1153
(1870–1900), Photographia da Casa Real of Emílio
Biel (ca.1874–1900), União (1872–1900), and Célestin
Bénard (1869–90), Coimbra’s studios of J. Sartoris
(1876–1900-) and Adriano da Silva e Sousa (1876–1900),
Braga’s António Pereira da Silva Braga (1870–79), Viana
do Castelo’s José Joaquim Ferreira (1870s–80s), Póvoa
de Varzim’s António José de Barros (1874–94), Tomar’s
António da Silva Magalhães (ca.1871–97), Ponta Delgada
(Açores)’s António José Raposo (ca.1870s–91), Luanda
(Angola)’s José Nunes da Silveira (ca. 1869–78), and José
Augusto da Cunha Moraes (ca.1877–97), José R. Gam-
bôa in Moçambique and S. Tomé (1875–95), and Maria
Eugénia Reya Campos, self-entitled the fi rst Portuguese
woman photographer, who’s activity goes back at least
1872, established in Évora (1881–82), and in Lisbon
(1885–1900-). In this decade the French photographers
and editors J. Lévy & C.ª published extensive series of
images of Portugal in several formats, including glass
and paper stereoviews and magic lantern slides (ca.1875).
Lachenal & Favre (1871– ca.82) and Adolphe Block also
edited stereoviews of Portugal. Amongst the relatively
small number of amateurs we should mention José Gil
(ca.1876–1905) and Maria Collecta d’Assumpção Pa-
checo, (Elvas, ca.1876, 1892).
With the consolidation of photographic business
in the main cities, from the seventies to the end of the
century, we assist to the progressive establishment of
photographic studios in small towns, seaside resorts,
and spas. Some of them formerly had studios in the
main cities and many worked as collaborators of the
main photographers. Seasonal activity became com-
mon among some city photographers who every year
opened temporary photographic studios in these places,
accompanying the public affl uence in the respective
seasons. The regional spreading of photographic studios
continued progressively towards the end of the century,
and some small province towns only had their fi rst per-
manent studios in the following century.
In the 1870s José Júlio Rodrigues, professor of chem-
istry at the Polytechnical Academy and responsible for the
photographic section of the Direcção Geral dos Trabal-
hos, Geodésicos, Topographicos, Higrographicos e Ge-
ológicos do Reino, had a major role in the experimentation
and introduction of several photomechanical processes.
He organized the fi rst national photographic exhibition in
these installations (1875), published the book Procédés
photographiques et méthodes diverses d’impressions aux
encres grasses (Paris, 1879) and started making experi-
ments with the collotype process in 1874. Carlos Relvas
introduced in Portugal the Carl Heinrich Jacoby’s collo-
type variant in 1875. Emílio Biel & C.ª Porto’s important
photographic studio learned the technique and used it to
illustrate many books and several albums (1880s–1900s).
Biel’s house investment in this technique has attainned
unrivaled mastering in Portugal.
Amongst the most signifi cant photographers of the
1880s were Lisbon’s studios of Augusto Bobone (1885–
1910), also a painter, Muñiz & Martinez (1888–1900s)
and Joaquim Fritz (ca.1888–91), Porto’s studios of
the Photographia Moderna of Leopoldo Cyrne & C.ª
and latter of Ildefonso Correia & C.ª (1884–1900s),
who edited the internationally upraised photographic
magazine A Arte Photographica (1884–85), Peixoto &
Irmão (1881–1900s) who practised a lot of processes,
including carbon and photo-mechanical printing, in-
troducing the woodburytype technique, Fulgêncio da
Costa Guimarães (ca. 1883–94), Henrique António
Guedes de Oliveira (1886–1900s), Coimbra’s Adriano
Gomes Tinoco (ca.1884–1910), Braga’s Photographia
Universal of A. Solas (1883–88), Viseu’s Francisco
Paino Perez (1884–87), a Spanish formerly established
in Coimbra (1787–80) who also did itinerant work in
the Beira and Alentejo provinces, Funchal’s (Madeira
island) Augusto Maria Camacho (1882–1900s), Manoel
d’Olim Perestrello (1879 or 1888–1910s), Goa’s (India)
Souza & Paul (ca.1890s–1910). The amateur Adolpho
Moniz photographed in Portuguese India (ca.1890).
Qualifi ed amateurs like Paulo Plantier (Lisbon, 1887),
Joaquim Augusto de Sousa (Funchal, 1870–1905), Edu-
ardo Alves (Porto, ca.1884–86), Antero Araújo (Porto,
1885–86), Margarida Relvas (1884–85), and Camilo dos
Santos (1886–87, 1898–99) revealed technical maturity
and aesthetical formation. Many of these, along with
professionals and foreign photographers participated
in the Exposição Internacional de Photographia, orga-
nized by Photographia Moderna and realized in 1886
in Porto’s Crystal palace. Two years before, Álvaro
Joaquim de Meirelles claimed the invention of a move-
ment stereoscope, adapting two praxinoscopes to a stere-
oscope viewer. During this decade Emílio Biel & C.ª
documented the newly built railroad lines of Beira Alta
(1882), Douro (1883–84), Minho, and the construction
of Porto’s bridges of D. Maria Pia and D. Luís.
Between the most significant photographers in
the 1890s were Lisbon’s studios of Arnaldo da Fon-
seca (1891–ca.96) who published a photography treatise
(1891), Vidal & Fonseca (1895–1914), and the reporters
António Novaes (1896–1900-) and Joshua Benoliel
(1898–1900-), Porto’s José de Carvalho (1890–96),
Braga’s Francisco G. Marques (1893–1925), Póvoa de
Varzim’s Avelino Barros (1895–1900-), Viseu’s Perez
& Filhos (1880s–90s), Santarém’s Manoel A. Silva
Nogueira also established in Faro worked in Caldas da
Rainha during thermal season and Nazaré during bath sea-
son, Évora’s Ricardo dos Santos (1887–1900), Lourenço
Marques (Moçambique)’s Louis Hily (ca.1894–1905)
and the brothers J. and M. Lazarus (1899–1908). Manuel
Goulart, originary from the Açores archipelago and estab-
lished in New Bedford (U.S.A.), took a large stereoviews
series entitled Azores, Madeira and Portugal (1897).