent
company containing
photographs of Granada
reviewed in the 1863
catalogue] [ca. 1865]
Contacts in albumin
negatives, possibly
stereoscopic, used for
making of visiting cards.
Municipal Museum of
Madrid. Sample album
n.º 3 (1991 /18 /3)
644
The Alcazaba (Fortress)
[ca. 1857]
Contact in albumin paper
from negative of damp,
possibly stereoscopic
collodion. Mounted on
cardboard in visiting card
format, 102 x 60 mm.
648
Facade of the Palace
of Charles Fifth [ca. 1857]
Contact in albumin paper
from negative of damp,
possibly stereoscopic
collodion. Mounted
on cardboard in visiting
card format, 102 x 60 mm.
c-547
Bas relief of the palace
of Charles the Fifth
[1871]
Albumin paper from
270 x 360 mm. The
Trust / Photography
collection. f-5139
c-1463
Detail of the wall of the
Hall of the Abencerrajes:
scale 1 m [1871]
from the catalogue
collodion negative,
360 x 270 mm. The
Trust / Photography
collection. f-5247
time. Stereoscopic pair
on albumin paper mounted
on cardboard, 87 x 178 mm.
c-242 [b]
The Generalife Gardens
[ca. 1881]
c-2209
Interior of the Mosque
of the Alhambra Palace
[1879-1883]
Positive in albumin paper
from damp collodion
negative. Mounted on
cardboard in album card
format, 165 x 108 mm.
Private collection
(Granada)
c-1138
Gallery of Generalife [1871]
270 x 360 mm.
Private collection
(Granada)
c-219
Torre de los Picos
[1865-1871]
c-1474
General View of the
Alcazaba (Fortress) or
ciudadela [ca. 1874]
Postcard printed in 1902
from the c-1174 image
Private collection
(Granada)
196 – 197
Catálogo
Exposición
Organizan
Topkapı Sarayı
Instituto Cervantes
Con el apoyo de
Ministerio de Asuntos Exteriores
y de Cooperación de España
Ministerio de Cultura de España
Embajada de España en Turquía
Ministerio de Asuntos Exteriores de Turquía
Ministerio de Cultura de Turquía
Comisarios
Javier Piñar Samos
Diseño y dirección de montaje
Juan Pablo Rodríguez Frade
Frade Arquitectos s.l.
Transporte
Logística del Arte
Coordinación
Coordinación General
Mercedes Serrano Marqués (seacex)
seacex
Carmen Álvarez López
Raquel Mesa Sobejano
Lourdes Puente García
Patricia Salas García
Ainhoa Sánchez Mateo
Maribel Sánchez Quevedo
Eva Carreño Robles
Elena Correa Gómez
Bárbara Jiménez Serrano
Purificación Marinetto Sánchez
Ramón Rubio Domene
Instituto Cervantes
Teodomiro Alzina Aguilar
Ercan Cambaz
Miguel Grajales
Ana Lobato
María José Magaña
Edita
Patronato de la Alhambra y Generalife
TF Editores
Colabora
Instituto Cervantes
Diseño
El Taller de GC
Traducción
Fiona Westbury
Emine Deliorman Ortaç
Fatma Soydemir
Sibel Heperler
Murat Müftüoğlu
Textos
Javier Piñar Samos
Edición
TF Editores
Montaje
Exmoarte
Fotomecánica
Cromotex
Seguros
Seguros La Estrella
Aon, Gil y Carvajal
Impresión
TF Artes Gráficas
isbn
978-84- 96933-33- 0 (seacex)
978-84- 924 41- 65-5 (tf editores)
nipo
503-09-048-4 (instituto cervantes)
Depósito legal
m-1195 3-2009
© Sociedad Estatal para
la Acción Cultural Exterior, seacex, 2009
© De los textos, sus autores
© De las fotografías, sus propietarios
Sergi
Organizatörler
Topkapı Sarayı
İspanya Dışişleri Kültür Kuruluşu (seacex)
Cervantes Enstitüsü
Katkıda bulunanlar
İspanya Dışişleri ve
İşbirliği Bakanlığı
İspanya Kültür Bakanlığı
Türkıye’de İspanya Büyükelçiliği
T.C. Dışişleri Bakanlığı
T.C. Kültür ve Turizm Bakanlığı
Küratörler
Javier Piñar Samos
Tasarım ve Montaj Yönetimi
Juan Pablo Rodríguez Frade
Frade Arquitectos s.l.
Ulaşım
Logística del Arte
Montaj
Exmoarte
Sigorta
Seguros La Estrella
Aon, Gil y Carvajal
Katalog
Koordinasyon
Genel Koordinasyon
Mercedes Serrano Marqués (seacex)
seacex
Carmen Álvarez López
Raquel Mesa Sobejano
Lourdes Puente García
Patricia Salas García
Ainhoa Sánchez Mateo
Maribel Sánchez Quevedo
El Hamra ve Generalife Konseyi
Eva Carreño Robles
Elena Correa Gómez
Bárbara Jiménez Serrano
Purificación Marinetto Sánchez
Ramón Rubio Domene
Teodomiro Alzina Aguilar
Ercan Cambaz
Miguel Grajales
Ana Lobato
María José Magaña
Düzenleme
İspanya Dışişleri Kültür
Kuruluşu (seacex)
El Hamra ve Generalife Konseyi
TF Editores
Katkıda bulunanlar
Tasarım
El taller de GC
Çeviri
Fiona Westbury
Emine Deliorman Ortaç
Fatma Soydemir
Sibel Heperler
Murat Müftüoğlu
Metinler
Javier Piñar Samos
Sayı
TF Editores
Fotomekanik
Cromotex
Baskı
TF Artes Gráficas
isbn
978-84- 96933-33- 0 (seacex)
978-84- 924 41- 65-5 (tf editores)
nipo
503-09-048-4 (instituto cervantes)
Devlet nüshası
m-1195 3-2009
© İspanya Dışişleri Kültür
Kuruluşu, seacex, 2009
© Metin ve yazarlara ait
© Fotoğraf, faillerine ait
Alhambra-Topkapi Sarayi
Dos palacios en la fotografía del viaje a Oriente

Palacios en el tiempo 2. 2

Transcription

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