Ottoman Empire’s forgotten photographers Sebah & Joaillier’s story retold in Turkish novel

Photography studios were common in the Ottoman Empire, but only a select few worked closely with the palace. Sebah & Joaillier was among these elite studios. Established in 1857 by Levantine photographer Pascal Sebah, the studio later gained prominence as “Sebah & Joaillier” following a partnership with Polycarpe Joaillier.

The studio became renowned for its photographs of Istanbul and the Aegean region, which were transformed into postcards and distributed worldwide. Sebah & Joaillier also collaborated with the Ottoman palace, undertaking special photographic assignments for the sultans, particularly Sultan Abdulhamid II.

The legacy of Sebah & Joaillier, which continued into the Republican era after changing ownership, is now immortalized in a historical novel by Joaillier’s great-great-grandson, Fabrizio Casaretto. His book, “Sarayin Gozleri” (The Eyes of the Palace), was published by Mundi. Casaretto shared more about this story in a recent conversation with Türkiye daily.

What made this studio so important?

“Following the advent of photography, the art form quickly gained prominence in the Ottoman Empire. Pascal Sebah established a photography studio that would later become iconic. When Sebah fell ill and could no longer work, my great-great-grandfather, Polycarpe Joaillier, joined as a partner in 1885. “

“Sebah passed away just a year later, but the studio, now known as Sebah & Joaillier, rose to fame as the premier oriental photography studio, showcasing the Ottoman Empire to the world. Evidence of their influence lies in the ‘Sebah & Joaillier’ stamped photographs that reached far corners of the globe, with some even found as far as Argentina.”

Did Sebah&Joaillier work like a promotion agency?

“Photography studios like Sebah & Joaillier at the time primarily focused on outdoor photography, a trend fueled by the popularity of postcards. Landscape photographs, particularly of Istanbul and the Aegean, were turned into postcards, becoming widely exchanged items and spreading the beauty of these regions far and wide.”

Abdullah Brothers, who worked for the Ottoman Palace at the time, are also famous. Was there competition between them and your great-grandfather?

“In the beginning, my grandfather’s studio did not work for the palace. Their relationship with the palace developed through Osman Hamdi. Over time, competition arose between them and the Abdullah Brothers, who photographed the palace and its surroundings.”

“When Sebah & Joaillier faced difficulties with the palace, it gained more prominence. The palace later requested a photo album from my great-grandfather under Sultan Abdulhamid’s ‘Yildiz Albums’ project. They made two special albums regarding school buildings and students. They even received a state medal.”

How involved was your great-grandfather with the Ottoman sultans?

“Sebah and my great-grandfather photographed several sultans, including a portrait of Sultan Murad V as a prince, taken at their studio. Sebah & Joaillier held a close connection to the palace, capturing intimate moments of the Ottoman elite.”

You named your book “Sarayin Gozleri” (The Eyes of the Palace). How did you become interested in your great-grandfather and the story of Sebah & Joaillier?

“Some photos were passed down through my family, but it wasn’t until my 30s that I decided to start a collection. I began acquiring Sebah & Joaillier photographs from auctions worldwide.”

” A video recording from my grandmother inspired writing this novel. Polycarpe Joaillier, my maternal grandmother’s grandfather, became a focal point of my research. While the video primarily detailed my father’s side of the family, it gave me the foundation I needed to begin crafting the story.”

When writing this book about such a distant period, how did you approach the task?

“After listening to my grandmother’s video recording, I delved into researching my family history and the story of Sebah & Joaillier. I connected with relatives abroad and obtained various documents, including some from institutions in Türkiye. Through this research, I was able to write the family’s story with realistic details.”

“I transformed the people from the memories and documents into characters, and the photographs in my collection helped me visualize and create scenes. Of course, there is also an element of fictionalization involved.”

What kind of emotions did you want to evoke in readers with your book?

“I wanted to tell the story of Levantine families like ours and highlight the hospitality of the Ottoman Empire. I also wrote about the contributions of these families to the country. I aimed to show that a diverse population could live together in peace. Today, we can speak of a multicultural environment, but the numbers are not the same as they were in the Ottoman Empire.”