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Jacobson (Ken and Jenny) collection
2008.R.3
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Title: Ken and Jenny Jacobson Orientalist Photography collection
Date (inclusive): 1788-1960,
Number: 2008.R.3
Creator/Collector:
Jacobson,
Ken
Physical Description:
147.7 Linear Feet
(103 boxes, 3 flatfile folders)
Repository:
The Getty Research Institute
Special Collections
1200 Getty Center Drive, Suite 1100
Los Angeles 90049-1688
reference@getty.edu
URL: http://hdl.handle.net/10020/askref
(310) 440-7390
Abstract: The Ken and Jenny Jacobson Orientalist
Photography collection comprises over 4,500 photographic images of the Middle East and North
Africa. The majority of the images were created between 1850 and 1920 and record a period
when the "Orient," increasingly open and accessible to the West, exerted a compelling allure
on western viewers, travelers, scholars and entrepreneurs alike. Works by 164 different
photographers and studios present an overwhelmingly western vision of and response to Egypt,
the Maghreb and the Levant.
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Language: Collection material is in French and English with some German
Biographical / Historical note
Ken and Jenny Jacobson are photographic art dealers based in England. Ken was born in the
United States and holds a B.A. in chemistry from Princeton University and a Ph.D. in
Biophysics from King's College, London, where he met Jenny, who was working in research in
biochemistry. While pursuing his doctorate Ken became interested in and began collecting
nineteenth-century photography. This avocation became a vocation, as what was to have been a
gap year devoted to selling photographs before starting a career in scientific research,
never ended.
As his research interests shifted to the history of nineteenth century photography, Ken
began writing as well as dealing. With Jenny as his advisor and editor his books include
Étude d'après nature: 19th Century Photographs in Relation to
Art
, 1996;
The Lovely Sea-view-- Which All London is Now
Wondering At: A Study of the Marine Photographs Published by Gustave Le Gray,
1856-1858
, 2001;
Odalisques & Arabesques: Orientalist
Photography, 1839-1925
, 2007; and most recently, with Jenny,
Carrying off the Palaces: John Ruskin's Lost Daguerreotypes, 2015.
This most recent publication is the culmination of the Jacobson's discovery in 2006 at a
small country auction in Cumbria, England, of over 100 daguerreotypes of Italy, France and
Switzerland, including the largest extant group of daguerreotypes of Venice, as well as what
are likely the earliest photographs made of the Alps, which once belonged to English art
critic John Ruskin, and which he possibly took himself or else commissioned or purchased
from another photographer(s).
In addition to writing, Ken has delivered lectures at such institutions as the Royal
Asiatic Society, London; the Snite Museum, University of Notre Dame, Indiana; the Department
of Art History, University of Cambridge; and the J. Paul Getty Museum, Los Angeles and at
the annual meetings of the Daguerreian Society.
The Jacobsons are members of the Association of International Photography Art Dealers, and
Ken served as one of its board members for ten years.
Sources consulted:
Behdad, Ali,
Camera Orientalis: Reflections on Photography of the
Middle East
, Chicago, London: The University of Chicago Press, 2016.
Jacobson, Ken,
Odalisques & Arabesques: Orientalist Photography,
1839-1925
, London: Quaritch, 2007.
Jacobson, Ken and Jenny Jacobson,
Carrying off the Palaces: John
Ruskin's Lost Daguerreotypes
, London: Quaritch, 2015.
"About Us," K. & J. Jacobson. 19th Century Photography,
http://www.jacobsonphoto.com.
Open for use by qualified researchers.
Contact
Library Reproductions and Permissions .
Ken and Jenny Jacobson Orientalist Photography collection, 1788-1960, The Getty Research
Institute, Los Angeles, Accession no. 2008.R.3.
http://hdl.handle.net/10020/cifa2008r3
Immediate Source of Acquisition
Acquired in 2008.
The collection was processed in 2008 by Santiago, Emily McKibbon and Beth Ann Guynn. Guynn,
with the help of Ann Harrison created provisory titles for the photographs when they were
digitized in the fall of 2008. Guynn later revised and updated the original cataloging
provided by the Jacobsons when the collection was acquired, and wrote the finding aid in
2017.
The collection was digitized by the repository in 2008 and the images are available online:
http://hdl.handle.net/10020/orientalist.
Scope and Content of Collection
The Ken and Jenny Jacobson Orientalist Photography collection comprises over 4,500
photographic images of the Middle East and North Africa that were amassed by the Jacobsons
over a span of more than thirty years. The majority of the images in the collection were
created between 1850 and 1920 and record a period when the "Orient," as the Middle East was
commonly called, exerted a compelling allure over western viewers, travelers, scholars and
entrepreneurs alike. Works by over 164 different photographers and studios present an
overwhelmingly Western vision of and response to Egypt, the Maghreb and the Levant. The
Jacobsons chose the photographs they collected through a narrow formalist art historical
lens, one which judges the images against the locales, themes and styles of Orientalist
painting. Yet it is an ideal that photography can never quite measure up to. As Ken Jacobson
laments, "The constraints of photography meant that it rarely depicted a scene in quite the
same manner as the more lavish paintings" (Jacobson p. 20).
Jacobson describes the geographical area covered by the collection as being those countries
and areas ringing the southern and eastern Mediterranean Sea, extending eastward from
Morocco to the area once defined as Syria and Arabia. Images from modern day Iran and Iraq
are largely absent in the collection. Jacobson attributes this absence to the "paucity of
early photography" from these regions (Jacobson p. 12). This paucity is in fact a reflection
of the emphasis Jacobson places on Western photographers working in the Orient, one which
largely omits native born photographers, whether they be professional or amateur
practitioners, and one which is further informed by his sourcing of images largely from
within Great Britain and the European continent.
As Jacobson notes, "The field of Orientalism was originally understood to be the study of
the cultures, past and present in this geographically rather ill-defined Orient" (Jacobson
p. 12). Although Western scholars, as well as the larger public, had a long held interest in
the East, Napoleon's invasion of Egypt in 1798 and his establishment of the Institut d'Éypte
in Cairo set off a mounting wave of popular interest across Europe that crested in the
widespread phenomenon of Egyptomania. In the early nineteenth century explorers' accounts,
Jean François Champollion's 1822 translation of Egyptian hieroglyphics, the discovery and
excavation of new archaeological sites, the erection of the Obelisk of Luxor in Paris's
place de la Concorde in 1836, and the removal of enormous statues like the seven-ton head of
Ramses II to England, all served as inspiration for architects, poets and painters who
worked in what became known as the Orientalist style.
In late 1839, less than three months after the invention of the daguerreotype was
announced, Horace Vernet made a daguerreotype of the exterior of the harem of Mohammed Ali
in Alexandria. Indeed, in his introduction of Daguerre's invention at a joint meeting of the
French Académie des sciences and the Académie des Beaux-Arts, Dominique François Arago had
noted that the new medium of photography could be a useful documentary and reprographic tool
for Egyptologists and Orientalists, further citing its relative portability and the fact
that the intense light of Egypt and the Middle East would facilitate the fledgling
photographic process and enhance the resulting images. None of Vernet's original
daguerreotypes are known to exist. Vernet's image of the harem, represented by an engraving
after his daguerreotype, is the earliest photographically derived image in the Jacobson
collection. The earliest surviving photographs of the Middle East are daguerreotypes made by
amateur artist and Islamic architecture specialist, Joseph-Philibert Girault de Prangey, who
traveled in the Middle East between 1842 and 1845. Girault de Prangey's work is represented
in the collection by his images of the façade of Church of St. Sepulchre, likely taken in
1844, and of the Alay Köskü and Bab-I Ali (Procession Pavilion and Sublime Porte) on the
grounds of the Topkapi Palace from 1843.
Thus, beginning with these early images, photography was joined to Orientalism, and its
practitioners went on to produce an extensive body of imagery that adopted and expanded
Orientalist tropes. As the Middle East became increasingly open and accessible to the West
due to the opening of the lands that had long been controlled by the now-waning Ottoman
Empire, photographers joined the ranks of painters, journalists, writers, and travelers
living in or visiting the region. Throughout the nineteenth century photographers recording
significant events in the Middle East, such as James Robertson's and Roger Fenton's
photographs of the Crimean War (1854-1856) which were translated into engravings for the
illustrated weekly press, kept public interest in the "Orient" alive. In 1869, another
extensively documented event, the opening of the Suez Canal, represented in the Jacobson
collection by the work of German photographer W. Hammerschmidt, also made personal travel in
the area more feasible.
While the Jacobson collection does not contain any of Fenton's Crimea images, a view of the
photography van that he used in this venture is present. Published in an 1855 issue of the
Illustrated London News, it brought home to a Western
audience some of the actuality of photographing in the Middle East. Yet, as travel became
easier as the century progressed, so did the taking of photographs. As many more members of
this viewing public were able to include the Middle East and the Holy Land in their "grand
tours," they increasingly had the option to not only purchase inexpensive photographs from
the many studios that catered to tourists, but if they so chose they could use their own
portable cameras to record their trips, and have their film developed by these same studios
or when they arrived back home.
By the act of taking their own pictures amateur photographers adapted and reinforced
existing Orientalist tropes, further entrenching them in popular culture and layering them
upon already established realms of representation. Such amateur travel photography is amply
present in the collection, especially among the loose photographs and the photograph albums,
some of which combine professional and amateur images. Often the trope professionals used of
including local figures in their photographs is replaced by one that sites the traveler
within the exotic places they visit, their presence thereby establishing a level of personal
dominion over the "Orient." An extreme example of such an act of "claiming" can be found in
an image from the Egypt album of 1905 in which a male tourist lies in a stone sarcophagus,
with his hands folded over his chest, eyes closed and hat on head, while two Egyptian men,
one of whom holds the tourist's coat, cloak and walking stick, look down at him from behind
the sarcophagus.
The collection is arranged by photographic format into four series. Series I contains over
1,850 loose photographs. Works by more than 115 known photographers and studios, as well as
almost 400 photographs by unknown photographers are present here. Named photographers range
from well-known photographers and studios, to those who are little-known, and to amateur
photographers, about whom little, if any, biographical information is available. Many of the
photographers represented in this series are represented in subsequent series of the
collection, especially Series II Card photographs, glass and cased images and Series III
Albums.
Photographers and studios with twenty or more images present in this series include Alary
& Geiser (with images also made by Jean-Baptiste Alary and Jean Geiser respectively) and
Prod'hom et fils in Algeria; the Zangaki brothers, Hippolyte Arnoux, Antonio Beato, Émile
Béchard, W. Hammerschmidt and G. Lékégian in Egypt; and Abdullah frères and Guillaume
Berggren in Turkey. Sébah & Joillier (also Pascal Sébah and Jean (J.-P.) Sébah), one of
the most prolific nineteenth-century studios in the Middle East, was also based initially in
Constantinople, and later opened an establishment in Cairo. Félix Bonfils and Tancrède Dumas
were both based in Beirut, Lebanon, but photographed throughout the Middle East. Other
photographers who traveled to the Middle East include the English photographers Francis
Bedford, who served as the photographer to the young Prince of Wales's tour of the east in
1862; and Frank Mason Good, who made four tours of the Middle East in the 1860s and 1870s,
and had much of his work published by Frances Frith, whose work is also represented in the
series.
Garrigues operated a studio in Tunis from the 1870s through the first decade of the
twentieth-century. The pictorialist photographers Lehnert & Landrock began operating in
Tunis just as the Garrigues studio was winding down, and in fact may have taken over their
premises. Lehnert & Landrock photographed throughout North Africa, producing a body of
artistic views and images best described as late romantic Orientalism.
Also found in this series are examples of scarce paper photographic prints made by
photographers practicing in the 1850s. Albumen prints include Gustave de Beaucorps's
portrait of a young Algerian odalisque reclining on a couch; Charles Marville's portrait of
an Algerian man reclining with a hookah; and eight views of Egypt and Istanbul by Robertson
& Beato. Rare salted paper prints included four views of Jerusalem by Auguste Salzmann
(1854) and two of Egyptian subjects by Ernest Benecke: a portrait of two Egyptian women and
a group portrait of Sheikh Mokba posed with members of his tribe (approximately 1852). Of
particular note are two copies of Pierre Trémaux's
Fille du
Dar-four
(calotype and lithograph after the calotype) from his
Voyage au Soudan Oriental.
William Morris Grundy, Charles Nègres and amateur photographer Frank-François-Genès
Chauvaissaigne are among the early photographers who made portraits of themselves in
"Orientalist costume." Such Orientalist studies were a common trope among English and French
photographers working in Europe. Other early examples of this genre include Hill &
Adamson's portrait of 'Lane' in Orientalist costume (1843-1847, printed 1910) and two images
of a female model from Roger Fenton's
Orientalist Suite
(1858). Grundy's hand-colored stereoscopic orientalist studies in Series II are also from
this period. From a slightly later date is Lewis Carroll's (Charles Lutwidge Dodgson)
portrait of the child Ethel Hatch dressed in Turkish costume (1877). Among the photographs
explicitly produced as artists' studies, a group of three photographs made by the circle of
Rudolf Carl Huber, a group of Austrian painters working in Cairo between 1875 and 1876,
stand out.
Chauvaissaigne and Carroll are among the known amateur photographers represented in the
collection. Many of the images by both named and unidentified amateurs are tourist shots
depicting sites most frequently visited, as well as images of the visitors themselves at the
sites or "traveling" on camel back. Less typical are a group of 22 salted paper views of
Egypt made around 1900 that seem to be an experimental process by an unidentified amateur
photographer. These salted paper prints made at such a late date provide an excellent
contrast to the group of twelve photographs of Cairo by A. Schranz, the first professional
photographer of note based in Egypt, who established a studio in Cairo between 1849 and
1854. Interestingly, Schranz appears to have been the painter Antonio Schranz, who came from
a family of German artists who settled in Malta (his brother Joseph was known as an
Orientalist painter).
The photographic prints found in this series were produced in the mediums common to the
period and include salted paper, albumen, calotype and gelatin silver prints. A handful of
photocroms are also present. More unusual are three silk doilies from Egypt with color genre
scenes printed on their centers. Daguerreotypes reproduced in other mediums, such as an
engraving after a Horace Vernet's 1839 daguerreotype view of the harem of Mohammed Ali in
Alexandria, which appeared in N. P. Lerebours,
Excursions
Daguerrienne
are also present here. Similarly, Charles Nègre's photogravures after
Louis Vigne's albumen prints taken during the du Duc de Luynes's exploration of the Dead Sea
and published in
Voyage d'exploration à la mer Morte, à Petra, et sur
la rive gauche du Jourdain
(1864/1874) are also included.
A small amount of ephemera is found at the end of the series. Photographer-related items
include Maxime Du Camp's
Catalogue des vues d'Orient listing
his photographs available in 1852, and a view of the photography van that Roger Fenton used
during the Crimean War, which was clipped from an 1855 issue of the
Illustrated London News. From a much later date comes an advertisement for a
Pathé-Baby film projector from a 1923 issue of
L'Illustration. Projected onto the screen in the illustration is an image of palms
arching over a camel and rider. Related to the photographic documentation of the Suez Canal
in 1869 is a small group of ephemera (invitations and articles) surrounding its opening.
Card photographs and glass and cased images comprise Series II. Included are
cartes-de-visite; cabinet cards; paper and glass stereographs; glass lantern slides and
daguerreotypes and ambrotypes.
Present here are 366 loose cartes-de-visite taken by 43 known photographers working mostly
in the 1860s and 1870s. The bulk of the cartes-de-visite are portraits, occasionally of
paying sitters, but most frequently depicting ethnic types. The sitters are predominately
Egyptian, with some Algerian and Moroccan people present. Photographers and studios most
prominently represented include Emile Béchard; Délíe and Béchard; Ermé Désiré; Otto Schoefft
and Schier & Schoefft; and a photographer working in Morocco who has tentatively been
identified as A. Chouffly. Also present is a group of 63 ethnic types made by an unknown
photographer, many of which are images pirated from Béchard, among other photographers.
Views presented in the carte-de-visite format include photographs by Abdullah frères; Ermé
Désiré; W. Hammerschmidt; A. Sarrault; and Schier & Schoefft. Most of these images were
made in the 1860s. Twenty cabinet card portraits of Algerians and Egyptians by a variety of
photographers, but with the bulk being by Otto Scheofft, are contained in the series.
The series also includes approximately 368 paper stereographs, taken by an array of
photographers over a span of almost 70 years. Included are sets and partial sets as well as
stereographs collected individually.
Stereographs gained wide public attention with T. R. Williams's views of the Great
Exhibition of 1851 at the Crystal Palace, London, and their ensuing popularity is evident in
the number of stereographs from the 1850s present in this collection. Indeed, eight views of
the Crystal Palace interiors from the 1850s, mostly showing the Egyptian Hall and Court, by
as-yet-unidentified photographers (one is by Philip Henry Delamotte), are among the
stereographs in this series. Two hand-colored tissue stereographs of Cairo by an unknown
photographer are perhaps the earliest stereographs present in the collection. Other 1850s
stereographs of note include three hand-colored images by William Morris Grundy; two
hand-colored cards by Furne fils & H. Tournier; and a delicately hand-tinted stereograph
of a woman reclining on a divan by Louis-Camille d'Olivier; all displaying staged
Orientalist themes. Félix Jacques-Antoine Moulin is represented by eight cards of Algerian
scenes, one of which is hand-colored; and Jean-Baptiste Antoine Alary by five views of
Algeria, Morocco and Tunisia.
There are 34 stereographs by Francis Frith from the 1850s, the bulk of which belong to his
various series, including
Views in Egypt and Nubia;
Views in Egypt. Second Series – Cairo;
Views in the Peninsula of Sinai. Second Series; and
Views
in the Holy Land
. Although the collection does not include any complete sets of
Frith's stereographic series, it should be noted that his practice of issuing photographs in
series is a precedent for the preponderance of stereographic series produced by later
organizations and publishers. A more unusual example of a stereographic series is found in
Sargent James McDonald's forty-card set,
Ordinance Survey of
Sinai
, which is the result of his survey of Sinai undertaken for the Royal
Engineers in 1869. Like many of the photographers whose work is present in this series,
McDonald also made photographs using larger, non-stereoscopic cameras.
From the 1890s through the first half of the twentieth-century commercial publishers such
as Keystone View Company and Underwood & Underwood published vast numbers of
stereographs that could be purchased individually or in sets, usually of 100 cards, which
became increasingly didactic in purpose with lengthy descriptions, often keyed to school or
bible lessons, printed on their versos. Found in this series are Keystone View Company's
sets
Egypt through the Stereoscope and
Palestine (both 1905); and Underwood & Underwood's
Bethlehem and Jordan through the Stereoscope,
Jerusalem
through the Stereoscope
and
Egypt through the
Stereoscope
, with an accompanying book of the same title (1890-1908).
Glass materials in the series includes a small group of glass stereographs. Seven albumen
glass stereographs by Francis Frith and one by Léon et Lévy, were made in the 1850s.
Twentieth-century glass stereographs include a group of eight tinted harem scenes created by
an unknown photographer in the 1920s. Two groups of glass lantern slides are also present. A
group of 15 images of Morocco were taken by George Washington Wilson in the 1870s, while 11
lantern slides by an unknown photographer depict views in the Holy Land (Palestine, Israel
and Jerusalem) in 1910.
Cased images include two daguerreotypes by Joseph-Philibert Girault de Prangey. One is an
1843 view of the Procession Pavilion and the Sublime Porte on the edge of the grounds of the
Topkapi Palace in Instanbul, and the other, showing the facade of the Church of St.
Sepulchre, Jerusalem, was taken around 1844 (both are lacking their cases). These
daguerreotypes are the earliest photographically derived images in the collection. Also
included here are two cased ambrotypes of soldiers by unknown photographers dating to the
1850s.
Series III comprises 13 photograph albums ranging in date from the 1860s to 1960, with
Africa and the Holy Land being the most heavily represented geographic areas.
Present are three carte-de-visite albums from the 1860s: two albums depicting Algeria and
Algerians contain photographs by Alary & Geiser and Claude-Joseph Portier respectively.
The album covering Egyptian subjects contains photographs possibly by Schier & Schoefft,
as well as a few images by W. Hammerschmidt and other photographers.
Albums devoted solely or partially to Egypt predominate here. In addition to the
carte-de-visite album mentioned above, other albums are compiled of views by various
photographers such as G. Lékégian, P. Perdis, Adelphoi Zangaki and Frank Mason Good. A
two-volume set of albums was photographed by an unknown tourist around 1910. Another album
is devoted to Luigi Fiorello's documentation of the destruction caused by the bombardment of
Alexandria by the British fleet in 1882.
Palestine, Syria and the Holy Land are represented in two albums.
The Holy Land and Egypt contains photographs by Frank Mason Good, while
Palestine & Syria comprises photographs by Maison Bonfils and
Sulaymân Al-Hakim.
Views of other African locales are found in
Africa Speaks to You
with These 100 Pictures
, which contains views of Eritrea and its peoples made by
Fotocelere Coloniale; and in the so-called
Missionary Album.
Compiled (and presumably taken) by a missionary known only as S. Morris, the album contains
images from North Africa, the Canary Islands and South Africa.
An untitled album of reference or study photographs compiled between 1869 and 1890, by the
Scottish artist and illustrator, William Simpson, is wide-ranging in its geographical scope.
Of particular pertinence to the present collection are a number of studies of models for
Orientalist scenes; views of Algeria and Algerians; and four sketches by Simpson of Algerian
scenes.
Lastly, the travel diary kept by Sir Peter Christopher Allen, former director of Imperial
Chemical Industries (ICI), during his 1960 trip to the Soviet Union, contains numerous color
views of the mosques and tombs of Samarqand and Bukhoro in Uzbekistan.
Series IV contains ten photographically illustrated books published between 1848 and 1930.
The dates of the individual images found within them were taken are included, if known.
Seven of these publications are Christian texts or describe the Christian Holy Land through
text and photographs.
Two titles, Tristan's
Scenes in Egypt and Keith's
Evidence of the Truth of the Christian Religion contain
illustrations (photographic and otherwise) by a variety of makers. For the remainder of the
titles the author and the photographer are one and the same.
The collection is arranged in four series:
Series I. Loose photographs,
1788-1859;
Series II. Card photographs, glass and cased images, 1850-1910;
Series III. Albums, 1860-1960;
Series IV: Books, 1848-1930.
Jacobson, Jenny
Geiser, Jean,
1848-1923
Arnoux,
Hippolyte
Hammerschmidt, W.,
-1869
Bonfils, Félix,
1831-1885
Bedford, Francis,
1816-1894
Good, Frank Mason,
1839-1928
Frith, Francis
Beaucorps, Gustave
de, 1825-1906
Marville, Charles,
1813-1879
Beato, Antonio, -1903?
Sébah, Pascal,
1823-1886
Dumas, Tancrède,
1830-1905
Salzmann,
Auguste
Berggren, G.
(Guillaume), 1835-1920
Grundy, William
Morris, 1806-1859
Fenton, Roger,
1819-1869
Hill, David
Octavius, 1802-1870
Adamson, Robert,
1821-1848
Vignes, Louis,
1831-1896
Du Camp, Maxime,
1822-1894
Delamotte, Philip H.
(Philip Henry), 1821-1889
Wilson, G. W.
(George Washington), 1823-1893
Girault de Prangey,
1804-1892
Portier, C. (Claude-Joseph),
1841-1910
Lekegian, G., active
1880-approximately 1920
Alary & Geiser
Abdullah
frères
Robertson &
Beato
Adelphoi Zangaki
(Firm)
Lehnert & Landrock
Keystone View Company
Underwood &
Underwood
Léon et Lévy
Maison Bonfils
(Beirut, Lebanon)
Africa, North -- Description and travel
Islamic antiquities
Daguerreotypes -- 19th century
Middle East -- Description and travel
Middle East -- Antiquities
Syria -- Description and travel
Lebanon -- Description and travel
Algeria -- Description and travel
Morocco -- Description and travel
Israel -- Description and travel
Palestine -- Description and travel
West Bank -- Description and travel
Uzbekistan -- Description and travel
Tunisia -- Description and travel
Turkey -- Description and travel
Jordan -- Description and travel
Bethlehem -- Description and travel
Stereographs -- 19th century
Stereographs -- 20th century
Salted paper prints -- 19th century
Cartes-de-visite (card photographs) -- 19th century
Albumen prints -- 19th century
Calotype prints (positive prints) -- 19th century
Gelatin silver prints -- 20th century
Gelatin silver prints -- 19th century
Ambrotypes (photographs) -- 19th century
Cased photographs -- 19th century
Photographic prints -- 19th century
Photographic prints -- 20th century
Cabinet photographs -- 19th century
Black-and-white photographs -- 20th century
Black-and-white photographs -- 19th century
Photograph albums -- 19th century
Photograph albums -- 20th century
Photomechanical prints -- 19th century
Lantern slides -- 19th century
Card photographs (photographs) -- 19th century
Card photographs (photographs) -- 20th century
Photochroms -- 19th century
Photochroms -- 20th century
Jacobson,
Ken