Six decades after the death of an unheralded New York City municipal photographer, a researcher stumbles upon his forgotten negatives  

By Carolyn Kleiner Butler

In 1999, Michael Lorenzini, the senior photographer for the New York City Municipal Archives, was spooling through microfilm of the city’s vast Department of Bridges photography collection when he realized that many of the images shared a distinct and sophisticated aesthetic. They also had numbers scratched into the negatives. “It just kind of hit me: this is one guy; this is a great photographer,” Lorenzini says. But who was he?It took many months and uncounted hours of trolling through archives storerooms, the Social Security index, Census reports and city records on births, deaths and employment to find the answer: the photographer was Eugene de Salignac, a municipal worker who took 20,000 photographs of modern Manhattan in the making.

 ”It felt like a real discovery,” Lorenzini says.Still, what is known about de Salignac remains limited, and there are no known photographs of him as an adult.

Born in Boston in 1861 and descended from French nobility, he married, fathered two children and, after separating from his wife in 1903, started working for the City of

“It Felt Like A Real Discovery”

De Salignac’s photograph of the Staten Island ferry President Roosevelt coming into port, made in Lower Manhattan in June 1924 with a bulky wooden field camera, typifies his ability to stretch beyond straightforward documentation. “This is not your typical municipal photograph,” says

De Salignac’s pictures have been reproduced in books, newspapers, posters and films, including Ken Burns’ Brooklyn Bridge; though largely uncredited, his work helped shape New York’s image. “He was a great chronicler of the city, in the tradition of Jacob Riis, Lewis Hine, Stieglitz and Berenice Abbott,” says Mellins. “The fact that he was a city employee may have made it less likely that people would think of his work in an artistic context, but these images indicate that he really takes his place in the pantheon of great photographers of New York. Lorenzini still isn’t satisfied. “I’d like to know what he did for the first 40 years of his life, to see a photograph of him as a grown man,” he says. “Where did he learn photography? Was he formally trained? Did he consider himself an artist?” Information about him, and prints by him, keep trickling in. Not long ago, a woman mailed to the Municipal Archives ten photographs of