Imprimerie photographique de Blanquart-Évrard, à Lille (French, active 1851–55)
Salted paper print from paper negative
Image: 31.9 x 23.1 cm (12 9/16 x 9 1/8 in.)
Mount: 59.6 x 44.9 cm (23 7/16 x 17 11/16 in.)
Gilman Collection, Gift of The Howard Gilman Foundation, 2005
Not on view
Viewed at random, Salzmann’s 174 photographs of Jerusalem appear to vacillate between expansive landscapes and tightly cropped studies. When read in sequence, however, they reveal a systematic visual language. In a manner derived from architectural illustrations, Salzmann begins with a general view of a site and its immediate topography. He then moves closer and closer to a given structure until only a fragment appears in the frame. Multiple angles of a monument provide a sense of the edifice in the round, as with his serial study of the Jaffa Gate. Beginning with views from the interior (as seen here) and exterior, the series concludes with a shadowed inscription beneath the gate’s arch.
Inscription: Inscribed in negative then gone over in pencil, recto BR: "107."; inscribed in pencil on print, recto BL: "D"; printed on mount, recto BC: "Aug. Salzmann // JÉRUSALEM // PORTE DE JAFFA // Intérieur // Gide et J. Baudry, éditeurs. // Imp. Photogr. de Blanquart - Evrard, à Lille."; inscribed in pencil on mount, recto TR: "137"; inscribed in pencil on mount, recto BL: "D"; inscribed in pencil on mount, recto BR: "XLVII"
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.