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Finding Aid for the Ken and Jenny Jacobson Orientalist Photography Collection

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Finding Aid for the Ken and Jenny Jacobson Orientalist Photography Collection http://oac.cdlib.org/findaid/ark:/13030/c8t72pt5 Online items available Finding aid for the Ken and Jenny Jacobson Orientalist photography collection Beth Ann Guynn Finding aid for the Ken and Jenny 2008.R.3 1 Jacobson Orientalist photography collection Descriptive Summary 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 [email protected] 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. Request Materials: Request access to the physical materials described in this inventory through the catalog record for this collection. Click here for the access policy . 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. Access Open for use by qualified researchers. Publication Rights Finding aid for the Ken and Jenny 2008.R.3 2 Jacobson Orientalist photography collection Contact Library Reproductions and Permissions . Preferred Citation 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. Processing information 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. Digitized material 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. Finding aid for the Ken and Jenny 2008.R.3 3 Jacobson Orientalist photography collection 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
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