Mr. W.H. Vanderbilt' House. Smithsonian Libraries. Artistic Houses
Artistic Houses. Vol.1 Pt 2. Smithsonian Libraries mr. W.H. Vanderbilt' House
Esta foto muestra los pisos elevados del edificio donde podemos ver la geometría que predomina en la fachada, los altos ventanales de las plantas principales y lo que parece ser una terraza superior con balconada.
Detalle de la pagina del álbum "L' Architecture Americaine" mostrando como figuran los datos de las fotos
L'Architecture americaine
Albert Levy. The photographer
(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.
COMENTARIO FINAL.
Hace unos años, cuando compre este álbum por la calidad de sus fotos.
Luego dedique tiempo y esfuerzo a localizar los datos de este fotógrafo.
English
FINAL COMMENT.A few years ago, I bought this album for the quality of his photographsThen take me long time and effort to locate the data of this photographer.Since the album has the photos without photographer's name the beginning was very difficult. The location of the book "American Victorian Architecture" allowed me to contact the author Arnold Lewis who guided me to Albert Levy. Subsequently the Library of Congress facilitated the Levy's authorship of these pictures. Interestingly, as mentioned in the post, this library has albums 2 and 3 and lacks the first.From that time, slowly, but steadily went locating his work in numerous American museums and libraries. A very important step was also the location of its catalog in the National Library of France that allowed me to know that Albert Levy had two studies, in Paris and New York, which is very rare for the time and demonstrating the importance of this photographer's studio
Also noted that Albert Levy documented the photos: identifies location, owner and, less often the architect.It strikes me security in choosing to photograph buildings given the time the photos are made where information was absent Levy knows the important building in each city. I have no data that allow me to identify the selection process but everything makes me think that he had some background in architecture or contact with that world. Do not forget that the Faculty of Fine Arts in Paris and his school of architecture was a necessary step in the formation of importan American architects.His" Albert Levy's Photographic Series of Modern American Architecture" provide a wide selection of the best architecture that took place in the United States at that time.
I have located more than 600 photos-36-series dedicated to this subject.Personally I think that Albert Levy is one of the great photographers of architecture in the XIX century and, of course, an excellent photo-documentary which, however, has not had the recognition it deserves.The reasons are not hard to imagine:
Pocas veces podemos encontrar la descripción de un edificio del cual tenemos fotos como sucede en este caso.
Al ser una mansión notable por todos los conceptos: Propietario, arquitecto y decorador es comentado su interior en una revista de la época: Artistic Houses. ( Interior Views of a number of the most beautiful and celebrated homes in the United States. Printed for the suscribers D. Appleton and Company)
Smithsonian Libraries nos permite localizar la revista y embed el ejemplar
En la primera de las casas, las Twin Houses, indica que el arquitecto era Herther Brothers pero esto no es exacto puesto que esta era una firma dedicada, en el sentido amplio de la palabra, a la decoración pero que,principalmente, diseñaba muebles. Su estudio era muy importante y trabajaba para las mayores fortunas de la época de ahí, posiblemente, que en el álbum se le cite como arquitecto.
Trained in his
native Germany, Gustave Herter first rose to prominence as a cabinet
maker in New York City. Soon after being joined by his younger brother
Christian in 1864, the renamed firm, "Herter Brothers", began to create
entire decorative schemes of astonishing opulence for the wealthiest
families in America.
The Herter Brothers became the best-known interior furnishings firm in New York during the second half of the nineteenth century. German-born and trained, Gustave (1830-1898) and Christian Herter (1840-1883) opened their New York business in 1865. The Herter Brothers firm established its reputation for exquisite marquetry (decorative inlay) by furnishing the mansions of the New York elite in the popular Renaissance Revival style. Following the Civil War, several revival styles became fashionable in furniture design. The Renaissance Revival style was based loosely on the architecture of sixteenth- and seventeenth-century Italy, and often incorporated Greek, Moorish, Egyptian, and other historical motifs.
Their client list reads like a Who’s Who of Gilded Age millionaires: Vanderbilt, Morgan, and Gould of New York; Crocker, Stanford, and Huntington of San Francisco; Potter Palmer of Chicago.
Traducción libre
Formado en su país natal, Alemania, Gustave Herter primero destacó como ebanista en New York City. Poco después junto su hermano forma en el año 1864, la empresa "Hermanos Herter"
Comenzaron a crear fastuosas decoraciones para las familias más ricas de América.
Los Hermanos Herter se convirtió en la empresa más conocida de muebles de interior en Nueva York durante la segunda mitad del siglo XIX.
La empresa Hermanos Herter forjó su reputación en su exquisita marquetería (embutido decorativo) . Después de la Guerra Civil, se puso de moda en el diseño de muebles. El estilo del renacimiento estaba basado libremente en la arquitectura de los siglos XVI y siglo XVII-Italia, y con frecuencia se incorporan influencias griegas, árabes, egipcias, y otros motivos históricos.
Su lista de clientes era el "Quién es Quién" de los millonarios de la Edad Dorada: Vanderbilt, Morgan, y Gould, de Nueva York; Crocker, Stanford y Huntington de San Francisco; Potter Palmer, de Chicago.
Archivos Directorio para la historia del coleccionismo en América: Hermanos Herther
.... Los hermanos utilizaron materiales tales como madera de ébano, incrustaciones de marfil y oro, y otros dispositivos ostentosos para satisfacer los gustos de sus clientes ricos. .
The Herter Brothers became the best-known interior furnishings firm in New York during the second half of the nineteenth century. German-born and trained, Gustave (1830-1898) and Christian Herter (1840-1883) opened their New York business in 1865. The Herter Brothers firm established its reputation for exquisite marquetry (decorative inlay) by furnishing the mansions of the New York elite in the popular Renaissance Revival style. Following the Civil War, several revival styles became fashionable in furniture design. The Renaissance Revival style was based loosely on the architecture of sixteenth- and seventeenth-century Italy, and often incorporated Greek, Moorish, Egyptian, and other historical motifs.
Their client list reads like a Who’s Who of Gilded Age millionaires: Vanderbilt, Morgan, and Gould of New York; Crocker, Stanford, and Huntington of San Francisco; Potter Palmer of Chicago.
Traducción libre
Formado en su país natal, Alemania, Gustave Herter primero destacó como ebanista en New York City. Poco después junto su hermano forma en el año 1864, la empresa "Hermanos Herter"
Comenzaron a crear fastuosas decoraciones para las familias más ricas de América.
Los Hermanos Herter se convirtió en la empresa más conocida de muebles de interior en Nueva York durante la segunda mitad del siglo XIX.
La empresa Hermanos Herter forjó su reputación en su exquisita marquetería (embutido decorativo) . Después de la Guerra Civil, se puso de moda en el diseño de muebles. El estilo del renacimiento estaba basado libremente en la arquitectura de los siglos XVI y siglo XVII-Italia, y con frecuencia se incorporan influencias griegas, árabes, egipcias, y otros motivos históricos.
Su lista de clientes era el "Quién es Quién" de los millonarios de la Edad Dorada: Vanderbilt, Morgan, y Gould, de Nueva York; Crocker, Stanford y Huntington de San Francisco; Potter Palmer, de Chicago.
Archivos Directorio para la historia del coleccionismo en América: Hermanos Herther
.... Los hermanos utilizaron materiales tales como madera de ébano, incrustaciones de marfil y oro, y otros dispositivos ostentosos para satisfacer los gustos de sus clientes ricos. .
....The brothers used such materials as ebonized wood, inlays of ivory and gilt, and other ostentatious devices to satisfy the tastes of their wealthy clients. French, English, and Japanese influences are evident in the furniture designs.....
- Another son of William H. Vanderbilt was William Kissam Vanderbilt,. 1849–1920, b. Staten Island, N.Y. He was a yachtsman, and his wife was a well-known society leader.
- The fourth son of William H. Vanderbilt was George Washington Vanderbilt,. 1862–1914, b. Staten Island, N.Y. He engaged in numerous philanthropies.
http://en.wikipedia.org/wiki/Vanderbilt_family (Wikipedia Vanderbilt Family)
Twin Houses. Las casas gemelas Nueva York
.....W.H. Vanderbilt purchased the block between 51st and 52nd Streets in 1879, and the brownstones he built there were divided by an atrium that separated his residence from that of his two sons-in-law, Elliot F. Shepard and William D. Sloane. The twin houses came to be known as the “Vanderbilt Twins” or the “Triple Palace,” because the northern house was a double unit. W.H. Vanderbilt’s residence, (which he hoped would outshine Alexander T. Stewart’s extravagant, white marble palazzo on 34th Street,) showcased his art collection, which he opened to public viewing on Thursdays via invitation..........
Traducción libre
W.H. Vanderbilt adquirió la manzana comprendida entre las calles 51 y 52 en 1879, y las casas de piedra que construyó allí estaban divididos por un atrio que separaba su residencia de la de sus dos yernos, Shepard Elliot F. y D. William Sloane. Las casas gemelas llegaron a ser conocidos como los "Gemelos Vanderbilt" o el "Palacio Triple", porque la casa del norte era una unidad doble. W.H. Residencia de Vanderbilt, (con la cual él esperaba eclipsar el extravagante y blanco palacio de mármol de Alexander T. Stewart en la calle 34) ......
Sin embargo, segun bibliografía el arquitecto fue, Atwood en colaboracion con John B. Snook.
..........Architects John B. Snook
and Charles Atwood designed twin houses connected by a glass atrium
and entrance vestibule, and the famed Herter Brothers decorated the
houses with such extravagance that Artistic Houses devoted 17 pages to its interiors upon their completion in 1883............
.....The structure, which Vanderbilt lived in for only three years until his death in 1885, took two years to build and involved an estimated 600 to 700 workers. .........
John Butler Snook (1815-1901)
.......The subject, a native of London, was brought to New York as a child. . Snook was architect of A. T. Stewart's department store (1846), Niblo's Garden Theatre, the Metropolitan Hotel, Grand Central Depot (1871-72), All Angel's Church (1886), and the Vanderbilt mansions on Fifth Avenue between 51st and 52nd streets. .....The College of Saint Rose Image Collection
Se puede ver otra imagen de este edificio así como una breve historia del mismo.
The mansions pictured here once stood on the west side of Fifth Avenue between 51st and 52nd streets. The property was purchased by William H. Vanderbilt in 1879, and he commissioned the architects John B. Snook and Charles Atwood to design twin houses connected by a glass atrium and entrance vestibule. The Herter Brothers decorated the houses extravagantly. W.H. Vanderbilt and his wife lived in the southern house, while their two daughters and sons-in-law occupied the other. The mansion depicted on the right side of the image was also commissioned by W. H. Vanderbilt, and designed by Richard Morris Hunt in 1881. It was demolished in 1926.
Esta foto muestra los pisos elevados del edificio donde podemos ver la geometría que predomina en la fachada, los altos ventanales de las plantas principales y lo que parece ser una terraza superior con balconada.
Detalle de la pagina del álbum "L' Architecture Americaine" mostrando como figuran los datos de las fotos
L'Architecture americaine
Albert Levy. The photographer
-
Biography
Complete name: Albert H. Levy (1)
Date of birth: 1844 (3)
Date of death: 1907 (3)
Nationality: French (2) and (12).
Father's birthplace: France (2)
Mother's birthplace: France (2)
Marital Status: Single (2)
Race: White (2)
Home in 1880 (when he was 33 years old): New York (Manhattan) (2)
Arrived to the United States in 1873 (12)
-
- Leading french photographer : "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'
- Photographer active circa 1870's 1880's (4). In this reference he is identified as "american photographer".
- Photographer active from 1870's to 1890's. Active in New York in 1876 and in France in 1880's-1890's (1).
- The older picture I have found by Albert Levy has the date 1905: "Ancienne et nouvelle Mairie d'Asnières" (3)
- He has a catalogue with all his work until 1887 with 2500 titles. (3)
- A study in 34 1/2 Pine Street, NY in 1887 (3).
- 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)
He is also referenced as bookseller (2).
Manufacturer:
"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.
-
Artwork
"Today photography is universally included in the roster of the fine arts, and it is in the concept of a class of images defined as "documentary" that remains unresolved. I suggest that, while some photographs may be commission their work may wish to produce documents, this intention does not suffice to differentiate their work from other photographic images; the documentary character is not intrisic to the image. It is or is not in the eye of the beholder". Reference (17)-
L'Architecture Americaine
The album by Albert Levy that you are reading in this section of photocollection.alonsorobisco.es. It is a serie of three architectural albums of in the United States. You can see the complete second serie in the following link. In 1975, it was published the book "American Victorian Architecture" (19) by Arnold Lewis and Keith Morgan. In this book, the three series of L'Architecture Americaine are studied in detail.Nowadays, we can also confirm that these photos are part of the 673 photos from the United States included in "Albert Levy's Photographic Series" as we find out in Levy's Catalogue (3). In this case we have to highlight that the photos of the photographic series have a number which correspond to the one in the catalogue. These photographic series identify Albert Levy as the photographer.
-
"Recueil photographique des nouveilles habitations pittoreques de France urbaines et rurales en pierre, brique, bois, ..."
Another architectural album by Albert Levy that you have also in photocollection.alonsorobisco.es. It is also a three serie album with 36 photos each. The album you can see here in this web is the second serie. See the following link. The only other holder of any these series (in this case the three of them) is the "Culture France". (18) -
Albert Levy's Photographic Series of Modern American Architecture. Due to these series, Albert Levy is referenced as counterpart for Alinari in the United States (13).
-
Having a look at some of the photos of "Albert Levy's Architectural Photographic series" (see the HALIC archive of the Art Institute of Chicago in the web for more photos by Albert Levy (look for "Levy")) we can find that some of them are in "L'Architecture Americaine", which indicates that this album may be a collection of the "best of photographic series" to show his work in Europe (because the editor is French). As this album was edited in 1886 (19), some of the dates of the photographic series above could not be correct.
-
Levy Albert. Monmory, Felix.
Nouvelles Maisons à Loyer et Hôtels Particuliers à Paris, Comprenant Vues d'Ensemble, Plans et Details.
Paris. 1895. 2 vols. Folio. pp. 1. Volume 1 contains 28 photographic images & 22 plans; volume 2 contains 26 images & 24 plans. Green morocco-backed boards, gilt titles on spine, marbled end-papers.
A superb pictorial record of distinctive Parisian architecture. The list of plates details the houses or hotels on the streets, avenues or boulevards of Paris: d'Anjou, Cour la Reine, de Rome, Dumont d'Urville, Saint-Honore, Pierre Charon, Fortuny, Danton, Vaugirard, Siam, General Foy, & c. Also present is a list of the various architects involved in the design & construction: Thomas, Mewes, Lernoux, Gaillard, Sellevier, Alinot, Fouquiau, Brisson &c.
-
1 portfolio 2 leaves of text, 50 leaves of plates, 41 cm.
Title on leaf 1 : Constructions nouvelles: Maisons de rapport, hotels prives: album photographique.
- Centre Canadien d'Architecture --> http://svrdam.cca.qc.ca/search/bs.aspx#s=albert%20levy&p=1&a=kw&nr=1&nq=1
-
Art institute of Chicago: More images by Albert Levy in the web! In its HALIC (Historical Architecture and Landscapes Image Collection) collection look for "Albert Levy" and you will find 97 photos by Albert Levy. You can also check in the old HALIC link and look for "Levy".
-
-
ART INSTITUTE OF CHICHAGO PICTURES:
The art institute of Chicago-HALIC COLLECTION- has 97 photos of the Albert Levy's Architectural photographic series available online at:
-
Albert Levy's catalogue until 1887
The Bibliotheque Nacional de France (BNF) owns the whole Catalogue of Albert Levy photography until 1887.
Extérieurs
Intérieurs
Sculptures
Meubles
Décorations
Etc., Etc
Janvier 1887.
Je réclame pour ma collection de photographies, aujourd`hui composée de plus de 2500 sujets différents, et qui s’augmentera progressivement :
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
-
References:
(1) - George Eastman House
(2) - 1880's United States Federal Census
(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 : 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
Por otra parte hay una publicación americana American Victorian Architecture de 1975 dedicada en su integridad a documentar todas las fotos de estos álbumes
(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'
COMENTARIO FINAL.
Hace unos años, cuando compre este álbum por la calidad de sus fotos.
Luego dedique tiempo y esfuerzo a localizar los datos de este fotógrafo.
English
FINAL COMMENT.A few years ago, I bought this album for the quality of his photographsThen take me long time and effort to locate the data of this photographer.Since the album has the photos without photographer's name the beginning was very difficult. The location of the book "American Victorian Architecture" allowed me to contact the author Arnold Lewis who guided me to Albert Levy. Subsequently the Library of Congress facilitated the Levy's authorship of these pictures. Interestingly, as mentioned in the post, this library has albums 2 and 3 and lacks the first.From that time, slowly, but steadily went locating his work in numerous American museums and libraries. A very important step was also the location of its catalog in the National Library of France that allowed me to know that Albert Levy had two studies, in Paris and New York, which is very rare for the time and demonstrating the importance of this photographer's studio
Also noted that Albert Levy documented the photos: identifies location, owner and, less often the architect.It strikes me security in choosing to photograph buildings given the time the photos are made where information was absent Levy knows the important building in each city. I have no data that allow me to identify the selection process but everything makes me think that he had some background in architecture or contact with that world. Do not forget that the Faculty of Fine Arts in Paris and his school of architecture was a necessary step in the formation of importan American architects.His" Albert Levy's Photographic Series of Modern American Architecture" provide a wide selection of the best architecture that took place in the United States at that time.
I have located more than 600 photos-36-series dedicated to this subject.Personally I think that Albert Levy is one of the great photographers of architecture in the XIX century and, of course, an excellent photo-documentary which, however, has not had the recognition it deserves.The reasons are not hard to imagine:
- And, perhaps, for the Americans is a French photographer that makes you not have devoted time and study. For the French he is a photographer almost unknown because most of his work, almost all of his work is in the United States.
- Objetif CalvadosUn siecle de photographie aux archives de Calvados 1850-1950
LEVY, Albert
(1847 – vers 1905), professionnel.
Photographe d’architecture, Asnières.
Actif aux Etats-Unis, 1873 – années 1880 ;
en France, années 1880 – vers 1905.
References about Albert Levy in the Philadelphia Photographer
https://archive.org/stream/
https://archive.org/stream/
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https://archive.org/stream/
Volume: 1878 v.15
https://archive.org/stream/
https://archive.org/stream/
https://archive.org/stream/
https://archive.org/stream/https://archive.org/stream/
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The Philadelphia photographer : Free Download & Streaming ...
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Emulsion photographique francaise
Unequalled for rapidity, (fully equal to the bath plate) Intensity to any degree on simple development or other intensifier and absolutely permanent and without change
Albert Levy Sole propietor
77 University place N:Y.Unequalled for rapidity, (fully equal to the bath plate) Intensity to any degree on simple development or other intensifier and absolutely permanent and without change
Albert Levy Sole propietor
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Volume: 1878 v.15
