1152
family album, there was an exponential increase in the
number of photographic studios in the main cities. Some
former portrait-painters became part or full time pho-
tographers. Between the most signifi cant photographers
of this decade, for their quality and production, were
Lisbon’s studios of the Club Photographico Lisbonense
(1860–62), Santa Bárbara (ca.1865–70s), Joaquim
Coelho da Rocha (1865–91), José dos Santos Loureiro
(1863–80), Francesco Rocchini (1865–93), a former
cabinetmaker who also built photographic cameras and
other apparatuses on demand, the Swedish M. J. Schenk
(1850s–80), also a painter, who introduced here the
diamond cameo portraits in 1867, and José Nunes da
Silveira (ca.1860–67), who introduced the wothlytype
process in Portugal and Spain in 1864, António da
Fonseca (1862–92), Photographia Universal (ca.1866–
1900), and Augusto S. Fonseca (1868), Porto’s studios
of the German Martin Fritz (1859–ca.1874), Henrique
Nunes (1861–66), José da Rocha Figueiredo (1863–69),
Photographia Nacional (1865–74), Photographia Talbot
(1865–79), Sala & Irmão (1863–ca.94), Pinto & Ferreira
(1863–67), Manuel José de Sousa Ferreira (1868–1906),
and José Joaquim da Silva Pereira (1870–81), Coimbra’s
studios of Arsène Hayes (1863–74), and José Maria dos
Santos (1869–1900), Braga’s studio of Matias António
de Magalhães (1864–69), Guimarães’s studio of An-
tónio Augusto S. Cardozo (ca.1860–78), also a painter.
Madeira island’s João Francisco Camacho (1863–92),
Luanda (Angola)’s Abílio Moraes (ca.1863–ca.72), fol-
lowed after his death by his widow and their sons. As in
other countries Portuguese photographic studios were
essentially supported by the studio portraits.
Eduardo Knopfl i and Jacques Wunderli kept do-
ing itinerant work throughout the country since the
early 60s and throughout the 70s, although in the 80s
we fi nd the second established in Viseu and Braga.
Secondary towns register the passage of occasional
itinerant photographrs from early dates, but only had
their fi rst permanent studios in the sixties. We should
also mention the amateur photographers Carlos Relvas
(ca.1862–ca.93), Filipe Mesquita who made a large
series of stereoscopic views of Lisbon (Lisbon, early
1860s), Russell Gordon (1861) and Amélia de Azevedo
(ca.1863), both in Madeira Island. Worth of remark was
also José António Bentes, a military offi cer who wrote
a manual (1864) and a treatise of photography (1866).
This decade foreign photographers made signifi cant
views work in Portuguese territory like the stereoscopic
series taken by R. A. Miller/Miller & Brown in Açores
archipelago, or J. Laurent, large format views and stere-
oviews (ca.1868–69).
In the late 1850s, and throughout the 1860s, sev-
eral important series of architectural and topographi-
cal photographs were produced. Eugène Lefèvre took
views of the main cities and monuments and made an
Album de Portugal (1857). Some individuals belong-
ing to the cultural elites of the time, inspired in foreign
photographic inventories of patrimonial works, were
personnally commited in the register and inventory
of Portuguese monuments, like Antero de Seabra, an
amateur photographer, who took photographs of monu-
ments, urban landscapes, as part of a personal project
(ca.1858–64), and public works for the Ministério das
Obras Públicas (ca.1861–64). He printed a series of
photographs under the title Portugal. Joaquim Pos-
sidónio Narciso da Silva, architect of the royal house
and archeologist, also photographed Portuguese monu-
ments, archeological sites and objects and edited them
in the Revista Pittoresca e Descriptiva de Portugal
(1861–63). The British Charles Thurston Thompson
photographed monuments in Porto, Coimbra, Batalha
Alcobaça, Tomar and Lisbon, for the South Kensington
Museum of London (1866). In 1866–67, 1877 and 1879
Carlos Relvas photographed Portuguese monuments and
landscapes by his own iniciative. Both published some
of this work in the photographically illustrated periodi-
cal Panorama Photographico de Portugal (1869–74).
Diogo (or Jacques) Francem photographed monuments
for the Portuguese section of the Paris 1867 international
exhibition (1865–67). Henrique Nunes photographed
monuments and archeological pieces published in the
book Monumentos Nacionaes (1868) and latter in the
Boletim da Real Associação dos Architectos Civis e
Archeologos Portuguezes (1874–82), Francisco Martins
Sarmento documented his pioneer archeological works
(1868–76), and Augusto Xavier Moreira took a series of
views of the monuments of Lisbon (1865–68), sold both
individually and in albums. The Lisbon photographers
Augusto César Pardal and his son published reproduc-
tions of art objects and engravings reproducing famous
paintings (1869–79).
The early 1860s saw the fi rst publications illustrated
with tipped-in photographs, predominantly carte-de-
visite size albumen prints, depicting authors and other
celebrities—continuing a publishing tradition which
had previously depended on engravings. The publica-
tion of such editions reached its peak in late 1870s and
early 1880s, the tipped-in photographs being replaced
by collotype illustrations in the 1880s, and eventually
photogravure.
Amongst the most signifi cant photographers who
opened their studios in the 1870s were Lisbon’s studios
of Photographia Popular (ca.1870–99) who worked in se-
veral processes, including carbon and photo- mechanical
prints, Alfred Fillon (2nd studio, ca.1871–81), Ricardo
Pereira de Melo Bastos (1872–85), António Maria Serra
(1872–1900), Photographia Central (1872–1900), Da-
mião da Graça (ca.1872–1900), Martin Fritz (ca.1874–
ca.1888), Henrique Nunes (ca.1869–83), João Francisco
Camacho (1879–98), Porto’s Photographia Universal