Table of Contents - Issues of Image Magazine - George Eastman ...

IMAGE • Vol. 28, No. 2 • June 1985 

Journal of Photography and Motion Pictures 

of the International Museum of Photography 

at George Eastman House 

Table of Contents 

1 A Letter to Members of the International Museum of Photography at George Eastman House 

2 Daguerre: The Artist by Janet E. Buerger and David Kwasigroh 

Editorial Staff 

Robert A. Mayer, Director 

Robert A, Sobieszek, Director, Photographic Collections 

Janet E. Buerger, Associate Curator, Photographic Collections 

Marianne Fulton, Assistant Curator, Photographic Collections 

Heather Alberts, Curatorial Assistant, Photographic Collections 

Joanne Lukitsh, Curatorial Assistant, Photographic Collections 

Philip L. Condax, Director, Technology Collections 

Morgan Wesson, Assistant Curator, Technology Collections 

John B. Kuiper, Director, Film Collections 

George C. Pratt, Curator Emeritus 

Jan-Christopher Horak, Associate Curator, Film 

Allan Bobey, Assistant Curator, Film Preservation 

Andrew H. Eskind, Director, Interdepartmental Services 

Grant Romer, Conservator 

Barbara Hall, Public Relations Director 

Barbara Puorro Galasso, Darkroom Supervisor 

Board of Trustees 

Trustees 

Dr. Wesley T. Hanson, Jr. 

Chairman 

Georgia P. Gosnell 

Alan C. Hasselwander 

Thomas F. Judson, Jr. 

George S. Mclsaac 

Vice-Chairmen 

Paul L. Smith 

Treasurer 

Sue Stewart 

Secretary 

Robert A. Mayer 

Director 

Bruce B. Bates 

Colby H. Chandler 

Eugene C. Dorsey 

Walter A. Fallon 

Robert B. Frame 

Alexander D. Hargrave 

Douglass C. Harvey 

A. Arendt Hopeman III 

Harrison D. Horblit 

Frank M. Hutchins 

Nancy C. Kennedy 

Preston F. Kodak 

Richard L. Menschel 

J. Randall Plummer 

Richard M. Ross 

Harris H. Rusitzky 

Robert P. Schwartz 

Joanna T. Steichen 

Robert A. Taub 

Andrew D. Wolfe 

Trustees Emeritus 

Edward P. Curtis 

Mark Ellingson 

Sherman Farnham 

Vincent S. Jones 

William E. Lee 

Robert A. Sherman 

William S. Vaughn 

Marie Curran Wilson 

Honorary Trustees 

Berenice Abbott 

Walter Clark 

Andre Kertesz 

David H. McAlpin 

Beaumont Newhall 

IMAGE is published for members by 

International Museum of Photography at 

George Eastman House 

900 East Avenue, Rochester, NY 14607 

Copyright 1985 by International Museum 

of Photography at George Eastman 

House. All rights reserved. Printed in 

U.S.A. 

COVER PHOTOGRAPH: 

Louis J. M. Daguerre. The Inauguration of 

the Temple of Solomon, ca. 1836. Brown 

ink and wash study for the Diorama. 

Provenance: Gabriel Cromer Collection. 

Gift of Eastman Kodak Company 

Single copies of this issue are available at 

$4.50 each, plus postage. 

ISSN: 0536-5465

A Letter to Members of the International Museum of Photography at George 

Eastman House 

In our last members' Newsletter, we were please to announce that the Museum had been given a piece of 

valuable property by the Eastman Kodak Company to create an endowment for the future expenses of 

operating the Museum's archives in Rochester. 

This places a great challenge on all those of us who care about these collections. The Kodak gift 

requires that we be ready to move into a "debt free" building by July 1989, just four short years from 

now, or lose the endowment. Our Board of Trustees will soon begin a Capital Campaign to raise funds 

to construct a building to house properly the collections. We hope that all of our members will join in 

this effort and give generously to such a campaign. 

Under the terms of the Kodak gift, however, the income from the endowment cannot be used for 

the archives operating expenses until we are ready to occupy such a facility. This could be three years 

or more away. In the interim the Museum will need to exercise budget restraint to live within our 

present income levels. This will mean temporary dislocation of some program activities, many of 

which would most likely be resumed after the endowment income becomes available for archives 

operations. One of the areas in which we will need to temporarily reduce our activities is our 

publication program. 

We have been pleased to provide our members with an improved quarterly publication over the last 

several years. Since 1983 IMAGE has won twelve awards. We are proud of this achievement. However, 

we must make an effort to contain cost and will publish in 1985 only the first two issues of 

Volume 28: No. 1, March 1985 (which you have already received) and this issue, No. 2. Beginning in 

1986, we will publish only one issue of IMAGE a year, until the financial status of the Museum permits 

a logical expansion of the publication program again. 

We are sure that you will understand this temporary measure. We want to thank you for your 

continued support of the Museum. 

Sincerely, 

Robert A. Mayer 

Director 

IMAGE • Volume 28 No. 2 

1

Daguerre: The Artist 

In Paris in 1839, when Louis Jacques Mande Daguerre announced the first practical photographic process to 

the public, the fame of the daguerreotype eclipsed his magnificent career as a painter. It is difficult 

to piece together his pre-photographic oeuvre. Only a handful of small works survive today, most of 

them at George Eastman House. Until 1839 his reputation rested on his naturalistic stage designs 

(1816-22) and Diorama paintings (1822-39), but most if not all of these were destroyed by fire before 

his death in 1851. What is here is beyond value, and yet is only a pale reflection of the work that 

made him famous. 

His huge Diorama paintings were remarkable achievements of optical illusion. Shown to an audience 

seated in a darkened auditorium in a specially designed building, each scenic picture was larger 

in width than the Brackett Clark wing of the Museum. Each magically changed when carefully placed, 

filtered light "decomposed" one or the other of several superimposed atmospheric or time-lapse 

"effects" on the same canvas. Daguerre's genius dazzled connoisseur and public alike by combining 

the tricks of art and science, of fantasy and reality. He and his associate, Charles-Marie Bouton, 

received medals of the Legion of Honor when they exhibited small copies of Diorama subjects at the 

Salon. 

Daguerre was a key figure in the transformation from early nineteenth century Neo-Classic and 

Romantic Art, to mid-nineteenth century Realism. He drew attention to landscape painting and documentary 

work at a time when the Academy of Fine Arts favored history painting. A critically acclaimed 

popular artist, he penetrated the barriers of tradition with the scientific, pre-photographic 

temperament of his time. He foreshadowed Courbet, the Barbizon painters, Impressionism and 

photography, and prepared the way for the movies that were to come. 

Janet E. Buerger 

Associate Curator, Photographic Collections 

David Kwasigroh 

VSW/RIT Intern 


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3

Art 

Daguerre was born in 1787 in Cormeilles-en-Parisis, 

not far from Paris. In 1804, after apprenticing to a 

local architect, he went to Paris where he studied in 

the studio of the celebrated Italian painter, who was 

then chief stage designer at the Paris Opera, Eugene 

Marie Degotti. He immediately experienced the huge 

panorama paintings that, opening that year, constituted 

the rage of Paris, and about 1807 became 

apprenticed to their author, Pierre Prevost, where he 

remained until 1816. During this period he showed 

at the Salon his "Interior of a Chapel of the Church of 

the Feuillants, Paris" (now in the Louvre and represented 

in the Eastman House by an engraving). 

Many of Daguerre's early drawings and paintings 

exhibit a penchant for the naturalistic open-air 

approach, a concept that he would foster throughout 

his career and that would become popular later in 

the century with the Barbizon painters. None of the 

works in this section is directly related to his stage 

designs or Diorama paintings, but they collectively 

are our most important evidence for his fresh, 

accomplished technique. Because his own style was 

lost when his larger works were reproduced by 

surviving examples of engraving and lithography, 

these small drawings and paintings take on particular 

significance as we try to imagine the effect of his 

masterpieces on their audience. 


4


5

Voyages Pittoresques 

Lithography (printing from a stone with a drawing 

made from a greasy material) was discovered in 

Germany only at the end of the eighteenth century 

and was still a new, experimental art form in 

Daguerre's youth. Again, we find the young 

Daguerre in the vanguard. His "Entrance to the 

Church of the Holy Sepulcre" was published in 1819 

as part of le comte de Forbin's 78 plate Voyage dans 

le Levant (Voyage to the Orient). This was one of the 

most important of the early lithographic collections in 

France, gathering together, among the many early 

lithographic draftsmen, the co-inventors of the 

Diorama, Daguerre and Bouton. 

The most impressive lithographic publication, 

however, was Voyages pittoresques et romantiques 

dans I'ancienne France (Picturesque and Romantic 

Travels in Old France), a vast series of nearly 3,000 

plates issued in 20 odd volumes between 1820 and 

1878 by Baron Isidore Taylor, Charles Nodier and 

Alphonse de Cailleux. The Romantic movement is 

epitomized by the gothic ruins and travel views in 

Voyages pittoresques. 

IMAGE Volume 28 No. 2 

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Theatre 

Daguerre's first real acclaim came in response to his 

stage designs in 1816-1822 for the Theatre de 

I'Ambigu-Comique and in 1820-1822 for the Opera. 

None of these works survive. From his master 

Degotti, Daguerre learned the spectacular Piranesitype 

oblique-angle design of the Italian Baroque 

stage. The revival of this style came as a great relief 

after the drab symmetrical work employed during 

the Revolution and Neo-Classical periods. 

At the Ambigu-Comique, Daguerre's designs 

received higher praise than the plays: 

"One seeks in vain for interest in Elodie, but as compensation, 

what pomp of spectacle, what decoration! Daguerre has 

surpassed himself, which seemed impossible." 

The apex of his theatre career came when he 

assisted Pierre-Luc-Charles Ciceri (1782-1868), 

successor to Degotti at the Opera. Their important 

1822 production of Aladdin or the Marvelous Lamp 

inaugurated a new opera building and initiated the 

use of gas lighting in the theatre. By dimming the 

auditorium and using new sources for his light, 

Daguerre revolutionized traditional stage design. His 

realistically executed final scene of the "Palace of 

Light", with a moving sun effect, secured his reputation. 

Critics raved: 

"Never did the genius of Servandoni. . . or Degotti approach 

the marvels created by Daguerre". . . "We are no longer dependent 

on Italy for our decors. Today we surpass our masters." 

To Italian Baroque, Daguerre had added a magically 

darkened theatre, fantastic light effects, and trompe 

I'oeil naturalism—the sun itself included. 


9

The Diorama 

"(It) is not a vain representation—it is reality itself. . . 

"It was believed by thousands that the little boy in the foreground 

. . . was either a very quiet charity boy, or at least a suit 

of clothes stuffed, instead of the mere effect of the pencil." 

Of "Roslyn Chapel" they continued: 

"On viewing the Diorama (the visitors) might think themselves 

transported by some magic spell to the scene itself—so 

perfect was the illusion . . . An artist . . . declared that had he 

not clearly ascertained that the view . . . was a painting on a 

flat surface, he would have believed that the effect was produced 

by more than one position of scenery, or rather many scenes 

placed in different positions." 

Daguerre's most important pre-photographic 

achievement was his Diorama. In 1822, with Bouton, 

he opened an entire building for the exhibition of two 

45 1 /2 x 72 1 /2 foot canvases. Each was a marvel of 

illusionistic painting, calculatedly designed 

according to the principles of physics so that, say, a 

red form would "decompose" when lit by red 

(filtered) light to reveal a different configuration or 

"effect" underneath. 

The Diorama—literally "two views" (or canvases)— 

showed one painting with an architectural view 

representing a man-made wonder, and then another 

with a scenic view representing a natural wonder. 

Daguerre presented a performance of varied 

"effects" for each of the two paintings. To the stock 

Romantic subject matter of architectural ruins and 

travel views, he added the illusion of reality. From a 

darkened auditorium, each view, though painted on 

a flat surface, looked large as life, naturalistic and 

three dimensional. Critics were struck with awe. Of 

Daguerre's "View of Brest Harbour" they exclaimed: 

10 

IMAGE • Volume 28 No. 2


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The Double-Effect Diorama 

In 1834, with his student Sebron, Daguerre introduced 

the double-effect Diorama, which employed 

the front and the back of the canvas, and reflected 

and transmitted light, to present two quite different 

effects of the same view (day and night, a valley 

before and after an avalanche, an empty church and 

one filled with people). Often the changes in "effect" 

gave the impression of movement. In "The Inauguration 

of the Temple of Solomon", for instance, 

worshipers appeared gradually in the second 

"effect", giving the impression that they were moving 

from the background to the foreground. The principle 

of the double-effect is demonstrated in crude 

form by various nineteenth century optical toys such 

as the Polyorama Panoptique or the later photographic 

Megalethoscope, where two scenes of the 

same picture appear, depending on whether the 

viewer activates front or rear lighting. 

The Museum has a number of sketches relating to 

the Diorama paintings. These include Daguerre's 

"Inauguration of the Temple of Solomon" and 

Bouton's "Interior of Chartres Cathedral", 

"Edinburgh during the Fire of 1824" (painted by 

Daguerre), "Ruins of Fountains Abbey by Moonlight" 

(for the London Diorama) and "Fribourg" (for 

his own Diorama in Paris, built after Daguerre's 

burned in 1839). 

Bouton And Sebron 

Daguerre worked primarily with two associates: 

Charles-Marie Bouton, with whom he opened the 

Diorama; and Hippolyte Sebron, who created the 

double-effect Diorama with him. 

Of the two, Bouton is better known. Partly selftrained, 

like Daguerre, he worked—according to 

some accounts—with the famous neo-classical 

painter Jacques Louis David, and, like Daguerre, he 

collaborated with the panorama painter Prevost. His 

meticulous detail and precise perspective were 

excellently suited to Diorama work. From about 1823 

to 1840 he worked with the London Diorama as well. 

He returned to Paris to construct his own Diorama 

after fire destroyed Daguerre's in 1839. Throughout 

this period he was an active lithographic artist and 

easel painter but the popularity of his accurate style 

did not survive his death in 1853. 

Sebron trained with Daguerre, and travelled extensively 

to sketch material for the Diorama. He spent 

time in America, where he painted Niagara Falls and 

contributed the first Diorama to the New World. 


16

The Diorama In America 

The Paris Diorama was so popular that imitations 

appeared in the French provinces, in London, Berlin, 

Cologne, Breslau, Stockholm, and in various cities in 

America. In 1838 it made its first appearance in the 

United States in Philadelphia with a 2,000 sq. ft. 

"Crucifixion with the City of Jerusalem" painted by 

Daguerre's pupil, Sebron. 

"Daguerre's Real and New Diorama", made its 

debut in New York City in 1840, imported from Paris 

by Maffey and Lonati. The premier scenes were 

(Daguerre's?) "Midnight Mass at the Church of 

St. Etienne du Mont at Paris", and (Bouton's?) 

"View of Venice on a Festival Night of the Carnival" 

Following the Parisian tradition of musical accompaniment, 

Mrs. Lonati assisted the painted performance 

on piano. 

From 1840 to 1843 the Diorama toured New York 

City, Philadelphia, Boston, Baltimore, Charleston, 

Washington, D.C. and New Orleans. There is 

evidence of a southern tour but exact locations are 

not known. The Diorama was to be shown in 

Havana, but it was destroyed in New Orleans by fire 

in 1843. New scenes created for America were not 

always the same monumental size as those for the 

European Diorama. No Diorama buildings appear to 

have been built (except in Philadelphia), so concert 

halls and large auditoriums served to house the 

productions. 

THE DIORAMA IN AMERICA: A CHRONOLOGY 

1838 PHILADELPHIA, Diorama Building, Sanson Street: 

"The Crucifixion, with the City of Jerusalem," 

painted by Sebron 

1840-1841 NEW YORK CITY, Mr Lockwoods Rooms, 411 Broadway: 

Church St. Etienne du Mont, Midnight Mass 

(Daguerre and Sebron) 

View of Venice, Festival Night 

Paris under Charles IX 

St. Barthelemy 

Valley of Goldau (Daguerre and Sebron) 

1841 PHILADELPHIA 

1841 BOSTON, Concert Hall: 

Venice on Festival Night 

St. Etienne du Mont, Midnight Mass 

View of City of Constantinople 

Valley of Goldau 

Sicilian Vespers, or Palermo 1282 

1841 BALTIMORE, Assembly Room: 




1842 WASHINGTON, D. C., Carusi's Assembly Room: 




The Remains of Napoleon, in the Church of lnvalides, 

Paris, on 15th December, 1840 

1842 NEW YORK CITY, City Hall: 

The Remains of Napoleon 


View of Venice 

TOUR OF THE SOUTH 

1842-1843 NEW ORLEANS 

1st location—rear of Cathedral, opposite Orleans St., 

2nd location-38 St. Charles St. (formerly the 

museum): 

Inauguration of Solomon's Temple (Daguerre and 

Sebron) 


Interior of St. Stephens Church, Paris 

Interior of Monastery of Mount Serrat, California 

Sicilian Vespers, or Palermo 1282 


View of Venice 

1843 Diorama burns in New Orleans 


17


18


19

Photography And The 

New Tradition 

In Daguerre's work we can see many prephotographic 

trends. In order to aid his naturalistic 

renderings he and his colleagues sketched with the 

aid of the camera lucida or camera obscura (devices 

that projected nature's image on the artist's paper for 

him to trace). Daguerre's desire to chemically fix the 

image of the camera led to experiments that resulted 

in his daguerreotype process. Since naturalism was 

their aim, Bouton's on-site sketches are barely 

distinguishable from later photographically-derived 

imagery. 

Daguerre's early travel views and his interest in the 

panorama and Diorama reflected the growing desire 

of early nineteenth century man to record every 

facet of Nature around him. Frederick von Martens, 

an engraver specializing in panoramic views, translated 

that interest directly into photography. 

Panoramic city views and landscapes would be 

among the earliest daguerreotypes made and would 

become a staple in photography for years to come. 

Scientists and explorers routinely armed themselves 

with both daguerreotype and material to make 

plaster casts, to enhance the accuracy of their 

recording technique. But the desire to copy nature 

could not be satisfied: optical toys, including stereographic 

views (drawn and photographic), would 

suggest the variation and three dimensional illusion 

so admired in Daguerre's Diorama. 

In Daguerre's work, illusion was based on a 

perfect combination of fantasy and reality, the artist 

and Nature working in full synchronization. It was he 

who discovered the real power of this apparently 

contradictory combination. The field of photography 

and photographic masters like Henri LeSecq inherited 

this power, and it remains to fascinate us today. 

ACKNOWLEDGEMENTS: 

This exhibition is deeply indebted to colleagues here and in 

Europe for their enthusiastic help. 

First, we thank Grant Romer of IMP/GEH, who inspired us with 

a small show on Daguerre in the late 1970s, and Helmut 

Gernsheim, whose book L. J. M. Daguerre is still the standard 

work. Among others, we were aided enormously by Stephanie 

Fronz of the University of Rochester Art Libraries; Barry Daniels 

of the Theatre Division at Kent State University; Bernard Marbot 

of the Bibliotheque Nationale in Paris; Jacques Foucart and Mlle. 

Landraud of the Musee du Louvre; Jeanne Roberts of the Historical 

Society of Pennsylvania; Elizabeth J. Miller of the Columbia 

Historical Society in Washington, D.C.; Stephen White of Los 

Angeles; Gerard Levy of Paris; Laurie Batie of the Maryland 

Historical Society; Roy Flukinger of the University of Texas, 

Austin; and Edward Morris of Merseyside County Council, 

Liverpool. 

As always, we relied heavily on our library, archives, registration, 

conservation, exhibitions and development departments, 

and on George Pratt for help in editing the labels. A special 

thanks is due Andrew Eskind and Philip Condax for their aid with 

the stereos and the Polyorama Panoptique. 

20 

IMAGE • Volume 28 No. 2

Corporate and Foundation Contributors 

Underwriters 

Eastman Kodak Co. 

Ford Motor Company Fund 

Gannett Foundation 

Gleason Memorial Fund 

IBM Corp. 

Lawyers Co-operative Publishing Co. 

The Andrew W. Mellon Foundation 

The Pew Memorial Trust 

Sponsors 

The Howard Gilman Foundation 

Patrons 

Access Rentals, Inc. 

Bausch and Lomb, Inc. 

Cortland L. Brovitz & Co. 

Case-Hoyt Corp. 

Citibank 

Computer Consoles, Inc. 

Curtice Burns, Inc. 

D. O. Industries, Inc. 

Holiday Inn 

Hopeman Brothers, Inc. 

Itek Graphic Products (Itek Corp.) 

Jones Chemicals, Inc. 

Kodak Camera Club 

Raymond LeChase, Inc. 

Marriott Corp. 

Money Magazine 

Morgan Guaranty Trust Co. 

Photographic Historical Society, Inc. 

John B. Pike & Sons, Inc. 

Polaroid Foundation, Inc. 

Price Waterhouse 

RF Communications/Harris Corp. 

Rochester Clearing House Assoc. 

Central Trust Co. 

Chase Lincoln First Bank, N.A. 

Chemical Bank—Rochester Region 

Citibank (New York State), N.A. 

Key Bank of Western New York, N.A. 

Manufacturers Hanover, N.A.—Rochester Region 

Marine Midland Bank, N.A.—Rochester Region 

Monroe Savings Bank 

The Rochester Community Savings Bank 

Security Trust Company 

Rochester Gas & Electric Corp. 

Rochester Telephone Corp. 

Schlegel Corp. 

Sibley, Lindsay & Curr Co. 

Sybron Corp. 

J. Walter Thompson USA, Inc. 

Wilmorite, Inc. 

Xerox Corp. 

Young & Rubicam USA Foundation/Hutchins Y&R 

Benefactors 

Chase Lincoln First Bank 

Corn Hill Neighbors Assoc. 

Flanigan Furniture, Inc. 

Garlock, Inc. 

Genesee Brewing Co., Inc. 

Goldome 

I. Gordon Realty Corp. 

Gould Pumps 

Great Lakes Press 

Robert F. Hyland and Sons, Inc. 

Lovenheim Foundation 

Page Avjet Inc. 

Preferred Properties/Robert Bruce Lindsay Co., Inc. 

Rochester Acoustical Corp. 

Rumrill-Hoyt, Inc. 

Tapetex Products, Inc. 

Wegman's Food Market, Inc. 

Sustainers 

Arthur Andersen & Co. 

Canandaigua Wine Co. 

Carhart Photo, Inc. 

DeRidder/Thurston, Inc. 

Dolomite Products Co. 

Domine Builders Supply Corp. 

Erdle Perforating 

Forbes Products Corp, 

S. H. Gow & Co., Inc. 

LeCesse Brothers Contracting, Inc. 

Manitou Construction Co., Inc. 

Marsh and McLennan, Inc. 

Monroe Reprographics, Inc. 

Peat, Marwick, Mitchell & Co. 

The Pfaudler Co. 

Qualitrol Corp. 

RTR Transportation Corp. 

Riedman Foundation 

Rochester Asphalt Materials. Inc. 

Rochester Polychrome Press, Inc. 

Rochester Van & Storage Co. (Mayflower) 

Serv-Rite Food Service & Consulting Corp. 

Simcona Electronics Corp. 

Vanderlinde Electric Corp. 

Voplex Corp. 

Contributors 

Ailing and Cory Co. 

Burleigh Instruments, Inc. 

Caldwell Manufacturing Co. 

Harold J. Coleman Foundation 

Conifer Development, Inc. 

Cook Iron Store 

Coopers & Lybrand 

Credit Bureau of Rochester 

DeCarolis Truck Rental, Inc. 

Detection Systems 

Dollinger Corp. 

Doyle Detective Bureau, Inc. 

Emhart Corp. 

Exchange Genesee Associates 

Federated Department Stores Foundation 

Thomas W. Finucane Corp. 

First National Bank of Rochester 

Paul T. Freund Corp. 

General Cinema Corp. 

General Railway Signal 

Germanow-Simon Machine Co., Inc. 

T. H. Green Electric Co., Inc. 

Handler-Grosso 

Hansford Manufacturing Corp. 

Hatch-Leonard/Markin-Shaw. Inc. 

F L. Heughes&Co., Inc. 

Hickey-Freeman Co. 

Hickson Electric Corp. 

E. F. Hutton and Co., Inc. 

Hydroacoustics, Inc. 

IMPCO 

Kolko Paper Co., Inc. 

Labelon Corp. 

Janet Lehr, Inc. 

Light Impressions Corp. 

Logical Operations 

Lyons Development, Inc. 

Merrill Lynch, Pierce, Fenner & Smith 

Laurence Miller Gallery, Inc. 

Mixing Equipment Co,, Inc. 

Neikrug Photographica, Ltd. 

Otis Eastern Service, Inc. 

P.W.K.H. Wine Shop, Inc. 

Park-Meigs Association 

Marcuse Pfeifer Gallery, Ltd. 

Pittsford Travel Agency, Inc. 

James Stewart Polshek & Partners 

The Red Barn Gentlemen's Apparel, Inc. 

Red Carpet Travel 

Robfogel Mill Andrews Corp. 

Rochester Coca Cola Bottling Corp. 

Rochester Empire Graphics 

The Rochester Group 

Rochester Midland Corp. 

Peter J. Schmidt Co., Inc. 

Schuler-Haas Electric Corp. 

Scrantoms Book & Stationery Co. 

Sloan & Co., Inc. 

Snyder, E. G. Co., Inc. 

Society of Photographic Scientists & Engineers 

Staples & Charles, Ltd. 

The Textron Charitable Trust 

Town & Country Dry Cleaners 

Arthur V. Towner, Inc. 

VIC & IRV, INC. 

Visual In-Seitz, Inc. 

Waste Management, Inc. (Hoff Bros.) 

Werner Spitz Construction 

Stephen White Gallery of Photography, Inc. 

Wilson, Klaes. Brucker & Worden, P.C.

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