Istanbul Album. Türkiye. Circa 1880.

Album containing 89 photographs. Process: Sepia-toned albumen prints. Signed on the glass negatives along the lower-left edge: "Abdullah Frères" (in French). Vintage prints. Bound in dark brown leather covers. Dimensions: Photographs approximately 20.5 x 27 cm; album 25.4 x 34.8 cm. In good condition. Formerly in the collection of César Gotta.

The albumen prints are of a substantial size and are firmly adhered to the album pages. The photographic credit is inscribed on the glass negative along the lower-left edge, followed by an archival number; captions identifying the subjects appear on the right side of the plate. Most of the prints are in a horizontal (landscape) orientation, with a smaller number in a vertical (portrait) orientation, focusing on specific subjects. In his well-known book on early photography in the Middle East, the Israeli photo-historian Nissan N. Perez discusses the significant career of the Abdullah brothers in Turkey and Egypt.

Beginning in the final third of the 19th century, Argentina became a destination for millions of immigrants seeking new opportunities. While the majority arrived from Europe, others came from different parts of the world—including the Middle East, specifically from Syria, Lebanon, and Turkey. These immigrants often brought along cherished family photographs, which may well be the origin of this particular album of memories.

Regarding this prestigious photographic firm, it was established by the brothers Horsep, Vichen, and Kevork Abdullah—men of Armenian origin who had converted to Islam. They settled in Istanbul, the capital of Turkey, around 1862, and soon earned the favor of Sultan Abdülaziz, and later, Sultan Abdul Hamid II. Their photographs won awards at the 1878 Universal Exposition in Paris.

The substantial album offers a comprehensive overview of the legendary capital of the Ottoman Empire as it appeared toward the end of the 19th century. To the Western eye, the Eastern customs and traditions captured in these vivid images are truly striking.

As the capital of three millennial empires—Byzantium (667 BC–330 AD), Constantinople (330–1453), and Istanbul (1453–1922)—the city serves as a treasure chest of architectural wonders. Its most prized jewel is the Hagia Sophia mosque, flanked by tall, slender minarets from which the muezzin issues the call to prayer five times a day.

The city’s Islamic character is profoundly evident in its various palaces, royal tombs, fortresses, and marketplaces; religious life is reflected in the imposing mosques and the detailed records of their opulent interiors. Following more than a thousand years of Christianity in the city, several photographs document archaeological remains featuring significant symbols, such as the Nativity of the Christ Child.

The Abdullah brothers also took an interest in the city’s diverse local archetypes, capturing them both in studio poses and in their natural environment—the public streets. Featured among them are barbers with their clients, porters carrying heavy loads, street vendors, and drivers of carriages reminiscent of *The Thousand and One Nights*.

In their studio, they photographed military figures in striking uniforms with large swords, as well as various women—some of them musicians—shown with or without veils, all accompanied by the classic *nargile* (water pipe) used for smoking flavored tobacco. One particularly compelling image depicts a group of whirling dervishes from the Sufi branch of Islam. Istanbul—situated along the Bosphorus Strait, which connects Europe and Asia—is presented here through maritime vistas featuring its ports, canals, docks, steaming steamships, sailors, fishing vessels, and fishermen with their nets. Particularly noteworthy are the street scenes, which showcase the exotic attire of the local inhabitants—most notably the classic red conical hat worn by men, known as the fez (or tarbush).

The richness of this album defies mere praise; it is rare to encounter a work of such magnitude and exotic appeal. A truly unique opportunity.

Abel Alexander

President, Ibero-American Society for the History of Photography