Imprimerie photographique de Blanquart-Évrard, à Lille (French, active 1851–55)
Salted paper print from paper negative
Image: 33.2 x 23.5 cm (13 1/16 x 9 1/4 in.)
Mount: 60.2 x 44.6 cm (23 11/16 x 17 9/16 in.)
Gilman Collection, Gift of The Howard Gilman Foundation, 2005
Not on view
Inscription: Inscribed in negative then gone over in pencil, recto BL: "74"; inscribed in pencil on print, recto BL: "D"; printed on mount, recto BC: "Aug. Salzmann // JÉRUSALEM // SAINT SÉPULCRE // Cupole // Gide et J. Baudry, éditeurs. // Imp. Photogr. de Blanquart - Evrard, à Lille."; inscribed in pencil on mount, recto TR: "97"; inscribed in pencil on mount, recto BL: "D"
André Jammes Collection; [Graphics International, Ltd.]; Gilman Paper Company Collection, New York, October 7, 1978
American Bible Society, New York. "The Jerusalem Project: The Dome Restoration in the Church of the Holy Sepulchre," June 6, 1998–July 6, 1998.
Perez, Nissan. "An Artist in Jerusalem: Auguste Salzmann." The Israel Museum Journal 1 (Spring 1982). pp. 19–50.
In 1854, Auguste Salzmann created approximately two hundred paper negatives during a four-month sojourn in Jerusalem. He recorded sixty-eight sites and categorized them, with some exceptions, by monotheistic religion—Judaism, Christianity, or Islam. Many of the resulting salted paper prints were circulated privately soon after his return to Paris. In 1856, the album, Jerusalem: A Study and Photographic Reproduction of the Holy City, was first advertised as a commercial endeavor for a wider public. Photographic plates were distributed three at a time over fifty-eight installments from September 1856 through 1859. All of Salzmann’s Jerusalem photographs were printed by the preeminent Blanquart-Évrard firm of Lille, France, while their distribution was managed by Gide et Baudry of Paris. Each album was meant to include two volumes of photographic plates accompanied by an archaeological treatise authored by Salzmann. The album in The Met collection is complete with 174 unbound photographic plates.