The Bonfils Household: The Western Colonial Project in Pictures

By Shaza Yahya – Egypt 

The Western colonial endeavor was deeply intertwined with culture, religion, and the spirit of Western philosophy. It was a pervasive ideology believed by millions: “The West holds the keys to happiness and salvation—not only in this life but in the next.” This belief allowed them to see themselves as superior beings, granting them the right to control others’ possessions, and even their existence, considering non-Western peoples akin to animals. They aimed to exploit their resources through modernization and sciences derived from Western philosophy. 

To assert their dominion in the East, Western powers employed various tools, such as photography, archaeological excavations, and the inventions of the post-Industrial Revolution and Enlightenment eras.

Who Was Félix Bonfils ?

Félix Bonfils (1831–1885) was an ordinary Frenchman who worked as a bookbinder in a small French town. His life took a turn in 1860 when he joined General Charles de Beaufort’s campaign to Syria and Mount Lebanon, aimed at protecting Christians after massacres that followed conflicts with the Druze. During the campaign, Bonfils learned the art of metal plate engraving and opened a printing shop in Alès, France, in 1864. 

Soon after, he transitioned into photography, which became hispassion as this new medium emerged. 

 Lydie Bonfils

The Photography Venture in Beirut: 

By 1867, Bonfils had established a stable career in France. Married to Marie Lydie Cabanis (1837–1915) since 1857, they had two children, Adrien and Félicité. However, when Adrien contracted a pulmonary illness, doctors advised relocating to a warmer climate. 

Marie, inspired by tales of the East, proposed moving to Beirut. She noticed that the market for photographic images, especially ethnographic and religious ones, was thriving. She persuaded her husband to liquidate his business in France and start a new venture in Beirut. Thus, the family established their photography studio, naming it *Maison Bonfils*. 

The Bonfils House: Religion Meets Commerce: 

Marie, a devout woman who often preached and delivered sermons, found Beirut an opportunity to achieve dual goals: spreading Christianity through photography and reaping commercial profits. 

The Middle Eastern photography market at the time was competitive, with over 200 studios scattered across the Ottoman Empire, particularly in Egypt and Lebanon. Notable competitors included: 

- Antonio Beato in Luxor 

- The Zangaki brothers in Suez 

- Gabriel Lekegian in Cairo 

However, Bonfils’ proximity to religious and evangelical landmarks in Beirut provided them with a competitive edge year-round, not just during tourist seasons. 

"Lady Bonfils" The Secret to Success: 

Marie Bonfils was the mastermind behind the venture. She managed finances and administration effectively and prepared photographic components using albumen (egg whites). According to family accounts, Marie eventually grew to despise eggs due to their extensive use in photography preparation. 

Her most significant achievement was her ability to break into Beirut’s conservative society, enabling her to photograph women—a feat that made Bonfils’ ethnographic photos uniquely valuable. 

Massive Production and Global Reach: 

Within the first four years, the studio produced over 15,000 photographs and 9,000 glass plates, capturing scenes from Palestine, Lebanon, Syria, Egypt, and Greece. Félix was among the first photographers to adopt hand-coloring techniques in 1880. The Bonfils family also traveled to cities like Cairo and Alexandria to capture photographs, enlisting professional photographers such as Georges Saboungi and Henri Roubaud. 

In 1878, the studio won a prize at the Paris World Fair for their *Souvenirs of the Orient* albums, which featured photographs of Egypt, Jerusalem, Beirut, Damascus, and Constantinople. 

Commercial Expansion and Additional Contributions: 

The Bonfils family opened branches in Paris and other cities, utilizing institutions like Banque de la Méditerranée to fund their expansions. The studio’s name later evolved into *Bonfils & Co.*, acquiring collections from other photographers such as Tancrède Dumas and Jean-Baptiste Charnay to expand their portfolio. 

The End of an Era:  

Félix Bonfils passed away in 1885 in Alès while preparing a postcard workshop. Marie continued managing the studio, opening new branches in Jerusalem, Port Said, and Basel, with marketing agents in London and the U.S. 

However, with the outbreak of World War I, Marie was forced to leave Beirut for Alexandria, where she passed away in 1915. By 1909, Armenian photographer Abraham Guiragossian acquired the studio and ran it until just before World War II, with the studio permanently closing in 1938. 

The Legacy of Bonfils :

Despite the studio’s eventual decline, the Bonfils family’s work remains a testament to a unique period in photographic history and cultural interaction between East and West. Their photographs are displayed in museums worldwide and serve as an invaluable visual archive. 

*Sources* 

- Robert A. Sobieszek and Carney E.S. Gavin, *Remembrances of the Near East: The Photographs of Bonfils, 1867-1907*, International Museum of Photography at George Eastman House, 1980. 

- Abbé A. Raboisson, *En Orient*, Paris: Librairie Catholique de l’Oeuvre de Saint-Paul, 1886. 

- Fouad Debbas, *Des photographes à Beyrouth, 1840-1918*, Marval, Paris, 2001.