Albert Levy


Este blog sobre fotografía antigua empezó como un lugar de archivo de los datos que iba recogiendo en mi trabajo de investigación sobre la vida y obra de Albert Levy.
Con el tiempo, más de seis años, partiendo casi de cero he conseguido numerosos datos de su obra y, escasos, muy escasos datos de su vida.
Es un fotógrafo francés que desarrolló casi toda su obra en Estados Unidos y también, casi en exclusiva dedicado a la fotografía de arquitectura. Esa dedicación la materializaba en álbumes dedicados  a una ciudad. 
Además trabajaba con un proyecto organizado pues las fotos recogían edificios de arquitectos renombrados y que, como es natural, muchas veces pertenecían  a las clases altas de la ciudad.
En su obra podemos decir, casi sin exagerar, que figuran edificios de los más importantes arquitectos de su tiempo.
En algunos álbumes se recogían planos del edificio.
Por otra parte, curiosamente, no le importaba pasar a la posteridad pues bastantes veces sus álbumes no estaban firmados, si eso se mantenían lo números romanos que identificaban la foto, la referenciaban en su catálogo.
Lo curioso  fue comprobar como los más importantes museos americanos tenían obra suya si bien no tenían ni idea de su autor, solo de su nombre y en varios casos ni eso, fui yo el que les informé de su autoría.
Otros museos, el Getty por ejemplo, ha aumentado sus fondos en obras de Albert Levy de manera importante a lo largo de estos últimos años.
 Esto que puede parecer poco importante es raro pues si algo han hecho los museos americanos es estudiar su historia y,parte importente de esa historia es la historia de su arquitectura.
¿como es posible que no haya casi dato alguno de un fotógrafo que realizó al menos 36 series de fotografías que llevan por título "Albert Levy's Photographic Series of Modern American Architecture"? 

Albert Levy's Photographic Series of Modern American Architecture. There are at least 36 series (26). Due to these series, Albert Levy is referenced as counterpart for Alinari in the United States (13).
  • Albert Levy's Photographic Series of Modern American Architecture: Second Series, Country Dwellings. (16)
  • Albert Levy's Photographic Series of Modern American Architecture: Ninth Series, Street Fronts. (16)
  • Albert Levy's Photographic Series of Modern American Architecture: First Series, Private City Dwellings. (16)
  • Albert Levy's Photographic Series of Modern American Architecture: Fifth Series, Messrs. Vanderbilt's Mansions. (16)
  • Albert Levy's Photographic Series of Modern American Architecture: Tenth Series, Sea Shore Cottages and Country Houses. (16)
  • Albert Levy's Photographic Series of Modern American Architecture: Twelfth Series, Modern Street Architecture of Berlin, Street Fronts and Apartment Houses. (16)
  • Albert Levy's Photographic Series, the Fourteenth Series: Romanesque and Gothic Churches in the South of France (24)
  • Albert Levy's Photographic Series of Modern American Architecture: Sixteenth Series, American Private City Dwellings. (16)
  • Albert Levy's Architectural Photographic Series : Lévy, Albert. 1895 (16)
  • Albert Levy's Architectural Photographic Series:  Twenty-fourth series.(Berne, Lucerne, Zurich and other Swiss cities and towns) (21)
  • Albert Levy's Architectural Photographic Series : Thirty-Fifth Series, Sea Shore Cottages And Country Houses, Bar Harbor, Mount Desert, Maine : Lévy, Albert. 1895 (16)
  • Albert Levy's Architectural Photographic Series: Thirty-First Series, Street Fronts, Stores, Office , Etc : Lévy, Albert. c1884 (15)
  • Albert Levy's Architectural Photographic Series : Thirty-Sixth Series, Sea-Shore Cottages, Etc., Newport, R.I., And Long Branch, N.J : Lévy, Albert. 1895 (15)
  • Albert Levy's Photographic Series Of Modern American Architecture. : Lévy, Albert. 1883
  • Albert Levy's Architectural Photographic Series: 3rd series, French Gothic and Renaissance, Civil and Domestic Architecture, New York: Albert Levy, 1884. (14)
  • Albert Levy's Architectural Photographic Series: 33rd series, American City and Country Residences, etc, New York: Albert Levy, 1884. (14)
  • Architectural Photographic Series, city houses/Levy: 1 album, 38 leaves of plates: photographs 36x46 cm. New York, Albert Levy (between 1880-1895?). (20).
    • Signature by Albert Levy in "Albert Levy's Architectural photographic series"
      In some cases, in the Photographic series the  Photographs are titled, numbered and mounted on blue card stock. The card stock is embossed


Pues pienso que influyeron varias razones:
  • Los álbumes de arquitectura eran caros para su tiempo.
  • Su tirada debía ser reducida ya que estaban destinados a la información y formación de los arquitectos.
  • Fue un competidor de George Eastman en el desarrollo de la gelatin dry plate y, sospecho, esto fue negativo para su fama posterior:
  • Encyclopedia of XIX century photography. Vol 1

  • Concurrently, with the progress of the presidential
    campaign of 1880, in which James A. Garfield won
    election by a narrow margin, photographers across
    the land began switching tot dry-plate practice. Albert
    Levy’s gelatine dry plates and E. & H. T. Anthony &
    Co.’s Defi ance plates were taken off the market by January
    1881. But others were appearing on the scene. In St.
    Louis, Gustave Cramer teamed up with Herman Norden
    to perfect a commercial plate that would be better than
    anything previously offered. Their activity was another
    of the proverbial “burning the midnight oil’ variety.
    Eastman’s dry plates were placed on the market by
    the Anthonys in December 1880.

  • Y, quizás, la más importante es que para los americanos es un fotógrafo francés pero para los franceses es un perfecto desconocido compatriota que realizó su obra en USA.


A continuación recojo , de manera amplia pero a la vez resumida, los puntos más importantes de su obra con sus referencias.
Aqui debo realizar una advertencia pues, lamentablemente, los links pueden cambiar con el tiempo, y alguno de los que aqui recojo no funcione. Con los datos que doy y un sencillo trabajo de consulta la persona interesada puede recuperar dicha información actualizada.





Albert Levy en Museos y Bibliotecas

George Eastman House. Collection online
3 fotos de Albert Levy


 Getty Research Institute


Nouvelles maisons à loyer et hôtels particuliers à Paris : comprenant vues d'ensemble, plans et détails / recueil composé sous la direction de M. Félix Monmory, architecte ; photographies par M. Albert Lévy.


Monmory, Félix.


Paris : Librairie de l'architecture et des arts industriels, E. Bigot, 1895.

  • Title:
    Nouvelles maisons à loyer et hôtels particuliers à Paris : comprenant vues d'ensemble, plans et détails / recueil composé sous la direction de M. Félix Monmory, architecte ; photographies par M. Albert Lévy.
  • Author/Creator: Monmory, Félix.
  • Creation Date: 1895
  • Publisher Info.: Paris : Librairie de l'architecture et des arts industriels, E. Bigot, 1895.
  • Physical Desc.: 10 v. (100 mounted plates) : ill., plans ; 43 cm..
  • Summary: Albumen prints of late nineteenth century residential buildings in Paris by 37 architects. Each building is represented by a general view of the façade and floor plans; for a few buildings there is an additional exterior detail view, generally of a window.
  • Language:
    French
  • Notes: Issued in portfolios.
  • Form/Genre: Floor plans -- France -- Paris -- 19th century Albumen prints -- France -- Paris -- 19th century Photographs, Original
  • Subjects: Apartment houses -- France -- Paris Architecture, Domestic -- France -- Paris Architecture -- France -- Paris -- 19th century Paris (France) -- Buildings, structures, etc
  • Contributors: Lévy, Albert.
  • ID/Acc. No.: 1377-244 90.R.66

 


L'Architecture américaine. 3e sér., Habitations suburbaines, villas, maisons de campagne, cottages, dèpendances. Lévy, Albert.


  • L'Architecture américaine. 3e sér., Habitations suburbaines, villas, maisons de campagne, cottages, dèpendances.
  • Author/Creator: Lévy, Albert.
  • Creation Date: ca. 1880-1890
  • Publisher Info.: Paris : Libraire générale de l'architecture et des travaux publics, André Daly fils & cie, ca. 1880-1890.
  • Physical Desc.: 1 folio (40 loose photographic prints) ; 42 x 33 cm..
  • Summary: Photographs depict substantial American houses in the NE United States and New England, including the cities of Bar Harbor, Brookline, Buffalo and Newport, and in the Midwestern cities of Chicago, Cleveland and Detroit. Twenty-two architects' works are represented here including that of McMim, Mead and White, J. L. Silsbee, Bruce Price, Cobb & Frost (Henry Ives Cobb and Charles Frost), Cabot & Chandler (Edward Clark Cabot and Francis W. Chandler), George Browne Post, Peabody & Stearns, William Ralph Emerson, Rotch & Tilden (Arthur Rotch and George Thomas Tilden) and H. H. Richardson. The P. J. Boticher listed is probably Paul G. Botticher, the New York architect.
  • Language:
    French
  • Notes: Each photograph is mounted on board. Each board is stamped with a number, 1-40. Folio includes inserted title page and contents listing. Contents includes photograph number, architect and city or town where the building was located. Photographer Albert Lévy produced numerous albums of photographs of French and North American buildings. These albums were used by architectural firms as visual resources.
  • Form/Genre: Albumen prints -- France -- 19th century Photographs, Original
  • Subjects: Botticher, Paul G Price, Bruce, 1845-1903 Post, George Browne, 1837-1913 Richardson, H. H. (Henry Hobson), 1838-1886 Silsbee, J. L Emerson, William Ralph, 1833-1917 Cobb & Frost (Chicago, Ill.) McKim, Mead & White Peabody & Stearns (Boston, Mass.) Rotch & Tilden (Boston, Mass.) Architecture -- United States -- History -- 19th century Architect-designed houses -- United States Architecture, Domestic -- Shingle style -- United States
  • ID/Acc. No.: 1345-144 91.R.14
  • Access/Rights: Open for use by qualified researchers.


FRANCIA

Médiathèque de l'architecture et du patrimoine (Charenton-le-Pont)

Villas et chalets pittoresques ; Habitations des bords de la mer ; Villas normandes ; Réalisations et projets des architectes membres de l'Union syndicale des architectes français

  •  Three albums 36 photographs each:108 photos
 
Cote conservation 1989/014/0001
N° épreuve 1989/014/0019
Couleurs Non
Techniques Papier albuminé
Référence à une publication Villas et chalets pittoresques. Paris : librairie Eugène Bigot, [s.d.], pl. XIX. (port-folios constitué de 36 planches numérotées de I à XXXVI)
Type document Tirage photographique
Contact service producteur
  © Ministère de la culture (France), Médiathèque de l'architecture et du patrimoine
N° notice MDP90101552



BOSTON

La biblioteca que mejor y más datos de su vida y obra me facilitó fue la Boston Public Library con una bibliotecaria extraordinariamente profesional y amabilidad.:



  • Boston Public Library

I have only been able to find a little information on the photographer, Albert Levy.  He is mentioned in an article, “Nature, The Photograph and Thomas Anshutz,” by Ruth Bowman in the Art Journal, 31:1, 1973, p. 32.  He seems to have been either the inventor and/or manufacturer of portable camera equipment that held 4” x 5” glass plates.

He also published a series of architectural photographs, some of which are in our collection in the Fine Arts Department.

  • Albert Levy’s Architectural Photographic Series: 3rd series, French Gothic and Renaissance, Civil and Domestic Architecture, New York: Albert Levy, 1884.

  • Albert Levy’s Architectural Photographic Series: 33rd series, American City and Country Residences, etc, New York: Albert Levy, 1884.

Some of the plates in these portfolios are missing.

The New York Passenger Lists, 1820-1957 indicate that an Albert Levy arrived on the ship “Europe” which departed from Le Havre, France and arrived in New York on September 11, 1873.  His estimated birth year is given as 1847 and his occupation is given as photographer. 

According to the United States Census for 1880, Albert Levy was listed as a bookseller at 4 Bond Street, New York City.  The portfolios listed above also have an address for 4 Bond Street in New York.  His national origin is given as French and he was 33 years old (b. 1847) and single.

Aside from International Photography: George Eastman House Index to Photographers, Collections, and Exhibitions (New York: G. K. Hall, 1998), he only appears in Gary Edward’s International Guide to Nineteenth-Century Photographers and Their Works…(Boston: G. K. Hall, 1988).


  • FRANCIA

Dentro de su labor en Europa destacan sus álbumes sobre las villas balnearias tanto en Francia como en el Reino Unido en este catálogo aparece una foto suya

Objectif Calvados : un siècle de photographie aux Archives du Calvados (1850-1950)

La Direction des Archives du Calvados conserve plusieurs dizaines de milliers de daguerréotypes, calotypes, plaques de verre, clichés sur films souples, tirages sur papier, diapositives, photographies numériques… Ces collections, remontant aux premiers temps de la photographie, ont été conditionnées et conservées. Cette brochure présente une partie du contenu de nos fonds, qui s’enrichissent tous les jours grâce aux crédits du Conseil général, aux donateurs, déposants et particuliers qui nous prêtent leurs photos pour duplication…


Descriptif technique : Cahier de la Direction des Archives du Calvados n°44 - 2010 - 160 pages avec illustrations en couleur - dimensions : 29,5 x 21 cm - poids de la publication : 632 g

Téléchargement

 Photo: L’architecture balnéaire vue par Albert LÉVY, vers 1900. La villa Pibola a Cabourg.


Gallica. BNF


Titre(s) : Catalogue de photographies d'architecture européenne et américaine, ancienne et moderne. .. [Texte imprimé] / Albert Lévy

Publication : Paris [19, rue de la Chaussée-d'Antin] : [s.n.], 1887

Description matérielle : 62 p. ; 22 cm


Sujet(s) : Lévy (Albert), catalogue commercial, 1887
Notice n° :  FRBNF40379124 

Document numérique : 

IFN-7200008

support : lot d'images numérisées


Curiosamente si vemos lo que indica sobre su autor haciendo click en este link nos lleva a una página con este texto



Lévy, Albert (1847-1905 ?) forme internationale


France

Sexe :  Masculin

Responsabilité(s) exercée(s) sur les documents :  Auteur

Naissance :  1847

Mort :  1905?


Photographe, actif aux États-Unis (1873 - années 1880) et en France (années 1880 - ca 1905). - Réalise des photographies d'architecture. - Ateliers : 4 Bond Street - New York ; 34 1/2 Pine Street - New York ; 19 rue de la Chausée-d'Antin - Paris ; 4 avenue Pinel - Asnières


Source(s) :  [Recueil. Photographies positives. Oeuvre de Albert Levy] [Image fixe], [1873-1901] Luminous-Lint : http://www.luminous-lint.com/app/home/ (2008-08-29)

Consultée(s) en vain :  Auer index, 1992


Identifiant international :  ISNI 0000 0000 0242 4190 , cf. http://isni.org/isni/0000000002424190

Notice n° :  FRBNF14977110


Création :  04/05/03
Mise à jour :  08/10/23


  • LO CURIOSO ES QUE YO FUI EL QUE FACILITÓ LOS DATOS-REFERENCIADOS- A LUMINOUS LINT QUE, A SU VEZ, APARECE AQUI COMO REFERENCIA.


AveryLibrary. Albert Levy Photographs

Esta importante Biblioteca Americana tiene varias álbumes de Albert Levy

Author
Lévy, Albert, 1846 or 1847-
Published
New York : A. Levy, [1885-1895]
Location
NoneAvery Classics - By appt. (Non-Circulating) AA710 L5736 F
Format
Image Image
Author
Lévy, Albert, 1846 or 1847-
Published
Paris : E. Ducher, Libraire Editeur, [between 1885 and 1895?]
Location
AvailableAvery Classics - By appt. (Non-Circulating) AA7346 L57 F
Format
Image Image
Author
Lévy, Albert, 1846 or 1847-
Published
[Paris? : A. Levy?] ; Paris : [for sale by] A. Levy ; New York : [for sale by] M. Schroeder. [1887?]
Location
AvailableAvery Classics - By appt. (Non-Circulating) AA710 L573
Format
Book Book
Author
Lévy, Albert, 1846 or 1847-
Published
[Paris? : s.n., between 1885 and 1895?]
Location
AvailableAvery Classics - By appt. (Non-Circulating) AA7346 L573 F
Format
Image Image
Author
Lévy, Albert, 1846 or 1847-
Published
Paris : Librairie de l'architecture et des arts industriels Eugène Gigot, [ 1902]
Location
AvailableAvery Classics - By appt. (Non-Circulating) AA7562 L57
Format
Book Book
Author
Lévy, Albert, 1846 or 1847-
Published
[New York] : A. Levy, c1884.
Location
AvailableAvery Classics - By appt. (Non-Circulating) AA710 L57 F
Format
Image Image
Author
Lévy, Albert, 1846 or 1847-
Published
New York : Albert Levy, [between 1880 and 1895?]
Location
AvailableAvery Classics - By appt. (Non-Circulating) AA710 L5738 F
Format
Image Image
Author
Lévy, Albert, 1846 or 1847-
Published
Paris : Librairie de l'architecture et des arts indurstriels Eugène Bigot, [between 1890 and 1905?]
Location
AvailableAvery Classics - By appt. (Non-Circulating) AA710 L5734 F
Format
Image Image
Author
Lévy, Albert, 1846 or 1847-
Published
Paris : Librarie de l'architecture et des arts industrielles Eugène Bigot, [between 1900 and 1910?]
Location
AvailableAvery Classics - By appt. (Non-Circulating) AA710 L5735 F
Format
Image Image

Con el siguiente detalle

Photographs from series by Albert Lévy

Title
[Photographs from series by Albert Lévy].
Published
New York : A. Levy, [1885-1895]
Description
[30] leaves of plates : ill. ; 41 cm.
Series
Lévy, Albert, 1846 or 1847- Albert Levy's architectural photographic series. Thirty-first series. Modern American architecture. Street fronts, stores, office buildings, etc. 1-4, 7, 9, 16, 22, 26-27, 29.
Contents
[plate 1] Banque et bureaux à New York G.B. Post, arch.
[plate 2] Maison à loyer à New York C Pfeiffer arch
[plate 3] Bureaux à Baltimore C Pfeiffer arch
[plate 4] Magasins & bureaux à Hartford H.H. Richardson archt
[plate 5] Bureaux à Chicago J J Flanders archt
[plate 6] Hôtel à New York H. Kafke, archt
[plate 7] Banque et bureaux à Boston Peabody & Stearns arch
[plate] 8 Magasins à Boston archt Peabody & Stearns
[plate 9] Magasins et bureaux à Cleveland Peabody & Stearns archt
[plate 10] Magasins et bureaux à New York J M Slade archt
[plate] 11. Magasins et bureaux à New York W.W. Smith, archt
[plate] 12. Magasins à Boston archt Peabody & Stearns
[plate 13] Bureaux à Chicago D. Adler & Co archt
[plate 14] Maison à loyer à New York G.W. Romeyn, archt
[plate] 15 Bureaux de Cie. J (?) assurances a [sic] Philadelphia Cabot & Chandler archts
[plate] 15 [i.e. 16] Bureaux à New York R.M. Hunt, archt
[plate] 16 [i.e. 17] Bureaux à New York G.E. Harney archt
[plate] 17 [i.e. 18] Magasins à Boston Cumming & Soars archt
[plate] 18 [i.e. 19] Banque et bureaux à Philadelphie Cabot & Chandler, archt
[plate] 20 Magasins à Boston H.H. Richardson, archt
[plate] 21 Bureaux à New York Cook & Babb archt
[plate] 22 Magasins à Boston Cumming & Soars archt
[plate] 23 Bureaux et magasins à New York W. Schickel, arht [sic]
[plate] 24 Bureaux et banques à New York W. Schickel arch.
Other Titles
Maisons à loyer, etc., en Amérique.
Notes
Avery Classics copy: Includes nos. 1-4,7,9,16,22, 26-27,29 of Albert Levy's architectural photographic series , 31st series entitled Street fronts, stores, office buildings, etc..
Avery Classics copy: Title on spine of portfolio: Maisons à loyer, etc., en Amérique.
Avery Classics copy: Contents statement taken from ms. inscriptions on mounts. Unbracketted numbers taken from numbers in photographs; the use of i.e. indicates that the number in the photograph differs from that of the order of the photographs in the portfolio.
Language
French
Format
Image Image


Photographs from two series by Albert Lévy entitled "Constructions nouvelles

Title
[Photographs from two series by Albert Lévy entitled "Constructions nouvelles].
Published
Paris : E. Ducher, Libraire Editeur, [between 1885 and 1895?]
Description
1 portfolio ([2] leaves of text, 50 leaves of plates) : photographs ; 41 cm.
Subjects (Genre)
Other Titles
Caption title on leaf [1] of text: Constructions nouvelles : maisons de rapport, hotels privés : album photographique
Caption title on leaf [2] of text: Constructions nouvelles : 50 photographies par Albert Lévy
Notes
Avery Classics copy: This set seems to be a mix of two sets, "Les constructions nouvelles" comprised of 30 photographs as issued, and "Constructions nouvelles : 50 photographies par Albert Lévy" issued as a set of 50 cyanotypes, nos. 31-50 of which make up nos. 31-50 of this set. The two leaves of text are the contents sheets for the two sets.
Avery Classics copy: Each of the first 30 photo mounts is hand-numbered and embossed: Albert Lévy, 4 avenue Pinel, Asnières.
Avery Classics copy: Photographs 31-50 are cyanotypes.
Language
French
Format
Image Image

Catalogue of Albert Levy's European and American architectural photographs

  • Discovering Albert Levy
    Follow this link for a better understanding on all Albert Levy's findings over the last years. (or check the PDF).

     
  • A personal view on Albert Levy's work Follow this link for a better understanding of Albert Levy's artwork, how was it developed, artistic perspectives and historical comparassions. (or check the PDF).


 


TEXTO DEL CATÁLOGO DE FOTOGRAFÍAS DE ALBERT LEVY DE GALLICA


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
  • American Architects in Albert Levy's catalogue
    This is the list of architects that can be found in Albert Levy's catalogue when describing the in the United States.
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 en esta importante revista encontramos varias referencias a Albert Levy:
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.

Reference 1
  • Philadelphia Photographer August 1876 vol XIII nº 152
  • There are comments on the photographers that participated in The Centennial International Exhibition of 1876, held in Philadelphia.
  • ....Photography in the Great Exhibition. Photographic Hall as it becomes more and more complete, grows in beauty and atractiveness..........
    ....The second exhibit on this screen is a collection of architecturial views by Mr Albert Levy,77 University Place, New York, two frames being marked as "United States" and the third "Europe"
Reference 2
  • Philadelphia Photographer May 1878 vol XV nº 173
  • There is a long article explaining the benefits of Albert Levy's dry plates, at least one year before George Eastman's patent (1879 - Eastman invented an emulsion-coating machine which enabled him to mass-produce photographic dry plates. (Kodak)).
  • Levy's French Photographic emulsion
    A great deal of interest prevails in the growth ot the emulsion process, and the practical photographer is waiting patiently until some one develops a method for working emulsion sufficiently certain reliable and speedy, to warrants its introduction into every day practice, or, in common parlance, that will be "as good as wet"
    A number claim to have yet been found have done so fully.
    There is one gentlemean, however, Mr. Albert Levy of New York, to whom much credit is due for having made great progress with emulsion, and who, so far as we know, more progress than everyone else.
    He has simplified the manipulation so much as easy as the "wet process"
    ... Dry plates, far more than wet, are disposed to loosen on the edges and lift from the glass to obviate all possible danger of such an occurrance, the use of an ending prepared and for sale by Mr. Levy is recommended.
 Reference 3
  • The Philadelphia Photographer Vol XV November 1878 nº 179
  • Publicity of the Dry Plates in a letter form. Dated 14th June, 1878. The text praising Levy's dry plates is signed by H.W. Wickham, which residence is in New York.
  • ..........I purchased of Mr. Albert Levy one dozen of his Dry Plates on trial and the result so much exceeded my expectations that  I really began to think that I was a photographer
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Reference 4:
  • The Philadelphia Photograph Vol XV December 1878 nº 180
  • Advertisement of the French Emulsion where Levy indicates that he is the sole propietor and that the plate carries his signature.
  • Unequalled for rapidity ( fully equal to the both plate) intensity to any degree on simple developement without silver or other intensifier and absolutely permanent and without change.
    Albert Levy sole propietor
    Preservative for dry plates ( more rapid than wet). Also prepared Dry Plates ready for use and photographic chemicals at lowest market prices always on hand.
    Price list on application
    N.B. All dry plates made with my emulsion bear my signature
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  • Reference 5
  • The Philadelphia Photographer Vol XV August 1878 nº 176
  • In a long letter by Albert Levy he gives intructions on how to work with his product.
Levy’s emulsion plates
A letter from
 Mr.Levy
......A great trouble with emulsions having always been found in their liability to lift partly or fully from the plate,especially after the fixing , I manufactured an improved edging fluid, which is now largely used and pronounced invaluable
..........I am glad to be able to say that with my emulsion dry plates,as made by me or by others with my emulsion and preservative, well lighted views can be taken  with an ordinary Darlot lens....

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 Reference 6
  • An advertisement of his views of architecture.
  • For sale very cheap.  A splendic collection of about twelve hundred negatives of architectural views from Europe and the United States Size 8x10. Adress : A. Levy 4 Bond Street New York
 Reference 7
  • The Philadelphia Photographer Vol XVI  October 1879  nº 190
  • A long article about cyanotipes titled "Printing in blue".
  • .....Mr. Albert Levy of New York, Mr T.H. McCollin ,of this city, and in fact all dealers, we believe, supply the paper already sensitized, and for experiment, perhaps, that is the best way to get it....
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  • Reference 8:
    • The Philadelphia Photogapher Vol. XVI February 1879 nº 182
    • Mr. Albert Levy 77 University Place New York receives a very flattering testimonial to the qualities of his emulsion from the British Journal, in wich the editor says it futfils satisfactorily the requirements of an emulsion . The two negatives we obtained through its agency posses all the features wich we usually secure when makin use of a good sample of washed emulsion
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    • Reference 9:
    • A curious advertisement of Levy looking for an assistant.
    Wanted
    An operator with a steady hand to flow emulsion on dry plates. Adress A. Levy 77 University Place. N. Y.
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  • Reference 10
    • The Philadelphia Photographer Vol XV July 1878 nº 175
    • We have just received of Mr. Albert Levy of 77 University Place New York a four page circular containing full particulars as to  the use of his emulsion and dry plates. He also describes a number of other useful articles which his manufactures has for sale
     
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    Reference 11
    • Philadelphia Photographer Vol XV nº179 Noviembre 1978
    • Editor’s table
      Pictures received.....From Mr. Albert Levy  New York, some instantaneous marine views from his emulsion plates. Really surprising they are.
    Reference 12
    • The Philadelphia Photographer Vol XV August 1878 nº 176
    • Editors Table
      ....From Mr. Albert Levy nº 77 University Place, New York, some instantaneous views made with his improved rapid working emulsion , views of animals steamboats on their rapid course and yachts flying before the breeze. This is a wonderful advance in photography, for not only is the general character the view secured, but even the smallest details are brought out with perfect distinctness , the ripples of the water, the white foam dashed up by the wheel of the steamer , and the reflection of the boat in the glittering waves..
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     Reference 14
  • The Philadelphia Photographer March 1879 nº 183
  • Editor’s table
     Levy’s  Emulsion Dry Plate Camera
    Mr. Albert Levy 77 University Place New York so well kown in connection with with his emulsion and emulsion plates  quick to see the needs of the fraternity , has already placed in the market a unique litte camera for dry plates , to serve the purpose of the “Stereographe” , described in our last number, and offers camera and lens for $12 , for plates 4x5 inches. For this sum a half of dozen plates, developer, pyro, and hypo, are included, with full instructions for working the same. Mr. Levy has thus doubtless met a real want
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  • The British Journal of Photography
            Extracts of several mails to/from the British Journal of Photography and Albert Levy. Found at


          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,
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
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.

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