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CHAMBI

CHAMBI




Early Peruvian photography

Majluf Natalia, Ranney Edward, Chambi, Lima 2015[publ.: Museo de Arte de Lima(MALI) / ISBN: 978-9972-718-48-9). Hard cover 35 x 24,5 cm. 404 pages with around 400 photographs of which 250 fullpage. Text Spanish.
"Martín Chambi was born into a Quechua-speaking peasant family in one of the poorest regions of Peru, at the end of the nineteenth century. When his father went to work in a Carabaya Province gold mine on a small tributary of the River Inambari, Martin went along.
There he had his first contact with photography, learning the rudiments from the photographer of the Santo Domingo Mine near Coaza (owned by the Inca Mining Company of Bradford, Pa). This chance encounter planted the spark that made him seek to support himself as a professional photographer. With that idea in mind, he headed in 1908 to the city of Arequipa, where photography was more developed and where there were established photographers who had taken the time to develop individual photographic styles and impeccable technique.
Chambi initially served as an apprentice in the studio of Max T. Vargas, but after nine years set up his own studio in Sicuani in 1917, publishing his first postcards in November of that year. In 1923 he moved to Cuzco and opened a studio there, photographing both society figures and his indigenous compatriots. During his career, Chambi also travelled the Andes extensively, photographing the landscapes, Inca ruins, and local people."


€ 195.00



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El Bosque Ilustrado, Diccionario Fotografia Amazonica

El Bosque Ilustrado, Diccionario Fotografia Amazonica




early photography in Peru

Juan Carlos La Serna & Jean-Pierre Chaumel, El Bosque Ilustrado, Diccionario Historico de la Fotografia Amazonica Peruana( 1868-1950), Lima 2016. Centro Amazonico de Antropologia y Aplicacion Practica, 291 pag. [115,00]
“Desde el último tercio del siglo XIX, la fotografía fue incorrada a diversas comisiones de exploración geográfica y científica en la Amazonía, generando una serie de documentos visuales que se convirtieron en el soporte empírico de diversas iniciativas de «domesticación» de la frontera interna peruana. Al mismo tiempo, su presencia significó la progresiva desaparición de las antiguas técnicas de reproducción de imágenes: el grabado y la litografía, que dejaron de ser los mecanismos exclusivos para la exposición visual de los espacios contemplados, dando paso al uso de una tecnología moderna de medición y objetivación que, a su vez, permitió la masificación de estas imágenes alrededor de diversos circuitos culturales, intelectuales y comerciales.
Este diccionario cuenta con 571 entradas, y cada una de ellas con referencias cruzadas, fuentes y bibliografía. En la obra se incluye diversos tipos de documentos (fotografías, postales, recortes de periódicos, grabados «a partir de fotografías», descripciones al uso de cámaras y clichés fotográficos), provenientes tanto de archivos y bibliotecas públicas como de colecciones privadas en el Perú y el extranjero. Es ilustrado por cerca de 500 imágenes que acompañan a las entradas y un dossier fotográfico. Deseo destacar el retrato del líder awajún Itushpa, uno de los primeros «embajadores» indígenas amazónicos en la capital del Perú, en 1868. Es una de las primeras imágenes más antiguas con respecto a la Amazonía."


€ 115.00



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Estudio Courret Hermanos 1863-1935

Estudio Courret Hermanos 1863-1935




Early Photography Peru

TORRES, F. & WILLIAMS, A., La destruction del olvido. Estudio Courret Hermanos 1863-1935, Lima 2009. Soft cover 29,5  24 cm. 198 pages with ca. 100 photographs. Short summary in English.
"Courret came to Lima in 1860 to work as a cameraman in the photographic studio of Eugene Maunoury. In 1863 founded the "Photo Central" studio with his brother Aquiles. In 1887, he founded a studio with Adolphe Dubreuil, and in the 1890s, he returned to France, where he continued his photographic work. The Courret studio went bankrupt in 1935, by which time it housed more than 150,000 negatives. Many of the creditors received these glass negatives as part payment in lieu of the money they were owed. Among those who received such payment was the Rengifo family, who kept 54,000 plaques. In 1987 that family gave the negatives to the National Library of Peru to be protected."


€ 115.00



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Fotodokumente aus NordPeru. Hans Heinrich 1848-1928

Fotodokumente aus NordPeru. Hans Heinrich 1848-1928




Peru, oude fotografie

RADDATZ, C., Fotodokumente aus NordPeru / Documentos graficos del Norte del Peru. Hans Heinrich/Juan Henrique Brüning[1848-1928], Hamburg 1990. Soft cover 21 x 30 cm. 176 pag. with more than 100 photo's.
 Text in German and Spanish

PHOTOGRAPHER
  • Brüning, H.H. 

Photo themes:
  • Landschaften
  • Fauna und Flora
  • Portraits
  • Arbeitswelt
  • Freizeit und Feste
  • Archäologie
  • Architektur
CONTENT:
Brüning, H.H. ( 1848 in Hoffeld (Holstein); † 2. Juli 1928 in Bordesholm) war ein deutscher Kaufmann, Ethnograph und Linguist. Der aus Kiel stammende Diplom-Ingenieur entdeckte in der Nähe des Dorfes Túcume im Norden Perus zufällig die Überreste der Lambayeque-Kultur (Pyramiden von Tucume). Ihm ist in Chiclayo das Archäologische Museum Brüning gewidmet. Seine Peru-Sammlung ist Teil der Dauerausstellung im Museum für Völkerkunde Hamburg

Main chapters:
  • Enrique Brüning ein Forscher in Perú
  • Der Brüning-Nachlass und Seine Wiederentdeckung
  • Thematische Zusammenstellung Brüningscher Fotografien
  • Die Fototechnik zur Zeit Enrique Brünings




€ 29.95



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Fotografia Max T. Vargas Arequipa y La Paz

Fotografia Max T. Vargas Arequipa y La Paz




early photography Peru & Bolivia

Andre Garay Albujar(ed.), Fotografia Max T. Vargas Arequipa y La Paz, Piura(Peru) 2015[publisher: Universidad de Piura / ISBN 9789972481727] . Soft cover 24 x 17 cm. 219 pages with around 75 photographs. Limited edition(500). 
“Quizá uno de los peores acontecimientos en la historia de la fotografía peruana sea la desaparición del archivo de Maximiliano Telésforo Vargas (Arequipa, c.1873 – Lima, 1959). Y es que los estudios que se han ido realizando acerca de su trabajo, llevados a cabo en muchos casos a partir de material fragmentario y disperso, no hacen sino corroborar la importancia de su figura en el panorama de la fotografía de la última década del siglo XIX y de las primeras décadas del XX, no solo en el Perú, sino también en Bolivia.”


€ 85.00



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G.Huebner 1862-1935 Un photograph á Manaus

G.Huebner 1862-1935 Un photograph á Manaus




Early photography Brazil

SCHOEPF, D., George Huebner 1862-1935. Un photograph á Manaus, Geneve 2000. Soft cover 27,5 x 23,5 cm. 208 pages, pages 79-159 photographs; text also illustrated.
"George Huebner arrived in Brazil about 1885 and made pictures in Peru in Iquitos and on the Ucyali river (circa 1888); Huebner opened a studio in Manaus, Brazil in 1898 and in Belem in 1906."


€ 29.50



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MAX T. VARGAS, EMILIO DIAZ.Fotografia Peruano(1896-1926)

MAX T. VARGAS, EMILIO DIAZ.Fotografia Peruano(1896-1926)




Early photography in Peru

Andres Garay Albujar & Jorge Villacorte Chavez, MAX T. VARGAS y EMILIO DIAZ. Dos figuras fundacionales de la Fotografia del Sur Andino Peruano(1896-1926), Lima 2007(ICPNA // ISBN: 9789972280573). Soft cover 29 x 22 cm. 176 pages.  Pages 53-119: Portafolia Max T. Vargas; pages 120-165: Portafolia Emilio Diaz. Text in Spanish. Upper part spine slightly bumped, cover some slight wear. 
Martin Chambi is considered the most important Peruvian photographer of the first half of the twentieth century. This great photographer’s teacher  was Max (Maximiliano) T. Vargas, who took him as a student in Arequipa, where he had his studio from 1908 until the year 1917.Who was Max T. Vargas? Most likely he was born in Arequipa, in the year 1874. He died in Lima, in 1959, unknown He started his carrier as a professional photographer in 1896 when he was twenty-two years old.  It is unknown who his professor was or how he entered the world of photography; nevertheless, in those times, Arequipa already had many photographers, one of them Emilio Díaz. Max T. Vargas goes up from Arequipa to the Bolivian Altiplano with all this knowledge; he took photographs of people, landscapes, and archeological places. Max T. Vargas arrived to the city of La Paz before the end of the nineteenth century where he recorded landscapes and famous people of this city with his camera. We can consider Max T. Vargas as a beginner in the documental photography. He was sensitive to catch the architectural and archaeological heritage, and that influenced the work of Bolivian and Peruvian photographers as Martin Chambi, the Italian Luis Domenico Gismondi and Julio Cordero, who were also important photographers in La Paz.
Arequipa photographer Emilio Diaz was one of the photographers of choice for the Arequipe elite in the early 1900s, he made fascinating portraits of bourgeois women in all their finery. “Portraits in Arequipa were flattering, and they corresponded to very modern ideas about the studio photo shoot. If the individual was attractive, they wanted to translate that attraction to the image,” That’s where the term ‘photogenic’ comes from. It’s not enough for a person to be beautiful, the photographer has to know how to convert that quality into a visual fact. Diaz wanted to blend reality and art in his photos, often using backdrops that he had painted himself for his portraits. 


€ 125.00



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Recuperacion de la memoria.  Fotografia Peru 1842-1942

Recuperacion de la memoria. Fotografia Peru 1842-1942




Peru early photography

Majluf, N. & Wuffarden. L. J., Recuperacion de la memoria. El Primer siglo de la Fotografia Peru 1842-1942, Lima 2001(publ.: Fundacion Telefonica del Peru // ISBN: 9788495457219). Hard cover in slip case 34 x 24 cm. 345 pages with 420 photographs.


€ 250.00



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Ungleichzeitigkeiten der Moderne

Ungleichzeitigkeiten der Moderne




Peru, oude fotografie

FISCHER, M. & NOACK, K. & ZIEHE,I., Ungleichzeitigkeiten der Moderne / Der Studiofotograf Baldomero Alejos in Ayacucho-Peru // Anacronismos de la Modernidad / El fotografo de estudio Baldomero Alejos en Ayacucho-Peru, Berlijn 2008. Soft cover 21 x 30 cm. 160 pag. with 55 photo's. Text in German and Spanish.

CONTENT:
Baldomero Alejos (1902-1976) is considered one of the best peruvian photographers of the last century. His artistic legacy, of more than 60,000 images, is the most complete, documented and valuable visual testimony of more than 50 years (1924-1976) of the social life of Ayacucho, a small town in the Sierra of Peru. Through his photographs we can be witnesses of the development of a town over the years, from a traditional society to its openness to the modernity, education and democratization, during the peaceful times before the terrorism started. Researchers from Germany and Peru investigated the work of Baldomero Alejos in the context of his time and the photographic European tradition. A book, written in German and Spanish, accompanied by magnificent photographs.


€ 34.50



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