in 1925, bought some of his photographs, and tried to interest other artists in his work. She continued to promote Atget through various articles, exhibitions and books, and sold her Atget collection to the Museum of Modern Art in 1968. In 1926, Atget's partner Valentine died, and before he saw the full-face and profile portraits that Abbott took of him in 1927, showing him “slightly stooped…tired, sad, remote, appealing”, Atget died on 4 August in 1927, in Paris. Photographic practice Atget took up photography in the late 1880s, around the time that photography was experiencing unprecedented expansion in both commercial and amateur fields. Atget photographed Paris with a large-format wooden bellows camera with a rapid rectilinear lens, an instrument that was fairly current when he took it up, but which he continued to use even when hand-held and more efficient large-format cameras became available. The optical vignetting often seen at some corners of his photographs is due to his having repositioned the lens relative to the plate on the camera—exploiting one of the features of bellows view cameras as a way to correct perspective and control perspective and keep vertical forms straight. The negatives show four small clear rebates (printing black) where clips held the glass in the plate-holder during exposure. The glass plates were 180×240mm Bande Bleue (Blue Ribbon) brand with a general purpose gelatin-silver emulsion, fairly slow, that necessitated quite long exposures, resulting in the blurring of moving subjects seen in some of his pictures. Interest in Atget's work has prompted the recent scientific analysis of Atget's negatives and prints in Parisian collections and in the Philadelphia Museum of Art. In Intérieurs Parisiens, a series of photographs he took for the Bibliotéque Nationale, he included a view of his own simple darkroom with trays for processing negatives and prints, a safelight, and printing frames. After taking a photograph, Atget would develop, wash, and fix his negative, then assign the negative to one of his filing categories with the next consecutive number that he would write the negative number in graphite on the verso of the negative and also scratch it into the emulsion. He contact-printed his negatives onto pre-sensitized, commercially available printing-out papers; albumen paper, gelatin-silver printing-out paper, or two types of matte albumen paper that he used mainly after WW1. The negative was clamped into a printing frame under glass and against a sheet of albumen photographic