FRITH, Francis (1822-1898). Egypt, Sinai, and Jerusalem: A Series of Twenty Photographic Views. Text by Sophia Poole and Reginald Stuart Poole. London, Glasgow and Edinburgh: William Mackenzie [c.1858-1860].
FRITH, Francis (1822-1898). Egypt, Sinai, and Jerusalem: A Series of Twenty Photographic Views. Text by Sophia Poole and Reginald Stuart Poole. London, Glasgow and Edinburgh: William Mackenzie [c.1858-1860]. Elephant 2° (735 x 530mm). Twenty albumen prints (485 x 390mm, or the reverse), seven of these signed and dated 1858 in the negative, mounted on card with printed captions. (Stitching perished with all leaves detached, the first print with light spotting the others generally clean and strong with only occasional minor surface wear, some mounts with short tears and wear in the margins, some with light soiling and light spotting, dampstain in the bottom margin of one mount, margins of some text leaves with creased tears or small losses and occasional browning.) Contemporary green half morocco, spine gilt in compartments with roll tools, spine and front cover lettered directly in gilt, gilt edges, blue marbled endpapers (stitching perished with all leaves detached, front joint splitting near the head, extremities rubbed, sides lightly scuffed). FIRST EDITION OF THIS LANDMARK OF PHOTOGRAPHY, AND 'ONE OF THE MOST RENOWNED NINETEENTH-CENTURY PHOTOBOOKS ' ( The Photobook ). It is the finest of Frith's various publications, and it is 'the largest book with the biggest, unenlarged prints ever published' (Gernsheim). It is 'the epitome of Victorian grandiosity. Few publications in the history of the medium are its equal in either presentation or ambition... Frith's views of the Pyramids, in particular, are groundbreaking and became the works for which he is now best known' (Foster et al.) 'The large-view prints in the book have justly become famous... as much for their technical as for their artistic achievement, demonstrating photography's astonishing capacity to render the form and texture of the actual' ( The Photobook ). Foster, Heiting and Stuhlman, Imagining Paradise , pp. 62-3; Gernsheim, Incunabula of British Photographic Literature , 1839-1875, p.31, no. 130 (illus.); Goldschmidt & Naef, The Truthful Lens , p.200 no.62; Haworth-Booth, The Golden Age of British Photography , 1839-1900, pp.90, 91 (illus.); The Photobook , vol. 1, p. 28.
FRITH, Francis (1822-1898). Egypt, Sinai, and Jerusalem: A Series of Twenty Photographic Views. Text by Sophia Poole and Reginald Stuart Poole. London, Glasgow and Edinburgh: William Mackenzie [c.1858-1860].
FRITH, Francis (1822-1898). Egypt, Sinai, and Jerusalem: A Series of Twenty Photographic Views. Text by Sophia Poole and Reginald Stuart Poole. London, Glasgow and Edinburgh: William Mackenzie [c.1858-1860]. Elephant 2° (735 x 530mm). Twenty albumen prints (485 x 390mm, or the reverse), seven of these signed and dated 1858 in the negative, mounted on card with printed captions. (Stitching perished with all leaves detached, the first print with light spotting the others generally clean and strong with only occasional minor surface wear, some mounts with short tears and wear in the margins, some with light soiling and light spotting, dampstain in the bottom margin of one mount, margins of some text leaves with creased tears or small losses and occasional browning.) Contemporary green half morocco, spine gilt in compartments with roll tools, spine and front cover lettered directly in gilt, gilt edges, blue marbled endpapers (stitching perished with all leaves detached, front joint splitting near the head, extremities rubbed, sides lightly scuffed). FIRST EDITION OF THIS LANDMARK OF PHOTOGRAPHY, AND 'ONE OF THE MOST RENOWNED NINETEENTH-CENTURY PHOTOBOOKS ' ( The Photobook ). It is the finest of Frith's various publications, and it is 'the largest book with the biggest, unenlarged prints ever published' (Gernsheim). It is 'the epitome of Victorian grandiosity. Few publications in the history of the medium are its equal in either presentation or ambition... Frith's views of the Pyramids, in particular, are groundbreaking and became the works for which he is now best known' (Foster et al.) 'The large-view prints in the book have justly become famous... as much for their technical as for their artistic achievement, demonstrating photography's astonishing capacity to render the form and texture of the actual' ( The Photobook ). Foster, Heiting and Stuhlman, Imagining Paradise , pp. 62-3; Gernsheim, Incunabula of British Photographic Literature , 1839-1875, p.31, no. 130 (illus.); Goldschmidt & Naef, The Truthful Lens , p.200 no.62; Haworth-Booth, The Golden Age of British Photography , 1839-1900, pp.90, 91 (illus.); The Photobook , vol. 1, p. 28.
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