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ALBERT LEVY, The photographer

 

Albert Levy is a French photographer active in the 1870s-1890's. He was a pioneer on architectural photography in the United States and Europe.

His catalogue, with 2500 titles until 1887, can be found in the Gallica web project of Bibliothèque nationale de France. Many of his works can be check online in the Art Institute of Chicago (HALIC)

 

  1. Biography

  2. Work

  3. Artwork

  4. Art Institute of Chicago pictures

  5. Unaccurate data

  6. Discovering Albert Levy

  7. A personal view on Albert Levy's work

  8. Albert Levy's catalogue until 1887

  9. American Architects in Albert Levy's catalogue

  10. The Philadelphia Photographer
  11. The British Journal of photography

  12. References

     

 

 

Studies/shops:
- He had the following studies in New York

    - A study in 77 University Place, NY in 1870-1878 (23)

    - A study in 4 Bond Street, NY in 1880 (2) and in 1885 (34)

    - A study in 17 Bond Street, NY 1886 (34)

    - A study in 34 1/2 Pine Street, NY in 1887 (3) or 34 Pine Street from 1887 to 1889 (34)
- At the same time he also had a study in France, 19 rue de la Chaussée-d'Antin, Paris (3).
- The Bibliothèque Nacionale de France also has another reference in 1901: "22 janvier 1901, A. Lévy, 4 av. Pinel, Asnières" (3)

- Villa d'Asnières municipal archive indicates that he worked at 4 avenue Pinel until his death on 1931. (29)
He is also referenced as bookseller (2).

He is also referenced the following way (27):

(1847 – vers 1905), professionnel.
Photographe d’architecture, Asnières.
Actif aux Etats-Unis, 1873 – années 1880 ;
en France, années 1880 – vers 1905.

 

Manufacturer:
Albert Levy is referenced as the photographer who began the manufacture of the gelatin dry plates in 1878. All references can be found in the book Photography and the American Scene. A social history (1839-1889) by Robert Taft. See (5), (6), (7) and (8) for full text.
Albert Levy is also identified as "early competitor of Eastman, NYC" (9). This reference relates also to the book by Robert Taft (10).

There are several references in XIX century magazine "The Philadelphia Photographer" explaining Levy's French Emulsion. These references where published one year before Eastman's patent. See references below.

Editor:
The Bibliothèque Nacionale the France (2) has a catalogue of 2500 titles by Albert Levy as editor in New York and Paris for Architectural photography.

Architect
There are some references that describe Albert Levy as an architect (11).
 

 

Catalogue de  Photographies D`Architecture

Européenne & Américaine

Ancienne et Moderne 

Extérieurs

Intérieurs

Sculptures

Meubles

Décorations

Etc., Etc

 

 

Albert Levy

19,rue de la Chausee-d`Antin 19

Paris

34 ½  Pine Street

New York

 

Janvier 1887.

 

 

Je réclame pour ma collection de photographies, aujourd`hui composée de plus de 2500 sujets différents, et qui s’augmentera progressivement :

1º La bon choix des sujets ;

2º La qualité et la finesse des détail ;

3º Une conservation indéfinie ;

4º L`uniformité de grandeur

5º Le prix modéré

 

********************************************

Reproductions de toutes sortes de commande :

extérieurs, intérieurs,

meubles, sculptures, etc., etc., dessins d’architectes, etc.,

reproductions au papier Ferro- Prussiate

 

Prix modérés et sur demande

 

 

D`un format uniforme 20cent.   Sur 25 cent.

 

 

  

Composition

 

France, Architecture Ancienne

Elne, Montmajour, Arles, Toulouse ,Narbonne,, Angoulême, Albi, Avignon,  Bordeaux, Tarascon, Poitiers, Ruffec, St. Gilles, Villeneuve-les-Avignons, Beaucaire, Azay-le Rideau, Saumur, Mont-St.- Michel, St. Brienne, Angers, Rennes, Vitré, Tours, Plessis-les-Tours, Amboise, Le Mans, Beaugeney, Loches, Orleans, Beaulieu, Langeais, Chenonceaux, St. Antonin, Périgueux, Angoulême, Senlis, Chars, Laon, Crépy-en Valois, Soissons, Amiens, Abbeville, Nîmes, Perpignan, Paris.

264 photos

 

Versailles Vues d`Intérieurs et d`Extérieurs des Palais de Trianon

227 photos

 

Blois Vues d`Intérieurs et d`Extérieurs de Château de Blois

133 photos

 

Chateau de Chaumont

12 photos

 

Château de Chambord

23 photos

 

Angoulême

9 photos

 

Château D`Azay-le Rideau

7 photos

 

Château de Chenonceaux

8 photos

 

Amboise

16 photos

 

Angers

16 photos

 

Tours

28 photos

 

Poitiers

25 photos

 

Moisacc

84 photos

 

Montmajour

12 photos

 

Elne

24 photos

 

Arles

35 photos

 

Carcasonne

27 photos

 

 

France Architecture moderne

42 photos

 

 

Italie

Rome

105 photos

 

Florence

95 photos

 

Orvieto

4 photos

 

Pise

33 photos

 

Sienne

46 photos

 

 

Belgique

121 photos

 

 

Anglaterre

42 photos

 

 

Allemagne

172 photos

 

 

Hollande

41 photos

.

.

Autriche

78 photos

 

 

Amerique du Nord

Maisons prives

Washigton,Baltimore, Boston,New York, Philadelphia,Albany,Chicago, Cleveland, Brooklyn N.Y.,Rochester, Buffalo,Detroit.Cincinatti.

207 photos

 

Maisons de campagne

Elberon, Long Branch,Orange,Hartford,Newport, Dorcester, Pride Crossing, Jamaica Plain, Beverly fram, Cincinatti,North Easton, Milwaukee, Cleveland,Bar Harbor,Monmouth Beach, Stokem`s N.J., Manchester Mss., Longwood Mass,Cambridge Mass., Mount Auburn, o, Walnut hills, Avondale. Buffalo, Lafayette, Pittsburgh, Chicago, Mount Desert.

231 photos

 

Maisons de commerce et a loyer

Boston, Albany, Chicago, New York, Baltimore,Cincinatti, Pittsburg,

40 photos

 

Maisons de banque et de bureaux

New York, Albany, Boston, Chicago, Baltimore, Philadelphia, Cambridge mass,

43 photos

 

Edifices publics divers

Baltimore, New York, Washigton, North easton, Nouevelle Orleans, Boston, Topeka, St. Louis, Woburn, Little Rock,Providence, Avondale, Haartford

72  photos

 

Interieurs divers

North Easton, Albany, New York, Washington,Detroit, Cleveland, Detroit, Chicago

36 photos

 

Eglises etc

Boston, Philadelphia. New York, Detroit, ST. Louis, Chicago, Hartford.

44 photos

 

 

Suisse

25 photos

 

Maisons prives Maisons de comerce et loyer Maisons de campagne
Allen et Kenway C. Peiffer Arthur Little
Bruce Price C.L. Carson Bruce Price
Burham et Root C.W. Romeyn Burham et Root
C. Fehmer Cook et Babb C.a. Wallingford
C.E. Cassell D. Adler C.s. Luce
C.M. Palmer H. Fernbach Cabot et Chandler
C.S. Luce H. Kafka Cobb et Frost
Cabot et Chandler H.H. Richardson Coburn et Barnum
Cobb et Frost J.F. Steen E.A.P. Newcomb
Cudell et Richardson J.M. Slade E.P. Treadwell
Chas. B. Atwood Peabody and Stearns F.C. Withers
D. Adler Potter et Robertson G. Keller
E.H. Kendall S.Hannaford G.B. Post
E.T. Potter S.J.F. Thayer G.H. Smith
F.K. Schock W. Schickel G.W. Lloyd
G.B. Post W.W. Smith H.E. Ficken
G.E. Harney-Mckim Maisons de Banque et de Bureaux H.H. Richardson
Geo. Edbrook Bradlee, Winslow et Wetherell H.M. Stephenson
Herter freres Burham et Root J. Douglas
J.C. Cady Cabot et Chandler J.A Schweinfurth
J.G. Hill Cook et Babb J.A. Fox
J.H. Besarick D. Adler J.F. Steen
J.H. Moore E.H. Chandler J.G. Cutler
J.J. Flanders E.H. Kendall J.H. Besarick
J.L. Silsbee F. H. Kimball J.L. Silsbee
J.M. Van Osdel G.B. Post J.W.Mclaughlin
J.W. McLaughlin G.E. Harney Kimball et Wisedell
L.T. Scofield G.R. Et R.G.  Shaw Lamb et Wheeler
Lamb et Wheeler Geo. Edbrook Mason et Rice
Mckim, Mead et White Hartwell et Richardson McKim, Mead et White
Mead et Bigelow J.C. Cady P.J.Boticher
Peabody et Stearns J.J. Flanders Peabody and Stearns
R.H. Robertson J.W.McLaughlin Potter et Robertson
R.M. Hunt Peabody and Stearns R.M. Hunt
S. Hannaford R.M. Hunt S. Hannaford
S.S. Godley Russell Sturgis S.Edwin Toby
Scwarzmann et Buchman Silliman et Farnsworth V.C. Taylor
Sturgis et Brigham Th. P Chandler W. Scott et Cie
Th.P. Chandler W.H. Dennis W.A. Bates
Treat et Foltz W.L.B. Jenney W.A. Potter
Vaux et Radford W.W. Boyington W.R. Emerson
-W. Scott et Cie Wheeler et Clay W.R. Emerson
W. Schickel Wm. G. Preston W.Whitney lewis
W.L.B. Jenney Edifices Publics Divers Eglises etc
W.R. Emerson Burham et  Root C.H. Marsh
W.W. Lewis F. U. Walter Fernbach et Eidlitz
Ware et Van Brunt F.H. Kimball G.W.Lloyd
Wheelock et clay Fuller et Laver Geo. F. Meacham
Wyatt et Sperry G.a. Clough H.A. Sims
  G.B. Post H.H. Richardson
  G.J. Metzger Hartwell et Richardson
  H.H. Richardson J. Notman
  J. C. Cady J.W. McLaughlin
  J.G. Hill P.C. Keely
  J.J. Flanders Peabody and Stearns
  J.W. McLaughlin R.H. Robertson
  JH. Wolters R.M. Upjohn
  Kimball et Wisedel Th. P. Chandler
  L.J. O`Connor W.A. Potter
  McKim, Mead et White W.W. Smith
  Peabody and Stearns Interieurs divers
  R.M. Upjohn A.Fiedler
  S.J.F. Thayer G.W. Lloyd
  Sturgis et Brigham G.W. Lloyd
  W.A. Potter H.H. Richardson
  W.M. Poindexter H.J. Schwarzmann & Co
  W.w. Boyington J.H. Duncan
  Ware et Van Brunt L. Eidlitz
  Wheelock et Clay L.T. Scofield
  Wilson Freres Peabody and Stearns

 

The Philadelphia Photographer:

Levy's activity in the United States can be documented in one of the most prestigious magazines about photography in the XIX century:

 

The Philadelphia Photographer
An illustrated monthy journal
Devoted to photography
Edited by Edward L. Wilson Publisher and propietor
Nos 912&914 Chestnut Street

 

We can read, in several publications of this magazine, the participation of Albert Levy in the Centennial Exhibition of Philadelphia in 1876, adversitements for selling pictures, and, more important, serveral articles about the French Emulsion, the Dry plates. As said before, Levy was an early competitor of Eastman for the comercialization of the dry plates. This invention helped much in the development and expansion of photography.

All data onwards in this section has been gathered thanks to the digitalization of the magazine, done by the Boston Public Library. It allows embeding copies of the magazine. Hereby, there is a short explanition of each reference, but we strongly recommend to fully read each of the vintage articles.

All this information demonstrates Albert Levy's activity in the United States, and the recognition achived in the United States XIX century photography.

 

 

 


 

 

 

            Extracts of several mails to/from the British Journal of Photography and Albert Levy. Found at

http://archive.org/stream/britishjournalof40londuoft/britishjournalof40londuoft_djvu.txt

 

 

          Letter 1:

tried hot water without any good. I did not try boiling water, as, however  an amateur can use it, it is rather out of the (luestion for a toning of over  100 10 X 8 or 12 X 10 prints. I have tried borax in hypo with some fair  results for some short time, but then found it only a cure for very small blisters, but not for large ones.

 

I was told a few drops ot ammonia in hypo would cure ; but no. The

only good result was obtained with the new methylated spirit. 1. Now

what I want to asl; you is. Do you not tliink that this methylated spirit  may in time act injuriously to the print ? The smell remains even after  the print is mounted, and then another trouble sets in. When dry there appears on some partx of the print some very dirty marks, a kind of skim  (or scum) as if touched with very dirty hands. These marks disappear almost altogether when rubbed oft very hard with the hand. 2. What is it? 3. Will it injure the print?— I am, yours, (Sc, A.Levy.

 

4, Areniic Pinel, Asnieres (Seine), January 29, 1893

 

 

 

         Letter 2:

PHOTOGKAPHING AT THE CHICAGO EXHIBITION.

 

To the Editor.

 

Sir, — Yonr always valuable and welcome Jocrnai, came to hand, and

as you are always trying to keep your readers well posted, you should

add a P.S. to Mr. S. A. Crawford's letter (p. 78) to the effect that Mr.  Official Photographer, C. D. Arnold by name (very glad to take pictures, Ac, against pay, Ac), does not even answer my inquiry to effect.

Personally I have written three times to him without being able to obtain  an answer, my first letter dating November 12 last. The above may prove interesting to other parties who may be tempted to ask Mr.

C. D. A. for any reference or negatives.

 

By the way, Mr. Editor, what do you say to the American generosity

towards allowing photographers on the Exhibition grounds ? You were

at tiie time very hard against French meanness in 1889. Let me remind

you of the rules that existed then. Twenty francs, or 10»., for one day's work, and no restriction to sizes or cameras — permission renewed if  weather unfavourable, or 300 francs {121.) for the whole time the Exhibition was open. — I am, yours, &c., Albert Levy.

 

4, Avenue I'inel, Asnieres, Seine.

P.S. — Is there any practical and easy way to wash film negatives after hypo, say, one dozen at a time, same as glass plates ?

 

         Letter 3:

BLISTEIIS.

To the Editor.

 

Sn;, — Your correapondent, Mr. A. Levy, seems troubled with, the use of  the new methylated spirit as a prophylactic in the case of blistere.

 

Before 1 Rave up the use of albnmenised paper I was now and again

troubled with them, until the cure— so far as the brand of paper I was

then using was concerned — came to me by chance. Whilst toning I

found I Iwd no hypo prepared. I hastily got some ready by suspending

a muslin bagful in some very hot water, and by the time I required to

put my prints in it was still quite warm. No blisters rose. I tried repeatedly afterwards, waiming my hypo, and never had another blister.

I should be glad if this method may bring Mr. Levy and others relief. —

I am, yours, itc, J. Cirtkk BnowNB, D.D.

 

Thuriiing Rectory, Oumlle, Feb. 6, 18!)3.

 

 

 

         Letter 4:

 

WASHING CUT FILMS— BLISTERS.

To the Editor.

 

Sir, — Allow me to thank yon and your correspondents, Mr. J. E. Hodd

and Dr. J. Carter Browne, for their kind answers to my inquiries as published in your most valuable Journal. I will try the suggestion for

washing films, but I am afraid that for 12 x 10 plates the suction will not hold, especially when the washing water falls edgeways on the plate. I have used the following way, which I think very good. I drill on the smallest edge two small holes with a drill, and hang up the films to a oross wire over top of washing tank with an S-shaped wire of suitable length, and then let the water run. This may prove useful to other users of the films, and if the manufacturers of films could drill the holes before- liand so much the better.

 

Next I will answer in regard to blisters. Having used, since I wrote to jou, pure alcohol and not the methylated stuff, I find I am always

iiaving the same trouble of scum after mounting, but iw blisters. I am

not positive of it as yet, but I think this scum comes simply from the tint with which the albumen'paper is covered — pink, mauve, or whatever it is — being dissolved by the alcohol unevenly, and remaining on top through all ultimate washings without hurting it, otherwise than when dry. I will try white paper and then see the results.

 

As regards blisters and a warm hypo bath I must say that I cannot agree with Dr. J. C. Browne, having tried long ago hypo at any degree of heat, from 40° to perhaps 100' Fahr., and have generally found the higher the temperature the more blisters and the larger ones. Alcohol I have found the only sure remedy. Nevertheless, I am very much obliged to these gentlemen for their kind suggestions. — I am, yours, &c.,

 

4, Avenue Pinel, AsnUres, Seine, February 25, 1893. Albert Levy.

 

 

         Letter 5:

AET IN PHOTOGEAPHY.

To the Editor.

SiK,— Referring to your note signed " F. B.," page 269, 1 should have

thought that you would have long ago discarded the idea of mixing oil

with water. Art in photography is about as vexatious as amateurs and

professionals. The first one (artist) will not admit in his exclusiveness  that any art is at all possible without him, and the second one (amateur)  that any improvement is possible without liim also. The only difference is that the artist is educated to the art, while the amateur is born so ; that is, at least, the reasons given to the lower class of mortals that do not understand what they so well try to impress upon the few or many un- initiated. From all the articles on art in photography as against art in paiiiting that have been published I have gleaned the following :— An artist, however poor in art he may be, will never turn out anything but  there will and must be in it some artistical merit. Bad design, bad colours,

bad posing, bad everything, yet artistic. Now, a photographer, however

well chosen the subject, well lighted and well finished the result, is

never artistic— at least, from an educated artist's views. Why not let

this matter rest a while now ? I, for one, would rather (uneducated as I  am) have a fine photograph than a poor painting. I may be wrong, but I am pretty sure that, however educated an artist may be, he mil not average in taking photographs more than one real fine view out of a dozen, and ditto the artistic photographer. Of course, they may not

admit this readily ; but, nevertheless, they will sliow you always very few of the results of their work, carefully omitting mistakes and failmes.

It is human nature only, after all. They all do it.

 

I have tried several makes of films lately, and, as you object generally to giving names, I do not think that the results obtained would be very  interesting to your readers. With one English firm I have always very fine results, while with the others I have uneven ones, such as frilling, no intensity, and disagreeable lifting of the gelatine whUe printing. I have also tried lately some American films, which have a rough or ground back to them. Having given what I think a correct exposure, I found the picture come up pretty quick ; but the film (developed with pyro) was fearfully stained yellow, and the back of it same way, so that it takes a whole day in full sun, and with this fair weather, to get one print. I tt wish you could tell me how to get rid of this yellow stain, if possible.

 

41, T^?*^ ^?" ^""^ """^ *^° '° regard to the Exhibition at Chicago, and  the failure I met witli in regard to obtaining an answer from the head of

 

► the photographing department. Do you know of any one that has met

 

J with better success ? and if so, please let me know how he managed it, so

 

» 1 may do the same.— I am, yours, <tc.,

Asniires, Seiiu, May 1, 1893.

 

 Letter 6:

DEPRESSION IN PHOTOGRAPHY.

To the Editor.

Sir,— I am really sorry to see you printing so many letters on depression  in photographic business, such as those written by Messrs. T. S. Hicks,

Another Pro., and many others, losing in so doing such valuable space in  your independent British Journal of Photography, specially since

" Amateur," page 398, answers so well all points. He gives the remedy

in a few words, a kind of universal panacea, and without recourse to law  orN.A.P.P., or any convention. All that is needed is to enlarge the  amateur agglomeration, and then reduce all the professionals in larger cities to six or less first-class ones, these to be selected, of course, by a  committee of amateurs. Any of these will do for that purpose, they being  all superior beings, to which (as is well known now) all that is known in photography up to date is due.

 

Mr. Editor, in your modesty you have never given us a list of what

we owe to the amateur. Allow me, therefore, to ciuote a few of the

improvements they have made, or, more modestly, brought about, and to

quote in rotation let me refer to page 280, over Mr. W. D. Welford's

signature : 1. Increasing speed of plates (never thought of before the

amateur came with his hand camera). 2. Improving apparatus generally

(same remark as above). 3. Causing greater attention to small work

(ditto). 4. Increasing the number of photographers (amateur wants them, singularly, reduced). 5. Naturalness of posing (ditto as above No. 1). C.  Aiding journalism and study of life (this is true). 7 Improving mental  (?) and physical action (certainly around the chin, especially, to brag  about all amateur achievements). Then Mr. Amateur comes in by stating  that this particular class takes up chemistry, composition, and lighting, and. what is a new addition, optics, which I think was left up to date to specialists, only. What next ?

 

Mr. Amateur must have an exceptional lot of first-class amateur

acquaintances Jwho throw away all pcor negatives snJ prints. My

experience so far has been that, if amateurs were to act in such a radical way, they are not likely to find glass too heavy and bulky to store away and want films instead. Oh dear, no !

 

To return to the poor professional, I would say that the amateur does

him more harm by his talk than by actual work. The amateur tells

how much one plate costs him and the paper to print on, and maybe the

small outlay for a piece of cardboard. From this the uninitiated counts  up the difference asked by the professional without adding anything for  work, failures, chemicals, rent, taxes, retouching, living, help, dull  times, instruments, repairs, &c., all things Mr. Amateur knows very  little about, and never speaks of to others. He has one outfit  and one lens, generally one that does for all work, good or bad,  principally the latter. He takes views and portraits, interiors and  churches, buildings, and reproductions of engravings, all with one  lens, and instantaneous too. If it is bad, the plate or chemicals are at fault. If it turns out good, believe me, it is nine times out of ten a mere chance. Exceptions, Mr. Amateur, prove the rule. There are better and worse photographers the same as in any trade, wliichever you take, linen, clotli. machinery, tailors, milliners, &c., photography is no exception.

The British Journal of Photography tries hard to improve the standard ; but, it there are only six good ones in larger towns, the others may have some good reasons to complain, even if they are a little inferior.

Remember, please, Mr. Amateur, that superiority is only possible among

amateurs, and be more generous towards the poor professional that only

wants to make a living.

 

One word more and I am through. I know of a great many amateurs

whose only library consists of a sheet of paper with a formula on it and a few circulars of cheap outfits and plates, and, maybe, paper and card- board, but no books or journals. — I am, yours, A'c. , A. Levy.

 

 

          Letter 7:

 

of dark room, as the principal views to be taken in the windy city are

«moko and black buildings, and may bo an endless perspective of flat

lands on one side and a lake on the other. Perhaps next winter an

exhibition <if all views taken by amateurs will be interesting, especially those of Chicago, which, if superposed, as is sometimes done with portraits to get a family type, will probably be very successful to show Chicago as it is week days, with so much smoke and dirt that going out fiesli and clean ot eight a.m. you can return at six p.m. to play minstrel

without cork, and linen to match. — I am, yours &c., A. Levy.

 

July 3, 1893.

 

 Letter 8:

To the Editor.

 

Sir,— Mr. A. Levy, of Paris, I notice has contributed a letter on the

good old amateur question to the last number of The British Jocrnal

OF Photography. In it he says (speaking of the amateur), " Why, with

their knowledge and (superior to all) ingenuity, can they not make up

anything portable to change their plates in, lic. ?" I should not like to accuse this gentleman of ignorance, but I should certainly say that at the time he wrote it he must jiuve been labouring under a condition of tem- porary absent-mindedness, or he would most certainly have known what ' most beginners know, viz., that there are at the present moment plenty of portable changing bags on the maiket, most of them the inventions of amateurs. So much for the first paragraph of his letter. The next paragraph I havenodoulit lie con-iJers unanswerable, and he is perfectly correct. Vituperation, however fals>; .and acrid, is never worth any one's while to answer, and the chief aigament(?), namely, that in former years amateurs used to use tripnds for instantaneous work, and now do not, and hence they are unworthy of all con«ideration, is altogether puerile. There is a certain amount of reason in the next paragraph about amateurs paying for the use of dark rooms (by the way, I have never used one yet that I not been charged for), hut even here our friend makes another great mistake. He siys that he (the amateur) " will find it as natural to pay for it as he does when he uses a wash room, or asks the advice of

a doctor or lawyer." Perhaps it is natural in America to pay the abovementioned people (and I conclude from his letter that your correspondent is an American), but in England things are different. In England a doctor, even if he has saved your life, is never considered to have an absolute right to any fee, certainly not as much as the grocer, or baker, or chimneysweep. The last paragraph of this effusion does not, as far as I can see, concern the amateur question at all. — I am, yours, *c.,

London, July 25, 1893. " " "

         KOREKT J. HiLLIEE.

 

 

 

References:
(1) - George Eastman House
(2) - 1880's United States Federal Census. There it is identified that he entered the United States on three different occasions:

Name A.Mr. Levy
Event Type Immigration
Event Date 23 Sep 1875
Event Place New York, New York, New York, United States
Gender Male
Age 28
Birthplace France
Occupation Photographer
Ship Name Pereire
Birth Year (Estimated) 1847
Departure Port Havre
Literacy Unknown
Destination Place Usa
Transit or Travel Compartment Staying in the USA [Transit]; Cabin Passenger [Travel]
Affiliate Manifest ID 00033916
Affiliate ARC Identifier 1746067

 

 

Name A.Mr Levy
Event Type Immigration
Event Date 07 Nov 1884
Event Place New York, New York, New York, United States
Gender Male
Age 36
Birthplace France
Occupation Photographer
Ship Name Labrador
Birth Year (Estimated) 1848
Departure Port Havre
Literacy Unknown
Destination Place New York
Transit or Travel Compartment Staying in the USA [Transit]; Cabin Passenger [Travel]
Affiliate Manifest ID 00080581
Affiliate ARC Identifier 1746067

 

Name A.Mr Levy
Event Type Immigration
Event Date 16 Jan 1878
Event Place New York, New York, New York, United States
Gender Male
Age 31
Birthplace France
Occupation Photographer
Ship Name Scythia
Birth Year (Estimated) 1847
Departure Port Liverpool & Queenstown
Literacy Unknown
Destination Place Usa
Transit or Travel Compartment Staying in the USA [Transit]; Cabin Passenger [Travel]
Affiliate Manifest ID 00034643
Affiliate ARC Identifier 1746067


(3) - Bibliothèque Nacionale de France
(4) - "International guide to the nineteenth century photographers and their works", by Gary Edward. (Boston: G.K. Hall, 1988)
(5) - "Photography and the American Scene. A social history (1839-1889)" by Robert Taft. New York, Dover, 1964. 'He (John Carbutt) was preceded in this effort, as far as I can definitely ascertain, only by Albert Levy of New York, who began the manufacture of gelatin dry plates in 1878'. Page 371.
(6) - "Photography and the American Scene. A social history (1839-1889)" by Robert Taft. New York, Dover, 1964. 'Mention of the Levy dry plates and cameras can be found in Philadelphia Photographer  v.16, p. 95 (1879). As the notice appears early in 1879 and states that Levy is well known for his dry plates, it is quite evident that he was making them as early as 1878 and possibly sooner.' Here is described where Taft found the reference. Page 503.
(7) - "Photography and the American Scene. A social history (1839-1889)" by Robert Taft. New York, Dover, 1964. 'In fact the earliest manufacturers of dry plates (Levy and Carbutt) sold their products rather largely to amateurs. Early in 1879, Levy followed up his plates with a small camera designed for amateurs trade. This was described as “a unique little camera for dry plates- and he (Levy) offers camera and lens for $12.00 for plates 4x5 inches: For this sum a half a dozen plates, developer, pyro, and hypo are included, with full instructions for working the same". The following year T.H Blair of Chicago place on the market a camera for “amateurs photographers, college boys and artists “ which became well known.'. Page 375.
(8) - "Photography and the American Scene. A social history (1839-1889)" by Robert Taft. New York, Dover, 1964. 'The Levy and Blair cameras brought in a host of others, and E. and H. T. Anthony, and the Scovill Manufacturing Company, among the largest or the American photographic houses, were quick to follow with similar device.' Page 375.
(9) - Eastman-Butterfield Collection
(10) - "Photography and the American Scene. A social history (1839-1889)" by Robert Taft. New York, Dover, 1964. '[...] credits him with making first dry plates in U.S., for amateur and personal use. Also put out #12 camera in 1879'. Page 371.
(11) - Ministère de Culture de France
(12) - New York Passengers list 1820-1957.
(13) - "Photographic Documentation and Buildings: Relationships Past and Present" by Phyllis Lambert. At the beginning you can read: 'There seems little doubt that the centennial encouraged a flowering of pride in American architecture, of which the most interesting example is provided by the American counterpart to Alinari, Albert Levy, who published a photographic series on architecture in the 1880...'. See pdf for more information.
(14) - Boston Public Library.
(15) - Art Institute of Chicago (HALIC archive).
(16) - Centre Canadien d'Architecture
(17) - "On the Origins of Architectural photography", by James S. Ackerman (Centre Canadien d'Architecture). See pdf.
(18) - Culture France. Joconde archive. See pdf for print screens of the data in the web.
(19) - "American Victorian Architecture", by Arnold Lewis. Dover publications, 1975

(20) - Avery Architectural and Fine Arts Library.

(21) - Kansas State Library

(22) - "Contestating images (Photography and the World's Columbian Exposition)", by Julie K. Brown (The University of Arizona Press. Tucson & London). Pag. 153. ( notes to pages 93-96). 'The response by the Ways and Means Committee of the Chicago Board to Sir Henry Trueman Wood, British Commissioner to the Fair, was reproduced along with a letter by Albert Levy, a leading french photographer, protestating the imposition of such regulations.  "Photographing at the Chicago Exhibition" American Photographer 5 ( March 1893): 135; see also A. N., "The  Possibilities of the World's Fair" Photo Beacon 5 (Feb 1893): 47-49'. The full text is as follows:

To the editor
Sir; Your always valuable and wellcome Journal came to hand,as you are always trying to keep your readers well posted, you should add a P. S. to M. S.A. Crawford's  letter ( p.78) to the effect that Mr Official  Photographer C.D. Arnold by name ( very glad to take pictures ..etc. against pay..etc) does not even answer my in quiry to effect. Personally I had written three times to him without being able to obtain an answer . My first letter dating November 12 last. The above may prove interesting to other parties  who may be tempted to ask Mr. C.D. A. for any reference or negatives.
By the way, Mr. Editor, What do you say to the american generosity towards allowing photographers on the Exhibition grounds?. You were at the time very hard against French meannes in 1889.Let me remind you of the rules that existed then . Twenty francs , or 16 s. , for one's day work , and no restriction to sizes or cameras renewed if weather unfavorable , or 300 Fr. , ( 12 l.) for the whole time the exhibition was open
I am yours..etc
Avenue Pinel, Asnières Seine
Albert Levy

(23) - New York City directories (Levy, Albert, photographer. Books).

(24) - Division of Rare and Manuscript Collections. 2B Carl A. Kroch Library, Cornell University. Ithaca, NY 1853

(25) - Getty Museum Research

(26) - "American architectural books: a list of books, portfolios, and pamphlets on architecture and related subjects published in America before 1895" by Henry-Russell Hitchcock University of Minnesota Press, Minneapolis 1962. It mentions 33 series However, reference 15 (Art Institute of Chicago) owns the 36th.

(27) - Objetif Calvados. Un siecle de photographie aux archives de Calvados 1850-1950.

(28) - Album les contructiones nouvelles at the Portail des Bibliotéques municipales spécialisées de France. Albert Levy data at the Portail.

(29) - Villa d'Asnières municipal archive.

(30) - Search at the Portail des Bibliotéques municipales spécialisées de France.

(31) - La photographie à la Librairie centrale des Beaux-Arts – Éditions Albert Lévy (1906-1936). Lorsqu’Albert Lévy (1891-1976) prend la direction de la maison d’édition La Librairie centrale des Beaux-Arts en 1919, celle-ci jouit d’une notoriété certaine depuis la fin du xixe siècle. Les publications d’A. Lévy, aux rênes de l’entreprise familiale jusqu’en 1936, s’inscrivent dans une période riche en évolutions critiques, tant pour le renouveau des arts décoratifs que pour celui de la reconnaissance de la photographie. Le fonds d’archives photographiques de la maison d’édition, conservé au musée des Arts décoratifs de Paris, se trouve ainsi au croisement de cercles complémentaires : ceux des arts décoratifs du début du xxe siècle et de la photographie. Dès 1928, l’éditeur semble se détacher de la photographie en noir et blanc au profit d’illustrations colorées au pochoir. Alors, il est nécessaire d’interroger quels rôles photographie et photographes occupent dans son projet éditorial et comment la concession du laboratoire photographique de l’Union centrale des arts décoratifs, assurée par la famille Lévy de 1907 à 1936, s’inscrit dans ses activités

(32) - Library of Congress file about Albert Levy.

(33) - New York Public Library file about Albert Levy.

(34) - New York Public Library

(35) - Cincinnati and Hamilton County public library

 

 

 

 

 

 

 

 

 

 

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Index Notes of photos Images Albert Levy References Sizes