Ottoman CABINET CARD by an Armenian Photographer H. Tcholakian in Trabzon. 109x166mm
Le quartier de Kale-Itchi blue-green PPC (H.Tcholakian No.20)
SOURCE
Ottoman CABINET CARD by an Armenian Photographer R. Khemdamian.K.E.Cacoulis (Greek) - Trebizonde (Trabzon) Photographie Mer Noir (Karadeniz fotoğrafhanesi) back in Greek "Trapezunt" It's written that the first photograph studio was opened in Semercibaşi street by a foreigner named Armakof, who allegedly had a Russian origin. It was stated by a local historian that the studio was in use in 1868. Later, of the Christian community living in Trabzon, the Cacouli Brothers and Hatchik Tcholakian opened their studios. Exactly when both studios were opened isn't known. However, it's clear from the dates on the back of the photographs that they were in use between the 1880s and 1920s. Cacoli Brothers, were officially commisioned in 1890 to prepare "the Album of Abdulhamit" consisting the photographs of then most important cities. The file Cacouli Brothers had prepared, included 57 photographs of most important buildings, streets and squares in the city. In Trabzon, there was no non-Muslim photographer left after the declaration of Republic. As from the early 1920s, photographers of military origin, either retired or discharged from army, opened their photo studios one after another.
M. Reşat SÜMERKAN “Anılarda TRABZON” Atilla BÖLÜKBAŞI Serander Yayınları-1. Basım- Mayıs 2006
[1] Trabzon is a city on the Black Sea coast of north-eastern Turkey and the capital of Trabzon Province. Trabzon, located on the historical Silk Road became a melting pot of religions, languages and culture for centuries and a trade gateway to Iran in the southeast, Russia and the Caucasus to the northeast. The Venetian and Genoese merchants paid visit to the city and sold silk, linen and woolen fabric. During the Ottoman period Trabzon, because of the importance of its port, became a focal point of trade to Iran, India and the Caucasus... 1901 the harbour was equipped with cranes by Stothert and Pitt of Bath in England.
The city was the site of one of the key battles between the Ottoman and Russian armies during the Caucasus Campaign of World War I which resulted in the capture of Trebizond by the Russian army under command of Grand Duke Nicholas and Nikolai Yudenich in April 1916. Trabzon was a major Armenian extermination center during the Armenian Genocide, as well as a location of subsequent trials. The Russian Army retreated from the city and the rest of eastern and northeastern Anatolia with the Russian Revolution of 1917. Following the Turkish War of Independence and the annulment of the Treaty of Sèvres (1920) which was replaced by the Treaty of Lausanne (1923), Trebizond again became a part of Turkey. After World War I, European publications increasingly adopted local names for Turkish cities rather than traditional forms of Greek or Italian origin, and Trebizond became known to English-language readers as Trabzon...
There was an Armenian community in Trebizond as early as the 7th century. During the Mongol invasions of the 13th and 14th centuries, numerous Armenian families fled from Ani. According to Ronald C. Jennings, in the early 1500s, Armenians made up approximately 13 percent of the city's population, and they numbered roughly equal to the Muslims in the city in that period. The Turkish name of the city is Trabzon. It is historically known in English as Trebizond. The first recorded name of the city is Τραπεζοῦς (Trapezous), referencing the table-like central hill between the Zağnos (İskeleboz) and Kuzgun streams on which it was founded (τράπεζα meant "table" in Ancient Greek; note the table on the coin in the figure.) In Latin, Trabzon was called Trapezus, which is a latinization of its ancient Greek name. Both in Pontic Greek and Modern Greek, it is called Τραπεζούντα (Trapezounta). In Ottoman Turkish and Persian, it is written as طربزون. During Ottoman times, Tara Bozan was also used. Some western geographers used this name instead of the Latin Trebizond. In Laz it is known as ტამტრა (T'amt'ra) or T'rap'uzani,[9] in Georgian it is ტრაპიზონი (T'rap'izoni) and in Armenian it is Տրապիզոն Trapizon. The 19th-century Armenian travelling priest Byjiskian called the city by other, native names, including Hurşidabat and Ozinis.[10] Other versions of the name, which have incidentally been used in English literature as well, include: Trebizonde (Fr.), Trapezunt (German), Trebisonda (Sp.), Trapesunta (It.),Trapisonda, Tribisonde, Terabesoun, Trabesun, Trabuzan, Trabizond and Tarabossan. The Cassone with the 'Conquest of Trebizond' by Apollonio di Giovanni di Tomaso, on display at the Metropolitan Museum of Art in New York. Painted just after the fall of the city, it depicts Trabzon as being equal to Constantinople (at the far left). Even the battle displayed in between the two cities was mostly a fantasy. The city held a legendary place in Western-European literature and thought throughout the late medieval period and the renaissance, with a lasting influence that can be felt even to present times.
Jacques OFFENBACH / La Princesse de Trebizonde Opera-Bouffe en trois Actes
Poster for "La princesse de Trébizonde", 1869
Prince Casimir's palace
La princesse de Trébizonde is an opéra bouffe with music by Jacques Offenbach and text by Étienne Tréfeu and Charles-Louis-Étienne Nuitter. The work was first given in two acts at the Theater Baden-Baden on 31 July 1869 and subsequently presented in a revised three act version at the théâtre des Bouffes-Parisiens on 7 December of the same year.
Act 1[edit]
A public square
Cabriolo is the proprietor of a funhouse in a traveling carnival. The attractions in the funhouse include a group of waxworks including a beautiful one of the princess of Trébizonde. Among the members of the travelling entertainers are also Cabriolo's sister Paola, who is an acrobat, his daughters Zanetta and Regina,and Trémolini, Regina's former sweetheart. While dusting the waxwork of the princess of Trébizonde, Zanetta accidentally breaks its nose off and therefore she has no choice but to impersonate the statue herself. A nobleman, Prince Raphaël, comes to visit the funfair and instead of paying for admission in money he is allowed to give a lottery ticket to the troupe in order to gain entrance. Prince Raphaël falls madly in love with, as he thinks, the waxwork of the princess. The troupe of entertainers are amazed and overjoyed to receive the news that the lottery ticket has won and the prize is - a castle!
Act 2The castle
Six months have passed, and Cabriolo and his band of entertainers are not finding life in a castle nearly as glamourous as they had imagined it would be. In fact they are all terribly bored and miss their previous lives as travelling players. Out on a hunting trip, Prince Raphaël, his father Prince Casimir and his tutor Sparadrap present themselves at the castle. Raphael persuades his father to purchase all the waxwork figures of the old funhouse and to make Cabriolo curator of a museum containing them.
Act 3
Cabriolo has been elevated to the title of "Baron of La Cascatella" and he and his family are living in Prince Casimir's palace. Trémolini and Regina have re-kindled their romance, and Prince Raphael's tutor Sparadrap and Paola the lady acrobat have also fallen for each other. Prince Raphaël has discovered that "the princess of Trébizonde" he so loves is not a statue but a real girl, Zanetta. This presents difficulties as he explains to her, because while being in love with a waxwork is harmless enough, his father would never allow him to marry a girl so far below him in rank as Zanetta is.Prince Casimir turns up and is indeed displeased to find his son in love with a carnival performer, but when it is discovered that he himself had once been married to a lady acrobat - Paola's sister - he can offer no objection to his son's choice, and the work concludes with festive preparations for a triple marriage.
The work was a success with audiences and critics, and was revived at the Bouffes-Parisiens in 1871, 1875 and 1876. The larger Théâtre des Variétés presented the work in 1888. "La princesse de Trébizonde" was given productions in London and Brussels, among other cities, in 1870, and the following year saw the piece produced in New York and Berlin as well as other international centres.
Gigord (Pierre de) Collection of Photographs of the Ottoman Empire and the Republic of Turkey
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"When I discovered the Pierre de Gigord Collection during my graduate internship at the Getty Research Institute, I expected to find only a variety of romanticized images of the Middle East. Indeed, as Ali Behdad points out in his book Camera Orientalis: Reflections on Photography of the Middle East, Gigord traces the origin of his collection to his “Orientalist adventure” in Turkey. Nevertheless, despite Gigord’s collecting intentions, his collection sheds light on an important aspect of Ottoman history because it includes a large number of images taken by Armenian photographers. This archive thus allows us to unearth the stories of many Armenian artists and craftsmen who pioneered the medium in the Ottoman Empire.
The daguerreotype process, which was used by photographers in the early 1850s, required advanced technical knowledge and skill. Due to the frequent employment of Armenians as chemists, goldsmiths, and pharmacists during the Ottoman era, many Armenians had the range of skills necessary—most importantly a deep knowledge of chemical processes—to work with the daguerreotype once it was introduced to the empire. The Gigord collection contains a wide range of photographs taken by Armenian photographers such as Pascal Sébah, Gülmez, and Abdullah Frères, and it provides through them a compass to locate where all the old studios on the Grand Rue de Pera once stood. In the nineteenth century, Pera was home to many foreign embassies and was a popular spot for Ottoman intellectuals, and the local Italian and French Levantines, which then provided a viable commercial setting for the studios. In 1857 Pascal Sébah opened his El Chark studio at 439 Grand Rue de Pera, while the Abdullah Frères moved their initial studio from Beyazid to Pera in 1860 to be relocated among other studios of international fame, such as those of Félix Bonfils and Vasilaki Kargopoulo, whose photographs were all collected by Pierre de Gigord.
The archive also allows exploration of different materialities within photographic prints made in the late nineteenth century, as well as of early techniques that made these materialities possible. For instance, one of the many factors that set apart the Abdullah Frères from the crowd—other than their superlative artistry—was their photo varnish, developed by Kevork Abdullah. As Engin Özendes reveals in Abdullah Frères: Ottoman Court Photographers, Kevork’s formula included a heavy dose of collodion, which made photographs taken by the Frères appear brighter and last longer. Going through the archive, one can still notice the brightness of the photographs taken by the Abdullah Frères and appreciate the tonal differences caused by the various types of varnish and techniques used by different studios.
The photographs also act as testimonies of relationships, as the archive allows the researcher to trace family relations within the Armenian diaspora prior to 1915. For instance, the Balyan family, a prominent Ottoman Armenian family of court architects, built the Çırağan Palace, which was then photographed by the Abdullah Frères. Both families, who worked for the Ottoman court, are known to have had close ties. HANDE SEVER | JUNE 25, 2018"
Description
Spanning roughly one hundred years, the collection of over 6,000 photographic images forms a visual record of the late years of the Ottoman Empire and the formation and early years of the Republic of Turkey. The collection focuses on cultural and urban images, mainly of Constantinople (Istanbul), the capital of the Ottoman Empire, but other geographic areas, such as the Balkans, and other cities and towns within the empire such as Bursa and Smyrna (Izmir) are included, as are a few images from sites in Greece, Egypt, Jerusalem, India and China. The work of over 165 photographers is represented in the collection. The collection is supported by a small group of pamphlets and offprints regarding photography in the Ottoman Empire and by a small assemblage of photographic ephemera.
BackgroundPierre de Gigord, a French business man, is one of seven children born to Colonel François de Gigord and Anne Agnès Thérèse "Solange" d'Ussel. His father instilled an early love of travel in the young Gigord. In 1964 en route to a hitchhiking trip to India Gigord stopped first in Istanbul where an aunt, Mme. H. de Saint Peine, granddaughter of the founder of the Banque ottomane and régie des tabacs, introduced him to the city. Fascinated by the city, Gigord began to make yearly trips to the Bosporus which he financed by importing traditional Turkish crafts, such as jewelry and textiles, to France. In 1969 he founded Anastasia, a ready-to-wear folkloric-inspired line of clothing. He further expanded his business in 2002 with the opening of the Diwali boutiques specializing in jewelry and accessories from India.
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