478
professional photographer from Berlin, had established
himself in Cairo, where he made excellent quality large
format prints to sell to tourists. The opening of the Suez
Canal and the introduction of package tours in 1869,
created an enlarged market for pictures that could sup-
port a lerger, more competitive market. A proliferation
of studios followed: Antonio Beato, Henri Bechard, G.
Lékégian, J. Pascal Sebah, and the Zangaki Brothers
in Cairo, along with Peter Bergheim and Mendel John
Diness in Jerusalem. Photographs from these studios
survive in great quantities—all generally similar in style
and composition, a refl ection of the size of the tourist
trade, and of the enormous demand for photographs
whether for personal souvenirs or for the arm-chair
traveler.
By the end of the 1880 these studios were in decline.
The introduction of the Kodak and other simple, easy to
use cameras, along with the advent of practical and in-
expensive photomechanical reproduction technologies,
reduced the travelers dependence on outside sources of
imagery. By the beginning of the new century, and cer-
tainly by the beginning of WW1 and perhaps a lessened
obsession with the exotic and the ancient, the school of
Middle Eastern photography that arose and fl ourished
in the 19th century had lost its soul.
Will Stapp
See also: Joly de Lotbinière, Pierre Gustave Gaspard;
de Prangey, Joseph-Philibert Girault; Itier, Jules;
Keith, Thomas; Bridges, George Wilson; Trémaux,
Pierre; Du Camp, Maxime; Blanquart-Evrard, Louis-
Désiré; Teynard, Félix; Baker, F.W.; Hunt, Robert;
Greene, John Beasly; Salzmann, Auguste; Frith,
Francis; Smith, John Shaw; Bartholdi, Frédéric-
Auguste; Beato, Antonio; Sebah, Johannes Pascal and
Joaillier; and Zangaki Brothers.Further Reading
Agfa Foto-Historama, An den Süssen Ufern Asiens: Ägypten,
Palästina. Osmanishes Reich—Reisezeile des 19. Jahrhun-
derts in Frühen Photographien. Image selection and text by
Bodo von Dewitz. Köln: Agfa-FotoHistorama, 1988.
Aubenas, Sylvie, Gustave Le Gray, 1820–1884. With contribu-
tions by Anne Cartier-Bresson, et al. Los Angeles: The J. Paul
Getty Museum, 2002.
Aubenas, Sylvie, and Jacques Lacarrière, Voyage en Orient. Paris:
Èditions Hazan, 1999 and 2001.
Bull, Beborah, and Donald Lorimer, Up the Nile, A Photographic
Excursion: Egypt 1839–1898. Neww York: Clarkson N. Pot-
ter, Inc., 1979.
Cizgen, Engin, Photography in the Ottoman Empire 1839–1919.
Begyoğlu-Istanbul, Turkey: Ha,set Kitabevi, 1987.
Flaubert, Gustave, Flaubert in Egypt: A Sensibility on Tour,
Translated and edited by Francis Steegmuller. Chicago:
Academy Chicago, 1979.
Frith, Francis, Egypt and the Holy Land in Historic Photographs.
Introduction by Julie Van Haaften. New York: Dover Publica-
tions, Inc., 1980.Jammes, Andres, and Eugenia Parry Janis, The Art of French
Calotype. Princeton, NJ: Princeton University Press, 1983.
Kalffatovic, Martin R., Nile Notes of a Howadji: A bibliography
of travelers’ tales from Egypt, from the earliest time to 1918.
Metuchen, N.J. and London: The Scarewcrow Press, 1992.
Lyons, Claire et al., Antiquity & Photography: Early Views of
Ancient Mediterranean Sites. Los Angeles: The J. Paul Getty
Museum, 2005.
Nickel, Douglas R., Francis Frith in Egypt and Palestine: A Vic-
torian Photographer Abroad. Princeton and Oxford: Princeton
University Press, 2004.
Nightingale, Florence, Letters from Egypt: A Journey on the Nile,
1849–1850. Selected and introduced by Anthony Sattin. New
York: Weidenfeld & Nicolson, 1987.
Teynard, Félix, Félix Teynard: Calotypes of Egypt—A Catalogue
Raisonné. Essay by Kathleen Stewart Howe. New York, Lon-
don, and Carmel, CA: Hans P. Kraus, Inc., Robert Hershkowitz
Ltd., and Weston Gallery Inc., 1992.
Nir, Yeshayahu, The Bible and the Image: The History of Photog-
raphy in the Holy Land, 1839–1899. Philadelphia: University
of Pennsylvania Press, 1985.
Perez, Nissan N., Focus East: Early Photography in the Near
East (1839–1885). New York: Harry N. Abrams, Inc. in as-
sociation with the Domino Press, Jerusalem, and the Isreal
Museum, Jerusalem, 1998.
Santa Barbara Museum of Art. Excursions Along the Nile: The
Photographic Discovery of Ancient Egypt. Essay by Kathleen
Stewart Howe. Santa Barbara, CA: Santa Barbara Museum
of Art, 1993.
——. Revealing the Holy Land: The Photographic Exploration
of Palestine. Santa Barbara, CA: Santa Barbara Museum of
Art, 1998.
Von Dewitz, Bodo, and Karin Schuller-Procopovici. Die Reise
zum Nil, 1849–1850: Maxime Du Camp und Gustave Flau-
bert in Ägypten, Palästina ind Syrien. Köln and Göttingen:
Museum Ludwig/Agfa Foto-Historama and Steidl, 1997.EICKEMEYER JR., RUDOLF (1862–1932)
Rudolf Eickemeyer Jr. started taking photographs in
1884 while working at his father’s engineering fi rm. In
1889, he joined the local camera club in Yonkers, New
York, and began contributing articles on photographic
chemistry, lighting, and technique to journals like the
Photographic Times. He turned professional in 1896,
operating a studio in New York City. Eickemeyer re-
lied on commercial work for fi nancial support while
continuing to develop his skills as an art photographer.
He gained critical acclaim in America and Europe for
his pictorialist landscape and portrait photography; his
images were often selected by Alfred Stieglitz to appear
in the Photo-Secession journal Camera Work. But, his
best known series of portraits is probably those of the
young model Evelyn Nesbit commissioned by her lover,
the famous New York architect Stanford White. Shortly
before his death in 1932, Eickemeyer endowed a fund
for the development of the Smithsonian Institution’s
Section of Photography and donated a large portion of
his personal collection. The donation included important
prints, albums, lantern slides, cameras, books, letters,
articles, lectures, and awards documenting his longEGYPT AND PALESTINE
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