Imprimerie photographique de Blanquart-Évrard, à Lille (French, active 1851–55)
Salted paper print from paper negative
Image: 23.2 x 32.2 cm (9 1/8 x 12 11/16 in.)
Mount: 44.5 x 60 cm (17 1/2 x 23 5/8 in.)
Gilman Collection, Gift of The Howard Gilman Foundation, 2005
Not on view
Salzmann recorded the entire town of Siloam in a single view. Framed by bands of earth and sky, the village appears as striations of stones embedded in a steep hill. Seemingly as vacant as Bethlehem (pictured in the plate at left), this town, too, drew Salzmann’s attention for its associations with biblical sites—in particular, the healing waters of the Pool of Siloam.
Inscription: Inscribed in negative, recto BL: "32";printed on mount, recto BC: "Aug. Salzmann // JÉRUSALEM // PISCINE DE SILOÉ // Vue générale // Gide et J. Baudry, éditeurs. // Imp. Photogr. de Blanquart - Evrard, à Lille."; inscribed in pencil on mount, recto TR: "37"; inscribed in pencil on mount, recto BL: "[scribble mark]"; inscribed in pencil on mount, recto BR: "XVII"
André Jammes Collection; [Graphics International, Ltd.]; Gilman Paper Company Collection, New York, October 7, 1978
The Metropolitan Museum of Art. "Faith and Photography: Auguste Salzmann in the Holy Land," September 12, 2016–February 5, 2017.
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.