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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.
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| W. Constable, Lumiere's Cinematographe, Marlborough Hall, Regent Street. 1896 Source: Fonds Will Day (Cinémathèque Française) |
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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 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.
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| Morning Post, Londres, jeudi 19 mars 1896, p. 1. | Egyptian Hall, programme, s.d. c. 1896 [D.R.] |
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| 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.
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| 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.
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.
