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Descrizione : 1. VITTORIO SELLA. Shkara, highest summit, c. 1889-1890, Sella number CIII 566. 11.3x15.1 collodion print, printed c. c. 1892-1893, mounted on 12.3x16.6 brown board. Inscribed in ink on mount recto: 566 / Shkara, highest summit, inscribed in blue pencil: C. III. Print recto embossed with artist's credit stamp in bottom right corner, inscribed in negative: 566. Stamped in black ink on mount verso: Depose / Tous Droits Reserves / V. Sella - Biella, inscribed in pencil: VG/1240. 2. VITTORIO SELLA. Djanga[Janga], Kartantau, and Gestola[Gistola], from the ridge between Krumkol and the southern Glacier of Dychtau, c. 1889-1890, Sella number CIII 567. 11.3x15.2 collodion print, printed c. 1892-1893, mounted on 12.3x16.6 brown board. Inscribed in ink on mount recto: 567. / Djanga, Kartantau, and Gestola, from / the ridge between Krumkol and the southern Glacier of Dychtau, inscribed in blue pencil: C III. Print recto embossed with artist's credit stamp in bottom right corner, inscribed in negative: 567. Stamped in black ink on mount verso: Depose / Tous Droits Reserves / V. Sella - Biella. Vittorio Sella (1859-1943) was the leading large-format mountaineering photographer of the late nineteenth and early twentieth centuries, renowned for his spectacular high-altitude photographs of glacial floes, peaks, and valleys. Sella traveled the world, photographing in the European Alps, the Caucasus, Mt. Saint Elias (Alaska Yukon Border), and the Himalayan Sikkim. In the early 1900s he photographed mountains in the African Ruwanzari and the Himalayan Karakoram. Shkhara (5,193 m (17,000 ft) is the highest point in the nation of Georgia. Located in the Svaneti region along the Georgia-Russia border, Shkhara lies 88 kilometres (55 mi) north of the city of Kutaisi, Georgia's second-largest city. The summit lies in the central part of the Greater Caucasus Mountain Range, to the south-east of Mount Elbrus, Europe's highest mountain. Shkhara is the third-highest peak in the Caucasus, just behind Dykh-Tau. Vittorio Sella lived during the Golden Age of European mountain exploration when many peaks were being scaled for the first time. Prior to his era, mountains were mostly regarded as dangerous obstacles to be crossed, haunted by evil spirits. The early nineteenth century saw a dramatic shift in people's perception of mountains, heralded by the Romantic poets who lauded them as palaces of nature that embodied the eternal. To Wordsworth and others of the Romantic era, alpine pinnacles became symbols of the heights to which the imagination of man could aspire, toward the unattainable goals of understanding infinity, eternity, and the vastness of God. It was no accident that the beginnings of mountaineering as a sport coincided with the recognition that mountains were, in fact, beautiful. And the development of photography coincided with that very moment in the history of natural philosophy which has been called the era of moralized mountaineering. This ushered in a sudden interest in landscape and natural scenery, along with poetry, painting, photography, and the art of travel as people sought out the heightened emotions brought about by a full experience of Nature.
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