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- Création : 25 mars 2015
- Mis à jour : 6 juin 2024
- Publication : 25 mars 2015
NEW YORK
Jean-Claude SEGUIN
New York est une ville de l'état de New York (États-Unis).
1894
Le Kinetoscope (1155 Broadway, [14] avril->20 mai 1894)
The Sun, New York, dimanche 20 mai 1894, p. 10.
The latest of Wizard Edison's Invention, the kinetoscope, is on exhibition at 1.155 Broadway. Although the apparatus is to a considerable extent a resemblance to a toy that has long been a favorite with children, it has new features, and illustrates principles In photography, optical illusions, and electricity that render it of interest. Mr. Edison has succeeded in constructing a machine which brings a series of photographs before the eye with such great rapidity that the eye cannot detect the change from one photograph to the next. This produces the effect of lifelike action in the series of views. Ten views are now on exhibition. The first shows Sandow, the strong, performing his feats. Then there is a scene in a barber shop, in which a customer takes his place in a chair and the barber shaves him in regular style. Bertoldi, the contortionist, whose photograph is not more than an inch in length, gives one of her difficult exhibitions. There are a wrestling contest, a rooster fight, a Highland dance, an organ grinder with monkey, three blacksmiths at a forge, and a gymnast in a flying ring exercise. It may be said that the rooster fight is the most exciting of the views, but It Is more edifying to the men and boys than to the women and girl who visit the kinetoscope. Three blacksmiths at the forge are very lively in their movements, it being evident that they are impressed with the importance of striking while the iron is hot. They are thirsty after the iron is shaped, and each in turn takes a drink from a bottle in a manner amusing to the spectator Although the kinetoscope is far from being a perfect machine, it combines principles which Mr. Edison may greatly improve in the near future. The name of the machine is not an invention of the "Wizard." It is in the dictionary.
The Sun, New York, vendredi 25 mai 1984, p 2.
Le kinetoscope (Nassau Street near Fulton, <18> août 1894)
Un kinetoscope fonctionne sur Nassau Street :
The kinetoscope has caught the popular fancy, and I must confess being attracted towards it, in common with many people in New York, and it draws me like a load stone to a magnet. They are becoming more popular than any of Edison's other inventions for amusement, and while I made mention of this great invention last week. I can not refrain from again advising you to uncork your spare nickels and blow them in," to be exceedingly slangy, on the very first kinetoscope you see. There is one on Nassau Street near Fulton, which gives six rounds of a fight between two well known bullies, and looking at each round in this wonderful little machine, every motion is faithfully and truly portrayed. There is another kinetoscope up on Broadway near 29th Street, where the exhibition is more refined, and such things as a Highland dance, a performer on a wire. Sandows performance, and a skirt dance are well worth the money asked to see these figures as full of life, apparently, as if they were present.
JOHNSTON.
Poughkeepsie Eagle-News, Poughkeepsie, samedi 18 août 1894, p. 2.
→ 1895
Le kinetoscope parlor (457 Fulton St., [16] août->12 septembre 1894)
En août, un kinetoscope parlor ouvre ses portes sur Fulton Stress :
EDISON'S KINETOSCOPE.
Pictures of Moving Object to be Seen In the Wonderful Machine.
Edison's latest, and perhaps in many respects most wonderful invention, the Kinetoscope, is now on exhibition in this city at No. 457 Fulton street. The instrument presents to the watcher e perfect moving picture, or to be more explicit, a perfect picture of objects in motion. Not a movement is lost; the record of the scene is absolute.
Five scenes are displayed by Messrs. Maguire and Baucus, the South American agents of the machine. New scenes will be introduced each week. The visitor peers down into the first of the three oak boxes and sees Bertoldi, the contortionist, going through one of her acts at Koster & Bials'. The next scene is a Bowery barber shop, where the process of shaving and hair cutting is going on. Annabelle in the serpentine dance and Carmencita in her popular set are also exhibited. Perhaps the most perfect in its detail and the best adapted to the machine is the scene in a blacksmith's shop. The sparks from the anvil and the smoke from the forge are as distinct as life. The smiths forge a bolt while the visitor looks on.
As the readers of THE CITIZEN are aware, the effect of objects in motion is obtained by a series of photographs so rapidly revolved that it appears but a single picture. There are 700 of these pictures on a revolving strip of celluloid ninety feet in length. The machine is run by electricity. Mr. Edison says that he can photograph Niagara Falls so that it will be possible to produce a perfect picture of that sheet of moving water in the kinetoscope. A complete picture of Mike Leonard knocking out Jack Cushing will be ready in a few week.
The Brooklyn Citizen, Brooklyn, jeudi 16 août 1894, p. 4.
Times Union, Brooklyn, jeudi 23 août 1894, p. 5.
La presse évoque cette installation :
THE KINETOSCOPE.
This interesting, amusing and remarkable invention of Mr. Edison's is now on exhibition at 457 Fulton street. One may see a horse shod, a man shaved and a woman execute a serpentine dance, and Carmencita twirl and a contortionist flex herself and a couple of game cocks fight. The impression is wonderfully like that of the figure in action, that it is hard to believe that it is produced by the rapid run of a strip of pictures.
The Brooklyn Daily Eagle, Brooklyn, dimanche 26 août 1894, p. 5.
Le kinetoscope parlor compte 5 appareils :
The wizard of Menlo Park has outdone himself in his latest production, the Kinetoscope. Five machines are now on exhibition at 457 Fulton street. Five new subjects have been put in for this week.
The Brooklyn Citizen, Brooklyn, dimanche 2 septembre 1894, p. 3.
1895
← 1894 Le Kinetoscope (1er->1er janvier 1895)
Le kinetoscope parlor reste ouvert dès le début de l'année et accueille, en février, l'Encyclopedia Britannica :
The Encyclopedia Britannica
[...]
To afford ample room to examine this great work, we have opened temporary reading rooms at 457 Fulton St, at Edison Kinetoscope Parlors, where all are invited to call.
The Brooklyn Daily Eagle, Brooklyn, jeudi 7 février 1895, p. 3.
Le Pantoptikon des Latham (35, Frankfort Street, 21 avril 1895)
Depuis quelque mois, les Latham travaillent sur un appareil qui puisse réaliser des projections sur écran. Ils vont présenter le résultat de leurs recherches, le 21 avril 1895, avec le Pantoptikon, nom du projecteur, au 35, Frankfort Street. C'est l'occasion de projeter l'un de leurs premiers films, Antics of Some Boys:
MAGIC LANTERN KINETOSCOPE:
Edison Says Latham's Device Is Old and Promises to Beat It.
An exhibition of what Edison considers a kinetoscope so arranged as to throw the pictures, enlarged, upon a screen was given yesterday afternoon at 35 Frankfort street by Woodville Latham. He calls his arrangement the Pantoptikon. The illustration gives a very good idea of what it looks like. The continuous film of photographic pictures with slots cut in the edges to catch the teeth of a sprocket that keeps it from slipping is reeled in front of the electric light of a sort of magic lantern, and so the pictures are thrown successively on the screen with sufficient rapidity to produce the well-known kinetoscope or zoetrope effect of animated pictures.
The pictures shown yesterday portrayed the antics of some boys at play in a park. They wrestled, jumped, fought, and tumbled over one another. Near where the boys were romping a man sat reading a paper and smoking a pipe. Even the puffs of smoke could be plainly seen, as could also the man's movements when he took a handkerchief from his pocket. The whole picture on the screen yesterday was about the size of a standard window sash, but the size is a matter of expense and adjustment. Mr. Latham's camera will take forty pictures a second, and it can be set up anywhere, in the street or on the top of a house.
Mr. Latham says that he will try to obtain a patent on his apparatus, which thus enables the exhibitor to show kinetoscope effects to a large audience at one time.
A SUN reporter saw Mr. Edison last evening and described the Latham machine to him. Hearing the description. Mr. Edison said:
"That is the kinetoscope. This strip of film with the pictures, which you have here, is made exactly as the film I use. The holes in it are for the spokes of the sprocket, which I devised.
"The throwing of the pictures on a screen was the very first thing I did with the kinetoscope. I didn't think much of that, because the pictures were crude, and there seemed to me to be no commercial value in that feature of the machine.
"In two or three months, however, we will have the klnetophone perfected, and then wo will show you screen pictures. The figures will be life size, and the sound of the voice can be heard as the movements of the figures are seen.
"If Mr. Latham can produce life-size pictures now, as we will do with the kinetophone, that's a different matter.
“When Latham says he can set up his kinetograph anywhere and take the pictures for his machine, he means that he has simply a portable kinetograph.
"We have had one of those for six months. The reason that our pictures all had to be taken here at first was that our kinetograph was unwieldy.
"If they exhibit this machine, improve on what I have done, and call it a kinetescope. that's all right. I will be glad of whatever improvements Mr. Latham may make.
"If they carry the machine around the country, calling it by some other name, that's a fraud. and I shall prosecute whoever does it. I’ve applied for patents long ago."
The Sun, New York, Monday, April 22, 1895, p. 2.
Outre qu'il est accompagné d'un dessin expliquant sommairement le principe de la projection, l'intérêt de l'article est double. D'une part, il rend compte de la scène représentant les Antics of Some Boys en décrivant, en particulier, la scène qui est projeté, tout en offrant quelques explications techniques. D'autre part, parce que le journal a envoyé l'un de ses journalistes afin de recueillir l'avis d'Edison lui-même sur la projection de vues animées en public. Autant dire que le savant ne voit pas d'un très bon œil l’initiative des Latham qui lui brûlent la politesse.
The Sun, New York, Monday, April 22, 1895, p. 2
L'eidoloscope des Latham (156, Broadway, 20 mai-[31 décembre] 1895) → 1896
Les Latham vont ouvrir une salle sur Broadway au mois de mai 1895. Ils vont présenter une nouvelle série de vues dont le Griffo-Barnett Fight. Les séances se prolongent sans doute tout au long de l'année.
→ 1896
L'eidoloscope (Herald Square Theatre, 23 juin 1895)
Une représentation au bénéfice de Willis P. Sweatnam est donnée à l'Herald Square Theatre, le 23 juin 1897 :
The Eidoloscope, with life-size reproductions of dancing girls and boxing bouts, is on the programme arranged for the benefit for Willis P. Sweatnam at the Herald Square Theatre to-night. Players pledged to appear are Wilton Lackaye, Maurice Barrymore, E. J. Henley, Billv Barry, Gus Williams, Hallen and Hart, Ward and Yokes, John C. Rice, David Warfield, John E. Henshaw, William Cameron, Julina Wltmark, James Thornton. Edwin French, Mark Sullivan, Richard Carroll, William H. McLoughlin, William R. Goodall, Will S. Rising, Mathlde Cottrelly. Sallie Cohen. Bonnie Thornton, Grace Golden, Bertha Waring, Etta Berger and Helen Bertram Henley.
New York Herald, New York, Sunday, June 23, 1895
Angle Broadway et 35e St. Herald Square, Herald Square Theatre (à droite) (c. 1898)
1896
L'eidoloscope ← 1895 (nº 156 Broadway, [1er janvier] 1896->20 juin 1896)
←1895
L'eidoloscope de Broadway est toujours en fonctionnement au mois de mai 1896 à l'occasion de la présentation de la corrida (Bull Fight) tournée au Mexique en mars 1896.
The Sun, New York, 6 mai 1896, p. 10.
Une dernière annonce est publiée le 20 juin (New York Herald, New York, samedi 20 juin 1896, p. 16).
Répertoire (autres titres) : Evening Telegram Cycle Parade (The Evening Telegram, New York, 12 juin 1896), Flourette's Skirt Dance in Colors, Manoeuvres of Squadron A.N.G.S.N.Y., Mexican Engineer Corps Drill, Whirlpool Rapids, Niagara (The Sun, Nevw York, 13 juin 1896).
L'eidoloscope (St James Hotel, 26th Street, <6 mai>-20 juin 1896)
Alors que l'eidoloscope de Broadway fonctionne toujours, une autre salle, sur la 26e rue, présente également des vues animées.
The Sun, New York, 6 mai 1896, p. 10.
Le clou est constitué par la course de taureaux, Bull Fight, tournée au Mexique, en mars 1896. L'adresse, qui reste vague dans les annonces, est en réalité celle du St-James Hotel, comme le confirme l'entrefilet suivant :
A Bull Fight
Sporting men in this city and New York have taken unusual interest in the great Mexican bull fight, which is being reproduced photographically by the Eidoloscope daily at the St. James Hotel, Twenty-sixth street and Broadway, New York.
The Daily Standard Union, New York (Booklyn), Monday, June 8, 1896, p. 8.
St. James Hotel & Restaurant, Broadway cor. 26th St. © New York Public Library |
Hotel Hotel St. James, Broadway & 26th Street (1896) © Museum of the City of New York |
Une dernière annonce est publiée le 20 juin (New York Herald, New York, samedi 20 juin 1896, p. 16).
Répertoire (autres titres) : Evening Telegram Cycle Parade (The Evening Telegram, New York, 12 juin 1896), Flourette's Skirt Dance in Colors, Manoeuvres of Squadron A.N.G.S.N.Y., Mexican Engineer Corps Drill, Whirlpool Rapids, Niagara (The Sun, New York, 13 juin 1896).
L'eidoloscope (Hammerstein's Olympia, <10 mai->20 juin 1896)
Au Hammerstein's Olympia, l'eidoloscope offre des projections de vues animées dans l'attente de l'arrivée du célèbre transformiste italien Frégoli, à la mi-mai 1896.
Theatre, Olympia, B'way 44th & 45th Sts., Hammerstein's (1898) © Museum of the City of New York |
The World, New York, 17 mai 1896, p. 14 |
Alors que ce dernier est sur le point d'arrivée, un incident inattendu retarde son spectacle laissant pour quelques jours la place à l'eidoloscope :
Fregoli Did Not Appear.
The much heralded Fregoli did not appear at the Olympia Music-Hall last night, as thesteamship Kaiser Wilhelm did not arrive in time, with all or even one of his four voice. Fregoli will sing and act to-night, however, when the few folks who pretended not to have received their money's worth last evening can use the tickets that were given to them by the conscientious management and see the whole show over again for nothing.
The absence of this quartet person left the" eidoloscope" quite the most wonderful part of the entertainment. Perhaps it would have been anyway, for the fact that the "eidoloscope" is the "vitascope" under another and poorer name does not in the least interfere with the fact that the scenes it shows are calculated to make even the stories about the powers of ancient magicians, not to speak of the magicians themselves, seem commonplace. The audience literally saw the Niagara rapids, the Easter parade on Fifth Avenue, the drill of a company of soldier, and a bullfight. The latter spectacle was intensely interesting, and often gave the observer a thrill of real fear or of real anger. Here-after one need not go to Spain or Mexico to convince himself that, morally, the “sport” of bullfighting ranks below that of picking pockets, and cannot be compared with that of pulling off the wings of files. A mean, cruel, cowardly, dirty gam was what the “eidoloscope" revealed, and every decent man who saw it must have gone away from Olympia with a better understanding of Spanish history, ancient and modern, than a thousand books could have given.
As for the "marblesques,” they were rather ineffective reproductions of several well-known statues, made in the old "living-picture" way. In each of them was one or two women dressedin what looked like chalk.
The New York Times, New York, Tuesday, May 1896, p. 5.
Un autre journal signale, par ailleurs, la qualité assez médiocre de la projection :
FREGOLI'S TRUNKS WEW DELAYED.
{...]
The eidoloscope would have been exceedingly interesting and instructive had the moving pictures been properly focused, but unfortunatel y the y were not, and so the effect of the bull fight was lost and the attractions of Easter Sunday on Fifth avenue and the whirlpool rapids at Niagara were only hinted at. Both of these results of Mr. Hammerstein's disappointment may be readily overcome and the Olympia will become in truth what Mr. Hammerstein has given New York reason to expect, a remarkably attractive piece of amusement-particularly when Fregoll makes his debut...
The New York Herald, New York, Tuesday, May 12, 1896, p. 9.
L'eidoloscope partage ensuite l'affiche avec Leopoldo Frégoli. La dernière annonce est publiée dans The New York Dramatic Mirror (New York, 20 juin 1896, p. 17).
L'eidoloscope (Bijou Theatre, [27] juin-[6] juillet 1896)
L'eidoloscope est annoncé à partir du 27 juin 1896, au Bijou Theatre :
The New York Herald, New York, Saturday, June, 27, 1896, p. 1.
Les articles donnent deux titres du répertoire : Bull Fight et Bicycle Parade. D'autres journaux publient des annonces encore plus lapidaires :
AMUSEMENTS TO-DAY AND EVENING.
[...]
Bijou.-Eidoloscope.
New York Herald, New York, Friday, July 3, 1896, p. 8.
The Sun est à peine plus prolixe :
At the Bijou the eidoloscope puts soldiers, bicyclists, and dancers upon a screen in pictures that show the subjects actions naturally. The displays are given both afternoon and evening.
The Sun, New York, Sunday, July 5, 1896, p. 5.
Le Cinématographe Lumière de la concession de M. Hurd (Keith's Union Square Theater, 29 juin-[29] novembre 1896)
À l'instar de ce qu'ils font dans le reste du monde, les Lumière vont mettre en place aux États-Unis, une concession classique. C'est M. Hurd qui en est le responsable, aux dires de Félix Mesguich, et M. W. Allen en est son représentant-impresario. Les locaux sont situés 29 W 30 th.
The New Dramatic Mirror, New York, 10 octobre 1896, p. 15.
Benjamin F. Keith, propriétaire d'un important circuit de salles, va acquérir les droits d'exploitation du cinématographe Lumière pour son réseau. Comme il se doit, c'est New York qui est la première ville américaine à découvrir les images animées que propose l'appareil des frères lyonnais. Nous ignorons, pour l'heure, le nom de l'opérateur français qui est chargé de la projection des films. De façon tout à fait conventionnelle, une séance privée, réservée à la presse, est organisée le 27 juin 1896 :
One of the several English equivalents of the vitascope. called the Lumiere Clnematographe will be placed on exhibition at Keith's Union Square Theatre to-morrow night. It is much better than its name, as was proved at private view yesterday morning. It is said to be the first stereopticon kinetoscope exhibited. Its pictures are clear and interesting. One represents the arrival and departure of mail trains in a railroad station, another the bathing pier at Nice -at the height of the season. Charles Dickson and Lillian Burkhardt will appear this week, in “The Salt Cellar," and all the continuous show will be up to the mark.
The New York Times, New York, 28 juin 1896, p. 10.
C'est finalement le surlendemain, le 29 juin 1896, que la première séance publique a lieu au Keith's Union Square Theatre. La presse relaie largement la nouvelle et de nombreux quotidiens font l'éloge du cinématographe Lumière. Lors de ces premières séances, le programme est constitué de classiques qui ont déjà fait leurs preuves dans d'autres villes françaises ou étrangères :
THE CINEMATOGRAPHE AT KEITH'S • The Lumiere Cinematographe, which is the feature of the bill at Keith's Union Square Theatre this week, was exhibited at a special morning matinee for the press on Saturday.
A large number of newspaper men gathered, and watched the pictures as they were thrown upon a screen. Some of them were so lifelike that the blasé scribes were moved to applaud.
The Cinematographe is worked in the same way as the Vitascope and the Eideloscope, but the pictures are clearer and there is less vibration, so that the pictures are not so trying to the eyes as those produced by other machines.
The first view was “A Dip in the Sea” and showed several little boys running along a plank on stilts, and diving into the waves, which dashed upon the shore in the most natural manner. The second picture showed a lawn with a gardener using a hose to sprinkle it. A bad boy steps on the hose, causing the water to squirt into the gardener's face. He drops the hose, runs after the boy, and gives him a sound thrashing.
A street scene in London was very realistic, and "The Charge of the Seventh French Cuirasseurs” was very inspiring.
The best picture was “The Arrival of the Mail Train.” The train came into the station, passengers alighted, met their friends and walked about, and all the bustle incident to affairs of this kind was shown to perfection.
Other pictures were "Washing Day in Switzerland”, “Parade of the Ninety-sixth French Infantry”, “A Friendly Boxing Bout,”, “Hyde Park, London”, “The Cascade”, and "The Messrs. Lumiere at Cards”.
The Cinematographe is the invention of M. Lumiere, a photographer of Lyons, who keeps an immense establishment, employing over four hundred hands. His invention was first shown in, Paris in November, 1895. It became the craze at once, and it is now being shown at twenty-two places in Paris alone, as well as in nearly every other city on the Continent.
It was put on in London at the Empire, in February, 1896, and created a sensation. Matinees. had to be given every day to accommodate the crowds. It is now being exhibited at three of the London halls.
The Cinematographe can be worked either with a calcium or electric light. A photographer is now on his way from. Europe, who will take views in New York, which will be shown, and, which will no doubt prove even more interesting; than those now in stock.
New York Dramatic Mirror, New York, 4 juillet 1896, p. 17.
The Sun, New York, 27 juin 1896, p. 10 | Keth's Union Square Theater, New York, c. 1895 [D.R.] |
L'article comporte un certain nombre d'inexactitudes autant sur la "`première" parisienne que sur le nombre de postes dans la capitale (22 !!) et l'on sent bien qu'il est l'œuvre d'un publiciste ou d'un journaliste complaisant. Si l'on en juge par la permanence du cinématographe au Keith`s Union Square Theater, le succès est au rendez-vous.
Si l'on ignore le nom des opérateurs qui travaillent au cours des premières semaines, à la fin du mois d'août, ce sont Émile Guyot et Alexandre Vallet qui vont s'occuper de l'appareil :
Nous donnions deux séances par jour au "Kits Theater" [Keith]. Nous passions avec un spectacle de music-hall, danseurs, patineurs à roulettes, chanteurs. L'entrée coûtait deux dollars et chaque fois c'était le gros succès, les mêmes félicitations. Malheureusement, ne sachant pas l'anglais, je n'ai jamais compris un mot de ces congratulations !
Après New-York, nous avons émigré à Washington, Norfolk, dans le Connecticut, dans l'usine d'un riche soyeux, dans des villes dont j'ai oublié le nom. Songez que c'était en 1896 ! Il y aura quarante ans au mois de juillet.
Jany CASANOVA, "Après avoir introduit le cinéma en Amérique Emile Guyot est devenu marchand des quatre-saisons", Lyon, 16 avril 1936, Paris-Soir, Paris, 19 avril 1936, p. 8.
Répertoire (autres titres) : A Battle with Sabres between two squadrons of Hussars (The Word, New York, 7 juillet 1896, p. 8), The factory of the Messrs. Lumiere (The New York Dramatic Mirror, New York , 11 juillet 1896), Burning Field Waste in Brittany (The Sun, New York, 15 juillet 1896, p. 7), The Arabian Cortege, A Game of Backgammon (The New York Dramatic Mirror, New York, 25 juillet 1896, p. 17), les films du Couronnement du Czar (The Sun, New York, 2 août 1896, p. 1), Procession at the Czar's Coronation, Czar and Czarina at Church, Russian National Dance (The New York Dramatic Mirror, New York, 8 août 1896, p. 17), Negroes Bathing Party, French Sardine Fishers, Babies' Quarrel, French "Shooting the Chutes", German Manner of Making Frankfurters (The Sun, New York, 9 août 1896, p. 9), Arrival of the Guests, Boys' Boating Party, A Colored Bathing Party (The New York Dramatic Mirror, New York, 15 août 1896, p. 17), Feeding the Goats, The Premiere Dancer, The Swan (The New York Dramatic Mirror, New York, 29 août 1896, p. 17), A London Fire brigade answering an alarm (The New York Times, New York, 18 octobre 1896, p. 27), Demolition of Building, Emperor Francis Joseph at Budapest, Cavalry Battle, Pigeons in Venice, Aquarium (The New York Dramatic Mirror, New York, 24 octobre 1896, p. 9). C'est au bout de cinq mois que les séances vont s'interrompre au Keith's Union Square Theater. La fin de l'exploitation, vers le 29 novembre 1896 (The Sun, New York, 29 novembe 1896) dans cette salle marque, sans doute, un changement ou une fin temporaire au moins du rôle de Benjamin F. Keith.
L'eidoloscope (Ellis Island, < août 1896)
C'est grâce à un entrefilet, au moment de la fin de l'Eidoloscope Company, que nous connaissons l'existence d'un eidoloscope sur Ellis Island :
BUSINESS TROUBLES
Eidoloscope Company.-The Eidoloscope Company, of Nº101 Beekman and Nº 22 William streets, which was attached by the Sheriff a few days ago, made an assignment yesterday to Philip B. Veiller. The assignment includes eidoloscopes and exhibition films at Providence, R. I.; Atlantic City, Coney Island and in this city. Lindley Vinton is president.
New York Herald, New York, Sunday, August 2, 1896, p. 5.
Le Cinématographe Lumière de la concession de M. Hurd (Old Post Office, 317 Washington Street, 14 août-30 octobre 1896)
Post Office, Washington Street (1875)
© Old NYC Photos
Moins de deux mois après les premières séances new-yorkaises, un autre appareil Lumière va à son tour, et en parallèle, proposer des séances à Brooklyn, 317 Washington street, dans l'ancien bâtiment de la poste. Dans ce cas, quel est le concessionnaire ? S'agit-il toujours de Benjamin F. Keith, ou plus probablement, un autre personnage ? Ce qui ressort de la presse, c'est que les deux postes ne sont pas en compétition :
[...] New views will arrive from Europe to-day and will be shown in the Brooklyn machines on Monday before theya are sent out to Keith's Union square theater, New York, and to he various cities in which cinematographs are on exhibition.
The Brooklyn Daily Eagles, New York, 18 octobre 1896, p. 24.
Lumière's Cinématographe. 317 Washington Street (1896)
Source: Collection François Binétruy
Par ailleurs, les comptes rendus des séances ne donnent que rarement le nom des opérateurs. Ce que nous savons, c'est que quelques jours avant sont arrivés, au moins, quatre opérateurs Lumière, par la Bretagne, qui accoste le 27 juillet 1896, à New York : Arthur Bouliech, Henry Tett, Joseph Millet et Édouard Porta, mais nous ignorons sur quel poste, ils sont attachés. La mise en place des séances dans l'ancien bureau de poste, 317 Washington st. se fait dans les premiers jours du mois d'août et une petite annonce est publiée afin de recruter un pianiste pour les futures projections :
WANTED-PIANIST-ON WHO CAN PLAY cornet also, preferred, for Lumiere's Cenematographe; hours 2 to 10 P.M. Appply at 317 Washington st. Mondey, 9 to 3.
The Brooklyn Daily Eagle, New York, 9 août 1896, p. 14.
Un séance privée est organisée dès le 14 août 1896. Le journaliste, outre des éléments techniques, nous informe sur les premiers films que propose ce second appareil Lumière :
THE CINMATOGRAPHE [sic]
Wonderful Reproductions of Out of Door Photographs Shown
A private exhibition was given this morning in the old post office building, on Washington street, of Lumiere’s cinmatographe, which will open to the public there on Monday. The principle on which the pictures are made is the same as in Edison’s vitascope; that is, a great many instantaneous photographs of a scene are reduced to small size, pasted upon a strip and run through a lantern which shows the views upon a large sheet, as is done with magic lantern slides. The effect is a reproduction of the actual scene with the motions of the figures, the blowing of the wind and the splashing of the water reproduced as perfectly as if one saw the original. The special beauty of the cinmatographe pictures is that the Messrs. Lumiere of Lyons, France, the inventors, are among the most noted and artistic photographers of out of door scenes in Europe. They take themselves all the pictures used in their machines and are thus enabled to insure an artistic value to their exhibitions, which it is very difficult for photographers of less skill to secure. The pictures shown yesterday were all European, the firm not having as yet sent men to this country to photograph scenes for their exhibitions. But their lifelikeness was wonderful and the clearness of the backgrounds and the beauty of the light effects were in the highest degree artistic. There was, too, very little vibration on the part of the reproducing machine, so that the results were less marred than usual. There was a Spanish cavalry charge in which the horses dashed down and apparently through the footlights into the audience; a Spanish infantry drill; a picture of one of the Messrs. Lumiere dining in a garden with is wife and little girl, and another picture of a baby quarrel at a table in the open air, in which the expressions of the children were wonderfully lifelike dancing soldiers accompanied by the music of a dancing orchestra in which the rhythm as strongly marked and some outdoor scenes in which the distance and luminous quality of the backgrounds suggested the work of a great landscape artist. The pictures cover a wide range of subjects, but they will be of special interest to those who know something of the artistic side of photography. The strips from which the pictures are reproduced have all the way from 1,100 to 1,400 small pictures pasted upon the strip, and it is the rapid unrolling of these before the lens which gives the effect of life to the scenes. But it is the artistic quality of the original photographs which ranks the exhibition above others of the same general kind. The exhibitions will las from 2 o’clock until 10 daily.
The Brooklyn Daily Eagle, New York, 15 août 1896, p. 2.
The Brooklyn Daily Eagle, New York, 16 août 1896, p. 15
La presse locale publie régulièrement des articles dans lesquels reviennent les mêmes points et permettent de connaître de façon assez complète le corpus des vues projetées :
The Lumiere cinematographe exhibitions in the old post office building, on Washington street, will be continued this week, with this list of views: Removing a Tree, French scene; Babies' Quarrel, by request: Champs Elysee, Paris; Mechanical Charcuterie; Bathing on French Coast, by request; Ninety-sixth French Infantry, by request; London Street scene, by request; Royal Spanish Lancers; Shooting Chutes, Geneva exposition, and Arrival Train at French Station. The special military views will be shown on every Wednesday night hereafter. Mr. Alexander Promio, artistic photographer, sailed for France Friday, after an extended tour through the United States. Mr. Promio has during his stay taken views of the most interesting sights in our country, and as soon as these Mr. Promio for his scientific results in photography has been decorated by the Queen of Spain recently.
The Brooklyn Daily Eagle, New York, dimanche 27 septembre 1896, p. 24.
Lumiere's Cinématographe. 317 Washington St.
Source: Collection François Binétruy
Après plus de deux mois de succès, l'appareil quitte Washington Street, pour s'installer à partir du 28 octobre, au 515, Fulton street (The Brooklyn Daily Eagle, New York, 27 octobre 1896, p. 8).
Le Biograph (Columbia Theater, 28->28 septembre 1896)
En provenance de Philadelphie, la troupe d'Eugen Sandow inaugure des séances à la fin du mois de septembre. Au programme, il y a le Biograph:
Charles B. Jefferson, manager, who usually knows what the public wants as well as anybody in the theatrical business wants as well as anybody in the theatrical business, has gone into vaudeville this season, and he will present at the Columbia this week a company which includes some of the most noted performers on the specialty stage, and which will give several novelties. It is called Sandow's Olympia, and at the head of it is Eugene Sandow, who is said without much contradiction to be the strongest man now before the public, and who is certainly the handsomest athlete on the stage. [...] No vaudeville show is complete now without some form of the photographic invention, which Edison called the vitascope, and for which other proprietors have various names. The machine with this company is called the biograph, and it has some new and exclusive pictures, including three of scenes from "Rip Van Winkle," with Joseph Jefferson as Rip, and others showing the visit of Li Hung Chang to General Grant's tomb. These pictures will be shown at the close of the performance.
The Brooklyn Daily Eagle, Brooklyn, dimanche 27 septembre 1896, p. 24.
The Brooklyn Daily Eagle, Brooklyn, lundi 28 septembre 1896, p. 2.
Répertoire (autres titres) : Trilby, Joe Jefferson giving his famous toast in "Rip Van Winkle", The rear of a Pennsylvania Railroad car running on lightning express time, A bathing scene at Atlantic City, A negro woman is bathing a pickaninny (The Standard Union, New York, mardi 29 septembre 1896, p. 8).
Le Biograph (Hammerstein's Olympia, <12> octobre 1896)
Hammerstein's Olympia (Broadway and 44th Street). 1898.
Source: Museum of the City of New York.
Dans les premiers jours d'octobre, le Biograph commence des projections animées à l'Olympia :
Major William McKinley will appear tonight in New York before a great throng of people, which will include members of the Republican National Committee, and in all probability, Mr. and Mrs. Garret A. Hobart.Major McKinley will not make a speech. He will talk with a friend, and then retire to his dwelling, which it may be remarked, will appear along with him.
The new wonder in instantaneous, photography and enlarged reproduction of photographic plates, called the biograph, is the medium through which the distinguished statesman will make his appearance, apparently on the lawn of his house in Canton, full life size, and in action so perfectly natural, that only the preinformed will know that they are looking upon shadow and not upon substance.
Immediately following Major McKinley's presentation will be a reproduction of the great parade of the McKinley and Hobart Sound Money Club at Canton. The paraders will be seen to march in solid phalanx, to halt, to throw up their hats, to reform and to march on again. They will advance down the stage, apparently to walk over the footlights; they will march across and back, then turn and march back until they seem to be lost in the distance, and so deep will be the vista that it will look as though the entire back of the stage had been taken out. Following this will be the Empire State Express, running at full speed, full actual size, and with such realistic effect that it seems to be coming straight out to crush its way through the spectators.
All this is to be at Hammerstein's Olympia to-night. Eight boxes have been secured and especially decorated for the National Committee, which will include Matthew Stanley Quay, Col. William McKinley Osborne, Cornelius N. Bliss, Joseph H. Manley, Secretary Perkins, Jules Guthridge, Richard S. Quay, C. M. Bawsall, T. S. Wilson, H. S. Dukes and P. J. McHenry. A delegation from the Commercial Travelers' Sound Money League will occupy three boxes. In the center of the house 100 straight out Republicans, led by Senator Gibbs, will occupy seats. and it is expected that a large delegation of railroad men which is coming from the New York Central will be headed by two prominent officials of the company.
The biograph seems to be the limit of realism in enlarged photographic reproduction. It is constructed on a principle similar to the vitascope, which succeeded the eidoscope, and is said to be as far ahead of the former invention in the perfection of its startling realistic reproductions, as the vitascope is ahead of the kinetoscope, which was regarded as a marvel of inventive genius. Instantaneous photographs of figures in motion are first taken by an entirely new process on a great number of rapidly revolving plates. These are enlarged, and with a powerful set of lenses and an intense steady white light the pictures are thrown on a screen with such rapidity that every motion is secured in the instantaneous photograph, even to the driving wheels of a locomotive, running at sixty miles an hour.
The picture thus shown is not flat - in fact, it can not be distinguished as a picture at all, even with the strongest opera glasses. The figures stand out in bold, round relief, and the perspective is something wonderful. There is no clicking noise to disturb the illusion, and prosaic indeed is the mind that can look upon the rapidly shifting scenes and believe it to be unreal. Major McKinley is likely to get an ovation to-night when he advances to the footlights.
New York Mail and Express, New York, 12 octobre 1896,
Plusieurs journaux offrent des comptes rendus de ces projections. C'est le cas du New York Mail and Express :
The star attraction at Hammerstein's vaudeville performance last night was the biograph, an invention on the same order as the vitascope, the eidoloscope, and the cinematographe. The results, however, obtained by the biograph, are different, specially in the absence of the flicker and "jump" noticeable in other instruments. The management was fortunate in the subjects presented, which aroused the greatest enthusiasm. The scene of the McKinley and Hobart parade at Canton called forth great applause, but when a few minutes later the audience caucht sight of the next President himself, "in the flesh," pandemonium broke loose for five minutes. Men stood up in their seats and yelled with might and main, and flags were waved by dainty hands that would fain cast a vote on November 3 for the good cause. To satisfy the audience the Major was brought forth again with like result. There he stood on his much betrampled lawn at Canton, talking to his son. Leisurely he read a telegram of congratulation, and then, turning, he cam etoward the excited audience, until it seemed as though he were about to step down into their very midst. But at that moment came the edge of the curtain and he vanished round the corner to address a delegation of workingmen.
New York Mail and Express, New York, 13 octobre 1896.
Le New York Tribute propose également un article :
Anybody who thinks that the enthusiasm of the modern music hall audience is all for European singers of questionable propriety should have been at the Olympia Music Hall last night. The audience went fairly frantic over pictures thrown on a screen. Several machines for the throwing of moving pictures have been shown here, but the new biograph, for all its horrible name, is the best of all of them. The biggest part of enthusiasm began when a view of a McKinley and Hobart parade in Canton was shown. The cheering was incessant as long as the line was passing across the screen, and it grew much greater when the title of the next picture appeared: "Major McKinley at home." Major McKinley was seen to come down the steps of his house with his secretary. The secretary handed him a paper, which he opened and read. Then he took off his hat and advanced to meet a visiting delegation.
The biograph showed some other interesting pictures, notably one of the Empire State Express rounding a curve, which was one of the best, if not the very best, moving picture that has yet been exhibited here. Seven boxes were occupied by members of the National Republican Committee and their friends, who came to see Major McKinley walk across the lawn.
New York Tribune, New York, 13 octobre 1896.
C'est également le cas du New York Times :
THE BIOGRAPH AT OLYMPIA.
A Notable Company of Spectators, Political and Otherwise.
Gen. PowelI Clayton stood at "attention" in Olympia Music Hall at 9:45 o'clock. From that hour the gallant Arkansaw fighter never took his attention from the stage until the political part of the programme was ended with the " intermission."
It was McKinley night at the Olympla, although Bryan came in for individual representation and a few hisses. Sound money sentiment was in possession of every seat and box. And, to spur it on, were many leaders of the Republican Party in conspicuous boxes, behind the Stars and Stripes, and in the company of smartly dressed women.
Cornelius N. Bliss helped Matthew Stanley Quay and W. B. Scott to show their appreciation. Gen. William McKinley Osborne and Joseph H. Manley tried to be a chorus to Melville E. Stone's solos of approval, while Mr. Perkins, Mark Hanna's private secretary, and the ladies in the party were successfully outvying the rival trio.
Gen. Charles H. T. Collis and C. M. Meade were conspicuous in a party. C. F. Weeks bad a box in the centre of the first tier and Gen. Horace Porter, Col. A. W. Soper, and a party of ladies were not far away.
Frederick S. Gibbs was present, and General Passenger Agent Daniels of the New-York Central Railroad stuck to his post until he saw a marvelously moving picture of one of the greatest achievements of the company with which he is connected.
Amann, the Impersonator, prepared the way for enthusiastic outbursts by giving lifelike representations of McKinley and Palmer, but the triumph of the night was in the so-called " biograph." It is wonderful in its presentation, after the manner of the vitascope and kindred Inventions, of life and action.
McKinley stepped out of his house in Canton, and, strolling down his lawn, seemed to smile in appreciation of the roar that greeted his appearance. McKinley paraders tramped through Canton streets, and a New-York assemblage applauded them to the echo Niagara Falls made a realistic pouring picture, but their noise in the original could not be much louder than the cheers that greeted the picture of them.
The finest of all these pictures was one of the Empire State Express going at sixty miles speed. The train is seen coming out of a distant smoke cloud that, marks the beginning of a curve. The smoke puffs grow denser on the vision, and soon coach after coach whirrs to the front, and it seems as though the entire left-hand section of the house would soon be under the wheels that are racing for New-York. The cheers that greeted the picture and its repetition were as great as those for McKinley, and, in taking part in them, Mr. Daniels found his opportunity.
The other pictures, represent " A Stable on Fire." "Joseph Jefferson in the Drinking Scene of 'Rip Van Winkle,' " " Trilby and Little Billee." and " The Washing of a Pickaninny by His Mother."
The PoluskI brothers, Sampson, the strong man, Kitty Mitchell, and the others in the long programme are good entertainers.
The New York Times, New York, mardi 13 octobre 1896, p. 5.
C'est également le cas du quotidien New York Sun :
The members of the Republican National Committee were invited to attend the performance at Olympia Music Hall last evening.
A feature of the show was the "biograph" presenting a picture of Candidate McKinley on his own lawn at Canton. Another picture showed the parade of the McKinley and Hobart Sound Money Club at Canton last month.
Several members of the committee accepted Mr. Hammerstein's invitation, and they were accompanied by about 300 other Republicans. In the party were the Hon. Matthew S. Quay, Gen. Osborne, C. N. Bliss, Gen. Powell Clayton, Col. Sands and Gen. Scott.
New York Sun, New York, 13 octobre 1896.
Un dernier article évoque cette inauguration :
Candidate McKinley made his first appearance on the stage of Hammerstein's Olympia last evening and a big house full of very enthusiastic Republicans greeted the appearance with much shouting and flag waving. Matt Quay was there and his son Dick, J. H. Manley, McK. Osborn, C. N. Bliss, Gibbs and Lawrence, Powell Clayton and Gen. Horace Porter. Agent Daniels led a battalion of twenty-five McKinley railroaders, and Mark Hanna sent his sectary, M. Perkins. Col. Black and President Blackburn represented the Commercial Travellers' Association, of which there were hundreds present.
McKinley came on via The Biograph, which showed him walking across his lawn with his secretary, who handed him a telegram, which he read after adjusting his glasses. It was capitally lifelike and a very popular feature. There was a view, too, of a rushing railroad train, head on to the audience, and other excellent examples of the modern moving photography.
New York World, New York, 13 octobre 1896.
Quelques jours plus tard un nouvel article reprend les informations :
HAMMERSTEIN'S OLYMTIA. —-The Biograph, called on the programme "the 'dernier cri' in the art of producing light and motion," was shown for the first time with great success. The pictures are very large and are remarkably clear and free from vibration. The views included "Stable on Fire," "Upper Rapids of Niagara," "Trilby and Little Billee," "Joseph Jefferson in a scene from Rip Van Winkle," "A Hard Wash," "The American Falls at Niagara," "The Empire State Express, Sixty Miles an Hour," "McKinley and Hobart Parade at Canton, O," and "Major McKinley at Home." The last picture showed McKinley walking across his lawn, reading a telegram handed him by his secretary. It aroused great enthusiasm. On Monday evening a large number of prominent Republicans were present, including Garret Hobart, candidate for vice-president, Matt Quay and his son Dick, J. H. Manley. McK. Osboorn, C. N. Bliss, Powell Clayton and General Horace Porter. The house was crowded and the picture of McKinley set the audience wild. Seldom is such a demonstration seen in a theatre. The entire audience rose to their feet, shouting and waving American flags, and it was several minutes before they settled down quietly to enjoy the rest of the performance.
The New York Dramatic Mirror, New York, 24 octobre 1896, p. 17.
Le Biograph (Koster & Bial's, <27> octobre 1896)
Le Koster & Bial's offre des projections de vues animées avec le Biograph à la fin du mois d'octobre.
The Sun, New York, mardi 27 octobre 1896, p. 12.
Le Cinématographe Lumière de la concession de Maurice Lafont (515, Fulton Street, 1er novembre 1896-31 décembre 1896) → 1897)
Le cinématographe Lumière s'installe au début du mois de novembre au 515, Fulton Street. Une semaine à peine avant l'arrivée de Maurice Lafont, le nouveau concessionnaire envoyé par les Lumière, chargé de restructurer la concession. Il arrive à New York, le 9 novembre 1896, par la Champagne, parti du Havre quelques jours plus tôt. Le nouvel impresario se nomme William Freeman, selon Félix Mesguich.
Pourtant, il semble que ces débuts sur Fulton street ait eu du mal à se mettre en place, car au bout d'à peine une semaine, la presse cesse d'en rendre compte
The cinematographe has proved so popular in the old post office building on Washington street that the managers have secured larger and more attractive quarters for it at 515 Fulton street, nearly opposite Association hall, which it will occupy on November 1. The new hall will be handsomely decorated and a Hungarian orchestra has been engaged to add to the interest of the exhibition. During the remainder of this month the exhibitions will be continued in the Washington street room. The military views, which have crowded the place on Wednesday nights until there has been only standing room for spectators, will be continued. More new views are now on their way from Europe and will be shown in Brooklyn before they are sent to the other cities where the cinematographe is on exhibition. An artist is coming over soon to photograph American views for the machine and the managers are confident that they can distance all competitors in the beauty of their pictures. | |
The Brooklyn Daily Eagle, New York, 1er novembre 1896, p. 17 | The Brooklyn Daily Eagle, New York, 25 octobre 1896, p. 24 |
Dans l'article du Brooklyn Daily Eagle, il est aussi question de l'arrivée prochaine d'un nouveau cinématographiste - le premier, Alexandre Promio, est reparti à la fin du mois de septembre - et l'on peut raisonnablement penser qu'il s'agit de Félix Mesguich, même s'il n'arrive in fine qu'en décembre. Les annonces disparaissent presque au cours des semaines suivantes. Il faut attendre 1897 pour entendre à nouveau parler de ce cinématographe Lumière.
Répertoire (autres titres) : Burning Leaves (The Brooklyn Daily Eagle, New York, 25 août 1896, p. 9), Royal Aquarium, Brighton, England, Watering French Cavalry Horses, Drawing a Coke Oven, France, A Game of Backgammon at Country House, France, Procession at the Crowning of the Czar of Russia, Dancing in Camp, Spanish Soldiers, Shoeing a Horse, by a French Village Blacksmith, Employes of Messrs. Lumiere Bros. Coming out the Factory at Lyons, France, Arrival of Guests at French Country Home, Lauching of a War Vessel at the Government Dock Yards, Toulon, France (The Brooklyn Daily Eagle, New York, 30 août 1896, p. 23), Minerva's baths, Millan, Italy, Scene outside the house of parliament, Westminster, London, Gondoliers of Venice (The Brooklyn Daily Eagle, New York, 1er septembre 1896, p. 7), The Boat flying down, Royal Wedding Procession (The Brooklyn Daily Eagle, New York, 8 septembre 1896, p. 7), Removing a Tree, French scene, Champs Elysee, Paris, Mechanical Charcuterie, Bathing on French Coast, London Street scene, Royal Spanish Lancers, Shooting Chutes, Geneva exposition, Arrival Train at French Station (The Brooklyn Daily Eagle, New York, 27 septembre 1896, p. 24), German Dragoons Exercising at Hurdles, Feeding Tigers, Botanical Garden, Paris, Charge French Cavalry, Ninety-sixth French Infantry, Children (of Mssrs. Lumiere brothers) Playing With Pets, German Dragoons at Stuttgart, A Game of Cards (The Brooklyn Daily Eagle, New York, 13 octobre 1896, p. 11), "London street scene in which children are dancing", A troop of French cavalry in full career, A Quarrel between babies, Spanish soldiers dancing, Termini square in Rome (The Brooklyn Daily Eagle, New York, 20 janvier 1897, p. 7).
→1897
Le cinématographe Lumière de la concession de Maurice Lafont (Eagle Building, 3 novembre 1896)
La publicité, parue dans le New York Clipper, marque une incontestable relance du cinématographe aux États-Unis. Les nouveaux locaux se trouvent sur la 13e avenue. Cette nouvelle concession va se traduire par une multiplication des lieux de présentations du cinématographe, présentations qui peuvent être plus limitées dans le temps et plus ponctuelles. Il est probable que, dès le mois d'octobre, l'agence Lumière dispose d'un nombre significatif de cinématographes afin d'assurer les demandes.
New York Clipper, New York, 7 novembre 1896, p. 576
Même si les séances au Keith's Union Square Theater et au 515 Fulton st. continuent au cours du mois de novembre, de nouvelles salles et de nouvelles projections vont avoir lieu dans les derniers mois de l'année 1896.
Deux séances particulières vont avoir lieu en novembre 1896. La première, le 3 novembre, au soir, est une projection publique, en plein air. Les vues sont projetées sur l'Eagle Building, dans la Johnson street. Même si d'autres expériences de ce type ont lieu dans les premières années du cinéma, il s'agit sans doute de l'une des toutes premières réalisées aux États-Unis.
THE CINEMATOGRAPH
To Throw Moving Pictures on the Eagle Building To-night
Arrangements have been completed with the Lumiere cinematograph to throw a series of superb moving pictures on the Johnson street side of the Eagle building this evening. This will form one of the most striking features of the election night displays in either city, being the first time on record that the performance has been given in the open air.
Remember, the cinematograph on the Johnson street side of the Eagle building tonight.
The Brooklyn Daily Eagle, New York, 3 novembre 1896, p. 1
La presse ne semble pas avoir rendu compte de cette projection particulièrement originale.
Le cinématographe Lumière de la concession de Maurice Lafont (Brooklyn Institute, novembre-décembre 1896)
Le cinématographe, par ailleurs, va intervenir à plusieurs reprises pour accompagner des conférences organisées au Brooklyn Institute. Celle du 27 novembre donne lieu à un compte rendu très détaillé dans la presse new-yorkaise :
LIFE MOTION
The Cinematographe Exhibited at the Institute
A LARGE AUDIENCE ENJOYS A NOVEL ENTERTAINMENT-PROF. HOOPER SHOWS THE VIEWS, OWING TO ALEXANDER BLACK'S ILLNESSE-A LECTURE ON GLACIERS.
One of the largest audiences of the season assembled in Association Hall last, night, at the Brooklyn Institute’s cinematographe entertainment. The announcement of Alexander Black’s illness had been widely made, and there was consequently little surprise when Charles L. Woodbridge, an institute trustee, mounted the platform and announced that Prof. Franklin W. Hooper would show the views.
The first cinematographe picture shown depicted the noon hour at M. Lumiere’s fatory in Lyons, France. The employees came out in little knots and groups, walking with the rapid pace of the workman anxious to get home to dinner. Some mounted wheels and rode rapidly away. A big dog came romping across the canvas. Finally a coach and horses dashed out of the Messrs. Lumiere’s arched gateway and went spiritedly down the street. The view was received with great applause. Next came a baby scene in the Lumiere house-hold; a game of cards, in which the players quarrel, and are treated to an application of cold water from the gardener’s hose; a little Parisian drama, depicting the theft of a traveler’s valise by a couple of street gamins; the well-known scene of the arrival of a mail train; the Dahomey Indians at the World’s Fair. Of military views there was a street parade in Paris to the playing of the Marseillaise; an inspection of troops by Emperor Wilhelm II in Berlin; a royal procession, including Emperor Franz Joseph, at Vienna. The Czar and Czarina of Russia were seen in two pictures -the “Coronation March,” and a street procession on the occasion of their French visit.
Among the most vivid of the views were those depicting sea bathing. The billows came in just as they do at Coney Island or Rockaway, except that they did not bring with them the usual Coney Island supply of dead pets and passe vegetables. The youngsters floundered round in the surf in a way that did one good. More startling, at least to the feminine portion of the audience, was the diving scene from the ancient baths at Milan. Sturdy young fellows ran out on the planks in quick succession, made an arrow of their hands and went headlong to the water below, sometimes turning two or three somersaults in the descent. A reminiscence of the vaudeville was afforded by the negro minstrel scene, which was accompanied by lively playing of the banjo. Two of the finest pictures were reserved for the last. A Norway waterfall and procession of villagers was one; the other and last was the famous gondola scene from Venice. Soft music was to have been played while the gondola glided along the canal; but the zeal of the cinematographe operator outran his discretion and the view was run off before the muse could be invoked.
Prof. Hooper interspersed the cinematographe pictures with a short lecture on glaciers, with beautiful views of mountain scenery in Switzerland. The chromographs hardly came up to expectation probably for the reason that no means has yet been devised of showing such pictures by other than gas light, which is comparatively faint. However, some of the views were very beautiful and no one had reason to complain.
The Daily Standard Union, New York, 28 novembre 1896, p. 3
Alexander Black va finalement présenter le cinématographe au public venu l'écouter à la fin du mois de décembre. Il donne une conférence intitulée "Ourselves as Others See Us" et pour les besoins de son exposé, il va se servir de l'appareil Lumière. La nouveauté se trouve, incontestablement, dans la présentation, semble-t-il pour la première fois, de vues américaines :
The cinematographe views included some old favorites and some new ones. Among them were the arrival of the mail train, the baths and diving at Milan, cavalry fording a stream, the bridge staircase on the New York side, and an extraordinarily lifelike representation of the moving scene as one sees it from the window of a railroad train.
The Brooklyn Daily Eagle, 28 décembre 1896, p. 11.
Il ne faut oublier en effet que si le système Lumière est particulièrement efficace pour organiser des projections, il a aussi un talon d'Achille : son répertoire limité qui ne comprend pas de vues américaines jusqu'au mois de décembre. Le public new-yorkaise, comme le public américain dans son ensemble, attend aussi de voir des vues locales et la presse de façon récurrente en parle. Dès le mois de septembre, on évoque des vues... qui par ailleurs ne figurent pas au catalogue Lumière :
[...] As soon as the negatives can be sent to France and prepared for exhibition views of Li Hung Chang's visit to America will be added to the collection.
The Brooklyn Daily Eagle, New York, 1er septembre 1896, p. 7.
NEW VIEWS FOR THE CINEMATOGRAPHE
The local views taken by the Lumiere photographers are now being developed and printed at the Lumiere Factory in Lyons, France. They will be shipped to New York this week and may be shown next week. Cables received from the Lumieres state they are very effective, and will undoubtedly create a sensation.
The New York Dramatic Mirror, New York, 31 octobre 1896, p. 9.
On peut raisonnablement penser que l'arrivée tardive des vues américaines est l'une des causes du déclin du cinématographe Lumière qui va voir postérieurement des appareils, comme le biograph, le supplanter.
D'autres conférences ont lieu au cours desquelles sont présentées des vues Lumière : The Breaking of Waves on the Coast of France, The March of the Ninety-sixth Regiment of French Infantry, The Aquarium, Jardin des Plantes, Paris, Bicycle Parade, Lyons, The Picture Sale, Paris, A Children's Lawn Party in Paris, Cavarly Swimming the Seine, Cortege de Chasseurs (Parade of the Hunters), A Mele of the French Cavalry, Passing Trains at Hamburg, The Parade of the Dragoons, Stuttgart; Practice with German Sabers in Berlin, A Swiss Fete Day in Canton Url, "Bringing the Cattle Home", Bernese Oberland, A Swiss Cascade, The King and Queen of Italy, The Bersagliers of the Italian Army, Serving Rations in the Spanish Army, Spanish Artillery Men Firing Their Guns, Donkeys in Algiers, The Same Scene with Pleutres, in reverse order, Niagara Falls (The American Falls), The Niagara Rapids above the Horseshoe Fall, A Street Scene, Broadway, New York, Bathers Diving at the Baths of Diana, The Same Scene with Pictures in Reverse Order, The Serpent Man, A Street Scene in Boston, Feeding the Tiger (The Brooklyn Daily Eagle, New York, 7 février 1897, p. 3).
Au cours des mois suivants de nouvelles conférences ont lieu, parfois avec l'accompagnement d'un cinématographe, mais il pourrait s'agir de n'importe quel autre appareil.
Le cinématographe Lumière de la concession de Maurice Lafont (Empire, décembre 1896)
Par ailleurs, plusieurs essais sont réalisés dans d'autres salles new-yorkaises, essais qui parfois se soldent par un échec. Toujours est-il que des séances ont lieu à l'Empire :
"Darkest America" at the Empire next week, will have Lumiere's cinematographe in addition to the regular show.
The Brooklyn Daily Eagle, New York, 4 décembre 1896, p. 7.
Le cinématographe Lumière de la concession de Maurice Lafont (American Theater, décembre 1896)
Et à l'American Theater :
Lumiere's cinematographe, which did not work well at the American theater the first part of the week, is now in good running order and will remain for to-night and both performance to-morrow. Next week "The Pulse of New York" will be played.
The Brooklyn Daily Eagle, New York, 11 décembre 1896, p. 7.
Ces exemples montrent que désormais, il existe une grande flexibilité dans la gestion et la location des appareils cinématographiques. Il reste toujours aussi difficile de savoir combien de projecteurs sont alors présents à New York.
Le cinématographe Lumière de la concession de Maurice Lafont (Eden Musee, 20-31 décembre 1896) →1897
C'est à la toute fin de l'année 1896 qu'une nouvelle salle organise des séances cinématographiques. L'Eden Musee est le musée de cire de New York dirigé par Richard Hollaman, et il offre également des concerts et des événements culturels. C'est dans ce contexte que l'appareil Lumière va donner des séances pendant de longues semaines. La première annonce date du 20 décembre 1896.
New York Herald, New York, 20 décembre 1896, p. 7 | Neew York, Eden Musee (c. 1897) [D.R.] |
La presse ne consacre que quelques lignes à ce cinématographe :
The Lumière cinématographe is still on view at the Eden Musée, Thirty-five views are shown. Exhibitions are given every hour. What with the wax works, the chamber of horrors, and Koevesay's Band, the Musée entertainment is one of extraordinary variety and merit.
The New York Times, New York, dimanche 27 décembre 1896, p. 11.
Par la suite, les annonces restent assez discrètes, un peu répétitives, et on ne sait pas grand chose sur le répertoire.
→1897
1897
1896← Le Cinématographe Lumière de la concession de Maurice Lafont (515, Fulton Street, 1er janvier-20 janvier 1897)
←1896
Les informations concernant ces projections sont rares. L'une des séances est réservée aux orphelins, une pratique habituelle à l'époque (TheBrooklyn Daile Eagle, 14 janvier 1897, p. 4)
1896← Le cinématographe Lumière de la concession de Maurice Lafont (Eden Musee, 1er janvier-[18] février 1897)
←1896
Dans les premières semaines de 1897, les projections continuent à l'Eden Musee. Pour des entrefilets, comme le suivant, sont rares :
A new series of views will be shown by the cinematographe at the Eden Musée this week. One will be the entrance of the Czar into Paris last Fall, which occupies over three minutes and consists of more than 10,000 separate photographs. Another will be a babie's quarrel. Two children sitting upon a lawn get into trouble over their toys. A view of Niagara Falls will also be shown. The cinematographe exhibitions are so arranged that there is no interference with the concerts by Koevessy's Orchestra.
The New York Times, New York, 10 janvier 1897, p. 11.
La discrétion de la presse est due, sans doute au fait que la nouveauté n'est plus un argument suffisant et, en outre, la concurrence des appareils américains, voire français - un chronographoscope est installé au Pastor's - rend le cinématographe plus banal. Faut-il croire, par ailleurs, que des vues aient été prises spécialement pour l'Eden Musee comme cela est annoncé ?
The cinematographe views attract many visitors to the Eden Musée afternoon and evening. A new programme of pictures will be shown this week, including a number of recent scenes taken especially for the Musée.
The New York Tirmes, New York, 17 janvier 1897, p. 11.
L'absence presque totale d'informations sur le corpus présenté semble indiquer que le répertoire est assez limité. Un autre film nous est connu :
Twelve new cinematograph views at the Eden Musee attracted much attention yesterday. One of these views was a scene in an Egyptian camp which occupied several minutes, and presented amusing features. These views are shown hourly through the day and evening.
New York Tribune, New York, 2 février 1897, p. 7.
Mais cette vue, d'une durée inhabituelle, ne fait pas partie du catalogue Lumière semble-t-il, à moins qu'il ne s'agisse d'un "montage" de plusieurs bandes. La dernière annonce du cinématographe à l'Eden Theatre date du 18 février 1897 (New York Tribune, New York, 18 février 1897, p. 8), mais on peut penser que l'appareil est déjà en exploitation au Proctor's Pleasure Palace. En tout cas, il est immédiatement remplacé, à partir du 21 février, par un autre appareil français :
Another new apparatus for displaying instantaneous photographs in life size and with the effect of reproducing the original action, comes from Paris to become a permanent feature at the Eden Musee. It is called Jolly's cinematographe, and very accurate reproductions are promised from it.
The sun, New York, 21 février 1897, p. 3.
La Lumiere Agency et l'affaire Patet (janvier-mars 1897)
Au début de l'année 1897, The Lumiere Agency fait passer plusieurs annonces pour relancer la location de l'appareil cinématographique. Pour appuyer la publicité, on rappelle son succès incontestable, en particulier, aux États-Unis, où il a été présenté dans plus d'une vingtaine de villes.
The World, New York, 24 janvier 1897, p. 15 | The New York Clipper, New York, 30 janvier 1897, p. 769. |
Il y a sans doute eu aussi de nombreuses projections ponctuelles au cours de ces mois, comme celle qui suit :
ST. VALENTINE'S KETTLEDRUM
In Aid of the Samaritan Home for the Aged
St. Valentine's kettledrum, in which many society people have interested themselves, to aid the Samaritan Home for the Aged, was held at Sherry's yesterday afternoon and evening.
Various amusements were provided for the children. Music was furnished by Lander's Orchestra, and exhibitions were given of the Lumiere cinematograph. In the evening there was dancing.
The New York Times, New York, 14 février 1897, p. 5.
Quelques semaines après, la presse va révéler une affaire qui va secouer la Lumiere Agency, toujours dirigée par Maurice Lafont. Un des employés, Francis J. Patet, de 29 ans, va subtiliser une centaine de films avant de les revendre. Ce dernier est arrêté ainsi que le rapporte The Brooklyn Daily Eagle :
PICTURES IN DISPUTE
Cinematographe Films Alleged to Have Been Stolen by a Clerk.
A dispute over the ownership of 98 films for use in Lumiere’s cinematograrphe led this morning to the arrest of Francis J. Patet, aged 29 years, a Frenchman and a clerk who was formerly employed by the cinematographe company. The complaint against the prisoner was made by Maurice La Fond of 13 East Thirty-first street, New York. The films cover a number of subjects and are valued at $1,000. Patet lives at 69 Hight street, in this city, and he was arrested this morning by Detective Sergeant Roche of the central office squad. According to the statements of the complaints Patet was employed by the company and his connection terminated in November last. At that time there was a disput over the possession of a cinematographe machine and Patet was summoned before Justive Walsh to explain what had become of it. He said that he had it at the depot of the West Shore railroad in Weehawken, and on his promise to surrender it the proceedings were dropped.
Recently, Mr. LaFond alleges, the company discovered that ninety-eight films of the positives used in the machine had disappeared and later they found that Patet had been offering one of the rolls, showing a scene in the Jardin des Plantes, Paris, to D. Petri Palmeda, who lives on Wyckoff street, at a price that was much below the real value of the roll. Mr. Palmeda reported the matter to the superintendent of the company and said that Patet had indicated to him that he had sixty more of the films for sale. The result of all this was that proceedings were taken to have Patet arrested. The accused was taken before Justice Walsh and held pending an investigation. He declares that he did not steal any of the films and alleges that he is a member of the firm and that the ownership of the properly is in dispute. He denies that he has or at any time had as many as ninety-eight of the films.
The Brooklyn Daily Eagle, New York, 28 mars 1897, p. 2.
Cette affaire révèle que le système des concessions mis en place par les Lumière est sans doute trop complexe. Peut-être aussi, la personnalité de Maurice Lafont n'est-elle pas à la hauteur de la situation comme le pense Félix Mesguich, car il ignore "la langue anglaise, tout autant que la mentalité et l'état d'esprit des Américains chez eux." (Mesguich, 1933, 13). Toujours est-il que le système des concessions va se prolonger quelque temps.
Le Cinématographe Lumière (Pleasure Palace (58th st. & 3d ave, 14 février-2 mai 1897)
Frederick (Francis) Freeman Proctor (1851-1929), un impresario bien connu de l'époque, ouvre le Proctor's Theatre, le 5 mars 1888, sur la 23e rue, dans le quartier des théâtres. Sept ans plus tard, en septembre 1895, il ouvre une deuxième salle, le Proctor's Pleasure Palace. Il s'agit de théâtres qui présentent plutôt des vaudevilles et des spectacles de music-hall.
Byron Company, Proctor's Theatre |
Byron Company, Proctor's Pleasure Palace © Museum of the City of New York |
Les deux salles vont accueillir le cinématographe Lumière. C'est le Proctor's Pleasure Palace qui, le premier, propose des projections, à partir du 14 février 1897. On peut penser qu'il s'agit en réalité de l'appareil qui a terminé ses projections à l'Eden Musee. Grâce à ses mémoires, très approximatives, nous savons que Félix Mesguich fait office d'opérateur :
Les semaines suivantes, j'équipe le Keiths Theater à Union Square, le Black America Theater à Brooklyn, le Proctor's Pleasure Palace, dans la 58e rue. Dans ce dernier établissement, j'ai l'heureuse surpris de recevoir la visite de M. Promio, chef opérateur des Usines Lumière. Après la séance, celui-ci me dit en souriant : "Je viens inspecter votre poste."
Mesguich, 1933, 11-12.
Cela est un peu confus. En effet, Alexandre Promio est précisément, en mars 1897, en Égypte. On ne peut exclure en revanche une séjour de ce dernier, aux États-Unis, au mois d'avril. Si dans le cas du Proctor's Pleasure Palace les informations manquent sur le déroulement des séances, cela n'est pas le cas pour les programmations puisque de façon assez régulière, surtout dans les premiers semaines, les titres de films sont annoncés. Voici les vues répertoriées : The Czar of Russia and consort, with Royal Escort, passing through, the Champ de Elysees, Paris "A moving picture three minutes in presentation", Dinner Hour at Lumiere's Factory, A Dancing scene, The East River, Game of Backgammon, Demolition of an Old Wall, The Babies' Quarrel, Charge of the French Cuirassiers, Niagara Falls, Negroes bathing, Dragoons Crossing the Saone, The Card Players (The Sun, New York, 14 février 1897, p. 11), The 96th Infantry on Parade, Spanish Artillery in Action, Italian Bersagliers, Swiss Badoise Dance, Italian Carabineers, Feeding the Cats, Crowds at Brooklyn Bridge, Melee of French Cuirassiers, Panorama of Venice, The Shrimp Fishers, Manhattan Elevated Scene (The Sun, New York, 21 février 1897, p. 10), A Quarrel between French Cuirassiers, A Parade of Infantry, Spanish Artillery in Action, A Swiss Dance, A Gondola ride through Venice, The Elevated Railroad (The New York Times, New York, 21 février 1897, p. 11), The Broadway Cable Railroad's curve at Fourteenth Street, A Raft at Sea, Spanish Guard Mounting a Poultry Yard, Brooklyn Bridge (The New York Times, New York, 28 février 1897, p. 21), Dead Man's Curve, st 14th st. and Union square, The Poultry Yard, The Paris Salon, Spanish Troops Mounting Guard, Regiment of Turcos, Traveller and Pickpockets, Gardener and Bad Boy (The Sun, New York, 28 février 1897, p. 11), "European military views", The Chicago Police Parade (The New York Times, 7 mars 1897, p. 21), Children at Play, Skating in Central Park, Surf Bathing, (The New York Press, New York, 7 mars 1897, p. 9). Avec les jours qui passent, les vues sont de moins en moins annoncées jusqu'au 2 mai 1897, dernière date trouvée dans la presse.
The New York Times, New York, 7 mars 1897, p. 21
Le cinématographe Joly (Eden Musée, [21] février-13 avril 1897)
Vers la fin du mois de février, on annonce la prochaine installation d'un cinématographe Joly à l'Eden Musée :
Another new apparatus for displaying instantaneous photographs in life size and with the effect of reproducing the original action, comes from Paris to become a permanent feature at the Eden Musée. It is called Jolly's [sic] cinematographe, and very accurate reproductions are promised from it.
The Sun, New York, dimanche 21 février 1897, p. 21.
L'arrivée de l'appareil Joly est confirmée par un autre organe de presse :
The Eden Musée has a new cinematograph that is the invention of Joly of Paris. Where other instruments reproduce short scenes, this one reproduces much longer ones, without noise or the flickering of the light upon the screen. Many of the scenes last from three to five minutes, and each detail is exact. The first public exhibition will take place to-morrow evening.
The New York Times, New York, dimanche 21 février 1897, p. 11.
The Sun, New York, lundi 22 février 1897, p. 10.
Si la presse signale à plusieurs reprises que le cinématographe présente des vues nouvelles, aucune autre information n'est donnée sur leur titre ou leur contenu. Les articles sont très rares et ne donnent que très peu d'informations :
Programmes of classical music will employ the Gipsy band at the Eden Musée, beginning with to-day, and hourly showings of the cinematographe views are another supplement to the wax show.
The Sun, New York, dimanche 11 avril 1897, p. 25.
Une dernière annonce est publiée le 13 avril 1897.
Le Cinématographe Lumière (Proctor's, Theatre, 23º st., 8 mars-2 mai 1897)
Au Proctor's Theatre, le cinématographe Lumière offre ses premières représentations à partir du 8 mars, alors que les séances continuent dans l'autre salle de Francis Proctor :
A cake walk that will engage a stage full of negroes, led by Hodges and Launchmere, is to be given at Proctor's Theatre, and the Lumiere cinematographe is to be used to-morrow for the first time at this house.
The Sun, New York, 7 mars 1897, p. 11.
En revanche, les informations sont encore plus restreintes que pour le Proctor's Pleasure Palace, à quelques exceptions près, comme le célèbre Bains de Diane, présenté à rebours (The Sun, New York, 14 avril 1897, p. 7), une pratique plusieurs fois réalisée, précisément, par Félix Mesguich. À part ça, juste quelques titres nous sont connus : Babies' Quarrel, Brooklyn Bridge, Columbus Statue, Niagara Falls, Macon Flood (The Sun, New York, 7 mars 1897, p. 29).
Comme dans le cas du Proctor's Pleasure Palace, la dernière annonce du cinématographe au Proctor's Theatre date du 2 mai 1897. Les deux salles suspendent ainsi les projections avec l'appareil Lumière. Cela marque aussi, semble-t-il, la fin de la concession de Maurice Lafont. Rien d'étonnant d'ailleurs puisque le système des concessions est abandonné par les frères Lumière à la fin du mois d'avril et la mise en vente officielle du cinématographe date du 1er mai 1897.
L'American Cinematograph (Eden Musée, 14 avril 1897)
L'Eden Musée présente un nouvel appareil, l'American Cinematograph, à partir du 14 avril 1897.
The Sun, New York, mercredi 14 avril 1897, p. 10.
De façon tout à fait exceptionnelle, la presse indique le titre ou le contenu de certaines vue présentées :
The cinematograph at the Eden Musée is exhibiting some very interesting pictures. One of them represents a watermelon-eating contest, which never fails to cause laughter. Another view shows horses jumping hurdles. After being shown correctly the view is reversed and the horses appear to jump over the hurdles backward. The Winter Garden concerts and the exhibition of French posters are continued.
The New York Times, New York, dimanche 2 mai 1897, p. 14.
La dernière annonce de l'American Cinematograph est publiée, dans The World, le dimanche 9 mai 1897. Dès le lendemain, un "cinématograph" est annoncé, mais sans l'adjectif "american".
Le cinématographe Lumière de F. de Fonteny (5->5 mai 1897)
L'abandon du système des concessions ne signifie par pour autant celui de l'exploitation du cinématographe Lumière. D'ailleurs, à peine quelques jours s'écoulent, avant le nouveau lancement de l'appareil par un nouveau venu :
The Lumière cinematograph, which has been exhibited in several theatres and halls in this city, is to be taken on an extensive tour of the country, under the management of F. de Fonteny, of the Metropolitan Opera House.
New York Tribune, New York, 5 mai 1897, p. 2.
Nous ignorons tout ce F. de Fonteny, dont l'intérêt pour le cinématographe, semble avoir été de courte durée.
Le Cinematograph (Eden Musée, 10 mai -31 décembre 1897) → 1898
L'Eden Musée annonce, dès le 10 mai 1897, un "cinematograph" qui pourrait être l'appareil présenté précédemment sous le nom d'american cinematograph". peu d'informations filtrent dans la presse :
Twenty-four new cinematograph views are shown at the Eden Musée this week. Twelve ae pictures of American scenes, and the remainder are views of places in foreing lands taken especially for the Musée. The waxworks are interesting, and concerts are given by the Hungarian Orchestra afternoons and evenings in the Summer garden.
The New York Times, New York, mardi 22 juin 1897, p. 7.
Les annonces vont être reprises dans la presse presque à l'identique, sans presque aucune information sur les vues projetées. Exceptionnement, quelques rares articles donnent malgré tout un aperçu du programme :
The Eden Musee is having a prosperous season. The cinematographe has grown in popularity, and much care has been shown in gathering scenes, and the twenty-four different moving pictures shown are unusually interesting. One of them, a bull fight at Seville, is one of the best pictures ever taken of such a fight. It shows every detail, including a mad rush of the bull, in which he kills a horse injures the rider. The thousands of spectators in the background, including the royal party of Spain, can be seen waving their handkerchiefs. The afternoon and evening concerts are equally interesting. Each programme consists of twelve numbers, including solos and selections from classical and popular composers. In the week long selections will be given from the operas "Lohengrin," "Faust," "Cavalleria Rusticana," "Oberon" and "Robin Hood." The exhibitions of the cinematographe on Sunday afternoons are proving highly popular.
New York Tribune, New York, dimanche 1er août 1897, p. 7.
Autres vues présentées, celles du jubilé de la reine Victoria :
EDEN MUSEE.-Pictures of the jubilee procession in London are a feature of the varied display of scenes shown by aid of the cinematograph at this place of amusement.
The New York Times, New York, mardi 24 août 1897, p. 4.
Les séances se prolongent jusqu'à la fin de l'année :
EDEN MUSEE.-Till's Royal Marionettes are pleasing the older visitors as well as the children. These little mechanical figures present "Bluebeard" afternoons at 3 and Humpty Dumpty evenings at 9 o'clock. The Cinematograph has twenty-four new moving pictures of interest, and a number of them presenting Christmas festivities in various parts of the world.
The New York Times, New York, dimanche 26 décembre 1897, p. 6.
Répertoire (autres titres): The London Aquarium (showing the fishes swimming in the tanks), A bull fight at Seville, Babies quarreling, A storm at sea, Negroes bathing (The New York Times, New York, dimanche 4 juillet 1897, p. 12), The Czar and Czarina of Russia tanking an afternoon drive (The New York Times, New York, mardi 28 septembre 1897, p. 7).
→ 1898
Le cinématographe Lumière (Pastor's, 1er août-[décembre] 1897)
Tony (Antonio) Pastor (1937-1908) est une figure connue du monde de la variété dans le New York de la fin du XIXe siècle. Son théâtre, sur la 14e rue va accueillir le cinématographe Lumière à partir du 1er août 1897 :
Tony Pastor has engaged for the coming week Milton Nobles, assisted by Miss Dollie Nobles... Lumiere's Cinematograph will also be seen for the first time at this house.
New York Tribune, New York, 1 août 1897, p. 7.
The Sun, New York, 1er août 1897, p. 12 | Pastor's Theatre, 1895 [D.R.] |
La presse reste extrêmement discrète sur ces séances et les annonces sont très rares. On a même du mal à savoir si l'appareil projette des films avec une certaine régularité. Par ailleurs, Il semble que les projections aient eu lieu jusqu'au mois de septembre (The New York Dramatic Mirror, New York, 25 septembre 1897, p. 18). Souvent, le nom des inventeurs disparaît et lorsqu'il réapparaît il est question d'un "Original Lumier Cinematographe" (The Sun, New York, 19 décembre 1897, p. 11). S'agit toujours du même appareil ?
1898
← 1897 Le Cinematograph (Eden Musée, 1er janvier-31 décembre 1898) → 1899
← 1897
Le Cinematograph continue de projeter des vues animées dès les premiers jours de l'année :
EDEN MUSEE.-The success of Till's Marionettes at the Eden Musée has caused their engagement to be extended. Both afternoon and evening these mechanical figures will present an original play. The cinematograph has secured twenty-four new views. The afternoon and evening concerts remain of the usual high order, and changes in the was groups are made daily.
The New York Times, New York, dimanche 9 janvier 1898, p. 9.
Le cinématographe fonctionne encore à la fin du mois et un nouveau titre est signalé :
The Eden Musee.
The Eden Musee was well filled last evening. The cinematograph exhibited a new series of twenty-four moving pictures. Among them was one showing the White Squadron in practice and another showing a sham artillery battle.
The Brooklyn Daily Eagle, mardi 25 janvier 1898, p. 7.
Mais le grand événement de cette fin janvier, c'est la projection du film The Oberammergau Passion Play:
SCENES OF BIBLE SUBJECTS.
SCENES OF BIBLE SUBJECTS.AN EXHIBITION OF PASSION PLAY PICTURES AT THE EDEN MUSEE.
A series of Passion Play pictures was presented at the Eden Musée yesterday by the cinematograph. It was intended as a press view, though such visitors as happened to be in the Musée at the time also saw it. The pictures will be regularly presented to the public for the first lime on Monday. Twenty-three scenes are shown, beginning with the shepherds watching their flocks and ending with the ascension. It would thus be more accurate to describe the series simply as a Scriptural play, since it is not confined to the scenes of the Passion.
Allowance being made for the lack of preparation, which will be remedied before the pictures are publicly shown, they were presented, for the most part, with good effect. A mistake was made in announcing them as representing the Passion Play of Oberammergau. Pictures of the celebrated play of that place cannot have been taken for use in the cinematograph, for the obvious reason that marvellous machine had not been invented at the time when the play was last given, in 1890. Nor do these pictures even approach a close imitation of the Oberammergau play. Of the twenty-three scenes shown yesterday, eleven do not occur at all in the play of Oberammergau, which begins with the entry of Christ into Jerusalem.
These pictures have their own excellencies, and they are quite capable of standing on their own bottom, and should be allowed to do so. The best of them were the flight into Egypt, the raising of Lazarus, the crucifixion and the descent from the cross. While the first two of these are not given in the Oberammergau play, the other two more nearly resemble that representation than anything else that was shown. That which takes half an hour or soon the stage had to be compressed into a few minutes on the screen, but the action had the appearance of being modelled alter the famous Bavarian play. Perhaps these scenes were done better than the others for the very reason that they were harder to do. The exhibition seemed to make a favorable impression on those who saw it, and it is likely to interest the frequenters of the Musée.
New York Tribune, New York, samedi 29 janvier 1898, p. 9.
La Passion va être projetée pendant plusieurs mois, mais de nouvelles vues viennent compléter le répertoire :
The Eden Musee
The new cinematograph views shown at the Eden Musee last night, consisted of scenes in and about Havana, including several scenes connected with the Maine, both before and after the explosion. The workings of the divers are plainly seen. These views aroused much enthusiasm and when a fluttering United States flag was shown, nearly every one present, including women, cheered. The patriotic selections by the orchestra were also warmly received. The "Passion Play" received as much attention as usual. Las night's exhibition was the 120th, and the interest shown is as strong as ever. Afternoon and evening exhibitions will be given during the week. New Cuban groups are being prepared by the wax artists.
The Brooklyn Daily Eagle, mardi 5 avril 1898, p. 7.
En mai, ce sont de nouvelles vues de la guerre qui sont à l'honneur :
EDEN MUSEE.-New war views will be shown by the cinematograph this week. They include moving photographs of the evolutions of all the ships in the Atlantic Squadron, and were taken by the Musée's special artist, who is expected home soon with scenes taken during the bombardment of the ports. The wax figure of Admiral Dewey is receiving much attention. The Cuban groups are continually surrounded by visitors. The war views will be shown hourly, and there will be afternoon and evening concerts as usual.
The New York Times, New York, dimanche 15 mai 1898, p. 9.
Les séances se prolongent jusqu'à la fin de l'année.
Répertoire (autres titres) : The arrival of the soldiers at Tampa (and include the various important movements that followed, up to the surrender of Santiago, Red Cross upon the field, Colonel Astor setting our to meet General Toral, Artillery practice, Rough Riders landing, battle of San Juan, Troopships in a storm, The surrender of General Toral, The raising of the Stars and Stripes over Santiago (The Brooklyn Daily Eagle, 20 novembre 1898, p. 18).
→ 1899
L'American Biograph (Union League Club, 17 mai 1898)
Une soirée est donnée à l'Union League Club au bénéfice des membres du club :
A very delightful entertainment was given last night at the Union League Club for the benefit of members of the club and their invited guests, being under the direction of the following committee: William F. Fuller, Z. Nelson Allen. George B. Jones, William J. Harding and Joseph L. White. The programme rendered was as follows: March, "Stars and Stripes Forever," Sousa; overture, "Songs of the Day", McCormick; romance, "Simple Aveu, solo for violincello, Thome: melody of national airs. Wiegand; McCormicks Orchestra. Cathedral Male Quartet, "The Night is Still," Clarke. Miss Maude Lambert, "Plantation Melodies, with banjo accompaniment. Exhibition on the American Biograph: West Point Cadets, Gen. O. O. Howard and Staff, Capt. Sigsbee, Assistant Secretary U. S. N., Theodore Roosevelt; Scaling the Wall-Thirteenth Infantry, U. S. A.; Blanket Court Martial, Diving at Bath Beach, Morro Castle, Spanish Volunteers, Cavalry Charge, Third U. S. A. Cavalry. Popular subjects. Cathedral Male Quartet-The Image of the Rose, with tenor obligato, G. Reichardt. Exhibition on the American Biograph: Pilot Boat, Trout Fishing, Jumbo, Still Waters Run Deep, Typewriter, Empire State Express, Wreck of Schooner Richmond, Pillow Fight, Haverstraw Tunnel, Shooting the Chutes, Boston. Popular subjects. Miss Maude Lambert, musical selections. Cathedral Quartet-The Hunter's Joy," Astholz. Popular subjects. Exhibition on the American Biograph: Full Dress Parade, Governors Island; Ten-inch Disappearing Gun, U. S. Sailors, Seventh Regiment, Consul-General Fitzhugh Lee, Vizcaya, Brooklyn Navy Yard, Maine and Iowa, Wreck of the Maine, McKinley at Home, American Flag. The programme was concluded by the singing of the "Star Spangled Banner," by, the Quartet and audience. Among those present a ere: President John S. McKeon, Frank Armour, James R. Ross, Granville W. Harmon, Dr. T. L. Wells, John H. Burtis, T. M. Freeman, M. S. Allen, J. H. Stearns, Delwin B. Carr, Postmaster Wilson, Benjamin Russell, Elihu Dwight, William S. Buckman, J. H. Pitinger, Dr. O. E. Houghton, Dr. W. H. Bingham, Dr. Arthur Pell, F. L Coon, J. H. Colyer, Dr. George Rodman, R. B. Gwillin, A. E. Donelly, John Romig, F. L. Baily, William M. Matthews, William C. Pate. Dr. H. Ferris. Most of the gentlemen present were accompanied by their wives, and daughters.
The Standard Union, New York, mercredi 18 mai 1898, p. 3.
1899
← 1898 Le Cinematograph (Eden Musée, 1er janvier-31 décembre 1899) → 1900
← 1898
Les séances continuent dès les premiers jours de l'année :
The Eden Musee.
New cinematographic views were a feature at the Eden Musee last evening. An exhibition is given each hour during the afternoon and evening and a different set of views is shown each hour. One set is the ever popular panorama of the war. The afternoon and evening concerts are interesting and the wax work collection has received many additions.
The Brooklyn Daily Eagle, mardi 31 janvier 1899, p. 5.
Les séances se prolongent tout au long de l'année. Il est probable que Frank Cannock ait alors rejoint l'Eden Musée.
Répertoire (autres titres) : Admiral Dewey on board the Olympia (The New York Times, New York, mardi 3 octobre 1899, p. 5.), The Dewey celebration and the yacht races (The Sun, New York, dimanche 12 novembre 1899, p. 49), Cinderella's Slipper (The New York Times, New York, 24 décembre 1899, p. 16).
→ 1900
1900
← 1899 Le Cinematograph (Eden Musée, 1er janvier-31 décembre 1900) → 1901
← 1899
Dès le mois de janvier, les séances continuent :
The Eden Musée began the week yesterday with the usual attractions, with such variations as occur from time to time. Visitors can always be sure of finding the waxworks, the cinematograph and the concerts.
New York Tribune, New York, mardi 16 janvier 1900, p. 10.
Les informations sur le programme sont très rares. Au mois de mars The Passion Play est à nouveau à l'affiche. Puis en juin, un article commente assez précisément une vue de la reine Victoria quittant l'Irlande :
An interesting moving picture is now exhibited at the Eden Musée. It is Queen Victoria's farewell to Ireland. It was taken on the principal street in Dublin just as the Queen was starting for England. The Queen is sitting in a carriage with Princess Beatrice. Surrounding the carriage are the postilions and guards. When the carriage is directly in the middle of the picture it stops for a few seconds and the Queen bows, apparently to the audience.
New York Tribune, New York, dimanche 10 juin 1900, p. 28.
Peu après, un nouvel article évoque des vues prises lors de l'Exposition Universelle de Paris par un opérateur de l'Eden Musée :
For several months the Eden Musée has had an artist in Paris taking moving pictures of the Exposition. A dispatch received several days ago says that the pictures will arrive in time to be shown at the Musée to-morrow evening. The United States Building is made the subject of many views. These moving pictures will be shown hourly, afternoon and evening, during the week, with an entire change of views each hour. The other usual attractions at the Musée will continue.
New-York Tribune, dimanche 17 juin 1900, p. 28.
Un autre journal donne quelques autres informations :
Moving pictures of the Paris Exposition were placed on exhibition at the Eden Musée last evening. They give an excellent idea of the grounds and buildings, as well as of crowds of people in attendance. President Loubet and other French dignitaries can be plainly distinguished. One of the views shows the interior of the United States Building.
New York Tribune, New York, mardi 19 juin 1900, p. 7.
Il s'agit d'un programme d'une douzaine de films qui est alors présenté :
The moving pictures of the Paris Exposition shown at the Eden Musée are attracting attention. Twelve pictures constitue the series. Among these are the Eiffel Tower, the scene from the River Seine, views upon and from the moving sidewalks, the electric train, bird's eye view of the grounds, he huge cask, the Trocadero Gardens and the Monumental Arch.
New York Tribune, New York, dimanche 14 juin 1900, p. 28.
Une nouvelle vue animée provient du catalogue Méliès, Jeanne d'Arc :
At the Eden Musee more attention is paid to moving pictures than at any other amusement place in the world. Hourly exhibitions are given afternoon and evening and the subjects are changed each hour. A new importation of moving picture films has just been received from Paris. They include over one hundred subjects, all of which were selected by the Musee's foreign agent with great care. Among the pictures are many mysterious scenes, which are more wonderful and amusing than any yet shown. On picture received consists of eight hundred feet of film and twenty minutes are required to exhibit it. This picture shows in twelve acts or tableaux the important events in the life of Joan of Arc. In exhibiting these pictures a new machine will be used which practically avoids all vibrations on the screen. The afternoon and evening concerts will continue, and the wax groups have been greatly augmented.
The Brooklyn Daily Eagle, dimanche 11 novembre 1900, p. 26.
Les projections cinématographiques se prolongent jusqu'à la fin de l'année.
Repertoire (autres titres) : An acrobatic performance by the Cragg family of English acrobats (New-York Tribune, New York, mardi 3 juillet 1900, p. 11), Hong Hong [showing the massing of the allied troops, as well as characteristic pictures of Chinese Life] (New York Tribune, New York, mardi 10 juillet 1900, p. 14), The Lifework and Death of Joan of Arc [with remarkable fidelity to historical data. The pictures were made in Paris, and are proving a great attraction at the Musée] (New-York Tribune, New York, dimanche 11 novembre 1900, p. 28), A Stag Hunt in France [in three scenes. The first shows the start, the second the stag crossing a stream, pursued by dogs and hunters, and the third, the killing of the stag.] (The Brooklyn Daily Eagle, mardi 27 novembre 1900, p. 5), The Parade of Sanger's Circus in Windsor Park (The Brooklyn Daily Eagle, dimanche 9 décembre 1900, p. 26), Cinderella and the Glass Slipper (New-York Tribune, New York, dimanche 30 décembre 1900, p. 24)
→ 1901
1901
← 1900 Le Cinematograph (Eden Musée, 1er janvier-31 décembre 1901) → 1902
← 1900
Les projections de vues animées reprennent dès le début de l'année :
The success of the pantomime "Humpty-Dumpty" at the Eden Musee has been such that it will be continued for another week. It is of special interest to children. Moving pictures are shown hourly, and they include many humorous subjects, as well as tales of mystery. The afternoon and evening concerts continue to please, and the wax groups are at their best.
New York Tribune, New York, dimanche 6 janvier 1901, p. 36.
En mars, les séances cinématographiques font toujours partie du programme :
As an extra Lenten attraction for the week, the Eden Musée will reproduce with moving pictures the life scenes and death of Joan of Arc in twelve tableaus. In addition, there will be shown two new moving pictures of the Queen's funeral. Other new moving pictures will be shown, including many mysterious subjects. The afternoon and evening concerts will have choice Lenten programmes.
The New York Times, New York, dimanche 3 mars 1901, p. 16.
Les projections cinématographiques se prolongent jusqu'à la fin de l'année.
Répertoire (autres titres) : The inauguration ceremonies at Washington [Several pictures are shown and President McKinley, as well as many of the distinguished visitors, can be plainly recognized], The Queen's funeral. (The Brooklyn Daily Eagle, mardi 12 mars 1901, p, 15), The Opening of Parliament and the inauguration of President McKinley (The New York Times, New York, dimanche 24 mars 1901, p. 24), Buffalo Bill's street parade (New York Tribune, New York, dimanche 14 avril 1901, p. 26), The Ganges River in India, The Great Wall in China (The New York Times, New York, dimanche 5 mai 1901, p. 20), The Pan-American Exposition at Buffalo (The New York Times, New York, dimanche 2 juin 1901, p. 7).
→ 1902
1902
← 1901 Le Cinematograph (Eden Musée, 1er janvier-31 décembre 1902) → 1903
← 1901
Dès le début de l'année, l'Eden Musee continue de projeter des vues animées :
The holiday features at the Eden Musée have been so successful that they will be continued for another week. A greater effort has been made this year for special attractions than ever before, and the result has been that the Musée has been crowded day and evening. The series of colored pictures showing Christmas in the time of Louis XV is an elaborate one. Nearly one hundred thousand separate pictures are shown, and each has been colored by hand.
New York Tribune, New York, dimanche 5 janvier 1902, p. 24.
Parmi les vues projetées, Captain Nissen Going Through Whirlpool Rapids, Niagara Falls a droit à un court article :
Eden Musee.
At the Eden Musee a new series of moving pictures have been placed on exhibition. They are all of unusual interest, and show exciting scenes and incidents. The most realistic picture is one showing Capt. Bowser going through the whirlpool rapids at Niagara in his 24-foot steam craft, the Fool Killer. An excellent view of the rapids is given, and the little boat, almost over-whelmed, finally makes the trip in safety.
Times Union, New York, samedi 25 janvier 1902, p. 17.
Les annonces se succèdent tout au long de l'année avec quelques informations sur les programmes. En décembre, une information brève porte sur la projection de vues en couleur :
The colored pictures on the cinematograph at the Eden Musée have proved a great attraction.
New York Tribune, New York, dimanche 7 décembre 1902, p. 15.
Les projections se prolongent jusqu'à la fin de l'année.
Répertoire (autres titres) : A Christmas Dream (The Brooklyn Daily Eagle, dimanche 12 janvier 1902, p. 44), Travelers climbing the Jungfrau, the highest peak of the Alpes, Panorama fo the ruins of the forum at Pompei, Captain Delawaar, the famous lion tamer (The Brooklyn Daily Eagle, dimanche 30 mars 1902, p. 43), The Interior of a Chinese barber shop, The Lauching of the Meteor (The Brooklyn Daily Eagle, mardi 13 mai 1902, p. 12), The Coronation fo King Edward [The Archbishop administering the oarth, the anointing, the obligation of the sword, the orb and the scepters, the actual crowning of Edward VII, The King and Queen in the chairs of state] (Times Union, New York, samedi 16 août 1902, p. 11).
→ 1903
1903
← 1902 Le Cinematograph (Eden Musée, 1er janvier-31 décembre 1903) → 1904
← 1902
Les séances continuent dès les premiers jours de l'année :
Eden Musee
The business of the Eden Musee has been unusually good during the holidays. De Kolta, introduced some new illusions that were seen with great favor. His popularity increases as his engagement continues. The Santa Claus and other holiday groups in the wax works exhibition were popular with the little folks and in no period of the history of the Eden Musee has the attendance been so great. The pantomime pictures of "Blue Beard" on the cinematograph made a big hit. Some new groups will be placed on exhibition in the wax work next week.
Times Union, New York, samedi 3 janvier 1903, p. 15.
Parmi les articles, souvent fort brefs, on évoque à l'occasion un nouveau procédé de films en couleur :
Eden Musee.
The Pope lying in state is on exhibition at the Eden Musee. New pictures just brought over from Europe will be placed on view on the cinematograph this week. They include some pictures taken by the new French process of photography, which reproduces the scene in the natural color. There will be the usual concerts afternoon and evening.
The Brooklyn Daily Times, samedi 25 juillet 1903, p. 11.
Certaines vues font l'objet d'un commentaire un peu plus long :
Eden Musee.
The pictures of the contending yachts Reliance and Shamrock were the features on the cinematograph at he Eden Musee the past week and will continue as long as there are any races. The photos are made by special artists and the plates developed the pictures thrown on the screen the same days as the races. The audience show their preferences by the applause as the respective yachts maneuver.
Times Union, New York, samedi 29 août 1903, p. 11.
Les séances se prolongent jusqu'à la fin de l'année.
Répertoire (autres titres) : The Durbar at Delhi (The New York Times, New York, dimanche 1er février 1903, p. 42), The logging camps of the great Northwest [showing how the gigantic trees are cut and transported from the forest to civilization. Realistic salmon spearing scenes will also be shown] (The Brooklyn Daily Eagle, dimanche 15 mars 1903, p. 42), The Marvelous Wreath (Brooklyn Life, samedi 4 juillet 1903, p. 24), Scene of London life [It is one of a number of new pictures that have just arrived from Europe, and represents a wonderfully realistic daylight burglar hunt in the heart of the British metropolis.] (Times Union, New York, samedi 5 septembre 1903, p. 11), The Rise and Fall of Napoleon the Great (Times Union, New York, samedi 26 septembre 1903, p. 13), Elephants at work in India, The Italian cavalry (The New York Times, New York, mardi 20 octobre 1903, p. 7), The Life of the Honey Bee (The New York Times, New York, mardi 3 novembre 1903, p. 5), Moorish Soldiers in the Field (Times Union, New York, samedi 14 novembre 1903, p. 13), Breaking in Young Colts (Times Union, New York, samedi 21 novembre 1903, p. 17), Descending from the mountain of Serrat [a province of Spain], The Visit of King Edward to President Loubet in France (The Standard Union, New York, mardi 1er décembre 1903, p. 4), The Enchanted Inn, Santa Claus Making His Visits (The Standard Union, New York, mardi 29 décembre 1903, p. 3).
1904
← 1903 Le Cinematograph (Eden Musée, 1er janvier-31 décembre 1904) → 1905
← 1903
Dès les premiers jours de l'année, les projections continuent :
ATTRACTIONS AT THE EDEN MUSEE.
A new feature just arrived from Europe has been placed on the Cinematograph at the Eden Musee, Manhattan, under the general title of "Dorothy's Dream," introducing subjects specially suitable for the children at this time of the year. It includes the fairy tales of our childhood, such as Dick Whittington. Cinderella, Aladdin, Robinson Crusoe, Forty Thieves, Blue Beard, and Red Riding Hood. The Sunday afternoon and evening concerts are given as usual.
The Standard Union, New York, dimanche 3 janvier 1904, p. 10.
Les séances se prolongent tout au long de l'année :
Some new subjects on the cinematograph ara being shown at 3 and 9 p. m. at the Eden Musee, in addition to the regular afternoon and evening concerts, on Sunday, when Professor Krueger will introduce a special programme of sacred music. The latest addition to the group, "People Talked About," is a lifelike wax figure of Mrs. Chadwick, which is attracting much attention now in the central hall.
New York Tribune, New York, dimanche 18 décembre 1904, p. 58.
Répertoire (autres titres) : The adventures of a youthful Long Islander, who, with his "best girl," makes his first visit to Coney Island [Alle their adventures, while shooting the chutes, riding the camel, steeplechasing and on the roller coaster, are depicted to the delight of the crowds who witness the astonishment of the farmer and his girl] (The Standard Union, New York, jeudi 7 janvier 1904, p. 4), The Busy Bees [It includes a most perfect and complete series of pictures showing every phase of busy bee life and bee culture that has ever been produced. They show how the bee farmer attends the bees, how the bee builds its honey-comb, and feeds the young collecting honey, swarming the bees, and hiving them are also shown in a most realistic manner] (The Standard Union, New York, dimanche 10 janvier 1904, p. 10), Wood Rafts and Scenes on the Rhine, The Snowball Battle Between Swiss Mountain Children (The Sun, New York, dimanche 17 janvier 1904, p. 31), The Palace of Jamau, India, No Smoking Allowed (The New York Times, mardi 19 janvier 1904, p. 5), Spearing Salmon in a Canadian River, The Worshippers entering a pagoda in India (The New York Times, New York, dimanche 24 janvier 1904, p. 17), Pole Jumping at Collegiate Sports, Cambridge University (The Standard Union, New York, 26 janvier 1904, p. 5), Dick Turpin and His Ride to York [showing the old-fashioned way of holding up stage] (The Standard Union, New York, dimanche 7 février 1904, p. 10), The struggle between the Russian and Japanese forces, The Japanese battleship Asama [The six-inch guns on both port and starboard of the warship can be seen in action]. Russian infantry on the march to the scene of conflict (Times Union, New York, samedi 5 mars 1904, p. 13), Fire in a French Flat (The Standard Union, New York, mardi 26 avril 1904, p. 3), A bank holiday celebration in London (New York Tribune, New York, dimanche 6 novembre 1904, p. 19).
→ 1905
1905
← 1904 Le Cinematograph (Eden Musée, 1er janvier-31 décembre 1905) → 1906
← 1904
Dès les premiers jours de l'année, les projections de vues animées se poursuivent :
A lifelike figure of Father Gopon is the latest addition to the collection of notable persons shown at the Eden Musée. Cinematograph views are shown also of the troops in front of the Winter Palace, where the people were shot down. The Czar figures in some of the pictures.
The New York Times, New York, dimanche 29 janvier 1905, p. 39.
Les programmes changent et en avril des vues russes sont présentées :
A reproduction of the workingmen's riots in the streets of St. Petersburg and other cities in the Czar's domain is shown on the cinematograph at the Eden Musee. The pictures show the scenes where the populace is being ridden down by the Cossack horsemen, who are wielding their swords and knout upon the helpless people who want to lay their grievances before the Emperor. The inaugural pictures of President Roosevelt are being continued on account of the immense demande for them.
The Brooklyn Daily Eagle, dimanche 9 avril 1905, p. 37.
Les séances se poursuivent au cours des mois avec renouvellement des bandes animées :
One of the most remarkable series of pictures ever shown on the Cinematograph moving picture machine is now on view at the Eden Musee. It is a steeplechase at Auteuil, France. The scene is full of action. The horses are seen going over the fences, hurdles and walls. A wide creek is disastrous to four riders who are thrown into the water and are carried on the field as the riderless horses gather themselves together and follow the disabled riders. Pictures will also be shown on Sundays at 3 o'clock in the afternoon and 9 o'clock in the evening.
The Brooklyn Daily Eagle, dimanche 17 septembre 1905, p. 44.
Peu après des films du répertoire Urban sont présentés. Ils ont été pris par Joseph Rosenthal :
The fall season at the Eden Musee was opened last week with an entirely new programme of attractions in the musical line. Many new, novel and most interesting pictures were shown on the Cinematograph.
The films showing the series of engagements before Port Arthur and the fall of the stronghold up to the time of General Stoessel's departure for his home will be placed on the cinematograph at the Eden Musee next Monday night. The pictures cover a period of ten months and were taken by Mr. Rosenthal, the London war correspondent, who was not allowed by the Japanese War Department to take them out of the country until hostilities were concluded. They are the most perfect and realistic pictures ever shown on the cinematograph.
The Brooklyn Daily Eagle, dimanche 24 septembre 1905, p. 55.
Les séances se prolongent jusqu'à la fin de l'année :
A new picture on the cinematograph at the Eden Musee entitled "Black and White" depicts the result of a nurse maid's flirtation with a policeman in Prospect Park. The white baby's carriage accidentally runs down a slope into the bushes. A colored baby in a carriage near by is taken home by the nurse, while the colored nurse gets the white baby and carriage. The Budapest Hungarian Orchestra, in the afternoon and evening concerts, and the World in Wax are other attractions.
New York Tribune, New York, dimanche 17 décembre 1905, p. 46.
→ 1906
Répertoire (autres titres) : The Junction of 23d-st. and Broadway on a windy day [It is a realistic picture of everyday life in New-York's busiest and windiest thoroughfare, A panorama of scenery on the field of war in Manchuria (New York Tribune, New York, dimanche 19 février 1905, p. 53), Fountains of Versailles [The scene in the Garden of Versailles is shown with all the electrical effects on the waters (New York Tribune, New York, dimanche 18 juin 1905, p. 54), The Hobbling of the Derby favorite (New York Tribune, New York, vendredi 30 juin 1905, p. 6), Down on the Farm (The Brooklyn Daily Eagle, dimanche 3 décembre 1905, p. 28).
1906
← 1905 Le Cinematograph (Eden Musée, 1er janvier-31 décembre 1906) → 1907
← 1905
Les projections de vues animées reprennent dès les premiers jours de l'année :
In addition to the extra attractions, which include Harry Braham in "Masks and Faces," the Japanese Karabanza Troupe and other features, there are this week several very fine cinematograph views just received from Europe at the Eden Musée. Among them are the beautiful "Falls on the Rhine," "Launching a Lifeboat at Brighton, England," "Tourists Climbing the Alps" and others. The solos on the violin by Professor Seredy are a feature of the Hungarian band concerts.
New York Tribune, New York, dimanche 28 janvier 1906, p. 44.
Les vues proposées sont régulièrement renouvelées :
EDEN MUSEE has one of the most interesting marine pictures ever shown on the Cinematograph. It shows a war vessel battling with the elements during a storm. The photographs were taken from the deck of an Atlantic liner, which was just entering port when the war vessel passed out to sea during a hurricane.
Times Union, New York, samedi 28 avril 1906, p. 6.
Le film du tremblement de terre de San Francisco fait partie des programmes de l'Eden Musée :
The special attractions this week at the Eden Musée will be cinematograph films showing the calamity at San Francisco. The pictures were taken under most difficult circumstances, and show the streets of the city, the demolished buildings, together with incidents of the Red Cross work, the military patrolling, the mines, etc. In conjunction with the above cinematograph pictures will be shown of the city before the disaster, the title of the series being "San Francisco as It Was and as It is."
New York Tribune, New York, dimanche 6 mai 1906, p. 54.
The New York Times, New York, dimanche 28 octobre 1906, p. 31.
Les séances ont encore lieu à la fin de l'année :
Victor Andre's London Company continued to head the bill at the Eden Musee. In the Winter Garden new Cinematograph pictures were shown, one series depicting the balloon races by members of the Raneleigh Club.
The New York Times, New York, mardi 11 décembre 1906, p. 9.
Répertoire (autres titres) : The life of a fireman [responding to an alarm of fire, from the time of leaving the engine house to the falling of the walls of the burning building]. (The Brooklyn Daily Eagle, dimanche 8 avril 1906, p. 35), The Pageant held last July at Warwick Castle, England (Times Union, New York, samedi 15 septembre 1906, p. 6), The members of the English Ranelagh Aerial Club holding their weekly contests [As many as eight and ten balloons are seen competing for prizes. Some exciting and amusing experiences are witnessed at these friendly races through and above the clouds] (The Brooklyn Daily Eagle, dimanche 23 septembre 1906, p. 41), The Mammoth screen (New York Tribune, New York, dimanche 18 novembre 1906, p. 50), A parody on Vesta Tilley's famous song, "Following in Father's Footsteps (Times Union, samedi 29 décembre 1906, p. 6).