From a five-part BBC documentary series about Albert Kahn, Edwardians in Colour [why Edwardians?]: The Wonderful World of Albert Kahn, c 2007. The talking head is Mark Mazower, mentioned in the last post.
BBC: “In 1909 the millionaire French banker and philanthropist Albert Kahn embarked on an ambitious project to create a colour photographic record of, and for, the peoples of the world. As an idealist and an internationalist, Kahn believed that he could use the new Autochrome process, the world’s first user-friendly, true-colour photographic system, to promote cross-cultural peace and understanding.
“Until recently, Kahn’s huge collection of 72,000 Autochromes remained relatively unheard of. Now, a century after he launched his project, [a] book and the BBC TV series it accompanies are bringing these dazzling pictures to a mass audience for the first time and putting colour into what we tend to think of as an entirely monochrome age.
“Kahn sent photographers to more than 50 countries, often at crucial junctures in their history, when age-old cultures were on the brink of being changed for ever by war and the march of twentieth-century globalisation. They documented in true colour the collapse of the Ottoman and Austro-Hungarian empires, the last traditional Celtic villages in Ireland, and the soldiers of the First World War. They took the earliest known colour photographs in countries as far apart as Vietnam and Brazil, Mongolia and Norway, Benin and the United States. In 1929 the Wall Street Crash forced Kahn to bring his project to an end. He died in 1940, but left behind the most important collection of early colour photographs in the world.”
The photographer of Thessaloniki in early 1913 was Auguste Léon, but the name mentioned at 00:20 is hard to understand.
Mesmerising as some of the images are, does Kahn concentrate too much on street sellers and the like? What is unrecorded by his photographers and by most others is what life was like indoors. That is the real lost world.
And these records show nothing of people’s manners.
Mitchell and Kenyon are of similar importance in England before the First World War because of the technical quality of their work, though they made moving films, and in black and white.
Musée Albert-Kahn, Paris.