1065
Carlos Heldt worked in Trujillo, Lambayeque and
Arequipa between 1870 and 1890. Juan Manuel Anda
was active in Tacna and other southern Peruvian loca-
tions between 1878 and 1910, where he specialized in
studio photography. Toward the end of the 19th cen-
tury, Charles Kroehle produced notable photographs
of the Amazon region and its people, some of which
were published in Miles Moss’s book A Trip into the
Interior of Perú (1909). Kroehle’s photos of Lima and
its environs were published in Album de Lima y sus
Alrededores (1900).
Frenchman Emilio Colpaert photographed various ar-
eas of Peru between 1859 and 1862 focusing primarily on
ethnographic and archeological subjects. He also owned
one of the fi rst studios in Cusco (1862). His compatriot
Pablo Emilio Garreaud opened a studio in Lima in 1856
with T. Amic Gazan. In 1862 Garreaud traveled to vari-
ous locations in Peru, photographing views of and people
in Cusco, Arequipa and the Altiplano. These were used
to illustrate a major work, El Atlas Geográfi co del Perú
(1865). Pablo Emilio was the father of Fernando Garreaud
who between 1898 and 1899 traveled throughout Perú
documenting various regions for a national documenta-
tion project published as Peru 1900.
Late 19th century studio owners who enjoyed success
into the 20th century include Rafael Colmenares active
in Ayacucho, Lima, and Callao; Miguel Chani in Cusco;
and Emilio Díaz and Max T. Vargas in Arequipa. Manuel
Moral was active in Lima between 1884–1896, after
which he sold his studio and went on to publish some of
Peru’s most important illustrated periodicals including
Prisma, Variedades and Ilustración Peruana.
Climate, indifference and lack of resources have
contributed to the loss of portions of the Peruvian
photographic patrimony. Private collectors and some
institutions can be credited with preserving important
portions of this heritage. The history of Peruvian pho-
tography received its fi rst major attention in the work
of Keith McElroy who in 1977 conducted an in-depth
study of 19th century Peruvian photography. In his study
McElroy identifi ed over 140 photographers. Since that
time the number of articles, exhibitions and books on
the subject has grown signifi cantly. The latest and most
comprehensive project was the exhibition held at the
Museo de Arte in Lima and the Fundación Telefónica
in Lima (2001–2002). The two volume catalog of the
exhibition includes a detailed essay on the history of
Peruvian photography, photographs showing the range
and quality of Peruvian photography since its begin-
nings, and a directory of over 500 photographers active
in Peru between 1842 and 1942.
Yolanda Retter
See also: Carte-de-Visite; Negretti and Zambra; and
Villalba, Ricardo.
Further Reading
Herrera Cornejo, La Lima de Eugenio Courret, 1863–1934, Lima,
Gráfi ca Novecientos Seis, 2001.
Majluf, Natalia and Eduardo Wuffarden, La Recuperación de la
Memoria: Perú, 1842–1942, Fundación Telefónica y Museo
de Arte de Lima, Lima, Perú, 2001.
McElroy, Keith, The History of Photography in Perú in the Nine-
teenth Century, 1839–1876, PhD Dissertation. University of
New Mexico, 1977.
——, “The Daguerrean Era in Perú 1839–1859.” History of
Photography, 3 (1979a): 111–123.
——, “Benjamin Franklin Pease: An American Photographer in
Lima, Perú.” History of Photography, 3 (1979b): 195–209.PERUTZ, OTTO (1847–1922)
Otto Perutz was born on July 27, 1847, in Teplitz-Schoe-
nau (Teplice, Czechia) to a family of industrial manu-
facturers, mostly in the textile industry. Little is known
about his formal training, the fi rst record being his
installation as managing director at the Bayerische Ak-
tiengesellschaft fuer chemische und landwirtschaftlich-
chemische Fabrikate (BAG) at Heufeld near Munich
which had been founded in 1857 under the supervision
of the German chemist Justus von Liebig. The BAG
worked on agrochemical substances and had no relation
to photography. On April 13, 1880, Perutz bought the
Chemische und pharmaceutische Produktenhandlung
Dr. F. Schnitter & Co. in Munich, a merchant in photo-
chemical substances necessary for wet plate processes.
In 1882, Perutz came into contact to Johann Baptist
Obernetter who had worked as a chemical assistant to
Joseph Albert and his printing house and was licensed
by Hermann Wilhelm Vogel to produce dry plates after
his method of sensitisation with Eosin (orthochromatic
plates). Introduced in August 1887, the Perutz plates
were an instant success due to their rapidity and extend-
ed spectral sensitivity. The company grew quickly and
concentrated on a number of different products: From
1893 it produced large format glass plates for the use in
stained windows as in church houses, villas, or offi cial
buildings; these large format positives were developed
and monochromically tinted in the company. From 1896,
Perutz was the fi rst company to produce glass plates for
the Roentgen process of X-ray photography.
On July 1, 1897, Otto Perutz sold his enterprise to
the Engelhorn family, then owners of large chemical
companies like Boehringer (Ingelheim) and BASF (Lud-
wigshafen). He returned to the BAG where he became
member of the board of trustees in 1902, a position he
held until his death on January18, 1922. The managing
director of the new Perutz company was Franz May-
erhofer, a modernist in many aspects. For the time of
his direction, until 1922, Perutz had the most modern
advertising, marketing, and product range of all German
fi lm and plate companies. In 1900 and 1902, two plates