Marie-Lydie Cabanis Bonfils

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Marie-Lydie Cabanis Bonfils
Born21 March 1837
Congénies, France
Died1918
NationalityFrench
Other namesLydie Bonfils, Lydia Bonfils
OccupationPhotographer and publisher
Known forearly Middle East photography
Spouse(s)Félix Adrien Bonfils (m. 1857; died 1885)
ChildrenFélicité-Sophie Bonfils (b.1858), Paul Félix Adrien Bonfils (b.1861)

Marie-Lydie Bonfils, née Cabanis, (1837-1918) was the first professional woman photographer in the Middle East.[1] Originally from France, she was active in Lebanon and surrounding areas in the late 19th and the early 20th centuries. Lydie and her husband, Félix Bonfils, established Maison Bonfils, the first photographic studio in Beirut.[2]

Early and Family Life[]

Lydie married Félix Bonfils on the 27th August 1857 in Crespian.[3] Their children, Félicité-Sophie and Paul Félix Adrien (known as Adrien), were born in 1858 and 1861 respectively in Saint-Hippolyte-du-Fort. Félix was originally a bookbinder but, when France intervened in the 1860 civil war between Christians and Druze in the Middle East, he was a part of the military expedition. Lydie was enamoured by the tales of Lebanon Félix told on his return.[4]

Félix is said to have been taught heliogravure printing by Abel Niépce de Saint-Victor and, by 1864, he was running a printing office in Alès.[5]

When Adrien became dangerously ill with whooping cough, it was thought that a change in climate would cause him to improve. So, it was decided that Lydie would take Adrien to Beirut to recover, due to Félix's fond memories of Lebanon and Lydie's desire to see the area.[1] The trip was a great success and, in 1867, the whole family moved from France to Beirut.[5]

Career[]

Once in Beirut, the Bonfils opened a photographic studio, "Maison Bonfils", located on the Rue George Picot. Maison Bonfils produced studio portraits, staged biblical scenes, landscapes, and panoramic photographs.[6]

Lydie was heavily involved in administrative duties, which expanded when the business expanded to Cairo and Alexandria, with connections to a New York agency.[1] She was also involved with preparing the albumen for prints. This involved separating the egg white from the yolk, which could be a lengthy and unpleasant process. According to Adrien's son, Roger Bonfils, boarding the evacuation ship to leave Beirut in 1916, Lydie exclaimed, "I do not want to smell another egg again!".[1][7]

Although the early photographs from Maison Bonfils are generally attributed to Félix alone, the involvement of Lydie and Adrien in the photography side of the business is now recognised.[8][9][6] They also had an unidentified number of assistants.[10][11] Photographers in the area found it difficult to find willing subjects due to local religious and cultural concerns about photography, particularly female subjects.[12] As a woman, Lydie was a favourable choice of photographer for Middle Eastern women in the area. The area was thought to be too dangerous for Lydie to take photographs outside of the studio, so her work is likely to have been mainly studio portraits.[1] However, it does seem that she was also responsible for some landscape photographs, as English clergyman Samuel Manning cites "Madame Bonfils of Beyrout" as a photographic source for the illustrations of Palestine in his 1874 book.[13][14]

Lydie ran the studio in Félix's absence when he returned to Alès in 1876 to publish compilations of his photographs.[5][1] In 1878, the name of the studio was changed to "F. Bonfils et Cie". Adrien, now back in Beirut after completing his studies in France, took more responsibility for photography during this time.[14] Félix again travelled to Alès to establish a collotype printing factory in 1880 and died there in 1885.

Adrien remained at the studio until the early 1900s, when he left to open a hotel in Brummana.[15] With the assistance of fellow photographer Abraham Guiragossian, Lydie continued to manage the studio after the departure of Adrien. In 1907, Lydie published a collection of photographs from the studio in Catalogue général des vues photographiques de l’Orient.[16]

Lydie's career was halted by the Ottoman Empire entering the First World War. She was evacuated with her family to Cairo, where she died and was buried in 1918.[1] After Lydie's death, Guiragossian purchased Maison Bonfils and the Bonfils' archives. Lydie's connection to the studio remained, as he signed his photographs, "Lydie Bonfils photographe, Beyrouth (Syrie) successeur A. Guiragossian."[1][3]

Selected photographs from Maison Bonfils[]

The Bonfils' archive has been digitised in a project between the British Library Endangered Archives Programme and the Jafet Memorial Library, American University of Beirut, in 2013.[2] The collection is available online at the Endangered Archives Programme website.

  • Women of Siloé, Palestine, c. 1880

  • Bedouin Chief of Palmyra, photochrom, 1880s

  • Temple of Jupiter, Baalec, Syria, Mougins,© (MACM) Musée d'art classique de Mougins

  • Temple at Luxor, 1867

  • Baalbec panorama, 1870

  • Partially excavated Sphinx, between 1867 and 1899

References[]

  1. ^ Jump up to: a b c d e f g h Chemali, Yasmine (7 March 2014). "The Good Woman named Bonfils". British Library Endangered Archives Programme. Retrieved 6 May 2021.
  2. ^ Jump up to: a b "The Fouad Debbas Collection: assessment and digitisation of a precious private collection. Photographs from Maison Bonfils (1867-1910s), Beirut, Lebanon (EAP644)". British Library Endangered Archives Programme. Retrieved 7 May 2021.
  3. ^ Jump up to: a b Gavin, Carney E. S. (1978). "Bonfils and the early photography of the Near East". Harvard Library Bulletin. XXVI (4): 449.
  4. ^ Gavin, Carney E. S. (1978). "Bonfils and the early photography of the Near East". Harvard Library Bulletin. XXVI (4): 460–461.
  5. ^ Jump up to: a b c Hannavy, John (2008). Encyclopedia of Nineteenth-Century Photography (1st ed.). New York: Routledge. p. 173.
  6. ^ Jump up to: a b "Aerial Panoramic View of Beirut". World Digital Library. Retrieved 10 May 2021.
  7. ^ Bonfils, Roger (December 1979). Des pionniers de la photographie, Souvenirs de Famille. Beirut, Lebanon: The Fouad Debbas Collection.
  8. ^ Hannavy, John (2008). Encyclopedia of Nineteenth-Century Photography (1st ed.). New York: Routledge. p. 174.
  9. ^ "Scène naar het bijbelverhaal over de barmhartige Samaritaan, Nablus, Palestina (1867-1883)". Netherlands Museum Catalogue. Retrieved 7 May 2021.
  10. ^ F. Bonfils & Cie. Catalogue des vues photographiques de l’Orient. Beyrouth (Syrie) & Alais (Gard).
  11. ^ "Click Click: The Repetition of Photo-Graphic Subject Matter in the 19th Century" (PDF). Sursock Museum. 3 November 2017 – 5 February 2018. Retrieved 10 May 2021.
  12. ^ Gavin, Carney E. S. (1978). "Bonfils and the early photography of the Near East". Harvard Library Bulletin. XXVI (4): 445–446.
  13. ^ Manning, Samuel (1874). "Those Holy Fields": Palestine, Illustrated by Pen and Pencil. London: Religious Tract Society. p. 6.
  14. ^ Jump up to: a b Rockett, William H. (1983). "The Bonfils Story". Saudi Aramco World. 34 (6). Retrieved 10 May 2021.
  15. ^ Gavin, Carney E. S. (1978). "Bonfils and the early photography of the Near East". Harvard Library Bulletin. XXVI (4): 461.
  16. ^ Bonfils, Marie-Lydie (1907). Catalogue général des vues photographiques de l’Orient : Basse et Haute Egypte, Nubie, Palestine, Phénicie, Moab, Syrie, Côte d’Asie, les Sept églises d’Asie, Caramanie, Anatolie, îles de Chypre, de Rhodes, de Pathmos, de Syra, Athènes, Macédoine, Constantinople. Baalbek: Agencies in Jerusalem.
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