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SYDNEY
Jean-Claude SEGUIN
Sydney est la capitale de la Nouvelle Galles du Sud (Australie).
1894
Le Kinetoscope de J. C. Williamson et des frères MacMahon (148, Pitt Street, 30 novembre-31 décembre 1894) →1895
Dans les derniers jours du mois de décembre, la presse annonce l'arrivée à Sydney du kinetoscope rapporté des États-Unis par J. C. Williamson :
THE KINETOSCOPE.
Edison's latest marvel has arrived in Sydney, and will be on exhibition in a few days. It was decided by the combined companies owning the rights of the kinetoscope mat its introduction to the public should be practically simultaneous through out the world. Mr. J. C. Williamson, during his recent visit to America, secured the Australian rights of this remarkable invention, full particulars of which will very shortly be given to the public. Meanwhile it may be noted that American exchanges are devoting large and exhaustive articles to the exhibitions which are now taking place in America.
The Australian Star, Sydney, samedi 24 novembre 1894, p. 6.
The Sydney Morning Herald, Sydney, samedi 24 novembre 1894, p. 2.
Le salon est ouvert le 20 novembre :
THE KINETOSCOPE.
The Ant day's exhibition of the kinetoscope in Pitt-street attracted a constant stream of visitors, so that, except during yesterday afternoon, when the attendance slackened, the management put through more than 50 persons per hour on the five machines. This latest " marvel of the age " thus shows every sign of permanent popularity.
The Sydney Morning Herald, Sydney, samedi 1er décembre 1894, p. 10.
Le même jour, The Daily Telegraph consacre un très long article au salon du kinetoscope où fonctionnent cinq appareils.
THE KINETOSCOPE.
PHOTOGRAPHY IN MOTION.E DYSON'S LATEST TRIUMPH.The kinetoscope, which the Messrs. M'Mahon have just introduced to Sydney, is another materialisation of Edison's genius. Entering the building in Pitt-street, half a dozen steps above King-street, you see five cabinet-shaped stands. Each is a separate kinetoscope. Glancing through the aperture fixed for the eyes, you have a view of one of the most striking and marvellous novelties that scientific invention has yet produced. Take the first. Miss Anna Belle, of New York, is performing the butterfly dance. Every movement of the limbs, every wave of drapery, are exhibited with absolute exactitude. If you were not already assured that the figure was the handiwork of man, and if it was not so reduced in size, you might be forgiven for imagining for the moment that it was the miniature of a reality. So it is for that matter. The graces of style, the continuity of the dancer's movements, and the most minute flourishes are produced with perfection.Adjoining is a representation of a forge and a blacksmith shoeing a horse. The affect was not so good in this instance yesterday because of the defective light. But there was sufficient to show every detail of the operation. The horse itself, the blacksmith driving on the shoe, and the assistant or the owner, or whatever he may be, whisking files from the animal, are given with the utmost fidelity. Another sketch, whose faithfulness will appeal strongly to the Sydney visitor shows the Colombian wire walker Caicedo, who was at the Lyceum last summer, going through some of his tricks. His peculiar method is exactly depicted. He holds the balancing pole in his hands, he walks along the wire, he turns a somersault, he twists his body round and returns. The whole effect is admirably produced. It is Caicedo just as he was at the Lyceum. There is hardly sufficient opportunity in one view to examine the movements in detail. Indeed, this is inevitable. The scientific process by which a series of photographs impresses itself upon the eye as one continuous pictures renders it impossible. The succession of reproductions is so swift that you have just sufficient time to take in the sketch as a finished illustration, when the darkness closes in and it has vanished.Perhaps the most elaborate and best sketch Is the interior of a barber's shop and the operation of shaving. The customer enters, takes off his coat, gets into a chair; another comes in, picks up the paper and starts a conversation. It is all compressed into a picture which a few square inches would cover. But the procedure is correct and life-like to every trivial inch lent. The new arrival in seen reading his newspaper, cracking his joke, and exchanging traveller's fictions with the rest of the company. There is one episode absent from the photographic representation of the reality. It's Impossible to hear the barber's comments on the last football match, or his inquiries touching the winner of the Derby. It is only when Edison's scientific genius accomplishes this feat that he will be looked upon as a scourge to humanity. The last kinetoscopic reproduction is a cockfight. The two roosters are in the thick of the struggle. A humane person is egging them on to the destruction of each other. The flying limbs, the bristling feathers, the vicious attack, and the destructive repulse are graphically displayed to tho excited spectator. The whole exhibition is certainly worth seeing as much for its novelty as for its scientific worth.
How is all this effect produced in the first instance? you will ask. Mr. Edison has a stage upon which the performances he reproduces are enacted. These performances are recorded by taking a series of 48 photographs in rapid succession, the time occupied in taking them being one second only. Thus every progressive phase of every single action is secured, and the photographs are successively reproduced on a film of celluloid of the length required for recording a given scene. When this film is passed before the eye at the same rate of speed as that at which the photographs were taken, the photographically disjointed parts of a given action are united in one complete whole.
Thus, supposing a person to be photographed taking off his coat — as is done in one case — the successive views representing the phase of action at every 43rd part of a second are joined up, and the complete operation of taking off the coat is presented to the eye as it would appear in reality. In other words, the kinetoscope is a perfect reproduction of living action, without sound. The apparatus in which this reproduction takes place is a cabinet about 4ft. high, 2ft. wide, and 1ft. 9in. deep. It contains the celluloid film band, the apparatus for reconstructing the disjointed views, and an electric motor for driving the apparatus. The chief detail of the mechanism is a flat metal ring having a slot in it, which makes about 2000 resolutions per minute. The film passes rapidly over the ring, beneath which is an electric light. The spectator looks through a lens on to the film, and every action recorded on it passes under his view.
The Daily Telegraph, Sydney, samedi 1er décembre 1894, p. 9.
THE KINETOSCOPE
The Kinetoscope Exhibition in Pitt-street comprises at present the Cock Fight, the Boxing Cats, and Ary Armand's Café Chanson interlude, with other animated subjects. The French comédienne's comic action is essentially Gallic, giving the spectator a vivid idea of the kind of gesture popular with the frequenters of the Boulevards; and all the Kinetoscope subjects furnish food for admiration or mirth.
The Sydney Morning Herald, Sydney, samedi 29 décembre 1894, p. 5.
Répertoire (autres titres): Professor Welton's boxing cats, A new interior of a blacksmith's forge, Sandow the strong man, Armond Ary (The Sydney Morning Herald, Sydney, lundi 10 décembre 1894, p. 6).
→ 1895
1895
← 1894 Le Kinetoscope de J. C. Williamson et des frères McMahon (148, Pitt Street, 1er janvier-[8] février 1895)
Le kinetoscope parlor reste ouvert dès les premiers jours de l'année :
THE KINETOSCOPE.
The Kinetoscope, at 148 Pitt-street, continues daily to reproduce the presentment activity of Caicedo, the wire walker, the great Cock Fight, Armande Ary, the French danseuse, in song and dance, the Blacksmith's Forge, &c, for the amusement of the numerous visitors.
Evening News, Sydney, mardi 1er janvier 1895, p. 6.
Dans les premiers jours de février, on annonce un nouveau spectacle au 148, Pitt Street :
THE HAUNTED SWING
Follows the Kinetoscope shortly in Pitt-st.
The Daily Telegraph, Sydney, vendredi 8 février 1895, p. 2.
Le Kinetoscope des frères MacMahon (Pitt-street, 6-27 juillet 1895)
Le kinetoscope des frères MacMahon retourne sur Pitt-street dans les premiers jours de juillet :
THE KINETOSCOPE.
Edison's maravellous invention, by which the exact reproduction of living figures in actual motion in so strongly made will be exhibited to the public to-day and until further notion in Pitt-street, opposite Tattersall's Club. All the pictures have been changed since this ingenious show was last on view here.
The Sydney Morning Herald, Sydney, samedi 6 juillet 1895, p. 7.
Un autre article évoque le répertoire de vues :
THE KINETOSCOPE.
The Messrs. M'Mahon have brought Edison's clever production, *' The Kinetoscope," back, to Sydney, and opened on Saturday evening in premises adjoining Tattersall's, Pitt-street. The pictures now submitted are nearly all new, and include the famous Spanish dancer, "Carmencita," the "Mexican Duel," the "Sioux Indian War Dance," and a presentment of "Buffalo Bill" in one of his shooting scenes. They are all good, and well worth seeing.
Evening News, Sydney, lundi 8 juillet 1895, p. 3.
La presse commence à annoncer la fin des séances quelques jours plus tard :
THE KINETOSCOPE.
To-day is the last Saturday on which the public will have an opportunity of witnessing the wonderful kinetoscope pictures.
The Sydney Morning Herald, Sydney, samedi 20 juillet 1895, p. 12.
Le dernier jour d'ouverture est prévu pour le 27 juillet :
THE KINETOSCOPE.
The Kinetoscope will be exhibited in Pitt-street, opposite the Lyceum Theatre, for the last time, to-day, arrangements having been made by the Messres. MacMahon for a northern tour with this remarkable invention. To-day, it may be remarked, the Kinetoscope reaches its 96th day of exhibition in Sydney.
The Daily Telegraph, Sydney, samedi 27 juillet 1895, p. 3.
1896
Le Kinetoscope des frères Holland (162 Pitt-street, 27 janvier-[3] février 1896)
Les frères Holland ont ouvert un établissement où ils commercialisent le kinetoscope qui fonctionne au nº 162 de Pitt-street.
The Daily Telegraph, Sydney, lundi 27 janvier 1896, p. 2.
Le Kinetoscope de William James Norman Oldershaw (Edison Electric Parlor/162 Pitt-st, 29 février->13 septembre 1896)
L'Edison Electric Parlor ouvre ses portes en février 1896.
The Sydney Morning Herald, Sydney, samedi 29 février 1896, p. 2.
William James Norman Oldershaw, le nouveau responsable du kinetoscope, installé au nº 162 Pitt-st, propose des vues de vitascope à partir du mois d'août.
The Daily Telegraph, Sydney, samedi 15 août 1896, p. 2.
Les annonces se prolongent jusqu'en septembre.
Le cinématographe de Joseph MacMahon (Criterion Theatre, 27 août 1896)
À la fin du mois d'août, Joseph McMahon présente un appareil cinématographique au Criterion Theatre pour un public d'invités :
THE CINEMATOGRAPHS The marvellous kinetoscope of Edison did not represent the highest point to which photography allied to electricity could attain; the cinematographe, the invention of M. Lumière, a French scientist, puts even Edison's invention in the shade. The kinetoscope is able to present to a limited number of people a living representation in miniature of any scene that is capable of photography. The cinematographe, however, throws its pictures life-size, and perfectly and naturally colored on to a screen. It is, in fact, an application of the limelight lantern to the kinetoscope. Last night, at the invitation of Mr. J. F. MacMahon, a number of press representatives and others were afforded an opportunity at the Criterion Theatre of witnessing the wonders of the new invention. Half a dozen pictures, or rather scenes, were thrown upon the screen. The first represented the execution of Mary Queen of Scots. The ill-fated Queen, accompanied by prison officials and warders, and the grim headsman, seemed to march on to the screen, and the whole of the unhappy tragedy was enacted with vivid resemblance to life. Less tragic, but just as realistic pictures, were then cast upon the screen. Miss Ste. Cyr performed a serpentine dance, all the convolutions of her robe, and the changing effects of light and color, being faithfuly reproduced. Then a bathing scene, a sword encounter, and other pictures were displayed to prove the capability of the machine to perfectly illustrate the incidents of life. Mr. MacMahon intends shortly to introduce the cinematographe to the general public.
The Daily Telegraph, Sydney, vendredi 28 août 1896, p. 3.
Un autre article offre des informations complémentaires sur cette séance privée :
THE CINEMATOGRAPHE.
An Up-to-Date Novelty.
A private view was last night afforded by Mr. J. M’Mahon, at the Criterion Theatre, of the cinematographe, truly described as one of the scientific marvels of the age. The invention is somewhat on the lines of the kinetoscope, consisting of a lantern, from which are thrown upon a screen images of small photographs magnified several hundred times their original size. As in the kinetoscope, one beholds all the characteristics of actual moving life, the realism with which the pictures are reproduced being something to marvel at. The film upon which the views are in the first instance taken by instantaneous photography is between 20 and 30ft. long, by about 1in. in width, and by means of the driving mechanism the image are projected at a rate sufficiently fast to give one continuous unbroken picture. Perhaps the most perfect of the half-dozen or so scenes shown last night was that of a danseuse, whose intricate movements in the course of a skirt dance were reproduced with astonishing fidelity. Another very effective representation was one pourtaying the execution of Mary Queen of; Scots, the tragic incidents of which were enacted with a remarkable resemblance to life. Altogether the cinématographe is a veritable triumph of mechanical skill, and its advent here will no doubt cause the sensation that followed its introduction in London. Mr. Joseph M’Mahon, under whose direction last night's private view was given, intends to exhibit the cinématographe in public on an early date.
The Australian Star, Sydney, vendredi 28 août 1896, p. 3.
Le Cinématographe Lumière de Marius Sestier (Lyceum Theatre, 18 septembre 1896)
À peine Marius Sestier a-t-il posé le pied en Australie qu'il propose une projection privée au Lyceum Theatre :
LUMIERE'S CINEMATOGRAPHE.
M. Marius Sestier arrived in Sydney last week direct from Paris to exhibit in Australia the French Cinematographe, invented by the Messrs. Lumière. A successful private exhibition of the machine was given at the Lyceum Theatre last Friday, and shortly a public demonstration of its power will be made. The Lumière invention is the one which has been drawing crowds at the Empire Theatre, London, and elsewhere.
The Sydney Morning Herald, Sydney, mardi 22 septembre 1896, p. 6.
S'il souhaite pouvoir organiser des séances le plus vite possible, les annonces qu'il fait passer dans la presse montre qu'il ne dispose pas alors d'une salle libre.
The Sydney Morning Herald, Sydney, mardi 22 septembre 1896, p. 2.
Le Cinématographe de Carl Hertz (Tivoli Theatre, 19 septembre-[16] octobre 1896)
En provenance de Melbourne, Carl Hertz inaugure ses projections au Tivoli :
The Sydney Morning Herald, Sydney, samedi 19 septembre 1896, p. 2.
At the Tivoli on Saturday night the " Cinematographe " was worked by Carl Hertz, and the highly successful exhibition of live pictures created a sensation. The invention is worked after the manner of a magic lantern, and throws photo-like and life-sized views on to a screen. Nearly a dozen pictures were shown, and all were loudly applauded, but the most popular were two London street scenes, the sea breaking on rocks and beach, an opera, and a burlesque of Trilby. Each of these had to be shown again in response to the vociferous demand of the delighted crowd. Of the series shown the Westminster Bridge one will be the most popular. the pedestrians, horses and vehicles are dearly delineated, and the fact that an elderly man turned his head round proved a source of great merriment. In Melbourne the onlookers used to whistle immediately before "daddy" looked round, and then followed a roar of laughter from the crowd. All the illustrations were shown without any kitch, There was one view of the Strand, London, an Oriental dance, a skirt dance, a Highlander and lassie dancing a fling, a racecourse scene, a female acrobat and a boxing match, in which the combatants moved leisurely. The most humorous was the hugging of a girl by a soldier, While the couple are billing and cooing on a seat a burly and elderly woman squats on the sent, and the young woman is engaged in shoving off the interloper when the picture ends. In response to the appeal of the audience Carl Hertz appeared on the stage and returned thanks for the approbation accorded the marvellous invention. He announced that he would to-night give his " Vanity Fair Entertainment." Miss Florrie Forde sang with much success a budget of serio-comics, and the others in the bill are Misses Rae Cowan, Emmie Morrison, Alma Gray, Hope Nation, Messrs. Pope, Sayles, Chas. Cogill, Tom Queen, Chas. Howard, S. J. Austin, Provo, H. Shine and the Durhams.
The Australian Star, Sydney, lundi 21 septembre 1896, p. 3.
Les séances se poursuivent au cours du mois de septembre :
TIVOLI THEATRE.
This afternoon and evening there will be a varied programme at the Tivoli Theatre, in which the new Cinematographe, introduced by Mr. Carl Hertz, will figure prominently. These animated pictures have decidedly "caught on" at the Tivoli Theatre, where, too, Mr. Hertz's extraordinary illusion, "Vanity Fair," in which Mdlle D'Alton assists, is deservedly popular Miss Florrie Forde will sing new serio-comic numbers, the Durhams will contribute new duets, and Mr Harry Shine will introduce new character songs. Mons. Provo, Messrs. Pope and Sayles, Mr. Chas. Cogill, Miss Emmie Morrison, Little Alma Gray, and other favourites will contribute to the programme.
The Sydney Morning Herald, Sydney, Samedi 26 septembre 1896, p. 10.
Les séances se prolongent jusqu'à la mi-octobre :
TIVOLI THEATRE
Carl Hertz and his Cinematographe are billed here for only three more nights, consequently the opportunity should be seized to view the new pictures which have been introduced. One of these shows Persimmon winning the Derby, and opinion was unanimous that it was excellent. Mr. Hertz has another illusion on hand, entitled "After the Flood," which is another example of his skill. From an apparently empty box he draws forth pigeons, cats, a dos, a pig, fowls, ducks and finally, taking the box to pieces, discloses Mdlle. D'Alton to view. How he does it is as incomprehensible as Freetrade, Jamieson's Raid, or the nonconformist conscience. Besides Hertz there are La Belle Maie, a very charming serpentine dancer and wire-walker; Amy Dewhurst, a top-boot dancer; also Florrie Forde, Alma Grey, Nina Osborne, Harry Shine, Pope and Sayles, and Chas. W. Cogill.
Referee, Sydney, mercredi 14 octobre 1896, p. 7.
Répertoire (autres titres): The Oxford and Cambridge Boat Race, A Military Review, Niagara Falls, Trained Cats (The Sydney Morning Herald, Sydney, samedi 3 octobre 1896, p. 10), The Great Niagara Falls, The Village Blacksmith, Review of the Troops, An Interrupted Game of Cards, Negro Plantation Scene, A Famous Danseuse, The Vendetta, Serpentine Dance (by a Dog) (The Sydney Morning Herald, Sydney, samedi 3 octobre 1896, p 2).
Le Cinématographe Lumière de Marius Sestier (Lyceum Theatre, 26 septembre 1896)
Sydney. Pitt-street c. 1892-1893.
[Le Lyceum Theatre est à droite].
Marius Sestier organise, au Lyceum Theatre, le samedi 26 septembre dans l'après-midi une nouvelle séance privée pour un public d'invités comme le rapporte The Sydney Morning Herald où sont évoqués un certain nombre de titres du répertoire :
LUMIERE'S CINEMATOGRAPHE
M. Marius Sestier, the sole Australian representative of the famous Lumiere invention, gave a special invitation exhibition of this wonderful scientific toy at the Lyceum Theatre on Saturday afternoon. The new and perfected machine from the Lumiere factory at Paris presented within a gigantic richly moulded frame a remarkable series of animated tableaux from real life. A more interesting exhibition could not well be imagined. The large audience applauded every scene with delight, but in summing up the attractions of this fascinating show the place of honour must be accorded to those pictures that had the magic power of the famous table cloth in the "Arabian Nights," which translated those who stood upon it to foreign land. The military scenes in particular, took the spectators into a novel environment. How little we see in this part of the world of the pomp and precision of military manœuvres, or of their dread significance in countries whose armies may at any time be placed upon a war-footing, was demonstrated by three splendidly dramatic tableaux showing troops in motion. A squadron of French Cuirassiers, the figures life-size, the plumes of their glittering helmets waving in the wind, manoeuvred in the open fields. There were the glossy horses champing their bits as they wheeled into line, and the martial riders pricking their steeds to the sticking point as the serried ranks filed by. Now and again some unexpected movement of an unruly horse or a gesture of command from some officer would bring home to the audience that the whole effect was from life. Then the 96th Regiment of French Infantry appeared swinging along a country road, with valises strapped on shoulder, and all in "marching order," as the drums and bugles marked the ceaseless tramp of a thousand feet. As the mounted ensign bearing the colours swept proudly past, he shook the tri-colour aloft, the breeze caught the fluttering silk, and the French people amongst the audience burst into a spontaneous cheer of patrotic delight, which stirred every heart. However, these scenes were fully equalled by the one showing the morning parade of the Guards, in London. The soldiers might have been either Grenadier or Coldstream Guards, the absence of colour in the picture rendering it impossible to say whether the brushes in the bearskins were white or red; but at any rate the troops were evidently in Old Palace Yard, St. James's. The splendour of the accoutrements, and the astonishing accuracy with which the line was "dressed," brought vividly home to many of the audience the matchless precision with which these crack regiments of the British Army learn to march. Australian militiamen should not fail to see this picture. Another popular tableau showed workmen demolishing a wall. When the supports were at lost hewed away, and the wall fell, a little boy amongst the audience summed-up the general impression by screaming out "I never saw such a dust in my life!"-and laughter was mingled with the applause. The arrival of the Cologne Express in which the train ran straight towards the foot-lights and then appeared to glide slowly round upon a curve, whilst porters opened and closed doors, and passengers passed in and out, also took the fancy of the audience ; as did "cyclists and equestrians in Hyde Park," “Sea and Rocks," the "Hat Trick," "Baby's Dinner, "Baby's Quarrel," "Battle of Roses," and other scenes. Mr. W. J. Rice conducted the Lyceum orchestra in appropriate selections and at the close M. Sestier was loudly applauded. From to-day M. Sestier will exhibit the Lumiere cinematographe several times daily in premises nearly opposite the Lyceum Theatre.
The Sydney Morning Herald, Sydney, lundi 28 septembre 1896, p. 3.
Un autre article offre quelques informations complémentaires :
LUMIERE'S CINEMATOGRAPHE.
On Saturday afternoon at the Lyceum Theatre a private exhibition was given of the clnematographe, the invention of M. Auguste Lumiere, the renowned French photographer, and, perhaps, the greatest authority in the world on instantaneous photography. The exhibition consisted of 20 views, which were projected on a screen. In each tableau, 950 pictures following each other in the phenomenal time of 50 seconds, the result being that the figures on the screen moved and had their being as in real life. Among the other views shown were remarkably vivid and realistic pictures of cyclists and equestrians at Hyde Park, London, a boxing contest, a train drawing into a crowded station, the evolutions of a body of cavalry, and other equally interesting subjects. The exhibition was attended with the greatest success, and it will be open to the public at 237 Pitt-street to-day, and thereafter, under the direction of M. Marius Sestier. It may be mentioned that this is the only cinematographe of M. Lumiere's invention in Australia.
The Daily Telegraph, Sydney, lundi 28 septembre 1896, p. 6.
Le Cinématographe Lumière de Marius Sestier (Salon Lumière/237 Pitt-Street, 28 septembre-27 octobre 1896)
Pitt St at Lyceum Theatre [and Tattersall's Hotel. [le 237 de la rue Pitt-street est sur la gauche de la rue.]
Source: the collections of the State Library of New South Wales [DL PX 163, 68] (Dixson Library)
Finalement, Marius Sestier trouve une salle pour présenter au public le cinématographe Lumière :
LUMIERE'S CINEMATOGRAPHE.
A. Lumiere Cinematographe, just arrived from Paris, consigned to M. Marius Lestier [sic], will be on exhibition in premises facing the Lyceum Theatre on Monday. A display of animated tableaux will be given this afternoon at the theatre.
Evening News, Sydney, samedi 26 septembre 1896, p. 4.
Cette annonce est reprise par d'autres organes de presse :
LUMIERE'S CINEMATOGRAPHE.
M. Marius Sistier [sic], who has arrived from Paris with a cinematographe from the Lumiere manufactory, is to exhibit it on and after Monday next, at 237 Pitt-street, nearly opposite the Lyceum, where rooms have been specially fitted up. It will be on view daily from 1.30 p.m. to 9.30 p.m. This afternoon M. Sistier [sic] will give an invitation exhibition of 20 pictures at the Lyceum.
The Daily Telegraph, Sydney, samedi 26 septembre 1896, p. 11.
The Sydney Morning Herald, Sydney, jeudi 24 septembre 1896, p. 2.
Le lendemain de la première un compte rendu est publié dans la presse locale :
AMUSEMENTS.
LUMIERE'S CINEMATOGRAPHE.
A cinematographe apparatus, from the famous Parisian factory of Lumiere, the inventor, has been fitted up at 237 Pitt-street (near Market-street), where a series of these astounding progressive pictures was exhibited yesterday afternoon and evening to a large number of visitors. The cinematographe, as many people are aware, is what might be called an enlarged and glorified kinetoscope. One set of views thrown on to a large screen shows in less than a minute a moving, seemingly living picture of action. At the factory, for example, when work is over for the day, here are hundreds of operatives crowding out — boys mounting bicycles and riding off, girls bidding each other good-bye and darting out of view, men slouching away like so many village blacksmiths whose tasks have been begun and done, and so on. A regiment of Cuirassiers wheel into line, and ride away in a broad brave parade; the band of the Guards comes into view, and passes out of it, to give place to the men of the regiment and a curious crowd of followers respectively; two babies perform a short drama, in which the emotions of the young people who wouldn't play in each other's yards are depicted with lifelike reality; and an express train whirling in and disgorging its freight, a trio of old hands at cards, a company of boys bathing, and ever so many other incidents are among the subjects which are illustrated. The possibilities of illustration, however, are inexhaustible. It is intended to use much local material in this respect, so that one may look forward to seeing the departure of an ocean liner, the exciting scenes in football or cricket matches, and other picturesque and exciting incidents, reproduced as naturally as in actual existence. Exhibitions will be given daily between the hours of 1.30 and 9.30 p.m.
The Daily Telegraph, Sydney, mardi 29 septembre 1896, p. 6.
Les séances qui ont lieu d'une heure et demie de l'après-midi à neuf heures et demi du soir comporte une douzaine de vues animées :
The cinematographe, which is being shown at 237 Pitt-street, nearly opposite the Lyceum Theatre, is attracting a great deal of attention. The machine is the only authorised one of the kind in Australia. Two programmes of 12 living pictures are presented alternately throughout the day from 1.30 p.m. to half-past 9.
The Australian Star, Sydney, jeudi 1er octobre 1896, p. 6.
À cette même date, une première annonce signale que Marius Sestier a trouvé un collaborateur en la personne du photographe Henry Walter Barnett.
The Sydney Morning Herald, Sydney, jeudi 1er octobre 1896, p. 2.
Par la suite, vient s'ajouter le nom de Westmacott comme gestionnaire. Ce dernier a laissé des mémoires dans lesquelles il évoque, de façon assez approximative, cette collaboration :
ONE of my early ventures into the lists of management had to do with the first display of moving pictures in Australia. The original machine - a Lumiere, was sent to this country by Pathe Freres [sic] in '95 [sic]. There were twelve pictures, each running to about 100 feet. J. C. Williamson had secured the outfit with a view to showing it in his forth coming Melbourne panto, "Matsa." The opening, however, was six weeks away, and J.C.W., always anxious to turn an honest penny, invited myself and Barnett, founder of Falk studios, to come in with him a preliminary Sydney season. The "big Boss" hadn't a vacant place of his own to show in, d'yo hen. Barnett and I rented a shop somewhere about where the Film House now stands. We put in Austrian chairs and engaged a small band with music specially arranged by Hazon, leading conductor of the day. We projected from what was really the shop window, and the admission charge was a bob.Williamson as machine holder took half the profits, and at the end of a hectic flickering month Barnett and I emerged with £100 apiece for our chop. The show ran at half hour intervals from midday until six o'clock.
Vers la mi-octobre, il est déjà question de la fin des séances.
The Australian Star, Sydney, samedi 17 octobre 1896,p. 1.
Vers la fin du mois, la presse annonce le prochain départ de Marius Sestier et de son cinématographe :
THE LUMIERE CINEMATOGRAPHE.
Messrs. Westmacott's and Barnett's exhibition of the Lumiere Cinematographe, which has been attracting crowds of visitors during the week, can only he produced for a few nights more, as Mons. Marius Sestier has to complete other important engagements. Those who have not yet seen the living pictures should not fail to take advantage of this opportunity.
Evening News, Sydney, samedi 24 octobre 1896, p. 5.
Peu après, la dernière séance a lieu :
THE FRENCH CINEMATOGRAPHE.
This being the last day of the exhibition by M. Sestier of the French Cinématographe the management announces that the hours of entertainment will be changed at the Salon Lumière. The exhibition will begin at 1 o'clock and the tableaux will be shown continuously until 5 o'clock, and again from 7 p.m. throughout the evening.
The Sydney Morning Herald, Sydney, mardi 27 octobre 1896, p. 6.
Evening News, Sydney, mardi 27 octobre 1896, p. 1.
THE FRENCH CINEMATOGRAPHE.
The closing day of the French cinematographe at the Salon Lumiere was marked by crowded audiences at every performance. After the day's work was ended M. Sestier exhibited the first tableau from a local subject yet made in Australia. Mr. H.W. Barnett (of Falk's) had joined M. Sestier in preparing the films, and a fine picture of the crowd disembarking from a Manly boat at Manly was the result. Afterwards the health of Messrs. Sestier and Barnett was toasted in acknowledgment of their artistic work, when the latter announced that a whole series of Australian scenes was in preparation, and that both at the Paris and London halls M. Lumiere would exhibit these pictures, and would thus put Sydney and Melbourne in touch with the great capitals named in a manner which could never have been approached but for the invention of this marvellous machine.
The Sydney Morning Herald, Sydney, mercredi 28 octobre 1896, p. 8.
Répertoire (autres titres): The exit of employees from the Lumière factory in Paris, The arrival of horsemen and lady bicyclists in Hyde Park. London, The movements of military troops (The Sydney Morning Herald, Sydney, samedi 3 octobre 1896, p. 10), Mr. Lumiere's factory, A Game of ecarte (The Daily Telegraph, Sydney, samedi 3 octobre 1896, p. 3).
The Vitascope de W. J. N. Oldershaw (Edison Electric Parlour/162 Pitt-street, 10 octobre-31 décembre 1896) → 1897
L'Edison Electric Parlour annonce des projections cinématographiques avec un Vitascope au début du mois d'octobre :
The Sydney Morning Herald, Sydney, samedi 3 octobre 1896, p. 2.
Au début du mois de novembre, on annonce l'arrivée d'un nouvel appareil :
The Edison Electric Parlor, 162 Pitt-street, is now exhibiting the Cinematographe, pending the arrival of the latest Edison Vitascope. On Monday there will be exhibitions day and evening.
The Daily Telegraph, Sydney, samedi 7 novembre 1896, p. 10.
Les séances se prolongent jusqu'à la fin de l'année :
THE VITASCOPE
At the invitation of Mr. W. J. N. Oldershaw, manager for the Australian Edison Electric Company, a large gathering assembled at the rooms, 162 Pitt-street, yesterday afternoon to witness an exhibition of the Vitascope, an invention by the great Edison. The Vltascope is what the Australian public are now familiar with under the name of the Cinematographe, but the appliance under notice claims to be that which first emanated from the brain of the American Inventor. The scenes thrown on the screen yesterday were all American, and represented "The Graceful Annabelle" in a serpentine dance, Sea Waves on the Rocks, Highland Dancing, Trick Bicycle Riding by Lee Richardson; Broadway and Post-office, New York; "Shooting the Chutes" at Coney Island; "The Widow's Kiss," by Miss May Irwin and Mr. John Rice; Fountain in Central Park, New York; Rockaway Bathing, Corbett and Courtenay in combat, a Japanese Dance; and Amy Muller, a famous too dancer, who presented a perfectly colored picture. The views were not so distinct as might have been desired yesterday, but that will probably be rectified. A most enjoyable feature of the entertainment was the phonograph, which filled in the intervals between the pictures with comic and sentimental songs, band selections, and instrumental solos. The Vltascope will be on view dally.
The Daily Telegraph, Sydney, vendredi 25 décembre 1896... p. 6.
→ 1897
Le Chronophotographe Demenÿ de James MacMahon (Salon Cinématographe/ 237 Pitt-street, 31 octobre-31 décembre 1896) → 1897
Sydney. Pitt-street c. 1892-1893.
[Le numéro 237 est situé en face du Lyceum Theatre].
James MacMahon, de retour d'Europe, dispose d'un chronophotographe Demenÿ récemment acheté à Paris :
A NEW CINEMATOGRAPHE.
The well-known theatrical manager, Mr. James MacMahon, returned from a flying trip to Europe on Saturday by the R.M.S. Arcadia. One of the objects of his visit was to secure the very latest machines for the production of animated photographs, which, as the cinematograph, are exciting such interest just now all over the world. For the better achievement of his purpose Mr. MacMahon visited all the principal cities of the Continent, and finally secured In Paris the instrument of M. Deminy [sic], a French inventor. Mr. MacMahon has the machine with him, together with a large number of novel and interesting subjects. He has furthermore been able to procure the necessary apparatus and blank films for taking and reproducing local subjects, and intends beginning with the Melbourne Cup. The Instrument is said to be one of the most elaborate and perfect up to date, and up to the time of Mr. Mac-Mahon's leaving London (September 11) had not been exhibited there, not withstanding its great vogue in Paris.
The Daily Telegraph, Sydney, lundi 26 octobre 1896, p. 6.
L'inauguration des séances est annoncée pour le 31 octobre :
The Salon Cinematographe at 237- Pitt-street will open on Monday afternoon. The great success which attended the Lumiere Cinematographe during the time it was at the same place has induced the proprietors to secure another machine, and the exhibitions will be given afternoon and evening throughout the week. Among the pictures to be shown are a scene from the "Milk White Flag," played, by the Chinatown Company at the Princess Theatre, Melbourne, the Coronation of the Czar, the boatrace, the German Emperor opening the Kiel Canal, Persimmon winning the Derby, skirt dance in coloured dresses, review of troops by the German Emperor, the boxing kangaroo, and a wide variety of other subjects.
The Australian Star, Sydney, samedi 31 octobre 1896, p. 5.
Quelques jours plus tard, James MacMahon va organiser les projections :
Evening News, Sydney, vendredi 30 octobre 1896, p. 1.
Finalement, l'inauguration est repoussée au lundi 2 novembre, puis au samedi 7 novembre :
THE CINEMATOGRAPHE.
Mr James MacMahon, having returned from Paris with one of the latest and most improved Cinematographes, announces in another column that he has completed arrangements for the exhibition of a splendid series of animated tableaux. The first exhibition will take place to-morrow at the Salon Cinematographe, 237 Pitt-Street (nearly opposite the Lyceum Theatre), the doors of which will be opened at 11 am. The exhibitions will be continued thenceforward at intervals until 10 p.m. daily.
The Sydney Morning Herald, Sydney, vendredi 6 novembre 1896, p. 5.
The Sydney Morning Herald, Sydney, vendredi 6 novembre 1896, p. 2.
Peu après, la presse évoque quelques titres :
Mr. James Macmahon has opened a Salon Cinematograph in Pitt-street, nearly opposite the Lyceum Theatre. Among the pictures shown is a Serpentine Dance by Loie Fuller. It is a marvellously realistic picture, and the color effects are wonderful. Other pictures shown are "Living Statuary," "The Royal Artillery," "Animals at the Zoo," and many others, including an amusing one which shows everybody walking backwards in the Avenue de l'Opera, Paris. The exhibition is open daily from 11.30 till 10 p.m.
Sunday Times, Sydney, dimanche 8 novembre 1896, p. 7.
THE CINEMATOGRAPHE.
The new Cinematographe brought from Paris by Mr. James MacMahon, was successfully opened at the Salon Cinematographe (nearly opposite the Lyceum Theatre) shortly before noon on Saturday. Throughout the day there were large attendances, and with the exception: of "The Avenue de l’Opera Going Backwards," which at first refused· to go either backwards of forwards, the whole exhibition went without a hitch. In place of the refractory film a representation of a duel between French swordswomen was substituted. One advantage which this Cinematographe has is that the pictures are shown for a longer period than usual. This was especially noticeable in "The Arrival of the Paris Train," in which the train stopped, passengers went in and out; the signal for starting was given, and the carriages again left the railway station, before darkness eclipsed the scene. The audience also waxed enthusiastic over the procession of animals at the French Zoo. The amuse the children all kinds of weird beasties, ranging from ostriches to buffaloes, had been harnessed in pairs, whilst at the rear marched an enormous elephant, whose ponderous tread was clearly burlesqued by the Salon orchestra. One of the charms of the Cinematographe is that it brings home to the audience the daily life of foreign cities. This phase was illustrated by " The Stefan Platz, Vienna," in which the gaily-moving carriages and the busy throngs who foot it day by day in front of Vienna Cathedral, were vividly portrayed. "The Waves at Dieppe," Living Statuary," “'Batteries of Royal Artillery," and "La Loie Fuller," were all displayed in turn. Miss Fuller’s serpentine dance was beautifully depicted in colours, all the limelight effects being reproduced, and the applause was enthusiastic. The new Cinematographe will be on view all day until further notice at the hours quoted in another column.
The Sydney Morning Herald, Sydney, 9 novembre 1896, p. 3.
Les séances se prolongent en décembre avec de nouvelles vues animées :
SALON CINEMATOGRAPH.
Mr. James M'Mahon announces that besides the pictures which have been shown during the past four weeks some novel additions will be exhibited. Those include "The French Quadrille," "On the Beach at Dieppe," "La Loie Fuller," the famous serpentine dancer. "The French Quadrille" is a representation of the famous dancers of the Moulin Rouge. The exhibitions are given at short intervals, from 11.30 am., at the Salon, 237 Pitt-street, nearly opposite the Lyceum Theatre.
Sunday Times, Sydney, dimanche 6 décembre 1896, p. 2.
The Salon Cinematographe in Pitt-street has been giving extra exhibitions during the past few days, in order to cope with the crowds of visitors; but Mr. McMahon will not keep the place open under any circumstances on Christmas Day.
The Daily Telegraph, Sydney, vendredi 25 décembre 1896, p. 5.
Répertoire (autres titres) : The Milk White Flag, Boxing matches, Persimmon winning the Derby, The German Emperor at the opening of the Kiel Canal, The Boxing Kangaroo, A colored skirt-dance, A Cock-fight, The Coronation of the Czar (The Daily Telegraph, Sydney, samedi 31 octobre 1896, p. 10), Leçon d'équitation, Avenue de l'Opera Going Backwards, The Procession of elephants and camels at the French Zoo (Les Jardins d'Acclimatisation), The Traffic in front of Vienna Cathedral, The Waves at Dieppe, Various examples of living statuary, A coloured picture showing Loie Fuller dancing under the changing lights (The Sydney Morning Herald, Sydney, samedi 7 novembre 1896, p. 9), The Arrival of Li Hung Chang in Paris last August, [The Arrival] of President Faure at Longchamps for the Grand Prix, A Military Steeplechase by the Royal Dragoons (The Daily Telegraph, Sydney, samedi 21 novembre 1896, p. 12), The realistic production of Madagascar natives bathinhg in the Seine (Evening News, Sydney, lundi 23 novembre 1896, p. 3), A lady juggling, La Foie Fuller (The Daily Telegraph, Sydney, samedi 12 décembre 1896, p. 10), La Pomme (The Daily Telegraph, Sydney, lundi 14 décembre 1896, p. 6).
→ 1897
Le Cinématographe Lumière de Marius Sestier (Criterion Theatre, 24 novembre-8 décembre 1896)
Waiting for matinee. Criterion Theatre. Sydney. c. 1920.
Après un séjour à Melbourne, le Cinématographe Lumière de Marius Sestier annonce des projections animées au Criterion Theatre :
LUMIERE'S CINEMATOGRAPHE.
Messrs. Sestier and H. W. Barnett, who. have just completed a successful season in Melbourne, announce that they will instal Lumiere's Cinemotographe [sic] at the Criterion Theatre on Tuesday next. The series of views will include several of the recent Melbourne Cup meeting, showing the finish, the weighing-in after the race, and the arrival and departure of the Vice-regal party.
Evening News, Sydney, samedi 21 novembre 1896, p. 3.
The Australian Star, Sydney, samedi 21 novembre 1896, p. 1.
Le jour de l'inauguration des vues locales sont annoncées dont celles de la Melbourne Cup :
Marius Sestier propose des projections animées avec son Cinématographe Lumière :
CRITERION THEATRE.
The Lumiere Cinematograph, under the direction of Messrs. Sestier and Barnett, continues on its merry course. The Australian pictures are keenly appreciated, and the frequent appearance in them of Mr. Barnett, who seems to be manipulating the crowd after the manner of some great general, is not without its effect on those amongst the audience who recognise him. The 3 o'clock exhibition yesterday afternoon was under vice-regal patronage, when some thirty tableaux were shown. At each ordinary exhibition six pictures of Flemington Racecourse on Cup Day are shown, as well as ten on other subjects. The show is open at intervals from 1.30 p.m. to 9 p.m.
Owing to the production of "The Mikado" during the coming week, and subsequent arrangements, the Lumiere Cinematograph will on Wednesday next be shifted to premises at 457 George-street, opposite the new Markets.
Sunday Times, Sydney, dimanche 6 décembre 1896, p. 2.
La dernière a lieu le mardi 8 décembre :
THE LUMIERE CINEMATOGRAPHE.
In consequence of the Criterion Theatre being let for other purposes, Messrs. Marius Sestier and Walter Barnett will give the last exhibitions of Lumiere's Cinematographe at that playhouse to-day. To mark the occasion 30 pictures will be shown at 3 o'clock and at 8.30 p.m., being the same series put up for the visit of the Governor and Lady Hampden on Saturday. To-morrow night the exhibition will be removed to 478 George-street, near the Royal Arcade.
The Sydney Morning Herald, Sydney, mardi 8 décembre 1896, p. 5.
Répertoire (autres titres): Leçon d'équitation, Avenue de L'Opera Going Backwards, The procession of elephants and camels at the French Zoo (Les Jardins d'Acclimatation), The traffic in front of Vienna Cathedral, The waves at Dieppe, Various examples of living statuary, A coloured picture showing Loie Fuller dancing under the changing lights (The Sydney Morning Herald, Sydney, samedi 7 novembre 1896, p. 9).
Le Cinématographe Lumière de Marius Sestier et H. Walter Barnett (478 George-street/près de Royal Arcade, 9-31 décembre 1896) → 1897
Les séances qui ont dû s'interrompre au Criterion Theatre reprennent au 478 George-Street. C'est toujours Marius Sestier qui s'occupe de ce nouveau poste :
THE LUMIERE CINEMATOGRAPHE.
In consequence of the Criterion Theatre being let for other purposes, Messrs. Marius Sestier and Walter Barnett will give the last exhibitions of Lumiere's Cinematographe at that playhouse to-day. To mark the occasion 30 pictures will be shown at 3 o'clock and at 8.30 p.m., being the same series put up for the visit of the Governor and Lady Hampden on Saturday. To-morrow night the exhibition will be removed to 478 George-street, near the Royal Arcade.
The Sydney Morning Herald, Sydney, mardi 8 décembre 1896, p. 5.
THE LUMIERE CINEMATOGRAPHE.
The Lumiere Cinematographe was unfortunately obliged to leave the Criterion in consequence of that theatre having been engaged for other performances. M. Marius Sestier, who is in charge of the machine, has, however, been able to secure commodious premises at 478 George-street, near the Royal Arcade, and opposite the new Markets, and here, every afternoon and evening, he is exhibiting animated photographs of wonderful beauty and interest. The Lumiere Cinematographe keeps pace with the times, and is now showing the marriage cortege of Princess Maud in London, the Czar and Czarina, accompanied by President Faure, in Paris, Algerian Rifles ("Turcos") escorting the Czar in Paris, the Czarina's return from the Russian Church in Paris, and Chasseurs escorting the Czar. These pictures give a vivid idea of the splendors of the festivities during the visit of the Russian Royalties to the French capital, and were received with delight and applause at each performance. But the French scenes by no means exhaust the series. There are the Melbourne Cup events, together with the evolutions of artillery in the Victoria Barracks, Sydney, and numerous other pictures, embracing such diversified scenes as cuirassiers rallying, parade of the 96th Regiment, outside the Empire Theatre, London, arrival in a gondola at Venice, a Javanese dance, and arrival of the s.s. Brighton at Manly.
The Daily Telegraph, Sydney, lundi 14 décembre 1896, p. 6.
C'est vers cette époque que Marius Sestier reçoit un deuxième cinématographe destiné au Theatre Royal d'Adelaide dont le directeur est Wybert Reeve. Il va donc confier le poste de Sydney à son associé H. W. Barnett qui devient le responsable des projections à ce moment-là. Pour les fêtes de fin d'année, un programme spécial est annoncé :
Messrs. Sestier and Barnett are preparing a special programme for the Salon Lumiere at 473 George-street, during the Christmas holiday. In addition to the visit of the Czar to Paris, and the marriage of the Princess Maud, there is the ever-popular series of Melbourne Cup pictures, illustrating that classic event from the arrival of the train at the Hill platform to the pinning of the blue ribbon round Newhaven's neck by Lady Brassey.
Sunday Times, Sydney, dimanche 20 décembre 1896, p. 2.
Un nouvel article évoque également des vues nouvelles :
THE LUMIERE CINEMATOGRAPHE.
The Lumiere cinematographe which now has its habitation in George-street, attracted crowds of visitors on Saturday, both afternoon and evening. The management of this undertaking know the utility of giving their patrons changes of programme, and with their local views they appeal to the knowledge of local people. Passengers leaving the s.s. Brighton at Manly, and George-street, near the General Post-office, with the traffic in full movement, appeals to the sympathies of Sydney people, who know the surroundings. The visit of the Czar of Russia to Paris a little while ago is well illustrated, and people sec the scenes as they actually occurred with all their animation. Of no less interest is the marriage cortege of Princess Maud in London and some Continental scenes. This mode of displaying the new photography is far from out living its popularity, and the management of the Lumiere cinematographe, by keeping their entertainment up to date, diversifying the character of their pictures, and catering for the likings of people generally, intend to deserve their share of patronage.
The Daily Telegraph, Sydney, lundi 21 décembre 1896, p. 6.
Un système de ventilation permet d'améliorer le confort des spectateurs :
LUMIERE CINEMATOGRAPHE.
Messrs. Sestier and Barnett are still exhibiting animated pictures by the Lumiere' Cinematographe at 478 George-street, opposite the new markets. They announce that the premises in which the pictures are exhibited have been specially ventilated for the comfort and convenience of visitors. New pictures are introduced from time to time, and the programme presented is changed occasionally.
Evening News, Sydney, samedi 26 décembre 1896, p. 3.
Les séances se prolongent jusqu'à la fin de l'année.
Répertoire (autres titres) : The Czar in Paris. The festivities in the French capital, The marriage of Princess Maude (The Sydney Morning Herald, Sydney, samedi 12 décembre 1896, p. 12), The Algerian Rifles escorting the Czar in Paris, The Czarina'a return from the Russian Church in Paris (Evening News, Sydney, lundi 14 décembre 1896, p. 3), Feeding Tigers at the London Zoo (The Sydney Morning Herald, Sydney, samedi 19 décembre 1896, p. 12), An unexpected bath, Arrival of Calais express, The Czar and Czarina, accompangied by President F. Faure. Paris, Algerian Rifles, "Turcos" escorting the Czar through Paris, Baby's dinner, Newhaven in his quarters, Post Office Sydney from George-street, N.S.W. Artillery defiling, The rustic forge, Lightning change artist, Pussy's dinner, Charge of the 7th Cuirassiers, Baby's quarrel, Arrival in Gondola, Beautiful Venice, A Javanese dance, Passengers leaving steamer Brighton. Manly, Sadding paddock before the Cup race, Finish of the Hurdle Race. Cup day, Daylight robbery on the raft with bathers (Evening News, Sydney, samedi 19 décembre 1896, p. 3).
→ 1897
L'Up-to-date cinematograph d'Ellis et Mack (420 George-street, 28-30 décembre 1896)→ 1897
À la fin du mois de décembre, un cinématographe s'installe au nº 420 de George-street.
The Sydney Morning Herald, Sydney, lundi 28 décembre 1896, p. 2.
Les séances se prolongent jusqu'à la fin du mois.
→ 1897
Le Cinématographe Pipon-Pressecq de Mr. Perier (fin 1896)
Albert J. Périer, dans ses souvenirs, évoque le Cinographoscope qu'il achète vers la fin de l'année 1896 :
lt was not until towards the end of the year 1896 that the kinematograph itself came to Sydney. Three machines for the projection of kinematograph films were landed by three different people in Sydney. Probably the first one to arrive was one imported by Mr Perier himself, in his capacity as manager for Messrs. Baker and Rouse, and Mr G. Neymark. This instrument was a projector manufactured by A.J. Pipon, of Paris. As the whole stock of films sent with it consisted of only 12 subjects, the owners awaited further supplies before making a public exhibition.
[...]
In the meantime the Pipon machine was taken to Melbourne, and a salon was opened in Collins-street.
The Sydney Morning Herald, Sydney, vendredi 9 juin 1922, p. 9.
1897
← 1896 The Vitascope de W. J. N. Oldershaw (Edison Electric Parlour/162 Pitt-street, 1er janvier-31 décembre 1897) → 1898
← 1896
Les séances cinématographiques reprennent dès le début de l'année dans le salon de W. J. N. Oldershaw :
EDISON ELECTRIC PARLOUR.
The chief attraction at the Edison Electric Parlour (Pitt-street, near King-street) is Edison's Vitascope, for which Mr. W.J.N. Oldershaw has secured a series of new and beautiful pictures. The Vitascope is practically identical with the French Cinematographe.
The Sydney Morning Herald, Sydney, samedi 2 janvier 1897, ,p. 4.
Le salon reste ouvert au cours des semaines suivantes :
THE CINEMATOGRAPHES.
THE EDISON ELECTRIC PARLOR.
Mr. Oldersbaw reports good business at the Edison Electric Parlor in Pitt-street, of which he is the manager. Here we have the klnetoscope, the phonograph, the kinetophone, the fluoroscope, the x-ray apparatus, and last but by no means least, Edison's latest invention, the vitascope or cinematographe. In connection with the latter, a large number of new pictures — "life-sized, living pictures, reproducing scenes from real life" — were shown for the first time on Saturday. Worthy of special mention amongst these are "The Black Diamond Express— trial trip, "Whirlpool Rapids Below Niagara," "The Burning Stable," "Buffalo Horse Market," and "Mounted Police— Charge!" The reproduction of the first act of the "Milk White Flag," as recently played in Sydney, is also a welcome item; whilst amongst the new colored pictures that of "Lucile Sturgis," one of America's most famous dancers, can scarcely fail to become popular.
The Daily Telegraph, Sydney, lundi 15 mars 1897, p. 6.
À partir du mois de mai, un kinetoscope fonctionne dans le local :
At Edison's Electric Parlour, Pitt-street (opposite the Strand) in addition to Edison's Vitascope, with its vivid view of the Niagara Rapids, a concert phonograph, the kinetoscope showing a Corbett fight, and other attractions are on view.
The Sydney Morning Herald, Sydney, samedi 8 mai 1897, p. 10.
Les annonces continuent à être publiées dans les mois qui suivent :
At Edison's Electric Parlour, Pitt-street, Mr. Oldershaw is exhibiting fresh tableaux in the Vitascope, by which excellent results are obtained.
The Sydney Morning Herald, Sydney, samedi 5 juin 1897, p. 10.
Des projections ont encore lieu à l'automne :
At the Edison Electric Parlor, 162 King-street, cinematographes, kinetoscopes, and various other ingenious inventions are on view, and for sale, daily.
The Daily Telegraph, Sydney, samedi 23 octobre 1897, p. 11.
Les projections se poursuivent jusqu'à la fin de l'année :
The Edison Electric Parlor, which combines cinematographs, vitascopes, Rontgen rays, etc., will also be open all day at 162 Pitt-street.
The Daily Telegraph, Sydney, vendredi 24 décembre 1897, p. 5.
→ 1898
← 1896 Le Chronophotographe Demenÿ de James MacMahon (Salon Cinématographe/ 237 Pitt-street, 1er janvier->8 mai 1897)
← 1896
Dès le début de l'année, les séances se prolongent au Salon Cinématographe de James McMahon :
At the Salon Cinemarographe to-day special gala exhibitions will be given at frequent intervals. The popularity of the Cinematographe may be gathered from the fact that up to date 85,000 people are claimed to have visited Mr. McMahon's salon.
The Australian Star, Sydney, vendredi 1er janvier 1897, p. 3.
La presse annonce l'arrivée de nouvelles vues :
THE SALON CINEMATOGRAPHE
Additional Views.
With the arrival of additional pictures Mr. James M'Mahon, of the Salon Cinematographe, is able to present an unusually interesting programme. Yesterday afternoon about 200 ladies and gentlemen assembled at the salon at the invitation of Mr. M'Mahon to attend a private view of new pictures just to hand by the R.M.S. Oceana. About 20 sets of pictures were exhibited, each subject coming out excellently on the canvas. A striking reproduction is " The Wave," representing a seashore with tho rollers breaking on the rocks. Another series of views reproduces portion of the great motor-car race between Paris and Bordeaux, the place represented being the Porte Maillot. The crowd cheering as tho cars pass by, and the cyclists moving in and out amongst the people, give the pictures all the animation of the scene in real life. Another picture shows a steamer proceeding down the Seine from Paris. The visit of the Czar to Paris forms the subject of one of the collection, the particular portion of the function shown being a procession of troops escorting the Czar along the Rue de Rivoli. Numerous other subjects are treated in an equally effective manner.
The Australian Star, Sydney, samedi 9 janvier 1897, p. 5.
Le journaliste de The Sydney Mail and New South Wales Advertiser évoque la qualité des opérateurs européens :
At the Salon Cinématographe in Pitt-street the machine is also showing new pictures selected from the numbers we described as having arrived last week. These also are the best Mr. MacMahon has had. They are more varied, of greater interest, and of greater mechanical excellence than former shipments. It is evident that the operators in Europe are acquiring greater skill in the new conditions, and it requires great skill to successfully take pictures of cinematographic reproduction. The street scenes are usually a speciality of this salon, and the new ones are particularly good, but best of all is the panorama of the Seine banks, taken from a rapidly moving steamer.
The Sydney Mail and New South Wales Advertiser, Sydney, samedi 23 janvier 1897, p. 170.
Les séances se prolongent pendant des semaines :
At the Salon Cinematographe Mr. J. P. MacMahon announces that his show is now in its seventh month. The popularity of the Salon (nearly opposite the Lyceum Theatre is based upon frequent changes of the animated tableaux.
The Sydney Morning Herald, Sydney, samedi 8 mai 1897, p. 10.
Répertoire (autres titres) : La Pomme (The Sydney Morning Herald, Sydney, samedi 2 janvier 18987, p. 4), Riding lesson, A pas deux, The galloping of the Royal Artillery, The French ship La Normande leaving for New York, The arrival of Li Hung Chang in France, Living statuary, A glimpse of Vienna, Butterfly dance by La Foie Fuller (The Sydney Morning Herald, Sydney, samedi 9 janvier 1897, p. 10), The River Seine, taken on board a moving steamer, A graceful ballet dancer performing in the Paris Opera House, Various street in Vienna, A clever juggler with a ball (Australian Town and Country Journal, Sydney, samedi 16 janvier 1897, p. 35), The fountains at Versailles (The Daily Telegraph, Sydney, jeudi 21 janvier 1897, p. 6).
← 1896 Le Cinématographe Lumière d'H. W. Barnett (478 George-street/près de Royal Arcade, 1er janvier-6 mars 1897)
← 1896
Les séances du Cinématographe Lumière, confié à H. W. Barnett, reprennent dès le début du mois de janvier :
THE LUMIERE CINEMATOGRAPHE.
The LumIere Clnematographe at 478 George-street has been a special attraction during the holidays. The management presents a fine collection of 24 pictures. Including such Interesting subjects as Piccadilly Circus, champion high divers, plunging, cuirassiers (boot and saddle) jumping practice, 26th Prussian Dragoons, and views of other scenes of life, which are reproduced with striking success.
The Australian Star, Sydney, samedi 9 janvier 1897, p. 5.
Le cinématographe Lumière offre une séance de bienfaisance à la mi-janvier :
Cinématographe Lumière.-M. Marius Sestier, seul représentant pour l'Australie du Cinématographe Lumière a donné, jeudi dernier, sous le patronage de M. Biard d'Amet, consul général de France, et au profit de la Société française de Bienfaisance et de la Bibliothèque française de Sydney, une représentation qui avait attiré de bonne heure, un public nombreux. Le programme contenait 20 sujets différents qui, grâce à la perfection de l'appareil Lumière ont tous été admirablement reproduite et ont excité de chaleureux applaudissements. Dans le nombre de ces scènes de la vie réelle nous avons. particulièrement remarqué:
Le Czar et la Czarine se rendant au sacre, le défilé des chefs asiatiques de l'escorte, le Czar et la Czarine en France, le défilé du 96e régiment de ligne. Les trois numéros comprenant le boute-selle, la mêlée et la charge par le 7e cuirassier sont une merveille.
Tous les numéros du programme sont du reste rendus avec une vérité saisissante, mais plus particulièrement la querelle des bébés et le défilé des turcos de l'escorte du Czar. Le clou de la soirée a été sans contredit la scène de la baignade indiquée dans le programme sous le titre de Bain de Diam à Milan. On y voit des baigneurs se lançant de tremplins élevés et plongeant dans un bassin dont l'eau rejaillit; jusque là tout est naturel, mais peu après, on voit ces mêmes plongeurs surgir de l'eau et à l'aide d'un saut périlleux gigantesque retomber debout sur les mêmes tremplins pour plonger de nouveau. II y a là un true qui n'est pas expliqué mais fort ingénieux que nous engageons nos lecteurs et nos lectrices à aller voir.
Le montant de la recette de la soirée a été remise par M. Sestier à M. Michaut, trésorier de la Société française de Bienfaisance.
Le Courrier Australien, Sydney, samedi 16 janvier 1897, p. 3.
Les dernières séances ont lieu au début du mois de mars :
THE LUMIERE.
The last exhibitions of the Lumiere cinematographe were given on Saturday. As a fitting close to a season which has been of some length and characterised by a more than ordinary measure of success, the best pictures from amongst au extensive collection were shown. To say that the last exhibitions of the Lumiere on Saturday were as greatly appreciated as the first were many months ago is but giving scant justice.
The Daily Telegraph, Sydney, lundi 8 mars 1897, p. 6.
Répertoire (autres titres) : Piccadilly Circus, "Boot and Saddle Cuirassiers," Champion High-Diving Contest, Plungers, Jumpiing Pratice 26th Prussian Draggons (The Australian Star, Sydney, samedi 9 janvier 1897, p. 1).
← 1896 L'Up-to-date Cinematograph d'Ellis et Mack (420 George-street, 1er-27janvier 1897)
← 1896
Les séances du cinématographe d'Ellis et Mack reprennent dès le début de l'année.
The Daily Telegraph, Sydney, vendredi 1er janvier 1897, p. 2.
Un bref article donne quelques informations complémentaires :
UP-TO-DATE.
The Up-to-Date Cinematographe has settled right down at 420, George-street, four doors from the Strand Arcade ; and judging by the crowds that have flocked down the stairs into the cool basement Where it operates, Messrs Ellis and Mack are getting a worthy share of the patronage that seems to follow the kino as surely as 48 hours follow the average bummer's drunk. The list of pictures is a long and soul-satisfying one, and it will repay those who have not yet patronised the Up-to-Date to begin doing so right now, and keep on doing it.
Truth, Sydney, dimanche 3 janvier 1897, p. 2.
Grâce à un nouvel article, nous connaissons quelques titres du répertoire :
THE UP-TO-DATE CINEMATOGRAPHS.
Just a few doors from the Strand-arcade, la George-street, down a cool basement, is the location of the Up-to-date Cinematographe. The proprietors have over a score of views to delight their patrons, and one set in particular, a representation of a number of washerwomen at work, exhibits a very homely scene, not devoid of humor. It depicts the ladies of the tub varying their toilsome occupation with a little practical joking. The dentist's chair is not one which would be taken as a subject for humor, but the artist in this picture manages to extract some fun from it. Several dances are among the repetoire of Messrs.Ellis and Mack, the proprietors of the instrument. Some happy hits are made in the choice of subjects generally.
The Daily Telegraph, Sydney, lundi 11 janvier 1897, p. 6.
Le cinématographe fonctionne encore quelques jours plus tard et propose plusieurs titres nouveaux :
ELLIS AND MACK'S CINEMATOGRAPHE.
Messrs. Ellis and Mack are now exhibiting a series of twenty-seven animated pictures in a salon situated in the basement of 420 George-street, four doors from the Strand Arcade. Among, the pictures shown are views of an operating dentist, and one of a party of washerwomen, which are said to be most realistic representations. The exhibition is open from 11 a.m. till 9.30 p.m.
Evening News, Sydney, samedi 23 janvier 1897, p. 2.
La dernière annonce est publiée peu après :
MESSRS. ELLIS AND MACK'S ClNEMATOGRAPHE.
To escape from the hot and dusty streets to a cool basement is in itself a great boon in this scorching weather, and Messrs. Ellis and Mack have therefore shown great prescience in locating their new and Improved cinematographs on the Basement floor of 420 George-street, where it is delightfully cool on the hottest of days. The show was well patronised yesterday.
The Daily Telegraph, Sydney, mercredi 27 janvier 1897, p. 6.
Le Cinematographe (The Crown Studios Cinematographs/George-street, <26 avril->8 mai 1897, p. 3)
Un cinématographe installé sur George-street propose des vues animées :
The Crown Studios Cinemtographs, George-street, seven doors from the General Post Office, is now showing "Feeding the Doves," "The Alarm of Fire in New York," "The Gaiety Girl's Dance," and other favourite pictures. The Rontgen X rays are shown, and many useful and amusing scientific inventions.
The Sydney Morning Herald, Sydney, lundi 26 avril 1897, p. 3.
Les séances se prolongent en mai :
At the Crown Studios Cinematographe and Rontgen X Ray exhibition the new pictures illustrate some of the most beautiful aspects of the Niagara Falls, and in addition nine other tableaux are shown at every entertainment.
The Sydney Morning Herald, Sydney, samedi 8 mai 1897, p. 10.
Le Biograph (Palace Theatre, 21 août->27 septembre 1897)
C'est à la fin du mois d'août que le Palace Theatre accueille un Biograph destiné à présenter un programme de vues animées :
PALACE THEATRE
The Palace Theatre will be opened to-night by the Biograph Vaudeville Company. The Biograph is the name of a remarkable invention which presents living pictures with striking vividness. It was exhibited on Saturday night to a considerable number of pressmen who freely bestowed applause as scene after scene of excellent character was presented. The feature of this series of views is their magnitude, and next comes the fidelity with which natural scenes are reproduced. The Biographe is especially well adapted for the representation of such natural wonders as the Niagara Falls, the distinctive charms of which are volumes of water flowing everlastingly. Another object which is an example of magnitude and makes a capital picture in the Biographe is the United States battleship Massachusetts, a warship in which Americans naturally take much pride. Another scene which is of an excellent kind is that which presents the United States express tram darting along at a speed of 60 miles an hour. Of military subjects there are several. These include a 10-inch breechloading disappearing gun, which is loaded and fired in the presence of the audience Domestic scenes of the humorous abound in the collection. " Why Papa can’t Sleep " is one which is bound to make an audience merry whenever it may be shown " The Typewriter " is another which is equally mirth-provoking. " The Pillow Battle, " the " Kitten's Bath," and " Still Waters Run Deep,” are all scenes which give rise to much hilarity. The " Blanket Court-martial " is also a highly amusing scene " Shooting the Shoot " is an American pastime which introduces as an element the sensational. A flat-bottomed boat laden with pleasure-seekers is released from a slide, whence it makes a rapid descent into a lake, across the surface of which it skims with great celerity. Among other noteworthy pictures presented were those which show fire-engines off to a fire, and some of the latest examples of horseless carriages. A " fire-scene at Jefferson's stables " and "a Square in New York " may also b singled out as being very clever reproductions of natural scenes.
The Sydney Morning Herald, Sydney, lundi 23 août 1897, p. 3.
Les séances se poursuivent au cours des semaines suivantes :
The Biograph pictures were, of course, a feature of the show. A really droll presentment was "The Piccaninny's Bath," in which an unwilling negro boy is vigorously handled by a presumably fond but all too powerful mother. The series included "A Stable on Fire,'' "Saharet,"' the high-kicking dancer; "Niagara," and the 'New York Fire Department responding to an alarm."
Evening Sydney, Sydney, lundi 27 septembre 1897, p. 3.
*Le Cinématographe Lumière de Georges Boivin
Dans les premiers jours de décembre, un article publié dans The Sydney Morning Herarld annonce la prochaine présentation de nouvelles vues grâce au cinématographe Lumière de Georges Boivin :
LUMIERE'S CINEMATOGRAPHE.
After a successful tour of Australia, which proved especially successful in Queensland, Lumiere's Cinematographe is again in Sydney, the management having secured promises in Pitt-street, adjoining Her Majesty's Theatre. M. Boivin, who directs affairs with Mr Pearce as manager, has neatly fitted up the new place of exhibition, formerly occupied by the Civil Service Stores, so that fresh air is pumped into the room through packed ice, whilst as the reflection is thrown from behind through the transparent screen instead of from the front, as is usually the case, there is more room available, and about one hundred and twenty persons can be comfortably seated. A particularly fine series of new tableaux is being exhibited. Special mention should be made of the excellent picture of Queen Margherita and King Umberto, of Italy, as they descend the steps of the Quirinal and enter their carriage. The aides-de-camp and great officers of the household low the royal personages to their carriage in great style, giving the Australian visitor a glimpse of the court etiquette which made Shakespeare's Harry of England exclaim satirically, "O, be sick, great greatness, and bid thy ceremony give thee cure!" This is not the only tableau which illustrates the pomp attendant upon the great ones of the earth. There is a remarkably clear view of the Queen seated in her carriage of state on Jubilee Day, another showing the guard at Buckingham Palace being relieved to the strains of martial music, and the Royal Guards before the palace at Madrid The Spanish cavalry is superbly mounted, but the artillery trains are drawn by mules. An interesting panorama, taken from a moving train, of the barren country near Jerusalem, the arrival of an Italian express train, London on foggy afternoon, and a score of other first-rate subjects are being exhibited throughout the day.
The Sydney Morning Herald, Sydney, jeudi 2 décembre 1897, p. 5.
On ignore si les séances ont réellement eu lieu.
1898
← 1897 The Vitascope de W. J. N. Oldershaw (Edison Electric Parlour/162 Pitt-street, 1er janvier-5 mars 1898)
← 1897
Les séances organisées à l'Edison Electric Parlour de W. J. N. Oldershaw reprennent dès les premiers jours de janvier :
EDISON ELECTIC PARLOR.
Where Edison's inventions are shown, there will always be novelties, ans this is the case at the Edison Electric Parlor in Pitt-street. Not to mention the Vitascope or Cinematographe, there are talking machines, otherwise phonographs, in great variety, kinetoscopes, and half a score other wonder-working appliances.
The Daily Telegraph, Sydney, lundi 3 janvier 1898, p. 6.
The Sydney Morning Herald, Sydney, samedi 5 février 1898, p. 2.
Une dernière annonce est publiée en mars où l'on peut voir que l'entreprise recherche des voyageurs de commerce pour ses affaires.
The Daily Telegraph, Sydney, samedi 5 mars 1898, p. 16.
1899
Le cinématographe de James Moodie (Century Hall, 9 octobre 1899)
James Moodie donne une séance privée de cinématographie au Century Hall :
ANIMATED PHOTOGRAPHY.
THE PASSION PLAY OF OBER-AMMERGAU.
Mr James Moodie gave a private view of cinematograph films, in the Centenary Hall, on Monday, representing the life and passion of Jesus Christ as portrayed in the Passion play of Ober-Ammergau. The series embraced 13 views, opening with the scene inside the crib, the Virgin watching near the infant Jesus. Some of the most remarkable incidents in the divine drama of the Redemption were shown, including the flight into Egypt, the entry into Jerusalem, betrayal by Judas, the resurrection of Lazarus, the Holy Supper, arrest of Jesus Christ, the scourging, the crown of thorns, the crucifixion, Calvary, the burial of Christ and the resurrection. The representations were justly considered a marvel of the photographic art, so natural that they appeared before the vision with the vividness of a dream, and left an indelible impression on the mind. There was an absence of the hurried motions usually noticed in cinematographe views. The slowest gesture of the actor was harmonious with one's conception of the original. The Rev. W. G. Taylor, at the request of Mr. Moodie, made a few descriptive remarks regarding the action of the drama, the solemnity of which was accompanied with suitable organ music. At the conclusion a number of light and interesting pictures of animated photography were shown. Messrs. Baker and Rouse manipulated the cinematographe.
The Sydney Morning Herald, Sydney, mercredi 11 octobre 1899, p. 10.
1900
Le Bioscope de la Warwick Trading Company (<10> mars 1900)
Les vues de la guerre des Boers de la Warwick prises par Bennett Stanford :
THE WAR BIOSCOPE.
Films From the Field of Battle.
Animated Pictures From the Seat of War.
Animated photography has achieved another remarkable triumph. For the first time in human experience photographs have been taken at the seat of battle which are capable of being reproduced by the cinematographe.
The Warwick Trading Company, the proprietors of a new and portable form of biograph camera, have received from members of their war staff in South Africa their first consignment of films.
The camera with which these pictures were taken is very little larger than an ordinary full plate machine, though it is, of course, much more complicated. It consists of a powerful lens attached to an ordinary camera. Behind the camera is fixed a box of machinery. Two steel drums hold the films, which are wound upon them in lengths of several hundred feet. Before the films is a revolving shutter which is worked by a handle. This shutter whirls so rapidly that it can easily take eight pictures in a second. The same movement which animates the shutter also revolves the drums by a clockwork arrangement.
The bioscope is so portable that one camera with its tripod can be carried on a bicycle, and a pack mule can carry three or four.
The photographs have been taken by special war correspondents now in South Africa. When a scene, a battle, or manoeuvres has been decided upon the operator sets his machine In position and commences to take the pictures.
The strips of film, which measure 100ft. in length, and sometimes considerably more, are afterwards packed in light-proof round tins, which remind one of nothing so much as an ordinary two-ounce tobacco-box. A dozen or two of these tins are then carefully packed in a larger tin, also light-proof, and the whole is sent by post to the factory in England, where the films are developed.
A representative of the "Dally Mail" was shown one of these tins which has a curious history. It bears upon its side the words, written in violet-coloured pencil, "Opened under martial law," and beneath, the signature, in initials, of the censor at Capetown.
It seems that this box, which contained some interesting and unique films, was opened by the censor, and many feet of film were spolied by being exposed to the light. "Martial law" is thus responsible for the loss to the British public, of some exceedingly interesting pictures.
However, most of the large consignments that the Warwick Company have received from the front have arrived intact. The first rights of the pictures have been secured by Olympia. Many of the best films have been taken by Mr. Bennett Stanford, who is a millionaire with a strong love of adventure, who has chosen to see the war as the head of the bioscope war staff.
The pictures are interesting and novel. One can see the armoured train rushing rapidly by, with the muzzles of guns projecting from its side. The train consists of only two carriages.
One of the most vivid and striking pictures of the series, and also one of the most successful bioscope films ever taken, shows the Lancers under the Earl of Airlie fording the Modder River on their return from the Enslin engagement. Another extremely fine film depicts the hospital corps on the battlefield after the Modder River fight picking up the dead and wounded. The rapidity of movement is remarkable, and the celerity with which a wounded man is picked up and driven away in the ambulance is a great compliment to the skill and energy of the Ambulance Corps.
The Australian Star, Sydney, samedi 10 mars 1900, p. 9.
1901
Le bioscope de la Warwick Trading Company (Tivoli Theatre, <27> mai 1901)
Au Tivoli Theatre, un bioscope offre des vues animées en mai :
TIVOLI THEATRE.
The latest attraction at the Tivoli Theatre is the American bioscope, the latest issued by the Warwick Trading Company. The views were excellent, and they were exhibited almost without the usual "flicker." A series of pictures representing an electric tram running into Hongkong, and several scenes in the busiest parts of London were especially interesting, while some ingeniously comical scenes provoked roars of laughter. The films must be classed among the best ever exhibited here. The bioscope was exhibited under the superintendence of Mr. James Taylor specially engaged by Mr. Harry Rickards. Mr. Frank Latona, the clever and comical musical tramps, and Mr Austin Rudd especially contributed largely to the success of the entertainment in which the Leonards, Rosie Aquinaldo, and Mdlle. Sarina, Madame Cordelia, Miss Nita-Clarke Leete, Messrs Billy M'Clain, Wallace, Crane, Lawton, and La Mert also had a prominent share.
The Daily Telegraph, Sydney, lundi 27 mai 1901, p. 3.
