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On 10 January 1888 Le Prince was granted an American patent on a 16-lens device that could serve as both motion picture camera (which he termed "the receiver") and a projector (which he called " the deliverer"). That same day he took out a near-identical provisional patent for the same devices in Great Britain, proposing "a system of preferably 3, 4, 8, 9, 16 or more lenses". Shortly before it was due to be granted, he submitted an addendum which described in one sentence a single-lens system, but this was neither fully explained nor illustrated, unlike the several pages of description of the multi-lens system.

This addendum was submitted on October 10, 1888 and, on October 14, Le Prince used his single-lens camera to film Roundhay Garden Scene. During the period 1889-1890 he worked with the mechanic James Longley on various "deliverers" (projectors) with one, three and sixteen lenses. It appears the three-lens version was the most successful. Those close to him have testified to him exhibiting his first films in his workshop and possibly elsewhere privately, but they were never presented to anyone outside his immediate circle of family and associates.

In 1889 he took French-American dual citizenship in order to establish himself with his family in New York City and to follow up his research. However, he was never able to perform his planned public exhibition at Morris–Jumel Mansion in Manhattan, in September 1890, due to his mysterious disappearance. Consequently, Le Prince's contribution to the birth of the cinema has often been overlooked.

Father and mother

On 28 August 1841, Le Prince's father was a major of artillery in the French Army and an officer of the Légion d'honneur. He grew up spending time in the studio of his father's friend, the photography pioneer Louis Jacques Mandé Daguerre, from whom the young Le Prince received lessons relating to photography and chemistry and for whom he was the subject of a Daguerrotype, an early type of photograph. His education went on to include the study of painting in Paris and post-graduate chemistry at Leipzig University, which provided him with the academic knowledge he was to utilise in the future.

Adulthood

He moved to Leeds, West Yorkshire, UK in 1866, after being invited to join John Whitley, a friend from college, in Whitley Partners of Hunslet, a firm of brass founders making valves and components. In 1869 he married Elizabeth Whitley, John's sister and a talented artist. The couple started a school of applied art, the Leeds Technical School of Art, in 1871, and became well renowned for their work in fixing colour photography on to metal and pottery, leading to them being commissioned for portraits of Queen Victoria and the long-serving Prime Minister William Gladstone produced in this way; these were included alongside other mementos of the time in a time capsule—manufactured by Whitley Partners of Hunslet—which was placed in the foundations of Cleopatra's Needle on the embankment of the River Thames.

In 1881 Le Prince went to the United States as an agent for Whitley Partners, staying in the country along with his family once his contract had ended. He became the manager for a small group of French artists who produced large panoramas, usually of famous battles, that were exhibited in New York City, Washington DC and Chicago.

During this time he began experiments relating to the production of 'moving' photographs, designing a camera that utilised sixteen lenses, which was the first invention he patented. Although the camera was capable of 'capturing' motion, it wasn't a complete success because each lens photographed the subject from a slightly different viewpoint and thus the image would have jumped about, if he had been able to project it (which is unknown).

After his return to Leeds with his family in May 1887, Le Prince built and then patented a single-lens camera in mid-late 1888. An experimental model was developed in a workshop at 160 Woodhouse Lane, Leeds. An updated version of this model was used to shoot his motion-picture films. It was first used on 14 October 1888 to shoot what would become known as Roundhay Garden Scene, the world's first motion picture. Le Prince later used it to shoot trams and the horse-drawn and pedestrian traffic crossing Leeds Bridge. The film was shot from Hicks the Ironmongers, now the British Waterways building, a building on the south east side of the bridge, now marked with a commemorative Blue plaque.

Working with the skilled mechanic James Longley, he attempted to create a projector during 1889 and 1890. The images were to be separated, printed and mounted individually on a flexible band, moved by perforations. It seems they did attempt to create a single lens projector, but ultimately settled for a three-lens device. His family and co-workers say they saw these images projected on a screen in the Leeds workshop, but no public projection ever took place.

Suspicious disappearance

In September 1890, Le Prince was preparing to go back to the UK, to be followed by a trip to the U.S. to have the public première of his work. Before his journey, he decided to return home to France and visit friends and family. Having done so, he left Bourges on 13 September to visit his brother in Dijon. He would then take the 16 September train to Paris, but when the train arrived, Le Prince's friends discovered that he was not on board. He was never seen again by his family or friends. No luggage or corpse was found in the Dijon-Paris express, nor along the railway. The only person to see Le Prince at the Dijon station was his brother. No one saw Le Prince in the Dijon–Paris express after he was seen boarding it, nor did anyone notice any strange behaviour or aggression in the Dijon-Paris express.

The French police, Scotland Yard and the family undertook exhaustive searches but never found his body or luggage. This mysterious disappearance case was never solved. Four main theories have been proposed:

Perfect suicide

The grandson of Le Prince's brother told film historian Georges Potonniée that Le Prince wanted to commit suicide because he was on the verge of bankruptcy. He had already arranged his suicide and he managed for his own body and belongings never to be found. However, Potonniée noted that Le Prince's business was profitable and that he was proud of his inventions, and thus had no reason to commit suicide.

Patent Wars assassination, "Equity 6928"

Christopher Rawlence pursues the assassination theory, along with other theories, and discusses the Le Prince family's suspicions of Edison over patents (the Equity 6928) in his 1990 book and documentary The Missing Reel. At the time that he vanished, Le Prince was about to patent his 1889 projector in the UK and then leave Europe for his scheduled New York official exhibition. His widow assumed foul play though no concrete evidence has ever emerged and Rawlence prefers the suicide theory. In 1898, Le Prince's elder son Adolphe, who had assisted his father in many of his experiments, was called as a witness for the American Mutoscope Company in their litigation with Edison . By citing Le Prince's achievements, Mutoscope hoped to annul Edison's subsequent claims to have invented the moving-picture camera. Le Prince's widow Lizzie and Adolphe hoped that this would gain recognition for Le Prince's achievement, but when the case went against Mutoscope their hopes were dashed. Two years later Adolphe Le Prince was found dead while out duck shooting on Fire Island near New York.

Disappearance ordered by the family

In 1966, Jacques Deslandes proposed a theory in Histoire comparée du cinéma (The Comparative History of Cinema), claiming that Le Prince voluntarily disappeared due to financial reasons (already shown to be false) and "familial conveniences". Journalist Léo Sauvage quotes a note shown to him by Pierre Gras, director of the Dijon municipal library, in 1977, that claimed Le Prince died in Chicago in 1898, having moved there at the family's request because he was homosexual; but he rejects that assertion. There is no evidence to suggest that Le Prince was gay.

Fratricide, murder for money

In 1967, Jean Mitry proposed, in Histoire du cinéma, that Le Prince was killed. Mitry notes that if Le Prince truly wanted to disappear, he could have done so at any time prior to that. Thus, most likely he never even boarded the train in Dijon. He also questions that if t