(1) - George Eastman House
(2) -1880's United States Federal Census. There it is identified that he entered the United States on three different occasions.
(3) - Bibliothèque Nacionale de France
(4) - "International guide to the nineteenth century photographers and their works", by Gary Edward. (Boston: G.K. Hall, 1988)
(5) - "Photography and the American Scene. A social history (1839-1889)" by Robert Taft. New York, Dover, 1964. 'He (John Carbutt) was preceded in this effort, as far as I can definitely ascertain, only by Albert Levy of New York, who began the manufacture of gelatin dry plates in 1878'. Page 371.
(6) - "Photography and the American Scene. A social history (1839-1889)" by Robert Taft. New York, Dover, 1964. 'Mention of the Levy dry plates and cameras can be found in Philadelphia Photographer v.16, p. 95 (1879). As the notice appears early in 1879 and states that Levy is well known for his dry plates, it is quite evident that he was making them as early as 1878 and possibly sooner.' Here is described where Taft found the reference. Page 503.
(7) - "Photography and the American Scene. A social history (1839-1889)" by Robert Taft. New York, Dover, 1964. 'In fact the earliest manufacturers of dry plates (Levy and Carbutt) sold their products rather largely to amateurs. Early in 1879, Levy followed up his plates with a small camera designed for amateurs trade. This was described as “a unique little camera for dry plates- and he (Levy) offers camera and lens for $12.00 for plates 4x5 inches: For this sum a half a dozen plates, developer, pyro, and hypo are included, with full instructions for working the same". The following year T.H Blair of Chicago place on the market a camera for “amateurs photographers, college boys and artists “ which became well known.'. Page 375.
(8) - "Photography and the American Scene. A social history (1839-1889)" by Robert Taft. New York, Dover, 1964. 'The Levy and Blair cameras brought in a host of others, and E. and H. T. Anthony, and the Scovill Manufacturing Company, among the largest or the American photographic houses, were quick to follow with similar device.' Page 375.
(9) - Eastman-Butterfield Collection
(10) - "Photography and the American Scene. A social history (1839-1889)" by Robert Taft. New York, Dover, 1964. '[...] credits him with making first dry plates in U.S., for amateur and personal use. Also put out #12 camera in 1879'. Page 371.
(11) - Ministère de Culture de France
(12) - New York Passengers list 1820-1957.
(13) - "Photographic Documentation and Buildings: Relationships Past and Present" by Phyllis Lambert. At the beginning you can read: 'There seems little doubt that the centennial encouraged a flowering of pride in American architecture, of which the most interesting example is provided by the American counterpart to Alinari, Albert Levy, who published a photographic series on architecture in the 1880...'. See pdf for more information.
(14) - Boston Public Library.
(15) - Art Institute of Chicago (HALIC archive). Also at this link.
(16) - Centre Canadien d'Architecture
(17) - "On the Origins of Architectural photography", by James S. Ackerman (Centre Canadien d'Architecture). See pdf.
(18) - Culture France. Joconde archive. See pdf for print screens of the data in the web.
(19) - "American Victorian Architecture", by Arnold Lewis. Dover publications, 1975
(20) - Avery Architectural and Fine Arts Library.
(21) - Kansas State Library
(22) - "Contestating images (Photography and the World's Columbian Exposition)", by Julie K. Brown (The University of Arizona Press. Tucson & London). Pag. 153. ( notes to pages 93-96). 'The response by the Ways and Means Committee of the Chicago Board to Sir Henry Trueman Wood, British Commissioner to the Fair, was reproduced along with a letter by Albert Levy, a leading french photographer, protestating the imposition of such regulations. "Photographing at the Chicago Exhibition" American Photographer 5 (March 1893): 135; see also A. N., "The Possibilities of the World's Fair" Photo Beacon 5 (Feb 1893): 47-49'. The full text is as follows:
To the editor
Sir; Your always valuable and wellcome Journal came to hand,as you are always trying to keep your readers well posted, you should add a P. S. to M. S.A. Crawford's letter ( p.78) to the effect that Mr Official Photographer C.D. Arnold by name ( very glad to take pictures ..etc. against pay..etc) does not even answer my in quiry to effect. Personally I had written three times to him without being able to obtain an answer . My first letter dating November 12 last. The above may prove interesting to other parties who may be tempted to ask Mr. C.D. A. for any reference or negatives.
By the way, Mr. Editor, What do you say to the american generosity towards allowing photographers on the Exhibition grounds?. You were at the time very hard against French meannes in 1889.Let me remind you of the rules that existed then . Twenty francs , or 16 s. , for one's day work , and no restriction to sizes or cameras renewed if weather unfavorable , or 300 Fr. , ( 12 l.) for the whole time the exhibition was open
I am yours..etc
Avenue Pinel, Asnières Seine
Albert Levy
(23) - New York City directories (Levy, Albert, photographer. Books).
(24) - Division of Rare and Manuscript Collections. 2B Carl A. Kroch Library, Cornell University. Ithaca, NY 1853
(25) - Getty Museum Research
(26) - "American architectural books: a list of books, portfolios, and pamphlets on architecture and related subjects published in America before 1895" by Henry-Russell Hitchcock University of Minnesota Press, Minneapolis 1962. It mentions 33 series However, reference 15 (Art Institute of Chicago) owns the 36th.
(27) - Objetif Calvados. Un siecle de photographie aux archives de Calvados 1850-1950.
(28) - Album les contructiones nouvelles at the Portail des Bibliotéques municipales spécialisées de France. Albert Levy data at the Portail.
(29) - Villa d'Asnières municipal archive.
(30) - Search at the Portail des Bibliotéques municipales spécialisées de France.
(31) - La photographie à la Librairie centrale des Beaux-Arts – Éditions Albert Lévy (1906-1936). Lorsqu’Albert Lévy (1891-1976) prend la direction de la maison d’édition La Librairie centrale des Beaux-Arts en 1919, celle-ci jouit d’une notoriété certaine depuis la fin du xixe siècle. Les publications d’A. Lévy, aux rênes de l’entreprise familiale jusqu’en 1936, s’inscrivent dans une période riche en évolutions critiques, tant pour le renouveau des arts décoratifs que pour celui de la reconnaissance de la photographie. Le fonds d’archives photographiques de la maison d’édition, conservé au musée des Arts décoratifs de Paris, se trouve ainsi au croisement de cercles complémentaires : ceux des arts décoratifs du début du xxe siècle et de la photographie. Dès 1928, l’éditeur semble se détacher de la photographie en noir et blanc au profit d’illustrations colorées au pochoir. Alors, il est nécessaire d’interroger quels rôles photographie et photographes occupent dans son projet éditorial et comment la concession du laboratoire photographique de l’Union centrale des arts décoratifs, assurée par la famille Lévy de 1907 à 1936, s’inscrit dans ses activités
(32) - Library of Congress file about Albert Levy.
(33) - New York Public Library file about Albert Levy.
(34) - New York Public Library
(35) - Cincinnati and Hamilton County public library
(36) - Frank Lloyd Wright's library
(37)- Hunt Collection: the photography Collection of Richard Morris Hunt archive. You can find all pictures at this pdf and also the name of the "study" of Albert Levy, where he sold photos signed, for example, by Baldus and with the blind stamp of Albert Levy: P79.1816 Unidentified monumental interior, near completion, with ironwork awaiting assembly and installation, facsimile signature stamp E. Baldus, blind stamp Albert Levy, Architectural & Decorative Books, 77 University Place, New York, label 4
(38) New York Public Library. Industrial art library. Architectural books decorative. Albert Levy 77 University Place New-York. ... Lévy, Albert [es] Published : 1875 | English American broadsides and ephemera. no. 19983
(39) Yale University Art Gallery. Philadelphia Naturalistic Photography 1865 —1906. (10 February- 7April 1982). See pdf. "In 1879 Philadelphia manufacturer John Carbutt and New Yorker Albert Levy both had placed their dry plates on the market. The development had been long awaited by wet-plate practitioners; many new workers were lured to photography as a result of the great simplification of technique. Almost overnight, camera clubs found their membership changing. The Photographic Society of Philadelphia, once composed of "the most expert photographers and scientific men of the city,55 now included "skillful amateurs, who find in photography pleasant and healthful recreation; scientists who study the art experimentally; artists to whom the camera is a helpful tool, travelers who [make] pictorial records in all parts of the world, and professional photographers of the highest ability."In 1879 Philadelphia manufacturer John Carbutt and New Yorker Albert Levy both had placed their dry plates on the market. The development had been long awaited by wet-plate practitioners; many new workers were lured to photography as a result of the great simplification of technique. Almost overnight, camera clubs found their membership changing. The Photographic Society of Philadelphia, once composed of "the most expert photographers and scientific men of the city,55 now included "skillful amateurs, who find in photography pleasant and healthful recreation; scientists who study the art experimentally; artists to whom the camera is a helpful tool, travelers who [make] pictorial records in all parts of the world, and professional photographers of the highest ability."
