352
See Also: Ducos du Hauron, André Louis; and
Davanne, Louis-Alphonse.
Further Reading
C. Cros: Solution générale du problème de la Photographie des
couleurs (Gauthier-Villars, Paris 1869).
E.J. Wall: History of Three-Color Photography (Focal Press,
Boston 1970).
Roger Bellone and Luc Fellot, Histoire mondiale de la photog-
raphie en colours. (Hachette Réalités 1981), 55–88.
CRUCES, ANTIOCO AND LUIS CAMPA
(active 1862–1877)
Antioco Cruces and Luis G. Campa are credited with
fomenting the carte de visite craze in Mexico City be-
tween 1862 and 1877. They both attended the Academy
of San Carlos, a prestigious art school in Mexico City
and may have received some professional support from
photographer José Maria de la Torre who worked with
them between 1863 and 1866, but like many photog-
raphers of the time period, they were self-taught. Their
studio, Fotografi a Artistica, located near the Cathedral,
was considered one of the most important in a city
where keen competition existed in the photography
business.
In 1876 their work on “Mexican Popular types”
(“tipos”) received a bronze medal at the Philadelphia
International Exhibition. The following year Campa,
an engraver, who had been teaching at the Academy
of San Carlos, left the partnership to teach full-time.
Cruces continued alone for several decades and became
known as the “dean of photographers” of Mexico City.
Toward the end of his career, Cruces served as the of-
fi cial photographer for the Mexico City jail and later
for the War Ministry.
The Cruces and Campa images depict the personages
of Maximilian’s short-lived Mexican empire; notables
of Mexican society and those who could afford the
studio’s prices; as well as the popular ethnographic “oc-
cupationals” and “tipos.” They also produced a number
of stereoviews and “illuminated enlargements” (hand
colored prints). Collections of their work are preserved
at the Museo de Fotografía in Mexico City and at Tulane
University in New Orleans.
Yolanda Retter Vargas
CRUICKSHANK, JOHN W. (1852–1918)
Scottish survey photographer
Born Aberdeen, of the famous Scottish Quaker fam-
ily of world-famous shorthorn cattle breeders, John
Cruickshank was sent at the age of 10 to Ackworth,
Pontefract, and Kendal Quaker Schools, and after train-
ing as an engineer in Leeds, he returned to Scotland on
the death of his father in order to help his uncle Amos
Cruickshank (1808–1895) of Sittyton run his herd. His
business interests become extensive, including bank-
ing, jute, and meal mills. In 1892, aged 50, he retired
from business and moved to a specially built Art &
Crafts mansion Coombe Head, Haslemere, Surrey. Ill
health then determined a permanent move to Florence
in 1912 where he and his wife, Alice Mary Henderson
(1861–1920), also established a Quaker Meeting. Along
with his wife, he wrote several guide books in the Grant
Allen series, including Umbrian Towns (1901) and
The Small Tuscan Towns (1912), illustrated with his
direct and elegant photographs. Deeply religious and
scholarly, Cruickshank was a lover of mediaeval manu-
scripts and Romanesque, Lombard and Gothic church
architecture and sculpture, especially its symbolism. He
made extensive and exceptional photographic surveys
throughout Europe, in particular, Tuscany and Umbria.
His photography has affi nities with Frederick Evans
(1853–1943). A collection of over 1,500 negatives is
held at the Conway Library, Courtauld Institute, Lon-
don, and over 3000 prints, using platinum and various
rich sepia papers, together with 500 negatives and his
library, are at the British School at Rome.
Alistair CrawfordCUBA
In March of 1839, a Havana newspaper reprinted an
article on J. M. Daguerre’s new “method of fi xing
images.” A year later, Pedro Tellez de Girón took the
fi rst known daguerreotype on Cuban soil, an image of
part of the Plaza de Armas in Havana. In early 1841,
North American, George Halsey announced that he was
ready to photograph people using a new admirable and
“amazing invention.” He stayed until June, after which
his studio was acquired by one R. W. Hoit. In the same
year, the Italian Antonio Rezzonico, newly arrived from
New York, opened his studio and offered to produce not
only studio portraits but also city and rural views. Two
illustrations derived from daguerreotypes taken with
his equipment, were published in the book Picturesque
Island of Cuba (1841). Several years later, Cuban-born
Esteban Arteaga returned from Paris and announced his
ability to produce daguerreotypes “with color.”
North Americans Charles and Jacob Ward arrived in
Chile in 1848 after working as photographers also in
Perú and Bolivia. They offered to photograph “squirm-
ing” children as well as individuals and groups in home
settings. Hungarian Pal Rosti, arrived in 1857 and for
three months recorded city views, coffee plantations
and ethnographic subjects. By that time, Cuban-born
Francisco Serrano and Esteban Mestre were producing
ambrotypes and paper prints. Charles DeForest Fred-