GUIDE TO THE GABRIEL CROMER
MANUSCRIPT COLLECTION
Introduction
The papers in this collection document the inventions,
writings, correspondence, and collecting activities of Gabriel Cromer, as well
as the subsequent history of his collection.
Michel-Alexandre-Edmond-Joseph-Gabriel Cromer was born in
Rethel (Ardennes) in 1873. He received
Bachelor degrees in secondary education (1892) and law (1894). However, he soon gave up these professions
in favor of the chief interest of his life, photography. He developed a passion for many aspects of
photography. Cromer’s specialty was
carbon printing, which he practiced commercially. His portraits and landscapes in the pictorialist style appeared
in exhibitions in various countries and won competition medals. Cromer’s inventions for pseudo-stereoscopy,
sharper focus, and better lighting of photographic objects earned him numerous
patents in France, England, and Germany.
His articles on his innovations were published in various journals, as
were his writings on the history of photography, including his papers on Louis
Jacques Mandé Daguerre, the Daguerre-Nièpce controversy, and François Willème,
the inventor of photosculpture.
Fascinated by the origins
and development of photography, Cromer collected daguerreotypes, photographs,
photo-equipment, and old documents that could shed light on its history. Possessing a remarkable taste and knowledge,
he amassed a collection of primary importance.
In 1912 Gabriel Cromer became a member of the Société Française de la Photographie, and in 1927 was elected to its administrative council. He was a very active member of the Société, delivering numerous addresses at its meetings on historical and technical subjects, which were subsequently published in the Société’s Bulletins. Cromer also played a central role in organizing the exhibition dedicated to the centenary of photography in 1926, which was sponsored by the Société Française de la Photographie, and which included many of the finest items from Cromer’s own collection.
It was Cromer’s dream that
some day his collection would serve as the core of a French national museum
dedicated to photography. He wrote an
article on this subject and explained his proposals at a meeting of the Société
Française de la Photographie in January of 1925, which accepted them. However, the French government was not
interested in this idea at first, and later Cromer’s sudden death in 1934 and
the impending war in Europe prevented his vision from being realized in his
home country. Later, Eastman Kodak
Company (EKC) in Rochester, New York expressed interest in acquiring the
collection for a photography museum of its own. In 1939, following negotiations with Cromer’s widow, Kodak
purchased most of the collection for $18,000 (500,000fr.). By 1949 it was transferred to the newly
formed photographic museum at George Eastman House (GEH). One of Eastman House’s core collections, the
Cromer collection was the foundation of GEH’s outstanding strength in
nineteenth century European photography.
Scope of the Collection and Arrangement of the Material
Ten boxes of papers
constitute the bulk of the Menschel Library’s Cromer manuscript holdings. Of these, six boxes (92, 93, 94, 94a, 94b,
94c) are described in detail in this guide.
Box 94a contains Cromer
family documents, including birth and death certificates, college diplomas, and
the award letter naming Cromer a Knight of the Legion of Honor, as well as
original patents with complete specifications and Cromer’s handmade drawings of
nine of his inventions. Box 94b
contains issues of the Bulletin de la
Société Française de la Photographie with Cromer’s articles, and his typed
manuscripts with his corrections. Box
94c is dedicated to the correspondence of M. Cromer and his widow with such
photographic notables as Louis Lumière, P. H. Emerson, René Hennequin, etc., as
well as letters of various historic figures, including Antoine Samuel
Adam-Salomon, Alphonse Giroux, Jules Janin, and others. It also contains documents concerning the
history of the collection after Cromer’s death, such as sales, gifts, and
inheritances.
Boxes 92, 93, and 94 house
correspondence concerning the sale of the collection to EKC (Box # 92), Cromer’s
original photographs, file cards, notes, and correspondence (Box #93), and
fragments of his manuscript on the important dates in the history of
photography (Box # 94).
There is an index to all
important names mentioned in these six boxes.
Other Cromer holdings are
housed in boxes 12, 51, 95, and 96. The
Cromer material in box 12 is dedicated to Nicèphore Nièpce. It includes various photographs, photocopies
of Nièpce’s letters, and a facsimile of the Nièpce’s letter on which Cromer
based his assumptions that Nièpce was the inventor of photography. Box 51, which is dedicated to Daguerre and
his partner Bouton, contains correspondence, notes, and ephemera collected by
Cromer. Boxes 95 and 96 contain
additional ephemera from the Cromer collection related to J. L. M.
Daguerre. Still other material, such as
autograph letters collected by Cromer, is scattered throughout the manuscript
collection. These holdings will be
described in a future collection guide.
Provenance
Most of the Cromer papers in
the Menschel Library came to Rochester with the Cromer collection as part of
the EKC purchase of 1939. They were
placed on deposit by Kodak in the newly founded GEH museum in 1949, and in 1972
they were gifted to GEH.
The contents of boxes 94a,
94b, and 94c are a recent purchase.
They were acquired by the Library’s director Rachel Stuhlman in 2001 for
$4,160 from the dealer Serge Plantureux, who had bought them at an auction at
the Drouot on June 16, 2000. These
documents, which had belonged to the Cromer family, were added to some 6,500
Cromer-related items already in the Museum’s collection.
The papers in the six boxes were organized, and the index
and this guide were created in 2002 by Zinaida Tsemel, a volunteer at the
Menschel Library. She worked under the
supervision of Becky Simmons, Associate Librarian of the Menschel Library, and
Rachel Stuhlman, Librarian of the Menschel Library. The introduction to the guide was written by Zinaida Tsemel and
edited by Rachel Stuhlman.
Box 94a:
Cromer’s Family Documents and Inventions
I. Family birth and death certificates
1.
A
birth certificate of Michel Cromer (Cromer’s paternal grandfather), Sept. 29,
1814.
2.
Two
copies of a birth certificate of Michel Alexandre Cromer (Cromer’s father),
March 19, 1842.
3.
A
death certificate of Michel Cromer (Cromer’s paternal grandfather), April 23,
1869.
4.
A
death certificate of Remiette Alexandrine Barreaux (Cromer’s paternal
grandmother), March 9, 1876.
5.
A
genealogical list of the Cromer family with four handwritten notes enclosed.
II. Other family papers
1.
A
certificate for a medal for the Italian campaign belonging to Jules Michel
Cromer, 1859.
2.
A
BA degree in literature belonging to Michel Alexandre Cromer (Cromer’s father),
1860.
3.
A
BA degree in law belonging to Michel Alexandre Cromer (Cromer’s father), 1862.
4.
A
law license belonging to Michel Alexandre Cromer (Cromer’s father), August 21,
1863.
5.
Certificate
from Ministère de la Justice et des Cultes designating Michel Alexandre Cromer
(Cromer’s father) an attorney (avoué), 1869.
6.
A
BA degree in secondary education belonging to Michel Alexandre Edmond Joseph
Gabriel Cromer, Oct. 8, 1892.
7.
A
BA degree in law belonging to Michel Alexandre Edmond Joseph Gabriel Cromer,
Oct. 19, 1894.
8.
A
letter informing Michel Alexandre Edmond Joseph Gabriel Cromer that he was
named a Knight of the Legion of Honor (Feb. 3, 1929) with handwritten
correspondence on the matter between the Minister of Culture and the Honorable
Director of the Minister of War’s Civil Cabinet.
III. Papers pertaining to Cromer’s inventions
1.
“Ditir”
(a term coined by Cromer from the words “diaphragme” and “tirage” which
describes “an auxiliary device which indicates the diaphragm and the camera
extension to be used in order to obtain the sharpest focus”).
a.
A
drawing of the device and two copies of the patent drawing.
b.
A
one-page printed description of the device.
c.
Two
typescripts by Cromer (one in 3 versions) explaining the advantage of this
device in comparison with others currently in use, with Cromer’s corrections
(1912).
d.
Typed
letter from the Office Nationale de la Propriété Industrielle dated Feb. 28,
1912.
See also an article on the
device printed in the Bulletin de la
Société Française de Photographie in April, 1912 contained in Box 94b,
IV:1.
2.
“Ecran-parasol” [“Umbrella-screen”].
a.
A
patent and two other related documents, all dated Dec. 24, 1901.
b.
Cromer’s
annotated drawings and two photographs of the device.
c.
Letters
from the Patent Office (6 letters, 1901-1906), one regarding the description of
the device, the others concerning Cromer’s annuities.
d.
Two
copies of each of the three contracts with the maker of photographic equipment
Emile Gilles (1905) and Gilles’ letter (Dec. 11, 1906) in which he renounces
the partnership.
3.
“Chassis
pour le tirage de positifs pseudo-stereoscopiques sur verre” [“Frame for the
printing of pseudo-stereoscopic pictures on glass”].
a.
Patent
(Feb. 27, 1919) and two accompanying documents (Sept. 17, 1919) from the patent
office.
b.
Cromer’s
drawing of the device.
c.
Two
copies of a contract with Albert Mattey which gave him exclusive manufacturing
and selling rights, dated May 22, 1920.
d.
Earlier
version of the patent description (incomplete typescript, pp. 2-6).
4.
“Ecran
grillagé” [“Screen with grid”].
a.
The
French patent with description, design, and a printed drawing of the device
(May 4, 1901).
b.
Another
printed drawing of the device (Nov. 19, 1901).
c.
An
agreement by which Cromer cedes the rights to exhibit or sell the device in
Paris on the right side of the Seine to Mr. Martin (March, 1905).
d.
The
English patent with provisional and complete specifications (Nov. 18, 1901).
e.
The
German patent with specifications (Nov. 24, 1901).
f.
Two
printed photos of the device.
g.
Cromer’s
drawings of the device (Nov. 1902).
h.
A
letter from A. Paullussen to Cromer admiring the device (1901).
i.
A
letter from the patent office regarding a US patent (Oct. 18, 1902).
5.
“Curseurs
donnant directement le tirage et le diaphragme exacts pour la mise au point”
[“Cursors which indicate the exact focus and the diaphragm adjustment”].
a.
A
receipt for documentation on patent specifications.
b.
Three
French patents with Cromer’s specifications (1911-1912).
c. Refusal of the German patent (April 12,
1913).
e.
Cromer’s
drawing and a print from drawing of the device (July 30, 1912).
6.
“Commande
automatique de diaphragmes” [“Automatic diaphragm drive”].
a.
A
French patent promulgated on July 6, 1912 with an engraving after Cromer’s
original drawing of the device.
b.
An
addition to the above patent submitted on Jan. 27, 1912 with an engraving after
Cromer’s original drawing of the device.
7.
“Montures
pour l’application de photographies sur la maroquinerie” [“Mounts for the
printing of photographs on Moroccan leather”].
a.
Cromer’s
drawings of the device.
b.
A
statement of the French origin of the invention.
c.
A
letter from Cromer to the optician M. Duplorinle(?) about the making of two
models of the device (Jan. 1, 1912).
d.
Letters
from the Office Nationale de la Propriété Industrielle pertaining to the
exhibition of two models of the mounts at the Conservatoire Nationale des Arts
et Métiers on Sept. 28, 1915.
e.
Cromer’s
receipts for the 4fr. he paid for two additional negatives of the models and
the 60fr. he paid as tax for the exhibition (Oct. 1, 1915).
f.
A
handwritten note describing the models.
8.
“Dispositif
applicable aux phares d’automobiles en vue d’éviter la projection latérale des
rayons lumineux” [“A device applied to the lights of cars to avoid the
horizontal projection of luminous rays”]
a.
Patent
with specifications (no date).
b.
Five
drawings and notes related to the invention.
9.
“Appareil
pour l’éclairage des sujets à photographier” [“A device for lighting the
objects to be photographed”]
A patent (April 19, 1923).
10.
Four
engraved drawings of a device for adjusting the aperture or the focus of a
stereoscopic camera, two of them intended for application for a German patent.
11.
Cromer’s
receipt for the taxes he paid on the income derived from his inventions (Jan.
22, 1913).
Box 94b: Cromer’s Publications and
Manuscripts
IV.
Issues of Bulletin de la Société Française de
Photographie containing articles by Cromer (1912-1933)
1. April, 1912. “Les ‘Ditirs’ – appareils indiquant le diaphragme et le tirage à employer pour obtenir dans chaque cas une mise au point exacte du sujet à photographier” [“The ‘Ditirs’ – a device that indicates the diaphragm adjustment of the aperture and the camera extension to be used in order to obtain the sharpest focus”] (pp. 136-148). Two offprints of Cromer’s article, one with a handwritten address on it, another with a handwritten dedication. See also patents and descriptions of the device in Box 94a, III:1.
2.
May,
1913. “Réglage automatique du tirage
des appareils photographiques à main de façon que ce tirage corresponde
toujours à distance hyperfocale résultant du diaphragme employé” [“Automatic regulation of the camera’s
extension, so that it always corresponds with the hyper-focal distance of the
chosen aperture”] (pp. 167-171). An
offprint of Cromer’s article with a handwritten dedication.
3.
June,
1913. An offprint of Cromer’s article
“L’Effet de Neige en Stéréoscopie: son origine et moyen d’y remédier” [“The
effect of snow in stereoscopy: its origin and means of its reduction”] with a
handwritten dedication.
4.
July,
1914. An offprint of Cromer’s article
“L’unification de temps de pose dans l’aggrandissement” [“Unification of the
exposure time in enlargement”].
5.
March,
1919.
a.
A
list of members newly admitted into the Société including M. Paul Payen,
introduced by Cromer and Cousin (pp. 114).
b.
“Tirage
pseudo-stéréoscopique des clichés non stéréoscopiques de petit format” [“Pseudo-stereoscopic printing from
non-stereoscopic negatives of small size”]
(pp.152-158) with a hand-written note on p.158 by Cromer’s nephew that
he was helping his uncle and M. Lumière with the organization of the centenary
of photography. Two copies of a
separately published extract of the issue, one with Cromer’s handwritten
dedication. See also Cromer’s typed
manuscript of this article in VI:2.
6.
Sept.,
1923. “Deux détails historiques sur la
photographie. La découverte du
daguerréotype annoncé par un journal dès 1835.
Les tableaux mécaniques en projections de Bourbouze vers 1871.” [“Two details of the history of photography
– Discovery of the Daguerrotype announced by a journal in 1835 – Bourbouze’s
projection of mechanical engines in motion in 1871”] (pp. 259-261).
Communicated to the general session on June 22, 1923.
7.
March,
1924. “L’Histoire de la Photographie et
de ses précurseurs enseignée par l’image et l’objet d’époque. Première exposition: Daguerre artiste, et
son Diorama.” [“The History of
photography and its originators demonstrated
by the images and objects of the epoch.
The first exhibition: Daguerre, the
artist and his diorama.”] (pp.
52-65). See also a typed manuscript of this
article with Cromer’s handwritten corrections in VI:4.
8.
Jan.,
1925.
a. “Il faut créer un musée de la photographie. Où doit-il être? Que doit-il être? Quelles pourraient être ses premières richesses?” [“It’s necessary to create a museum of photography. Where should it be? What should it be? What should be its first treasures?”] (pp. 14-19).
b. A short notice that following Cromer’s presentation it was decided to found the museum and to choose a committee to study how to realize the proposal (p.3). See also a typed manuscript of this article with Cromer’s handwritten corrections in VI:5.
V.
Other publications related
to Cromer and/or his collection and inventions
1.
An
article by Dr. Raoul Blondel cut from Echos
de Paris (date 1919 written in pen) on an outbreak of tuberculosis, which
mentions “radiographic stereoscopic vision” as useful in combating the disease.
2.
Pages
from La Revue Française de Photographie
et Cinématographie containing Cromer’s article “François Willème, Inventor
of Photosculpture” (Oct. 1, 1924, pp. 261-264) and its continuation (Oct. 15,
1924, pp. 267-270).
3.
An
article by Raymond Cogniat cut from an unknown newspaper (date 1931 written in
pencil) about the idea of the museum of photography, which mentions that such a
museum already exists in Bièvres founded by Jean Fage; it consists of two halls
and doesn’t have enough space.
4.
A
notice about a meeting of the Société Française de Photographie in October,
1957.
5.
A
notice about a meeting of the Vieux Papier, a historical, archeological and
artistic society, on Dec. 27, 1927.
6.
Two
reproductions of Cromer’s prints: “Daguerreotypomania” and “The
Daguerreotrappe,” the later reproduced in La
Mode of Oct. 26, 1889.
7.
An
extract of a publication of the Société Française de Photographie on the
centenary of color photography.
VI.
Cromer’s typed articles with
handwritten corrections
1.
“Proposal
to the government on the collection of the history of photography, its
precursors and applications”
2.
“The
pseudo-stereoscopia” [name given to a camera] Dec., 1918. See also the published version of this
article in IV:5.
3.
“The
three sources of illumination. Essay on
the method of lighting the object to be photographed. Presentation of some devices to put it into practice.” Nov. 1924.
4.
“The
History of photography and its precursors demonstrated by the images and
objects of the epoch. The first
exhibition: Daguerre, the artist and his diorama.” Jan. 25, 1924. There is also a handwritten version of this
article on 18 sheets and another typed manuscript with proofs (pp. 2-20). See
also the published version of this article in IV:7.
5.
“It’s
necessary to create a museum of photography.
Where should it be? What should
it be? What should be its first
treasures?” Dec., 1924. See also the
published version of this article in IV:8.
6.
Cromer’s
typed manuscript on focusing with his corrections. He intended to include this in the brochure on a “stereospido
métallique” [metallic stereospido] (a camera) (1914).
7.
A
typed extract of an unidentified article (pp. 2-20) largely concerned with
Daguerre.
Box 94c: Correspondence and the History of the
Collection
VII. Letters to Cromer
1.
Letters
from J. Demaria (the General
Commissioner) about the Fourth Exposition of Photography.
a.
Dec.
3, 1925, asking him to assist at the reunion of the committee and thanking him
for help with organizing the exhibition.
b.
Jan.
27, 1926, about a meeting that he wishes Cromer to attend.
2.
Letter
from M. Dignimont (Oct. 15, 1934)
thanking Cromer for an album he had brought the writer and asking to see
Cromer.
3.
Letters
from l’École Proféssionale de Photographie et Cinématographie.
a.
July
2, 1924, written at Louis Lumière’s request to thank Cromer for giving cast of
Willem’s [sic] statuette as a gift to l’École [Willème].
b.
Oct.
5, 1927, informed of Cromer’s decision, Louis Lumière has told the writer to
insist on Cromer’s collaboration since he is the only one qualified to teach
the art of portraiture to future French photographers. Wouldn’t Cromer agree to fill up the post at
least till they’ve found a professor?
c.
Apr.
10, 1934, an invitation and agenda for a meeting at l’École.
4.
Letter
from Paul Flobert, President of the
society Le Vieux Papier (June 7, 1927)
who’d like to know more about the physionotrace and “the forty works of
Daguerre.”
5.
Letters
from Paul Fort.
a.
1903,
a calling card with his best wishes.
b.
1909,
a letter thanking him for making three portraits of “our little Jeanne.”
6.
Letter
with an undecipherable signature from the bookshop of J. de Francia (Feb. 2, 1926) asking Cromer to
write an article for Photo-Revue on
the photo exhibition they are mounting.
7.
Letter
from M. Gaumont (?) (March 9, 1930)
thanking Comer for the paper he has sent him and telling Cromer that a while
ago someone invited him [the writer] to a gala in honor of M. Méliès; he
agreed, but when he learned the names of the other guests – “the same who are
against Lumière” – he declined, although he did sent 1000 fr.; he’ll talk to
his successor about finding a position for Méliès, although it won’t be easy
considering “his age and his friends (at the gala).”
8.
Letter
from Gilles-Faller, camera-makers,
(Jan. 30, 1926) asking him to help in the reconstruction of a Daguerreotype
apparatus for an exhibition of photography.
9.
Letter
from M. Gosselin (Feb. 22, 1929) who
wishes to show him a portrait made with the aid of a “tibscope” [sic] and his
own moonlight effect.
10.
Letter
from René Hennequin (Feb. 26, 1928)
about a presentation at a meeting of Le Vieux Papier, compliments Cromer and
writes about a catalog.
11.
Letter
from M. Hugou-Roydon (?)
(great-nephew of Daguerre) on the letterhead of the Ministry of Education and
Fine Arts in response to Cromer’s invitation to an exhibition on Jan. 25, 1924,
that he can’t attend due to a previous engagement.
12.
Letter
on a stationary of Daniel Jacomet
& Co. (May 3, year unknown) about an appointment to make a photocopy of
some document.
13.
Letter
from the French President Albert Lebrun
(May 30, 1932) thanking him for his congratulations.
14.
Letter
from M. Larief on the letterhead of the Société Lumière (June 24, 1929) on his father-in-law’s condition.
15.
Letters
from Louis Lumière.
a.
Jan.
28, 1927, to thank him for a lithograph by (?) Daguerre and “two very rare
works that I found in the packet which you brought me yesterday.”
b.
Nov.
22, 1927, concerning a visit.
c.
June
2, 1928, setting a visit date.
d.
Apr.
22, 1929, that he’d be happy to visit Cromer on May 2, but would it be all
right if he came a little late because of a family gathering on the occasion of
his granddaughter’s first communion?
e.
Jan.
7, 1930, thanking him for his good wishes and wishing him the same (calling
card).
f.
Nov.
14, 1930, praising Cromer’s article on panoramic photography in the Bulletin de la Société Française de
Photographie.
g.
Jan.
4, 1931, thanking him for his good wishes on the New Year and wishing him the
same; congratulates him on the discovery of some precious objects for his
collection and hopes to admire them when he returns to Paris in February.
h.
(no
date), a thank you and best wishes on Lumière’s calling card.
See also VII: 3a-b.
16.
Letter
from M. Manellegay (?) (Feb. 4, 1903)
asking him how he has liked the proofs and negatives the writer has sent
him.
17.
Letter
from the Ministère de l’Instruction
Publique et des Beaux Arts (Apr. 2, 1926) informing him that he has been
appointed technical advisor to the photographic section of the Conservatoire
Nationale des Arts et Métiers.
18.
Letters
from Charles Peignot, the director of
“Arts et Métiers Graphiques Paris.”
a.
June
9, 1933, asking to see Cromer’s collection.
b.
June
22, 1933, making an appointment with him.
See also Peignot’s letters
to Cromer’s widow after his death in XII: 6a-b.
19.
Letter
from M. Pigeon (March 10, 1929)
congratulating him on being awarded the Cross of the Legion of Honor and
telling him that he has looked for the portraits created by the method
described by Cromer in his article on the physionotrace, but has found only
one, in bad condition. He advisers
Cromer to get in touch with M. Mercier, the curator at the Museum of Dijon,
which has some prints that may interest Cromer.
20.
Letter
from L. Ruhare (1895) containing a
poem about Christmas.
21.
Letter
from the Société Française de
Photographie (Aug. 11, 1924) accompanying the drafts of Cromer’s article which
they’d like to have as soon as possible, in an extended version.
22.
Note
from Georges Wague (Jan. 4, 1903).
23.
An
empty envelope from Max George (date unknown), and another from an unknown
person addressed to Cromer as “an adjunct curator at the Conservatoire
Nationale des Arts et Métiers.”
VIII. Letters to Mme Cromer
1.
Calling
card from Count de la Baume Pluvinel
expressing condolences at her husband’s death.
2.
Letter
from M. Becker (March 2, 1945)
offering to help her to sell her “instruments.”
3.
Letter
from Jefferson Caffery (American
ambassador in France) (Nov. 6, 1944) thanking her for “a precious
souvenir.” A note handwritten on the
letter declares it to be a physionotrace of Lafayette.
4.
Card
from George Chatellier expressing
condolences at her husband’s death.
5.
Card
from Paul Collinet (Nov. 21, 1934)
expressing condolences at her husband’s death and regretting that his being in
Rome has prevented him from attending the funeral.
6.
Letter
from the Conservatoire Nationale des Arts
et Métiers (Sept. 17, 1934) expressing condolences at her husband’s death.
7.
Letter
from the photographers Démichel and Ploquin (Dec. 8, 1934) that the
negatives of the Crimean war are no longer in their possession, but may be held
by the publisher Paul Montel.
8.
Letters
from M. Dignimont.
a.
Nov.
26, 1935, expressing condolences at her husband’s death.
b.
June
22, 1951, thanking her for “a transitional picture” from the beginning of the
19th century; it will be a precious memory of Cromer whom he liked a
lot. He is talking to many
acquaintances about the sale of her house; if he finds a prospective buyer, he’ll
let her know.
9.
Calling
card from Paul Helbronner expressing
condolences at her husband’s death (no date).
10.
Letter
from René Hennequin (Nov. 22, 1934)
expressing condolences at her husband’s death.
11.
A
handwritten card from the French President Albert Lebrun expressing condolences at her husband’s death.
12.
Letters
from Louis Lumière.
a.
Dec.
24, 1941, thanking her for her good wishes and wishing her the same.
b.
1946,
calling card thanking her for her good wishes for the New Year and wishing her
the same.
c.
No
date, thanking her for her good wishes and wishing her the same.
13.
Letter
from T. Nadar (Nov. 22, 1934)
expressing condolences at her husband’s death and asking what will happen to
the collection.
14.
Letter
from an unknown person (signature undecipherable) (Jan 17, 1948) that M. Radius, a nephew of Boucheron and a new
member of the Vieux Papier, who was certainly acquainted with her late husband,
is a very nice person and won’t be any trouble. The writer will visit her when he returns to Paris.
15.
Letter
from Claude de Santeul (Dec. 15,
1934) expressing condolences at her husband’s death.
16.
Letters
from Robert Verdon.
a.
Jan.
20, 1964, that Dr. Steinert will organize an international photographic
exhibition in Essen in March, and it’s possible that part of the Cromer
collection will be exhibited there.
They often remember her and M. Cromer in their family. He recently projected early stereoscopic
autochromes made by Cromer. He has
written to M. Maurice Rheims that she has a catalog of the Cromer collection;
it may interest him.
b.
Sept.
23, 1970, to an unknown woman who had written to him about the death of Mme
Cromer.
17.
Card
from Georges Wague (Feb. 2, 1948)
which accompanied some flowers.
18.
An
empty envelope addressed to Mme Cromer from the French President Albert Lebrun
(1939).
IX. Correspondence with Paul Montel, President of “Publications Photo-graphiques” (1924-1934)
1.
Feb.
29, 1924, in response to Cromer’s request to find information on Willème’s
patents.
2.
Sept.
23, 1924, that they’d like to talk about Cromer’s second installment of “The
History of Photography.”
3.
Apr.
16, 1925, that Cromer’s article on founding a museum of photography will appear
in the next issue of Photographe.
4.
Feb.
20, 1934. Would Cromer provide a
continuation of his retrospective for the Exposition de la Photo et
Cinéma? They also send him a copy of
the issue of Photo-Illustration and
suggest dedicating a future issue to his numerous prints.
5.
July
11, 1934, Cromer’s letter with his terms regarding the publication of his
prints.
6.
July
12, 1934, in response to the above letter.
They agree with Cromer’s terms, thank him for allowing them to print
some of his documents in Photo-Illustration,
and inform him that a special issue dedicated to his collection will be
published. During the 1937 Exposition
of Photography and Cinema a special pavilion will be constructed which will
house the Conservatoire’s and Cromer’s collections. M. L’Abbe, who has been nominated the director of the Exposition,
is very interested in the State acquiring Cromer’s collection.
7.
Aug.
13, 1934, that [Claude de ?] Santeul has told them Cromer wishes to receive
some back issues of Photo-Illustration
which they’ll be glad to send him. Will
he come in to discuss the future museum of photography?
8.
Oct.
16, 1934, that they have received the negatives at Démichel’s, except for the
five which had appeared in La Revue
Française de Photographie. Will he
send them?
9.
Nov.
27, and Dec. 4, 1934, expressing condolences to Mme Cromer at her husband’s
death and asking her to submit a picture of him to be printed in the
magazine. He also sends her copies of
an issue of Photo-Illustration.
X. Letters from Mary Martin
1.
Jan.
25, 1928 (to Cromer) that she has a signed Faldernich (?) and a St. Mémin in
her collection which she will be gald to send to him, although she regrets that
the sitter for the portrait is anonymous.
She has looked for a portrait by St. Mémin and found one belonging to
Robert Fridenberg, but in poor condition.
If he’d rather have hers, she’d be glad to send it.
2.
May
23, 1930 (to Mme Cromer) that she can’t visit them now, but would they receive
her in October when she’ll be in Paris?
3.
Oct.
30, 1930 (to Mme Cromer) thanking her for the visit and telling her about the
writer’s notes on the St. Mémin family.
4.
Oct.
16, 1931 (to Mme Cromer) inviting her and M. Cromer to visit her.
5.
Oct.
24, 1931 (to Mme Cromer) thanking her and M. Cromer for translating some
information about Chinese shadows and telling them how happy she is to have
Cromer’s photos of Jacobine.
6.
May
13, 1934 (to Mme Cromer) thanking her for translating a letter of Mme St. Mémin
for her.
7.
Six
negatives of some text with a note that it’s a manuscript of Saint Mémin
reproduced by Cromer.
See also Mary Martin’s
letter to Cromer in Box 93, VII: 6.
XI. Other Letters (in alphabetical order by writer)
1.
Antoine
Samuel Adam-Salomon to Dr. Amussat
(Aug. 27, 18??) that he’s given away all his money to the poor and, therefore,
asks for a loan of 200fr. which he’ll return when he comes back to Paris. He’s finished with the portraits of Rossini
and will offer a copy to Amussat in Paris, as well as the proofs of the family
portraits which Amussat is to take to St Naixent.
2.
Henri
Boutez to Alphonse Davanne (no date),
with a reproduction of his lithograph on the card, that he is glad the
addressee has found the packet; he’ll see him on the 14th.
3.
Lafon
de Camarsa (?) to M. L’Abbé Moigno
(?) (Aug. 22, 1864) that he’s sorry his absence has prevented them from
exchanging a few words and hopes they’ll meet at another time.
4.
A
letter with an undecipherable signature on the stationary of the Chambre de Députés to an unknown
person (July 4, 1886) that the writer has taken the step in favor of Dr. David
as the addresser requested and hopes it will have the expected result.
5.
E.
Cherung (?) to M. Dumonh (?) (Jan.
29, 1943): a recommendation for M. Bonnet who was a laureat of the École de
Beaux Arts in Lyon in hopes that the addressee will become his maître.
6.
Francis
Chevassu to an unknown person (June
11, 1890) who had recommended M. Peynot to the Directory of Beaux Arts, that
Peynot has sculpted a statue of La Republique commissioned by the city of Lyon,
and asking the addressee to persuade the Directory to go to Lyon to see the
statue.
7.
Eugene
Cicéri’s letters.
a.
To
M. Thomas (Dec. 2, 1856) that he’ll try to finish two or more pictures soon and
would like the addressee to come to Charlotte to make his choice. His job leaves him little time for painting. The writer wishes he had enough talent for
it to allow him to make a living exclusively from painting and quit his
lithographic job, which tires him considerably. He is thankful to the addressee for his patience.
b.
To
Alphonse Giroux (1861) that he has just come back from a trip and regrets not
to having done yet what the addressee had asked him.
8.
E.
Devéria to an unknown person (Sept.
14, 1833) about the arrangements to pay the writer 300fr.
9.
A
handwritten poem “Oasis” copyrighted (certified) on Nov. 12, 1861 by Prenne Dupons.
10.
Paul
Fort’s card with best wishes
(inscribed “director of ‘Poems in prose’”) to an unknown person (no date).
11.
Jules
Janin to an unknown person (pencil
date 1860). Contents are
undecipherable, but seem not to be connected with photography.
12.
A
card from Count G. de Laloubie to the
Bernadotte Museum (1956) concernig a curator at the Museum and a physionotrace.
13.
Aimé
Laussedat’s letters.
a.
to
an unknown person (June 9, 1875) that he gave two apparatuses and the receipt
to Major Maugin, who in turn gave them and the bill to Colonel Loyre, the chief
engineer of the northern forts for which they were built. The writer advisers the addressee about the
arrangements to get paid quickly. He
also mentions that Major Périer told him he had commissioned the addressee to
make some equipment for him, but, since it was taking him too long, he went to
someone else. The writer regrets that,
not being in Paris at the time, he couldn’t “stop this optician who is always
coming up with some advantages” and hopes to be of more help in the future.
b.
To
M. Grepley (?) (Dec. 21, 1877) asking him to put off his appointment with M.
Gambetta till the writer can go with him.
c.
To
M. Ducrêtot (?) (Dec. 11, 1883) asking him to return some magnetic equipment
which he had used at the exhibition in Amsterdam.
14.
Louis
Lumière’s writings:
a.
A
thank you card to an unknown person (date unknown).
b.
A
note to Mlle Gilberte Chauvet (June 13, 1925) thanking her for making a copy of
some documents.
15.
Prefect of Ardennes to the Minister
of Aviation regarding the latter’s support of Cromer’s attempts to collect rent
in the town of Sedan in the name of Gollnisch (his mother’s maiden name). This letter was apparently forwarded to
Cromer by the Minister.
16.
Xavier
Privas to an unknown person (Jan. 27,
1953) sending his best wishes.
17.
Count
Quenedey to an unknown person (Jan.
28, 1929) that he has read the addressee’s article on the physionotrace in the Bulletin du Vieux Papier et Journaux and
would like to have a copy of it.
18.
A. Richaud to an unknown person (Feb. 24,
1930) that she’ll bring the addressee “a little Louis XVII” for the addressee’s
friend.
19.
M.
Samson to M. Adam-Salomon (Nov. 9,
1858) thanking him for “two compositions” (the figure of Pauline Méniev is
admirable) and inviting him to his place.
20.
Claude
de Santeul to an unknown person
(Sept. 13, 1884) thanking the addressee for “the list of 24 works” and asking
him to change the codes on the list if he finds anything out of order.
21.
Albert
Trarieux (administrative director of
the Lumière Society) to an unknown person (date unknown) with friendly greetings
(a calling card).
22.
Sustaine
Velendarble (?) to an unknown person
(1889) that he has requested the Minister of Industry and Commerce to award Dr.
David “the decoration,” but there are so many applicants that he isn’t hopeful,
although he’s done all he could.
23.
Writings
of Georges Wague:
a.
A
note to an unknown person with the reproductions of two drawings and two photos
(date unknown).
b.
A
card to an unknown person with a reproduction of a drawing (Jan. 1, 1950).
24.
An
anonymous handwritten poem about Charlemagne.
25.
A
note of that states “The issues of the 10th and 20th of
May, 1906 of the ‘Intermédiaire des chercheurs at des curieux’ contain a list
of portraits made with the physionotrace.”
The magazines themselves aren’t included.
26.
Calling
cards of Maral Pegacy, Mme Albert Lebrun, and M. and Mme Albert Lebrun. No inscriptions.
XII.
Information concerning the
history of the collection: sales, gifts, and inheritances
1.
Documents
concerning Cromer’s death
a.
Declaration
of Mme Cromer as her husband’s heir and a partial list of stocks and bonds she
inherited from him.
b.
Memorial
card with Cromer’s photo and titles, and short prayers.
c.
La Revue Française de
Photographie et Cinématographie (Dec. 15, 1934) contains Cromer’s obituary (p. 383)
and a short note about a proposed museum of photography in Chicago (p. 372).
d.
Mme
Cromer’s receipt for the monument (Oct. 4, 1936).
2.
Five
catalogues of items which belonged to Mme Cromer (one incomplete, one with a
second incomplete copy).
3.
Lists
of items in Cromer’s collection with notes by Mme Cromer of what she has sold
and what she still had.
4.
Mme
Cromer’s correspondence with the auctionneer Etienne Ader (1957-1958).
5. Letters from the Société Française de
Photographie (21 letters and 2 cards; 1935-1959) to Mme Cromer mostly to thank
her for her gifts, one declaring her a perpetual member of the Société, and two
about the medal they’ve instituted in honor of her late husband. A list of objects offered by Mme Cromer to
the Société (1935). (See also the
Société’s Bulletins with Cromer’s
articles in IV).
6. Mme Cromer’s correspondence with Kodak’s representatives and
other letters
regarding their transactions.
a.
A
letter from Charles Peignot (the director of “Arts et Métiers Graphiques Paris”)
(Dec. 29, 1934) to Mme Cromer, written when he learnt of her husband’s
death. He remembered that Cromer
regretted that there was no museum of photography to which he could leave his
collection. The writer doesn’t know
about Mme Cromer’s plans or M. Cromer’s will, but there’s a study about the
realization of the museum project.
Could he see her? (See also Peignot’s letters to Cromer while he was
alive in Box 94c, VII: 18a-b).
b.
A
letter from Charles Peignot (the director of “Arts et Métiers Graphiques Paris”)
(Jan. 9, 1935) to Mme Cromer in response to hers of Jan. 8. He understands that she is busy, but he
himself is pressed by the director of the Beaux Arts who wants to know the fate
of the collection. Therefore, he’ll
come next Saturday to visit her with Mme Albin Guillot. There’s a note of Mme Cromer’s on the letter
that she received three people who came an hour late and told them, this being
“ a cemetery day,” she didn’t wish to miss her visit. They talked of the advantages they’d bring to the collection; at
the same time she understood that the state couldn’t help her because of “the
serious impending events,” even after she’d informed them that a foreign
country had made an offer.
c.
July
20, 1939, from Mme Cromer to Kodak saying that she accepts the offer of
500,000fr. for the collection. She will
give them six silhouettes and six physionotraces, to which she also wants to
add some carbon photographs made by Cromer.
She insists that the collection bear Cromer’s name (not for his sake,
but for the Société’s) and hopes they will invite her to the opening of the
museum.
d.
No
date. A pencil-written letter by Kodak
to Mme Cromer (no greetings, no good-bye) in response to hers of July 20
thanking her for agreeing to sell for 500,000fr. and promising to remove the
collection as soon as possible, as she wanted to move before September.
e.
No
date. A note or extract of a letter
written by Mme Cromer to unknown person saying that various people had told her
it’s her duty to give her collection to her country, but that with the
impending war it wasn’t the time to think of a museum. At this time Kodak offered her
500,000fr. The actual declaration of
war and her wishing to move were decisive in her accepting their offer.
f. Two letters from Kodak: asking Mme Cromer
to send them a list of items she had prepared with Mr. Clerc, with her
handwritten response on the letter that she no longer had this list (March 9,
1950), and their letter of regrets (March 20, 1950).
g.
A
newspaper clipping about Georges Sirot who gave his collection to the Cabinet
des Estampes of the Bibliothèque Nationale (no date; no publication
information). In the interview M. Sirot
declares that he has lost interest in collecting, because he now rarely sees
anything of importance, and when he does, it’s beyond his means. Therefore, he thinks it better to give his
collection to the Bibliothèque Nationale rather than “see it leave the country
as did the famous Cromer collection bought by Mr. Eastman in 1930.” There is a note written on the clipping by
Mme Cromer that the collection was sold by her in 1940 and that she has
written to the Bibliothèque Nationale to complain of the mistake.
7. Materials concerning Mme Cromer’s gifts to the Bibliothèque
Nationale.
a.
Letters
to Mme Cromer from the Bibliothèque Nationale (47 letters, 1941-1969) thanking
her for her various gifts to it, and a small brochure on Daguerre published by
the Library.
b.
Mme
Cromer’s receipt from the Bibliothèque Nationale for a packet containing some
photographs, documents and a book given to the Cabinet des Estampes (July 4,
1947).
8.
A
certificate of Mme Bonzon-Blot’s inheritance from Mme Cromer (Aug. 6, 1970) and
two letters to her from the notary Dominique Morel d’Arleux (June 24, 1970 and
July 22, 1970) with lists of items asking her to indicate which items she’d
like to keep and which to sell.
Box 92:
Correspondence Concerning the Sale of the Cromer Collection to Kodak and Its
Subsequent History
I.
Correspondence Concerning the Sale of the Cromer Collection
to Kodak
1.
July
21, 1938, from Brigeau, Kodak Pathé, Paris (hereafter KPathé) to J. Pledge,
Kodak Ltd, London (hereafter KLtd).
They have learned from L.P.
Clerc that Mme Cromer wishes to sell her collection for 700,000fr. and has
rejected the French government offer of 300,000fr. M. Clerc has made a catalogue of the collection. Would the addressee be interested in getting
a copy?
2.
July
26, 1938, from J. Pledge, KLtd. to KPathé.
He suggests that the price
of the Cromer collection is too high for EKC, but expresses interest in
possibly purchasing duplicates from the final purchaser.
3.
July
26, 1938, from J. Pledge, KLtd. to L.P. Clerc.
He requests a catalog of the
collection and expresses interest in possibly purchasing duplicates from the
final purchaser.
4.
Jan.
26, 1939, from Edward Epstean to Walter Clark, Resident Laboratories, Eastman
Kodak Company (hereafter EKC), Rochester, NY.
On business unrelated to the
Cromer collection.
5.
Jan.
31, 1939 from J. Pledge, KLtd. to Walter Clark.
He writes that M. Clerc suggests getting in touch with Mr. Epstean in New York who has a copy of the catalog of Cromer’s collection.
6.
Feb.
15, 1939, from W.G. Bent, KLtd. to C.E.K. Mees.
He writes that this is one
of the last opportunities for obtaining a historical collection on a par with
the importance of EKC, as he thinks it should have the best photography museum
in the world. He suggests group of
individuals might purchase the Cromer Collection and present it to EKC. Pencilled
note shows 700,000fr. = $18,480. He
mentions that Mr. Epstean, the representative of executors in America, has a
catalog of the collection. A copy of
this letter was sent to Mr. Lovejoy.
7.
Feb.
15, 1939, from Walter Clark to J. Pledge, KLtd.
He considers Mme Cromer’s
price to be too high. He knows nothing
about the collection, but, personally, he thinks that all historic photo
apparatus in the world aren’t worth that much.
Besides, they don’t have a proper facility for the display of such a
collection and would have to loan it to other museums anyway.
8.
Feb.
15, 1939 from Walter Clark to Edward Epstean.
Answer to letter # 4. He is not interested in buying the
collection, since he understands it’s to be sold complete, but, perhaps,
they’ll be willing to sell duplicate items separately? He has tried to borrow a catalog of the
collection from M. Clerc, but none was available. Could he borrow Epstean’s?
9.
Feb.
19, 1939, from Edward Epstean to Walter Clark.
a.
Answer
to letter # 8. “I have sent you the
Cromer lists.”
b.
A
typewritten list (carbon copy on onionskin paper, 14 pages) of lenses and
shutters.
c.
A
typewritten list (carbon copy on onionskin paper, 10 pages) of
photographic
equipment.
10.
March
3, 1939, from Walter Clark to Edward Epstean.
Answer to letter # 9. He thanks Epstean for the list, mentions
KLtd. interest, and says he will discuss it with EKC people. He would like to keep the catalog for a
short time.
11.
March
3, 1939 from Walter Clark to W.G. Bent, KLtd.
Answer to letter # 6. Mr. Mees is away, so he’s responding to the
letter. They’ve never spent that much
money on history; besides, there’s no space for a proper display. He, personally, is interested in the company
sponsoring a good historic exhibit, but Mees was not enthusiastic. He will discuss the Cromer collection with
Mr. Lovejoy and Mr. Solbert.
12.
March
31, 1939, from Walter Clark to A.F. Sulzer.
Description of the previous
correspondence with KLtd & others regarding the Cromer collection (not
located here). He asks if EKC is interested in the Cromer collection. He repeats Mr. Bent’s proposal (letter # 6)
and maintains that EKC should have a historic photo collection unsurpassed in
the world.
13.
April
24, 1939, from Walter Clark to C.E.K. Mees.
He states that the
collection is unique. There is nothing like
it in England or the U.S.; only the Société Française de Photographie’s and the
Conservatoire des Arts et Métiers’s are comparable. Since the French government made a bid, there must be something
in it not contained in these two. Since
the collection is essentially historic, duplication is rare. Summary of the collection is enclosed. He thinks that 500,000fr. ($13,000) –
halfway between what Mme Cromer asked for and what the French government was
prepared to pay – would not be an unreasonable price for the collection, if a
lower amount couldn’t be negotiated.
He’d like to see it with M. Clerc.
14.
Apr.
25, 1939, from C.E.K. Mees to A.F. Sulzer.
From the meeting with the
addressee Mees understands that Sulzer is in favor of buying the
collection. The writer considers it a
good opportunity to establish a thorough historic collection, and quite worth
the cost. He suggests to discuss it
with Mr. Lovejoy, and if he approves, to authorize Dr. Clark to pay up to 500,000fr.
for the Cromer collection.
15.
June
28, 1939, from Mme Cromer to Walter Clark.
She offers the collection
for 150,000fr. over the previous offer, which appears to have been 400,000fr.
16.
July
1, 1939, from L.P.Clerc to Walter Clark.
Mme Cromer has called to say
that she has sent her letter to the Kodak office in London and hopes they have
received it by now (apparently letter # 15).
17.
July
4, 1939, from Walter Clark to Mme Cromer.
He thanks her for showing
him the collection and explains that packing and shipping the collection to the
USA, the customs duties, and providing enough space for its exhibition will
involve additional expenses. Therefore,
he felt the sum 400,000fr. sufficient, but since “it turns out it includes
something he hasn’t seen,” he is prepared to ask Kodak to pay 500,000fr. 550,000fr. is too high. He understands that the part of the
collection they buy won’t include most silhouettes and physionotraces, and that
the collection will bear Cromer’s name.
18.
July
4, 1939, from Walter Clark to L.P. Clerc.
A letter accompanying a copy
of Clark’s letter to Mme Cromer (above).
19.
July
4, 1939, from Walter Clark to M. Abribat, KPathé.
A letter accompanying a copy
of Clark’s letter to Mme Cromer (# 17) and asking that he be notified in
Rochester if the offer is acceptable.
20.
July
20, 1939, from Mme Cromer to Walter Clark.
She accepts the offer of
500,000fr. for the collection. She will
give them six silhouettes and six physionotraces, to which she also wants to
add some carbon photographs made by Cromer.
She hopes they will invite her to the opening of the museum.
21.
Aug.
2, 1939, from C.E.K. Mees to H. Shilton, KPathé.
He requests payment to Mme
Cromer and discusses packing and shipping of the collection to Rochester.
22.
Aug.
4, 1939, from Walter Clark to R.E. Evans, EKC.
He discusses packing and
customs regulations and also describes the collection.
23.
Aug.
11, 1939, from Walter Clark to L.P. Clerc.
He tells M. Clerc that EKC
has purchased the Cromer collection and repeats the terms. There is a note that copies of this letter
were sent to Mr. Davies, M. Abribat, and Mr. McMaster.
24.
Aug.
11, 1939, from Walter Clark to Edward Epstean.
He tells him that EKC has
purchased the collection and asks to keep the catalog, since it’s the only copy
that he has.
25.
Aug.
11, 1939, from Walter Clark to Mme Cromer.
He thanks her and says that
KPathé has been contacted about packing and shipping.
26.
Aug.
11, 1939, from Walter Clark to H. Shilton, KPathé.
He informs him that the
Cromer collection has been purchased and asks that KPathé arrange packing and
shipping to EKC.
27.
Aug.
12, 1939, from C.E.K. Mees to Mme Cromer.
He confirms that EKC will
pay 500,000fr. and that KPathé will arrange for packing and shipping.
28.
Aug.
28, 1939, from H. Shilton, KPathé to Walter Clark.
The collection is now being
packed. Mr. Bonner and M. Clerc are
supervising the work. They plan to ship
the collection soon.
29.
Sept.
23, 1939, from H. Shilton, KPathé to Walter Clark.
After Mr. Shilton had
arranged the payment to Mme Cromer, she gave them access to the
collection. However, men and transport
are scarce due to mobilization and army requisitions. They are doing the best they can under the circumstances. Everything is now in two rooms in the
building on Avenue Montaigne, which they recently acquired. The more delicate items have already been
packed. They hope to finish by the end
of the month. Their job is also made
more difficult by the fact that neither the description list nor the card index
is complete (M. Cromer was working on the latter at the time of his death) and
few items bear identification numbers.
However, he is completely sure of Mme Cromer’s honesty and he is doing
his best to classify and pack everything logically.
30.
Nov.
17, 1939, from A.S. Bonner, KPathé to Walter Clark.
The collection has been put
aboard US Line steamer “Schodack” at Havre.
They have no information regarding the sailing date, but it is thought
to be imminent. They have insured the
collection for 500,000fr. against all maritime risks, including war risks. Included with the letter is a list of the
contents of the 51 cases, as well as the partial description list and the card
index Mme Cromer has given them.
31.
A
photocopy of the list of the contents of the 51 cases mentioned above, which
includes descriptions in French and English on 4 pages.
32.
Nov.
22, 1939, from A.S. Bonner, KPathé to Walter Clark.
They have heard that the
steamer left Havre on Nov. 20 and is expected to arrive in 12 days. Insurance papers are enclosed with the
letter (not located here).
33.
Dec.
20, 1939, from Walter Clark to R.E. Evans, EKC.
He has just received some
correspondence from Mr. Bonner regarding the shipment of the collection. It should now be in New York. Mr. Bonner’s letter, his description of the
cases’ contents, and insurance policies are enclosed in the letter. The writer is at Evans’s disposal if they
need any help clearing through customs.
34.
Feb.
5, 1940, from Beaumont Newhall to Walter Clark.
Dr. Heinrich Schwarz, author of an excellent monograph on David Octavius Hill, lost his entire fortune when the Nazis occupied Austria. He has arrived in the USA with a large collection on the history of photography and is seeking employment. The writer thinks that if Kodak is contemplating a museum of photography with the Cromer collection as the nucleus, they will want a curator and he can’t think of a better person than Dr. Schwarz. If they need additional references, they can also consult Mr. Epstean and Mr. Huebsch of Viking Press.
35.
Feb.
9, 1940, from S.W. Davidson, EKC to Beaumont Newhall.
He states that plans for utilizing the Cromer collection are
currently indefinite, so he has nothing to offer Dr. Schwarz at the moment, but
he’ll be happy to bring him to Mr. Clark’s attention when he returns.
36.
Mar.
13, 1940, from Walter Clark to L.P. Clerc.
He tells him the Cromer
collection has arrived and he has started working on the cataloging. He also asks his help in locating a book Victor Hugo Photographe by Gruyer,
because he’d like to show Victor Hugo album at the World’s Fair, and would welcome
additional information.
37.
March
27, 1940, from Beaumont Newhall to Walter Clark.
He hasn’t been able to locate Gruyer’s book, but remembers what it looks like and hopes his description will help Dr. Clark locate it in the collection. He also loans him an issue of Arts and Métiers Graphiques devoted to Hugo.
38. June 28, 1945, from Mme Cromer to Walter Clark.
She sends him the negatives of a portrait of Jean Destournelles made by Henri Le Seq (?) he has requested along with the prints from them made by her late husband. She adds that she has continued augmenting her collection of silhouettes and physionotraces, and she also has some prized daguerreotypes in her possession.
39. Sept. 18, 1949, from Mme Cromer to Walter Clark.
She has heard that they are looking for documents on photographic/lithographic apparatus and she is sending them a list of what she still has in her possession. Enclosed is an original physionotrace engraving.
40. An empty envelope from Mme Cromer to Mr. Clark.
II.
Various Papers Regarding the
Cromer Collection after the Sale
1.
A
news release by IMP/GEH of Jan. 6, 1977 on the February 18th
exhibition of 250 French daguerreotypes from the Cromer collection, most of
which had not been exhibited or published before.
2.
A
copy of an issue of Bulletin de la
Société Française de Photographie of October 1925 (pp. 274-321) which
includes a catalog of an exhibit organized by G. Cromer for the centennial of
photography at the 6th International Congress of Photography. A copy of an issue of Bulletin de la Société Française de Photographie of December 1934
(pp. 240-241, 246-249) which contains the end of a speech commemorating Cromer
at the meeting of the Société on November 23, 1934 and an article on him by G.
Potonniée. There is a printed note
attached to it addressed to “Betty” from “Elsie” who thought this catalog might
be useful in determining which items in the museum collection had been obtained
from Cromer and which weren’t.
3.
A
folder labeled: “Group of Cromer cards taken to W. Clark on 2/9/48. He will translate them when he has time.”
Contents appear to be 5 pp. of handwritten translations which describe 19 items
in the collection.
4.
A
note to Jan[et] Buerger (1978) that GEH library has looked over Cromer
newspaper clippings for her, but can’t let the writer make Xerox copies “for
fear of damaging” the items.
5a. Letter from Nobby (Walter Clark) to Pierre Clement, KPathé (Feb. 22, 1978) that he is doing a story on Gabriel Cromer and wonders if they have a good portrait of him. He remembers meeting and talking with Mme Cromer as a result of which they got the collection “without which there’d be no Eastman House.” If they have any interesting documents regarding the transaction or any stories on Cromer, he’d be interested to have copies.
5b. Letter
from Mlle Bertucat to Walter Clark (March 30, 1978) in answer to the
above. M. Clement is very busy; he has
asked them to send a copy of some lines on the Cromer collection from Science et Industries Photographiques
(SIP) given to them by M. Clerc. A
thorough search in the SIP didn’t yield any more substantial results. A copy of a page from SIP is attached
(Oct-Nov. 1939, p.327) with a one-paragraph note that a museum of photography
will be set up in Rochester, which will include the Cromer collection, and what
a pity that the French government didn’t consider it necessary to keep this
unique collection in France.
6.
Letter
from Nobby (Walter Clark) to Jan (Janet Buerger) (Jan. 5, 1981). He is sending her a brief memoire on the
Cromer collection which she may consider for a preface to the book on French
daguerreotypes. He could also provide a
portrait of Gabriel Cromer and photographs of his collection at rue Clamart. The typed article on 5 pages signed by Clark
is enclosed. Copies were send to Robert
Mayer and Andy Eskind.
7.
Three
lists of books dated Nov. 18, 1980: books from the Cromer collection returned
to Dr. Clark (8 pages), a supplement to this list (2 pages), and books from the
Cromer collection kept in the library (12 pages).
8.
An
issue of Image (Journal of
Photography and Motion Pictures of the International Museum of Photography at
George Eastman House) Vol. 24, # 2 published in December, 1981 and wholly
dedicated to a very detailed article by Walter Clark entitled “George Eastman
House – Its Technology Collections.”
9.
A
check list in English containing a count of various items in the collection,
but no identifications, e.g. “Lens mounts – 6.”
10.
Handwritten
notes by Walter Clark on the identities of people involved in the acquisition
of the Cromer collection.
Box 93: Articles,
Photographs, File Cards, Notes, and Correspondence Pertaining to Cromer and His
Collection
III.
Articles and Publications
1.
Transcription
of an extract from Le Journal des Débats
(Aug. 12, 1839), which includes an announcement that Daguerre’s process will be
discussed at the next meeting by Arago.
2.
Several
odd pages concerning photography from Revue
Universelle des Arts of Brussels - 1855-65, Vol. 9.
3.
An
issue of Revue Scientifique (Vol. 47,
No.6) of Feb. 7, 1891 including “La photographie des couleurs” by Gabriel
Lippmann.
4.
“La
Photographie des Couleurs” by Lazare Weiller published in Revue des Deux Mondes (pp.651-660) on Apr. 1, 1894.
5.
“Mirror
Portraits” by Elwin Neame published in Pearson’s
Magazine in July 1912, accompanied by a handwritten translation into French
by Ed. Ninnium (?).
6.
“Shadow
Portraits” by Elwin Neame published in Pearson’s
Magazine (no date) accompanied by a handwritten translation into French by
Ed. Ninnium (?).
7.
A
photocopy of “Les Premières Illustrations Photographiques” by Marius Richard,
cut from an April 8, 1933 issue of Toute
l’edition (pp. 1, 3) on the history of photography which describes various
items the author has seen at Cromer’s house.
8.
“Le
Phono-Cinematographe et Ses Applications” by A. des Chaumes (no publication, no
date).
9.
“Nouvelles
Recherches sur la Photographie des Couleurs” by M. E. Rothé (pencil date 1909)
(no publication information, pp. 173-183).
10.
“Les
Mouvements de L'Ouvrier” by Ch. Fremont containing sequential stop-action
photos of workers.
11.
“Analyse
Sommaire des Services et Travaux Scientifiques” of M.A. Laussedat (a pamphlet
summarizing his achievements as a candidate for a seat in the Academy).
12.
Two
copies of “Une Grande Invention Française.
Le Centenaire de la Photographie” by F. Honoré published in L’Illustration (No. 4296, pp.5-6) on
July 4, 1925 with handwritten comments by Cromer.
IV.
Cromer’s Notes
1.
Seven
pages of Cromer’s notes titled “Nouveau affaire photographique
plano-panoramique. Photographe
plano-panoramique inventé par N. Garella.” and dated 1858.
2.
Two
groups of handwritten notes copied by Cromer from periodicals. One group of notes consists of 5 pages
titled “Journal général d’affiches, 26 Novembre, 1822. Diorama à Londres. Association et Dissolutions de Société.” The other group of notes consists of 3 pages
titled “Société entre M. Bouton et Daguerre pour la spectacle de diorama” and
dated Jan. 3, 1822.
3.
Two
transparent folders with notes on Salon exhibition of works by Daguerre, Bouton,
and others.
4.
Fifteen
exposure records and other notes dated 1908.
5.
Two
notes on blue-green paper about the first albumen stereoscopic views made by
Ferrier in 1855.
6.
Two
pages headed G. Cromer, “Les Tableaux et Dioramas de M. Daguerre” with a list
of titles by Daguerre and Bouton.
Further notes on dioramas. There
is also a penciled list of photographers and their inventions.
7.
A
page of Cromer’s notes on plays for which Daguerre designed the scenery.
8.
Three
pages of notes on apparatus, especially lenses, citations, notes on images and
pre-photographic images and equipment, especially lithographs. Included is a Xerox copy of these pages
marked “to Jan Buerger Sept. 13, 1978.”
9.
A
penciled note about images of parts of Notre-Dame precinct, subsequently
demolished. Included are notes on a
lithograph after a daguerreotype.
10.
Two
empty envelopes, one marked “Cromer formulas notes,” and the other “1908.”
11.
Empty
brown paper folder marked “Photographes de Herschel” with citations written on
it.
12.
Two
notes concerning a motion picture camera made by Grimoin-Sanson.
V. Various sets of cards describing or
concerning the Cromer collection
1.
Forty-four
cards with Cromer’s address and an inscription “Specialty: printing in carbon,”
which list prices corresponding to various sizes of prints. On the back there are handwritten
descriptions of various items in the Cromer collection.
2.
Seven
4x6 file cards containing English translations of Cromer’s descriptions and
some notes in French.
3.
Three
descriptive labels referring to an image of a ghost in Robertson’s
Phantasmagorica, a Gaudin camera, and a publication by Gaudin and Lerebours.
VI.
Photographs belonging to or
related to the Cromer collection
1.
An
8x10 photograph, a portrait of Gabriel Cromer, stamped “Walter Clark” on the
back.
2.
Five
photographs (7x9) and copy negatives (8x10) of the Cromer collection in
Cromer’s house in Paris.
3.
Four
blue-toned gelatin silver postcards in an envelope with Cromer’s inscription
“four pretty landscapes on postcards.”
4.
Three
envelopes with Cromer’s notes. Two contain a printed reproduction of an
engraving each, and one – two postcards
with paintings in the Louvre.
5.
Photographic
stamps obtained by heliogravure: three differently colored sheets of 7 stamps
each and seven differently colored sheets of various quantities of the same
stamp bearing a portrait of Ronsard which the envelope claims to be “different
editions of Becker” (dates 1524-1924 and names E. Becker and Vangirard appear
on each stamp in small print).
6.
Xerox
copies of three photographs taken by Cromer.
VII.
Correspondence
1.
A
letter from M. Auld in Bry sur Marne
to Cromer (Apr. 23, 1928) asking him to come over and see some items which the
writer wishes to sell to the Société Française de la Photographie.
2.
A
letter from Derepas Frères to Cromer (March 17, 1903) that
they are sending him a catalog of equipment they have received since his last
visit.
3.
A
list of “Emerson medallists” where Cromer is listed among the bronze medallists
“for portraits and landscapes.” A
handwritten letter from P. H. Emerson
(Sept. 12, 1927) is attached in which he congratulates Cromer on this occasion.
4.
An
envelope addressed to H. Foutan which
contains an article about an auction of various antiques at the castle
Montgeoffroy which had been abandoned for forty years and where some valuable
tapestries will be sold, among other things (pencil date April 2, 1903, no
publication information). Enclosed in
the envelope are also a photograph of a tapestry (gelatin silver) and a proof
print which appears to be a reproduction of a portrait.
5.
A
bill from the rare book dealer Gumuchain
& Cie (Dec. 21, 1931) with a list of books and catalogs purchased by
Cromer.
6.
A
letter from Mary Martin to Cromer
(Jan. 30, 1932) in which she asks him to explain to her the use of an optical
viewing device probably for drawings (several drawings of the device are
attached) and tells him how happy she is to have obtained a copper plate with a
portrait of Saint Mémin. She hopes Mme
Cromer will find the time to send her a copy of Saint Mémin’s letter. See other letters from Mary Martin to the
Cromers in Box 94c, X.
7.
Letters
from Paul Reynaud to Cromer.
a.
Apr.
28, 1932, he is sending Cromer the exact information on the issue of La Nature which contains an article
“Praxinoscope en Projection.”
b.
June
14, 1933, thanking him in advance for lending a unique praxinoscope to an
exhibition in Versailles.
c.
June
16, 1933, he agrees that it’s wise not to lend valuable items of his collection
to exhibitions of low standing – he himself once lent some photo equipment to
some organization, but the project never materialized; so he apologizes to
Cromer for having bothered him.
Box 94:
Fragments of Books and Manuscripts
VIII.
Fragments of books and
manuscripts
1.
A
part of a book Artistes Vivantes (pp.
187-328), loosely bound and not wholly cut (no cover, no beginning, and no
end).
2.
Book
pages: Chapter XIV from Vingt ans de
police: souvenirs et anecdotes d’un ancien officier de Paris, 1887. It is enclosed in a page from a book,
printed in German Gothic type.
3.
A
manuscript book with day-by-day listing of historical events in
photography. (e.g. 10 May -- 1792;
Joseph Nicéphore Niépce is named a sub-lieutenant in the 42nd infantry
regiment. 1841; Letter from M. Gaudin
to M. Becquerel – proceedings on “continuous rays” and their application to
photography). GEH accession number 3249.
4.
Loose
notes gathered between book covers, which are apparently “working papers” for
the above book, as they are sorted by date, and each mentions one event.
5.
Three
photographs with views of Paris with a penciled note on the other side of each
of them that they are modern prints of albumen glass plates of old stereoscopic
views of Paris. (They were formerly
enclosed in # 4).
letter to, Box 94c, XI: 19
Artistes
Vivantes,
part of a book of, Box 94, VIII: 1
death certificate of, Box
94a, II: 4
Baume
Pluvinel, Count de la, letter to Mme Cromer from, Box 94c, VIII: 1
Becker,
letter to Mme Cromer from, Box 94c, VIII: 2
Bent,
W. G., Kodak Ltd.
letter from, Box 92, I: 6
letter to, Box 92, I: 11
mentioned in letter, Box 92, I: 12
Bibliothèque
Nationale, letters to Mme Cromer from, Box 94c, XII: 7a-b
Bonner,
A. S., Kodak Pathé
letters from, Box 92, I: 30, 32
mentioned in letters, Box 92, I: 28,
33
Bonnet,
mentioned in letter, Box 94c, XI: 5
Bonzon-Blot,
Mme, inheritance from Mme Cromer of, Box 94c, XII: 8
Bourbouze,
Cromer’s article about, Box 94b, IV: 7
Boutez,
Henri, letter from, Box 94c, XI: 2
Brigeau,
Kodak Pathé, letter from, Box 92, I: 1
Buerger,
Janet, letters to, Box 92, II: 4, 6; Box 93, IV: 8
Bulletins
of the Société Française de Photographie with Cromer’s articles, Box 94b, IV
Caffery,
Jefferson, American ambassador in France
letter to Mme Cromer from, Box 94c,
VIII: 3
Camarsa
(?), Lafon de, letter from, Box 94c, XI: 3
Chambre
de Députés, letter from, Box 94c, XI: 4
Chatellier,
George, letter to Mme Cromer from, Box 94c, VIII: 4
Chaumes,
A. des, article on phono-cinematographe by, Box 93, III: 8
Chauvet,
Gilberte, letter to, Box 94c, XI: 14b
Cherung
(?), E., letter from, Box 94c, XI: 5
Chevassu,
Francis, letter from, Box 94c, XI: 6
Cicéri,
Eugene, letter from, Box 94c, XI: 7a-b
Clark,
Walter (Nobby), EKC
article on GEH technology collection
by, Box 92, II: 8
letters from, Box 92, I: 7, 8,
10-13, 17-19, 22-26, 33, 36; II: 5a, 6
letters to, Box 92, I: 4, 5b, 9, 15,
16, 20, 28-30, 32, 34, 37-40; II: 7
mentioned in letters, Box 92, I: 14;
II: 8
notes by, Box 92, II: 3, 10
Clement,
Pierre
letter to, Box 92, II: 5
mentioned in letter, Box 92, II: 6
Clerc,
L. P.
letter from, Box 92, I: 16
letters to, Box 92, I: 3, 18, 23, 36
mentioned in letter, Box 94c, XIII:
6f ; Box 92, I: 1, 8, 13, 28; II: 5b
Collinet,
Paul, letter to Mme Cromer from, Box 94c, VIII: 5
Conservatoire
des Arts et Métiers
letter to Mme Cromer from, Box 94c,
VIII: 6
mentioned in letters, Box 94c, VII:
15, 21; Box 92, I: 13
Cromer,
Henriette Virginie Marie (Cromer’s wife)
correspondence with Kodak’s
representatives, Box 94c, XII: 6c-g and Box 92, I:
letters
from, 15, 20, 38-40
letters
to,17, 25, 27
mentioned
in letters, 1, 7, 13, 16, 18, 19, 21, 29, 30
documents concerning the inheritance
after the death of, Box 94c, XII: 8
documents concerning the inheritance
from M. Cromer of, Box 94c, XII: 1-4
letters from Bibliothèque Nationale
to, Box 94c, XII: 7a-b
letters from private people to, Box
94c, VIII; X: 2-6; XII: 6a-b
letters from the Société Française
de Photographie to, Box 94c, XII: 5
certificate for a medal of,
Box 94a, II: 1
Cromer, Michel (Cromer’s paternal grandfather)
birth
certificate of, Box 94a, I: 1
death
certificate of, Box 94a, I: 3
Cromer, Michel Alexandre (Cromer’s father)
degrees
of, Box 94a, II: 2-5
birth
certificate of, Box 94a, I: 2
Cromer, Michel Alexandre Edmond Joseph Gabriel
as
a Knight of the Legion of Honor, Box 94a, II: 8; Box 94c, VII: 17
cards
with descriptions of Cromer collection of, Box 93, V: 1-3
degrees
of, Box 94a, II: 6,7
documents
concerning the death of, Box 94c, XII: 1
family
papers of, Box 94a, I, II
inventions
of, Box 94a, III
letters
mentioning, Box 94c, XI: 16, XII: 6a
letters
to, Box 94c, VII; XI: 1; Box 93, VII: 1-4, 7, 8a-c
letters to Mme Cromer
expressing condolence at the death of, Box 94c, VIII: 1, 4-
6, 8-11, 13, 15
manuscripts of a chronicle
of events in photography, Box 94, VIII: 3, 4
notes of, Box 93, IV 1-12
photographs belonging to or
related to the collection of, Box 93, VI, 1-6
prints of (copies), Box 94b,
V: 5
publications of, Box 94b,
IV, V: 2
typed articles with handwritten
proofs of, Box 94b, VI
Cromer’s notes about, Box
93, IV: 2, 3, 6, 7
mentioned in article, Box 93, III: 1
mentioned in letter, Box
94c, VII: 12a
Démichel
& Ploquin, photographers
letter to Mme Cromer from, Box 94c, VIII: 7
memtioned in letter, Box 94c, IX: 8
Derepas,
Frères, letter
to Cromer from, Box 93, VII: 2
Devéria,
E., letter from, Box 94c, XI: 8
Dignimont
letter to Cromer from, Box 94c, VII:
2
letters to Mme Cromer from, Box 94c, VIII: 8a-b
Duplrinle,
letter to Cromer from, Box 94a, III: 7c
Dupons,
Prenne, copyrighted poem “Oasis” by, Box 94c, XI: 9
Eastman
Kodak Company
letters from, Box 92, I: 7, 8,
10-13, 17-19, 22-26, 33, 35, 36; II: 5, 7
letters to, Box 92, I: 4, 5, 9, 15,
16, 20, 22, 28-30, 32-34, 38-40; II: 6
mentioned in letters, Box 92, I: 6,
14, 27; II: 8
École
Proféssionale de Photographie et Cinématographie
letter to Cromer from, Box 94c, VII: 3a-c
Epstean,
Edward
letters from, Box 92, I: 4, 9
letters to, Box 92, I: 8, 10, 24
mentioned in letters, Box 92,
I: 1, 7, 13, 16, 18, 21, 29, 30, 34
Eskind,
Andy, letter to, Box 92, II: 7
Evans,
R. E., EKC, letters to, Box 92, I: 22, 33
letter to Cromer from, Box 94c, VII:
5a-b
letter from, Box 94c, XI: 10
Foutan,
H., letter to, Box 93, VI: 4
Francia,
J. de, bookshop, letter to Cromer from, Box 94c, VII: 6
Fremont,
Ch., article by, Box 93, III: 10
Gaumont
(?), letter to Cromer from, Box 94c, VII: 7
Gilles,
Emil, contracts with Cromer of, Box 94a, III: 2e
Gilles-Faller,
camera makers, letter to Cromer from, Box 94c, VII: 8
Giroux,
Alphonse, letter to, Box 94c, XI: 7b
Gosselin,
letter to Cromer from, Box 94c, VII: 9
Gumuchain
& Co., letter to Cromer from, Box 93, VII: 5
Helbronner,
Paul, letter to Mme Cromer from, Box 94c, VIII: 9
Hennequin,
René
letter to Cromer from, Box 94c, VII:
10
letter to Mme Cromer from, Box 94c,
VIII: 10
Honoré,
F., article on the centenary of photography by, Box 93, III: 12
Hugou-Roydon
(?), letter to Cromer from, Box 94c, VII: 11
Jacomet
Co., Daniel, letter to Cromer from, Box 94c, VII: 12
Janin,
Jules, letter from, Box 94c, XI: 11
Jausson,
letter from, Box 94c, XI: 12
Kodak,
correspondence concerning the sale of the collection of, Box 94c, XII: 6c-g;
Box 92: 1
Kodak
Ltd.
letters from, Box 92, I: 2, 3, 5, 6
letters to, Box 92, I: 1, 7, 11
mentioned in letters, Box 92, I: 10,
12
Kodak
Pathé
letters from, Box 92, I: 1, 28-30,
32; II: 6
letters to, Box 92, I: 2, 19, 21,
26; II: 5
mentioned in letters, Box 92, I: 25,
27
Labbe,
mentioned in letter, Box 94c, IX: 6; XII: 6b
Laloublie,
Count G. de, letter from, Box 94c, XI: 12
Larief,
letter from, as member of Société Lumière, Box 94c, VII: 14
Laussedat,
Aimé
pamphlet about, Box 93, III: 11
letters from, Box 94c, XI: 13a-c
Le
Seq, Henri, mentioned in letter, Box 92, I: 38
Lebrun,
Albert, President of France
letter to Cromer from, Box 94c, VII:
13
letter to Mme Cromer from, Box 94c,
VIII: 11, 19
Lippmann,
Gabriel, article on color photography by, Box 93, III: 3
Lovejoy
letter to, Box 92, I: 6
mentioned in letters, Box 92, I: 11,
14
Lumière,
Louis
letters from, Box 94c, XI: 14a-b
letters to Cromer from, Box 94c,
VII: 15a-h
letters to Mme Cromer from, Box 94c, VIII: 12a-c
mentioned in letters, Box 94c, VII:
2a-b, 6
Lumière,
Société, letters from, Box 94c, VII: 14, XI: 21
Mannellegay
(?), letter to Cromer from, Box 94c, VII: 16
Martin,
Mary, letters to the Cromers from, Box 94c, X: 1-7; Box 93, VII: 6
Mattey,
Albert, Cromer’s contract with, Box 94a, III: 3c
Mayer,
Robert, letters to, Box 92, II: 7
McMaster,
letter to, Box 92, I: 23
Mees,
C. E. K.
letters from, Box 92, I: 14, 21, 27
letters to, Box 92, I: 6, 13
mentioned in letters, Box 92, I: 11
Méliès,
mentioned in letter, Box 94c, VII: 6
Ministry
of Education and Fine Arts, letter to Cromer from, Box 94c, VII: 17
Moigno
(?), abbot, letter to, Box 94c, XI: 3
Montel,
Paul, as member of Publication Photographiques
letters to Cromer from, Box 94c, IX: 1-8
letter to Mme Cromer from, Box 94c, IX: 9
Museum
of Photography,
plans for, Box 94c, XII: 6a-b
as conceived by Cromer, Box 94b, IV:
9, V: 1
at Bièvre, Box 94b, V: 3
Nadar,
T., letter to Mme Cromer from, Box 94c, VIII: 13
Neame,
Elwin, articles on photographic portraits by, Box 93, III: 5, 6
Newhall,
Beaumont
letter from, Box 92, I: 34, 37
letter to, Box 92, I: 35
Paullussen,
A., letter to Cromer from, Box 94a, III: 4b
Payen,
Paul, admission to the Société Française de Photographie of, Box 94b, IV: 5
Peignot,
Charles, director of Arts et Métiers Graphiques
letters to Cromer from, Box 94c,
VII: 18a-b
letters to Mme Cromer from, Box 94c,
XII: 6a-b
Peynot,
mentioned in letter, Box 94c, XI: 6
Pigeon,
letter to Cromer from, Box 94c, VII: 19
Pledge,
J., Kodak Ltd.
letters from, Box 92, I: 2, 3, 5
letters to, Box 92, I: 1, 7
Privas,
Xavier, letter from, Box 94c, XI: 16
Publications
Photographiques
letters to Cromer from, Box 94c, IX: 1-8
letter to Mme Cromer from, Box 94c, IX: 9
Radius,
mentioned in letter, Box 94c, VIII: 14
Reynaud,
Paul, letters to Cromer from, Box 93, VII: 7a-c
Richard,
Marius, article on first photographs by, Box 93, III: 7
Richaud,
Mme A., letter from, Box 94c, XI: 18
Roethé,
M. E., article on color photography by, Box 93, III: 9
Ruhare,
letter to Cromer, Box 94c, VII: 20
Saint-Mémin,
Charles Balthasar Julien Fevret de, mentioned in letters of Mary Martin,
Box 94c, X: 1, 3, 6; Box 93, VII:
6
Samson,
letter from, Box 94c, XI: 19
Santeul,
Claude de
letter from, Box 94c, XI: 20
letter to Mme Cromer from, Box 94c,
VIII: 15
mentioned in letter, Box 94c, IX: 7
Schwartz,
Dr. Heinrich, mentioned in letters, Box 92, I: 34, 35
Shilton,
H., Kodak Pathé
letters from, Box 92, I: 28, 29
letters to, Box 92, I: 21, 26
Sirot,
Georges, article about, Box 94c, XII: 6g
Société
Française de Photographie
bulletins with Cromer’s articles of,
Box 94b, IV
letter to Cromer from, Box 94c, VII:
21
letters to Mme Cromer from, Box 94c,
XII:5
notice of a meeting of, Box 94b, V:
4
publications of, Box 94b, V: 6
Solbert,
mentioned in letter, Box 92, I: 11
Stereoscopy,
Cromer’s articles on, Box 94b, IV: 3, 5; VI: 2
Sulzer,
A. F., letters to, Box 92, I: 12, 14
Thomas,
letter to, Box 94c, XI: 7a
Trarieux,
Albert, letter from, Box 94c, XI: 21
Velendarble,
Sustaine (?), letter from, Box 94c, XI: 22
Verdon,
Robert, letters to Mme Cromer from, Box 94c, VIII: 16a-b
Vieux
Papier, an archeological, historical, and artistic society
mentioned in letters, Box 94c, VIII:
14, XI: 18
printed list of, Box 94c, VIII: 17
Vingt ans de
police: souvenirs et anecdotes d’un ancien officier de Paris, pages from,
Box 94, VIII: 2
Wague,
Georges
letters from, Box 94c, XI: 23a-b
letter to Cromer from, Box 94c, VII:
22
letter to Mme Cromer, Box 94c, VIII:
17
Weiller,
Lazare, article on color photography by, Box 93, III: 4
Willème,
François
Cromer’s article about, Box 94b, V:
2
mentioned in letters, Box 94c, VII:
3a; IX: 1