1193
street number for the entrance around the corner, on the
boulevard, is given.
Reutlinger’s fi rst award, a medal of London, was not
noted on the backs of his photos, but he won a succes-
sion of honors during the next two decades, including
fi rst prize medals in the Exposition internationale de
Berlin, 1865; the Exposition universelle de Paris, 1867;
the Exposition photographique de Hambourg, 1868;
and medals from the Société Photographique à Paris,
1870; the Exposition universelle de Lyon, 1872 and the
Exposition universelle de Vienne, 1876. These medals
were reproduced on the backs of the fi rm’s cartes.
See also: Cartes-de-Visite; Cabinet Cards; Daguerre,
Louis-Jacques-Mandé; Bonaparte, Roland, Prince;
Zola, Emile; Nadar (Gaspard-Félix Tournachon); and
Carjat, Etienne.
Further Reading
Bourgeron, Jean-Pierre, Les Reutlinger: Photographes à Paris
1850–1937, preface by Jean-Pierre Seguin, Paris: J.-P. Bour-
geron, c. 1979.
Darrah, William C, Cartes de Visite in Nineteenth Century
Photography, Gettysburg, Pennsylvania: W.C. Darrah, c.
1981.
Frizot, Michel (Ed.), A New History of Photography, Köln:
Könemann, c. 1998.
REY, GUIDO (1861–1935)
Italian photographer
Guido Rey was born in Torino in 1861, to Giacomo
Rey and Lydia Mongenet de Resencourt. In 1879
he attended the Academy of Fine Arts in Torino. He
worked in the family textile business for which he trav-
eled quite often. He took his fi rst photographs during
mountain climbs in 1883–85 with the Sella family and
started his pictorialist works only in 1892–93. He was
active in organizing the Universal Exposition of Visual
Arts in 1902 where Stieglitz, Demachy, C. White and
Annan presented their works. He died in 1935.
Rey participated in the cultural life of his city but
more importantly in the debate—at the European
level—about photography as an art. He had a great
passion for painting and he was the only European pic-
torialist to create sets with minute historical attention
in Nipponic, Roman, Flemish and Neoclassic style,
without manipulating the photographs. His intent was
to describe the past in the every day scenes by having
his models wear costumes that he designed. His book
on alpinism was published in 1904 (Il monte Cervino).
More appreciated abroad, his work was published on
“The Studio” review and he was the only Italian to be
published on “Camera Work” (1908).
Carlo Benini
REYNAUD, CHARLES-EMILE
(1844–1918)
French inventor, artist, showman
Charles-Emile Reynaud was born at Montreuil-sous-
Bois on December 8, 1844. An experienced creator of
educational images for the magic lantern, in 1877 Emile
Reynaud invented the Praxinoscope. This ingenious
moving image toy featured a central circle of mirrors
set in a shallow cylinder, opposite colour-lithographed
sequence drawings on paper strips. The Praxinoscope
Theatre followed; the cylinder set in a box with glass-
covered viewing aperture, which refl ected a card with
a colored background. The animated subjects appeared
superimposed on the scenery. A further development
for projection, the domestic Projection Praxinoscope,
used fi gures on glass. This led to the Théâtre Optique,
a large-screen version. Long perforated bands, bearing
characters painted onto squares of transparent mate-
rial, were wound horizontally back and forth from reel
to reel in the mirror-drum projector. The background
was projected from a separate lantern. Shows com-
menced at the Musée Grevin, Paris, in 1892. By 1896
Reynaud was shooting photographic motion pictureREYNAUD, CHARLES-EMILE
Rey, Guido. Dutch Interior.
The J. Paul Getty Museum, Los Angeles © The J. Paul Getty
Museum.