1240
tin. The company Schoengauer de Colmar provided the
fi nancial assistance for them stay in Egypt at the time of
the excavations of Mariette (1851). This environment
stimulated Salzmann’s learning for archaeology, so he
documented the architecture by means of photography.
At the end of 1853, he left for the Holy Land to pho-
tograph the monuments studied by archaeologists two
years earlier. In June 1854, he brought approximately
150 negatives from Jerusalem although his partner
Durheim remained there after his departure, and pro-
duced around fi fty more, which he published in 1856 in
the form of album that he dedicated to Saulcy.
The Jérusalem, époques judaïque, romaine, chré-
tienne, arabe; explorations photographiques contains
174 prints obtained using paper negatives and 92
pages of text (Museum of Orsay: donation Robien de
Bry; BNF; private collection). This work, printed by
Blanquart-Evrard and published by Gide and Baudry,
constitutes a luxurious album published in the early
years of photography. The print quality gave the images
relief and a particular intensity.
At the end of 1857, Salzmann left for Rhodes where
he remained for several years, in particular to excavate
the necropolis of Camiros (1858–1865). In 1863, he set
out again for the Holy Land with Saulcy to undertake
more thorough research. He brought back from this
second campaign a set of salted paper prints on (approxi-
mately 26 × 32 cm) which were then reproduced in the
form of photolithographies, in the workshops of Joseph
Lemercier. These images were intended to illustrate the
articles of Félicien Caignart de Saulcy.
These two voyages made Salzmann an occasional
photographer who seized the appropriateness of the new
medium to serve his scientifi c goal. He fully explored
the malleable possibilities of photography just as well as
other photographic professionals. Salzmann took part in
the very fi rst exposition organized by the Société fran-
çaise de photographie in 1855, with a panoramic view
of Jerusalem, which was noted for the skill of execution
(however, he was never a member of the SFP).
The views of the fi rst voyage were among the most
beautiful images of Jerusalem, and of a very poetic
range, in spite of the scientifi c approach that inspired
them. Salzmann studied ruins according to a rigorous
approach, similar to that of Henri le Secq for Mission
Héliographique. Le Secq’s countryside images of Alsace
was perhaps what inspired Salzmann to photograph the
general and in contrast, the individual as well, creating
overall sweeping images of the Valley of Josaphat,
juxtaposed to images of enclosing walls, and drains.
Salzmann photographed whole monuments as well often
fi nding focus in the details. The project emphasized the
closer details (apparatuses, ornaments) and points of
view, namely all that the traditional artist did not have
time to draw. The strongest images were indeed those
which favored the large layout, which were unusual at
that time.
In the foreword of the album, Salzmann wrote: “the
photographs are not any more of the accounts, but of
many gifted facts of a brutal conclusiveness.” From this
point of view, the Jerusalem album offers a successful
application of the paper negative to the challenge of il-
lustrating archaeological remains. Salzmann’s images
were used as a way to report and testify to the reality of
the archaeological vestiges. In that, these views fulfi lled
the goal of photography assigned by Arago, which was
to reproduce testimonies of the history of humanity.
However these images go well beyond mere represen-
tation, glorifying the stones and the architectural and
sculptural reliefs in a controlled play of light and shade.
By their character of immediacy, the images acquired a
great effectiveness. With the effects of the subject matter,
Salzmann perceived with acuity the possibilities of the
photographic medium. The power of certain images is
accentuated by the fact that the town of Jerusalem was
in ruins, and therefore uninhabited.
With the photographs of 1854, Salzmann takes his
place in the role call of eminent travelers in the east, con-
sisting of painters and draughtsmen, then photographers.
From 1840, Egypt in particular and then other regions were
regularly visited by the followers of the new medium. In
the known body of photographs taken in the East between
1840 and 1855, Salzmann occupies quite a particular
place, which one could consider a personal esthetic. Sur-
passing simple representation, his work offered a fresh
vision in the fi eld of archaeological photography.
Helene BocardFurther Reading
F. de Saulcy et la Terre Sainte [texte de Françoise Heilbrun],
Paris: Musée du Louvre, Paris, Réunion des musées natio-
naux, 1982.
N.N. Perez, ‘‘An Artiste in Jerusalem: Auguste Salzmann,” The
Israel Museum Journal, vol. 1 (Spring 1982).
André Jammes, and Eugenia Parry-Janis, The Art of french calo-
type, Princeton, NJ: Princeton University Press, 1983.SAMBOURNE, EDWARD LINLEY
(1844–1910)
Edward Linley Sambourne was one of the most eminent
British cartoonists and illustrators of the late nineteenth
century. For over forty years, from 1867 onwards, his
work appeared in nearly every issue of Punch magazine,
where he succeeded Sir John Tenniel as chief cartoon-
ist in 1901. A gifted and skilful draughtsman, some of