James (1810) Robertson Sold at Auction Prices

James ROBERTSON (1813-1888) Réunion de 5 vues de Constantinople (3) et de Crimée (2), vers 1855.

James ROBERTSON (1813-1888) Réunion de 5 vues de Constantinople (3) et de Crimée (2), vers 1855. - Trois vues extérieures de fontaines et mosquées avec personnages, tirages sur papier salé montés sur carton, un tirage signé dans le négatif, épreuves biens contrastées avec traces d'humidité sur les bords. Epreuves : 23,5 x 29,5 cm à 31 x 25,8 cm. Montages : 28 x 40 cm. - Deux vues de la flotte en Crimée, tirages sur papier salés montés sur carton, traces d'humidité. Epreuves : 24,5 x 28,5 cm. Montages : 27 x 34 cm.

JAMES ROBERTSON (1813-1888)

JAMES ROBERTSON (1813-1888) Vues de la flotte à Balaklava Crimée. c.1855. Deux tirages sur papier salé montés sur cartons. Epreuves : 24,6 x 28,5 cm et 25 x 29 cm.

James Robertson (1813-1888) Athènes, c. 1857.

James Robertson (1813-1888) Athènes, c. 1857. L'Acropole - Temple de Jupiter. Deux épreuves sur papier albuminé (c. 1870), contrecollées sur cartons avec légendes imprimées sur étiquettes....

Robertson (James, 1813-88). Figures and a cart in

Robertson (James, 1813-88). Figures and a cart in front of the Mosque of Sultan Ahmet, Constantinople, c. 1855, mounted albumen print, signed ÔRobertsonÕ lower right, 25 x 31 cm, framed and glazed (1) Please Note: A buyer's premium of 23.4% of the hammer price is payable by the buyer of this lot.

James Robertson (1813-1888) Athènes, 1856 Épreuve salée, négatif verre à l’albumine, montée sur carton 279 x 225 mm

James Robertson (1813-1888) Athènes, 1856 Épreuve salée, négatif verre à l'albumine, montée sur carton 279 x 225 mm

James ROBERTSON (1813-1888) Fontaine de Tophané,

James ROBERTSON (1813-1888) Fontaine de Tophané, Constantinople, 1855 Épreuve d'époque sur papier salé d'après négatif verre. Signée dans le négatif dans l'angle inférieur droit. Titrée sur le montage à l'encre. 28,7 x 25,5 cm. Montage : 44,8 x 38 cm. Provenance : ancienne (1828-1898). Cette photographie est également connue sous le nom de "Impérial gate of the séraglio". Joint : une autre vue de la fontaine par Robertson (à restaurer).

James ROBERTSON (1813-1888) Redoute du phare

James ROBERTSON (1813-1888) Redoute du phare devant Malakoff, Crimée, 1855 Épreuve d'époque sur papier salé d'après négatif verre. Mention du titre à la mine de plomb sur le support. 23,1 x 28,9 cm, montée sur papier au format 37,4 x 44,5 cm. Provenance : ancienne (1828-1898). "Le Mamelon Vert se trouvait à 600 mètres de la tour de Malakoff dont il était séparé par un vaste ravin : les Russes avaient aménagé un ouvrage d'une vingtaine de pièces de gros calibre, à l'intérieur duquel les hommes venaient s'abriter des bombes ennemies. On découvrit ensuite un immense souterrain capable de contenir deux cents hommes. Le Mamelon Vert fut pris par les troupes du général Bosquet le 7 juin 1855 ; cette victoire fut chèrement payée : 2 500 hommes se trouvèrent hors combat, et il y eut de nombreux morts, parmi lesquels le général de Lavarande, le colonel Bagnet de Brancion, le colonel Hardy. Cette photographie est postérieure à cet événement et montre des soldats de l'artillerie française à l'abri d'une tranchée"(1). (1) "Crimée 1854-1856, Premiers reportages de guerre", Mois de la photo, Paris, octobre 1994 : image reproduite page 27 sous le titre "Intérieur du Mamelon Vert", catalogue page 93.

Photographs :

Robertson, James D. & Beato, Felice A. 1813 Middlesex, England - 1888 Japan 1825(?) Venice - 1903 Rangoon, Burma Constantinopel. Portico of the Suleymaniye mosque. Circa 1853. Vintage. Albumen print. Backing cardboard. Mat. 29,4 x 25,4cm. Signed on the lower image margin within the negative. The cardboard verso inscribed with notes on the motif in pencil. The backing cardboard light-stained, the photograph in very good condition. Literature: An den süßen Ufern Asiens. Ägypten, Palästina, Osmanisches Reich. Reiseziele des 19. Jahrhunderts in frühen Photographien. Exhibition-cat. Agfa-Foto-Historama im Römisch-Germanischen Museum, Cologne. Köln: Wienand, 1988.

[ Photograph ]

Charles Shepherd (act. c. 1860-1885) et James ROBERTSON (1813-1888) Indes, c. 1865. Marchands. Charmeurs de serpents. Deux tirages albuminés, signés et numérotés 1121 et 1123 dans le négatif. 17,8 x 22,3 et 18,3 x 22,5 cm

*Robertson (James, 1813-88). Mosque of Sultan

*Robertson (James, 1813-88). Mosque of Sultan Mahmoud in Tophana, Istambul, c. 1855, albumen print, signed ' Robertson' in ink lower left, 255 x 295 mm, mounted on a large album leaf, minor spotting to mount (1)

*[Robertson, James, 1813-88]. A pair of albumen

*[Robertson, James, 1813-88]. A pair of albumen prints mounted back to back on a single mount, c. 1857, titled on mounts Bethany and Bethlemen from the convent of the nativity, latter with a small fault or mark to centre of image, each approx. 25 x 30 cm (1)

Robertson, James Two Mosques, Constantinople Two

Robertson, James Two Mosques, Constantinople Two Mosques (Ahmedieh in the background), Constantinople. 1850s. Salt print. 24,8 x 31,5 cm. Mounted along edges to green card. Minimal creasing, a few small spots in left sky area, otherwise a rich, dark print with good contrasts and in near excellent condition. Lit.: Sylvie Aubenas/Jacques LacarriÞre.Voyage en Orient. ╔ditions Hazan Paris 2001.

Vintage Photography: Robertson (James, 1813-88).

Vintage Photography: Robertson (James, 1813-88). Mosque of Shah Zaideh, Constantinople [so titled on mount], c. 1854, salt print side view of the mosque showing one minaret and seven figures in the foreground, including one of the Biato brothers ?, signed in ink lower left 'Robertson', 310 x 258 mm, mounted on card with pencil frame border and caption beneath, small closed tear to blank area of top right corner of image, mount a little spotted and soiled (1)

[19th Century Photographs ]

Robertson, James D. 1813 Middlesex, England - 1888 Japan a) Propyläen; b) Erechtheum on the Acropolis. Ca. 1854. Vintages. Albumin prints, mounted on original backboard. a) 30,6 x 25,4 cm (41,5 x 32,6 cm, b) 23,5 x 29,5 cm (32,7 x 41,6 cm). a)

[19th Century Photographs ]

Robertson, James D. 1813 Middlesex, England - 1888 Japan "Tor zum Palast von Dolma Baktsche". Ca. 1883/84. Albumin print, mounted on original backboard. 24,3 x 30,9 cm (32,5 x 41,3 cm). Titled in black ink below picture on the right. Bright sp

Windmill by moonlight

James 'Drunken' Robertson (fl.1813-1881) Windmill by moonlight pencil and brown wash 6¼ x 9¾ in. (15.8 x 24.7 cm.); and an ink drawing of 'Ye Flag-shipe [ sic ] "Ark Raleigh" by another hand (2)

ROGER FENTON (1819-1869); AND JAMES ROBERTSON(1813-1888)

Scenery Views of The Camp - Panorama of Sebastopol, Inkermann and Balaklava Manchester: Thomas Agnew & Sons, 1855-56. With 67 salt and 2 lightly- coated albumen prints by Roger Fenton. Varying sizes from 5 3/8 x 6 5/8in. (13.6 x 16.8cm.) to 14 x 103/4in. (35.5 x 26.4cm.) or reverse, including 19 prints forming 3 panoramas. Each with printed photographer's, publisher's and retailer's credit and title, publisher's blindstamp on mount. Each mounted one-per-page. Bound together with 12 albumen prints by James Robertson. Each approx. 9 x 113/4in. (22.9 x 29.8cm.), including 2 prints forming one panorama. Each signed in negative; 8 with photographer's, publisher's and retailer's printed credits, one with publisher's blindstamp credit, majority sequentially numbered in pencil on mounts. Key to Plateau of Sebastopol panorama, printed dedication page To Her Most Gracious Majesty Queen Victoria This Panorama of The Plateau of Sebastopol, Photographed in the Crimea during the Spring and Summer of 1855, by Roger Fenton Esq r e. is most respectfully dedicated By Her Majesty's most grateful subjects and servants Thomas Agnew & Sons., ex-libris bookplate Chiswick on front pastedown. Brown half leather, gilt, gilt credit, title and owner's stamp in gilt on spine. Album size: 23 x 17in. (58.5 x 43.2cm.) PROVENANCE Chiswick House, along with Burlington House and other properties, once belonging to Richard Boyle, 3rd Earl of Burlington and 4th Earl of Cork, came into the possession of the Devonshires through the marriage of Boyle's daughter Charlotte to William Cavendish (c.1720-1764), 4th Duke of Devonshire. Many of the finest pieces of furniture and works of art at Chatsworth today derive from this inheritance. Fenton's Crimean War albums offered in this and the following lot would have joined the outstanding Devonshire collection during the dukedom of William Spencer Cavendish (1790-1858), 6th Duke of Devonshire, an avid art collector whose initials WS appear over the crowned D of Devonshire on the spine of both albums. London, in the 19th century, was the nexus of the art world and the 6th Duke spent the 47 years of his dukedom adding masterpieces to the family collection and setting the fashion for art collecting among his contemporaries. It is believed that the albums were acquired by the family of the present owner sometime after WW II. In 1950, the 10th Duke died unexpectedly and works of art, rare books, land and other assets were either sold or surrendered to the Treasury. LITERATURE See: Gernsheim, Roger Fenton, Photographer of the Crimean War, pp. 16-17, 19, 28, 30, 32, 46, 48, 51-52, 57; Hannavy, Roger Fenton of Crimble Hall, pp. 70, 73-74; Aperture, Roger Fenton, pp. 73, 75; Lloyd, Roger Fenton, Photographer of the 1850s, pp. 51, 53-54, 57-58, 60. For Robertson images, see: mus‚e de l'Arm‚e, Crim‚e 1854-1856: premiers reportages de guerre, pp. 26, 33-35, 38, 61, 65. NOTES Including a good series of studies at Balaklava, The Valley of the Shadow of Death (illustrated), A Quiet Day in the Mortar Battery, Cemetery, Cathcart's Hill and views of various camps of 4th Light Dragoons, 4th Dragoon Guards, horse artillery and cavalry. In addition, the complete 11-part panorama Plateau of Sebastopol with its key, 5-part panorama Plains of Balaklava and 3-part panorama Valley of Inkermann are included. Photographs taken by Robertson include one 2-part panorama Interiors of Fort Redan, Sebastopol, and views of Malakoff and the Barracks Battery. Titles of Fenton's images available upon request. The Crimean War photographs were offered in a series of parts, in which a group of 160 images was described as the "Complete Work" or the "Entire Work" in the catalogue of the publisher Agnew, although Hannavy states that 360 prints were shown to the Emperor Napoleon. The prints were also sold in a series of titled volumes, such as these. It would appear that although the number of photographs per volume was fixed, it was up to the individual buyer to select the particular choice of subjects. The photographs sold singly were priced from half a guinea to a guinea. For Fenton's own detailed account of his visit to the Crimea, see: Hannavy, Roger Fenton of Crimble Hall, chapter 5, which reproduces the text of his Narrative of a Photographic Trip to the Seat of War in the Crimea, delivered before a meeting of the Photographic Society in January 1856.

ROBERTSON, JAMES

Group of 4 images relating to the Crimean War. Salted paper prints, each approximately 9 1/2x11 inches (24x28 cm.). Circa 1855

ROBERTSON, JAMES Group of 4 images relating to the Crimean War.

ROBERTSON, JAMES Tracktir Bridge Valley of the Tchernaya, Crimea.

ROBERTSON, JAMES

Tracktir Bridge Valley of the Tchernaya, Crimea. Salted paper print from a calotype negative, 9 1/4x11 1/2 inches, with Robertson's signature in the negative and his handwritten caption, clipped from the original mount, attached to the backboard. 1855

JAMES ROBERTSON (1813-1888)

Greek views 8 salt prints. 1854. 7 titled in pencil on the mount. Varying sizes from 73/4 x 11in. (19.7 x 28cm.) to 9 3/8 x 12in. (23.8 x 30.5cm.) (8) NOTES Images include Acropolis, Temple of Winged Victory, Temple of Jupiter Olympius, Theseion, Erechtheum, Propylaia and Parthenon.

James Robertson

James Robertson constantinople. study of the entrance to the harem of the imperial palace and fountain of ahmed iii, circa 1853-54 Salt Print, signed in the negative, 290 by 251mm Provenance: Sotheby's Belgravia, London, June 11th 1976, lot 234. Literature: Bahattin Oztuncay, James Robertson Pioneer of Photography in the Ottoman Empire, Istambul, 1992. The author illustrates, fig. 7, a steel engraving after a study with variant figure grouping, published in Souvenirs de Constantinople, Trieste, late 1850s.