Finding aid for the Eugène Maunoury album of Peruvian portraits and views, 1863-1889 2022.R.15
Beth Ann Guynn
Special Collections
2022
1200 Getty Center Drive, Suite 1100
Los Angeles 90049-1688
Business Number: (310) 440-7390
Fax Number: (310) 440-7780
reference@getty.edu
Contributing Institution:
Special Collections
Title: Eugène Maunoury album of Peruvian portraits and views
Creator:
Maunoury, Eugène, 1830-1896
Creator:
Courret Hermanos
Creator:
Brochery, L.
Creator:
Joliot, Abraham-Léon-Marius
Identifier/Call Number: 2022.R.15
Physical Description:
1 Linear Feet
(89 photographs in 1 album)
Date (inclusive): 1863-1889
Physical Location: Request access to the physical materials described in this inventory through the
catalog record for this collection. Click here for the
access policy .
Abstract: Album containing 89 photographs, most of which are by Eugène Maunoury, a French photographer who was active in Peru from 1861
to 1865. Included are 57 portrait cartes-de-visite of Peruvian sitters; 16 views of Lima, Peru; three portraits of women from
the Marquesas Islands; and two views of Papeete, Tahiti.
Language of Material:
French
.
Publication Rights
Preferred Citation
Eugène Maunoury album of Peruvian portraits and views, 1863-1889, The Getty Research Institute, Los Angeles, Accession no.
2022.R.15.
http://hdl.handle.net/10020/cifa2022r15
Biographical / Historical
Eugène Maunoury (1830-1896), was born near Paris in Villeparisis, France, but moved into the city as a child where he eventually
trained as a draftsman and photographer. Maunoury was active as a photographer in Chile from 1858 to 1860. There he photographed
the great fire of Valparaíso of 1858. In 1861, he moved on to Lima, Peru, where by 1862 he established a photography studio,
Sociedad Fotográfica Maunoury y Cía, at 71 calle del Palacio. By 1862, he was also associated with the Nadar studio as its
Peruvian correspondent and soon became a correspondent for the illustrated Parisian journals
L'Illustration: journal universel and
Le monde illustré. Maunoury used Nadar's endorsement, which entitled him to add Nadar's signature red "N" to his own imprint, to successfully
promote his photography business to such an extent that he opened two more branches of his studio in Lima, one at 36 calle
Constitución, in the port at Callao, and the other at 8 Plateros de San Pedro.
In 1861, Maunoury hired Eugenio Courret, who was then living in Paris, as a camera operator for his new studio. Courret arrived
in Lima before the end of 1861 in time for the studio's opening in January, 1862. As was customary at the time, the work Courret
produced as one of Maunoury's operatives appeared under Maunoury's imprint, and thus was not credited to Courret. Using Courret
Hermanos as their imprint, Eugenio Courret (Michel Eugène Courret, 1839-1920) and his brother, Aquiles Courret (Achille Courret,
1830-) established their own studio, Fotografía Central, in 1863. When Maunoury returned to France in 1865 the Courrets purchased
all three of his studios. Maunoury had a studio in Paris for ten years and then one in Maine-et-Loire for the next ten years
before briefly running a studio in Laval. Finding that Laval could not support his photography studio, Maunoury returned to
Paris in 1894 where he worked as a draftsman. On the night of December 26, 1896 Maunoury wandered the streets of Paris, eventually
asking the brigadier on duty in a police station if he could come inside to warm up, but once inside he pulled out a gun and
fatally shot himself.
Members of the Courret family were already living in Lima when Eugenio Courret immigrated to Peru. Francisco Courret, whose
exact relationship to the brothers Eugenio and Aquiles is unclear, was established in the city by 1838 and owned a luxury
goods store named Mampara de Bronce on calle Mercaderes. Aquiles Courret first landed at the port of Callao in 1851 and by
1853 had also begun importing luxury goods to Peru. The next year he went into partnership with Julio Perret, the former associate
of Adolphe Dubreuil, calling their import business Courret y Cia.
Eugenio had only been working for Maunoury for a short time when he and Aquiles began preparations to convert the family luxury
goods business into a photography studio. By early March 1863, Eugenio had left Maunoury's employ and Fotografía Central was
open for business with Aquiles as its manager and Eugenio heading a cadre of camera operatives. When the Courrets took over
Maunoury's business in May, 1865, they had to renegotiate the Nadar connection, and consequently did not add the red "N" to
their imprint until the end of 1865. By 1868, they had ceased using this device.
While, as with Maunoury, the carte-de-visite portrait craze contributed to the initial success of their business, Courret
Hermanos continued to thrive as a portrait studio for over seventy years by keeping abreast of the rapid developments in photography,
adopting each new portraiture format and viable photographic process as it appeared. Eugenio Courret had made photographic
views of Lima and surrounding areas for Maunoury and continued to do so under his own imprint, documenting new buildings,
engineering projects such as the railroads being built over the Andes, international expositions, and other contemporary events,
as well as taking the portraits of a steady stream of customers. Courret Hermanos produced an abundance of albums that usually
contained a combination of portraits of Limeños, especially of the city's society women whose beauty wsa renowned; cityscapes;
landscapes; occupational portraits; and Peruvian tipos or types.
Aquiles Courret returned to France in 1873, after which Eugenio used E. Courret rather than Courret Hermanos as his imprint.
Eugenio returned to France sometime between 1887 and 1910. Although the firm was listed in the local Lima trade directories
as Courret y Cia until 1914, at some point between 1887 and 1914 it was acquired by Adolphe Dubreuil. The Dubreuil family
ran the firm until 1935.
Sources Consulted:
Courret, Eugenio, and Biblioteca Nacional, issuing body.
Retratos de Lima 1867-1925: Archivo Eugène Courret de la Biblioteca Nacional del Perú / Portraits of Lima 1867-1925: Eugène
Courret Archive of the National Library of Perú
. Lima: Biblioteca Nacional del Perú, 2015.
Fuentes, Manuel Atanasio.
Lima: Esquisses historiques, statistiques, administratives, commerciales et morales. Paris: Firmin Didot, frères, fils & cie., 1866.
___.
Lima: Or, Sketches of the Capital of Peru, Historical, Statistical, Administrative, Commercial and Moral. United Kingdom: Trübner & Company, 1866.
Lestang, Hervé. "Eugène Maunoury,"
Portrait Sepia. http://portraitsepia.fr/photographes/maunoury.
Maude, Henry Evans.
Slavers in Paradise: The Peruvian Labour Trade in Polynesia, 1862-1864. Canberra: Australian National University Press, 1981.
McElroy, Keith.
Early Peruvian Photography. Ann Arbor, MI: UMI Research Press, 1985.
___. "Eugenio Courret and the Courret Archive in Lima, Peru,"
History of Photography, 24:2 (2000): 121-126. DOI: 10.1080/03087298.2000.10443379.
Retter, Yolanda. "Peru," in Paul Hannavy, ed.
Encyclopedia of Nineteenth-Century Photography, vol. 2: 1063-1065. Routledge: New York and London, 2008.
Schwarz, Herman. "Fotógrafos franceses en el Perú del siglo XIX,"
Bulletin de L'Institut Français d'Études Andines 36, no. 1 (2007): 39-49. https://doi.org/10.4000/bifea.4469.
Yates, Rachel. "Language, Culture, and the Impact of 'Slavers in Paradise.'"
Te Papa Blog, August 4, 2017. https://blog.tepapa.govt.nz/2017/08/04/cook-islands-language-week-language-culture-and-the-impact-of-slavers-in-paradise.
Scope and Contents
The album contains 57 portrait cartes-de-visite of Peruvian sitters; 16 views of Lima, Peru; three portraits of women from
the Marquesas Islands; two views of Papeete, Tahiti; five photographs taken in the courtyard of a two-story house; four card
portraits (two cabinet cards and two Victoria cards); and three partial watercolor paintings of Chinese men. The cartes-de-visite
all bear Eugène Maunoury's imprint, with the exception of two cartes-de-visite that bear Courret Hermanos imprints. All of
the photographs are albumen prints, excepting the cabinet and Victoria cards, which are collodion prints.
Following the dedication page, which is dated 1864 and includes a Courret Hermanos carte-de-visite portrait of a seated man,
likely E. Vione, the presenter of the album, are seven leaves of cartes-de-visite mounted four to a side, recto and verso.
Present are portraits of young society women, Afro-Peruvians, and indigenous Peruvians, as well as a few cityscapes and views
of buildings. Eight of the portraits of young women are hand colored. Several cartes-de-visite portray society women as tapadas
or veiled women (including two of women accompanied by their young maids who are also dressed as tapadas), reflecting the
mid-nineteenth century revival of the tapada costume, a symbol of colonial Lima, when ladies of good breeding covered all
but their eyes in public. Whereas this mode of dress initially signalled modesty, by the time these photographs were taken
it served to enable a societal craze for anonymous flirtation.
The carte-de-visite section concludes with four photographic reproductions of caricatures by Maunoury, three of which are
initialed E. M.
The next 11 leaves in the album contain the 16 views of Lima, the three portraits of women from the Marquesas Islands; and
the two views of Papeete. The views of Lima include city views; views of municipal buildings, churches, and monuments; and
street scenes. One photograph depicts an alley of straw and reed huts populated by indigenous people who display their wares
of produce and used clothing outside their dwellings. The views of Papeete are both depictions of buildings with the harbor
and bay in the background. Although these two images are signed by Maunoury and are on Sociedad Fotográfica mounts, they were
taken by Eugenio Courret who made a four-month journey to Tahiti and the Marquesas Islands from December, 1863 through March,
1864. Since Eugenio Courret was not working for Maunoury at the time it is not clear why these views are signed by Maunoury.
Three costumbrista watercolors depicting Chinese men are mounted on the verso of one of the Papeete views (a fourth watercolor
originally mounted there is no longer present).
The three portraits of Marquesas women are captioned at the bottom of their mounts "Femme canaque" (2) and "Reine canaque."
Canqui (Kanaka; from the Hawaii word for person) was a nineteenth century term used for indigenous Pacific Islanders in general.
A "correspondance du Pérou" written by Maunoury on 12 June 1863 and published in
L'Illustration (vol. 42, 29 August 1863, p. 157-158) is illustrated with variant portraits of two of the three women who appear in the present
album. In the article, the women are identified by name and as all hailing from the island of Ua Pou, the third largest of
the Marquesas islands. Depicted are Tahia-Ka-Hampu, "reine de Va-Pou, femme de Ritozo;" Tahia-Otona; and Tahia-Upa. Ritozo,
"roi de Va-pou" is also depicted in the article.
Maunoury's letter in
L'Illustration addresses what was in effect the Peruvian enslaver trade in Polynesia during the early 1860s after the abolition of slavery
in Peru in 1854 led to a shortage of agricultural laborers and guano gatherers. In 1861, the Peruvian government enacted a
law permitting the importation of "Asiatic colonists," that is Chinese laborers, into the country, but when this did not supply
enough workers Peru tacitly extended the geographical boundaries to include Polynesia as a source of labor. In Polynesia,
recruitment tactics included enlisting willing immigrants, who were usually misled regarding terms and living conditions,
as well as taking people by force and kidnapping.
Only one ship stopped at the island of Ua Pou in search of laborers. Nineteen people were ultimately taken on board for Peru
after local inhabitants were invited to a party on the ship - five people were willingly recruited, six people were taken
by force, and eight women were locked in the captain's cabin during the party - while the remainder of the partygoers escaped
by jumping overboard. The individuals from Ua Pou depicted in Maunoury's article and in the album would have thus been part
of this group. Peru's treatment of Polynesian "immigrants" led to a strong outcry both within the country and internationally.
The conditions Polynesians lived under in Peru were abhorrent, and many Polynesians died of diseases for which they had no
immunity. By 1863, further Polynesian recruitment was halted and those Polynesians still surviving in Peru were eventually
repatriated.
The remaining photographs in the album appear to have been added by the original owner (Adolphe Massinot) sometime after he
received it. Five photographs depict Massinot and his family in the courtyard and on the verandas of their home in Peru. Also
included are a pair of cabinet card portraits of Massinot and his wife by L. Brochery; a Victoria card of Massinot standing
with his wife, daughter, and grandchild; another Victoria card of Massinot as an older man seated on a veranda; and a later
cabinet card portrait of Massinot by L. Joilet. A partial photograph adhered below this final portrait depicts a French villa.
The album is bound in deep red morocco and the covers are edged in brass with two figured brass clasps on the fore edges.
The gilt title on the front cover is framed by an embossed design of crosses set within quatrefoils set within squares. The
cover title is the name and address of Maunoury's main studio: Sociedad Fotográfica / Calle de Palacio 71 / Lima.
Dedication on flyleaf: A. M. Adolphe Massinot / Souvenir du plus dévoué / de ses amis / Lima, 12 Juillet 1864 / E. Vione.
The Maunoury cartes-de-visite bear the imprint below the left corner of the image: E. Maunoury / 71 Calle del Palacio. Below
the right corner of the image is a red "N" indicating Maunoury's association with the Parisian studio of Nadar.
The views of Lima and Papeete are blind stamped on the mount below the image: Sociedad Fotográfica Lima. They are signed below
the image "E. Maunoury" or simply "Maunoury."
The imprint on the mount of the Courret Hermanos carte-de-visite on the flyleaf reads: Fotografía Central / Courret Hermanos
/ 107, calle Mercaderes / Lima. The other carte-de-visite with a Courret Hermanos imprint reads simply "Courret Hermanos Fotógs.
/ Lima" with no address given. As with all of the other photographs in the album, their back stamps are not visible.
The album is disbound and its leaves and covers are housed in separate boxes.
Titles of the individual photographs were devised by the archivist unless otherwise noted.
Conditions Governing Access
Open for use by qualified researchers.
Arrangement
Arranged in a single series: Series I. Eugène Maunoury album of Peruvian portraits and views, 1863-1889.
Immediate Source of Acquisition
Acquired in 2022.
Processing Information
The collection was processed and the finding aid written by Beth Ann Guynn in 2022.
Subjects and Indexing Terms
Indigenous peoples -- Peru -- Portraits
Marquesans -- Portraits
Monuments -- Peru -- Lima
Papeete (French Polynesia) -- Description and travel
Streets -- Peru -- Lima
Lima (Peru) -- Description and travel
Albumen prints -- Peru -- 19th century
Photograph albums -- Peru -- 19th century
Studio portraits -- Peru -- 19th century
Photographs, Original.
Cartes-de-visite (card photographs) -- Peru -- 19th century
Black people -- Peru
Eugène Maunoury album of Peruvian portraits and views, Series I.
1863-1889
Box 2, Item Front cover
Front cover, 2022.R.15-fc
ca. 1864
Box 2, Page Front endpapers
Front endpapers, 2022.R.15-fe
ca. 1864
Box 2, Page Free front endpaper verso
Verso of free front endpaper, 2022.R.15-fve
ca. 1864
Box 2, Page 1 recto
Blank page, 2022.R.15-1r
ca. 1864
Box 2, Page 1 verso
Blank page, 2022.R.15-1v
ca. 1864
Box 1, Page 2 recto
Blank page, 2022.R.15-2r
ca. 1864
Box 1, Page 2 verso
Blank page, 2022.R.15-2v
ca. 1864
Box 1, Page 3 recto
Dedication page, 2022.R.15-3r
1864
Scope and Contents
Written on dedication page below a Courret Hermanos carte-de-visite portrait of a seated man: A. M. Adolphe Massinot / Souvenir
du plus dévoué / de ses amis / Lima, 12 Juillet 1864 / E. Vione.
The sitter in the portrait is likely E. Vione, the presenter of the album.
Box 1, Page 3 verso
Verso of dedication page, 2022.R.15-3v
ca. 1864
Box 1, page 4 recto
Page with four cartes-de-visite, 2022.R.15-4r
ca. 1863
Box 1, page 4 recto-1
Maunoury, Eugène, [Woman Wearing Lace Shawl] 2022.R.15-4r.1
Box 1, page 4 recto-2
Maunoury, Eugène, [Woman in Evening Dress] 2022.R.15-4r.2
Box 1, page 4 recto-3
Maunoury, Eugène, [Woman in Day Dress and Mantilla] 2022.R.15-4r.3
Box 1, page 4 recto-4
Maunoury, Eugène, [Woman Wearing Net Shawl] 2022.R.15-4r.4
Box 1, page 4 verso
Page with four cartes-de-viste, 2022.R.15-4v
ca. 1863
Box 1, page 4 verso-1
Maunoury, Eugène, [Woman Wearing Dark Day Dress] 2022.R.15-4v.1
Box 1, page 4 verso-2
Maunoury, Eugène, [Woman Wearing Dark Dress with Embroidered Collar and Sleeves] 2022.R.15-4v.2
Box 1, page 4 verso-3
Maunoury, Eugène, [Woman Wearing Light Figured Dress] 2022.R.15-4v.3
Box 1, page 4 verso-4
Maunoury, Eugène, [Woman in Profile Wearing Dark Dress and Mantilla] 2022.R.15-4v.4
Box 1, page 5 recto
Page with four cartes-de-visite, 2022.R.15-5r
ca. 1863
Box 1, page 5 recto-1
Maunoury, Eugène, [Woman with Braided Hair in Profile] 2022.R.15-5r.1
Box 1, page 5 recto-2
Maunoury, Eugène, [Woman in Light Dress Holding Closed Fan] 2022.R.15-5r.2
Box 1, page 5 recto-3
Maunoury, Eugène, [Woman Standing in Profile] 2022.R.15-5r.3
Box 1, page 5 recto-4
Maunoury, Eugène, [Woman Wearing Checkered Shawl] 2022.R.15-5r.4
Box 1, page 5 verso
Page with four cartes-de-visite, 2022.R.15-5v
ca. 1863
Box 1, page 5 verso-1
Maunoury, Eugène, [Afro-Peruvian Woman Wearing Dark Dress and Shawl] 2022.R.15-5v.1
Box 1, page 5 verso-2
Maunoury, Eugène, [Indigenous Peruvian Fruit Seller] 2022.R.15-5v.2
Box 1, page 5 verso-3
Maunoury, Eugène, [Indigenous Andean Man Dressed in Furs] 2022.R.15-5v.3
Box 1, page 5 verso-4
Maunoury, Eugène, [Afro-Peruvian Man Holding a Forked Stick] 2022.R.15-5v.4
Scope and Contents
A variant of this photograph appears as an engraving between pages 78 and 79 of Manuel Atanasio Fuentes
Lima, or Sketches of the Capital of Peru (1866) where the caption identifies him as "Negro Water Carrier." He does not appear to be included in the French edition.
The man wears a leather apron, such as a blacksmith or other journeyman might wear and the stick has some sort of metal implement
at its other end. It is unlikely that this man is a water carrier.
Box 1, page 6 recto
Page with four cartes-de-visite, 2022.R.15-6r
ca. 1863
Scope and Contents
The four portraits on this page are hand colored.
Box 1, page 6 recto-1
Maunoury, Eugène, [Woman Wearing Pink and White Dress and Green Shawl] 2022.R.15-6r.1
Box 1, page 6 recto-2
Maunoury, Eugène, [Woman in White Dress with Pink Decorations] 2022.R.15-6r.2
Box 1, page 6 recto-3
Maunoury, Eugène, [Woman Wearing Green and Black Dress] 2022.R.15-6r.3
Box 1, page 6 recto-4
Maunoury, Eugène, [Woman in Mauve Day Dress] 2022.R.15-6r.4
Box 1, page 6 verso
Page with four cartes-de-visite, 2022.R.15-6v
ca. 1863
Box 1, page 6 verso-1
Maunoury, Eugène, [Afro-Peruvian Man Sitting on the Ground] 2022.R.15-6v.1
Scope and Contents
This photograph is reproduced as an engraving on page 235 of Manuel Atanasio Fuentes
Lima: esquisses historiques, statistiques, administratives, commerciales et morales (1866) and on page 218 of the English edition, in both cases in juxtapostion with an image of a white man standing with his
hand out. The pair of images are identified respectively as "Mendiant blanc" and "Mendiant nègre" and "White Beggar" and "Negro
Beggar." The white man, who is bearded and wears a skull cap bears a suspicious resemblance to photographic portraits of Eugenio
Courrret.
Box 1, page 6 verso-2
Maunoury, Eugène, [Afro-Peruvian Woman with Patchwork Apron Sitting on the Ground] 2022.R.15-6v.2
Box 1, page 6 verso-3
Courret Hermanos, [Man in Military-style Coat] 2022.R.15-6v.3
Box 1, page 6 verso-4
Maunoury, Eugène, [White-haired Man Holding a Cigar and Leaning on a Plinth] 2022.R.15-6v.4
Box 1, page 7 recto
Page with four cartes-de-visite, 2022.R.15-7r
ca. 1863
Scope and Contents
The four portraits on this page are hand colored.
Box 1, page 7 recto-1
Maunoury, Eugène, [Two Women in White, One Sitting, One Standing] 2022.R.15-7r.1
Box 1, page 7 recto-2
Maunoury, Eugène, [Woman in Green Dotted Dress Reading] 2022.R.15-7r.2
Box 1, page 7 recto-3
Maunoury, Eugène, [Woman in Green Embroidered Dress] 2022.R.15-7r.3
Box 1, page 7 recto-4
Maunoury, Eugène, [Woman Wearing White and Blue Dress] 2022.R.15-7r.4
Box 1, page 7 verso
Page with four cartes-de-visite, 2022.R.15-7v
ca. 1863
Box 1, page 7 verso-1
Maunoury, Eugène, [Port of Callao] 2022.R.15-7v.1
Box 1, page 7 verso-2
Maunoury, Eugène, [Bridge and Bluff Near the Shoreline] 2022.R.15-7v.2
Box 1, page 7 verso-3
Maunoury, Eugène, [Carts Loaded with Sacks of Grain in front of a Building] 2022.R.15-7v.3
Box 1, page 7 recto-4
Maunoury, Eugène, [Customs House, Callao] 2022.R.15-7v.4
Box 1, page 8 recto
Page with four cartes-de-visite, 2022.R.15-8r
ca. 1863
Box 1, page 8 recto-1
Maunoury, Eugène, [Woman in Dress with Dark Lace Bodice] 2022.R.15-8r.1
Box 1, page 8 recto-2
Maunoury, Eugène, [Woman Wearing Jacket with Ruffled Sleeves and Collar] 2022.R.15-8r.2
Box 1, page 8 recto-3
Maunoury, Eugène, [Woman Wearing Dark Dress with Embroidered Collar] 2022.R.15-8r.3
Box 1, page 8 recto-4
Maunoury, Eugène, [Woman with Pleats on Bodice and Sleeves] 2022.R.15-8r.4
Box 1, page 8 verso
Page with four cartes-de-visite, 2022.R.15-8v
ca. 1863
Box 1, page 8 verso-1
Maunoury, Eugène, [Woman and Lady's Maid Dressed as Tapadas] 2022.R.15-8v.1
Scope and Contents
The lady's maid is a young Afro-Peruvian girl.
Box 1, page 8 verso-2
Maunoury, Eugène, [Tapada Wearing Embroidered Shawl] 2022.R.15-8v.2
Scope and Contents
This photograph is reproduced as an engraving on page 105 of Manuel Atanasio Fuentes,
Lima: Apuntes históricos, descriptivos, estadísticos y de costumbres (1866).
Box 1, page 8 verso-3
Maunoury, Eugène, [Tapada with Lady's Maid] 2022.R.15-8v.3
Scope and Contents
The lady's maid is a young Afro-Peruvian girl who wears a shawl covering her head, but not in tapada style. This photograph
is reproduced as an engraving on page 106 Manuel Atanasio Fuentes
Lima: esquisses historiques, statistiques, administratives, commerciales et morales (1866) and on page 99 of the English edition, captioned respectively "Femme voilée allant la masse" and "Veiled Lady Going
to Mass."
Box 1, page 8 verso-4
Maunoury, Eugène, [Tapada Wearing Shawl Knit in Zigzag Pattern] 2022.R.15-8v.4
Box 1, page 9 recto
Page with four cartes-de-viste, 2022.R.15-9r
ca. 1863
Box 1, page 9 recto-1
Maunoury, Eugène, [Woman with Black Lace Shawl Resting Her Hands on a Chair Back] 2022.R.15-9r.1
Box 1, page 9 recto-2
Maunoury, Eugène, [Woman Resting Her Arm on a Balustrade] 2022.R.15-9r.2
Box 1, page 9 recto-3
Maunoury, Eugène, [Woman in Plaid Dress Resting Her Hand on a Column] 2022.R.15-9r.3
Box 1, page 9 recto-4
Maunoury, Eugène, [Woman Wearing a Flowered Dress] 2022.R.15-9r.4
Box 1, page 9 verso
Page with four cartes-de-viste, 2022.R.15-9v
ca. 1863
Box 1, page 9 verso-1
Maunoury, Eugène, [Afro-Peruvian Woman Sitting on Ground next to a Table with Molonillo and Tea Kettle] 2022.R.15-9v.1
Box 1, page 9 verso-2
Maunoury, Eugène, [Afro-Peruvian Woman Wrapped in Dark Shawl] 2022.R.15-9v.2
Box 1, page 9 verso-3
Maunoury, Eugène, [Standing Indigenous Peruvian Woman Holding Her Hat] 2022.R.15-9v.3
Box 1, page 9 verso-4
Maunoury, Eugène, [Seated Indigenous Peruvian Woman] 2022.R.15-9v.4
Box 1, page 10 recto
Page with four cartes-de-viste, 2022.R.15-10r
ca. 1863
Box 1, page 10 recto-1
Maunoury, Eugène, [Woman with Shawl Covering Her Head] 2022.R.15-10r.1
Box 1, page 10 recto-2
Maunoury, Eugène, [Woman in Dark Dress Resting Her Hands on a Column] 2022.R.15-10r.2
Box 1, page 10 recto-3
Maunoury, Eugène, [Woman in Profile Wearing Richly Patterned Dress] 2022.R.15-10r.3
Box 1, page 10 recto-4
Maunoury, Eugène, [Woman in Dark Dress with Lace Mantilla] 2022.R.15-10r.4
Box 1, page 10 verso
Page with four cartes-de-viste, 2022.R.15-10v
ca. 1863
Scope and Contents
The page contains four photographic reproductions of caricatures.
Box 1, page 10 verso-1
Maunoury, Eugène, [Caricature of a Man in Profile] 2022.R.15-10v.1
Box 1, page 10 verso-2
Maunoury, Eugène, [Caricature of a Crying Man Holding Small Polynesian Figures] 2022.R.15-10v.2
Scope and Contents
The caricature is initialed E. M.
Box 1, page 10 verso-3
Maunoury, Eugène, [Caricature of a Military Officer Wearing an Earring] 2022.R.15-10v.3
Scope and Contents
The caricature is initialed E. M.
Box 1, page 10 verso-4
Maunoury, Eugène, [Caricature of Manuel Atansio Fuentes] 2022.R.15-10v.4
Scope and Contents
The caricature is initialed E. M.
Box 1, page 11 recto
Maunoury, Eugène, [Bird's-eye View of Lima Looking toward the Cathedral], 2022.R.15-11r
ca. 1863
Box 1, page 11 verso
Maunoury, Eugène, [View of Lima with the Plaza de Acho in the Middleground], 2022.R.15-11v
ca. 1863
Box 1, page 12 recto
Maunoury, Eugène, [Church Facade, Lima], 2022.R.15-12r
ca. 1863
Box 1, page 12 verso
Maunoury, Eugène, [Bridge over the Rimac River, Lima], 2022.R.15-12v
ca. 1863
Box 1, page 13 recto
Maunoury, Eugène, [Paseo de Agua, Lima], 2022.R.15-13r
ca. 1863
Box 1, page 13 verso
Maunoury, Eugène, [Public Square Showing Market and Portales, Lima], 2022.R.15-13v
ca. 1863
Box 1, page 14 recto
Maunoury, Eugène, [Public Square and Government Palace, Lima], 2022.R.15-14r
ca. 1863
Box 1, page 14 verso
Maunoury, Eugène, [Street, Lima], 2022.R.15-14v
ca. 1863
Box 1, page 15 recto
Maunoury, Eugène, [House on the Cliffs, Chorillos, Lima], 2022.R.15-15r
ca. 1863
Box 1, page 15 verso
Maunoury, Eugène, [Working Class Street], 2022.R.15-15v
ca. 1863
Box 1, page 16 recto
Maunoury, Eugène, [Statue of Símon Bolívar in the Plaza de la Inquisición Looking towards La Caridad], 2022.R.15-16r
ca. 1863
Scope and Contents
The square is now known as the Plaza Bolívar and Peru's Legislative Palace has replaced La Caridad.
Box 1, page 16 verso
Maunoury, Eugène, [Statue of Christopher Columbus, Lima], 2022.R.15-16v
ca. 1863
Box 1, Page 17 recto
Maunoury, Eugène, Lima: San Agustin, 2022.R.15-17r
ca. 1863
Scope and Contents
Title from annotation on mount.
Box 1, Page 17 verso
Maunoury, Eugène, [Main Facade of the Church of San Francisco], 2022.R.15-17v
ca. 1863
Box 1, Page 18 recto
Maunoury, Eugène, Femme canaque, 2022.R.15-18r
ca. 1863
Scope and Contents
Title from annotation on mount. Depicts a woman from Ua Pou identified in Maunoury's "Correspondance du Pérou" in
L'Illustration (vol. 42, 29 August 1863, p. 157-158) as "Tahia-Upa, de Va-Pou." Canqui (Kanak) was a generic term for indigenous Pacific
Islanders used in the nineteenth century.
Box 1, Page 18 verso
Maunoury, Eugène, [Chorillos, Lima], 2022.R.15-18v
ca. 1863
Box 1, Page 19 recto
Maunoury, Eugène, [Garden with Fountain, Lima], 2022.R.15-19r
ca. 1863
Box 1, Page 19 verso
Courret, Eugenio, [View towards Harbor, Papeete, Tahiti], 2022.R.15-19v
1863 or 1864
Box 1, Page 20 recto
Courret, Eugenio, [Papeete, Tahiti], 2022.R.15-20r
1863 or 1864
Box 1, Page 20 verso
Artist unidentified, [Costumbrista Watercolors of Chinese Men], 2022.R.15-20v
ca. 1863
Scope and Contents
The page contains the remnants of three gouache paintings on rice paper depicting Chinese men. A fourth image is no longer
present.
Box 1, Page 21 recto
Maunoury, Eugène, Reine canaque, 2022.R.15-21r
ca. 1863
Scope and Contents
Title from annotation on mount. Depicts a woman from Ua Pou identified in Maunoury's "correspondance du Pérou" in
L'Illustration (vol. 42, 29 August 1863, p. 157-158) as "Tahia-Ka-Hampu, reine de Va-Pou, femme de Ritozo." Canqui (Kanak) was a generic
term for indigenous Pacific Islanders used in the nineteenth century.
Box 1, Page 21 verso
Maunoury, Eugène, Femme canaque, 2022.R.15-21v
ca. 1863
Scope and Contents
Title from annotation on mount. Depicts a woman from the Marquesas islands. Canqui (Kanak) was a generic term for indigenous
Pacific Islanders used in the nineteenth century.
Box 1, Page 22 recto
Blank page, 2022.R.15-22r
ca. 1864
Box 1, Page 22 verso
Blank page, 2022.R.15-22v
ca. 1864
Box 1, Page 23 recto
Page with four photographs 2022.R.15-23r
ca. 1863
Box 1, Page 23 recto-1
Photographer unidentified, [Woman Standing next to a Fountain in the Courtyard of a House] 2022.R.15-23r.1
Box 1, Page 23 recto-2
Photographer unidentified, [Fountain in the Courtyard of a House] 2022.R.15-23r.2
Box 1, Page 23 recto-3
Photographer unidentified, [Family Group Gathered on the Upper Interior Veranda of a House] 2022.R.15-23r.3
Box 1, Page 23 recto-4
Photographer unidentified, [Family Group Seated on a Veranda] 2022.R.15-23r.4
Box 1, page 23 verso
Photographer unidentified, [Two Women Seated next to a Fountain in the Courtyard of a House] 2022.R.15-23v
ca. 1863
Box 1, page 24 recto
Page with two Victoria cards 2022.R.15-24r
1870-1880s
Box 1, Page 24 recto-1
Brochery, L., [Adolphe Massinot Sitting on a Veranda] 2022.R.15-24r.1
Box 1, Page 24 recto-2
Brochery, L., [Adolphe Massinot and Family] 2022.R.15-24r.2
Box 1, page 24 verso
Brochery, L., [Mrs. Adolphe Massinot], 2022.R.15-24v
1870s-1880s
Scope and Contents
Cabinet card portrait.
Box 1, page 25 recto
Brochery, L., [Adolphe Massinot], 2022.R.15-25r
1870s-1880s
Scope and Contents
Cabinet card portrait.
Box 1, page 25 verso
Page with two photographs, 2022.R.15-25v
1880s
Box 1, Page 25 verso-1
Joliot, Léon, [Adolphe Massinot] 2022.R.15-25v.1
Scope and Contents
Cabinet card portrait. Imprint on recto of mount: Lejeune [i.e. Augustin-Aimé-Joseph Le Jeune]. L. Joliot.
Box 1, Page 25 verso-2
Photographer unidentified, [View of a Chateau] 2022.R.15-25v.2
Box 1, page 26 recto
Blank page, 2022.R.15-26r
ca. 1864
Box 2, page 26 verso
Blank page, 2022.R.15-26v
ca. 1864
Box 2, page 27 recto
Blank page, 2022.R.15-27r
ca. 1864
Box 2, page 27 verso
Blank page, 2022.R.15-27v
ca. 1864
Box 2, page 28 recto
Blank page, 2022.R.15-28r
ca. 1864
Box 2, page 28 verso
Blank page, 2022.R.15-28v
ca. 1864
Box 2, page 29 recto
Blank page, 2022.R.15-29r
ca. 1864
Box 2, page 29 verso
Blank page, 2022.R.15-29v
ca. 1864
Box 2, page 30 recto
Blank page, 2022.R.15-30r
ca. 1864
Box 2, page 30 verso
Blank page, 2022.R.15-30v
ca. 1864
Box 2, page 31 recto
Blank page, 2022.R.15-31r
ca. 1864
Box 2, page 31 verso
Blank page, 2022.R.15-31v
ca. 1864
Box 2, page 32 recto
Blank page, 2022.R.15-32r
ca. 1864
Box 2, page 32 verso
Blank page, 2022.R.15-32v
ca. 1864
Box 2, page 33r
Blank page, 2022.R.15-33r
ca. 1864
Box 2, page Back endpapers
Back endpapers, 2022.R.15-be
ca. 1864
Box 2, Item Back cover
Back cover, 2022.R.15-bc
ca. 1864
