Artist Index: Robertson, James

Views of Constantinople. 1850s-1860s. 3 albumenized salted paper prints and 1 salted paper print, mounted to card. Each ca. 24,2 x 28,2 cm (mounts 50 x 65 cm). Each annotated in pencil in the lower margin of the mount; one photograph numbered and titled in the negative in the lower left corner; one photograph with the photographer’s signature in the lower margin, partially cut off.

A Scottish engraver by training, Robertson served as chief engraver to the Imperial Ottoman Mint before turning to photography in the early 1850s. His photographs combine a precise architectural sensibility with a documentary interest in the urban fabric and daily life of the Ottoman capital. They are among the earliest systematic photographic records of the city. The views in this lot include the Galata Tower, the Fountain of Sultan Ahmed III, sections of the Theodosian walls, and the tomb of Sultan Suleiman. – Some handling creases, soiling, and tears along the margins of the mounts; mounts slightly time-stained with minor surface marks; all prints with some degree of fading and occasional light surface soiling, one print with signs of retouching; otherwise strong tonal prints, in good to very good condition.

Interior of the Redan / View of an Abandoned Russian Battery / View of Sebastopol. 1855-1856. 3 salted paper prints, mounted to boards. Each ca. 23,5 x 29 cm (mounts 46 x 57 cm). With handwritten captions in pencil on the lower margin.

Taken by James Robertson during the Crimean War, these photographs depict key scenes from the Siege of Sevastopol, including the interior of the Redan, an abandoned Russian battery, and a general view of the city. Captured in the immediate aftermath of battle, they reveal shattered fortifications, debris-strewn terrain, and the desolate remnants of military infrastructure. As early examples of war photography, these images serve not only as historical documents of a pivotal conflict, but also as powerful visual testaments to photography’s role in recording the realities of modern warfare. – Slightly faded, with a few minimal ink stains and light spotting; otherwise all in near excellent condition.

Interior of the Malakoff Tower, Crimea. 1855. Salted paper print, mounted to board. 24,2 x 29,6 cm (38 x 45,8 cm). With ruled border and handwritten caption in black ink below the image on the mount; signed “Robertson” in brown ink in the right margin of the print.

Taken by James Robertson during the Crimean War in 1855, this photograph shows the interior of the Malakhov Tower shortly after its capture by Allied forces. The image records the chaotic aftermath of battle - with shattered gabions, sandbags, timber, and entrenchments - offering a stark visual impression of the scale and violence of the conflict. A striking example of early war photography, it not only documents a pivotal episode in the Siege of Sevastopol but also reflects the emerging power of the photographic medium to bear witness to modern warfare. – Some handling creases as well as a small tear on lower margin of mount; print slightly faded, otherwise in near excellent condition.

View of Sebastopol harbor from the Redan. 1855. Three-part salted paper print panorama, mounted to card. Each ca. 23 x 30 cm (entire size 38 x 102 cm). Signed “Robertson” in brown ink in the lower left corner of far-left print.

This three-part salted paper print panorama offers a sweeping view across the devastated cityscape of Sebastopol in the aftermath of the 1855 siege. Taken from the vantage point of the Redan, the photograph captures the strategic harbor, rubble-strewn terrain, and key landmarks identified in ink on the mount, including St. Vladimir’s Church, Lancashire Trench, Barracks to Seamen’s House, and the Dockyard with steamers beyond. The panoramic format heightens the immersive impact of the scene, conveying both the geographical scale of the conflict and the physical toll of prolonged bombardment. As one of the earliest battlefield panoramas in the history of photography, it represents a major milestone in the visual documentation of modern war. – Some handling creases, small tears and foxing on the mounts, light buckling and fading to the prints, otherwise well-preserved with fairly strong contrast and rich detail.

Base of the Malakoff Tower, Crimea. 1855. Salted paper print. 22,5 x 29,5 cm (26,2 cm x 31,5 cm). Mounted to board, annotated in pencil on mount.

Taken by James Robertson during the Crimean War in 1855, this photograph depicts the Malakhov Tower, a crucial Russian fortress during the Siege of Sevastopol. The image shows the imposing structure surrounded by earthworks and artillery batteries, highlighting its strategic importance. Recognized as one of the earliest photographs capturing armed conflict in the history of photography, another print of this image is housed in the Victoria and Albert Museum's collection within Major George Harry Smith Willis's Crimean War scrapbook. – Faded first print with two creases on top margin and a small spot in lower margin.

Crimean War (1853 - 1856). Interior of the Redan, Sebastopol. 1855. Salt print on thin paper, unmounted. 25,5 x 29,8 cm.

The Battle of the Great Redan was a major battle during the Crimean War, fought between British forces against Russia from June 18 to September 8, 1855 as part of the Siege of Sevastopol. The French army successfully stormed the Malakoff entrenchment, whereas a simultaneous British attack on the Great Redan to the south of the Malakoff was averted. Contemporary commentators have suggested that, although the Redan became so important to the Victorians, it was probably not vital to the taking of Sevastopol. – Faded, slightly stronger fading in edges, light diagonal crease mark in upper area, otherwise a fine print with good contrasts.