Salon d’Antin of July 1916 in which Picasso showed Demoiselles d’Avignon. Thus, around or after the end of July was the most likely period in which these photographs could have been made. Klüver set out to test whether measurements of the angles and lengths of shadows in the photographs could yield a closer date. He had already identified all the buildings as being on Boulevard du Montparnasse, with most unaltered since 1916. Using maps, making photographs and by physically measuring the buildings, their ledges or window insets, he calculated the sun's positions and plotted the results to get a spread of three weeks, with the most probable date being August 12. In 1983 he confirmed those findings with the Bureau des Longitudes. Pierre Chanel, author of Album Cocteau (H. Veyrier, 1979) affirmed that the photographs were taken by Cocteau and provided a further six photographs from the series, dating the photographs to 1916 based on Cocteau's preface in a book on Modigliani: Some of the negatives Kluver discovered had edge-fogging characteristic of the Autographic Kodak Junior manufactured between 1914–1927, and sold at a value 100 francs in 1916, and Cocteau's letters mention a Kodak given to him by his mother while he was fighting at the Front. A commercial photo lab had processed all of the films together however, and used a hole-punch numbering system to identify them. That confirmed that Cocteau had shot four rolls of 6 frames each. However, as each negative had been cut from the roll, they could not be used in providing a sequence. Instead, Klüver used use measurements of the shadows to determine the times and sequences of the series. Chanel provided the identification of the rest of those depicted; Chilean painter Manuel Ortiz de Zarate (1887–1946) the military person who was Dadaist poet Henri-Pierre Roche (1979–1959), and the other woman was Russian painter Marie Wassilieff (1884–1957). Two earlier photographs Cocteau had taken of Erik Satie and Valentine Gross were shot before August 12, but on the same roll as the photographs he took in Montparnasse. Correspondence between Gross and Cocteau narrowed their date to August 10 or 11. Klüver first published his findings in an article in Art in America. Reviewer Roy R. Behrens described Klüver's reconstruction in A Day With Picasso as "nearly as complete and fascinating as the forensic analysis of a crime scene." The book won Best Critical Study, in