artists including Tsuguharu Foujita, Maurice de Vlaminck and Georges Braque, well-known authors, editors, publishers Armand Colin and Hachette, and professors, including the many who donated their own collections of his photographs to institutions. The address book lists also contacts at publications, such as L’Illustration, Revue Hebdomadaire, Les Annales politiques et litteraires, and l’Art et des artistes. Institutional collectors of Old Paris documents, including archives, schools, and museums were also a keen clientele and brought him commercial success, with commissions from the Bibliotèque Historique de la Ville de Paris in 1906 and 1911 and the sale of various albums of photographs to the Bibliotèque Nationale Atget's photographs attracted the attention of, and were purchased by, artists such as Henri Matisse, Marcel Duchamp and Picasso in the 1920s, as well as Maurice Utrillo, Edgar Degas and André Derain, some of whose views are seen from identical vantage-points at which Atget took pictures, and were likely made with the assistance of his photographs bought from the photographer for a few cents. By the end of his career, Atget had worked methodically and concurrently on thirteen separate series of photographs including 'Landscape Documents', 'Picturesque Paris', 'Art in Old Paris', 'Environs', 'Topography of Old Paris', 'Tuileries', 'Vielle France', 'Interiors', 'Saint Cloud', 'Versailles', 'Parisian Parks', 'Sceaux' and a smaller series on costumes and religious arts, returning to subjects after they had been put aside for many years. Surrealist appropriation Man Ray, who lived on the same street as Atget in Paris, the rue Campagne-Première in Montparnasse purchased and collected almost fifty of Atget's photographs into an album embossed with the name 'Atget', "coll. Man Ray" and a date, 1926. He published several of Atget's photographs in his La Révolution surréaliste; most famously in issue number 7, of 15 June 1926, his Pendant l’éclipse made fourteen years earlier and showing a crowd gathered at the Colonne de Juillet to peer through various devices, or through their bare fingers, at the Solar eclipse of 17 April 1912. Atget however did not regard himself as a Surrealist. When Ray asked Atget if he could use his photo, Atget said: "Don't put my name on it. These are simply documents I make." Man Ray proposed that Atget's pictures of staircases, doorways, ragpickers, and especially those with window reflections and mannequins, had a Dada or Surrealist quality about them. Recognition in America After Atget's death his friend, the actor André Calmettes,