Working Number | Name | Holding Museum | Date | Materials | Curator Justification |
RO 040 | The arrival of Suleiman Pasha, envoy of the Porte, in Giurgiu | National Museum of Romanian History | 1848 | | Chromolithography was a development of lithography (a printing technique using ink on a stone or plate) by using multiple stones or plates to produce colour prints.
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IT2 071 | The Gallery of Machines – Section of French Telegraphic Machines, Marinoni's Continuous Paper Model [Paris Exhibition, 1878] | National Central Library | 1878 | | The invention of the rotary press and four-colour printing are attributed to Auguste Hippolyte Marinoni. The new machines changed the printing of journals, achieving up to 18,000–20,000 copies per hour.
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UA 030 | Lithographed Qur’an, originally written by Shukr Zadeh (d. AH 1166 / AD 1753) | Sharjah Museum of Islamic Civilisation / Sharjah Museums Department | Hegira 1266 / AD 1850 | Lithographed Manuscript | In the Ottoman Empire, the printing of Qur’ans began in the second half of the 19th century in Egypt and in Istanbul. Most were lithographed, as they had the look and feel of manuscripts and, most importantly, all the required recitational signs could be rendered accurately.
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TR2 051 | Hüdavendigar Paper in Armenian | Bursa Basın Tarihi Müzesi | 1869 | Paper | Printing of local newspapers in Arabic or Turkish began early in the 19th century in Egypt and Istanbul. Muhammad ‘Ali Pasha, in Egypt, promoted printing, as did the Ottoman sultans. Newspaper printing developed further throughout the 19th century in the Ottoman Empire.
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TR2 052 | Hüdavendigar Newspaper | Bursa Basın Tarihi Müzesi | 1869 | Paper | A newspaper published after the Tanzimat (reforms). In the Ottoman Empire newspapers were printed in Arabic, Persian, Bulgarian, Serbian, Albanian, Kurdish, English, French, Italian, German, Turkish-Greek, Turkish-Arabic and Turkish-Armenian.
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MO 088 | Spread from lithographic-printed publication | Library of Qarawiyyin University | 1909 | | The first use of lithographic printing in Morocco was documented in 1865; it later became a common technique in the country.
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AT 091 | Abdülaziz (1830–1876) | Austrian National Library | c. 1861 | | As photography developed, official photographic portraits were taken of European and Ottoman kings and sultans. A new figure arose – the court photographer – as photography became a common technique to immortalise events and personalities.
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RO 012 | A young and an old Turk | National Museum of Romanian History | Second half of the 19th century | | Carol Popp de Szathmari is considered to be the first Romanian certified photographer and the first war photographer in Europe (during the Crimean war). He was the official photographer of Alexandru Ioan Cuza and of King Carol I. He produced five photograph albums of peoples and places in Romania.
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RO 011 | Album de la Dobrudgea by Anatol Magrin | National Museum of Romanian History | End of the 19th century | | During the 19th century, the commercial development of photography resulted in the spread of photograph albums to celebrate people, places and events and the growing interest in “exotic” places or populations, and to represent “the other”.
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TR2 141 | The Train Station from Anatolia | Istanbul University, Nadir Eserler Kütüphanesi (Rare Books Library) | Late 19th century | Photograph | The Yıldız Albums were commissioned by Sultan ‘Abd al-Hamid to represent the Ottoman Empire’s costumes, schools, buildings, people, personalities and technical innovations, and to promote a modern image of the Ottoman empire and counterbalance European orientalist imagery. One technical innovation, photography, was used to celebrate other innovations.
Working Number | Name | Holding Museum | Date | Materials | Curator Justification |
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TR2 138 | The Hijaz Railway Delegations | Istanbul University, Nadir Eserler Kütüphanesi (Rare Books Library) | Late 19th century – beginning of the 20th century | Photograph | The construction of the Hijaz Railway was celebrated as a public event by Sultan ‘Abd al-Hamid and involved important personalities from the Ottoman Empire. With a celebratory aim, the photographs of the delegations travelling along the Hijaz displayed the modernisation of the ancient Muslim pilgrimage route. | TR2 143 | The Hijaz Railway construction workers | Istanbul University, Nadir Eserler Kütüphanesi (Rare Books Library) | Late 19th century – begining of the 20th century | Photograph | Another photo from the Yıldız Albums. The construction of the railways had social consequences: new kind of jobs were offered, populations moved from the country to cities, and this gave birth to a new working class. | TR2 109 | Convoy of pilgrims | Istanbul University, Nadir Eserler Kütüphanesi (Rare Books Library) | 19th century | Photograph | The construction of the Hijaz Railway was celebrated by the Ottoman Sultan ‘Abd al-Hamid as an innovation that facilitated the Muslim pilgrimage. | |
TR2 125 | Ottoman Clothing Album | Istanbul University, Nadir Eserler Kütüphanesi (Rare Books Library) | Late 19th century – beginning of the 20th century | Photograph | Pascal Sebah, born in Istanbul, was one of the most famous photographers in the 19th century. He had his own photographic studio and collaborated in the creation of the Yıldız Albums, a large collection of photographs of people, technical innovations, places and personalities of the Ottoman Empire.
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FR 073 | Harem | National Library of France | c. 1870 | | Pascal Sebah had his photographic studio in Istanbul. He portrayed a wide range of subjects, some of them, such as his views of Istanbul, very realistic, and others based on fashionable topics influenced by orientalism, such as the representation of the harem inspired by European fantasies.
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SP 086 | Portrait of the Marquess of Cerralbo in a Turkish Garment | Cerralbo Museum | 1889 | Paper; albumen print | The Abdullah brothers were the most famous Ottoman photographers in Istanbul, Cairo and Europe. They used the albumen print technique, printing on a specific kind of paper from a negative using egg white to fix the image. Their portraits represented “exotic” clichés (usually to satisfy European customers’ taste) or a realistic approach when portraying local people.
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TR2 024 | The Port From The Galata Tower | Pera Museum | Mid-19th century | Albumen Paper | The Abdullah brothers also made very realistic albumen prints documenting landscape and monuments in Istanbul. They became the court photographers of Sultan ‘Abd al-Hamid and they opened their own studios in Istanbul and Cairo.
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SP 010 | Photograph: Music School, Syria | National Museum of Anthropology | 1898–1906 | Silver gelatin print, grey cardboard | The stereoscopic photograph was produced by a technique involving viewing two apparently identical images with a tool (the stereoscope) which gave the illusion of three-dimensionality and movement. The stereoscope was a popular form of entertainment, showing fashionable subjects such as “exotic” places and international exhibitions.
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MC 041 | Film camera of the Manaki brothers | The Archive of the City of Bitola | 1905 | | Cinematography, whose invention was credited to the French Lumière brothers, had gone beyond the boundaries of France. It represented a further development of photographic and optical techniques such as Thomas Edison’s kinetograph and celluloid film. By 1905, cinematography was developing into an art form.
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ET3 005 | Archaeological excavations | Ministry of Antiquities | 1912 | | The silver gelatin print was another photographic process that was developed late in the 19th century and it became commonly used for photographs through the 20th century. Portraits were popular subjects but so also was visual documentation, as in this case, of scientific and archaeological missions.
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