British photographers of Italian origin. Antonio Beato (b ?the Veneto, c. 1830; d Luxor, 1903) and his brother Felice [Felix] Beato (b ?the Veneto, c. 1830; d Mandalay, after 1904) were for many years thought to be one person with two names, Antonio and Felice, and only recently has the mystery been solved of the almost contemporaneous presence of a Beato in two different (and often very distant) places. The misunderstanding arose from the fact that both their names (Antonio Felice Beato) appear on several photographs. A closer inquiry brought to light a letter written by Antonio and published in the French paper, Moniteur de la photographie (1 June 1886), in which he explains that he is not the producer of the exotic photographs recently exhibited in London, mention of which had been made in the Moniteur of 10 March; the photographer was instead ‘[his] brother Monsieur Felice Beato of Japan’....
[Ben Youseph Nathan, Esther Zeghdda]
(b London, Nov 21, 1869; d Brooklyn, NY, Nov 27, 1933).
American photographer. Born Esther Zeghdda Ben Youseph Nathan to a German mother and an Algerian father, she immigrated to the United States in 1895. She worked as a milliner in New York before opening a photographic portrait studio in 1897. Her ‘gallery of illustrious Americans’ featured actresses, politicians, and fashionable socialites, including President Theodore Roosevelt, author Edith Wharton, artist William Merritt Chase, and actress Julia Marlowe. Ben-Yusuf also created Pictorialist-inspired artwork like The Odor of Pomegranates (1899; see fig.), an allegory informed by the myth of Persephone and the idea of the pomegranate as a tantalizing but odourless fruit. Ben-Yusuf was included in an exhibition organized by the Linked Ring, Brotherhood of the in London in 1896 and continued to exhibit in the group’s annual exhibitions until 1902. Her photographs were exhibited at the National Academy of Design in 1898 and at the Camera Club of New York in ...
(b Saint-Hippolyte-du-Fort, March 8, 1831; d Alès, April 9, 1885).
French photographer and photographic printer. Bonfils is best known for his photographs of the Mediterranean and Middle East, particularly his five-volume Souvenirs d’Orient: Egypte. Palestine. Syrie. Grèce (1878). Prior to opening a studio briefly in Alès in 1865, he was apprenticed to Abel Niépce de St Victor (180570). Having travelled to Lebanon in 1860 with the French Army to intervene in the conflict between the Druse and the Maronites, Bonfils decided to return to Beirut in 1867 with his wife Marie-Lydie Cabanis and son Adrian to establish a photographic studio under the name La Maison Bonfils. From there Bonfils began his photographic tour of Egypt, Palestine, Syria, and Greece, and sold his views back in his studio. These views included (he claimed) 15,000 albumen prints and 9000 stereoscopic cards. La Maison Bonfils became well known throughout Lebanon, the Middle East, and Europe as a première photographic studio and attracted many tourists seeking photographs of the surrounding area and peoples. Bonfils’s success was compounded when he presented his photographs to the Société Française de Photographie in ...
(b Paris, Feb 8, 1822; d Baden-Baden, Feb 9, 1894).
French photographer and writer. He was from a wealthy background, and he learnt calotype photography from Gustave Le Gray and Alexis de Lagrange. In 1849 he was sent by the Ministère de l’Instruction Publique on a mission to the Middle East to record the monuments and inscriptions. He undertook the trip (1849–51) with his friend the writer Gustave Flaubert, and during his travels he used a modified calotype process imparted to him by Alexis de Lagrange. He brought back c. 200 pictures from Egypt and some from Jerusalem and Baalbek. The album Egypte, Nubie, Palestine et Syrie: Dessins photographiques recueillis pendant les années 1849, 1850, 1851, accompagnés d’un texte explicatif et précédés d’une introduction was published by Gide and Baudry in 1852–4 (copy in Paris, Bib. Inst.; prints in Paris, Mus. d’Orsay; Paris, Bib. N.; Paris, Inst. Géog. N.). It contains 125 calotypes printed by Louis-Désiré Blanquart-Evrard, and it was the first printed work in France to be illustrated with ...
(b Chesterfield, Derbys, 1822; d Cannes, Feb 25, 1898).
English photographer. He is noted for his studies of the Middle East and for establishing the largest photographic publishing firm in the 19th century. He was born into a Quaker family and spent five unrewarding years apprenticed to a cutler in Sheffield, suffering a nervous breakdown in 1843. After two years recuperative travel he became a successful businessman, first in wholesale groceries and later in printing. His involvement with photography began at this time. He was one of the founder-members of the Liverpool Photographic Society in 1853 and he exhibited portraits and landscapes to much critical acclaim.
The sale of Frith’s printing firm in 1854 financed the expeditions to Egypt and the Holy Land that were to establish his pre-eminence among early travel photographers. He made three trips between 1856 and 1860 (see fig.). On the first, he sailed up the Nile to the Second Cataract, recording the main historic monuments between Cairo and Abu Simbel. On the second, he struck eastwards to Palestine, visiting Jerusalem, Damascus and other sites associated with the life of Christ. The final expedition was the most ambitious, combining a second visit to the Holy Land with a deeper southward penetration of the Nile. His photographs of the temple at ...
(b Dresden, Oct 16, 1813; d Stellenbosch, Oct 8, 1898).
German architect, builder, painter and photographer, active in South Africa. He showed a talent for drawing at an early age. In 1825 he entered the Akademie der Künste, Dresden, to study architecture, qualifying in 1829. He emigrated to Cape Town in 1838. His first commission in 1840 was the new Roman Catholic Cathedral of St Mary, Cape Town, undertaken with his partner Carel Sparmann, which was an unsuccessful venture. Hager then moved to Stellenbosch living principally by portrait painting (examples in Stellenbosch Mus.). It was not until 1854 that his next building, the Lutheran Church, Dorp Street, Stellenbosch, was built. Only in 1863, however, did he receive his first major commission, the remodelling of the Dutch Reformed Church, Stellenbosch. This involved the addition of a large nave, aisles and tower to the existing cruciform church. All the additions were strongly Gothic Revival in character, and the rest of the church was given a Gothic appearance. It would be an exaggeration to claim that it was Hager who introduced the Gothic style into Dutch Reformed churches, but it can be said that he introduced a purer strain of the Revival, although this was still far from ‘correct’. The church at Stellenbosch differs most from previous attempts to Gothicize Dutch Reformed churches in the tower, which has triple-stage base tracery windows surmounted by a broach spire. The open Gothic trussed roof marks its first appearance in Dutch Reformed churches. In ...
Sheila S. Blair and Jonathan M. Bloom
[Arab. taṣwīr, fūtūgrāfiyā ; Ottoman Turk. taṣwīr ; Mod. Turk. fotoğrafçilik ; Pers. ‛akkāsī, fūtūghirāfī
Term used to describe the technique of producing an image by the action of light on a chemically prepared material. Although used privately in France and England as early as 1833, the process was announced publicly only in 1839.
In January 1839 François Arago (1786–1853), a member of the Académie des Sciences, suggested that among the advantages the new medium presented was that the millions of hieroglyphs covering the monuments of Thebes, Memphis and Karnak could be copied by a single man rather than by scores of draftsmen, and in 1846 the English photographer and scientist William Henry Fox Talbot (1800–77) published a pamphlet with three prints of hieroglyphics for distribution among ar-chaeologists and Orientalists.
The Ottoman press reported the discovery of photography as early October 1839, and European colonial involvement in the Islamic lands of North Africa and West Asia ensured that photography was immediately brought there: for example, in ...
German, 20th–21st century, male.
Born 18 March 1931, in Berlin, Germany.
Active in South Africa from 1950.
Photojournalist, documentary photographer. Figures, city life, apartheid history.
After working as a photographer in Berlin and Hamburg, Jürgen Schadeberg moved to South Africa in 1950. He settled in Johannesburg in ...
(b Saint-Flour, Cantal, Jan 14, 1817; d Saint-Martin-le-Vinoux, nr Grenoble, Aug 28, 1892).
French photographer and civil engineer. He was fascinated by Egyptology from an early age and visited Egypt from 1851 to 1852. He returned there in 1869 with an official invitation to the opening of the Suez Canal. He brought a number of calotypes back to France after his first trip, and these made up his album Egypte et Nubie. Sites et monuments les plus intéressants pour l’étude de l’art et de l’histoire. Atlas photographique accompagné de plans et d’une table explicative servant de complément à la grande ‘description de l’Egypte’. This sumptuous work, illustrated by 160 large-format plates printed by H. de Fonteny, was published from 1853 to 1858 by Goupil. The views shown were varied and included ancient monuments such as the Temple of Abu Simbel, the Pyramid of Chephren and the Ruins of Aswan as well as modern ones such as the Town of Asyut, the banks of the Nile and local people going about their daily business, as in ...
Sarah Kate Gillespie
(b Trenton, NJ, 1820/21; d Monrovia, June 7, 1875).
American photographer, active also in Liberia. One of the few African American daguerreotypists whose career has been documented by modern scholars, Washington was born in Trenton, NJ, as the son of a former slave. He became interested in the abolitionist movement at an early age, and worked hard to achieve an education, first studying at the Oneida Institute and later at Kimball Union Academy, Meriden, NH. Washington attended Dartmouth College in 1843 and learned daguerreotyping during his freshman year as a way to help pay for his schooling. He left Dartmouth in 1844 and moved to Hartford, CT, where he opened one of the city’s first daguerreotype studios two years later. By the early 1850s Washington was one of the premiere daguerreotypists in Hartford, catering to a broad and fairly élite clientele. One of his best-known portraits from this period dates from 1846–7, and is the earliest surviving photograph of abolitionist John Brown (daguerreotype; Washington, DC, N. P. G.). Brown is pictured holding a flag, possibly for the ‘Subterranean Pass Way’ (Brown’s version of the underground railroad), in one hand; the other hand raised as if taking a pledge. Despite Washington’s success, he remained wary of race relations in the United States, unconvinced that emancipation would lead to improved circumstances for blacks living in the United States. Closing his studio in Hartford, Washington immigrated to Liberia with his wife and two children in ...