73
Alexander, Abel & Príamo, Luis Buenos Aires, Ciudad y Campa-
ña, 1860–1870, Buenos Aires: Fundación Antorchas, 2000.
C.I.F.A.A., Testimonios Escritos relativos al Origen de la Foto-
grafía Rioplatense, Buenos Aires: C.I.F.A.A., 1987.
Ferrari, Roberto A., Ángel Paganelli y sus tempranas vistas
de Tucumán. In: 6º Congreso de Historia de la Fotografía.
Buenos Aires: CEP, 2001.
Ferrari, Roberto A., Carl Schultz-Sellack, y los inicios de la
fotoastronomía en la Argentina.In: Saber y Tiempo (Buenos
Aires), Vol. 5, Enero-Julio 2001, 71–101.
Ferrari, Roberto A., “A non-recorded English publication in
Spanish introducing the daguerreotype in Latin-America”:
El Instructor (London, 1834–1845) (co-author: Abel Alex-
ander) In: The Daguerreian Annual (USA), The Daguerreian
Society, 2000.
Ferrari, Roberto A., Recepción de los rayos X en el Rio de la
Plata (marzo de 1896) In: Saber y Tiempo (Buenos Aires),
Vol. 3,nº 8, Julio-Diciembre 1999, 73–80.
Ferrari, Roberto A., Florencio Varela, daguerrotipista latinoameri-
cano: documentos inéditos. (coauthor: Abel Alexander) In:
Saber y Tiempo, (Buenos Aires), Vol. 2, no. 5, Enero-Junio
1998, 81–111.
Ferrari, Roberto A., Imágenes inusuales de Rosario, 1868. In: 5º
Congreso de Historia de la Fotografía. Buenos Aires: CEP,
1996, 1–7.
Ferrari, Roberto A., Los inicios de la fotografía científi ca y técnica
en la Argentina, 1864–1900. In: 2º Congreso de Historia de
la Fotografía. Buenos Aires: CEP. 1995, 159–163.
Ferrari, Roberto A., Bibliografía de publicaciones argentinas
con fotografías montadas (1864–1900), Olivos: Biblioteca
Histórico-Científi ca, 1993.
Gómez, Juan., La Fotografía en la Argentina—Su Historia y
Evolución en el siglo XIX ,1840–1899. Buenos Aires: Abadía
Editora, 1986.
Gómez, Juan., La leyenda de Christiano Junior. In: Temas y Fotos,
Buenos Aires: Editorial Pegaso S.A., nº 27, año III, 1991.
Gómez, Juan: Photography in Argentina: History and Evolution in
the 19th Century. In: History of Photography (Pennsylvania),
Vol. 14, no. 2, apr–jun 1980.
Gutierrez, Ramón & Mendez, Patricia. Fotografía Latinoameri-
cana-Territorio,Ciudad, Arquitectura y Gente 1860-1960.
Granada: Instituto de América de Santa Fe, 2000.
Mujica Láinez, Manuel. Exposición de Daguerrotipos y Foto-
grafías en Vidrio. Buenos Aires: Instituto Bonaerense de
Numismática y Antigüedades, 1944.
Palma, Federico. La fotografía en Corrientes—Su advenimiento
y evolución. Corrientes: Escuela Taller de Artes Gráfi cas de
la Provincia, 1959.
Riobó, Julio Federico. La daguerrotipia y los daguerrotipos en
Buenos Aires. Buenos Aires: Author ́s Edition, 1949.
Sociedad Iberoamericana de Historia de la Fotografía. This
Society, recently founded, has a web site in Spanish with
information about history of photography in Argentina and
Latin America: http://www.fotohistoria.org.
V.V.A.A. Catamarca a través de la imagen fotográfi ca (1850-
1920). Catamarca: EDICOSA, 1996.
ARNOLD, CHARLES DUDLEY
(1844–1927)
Charles Dudley Arnold was born in Port Stanley, On-
tario, Canada, moving to America at the age of twenty
and working as a salesman. It is not clear when he
took up photography, but by 1886 he was listed as a
photographer in New York. His obituary mentions that
he travelled with his camera in Europe—probably in
the early 1880s—and architectural photographs by him
survive of locations in England and France. Many of
these photographs were published in 1896 in the book
Country Architecture in France and England XV. And
XVI. Centuries, and yet more, as late as 1924 in French
Farm Houses, Small Chateaux and Country Churches
in France by Antonio Di Nardo.
Arnold’s first book of photographs, Studies in
Architecture at Home and Abroad, was published in New
York in 1888. Three years later, his reputation growing,
he moved to Chicago to document the construction of
the exhibition site for the 1893 Columbian Exhibition
at Jackson Park.
He later went on to take photographs of the Cotton
States Exhibition in Atlanta in 1895, and became offi cial
photographer for the 1901 Pan American Exposition
which was held in his adopted home town of Buffalo —
where he erected a large studio on the exhibition site.
He continued in business until the early 1920s, and
died in 1927.
John HannavyARNOUX, HIPPOLYTE
(active 1869–c. 1890)Hippoltye Arnoux was one of a group of photographers
who entered the market catering for the growing number
of visitors to the Nile Valley from the mid 1860s.
His place and date of birth are unknown, but he is
known to have been French, based in Port Said, and his
national origin may have played some part in his deci-
sion to produce an extensive photographic coverage of
the Suez Canal.
His studio was located in the Place des Consuls, and
later in Place Ferdinand de Lesseps in Port Said, and
his premises, and the sailing boat which served both
as a fl oating darkroom and to transport his equipment,
advertised his specialism, being emblazoned with the
legend ‘Photographie du Canal.’
The earliest of his photographs—which are all undated
except one—was taken shortly after the canal’s opening
in 1869, and he continued to expand his catalogue until
c.1890. The one dated photograph comes from 1885.
In addition to images taken on the canal, studies of
Egyptian types, probably taken in his Port Said studio,
date from the later 1870s onwards.
It has been suggested that the Greek born Geogilada-
kis, perhaps a former assistant, may have continued to
market Arnoux’s images after c.1895, as several known
Arnoux images bear an overprinted ‘Georgiladakis’
signature.
John Hannavy