shapero panoramas

1850-1950VINTAGE PHOTOGRAPHIC PANORAMAS

Bernard J. Shapero Rare Books


32 Saint George StreetLondon W1S 2EA

T +44 (0)20 7493 0876 F +44 (0)20 7495 5010

[email protected] www.shapero.com

Front cover image: Item 43. [Photographer unknown]. Kashmir.

EDITED BY Roland BelgraveASSISTANT EDITOR: Sarah Wheeler

PHOTOGRAPHY BY Louie FascioloDESIGN BY Scott Harvey at Countrywide Editions Ltd

PRINTED BY Thanet Press Ltd

TERMS AND CONDITIONS

The condition of all photographs has been described; all items in this catalogue are guaranteed tobe complete and in good condition unless otherwise stated.

All items are offered for sale under the antiquarian retailers margin scheme, except for books andphotographic albums which are zero rated forVAT purposes.

Invoices will be rendered in £ sterling. The title of goods does not pass to the purchaser until theinvoice has been paid in full.

Please note images reproduced in this catalogue are not to scale.

To enquire after any item in this catalogue please contact Roland Belgrave: [email protected]

VAT NUMBER G.B. 466 5294 16


Item 83. FERREZ, Marc. (studio) Brazil.

Bernard J. Shapero Rare Books 32 Saint George Street, London W1S 2EA | T +44 (0)20 7493 0876 | F +44 (0)20 7495 5010 | [email protected] | www.shapero.com


4 | VINTAGE PHOTOGRAPHIC PANORAMAS1850-1950


Introduction

Bernard J Shapero Rare Books is proud to present an exhibition of rare and early panoramicphotographs. This collection shows some of the earliest photographic city views, such as Rio deJaneiro, Singapore and Shanghai (items 84, 74 and 52 respectively) and shipping scenes from aroundthe world such as Brazil, Canton and Naples (items 83, 50 and 4). The collection ranges in date fromthe early 1950s with the view of Rangoon by Linneaus Tripe (item 46) to the 1920s and 30s in the one-plate panoramas taken of Canton by the Afong studio (item 50-51).

It is extremely unusual to see so many photographs of this format gathered in one place. Theawkward dimensions and manor in which these panoramas had to be transported and stored meantthat many were damaged or lost some of their plate. Many of the images were produced in smallnumbers and were taken with a specific audience and purpose in mind, commissioned to illustrateurban topography, archaeological sites, military subjects and promote western interests abroad.

The term ‘panorama’ was originally patented by Henry Aston Barker to describe his monumentalthree hundred and sixty degree paintings in the building of the same name on Leicester Square. Theselarge-scale vistas caught the public’s imagination at a time when Britain, and Europe’s, attention wasbeing increasingly drawn overseas with expanding commercial and military interests in the Empire.

The paintings were originally popularized and disseminated as engraved copies before the format wasadopted and adapted by the more accurate and fashionable new medium of photography.

The fascination with the exotic and the increase in travelling for leisure fuelled the demand forphotographic views and albums which contained panoramic records of foreign travel. For those whocould not afford to take such a long journey, the photographs served to satisfy and substitute this thirstfor imagery of far off lands. Such examples of 'tourist' views are exemplified in the collection by MarcFerrez’s photographs of Brazil and a set of twelve anonymous views of Kashmir (items 83 and 43).Another panorama which captured the great sweep of open space and fascinating allure of India wasSamuel Bourne’s fine c.1868 seven-sheet panorama of Calcutta (item 37).

Newsworthy events also created a major demand for photographic panoramas. The portability andrelative ease with which photographs could be taken enabled the panorama to have an impact beyondits traditional use for tourist views and colonial propaganda. Military expansion created a verysignificant demand for photographers, with the Opium Wars providing some of the best inspiration,and producing some of the most impressive panoramas in this collection. An example is a finesequence of three panoramas of Shanghai Bund, the longest of which, taken by Kung Tai c.1881, is

5VINTAGE PHOTOGRAPHIC PANORAMAS1850-1950 |

Contents

Europe Items 1 – 24

Middle East Items 25 – 35

Central Asia Item 36

Indian Subcontinent Items 37 – 45

The Far East Items 46 – 73

Africa Items 74 – 80

Americas Items 81 – 87

Australasia Items 88 – 92

made up of a staggering twelve albumen prints and provides an extraordinary view of the city (items52, 53 and 54). The Treaty of Nanjing in 1842, and later Convention of Peking in 1860, resulted in arapid urban expansion of the five treaty ports of China with Shanghai being one of the busiest. Manypanoramas were also produced to illustrate engineering and surveying projects related to militaryexpansion: Sergeant James McDonald’s images were taken for the ‘Ordnance Survey of the Peninsulaof Sinai’ in 1868, and the photographs of the Abyssinian Campaign of 1876 were taken byphotographers from the Royal Engineers, (items 33 and 76).

The panoramas shown here are fascinating for the story they tell, their survival through time, andtheir status as highly collectable items and objects of art. The joining together of various photographicframes, whether taken of a city or a topographical view creates a narrative; engaging and drawing theviewer into the composition with its detail. The eye is encouraged to travel along the photographslength and depth of field, and take in the immense amount of detail shown. As well as being of interestas historical documents of urban development, these panoramas are also beautiful aesthetic objectsand works of art.

Roland Belgrave.


Cyprus

1. [Photographer unknown]. Limassol.

[c.1870]. Albumen print. Four-part panorama, good tonal range and in fair condition.

Dimensions: 160 by 890mm. (6 by 35 inches).

This view of Limassol, the second largest city in Cyprus situated on Akrotiri Bay was an important portin the second half of the nineteenth century.

ref: 73769 £5,500



Greece

2. [ROMAIDIS Brothers. (attributed to)]. [Athens].

[c.1880]. Albumen print. Three-part panorama, very good tonal range and in good condition.

Dimensions: 170 by 710mm. (6.5 by 28 inches).

An unusual view that includes the National Observatory on the far left. Most panoramas taken of Athens;from the early views by Baron Paul des Grange, to the later ones by Felix Bonfils, take their viewpointfrom underneath this building. The date of the panorama is later than 1875, when the Frankish tower onthe Acropolis was demolished. The demolition was part of an ongoing programme by the Greekarchaeological service to conserve and display the classical monuments. The dumping of the earth on thenorthern slope of the Acropolis is the result of excavations.

ref: 72950 £1,500



France

3. NEURDEIN, Etienne. Paris.

[c.1880]. Albumen print. Two-part panorama, fair tonal range and in good condition, pasted onoriginal card, photographer’s title, credit and number in negative.

Dimensions: 265 by 800mm. (10.5 by 31.5 inches).

Etienne Neurdein was part of the Neurdein studio (Neurdein Freres). The firm were awarded a silvermedal at the 1888 ‘Exposition de l'Union Centrale des Arts Decoratifs’ while in 1889 and 1900, theirwork was awarded a gold medal at the ‘Exposition Universelle in Paris’.

ref: 73757 £950



Italy

4. [Photographer unknown].[Naples].

[c.1870]. Albumen print.Seven-part panorama, fairtonal range and in goodcondition, pasted onoriginal card.

Dimensions: 330 by 2640mm.(13 by 104 inches).

ref: 73287 £3,500



Malta

5. [Photographer unknown]. [Malta].

[c.1860]. Albumen print. Three-part panorama, good tonal range and in good condition,backed on cloth, very slight discolouration along margins.


ref: 69401 £1,250




Portugal

6. LAURENT, Jean. Lisbon, Portugal.

[c.1880]. Albumen print. Two-part panorama, very good tonal range and in good condition,photographer’s title, credit and number in negative.

Dimensions: 230 by 525mm. (9 by 20.5 inches).

Jean Laurent was born in Garchizy, France in 1816. He moved to Spain in the 1840s where he opened aphotographic studio in Madrid in 1856. His work became so successful that he opened a further shop inParis. After his death c.1890, his prints continued to be sold by his step-daughter and other proprietaryoutlets. Along with Charles Clifford he is considered one of the classic nineteenth century photographers ofSpain. His photographs are held in major collections around the world including The Prado, Museed'Orsay, and Societé Francaise de Photographie. His work has also recently been the subject of an exhibitionat the Henry Art Gallery in Seattle.

ref: 72263 £3,500


Spain

7. DE CLERCQ, Louis. Granada, Spain.

[c.1860]. Albumen print from a paper negative. Two-part panorama, goodtonal range and in good condition, pasted on original page, the mount has‘Grenade’ in letterpress, plus de Clercq's monogram, and No. ‘27’ in pencil.


Born to a wealthy family in the South of France in 1836, Louis de Clercq was amilitary courier for Napoleon III during the Austrian campaign of 1859 againstItaly. On his return, a family friend, the Marquis de Vogüé, introduced the youngmessenger to the geographer and explorer Emmanuel Guillaume Rey, who wasembarking on an expedition to Syria and Asia Minor for the Ministry of PublicInstruction in order to study Crusader castles.

It is not known when de Clercq first learnt to use a camera but he evidently knew howto photograph before the expedition because Rey noted that his ' experience and successas a photographer promised that I would have in him a useful assistant'. During thefive-month expedition, de Clercq succeeded to photograph in remote areas and harshclimates, recognising and documenting important monuments and landscapes. On

returning from the five-month expedition de Clercq published his photographs in a set ofsix volumes entitled 'Voyage en Orient, 1859 - 60'. It consisted of 222 photographs, ofwhich a number were panoramas, and covered Syria, Egypt, Jerusalem, and Spain.After its publication, in 1861 he held an exhibition of the photographs at the ‘SociétéFrançais de Photographie’ and in 1862, sent three prints to the Universal Exposition inLondon, which gained him an honourable mention. Although de Clercq's main aim wassimply to document and reproduce monuments, the masterful way in which he frames thearchitecture, and his eye for composition, establishes de Clercq as one of the bestphotographers of his time.

On his journey home, De Clercq passed through Spain noting he was 'able to compareimmediately the monuments left by the Moors in this country to the Arab monumentsthat I had just admired. Granada, home to the Alhambra Palace, had been the finalstronghold of the Moors in Spain, falling in 1492. The following two panoramasshow the city and the surrounding Sierra Nevada mountains behind, and wereprinted in volume VI of 'Voyage en Orient'.

ref: 69345 £6,500



Spain

8. DE CLERCQ, Louis. Granada, Spain.

[c.1860]. Albumen print from a paper negative. The mount has ‘Grenade’ in letterpress and DeClercq's monogram, and No. ‘27’ in pencil.


ref: 72367 £4,500



Spain

9. DE CLERCQ, Louis. Malaga.

[c.1860]. Albumen print from paper negative. Two-part panorama, fair tonal range and in verygood condition.


A view of Malaga in Andalusia, which was under Moorish occupation between 711 and 1492 AD. Theruins shown in the bottom left of the image are the remnants of an eleventh-century Moorish fort, the‘Alcazabar’. Behind the fort is Malaga's cathedral, built between 1528 and 1782. Due to there being onlyone tower, the cathedral is nicknamed 'La Manquita ', meaning ‘the little one armed lady’.

ref: 74034 £6,500



Spain

10. LAURENT, Jean. Madrid.

[c.1870]. Albumen print. Four-part panorama, good tonal range and in good condition,photographer’s title and number in negative.


A southeasterly view of Madrid, showing the Palacio Real (Royal Palace), in the middle of the first section.Built in 1755, it was as the official residence of the King of Spain. In the second section, one can see thedome of the ‘San Francisco el Grande’ church, built for a Franciscan friary in the eighteenth century. TheManzanares River runs along the foreground.

ref: 68431 £4,250



Spain

11. LAURENT, Jean. [The Alhambra, Granada, Spain]. Vista panoramica de la Alhambra y deGranada desde la plaza de S. Nicolas.

[c.1880]. Albumen print. Four-part panorama, fair tonal range and in fair condition, pasted onoriginal card, occasional spotting on card, photographer’s credit, title and number in negative.


ref: 72957 £3,750



Spain

12. [NEURDEIN Brothers. (attributed to)]. [San Sebastian, Spain].

[c.1880]. Albumen print. Two-part panorama, very good tonal range and in good condition,photographer’s number in negative.


A view of La Concha bay taken from Mount Urgull. San Sebastian, located in Northern Spain in theBasque Country, became a popular tourist destination in the nineteenth century after Queen Isabel IIdecided to spend her summers there; hence it became for many years the Palace's summer residence.TheNeurdein brothers were commercial photographers based in Paris. It is most likely that the younger brother,Louis Antonin took this photograph as he is known to have been in San Sebastian at the time.

ref: 72958 £1,750



Sweden

13. SJOBERG, Axel. Stockholm.

[c.1890]. Albumen print. Four-part panorama, very good tonal range and in good condition, eachpart with photographer’s credit, title, and number in negative.


ref: 66444 £1,500



United Kingdom

14. [Photographer unknown]. [Balmoral Castle].

[c.1920]. Silver gelatin print. Very good tonal range and in good condition, pasted on card.


ref: 74479 £1,250



Switzerland

15. SCHROEDER & Co. Gornergrat.

Schroeder, Zurich [c.1910]. Albumen print. Six-part panorama, good tonal range and in goodcondition, pasted on orginal card, photographer’s title and number in negative.


The Gornergrat is a ridge of the Pennine Alps, overlooking the Gorner Glacier to the south. It is reachedby the Gornergratbahn from Zermatt.

ref: 33834 £1,750



France

16. [Photographer unknown]. [Grand Mulet refuge, Mont Blanc, French Alps].

[c.1880]. Albumen print. Good tonal range and in good condition.


The hut is the old Grands Mulets refuge on Mont Blanc, built to replace the original built for H.B. deSausssure on that spot in 1787. From left to right in the photo; Mont Blanc at the top left; the next bigrock peak is probably the Aiguille de l'heureux Retour (3505m); the big central peak is the Dome de Gouter(4331m); and the right hand peak is the Aiguille de Gouter (3845m).

ref: 74523 £2,950



Turkey

17. [ROBERTSON, James (attributed to)]. [Constantinople].

[c.1870]. Albumen print. Four-part panorama, fair tonal range andin fair condition.


ref: 62029 £1,750



Turkey

18. BONFILS, Felix. [Constantinople].

[c.1868]. Albumen print. Two-part panorama, good tonal range and in good condition,photographer’s credit and number in negative.

Dimensions: 215 by 770mm. (8.5 by 30.25inches).

ref: 62030 £1,500



Turkey

19. SEBAH & JOAILLIER. [Constantinople]. Panorama de Constantinople pris de la Tour deGalata par Sebah & Joaillier.

[1870]. Oblong folio. Ten-part panorama, fair tonal range and fair condition, red cloth boards,lettered in gilt, slightly scuffed.


ref: 71807 £2,250



Turkey

20. [SEBAH & JOAILLIER (studio)]. [Constantinople].

[c.1895]. Albumen print. Six-part panorama, very good tonal range and in good condition,photographer’s studio stamp on verso.


ref: 72951 £1,750



Russia

21. [Photographer unknown]. [Moscow].

[c.1875]. Hand-coloured albumen print. Two-part panorama with good colouring and ingood condition.


A view of the Kremlin from the Southeast, incorporating the Moskva river and taken a few years afterthe rebuilding of the Moskvoretskiy bridge in steel in 1872. Next to the bridge lie the banks of Kitay-Gorad; the site on which the modern day 'Rossiya' hotel stood. Behind the Kremlin, one can see the famousSt Basil's Cathedral built between 1555 and 1561, to commemorate the capture of the Khanate of Kazan.

ref: 66462 £5,250



Russia

22. [Photographer unknown]. [Vladivostok].

[c.1880]. Albumen print. Four-part panorama with fair tonal range and in good condition.


Situated at the head of Golden Horn Bay near the Chinese-Russian border, Vladivostok was a navyoutpost founded by Count Nikolay Muravyov-Amussky in 1858. It is now Russia’s most important port.

ref: 70978 £1,750



Russia

23. [Photographer unknown]. [Vladivostok].

[c.1880]. Albumen prints. Three-part panorama with fair tonal range and in good condition.


ref: 70982 £975



Russia

24. [Photographer unknown]. Nizhny-Novgorod.

[c.1870]. Albumen print. Four-part panorama, fair tonal range and in good condition, titled in manuscript in French.


A rare view of the city from the Blagoveshenskiy monastery (on the far right). One can see the Oka and Volga rivers andthe Makaryev trade fair,. By the mid-nineteenth century, Nizhny-Novgorod was firmly established as the trade capital of theRussian Empire. The all-Russia industrial and art exhibition was held in Nizhny Novgorod in 1896. Other industriesgradually developed, and by the dawn of the twentieth century century it was an industrial city of some importance. HenryFord helped build a large truck and tractor plant (GAZ) in the late 1920s, sending along engineers and mechanics,including future labour leader Walter Reuther. Maxim Gorky was born in Nizhny-Novgorod in 1868. During his lifetime,the city was renamed Gorky following his return to the Soviet Union in 1932 on an invitation from Joseph Stalin. The citybore his name until 1991. During that time it was closed to foreigners to safeguard the security of Soviet military research.An end to the ‘closed’ status of the city accompanied the reinstatement of the city's original name in 1990.

ref: 71422 £3,500



Lebanon

25. DE CLERCQ, Louis. [Beirut]. Beyrouth, Cote de la Mer.

[c.1860]. Albumen print from paper negative. Two-part panorama with very good tonal range and invery good condition.


Beirut, the capital of Lebanon, sits between Mount Lebanon mountains and the Mediterranean Sea. Atthe time these photographs were taken, the region was in turmoil. Civil war had erupted which necessitatedFrench intervention and there were a series of masacres by the tribes of the Druses of Maronites and othersin the region.

ref: 68032 £12,250



Lebanon

26. DE CLERCQ, Louis. [Beirut]. Beyrouth. Maison des soeurs.

[c.1860]. Albumen print from paper negative. Good tonal range and in very good condition.


ref: 74033 £6,500



Middle East

27. DE CLERCQ, Louis. Kalaat el Tebnin, Syria.

[c.1859]. Albumen or albumenized salted paper print from a paper negative. Two-part panorama,fair tonal range and in good condition.

Dimension: 200 by 550mm. (8 by 21.5 inches).

A typical example of a crusader castle in Syria. Kalaat Tebnin was one of five Crusader castles de Clercqdocumented in volume II of ‘Voyage en Orient’. It is safe to assume De Clercq was the first Frenchman tophotograph medieval Syria.

ref: 73735 £2,250



Middle East

28. [Photographer unknown]. [Aden].

[c.1880]. Albumen print. Four-part panorama, very good tonal range and in good condition.


ref: 71236 £2,250



Syria

29. BOUGAULT, Alexandre. [Palmyra].

[c.1910]. Toned silver gelatin print. Good tonal range and in good condition, photographer’sblindstamp in far bottom left.


A view showing the ruins of Palmyra. Now a UNESCO world heritage site, Palmyra is located in theheart of the Syrian desert, along the Old Silk road, and was once a centre of trade, linking the empires ofPersia, India and China. The city's most famous ruler was Queen Zenobia, a half-Greek, half-Roman'warrior queen', said to be a direct descendant of Cleopatra, who led the city to war against Romandomination in 269AD.

ref: 73747 £1,250



The Holy Land

30. [BONFILS, Felix (attributed to)]. Bethlehem.

1868. Albumen print. Two-part panorama, fair tonal range and in fair condition.


ref: 62032 £1,250



Israel

31. [BONFILS, Felix (attributed to)]. Jerusalem.

[c.1880]. Albumen print. Three-part panorama, fair tonal range and in fair condition, pasted onoriginal card, photographer’s title and number in negative.


ref: 71231 £1,250



The Holy Land

32. [BONFILS, Felix (attributed to)]. Nablous.

1868. Albumen print. Two-part panorama, good tonal range and in good condition.


ref: 62034 £2,250



The Holy Land

33. MCDONALD, James, Sergeant. Mount Sinai from the south end of base on Ujret el Mehd.

[c.1868]. Albumen print. Three-part panorama, with good tonal range and in good condition,photographer’s printed credit and title on mount.

Dimensions: 165 by 620mm. (6.5 by 24.5inches).

In 1869, Sergeant James McDonald (1822-1885) accompanied a team of British army engineers on afive month trip to survey the Sinai Peninsula. The photographs McDonald took on this trip earned him aprivate audience with Queen Victoria, who 'expressed a wish to see the artist who had produced so manybeautiful photographs of the Holy Land.' By this time, photography was an essential part of the mappingof land, which explains the detailed labelling of the images. This image of Mount Sinai shows Jebel elDeir (Aarons Hill), Wady Ed Dir, Ras Sufsafeh, Wady Shreij and Jebel Er Rabbeh. From 'OrdnanceSurvey of the Peninsula of Sinai, Part III: Photographs, Volume 1’. The image was published in StewartHowe, Kathleen, Revealing the Holy Land, The Photographic Expedition of Palestine. Santa BarbaraMuseum of Art.(p.87)

ref: 72371 £3,250



The Holy Land

34. MCDONALD, James, Sergeant. Ras Sufsafeh from north eastern extremity of the plain of Er Rahah.

[c.1868]. Albumen print. Three-part panorama, with good tonal range and in good condition,photographer’s printed credit and title on mount.


This image was part of 'Ordnance Survey of the Peninsula of Sinai, Part III: Photographs, Volume 1' .

ref: 72370 £3,250



Afghanistan

35. [BURKE, John and BAKER, William. (attributed to)]. [Kabul].

[c.1880]. Albumen print. Two-part panorama, good tonal range and in good condition, title inmanuscript on mount.


John Burke and William Baker, two British soldiers, were among the first photographers to work inAfghanistan. From their base in Northern India, they worked together during the 1860s and early 70sand photographed The Afghan wars, Peshawar and The Himalayas. Many of their photographs were usedto make etchings for the ‘London Illustrated News’ and other picture magazines of the time.

This early, view is taken from one of the city's surrounding hills, and shows the Khyber Pass in thebackground.

ref: 71419 £2,750



Central Asia

36. [Photographer unknown]. Baku, Azarbaijan.

[c.1890]. Carbon print. Five-part panorama, good tonal range and in good condition.


View of the Fabrick von Albrecht Company oil refinery in Baku, the capital city and largest port inAzerbaijan. Azerbaijan is the largest country in the Caucasus region of Eurasia and sits between EasternEurope and Western Asia. In the late nineteenth century, oil was discovered in the country, causingEuropean and American oil companies to move to the region in the hope of reaping great rewards.

ref: 71933 £2,250



India

37. BOURNE, Samuel. Calcutta. Calcutta from the Ochterlony Monument.

[c.1868]. Albumen print. Seven-part panorama, very good tonal range and in good condition, slight sunningaround edges of some of the prints, pasted on card.


Samuel Bourne was the most well-known British photographer of India during the nineteenth century. During hissix-year stay (between 1863 and 1869) he took more than two thousand photographs exemplifying classic Rajphotography.

The far left of the print shows the River Hooghly entering the city, the many boat masts are evidence of the river'simportance to trade. Following the river, one can see the city topography, which encompasses all the important andsignificant architectural monuments, including Government House and Esplanade Row; both symbols of imperialrule and power. On the right of the image large mansions are shown lining Chowringhee Road, one of the oldestroads in the city. Fort William can be seen on the far right of the image. The image was reproduced in the bookDehejia, Vidya. 'India, Through the Lens. Photography 1840 -1911'.

ref: 73788 £8,500



India

38. [DAYAL, Lala Deen, Raja (attributed to)]. [Elphinstone Circle, Bombay].

[c.1870]. Albumen print. Four-part panorama, very good tonal range and in good condition.


Elphinstone Circle (Horniman's Circle), was originally a large park in the Fort District of south Bombay,known as the Bombay Greens. In the second half of the nineteenth century the park had become a dumpingground and the police commissioner Charles Forjett embarked on a plan to resurrect the area. Laid out in1869, and completed in 1873, it was named after a former British Governor of Bombay, Lord JohnElphinstone. The stone facades of the buildings were designed by James Scott, the Chief Engineer of theElphinsone Land and Press Company, to reflect the power of the Raj, with the Town Hall and the Bankof Bombay occupying two of the Victorian gothic style buildings surrounding the circle. Behind the circle,St Thomas's Cathedral can be seen. It was renamed Horniman's Circle following Independence, after apro-freedom editor of the Bombay Chronicle.

ref: 71293 £6,500



India

39. [DAYAL, Lala Deen, Raja (attributed to)]. [Kolar gold mines, Mysore].

[c.1890]. Albumen print. Two-part panorama, good tonal range and in good condition.


Located close to the city of Bangalore, the mines were opened in 1864 by a British resident named MichaelF. Lavelle, before being taken over in 1880 by the English mining firm, John Taylor and Sons.

ref: 72218 £1,250



India

40. [Photographer unknown]. [Church Hill, Ooty].

[c.1870]. Albumen print. Four-part panorama, good tonal range and in good condition.


Ooty, short for Ootacamund, is situated near Tamilnadu in the Nilgiris mountain range (nicknamed BlueMountain because of the blue haze that envelopes the range), and is also known as the 'Queen of the Hills'.Under the Raj, Ooty was almost entirely owned by British residents, having been brought to the public eyeby John Sullivan, Collector of Coimbatore, in 1820. In the view one can see St Stephen's church, one ofthe oldest buildings of Ooly, its foundation stone having being laid in 1829 by the Governor of Madras,Stephen Rumbold Lushington .

ref: 68446 £2,250



India

41. BEATO, Felice. [The Kashmir Gate, main breach and bastion, Delhi].



Following the Crimean War, Beato made his way to Delhi to record the aftermath of the Indian Mutinyin 1857. This view shows the damage done by the assault of the Third Column on the city walls by theMain Breach, on 14th September 1857.

This photograph was exhibited at an exhibition ‘Ingenuity: Photography and Engineering 1846 - 2006’.The image was also published in Jim Masselos, Narayani Gupta, ‘Beato’s Delhi 1857, 1997’, (p.59).

ref: 62247 £2,500



India

42. BEATO, Felice. [Moree Bastion, Delhi].



Moree bastion, situated between Moree Gate and Kabul Gate was attacked from British artillery on the9th September 1857.

The image was also published in Jim Masselos, Narayani Gupta, ‘Beato’s Delhi 1857, 1997’, (p.63).

ref: 70837 £2,500



Kashmir

43. [Photographer unknown]. Kashmir.

[c.1890]. Silver gelatin print. Twelve individual panoramas of Kashmir, very goodtonal range and in good condition.

Dimensions: each 85 by 290mm. (3.5 by 11.5 inches).

The images include four views of the hillsides, forests and mountain ranges surroundingGulmarg in the Baramullah district of Kashmir. Known for its beauty and incredible views,it was a favourite holiday destination for British colonials stationed in India. The famouscentral Asian explorer Sir Marc Aurel Stein, spent much of his time here betweenexpeditions.

Other views include Jhelum River; the largest and most Western of the five Punjabi rivers;Woolar lake, one of the largest fresh water lakes in Asia; Baltistan located in the Karakorammountains, a region that was a major trade route between China and Kashmir during thenineteenth century and occupied by the Maharaja Ghulab Singh of Kashmir and Jammu.There are also three views of the Karakorum mountains including the Shigar Valley.

ref: 73785 £8,500



Burma

44. [Photographer unknown]. [Rangoon].

[c.1870]. Albumen print. Two-part panorama, very good tonal range and in good condition.


The view is of Rangoon Commons. It shows Fytche Square, looking due south from the roof of the oldTown Hall, towards Merchant street and the river beyond. Trinity Church is to the left and the oldCathedral under construction to the right.

ref: 73533 £3,250



Burma

45. [Photographer unknown]. [Rangoon].

[c.1880]. Albumen print. Six-part panorama, very goodtonal range and in good condition.


This view was taken from the roof of the Sailor's Home (longsince demolished) on the Strand at Phayre Street (Pansodan),probably around 1880.

ref: 73289 £5,750



Burma

46. TRIPE, Linneaus. Rangoon. View of the Cantonment, No 105.

1855. Salt paper print from waxed paper negative. Three-part panorama pasted on original card,printed title on label below image ‘From the upper platform of the great pagoda, looking s. and s.e.Pussendown Creek is in the left distance: the new barracks of H. M. 84th Regiment in the centre,the signal Pagoda a little beyond it; the road from the Pagoda to the Town on the right, part of theroof of the s. stairs of the Pagoda being in continuation’.


Captain Linnaeus Tripe (1822-1902), an officer employed by the East India Company, served in theIndian army from 1839-1873. In the 1850s, when he became photographer to the British ColonialGovernment in India, his first assignment was as official photographer to the diplomatic mission to theBurmese capital, Amerapoora. This view was taken during the mission.

ref: 73509 £7,500



Burma

47. [Photographer unknown]. [Mandalay from Mandalay Hill].

[c.1880]. Albumen print. Three-part panorama, fair tonal range with slight foxing along uppermargin, pasted on card.


Panorama of the outside of the city wall. Formerly the capital of Burma, Mandalay is situated on the RiverIrrawaddy, in the hill country, north of Rangoon. Because of its waterways it was an important tradingcentre.

ref: 59396 £1,500



China

48. FONG, A. (Afong) Wei Hai Wei.

[c.1890]. Silver gelatin print. Good tonal range and in good condition, photographer’s credit andtitle in negative.

Dimensions: 220 by 1030mm. (8.5 by 41 inches)

Known in the past as Weihai Garrison or Port Edward. Wei Hai Wai was a port on the North shore ofthe Shandong province of China, and was originally the base for the Beiyang Fleet of China during theQing Dynasty. In 1898 however, the UK obtained a lease, allowing occupation of the territory for twenty-five years.

ef: 72365 £1,250



China

49. [Photographer unknown]. [British consulate, Shamian island, Canton].

[c.1880]. Albumen print. Two-part panorama, fair tonal range and in good condition, pasted oncloth backing.


From the Song Dynasty (960–1279 AD) to the Qing Dynasty (1644 to 1911), Shamian had been animportant port for foreign trade and the warehouse of Thirteen Hongs (otherwise known as the ThirteenFactories, an area of Canton City where the first foreign trade was allowed in the 18th century). After thesecond Opium War, on the 3rd of September in 1861, a Guangdong officer, Lao Chongguang, on behalfof the Qing Government, contracted a lease with the European and American traders. From then on,Shamian Island became one of the earliest foreign concessions in China. Soon after, another nineteencountries established their own consulates in the area and also founded churches, foreign firms, postoffices, telegram offices, shops, hospitals, hotels and dwelling houses. This particular view looks north-westup the Pearl river, with what is most likely the British consulate in the foreground and, in the distance onthe left one can make out the sacred heart cathedral; in this particular image unfinished. The Catholiccathedral was started in 1863 and not finished until 1888.

ref: 70969 £2,950



China

50. FONG, A. (Afong) (studio of) Canton.

[c.1923]. Silver gelatin print. Good tonal range and in good condition, photographer’s studio stampin negative.


View of the Pearl River entering Canton (Guangzhou). Afong worked between 1859 and 1890 but hisstudio continued operating until the start of World War II, being passed into the hands of his son, andlater grandson. He was one of few Chinese to produce photographic views.

ref: 71929 £4,500



China

51. FONG, A.(Afong) (studio of) Canton.

[c.1923]. Silver gelatin print. Good tonal range and in good condition, photographer’s studio stampin negative.


View of the north side of Pearl River, Canton (Guangzhou). Pictured in the centre is the catholic two-spiralled 'Sacred Heart' cathedral.

ref: 73513 £5,250



China

52. KUNG TAI. Shanghai Bund.

[c.1881]. Albumen print. Twelve-part panorama, good tonal range and in goodcondition, pasted on card, folded with end boards in contemporary cloth, lettered in gilt.


Nineteenth-century Shanghai was a very cosmopolitan city. It was known as both the 'Paris ofthe East' and the 'Whore of Asia', notorious for its underworld and slightly debauched ways. Itwas governed largely by foreigners and by the1880’s became the largest city in China and amajor trading centre linking Asia with Europe.

The Shanghai Bund runs along the waterfront of the Huangpu river, north of the old walled city of Shanghai. Initially a British settlement, the Bund was lined by dozens of historic buildings, housing banks and tradinghouses, as well as numerous consulates, the Shanghai Club and the Masonic club. It was the most famous street in Shanghai and a symbol of the financial growth of the city, which boomed after the Opium wars.

Kung Tai was a Chinese photographic studio operating in the city from the 1860s to the 1890s. This panorama and the following eight-part one are highly uncommon in such good condition. One of the maindifferences between the two panoramas is the Customs House. The 1881 panarama shows the original Chinese 'Yamen' styled Customs House, which was demolished in 1894 to make way for the Victorian gothicbuilding shown in Tuck Tai's panarama.

ref: 69945 £10,500



China

53. [TUCK TAI (attributed to)]. Shanghai Bund.

[c.1898]. Albumen print. Eight-part panorama, good tonal range andin good condition, pasted on card, folded in contemporary clothboards. Dimensions: 190 by 2160mm. (7.5 by 88 inches).

This eight-part panorama by Tuck Tai shows a view from the Native City(Nanshi) in the far left of the photograph to Suzhou Creek in the far right.The panorama centres on what was the British settlement. Notable buildingsare the Shanghai Club (in the centre of section three), with its columns andpediment; The Customs House (in the centre of section four), the spire ofTrinity Cathedral can be seen to its right in the background. The CustomsHouse is between two big banks; the Hong Kong and Shanghai Bank to itsleft and the Deutsch-Asiaatische Bank to its right. In section six, the NorthBank shows the big white building of the German consulate, with theJapanese consulate to its right. Crossing Garden Bridge, one can see at thefar left of the print the British consulate next to the public gardens andbandstand.

ref: 69947 £8,500



China

54. [FONG, A. Afong (studio of)]. Shanghai Bund.

[c.1925]. Silver gelatin print. Good tonal range and in fair condition, slight damage on rightmargin, pasted on card. Dimensions: 200 by 1420mm. (8 by 56 inches).

ref: 73787 £8,500



China

55. [Photographer unknown]. [Hong Kong viewed from Flagstaff House].

[c.1875]. Albumen print. Two-part panorama in very good condition, very good tonal range,pasted on original card, title in manuscript.


This view of Hong Kong shows St John’s Cathedral in the centre and immediately to the right is theImperial Russian Consulate and, further along, City Hall. The photographer was standing at FlagstaffHouse overlooking Murray barracks.

ref: 74132 £3,750



China

56. [Photographer unknown]. [Hong Kong from Victoria peak].

[c.1870]. Albumen print. Three-part panorama, very good tone and in good condition, pasted onnew card.

Dimensions: 180 by 950mm. (7 by 37.25 inches)

Like Amoy, Hong Kong became a 'treaty port' in 1842 after the signing of the treaty of Nanjing. It alsobecame a 'crown colony' of Britain and was a major trading post of the British Empire in the second halfof the nineteenth century. This particular view shows the city of Victoria below, the harbour and Kowloonpeninsula across the water. Stonecutter’ s Island can be seen on the far left.

ref: 72216 £4,500



China

57. [Photographer unknown]. [Race-track, Happy Valley, Hong Kong].

[c.1870]. Albumen print. Two-part panorama, very good tone and in good condition, pasted onnew card.


A view of the Happy Valley horse racing track. Built in 1845 for British people in Hong Kong. Horseracing became increasingly popular with the Chinese during the nineteenth century. The racecourse is nowone of the most famous tracks in the world.

ref: 72215 £5,500



China

58. [Photographer unknown]. [Hong Kong viewed from Kowloon].

[c.1886]. Albumen print. Four-part panorama, very good tonal range and in good condition, pastedon card.


A view of Victoria harbour and the Chater reclamation. Waterfront reclamation was the only answer toHong Kong’s land shortage and congestion. The reclamation was a large scale project carried out by theHong Kong Land company in Colonial Hong Kong under Sir Catchick Paul Chater and James JohnstoneKeswick.

ref: 73556 £9,500



China

59. [Photographer unknown]. [Foreign settlement, Amoy].

[c.1870]. Albumen print. Four-part panorama, very good tone and in good condition, pasted onnew card.


In the nineteenth century, Amoy (Xiamen) was China's main port for exporting tea, and was one of fiveChinese 'Treaty ports' agreed on by the Treaty of Nanjing in 1842.

Most of the foreign residents lived on Kulangsu Island in Amoy Harbor. Great Britain established itsconcession in 1851. Japan also established a concession much later, in 1900. During 1898-1901 the UnitedStates Governemnt considered establishing a concession at Amoy primarily to be used as a naval base.

ref: 72214 £5,500



China

60. [Photographer unknown]. [Port of Lu-Shun].

[c.1903]. Albumen print. Two-part panorama in good condition and with good tonal range.


Lu-shun was otherwise known in the west as Port Arthur. It was a strategic, deep water port that Russiapressured China into leasing in 1898 following the Sino-Japanese War. Located at the tip of the LiaotungPeninsula this port is the most important to Russia after Vladivostock. The photograph was takenimmediately before the start of the Russo-Japanese War after Russia reneged in 1903 on an agreement towithdraw its troops from Manchuria. The siege of Port Arthur started on February 8th , 1904, when themain Japanese fleet launched a surprise attack.

ref: 74004 £1,750



China

61. [Photographer unknown]. [Yangtze river].

[c.1930]. Silver gelatin print. Good tonal range and in fair condition, mounted on card,photographer’s blindstamp in far right corner.


The Yangtze river is the longest river in Asia and traditionally seen as the dividing line between Northand South China. The boats seen are Royal Navy river gunboats.

ref: 74231 £1,250



China

62. [Tung Hing (attributed to)]. [Kushan monastery, near Foochow, river Min].

[c.1860]. Albumen print. Two-part panorama, good tonal range and in good condition, loose.


Front view of the Cu Shau Monastery showing the main entrance. The monastery is a famous Buddhistshrine in South China.

ref: 69930 £6,250



Japan

63. [Photographer unknown]. [Kyoto].



ref: 72119 £2,750



Japan

64. [ENAMI, Tamotsu. studio of (attributed to)]. Nagasaki.

[c.1895]. Hand-colored albumen print. Three-part panorama, good tonal range and in goodcondition, photographer’s title and number in negative.

Dimensions: 210 by 830mm. ( 8.5 by 33 inches).

Despite being one of the most artistic and broad-ranging photographers of Japan in the late nineteenthcentury, little is known about Tamotsu Enami, and many assume him to be the same person as N. Enami.He trained under Ogawa Kazumara, before setting up his own studio in 1892. His studio was successfuland had branches as far afield as Hong Kong and the Philippines. It was the only Japanese studio toproduce both views and portraits of all sizes and types.

Nagasaki lies at the head of a long bay which forms the best natural harbour on the island of Kyushu, andis home to one of Japan's oldest international ports, becoming a 'free port' in 1859. As much of the citywas destroyed when it became the target of the world's second atomic bomb attack, these two nineteenthcentury views are, therefore, of great historical importance.

ref: 73810 £2,250



Japan

65. [ENAMI, Tamotsu. studio of (attributed to)]. Nagasaki.

[c.1885]. Hand-colored albumen print. Three-part panorama, good tonal range and in goodcondition, photographer’s title and number in negative.

Dimensions: 210 by 830mm. ( 8.5 by 33 inches).

ref: 73811 £1,750



Japan

66. [Photographer unknown]. The Bund, Kobe.

[c.1885]. Hand-colored albumen print. Three-part panorama, fair tonal range and in fair condition,photographer’s title and number in negative.


ref: 74352 £1,750



Japan

67. [BEATO, Felice (studio)]. [Yokohama].

[c.1863]. Albumen print. Three-part panorama, good tonal range and in very good condition.


A view of Yokohama harbour, Japan’s second largest city. This photograph gives a glimpse of the cityduring a period of rapid expansion and, therefor, is of considerable interest. Another example of thephotograph is held in the library of the Japan society, within a Beato album. Beato lost nearly all hisnegatives of Yokohama in a studio fire in 1866.

ref: 74474 £10,250



Japan


[c.1863]. Albumen print. Four-part panorama, good tonal range and in very good condition.


A view of Yokohama city and harbour. We are not aware of another example of this image.

ref: 74475 £10,250



Japan


[c.1872]. Albumen print. Four-part panorama in good condition with good tonal range, slight foldson the left plate, mounted on contemporary lining.

Dimensions: 200 by 1050mm. (8 by 41.4inches).

A shorter version of the image was reproduced in Philipp, Siegart &Wicks 'Felice Beato in Japan',Heidelberg: Edition Braus, 1991. The newly built railway station suggests the photograph was takenin 1872.

ref: 74504 £6,500



Japan

70. [Photographer unknown]. Yokohama.

[c.1885]. Hand-coloured albumen print. Two-part panorama, fair tonal range and in faircondition, photographer’s title and number in negative.


ref: 74353 £1,250



Japan

71. [Photographer unknown]. Yokohama.

[c.1885]. Hand-colored albumen print. Two-part panorama, fair tonal range and in fair condition,photographer’s title and number in negative.


ref: 74354 £1,250



Indonesia

72. [Photographer unknown]. Bromo-Tengger, Indonesia.

[c.1910]. Silver gelatin print. Three-part panorama, in fair condition.


Bromo-Tengger Semeru National Park is located on the island of Java. The park takes its name from, andis dominated by the Semeru and Bono mountains, four lakes and some fifty rivers in this national park.Mount Semeru at 3,676m, is its highest peak, and the highest mountain in Java.

ref: 72217 £650



Singapore

73. [Photographer unknown]. [Singapore].

[c.1885]. Albumen print. Five-part panorama, fair tonal range and in good condition.


An unusual view of Singapore from Government Hill (Fort Canning), overlooking the city centre.Government Hill was home to Raffles' first residence in Singapore as well as the city's botanical gardens.It shows both St Andrew's Cathedral and the (catholic) Cathedral of the Good Shepherd.

ref: 74451 £5,250



Singapore

74. [Photographer unknown]. [Singapore].

[c.1885]. Albumen print. Six-part panorama, fair tonal range and ingood condition.


A view of the Padang and the western corner of the Esplanade, now knownas Queen Elizabeth Walk. The Padang, originally called 'the Plain' byRaffles, is an open field located at the centre of Singapore's colonial heart, aplace people would go 'to take air'. It has been home to the Singapore CricketClub since 1852. The third part of the print shows the third Club House. Atthe time the photograph was taken ladies were restricted to the upstairs lounge.On the right is St Andrew's Cathedral, the first English church in Singapore,built in 1856-63 by Colonel Ronald Macpherson. On the far left of the imageis the mouth of the Singapore River and the Cavanagh Bridge, named afterthe last Governor to Singapore by the East India Company, Colonel OrfeurCavanagh.

ref: 74452 £9,500



Tonkin

75. [Photographer unknown]. [Coal mining, Hatou, Tonkin].

[c.1880]. Albumen print. Three-part panorama, fair tonal range and in good condition, pasted onnew card.


Tonkin is the northernmost region of Vietnam. The view shows workers at the 'Companie française desCharbonnages du Tonkin'; a coal mine.

ref: 73734 £1,750



Abyssinia

76. [Royal Engineers (attributed to)]. [Landing pier, Annesley Bay, Abyssinia].

[c.1870]. Albumen print. Three-part panorama, very good tonal range, one straight line of sunningon one page.

Dimensions:195 by 770mm. (8 by 30 inches).

Annesley Bay on Mulkutto, Abyssinia (modern-day Ethiopia) is situated on the shores of the Red Sea. TheLanding Pier was built by the Royal Engineers in 1867 as a way for British soldiers to enter into thecountry; in order to secure the release of Captain Cameron, the British consul of Abyssinia, and threeothers captured by King Theodore.

ref: 69603 £1,750



Africa

77. [Photographer unknown]. [Port of Maputo Mozambique. (originally LaurencoMarques, prior to 1975)].

[c.1890]. Silver gelatin prints, Good tonal range and in fair condition, photographer’stitle in negative.


ref: 71859 £250




Africa

78. [Photographer unknown]. [Pondoland, Madiba country, Eastern Cape].

[c.1910]. Five silver gelatin prints, Good tonal range and in fair condition,photographer’s title in negative.


Views include Port St. Johns, Mount Ayliff and three coastal views.

ref: 71858 £1,250


Egypt

79. [Photographer unknown]. [Museum at Gizeh, Cairo].

[1891]. Albumen print. Fair tonal range and in good condition, title in manuscript in French on verso.


This photograph shows the moving of the collection of the Egyptian museum into the annex of IsmailPasha's Palace in Gizeh, in 1891. The collection was moved from Boulaq, after the French archaeologistAugust Mariette, who put together the collection, died. In 1901 it was transferred to its present locationin Cairo.

ref: 74233 £1,750



Sahara

80. [BOUGAULT, Alexandre (attributed to)]. [Sahara desert], Algeria.

[1938]. Toned silver gelatin print. Good tonal range and in good condition, pasted on card.


A view of undulating sand dunes in the Sahara desert, with camel and tribesman. This photograph wastaken by the younger Alexandre Bougault. His father of the same name was also a photographer.

ref: 74480 £1,500



South Africa

81. [Photographer unknown]. [Cape Town CityBowl from the waterfront to Table mountain].

[c.1870]. Albumen print. Four-part panorama, goodtonal range and in good condition


ref: 73777 £1,750



South Africa

82. [Photographer unknown]. [Cape Town].

[c.1880]. Albumen print. Four-part panorama, good tonal range and in good condition, pasted onoriginal mount, title in manuscript.


ref: 62483 £950



Brazil

83. FERREZ, Marc. (studio) Brazil.

[c.1885]. Fourteen albumen prints. Very good tonal range and in very good condition,photographer’s credit and title in negative on twelve prints.


Prints from this series are published in the book: Colecao Pedro Correa do Lago, ‘O Seculo XIX naFotografia Brasileira’. Marc Ferrez was one of the foremost landscape photographers working in Brazilduring the nineteenth century. Educated in France, he returned home to Rio de Janiero and opened astudio in 1865. Better known for his scenic views than portraits, he capitalised on the growth of so-called'armchair tourism' with the majority of his prints being bought by tourists or foreigners wanting asouvenir to take home to show where they had been. Greatly admired by the monarch of the time, DomPedro II he was made Photographer of the Imperial Navy in the early 1870's and Photographer of theGeological Commission of the Empire of Brazil 1875. The monarchs support allowed Ferrez to makenon- commercial work and to flourish artistically. In 1885 he was made Knight of the Order of the Rose.

Marc Ferrez is highly collectable and this group is rare in its condition and tonality. He spent time


specialising in panoramas, returning to Paris to buy new cameras which gave wider views and finallyremaking himself a newer version of Thomas Sutton's invention of the panoramic cameraincorporating a 190 degree view. Ferrez's panoramas were exhibited worldwide and won prizes in Paris,Rio, Buenos Aires and Amsterdam. This extremely rare series of prints are views of the photographer'shometown, Rio de Janiero.

Views include:1. The docks and shipping at the entrance of the city, providing a rare insight into shipping practices ofthe day; 2. Botafago Bay between Viuva and Pasmado hills from the top of Corcovado prior to the Urcalandfill. c.1885; 3. Corcovado mountain taken from Rua São Clemente, one of the main roads in theBotafago area of Rio. c. 1885; 4. The entrance to Guanabara Bay (Rio sits in its southwest shore).c.1885; 5. Botafago Beach c. 1885; 6. A birds-eye view of the heart of Rio taken from the Castelo hill.The photograph clearly shows Misericordia street (now 1st of March street). One can also see the famousCandelãria church. c.1885; 7. Rio's waterfront, Morro do Cantagalo c.1890; 8. Views taken fromCorcovado (meaning hunchback in Portuguese) mountain. The mountain is world famous today for the38 metre statue of Jesus atop its peak entitled Christo Redentor. One print is taken from the aqueduct


pathway. The other is of the mountain railway; Rio de Janiero'sbotanical gardens, opened in 1808 by the Prince Regent ofPortugal to acclimatise imported plants. One shows thespectacular avenue of royal palm trees that measure about 30 mhigh c. 1871; The other shows Corcovado mountain; The neo-classical building, Santa Casa da Misericordia, built by thearchitect Jose Maria Jacinta (who studied under the greatFrenchman Grandjean de Montigny) in 1865, c.1880; 9. Twoprints of geological interest, taken in the park 'Campo daAclamação, that was first opened by the first emperor of Brazilin 1820 and later in 1880 was redesigned by French landscapedesigner Glaziou. One print shows a sculpted group of rocks andfountain while the other shows the interior of a cave filled withstalactites and stalagmites.

ref: 73995 £12,500



Item 83.


Brazil

84. [STAHL Augusto (attributed to)]. Rio de Janiero, Brazil.

[c.1865]. Albumen print. Three-part panorama, very good tonal range and in good condition.


Augusto Stahl was one of the first Brazilian photographers. He started his career in 1853 in Recefe,before moving to Rio de Janeiro in 1859. Weston Naef, curator of photography at the Getty Museum,described Stahl as ‘among the dozen or so most important photographers working anywhere at that time’.

A very early view of Rio de Janeiro, taken from Cobras Island. On the far left is Corcovado Mountain,followed by Sugarloaf Mountain, Castelo Hill and the building of the first docks of Rio. To the right ofthe docks stands Candelária Church, Mineiros Beach, São Bento Convent and the Navy Arsenal.

ref: 74565 £8,500



Canada

85. PANORAMIC CAMERA CO. Niagara falls.

1906. Silver gelatin print. Good tonal range and ingood condition.


ref: 73512 £1,750



America

86. HUDDLESTON PHOTO CO. Long Beach, California.

[c.1920]. Silver gelatin print. Three panoramas, good tonal range andin good condition, photographer’s credit, title and number in negative.


The Huddleston Photo co. was a photography studio specialising in views andpanoramas based in Los Angeles. The photography collection of the Libraryof Congress holds many of the studio's photographs.

ref: 74351 £1,250



Caribbean

87. [Photographer unknown]. [Barbados].

[c.1920]. Silver gelatin prints. Eight panoramas of Barbados, good tonal range and in fair condition.

Dimensions: 90 by 11.5mm. (3.5 by 11.5 inches).

ref: 74232 £1,250



Cuba

88. [Photographer unknown]. Havana.

[c.1890]. Albumen print. Three-part panorama, very good tonal range and in good condition,photographer’s title and number in negative.


ref: 73770 £1,950



Cuba

89. [Photographer unknown]. [Tramway, Havana, Cuba]. [Vista de una calle de la Habana conTranvia].

[c.1890]. Albumen print. Two-part panorama, good tonal range and in good condition, pasted onoriginal card.


ref: 72959 £2,500



Australia

90. [Photographer Unknown]. Sydney, from theTower of the new Town Hall. View No.1.[Panorama showing St. Andrews Cathedral andDarling Harbour, Sydney, from the Tower of thenew Town Hall. View. No.1].

[c.1880] Albumen print. Ten-part panorama,good tonal range and in good condition, slightspotting on first print, slight markings in uppermargins on seven prints, re-mounted on archival card, title in English in manuscript.

Dimensions: approx. 185 by 240mm. (7.5 by 9.5 inches).

The town hall in Sydney was originally designed in 1868 by John Henry Wilson. In 1875-77 the clock tower wasadded to the original building, which is the possible site from which this panorama was shot.

The town hall is situated next to St. Andrews Cathedral, which can be seen in the seventh print of the panorama.The eighth, ninth, and tenth prints show Darling Harbour, with Pyrmont Bridge, which was first opened in 1857.

Prints of the panorama over-lap in detail.

ref: 69078 £1,500



Australia

91. PAINE, John. [Sydney].

[c.1870]. Albumen print. Five-part panorama. Fair tonal range andin fair condition, photographer’s studio stamp on reverse and initialsin negative, small tear in far right hand corner.


This early and rare view of Sydney incorporates The North Shore, NeutralBay, Milson's Point, Circular Quay, Darling Harbour, Balmain, Ball'shead, Berry Bay and Parramatta River.

John Paine was a commercial photographer who specialised in views ofSydney and the Blue Mountains. Paine showed his photographs worldwideand was awarded a bronze medal at the Sydney International Exhibition1879, silver medal from Calcutta International Exhibition 1883 - 1884;bronze medal from Colonial and Indian Exhibition, London 1886; and abrass medal from International and Colonial Medal Amsterdam 1883.

ref: 73534 £1,750



Australia

92. [Photographer unknown]. [Govett's Leap, Blue Mountains, New South Wales].

[c.1870]. Albumen print. Two-part panorama, good tonal range and in fair condition, pasted onoriginal card, title in manuscript.


The view is taken from Pulpit rock lookout and shows the Grose Valley and the cliffs from which Govett'sleap plunges.

In 1846, the travel writer G.C. Mundy wrote of the leap: 'It is certainly one of the grandest freaks ofnature I have seen in any country - quite beyond the power of pen or pencil to delineate'.

ref: 73144 £1,250



Australia

93. [ROBINSON, Francis W (Whitfield)]. [Sydneyharbour from north Sydney, showing Lavender Bay].

[1878]. Albumen print. Five-part panorama, fair tonalrange and in fair condition, some loss of highlight detailsaround edges, slight abrasion on far right side, photographspasted to linen backing, titled and dated in manuscript onbacking.


Shows Blues Point Road, St. Leonards Public School, St.Leonards Drapery Warehouse, Christ Church Anglican Church,St. Francis Xavier's Presbytery in foreground, looking towardsLavender Bay; McMahons Point and Milsons Point, withSydney Harbour in the distance. Probably taken from the balconyof a house off Blues Point Road (opposite school house) whichhas a distinctive Observatory tower.

ref: 61927 £5,000



New Zealand

94. BURTON Bros. Dunedin.

[c.1875]. Albumen print. Ten-part panorama, fair tonal range and in good condition, pasted intohalf-red morocco boards, photographer’s studio label, index to panorama printed onto inside cover.


The New Zealand Burton brothers were Alfred Henry Burton (1834-1914), and Walter John Burton(1836-1880), who were born in Leicester. At the beginning of 1868, Alfred left the family's Nottinghamphotographic studio to join Walter in partnership at Dunedin, then New Zealand's biggest city due to thediscover, of gold in Otago province. As for the majority of Victorian studios of the period, the ‘carte-de-visite’ portrait was the mainstay of Burton Bros trade, but from the start they were keen to see more of theiradopted country through the lens. Both brothers worked outside of the studio during their partnership,which was dissolved by mutual agreement in 1876, with Alfred buying his brother's share in the business,and taking on Thomas Mintaro Baily Muir (c.1852-1945) as a partner. This particular panorama israre both for its fine condition and in that it is the only panorama in this collection which has an indexwith corresponding numbers in the negative.

ref: 74521 £5,500




Select bibliography

Bayer, Jonathan, The Panoramic Image, Southampton, John Hansard Gallery, 1981.

Bennett, Terry, Old Japanese Photographs, Collectors’ Data Guide, Cumbria: Titus Wilson 2006.

Bennett, Terry, Photography in Japan 1853 – 1912, Singapore: Tuttle Publishing, 2006.

Coe, Brian, Cameras, From Daguerreotypes to Instant Pictures, London: Marshall Cavendish, 1978.

Corrêa do Laog, Pedro Coleçoã, O Século XIX Na Fotografia Brasileira, Botafago: Francisco Alves, 2000

Collection Bonnemaison, Panoramas Photographies 1850 – 1950, Paris: Actes Sud, 1989.

Comment, Bernard, The Panorama, London: Reaktion Books, 1999.

Crary, Jonathan, Techniques of the Observer, Massachusetts: Institute of Technology, 1990

Debord Guy, The Society of the Spectacle, New York: Zone Books, 1994,

Dehejia, Vidya, India, Through the Lens. Photographs 1840 – 1911, Washington D.C.: Ahmedabad, Cologne: Freer Gallery of Artand Arthur M. Sackler Gallery, Mapin, 2000.

Ferrez, Gilberto & Naef, Weston J., Pioneer Photographers of Brazil, New York: The Center for Inner America Relations, 1976.

Gernsheim, Helmut, The Origins of Photography, London: Thames and Hudson, 1982.

Harris, David, Of Battle and Beauty, Felice Beato’s Photograph’s of China,Santa Barbara, Museum of Art, 1999

Harris, David with Eric Sandweiss, Eadweard Muybridge and the Photographic panorama of SanFrancisco, 1850 –1888, Montreal: Canadian Centre for Architecture, 1993.

Hacker, Arthur, Hong Kong A Rare Photographic Record of the 1860’s, Hong Kong: Wattis Fine Art, 1997


Hacker Arthur, Shanghai Century, Hong Kong: Wattis Fine Art, 2005

Herausgegeben von, Rolf Mayer, Louis De Clercq, Voyage en Orient, Cologne: Edition Cantz, 1989

Hyde, Ralph, Panoramania! London: Trefoil Publications in association with the Barbican ArtGallery,1988.

Jacobson, Ken, Odalisques & Arabesques: Orientalist Photography 1839-1925,London: Bernard Quatritch, 2007.

Khan, Omar, From Kashmir To Kabul; The Photographs Of John Burke AndWilliam Baker 1860–1900, Ahmedabad: Mapin Publishing & Prestel Verlag, 2002

Masselos, Jim & Gupta, Narayam, Beato’s Delhi 1857, 1997, Delhi: Ravi Dayal, 2000.

Meers, Nick, Stretch, the world of panoramic photography Sussex: Rotovision SA 2003.

Musée Carnavalet, Paris in 3D from stereoscopy to virtual reality 1850 - 2000London: Booth- Clibborn Editions, 2000.

Muybridge, Eadweard, One City Two Visions: San Francisco Panoramas, 1878 and 1990: San Francisco: Bedford Arts Publishers, 1990: 3 (Essay by Peter Bacon Hales).

Stewart Howe, Kathleen, Revealing the Holy Land, The photographic expedition ofPalestine, Santa Barbara: Museum of Art, 1997.

Tyers, Ray, Singapore, Then and Now, Singapore: University Education Press, 1976

Wattis, Johnathan & Vicky, Hong Kong Album, A collection of early photographs c.1870-1937, Hong Kong:Wattis Fine Art, 2007

Item 87. [Photographer unknown]. [Barbados].

Item 43. [Photographer unknown]. Kashmir.

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