'Effet de Ressac'
Albumen print, c. 1890
9/10; 231 x 312 mm, mounted

The title is printed on the mount. A dramatic example of instantaneous photography at a time when capturing the surf in this manner first became possible.
Alcazar, Principal Facade, Seville
Albumen print, 1862
9-10/10; 367 x 289 mm, mounted

A fine print by the most renowned 19th century photographer who worked in Spain. Photographer's blind stamp on print/mount and a red no. 23 inscribed on print. Illustrated as no. 524 (p. 297) in Fontanella, Clifford en España, 1999 and dated September, 1862.
Body cast of human remains from Pompei
Albumen print, 1860s
10/10; 177 x 235

A cast of one of the bodies trapped in Pompei – found on 5 Feb. 1863 (so indicated in photographer's inscription at bottom left of photo).
Cacti, Palermo
Albumen print, c. 1870
9-10/10; 197 x 254, unmounted
Castel Sant'Angelo, Rome
Non-matt salt print, c. 1854s
10/10; 182 x 247 mm, mounted
Cloisters of S. Giovanni in Laterano, Rome
Albumen print, 1870s
10/10; 192 x 252, unmounted
Columns of the Forum of Nerva and 'Arco dei Pantani', Rome
Albumen print, 1858
9/10, minor edge fading; 407 x 293mm, mounted

By common consent, Macpherson was considered both at the time and also today, to be one of the greatest early 19th century photographers of Rome. The prints bears Macpherson's blind stamp on the mount and is numbered 7, which appears in the photographer's 1858 catalogue and those thereafter.
Courtyard, Venice
Photogravure, 1890s
Tonality- 10/10; 328 x 230 mm.

From Ongania's 'Calli e Canali in Venezia'.
Courtyard, Viterbo (?)
Albumen print, c. 1860s
10/10, tears along right edge; 207 x 265 mm, unmounted

A rarely seen photographer whose blue rubber stamp is on the print verso.
Decursio Relief in Vatican Courtyard
Non-matt salt print, c. 1855
Tonality 9-10/10; 276 x 350 mm., mounted

James Anderson was a British-born artist and photographer who was born Isaac Atkinson. He was a member of the famous 'Caffé Greco circle' of early photographers in Rome which included Count Flacheron and Giacomo Caneva.
Dol, Normandy
Albumen print, c. 1858
9-10/10; 210 x 165 mm, mounted

Sutton was an important photographer and innovator of the 1850s who opened a studio in Jersey in the 1850s. He was also the publisher of the journal Photographic Notes. This print is published by Francis Frith on Frith's printed mount as part of an 1860s series that Frith printed of work by notable photographers, often from negatives made in the 1850s.
Dr. Armand Trousseau (1801-1867) & Students
Albumen print, c. 1860
10/10; 198 x 255 mm, mounted

Armand Trousseau was one of the most important clinicians of the 19th century and was of great importance in the history of medicine. He developed treatments for many diseases including emphysema, pleurisy and malaria and coined the term aphasia. He was known as a dedicated and charismatic teacher and many of his students achieved fame with medical breakthroughs in their own right. After his death, Trousseau was awarded the Legion of Honor (1871) and a children's hospital in Paris was named after him. To our knowledge this photograph is unique. it is perhaps because Trousseau was known as such an influential teacher that this intimate group portrait has an added poignancy.
Berthier's blindstamp is on the mount.
Exhibition of Yosemite photographs, 1867 Paris Exhibtion Universelle
Albumen print, 1867
9-10/10; 180 x 240mm, mounted

The print is on the official exhibition mount of Pierre Petit, who acquired photographic rights to the 1867 Exhibition Universelle. The actual photographers, however, working for Petit, were Léon & Lévy. Many photographs are visible in the image, apparently displayed in the 'Minnesota' stand, including mammoth plates of Yosemite Valley. Unfortunately, unless someone is very keen-eyed, it is not possible to discern if the California photographs in this photograph are by Watkins, Lawrence & Houseworth or someone else. The period literature is somewhat unclear. It seems that both of the aforementioned American photographers exhibited at the 1867 Paris exhibition and possibly both won prizes.
Fisherman at Posilipo, Naples
Albumen print, 1870s
Tonality 9/10, minor edge fading; 187 x 250 mm., mounted
General view of the Theatre of Bacchus, Athens
Albumen print, c. 1870
9/10; 222 x 289 mm, mounted

A scarce print from Bonfils's first series of photographs, signed in the negative with black ink.
Hauptmarkt, Nuremberg
Non-matt salt print, c. 1850s
7/10; 304 x 243 mm, mounted, print has rounded corners
Hotel Tiberio, Capri
Albumen print, c. 1860s
9/10; 180 x 240 mm, mounted

This image, including placement of the figure, is typical of the best of Sommer's immaculate compositional style. The photographer's trademark numbering is at the bottom of the print and the blind stamp of his Naples studio is on the mount.
Il Camposanto, Pisa
Albumen print, c. 1850s
9/10; 254 x 347 mm, mounted

A dramatic study of the old cemetery at Pisa by the Alinari Brothers, one of the outstanding early Tuscan studios. Manuscript writing and the photographers' blindstamp is on the mount.
Interior of Agricultural Hall
Albumen print (hand-coloured), c. 1889
8/10; 220 x 276, mounted

Believed to be from the Exhibition Universelle of 1889, the two oversize bottles of wine in the foreground are notable. The mount has holes in its edges as if it was pinned up to be studied by an artist. Indecipherable inscription in the negative.
Large country house, Russia
Albumen print, c. 1860s
10/10; 262 x 337mm, mounted

Scherer and Nabholz were professional photographers in Moscow. They produced many early records of houses that have now been destroyed and also made studies for artists. Photographer's blind stamp on mount.
Lava of Mt. Vesuvius
Albumen print, c. 1870s
10/10, missing corner at top left; 284 x 374 mm, unmounted

Despite missing a small corner, this is a remarkable and rich large format Sommer print and a rare image. It possesses a welter of detail, the two figures initially hidden from the viewer's vision by the convoluted masses of lava. Bears Sommer's atypical simple blind stamp – 'G. Sommer' on print.
Leaning tower of Pisa
Albumen print, c. 1856
9/10, minor edge fading; 420 x 321mm, mounted

Alinari blindstamp on mount and manuscript caption- 'Pisa Terre della Cathedrale'. An early Alinari print, unusually having the Alinari blindstamp but not yet bearing a number inscribed in the negative. Print is a very attractive rust brown tonality.
Lion of Lucerne
Salt print, c. 1855
9-10/10, fading to left edge.; 175 x 224 mm, mounted.
Marble slab from the Temple of Athena Nike, Acropolis
Light Albumen print, c. 1853
8-9/10; 267 x 252 mm, mounted

A good example of Robertson's early Greek work. Robertson's views of Greece are rare but like his Crimean photographs are most often seen as early prints which are yellowed or faded. See another example of this print in 'Photographs by James Robertson, from the Photographic Archive of the Bengaki Museum', Constantinou and Tsigakou, 1998. Illustrated as plate 20 (p. 99), the museum's example is more tightly cropped and appears to be a very yellow print.
Morel (concierge) and 'Sultan'
Albumen print, c. 1858
9-10/10; 195 x 153 mm, mounted

Trimmed corners. Inscribed on the mount in French that 'Morel' is the concierge of the chateau (name indecipherable).
Naples harbour
Albumen print, c. 1870
9-10/10; 191 x 248mm, unmounted
Oviedo. Desmonte del Pinedo
Albumen print, c. 1870s
9-10/10; 241 x 342 mm, mounted
Pair of decorative Greek plinths
Albumen print, c. 1859
9/10; 270 x 204 mm

De Laurière was apparently an amateur French photographer who worked in Italy and vicinity during the 1850s. Location is unknown. Reverse of mount is inscribed 'Trouvé a Salonique'. The photographer's blue rubber stamp appears once on the mount recto and twice on the verso. His work is rarely seen but can be evocative and reminiscent of artists' studies made by the group of early artist/photographers based in Italy.
Palais de Tsarskoé-Sélo, Facade de la Cour d'Honneur, St. Petersburg
Albumen print, c. 1859
10/10; 288 x 320mm, mounted

Richebourg was an important early professional photographer who worked with Vincent Chevalier and Daguerre himself. He took daguerreotypes in Rome in 1844. In 1859 he produced a photographic record of this imperial palace, south of St. Petersburg in Russia, and its collection of art and armor. The image shown is one of the finest of the series and is Plate No. I of the rare published work.
Panoramic view of Bucharest
Non-matt salt print, c. 1856
10/10, some foxing in sky area; 208 x 265 mm, mounted

Angerer founded one of the first photographic studios in Vienna but previously had made some of the first photographs of Bucharest, including this example showing the Antim area of the city. The print is mounted with trimmed corners and a series of handsome black surrounds. The mount is marked 'Photographirt 1856' '; v.Ludwig Angerer' and 'Bukarest.'
Petit Palais Interior Court, Exposition Universelle of 1900.
Albumen print, c. 1900
10/10; 275 x 208 mm, unmounted

Stamp of owner (?), Hugh McLellan on verso.
Place de la Concorde, Paris
Salt print, c. 1857
9-10/10; 196 x 267 mm, mounted.

Baldus photographs in this format are much more typically printed as albumen prints. An albumen print of Christchurch Cathedral is on the verso of the thin card mount.
Place Van Eyck, Bruges
Non-matt salt print, 1850s
Tonality- 9-10/10; 223 x 171 mm., arched top, mounted

Signed on the print in red ink by the photographer. Moxham made small illustrations for the Stereoscopic Magazine, but otherwise his work is virtually unknown. He is not mentioned in Joseph et. al's comprehensive work, published in 2000, 'Directory of Photographers in Belgium 1839-1905'.
Portrait of Émile Zola
Albumen print, c. 1891
7-8/10; 197 x 128 mm, mounted.

Portrait of the celebrated writer mounted on card with printed logo and advertising on verso – a larger presentation than a cabinet card. Included is the boast – 'Photographies à la Lumiere Electrique'. 'Zola' is written in blue crayon in the top right corner of the print (far from vignetted image area).
Riviera di Chiaja Paoli
Albumen print, c. 1870
10/10; 280 x 368 mm, unmounted

A spectacular large-format view looking down at the street activity in the principal stretch of the riviera in Naples.
Rural Scene
Non-matt salt print, c. 1856
9-10/10; 250 x 217 mm, mounted

An idyllic scene of genuine familial country life which is extremely rare from the 1850s. This print was from an early collection accumulated by a German scientist in the 1850s and contained many views by distinguished European photographers. The trimmed corners, date and unusual subject matter suggest that it is possibly an Angerer view taken in Romania but this is far from certain. We have never seen this image before. The surface is very smooth, has a light sheen and is not really typical of an albumen print but experts might have different views as to the likely print process.
Sarah Bernhardt on stage
Gelatin silver print, 1920
10/10; 162 x 222mm, unmounted

A scarce late portrait of possibly the most famous actress in history. Signed in the negative and with photographer's rubber stamp on recto.
School group in Nancy
Gelatin silver print, c. 1897
8-9/10; 184 247 mm, unmounted

A good group portrait of the female pupils at Mme. Boyer's school in Nancy (label on verso).
Spire of Strasbourg cathedral
Albumen print, 1870
9/10, minor abrasions, minor edge fading; 267 x 208mm, mounted

Winter was one of the earliest and best photographers in Strasbourg. Signed and dated 15 sept. 1870 in negative.
St. Trophîme at Arles
Salt print, c. 1855
9-10/10, minor original retouching; 478 x 340mm, mounted

Inscription and Baldus signature in the negative and the photographer's blue blind stamp on mount.
Street in Gdansk
Albumen print, c. 1858
9/10; 244 x 160 mm, mounted

An early view of what was previously known as Danzig, a part of Prussia and then Germany during most of the 19th century. Photographer's rubber stamp on mount.
Study at Pompei
Albumen print, c. 1880
Tonality- 10/10; 19 x 255mm., unmounted

No. 1289. Casa di Cornelio Ruffo Pompei
Study in Taormina, Sicily
Albumen print, 1880s
Tonality- 9-10/10; 221 x 168 mm., unmounted

Crupi made photographic studies in Sicily and became a friend and certainly influenced the work of the famous Wilhelm von Gloeden. Von Gloeden bought some of Crupi's negatives when the latter left Sicily and published them under his own name.
Crupi's 'Fotografia Artistica' ink stamp is on the verso of this print.
Synagogue, Berlin
Albumen print, c. 1880s
10/10, some light foxing in sky area; 261 x 204 mm, mounted
Temple of Portnus, Rome
Albumen print, 1860
10/10; 224 x 314 mm, mounted, light mark in lower left corner

An extremely rich print bearing the photographer's blind stamp on the mount.
The Beach at Cancale, France
Platinum print, c. 1880s
10/10; 240 x 291 mm, unmounted

A very delicate print. Norman is little known and his prints uncommon but he took good views of London and occasional innovative photographs from his later Tunbridge Wells studio. His initials, CN are in the negative.
Trevi Fountain, Rome
Non-matt salt print, c. 1854
10/10; 247 x 180mm, mounted
Valley of Chamonix
Albumen print, c. 1854
10/10; 173 x 248 mm, mounted

The mount contains both the Bisson Frères's blind stamp and their red rubber stamp.
View of St. Jean de Luz, Pyrenees
Salt print, c. 1850s
10/10; 188 x 228 mm, mounted

Heilmann was part of a group of 1850s amateur photographers such as John Stewart and Maxwell Lyte who lived in Pau in the Pyrenees. Heilmann's red rubber stamp on print and blind stamped on the mount- Marx, Editeur, Pau.
Wine cart, Tuscany
Albumen print, 1870s
9/10; 185 x 249mm, unmounted