2

Les origines (1857-1897)

Originaire de Grande-Bretagne, William Daly Paley étudie au South Kensington Museum avant de rentrer dans les services secrets britanniques et sert pendant deux ans à Scotland Yard. Il quitte l'Europe et arrive à New York le 22 octobre 1878. Il tente brièvement d'ouvrir un studio photographique, mais il rejoint vite l'Automatic Photograph Company sous la direction de B. J. Falk, où il supervise pendant des années les activités de l'entreprise. Parmi ses inventions, on lui doit une machine d'impression et de développement photographiques :

Among his achievements was the invention of a printing and developing machine with a capacity of 100,000 finished cabinet size photographs every ten hours, and the machine ran to capacity production daily for years, the output being contracted for by the American Tobacco Company and other large concerns, which gave them away as prizes.

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William [Daddy] Paley., 1924: 8.

Il réside à New York (nº 203 East Thirteenth street) en 1897 et organise des spectacles de rayons X. Dans un article publié cette même année, il décrit les lésions qu'une exposition aux rayons Röntgen peut provoquer :

He was at Asbury Park, and undertook to operate an X-ray exhibition. He conducted the exhibition there and in Willow Grove, Pa., until October.
"I held the object throught which I was to send the ray in front of the screen with my hand," he said. "The four fingers of my left hand were thus exposed to the ray from the knuckles to the tips.
"Early in August my fingers begtan to itch, and then little water boils appeared under the skin, some of which filled with blood. Muy fingers grew red as if they were scalded.

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The Phonoscope, vol. I, nº 3, janvier-février 1897, p. 15.

Le Kalatechnoscope (1897)

Dans les premiers mois de l'année 1897, William Paley va présenter, à Washington, un appareil de son invention, le  Kalatechnoscope, susceptible de projeter des vues animées. Ces premières présentations vont se limiter à la ville de Washington, et peut-être également à New York et Philadelphie.

The Morning Times, Washington, lundi 5 avril 1897, p. 6.

Avec cette caméra, semble-t-il, il va tourner plusieurs vues :

Mr. Paley's camera was so much in demand that he could not begin to fill the engagements offered him. He worked in and around New York, Washington, Philadelphia, phootgraphing all classes of subjects, until the U.S. warship, Maine, was blown up in Havana harbor. At this time he was at Yale University filming the winter sports of the students.

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William [Daddy] Paley., 1924: 16.

C'est alors que Thomas A. Edison va faire appel à lui afin de "couvrir" la guerre hispano-américaine à Cuba.

L'Edison Manufacturing Company (1898)

William Paley, alors manager de l'Excelsior Film Co (436 Sixth Avenue), va donc se rapprocher de Thomas A. Edison dès le début de l'année 1898. Voici les termes de l'accord qu'ils vont passer :

It is our idea that you will continue to take original negatives of animated pictures for us, such arrangement to cover a period of one year from February 21, 1898, the necessary negative stock to be furnished by us, punched ready for use, without charge, in our regular standard lengths, which for the short strip is about 50 feet, and longer strips multiples thereof, up to about 150 feet, we to allow you an upset price for such negatives of fifteen Dollars ($15.00)  net on all accepted by us. All positives made from such accepted negatives are to be sold by us in the open market at regular rates, we undertaking to liste the subjects in our regular catalogues from time to time as they are issued, and to have them listed whenever and wherever possible in any catalogues gotten out by our various agents or representatives. Where a special subject is to be taken, requiring an additional amount of money over and above the $15.00 above referred to, to cover actual traveling or other similar expenses, in addition to furnishing the negative stock we would of course be perfectly willing to confer with you and agree upon an amount to be paid in addition for any such expenses.

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W. E. Gilmore [Edison Manufacturing Co.), Lettre, Wm Paley, 7 mars 1898. [source: Thomas A. Edison Papers.]

C'est dans ces conditions que William Paley va produire, en particulier, des vues animées de la guerre de Cuba qui oppose l'armée espagnole aux indépendantistes :

Cuban War Pictures
[...]
Mr. Paley, the representative of the parties above mentioned, is at present at the front, and taking such pictures as are likely to be of the greatest interest to the public and to those interested in the animated picture business.

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The Phonoscope, vol. II, nº 4, New York, avril 1898, p. 7.

De nombreuses bandes cinématographiques sont tournées, en mars-avril 1898, en Floride (Key West) où stationnent les troupes et la marine américaines. Le New York Journal, qui précise que William Paley est de retour de Cuba, consacre un long article à ses premières productions :

THE JOURNAL'S VIVID MOVING WAR PICTURES
Squadron at Key West in Evolution and Havana Scenes Depicted with Life and Action.
The Journal is arranging that the public may see the fleet of battleships about Key West and the scenes in Havana Harbor, with all the vivid impression that an eye witness gets in viewing an unusual or striking situation.
William Paley has just returned from Cuba after spending several weeks. He look with him elaborate apparatus for securing a series of moving pictures. These animated reproductions show many interesting scenes which have occurred in the neighborhood of Havana and Key West.
Karl Decker accompanied Mr. Paley in his selection of many subjects and the results are remarkably interesting.The Buccaneer was placed at their disposal so they could go where they pleased.
One of the most striking series of pictures shows the burial of the Maine victims. First cornes the crowd of small colored boys, which precedes any public procession of the South; then follow the nine hearses covered with flowers. At each side walk surviving comrades, with their heads bowed in attitudes of grief. Next come naval officers and marines in imposing array, and lastly a procession of carriages. The whole scene passes before the spectator just as it occurred, and its effect is particularly realistic.
ln lighter vein is a scene of the various newspaper correspondents rushing to file "war copy" at the little telegraph office in Key West. They run down the street at full speed and just at the door there is a good-natured scuffle between those in the lead, which lets in one of those who had been a bit behind in the race. Karl Decker look a carriage for this race and arrived with the Journal copy before the leaders in the foot race.
There are a number of animated pictures of the big battle ships performing their various evolutions in the vicinity of Key West. That of the Iowa getting ready for target practice shows the big ship slowly moving through the water. As she turns, one gets a splendid view of the great guns and the battle ship appears so near that one might almost touch the armor-plated sides. The crew are seen hurrying about the decks getting ready for the target practice.
A pretty scene shows the Buccaneer under full speed, carrying dispatches from Havana to Key West.
The Indiana taking coal shows the big, grimy coal barge at one side and the negroes passing the coal on deck. The Detroit, Cincinnati and other gunboats are shown moving about as if ready to repel Spanish invaders.
The scenes in Havana harbor show the wrecking companies' tugs at work on the Maine and take the spectator through the narrow passage by Morro Castle, under the very walls of the grim Cabanas and up to the side of the Viscaya and Alfonso XII.
Mr. Paley was warned that if he look his photographic apparatus to Havana the Spanish officiais would make him pay dearly for such a reckless proceeding, for they do not desire the Maine and its surroundings reproduced.
When he entered the harbor at Havana the pilot attempted to throw the photographic apparatus overboard. This caused a personal encounter, in which Mr. Paley was victorious. Spanish officers also boarded the yacht and attempted to arrest the photographer. He managed to evade them sufficiently to gel all the important scenes that are worth reproducing in the harbor.
This series of moving pictures give the first adequate idea of what will probably be a scene of battle in the near future. The moving battle ships shown by this method give a better notion of their great size and power than could be obtained by really seeing them unless one had exceptional facilities for getting very close to them.

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New York Journal, New York, samedi 16 avril 1898, p. 11.

En mai, il est à Tampa toujours occupé à filmer les troupes américaines, voire aussi les volontaires cubains. Plusieurs des films déjà tournés à ce moment-là sont présentés par Maguire & Baucus dans The Phonoscope du mois de mai.

The Phonoscope, vol. II, nº 5, mai 1898, p. 6.

Dans les premiers jours de juin, William Paley est toujours à Tampa où il va filmer une série de vues animées. Sur l'une d'elles, 71st New York Volunteers Embarking for Santiago, on y voit les troupes de volontaires américains qui embarquent pour Santiago. Nous sommes le 8 juin et, grâce à une vue de tournage, on aperçoit William Paley et sa caméra.

71st New York Volunteers Embarking for Santiago (Tampa, 8 juin 1898)

"Daddy Paley is filming the boys in blue at Tampa in 1898"
DOWLING, 1917, 122-123

La presse de l'époque, à son tour, confirme la présence de William Paley :

WITH THE TAMPA FLEET
[...]
VITASCOPE GOES WITH THE SHIP
[...]
FROM OUR OWN CORRESPONDENT
JOHN M. MAXWELL.
[...]
Endangered by Storms
The water crossing the gulf stream between here and Cuba is said to be rough, and as the rainy season has begun a smooth passage cannot be expected. A terrific rain and wind storm swept up the west Florida coast last night, and the vessels in the harbor had a rough time of it. One transport was torn from its moorings, but sustained no serious damage.
The famous Bill Paley, who made the Corbett-Fitzsimmons vitascope pictures, is aboard with all his photographic paraphernalia. Bill is armed with credentials from the War department, and proposes to preserve in living pictures all the great events of the war. Thus the home guards, as well as the men at the front, will be enabled to witness many of the stirring scenes which will probably follow the landing of the army in Cuba.

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Chicago Tribune, jeudi 16 juin 1898, p. 2.

Quelques jours plus tard, William Paley est à Daiquiri, non loin de Santiago de Cuba, où il va prendre plusieurs vues cinématographiques dont certaines représentent le transport de munitions par des mules :

He got a lot of good stuff around Baiquiri [sic], where Shafter landed, but didn't get any "action" stuff until that fatal day at Las Quasimas, where the Rough Riders first went into action and where Hamilton Fish, Lieutenant Tiffany and Captain Capron were killed. This fight was in the brush, an ambuscade in fact, and Paley's film showed for the most part but puffs of smoke where the fighting was hottest. He got shots of Wood, Roosevelt and others going into action, but once in the undergrowth it was impossible to follow the men.

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DADDY, 1921: 6.

D'après les témoignages de 1899, il est possible que James H. White, après son tour du monde, ait rejoint, au cours du mois de juin, William Paley. Cela permettrait de comprendre pourquoi les deux hommes semblent présents, en particulier, pendant la bataille de San Juan (1^er juillet) :

Mr. Paley saw Edward Marshall, the New York newspaper correspondent, shot at Las Quasimas, and on July 1, 1898, filmed the first shot fired by Capron’s Battery in the general advance on Santiago. This Captain Capron was the father of the Captain Capron killed at Las Quasimas.
In the attack on San Juan, Grimes’ Battery was just going into action when Paley set up just behind the line to get the effect of the first shot. As he stood ready to crank Grimes saw him and shouted:
“Better get up there in the shade of that sugar mill. We are using black powder, and as soon as we fire the enemy will get our range.”
Paley took the cue and moved. The battery cut loose and was almost immediately answered by the Spaniards. A shell dropped on the exact spot where Paley had been, and at the same time a ball from a sharpshooter’s rifle smashed into his camera box, passing from behind under his left arm and tearing through his coat sleeve. He jammed his finger into the hole until he could chew up some paper and plug it. When developed the film in the box was a bit fogged, but was shown with a sub-title explaining the incident.

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DADDY, 1921: 7.

Pack Mules with Ammunition on the Santiago Trail	"Around the world with a Kinetoscope", Brooklyn Daily Eagle, New York, dimanche 31 décembre 1899, p. 17.

Peu après, William Paley tombe malade de la fièvre jaune et doit être rapatrié. Le steamer Seneca quitte Siboney le 14 juillet :

FATAL FEVER AT NEW YORK
Steamer Seneca Arrives from Santiago with Fourteen Yellow Fever Suspects on Board.
IS HELD AT QUARANTINE.
How the Dreaded Yellow Jack Broke Out in the Army and Some of the Early Victims.
MEN TAKEN TO HOSPITALS.
FROM OUR OWN CORRESPONDENT
JOHN M. MAXWELL.
On Board the United States Steamer Seneca, Hoffman Island Quarantine, N. Y., July 20.-[Special]-The transport Seneca arrived here this morning after a six-days voyage from Siboney, Cuba. Anchor was cast off Hoffman Island and no one was allowed ashore pending the arrival of the health officer of the port.
There are 100 sick and wounded soldiers on board and about half a hundred passengers.
[...]
During the voyage from Siboney we developed seven cases of the fever. William Paley, the vitascope man, is in the worst condition. They were taken off the Seneca this morning.

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The Chicago Daily Tribune, Chicago, jeudi 21 juillet 1898, p. 1.

While still weak with his illness, Daddy Paley was called by Edison to film the land and naval reviews in celebration of the victory and triumphant return of Admiral Dewey and, while there were other cameras on the job, he secured the finest record of the fleet passing Grant's tomb, and got a close-up of the Admiral, who bowed right into the eye of the camera. "The Daddy of Them All", p. 7.

L'intérêt du responsable de l'Eden Musee pour le cinématographe va le conduire à produire, avec Edison, un projet ambitieux : le tournage de la célèbre Passion de la ville bavaroise d'Oberammergau. Il s'agit de profiter du succès obtenur par The Horitz Passion Play, tournée à l'été 1897 en Bohême. Toutefois cette grandiose représentation n'a lieu que tous les dix ans et la prochaine édition n'est prévue que pour 1900. Décision est prise alors d'organiser le tournage de The Passion Play of Oberammergau au Grand Central Palace de New York. La prise de vue est alors confiée à William Paley comme le rapporte Rich Hollaman lui-même :

A Visit and a Chat with Mr. Rich. G. Hollaman, of the Eden Musee.
[...]
“Having given the matter considerable thought and seeing the vast possibilities in ‘The Passion Play’ production, I got into communication with the late Albert Eaves, who was interested with the late Henry E. Abbey in the proposed production of ‘The Passion Play’ at Booth's Theater in 1885. This was the celebrated Salmi Morse version, the rehearsals for which were under his immediate direction in an old church building on the site now occupied by Keith & Proctor’s Twenty-third Street Theater. These rehearsals went on for months, the costumes were all made for the production and at the last minute, almost, the mayor prohibited the performance of this sublime drama that was proposed to take place on the stage of Booth’s Theater, Twenty-third street and Sixth avenue, now occupied by McCreery’s Dry Goods Store.
“Mr. Eaves had all these costumes in storage, as well as the manuscript of the play. We engaged the late Henry C. Vincent, stage manager, to supervise the production, painting the scenery, making the properties, and to secure artists to rehearse the play. I also engaged Mr. William Paley to take the pictures and entered into a contract with Mr. Gilmore and Mr. Edison, of the Edison Manufacturing Company, to print the films.
“I arranged to use the roof of the Grand Central Palace as our stage, and rehearsals were commenced in the first week of November, 1897. It took us six weeks, in all sorts of weather, before the last scene was finished. The Edison Manufacturing Company delivered the first films about a month later and on January 31, 1898, the first production of ‘The Passion Play’ ever seen in this country was produced on the screen in the Winter Garden of the Eden Musee, one week before Mr. Hurd showed his version at Daly’s Theater. This is the story of the first great cinematograph production taken in America.

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The Moving Picture World, vol. 2, nº 8, 22 février 1908, p. 132.

 
"'Daddy' Paley, America's oldest cameraman, making an early film"
Hugh Weir, "The Story of the Motion Picture", McClure Magazine, novembre 1922, p. 83

Il est recensé à New York en 1900.

SHOOTING THE LACHINE RAPIDS
Moving Pictures of a St. Lawrence River Steamer.
In a recent issue of The Montreal Gazette we find an interesting description of a successful attempt to photograph a steamer shooting the Lachine Rapids, River St. Lawrence. The pictures are now being shown by the kalatechnoscope at Manager F. F. Proctor's Theatres in New York, Albany and Montreal. We quote: "William Paley, inventor of the kalatechnoscope, who came to Montreal a few days ago to make moving photographs of the Duke and Duchess of York, made up his mind to take a view of a steamboat coming down the Lachine Rapids before leaving town. He engaged a guide and went In a row-boat to the bite rock, nearest to the point, where the channel makes a sudden turn. He made his first attempt Saturday, but the water was so rough that his pilot failed to land him in time and the journey was so perilous that the pilot refused to attempt the task again on Monday. Mr. Paley had to spend five hours hunting up another man who would undertake the job.
They started out at daybreak reaching their destination after a rough voyage, during which the boat was almost swamped several times. Standing ankle deep in water, on the very edge of the Rapids, Mr. Paley secured a fine picture of the steamer as she swung into the swiftest part of the current. The nature of the task may be better understood when it is known that Mr. Paley is a man of considerable avoirdupois. He weighs 313 1/2 pounds, and it is not to be wondered at that the pilots refused to risk their lives in a small boat with such a heavy cargo.
This is the first moving photograph of a boat shooting the rapids that has ever been taken and Mr. Paley is rightfully elated over the success of his venture. The pictures will be developed by Mr. Paley himself and the result will be shown at Proctor's theatres.Obdensburg News, Ogdensburg, mardi 29 octobre 1901, p. 1.

Il est recensé à New York en 1905.

Dès la fin de l'année 1909 au moins, William Paley participe comme opérateur à des tournages pour le compte de Paul Méliès

Il est recensé à Bexar (Texas) en 1910 alors qu'il est opérateur pour la Star Film de Méliès.

"Melies Stock Company at San Antonio, Tex."
The Film Index, vol. V., 26 février 1910, nº 9, p. 3.

"In the center is one of the early Melies companies on the stage of the Star Film Ranch at san Antonio, Tex. Francis Ford may be discovered behind a hirsute disguise in the center, and seated on the fllor is Dolly Larkin." 
DOWLING, 1917, 122-123.

Il se blesse en mars 1912/1913 alors qu'il travaille pour la Nestor Film Company.

The Los Angeles Times, Los Angeles, dimanche 22 juin 1913, p. 74.

Who Will Help?
Dire Straits of Old Moving Picture Man Call for Immediate Response.
It is a pitiful story of misfortune, privation and sorrow that has been brought to the notice, of the Moving Picture World by Mr. Rich. G. Hollaman concerning that old time moving picture man, William Paley. It will be remembered that Mr. Paley suffered a severe injury to this foot something more than a year ago while employed as a cameraman with a company at Los Angeles. As a result of that accident an amputation was necessary.
When the matter was brought to the attention of the Moving Picture World an effort was made to raise a fund for Mr. Paley's assistance. In this effort the Photoplayers of Los Angeles took an active part and the immediate needs of Mr. Paley and his wife were provided for. Regarding Mr. Paley's present circumstances, Mr. Hollaman's letter offers the best explanation.
New York, December 29, 1913.
"Editor Moving Picture World,
"Dear Sir: I vas much distressed to receive the following lette the day before Christmas. At this season of 'Good Will Toward Man,' I feel that many of your readers who knew the writer in the early days of the business will feel as distressed as I am at the terrible misfortunes that have overcome the old  cameraman, William Paley.
Los Angeles, December 20, 1913-
Mr. Rich. G. Hollaman,
Can you sympathize and assist me to exist and get an artificial leg. I feel the loss of my wife keenly and am almost penniless. Not a signle person has called to see me in my little shack, rent for which is paid for two weeks, then the street or poor house, without I get some assistance. The masons took charge of the funeral. Mrs. P. was taken away from me December 8, when she was taken to the undertakers and I never saw her after. Doctor would not allow me to go; I was broken up and nervously weak, the doctor being afraid I might collapse, fall and hurt the stump of my leg. I don't ask for charity, but sympathy to enable me to exist. Doctor says he can get an artificial leg on me in six weeks. My cup of trouble is full. A position is waiting for me, but without assistance I will not be able to get the leg or exist much longer. One year and ten months my heart has been breaking and my angle has gone after thirty-six years of married life.
WILLIAM PALEY
"Personnally, I have sent money assistance to him, but feel sure there are many wealthy men in the picture business whose heart strings may be touched by the above appeal. Thanking you personally for publishing this letter and hoping for some result to relieve Paley's terrible condition. Yours very truly, 
Rich G. Hollaman.
It would seem that, with all the evidences of prosperity, even opulence, enjoyed by many of the men who knew William Paley and struggled with him in the early days of the motion picture, there might be found some not so deeply involved in schemes for their personal comfort who would be willing to divert a portion of their good fortune for the assistance of an unfortunate member of the craft.
Mr. Hollaman has set an example that is worthy of emulation. The proprietors of the Moving Picture World have also forwarded their contribution. Mr. Paley's address is 380 Patton Street, Los Angeles, Cal. If you would experience the "joy of giving" to the fullest extent, take this opportunity. Contributions sent to the Moving Picture World will be forwarded. Let it be today.
Vitagraph Comes to Paley's Aid.
Since the above item was put in type, word comes that the moving picture people at the Vitagraph Company's plant are taking up a subscription for Mr. Paley, which is expected to reach a considerable sum. The members of the company have headed the list with a substantial donation.
Nicholas Power Contributes.
In a letter to THE MOVING PICTURE WORLD, Mr. Nicholas Power, president of the Nicholas Power Company, writes: "It is my desire to remember my old friend, William Paley, and herein take pleasure in enclosing the Nicholas Power Company's check for one hundred dollars, which I would thank you to place in the fund which, I believe, is being subscribed for his relief." The Moving Picture World,  samedi 10 janvier 1914, p. 179.

Paley was an expert cinema photographer with several inventions in camera experiments. In 1894 he turned out the first camera employed for news, picturing a fight between Billy Edwards and Arthur Chambers (1894). He willed his first camera to the Smithsonian Institute in Washington DC. Paley died following complications after having both his legs amputated.

"William 'Daddy' Paley, technical agent on cameras with National Film Corp. at Hollywood, is credited with turning the first motion picture crank in the world."
Moving Picture News, 17 janvier 1920, p. 902.

W. D. PALEY DEAD
Succumbs at Hollywood-Perfected First News Camera
Los Angeles, June 3.
William D. Paley is dead here, following complications that set in after both his legs had been amputated several years ago. Funeral services were held at his home, Fortest Lawn, Hollywood.

William "Daddy" Paley
DOWLING, 1917, 123.
___
Wiliam Daly Paley was born in Lincolnshire, England, in 1857, and developed into an expert cinema photographer, with many inventions in camera experiments and buildings to his credit. For more than 32 years he followed the cinema art. Thirty years ago he turned out the first camera employed for news, picturing the fight between Billy Edwards and Arthir Chambers, in 1894. He also perfected the first motion picture camera used in war scenes.
He willed his first camera to the Smithsonian Institute in Washington.Variety, 4 juin 1924, p. .

Sources

"Bill Paley, the Kinetoscope Man", The Phonoscope, août 1898, p. 7-8.

DOWLING Paul H. "He's Sixteen Years Ahead of All War Photographers", Photoplay Magazine, vol. XI, nº 4, mars 1917, p. 122-123.

"The Daddy of Them All", The American Cinematographer, 15 octobre 1921, vol. 2, nº 19, p. 6-7.

"William [Daddy] Paley Crosses Great Divide", American Cinematographer, vol. 5, nº 4, juillet 1924, p. 8 et 16-18.

3

1897

The Passion Play of Oberammergau (novembre-décembre)

Corbett-Fitzsimmons

1898

Opera of Martha-Second Act (février)

The Winter Sport of the Students (Yale University)

Burial of the "Maine" Victims (27 mars)

War Correspondents (mars-avril)

N.Y. Journal Despatch Yacht "Buccaneer" (17 mars-8 avril)

Wreck of the Battleship "Maine" (17/03-01 avril 1898)

Morro Castle, Havana Harbor (17/03-01/04/1898)

U.S.S. "Castine" (17/03-08/04/1898)

U.S. Battleship "Iowa" (28/03-01/04/1898)

U.S. Battleship "Indiana" (28/03-01/04/1898)

Cruiser "Cincinnati" (28/03-01/04/1898)

U.S. Cruiser "Nashville" (28/03-08/04/1898)

Cruiser "Detroit" (28/03-08/04/1898)

Flagship "New York" (28/03-08/04/1898)

Cruiser "Marblehead" (02-06/04/1898)

Monitor "Terror" (02-06/04/1898)

Secretary Long and Captain Sigsbee (13/04/1898)

10th U.S. Infantry, 2nd Battalion, Leaving Cars (01/05/1898)

10th U.S. Infantry Disembarking from Cars (01/05/1898)

U.S. Cavalry Supplies Unloading at Tampa, Florida (01/05/1898)

9th U.S. Cavalry Watering Horses (01-13/05/1898)

Battery B Arriving at Camp (29/04-02/05/1898)

Battery B Pitching Camp (29/04-02/05/1898)

Steamer "Mascotte" Arriving at Tampa ([01-03]/05/1898)

Colored Troops Disembarking ([01-03]/05/1898)

9th Infantry Boys' Morning Wash 27/04-13/05/1898

Military Camp at Tampa, Taken from Train (01-13/05/1898)

Transport "Whitney" Leaving Dock (07/05/1898)

Cuban Refugees Waiting for Rations (04-13/05/1898)

The Cuban Refugees Going to Breakfast (04-13/05/1898)

Cuban Volunteers Marching for Rations (04-13/05/1898)

Blanket-Tossing a New Recruit (mai-juin 1898)

Soldiers Washing Disches (mai-juin 1898)

Wagon Supply Train En Route (mai-juin 1898)

9th and 13th U.S. Infantry at Battalion Drill (mai-juin 1898)

Trained Cavalry Horses (mai-juin 1898)

Roosevelt's Rough Riders Embarking for Santiago (8 juin 1898)

Cuban Volunteers Embarking (8 juin 1898)

71st New York Volunteers Embarking for Santiago (8 juin 1898)

Loading Horses on Transport (8 juin 1898)

Transport Ships at Port Tampa (8 juin 1898)

U.S. Troops Landing at Daiquiri, Cuba (22-26 juin 1898)

Mules Swimming Ashore at Daiquiri, Cuba (22-26 juin 1898)

Packing Ammunition on Mules, Cuba (22-26 juin 1898)

Major General Shafter (juin 1898)

Pack Mules with Ammunition on the Santiago Trail (juin-juillet 1898)

Troops Making Military Road in Front of Santiago (22-26 juin 1898)

1901

A steamboat coming down the Lachine Rapids

1910
	Cyclone Pete's Matrimony (Méliès) (7 avril)
	Branding a Thief (Méliès) (14 avril)
	The Newly Born/The First-born (Méliès) (21 avril)
	The Seal of the Church (Melies) (28 avril)
	The Debt Repaid (Méliès) (5 mai)
	Speed Versus Death (Méliès) (12 mai)
	A Rough Night on the Bridge (Méliès) (12 mai)
	A Race for a Bride (Méliès) (19 mai)
	The Paleface Princess (Méliès) (26 mai)
	The Padre's Secret (Méliès) (2 juin)
	Love's C.Q.D. (Méliès) (9 juin)
	A Texas Joke (Méliès) (16 juin)
	The Stranded Actor (Méliès) (23 juin)
	White Doe's Lovers (Méliès) (23 juin)
	The Ruling Passion (Méliès) (30 juin)
	The Little Preacher (Méliès)
	The Golden Secret
	A Postal Substitute
	A Woman in the Case
	Mrs Bargainday's Baby
	Return of Ta-Wa-Wa
	Her Winning Way
	The Romance of Circle Ranch
	Won in the Fifth
	Baseball, That's All
	In the Mission Shadows
	Salt on the Bird's Tail
	A Plucky American Girl
	Billy's Sister
	Out for Mischief
	Uncle Jim
	Under the Strars and Bars
	The Birthday Cigars
	Generous Customers
	A Mountain Wife
	Jos Sergeant's Stripes
	The Cowboys and the Bachelor Girls
	Pals
	What Great Bear Learned
	Old Norris' Gal
	In the Tall Grass Country
1911
	The Crimson Scars
	Fire ! Fire ! Fire !
	The Owner of L. L. Ranch
	Changing Cooks
	How Mary Met the Cowpunchers
	Tony, the Greaser
	Billy and His Pal
	Only a Sister
	In the Hot Lands
	The Snake in the Grass
	The "Schoolmarm" of Coyote County
	Sir Percy and the Punchers
	The Warrant for Red Rube
	Her Faithful Heat
	Jack Mason's Last Deal
	An Unwilling Cowboy
	The Reformation of Jack Robbins
	Mary's Stratagem
	The Spring Round-Up
	The Redemption of Rawhide
	The Immortal Alamo
	In Time for Press
	Her Spoiled Boy
	When the Tables Turned
	The Kiss of Mary Jane
	The Honor of the Flag
	In the Right of Way
	Bessie's Ride
	The Stolen Grey

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