sorted his work into two categories; 2,000 records of historic Paris, and photographs of all other subjects. The former, he gave to the French government; the others he sold to the American photographer Berenice Abbott, Atget created a comprehensive photographic record of the look and feel of nineteenth-century Paris just as it was being dramatically transformed by modernization, and its buildings were being systematically demolished. When Berenice Abbott reportedly asked him if the French appreciated his art, he responded ironically, "No, only young foreigners." While Ray and Abbott claimed to have 'discovered' him around 1925, he was certainly not the unknown 'primitive' 'tramp' or 'Douanier Rousseau of the street' that they took him for; he had, since 1900, as counted by Alain Fourquier, 182 reproductions of 158 images in 29 publications and had sold, between 1898 and 1927 and beyond the postcards he published, sometimes more than 1000 pictures a year to public institutions including the Bibliothèque Nationale, Bibliothèque Historique de la Ville de Paris, Musée Carnavalet, Musée de Sculpture Comparé, École des Beaux-Arts, the Directorate of Fine Arts and others. During the Depression in the 1930s Abbott sold half of her collection to Julian Levy, who owned a gallery in New York. Since he had difficulty selling the prints, he allowed Abbott to keep them in her possession. In the late 1960s Abbott and Levy sold the collection of Atgets to The Museum of Modern Art. As MoMA bought it, the collection contained 1415 glass negatives and nearly 8,000 vintage prints from over 4,000 distinct negatives. The publication of his work in the United States after his death and the promotion of his work to English-speaking audiences was due to Berenice Abbott. She exhibited, printed and wrote about his work, and assembled a substantial archive of writings about his portfolio by herself and others. Abbott published Atget, Photographe de Paris in 1930, the first overview of his photographic oeuvre and the beginning of his international fame. She also published a book with prints she made from Atget's negatives: The World of Atget (1964). Berenice Abbott and Eugene Atget was published in 2002. As the city and architecture are two main themes in Atget's photographs, his work has been commented on and reviewed together with the work of Berenice Abbott and Amanda Bouchenoire, in the book Architecture and Cities. Three Photographic Gazes, where author Jerome Saltz analyzes historicist perspectives and