Cet appareil est l'évolution du modèle de Cent vues créé en 1910. Sa sortie correspond à l'association de Mollier avec Demaria - Lapierre.

Cet exemplaire dispose d'un "Anastigmat 1:3,5 Lynx F= 40 m/m Hermagis Paris N° 159 836" monté sur un Compur au 300ème numéroté 2199903, sans retardateur ni synchro, et a été vendu par Mazo dans un bel étui cuir.

La mise au point se fait par un hélicoïde doux et précis et descend à 50 cm. Il y a possibilité de le mettre sur un pied, mais l'écrou non normalisé, a un diamètre approximatif du pas Kodak, mais à filets plus serrés.

Comme son nom l'indique, il pouvait prendre 100 vues, pour deux mètres de film cinéma contenus dans des cassettes spéciales, et le seul reproche que l'on puisse lui faire, c'est de n'avoir pas choisi le format 24 x 36 qui lui aurait peut-être assuré une diffusion moins confidentielle.

Etienne Mollier (1876-1962), a self-taught mechanic, dedicated his life to developing his inventions as well as those of other creators (as documented in "Mémoires d’un inventeur," Etienne Mollier, Editions L’Harmattan).

After inventing a focal plane shutter in 1902, which was rejected by Krauss and later taken up by Gaumont, Etienne Mollier designed a small pocket-sized camera called "Le Colibri" with a format of 4.5 x 6 cm. The aim was to provide French competition to the early roll-film Pocket Kodaks. Despite its pocket-sized design, it did not achieve the expected success. While continuing to manufacture more conventional cameras, Etienne Mollier diversified by building prototypes for other inventors, some of which went on to thrive while others were forgotten.

In 1905, he began working in the field of cinema. Among his personal inventions, we can mention:

- "L'Autodévolteur," which allowed the adaptation of light for projecting a still image from a film. This device was used by Pathé with the Pathé-Baby home projector.
- In 1924, the "Ciné-Type," the first camera to use a reduced film size by cutting a standard-sized film (35 mm) in half.
- In 1926, the "Ciné-business valise," a portable film projector.

After his company was acquired by Demaria-Lapierre in 1929, he became interested in using images for education and actively promoted the small 24 x 36 mm format. He developed devices for projecting opaque or transparent documents, cinema projectors, and even advertising ("Grapholux"). In 1937, he built the "Opascope horizontal," the first daylight retroprojector.
His photographic and cinematographic activities were connected to other famous pioneers such as Demaria, Lapierre, Mendel, Jougla, Joly, Bancarel, Lumière, Chrétien, and more. In 1910, he was awarded the Gold Medal at the Concours Lépine for "Le Cent Vues," the first mass-market camera using 35 mm cinema film.
Like the "Colibri," the small format challenged the principles of photographers of the time, and it remained relatively obscure until the outbreak of World War I in 1914. Upon its revival in 1920, thanks to Mollier's persistence, this camera was finally recognized and used, primarily in technical or educational applications rather than among the general public. For example, it played a crucial role in an automatic system for photographically recording pulse counters in French telephone exchanges.