Papers by Colección Fernández Rivero
Unlike French stereographers, who flooded the market with Spanish views, the most important Briti... more Unlike French stereographers, who flooded the market with Spanish views, the most important British publishers and photographers rarely made Spanish views. Quite possibly this was precisely because of the rapid market penetration of the French, such as Gaudin, Ferrier and others, and in spite of the leading British photographic houses, such as Frith or George W. Wilson, also wanting to include Spanish views in their catalogues. The photographer Frank Good would be the only British photographic editor to make a collection of some importance of Spanish stereoscopic views during the first decades of the history of photography, visiting and photographing the cities of San Sebastian, Zaragoza, Barcelona, Tarragona, Valencia, Seville and Cordoba. About one hundred views, of which more than half are of Cordoba and Seville, do not include, strangely, cities such as Madrid, Toledo and Granada.
Throughout the twentieth century, the two major projects carried out in Spain to commercialize st... more Throughout the twentieth century, the two major projects carried out in Spain to commercialize ste- reoscopic photography were those of the Barcelona publishing house Alberto Martín and the photo- grapher José Codina Torrás, both projects with an obvious tourist orientation. During the decade of 1910, the publishing house Alberto Martín launches a collection of stereosco- pic views of Spanish cities and monuments entitled "El Turismo Práctico". The views were presented in standard size card mounts, grouped by cities, usually presented in envelopes with fifteen prints. On the other hand, José Codina Torrás starts to make stereoscopic series in 1929 on the occasion of the international fairs of Seville and Barcelona. He uses the Verascope format (45x110 mm): positive glass plates marketed in cardboard boxes and grouped by themes. Later he published his collection of Spanish views in card mounts (6x13 mm). Along with these, and under the brand "Rellev", he launches ...
From the first moment the CFR (Fernández Rivero Collection) had among its objectives the formatio... more From the first moment the CFR (Fernández Rivero Collection) had among its objectives the formation of a collection of historical photography that would serve to understand the reality of the photographic phenomenon (especially in Spain) as a whole. From this point of view, it was clear that family photography should have its space in the collection, ithin its temporal delimitation, which in our case is comprised between the beginnings of photography, in the 1840s until the first decades of the 20th century. Our objective in this article will be to explain what have been the criteria followed for the incorporation of this type of photographs in the collection and also show numerous examples of both individual pieces and sets that respond to this classification that in principle we have called "family photography" .
The Colección Fernández Rivero about old photograph s is a collection of original photographic ob... more The Colección Fernández Rivero about old photograph s is a collection of original photographic objects in more than 45000 pieces of different types. The CFRivero has followed for its formation a historicist approach so that it could cover Museum and didactic purposes. Around two-thirds of his pieces are of the 19th century, of which the majority could be described as a fundamental part of the Spanish photographic heritage of this period. The CFRivero is therefore a collection primarily of Spanish historical photography, although there is also remarkable examples of photography of France, United Kingdom and other countries, as well as two special sections: stereoscopic photography and photography related to Malaga and its province. The collection is complemented with machines and other photographic objects as well as a large ancient and contemporary library. The owners have been developin g a wide work of dissemination and research of the photographic phenomenon, especially centered in the 19th century. For this they have published books and articles, held exhibitions, conferences and courses, as well as it has been developing a broad and active dissemination through the Internet.
The discovery of a photo album of the nineteenth century, the Andalusian village of Adra, Albunol... more The discovery of a photo album of the nineteenth century, the Andalusian village of Adra, Albunol, Berja, Dalias and Almeria itself, causes a thorough investigation into its origin and its authors link with the history of these towns.
Esta gran empresa britanica, productora y editora de imagenes, atesoro un inmenso fondo a lo larg... more Esta gran empresa britanica, productora y editora de imagenes, atesoro un inmenso fondo a lo largo de sus casi ciento cincuenta anos de vida (1855-1995), entre las que destacan por su especial belleza algunas fotografias de las ciudades de Malaga y Granada
At the beginning are described first reports made in Spain on major exhibitions, since the great ... more At the beginning are described first reports made in Spain on major exhibitions, since the great exhibition of London in 1851. Below is a brief review about the photographers Laurent, Debas and Esperon, who were the authors of the photo album made in 1877 about the «Exposicion Vinicola» in Madrid. Finally, the article focuses on the description and assessment of this album.
Jean Laurent, of French origin, opened a photography studio in Madrid in the mid-1850s. During th... more Jean Laurent, of French origin, opened a photography studio in Madrid in the mid-1850s. During the following decades, between 1860 and 1880, he consolidated the most important photographic company in the Spain of the nineteenth century, in the style of the great European photographic houses. His work encompassed a large collection of sights and monuments of all Spain. This paper discusses the production of the Laurent House in Malaga and its province.
During the 1850s and 1860s begins in London and Paris a major photographic industry around the ne... more During the 1850s and 1860s begins in London and Paris a major photographic industry around the newly invented stereoscopic view. Photographers and editors travel across countries to collect the cities and most important monuments with their cameras. To Spain, as all countries, arrived many photographers travelers, but a small number of them, French, would make a complete urban and monumental catalogue of the Spain of the time so far had not been properly valued. This chapter describes the collections of two of them: Ernest Lamy and Jean Andrieu.
The study of paper in relation to photography has been addressed until now considering the techni... more The study of paper in relation to photography has been addressed until now considering the technical aspects of the conservation and restoration of these materials as photographie support. ln this article we propose a different, more historicist point of view, offering some brushstrokes on the types of paper that were used during the beginnings of photography, describing the main factories, brands and types of paper, and also the different roles played by the paper in its association With photography. We will study the paper as primary, secondary and tertiary support of photography, as well as the different formats in paper and cardboard used in this medium during its first decades of existence.
After a historical summary of the emergence of stereoscopic photography, the article focuses on t... more After a historical summary of the emergence of stereoscopic photography, the article focuses on the massive proliferation of amateur photographers with the discovery of the dry plates of silver gelatin from the late 1880s and the new momentum that would take stereoscopic photography when at the end of the century it gets fashion Jules Richard Verascope procedure. The small stereoscopics pairs in glass 45 x 107 mm. ended up becoming one of the methods most practiced by the spanish amateur photographers, who during the first decades of new 20th century collected all sorts of views, landscapes and moments of everyday life of their environment with their cameras. It is in this context that it must be placed the photographic work of the valencian architect Demetrio Ribes
Gathering all this news about Charles Monney (Paris 1830-Madrid 1875) and delving into the detail... more Gathering all this news about Charles Monney (Paris 1830-Madrid 1875) and delving into the details of his professional life have made us consider his contribution to Spanish photography in its first decades. A photographer whose beginnings are linked to the legendary group of passer-by pioneers, somewhat later but who reminds us of photographers like Lorichon or the Count of Lipa, among others. Monney also surprises us for its associative strategy with photographers already settled in very different locations, providing a diverse offer that seems to adapt to each need, whether it be with “large and stereoscopic views”, “types”, enlargements, mosaics, or selling plates to his colleagues. In short, a modus operandi that has not facilitated the discovery of his work, which fortunately was registered in the Bilbao albums, testimony to his professional mastery.
Alfredo Esperon is not another photographer in the incomplete puzzle of Spanish photography: Etie... more Alfredo Esperon is not another photographer in the incomplete puzzle of Spanish photography: Etienne-Alfred Esperon and Tisne, of French origin as many other colleagues who worked in Spain, is a restless and enterprising character who works as a portraitist first in Valencia, in Madrid from 1868 to 1894, and until 1900 between Bogota and Caracas.
Jose Spreafico (1831-1878) is especially known for his two albums conserved in the archive of the... more Jose Spreafico (1831-1878) is especially known for his two albums conserved in the archive of the Royal Palace (Madrid): the railroad from Malaga to Cordoba and La Rabida. Their daring plans of bridges and railroads and their additions to the human element, have captivated the authors who have been dealing with the history of Spanish photography. But the photographic work of Spreafico goes beyond these well-known stories, actually being a complete photographer, which dealt with many and varied projects, and that only a professional life too short and perhaps also accented Spanish centralism, which hid the values of the periphery, for so long prevented its merits were duly recognized. Today however, in view of the quality and breadth of his work, we must consider it as one of the great photographers of the nineteen Spanish.
Stereoscopic photography begins in the Canary Islands at the end of the 1850s, not only by photog... more Stereoscopic photography begins in the Canary Islands at the end of the 1850s, not only by photographers and news from Peninsular Spain but also through the important English colony. The names of Piazzi Smyth and Jessica Duncan, of photographers such as Luis Marin del Corral, Manuel Sapera, Rafael and Bartolome Belza or Juan Gonzalez Mendez and Alberto Boisier, are linked to their practice throughout the 19th century. The twentieth century begins with stereoscopic photographs due to amateur photographers such as Hungarian Hopp Ferenc or Canaries Tomas Gomez Bosch or Leopoldo Prieto. We close this tour with the number 83 of the series that Jose Codina dedicated to the Archipelago.
The brothers Fernando and Edgardo Debas arrived in Madrid in 1872, coming from France, and soon b... more The brothers Fernando and Edgardo Debas arrived in Madrid in 1872, coming from France, and soon became the main court photographers of Alfonso XII, above Laurent, who was then in full swing of his activity. The article reveals the keys to this situation as well as the details of his previous activities in France, the circumstances of his arrival in Madrid, the disagreements between the brothers, who practically did not practice together more than for a short period of time . Although both had relations with the Court, it would finally be Fernando who captured the greatest attention of the Royal House, dilating his activity until 1902, when he retired.
The discovery of the importance of photographer Luis Leon Masson and the observation that, never-... more The discovery of the importance of photographer Luis Leon Masson and the observation that, never-theless, has been almost ignored in all the temporal space in which the Spanish photohistory has been developing in the last thirty years, has led us to ask ourselves about the circumstances that have concurred so that this character, who was able to achieve in his production of topographic photography the 800 works, that approached commercial level to the figure of Clifford and that preceded Jean Laurent in the conception of a photographic project that exceeded the limits of the city in which he resided, has not been worthy of the attention of the researchers until now.
The first time that there is historical steadfastness of the presence of a photographer in a warl... more The first time that there is historical steadfastness of the presence of a photographer in a warlike conflict, as graphic correspondent is in the war of Crimea, in 1854-55. In the successive conflicts armed with importance that happen from this date, 1859 and 1860, with the reunification of Italy and other episodes in the British empire, the photo will be present. In Spain the first corresponding war photographer will be the person from Malaga Enrique Fazio, who embarks towards the called “War of Africa” in 1859 of the hand of writer Pedro Antonio de Alarcon, the main literary "witness" of this war, that would give birth to a succession of interventions and conflicts of Spain in the north of Africa that would end up by having a decisive influence in the history of Spain.
Uploads
Papers by Colección Fernández Rivero