Imprimerie photographique de Blanquart-Évrard, à Lille (French, active 1851–55)
Salted paper print from paper negative
Image: 32.9 x 23.1 cm (12 15/16 x 9 1/8 in.)
Mount: 59.5 x 44.5 cm (23 7/16 x 17 1/2 in.)
Gilman Collection, Gift of The Howard Gilman Foundation, 2005
Not on view
Tucked into a corner, Salzmann’s camera captures a small portion of Jerusalem’s layered walls. At right, a pediment is interrupted by the neighboring wall, while the outline of a pointed arch is visible in the lower left. With these architectural forms, Salzmann theorized that there survived portions of the temple built by Herod the Great in the first century b.c. and destroyed by Roman forces in a.d. 70. The identification was a radical departure from French archaeological tradition and transformed anonymous fragments into material evidence of the biblical era.
Inscription: Inscribed in negative, recto BL: "5."; printed on mount, recto BC: "Aug. Salzmann // JÉRUSALEM // ENCEINTE DU TEMPLE // Porte hérodienne // Gide et J. Baudry, éditeurs. // Imp. Photogr. de Blanquart - Evrard, à Lille."; inscribed in pencil on mount, recto TR: "7";
André Jammes Collection; [Graphics International, Ltd.]; Gilman Paper Company Collection, New York, October 7, 1978
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.