- Détails
- Création : 25 mars 2015
- Mis à jour : 9 novembre 2024
- Publication : 25 mars 2015
LONDRES
Jean-Claude SEGUIN
Londres est la capitale de la Grande-Bretagne.
1896
Le Cinématographe Lumière de Felicien Trewey (Royal Polytechnic Institute/The Marlborough Hall, 20 février->23 mai 1896)
The Polytechic Regent St., London (à gauche, on aperçoit l'entrée du Cinématographe Lumière
© R. Brown Collection (John Barnes, The Beginnings of the Cinema in England 1894-1901, vol. 1, 1894-1895, p. 93)
Félicien Trewey, secondé par l'électricien Matt Raymond,organise une session privé le 20 février au Marlborough Hall du Royal Polytechnic Institute:
THE CINEMATOGRAPHE.
An Invention that Will Set all London Talking
Yesterday a private view was gives at the Polytechnic Regent-street, of an exhibition which will draw all London.
Various devices have been brought into […] from time to time for producing the illusion of movement, the Kinetoscope being the latest and most perfect, but the newest invention, the Cinématographe, simply reproduces phases of life itself, moving, acting, life, on a […].
At one end of the Marlborough Hall yesterday was a great white canvas […], and in the far gallery was a familiar-looking magic lantern-like creation. Suddenly the lights went down, and on the screen came a scene of life and bustle. Hundreds of hands were pouring out of the great gates of a factory. They ran and laughed, pushed and jostled, and danced off into the wings; every now and then a bicycle whizzed by, and presently a […] horse carriage drove out, the horses having at one moment to be pulled up almost on […] haunches to avoid running over somebody. Other scenes followed: feeding a baby at breakfast-time; and a splendid bathing scene in the Riviera, with the bathers splashing about, and every now and then mounting a diving-beard and diving off into the sea.
The representation are marvellous in their accuracy and lifelikeness, but at present no English scenes have been obtained. When the sunshine comes and the Cinematographe begins to represents scenes of daily life, the finish of the Derby, a cricket match at Lord’s, a prize fight at the National Sporting, illustrated papers who bogs to tremble for their living.
The Evening News, Londres, vendredi 21 février 1896, p. 2.
Les séances publiques commencent peu après. Grâce à un autre journal, nous disposons d'une description précise du programme et certaines vues sont décrites avec précision :
THE CINEMATOGRAPH.
Our readers may probably remember the old " Wheel of Life," and they are more likely still to be familiar with Edison's kinetoscope. An instrument which is a further development of the principle of both these inventions is now on show in London, which is as far ahead of the kinetoscope as the kinetoscope was of tho wheel of life. This is the cinematograph, which may be seen any day from 2 p.m. on wards at the Marlborough Rooms, in Regent street. It is the invention of Messrs. Auguste and Louis Lumiere, and is now shown for the first time in England, although it has been attracting crowds in Paris for a month past. It is impossible to describe the extraordinary effects produced. You enter a hall which is darkened, and where you can sit in comfort without screwing up your eyes and peering (in a very uncomfortable position as was the case with the kinetoscope) into two tiny holes. At the end of the hall is a large white screen upon which the pictures are thrown, and the illusion is so complete that you appear to be looking through a window at something actually occurring in the next street. First of all you are shown a factory. The gates open. Then the girls pour out, laughing and (apparently) talking. Then a boy comes out, jumps on a bicycle, and rides off. Suddenly a pair of doors are thrown back, the crowd opens, and a brougham is driven out, and so on. Then you are shown a railway station ; a train is seen in the distance. It comes nearer and nearer. You see the steam from the funnel and valves, and you can almost imagine you hear the puffing of the engine. The train comes to a stand, the passengers jump out, and the whole platform is full of life and activity. Porters rush up and down, the guard bangs the doors, and the arrivals are greeted by their friends. Then the scene changes to a garden. The gardener has a hose in his hands. He turns the cock, and you see the spray as it leaves the hose, flying all over the trees and shrubs. Then there comes a little comic relief. Somebody comes behind the gardener, tilts up the hose, and sends the water into his face, blowing his hat off. After this comes a picture of three men playing at ecarte. They are smoking, and whiffs of smoke from their heads. They shuffle and deal the card, the stakes are paid over, the loser looks glum, and the winner slaps him on the back. But the most extraordinary and remarkable scene is the last. You are apparently looking at the sea. The long rollers come tumbling in. A party of bathers run along the springboard and take headers. The waves dash against the rocks, the foam flies up into the air, and you expect every moment to see the water pouring into the hall. There are other pictures shown, all of which are interesting, and the exhibition is of so entirely novel and pleasing a character that it will well repay a visit, affording as it does remarkable evidence of what science can do to deceive the senses.
Sheffield Independent, jeudi 27 février 1896, p. 2.
W. Constable, Lumiere's Cinematographe, Marlborough Hall, Regent Street. 1896 Source: Fonds Will Day (Cinémathèque Française) |
Comme indiqué sur le programme édité par W. Constable, Francis Pochet fait office de lecturer.
C'est sans doute le St Paul Magazine qui offre le plus de détails et consacre de longs paragraphes à plusieurs vues animées :
LIVING PHOTOGRAPHY. Of all the marvels that have recently been brought to light in the way of photography the 'Cinématographe', which reproduces photographs of actual scenes and persons from life -moving,breathing, in fact, living pictures- is the most startling and sensational, if not the most original, as in the case of invisible photography. It is the most perfect illusion that has heretofore been attempted in photography. Without the aid of any of the usual paraphernalia of the photographer, pictures are thrown on a screen through the medium of the 'Cinématographe' with a realism that baffles description. People move about, enter and disappear, gesticulate, laugh, smoke, eat, drink and perform the most ordinary actions with a fidelity to life that leads one to doubt the evidence of one's senses.
The first exhibition of the Messrs Lumière to introduce their invention to the London public was given at the Marlborough Hall (the Polytechnic) on Thursday afternoon. At their invitation a distinctively representative Press and artistic gathering assembled to pass judgment on the new sensation, a judgment which was not only favourable, but enthusiastic. A short description of the successive pictures will give a clearer idea perhaps of the marvellous character of the display, in which there were much humour and vivacity.The 'Cinématographe' or electric camera, was placed in the gallery directly opposite the stage, on which was a huge screen of white cloth. When the lights were turned off and the hall in complete darkness, and the first picture, a street scene, was revealed upon the screen, the effect was startling beyond description -fully a hundred figures came and went across the canvas, people jostled one another, stopped to chat, shook hands and away, newsboys appeared in search of customers, dogs scampered by (as though in dread of the muzzling decree), and other details too numerous to mention.
This was succeeded by another marvellous piece of realism in a picture of the landing of passengers from a steamer. The throng passed down the gangway and off in groups of two or more, in high good humour, as though on pleasure bent; and here again scores of figures all different were represented in the most natural manner imaginable.
This third picture, perhaps the most ingenious, represented a train arriving. The locomotive, advancing with Iightning rapidity, then slows up, the guard jumps out, opens the doors, out pop the passengers, and go off until the platform is quite empty and the guard slowly inspects each carriage. The illusion was so perfect that one felt Iike pinching one self or a neighbour to be sure one was not dreaming, but awake, and actually gazing on a mere photograph.
The next picture was an amusing one, wherein a child, held by its father, attempts to capture the goldfish in a great globe of water, the fish proving decidedly slippery and active.This was followed by a marvellous representation of a photograph from Iife of the famous Trewey in one of his manipulation tricks with the tops - nothing could exceed the grace of movement and rapidity of action. The next was a scene wherein a blacksmith is at work,the effect of steam in the cooling of the iron being quite wonderful. Then followed a picture of a card-party. You could almost hear the clink of the money, the rustle of the cards, and the popping of the cork as a waiter opened a bottle of champagne and proceeded to fill the glasses.
This piece of realism awoke keen applause, but the best was reserved for the last, which was a reproduction of a party of bathers in the surf of the ocean. Nothing could have been more realistic than the breakers rolling in, and a great deal of merriment was evoked by the antics of the bathers as they dived successively from the bathing-pier.
The most lavish in their praises of Messrs Lumière's marvellous invention were the representative London photographic artists present. Mr Van de Weyde declared it so wonderful that it left him 'breathless' with surprise; whilst Mr Downey pronounced it the wonderful that it left him 'breathless' with surprise; whilst Mr Downey pronounced it the most marvellous degree of perfection in the way of photography that the art had theretofore attained. For each of the pictures from 900 to 1,000 negatives from life had been taken on a continuous band, and are, by means of the electric light, projected life size upon the screen. lt would be difficult in this limited space to explain fully this remarkable process. 'Seeing is believing', as the adage says, and the Messrs Lumière have in their exhibition the most fascinating thing of its kind to be seen in London. Discoveries are thick upon us, from the Invisible to the North Pole, but in this we have one by far more immediately interesting.
St Paul's Magazine, 7 mars 1896, p. 436.
Un autre article vient compléter les informations relatives aux séances du Marlborough Hall :
The audience at Marlborough Hall or Room only see the results of the projection, for the apparatus is placed in a gallery and carefully concealed by curtains. I am, however, indebted to Mons. Trewey, who is the concessionaire for England, for certain particulars respecting the apparatus. Optically, it is an ordinary magic lantern supplied with an electric light, the regulator for same having 12 mm carbons, and using 15 amperes of current. Each subject or picture, of which at present there are ten shown at each séance, consisting of 900 to 1000 exposures, and the film on which they are produced is fifteen yards long. The latter is propelled through the lantern front by hand motion, it having been found that more care could be taken of the films in that way than if electricity were employed.
And now for the subjects. Imagine yourself sitting in a nice-sized hall, and a small screen five or six feet square, or rather oblong, with a dark border, hanging in front of you, well above your head and level with the gallery, when presently, after a little introduction, a picture appears on the screen, at the same time as the electric lights are turned out in the hall. What is it? Well, we will take a typical one; and, as it is photographic in more senses than one, it shall have precedence. It is a steamboat pier, and there is a gangway in the mid distance. A little whirr is heard in the gallery above our heads, and the picture on the screen is all animation. Some one is walking up the gangway carrying a camera, and he is followed in quick succession by a hundred or so of others. Some tum to the left at the end of the gangway, and others to the right; every third or fourth person raises his hat, as if he recognised some one the audience cannot see; but, when two or three run across the intervening space, one concludes they wish to be quickly out of the field of view of the camera, and that the salutations are for M. Lumière, who is photographing this wonderful scene. It was stated that the gentlemen coming from the boat were those attending the Photographic Convention at Lyons (I think). Certainly the marvellous detail, even to the puffs of smoke from the cigarette, spoke volumes for the perfection of the apparatus employed.
The subjects are considerably varied, the first being a domestic scene, The Family Tea Table, in fact with father and mother and the little baby seated at the table; the child is in turn fed, and the lady sips her tea or coffee, and every movement is gone through with all the exactness of life. The Railway Station again forms another scene. The station is at first apparently empty when the train is seen approaching, and gradually gets nearer and larger until the engine passes where we are apparently standing, and the train stops, the guard comes along the platform, passengers get out and in, and all is real. The Forge again gives an opportunity of showing that the apparatus can faithfully reproduce delicate objects, for,an opportunity of showing that the apparatus can faithfully reproduce delicate objects, for, when the hot iron is plunged into the barrel of water, the steam rises in a most natural manner.
The scene outside a café of three gentlemen playing cards, and the waiter bringing in refreshments, drawing the corks, pouring out the contents of the bottle, and each of the three toasting the other during an interval in the game, was rather 'mouth-watering', and the hilarity of the garçon at the results of the game seemed almost bound to produce laughter among the audience. The photographic reproduction of Monsieur Trewey's wonderful girations of a strip of long calico whipped round and round must be seen to be realised, for it baffles description.The same may be said of the Street in Paris, and finally, the piece de resistance, viz., Sea Bathing in the Mediterranean, for here we have the breaking waves on a shingly shore, a living or jumping board, and the bathers in succession going down this board, jumping into the sea, battling with the breakers, climbing the rocks, and getting once more on the diving board, all so faithfully to life that one 'longed to be there.
British Journal of Photography, vol.43, Supplement 6 mars 1896, p. 17-18.
Les séances ont lieu de 2 h à 10 h tous les jours:
LIVING PHOTOS
By LUMIERE'S CINEMATOGRAPHE.
On View DAILY, punctually at 2, 3, 4, 5, 6, 7, 8, 9 an 10 o'clock.
Marlborough Hall Polytechnic.
Admission One Shilling.
Morning Post, Londres, samedi 7 mars 1896, p. 1.
Le cinématographe attire aussi l'aristocratie britannique :
Their Royal Highnesses the Duke and Duchess of Connaught were present at the performance of the Cinematographe at the Marlborough Hall Polytechnic, Regent-street, yesterday afternoon.
Morning Post, Londres, jeudi 12 mars 1896, p. 5.
Les séances se prolongent sous la direction de Félicien Trewey :
EVERYBODY is talking of the Cinematographer, and those who would like a nice quiet view of the "living photograph" machine, cannot do better than look in some time at the Marlborough Hall, The Polytechnic. Regent Street, where, under the management of M. Trewey, exhibitions are given hourly every day from two till ten.
Ally Sloper's Half Holiday, samedi 11 avril 1896, p. 6.
La presse annonce de façon parcimonieuse les programmes :
Lumiere's Cinematographe. — Several new pictures have been added to the programme of the Cinematographe, which is now on exhibition at the Marlborough Hall, Polytechnic, Recent-street, under the management of M. Trewey. One of the best is that representing the animated scene and the picturesque promenade of the Champs Elysées. Another affords a startling contrast — the open space in front of the Mansion House during a fog, but this can scarcely be regarded as one of the most effective pictures. There are two or three capital sea pieces, one a rocky piece of coast with spray dashing over is very realistic ; as also is a small boat tossed by waves, with heavy rollers in the distance. The " biter bit," babies at play, and Trewey 's "many characters under one hat" are well put on the screen and highly amusing. Three favourite old scenes continue to hold the field against all new coiners— the arrival of the train, the fall of the wall, and bathing in the Mediterranean. These scenes appear to be more distinct, more full of incident, and more true to Nature than any of the others, and all who see them once want to see them again.
Morning Post, Londres, samedi 18 avril 1896, p. 5.
Une dernière annonce est publiée le 8 mai 1896:
Living Photographs at Marlborough Hall, 2 to 9.
Daily News, Londres, mercredi 13 mai 1896, p. 4.
Lumiere Cinematographe, Polytechnic, Publicité, 23 mai 1896.
Source: Theatre Museum. Covent Garden
Reproduit dans BARNES, 1976: 98.
Le theatrograph de Robert William Paul (Finsbury Technical College, 20 fevrier 1896)
Robert William Paul présente son theatrograph en février dans le Finsbury Technical College :
THE THEATROGRAPH.
The Theatrograph, which is an apparatus for exhibiting to any number of spectators short passages from different plays or other scenes, with the figures in natural movement and life size, was shown publicly l for the first time at the annual conversazione at Finsbury Technical College on Thursday last, in the presence of a large and enthusiastic audience. The pictures are produced from instataneous photographs taken at the rate of 1,000 to 1,500 per minute on an endless film, similar to that used in the Kinetoscope. One of the scenes shown (of which there were five size of the screen, it was impossible to represent them in in life size, as is ordinarily done. The maker, Mr. Paul, of Hatton-garden, intends during the summer season to reproduce short passages, lasting, say, one minute each, from select plays, which will be shown at exhibitions, &c., as an attraction for the various theatres.
Reynolds's Newspaper, Londres, samedi 23 février 1896, p. 4.
Le cinématographe Lumière de Félicien Trewey (Empire Theatre, 9 mars-31 décembre 1896 → 1897)
The Empire Theatre. Leicester Square.
Source: Cinémathèque française.
Londres, Empire Theatre, 1896 [D.R.]
La direction de l'Empire Theatre prend des contacts avec Félicien Trewey afin d'organiser des séances :
The directors of the Empire Theatre have arranged with Miss Lumiere and Trewey to give a series of exhibitions of the cinematographe, commeencing on Monday, March 9.
Reynolds's Newspaper, dimanche 1er mars 1896, p. 4.
The Entracte recueille même quelques déclarations de Félicien Trewey dans un article très détaillé où il est même question de Francis Pochet :
The cinematographic (a shorter name might be given this instrument, I think) is an amplification of Mr. Edison’s kinetescope, and if the enquirer seeks for a first cause, that homely little scientific toy known as the zoetrope cannot well be ignored. The invention under notice is due to the Messrs. Lumiere, and it being exploited in London by Mens. Trewey, the expert juggler and champion shadowgraphist.
Alter I has seen what the machine could do, I said to Mons. Trewey, "Why not try it at the music-halls ?" "I am trying my best to do this,” he replied, “but they can’t afford to pay my price. You see, I must get some thirty pounds a night, or the experiment leaves me no margin.” But he went on, “I am now treating with the Empire, and I fancy that we shall come to terms.” Well, it seems that on Friday night last the Empire people decided to try it, so that its virtues now stand a good chance of being honestly appraised the public.
The subjects chosen for displaying the powers of the ciematographe when I happened to be present, were of a somewhat everyday type; nothing sensational was attempted, though the themes were well varied. When the kinetescope was experimented with in one of our London thoroughfares—the Strand or Oxford Street, forget for the moment which—a prize fight was its battle-horse. Mons. Trewey’s subjects are of a more reposeful and domestic kind. One shows the father and mother of interesting baby administering food to the good-tempered hopeful; another shows us a railway train rushing into the station, disgorging some of its passengers, and taking up others; while a third gives view several men bathing in the Mediterranean. In this picture the form of the waves is wonderfully real; while the diving from a raised platform indulged in the bathers helps to make the subject highly interesting.
Of course there are several other pictures. I have only selected the foregoing to suggest the range subject that is furnished. But now that it is possible to get action into these photographs, it seems to me that an immense field is at once opened up. Every kind of scene and incident can be reproduced. Looking ahead, too, and taking due observation of what has been accomplished by such inventions as the phonograph, is it too much to expect that a subtle combination of such instruments will by-and-by give us sound with the action that so truly simulated? This possibility occurred to me the other day as I watched the blacksmith "swing his heavy sledge with measured beat.” The smith did his work honestly enough, but there were no sounds (o remind one of the hammering that was being done. The hot iron was plunged into the water to cool and harden, the steam generated by the contact ascended naturally it would at the real forge, but the hissing consequent upon the plunge was not to he heard.
By-and-by, I have hinted, we may get all this, and ever more. It may so happen that some day may have operas sung and dramas acted by a conjunction of those powers which are now separately employed by scientific experimenters.
As a spectator of the entertainment Mons. Trewey is “bossing.' I liked it so well that thought it too short. The whole “show” only occupies seventeen minutes, several of which are taken by the gentleman who acts chorus to the play, and furnishes the necessary information anent the pictures and their special features. This rôle is well and ably performed by Mr. Francis, who some few years ago was controlling power at the Royal Standard.
It will be interesting to note how these pictures will be received at the Empire. l am compelled to believe that they will achieve a big success. At the Marlborough Rooms they were given in all nakedness; not so much as a pianoforte accompanied their parade. At the Empire, with musical accessories, they should be much more attractive.
The Entr'acte, Londres, samedi 7 mars 1896, p. 6.
Quelques jours plus tard, une séance privée est organisée (samedi 8 mars) avant l'inauguration prévue pour le lundi 10 mars. Le journaliste de The Referee consacre un long article à l'évévement :
EMPIRE.-SATURDAY AFTERNOON.
Wonders will never cease. The Cinematographe, invented by M. Lumiere, of Lyons. was presented at private flew at the Empire this afternoon, and on Monday evening it will take its " turn " in the programme at this popular place of amusement. It needs no prophetic gift of inspiration to predict that it become the talk of the town. It is something wonderful. " Oh, wonderful, wonderful, and most wonderful, wonderful, " as Celia says in "As You Like It." The Cinematographe—a big mouthful of a word—is the latest development of instantaneous photography, by which an accurate record is produced in pictures of real, living, moving scenes. To obtain an idea of the impression produced, you have only to imagine a photograph come to life, with every movement faithfully reproduced. It is photography taken "in the action," and applied, no to single living figures only, but to whole scenes. A puff of smoke from a steam-engine, the spray of the sea, the gestures and movements of every individual member of a crowd, all this is shown on the screen upon which the are projected. The interest of the thing is inexhaustible for once the flush of novelty is passed, the attraction may be revived and revived again by new pictures. The first series of pictures are obviously of French origin, and are taken at Lyons—the " ville Lumiere ''—if Paris will allow to say so. But human nature is human nature in Lyons as in London, and the pictures of children at their games, and of the little baby at its breakfast have the touch of nature that makes Lyons kin with the rest of the world. We may expect to see pictures hereafter at the Empire of a more Imperial character—using the term in a Pickwickian sense. The first series of pictures include "A game of Ecarté," with a waiter with a talent for low comedy looking on, and "The arrival of the Train," in which the train is seen rushing into the station. This is, to our thinking, the best of all, and the audience to-day insisted upon a repetition of the picture, and the guard repeated his performance, and the passengers alighted all over again. " The Place des Cordeliers," as Lyons, is depicted at a busy hour; and " Bathing" is as remarkable for the breaking of the waves as for the movements of the bathers. Then there is a portrait of a performer with a paper serpent, in which the illusion is so perfect that the spectators might be standing before a looking-glass reflecting his performance. In " The Blacksmith " the work of the smithy is simply compressed within a short space of time—for the Cinematographe enables you to see more in one minute than might pass in ten—and only the ring of the anvil is wanting. One of these days—who knows?—sound may yet be pressed into the service. That is yet to come. The " Cinematographe° —it it a mouthful- is the wonder of the day.
The Referee, Londres, samedi 8 mars 1896, p. 3.
Quelques jours plus tard, la direction de l'Empire Theatre décide d'organiser des séances l'après-midi :
EMPIRE THEATRE.-Owing to the demand for seats to witness the Cinematographe, the directors have decided to give a series of afternoon performances.
Daily News, Londres, jeudi 12 mars 1896, p. 6.
La presse se fait l'écho de l'inauguration :
M. Lumiere’s “Cinematographe” was introduced at the Empire Theatre last week. The "Cinematographe” is an application of the now familiar principle of Edison’s kinetoscope to the magic lantern. At a private view given at the Empire on Saturday, the first scene shown was the factory gate of M. Lumiere's works at Lyons at the dinner hour. Some scores of men and women, several cyclists, and carriage, emerge in succession from the gates, and go their different ways. Ten other series of pictures followed, among the most striking being scene at a railway station, showing at first the clear line and almost deserted platform, then the arrival of the train, the bustling of guard and porters, the opening of carriages and alighting of passengers. and the hurrying up of other passengers to take their places—altogether a scene of extraordinary animation Even more effective was the bathing scene, with the waves rolling up towards the audience, divers plunging off a spring-board or turning somersaults, and others scrambling to shore through the breakers. Domestic interest was aroused an al fresco tea party, with young father engaged in feeding the baby, and comedy game at ecarte, and boy’s practical joke on a gardener at work with the hose.
Shieffield Weekly Telegraph, samedi 21 mars 1896, p. 15.
Le succès est au rendez-vous, et de nouvelles séances sont organisées:
Owing to the extraordinary demand for seats at the Empire Theatre to witness the "cinématographe," the Directors have decided to give a special matineé to-morrow (Saturday) at half-past two o'clock.
Lichfield Mercury, vendredi 20 mars 1896, p. 3.
Empire Theatre. Cinematographe Lumiere's, Programme, 1er avril 1896.
Source: Westminster Reference Library
Reproduit dans BARNES, 1976 [1998]: 101.
La revue de photographie, à son tour, fournit des explications sur le cinématographe et le prestidigitateur Trewey :
Society is taking to photography with as much enthusiasm almost as it has bestowed upon cycling. Not so much to the camera itself -which has been long and safely established in favour- but to its latest development, which has been christened 'Cinématographe'. This is of necessity, a trying word to talk glibly about, but it has for the present conquered the town almost as completely as 'the living pictures'. To see the carriages rolling up to the Empire matinées one would suppose that Society had only just discovered Leicester Square. The 'boom' is tremendous, and apparently as catching as measles, for, besides the afternoon shows, Society is flocking so unconcernedly to see the new thing that there is never a stall to be secured in the evening.
And very clever is M. Trewey, who presides over the 'Cinématographe'. He is a conjuror and juggler who has earned a handsome competence with his fingers; but as a shadowgraphist he is unsurpassed. lt is truly remarkable what he can do with his eight fingers and his two thumbs, for there is never an animal nor hardly a face but he can recall it to you in this way, and when he adds a little scenic effect and some cunningly-devised 'make-up', his success is really startling. lt may be that the handsome competence which he has secured in this way enabled him to advocate the retention of the sole rights in the 'Cinématographe', when, as we are credibly informed, the owners were offered the tempting dot of one million francs for them. The great boom in the thing -it is of so complex a nature as to render an exact definition of its genus almost impossible- has justified his prescience.
Amateur Photographer, vol, 23, nº 601, 10 avril 1896, p. 314-315.
De nouvelles vues sont annoncées dans les derniers jours de mai:
The Cinematographe exhibition at the Empire on Monday introduced four new pictures that, like the old ones, were received with immense applause. They included a boxing bout between Pedlar Palmer and Tom Donovan, "Watering Horses," "Hyde Park at Mid-day," showing the riders in "the Row,"and "Change of Guard at St. James's Palace," a wonderful scene that will make you sit up when you see it. Monsieur Trewey has scored again.
The Referee, Londres, samedi 24 mai 1896, p. 2.
Les articles de presse deviennent rares dans les semaines suivantes:
THE EMPIRE
[...]
That triumph of scientific invention, Lumière`s Cinématographe, under the management of Mons. Trewey, is keenly appreciated at the Empire. The views are very interesting, and great cleverness has been shown in the selection of the scenes and incidents represented. The bathers, the arrival of the train, and the irritated gardener are as acceptable as ever; but the list of moving pictures includes others of greater novelty and interest.
The Era, Londres, 20 juin 1896, p. 16.
La présentation des vues du couronnement du Tsar donne lieu à un article assez étoffé:
The attractions of M . Lumière's Cinématographe are endless, and from time to time M .The attractions of M . Lumière's Cinématographe are endless, and from time to time M .Trewey, who is in charge of this nove! exhibition, adds subjects that appeal readily to everyclass of society. For instance, at the Empire nightly cheers are raised by the excellentrepresentation of a steeplechase. The gallant steeds corne along at racing speed towards thefootlights, and then pass from the field of view, and the next picture-the finish on theflat-is most exciting. Another most popular subject is the 'Outside of the Empire', withcabs arriving and departing. Here we recognise the well-known form of Mr Dundas Slater,the popular acting-manager, and others of the staff But the latest novelty introduced is aseries of living representations of episodes connected with the coronation of his Imperia!Majesty the Czar of Russia at Moscow. N umber one displays on the white screen a numberof Cossacks, in picturesque attire, entering the Moscow gate. Soldiers are marshalling thecavalcade which is walking slowly into the hi storie city. 'State Carriages going to theCeremony', 'Procession of Ladies-in-Waiting', 'Procession of Asiatic Ambassadors' are fullof life and movement. Much interest is felt, too, in the progress of the Grand Duchess Eugenie in a state carriage, followed by her Imperia! Majesty the Czarina; and otherEugenie in a state carriage, followed by her Imperia! Majesty the Czarina; and otherexcellent studies of what was one of the most brilliant pageants of modern history arefound in the procession of the Czar and suite entering the Kremlin and in the picture oftheir Imperia! Majesties Jeaving the palace and entering the church. At the conclusion ofthe series the audience find a more familiar subject in the 'Change of Guard at St James'sPalace', which on the night of which we are now writing had to be repeated. The arrivai ofa train at a French station is still as popular as ever, and the bathers plunging into the wildwaves of the Mediterranean always excite amusement.
The Era, Londres, samedi 1er août 1896, p. 16.
The Empire. Lumiere Cinematographe, Porgramme, Londdres, 30 novembre 1896. [D.R.]
Les séances se prolongent jusqu'à la fin de l'année.
London Evening Standard, Londres, vendredi 28 décembre 1896, p. 6.
Le theatrograph de David Devant (Egyptian Hall, 19 mars-19 mai 1896)
David Devant, le célèbre prestidigitateur, avec un theatrograph qu'il a acheté à Robert William Paul, inaugure ses séances à l'Egyptian Hall, en mars 1896. Il fait alors équipe avec Maskelyne qui s'occupe de la présentation comme l'indique la presse.
Morning Post, Londres, jeudi 19 mars 1896, p. 1. | Egyptian Hall, programme, s.d. c. 1896 [D.R.] |
The first moving picture projector at the Egyptian Hall David Devant, My Magic Life, 1971. |
Egyptian Hall, Londres, c. 1896 |
Il semble que les séances sont suspendues à partir du 19 mai 1896.
Le Kineoptikon de Birt Acres (2 Piccadilly Mansions, 21 mars-<3 avril 1896)
Birt Acres ouvre une salle située au 2 Piccadilly Mansions (Piccadilly Circus) et organise des séances de vues animées avec son Kineoptikon :
The Kineopticon is to open its doors to the public on Saturday next.
The Optician, vol. 10, jeudi 19 mars 1896, p. 358.
Kineoptikon, Piccadilly Circus, [mai 1896] Source: BARNES, 1988: 71. |
Kineoptikon, Piccadilly Circus, [mai 1896] Source: William Fries-Green & Me |
Dans un autre article, on évoque plusieurs vues animées projetées avec le kinoptikon :
THE KINEOPTICON.
MR. BIRT ACRES, who, as our readers are aware, has recently demonstrated his kinetic lantern before several of the photographic societies, and may claim to have been first in the field with a public exhibition of animated photography on the screen, has given his system the happily chosen title of the Kineopticon, and is exhibiting it at a pleasant little hall in Piccadilly Circus, where we had an opportunity on Saturday last of witnessing the display.
The subjects on the programme included the arrest of a pickpocket, an exciting street scene ; a carpenter's shop, showing work in full swing ; a visit to the Zoo ; a boxing match ; the German Emperor reviewing his troops ; the 1895 Derby ; a rough sea at Dover ; and other attractive views. The realism and success of the views, particularly in the case of the horse race and the breaking waves, are remarkable, and should ensure the kineopticon wide popularity.
The British Journal of Photography, vol. 43, nº 1872, vendredi 27 mars 1896, p. 202.
Un autre article donne d'autres titres :
THE KINEOPTICON. This is the name given by Mr Birt Acres to his system of screen kinetoscopy which is now being shown at Piccadilly Circus. Very successful and realistic are the pictures depicting the arrest of a pickpocket, a carpenter's shop, a visit to the zoo, the Derby, a rough sea at Dover, and other subjects.
Photographic News, vol. 40, nº 13, 27 mars 1896, p. 194.
Les projections semblent s'être interrompues assez vite si l'on en croit ce journaliste :
I should have liked very much to have written something this time about Mr. Birt Acres' apparatus and its projections, but, having twice been to Regent-circus to try and see the " Kineopticon," and found the place closed and no announcement as to time of exhibition, I can only suppose that it is not quite ready for the public ; or, perhaps, we shall hear of it at the other large variety house, viz., the Palace, for, as I heard some one remark, it might be politic on the inventor's or agent's part to " hold his hand " for a while.
The British Journal of Photography, (supplement), 3 avril 1896, p. 26.
L'animatographe de Robert W. Paul (The Alhambra, 25->25 mars 1896)
L'inauguration de l'animatographe de Robert W. Paul a lieu à l'Alhambra le 25 mars :
ALHAMBRA.-The ANIMATOGRAPHE
ANIMATED PICTURES.
For the FIRST TIME TO NIGHT, at 10 o'clock.
Pall Mall Gazette, Londres, mercredi 25 mars 1896, p. 6.
Un autre article, publié peu après, propose un bref compte rendu :
The Alhambra. The animatographe, the novelty here, is like the cinematographe, a development of instantaneous photography, by which very fast snap-shots of scenes from life are thrown on a screen at the same rate at which they are taken. On Wednesday, at the Alhambra, Mr. W. R. Paul, the inventor of the mechanism, projected on a gilt-framed screen several pictures in which every movement was so natural as to evoke round after round of applause. "The Sea Rolling In" was very effective, and "The Forge," with the men hard at work, was also good. Perhaps the best of all was that of a lightning cartoon artist, who started and finished a most creditable drawing of Prince Bismarck. Other pictures which were the most applauded were those of a couple of boxing matches, and of a contortionist. The Alhambra programme is strong in every way.
Illustrated Sporting and Dramatic News, samedi 28 mars 1896, p. 34.
Un autre compte rendu permet de connaître l'essentiel du programme présenté lors des premières séances:
THE ALHAMBRA THEATRE. — The management of the Alhambra have just produced one of the many remarkable inventions which owe their effects to the aid of electricity and of the camera. This is called the " Animatographe." and consists, as the name denotes, of a series of living photographic pictures, which are perfectly marvellous in their fidelity and in the rapidity with which they are produced. The "Animatographe" is the invention of Mr. R. W. Paul. It may hereafter prove of great utility, but, in the meantime, it is the source of the keenest interest and amusement. The best of the pictures is that of a sea shore, with the breaking waves of a rising sea ; another is the interior of a workshop during the dinner hour, and we have many other scenes which lose nothing of their interest because of their familiarity. The two ballets, " Blue Beard " and " The Gathering of the Clans," maintain an unabated popularity, and, above all, the extraordinary feats of the serial gymnasts, the Hegelmanns, elicit the most decisive applause. An infinity of amusement is caused by the grotesque performances of Hector and Lauraine, by the equally funny antics of the musical eccentrics called the " Gerettos," and by the remarkable exhibition given by Herr Techow's troupe of cats, who show what can be done in the way of patient and assiduous training of an animal not usually accounted very tractable.
London Evening Standard, Londres, vendredi 27 mars 1896, p. 3.
Le kineoptikon de Birt Acres (Piccadilly Circus, 20 avril 1896)
Birt Acres reprend ses projections de vues animées en avril :
THE KINEOPTICON.— A successful demonstration of Mr. Birt Acres' invention for showing animated photographs on the screen, to which we referred in our issue of March 27, was given in the rooms at Piccadilly-circus on Monday last.
The British Journal of Photography, Londres, vendredi 24 avril 1896, p. 266.
Le Cinématographe Lumière de Félicien Trewey (Crystal Palace, [25] mai->1er octobre 1896)
Félicien Trewey organise des projections au Crystal Palace dès le mois de mai:
LUMIERE CINEMATOGRAPHE at CRYSTAL PALACE, Living Pictures, the sensation of the Season. From the Empire Theatre, under the sole management of Trewey, WHIT MONDAY at 8.0., preceded by Burmese. Entertainment. Seats, 6d. and 1s.
Sporting Life, Londres, lundi 25 mai 1896, p. 1.
Les projections au Crystal Palace semblent discontinues:
CRYSTAL PALACE.-LIVING PICTURES or ANIMATED PHOTOGRAPHS (Lumière Cinématographe), under the management of Trewey. TO-DAY (THURSDAY), at 5: 30 and 7.0; preceded by Marvellous Burmeses Juggles, and Lazern and Dalton, the Australian Mystifiers, Seats, 6d. and 1s. Jean P. Weitzman, the Marvelolous Lofty Wire Walker, 5.0; Burmese Football, 2.30. No extra charge. At 9.0, the Magpie Musicians, Miss Erroll Stanhope, Mr. Malcolm Scott, and Mr. A. Collard. 1.000 free seats: reserved seats, 6d.
Morning Post, Londres, jeudi 20 août 1896, p. 1.
Félicien Trewey combine ses projections avec son "shadowgraph" et ses tours de magie:
CRYSTAL PALACE.
Not only is Mons. Trewey managing the lumière cinematographe, which is an enormous success, but he has been exclusively engaged to combine with the cinematographe at the Crystal Palace his famous shadowgraph and hat entertainment. Next week Mons. Trewey will give, in addition to the above, an entirely new illusion, entitled "The Last Dream," or "A Revelation of Röntgen Rays."
Croydon Guardian and Surrey County Gazette, samedi 29 août 1896, p. 7.
En octobre, les projections continuent :
CRYSTAL PALACE.-TODAY (SATURDAY), Organ, 5.0, 7.0: New Illusion. "Trewey's Last Dream," from 2.0 (6d); Living Pictures (Lumière Cinématographe), preceded by Quenton Ashlyn in Humorous Musical Sketch, 4.30, 6,45 (6d. and 1s.): Picture Gallery, 10,0 till dusk (free). Palace open 10.0 till 10.0, 1s.; children, half-price.
Morning Post, Londres, samedi 17 octobre 1896, p. 1.
Les Photographies animées de Birt Acres (Marlborough House, 21 juillet 1896)
C'est en juillet 1896 que Birt Acres est convié à présenter son appareil cinématographique à Marborough House, à l'occasion du mariage de la princesse Maud. Il présente alors un programme important de vues animées :
ANIMATED PHOTOGRAPHS AT MARLBOROUGH HOUSE.
On Tuesday evening, the 21st inst., Mr. Birt Acres had the honour of showing some of his animated photographs at Marlborough House, by command of H.R.H. the Prince of Wales (through General Sir Dighton Probyn), before the distinguished company invited by the Prince and Princess of Wales to the dinner in honour of the marriage of H.R.H. the Princess Maud of Wales to H.R.H. Prince Charles of Denmark [...]
The programme consisted of twenty-one scenes as follows :
1, Capstone Parade, Ilfracombe. 2, Children Playing. 3, Great Northern Railway — Departure of an East Coast Express. 4, The Derby, 1895. 5, Niagara Falls (in three tableaux) : No. 1, The Upper River just above the Falls; 2, The Falls in Winter; 3, The Whirlpool Rapids. 6, The German Emperor Reviewing his Guard previous to the opening of the Kiel Canal, June, 1895. 7, Carpenter's Shop Scene, Refreshments. 8, The Boxing Kangaroo. 9, The arrest of a Pickpocket. 10, A Visit to the Zoo. 11, Yarmouth Fishing Boats Leaving Harbour. 12, Golf Extraordinary. 13, Tom Merry (lightning artist) drawing Mr. Gladstone. 14, Tom Merry (lightning artist) drawing Lord Salisbury 15, Boxing Match in two rounds by Sergeant Instructor F. Barrett and Sergeant Pope. 16, Highgate Tunnel. 17, Henley Regatta. 18, The Derby, 1896. Clearing the Course ; the Preliminary Parade ; the Race : " Persimmon" wins; the rush, intense enthusiasm, waving of hats, &c. 19, Broadway, New York. 20, A "Sowh Wester." 21, H.R.H. The Prince of Wales accompanied by T.R.H. The Prince of Wales, Princess Victoria, and Princess Maud, arriving at the Cardiff Exhibition, June 27, 1896.
All the pictures were well received, but in the last picture Royalty recognised themselves as they had never been portrayed before; and, as the figures were thrown life size on the screen and the portraits were clear and distinct and readily recognisable, this picture met with the most enthusiastic reception, and, in spite of the fact that the programme was an exceptionally long one, this last picture had to be repeated.
At the conclusion, H.R.H. the Prince of Wales personally thanked Mr. Birt Acres.
The disc thrown on the screen was perhaps the largest that has been attempted in this class of work, measuring as it did about eleven feet by eight feet six inches, and the light throughout was excellent, largely due to the facts that transparent films were used.
H.R.H. the Prince of Wales gave Mr. Acres permission to take kinetic photographs on the following day at the wedding, and we understand that Mr. Acres secured excellent negatives each 80 feet long and consisting of about 1500 separate photographs of the departure of the royal party from Marlborough House and also of the return to Marlborough House after the ceremony at Buckingham Palace. Later on, Mr. Acres secured an excellent negative on the Lawn of Marlborough House of the departure of the royal couple for Sandringham.
Mr. Acres was greatly impressed with the kindness and consideration of their Royal Highnesses, as every facility was granted to him to ensure satisfactory results both at the demonstration on Tuesday evening and also while the photographs were being taken on the wedding day.
The British Journal of Photography, Londres, vendredi 31 juillet 1896, p. 491.
Le Royal Cinematescope de Lewis Sealy (Metroplitan, 24 août-[30] octobre 1896)
Lewis Sealy, qui a fait l'acquisition du projecteur de Birt Acres, organise des séances de photographies animées au Metropolitan:
[...] Mr. Lewis Sealy's Cinematoscope, which opens at the Metropolitan on Monday, will be shown every evening at 10.55, and on Thursday and Saturday afternoons at 3.45.
The Referee, Londres, dimanche 23 août 1896, p. 3.
The Era, Londres, samedi 5 septembre 1896, p. 28.
Un article évoque les vues présentées par l'appareil:
THE METROPOLITAN.
The Royal Cinernatescope, which was exhibited at Marlborough House on July 21st last before their Royal Higlhnesses the Prince and Princess of Wales, and the wedding party, has been brought to the Metropolitan by Mr Lewis Sealy, and it is not the slightest exaggeration to say that the pictures shown have proved a great draw. The series consists altogether af some seventeen or eighteen illustrations of most interesting and up-to-date subjects. The most popular of these are undoubtedly those relating to the late Royal wedding, the scenes at Marlborough House being taken, so we are given to understand, by the express command of the Prince of Wales. Every loyal Britisher is interested in the domestic history of the reigning house, and it is therefore needless to add that loud cheers nightly ring throughout the large auditorium of Mr Henri Gros' fine house in the Edgware-road when the audience assist at the "Departure of the Bride from Marlborough House," at the "Arrival after the Wedding," and at the "Going Away." Neither is less interest shown in a subsequent picture of the Prince and Princess and their daughters Victoria and Maud. of course, the Englishman's love of sport is appealed to in the Derby series-" Clearing the Course," "The Preliminary Canter," and " The Finish." A very successful comedy scene is that enacted in "A Surrey Garden," where th'e watering operations are interrupted by a mischief-loving elf, who, however, gets hoist with his own petard. The departure of "The East Coast Express" is a very realistic scene, and we hear the swish of the breakers in "A Stormy Sea." "Henley Regatta," " The Falls of Niagara," and " Highgate Tunnel," with the passage of a luggage train, are other clever examples of the entertaining powers of the Cinematescope. The director of the special entertainment is nightly called in front of the curtain amid considerable applause. Reverting to the variety entertainment, it is satisfactory to find that it is up to the high standard which is the rule here.[...]
The Era, Londres, samedi 12 septembre 1896, p. 18.
Le cinematescope est encore annoncé le 30 octobre.
L'Animatoscope de l'East London Exhibition ([11] septembre-[6] novembre 1896)
Un animatoscope est présenté à l'East London Exhibition en septembre et octobre 1896.
The Jewish Chronicle, London, vendredi 11 septembre 1896, p. 18.
Les séances de l'animatoscope prennent fin vers le 6 novembre:
The Echo, Londres, vendredi 6 novembre 1896, p. 1.
Le cinematoscope de Lewis Sealy (Collins's, 6 novembre->19 décembre 1896)
Lewis Sealy présente son cinematoscope au Collins's à l'occasion du 34e anniversaire de la salle :
COLLINS'S
ISLINGTON - GREEN.-Proprietor and Manager, HERBERT SPRAKE.-A most Attractive Company. Harry Randall, Bessie Wentworth, Herbert Campbell, May Evans, the Figaros, Charles Mildare, Sisters Poole, Flo Penley, Sisters Byrne, Darnley Brothers, the Three Faues, Frank Lynne, Nan Twibell, the Great Northern Troupe of Dancers. Lewis Sealy's Celebrated Cinematoscope, by permission of Mr Birt Acres. Thirty-fourth Anniversary of the Opening of' this Hall will be Celebrated on Friday next. Nov. 6th.
Telegraphic address, " Sprake, London." Telephone, No. 7,658.
Rehearsal Saturday. 1.30 o clock.
The Era, Londres, samedi 31 octobre 1896, p. 16.
Les séances se prolongent jusqu'en décembre :
A most interesting interlude was supplied by Mr. Lewis Sealy's Cinematoscope, a series of animated pictures that both amused and astonished the house. Loud laugher was heard over the scene in a Surrey garden, the Prince's Derby caused much cheering, and the Lord Mayor's Show, of course, evoked plenty of favourable comment.
The Era, Londres, samedi 19 décembre 1896, p. 18.
Les photographies animées de David Devant (West Hampstead, 12 novembre 1896)
Au cours d'une soirée organisée par le professeur Pearce, David Devant présente des vues animées :
PROFESSOR PEARCE’S ANNUAL ENTERTAINMENT
The West Hampstead Town Hall was filled last night on the occasion of Professor Pearce’s second annual entertainment.
[...]
Far and away the greatest attraction was the display of a series of animated photographs given by Mr David Devant of the Egyptian Hall. The series was very fine, among others included wedding, the arrival the Paris express, scenes on the South coast beach, the coronation of the Czar, cycling in Hyde Park, and the serpentine dance. This last was exceptionally fine picture, and being tinted with colours, gave an exact representation, including the lime-light effects, of a music hall dancer going through this dance. The audience showed its unmistakable pleasure at this display by repeated rounds of cheering.
Willesden Chronicle, 13 novembre 1896, p. 8. (id. Kilburn Times, Kilburn, 13 novembre 1896, p. 5).
Le cinematoscope de Birt Acres (Morley Hall, 17-19 novembre 1896)
La société photographique de Hackney accueille Birt Acres et son cinematoscope :
The Hackney Photographic Society's Annual Exhibition will be held at Morley Hall, Triangle, Hackney, on Tuesday, Wednesday, Thursday, and Friday, November 17, 18, 19, and 20, 1896. The Exhibition will be opened on Tuesday, November 13, at 7.30, and on the succeeding days at 12 noon. The Judges in the competitions will be Mr. F. Hollyer, Rev. F. C. Lambert, and Mr. E. J. Wall. Arrangements have been made for high-class concerts, under the direction of Mr. Hensler and Major C. Woolmer-Williams, and an orchestral band under the direction of Mr. Henry Bainton. A demonstration of X rays, The Heart and Diaphragm in Action, will be given by Mr. J. E. Greenhill, and also by Dr. Gerard Smith, seeing through hand, arm, and other objects with the naked eye. The cinematoscope (Birt Acres' patent), as shown at Marlborough House, by command of H.R.H. the Prince of Wales, will be exhibited ; and, in addition to the foregoing, the competition slides will be shown through the oxyhydrogen lantern by Dr. Roland Smith and Mr. Albert Rose (Lanternist to Society).
The British Journal of Photography, Londres, 30 octobre 1896, p. 699.
L'Animatoscope du Grand Bazaar (Stratford, 3-5 décembre 1896)
Un animatoscope est présenté au Grand Bazaar de Stratford :
The Prettiest Bazaar of the Year
STRATFORD CONGREGATIONAL CHURCH,
THE GROVE,
CLOSE TO MARYLAND POINT STATION
GRAND BAZAAR
[...]
ANIMATOSCOPE (Moving Photographs) on Dec. 3rd, 4th and 5th, and many other interesting matters.
West Ham Herald, samedi 28 novembre 1896, p. 4.
Les photographies animées (Egyptian Hall, <28> décembre 1896)
Les photographies animées sont présentées à l'Egyptian Hall :
EGYPTIAN HALL.
[...] Amongst others of the recently created animated photographs specially worthy of notice are the feeding of the pelicans at the "Zoo," a scene on the Boulevard des Italiens, a march-out of the Gordon Highlanders from Maryhill Barracks, Glasgow, and a view of the sea breaking fitfully into a wild cave on the West Coast of Ireland.
Morning Post, Londres, 28 décembre 1896, p. 3.
1897
Les Animated Photographs de David Devant (St George's Hospital Fete, <3> janvier 1897)
En janvier, David Devant présente ses vues animées à l'Hôpital Saint-George:
ST. GEORGE'S HOSPITAL FETE
The New Year's entertainment at the above institution commenced last evening, and was carried on with great success under the immediate supervision of the secretary, governors, and staff. A portion of the entertainment took place in the large board-room, where Mr. David Devant, of the Egyptian hall, gave an exhibition of his marvellous animated photographs. All the patients who could be moved were brought from the various wards upon ambulances, and placed in such positions as they could see though lying down.
The whole audience was greatly delighted. Various troupes of minstrels and musicians, ladies and gentlemen, the relatives and friends of the governors, then went round the wards, enlivening the festivities with excellent music. The wards were splendidly decorated. The governors, at their own cost, will give an entertainment to the staff and nurses on Thursday and Friday next.
Lloyd's Weekly Newspaper, Sunday, January 03, 1897, p. 1.
Les Animated photographes de David Devant (Harrow, <22> janvier 1897)
HARROW : "animated photographs, Mr. David Devant.
The Middlesex Courier, Londres, 22 janvier 1897, p. 5.
Le Cinematoscope de Lewis Sealy (The Metropolitan, <31> janvier 1897)
Lewis Sealy est de retour au Metropolitan à la fin du mois de janvier :
THE METROPOLITAN
[...]
Amongst the most notable items in this week's bill is Mr Lewis Sealy's Cinematoscope, which has been re-engaged. Some new pictures are now shown, and these include the approach of a racing train at Gatwick, and the paddock at this sporting centre; the arrival of the Lord Mayor at the Law Courts, the Prince and Princess of Wales's state reception, and the Royal wedding party photographed at Marlborough House, the King's-road and the West Pier, Brighton, on a Bank holiday, Landing at Low Tide, a Church Parade of Troops, Surrey Garden, and an "Unfriendly Call." Each of these pictures iis received with unmistakable approval.
The Era, Londres, samedi 30 janvier 1897, p. 18.
Le Cinematograph de E. et H. Spencer Clarke (Islington, <3> mars 1897)
E. et H. Spencer Clarke présentent un cinématographe à Islington:
GLOBE MUSICAL SOCIETY
[…]
Getting strictly down to business, I can say, in a word, that the entertainment was a good one. It contained two special features, of which perhaps Messrs. E. and H. S. Clarke's animated photographs was the most prominent. The photographs were highly appreciated and excellently shown, and their interest was enhanced by the description of them recited by Mr. H. Spencer Clarke. The coloured picture of Löie Fuller’s serpentine dance was particularly fine. The Haunted Castle,’’ and the vanishing lady trick were also loudly applauded. Mr. H. Bluff, one of the Globe Committee, presented Edison’s graphophone. […] POLYPHON.
Islington Gazette, Islington, mercredi 3 mars 1897, p. 2.
Le Royal Cinematiscope de Birt Acres (North Finchley/Dale Grove Hall, 6 et 13 mars 1897)
Birt Acres présente son Royal Cinematiscipe à North Finchley :
Saturday Popular Entertainments,
DALE GROVE HALL, NORTH FINCHLEY
A SPECIAL ENTERTAINMENT,
To conclude the Series, will be given
on MARCH 13th,
ROYAL CINEMATISCOPE,
By BIRT ACRES, Esq., F.R. Met. S., F.R.P.S.
Admission 6d. Numbered and Reserved Seats, 1s.
Doors open at 7. Commence 7.30.
Tickets may be obtained of the Hon. Sec., Mr. E. G. Martin, Westerlee, Alexandra Grove, North Finchley.
Barnet Press, Barnet, samedi 6 mars 1897, p. 4.
Un autre journal offre plus de détails sur le programme :
SATURDAY " POPS" AT NORTH FINCHLEY.
The Saturday Popular Entertainments, held at the Dale-grove Schools, are now drawing to a close for this season. Last Saturday evening, saw the largest audience of the present series. Despite the fact that the charges had been raised from the democratic prices of one penny and threepence to sixpence and one shilling, no fewer than 150 reserved tickets were sold ; and the disappointment of large numbers to get tickets has induced the honorary secretary to make arrangements for a repetition of the programme next Saturday, March 13th.
The feature of the evening's programme was the " Cinematoscope," or animated photographs, as given before the Prince of Wales at Marlborough House. The exhibition was shown by Mr. Birt Acres, who was frequently applauded for the excellent pictures he was able to produce on the sheet. The pictures showing the departure of the East Coast Express at Finsbury Park Station, and a luggage train emerging from Highgate tunnel, gave opportunity to the younger portion of the audience of indulging in jokes, some of which were not altogether complimentary to the Great Northern Railway. The wedding of Princess Maud, and the subsequent garden party at Marlborough House, together with the departure of the bride and bridegroom for Sandringham, were exceptionally well represented, and received loud applause. The instrumental part of the programme consisted of a pianoforte solo by Miss Kate Idle and two capitally rendered violin solos by Mr. Harold A. Idle. Mr. idle is a past favourite, and was well received on his second visit to Finchley. Mr. Edgar Archer, who has an excellent bass voice, gave "Blow High, Blow Low" and "The Norseman's Song." Mrs. Martin Harvey deservedly received an encore each time for her songs, as also did Mr. Barnard for his own song, entitled 'Parcel Post," and for " Very well then."
Finchley Press, samedi 6 mars 1897, p. 4.
Une nouvelle séance a lieu le 13 mars.
L'O.S Cinématographe de Phil & Bernard (Battersea/Washington Theatre of Varieties, 8 mars 1897)
Phil & Bernard présentent leur OS Cinématographe à Battersea :
The Era, Londres, 6 mars 1897, p. 16.
Le Cinematograph de E. et H. Spencer Clarke (Parkhurst, 18 mars 1897)
E. et H. Spencer Clarke présente un cinématographe au Parkhurst :
Parkhurst.—A special matinée was given here on Thursday on behalf of the Prince of Wales Hospital Fund, on which occasion the artistes gave their services free, as did the orchestra (under the direction of Mr. T. P. Fish) and the whole of the staff connected with the Theatre. The proceedings commenced with the recitation of the following ode, specially written for the occasion by Mr. R. T. Baines, and given by Mr. Otho Stuart […]
Other items on the programme were well sustained by Mr. Walter Westwood, Miss Kate Windsor, Mr. Harry Bluff , Mr. John Douglas, Mr. Valentine Smith, Mr. Arthur Waller, Mr. Fred Dark, Mr. John Peachey, Miss Cicely Gray, Miss Marguerite Osland, &c. The Wonderful Graphophone and Messrs. E. and H. S. Clark's animated photographs were also introduced , while the third act of "For the Crown" was given, the characters being sustained by Mr. Otho Stuart, Mr. J. J. Bartlett, Mr. Harry Hiller, and Mr. Walter Mitford, Mr. Bertram Bawden acted as Stage Manager of this latter item, while the general stage management was in the hands of Mr. Frank Weathersby.
The Freemason's Chronicle, samedi 20 mars 1897, p. 134.
Le cinematescope de Lewis Sealy (Hammersmith/Theatre of Varieties, 22 mars->3 avril 1897)
Lewis Sealy présente des vues animées au Theatre of Varieties en mars :
THEATRE OF VARIETIES
ANIMATED PICTURES IN HAMMERSMITH.
A great attraction is promised for Monday next, at the Hammersmith Theatre of Varieties, King Street. in the shape of the Royal Cinemateecope. Mr. Lewis Sealy's pictures, as exhibited at Marlborough House, all deal with English subjects, and include a state reception by the Prince of Wales, the arrival of the Lord Mayor at the Law Courts on Show day, the Derby, the arrival of train at a station, cycling in Hyde Park, and scenes at Brighton, appealing short to all sections of the public.
West London Observer, Londres, vendredi 19 mars 1897, p. 5.
Les séances se prolongent en avril:
HAMMERSMITH VARIETIES.
Always desirous of giving their patrons the best of everything in the market. Messrs Acton Phillips have just lately added to their programme a series of exhibitions by Mr Lewis Sealy of the wonders of the Cinématographe-or, as this particular machine is called the Cinématoscope. The whirligig of time brings about many changes; and few would have thought that the popular " wheel of life" of our childhood's days would have developed into the wonderful invention that presents to our admiring gaze such faithful scenes of events and places that one may sit comfortably in a cosy stall and enjoy a trip round the world and all the accompanying incidents without any of the inconveniences of travel. Mr Sealy has a fine collection of pictures, and from his store he showed on Monday among others a Pierrot and Pierrette engaging in a game at cards, the lady getting "werry nasthty " because she loses, flinging the pack in her companion's face, and then kissing and " making it up." In " A Scramble Under Brighton Pier" we see a crowd of urchins contesting for coppers thrown from above, whilst the waves roll in in realistic style. "The Arrival of a Train at Gatwick," a picture full of animation, is the prelude to "The Paddock," with a crowd of notabilities, and horses being led round for inspection. A set of three photos. enables us to see the course at Epsom being cleared for the Derby, the preliminary canter, and the race for the Blue Riband of the Turf. A demonstration of loyalty is evoked by a reproduction of the arrival at Marlborough House of the Prince and Princess of Wales with the Princesses Victoria and Maud. This is a capital picture, the features of the illustrious quartet being easily recognisable. Perhaps, though, the best of the series is a scene from The Broken Melody. We see Mr Van Biene as Paul, with heart well-nigh broken, seeking consolation from his beloved 'cello. The door slowly opens, and his wife, whom he supposes is faithless, enters. The musician, absorbed in his playing, sees her not. Vera approaches, and as Paul finishes his solo a gentle touch on the arm causes him to turn, and in another moment husband and wife are locked in each other's arms. This is a really excellent reproduction of an affecting scene, and brought down some of the loudest applause of the series.
The Era, Londres, samedi 3 avril 1897, p. 18.
Le cinematoscope de Lewis Sealy (Pimlico/The Standard, 19 avril->8 mai 1897)
Lewis Sealy présente son cinematoscope au Standard en avril :
THE STANDARD, PIMLICO.
Crowds were turned away from this popular house on Monday, and all those fortunate enough to witness the show muste have gone away well satisfed. Mr. Lewis Sealy's cinematoscope was the chief attraction. "The Football Match." (the first picture of this kind that has yet been shown), "A Street Fight," and a scene from The Broken Melody were the most prominent features of the exhibition, which was thoroughly enjoyed. [...].
The Stage, Londres, jeudi 22 avril 1897, p. 14.
Les dernières annonces datent du début du mois de mai :
THE STANDARD
[...]
Lewis Sealy's animated photographs.
The Era, Londres, samedi 8 mai 1897, p. 18.
L'American Biograph (Palace Theatre, 18 mars-[25] mai 1897)
London. Carmbridge Circus and Palace Theatre (c. 1910). [D.R.]
Dans les premiers jours du mois de mars, la presse annonce l'installation prochaine du Biograph au Palace Theatre :
All Animated Photographs are hereby warned to hide their about-t-be-diminished heads-and figures, for, if all I hear be true, a new development of this idea, a thing called "the Biograph," which is coming from America to the Palace Theatre, will in more senses than one dwarf all other endeavours of the sort. This machine is reported to be able to cover a space the size of the Palace's entire proscenium-opining with extraordinary combinations of life-size figures. One of its pictures shows the Western Express coming full end on from a distance at the rate of sixty-five miles an hour, and in such sort as to cause the downstairs audience to unanimously scream, jump out of the way, and make room for it to pass through, when-bang, it vanishes into thin air, or rather into the big basket which receives these wondrous films.
The Referee, Londres, dimanche 7 mars 1897, p. 2.
Une première présentation privée a lieu le 18 mars avec une série de vues animées dont rend compte la presse londonienne :
THE PALACE THEATRE.
An exhibition of the capabilities of " the American Biograph " was held at the Palace Theatre, yesterday afternoon. Hitherto the instantaneous photographs by this process have been more or less marred by the vibration of the figures in the reproduction, and the eye is fatigued by the incessant motion on the screen, while specks of light, or gleaming perforations in the photograph, tend very much to destroy the beauty of the picture. All these defects have been minimised, though not entirely overcome, in the "Biograph" process, the invention of Mr. H. Casler, of New York, and the result is a reproduction of scenes of really marvellous merit. At the same time the pictures are of unequal merit, those re- presenting natural effects, such as Niagara rapids, or the train in the Alleghany Mountains, being greatly superior to the street scenes, as the marching with and without their bands of the United States soldiers. Without disparaging the truthfulness of these displays, those better known in London, representing the marching of our Guards with their baud at St. James's Palace, are far more effective in their military display. Amongst the best shown yesterday was the running of the Empire State Express train, which from a point in the distance comes straight at the audience, the great bulk of the engine looking most alarming, as it dashes forward, with the huge cars behind. There is a very merry scene in which on some fair ground a number of men engage in a sack race, the genuine fun in such a display coming out admirably in the faces of the competitors and the crowd. " A Hard Wash " represents a black woman giving her "piccaninny" a bath, and the youngster's efforts to escape are very laughably illustrated by his throwing his legs over the edge and wrestling with his mother, who drenches him notwithstanding his struggles. The amusing pictures comprise a theatrical representation of "The Prodigal's Return," boys upsetting and rolling a man in snow, shooting the chutes, and a sleigh scene. Pussy's bath is very good. This is administered by a little child, who suffers a scratch for his cruelty ; where-upon his face, from being puckered with laughter, is changed to one of evident pain ; and then the mother rushing in administers punishment and solace to the child.
London Evening Standard, Londres, vendredi 19 mars 1897, p. 3.
L'American Biograph est toujours annoncé en mai :
PALACE.-- EVERY EVENING at 7.45.-- The most popular Artistes. Mdlle. Fougere, Marie Montrose, The Durand Minstrels, Mons. Hewelt and his Automaton Theatre, Henry Helm. Edoardo Zertho, Fred Russell, Louie M. Granart, Clemart. Driscoll and Beattie, Les Ramoneurs Spink and Spink, G. W. Hunter, Mdlle. Alexia, The Carangeot Troupe, Lionel Hume, the new American Biograph. Morning Performance Saturday next at 2.
Illustrated Sporting and Dramatic News, Londres, samedi 1er mai 1897, p. 4.
Quelques jours plus tard, un premier programme est annoncé :
PALACE.-The AMERICAN BIOGRAPH
inventor, Mr. Herman Casler, New York.
LIST OF VIEWS EXHIBITED.
Stable on Fire, Showing rescue of animals and vehicles therefrom.
Niagara Falls, Viewed from Goat Island.
The Merry Sleigh Bells, A Winter scene.
Joseph Jefferson, In toast scene from "Rip Van Winkle".
New York Fire Department, Responding to an alarm.
A Hard Wash, Or the Piccanniny's Bath.
Full Dress Parade.
Pussy's Bath.
Infantry Scaling a Wall and Retreat.
The President of the United States, Mr. McKinley at his home in Canton, Ohio.
Firing 10in, Disappearing Carriage Gun.
The Prodigal's Return.
Pennsylvania Limited Express, In the Allegheny Mountains, Penn. R.R.
Empire State Express, The New York Central Railway's famous flyer at 60 miles an hour.
EVERY EVENING at 10.20 and SATURDAY MORNING NEXT.
London Evening Standard, mercredi 5 mai 1897, p. 4.
Répertoire (autres titres): A Pillow Fight (Referee, dimanche 16 mai 1897, p. 2).
Le Cinématographe Wrench (Alhambra, 8 juillet-16 septembre 1897)
Le cinématographe d'Alfred Wrench inaugure ses projections au début du mois de juillet :
ALHAMBRA
TO-NIGHT, MAGNIFICENT CINEMATOGRAPHE VIEWS of the JUBILEE PROCESSION, taken by Messrs. Phil and Bernard (Wrench's Patent). This Splendid Panorama is composed of the most interesting and striking feature, of the whole of the Procession, and presents a series of animated pictures never excelled. THIS and EVERY EVENING at 9.30.
The Pall Mall Gazette, jeudi 8 juillet 1897, p. 1.
Un bref compte rendu est publié peu après :
At the Alhambra last night there was presented a fine series of vies of the Diamond Jubilee Procession, taken by Messrs. Phil and Barnard's Cinematograph (under Wrench's patent). there views, which are on a large scale, and for the exhibition of which the management of the Alhambra have obtained the exclusive right in London, bring before the eye in a very striking manner all the principal features of the gorgeous pageant. They were loudly cheered, ans when her Majesty's carriage came into view the applause was exceendingly enthusiastic. The Alhambra programme is altogether good. It comprises the two ballets, "The Tzigane," and "Victoria and Merrie England," the remarkably agile entertainment of the Bonhair Troupe of Gymnasts, the refined playing on the mandoline of Mlle. Tostia, and several other features. Miss Cissie Loftus is as pleasing as ever in her imitations of popular performers, to which she is frequently making additions, and last night her representations of Miss Ellaine Terris, Miss Lettie Lind, Fregoli, and others secured the warmest approbation.
The London Evening Standard, Londres, vendredi 9 juillet 1897, p. 6.
Les séances vont se prolonger jusqu'à la mi-septembre :
THE ALHAMBRA THEATRE.-[...] The panorama of the Jubilee procession, which is reproduced by Wrench's patent working of the cinematographic process, has not yet lost any degree of popularity ; and the clever colouring of the chief features, particularly the Queen's cortege, adds very much to the scenic effect of the whole.
The Standard, Londres, jeudi 16 septembre 1897, p. 2.
Le cinematograph de Phil & Bernard (The Alhambra, 8 juillet-11 septembre 1897)
Phil & Bernard présentent des vues animées à l'Alhambra dans les premiers jours de juillet :
At the Alhambra last night there was presented a fine series of vies of the Diamond Jubilee Procession, taken by Messrs. Phil and Barnard's Cinematograph (under Wrench's patent). there views, which are on a large scale, and for the exhibition of which the management of the Alhambra have obtained the exclusive right in London, bring before the eye in a very striking manner all the principal features of the gorgeous pageant. They were loudly cheered, ans when her Majesty's carriage came into view the applause was exceendingly enthusiastic. The Alhambra programme is altogether good. It comprises the two ballets, "The Tzigane," and "Victoria and Merrie England," the remarkably agile entertainment of the Bonhair Troupe of Gymnasts, the refined playing on the mandoline of Mlle. Tostia, and several other features. Miss Cissie Loftus is as pleasing as ever in her imitations of popular performers, to which she is frequently making additions, and last night her representations of Miss Ellaine Terris, Miss Lettie Lind, Fregoli, and others secured the warmest approbation.
The London Evening Standard, Londres, vendredi 9 juillet 1897, p. 6.
Ces séances vont se prolonger, semble-t-il de façon discontinue jusqu'en septembre :
THE ALHAMBRA
[...]
The Cinématographe (Wrench's patent), exhibited by Messrs Phil and Bernard, presents the usual series of views of the Jubilee procession so familiar at present to all patrons of our West-end music-halls.
The Era, Londres, 11 septembre 1897, p. 18.
Le Cinématographe du professeur Jolly (Empire Theater, 19->19 juillet 1897)
Le "professeur Jolly" - variante de "Joly" qui semble avoir été introduite à la suite de l'incendie du bazar de la Charité:
EMPIRE THEATRE.-SPECIAL NOTICE.-The Cinematographe (Professor Jolly's) ans Taffary's Dogs having been commanded to Windsor Castle, will be out of the Programme This Evening.
London Evening Standard, 23 November 1897, p. 6.
Les photographies animées de David Devant (décembre 1897)
A DRAMATIC and musical evening was given at the Putney Cromwell Hall on Monday, under the management of Mr Wilson Newton, in aid of that excellent institution, the Putnay Creche.[...] and Mr David Devant's Animated Photographs were duly apreciated.
The Era, London, Saturday 18 Décember 1897, 20.
Le cinématographe de Phil & Bernard (Foresters, <21> août 1897)
Phil & Bernard présentent un cinématographe au Foresters' en août :
THE FORESTERS'
The establishment in the Cambridge-road, Bethnal-green, stands on the site of some ancient gardens, where, in the days of good Queen Bess, morris dancers disported themselves beneath a spreading oak, and the citizens of London came to enjoy themselves after the fashion of the time. [...] The current bill, given under the direction of Mr Wilton Friend, who knows probably more about the rise and growth of music halls in the East-end than any man breathing, is bruoght up to date by a timely exhibition of some Jubilee pictures through the medium of Phil and Bernard's Cinématographe (from the Alhambra). The procession of June 22d is revivified in many of its most brilliant aspects, the reception given to her most gracious Majesty on that day of days being re-echoed by the hardy Forestians, who are, to judge by the heartiness of their cheering, among the most loyal of her subjects. Other pictures exhibited on the screen on the night of our visit included "A joke on the gardener," "The Serpentine Dancer," and "Alexandra Park Racecourse and Paddock."
The Era, Londres, samedi 21 août 1897, p. 16.
The Velograph (Sadler's Wells Theatre, 7->14 novembre 1897)
Sadler's Wells Theatre. Rosebery Avenue, E. C. (c. 1910)
The Velograph propose des vues animées au Sadler's Wells Theatre en novembre :
SADLER’S WELLS THEATRE.
Were on Monday Bertha l. White's Combination Produce and Play HIDDEN FOES; a Domestic Drama. Varieties by the Profession's Pet Professors Pleasure, and Dukes and Duchesses of Deft Dance and Droll Ditty; Dolly Alexander, Herbert's Heavenly Half: the Three Highleys. Bishop and Vale; Lena Brunton, Comedienne Charming Catchiness; Chas. Vincent, Gerald Blanchard; and the Velograph, Successfully Showing Train Scenes, Military Scenes, River Scenes, Racing Scenes, Jubilee Scenes. Fire Scenes, Comic Scenes, and War Scenes, and all at 2d. to 1s. Commencing 6,30 and 9,15. under the Management of GEOGE E. BELMONT, Barnum's Beauty, who wonders, whether the third letter in the alphabet goes all round an island.
London and Provincial Entr'acte, Londres, samedi 6 novembre 1897, p. 3.
1898
Le cinematograph de MM. Walker & Company (Caledonian Club, <11> janvier 1898)
Le cinematograph de Walker & Co offre une représentation au Caledonian Club en janvier :
OUR LONDON LETTERE.
BY "JOURNAL" SPECIAL WIRE.
(FROM OUR OWN CORRESPONDENT.)
5 NEW BRIDGE STREET.
Monday night.
[...]
A large number of the members visited the Caledonian Club to-day-the opening day. Numerous applications for membership are still soming in.
The cinematograph exhibition which Messrs Walker & Company gave at the Alhambra Music Hall this afternoon passed off with much success. Wrench's patent apparatus was used, and all the pictures, escpecially those of the Gordon Highlanders at Castle Hill Barracks, Aberdeen, were dislayed with capital effect.
Aberdeen Press and Journal, Aberdeen, mardi 11 janvier 1898, p. 5.
The Velograph de William David Slade (Portobello/Town Hall, 27 janvier 1898)
Le Velograph fait partie du programme proposé par William David Slade au Town Hall de Portobello:
ANIMATED PICTURE AND MUSICAL ENTERTAINMENT.-A most interesting entertainment was given in Portobello Town Hall on Wednesday night by Mr. W. D. Slade's company. The main feature of the programme was an exhibition of animated pictures shown by the velograph. These gave in a very realistic manner the proceedings during a riding lesson, horses drawing stones in Paris, at a railway station, Soudanese bathing, Japanese ballet, and a charge of dragoons. A series of dissolving views were also shown by a bi-unial lantern manipulated by Miss Slade, and including some snow effects on landscape and trees, Rontgen rays, and views of London and the Jubilee procession. Miss Betty Stanley and Mr Alec Swain rendered several songs and duets during the evening.
Mid-Lothian Journal, vendredi 28 janvier 1898, p. 3.
Le Cinématograph (Alhambra, 7-[19] février 1898)
Un cinématographe présente des vues animées australiennes à l'Alhambra :
A number of Australian cricket pictures were given by the cinematograph process at the Alhambra, London, on the 7th of February. One showed the game at Sydney, on the 10th [sic]December, the players being Ranjitsinhji and Hayward. The other selections were — the Australians leaving the field, and the English team leaving the field, the filing of the men through the gate being an excellent opportunity for recognition. The Australians had the best of the cheers.
The Capricornian, Rockhampton, 26 mars 1898, p. 20.
Les séances se prolongent et The Era donne des détails sur le spectacle cinématogaphique :
Animated photographs are not new to the Alhambra, where we believe their up-to-date possibilities were first exploited; and their former success is likely to be repeated with the present series. The new films deal with a very interesting subject to Englishmen - that of cricket, and we feel sure that every Britisher who goes to the Alhambra will wonder at the realistic representation of the national game as it was played at Sydney in December last. The first test match which Stoddart's team won against All Australia provides an excellent subject for the camera. We are first shown the Australian team leaving the field, then the Englishmen come in for recognition, and there is hearty applause as the faces of several cricket celebrities cross the field of view. The moment chosen for photographing our men batting is when Hayward and Prince Ranjitsinhji are in together. Both seem to be playing a very free game, and apparently are doing what they like with the bowling. The chief peculiarity of the pictures is that the ball cannot be seen, so that there is something yet for instantaneous photography to accomplish. We miss the ball again when we see Ranji practising at the nets, but the picture of the renowned Indian prince swiping, cutting, and driving is one of the most exhilarating things we have seen in the way of moving pictures. The realism of the play is much increased by the sound made after every hit. We do not know what further surprises Messrs. Nestlé and Lever Brothers have in store for us, but certainly they could not have chosen a more popular subject than the inter-colonial cricket match. Other subjects shown include a Japanese Tea-party, a Cavalry Charge, a Fraudulent Mendicant, the Fire Alarm, Arrival at the Fire- the Brigade Setting to Work, and each of these pictures is excellent. The chief attraction, however, is the England v. Australia match; and on the night of our visit it was patent that the audience thoroughly enjoyed assisting at the contest which had been played several thousand miles away.
The Era, Londres 19 février 1898, p. 20.
Un autre journal complète l'information :
The Alhambra.
The Alhambra management, ever eager to “take fleet occasion by the hair,” last night inaugurated a new series of “animated pictures”, the principal feature of which is photographic reproduction the first test match between the English and Australian cricket teams. As concession to national vanity the announcement that “England wins” is shown upon the screen, all reference the final result of the contest being discreetly avoided. The first picture reveals Hayward and Prince “Ranji” vigorously batting and scoring runs with a rapidity which seems to suggest that a photographic machine can, like Homer, occasionally nod. The effect, however, is exceedingly vivid and realistic, although the absence of the accompanying shouts and cheers cannot fail to be remarked. Subsequently the audience is treated to a glimpse of “Ranji”at the nets—a spectacle that affords an excellent opportunity of studying the amazing quickness and power of his strokes. Two other pictures show the English and Australian teams leaving the field at the close of an innings. The series further includes the exciting incidents connected with a conflagration; the sudden dashing out of the fire-engines and their headlong career through the streets. Nothing could be more stirring or animated than this episode, although in clearness and solid effect the picture is perhaps surpassed by the first of the number, entitled ‘‘A Heavy Load.” The new "turn” certainly most attractive, and was highly relished by last night’s audience. In the programme also figure the “Jupiter Trio,” who give an extremely clever performance on the horizontal bars; Miss Lilian Bowles, whose singing of “Il Bacio” and Tosti's ‘‘Good-bye" showed her to be vocalist of considerable ability ; Herr Techow's family of trained cats, whose reputation is so well established as to render praise superfluous; and the famous Kremos, a marvellously clever troupe of gymnasts, the youngest of whom is, in addition, a born humourist. M. Nobel, fitly named the “King of Ventriloquists,” still gives his amusing entertainment; while those, if there be any so benighted, who fail to see the latest ballet, “Beauty and the Beast,” will certainly miss one of the prettiest and most graceful spectacles ever put upon the Alhambra stage.
St James's Gazette, mardi 8 février 1898, p. 5.
Le Cinématographe Lumière de H. Spencer Clarke (Devant la gare de King's Cross, <18> janvier 1898)
En janvier 1898, H. Spencer Clarke tente une nouvelle expérience, en plein Londres, en projetant des vues publicitaires des deux sociétés devant la gare de King's Cross :
UP-TO-DATE ADVERTISING
The wit of advertising has undergone a wondrous metamorphosis in recent years. Among those who are always to the front when public attention is to be drawn to their wares may be mentioned the firm of Messrs. Lever Brothers (of “Sunlight Soap” fame}, and Nestle, whose milk is known in every British household. Last evening, much to the delight of a crowd outside King’s Cross Station, in Gray’s Inn Road, a series of views illustrative of life and work in these celebrated manufactories, was exhibited on a hoarding. The pictures, reproduced connection with the cinematograph process, proved a complete success.
Eastern Evening News, mardi 18 janvier 1898, p. 3.
Un autre journal va donner bien plus de précisions sur le programme proposé et même sur le déroulement du spectacle :
Living Photography in the Streets
Peope leaving King's Cross "Underground" Station, a day or two ago were puzzled by the appearance of a white sheet let into the billposter's hoarding close by. But after dark the cat was let out of the bag. By the help of the animatograph two well-known commercial houses, Messrs. Henri Neslté and "Sunlight Soap," set about telling the story of their industries. Messrs. Neslté showed what a gala day was like in their Swiss dairies; and also how merry the workpeople looked when leaving work. Messrs. Lever's principal lantern picture was one of children leaving school at Port Sunlight; they also provided reminiscences of a washington, and a running picture of the Sunlight people going home to dinner. But the street illuminant-an ordinary gas lamp-caused the living pictures to be impressionistic rather than Pre-Raphaelite in effect. The animatograph acts delightfully in a dark room; but out-of-doors even a damp, cold, foggy London night is not gloomy enough to bring out the mysteries of its sun-potted pictures. And the ideas of the police with respect to "moving on" crowds must also be taken into account.
The Westminster Budger, 21 janvier 1898, p. 31.
Le Cinématographe Lumière de H. Spencer Clarke (< 26 mars 1898)
H. Spencer Clarke présente son cinématographe à un public composé de memebres de l'Oxford et Cambridge Crews :
MESSRS NESTLE AND LEVER BROTHERS, LIMITED, gave an excellent exhibition of animated photographs, consisting of upwards of fifty subjects, to the members of the Oxford and Cambridge crews at "Endsleigh," Putney, on Wednesday. Mr H. Spencer Clarke, who personally superintended the arrangements, describes his experiences as ffollows:To be shut up in a good-sized drawing-room with about forty University students bent on having a real good time at anybody's expense is not the most comfortable experience unless you are prepared to join in the fun. As soon as the stand upon which the apparatus was to be fixed was placed in position, it was suddenly utilised for the purpose of a game of leapfrog. Unfortunately, the light was not good, otherwise this would have made an interesting picture in in itself. The next item of an impromptu programme was a weight-lifting competition with two 20ft. gas cylinders as dumb-bells, which were afterwards used as Indian clubs. This was greatly enjoyed, especially when the probability of the gas exploding was mentioned, and the consequent disappointment that would be given to thousands of would-be spectators of an exciting event due to-day should such a thing occur. By the time, however, that a gas chandelier had come to grief, to say nothing of a few chairs, tables, and expensive ornaments, things settled down a little, and the entertainment commenced, and was thoroughly enjoyed and fully appreciated. Mr Clarke has succeeded in securing a capital position from which to take animated pictures of the great race, he having been invited by the Cambridge crew to occupy a place in their launch, which will follow the boats. Some excellent photographs should be the result.
The Era, Saturday 26 March 1898, p. 18.
Le Cinématographe de David Devant (Victoria Hall, 9-> abril 1898)
Depuis le mois d'août 1896, David Devant, le célèbre magicien, a organisé une entreprise afin de distribuer et présenter des films en Grande-Bretagne. Il peut compter, à partir du milieu de l'année 1897 sur plusieurs collaborateurs dont son propre frère, Ernest Wighton. À Ealing, des vues animées sont annoncées à partir du 9 avril pour un spectacle organisé au Victorial Hall :
EALING.
VICTORIA HALL.-Manager, Mr. T. J. Phillips.-Mr David Devant is doing excellent business here with his animated photos. The subjects are humorous, exciting, and entertaining. Mr. Maurice Bandmann and company will make their appearance in The Munxman on Easter Monday.
The Era, London, Saturday 9 April 1898, 24.
Mais nous se savons rien de plus sur cette séance, semble-t-il, unique.
Le Cinématographe de H. Spencer Clarke (Royal Aquarium, août 1898)
Royal Aquarium (c. 1900)
H. Spencer Clarke annonce des projections animées au Royal Aquarium dont la projection est répoussée :
The Cinematographe is announced to show pictures of the launch of the Albion with the attendant disaster, but the attempt to show tle pictures by daylight was not successfully accomplished yesterday, though it is anticipated that it will be in order to-day.
Morning Post, mardi 28 juin 1898, p. 8.
C'est finalement en août que les films sont présentés :
At the Royal Aquarium we saw some half-dozen capital shows of the entresort character, amongst whom we were especially delighted with the Crys-de-Gon Maze, the Klondike goldmine model. H. Addison's optical illusions, and the Cinematograph pictures. The Klondike model made and exhibited by Mr Keast, a practical mining engineer, is an exhibition of a novel kind. The modus operandi of mining on the Yukon is fully illustrated. First you enter the drift or cutting on a miner's sledge. On either side you see the gleam of the gold quartz in the solid cutting. You notice next the processes of panning or washing out the gold particles. Then you are shown a complete section of a mine with deep-down cuttings and machines for stamping the gold ore (with trolley traction) at work, a realistic model of a Californian quartz mine. The excellent Cinématograph exhibited and described by Spencer Clarke is a superior show. Then we saw the disappearing séance, the living mermaid, and the Fern Fay illusion, shown by that capable illusionist, H. Addison. All these concerns were doing, as they deserved, good business. Here, too, were several exhibitions of a minor sort we had not time to visit.
The Era, Londres, 13 août 1898, p. 16.
Le Cinematographe de Phil & Bernard (Foresters' Palace of Varieties, <27 août-[10] septembre 1898)
Phil & Bernard offrent des projections animées au Forester's Palace of Varietes à la fin du mois d'août :
FORESTERS' PALACE OF VARIETIES
CAMBRIDGE ROAD, MILE END.
Proprietor and Manager, Mr. G. H. Macdermott.
Screaming pantomimic absurdity, entitled " A Day Out,” Karno and his Mammoth Company of Comedians, new scenery and effects; Phil and Bernard’s Cinematographe, introducing all the the most interesting subjects, including the launch of the 'Albion' : the Alexandres, musical comedy artists; Cullane and Conroy, variety artists : James Shields, comedian and one-legged dancer : Josephine Henley, charming vocalist : Ida Hill, Harry Pavey. Two Houses Nightly. First house will commence at 6.30; Second at 9.15. Bos Seats, 1s.; Front Stalls, 6d.; Stalls, 4d.; Balcony, 3d.; Gallery, 2d.
The Entr'acte, Londres, samedi 27 août 1898, p. 3.
Quelques jours plus tard, un autre journal offre davantage de détails :
[...]
Phil and Bernard's cinematographe exhibits some remarkably fine pictures. The Prince of Wales is evidently popular at Mile End, for the photograph showing him on board his yacht is received with acclamations, and the loyal audience also pay homage to the magnificent picture of Her Majesty the Queen. The photograph of fish swimming about in an aquarium is curious and interesting, and feeding the elephant in the Zoo is popular. The turning out of a fire brigade and a boxing-match carried on to a knock-out are notable exhibits, and the pictures of the Spanish-American war and the sad result of the launching of the Albion are interesting and well chosen. It is no wonder that with such an entertaining programme, and with the comforts of the audience so well looked to by Mr. Macdermott and Mr. Wilton Friend, these gentlemen succeed in attracting an expectant house twice every night, which retires well satisfied and grateful for the excellent value received for its money.
The Music Hall and Theatre Review, Londres, 2 septembre 1898, p. 155.
Le cinématographe est encore annoncé quelques jours plus tard :
FORESTERS' (MILE END ROAD)
[...]
while the pictures projected by Phil and Bernard's cinematograph are capital in subject and are excellently reproduced.
London and Provincial Entr'acte, Londres, samedi 10 septembre 1898, p. 6.
The American Biograph (Palace Theatre of Varieties, <29> août 1898)
Palace Theatre of Varieties, programme, 29 oût 1898 [D.R.].
Le cinématographe de James D. Walker (Edmonton Union, 25 novembre 1898)
James D. Walker présente un cinématographe et un phonographe à l'Edmonton Union :
A Novel Entertainment at the Edmonton Union.
Although the general public may be now fairly acquainted with the latest phenomena of sight and sound, as presented by the cinematograph and phonograph, there are yet many who are not so fortunate and among these latter may be mentioned the majority of the poor inmates of the Edmonton Union, who, although they had often read or heard about these wonderful instruments, had never, until Friday last, seen them. Though the kind solicitation. however, of one of the Guardians, Mr. E. J. Betts, of Enfield Highway, and the members of the Co-operative Women's Guild at Enfield, and the readiness of the Master to make all the necessary arrangements, Mr. James D. Walker, of London, the well known entertainer, was induced to give an exhibition of the cinematograph and phonograph, and some very interesting particulars concerning them. By means of the first-named instrument he threw on a large sheet a series of animated pictures of great beauty, and surpassing in interest anything ever seen by the inmates before. It would take too long to enumerate all these pictures, but we cannot refrain from naming one or two of them. There was one showing us again, and with every detail, the ever memorable Jubilee procession; there was another showing a train going at full speed, then gradually reducing its motion and gliding into the station, the opening and shutting of the carriage doors, and the thronging of the crowd of passengers upon the platform; another showing a steeplechase, and the last horse and rider coming to grief in the brook : another showing the turning out of the fire brigade, and the running and excitement of the people in the street; These, and all the pictures which preceded and succeeded them, were simply wonderful, and delighted the audience beyond measure.
In the interval between the exhibition of the pictures, Mr. Walker placed that equally marvellous instrument the phonograph upon the stage and invited the chairman of the Board of Guardians (Rev. D. Fotheringham) to speak into it. This he did, and directly afterwards the audience heard the speech again, word for word through the instrument. Then followed the re-production of some popular music, and some humourous songs, the tunes and words of which also were heard as distinctly as if the singers were actually then giving them. This was indeed an entertainment the inmates will long remember. We need not add that the vote of thanks to Mr. Betts (through whose kindness the entertainment was given), to Mr. Walker, and to all who helped to make the entertainment successful, was proposed, seconded and carried, in a way unanimous, and hearty in the extreme. Mr. Fotheringham, in proposing the vote, said Mr. Betts always took a keen interest in the inmates of the Union, and was ever ready to give of his time and ability to the work of the Guardians.
Middlesex Gazette, samedi 26 novembre 1898, p. 5.
1899
Un cinématographe (Théâtre, 27 mars 1899)
La presse madrilène évoque, sans précision, la projection de vues hippiques :
En un teatro de Londres se ha instalado un cinematógrafo que hizo asistir el viernes último á una multitud entusiasta á las peripecias del grend prix corrido el mismo día, á las 3,39 de la tarde, cerca de Liverpool.
Los agentes de la compañía recorrieron en 23 minutos las cinco millas y media que separan el Hipódromo de la estación de Liverpool.
A las cuatro y cinco minutos salieron para Londres, y en el trayecto, en un departamento especial, fueron preparando las negativas. Llegaron á Londres á las ocho y veinte minutos, teniendo tiempo de preparar las positivas y secar,
y á las once ya estaba funcionando el cinematógrafo.
A la noche siguiente el público presenciaba, lambién en el mismo aparato, las carreras náuticas entre Cambridge Oxford, que se habían verificado aquella tarde.
El día, Madrid, mardi 31 mars 1899, p. 2.
Le Royal Bioscope d'H. Spencer Clarke (25 septembre 1899)
Lors d'une soirée organisée au Horns (Kennington), H. Spencer Clarke presente son Royal Bioscope :
Mr. Geo. Leybourne's concert at the Horns, Kennington, attracted a good number of people on Monday evening, but the occasion was worthy of a still larger audience. Mr. Harry Dawson and other gentlemen occupied the chair during the programme, au excellent one, including as it did members of the Mohawk Minstrels, Clarke's Royal Bioscope, and a host of other well-known turns. Needless to add, the newly-decorated hall was much admired by all present.
South London Chronicle, Londres, samedi 30 septembre 1899, p. 3.
The American Biograph (Palace Theatre of Varieties, <27> novembre 1899)
Palace Theatre of Varieties, programme, 27 novembre 1899 [D.R.].
Le Cinématographe du Docteur Doyen (Sociéeté Anglaise de Gynécologie, < 28 décembre 1899)
Le docteur Doyen, chirugien tout aussi célèbre que controversé, donne des conférences en Europe, pour faire connaître l'intérêt d'utiliser le cinématographe pour filmer les opérations. Depuis juin 1898, avec la complicité de Clément-Maurice, il opère sous l'objectif d'un appareil cinématographique et il a présenté un programme de vues chirurgicales à Edimbourg, en juillet 1898. La presse parisienne annonce son arrivée à Londres :
Londres, 14 décembre.
On annonce l'arrivée à Londres du docteur Doyen. Le chirurgien français a été invité, par la Société anglaise de gynécologie, à faire, à l'aide du cinématographe, une démonstration de sa technique opératoire.
Le Temps, Paris, 15 décembre 1899, p. 1.
Un article consacre quelques lignes au docteur français :
The cinematograph seems likely to become as important a factor in surgery as the X-Rays-at least for the purpose of lecturing it bids fair to become invaluable. Dr Doyen, the famous French surgeon, last week gave a demonstration of his world-renowned rapid methods of surgery before the Gynecological Society by its aid. So faithful was the reproduction that even had he not been there every step of the operations shown explained itself. The most difficult and delicate operations were performed before the very eyes of the audience, and it became very clear that as a method of instruction in surgery upon the Living body the cinematograph would be the most valuable assistant yet discovered. Given the possession of a machine as part of the stock-in-trade of a doctor, it should be perfectly easy to purchase films of the most recent operations, and the operating theatre can extend the benefit of the knowledge acquired in it to an definite extent.
Freeman's Journal, jeudi 28 décembre 1899, p. 6.
Le Royal Bioscope d'H. Spencer Clarke (Royal Albert Music Hall, [23]->23 décembre 1899)
H. Spencer Clarke presente son Royal Bioscope à la fin de l'année :
The Era, Londres, 23 décembre 1899, p. 16.
1900
Les Animated War Photos de David Devant (Battersea Polytenic, 13 janvier 1900)
David Devant présente des vues de la guerre des Boers au Battersea Polytechnic :
BRITION V. BOER AT BATTERSEA
Last night at the Battersea Polytechnic Mr. David Devant's animated war photos brought out the patriotic sentiments of a large audience. Mr. Kruger stepping from his state carriage was receifed with groans, which promptly changed to rounds of cherring when the photos of "Bobs" and Lord Kitchener appeared. A very realistic picture of the Boer entrenchments, with our men bayonetting the fiying enemy, highly pleased the audience.
Lloyd's Weekly Newspaper, 14 janvier 1900, p. 2.
Le Royal Bioscope d'H. Spencer Clarke (Royal Agricultural Hall, <3> mars 1900)
H. Spencer Clarke presente son Royal Bioscope au Royal Agricultal Hall en mars :
The Era, 3 March 1900, p. 16
THE Mohawk Minstrels gave a performance consisting of popular Irish songs both on Saturday and Monday evenings. The ever-welcome "Wearin' o' the Green," well sung by Theo. Swift, had additional and up-to-date verses, and the Mohawks' choir and band of harps contributed Moore's fine glee "The Minstrel Boy." A new and very acceptable feature of the programme was a series of pictures of the war in the Transvaal shown on Spencer Clarke's Royal Bioscope.
The Era, 24 mars 1900, p. 18.
Les bio-tableaux de Walter Gibbons (New-cross Empire, 4->13 avril 1900)
Walter Gibbons présente ses bio-tableaux au New-cross Empire :
AT the New-cross Empire, on Wednesday, Mr Henry Raymond took his first annual benefit, by kind permission of Mr Oswald Stoll, and was rewarded by an attendance which beat all previous records, large numbers being turned away. A heavy programme was gone through, including Miss Marie Loftus, Mr Gus Elen, Stuart, the male Patti, Brothers Horne, Dutch Daly, Will Evans, Edwin Barwick, and a new series of war pictures, presented by Mr Walter Gibbon's bio-tableaux.
The Era, Londres, samedi 7 avril 1900, p. 18.
The Royal Biorama de Walter Gibbons, (People's Palace, 16.23 avril 1900)
Walter Gibbons présente son Royal Biorama au People's Palace:
PEOPLE'S PALACE
[...]
Commencing
ESTEAR MONDAY
(April 16th)
AND EVERY NIGHT DURINT THE WEEK.
SPECIAL PERFORMANCE.
EASTER MONDAY AT THREE.
Without the War Pictures.
Special Engagement and certain apperance of
WALTER GIBBONS'
ROYAL BIORAMA
THE FOLLOWING PICTURES WILL BE SHOWN
General French's Cavalry repelling the Boers on the way to relieve Kimberly ; Lord Roberta arriving at Cape Town; Troop Train crossing the Modder River on a temporary bridge; Lancers fording the Modder River under the Earl of Airlie, after the Enslin engagement; General Ruller inspecting the Troops at Cap Town; Lord Wolseley inspecting the "Korlin Castle"; the "Roelin Castle" leaving Southampton witch 2.160 Troops on board for South Africa; Troops at Drill on he "Avondale Castle; during their journey to South Africa; Prince of Walles inspecting the Imperial Yeomanry leaving for South Africa; Arrival of the Naval Brigade at Cape Town. And other pictures of thrilling interest, including railway panorama, illusions, etc., etc.
Essex Guardian, Londres, samedi 14 avril 1900, p. 4.
Les Bio-tableaux et les phono-bio-tableaux de Walter Gibbons (Hippodrome, 21 avril->15 novembre 1900)
Walter Gibbons présente ses bio-tableaux à l'Hippodrome au cours de l'année, à plusieurs reprises, mais il est difficile de déterminer les périodes au cours desquelles, il projette des vues animées.
The Era, Londres, 21 avril 1900, p. 21. |
The Era, Londres, 8 septembre 1900, p. 21. |
Le système de Walter Gibbons permet de présenter des vues provenant de divers éditeurs de films :
AT the Hippodrome, Mr. H. E. Moss rarely allows a week to pass without introducing one or more novelties into the bill. There are three this week pattioularly noteworthy. Mr. Walter Gibbons' Bio-Tabl.eaux hows the longest animated picture that has ever been taken. the film lasting for close on twenty minutes. The subject is the " Joan of Arc " play as seen in Paris. It is the finest thing of its kind ever shown.
Music Hall and Theatre Review, Londres, vendredi 5 octobre 1900, p. 9.
Mais il dispose également d'une production propre :
THE LONDON HIPPODROME
[...]
Another new turn is supplied by the Walter Gibbons new bio-tableaux depicting the first section ot a series of animated naval pictures, "Life Ashore and Aboard." The pictures were taken at Chatham by special permission of the Admiralty authorities, and are reproduced by a new machine, free from the imperfections which characterise the earlier forms, of which Mr. H. E. Moss has the sole rights for exhibition.
Morning Post, Londres, mercredi 24 octobre 1900, p. 5.
C'est à la mi-novembre que Walter Gibbons va introduire une nouveauté en combinant la vue avec du son :
Conspicuous success attended the efforts of Mr. Walter Gibbons in producing at the London Hippodrome on Tuesday living pictures in conjunction with the phonograph. The new turn is a decided novelty. So far Mr. Gibbons has solved the problem of giving animated pictures with vocal accompaniment, so that they work in unison and no doubt time will perfect his method and show us even greater developments. The singing by the American Comedy "Four of Sally in our Alley" was one of the best/ efforts of the Phono-Bio-Tableaux, and it took remarkably well.
The Stage, Londres, jeudi 15 novembre 1900, p. 10.
Répertoire (autres titres): The Departure of the City Imperial Volunteers from Cape Town, The March of the C.I.V's across London to the Guildhall, The Royal Canadians back from the front, leaving South Arm Dock, Capte Town, on the transport Idahlo, bound for Halifax, N.S.The Era, Londres, samedi 27 octobre 1900, p. 18).
Les Bio-tableaux de Walter Gibbons (Empire, <01er mai 1900)
Walter Gibbons présente ses bio-tableaux à l'Empire:
THE EMPIRE
There is a capital company at the Empire this week. The programme is entertaining from start to finish, and many of the items are of exceptional merit. Mr. Walter Gibbons makes a welcome return visit with his Bio-Tableaux. All the representation are quite fresh, and form an admirable series. those relating to the war are especially noteworthy, and include a march or the Cameron Highlanders, the New South Wales Lancers, and artillery troops leaving Cape Town for the front, the entry into Bloemfontein, and a ride from Naauwpoort to De Aar on a railway train.
Nottingham Evening Post, Londres, mardi 1er mai 1900, p. 2.
Le Royal Bioscope d'H. Spencer Clarke (Britannia Theatre, Hoxton, <21> juillet 1900)
H. Spencer Clarke présente son Royal Bioscope au Britannia Theatre d'Hoxton.
The Era, Londres, 21 July 1900, p. 14.
Le Royal Bioscope d'H. Spencer Clarke (Royal Agricultural Hall, 6->11 août 1900)
H. Spencer Clarke installe en août son Royal Bioscope au Royal Agricultural Hall :
Crowded audiences both afternoon and evening favoured the Mohawk Minstrels at the Royal Agricultural-hall yesterday. Mr. Clement Stewart, a tenor, made a very successful first appearance, his song "Shadow and Sunlight" being twice encored. A new song, "Dear ol Bobs," the work of two members of the company, was sung by Mr. Dred Lyne with effect, and a sketch of the knock-about order by Mr. Edmund Forman, entitled "Jenks's Honeymoon, and how he saw the Paris Exhibition," was very well received. The entertainment concluded with a display of animated pictures by Spencer Clarke's bioscope. The series included a number of realistic pictures taken at the Paris Exhibition, some of the latest war pictures, and portraits of Lord Roberts and other generals, and the Queen.
The Times, 7 August 1900, p. 10.
Les séances se prolongent pendant quelques jours :
MOHAWK MINSTRELS
[...] The performance concluded with Spencer Clarke's Royal Bioscope, on which was shown an admirable series of pictures of the Paris Exhibition. There were also a number of new South African War pictures, as well a portraits of weel-known military and other heroes.
The Era, Londres, 11 août 1900, p. 19.
Le Royal Bioscope d'H. Spencer Clarke (Theatre Royal et Kilburn Empire, <15> septembre 1900)
H. Spencer Clarke installe en septembre son Royal Bioscope au Theatre Royal and Kilburn Empire.
The Era, Londres 15 septembre 1900, p. 16.
Le Royal Bioscope d'H. Spencer Clarke (Royal Albert Music Hall, <10> novembre 1900)
H. Spencer Clarke installe en novembre son Royal Bioscope au Royal Albert Music Hall.
The Era, Londres, 10 November 1900, p. 18.
Le Royal Bioscope d'H. Spencer Clarke (Queen's Palace of Varieties, Popular, <1er> décembre1900)
H. Spencer Clarke installe en décembre son Royal Bioscope au Queen's Palace of Varieties.
The Era, Londres, 1er décembre 1900, p. 18.
Les bio-tableaux de Walter Gibbons (Metropolitan, [22]-31 décembre 1900) → 1901
Walter Gibbons installe ses bio-tableaux au Metropolitan à la fin de l'année :
To the METROPOLITAN those fine pantamimists the Martinettis will return in Robert Macaire, their best dramatic production. The popular Bio-Tableaux of Walter Gibbons will be anotehr great attraction. The variety will be contributed also by Tom Leamore, Burke, Andrus, and Frisco, Leo Stormont, Lieut. Travis, Lily Burnand, Dora Clements, T. P. Carroll, Arthur Lennard, Sisters Dacre, Rose Dearing, Brothers Horn, Harry Freeman, Amy Allnutt, Johnny Gilmore, and others.
The Era, Londres, samedi 22 décembre 1900, p. 18.
→ 1901
1901
The American Biograph (Palace Theatre of Varieties, <4> mai 1901)
Palace Theatre of Varieties, programme, 4 mai 1901[D.R.].
← 1900 Les bio-tableaux de Walter Gibbons (Metropolitan, 1er->2 novembre 1901)
← 1900
Les séances de bio-tableaux Walter Gibbons se prolongent au début de l'année :
THE METROPOLITAN
Throughout his long and distinguished career, Mr. Clement Scott has been the enlightened advocate and the loyal friend of the music hall.
[...]
Programmes may be revised and revised, but the Gibbons Bio-Tableaux apparently go on for ever. The explanation is that the possibilities of this most modern of scientific toys are perfectly inexhaustible. Not only does every incident of the day afford material for a new picture—plays are capable of reproduction, story books of illustration. " Not for an age, but for all time," is clearly the motto of the cinematograph, which has in Mr. Walter Gibbons one of its most alert and enterprising expositors.
Music Hall and Theatre Review, Londres, vendredi 25 janvier 1901, p. 7.
Les séances se prolongent au cours de l'année, mais elles semblent le faire de façon discontinue:
THE METROPOLITAN,
EDGWARE ROAD.—The Wonderful Abdullah Arabs at 10.35, Cliff Ryland, Texarkansas, Florrie Forde, Frank Coyne, Harry Tate, " Contempt of Court," Harry Randall, Tom Woottwell. Jenny Valmore, Vera Vere, Constance Moxon, Marie Loftus, Joe O'Gorman, Lily Lena, George Brooks, Esme Gordon, New Military Sketch, " For the Honour of the Regiment," at 10.50, Walter Gibbons' Bio-Tableaux, with latest pictures, including English Cup Final, Sheffield v. Tottenham, Trial of Shamrock II. in Solent, Sir Thomas Lipton on Board Yacht, every evening at 9.50. Open 7.20. Prices 6d. to £2 2s. Manager—J. W. Edgar.
Music Hall and Theatre Review, vendredi 31 mai 1901, p. 8.
On trouve encore des annonces en juin:
THE METROPOLITAN
[...]
Mr. Walter Gibbons' Bio-Tableaux presents a well-selected series of pictures, including some magnificent snapshots taken at the Derby, with a splendid picture of the finish of the great race.
Music Hall and Theatre Review, Londres, vendredi 14 juin 1901, p. 7.
En novembre, des bio-tableaux sont encore présentés.
Les Bio-tableaux de Walter Gibbons (New Cross/The Empire, <01er mars 1901)
Londres, New Cross Empire (début XXe siècle)
Walter Gibbons présente ses bio-tableaux à l'Empire du quartie de New Cross:
Walter Gibbon's Bio-tableaux continues to interest the audience of the Empire, New Cross. Fred Karno's Sketch Co. appear in their irresistibly funny sketch, " Jail Birds." O'Gust mimics everything—birds, animals, locomotives, saws, musical instruments, etc.—after which he grapples with a lion ; and Leggett's Sketch Co. successfully produce " The Maid of Athens."
The Showman, Londres, vendredi 1er mars 1901, p. 18.
Les Bio-tableaux de Walter Gibbons (The Granville, <8> mars 1901)
Londres. Walham Green. The Granville (c. 1900)
Walter Gibbons présente ses bio-tableaux dans la salle The Granville :
THE GRANVILLE.-From start to finish the performance this week at the Granville is even better than we are accustomed to. There are several really remarkable turns. [...] Mr. Walter Gibbon's bio-tableaux of the Queen's funeral, the opening of Parliement by the King, etc., and the American Comedy Four are other exceptional numbers.
West London Observer, Londres, vendredi 8 mars 1901, p. 7.
Le Royal Bioscope d'H. Spencer Clarke (Kilburn Varieties, <9> mars 1901)
H. Spencer Clarke installe en mars son Royal Bioscope au Kilburn Varieties :
KILBURN VARIETIES
Kilburn Theatre
Spencer Clarke's Bioscope has an excellent selection of pictures, several of them being of a humorous character. On Wednesday, by invitation of the management, the officers and men composing the A squadron of Yeomanry, who left for South Africa on Friday, paid a visit to the Kilburn, and greatly enjoyed the excellent entertainement.
The Era, Saturday 9 March 1901, p. 19.
Les Bio-tableaux de Walter Gibbons (The Oxford, <26> avril 1901)
Londres, The Oxford, Oxford street. (c. 1904)
Walter Gibbons présente ses bio-tableaux à l'Oxford :
THE OXFORD
There is a spirit of healthy competition on the variety stage just now which has very desirable and pleasant results. [...] Theirs is a very attractive performance. Mr. Walter Gibbons applies himself to his Bio-Tableaux with unerring judgment and ability. At the Oxford are some splendid views of last Saturday's great match, Sheffield United against the Tottenham Hotspurs, and other good pictures are equally approved.
Music Hall and Theatre Review, Londres, vendredi 26 avril 1901, p. 7.
Le Cinematograph d'H. Spencer Clarke (Royal Albert Music-Hall, <25 mai->22 juin 1901)
H. Spencer Clarke installe en mai son Royal Bioscope au Royal Albert :
ROYAL ALBERT.-Kate Carney, Little Dando; "The Tramps," by Brien McCullough and Company; Rosie Coleman, Harry Conlin, Howard Baker, Edgar Budden, Spencer Clarke'sCinematographe, Lillie Simmons, Fred Lincoln, The Two Shamrocks, and others.
London and Provincial Entr'act, Saturday 25 May 1901, p. 7.
Les séances se prolongent jusqu'à la fin du mois de juin.
London and Provincial Entr'acte, Londres, samedi 22 juin 1901, p. 3.
Les Bio-Tableaux de Walter Gibbons (Longton/Queen's Theatre, <6> juillet 1901)
Les bio-tableaux de Walter Gibbons sont présentés au Queen's Theatre de Longton :
LONGTON.
QUEEN'S THEATRE, LIMITED.-Managing-Director. Mr A. S. Walters; Acting-Manager, Mr H. Sherriff- Howard.—The enterprising management of the Queen’s has this week plaoed another high-class variety entertainment before their patrons. The Walter Gibbons Bio-Tableaux shows interesting pictures of recent events; Ben Albert is an amusing comedian; Victor Ritter contributes an eccentric musical interlude ; the Ashers, in charming costumes, prove pleasing song and dance artistes, being ably assisted by a diminutive young gentleman; the Dolfs introduce some clever juggling under the title of "Tricks and Travesty;" Arthur Boyne causes much hilarity ; H. E. High, the mad skater, is a good turn; and Addie Lennard is a graceful comedienne and dancer.
The Era, Londres, samedi 6 juillet 1901, p. 27.
Le Cinematograph d'H. Spencer Clarke (The Eastern Empire, <13> juillet 1901)
H. Spencer Clarke installe en juillet son Royal Bioscope au Eastern Empire.
The Era, Londres, samedi 13 juillet 1901, p. 18.
Les Bio-Tableaux de Walter Gibbons (Hammersmith/Palace of Varieties, 11->11 novembre 1901)
Les Bio-Tableaux de Walter Gibbons sont présentés au Palace of Varieties d'Hammersmith.
West London Observer, Londres, vendredi 8 novembre 1901, p. 4.
1903
Le Bioscope (Hotel Cecil, 8 décembre 1903)
La North Borneo Company organise une soirée spéciale où sont présentés les vues prises par H. M. Lomas à Bornéo pour le compte de la Charles Urban Trading Company :
BIOSCOPE IN BORNEO.
MR URBAN'S LATEST SUCCESSES.
On Tuesday evening last, at the Hotel Cecil, the North Borneo Company held their first annual dinner under the chairmanship of Sir Charles Jessel, Bart., who was supported on his right by the Right Hon. Lord Strathcona and Mount Royal, G.C.M.G. and on his left by his Excellency Chang Ta Yen, the Minister for China. In addition to many other notable gentlemen, present on this occasion, several prominent theatrical and music hall people were noticeable, including Sir Squire Bancroft, Mr.. George Adney Payne, Mr Frank Allen, Mr Douglas Cox, and Mr Charles Urban.
After a short toast list had been run through, a series of bioscopic pictures of North Borneo, which had been photographed by Mr H. M. Lomas, in charge of the Urban Bioscope Expedition into North Borneo, were shown, and to many people who were still unacquainted with the plantation and wonderful natural resources of that interesting country, the views and the lecture which accompanied it proved exceedingly instructive. In this entertaining way the beautiful scenery of North Borneo and its commercial riches were realised in a very delightful manner. The pictures themselves were perfect specimens of their kind, and Mr Charles Urban may be congratulated on the result of the work performed by the expedition. The first scene showed the expedition on the way to Borneo, via Singapore, where photographs of characteristic people and things were obtained. Another en route representation depicted boys diving for coins, and a third film exhibited views of the European, Malay, and Chinese quarters at Soudahan. The two following films presented sights at Sandakan and Jesselton. At the former town, which is the capital of British North Borneo, Mr Urban's expedition was fortunate in obtaining snapshots of the Sikh military police as they marched past on a special occasion, while the panorama of Jesselton not only pictured that enterprising town itself but afforded bird's-eye glimpses of the Bajau village and Gaya Bay in the distance. Following the expedition in its adventures, the next view showed a railway ride up towards the Penotal Gorge, beside the Padas River, on the Government railway. Other views represented a higher reach of the Padas River, where, at Tenom, in the interior, the river, 600ft above sea level, runs still and deep, then lower down enters the gates of Penotal Gorge, and descends in magnificent rapids and whirlpools to Sungeh Rayoh. Equally interesting, though perhaps not quite so attractive in appearance, were the monkeys of Borneo, the young ourang-outangs and the pig-tail and Kara monkeys. To the miner in search of mineral wealth nothing would probably be more pleasing than to come upon the Balaigang Valley, the sides of which are composed of manganese, a rich find of this valuable metal now being worked by the North Borneo Company. The expedition went on to Putatan, which is a very picturesque little place, inhabited as it is by Dusuns, who build their houses on tall piles along the river banks. Near Labat Datu are the New Darvel Bay Tobacco Plantations, of which the Urban people secured good pictures, An exceptionally clear view furnished a few ideas as to the manner the expedition fulfilled their mission and some of the difficulties its members had to contend with. At one time we see them on the screen crossing the mountains between Tenom and Tembunan, accompanied by officers of the company, with a huge train of baggage, coolies and ‘‘boys” carrying the provisions, beds, cooking, utensils, and all necessary requirements for camping in the jungle. Then, of course, the scientific apparatus they conveyed was of the very latest and best type. No expedition could have been better fitted out for such a purpose, the practical comfort and convenience of every member of the party having been attended to as well as they could be attended to in ‘‘ the wilds of Borneo.” After having witnessed a "counterfeit presentment” of the Urbanites crossing the Masolob River, we were introduced to the Tomogon Mura Muruts, who at the moment were engaged in a festal dance, to the accompaniment of the Arak Jar ceremony and the remarkable demonstration of what it is beating of gongs. A remarkable demonstration of what it is posible to do with the aid of the Bioscope was provided by the film which threw upon the screen the Fort and Station at Kotabelud, with a view over the Tempassuk plains and Mount Kinabalu, which is 13,960 feet above the sea level, in the far distance. A scene which was very much appreciated by the assembled company shewed the Ranau Duruns coming down from the interior to trade with the white man at Jesselton for the first time, and bringing with them a large quantity of native-grown tobacco, The concluding bringing was, perhaps a little more exciting than the previous ones, as it represented the "wild men of Borneo" in their ordinary every-day existence in the interior, on the Keningow plains, and by the River Liawan. The Dalit and Kaningow Mututs were seen engaged in what is called a ‘‘realistic” sham fight, given for the benefit of the white men with the "magic box.”
That this "magic box ” accomplished a good deal everyone present at the North Borneo dinner would have been prepared to admit, and the Charles Urban Bioscope came in for a rare share of praise. It occurs to us that other big public companies who are engaged in exploring and mining operations in almost uncivilised parts of the world would be well advised to secure the services of the Urban Trading Company to popularise and give explanations concerning the nature of the work carried on by them so far away from the line of vision of anxious shareholders.
There is no better way of popularising such work than by means of living pictures. Thousands of persons throughout the United Kingdom will receive in the next few weeks a practical and interesting geographical lesson by means of animated photography.
The Era, Londres, samedi 12 décembre 1903, p. 25.
1904
Le Bioscope Urban (Alhambra, 18->16 janvier 1904)
Le Bioscope présente des vues de Bornéo, Into the Wilds of Borneo, tournées par Harold Maese Lomas :
LONDON ALHAMBRA.—The management of the London Alhambra have been successful in securing a series of most interesting pictures illustrating an expedition to North Borneo, which will be shown on Monday next, the 18th inst. This expedition, which was organised by the Charles Urban Trading Company, was conducted by H. M. Lomas, with the co-operation of the Government and the British North Borneo Company, assisted by the British officers and the Government officials there, the services of guides being need for crossing the mountains, while thirty coolies were requisitioned for the transport of foodstuffs, camp equipment, apparatus, etc. One hundred and twenty-seven miles into the interior were traversed, some parts of which had never been trodden by a white man before, and the journey into the "wilds of Borneo" was consequently not fulfilled without many difficulties. The new ballet entitled "All the Year Round" will be produced at the Alhambra on Wednesday next, the 20th inst. It consists of seven scenes illustrating in dainty form. intermingled with comedy. each month of the year in succession. Messrs T. E. Ryan. E. H. Ryan, n., W. B. Spong. Bruce Smith, and Philip Bowden are responsible for the scenery, while the music is from the pen of James M. Glover.
Brighton Gazette, Brighton, samedi 16 janvier 1904, p. 8.
Le Bioscope Urban (Alhambra, <2> août 1904)
Le Bioscope Urban offre des vues animées à l'Alhambra pendant l'été :
ALHAMBRA
In the Ten-Ichi troupe Mr. George Scott has secured a very notable addition to the Alhambra programme.
[...]
Perzina's troupe of monkeys, who do everything but speak ; together with a graphic series of "Urban Bioscope pictures, and the always attractive ballet, "All the Year Round."
Daily Telegraph & Courier, Londres, mardi 2 août 1904, p. 3.
Le Cinématographe de l'Armée du Salut (Bromley/Farwig Mission Hall, 12 octobre 1904)
Le Cinématographe de l'Armée du Salut, sous la direction d'Henry Howse, présente des vues animées en octobre :
CINEMATOGRAPH EXHIBITION —At the Farwig Mission Hall on Tuesday earning a cinematograph exhibition was given in connection with the Salvation Army. The attendance was very good. The lantern was under the care of Adj. Howse, and there were also present, Major Cheadle, and Staff Captain Standing. The following were among the illustrations shown on the sheet, "A scene of Mile End slum life," "Strand Hall during the International Congress," Mansion House Traffic," " Fire scenes," " Consul Booth Tuckers funeral, " " Off for the Holidays," and many others. The pictures shown were the work of a Salvation Army artist. At the close reference was made to the memorial service to be held on Sunday next for Mr. Dickin-on.
Bromley and West Kent Telegraph, samedi 15 octobre 1904, p. 7.
Le Cinématographe de l'Armée du Salut (Forest Hill/St. Jame's Hall, 19 octobre 1904)
Le Cinématographe de l'Armée du Salut, présenté par Henry Howse, offre des projections animées en octobre:
Councillor H. Speed presided over a crowded attendance at St. James' Hall, Forest Hill on Wednesday, when a cinematographic exhibition was given in connection with the Salvation Army by Adjutant Howse, assisted by Staff Captain Standing.
Forest Hill & Sydenham Examiner, vendredi 21 octobre 1904, p. 3.
Le Cinematograph de Wimbledon (Worple Hall, 24-26 novembre 1904)
Au Worple Hall, des vues de la Charles Urban Trading Co. est présentée à la fin du mois de novembre. Parmi les titres, on en trouve de la série Living London :
WORPLE HALL, WIMBLEDON.
Thursday, Friday, & Saturday, Nov. 24, 2 & 26.
Grand
CINEMATOGRAPH ENTERTAINMENT
AND HUMOROUS RECITAL,
By John A. Groom, Esq.
(Founder of the Watercress and Flower Girls'
Christian Misslow, entitled —
"Forty Years" humorous experience with the London Flower Girls, in Summer, Snow and Shower."
There will be a most extensive and beautiful Series of Original and Copyriht LIVING PICTURES, shown by the Charles Urban Company's latest and most perfect CINEMATOGRAPH.
The Pictures will include the mast extensive and comprehensive tour of London —its Streets, Market, Exhibitions, and Parks; Petticoat Lane on Sunday Morning ; Covent Garden—its Flowers, Fruits and Vegetables. Porters, Farmers, Costers, Flower Women, Pea Shellers, Bean Cutting ; the Coster at Work—his "Missus," his Barrow and his "Moke" ; Familiar Characters of London Streets ; the London Flower Women's Annual Excursion to the sea-side ; the Flower Women's Orphanage at Clacton-on-Flea — the Children. Babies and Nurses, the Flower Girls' Mission Industrial Training Homes for the Blind. Crippled and Infirm Girls—at Work, Flowermaking ; at Play, Skipping. Dancing and High Jumping. The most Perfect and Realistic set of Pictures, full of interest, excitement and pathos.
There will be a large number of high-class Pictures full of interest, and the Humorous Pictures are the most mirth-provoking possible.
Over Two Hours of high-class Entertainment, full of Profit and Pleasure.
Doors open at 7.30. Commencing at 8.
Carriages at 10.15.
Admission—Reserved Seats, 1s. Unreserved. 6d.
Children half-price to Shilling Seats.
Tickets at Trim's, 20, Hill-road, Wimbledon.
Wimbledon News, Wimbledon, sametdi 19 novembre 1904, p. 4.
1905
Le Bioscope de Charles Urban (Alhambra, <17> novembre 1905)
Charles Urban installe son Bioscope à l'Alhambra :
For presentation at the Alhambra on and after Monday night next, Mr. Charles Urban has exclusively secured an animated pictorial record of the quaint and extremely interesting pageant, "Le Fête des Vignerons" (or Vintners' Festival of the Four Seasons), which is celebrated at Vevey, in Switzerland, only four times in a century. Of this curious autumnal festival, of medieval origin, and in the observance of which the Confederated Cantons periodically spend some £40,000, " Urbanora " is the sole exponent—nor can any similar representation of this old-world survival of a Continental custom be put before the London public for many years to come.
Music-Hall and Theatre Review, London, vendredi 17 novembre 1905, p. 10.
1906
Le Cinématographe de C. Rider Noble (Blenheim Club, <15 mai 1906)
Charles Rider Noble organise une conférence sur le Maroc au Blenheim Club en mai 1906 :
Le Maroc cinématographié
M. C. Rider Noble faisait la semaine dernière une conférence au Blenheim Club sur le Maroc, sa cour, son peuple, et ses coutumes, conférence illustrée par 130 vues-projections et plusieurs tableaux animés. M. Martin Duneau prédisait la conférence de M. Noble, qui, revenant du Maroc où il avait fait un séjour de trois années, avait pu prendre des vues d'un très grand intérêt et s'était lié d'amitié avec le Sultan et ses Ministres. Ainsi put-il prendre de nombreux clichés qu'il n'est pas donné aux profanes de voir.
Une vue animée très intéressante est celle représentant le Sultan assis entre Lord Loch et Lord Castletow, et tenant leurs mains dans les siennes. Ce film avait été pris bien avant la conférence d'Algésiras. M. Noble montra encore plusieurs vues des environs de la Capitale du Maroc et des portraits du Sultan et de sa suite: des scènes de la rue, un régiment en marche, une Revue passée par S. M. Chérifienne, etc.
L'instrument qui servit à la présentation de ces tableaux est un nouvel appareil permettant l'arrêt et la mise en marche au gré du conférencier.
Phono-ciné-gazette, 2e année, nº 28, Paris, 15 mai 1906, p. 193.
Le Cinématographe d'Urbanora (Alhambra, 18 juillet 1906)
À l'Alhambra, la Charles Urban Trading Company propose un programme de reportages sur diverses colonies britanniques :
"URBANORA" asserted itself effectively at the Alhambra on Wednesday afternoon, when the latest examples of animated photography, obtained by the sacrifice of enormous Trouble and expense, were displayed by the Charles Urban Trading Company (Limited) before the Agents General of Australia, colonial visitors, and others interested in the development of our dependencies. The Australasian scenes included panorama of Sydney water front, log-chopping competition at Tasmania, herds of cattle, the breaking in of wild horses, and many other interesting films : "Sights in New Zealand" which were specially taken under the auspices of the New Zealand Government and the Tourist and Health Departments, included view of the steaming hills of Rotomahana, a volcanic range at the base of which a large expanse of water boils furiously. Maoris cooking and washing in the hot springs, dancing, canoe hurdle-racing, and playing other games unknown in this country, were all marvellously realistic.
A SERIES of views illustrating the frozen meat industry of New Zealand was afterwards presented, followed by South American cattle ranch, with illustrations of lassooing and branding calves, a cowboys' festival, and Gauchos' dance and barbacue. "Life in a Burmah Teak Forest," showing a number of big elephants pushing their way through the thick undergrowth of the jungle, displayed the wonderful sagacity and strength of the animals. Upwards of 30 scenes connected with North Borneo, depicting its progress from savagery to industrial development, and including a railway trip through the Penotal Gorge, were striking features of the exhibition, which was brought to a close by representation of " Logging in a Canadian Forest" and a few "Phases of British Railway Industry." The pictures serve the best purposes of the art of the cinematograph, and, while being at times diverting, are an unrivalled means of imparting instruction. They were enthusiastically applauded, and their inclusion in the programme Alhambra should prove irresistibly attractive.
The Era, Londres, samedi 21 juillet 1906, p. 18.