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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..6833f05 --- /dev/null +++ b/.gitattributes @@ -0,0 +1,3 @@ +* text=auto +*.txt text +*.md text diff --git a/28015-0.txt b/28015-0.txt new file mode 100644 index 0000000..2a2913a --- /dev/null +++ b/28015-0.txt @@ -0,0 +1,2137 @@ +The Project Gutenberg EBook of Pictorial Photography in America 1920 by +Pictorial Photographers of America + + + +This eBook is for the use of anyone anywhere at no cost and with almost no +restrictions whatsoever. You may copy it, give it away or re-use it under +the terms of the Project Gutenberg License included with this eBook or +online at http://www.gutenberg.org/license + + + +Title: Pictorial Photography in America 1920 + +Author: Pictorial Photographers of America + +Release Date: February 7, 2008 [Ebook #28015] + +Language: English + +Character set encoding: UTF-8 + + +***START OF THE PROJECT GUTENBERG EBOOK PICTORIAL PHOTOGRAPHY IN AMERICA 1920*** + + + + + +Pictorial Photography in America +1920 + + + + + + + + + + + + + +Pictorial Photographers of America + +Tennant and Ward, New York +Publisher’s Agents + +1920 + + + + + +_Editorial Board_ +CLARENCE H. WHITE +W. H. PORTERFIELD +JOHN PAUL EDWARDS +DWIGHT A. DAVIS + +_Committee on Publication_ +HENRY HOYT MOORE +WALTER L. EHRICH +RAY GREENLEAF +JOHN A. TENNANT + + + + + +ILLUSTRATIONS + + +APRIL FLURRIES +_By _W. A. ALCOCK, _Brooklyn, N.Y._ +PUCKACHIPE—SEAGULL +_By _ELIZABETH R. ALLEN, _Moorestown, N.J._ +MY LITTLE GRAY HOME IN THE WEST +_By _GEORGE M. ALLEN, _Portland, Ore._ +THE BUDDHA +_By _FRED R. ARCHER, _Los Angeles, Cal._ +ISLANDERS +_By _LAURA ADAMS ARMER, _Berkeley, Cal._ +ANN SPENCER +_By _JESSIE TARBOX BEALS, _New York_ +EARLY MORNING +_By _DAVID W. BONNAR, _Buffalo, N. Y._ +A BIT OF HOME LIFE +_By _WILL D. BRODHUN, _Wilkes-Barre, Pa._ +A MOMENT’S REST +_By _GERTRUDE L. BROWN, _Evanston, Ill._ +DANCERS +_By _JOHN C. BURKHARDT, _Portland, Ore._ +DOUARNENEZ, FINISTÈRE +_By _DR. A. D. CHAFFEE, _New York_ +RHEIMS +_By _ARTHUR D. CHAPMAN, _New York_ +MICHIO ITORO +_By _ALVIN LANGDON COLBURN, _New York_ +THE STREET +_By _ALFRED COHN, _Brooklyn, N. Y._ +ST. JOHN’S CATHEDRAL +_By _JAMES COPELLA, _New York_ +MR. MATSUMOTO KOSHIRO AS “TCHIKAWA GOYEMON” (THE ROBIN HOOD OF JAPAN) +_By _C. P. CROWTHER, _Kobe, Japan_ +SPRING O’ THE YEAR +_By _HELEN W. DREW, _Montclair, N. J._ +THE LIFTING MIST +_By _JERRY D. DREW, _Montclair, N. J._ +THE DOORWAY +_By _DWIGHT A. DAVIS, _Worcester, Mass._ +HIGH BRIDGE +_By _EDWARD R. DICKSON, _New York City_ +MRS. VERNON CASTLE +_By _DE MEYER, _New York_ +BOATS +_By _E. G. DUNNING, _New York_ +COMING TO SCHOOL +_By _VERNON EVERETT DUROC, _Brooklyn, N. Y._ +STUDY +_By _WILLIAM B. DYER, _Portland, Ore._ +DESIGN FOR A TAPESTRY +_By _JOHN PAUL EDWARDS, _Sacramento, Cal._ +STUDY +_By _ADELAIDE WALLACH EHRICH, _New York_ +LANDSCAPE +_By _ELEANOR C. ERVING, _Albany, N. Y._ +SUGARLOAF MOUNTAIN +_By _W. H. EVANS, _Wilkes-Barre, Pa._ +SIDEWALK TREASURES +_By _O. E. FISCHER, M. D., _Detroit, Mich._ +THE GIRL FROM DELHI +_By _LOUIS FLECKENSTEIN, _Los Angeles, Cal._ +FIFTY YEARS +_By _FREDERICK FRITTITA, _Baltimore, Md._ +WATER SCENE +_By _JOHN WALLACE GILLIES, _New York_ +THE MARBLE CUTTERS +_By _LAURA GILPIN, _Colorado Springs, Col._ +WALPI +_By _FORMAN HANNA, _Globe, Ariz._ +THE SHORE LINE +_By _G. H. S. HARDING, _Berkeley, Cal._ +APRIL SNOW +_By _EDWARD HEIM, _New York_ +DAY DREAMS +_By _G. W. HARTING, _New York_ +IN THE ARBOR +_By _ANTOINETTE B. HERVEY, _New York_ +MISS H. +_By _GEORGE HENRY HIGH, _Chicago, Ill._ +SUNSHINE +_By _L. WILLIS HOOPS, _New York_ +THE WHITE HAT +_By _G. B. HOLLISTER, _Corning, N. Y._ +DESIGN +_By _BERNARD S. HORNE, _Princeton, N. J._ +CITY STREET +_By _BLANCHE C. HUNGERFORD (MRS. LATIMER), _High Bridge, N. J._ +COLUMBIA UNIVERSITY +_By _DR. CHARLES H. JAEGER, _New York_ +PORTRAIT OF A CHILD +_By _DORIS U. JAEGER, _New York_ +THE VALE OF THE SHADOW +_By _ARTHUR F. KALES, _Los Angeles, Cal._ +PORTRAIT +_By _GERTRUDE KASEBIER, _New York_ +OLD HILL TOWN +_By _WILLIAM KRIEBEL, _Philadelphia, Pa._ +SOLITUDE +_By _W. R. LATIMER, _High Bridge, N. J._ +ELLEN +_By _SOPHIE L. LAUFFER, _Brooklyn, N. Y._ +MASTER JOHN SPEER +_By _GEORGE P. LESTER, _Bloomfield, N. J._ +MOUNT ADAMS OF THE NORTHERN LAKES +_By _FRANCIS ORVILLE LIBBY, _Portland, Me._ +MISTS TO-DAY—CLEAR ANON +_By _EDWIN LOKER, _St. Louis, Mo._ +TREES AND CLOUDS +_By _DR. WILLIAM F. MAKK, _Los Angeles, Cal._ +PLAYER ON THE YIT-KIM +_By _MARGRETHE MATHER, _Los Angeles, Cal._ +ON LAKE PATZCUARO, MEXICO +_By _OSCAR MAURER, _Los Angeles, Cal._ +ALONG THE WHARF +_By _HOLMES I. METTEE, _Baltimore, Md._ +THE MARSH—EVENING +_By _J. GEORGE MIDGLEY, _Salt Lake City, Utah_ +THE DANCER +_By _H. W. MINNS, _Akron, Ohio_ +SNOW PATTERN +_By _H. REMICK NEESON, _Baltimore, Md._ +THE FARMER +_By _HENRY HOYT MOORE, _Brooklyn, N. Y._ +STEAM UP +_By _J. W. NEWTON, _Columbus, Ohio_ +EVE REPENTENT +_By _IMOGEN CUNNINGHAM PARTRIDGE, _San Francisco, Cal._ +SWANS +_By _G. HOUSON PAYNE, JR., _Baltimore, Md._ +MOTHER AND CHILD +_By _MARGARET RHODES PEATTIE, _Chicago, Ill._ +PLACING A PICTURE +_By _LEO POKRAS, _Brooklyn, N. Y._ +TWILIGHT’S MYSTERY +_By _W. H. PORTERFIELD, _Buffalo, N. Y._ +THE MORNING BOAT +_By _E. M. PRATT, _Tracy, Cal._ +SWEET SIXTEEN +_By _MRS. WILLIAM H. RAU, _Philadelphia, Pa._ +MOTHER +_By _JANE REECE, _Dayton, Ohio_ +THE HUSBANDMAN +_By _O. C. REITER, _Pittsburgh, Pa._ +THE LAST OF HIS RACE +_By _L. M. A. ROY, _La Crosse, Wis._ +PENNSYLVANIA STATION, NEW YORK +_By _DR. D. J. RUZICKA, _New York_ +A GLIMPSE OF PLEASANT VALLEY +_By _J. G. SARVENT, _Kansas City, Mo._ +THE VALLEY BEYOND OUR HILL +_By _OTTO C. SHULTE, _San Franciso, Cal._ +ELYSIAN PARK VISTA +_By _DAVID J. SHEAHAN, _Los Angeles, Cal._ +IN THE FOOTHILLS OF THE WASATCH +_By _THOMAS O. SHECKELL, _Salt Lake City, Utah_ +DOORWAY OF ST. PATRICK’S CATHEDRAL +_By _WILLIAM GORDON SHIELDS, _New York_ +PORTRAIT +_By _MRS. STERLING SMITH, _San Diego, Cal._ +THE COLUMNS +_By _E. RADIKER STANDCLIFF, _Elmira, N. Y._ +TOWARD TAMALPAIS +_By _W. H. STEPHENS, _San Franciso, Cal._ +MAE MURRAY +_By _FORD STERLING, _Los Angeles, Cal._ +MARGARET +_By _JOHN H. STOCKSDALE, _Baltimore, Md._ +THE CANAL +_By _M. SUGIMOTO, _New York_ +STILL LIFE +_By _ELIZABETH TALCOTT, _Elmwood, Conn._ +THE HOUSE O’ DREAMS +_By _WILLIAM H. THOMPSON, _Hartford, Conn._ +WITH FACE SET TOWARD THE WESTERN FRONT +_By _LIEUT. EDWARD LAROCQUE TINKER, U. S. N., _New York_ +SHIFTING SAND +_By _CHARLES VANDERVELDE, _Grand Rapids, Mich._ +RUTH ST. DENIS +_By _THE LATE LIEUT. LUKE R. VICKERS, _Church Creek, Md._ +THE NEW YEAR’S EDITION +_By _WILL H. WALKER, _Portland, Ore._ +GIRL WITH THE FAN +_By _MABEL WATSON, _Pasadena, Cal._ +ELEANOR +_By _DELIGHT WESTON, _Blue Hill, Me._ +EPILOGUE +_By _EDWARD WESTON, _Glendale, Cal._ +MRS. M. +_By _LEONARD WESTPHALEN, _Chicago, Ill._ +THE FAMILY +_By _CLARENCE H. WHITE, _New York_ +THE FLOWER GARDEN +_By _CORNELIA F. WHITE, _New York_ +THROUGH THE WINDOW +_By _HAZEL JANE WIEGNER, _Philadelphia, Pa._ +MARIONETTE +_By _EDITH R. WILSON, _Mount Vernon, N. Y._ +JEAN +_By _MILDRED R. WILSON, _Orange, N. J._ +CITY BEYOND +_By _N. S. WOOLDRIDGE, _Pittsburgh, Pa._ + + + + + +CONTENTS + + +FOREWORD +The Pictorial Photographers of America +Pictorial Photography in New Jersey +Pictorial Photograpny in Maine +Pictorial Photography in Massachusetts +Pictorial Photograpky in Maryland +Middle West Activities and the Pittsburgh Salon +Pictorial Photography in the Far West +Illustrations +The following is a partial list of photographic organizations in America +which are encouraging pictorial Photography + + + + + +FOREWORD + + +_By _CLARENCE H. WHITE +_President of the Pictorial Photographers of America_ + +To many people photography is merely a mechanical process. To an +increasing number, however, photography is being seen as an art, by which +personal impressions of nature or human life may be expressed as truly as +by the brush. These workers in photography see in it a medium by which +the action of light upon sensitive surfaces may be so controlled as really +to interpret scenes and persons in the individualistic spirit of a true +art. From every part of our country come evidences of the growing +appreciation of photography as a pictorial medium. Exhibitions in many +museums which have hitherto been indifferent to pictures made with the +lens have opened the eyes of the public to the possibilities of the +camera. Clubs of photographic workers in various cities have maintained +or fostered the movement. The lure of the moving picture has stimulated +the interest of countless multitudes in photography, and the occasional +presentation of fine pictorial work in this direction has given a prophecy +of better things to come. The time, therefore, seems ripe to present in +this book a collection of the work of American pictorial photographers in +all sections of the country. Many of these workers are members of the +organization known as the Pictorial Photographers of America; but the +appeal for photographic material for this book has been confined to no one +society or club, but has been widely inclusive of associations and +individuals, and it is believed that the work here presented is fairly +representative of the best American effort along these lines at the +present time. + +It is the hope and intention of the organization that publishes this book +to stimulate interest in this branch of pictorial art. This is believed +to be the first attempt in America to give a comprehensive presentation of +the status of pictorial photography as illustrated by the product of many +of its best workers. As such it is commended to the consideration of +photographers both professional and amateur, of artists and art lovers, +and of the public generally. + + + + + +THE PICTORIAL PHOTOGRAPHERS OF AMERICA + + + The Association’s Work and Aim + + +_By_ EDWARD R. DICKSON + +The Pictorial Photographers of America is an association having in mind +solely the development of the art of photography from a standpoint of +educational value. Its position is unique, since the worker is afforded +not only an opportunity to exhibit his pictures in various museums and art +galleries, but is made to feel that maintaining photographic standards and +studying the arts for breadth of view are of chief importance. + +Some of the advantages which photography offers are worth restating. It +helps to draw one closer to nature and to seek fresh air. Through the +exercise and cultivation of choice, it teaches how to decorate the home, +to dress with taste, and to keep an alert eye and mind on the passing +events of the world. Because the Association knows that photography is +able to teach these things, it sought the aid of art museums and public +libraries to conduct photographic exhibitions so that children and adults +may not only see fine examples of the work of the camera in the hands of +artists, but be led thereby to appreciate more fully the value of +photography as an aid to interesting composition and a quickening of the +eye in realizing the beauty of sunlight and shadows which flit around us +much unrecognized at times. Succeeding in gaining the sympathetic +co-operation of seventeen museums, in the winter of 1917-18 the +Association collected, from many of the most important workers in this +country, more than two hundred prints, which were divided into two groups +and exhibited as follows: + +Minneapolis Institute of Arts, Milwaukee Art Institute, Art Institute of +Chicago, City Art Museum (St. Louis), Toledo Museum of Art, Detroit Museum +of Art, Cleveland Art Museum, Cincinnati Museum of Art, Morristown +Library, Newark Museum Association, New Britain (Conn.) Institute, +Worcester Art Museum, Syracuse Museum of Fine Arts, Guild of Allied Arts +(Buffalo), Grand Rapids Art Association, University of Oklahoma, New +Orleans Art Association. + +There was also held in New York City an exhibition of the work of the New +England, New Jersey and Connecticut photographers, and among the immediate +activities of the Association will be the holding in New York of +exhibitions of the work of members of the Pacific Coast and other places, +so that there may be established a fuller understanding of the points of +view among the various pictorialists throughout the country. + +The Association hopes to establish, in designated cities, pictorial +centers where photographs may always be seen, and centers for intercourse +and for exchange of views among workers. As a result of its plans, there +will soon be opened a branch of the Pictorial Photographers of America, +which will be called the Pacific Coast Chapter, embracing workers in the +following States: Oregon, California, Wyoming, Nevada, and Utah. Meetings +will be held monthly, and lectures and exhibitions arranged in +co-operation with the parent body in New York. As soon as this chapter +has begun active work, another will be opened in the New England and +Middle West States, modeled after the California chapter. In this way the +Association hopes to be of national service in the advancement of +photography on educational lines, and it asks the sympathy of the public +as well as that of every worker of the camera in America. + +Among other of its plans are: honoring those who have given valued service +to photography; the formation of a library; the establishment of a home +headquarters; the distribution of knowledge tending toward the making of +better catalogues; the art of hanging pictures so that their individual +beauty may be enhanced; the application of the motion picture to pictorial +expression; the recommendation of books on the development of the +individual, as well as others relating to the study of contemporary arts, +so that, through an acquaintance with all these, there may be brought to +the student a new and an individual approach in his photographic work. + +The Association holds monthly meetings at the National Arts Club, 119 East +19th Street, New York, where exhibitions and lectures are given. +Admission is free. The Association now publishes its first annual +“Pictorial Photography in America,” which comprises the work of important +pictorialists in this country, whether or not members of the Association. +And in following out so broad a plan the Association has demonstrated to +its friends that its main interests lie in the presentation of fine work, +little caring who the individual may be. As soon as the world has resumed +its normal stride, the Association will extend invitations for an +exhibition of foreign work to be shown in America. In turn, the +Association will be glad to send an exhibition of American work abroad to +those who desire to see, more intimately than we are able to do by the +process of reproduction, what American pictorialists are doing. In +another volume we hope to present the work of foreign pictorialists. + +Plans are now being made whereby the original prints selected for this +Annual will be exhibited, under the direction of the American Federation +of Arts, in the galleries of many art museums throughout the country. + +Herewith we list the names of the present officers and executive members +of the Association, as well as those who are members of the Council having +to do with pictorial activities in the different States. Membership in +the Association is open to men and women of good character and ambitious +intentions, including those who, though not photographers, are interested +in the development of the art. + +CLARENCE H. WHITE, _President_ +DR. A. D. CHAFFEE, _Vice-President_ +GERTRUDE KASEBIER, _Hon. Vice-President_ +PROF. CHARLES F. CHANDLER, _Hon. Vice-President_ +DR. CHARLES H. JAEGER, _Treasurer._ +EDWARD R. DICKSON, _Recording Secretary_ +MARGARET WATKINS, _Corresponding Secretary_ + +EXECUTIVE COMMITTEE + +WALTER L. EHRICH +RAY GREENLEAF +BERNARD S. HORNE +CHARLES J. MARTIN +HENRY HOYT MOORE +DR. D. J. RUZICKA +W. G. SHIELDS +ADELE C. SHREVE + +COUNCIL + +_Arizona_ +FORMAN G. HANNA + +_California_ +JOHN PAUL EDWARDS +LOUIS FLECKENSTEIN + +_Connecticut_ +GEORGE S. HAWLEY + +_Florida_ +DR. ADDISON O’NEILL + +_Illinois_ +EUGENE HUTCHINSON +MARGARET RHODES PEATTIE + +_Indiana_ +ALBERT ERNEST SCHAAF + +_Iowa_ +CHARLES B. KEELER + +_Maine_ +SYLVAN B. PHILLIPS + +_Massachusetts_ +DWIGHT A. DAVIS +WALTER G. WOLFE + +_Michigan_ +HERMAN GABRIEL +ELEANOR W. WILLARD + +_Missouri_ +EDWIN LOKER + +_New Jersey_ +JOSEPH R. ASHMORE + +_New York State_ +SPENCER KELLOGG, JR. +GEORGE B. HOLLISTER + +_New York City_ +EDWARD R. DICKSON +WALTER L. EHRICH +ANTOINETTE B. HERVEY +DR. CHARLES H. JAEGER +MERVIN W. PALMER +CLARENCE H. WHITE +EDITH R. WILSON +THOMAS COKE WATKINS + +_Ohio_ +JANE REECE +AUSTIN R. BREED +CARLE SEMON + +_Oregon_ +CLEMENTINE HIRSCH + +_Pennsylvania_ +WILL D. BRODHUN +ELIAS GOLDENSKY +MAURICE L. FLEISHER +MRS. M. W. WILTSE + +_Utah_ +THOMAS O. SHECKELL + +_Wisconsin_ +B. F. LANGLAND + +_England_ +ALVIN LANGDON COLBURN + +_Canada_ +CHARLES H. BARNARD + + + + + + * + + + + + +PICTORIAL PHOTOGRAPHY IN NEW JERSEY + + +_By_ LOUIS F. BUCHER _of the Newark Camera Club, Inc._ + +In New Jersey, as well as in other States, pictorial photography was at +its lowest ebb during the period of the war. The official ban on the use +of the camera in places that presented just the sort of material which +stirs the enthusiasm of the amateur photographer tended so to dampen his +ardor that his trusty “box” was left at home to accumulate dust. + +But not for long, for a New Jersey cameraist, with the vision of a seer, +saw an opportunity to use his beloved instrument in a far-reaching +service. His enthusiasm was soon imparted to fellow members of the Newark +Camera Club, and there quickly followed the birth of the Red Triangle +Camera Club, affiliated with the local Y. M. C. A. Its object was pithily +expressed in its slogan, “A picture of home to every soldier overseas”—at +least to every Newark soldier in service. + +While the members of the Camera Club were prompted solely by a desire to +serve, it was not long before there came responses in the form of letters +of gratitude from the soldier boys that heartened them to renewed +activity. The written messages frequently attested that the pictures of +the home folks sent by the Camera Club members were the only ones that had +reached foreign shores. + +As a stepping stone to something even greater, we have organized the +Associated Camera Clubs of America, with a view to linking the activities +of camera clubs and societies, the end to be sought being the creating of +greater interest in exhibitions, and interchanges of lantern slides and +prints. The prime object, of course, is to promote and cultivate the +art-sense through the science of photography. + +If a camera club does not exist in the community in which the reader +resides, lend your services to the formation of one. The members of the +Associated Camera Clubs of America stand ready to do their utmost to +assist an infant organization on its way to success. + + + + + + * + + + + + +PICTORIAL PHOTOGRAPNY IN MAINE + + +_By _FRANCIS O. LIBBY + +Maine, the State of forest and lakes, does not hold the position in +pictorial photography warranted by her natural beauties. It would not be +unreasonable, considering the advantages of the land and the opportunities +offered by the varying atmospheric conditions, particularly along the +coast, to expect that there would be many pictorialists of high rank in +the State; but it is a lamentable fact that there are not. After all, the +making of pictures with a camera is to a large extent a matter of +education and training—not so much in the way of overcoming the technical +difficulties of the medium, though of course this must be learned too, but +in such vital matters as composition, choice of subject matter, unity, +simplicity, and the like. Then, given the vision, the pictorial +photographer is born. + +This preliminary training and the art education of the beginner can best +be obtained in clubs; and in Maine the two centers of photographic +activity are Portland and Bangor, in both of which cities are active +camera clubs, each affiliated with the local art society and each holding +annual exhibitions in the spring of the year, at which workers from all +parts of the country show their pictures. During the war these clubs have +been doing little more than marking time, but now that at last days of +peace have come again, we feel that the future holds prospects of great +promise to us. For one reason or another the men whose names were known +ten or fifteen years ago seem to have dropped out and their places are +being filled by new blood, men with high ideals and aspirations, who are +not content merely with reproducing, by means of their cameras, pretty +scenes and places, but who believe that photography is capable of much +more—of showing not only the physical facts, but the very spirit of nature +herself—a true impressionism; and it is the task of these men to place +Maine in the position she should hold in pictorial work. + +During the past year much has been accomplished by a very few men, and +through these men Maine has been represented at all the largest and best +salons, not only in this country and Canada, but also in England at the +London Salon. Prints by the multiple gum process are favored by some of +the Portland workers, but the use of this process as a medium of +expression is limited to a few men, and the most of the large prints +produced are enlargements on bromide paper, as is probably the case +generally throughout the country. This is perhaps somewhat to be +regretted, for although bromide paper is capable of producing very fine +prints when the subject is exactly adapted to it, still it does not permit +of the personal control afforded by some of the other processes, and of +course this is a handicap to the pictorial worker. + +As before stated, the pictorial output of the State during the past year +has been limited to the work of a few men, but this condition is not going +to continue for long. The clubs and societies are bending every effort +toward the encouragement of the new workers, and already some very +creditable work has been produced, and the coming year should see a worthy +showing from Maine at all the salons. + + + + + + * + + + + + +PICTORIAL PHOTOGRAPHY IN MASSACHUSETTS + + +_By_ DWIGHT A. DAVIS + +In Massachusetts, as in other parts of the country, war-time activities +interfered to a noticeable extent with the cause of pictorial photography. +The interference was perhaps less marked than in some other sections, +where more of the prominent workers were actively engaged at the front. +The difficulty in securing materials, amounting now and then to utter +impossibility, was, however, the same, and there was the same falling off +in enthusiasm, due to the demands on one’s heart and pocketbook from +across the sea. In this crisis organized effort might have been +especially helpful, but it is just in this respect that Massachusetts has +always been weak. Her workers have been widely scattered from the +Berkshires to the shore, and such local clubs as have here and there +existed have not been deeply or permanently influential. In Boston there +was the once famous Photo Clan, with Garo, Eicheim, and Schuman as its +leading spirits, but that has long since ceased to be an active force. On +the other hand, the Boston Young Men’s Christian Union Camera Club and the +Boston Society of Arts and Crafts have lately come into new prominence +through their efforts to stimulate interest and afford frequent +opportunities to view exhibitions of the best in photographic art. The +former held, during the past winter, excellent one-man exhibits, in which +work of such prominent pictorialists as John Paul Edwards, Dr. Rupert +Lovejoy, Dwight A. Davis, Francis O. Libby, John H. Garo, Edward H. +Weston, and Arthur Hammond was shown. + +But, in spite of these various influences, the workers of Massachusetts +for the most part pursue solitary ways, with little enough—all too little, +some would say—of the advantages that come from intimate association. +There is, however, another side of the shield. It is at least +questionable whether such strongly marked personality as appears in the +work of Seeley, Garo, Davis, Hammond, Eicheim, Buttler, the Allen sisters, +and a dozen others who might be mentioned, would be possible if the +workers of this section were under the closely dominating influence of a +centralized group, itself dominated by a single individual of exceptional +powers. Such a state of affairs has sometimes been observed in other +parts of the country, and the results have not always been advantageous to +the interests of the individual workers. Under such conditions as exist +in Massachusetts, the Pictorial Photographers of America has come as a +boon, since it affords just the kind of stimulus most needed. +Massachusetts has been swift to avail herself of the advantages thus +offered. At the recent exhibition of the work of New England and New +Jersey pictorialists, held in New York, Massachusetts was represented by +16 out of a total of 27 exhibitors, with 64 out of a total of 107 prints—a +showing decidedly creditable to the old Bay State. + + + + + + * + + + + + +PICTORIAL PHOTOGRAPKY IN MARYLAND + + +_By_ H. R. NEESON + +The progress of pictorial photography in Maryland is to be ascertained by +an examination of the progress of the amateur in Baltimore, for aside from +the local exhibitions we have no record of anything done in the State. +While this condition is regrettable and hard to comprehend in an +art-loving center of such population, there is none the less an +improvement over former times. + +The shops and the “finishers” have prospered, while the club—the old +organization in which the reason of being has been lost in a maze of +constitutional amendments, by-laws, and such like red tape—has declined in +influence and popularity. In the world at large, pictorial photography +has grown amazingly. This has led to a more pronounced line of +demarkation between the dilettante and the intelligent worker of +appreciation, with the balance of influence inclining strongly to the +latter. In Maryland there has been an upheaval, a photographic +revolution, so to speak, and out of the wreckage has sprung the +Photographic Guild of Baltimore, which has done more to put Maryland +photographically to the fore in its five years of activity than had been +done in all the years previous. It was due almost entirely to Guilders +that Maryland stood fourth at the recent Pittsburgh Salon. Two +prerequisites to membership in the Guild are ability in keeping with the +highest standards and _productiveness_, as a consequence of which it has +only six members, who may be said to comprise the representative +pictorialists of the State. + +For the past four years there has been an annual exhibition under the +auspices of the Guild at the Peabody Gallery, each well attended by the +art-loving public, with marked enthusiasm for what is being done with the +process. A feature of the Guild exhibitions, beginning with the 1919 +portfolio recently hung, is the invited work of out-of-town amateurs, +which is giving Baltimoreans a wider and better knowledge. While this +exhibition has not assumed salon proportions, it will in a measure bring +the salons to Baltimore if help in the way of prints from outside is +forthcoming, as we hope and believe will be the case. + +On the whole, it may be truly said that the flexibility and responsiveness +of the photographic process have been sufficiently demonstrated to fix it +firmly among the art mediums. + + + + + + * + + + + + +MIDDLE WEST ACTIVITIES AND THE PITTSBURGH SALON + + +_By_ W. H. PORTERFIELD + +Any article describing the activity in pictorial photography in the United +States since 1914 must include a history of the work of the Pittsburgh +Salon, and that has been very thoroughly covered in magazine articles +immediately succeeding the close of each salon. + +At the outbreak of the war, the thoughts and energies of many of our +foremost workers were directed toward other fields, and those who still +practiced the work for the art side of it did so under difficulties. + +The governmental restrictions placed on the use of the camera in ports and +about all public buildings, and in many sections of nearly every city, +naturally had a tendency to discourage workers, but in spite of all the +obstacles in the path of the art photographer the years have not been +barren. + +Some of the older societies have all but ceased to exist, if one can judge +by their contributions to the salons. + +Each year has witnessed new names among the exhibitors at Pittsburgh, and +to an already formidable list there are annually added more than enough +names to fill the vacancies caused by the dropping of former members who +have failed to retain their membership due to non-compliance with the +rules which automatically eliminate inactives. + +After six years of unprecedented success it may safely be said that the +Pittsburgh Salon has become a permanent fixture in the world of +photographic art and has unquestionably rendered a most valuable service +in keeping alive the exhibition spirit. + +Mention should also be made of the good work done by the Chicago +Photo-Fellows, the Buffalo Camera Club, the Photographic Guild of +Baltimore, and the Photographic Section of the Pittsburgh Academy of Fine +Arts, each one composed of enthusiasts, who loyally support the American +and London Salons as well as being active workers in the Pictorial +Photographers of America. + +These societies have been continually engaged in the promotion of +inter-club exhibitions as well as in encouraging the circulation of work +of individual members. + +As an educational feature the club interchange has no equal. + + + + + + * + + + + + +PICTORIAL PHOTOGRAPHY IN THE FAR WEST + + +_By_ JOHN PAUL EDWARDS + +The progress of pictorial photography in the Far West can be aptly +compared with the settlement and growth of this big new country itself. +We have had our pictorial pioneers, as it were—our hard-working, +enthusiastic, rather crude first settlers in the art; now we have come to +the stage of permanent abode, with traditions, albeit young, great +enthusiasm, definite ideals, and ambitious hopes for the future. + +The one great asset in the upbuilding of the West has been boundless +enthusiasm. This characteristic trait dominates the very soul of the +Western pictorialist. In it lies his greatest hope for the future +progress in his chosen field of art. + +It is this live energy and enthusiasm which brings him out afield even +before break of day, which leads him over hill and dale, mountain and +valley, in his insatiable quest for the pictorial. Miles are as nothing; +hunger stays him not; nor rests he at night until his potential treasures +are developed and their beauties appraised. + +The purpose of this preliminary psychologic analysis is to explain the +militant attitude of the Western pictorialist in his pursuit of the art of +the camera. His extremely prolific production, manifesting itself in +liberal contributions to the salons and exhibitions of the world +photographic, rises not from vanity but from super-enthusiasm—from the +great joy he derives in making his picture, from the creation of the +beautiful, and from the playing of the game as it is best played. + +Without losing a whit of the steady enthusiasm which has brought it to its +present encouraging stage, Western pictorial photography is, nevertheless, +settling down to a more staid and intellectual plane of progress. + +The broad average of quality of work is steadily improving. Better +standards have been established. The workers are “finding” themselves. +Enthusiasm is being beneficently tempered by increased technical skill, +and more particularly by the intellectual development of the art side of +the work. + +And so the future of pictorial photography in the Far West looks +exceedingly bright. The salon workers of the past five or ten years are +with few exceptions as keen as ever for their art, and a very talented and +numerous lot of new workers are coming to the front. + +The center, in fact the stronghold, of Western pictorial photography is +undoubtedly California. All forms of art seem to flourish mightily in +this genial clime of wondrous, colorful beauty. A land of smiling +sunshine, of lofty snow-capped peaks, of weird trees, of golden +poppy-covered slopes, of sparkling seas—it is small wonder that the young +art of the camera should thrive so vigorously there. + +There are several active foci of pictorial interest in the State. The +most active and most promising of these centers is the Camera +Pictorialists of Los Angeles. This club, as we may call it, has a +membership of fourteen under the directorship of Louis Fleckenstein. +Every member is an active worker of ability and promise. This group has +made an imposing representation in nearly every photographic salon of +recent years. + +They are sponsors for the International Photographic Salon held annually +in the municipal art gallery of Los Angeles. This exhibition, with two +years of success behind it, must be rated as the premier event of its kind +in the West, and, in the quality of its offerings, second to none on the +continent. + +While this is the only prominent group in California organized for +strictly pictorial work, there are a great many independent workers widely +scattered about the State. San Francisco and the bay region can claim a +score or more whose achievements have been notable. + +Oregon has many enthusiastic workers and a strong club in Portland. +Washington likewise has many camera artists of talent. Both these States +have an untold wealth of pictorial material and many keen pictorialists. +All they lack is an active leader or two to bring them to the rank they +should hold in the photographic world. + +In Salt Lake City we find an active, enthusiastic and very promising group +of workers under the able leadership of Thomas O. Sheckell. Through the +medium of an extensive series of one-man exhibitions they have brought +before the art-loving public of their city the best work of a large number +of our leading pictorialists. + +One of the most interesting and auspicious developments of the year has +been the recent formation of the Pacific Coast Chapter of the Pictorial +Photographers of America. + +For very logical reasons the chief activities of the parent body of the +Pictorial Photographers of America have been centered in the City of New +York. An earnest desire to enjoy like activities right at home while +still sharing the privileges of direct affiliation with our fellows of the +Pictorial Photographers of America led to the formation of the Pacific +Coast Chapter. The idea is still young, but the success of the chapter is +definitely assured by the strong character of the membership already +secured. It is the purpose of the chapter to uphold strongly the purposes +and ideals of its parent body and to work continuously for the advancement +of pictorial photography in the West. A number of interesting exhibitions +are scheduled for the near future, the most important of these being the +“All Western” exhibition, which is planned for the fall and winter of +1919-20. The aim is to include the best pictorial photography of the +West. It will be shown first in New York by the Pictorial Photographers +of America and then routed through some of the more representative clubs +of the East and Middle West. + + + + + + +ILLUSTRATIONS + + + [APRIL FLURRIES, By W. A. Alcock, Brooklyn, N.Y.] + + APRIL FLURRIES + _By _W. A. ALCOCK, _Brooklyn, N.Y._ + + + [PUCKACHIPE—SEAGULL, By Elizabeth R. Allen, Moorestown, N.J.] + + PUCKACHIPE—SEAGULL + _By _ELIZABETH R. ALLEN, _Moorestown, N.J._ + + + [MY LITTLE GRAY HOME IN THE WEST, By George M. Allen, Portland, Ore.] + + MY LITTLE GRAY HOME IN THE WEST + _By _GEORGE M. ALLEN, _Portland, Ore._ + + + [THE BUDDHA, By Fred R. Archer, Los Angeles, Cal.] + + THE BUDDHA + _By _FRED R. ARCHER, _Los Angeles, Cal._ + + + [ISLANDERS, By Laura Adams Armer, Berkeley, Cal.] + + ISLANDERS + _By _LAURA ADAMS ARMER, _Berkeley, Cal._ + + + [ANN SPENCER, By Jessie Tarbox Beals, New York] + + ANN SPENCER + _By _JESSIE TARBOX BEALS, _New York_ + + + [EARLY MORNING, By David W. Bonnar, Buffalo, N. Y.] + + EARLY MORNING + _By _DAVID W. BONNAR, _Buffalo, N. Y._ + + + [A BIT OF HOME LIFE, By Will D. Brodhun, Wilkes-Barre, Pa.] + + A BIT OF HOME LIFE + _By _WILL D. BRODHUN, _Wilkes-Barre, Pa._ + + + [A MOMENT’S REST, By Gertrude L. Brown, Evanston, Ill.] + + A MOMENT’S REST + _By _GERTRUDE L. BROWN, _Evanston, Ill._ + + + [DANCERS, By John C. Burkhardt, Portland, Ore.] + + DANCERS + _By _JOHN C. BURKHARDT, _Portland, Ore._ + + + [DOUARNENEZ, FINISTÈRE, By Dr. A. D. Chaffee, New York] + + DOUARNENEZ, FINISTÈRE + _By _DR. A. D. CHAFFEE, _New York_ + + + [RHEIMS, By Arthur D. Chapman, New York] + + RHEIMS + _By _ARTHUR D. CHAPMAN, _New York_ + + + [MICHIO ITORO, By Alvin Langdon Colburn, New York] + + MICHIO ITORO + _By _ALVIN LANGDON COLBURN, _New York_ + + + [THE STREET, By Alfred Cohn, Brooklyn, N. Y.] + + THE STREET + _By _ALFRED COHN, _Brooklyn, N. Y._ + + + [ST. JOHN’S CATHEDRAL, By James Copella, New York] + + ST. JOHN’S CATHEDRAL + _By _JAMES COPELLA, _New York_ + + +[MR. MATSUMOTO KOSHIRO AS “TCHIKAWA GOYEMON” (THE ROBIN HOOD OF JAPAN), By + C. P. Crowther, Kobe, Japan] + + MR. MATSUMOTO KOSHIRO AS “TCHIKAWA GOYEMON” (THE ROBIN HOOD OF JAPAN) + _By _C. P. CROWTHER, _Kobe, Japan_ + + + [SPRING O’ THE YEAR, By Helen W. Drew, Montclair, N. J.] + + SPRING O’ THE YEAR + _By _HELEN W. DREW, _Montclair, N. J._ + + + [THE LIFTING MIST, By Jerry D. Drew, Montclair, N. J.] + + THE LIFTING MIST + _By _JERRY D. DREW, _Montclair, N. J._ + + + [THE DOORWAY, By Dwight A. Davis, Worcester, Mass.] + + THE DOORWAY + _By _DWIGHT A. DAVIS, _Worcester, Mass._ + + + [HIGH BRIDGE, By Edward R. Dickson, New York City] + + HIGH BRIDGE + _By _EDWARD R. DICKSON, _New York City_ + + + [MRS. VERNON CASTLE, By De Meyer, New York] + + MRS. VERNON CASTLE + _By _DE MEYER, _New York_ + + + [BOATS, By E. G. Dunning, New York] + + BOATS + _By _E. G. DUNNING, _New York_ + + + [COMING TO SCHOOL, By Vernon Everett Duroc, Brooklyn, N. Y.] + + COMING TO SCHOOL + _By _VERNON EVERETT DUROC, _Brooklyn, N. Y._ + + + [STUDY, By William B. Dyer, Portland, Ore.] + + STUDY + _By _WILLIAM B. DYER, _Portland, Ore._ + + + [DESIGN FOR A TAPESTRY, By John Paul Edwards, Sacramento, Cal.] + + DESIGN FOR A TAPESTRY + _By _JOHN PAUL EDWARDS, _Sacramento, Cal._ + + + [STUDY, By Adelaide Wallach Ehrich, New York] + + STUDY + _By _ADELAIDE WALLACH EHRICH, _New York_ + + + [LANDSCAPE, By Eleanor C. Erving, Albany, N. Y.] + + LANDSCAPE + _By _ELEANOR C. ERVING, _Albany, N. Y._ + + + [SUGARLOAF MOUNTAIN, By W. H. Evans, Wilkes-Barre, Pa.] + + SUGARLOAF MOUNTAIN + _By _W. H. EVANS, _Wilkes-Barre, Pa._ + + + [SIDEWALK TREASURES, By O. E. Fischer, M. D., Detroit, Mich.] + + SIDEWALK TREASURES + _By _O. E. FISCHER, M. D., _Detroit, Mich._ + + + [THE GIRL FROM DELHI, By Louis Fleckenstein, Los Angeles, Cal.] + + THE GIRL FROM DELHI + _By _LOUIS FLECKENSTEIN, _Los Angeles, Cal._ + + + [FIFTY YEARS, By Frederick Frittita, Baltimore, Md.] + + FIFTY YEARS + _By _FREDERICK FRITTITA, _Baltimore, Md._ + + + [WATER SCENE, By John Wallace Gillies, New York] + + WATER SCENE + _By _JOHN WALLACE GILLIES, _New York_ + + + [THE MARBLE CUTTERS, By Laura Gilpin, Colorado Springs, Col.] + + THE MARBLE CUTTERS + _By _LAURA GILPIN, _Colorado Springs, Col._ + + + [WALPI, By Forman Hanna, Globe, Ariz.] + + WALPI + _By _FORMAN HANNA, _Globe, Ariz._ + + + [THE SHORE LINE, By G. H. S. Harding, Berkeley, Cal.] + + THE SHORE LINE + _By _G. H. S. HARDING, _Berkeley, Cal._ + + + [APRIL SNOW, By Edward Heim, New York] + + APRIL SNOW + _By _EDWARD HEIM, _New York_ + + + [DAY DREAMS, By G. W. Harting, New York] + + DAY DREAMS + _By _G. W. HARTING, _New York_ + + + [IN THE ARBOR, By Antoinette B. Hervey, New York] + + IN THE ARBOR + _By _ANTOINETTE B. HERVEY, _New York_ + + + [MISS H., By George Henry High, Chicago, Ill.] + + MISS H. + _By _GEORGE HENRY HIGH, _Chicago, Ill._ + + + [SUNSHINE, By L. Willis Hoops, New York] + + SUNSHINE + _By _L. WILLIS HOOPS, _New York_ + + + [THE WHITE HAT, By G. B. Hollister, Corning, N. Y.] + + THE WHITE HAT + _By _G. B. HOLLISTER, _Corning, N. Y._ + + + [DESIGN, By Bernard S. Horne, Princeton, N. J.] + + DESIGN + _By _BERNARD S. HORNE, _Princeton, N. J._ + + +[CITY STREET, By Blanche C. Hungerford (Mrs. Latimer), High Bridge, N. J.] + + CITY STREET + _By _BLANCHE C. HUNGERFORD (MRS. LATIMER), _High Bridge, N. J._ + + + [COLUMBIA UNIVERSITY, By Dr. Charles H. Jaeger, New York] + + COLUMBIA UNIVERSITY + _By _DR. CHARLES H. JAEGER, _New York_ + + + [PORTRAIT OF A CHILD, By Doris U. Jaeger, New York] + + PORTRAIT OF A CHILD + _By _DORIS U. JAEGER, _New York_ + + + [THE VALE OF THE SHADOW, By Arthur F. Kales, Los Angeles, Cal.] + + THE VALE OF THE SHADOW + _By _ARTHUR F. KALES, _Los Angeles, Cal._ + + + [PORTRAIT, By Gertrude Kasebier, New York] + + PORTRAIT + _By _GERTRUDE KASEBIER, _New York_ + + + [OLD HILL TOWN, By William Kriebel, Philadelphia, Pa.] + + OLD HILL TOWN + _By _WILLIAM KRIEBEL, _Philadelphia, Pa._ + + + [SOLITUDE, By W. R. Latimer, High Bridge, N. J.] + + SOLITUDE + _By _W. R. LATIMER, _High Bridge, N. J._ + + + [ELLEN, By Sophie L. Lauffer, Brooklyn, N. Y.] + + ELLEN + _By _SOPHIE L. LAUFFER, _Brooklyn, N. Y._ + + + [MASTER JOHN SPEER, By George P. Lester, Bloomfield, N. J.] + + MASTER JOHN SPEER + _By _GEORGE P. LESTER, _Bloomfield, N. J._ + + + [MOUNT ADAMS OF THE NORTHERN LAKES, By Francis Orville Libby, Portland, + Me.] + + MOUNT ADAMS OF THE NORTHERN LAKES + _By _FRANCIS ORVILLE LIBBY, _Portland, Me._ + + + [MISTS TO-DAY—CLEAR ANON, By Edwin Loker, St. Louis, Mo.] + + MISTS TO-DAY—CLEAR ANON + _By _EDWIN LOKER, _St. Louis, Mo._ + + + [TREES AND CLOUDS, By Dr. William F. Makk, Los Angeles, Cal.] + + TREES AND CLOUDS + _By _DR. WILLIAM F. MAKK, _Los Angeles, Cal._ + + + [PLAYER ON THE YIT-KIM, By Margrethe Mather, Los Angeles, Cal.] + + PLAYER ON THE YIT-KIM + _By _MARGRETHE MATHER, _Los Angeles, Cal._ + + + [ON LAKE PATZCUARO, MEXICO, By Oscar Maurer, Los Angeles, Cal.] + + ON LAKE PATZCUARO, MEXICO + _By _OSCAR MAURER, _Los Angeles, Cal._ + + + [ALONG THE WHARF, By Holmes I. Mettee, Baltimore, Md.] + + ALONG THE WHARF + _By _HOLMES I. METTEE, _Baltimore, Md._ + + + [THE MARSH—EVENING, By J. George Midgley, Salt Lake City, Utah] + + THE MARSH—EVENING + _By _J. GEORGE MIDGLEY, _Salt Lake City, Utah_ + + + [THE DANCER, By H. W. Minns, Akron, Ohio] + + THE DANCER + _By _H. W. MINNS, _Akron, Ohio_ + + + [SNOW PATTERN, By H. Remick Neeson, Baltimore, Md.] + + SNOW PATTERN + _By _H. REMICK NEESON, _Baltimore, Md._ + + + [THE FARMER, By Henry Hoyt Moore, Brooklyn, N. Y.] + + THE FARMER + _By _HENRY HOYT MOORE, _Brooklyn, N. Y._ + + + [STEAM UP, By J. W. Newton, Columbus, Ohio] + + STEAM UP + _By _J. W. NEWTON, _Columbus, Ohio_ + + + [EVE REPENTENT, By Imogen Cunningham Partridge, San Francisco, Cal.] + + EVE REPENTENT + _By _IMOGEN CUNNINGHAM PARTRIDGE, _San Francisco, Cal._ + + + [SWANS, By G. Houson Payne, Jr., Baltimore, Md.] + + SWANS + _By _G. HOUSON PAYNE, JR., _Baltimore, Md._ + + + [MOTHER AND CHILD, By Margaret Rhodes Peattie, Chicago, Ill.] + + MOTHER AND CHILD + _By _MARGARET RHODES PEATTIE, _Chicago, Ill._ + + + [PLACING A PICTURE, By Leo Pokras, Brooklyn, N. Y.] + + PLACING A PICTURE + _By _LEO POKRAS, _Brooklyn, N. Y._ + + + [TWILIGHT’S MYSTERY, By W. H. Porterfield, Buffalo, N. Y.] + + TWILIGHT’S MYSTERY + _By _W. H. PORTERFIELD, _Buffalo, N. Y._ + + + [THE MORNING BOAT, By E. M. Pratt, Tracy, Cal.] + + THE MORNING BOAT + _By _E. M. PRATT, _Tracy, Cal._ + + + [SWEET SIXTEEN, By Mrs. William H. Rau, Philadelphia, Pa.] + + SWEET SIXTEEN + _By _MRS. WILLIAM H. RAU, _Philadelphia, Pa._ + + + [MOTHER, By Jane Reece, Dayton, Ohio] + + MOTHER + _By _JANE REECE, _Dayton, Ohio_ + + + [THE HUSBANDMAN, By O. C. Reiter, Pittsburgh, Pa.] + + THE HUSBANDMAN + _By _O. C. REITER, _Pittsburgh, Pa._ + + + [THE LAST OF HIS RACE, By L. M. A. Roy, La Crosse, Wis.] + + THE LAST OF HIS RACE + _By _L. M. A. ROY, _La Crosse, Wis._ + + + [PENNSYLVANIA STATION, NEW YORK, By Dr. D. J. Ruzicka, New York] + + PENNSYLVANIA STATION, NEW YORK + _By _DR. D. J. RUZICKA, _New York_ + + + [A GLIMPSE OF PLEASANT VALLEY, By J. G. Sarvent, Kansas City, Mo.] + + A GLIMPSE OF PLEASANT VALLEY + _By _J. G. SARVENT, _Kansas City, Mo._ + + + [THE VALLEY BEYOND OUR HILL, By Otto C. Shulte, San Franciso, Cal.] + + THE VALLEY BEYOND OUR HILL + _By _OTTO C. SHULTE, _San Franciso, Cal._ + + + [ELYSIAN PARK VISTA, By David J. Sheahan, Los Angeles, Cal.] + + ELYSIAN PARK VISTA + _By _DAVID J. SHEAHAN, _Los Angeles, Cal._ + + + [IN THE FOOTHILLS OF THE WASATCH, By Thomas O. Sheckell, Salt Lake City, + Utah] + + IN THE FOOTHILLS OF THE WASATCH + _By _THOMAS O. SHECKELL, _Salt Lake City, Utah_ + + +[DOORWAY OF ST. PATRICK’S CATHEDRAL, By William Gordon Shields, New York] + + DOORWAY OF ST. PATRICK’S CATHEDRAL + _By _WILLIAM GORDON SHIELDS, _New York_ + + + [PORTRAIT, By Mrs. Sterling Smith, San Diego, Cal.] + + PORTRAIT + _By _MRS. STERLING SMITH, _San Diego, Cal._ + + + [THE COLUMNS, By E. Radiker Standcliff, Elmira, N. Y.] + + THE COLUMNS + _By _E. RADIKER STANDCLIFF, _Elmira, N. Y._ + + + [TOWARD TAMALPAIS, By W. H. Stephens, San Franciso, Cal.] + + TOWARD TAMALPAIS + _By _W. H. STEPHENS, _San Franciso, Cal._ + + + [MAE MURRAY, By Ford Sterling, Los Angeles, Cal.] + + MAE MURRAY + _By _FORD STERLING, _Los Angeles, Cal._ + + + [MARGARET, By John H. Stocksdale, Baltimore, Md.] + + MARGARET + _By _JOHN H. STOCKSDALE, _Baltimore, Md._ + + + [THE CANAL, By M. Sugimoto, New York] + + THE CANAL + _By _M. SUGIMOTO, _New York_ + + + [STILL LIFE, By Elizabeth Talcott, Elmwood, Conn.] + + STILL LIFE + _By _ELIZABETH TALCOTT, _Elmwood, Conn._ + + + [THE HOUSE O’ DREAMS, By William H. Thompson, Hartford, Conn.] + + THE HOUSE O’ DREAMS + _By _WILLIAM H. THOMPSON, _Hartford, Conn._ + + +[WITH FACE SET TOWARD THE WESTERN FRONT, By Lieut. Edward Larocque Tinker, + U. S. N.,New York] + + WITH FACE SET TOWARD THE WESTERN FRONT + _By _LIEUT. EDWARD LAROCQUE TINKER, U. S. N., _New York_ + + + [SHIFTING SAND, By Charles Vandervelde, Grand Rapids, Mich.] + + SHIFTING SAND + _By _CHARLES VANDERVELDE, _Grand Rapids, Mich._ + + + [RUTH ST. DENIS, By the late Lieut. Luke R. Vickers, Church Creek, Md.] + + RUTH ST. DENIS + _By _THE LATE LIEUT. LUKE R. VICKERS, _Church Creek, Md._ + + + [THE NEW YEAR’S EDITION, By Will H. Walker, Portland, Ore.] + + THE NEW YEAR’S EDITION + _By _WILL H. WALKER, _Portland, Ore._ + + + [GIRL WITH THE FAN, By Mabel Watson, Pasadena, Cal.] + + GIRL WITH THE FAN + _By _MABEL WATSON, _Pasadena, Cal._ + + + [ELEANOR, By Delight Weston, Blue Hill, Me.] + + ELEANOR + _By _DELIGHT WESTON, _Blue Hill, Me._ + + + [EPILOGUE, By Edward Weston, Glendale, Cal.] + + EPILOGUE + _By _EDWARD WESTON, _Glendale, Cal._ + + + [MRS. M., By Leonard Westphalen, Chicago, Ill.] + + MRS. M. + _By _LEONARD WESTPHALEN, _Chicago, Ill._ + + + [THE FAMILY, By Clarence H. White, New York] + + THE FAMILY + _By _CLARENCE H. WHITE, _New York_ + + + [THE FLOWER GARDEN, By Cornelia F. White, New York] + + THE FLOWER GARDEN + _By _CORNELIA F. WHITE, _New York_ + + + [THROUGH THE WINDOW, By Hazel Jane Wiegner, Philadelphia, Pa.] + + THROUGH THE WINDOW + _By _HAZEL JANE WIEGNER, _Philadelphia, Pa._ + + + [MARIONETTE, By Edith R. Wilson, Mount Vernon, N. Y.] + + MARIONETTE + _By _EDITH R. WILSON, _Mount Vernon, N. Y._ + + + [JEAN, By Mildred R. Wilson, Orange, N. J.] + + JEAN + _By _MILDRED R. WILSON, _Orange, N. J._ + + + [CITY BEYOND, By N. S. Wooldridge, Pittsburgh, Pa.] + + CITY BEYOND + _By _N. S. WOOLDRIDGE, _Pittsburgh, Pa._ + + + + + + +THE FOLLOWING IS A PARTIAL LIST OF PHOTOGRAPHIC ORGANIZATIONS IN AMERICA +WHICH ARE ENCOURAGING PICTORIAL PHOTOGRAPHY + + +Bangor Society of Art +Bangor, Me. + +Boston Y. M. C. U. Camera Club +48 Boylston Street, Boston, Mass. + +Brooklyn Institute of Arts and Science, _Photographic Section_ +Academy of Music Building, Brooklyn, N. Y. + +Buffalo Camera Club +Kinne Building, corner Main and Utica Streets, +Buffalo, N. Y. + +California Camera Club +833 Market Street, San Francisco, Cal. + +Camera Club +121 West 68th Street, New York City + +Camera Club of Detroit +513-515 Kresge Building, West Grand Circus Park, Detroit, Mich. + +Camera Pictorialists of Los Angeles +415 Blanchard Building, Los Angeles, Cal. + +Chicago Camera Club +31 West Lake Street, Chicago, Ill. + +Camera Pictorialists of Columbus +40 North High Street, Columbus, Ohio + +Elmira Camera Club +116 Baldwin Street, Elmira, N. Y. + +Grand Rapids Camera Club +2 Central Place, N. E., Grand Rapids, Mich. + +Missouri Camera Club +706 Merchants-Laclede Building, 408 Olive Street, St. Louis, Mo. + +Newark Camera Club +878 Broad Street, Newark, N. J. + +Orange Camera Club +Main and Clinton Streets, Orange, N. J. + +Oregon Camera Club +Elks Building, Portland, Oregon + +Photographic Guild of the Society of Arts and Crafts +Boston, Mass. + +Photo Fellows of the World +_Dean_, Sigismund Blumann, 3217 Davis Street, Fruitvale, Cal. + +Photographic Guild of Baltimore +Baltimore, Md. + +Pittsburgh Academy of Science and Art, _Photographic Section_ +Carnegie Institute, Schenley Park, Pittsburgh, Pa. +The Pittsburgh Salon of Photographic Art + +Portland Camera Club. _Photographic Section of the Portland Society of + Art_ +Corner Spring and High Streets, Portland, Me. + +Toledo Camera Club +Museum of Art, Toledo, Ohio + +Toronto Camera Club +2 Gould Street, Toronto, Ontario, Canada + +Wilkes-Barre Camera Club +Poli Building, 131 South Main Street, Wilkes-Barre, Pa. + + -------------- + +The reproductions in this Annual were selected from a group of nearly 1100 +photographs. Of the 100 artists whose prints are now reproduced: + +36 are new workers. 16 were unknown to the judges. 32 are workers of +recent years. 16 are old workers. + +A further computation shows that 56 are members of the Association, while +44 are non-members. + + [Advertisement: The Smith Synthetic Lens] + [Advertisement: Ensign Reflex Cameras] + [Advertisements: Japan Paper Company and Clarence H. White School of + Photography ] + [Advertisements: Willoughby’s and Willis & Clements] + [Advertisements: George Murphy, Inc. and The Photo-Miniature] + [Advertisements: Spencer Lens Co. and C. P. Goerz American Optical + Company] + [Advertisements: Wallace Chemical Company and Wollensak Optical Company] + + + + + +***END OF THE PROJECT GUTENBERG EBOOK PICTORIAL PHOTOGRAPHY IN AMERICA 1920*** + + + +CREDITS + + +February 7, 2008 + + Project Gutenberg Edition + Martin Schub + + + +A WORD FROM PROJECT GUTENBERG + + +This file should be named 28015-0.txt or 28015-0.zip. + +This and all associated files of various formats will be found in: + + + http://www.gutenberg.org/dirs/2/8/0/1/28015/ + + +Updated editions will replace the previous one — the old editions will be +renamed. + +Creating the works from public domain print editions means that no one +owns a United States copyright in these works, so the Foundation (and +you!) can copy and distribute it in the United States without permission +and without paying copyright royalties. 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\ No newline at end of file diff --git a/28015-0.zip b/28015-0.zip Binary files differnew file mode 100644 index 0000000..42ecdc1 --- /dev/null +++ b/28015-0.zip diff --git a/28015-8.txt b/28015-8.txt new file mode 100644 index 0000000..b55679f --- /dev/null +++ b/28015-8.txt @@ -0,0 +1,2137 @@ +The Project Gutenberg EBook of Pictorial Photography in America 1920 by +Pictorial Photographers of America + + + +This eBook is for the use of anyone anywhere at no cost and with almost no +restrictions whatsoever. You may copy it, give it away or re-use it under +the terms of the Project Gutenberg License included with this eBook or +online at http://www.gutenberg.org/license + + + +Title: Pictorial Photography in America 1920 + +Author: Pictorial Photographers of America + +Release Date: February 7, 2008 [Ebook #28015] + +Language: English + +Character set encoding: ISO 8859-1 + + +***START OF THE PROJECT GUTENBERG EBOOK PICTORIAL PHOTOGRAPHY IN AMERICA 1920*** + + + + + +Pictorial Photography in America +1920 + + + + + + + + + + + + + +Pictorial Photographers of America + +Tennant and Ward, New York +Publisher's Agents + +1920 + + + + + +_Editorial Board_ +CLARENCE H. WHITE +W. H. PORTERFIELD +JOHN PAUL EDWARDS +DWIGHT A. DAVIS + +_Committee on Publication_ +HENRY HOYT MOORE +WALTER L. EHRICH +RAY GREENLEAF +JOHN A. TENNANT + + + + + +ILLUSTRATIONS + + +APRIL FLURRIES +_By _W. A. ALCOCK, _Brooklyn, N.Y._ +PUCKACHIPE--SEAGULL +_By _ELIZABETH R. ALLEN, _Moorestown, N.J._ +MY LITTLE GRAY HOME IN THE WEST +_By _GEORGE M. ALLEN, _Portland, Ore._ +THE BUDDHA +_By _FRED R. ARCHER, _Los Angeles, Cal._ +ISLANDERS +_By _LAURA ADAMS ARMER, _Berkeley, Cal._ +ANN SPENCER +_By _JESSIE TARBOX BEALS, _New York_ +EARLY MORNING +_By _DAVID W. BONNAR, _Buffalo, N. Y._ +A BIT OF HOME LIFE +_By _WILL D. BRODHUN, _Wilkes-Barre, Pa._ +A MOMENT'S REST +_By _GERTRUDE L. BROWN, _Evanston, Ill._ +DANCERS +_By _JOHN C. BURKHARDT, _Portland, Ore._ +DOUARNENEZ, FINISTRE +_By _DR. A. D. CHAFFEE, _New York_ +RHEIMS +_By _ARTHUR D. CHAPMAN, _New York_ +MICHIO ITORO +_By _ALVIN LANGDON COLBURN, _New York_ +THE STREET +_By _ALFRED COHN, _Brooklyn, N. Y._ +ST. JOHN'S CATHEDRAL +_By _JAMES COPELLA, _New York_ +MR. MATSUMOTO KOSHIRO AS "TCHIKAWA GOYEMON" (THE ROBIN HOOD OF JAPAN) +_By _C. P. CROWTHER, _Kobe, Japan_ +SPRING O' THE YEAR +_By _HELEN W. DREW, _Montclair, N. J._ +THE LIFTING MIST +_By _JERRY D. DREW, _Montclair, N. J._ +THE DOORWAY +_By _DWIGHT A. DAVIS, _Worcester, Mass._ +HIGH BRIDGE +_By _EDWARD R. DICKSON, _New York City_ +MRS. VERNON CASTLE +_By _DE MEYER, _New York_ +BOATS +_By _E. G. DUNNING, _New York_ +COMING TO SCHOOL +_By _VERNON EVERETT DUROC, _Brooklyn, N. Y._ +STUDY +_By _WILLIAM B. DYER, _Portland, Ore._ +DESIGN FOR A TAPESTRY +_By _JOHN PAUL EDWARDS, _Sacramento, Cal._ +STUDY +_By _ADELAIDE WALLACH EHRICH, _New York_ +LANDSCAPE +_By _ELEANOR C. ERVING, _Albany, N. Y._ +SUGARLOAF MOUNTAIN +_By _W. H. EVANS, _Wilkes-Barre, Pa._ +SIDEWALK TREASURES +_By _O. E. FISCHER, M. D., _Detroit, Mich._ +THE GIRL FROM DELHI +_By _LOUIS FLECKENSTEIN, _Los Angeles, Cal._ +FIFTY YEARS +_By _FREDERICK FRITTITA, _Baltimore, Md._ +WATER SCENE +_By _JOHN WALLACE GILLIES, _New York_ +THE MARBLE CUTTERS +_By _LAURA GILPIN, _Colorado Springs, Col._ +WALPI +_By _FORMAN HANNA, _Globe, Ariz._ +THE SHORE LINE +_By _G. H. S. HARDING, _Berkeley, Cal._ +APRIL SNOW +_By _EDWARD HEIM, _New York_ +DAY DREAMS +_By _G. W. HARTING, _New York_ +IN THE ARBOR +_By _ANTOINETTE B. HERVEY, _New York_ +MISS H. +_By _GEORGE HENRY HIGH, _Chicago, Ill._ +SUNSHINE +_By _L. WILLIS HOOPS, _New York_ +THE WHITE HAT +_By _G. B. HOLLISTER, _Corning, N. Y._ +DESIGN +_By _BERNARD S. HORNE, _Princeton, N. J._ +CITY STREET +_By _BLANCHE C. HUNGERFORD (MRS. LATIMER), _High Bridge, N. J._ +COLUMBIA UNIVERSITY +_By _DR. CHARLES H. JAEGER, _New York_ +PORTRAIT OF A CHILD +_By _DORIS U. JAEGER, _New York_ +THE VALE OF THE SHADOW +_By _ARTHUR F. KALES, _Los Angeles, Cal._ +PORTRAIT +_By _GERTRUDE KASEBIER, _New York_ +OLD HILL TOWN +_By _WILLIAM KRIEBEL, _Philadelphia, Pa._ +SOLITUDE +_By _W. R. LATIMER, _High Bridge, N. J._ +ELLEN +_By _SOPHIE L. LAUFFER, _Brooklyn, N. Y._ +MASTER JOHN SPEER +_By _GEORGE P. LESTER, _Bloomfield, N. J._ +MOUNT ADAMS OF THE NORTHERN LAKES +_By _FRANCIS ORVILLE LIBBY, _Portland, Me._ +MISTS TO-DAY--CLEAR ANON +_By _EDWIN LOKER, _St. Louis, Mo._ +TREES AND CLOUDS +_By _DR. WILLIAM F. MAKK, _Los Angeles, Cal._ +PLAYER ON THE YIT-KIM +_By _MARGRETHE MATHER, _Los Angeles, Cal._ +ON LAKE PATZCUARO, MEXICO +_By _OSCAR MAURER, _Los Angeles, Cal._ +ALONG THE WHARF +_By _HOLMES I. METTEE, _Baltimore, Md._ +THE MARSH--EVENING +_By _J. GEORGE MIDGLEY, _Salt Lake City, Utah_ +THE DANCER +_By _H. W. MINNS, _Akron, Ohio_ +SNOW PATTERN +_By _H. REMICK NEESON, _Baltimore, Md._ +THE FARMER +_By _HENRY HOYT MOORE, _Brooklyn, N. Y._ +STEAM UP +_By _J. W. NEWTON, _Columbus, Ohio_ +EVE REPENTENT +_By _IMOGEN CUNNINGHAM PARTRIDGE, _San Francisco, Cal._ +SWANS +_By _G. HOUSON PAYNE, JR., _Baltimore, Md._ +MOTHER AND CHILD +_By _MARGARET RHODES PEATTIE, _Chicago, Ill._ +PLACING A PICTURE +_By _LEO POKRAS, _Brooklyn, N. Y._ +TWILIGHT'S MYSTERY +_By _W. H. PORTERFIELD, _Buffalo, N. Y._ +THE MORNING BOAT +_By _E. M. PRATT, _Tracy, Cal._ +SWEET SIXTEEN +_By _MRS. WILLIAM H. RAU, _Philadelphia, Pa._ +MOTHER +_By _JANE REECE, _Dayton, Ohio_ +THE HUSBANDMAN +_By _O. C. REITER, _Pittsburgh, Pa._ +THE LAST OF HIS RACE +_By _L. M. A. ROY, _La Crosse, Wis._ +PENNSYLVANIA STATION, NEW YORK +_By _DR. D. J. RUZICKA, _New York_ +A GLIMPSE OF PLEASANT VALLEY +_By _J. G. SARVENT, _Kansas City, Mo._ +THE VALLEY BEYOND OUR HILL +_By _OTTO C. SHULTE, _San Franciso, Cal._ +ELYSIAN PARK VISTA +_By _DAVID J. SHEAHAN, _Los Angeles, Cal._ +IN THE FOOTHILLS OF THE WASATCH +_By _THOMAS O. SHECKELL, _Salt Lake City, Utah_ +DOORWAY OF ST. PATRICK'S CATHEDRAL +_By _WILLIAM GORDON SHIELDS, _New York_ +PORTRAIT +_By _MRS. STERLING SMITH, _San Diego, Cal._ +THE COLUMNS +_By _E. RADIKER STANDCLIFF, _Elmira, N. Y._ +TOWARD TAMALPAIS +_By _W. H. STEPHENS, _San Franciso, Cal._ +MAE MURRAY +_By _FORD STERLING, _Los Angeles, Cal._ +MARGARET +_By _JOHN H. STOCKSDALE, _Baltimore, Md._ +THE CANAL +_By _M. SUGIMOTO, _New York_ +STILL LIFE +_By _ELIZABETH TALCOTT, _Elmwood, Conn._ +THE HOUSE O' DREAMS +_By _WILLIAM H. THOMPSON, _Hartford, Conn._ +WITH FACE SET TOWARD THE WESTERN FRONT +_By _LIEUT. EDWARD LAROCQUE TINKER, U. S. N., _New York_ +SHIFTING SAND +_By _CHARLES VANDERVELDE, _Grand Rapids, Mich._ +RUTH ST. DENIS +_By _THE LATE LIEUT. LUKE R. VICKERS, _Church Creek, Md._ +THE NEW YEAR'S EDITION +_By _WILL H. WALKER, _Portland, Ore._ +GIRL WITH THE FAN +_By _MABEL WATSON, _Pasadena, Cal._ +ELEANOR +_By _DELIGHT WESTON, _Blue Hill, Me._ +EPILOGUE +_By _EDWARD WESTON, _Glendale, Cal._ +MRS. M. +_By _LEONARD WESTPHALEN, _Chicago, Ill._ +THE FAMILY +_By _CLARENCE H. WHITE, _New York_ +THE FLOWER GARDEN +_By _CORNELIA F. WHITE, _New York_ +THROUGH THE WINDOW +_By _HAZEL JANE WIEGNER, _Philadelphia, Pa._ +MARIONETTE +_By _EDITH R. WILSON, _Mount Vernon, N. Y._ +JEAN +_By _MILDRED R. WILSON, _Orange, N. J._ +CITY BEYOND +_By _N. S. WOOLDRIDGE, _Pittsburgh, Pa._ + + + + + +CONTENTS + + +FOREWORD +The Pictorial Photographers of America +Pictorial Photography in New Jersey +Pictorial Photograpny in Maine +Pictorial Photography in Massachusetts +Pictorial Photograpky in Maryland +Middle West Activities and the Pittsburgh Salon +Pictorial Photography in the Far West +Illustrations +The following is a partial list of photographic organizations in America +which are encouraging pictorial Photography + + + + + +FOREWORD + + +_By _CLARENCE H. WHITE +_President of the Pictorial Photographers of America_ + +To many people photography is merely a mechanical process. To an +increasing number, however, photography is being seen as an art, by which +personal impressions of nature or human life may be expressed as truly as +by the brush. These workers in photography see in it a medium by which +the action of light upon sensitive surfaces may be so controlled as really +to interpret scenes and persons in the individualistic spirit of a true +art. From every part of our country come evidences of the growing +appreciation of photography as a pictorial medium. Exhibitions in many +museums which have hitherto been indifferent to pictures made with the +lens have opened the eyes of the public to the possibilities of the +camera. Clubs of photographic workers in various cities have maintained +or fostered the movement. The lure of the moving picture has stimulated +the interest of countless multitudes in photography, and the occasional +presentation of fine pictorial work in this direction has given a prophecy +of better things to come. The time, therefore, seems ripe to present in +this book a collection of the work of American pictorial photographers in +all sections of the country. Many of these workers are members of the +organization known as the Pictorial Photographers of America; but the +appeal for photographic material for this book has been confined to no one +society or club, but has been widely inclusive of associations and +individuals, and it is believed that the work here presented is fairly +representative of the best American effort along these lines at the +present time. + +It is the hope and intention of the organization that publishes this book +to stimulate interest in this branch of pictorial art. This is believed +to be the first attempt in America to give a comprehensive presentation of +the status of pictorial photography as illustrated by the product of many +of its best workers. As such it is commended to the consideration of +photographers both professional and amateur, of artists and art lovers, +and of the public generally. + + + + + +THE PICTORIAL PHOTOGRAPHERS OF AMERICA + + + The Association's Work and Aim + + +_By_ EDWARD R. DICKSON + +The Pictorial Photographers of America is an association having in mind +solely the development of the art of photography from a standpoint of +educational value. Its position is unique, since the worker is afforded +not only an opportunity to exhibit his pictures in various museums and art +galleries, but is made to feel that maintaining photographic standards and +studying the arts for breadth of view are of chief importance. + +Some of the advantages which photography offers are worth restating. It +helps to draw one closer to nature and to seek fresh air. Through the +exercise and cultivation of choice, it teaches how to decorate the home, +to dress with taste, and to keep an alert eye and mind on the passing +events of the world. Because the Association knows that photography is +able to teach these things, it sought the aid of art museums and public +libraries to conduct photographic exhibitions so that children and adults +may not only see fine examples of the work of the camera in the hands of +artists, but be led thereby to appreciate more fully the value of +photography as an aid to interesting composition and a quickening of the +eye in realizing the beauty of sunlight and shadows which flit around us +much unrecognized at times. Succeeding in gaining the sympathetic +co-operation of seventeen museums, in the winter of 1917-18 the +Association collected, from many of the most important workers in this +country, more than two hundred prints, which were divided into two groups +and exhibited as follows: + +Minneapolis Institute of Arts, Milwaukee Art Institute, Art Institute of +Chicago, City Art Museum (St. Louis), Toledo Museum of Art, Detroit Museum +of Art, Cleveland Art Museum, Cincinnati Museum of Art, Morristown +Library, Newark Museum Association, New Britain (Conn.) Institute, +Worcester Art Museum, Syracuse Museum of Fine Arts, Guild of Allied Arts +(Buffalo), Grand Rapids Art Association, University of Oklahoma, New +Orleans Art Association. + +There was also held in New York City an exhibition of the work of the New +England, New Jersey and Connecticut photographers, and among the immediate +activities of the Association will be the holding in New York of +exhibitions of the work of members of the Pacific Coast and other places, +so that there may be established a fuller understanding of the points of +view among the various pictorialists throughout the country. + +The Association hopes to establish, in designated cities, pictorial +centers where photographs may always be seen, and centers for intercourse +and for exchange of views among workers. As a result of its plans, there +will soon be opened a branch of the Pictorial Photographers of America, +which will be called the Pacific Coast Chapter, embracing workers in the +following States: Oregon, California, Wyoming, Nevada, and Utah. Meetings +will be held monthly, and lectures and exhibitions arranged in +co-operation with the parent body in New York. As soon as this chapter +has begun active work, another will be opened in the New England and +Middle West States, modeled after the California chapter. In this way the +Association hopes to be of national service in the advancement of +photography on educational lines, and it asks the sympathy of the public +as well as that of every worker of the camera in America. + +Among other of its plans are: honoring those who have given valued service +to photography; the formation of a library; the establishment of a home +headquarters; the distribution of knowledge tending toward the making of +better catalogues; the art of hanging pictures so that their individual +beauty may be enhanced; the application of the motion picture to pictorial +expression; the recommendation of books on the development of the +individual, as well as others relating to the study of contemporary arts, +so that, through an acquaintance with all these, there may be brought to +the student a new and an individual approach in his photographic work. + +The Association holds monthly meetings at the National Arts Club, 119 East +19th Street, New York, where exhibitions and lectures are given. +Admission is free. The Association now publishes its first annual +"Pictorial Photography in America," which comprises the work of important +pictorialists in this country, whether or not members of the Association. +And in following out so broad a plan the Association has demonstrated to +its friends that its main interests lie in the presentation of fine work, +little caring who the individual may be. As soon as the world has resumed +its normal stride, the Association will extend invitations for an +exhibition of foreign work to be shown in America. In turn, the +Association will be glad to send an exhibition of American work abroad to +those who desire to see, more intimately than we are able to do by the +process of reproduction, what American pictorialists are doing. In +another volume we hope to present the work of foreign pictorialists. + +Plans are now being made whereby the original prints selected for this +Annual will be exhibited, under the direction of the American Federation +of Arts, in the galleries of many art museums throughout the country. + +Herewith we list the names of the present officers and executive members +of the Association, as well as those who are members of the Council having +to do with pictorial activities in the different States. Membership in +the Association is open to men and women of good character and ambitious +intentions, including those who, though not photographers, are interested +in the development of the art. + +CLARENCE H. WHITE, _President_ +DR. A. D. CHAFFEE, _Vice-President_ +GERTRUDE KASEBIER, _Hon. Vice-President_ +PROF. CHARLES F. CHANDLER, _Hon. Vice-President_ +DR. CHARLES H. JAEGER, _Treasurer._ +EDWARD R. DICKSON, _Recording Secretary_ +MARGARET WATKINS, _Corresponding Secretary_ + +EXECUTIVE COMMITTEE + +WALTER L. EHRICH +RAY GREENLEAF +BERNARD S. HORNE +CHARLES J. MARTIN +HENRY HOYT MOORE +DR. D. J. RUZICKA +W. G. SHIELDS +ADELE C. SHREVE + +COUNCIL + +_Arizona_ +FORMAN G. HANNA + +_California_ +JOHN PAUL EDWARDS +LOUIS FLECKENSTEIN + +_Connecticut_ +GEORGE S. HAWLEY + +_Florida_ +DR. ADDISON O'NEILL + +_Illinois_ +EUGENE HUTCHINSON +MARGARET RHODES PEATTIE + +_Indiana_ +ALBERT ERNEST SCHAAF + +_Iowa_ +CHARLES B. KEELER + +_Maine_ +SYLVAN B. PHILLIPS + +_Massachusetts_ +DWIGHT A. DAVIS +WALTER G. WOLFE + +_Michigan_ +HERMAN GABRIEL +ELEANOR W. WILLARD + +_Missouri_ +EDWIN LOKER + +_New Jersey_ +JOSEPH R. ASHMORE + +_New York State_ +SPENCER KELLOGG, JR. +GEORGE B. HOLLISTER + +_New York City_ +EDWARD R. DICKSON +WALTER L. EHRICH +ANTOINETTE B. HERVEY +DR. CHARLES H. JAEGER +MERVIN W. PALMER +CLARENCE H. WHITE +EDITH R. WILSON +THOMAS COKE WATKINS + +_Ohio_ +JANE REECE +AUSTIN R. BREED +CARLE SEMON + +_Oregon_ +CLEMENTINE HIRSCH + +_Pennsylvania_ +WILL D. BRODHUN +ELIAS GOLDENSKY +MAURICE L. FLEISHER +MRS. M. W. WILTSE + +_Utah_ +THOMAS O. SHECKELL + +_Wisconsin_ +B. F. LANGLAND + +_England_ +ALVIN LANGDON COLBURN + +_Canada_ +CHARLES H. BARNARD + + + + + + * + + + + + +PICTORIAL PHOTOGRAPHY IN NEW JERSEY + + +_By_ LOUIS F. BUCHER _of the Newark Camera Club, Inc._ + +In New Jersey, as well as in other States, pictorial photography was at +its lowest ebb during the period of the war. The official ban on the use +of the camera in places that presented just the sort of material which +stirs the enthusiasm of the amateur photographer tended so to dampen his +ardor that his trusty "box" was left at home to accumulate dust. + +But not for long, for a New Jersey cameraist, with the vision of a seer, +saw an opportunity to use his beloved instrument in a far-reaching +service. His enthusiasm was soon imparted to fellow members of the Newark +Camera Club, and there quickly followed the birth of the Red Triangle +Camera Club, affiliated with the local Y. M. C. A. Its object was pithily +expressed in its slogan, "A picture of home to every soldier overseas"--at +least to every Newark soldier in service. + +While the members of the Camera Club were prompted solely by a desire to +serve, it was not long before there came responses in the form of letters +of gratitude from the soldier boys that heartened them to renewed +activity. The written messages frequently attested that the pictures of +the home folks sent by the Camera Club members were the only ones that had +reached foreign shores. + +As a stepping stone to something even greater, we have organized the +Associated Camera Clubs of America, with a view to linking the activities +of camera clubs and societies, the end to be sought being the creating of +greater interest in exhibitions, and interchanges of lantern slides and +prints. The prime object, of course, is to promote and cultivate the +art-sense through the science of photography. + +If a camera club does not exist in the community in which the reader +resides, lend your services to the formation of one. The members of the +Associated Camera Clubs of America stand ready to do their utmost to +assist an infant organization on its way to success. + + + + + + * + + + + + +PICTORIAL PHOTOGRAPNY IN MAINE + + +_By _FRANCIS O. LIBBY + +Maine, the State of forest and lakes, does not hold the position in +pictorial photography warranted by her natural beauties. It would not be +unreasonable, considering the advantages of the land and the opportunities +offered by the varying atmospheric conditions, particularly along the +coast, to expect that there would be many pictorialists of high rank in +the State; but it is a lamentable fact that there are not. After all, the +making of pictures with a camera is to a large extent a matter of +education and training--not so much in the way of overcoming the technical +difficulties of the medium, though of course this must be learned too, but +in such vital matters as composition, choice of subject matter, unity, +simplicity, and the like. Then, given the vision, the pictorial +photographer is born. + +This preliminary training and the art education of the beginner can best +be obtained in clubs; and in Maine the two centers of photographic +activity are Portland and Bangor, in both of which cities are active +camera clubs, each affiliated with the local art society and each holding +annual exhibitions in the spring of the year, at which workers from all +parts of the country show their pictures. During the war these clubs have +been doing little more than marking time, but now that at last days of +peace have come again, we feel that the future holds prospects of great +promise to us. For one reason or another the men whose names were known +ten or fifteen years ago seem to have dropped out and their places are +being filled by new blood, men with high ideals and aspirations, who are +not content merely with reproducing, by means of their cameras, pretty +scenes and places, but who believe that photography is capable of much +more--of showing not only the physical facts, but the very spirit of nature +herself--a true impressionism; and it is the task of these men to place +Maine in the position she should hold in pictorial work. + +During the past year much has been accomplished by a very few men, and +through these men Maine has been represented at all the largest and best +salons, not only in this country and Canada, but also in England at the +London Salon. Prints by the multiple gum process are favored by some of +the Portland workers, but the use of this process as a medium of +expression is limited to a few men, and the most of the large prints +produced are enlargements on bromide paper, as is probably the case +generally throughout the country. This is perhaps somewhat to be +regretted, for although bromide paper is capable of producing very fine +prints when the subject is exactly adapted to it, still it does not permit +of the personal control afforded by some of the other processes, and of +course this is a handicap to the pictorial worker. + +As before stated, the pictorial output of the State during the past year +has been limited to the work of a few men, but this condition is not going +to continue for long. The clubs and societies are bending every effort +toward the encouragement of the new workers, and already some very +creditable work has been produced, and the coming year should see a worthy +showing from Maine at all the salons. + + + + + + * + + + + + +PICTORIAL PHOTOGRAPHY IN MASSACHUSETTS + + +_By_ DWIGHT A. DAVIS + +In Massachusetts, as in other parts of the country, war-time activities +interfered to a noticeable extent with the cause of pictorial photography. +The interference was perhaps less marked than in some other sections, +where more of the prominent workers were actively engaged at the front. +The difficulty in securing materials, amounting now and then to utter +impossibility, was, however, the same, and there was the same falling off +in enthusiasm, due to the demands on one's heart and pocketbook from +across the sea. In this crisis organized effort might have been +especially helpful, but it is just in this respect that Massachusetts has +always been weak. Her workers have been widely scattered from the +Berkshires to the shore, and such local clubs as have here and there +existed have not been deeply or permanently influential. In Boston there +was the once famous Photo Clan, with Garo, Eicheim, and Schuman as its +leading spirits, but that has long since ceased to be an active force. On +the other hand, the Boston Young Men's Christian Union Camera Club and the +Boston Society of Arts and Crafts have lately come into new prominence +through their efforts to stimulate interest and afford frequent +opportunities to view exhibitions of the best in photographic art. The +former held, during the past winter, excellent one-man exhibits, in which +work of such prominent pictorialists as John Paul Edwards, Dr. Rupert +Lovejoy, Dwight A. Davis, Francis O. Libby, John H. Garo, Edward H. +Weston, and Arthur Hammond was shown. + +But, in spite of these various influences, the workers of Massachusetts +for the most part pursue solitary ways, with little enough--all too little, +some would say--of the advantages that come from intimate association. +There is, however, another side of the shield. It is at least +questionable whether such strongly marked personality as appears in the +work of Seeley, Garo, Davis, Hammond, Eicheim, Buttler, the Allen sisters, +and a dozen others who might be mentioned, would be possible if the +workers of this section were under the closely dominating influence of a +centralized group, itself dominated by a single individual of exceptional +powers. Such a state of affairs has sometimes been observed in other +parts of the country, and the results have not always been advantageous to +the interests of the individual workers. Under such conditions as exist +in Massachusetts, the Pictorial Photographers of America has come as a +boon, since it affords just the kind of stimulus most needed. +Massachusetts has been swift to avail herself of the advantages thus +offered. At the recent exhibition of the work of New England and New +Jersey pictorialists, held in New York, Massachusetts was represented by +16 out of a total of 27 exhibitors, with 64 out of a total of 107 prints--a +showing decidedly creditable to the old Bay State. + + + + + + * + + + + + +PICTORIAL PHOTOGRAPKY IN MARYLAND + + +_By_ H. R. NEESON + +The progress of pictorial photography in Maryland is to be ascertained by +an examination of the progress of the amateur in Baltimore, for aside from +the local exhibitions we have no record of anything done in the State. +While this condition is regrettable and hard to comprehend in an +art-loving center of such population, there is none the less an +improvement over former times. + +The shops and the "finishers" have prospered, while the club--the old +organization in which the reason of being has been lost in a maze of +constitutional amendments, by-laws, and such like red tape--has declined in +influence and popularity. In the world at large, pictorial photography +has grown amazingly. This has led to a more pronounced line of +demarkation between the dilettante and the intelligent worker of +appreciation, with the balance of influence inclining strongly to the +latter. In Maryland there has been an upheaval, a photographic +revolution, so to speak, and out of the wreckage has sprung the +Photographic Guild of Baltimore, which has done more to put Maryland +photographically to the fore in its five years of activity than had been +done in all the years previous. It was due almost entirely to Guilders +that Maryland stood fourth at the recent Pittsburgh Salon. Two +prerequisites to membership in the Guild are ability in keeping with the +highest standards and _productiveness_, as a consequence of which it has +only six members, who may be said to comprise the representative +pictorialists of the State. + +For the past four years there has been an annual exhibition under the +auspices of the Guild at the Peabody Gallery, each well attended by the +art-loving public, with marked enthusiasm for what is being done with the +process. A feature of the Guild exhibitions, beginning with the 1919 +portfolio recently hung, is the invited work of out-of-town amateurs, +which is giving Baltimoreans a wider and better knowledge. While this +exhibition has not assumed salon proportions, it will in a measure bring +the salons to Baltimore if help in the way of prints from outside is +forthcoming, as we hope and believe will be the case. + +On the whole, it may be truly said that the flexibility and responsiveness +of the photographic process have been sufficiently demonstrated to fix it +firmly among the art mediums. + + + + + + * + + + + + +MIDDLE WEST ACTIVITIES AND THE PITTSBURGH SALON + + +_By_ W. H. PORTERFIELD + +Any article describing the activity in pictorial photography in the United +States since 1914 must include a history of the work of the Pittsburgh +Salon, and that has been very thoroughly covered in magazine articles +immediately succeeding the close of each salon. + +At the outbreak of the war, the thoughts and energies of many of our +foremost workers were directed toward other fields, and those who still +practiced the work for the art side of it did so under difficulties. + +The governmental restrictions placed on the use of the camera in ports and +about all public buildings, and in many sections of nearly every city, +naturally had a tendency to discourage workers, but in spite of all the +obstacles in the path of the art photographer the years have not been +barren. + +Some of the older societies have all but ceased to exist, if one can judge +by their contributions to the salons. + +Each year has witnessed new names among the exhibitors at Pittsburgh, and +to an already formidable list there are annually added more than enough +names to fill the vacancies caused by the dropping of former members who +have failed to retain their membership due to non-compliance with the +rules which automatically eliminate inactives. + +After six years of unprecedented success it may safely be said that the +Pittsburgh Salon has become a permanent fixture in the world of +photographic art and has unquestionably rendered a most valuable service +in keeping alive the exhibition spirit. + +Mention should also be made of the good work done by the Chicago +Photo-Fellows, the Buffalo Camera Club, the Photographic Guild of +Baltimore, and the Photographic Section of the Pittsburgh Academy of Fine +Arts, each one composed of enthusiasts, who loyally support the American +and London Salons as well as being active workers in the Pictorial +Photographers of America. + +These societies have been continually engaged in the promotion of +inter-club exhibitions as well as in encouraging the circulation of work +of individual members. + +As an educational feature the club interchange has no equal. + + + + + + * + + + + + +PICTORIAL PHOTOGRAPHY IN THE FAR WEST + + +_By_ JOHN PAUL EDWARDS + +The progress of pictorial photography in the Far West can be aptly +compared with the settlement and growth of this big new country itself. +We have had our pictorial pioneers, as it were--our hard-working, +enthusiastic, rather crude first settlers in the art; now we have come to +the stage of permanent abode, with traditions, albeit young, great +enthusiasm, definite ideals, and ambitious hopes for the future. + +The one great asset in the upbuilding of the West has been boundless +enthusiasm. This characteristic trait dominates the very soul of the +Western pictorialist. In it lies his greatest hope for the future +progress in his chosen field of art. + +It is this live energy and enthusiasm which brings him out afield even +before break of day, which leads him over hill and dale, mountain and +valley, in his insatiable quest for the pictorial. Miles are as nothing; +hunger stays him not; nor rests he at night until his potential treasures +are developed and their beauties appraised. + +The purpose of this preliminary psychologic analysis is to explain the +militant attitude of the Western pictorialist in his pursuit of the art of +the camera. His extremely prolific production, manifesting itself in +liberal contributions to the salons and exhibitions of the world +photographic, rises not from vanity but from super-enthusiasm--from the +great joy he derives in making his picture, from the creation of the +beautiful, and from the playing of the game as it is best played. + +Without losing a whit of the steady enthusiasm which has brought it to its +present encouraging stage, Western pictorial photography is, nevertheless, +settling down to a more staid and intellectual plane of progress. + +The broad average of quality of work is steadily improving. Better +standards have been established. The workers are "finding" themselves. +Enthusiasm is being beneficently tempered by increased technical skill, +and more particularly by the intellectual development of the art side of +the work. + +And so the future of pictorial photography in the Far West looks +exceedingly bright. The salon workers of the past five or ten years are +with few exceptions as keen as ever for their art, and a very talented and +numerous lot of new workers are coming to the front. + +The center, in fact the stronghold, of Western pictorial photography is +undoubtedly California. All forms of art seem to flourish mightily in +this genial clime of wondrous, colorful beauty. A land of smiling +sunshine, of lofty snow-capped peaks, of weird trees, of golden +poppy-covered slopes, of sparkling seas--it is small wonder that the young +art of the camera should thrive so vigorously there. + +There are several active foci of pictorial interest in the State. The +most active and most promising of these centers is the Camera +Pictorialists of Los Angeles. This club, as we may call it, has a +membership of fourteen under the directorship of Louis Fleckenstein. +Every member is an active worker of ability and promise. This group has +made an imposing representation in nearly every photographic salon of +recent years. + +They are sponsors for the International Photographic Salon held annually +in the municipal art gallery of Los Angeles. This exhibition, with two +years of success behind it, must be rated as the premier event of its kind +in the West, and, in the quality of its offerings, second to none on the +continent. + +While this is the only prominent group in California organized for +strictly pictorial work, there are a great many independent workers widely +scattered about the State. San Francisco and the bay region can claim a +score or more whose achievements have been notable. + +Oregon has many enthusiastic workers and a strong club in Portland. +Washington likewise has many camera artists of talent. Both these States +have an untold wealth of pictorial material and many keen pictorialists. +All they lack is an active leader or two to bring them to the rank they +should hold in the photographic world. + +In Salt Lake City we find an active, enthusiastic and very promising group +of workers under the able leadership of Thomas O. Sheckell. Through the +medium of an extensive series of one-man exhibitions they have brought +before the art-loving public of their city the best work of a large number +of our leading pictorialists. + +One of the most interesting and auspicious developments of the year has +been the recent formation of the Pacific Coast Chapter of the Pictorial +Photographers of America. + +For very logical reasons the chief activities of the parent body of the +Pictorial Photographers of America have been centered in the City of New +York. An earnest desire to enjoy like activities right at home while +still sharing the privileges of direct affiliation with our fellows of the +Pictorial Photographers of America led to the formation of the Pacific +Coast Chapter. The idea is still young, but the success of the chapter is +definitely assured by the strong character of the membership already +secured. It is the purpose of the chapter to uphold strongly the purposes +and ideals of its parent body and to work continuously for the advancement +of pictorial photography in the West. A number of interesting exhibitions +are scheduled for the near future, the most important of these being the +"All Western" exhibition, which is planned for the fall and winter of +1919-20. The aim is to include the best pictorial photography of the +West. It will be shown first in New York by the Pictorial Photographers +of America and then routed through some of the more representative clubs +of the East and Middle West. + + + + + + +ILLUSTRATIONS + + + [APRIL FLURRIES, By W. A. Alcock, Brooklyn, N.Y.] + + APRIL FLURRIES + _By _W. A. ALCOCK, _Brooklyn, N.Y._ + + + [PUCKACHIPE--SEAGULL, By Elizabeth R. Allen, Moorestown, N.J.] + + PUCKACHIPE--SEAGULL + _By _ELIZABETH R. ALLEN, _Moorestown, N.J._ + + + [MY LITTLE GRAY HOME IN THE WEST, By George M. Allen, Portland, Ore.] + + MY LITTLE GRAY HOME IN THE WEST + _By _GEORGE M. ALLEN, _Portland, Ore._ + + + [THE BUDDHA, By Fred R. Archer, Los Angeles, Cal.] + + THE BUDDHA + _By _FRED R. ARCHER, _Los Angeles, Cal._ + + + [ISLANDERS, By Laura Adams Armer, Berkeley, Cal.] + + ISLANDERS + _By _LAURA ADAMS ARMER, _Berkeley, Cal._ + + + [ANN SPENCER, By Jessie Tarbox Beals, New York] + + ANN SPENCER + _By _JESSIE TARBOX BEALS, _New York_ + + + [EARLY MORNING, By David W. Bonnar, Buffalo, N. Y.] + + EARLY MORNING + _By _DAVID W. BONNAR, _Buffalo, N. Y._ + + + [A BIT OF HOME LIFE, By Will D. Brodhun, Wilkes-Barre, Pa.] + + A BIT OF HOME LIFE + _By _WILL D. BRODHUN, _Wilkes-Barre, Pa._ + + + [A MOMENT'S REST, By Gertrude L. Brown, Evanston, Ill.] + + A MOMENT'S REST + _By _GERTRUDE L. BROWN, _Evanston, Ill._ + + + [DANCERS, By John C. Burkhardt, Portland, Ore.] + + DANCERS + _By _JOHN C. BURKHARDT, _Portland, Ore._ + + + [DOUARNENEZ, FINISTRE, By Dr. A. D. Chaffee, New York] + + DOUARNENEZ, FINISTRE + _By _DR. A. D. CHAFFEE, _New York_ + + + [RHEIMS, By Arthur D. Chapman, New York] + + RHEIMS + _By _ARTHUR D. CHAPMAN, _New York_ + + + [MICHIO ITORO, By Alvin Langdon Colburn, New York] + + MICHIO ITORO + _By _ALVIN LANGDON COLBURN, _New York_ + + + [THE STREET, By Alfred Cohn, Brooklyn, N. Y.] + + THE STREET + _By _ALFRED COHN, _Brooklyn, N. Y._ + + + [ST. JOHN'S CATHEDRAL, By James Copella, New York] + + ST. JOHN'S CATHEDRAL + _By _JAMES COPELLA, _New York_ + + +[MR. MATSUMOTO KOSHIRO AS "TCHIKAWA GOYEMON" (THE ROBIN HOOD OF JAPAN), By + C. P. Crowther, Kobe, Japan] + + MR. MATSUMOTO KOSHIRO AS "TCHIKAWA GOYEMON" (THE ROBIN HOOD OF JAPAN) + _By _C. P. CROWTHER, _Kobe, Japan_ + + + [SPRING O' THE YEAR, By Helen W. Drew, Montclair, N. J.] + + SPRING O' THE YEAR + _By _HELEN W. DREW, _Montclair, N. J._ + + + [THE LIFTING MIST, By Jerry D. Drew, Montclair, N. J.] + + THE LIFTING MIST + _By _JERRY D. DREW, _Montclair, N. J._ + + + [THE DOORWAY, By Dwight A. Davis, Worcester, Mass.] + + THE DOORWAY + _By _DWIGHT A. DAVIS, _Worcester, Mass._ + + + [HIGH BRIDGE, By Edward R. Dickson, New York City] + + HIGH BRIDGE + _By _EDWARD R. DICKSON, _New York City_ + + + [MRS. VERNON CASTLE, By De Meyer, New York] + + MRS. VERNON CASTLE + _By _DE MEYER, _New York_ + + + [BOATS, By E. G. Dunning, New York] + + BOATS + _By _E. G. DUNNING, _New York_ + + + [COMING TO SCHOOL, By Vernon Everett Duroc, Brooklyn, N. Y.] + + COMING TO SCHOOL + _By _VERNON EVERETT DUROC, _Brooklyn, N. Y._ + + + [STUDY, By William B. Dyer, Portland, Ore.] + + STUDY + _By _WILLIAM B. DYER, _Portland, Ore._ + + + [DESIGN FOR A TAPESTRY, By John Paul Edwards, Sacramento, Cal.] + + DESIGN FOR A TAPESTRY + _By _JOHN PAUL EDWARDS, _Sacramento, Cal._ + + + [STUDY, By Adelaide Wallach Ehrich, New York] + + STUDY + _By _ADELAIDE WALLACH EHRICH, _New York_ + + + [LANDSCAPE, By Eleanor C. Erving, Albany, N. Y.] + + LANDSCAPE + _By _ELEANOR C. ERVING, _Albany, N. Y._ + + + [SUGARLOAF MOUNTAIN, By W. H. Evans, Wilkes-Barre, Pa.] + + SUGARLOAF MOUNTAIN + _By _W. H. EVANS, _Wilkes-Barre, Pa._ + + + [SIDEWALK TREASURES, By O. E. Fischer, M. D., Detroit, Mich.] + + SIDEWALK TREASURES + _By _O. E. FISCHER, M. D., _Detroit, Mich._ + + + [THE GIRL FROM DELHI, By Louis Fleckenstein, Los Angeles, Cal.] + + THE GIRL FROM DELHI + _By _LOUIS FLECKENSTEIN, _Los Angeles, Cal._ + + + [FIFTY YEARS, By Frederick Frittita, Baltimore, Md.] + + FIFTY YEARS + _By _FREDERICK FRITTITA, _Baltimore, Md._ + + + [WATER SCENE, By John Wallace Gillies, New York] + + WATER SCENE + _By _JOHN WALLACE GILLIES, _New York_ + + + [THE MARBLE CUTTERS, By Laura Gilpin, Colorado Springs, Col.] + + THE MARBLE CUTTERS + _By _LAURA GILPIN, _Colorado Springs, Col._ + + + [WALPI, By Forman Hanna, Globe, Ariz.] + + WALPI + _By _FORMAN HANNA, _Globe, Ariz._ + + + [THE SHORE LINE, By G. H. S. Harding, Berkeley, Cal.] + + THE SHORE LINE + _By _G. H. S. HARDING, _Berkeley, Cal._ + + + [APRIL SNOW, By Edward Heim, New York] + + APRIL SNOW + _By _EDWARD HEIM, _New York_ + + + [DAY DREAMS, By G. W. Harting, New York] + + DAY DREAMS + _By _G. W. HARTING, _New York_ + + + [IN THE ARBOR, By Antoinette B. Hervey, New York] + + IN THE ARBOR + _By _ANTOINETTE B. HERVEY, _New York_ + + + [MISS H., By George Henry High, Chicago, Ill.] + + MISS H. + _By _GEORGE HENRY HIGH, _Chicago, Ill._ + + + [SUNSHINE, By L. Willis Hoops, New York] + + SUNSHINE + _By _L. WILLIS HOOPS, _New York_ + + + [THE WHITE HAT, By G. B. Hollister, Corning, N. Y.] + + THE WHITE HAT + _By _G. B. HOLLISTER, _Corning, N. Y._ + + + [DESIGN, By Bernard S. Horne, Princeton, N. J.] + + DESIGN + _By _BERNARD S. HORNE, _Princeton, N. J._ + + +[CITY STREET, By Blanche C. Hungerford (Mrs. Latimer), High Bridge, N. J.] + + CITY STREET + _By _BLANCHE C. HUNGERFORD (MRS. LATIMER), _High Bridge, N. J._ + + + [COLUMBIA UNIVERSITY, By Dr. Charles H. Jaeger, New York] + + COLUMBIA UNIVERSITY + _By _DR. CHARLES H. JAEGER, _New York_ + + + [PORTRAIT OF A CHILD, By Doris U. Jaeger, New York] + + PORTRAIT OF A CHILD + _By _DORIS U. JAEGER, _New York_ + + + [THE VALE OF THE SHADOW, By Arthur F. Kales, Los Angeles, Cal.] + + THE VALE OF THE SHADOW + _By _ARTHUR F. KALES, _Los Angeles, Cal._ + + + [PORTRAIT, By Gertrude Kasebier, New York] + + PORTRAIT + _By _GERTRUDE KASEBIER, _New York_ + + + [OLD HILL TOWN, By William Kriebel, Philadelphia, Pa.] + + OLD HILL TOWN + _By _WILLIAM KRIEBEL, _Philadelphia, Pa._ + + + [SOLITUDE, By W. R. Latimer, High Bridge, N. J.] + + SOLITUDE + _By _W. R. LATIMER, _High Bridge, N. J._ + + + [ELLEN, By Sophie L. Lauffer, Brooklyn, N. Y.] + + ELLEN + _By _SOPHIE L. LAUFFER, _Brooklyn, N. Y._ + + + [MASTER JOHN SPEER, By George P. Lester, Bloomfield, N. J.] + + MASTER JOHN SPEER + _By _GEORGE P. LESTER, _Bloomfield, N. J._ + + + [MOUNT ADAMS OF THE NORTHERN LAKES, By Francis Orville Libby, Portland, + Me.] + + MOUNT ADAMS OF THE NORTHERN LAKES + _By _FRANCIS ORVILLE LIBBY, _Portland, Me._ + + + [MISTS TO-DAY--CLEAR ANON, By Edwin Loker, St. Louis, Mo.] + + MISTS TO-DAY--CLEAR ANON + _By _EDWIN LOKER, _St. Louis, Mo._ + + + [TREES AND CLOUDS, By Dr. William F. Makk, Los Angeles, Cal.] + + TREES AND CLOUDS + _By _DR. WILLIAM F. MAKK, _Los Angeles, Cal._ + + + [PLAYER ON THE YIT-KIM, By Margrethe Mather, Los Angeles, Cal.] + + PLAYER ON THE YIT-KIM + _By _MARGRETHE MATHER, _Los Angeles, Cal._ + + + [ON LAKE PATZCUARO, MEXICO, By Oscar Maurer, Los Angeles, Cal.] + + ON LAKE PATZCUARO, MEXICO + _By _OSCAR MAURER, _Los Angeles, Cal._ + + + [ALONG THE WHARF, By Holmes I. Mettee, Baltimore, Md.] + + ALONG THE WHARF + _By _HOLMES I. METTEE, _Baltimore, Md._ + + + [THE MARSH--EVENING, By J. George Midgley, Salt Lake City, Utah] + + THE MARSH--EVENING + _By _J. GEORGE MIDGLEY, _Salt Lake City, Utah_ + + + [THE DANCER, By H. W. Minns, Akron, Ohio] + + THE DANCER + _By _H. W. MINNS, _Akron, Ohio_ + + + [SNOW PATTERN, By H. Remick Neeson, Baltimore, Md.] + + SNOW PATTERN + _By _H. REMICK NEESON, _Baltimore, Md._ + + + [THE FARMER, By Henry Hoyt Moore, Brooklyn, N. Y.] + + THE FARMER + _By _HENRY HOYT MOORE, _Brooklyn, N. Y._ + + + [STEAM UP, By J. W. Newton, Columbus, Ohio] + + STEAM UP + _By _J. W. NEWTON, _Columbus, Ohio_ + + + [EVE REPENTENT, By Imogen Cunningham Partridge, San Francisco, Cal.] + + EVE REPENTENT + _By _IMOGEN CUNNINGHAM PARTRIDGE, _San Francisco, Cal._ + + + [SWANS, By G. Houson Payne, Jr., Baltimore, Md.] + + SWANS + _By _G. HOUSON PAYNE, JR., _Baltimore, Md._ + + + [MOTHER AND CHILD, By Margaret Rhodes Peattie, Chicago, Ill.] + + MOTHER AND CHILD + _By _MARGARET RHODES PEATTIE, _Chicago, Ill._ + + + [PLACING A PICTURE, By Leo Pokras, Brooklyn, N. Y.] + + PLACING A PICTURE + _By _LEO POKRAS, _Brooklyn, N. Y._ + + + [TWILIGHT'S MYSTERY, By W. H. Porterfield, Buffalo, N. Y.] + + TWILIGHT'S MYSTERY + _By _W. H. PORTERFIELD, _Buffalo, N. Y._ + + + [THE MORNING BOAT, By E. M. Pratt, Tracy, Cal.] + + THE MORNING BOAT + _By _E. M. PRATT, _Tracy, Cal._ + + + [SWEET SIXTEEN, By Mrs. William H. Rau, Philadelphia, Pa.] + + SWEET SIXTEEN + _By _MRS. WILLIAM H. RAU, _Philadelphia, Pa._ + + + [MOTHER, By Jane Reece, Dayton, Ohio] + + MOTHER + _By _JANE REECE, _Dayton, Ohio_ + + + [THE HUSBANDMAN, By O. C. Reiter, Pittsburgh, Pa.] + + THE HUSBANDMAN + _By _O. C. REITER, _Pittsburgh, Pa._ + + + [THE LAST OF HIS RACE, By L. M. A. Roy, La Crosse, Wis.] + + THE LAST OF HIS RACE + _By _L. M. A. ROY, _La Crosse, Wis._ + + + [PENNSYLVANIA STATION, NEW YORK, By Dr. D. J. Ruzicka, New York] + + PENNSYLVANIA STATION, NEW YORK + _By _DR. D. J. RUZICKA, _New York_ + + + [A GLIMPSE OF PLEASANT VALLEY, By J. G. Sarvent, Kansas City, Mo.] + + A GLIMPSE OF PLEASANT VALLEY + _By _J. G. SARVENT, _Kansas City, Mo._ + + + [THE VALLEY BEYOND OUR HILL, By Otto C. Shulte, San Franciso, Cal.] + + THE VALLEY BEYOND OUR HILL + _By _OTTO C. SHULTE, _San Franciso, Cal._ + + + [ELYSIAN PARK VISTA, By David J. Sheahan, Los Angeles, Cal.] + + ELYSIAN PARK VISTA + _By _DAVID J. SHEAHAN, _Los Angeles, Cal._ + + + [IN THE FOOTHILLS OF THE WASATCH, By Thomas O. Sheckell, Salt Lake City, + Utah] + + IN THE FOOTHILLS OF THE WASATCH + _By _THOMAS O. SHECKELL, _Salt Lake City, Utah_ + + +[DOORWAY OF ST. PATRICK'S CATHEDRAL, By William Gordon Shields, New York] + + DOORWAY OF ST. PATRICK'S CATHEDRAL + _By _WILLIAM GORDON SHIELDS, _New York_ + + + [PORTRAIT, By Mrs. Sterling Smith, San Diego, Cal.] + + PORTRAIT + _By _MRS. STERLING SMITH, _San Diego, Cal._ + + + [THE COLUMNS, By E. Radiker Standcliff, Elmira, N. Y.] + + THE COLUMNS + _By _E. RADIKER STANDCLIFF, _Elmira, N. Y._ + + + [TOWARD TAMALPAIS, By W. H. Stephens, San Franciso, Cal.] + + TOWARD TAMALPAIS + _By _W. H. STEPHENS, _San Franciso, Cal._ + + + [MAE MURRAY, By Ford Sterling, Los Angeles, Cal.] + + MAE MURRAY + _By _FORD STERLING, _Los Angeles, Cal._ + + + [MARGARET, By John H. Stocksdale, Baltimore, Md.] + + MARGARET + _By _JOHN H. STOCKSDALE, _Baltimore, Md._ + + + [THE CANAL, By M. Sugimoto, New York] + + THE CANAL + _By _M. SUGIMOTO, _New York_ + + + [STILL LIFE, By Elizabeth Talcott, Elmwood, Conn.] + + STILL LIFE + _By _ELIZABETH TALCOTT, _Elmwood, Conn._ + + + [THE HOUSE O' DREAMS, By William H. Thompson, Hartford, Conn.] + + THE HOUSE O' DREAMS + _By _WILLIAM H. THOMPSON, _Hartford, Conn._ + + +[WITH FACE SET TOWARD THE WESTERN FRONT, By Lieut. Edward Larocque Tinker, + U. S. N.,New York] + + WITH FACE SET TOWARD THE WESTERN FRONT + _By _LIEUT. EDWARD LAROCQUE TINKER, U. S. N., _New York_ + + + [SHIFTING SAND, By Charles Vandervelde, Grand Rapids, Mich.] + + SHIFTING SAND + _By _CHARLES VANDERVELDE, _Grand Rapids, Mich._ + + + [RUTH ST. DENIS, By the late Lieut. Luke R. Vickers, Church Creek, Md.] + + RUTH ST. DENIS + _By _THE LATE LIEUT. LUKE R. VICKERS, _Church Creek, Md._ + + + [THE NEW YEAR'S EDITION, By Will H. Walker, Portland, Ore.] + + THE NEW YEAR'S EDITION + _By _WILL H. WALKER, _Portland, Ore._ + + + [GIRL WITH THE FAN, By Mabel Watson, Pasadena, Cal.] + + GIRL WITH THE FAN + _By _MABEL WATSON, _Pasadena, Cal._ + + + [ELEANOR, By Delight Weston, Blue Hill, Me.] + + ELEANOR + _By _DELIGHT WESTON, _Blue Hill, Me._ + + + [EPILOGUE, By Edward Weston, Glendale, Cal.] + + EPILOGUE + _By _EDWARD WESTON, _Glendale, Cal._ + + + [MRS. M., By Leonard Westphalen, Chicago, Ill.] + + MRS. M. + _By _LEONARD WESTPHALEN, _Chicago, Ill._ + + + [THE FAMILY, By Clarence H. White, New York] + + THE FAMILY + _By _CLARENCE H. WHITE, _New York_ + + + [THE FLOWER GARDEN, By Cornelia F. White, New York] + + THE FLOWER GARDEN + _By _CORNELIA F. WHITE, _New York_ + + + [THROUGH THE WINDOW, By Hazel Jane Wiegner, Philadelphia, Pa.] + + THROUGH THE WINDOW + _By _HAZEL JANE WIEGNER, _Philadelphia, Pa._ + + + [MARIONETTE, By Edith R. Wilson, Mount Vernon, N. Y.] + + MARIONETTE + _By _EDITH R. WILSON, _Mount Vernon, N. Y._ + + + [JEAN, By Mildred R. Wilson, Orange, N. J.] + + JEAN + _By _MILDRED R. WILSON, _Orange, N. J._ + + + [CITY BEYOND, By N. S. Wooldridge, Pittsburgh, Pa.] + + CITY BEYOND + _By _N. S. WOOLDRIDGE, _Pittsburgh, Pa._ + + + + + + +THE FOLLOWING IS A PARTIAL LIST OF PHOTOGRAPHIC ORGANIZATIONS IN AMERICA +WHICH ARE ENCOURAGING PICTORIAL PHOTOGRAPHY + + +Bangor Society of Art +Bangor, Me. + +Boston Y. M. C. U. Camera Club +48 Boylston Street, Boston, Mass. + +Brooklyn Institute of Arts and Science, _Photographic Section_ +Academy of Music Building, Brooklyn, N. Y. + +Buffalo Camera Club +Kinne Building, corner Main and Utica Streets, +Buffalo, N. Y. + +California Camera Club +833 Market Street, San Francisco, Cal. + +Camera Club +121 West 68th Street, New York City + +Camera Club of Detroit +513-515 Kresge Building, West Grand Circus Park, Detroit, Mich. + +Camera Pictorialists of Los Angeles +415 Blanchard Building, Los Angeles, Cal. + +Chicago Camera Club +31 West Lake Street, Chicago, Ill. + +Camera Pictorialists of Columbus +40 North High Street, Columbus, Ohio + +Elmira Camera Club +116 Baldwin Street, Elmira, N. Y. + +Grand Rapids Camera Club +2 Central Place, N. E., Grand Rapids, Mich. + +Missouri Camera Club +706 Merchants-Laclede Building, 408 Olive Street, St. Louis, Mo. + +Newark Camera Club +878 Broad Street, Newark, N. J. + +Orange Camera Club +Main and Clinton Streets, Orange, N. J. + +Oregon Camera Club +Elks Building, Portland, Oregon + +Photographic Guild of the Society of Arts and Crafts +Boston, Mass. + +Photo Fellows of the World +_Dean_, Sigismund Blumann, 3217 Davis Street, Fruitvale, Cal. + +Photographic Guild of Baltimore +Baltimore, Md. + +Pittsburgh Academy of Science and Art, _Photographic Section_ +Carnegie Institute, Schenley Park, Pittsburgh, Pa. +The Pittsburgh Salon of Photographic Art + +Portland Camera Club. _Photographic Section of the Portland Society of + Art_ +Corner Spring and High Streets, Portland, Me. + +Toledo Camera Club +Museum of Art, Toledo, Ohio + +Toronto Camera Club +2 Gould Street, Toronto, Ontario, Canada + +Wilkes-Barre Camera Club +Poli Building, 131 South Main Street, Wilkes-Barre, Pa. + + -------------- + +The reproductions in this Annual were selected from a group of nearly 1100 +photographs. Of the 100 artists whose prints are now reproduced: + +36 are new workers. 16 were unknown to the judges. 32 are workers of +recent years. 16 are old workers. + +A further computation shows that 56 are members of the Association, while +44 are non-members. + + [Advertisement: The Smith Synthetic Lens] + [Advertisement: Ensign Reflex Cameras] + [Advertisements: Japan Paper Company and Clarence H. White School of + Photography ] + [Advertisements: Willoughby's and Willis & Clements] + [Advertisements: George Murphy, Inc. and The Photo-Miniature] + [Advertisements: Spencer Lens Co. and C. P. Goerz American Optical + Company] + [Advertisements: Wallace Chemical Company and Wollensak Optical Company] + + + + + +***END OF THE PROJECT GUTENBERG EBOOK PICTORIAL PHOTOGRAPHY IN AMERICA 1920*** + + + +CREDITS + + +February 7, 2008 + + Project Gutenberg Edition + Martin Schub + + + +A WORD FROM PROJECT GUTENBERG + + +This file should be named 28015-8.txt or 28015-8.zip. + +This and all associated files of various formats will be found in: + + + http://www.gutenberg.org/dirs/2/8/0/1/28015/ + + +Updated editions will replace the previous one -- the old editions will be +renamed. + +Creating the works from public domain print editions means that no one +owns a United States copyright in these works, so the Foundation (and +you!) can copy and distribute it in the United States without permission +and without paying copyright royalties. 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\ No newline at end of file diff --git a/28015-8.zip b/28015-8.zip Binary files differnew file mode 100644 index 0000000..f86e81d --- /dev/null +++ b/28015-8.zip diff --git a/28015-h.zip b/28015-h.zip Binary files differnew file mode 100644 index 0000000..be11467 --- /dev/null +++ b/28015-h.zip diff --git a/28015-h/28015-h.html b/28015-h/28015-h.html new file mode 100644 index 0000000..0f1e551 --- /dev/null +++ b/28015-h/28015-h.html @@ -0,0 +1,1301 @@ +<?xml version="1.0" encoding="utf-8"?> +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> +<html xmlns="http://www.w3.org/1999/xhtml" lang="en" xml:lang="en"><head><meta http-equiv="Content-Type" content="text/html; charset=utf-8" /><meta http-equiv="Content-Style-Type" content="text/css" /><link rel="schema.DC" href="http://purl.org/dc/elements/1.1/" /><meta name="DC.Creator" content="Pictorial Photographers of America" /><meta name="DC.Title" content="Pictorial Photography in America 1920" /><meta name="DC.Date" content="February 7, 2008" /><meta name="DC.Language" content="English" /><meta name="DC.Publisher" content="Project Gutenberg" /><meta name="DC.Identifier" content="http://www.gutenberg.org/etext/28015" /><meta name="DC.Rights" content="This text is in the public domain." /><title>The Project Gutenberg EBook of Pictorial Photography in America 1920 by Pictorial Photographers of America</title><style type="text/css">/* +The Gnutenberg Press - default CSS2 stylesheet + +Any generated element will have a class "tei" and a class "tei-elem" +where elem is the element name in TEI. +The order of statements is important !!! 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You may copy it, + give it away or re-use it under the terms of the Project + Gutenberg License <a href="#pglicense" class="tei tei-ref">included with this + eBook</a> or online at <a href="http://www.gutenberg.org/license" class="tei tei-xref">http://www.gutenberg.org/license</a></p></div><pre class="pre tei tei-div" style="margin-bottom: 3.00em; margin-top: 3.00em">Title: Pictorial Photography in America 1920 + +Author: Pictorial Photographers of America + +Release Date: February 7, 2008 [Ebook #28015] + +Language: English + +Character set encoding: UTF-8 + + +***START OF THE PROJECT GUTENBERG EBOOK PICTORIAL PHOTOGRAPHY IN AMERICA 1920*** +</pre></div> +</div> +<div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em"> + +</div> + + +<hr class="doublepage" /><div class="tei tei-titlePage"> + <span class="tei tei-docTitle"><span class="tei tei-titlePart"><span style="font-size: 144%">Pictorial Photography in America</span><br /><span style="font-size: 144%">1920</span></span><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /> +</span> + <div class="tei tei-byline"><span class="tei tei-docAuthor">Pictorial Photographers of America</span><br /><br /></div> + +<span class="tei tei-docImprint">Tennant and Ward, New York<br /> +Publisher's Agents<br /><br /></span> +<span class="tei tei-docDate">1920</span> +</div> + +<hr class="doublepage" /><div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em"> +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left"><em class="tei tei-emph" style="text-align: left"><span style="font-style: italic">Editorial Board</span></em></div> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-variant: small-caps">Clarence H. White</span></span></div> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-variant: small-caps">W. H. Porterfield</span></span></div> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-variant: small-caps">John Paul Edwards</span></span></div> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-variant: small-caps">Dwight A. Davis</span></span></div> +</div> +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left"><em class="tei tei-emph" style="text-align: left"><span style="font-style: italic">Committee on Publication</span></em></div> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-variant: small-caps">Henry Hoyt Moore</span></span></div> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-variant: small-caps">Walter L. Ehrich</span></span></div> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-variant: small-caps">Ray Greenleaf</span></span></div> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-variant: small-caps">John A. Tennant</span></span></div> +</div> +</div> + +<hr class="doublepage" /><div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em"> +<h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">Illustrations</span></h1> +<ul class="tei tei-index tei-index-fig"><li><a href="#fig20">APRIL FLURRIES<span style="font-style: italic">By </span><span style="font-variant: small-caps">W. A. Alcock, </span><span style="font-style: italic">Brooklyn, N.Y.</span></a></li><li><a href="#fig21">PUCKACHIPE—SEAGULL<span style="font-style: italic">By </span><span style="font-variant: small-caps">Elizabeth R. Allen, </span><span style="font-style: italic">Moorestown, N.J.</span></a></li><li><a href="#fig22">MY LITTLE GRAY HOME IN THE WEST<span style="font-style: italic">By </span><span style="font-variant: small-caps">George M. Allen, </span><span style="font-style: italic">Portland, Ore.</span></a></li><li><a href="#fig23">THE BUDDHA<span style="font-style: italic">By </span><span style="font-variant: small-caps">Fred R. Archer, </span><span style="font-style: italic">Los Angeles, Cal.</span></a></li><li><a href="#fig24">ISLANDERS<span style="font-style: italic">By </span><span style="font-variant: small-caps">Laura Adams Armer, </span><span style="font-style: italic">Berkeley, Cal.</span></a></li><li><a href="#fig25">ANN SPENCER<span style="font-style: italic">By </span><span style="font-variant: small-caps">Jessie Tarbox Beals, </span><span style="font-style: italic">New York</span></a></li><li><a href="#fig26">EARLY MORNING<span style="font-style: italic">By </span><span style="font-variant: small-caps">David W. Bonnar, </span><span style="font-style: italic">Buffalo, N. Y.</span></a></li><li><a href="#fig27">A BIT OF HOME LIFE<span style="font-style: italic">By </span><span style="font-variant: small-caps">Will D. Brodhun, </span><span style="font-style: italic">Wilkes-Barre, Pa.</span></a></li><li><a href="#fig28">A MOMENT'S REST<span style="font-style: italic">By </span><span style="font-variant: small-caps">Gertrude L. Brown, </span><span style="font-style: italic">Evanston, Ill.</span></a></li><li><a href="#fig29">DANCERS<span style="font-style: italic">By </span><span style="font-variant: small-caps">John C. Burkhardt, </span><span style="font-style: italic">Portland, Ore.</span></a></li><li><a href="#fig30">DOUARNENEZ, FINISTÈRE<span style="font-style: italic">By </span><span style="font-variant: small-caps">Dr. A. D. Chaffee, </span><span style="font-style: italic">New York</span></a></li><li><a href="#fig31">RHEIMS<span style="font-style: italic">By </span><span style="font-variant: small-caps">Arthur D. Chapman, </span><span style="font-style: italic">New York</span></a></li><li><a href="#fig32">MICHIO ITORO<span style="font-style: italic">By </span><span style="font-variant: small-caps">Alvin Langdon Colburn, </span><span style="font-style: italic">New York</span></a></li><li><a href="#fig33">THE STREET<span style="font-style: italic">By </span><span style="font-variant: small-caps">Alfred Cohn, </span><span style="font-style: italic">Brooklyn, N. Y.</span></a></li><li><a href="#fig34">ST. JOHN'S CATHEDRAL<span style="font-style: italic">By </span><span style="font-variant: small-caps">James Copella, </span><span style="font-style: italic">New York</span></a></li><li><a href="#fig35">MR. MATSUMOTO KOSHIRO AS “TCHIKAWA GOYEMON” (THE ROBIN HOOD OF JAPAN)<span style="font-style: italic">By </span><span style="font-variant: small-caps">C. P. Crowther, </span><span style="font-style: italic">Kobe, Japan</span></a></li><li><a href="#fig36">SPRING O' THE YEAR<span style="font-style: italic">By </span><span style="font-variant: small-caps">Helen W. Drew, </span><span style="font-style: italic">Montclair, N. J.</span></a></li><li><a href="#fig37">THE LIFTING MIST<span style="font-style: italic">By </span><span style="font-variant: small-caps">Jerry D. Drew, </span><span style="font-style: italic">Montclair, N. J.</span></a></li><li><a href="#fig38">THE DOORWAY<span style="font-style: italic">By </span><span style="font-variant: small-caps">Dwight A. Davis, </span><span style="font-style: italic">Worcester, Mass.</span></a></li><li><a href="#fig39">HIGH BRIDGE<span style="font-style: italic">By </span><span style="font-variant: small-caps">Edward R. Dickson, </span><span style="font-style: italic">New York City</span></a></li><li><a href="#fig40">MRS. VERNON CASTLE<span style="font-style: italic">By </span><span style="font-variant: small-caps">De Meyer, </span><span style="font-style: italic">New York</span></a></li><li><a href="#fig41">BOATS<span style="font-style: italic">By </span><span style="font-variant: small-caps">E. G. Dunning, </span><span style="font-style: italic">New York</span></a></li><li><a href="#fig42">COMING TO SCHOOL<span style="font-style: italic">By </span><span style="font-variant: small-caps">Vernon Everett Duroc, </span><span style="font-style: italic">Brooklyn, N. Y.</span></a></li><li><a href="#fig43">STUDY<span style="font-style: italic">By </span><span style="font-variant: small-caps">William B. Dyer, </span><span style="font-style: italic">Portland, Ore.</span></a></li><li><a href="#fig44">DESIGN FOR A TAPESTRY<span style="font-style: italic">By </span><span style="font-variant: small-caps">John Paul Edwards, </span><span style="font-style: italic">Sacramento, Cal.</span></a></li><li><a href="#fig45">STUDY<span style="font-style: italic">By </span><span style="font-variant: small-caps">Adelaide Wallach Ehrich, </span><span style="font-style: italic">New York</span></a></li><li><a href="#fig46">LANDSCAPE<span style="font-style: italic">By </span><span style="font-variant: small-caps">Eleanor C. Erving, </span><span style="font-style: italic">Albany, N. Y.</span></a></li><li><a href="#fig47">SUGARLOAF MOUNTAIN<span style="font-style: italic">By </span><span style="font-variant: small-caps">W. H. Evans, </span><span style="font-style: italic">Wilkes-Barre, Pa.</span></a></li><li><a href="#fig48">SIDEWALK TREASURES<span style="font-style: italic">By </span><span style="font-variant: small-caps">O. E. Fischer, M. D., </span><span style="font-style: italic">Detroit, Mich.</span></a></li><li><a href="#fig49">THE GIRL FROM DELHI<span style="font-style: italic">By </span><span style="font-variant: small-caps">Louis Fleckenstein, </span><span style="font-style: italic">Los Angeles, Cal.</span></a></li><li><a href="#fig50">FIFTY YEARS<span style="font-style: italic">By </span><span style="font-variant: small-caps">Frederick Frittita, </span><span style="font-style: italic">Baltimore, Md.</span></a></li><li><a href="#fig51">WATER SCENE<span style="font-style: italic">By </span><span style="font-variant: small-caps">John Wallace Gillies, </span><span style="font-style: italic">New York</span></a></li><li><a href="#fig52">THE MARBLE CUTTERS<span style="font-style: italic">By </span><span style="font-variant: small-caps">Laura Gilpin, </span><span style="font-style: italic">Colorado Springs, Col.</span></a></li><li><a href="#fig53">WALPI<span style="font-style: italic">By </span><span style="font-variant: small-caps">Forman Hanna, </span><span style="font-style: italic">Globe, Ariz.</span></a></li><li><a href="#fig54">THE SHORE LINE<span style="font-style: italic">By </span><span style="font-variant: small-caps">G. H. S. Harding, </span><span style="font-style: italic">Berkeley, Cal.</span></a></li><li><a href="#fig55">APRIL SNOW<span style="font-style: italic">By </span><span style="font-variant: small-caps">Edward Heim, </span><span style="font-style: italic">New York</span></a></li><li><a href="#fig56">DAY DREAMS<span style="font-style: italic">By </span><span style="font-variant: small-caps">G. W. Harting, </span><span style="font-style: italic">New York</span></a></li><li><a href="#fig57">IN THE ARBOR<span style="font-style: italic">By </span><span style="font-variant: small-caps">Antoinette B. Hervey, </span><span style="font-style: italic">New York</span></a></li><li><a href="#fig58">MISS H.<span style="font-style: italic">By </span><span style="font-variant: small-caps">George Henry High, </span><span style="font-style: italic">Chicago, Ill.</span></a></li><li><a href="#fig59">SUNSHINE<span style="font-style: italic">By </span><span style="font-variant: small-caps">L. Willis Hoops, </span><span style="font-style: italic">New York</span></a></li><li><a href="#fig60">THE WHITE HAT<span style="font-style: italic">By </span><span style="font-variant: small-caps">G. B. Hollister, </span><span style="font-style: italic">Corning, N. Y.</span></a></li><li><a href="#fig61">DESIGN<span style="font-style: italic">By </span><span style="font-variant: small-caps">Bernard S. Horne, </span><span style="font-style: italic">Princeton, N. J.</span></a></li><li><a href="#fig62">CITY STREET<span style="font-style: italic">By </span><span style="font-variant: small-caps">Blanche C. Hungerford (Mrs. Latimer), </span><span style="font-style: italic">High Bridge, N. J.</span></a></li><li><a href="#fig63">COLUMBIA UNIVERSITY<span style="font-style: italic">By </span><span style="font-variant: small-caps">Dr. Charles H. Jaeger, </span><span style="font-style: italic">New York</span></a></li><li><a href="#fig64">PORTRAIT OF A CHILD<span style="font-style: italic">By </span><span style="font-variant: small-caps">Doris U. Jaeger, </span><span style="font-style: italic">New York</span></a></li><li><a href="#fig65">THE VALE OF THE SHADOW<span style="font-style: italic">By </span><span style="font-variant: small-caps">Arthur F. Kales, </span><span style="font-style: italic">Los Angeles, Cal.</span></a></li><li><a href="#fig66">PORTRAIT<span style="font-style: italic">By </span><span style="font-variant: small-caps">Gertrude Kasebier, </span><span style="font-style: italic">New York</span></a></li><li><a href="#fig67">OLD HILL TOWN<span style="font-style: italic">By </span><span style="font-variant: small-caps">William Kriebel, </span><span style="font-style: italic">Philadelphia, Pa.</span></a></li><li><a href="#fig68">SOLITUDE<span style="font-style: italic">By </span><span style="font-variant: small-caps">W. R. Latimer, </span><span style="font-style: italic">High Bridge, N. J.</span></a></li><li><a href="#fig69">ELLEN<span style="font-style: italic">By </span><span style="font-variant: small-caps">Sophie L. Lauffer, </span><span style="font-style: italic">Brooklyn, N. Y.</span></a></li><li><a href="#fig70">MASTER JOHN SPEER<span style="font-style: italic">By </span><span style="font-variant: small-caps">George P. Lester, </span><span style="font-style: italic">Bloomfield, N. J.</span></a></li><li><a href="#fig71">MOUNT ADAMS OF THE NORTHERN LAKES<span style="font-style: italic">By </span><span style="font-variant: small-caps">Francis Orville Libby, </span><span style="font-style: italic">Portland, Me.</span></a></li><li><a href="#fig72">MISTS TO-DAY—CLEAR ANON<span style="font-style: italic">By </span><span style="font-variant: small-caps">Edwin Loker, </span><span style="font-style: italic">St. Louis, Mo.</span></a></li><li><a href="#fig73">TREES AND CLOUDS<span style="font-style: italic">By </span><span style="font-variant: small-caps">Dr. William F. Makk, </span><span style="font-style: italic">Los Angeles, Cal.</span></a></li><li><a href="#fig74">PLAYER ON THE YIT-KIM<span style="font-style: italic">By </span><span style="font-variant: small-caps">Margrethe Mather, </span><span style="font-style: italic">Los Angeles, Cal.</span></a></li><li><a href="#fig75">ON LAKE PATZCUARO, MEXICO<span style="font-style: italic">By </span><span style="font-variant: small-caps">Oscar Maurer, </span><span style="font-style: italic">Los Angeles, Cal.</span></a></li><li><a href="#fig76">ALONG THE WHARF<span style="font-style: italic">By </span><span style="font-variant: small-caps">Holmes I. Mettee, </span><span style="font-style: italic">Baltimore, Md.</span></a></li><li><a href="#fig77">THE MARSH—EVENING<span style="font-style: italic">By </span><span style="font-variant: small-caps">J. George Midgley, </span><span style="font-style: italic">Salt Lake City, Utah</span></a></li><li><a href="#fig78">THE DANCER<span style="font-style: italic">By </span><span style="font-variant: small-caps">H. W. Minns, </span><span style="font-style: italic">Akron, Ohio</span></a></li><li><a href="#fig79">SNOW PATTERN<span style="font-style: italic">By </span><span style="font-variant: small-caps">H. Remick Neeson, </span><span style="font-style: italic">Baltimore, Md.</span></a></li><li><a href="#fig80">THE FARMER<span style="font-style: italic">By </span><span style="font-variant: small-caps">Henry Hoyt Moore, </span><span style="font-style: italic">Brooklyn, N. Y.</span></a></li><li><a href="#fig81">STEAM UP<span style="font-style: italic">By </span><span style="font-variant: small-caps">J. W. Newton, </span><span style="font-style: italic">Columbus, Ohio</span></a></li><li><a href="#fig82">EVE REPENTENT<span style="font-style: italic">By </span><span style="font-variant: small-caps">Imogen Cunningham Partridge, </span><span style="font-style: italic">San Francisco, Cal.</span></a></li><li><a href="#fig83">SWANS<span style="font-style: italic">By </span><span style="font-variant: small-caps">G. Houson Payne, Jr., </span><span style="font-style: italic">Baltimore, Md.</span></a></li><li><a href="#fig84">MOTHER AND CHILD<span style="font-style: italic">By </span><span style="font-variant: small-caps">Margaret Rhodes Peattie, </span><span style="font-style: italic">Chicago, Ill.</span></a></li><li><a href="#fig85">PLACING A PICTURE<span style="font-style: italic">By </span><span style="font-variant: small-caps">Leo Pokras, </span><span style="font-style: italic">Brooklyn, N. Y.</span></a></li><li><a href="#fig86">TWILIGHT'S MYSTERY<span style="font-style: italic">By </span><span style="font-variant: small-caps">W. H. Porterfield, </span><span style="font-style: italic">Buffalo, N. Y.</span></a></li><li><a href="#fig87">THE MORNING BOAT<span style="font-style: italic">By </span><span style="font-variant: small-caps">E. M. Pratt, </span><span style="font-style: italic">Tracy, Cal.</span></a></li><li><a href="#fig88">SWEET SIXTEEN<span style="font-style: italic">By </span><span style="font-variant: small-caps">Mrs. William H. Rau, </span><span style="font-style: italic">Philadelphia, Pa.</span></a></li><li><a href="#fig89">MOTHER<span style="font-style: italic">By </span><span style="font-variant: small-caps">Jane Reece, </span><span style="font-style: italic">Dayton, Ohio</span></a></li><li><a href="#fig90">THE HUSBANDMAN<span style="font-style: italic">By </span><span style="font-variant: small-caps">O. C. Reiter, </span><span style="font-style: italic">Pittsburgh, Pa.</span></a></li><li><a href="#fig91">THE LAST OF HIS RACE<span style="font-style: italic">By </span><span style="font-variant: small-caps">L. M. A. Roy, </span><span style="font-style: italic">La Crosse, Wis.</span></a></li><li><a href="#fig92">PENNSYLVANIA STATION, NEW YORK<span style="font-style: italic">By </span><span style="font-variant: small-caps">Dr. D. J. Ruzicka, </span><span style="font-style: italic">New York</span></a></li><li><a href="#fig93">A GLIMPSE OF PLEASANT VALLEY<span style="font-style: italic">By </span><span style="font-variant: small-caps">J. G. Sarvent, </span><span style="font-style: italic">Kansas City, Mo.</span></a></li><li><a href="#fig94">THE VALLEY BEYOND OUR HILL<span style="font-style: italic">By </span><span style="font-variant: small-caps">Otto C. Shulte, </span><span style="font-style: italic">San Franciso, Cal.</span></a></li><li><a href="#fig95">ELYSIAN PARK VISTA<span style="font-style: italic">By </span><span style="font-variant: small-caps">David J. Sheahan, </span><span style="font-style: italic">Los Angeles, Cal.</span></a></li><li><a href="#fig96">IN THE FOOTHILLS OF THE WASATCH<span style="font-style: italic">By </span><span style="font-variant: small-caps">Thomas O. Sheckell, </span><span style="font-style: italic">Salt Lake City, Utah</span></a></li><li><a href="#fig97">DOORWAY OF ST. PATRICK'S CATHEDRAL<span style="font-style: italic">By </span><span style="font-variant: small-caps">William Gordon Shields, </span><span style="font-style: italic">New York</span></a></li><li><a href="#fig98">PORTRAIT<span style="font-style: italic">By </span><span style="font-variant: small-caps">Mrs. Sterling Smith, </span><span style="font-style: italic">San Diego, Cal.</span></a></li><li><a href="#fig99">THE COLUMNS<span style="font-style: italic">By </span><span style="font-variant: small-caps">E. Radiker Standcliff, </span><span style="font-style: italic">Elmira, N. Y.</span></a></li><li><a href="#fig100">TOWARD TAMALPAIS<span style="font-style: italic">By </span><span style="font-variant: small-caps">W. H. Stephens, </span><span style="font-style: italic">San Franciso, Cal.</span></a></li><li><a href="#fig101">MAE MURRAY<span style="font-style: italic">By </span><span style="font-variant: small-caps">Ford Sterling, </span><span style="font-style: italic">Los Angeles, Cal.</span></a></li><li><a href="#fig102">MARGARET<span style="font-style: italic">By </span><span style="font-variant: small-caps">John H. Stocksdale, </span><span style="font-style: italic">Baltimore, Md.</span></a></li><li><a href="#fig103">THE CANAL<span style="font-style: italic">By </span><span style="font-variant: small-caps">M. Sugimoto, </span><span style="font-style: italic">New York</span></a></li><li><a href="#fig104">STILL LIFE<span style="font-style: italic">By </span><span style="font-variant: small-caps">Elizabeth Talcott, </span><span style="font-style: italic">Elmwood, Conn.</span></a></li><li><a href="#fig105">THE HOUSE O' DREAMS<span style="font-style: italic">By </span><span style="font-variant: small-caps">William H. Thompson, </span><span style="font-style: italic">Hartford, Conn.</span></a></li><li><a href="#fig106">WITH FACE SET TOWARD THE WESTERN FRONT<span style="font-style: italic">By </span><span style="font-variant: small-caps">Lieut. Edward Larocque Tinker, U. S. N., </span><span style="font-style: italic">New York</span></a></li><li><a href="#fig107">SHIFTING SAND<span style="font-style: italic">By </span><span style="font-variant: small-caps">Charles Vandervelde, </span><span style="font-style: italic">Grand Rapids, Mich.</span></a></li><li><a href="#fig108">RUTH ST. DENIS<span style="font-style: italic">By </span><span style="font-variant: small-caps">the late Lieut. Luke R. Vickers, </span><span style="font-style: italic">Church Creek, Md.</span></a></li><li><a href="#fig109">THE NEW YEAR'S EDITION<span style="font-style: italic">By </span><span style="font-variant: small-caps">Will H. Walker, </span><span style="font-style: italic">Portland, Ore.</span></a></li><li><a href="#fig110">GIRL WITH THE FAN<span style="font-style: italic">By </span><span style="font-variant: small-caps">Mabel Watson, </span><span style="font-style: italic">Pasadena, Cal.</span></a></li><li><a href="#fig111">ELEANOR<span style="font-style: italic">By </span><span style="font-variant: small-caps">Delight Weston, </span><span style="font-style: italic">Blue Hill, Me.</span></a></li><li><a href="#fig112">EPILOGUE<span style="font-style: italic">By </span><span style="font-variant: small-caps">Edward Weston, </span><span style="font-style: italic">Glendale, Cal.</span></a></li><li><a href="#fig113">MRS. M.<span style="font-style: italic">By </span><span style="font-variant: small-caps">Leonard Westphalen, </span><span style="font-style: italic">Chicago, Ill.</span></a></li><li><a href="#fig114">THE FAMILY<span style="font-style: italic">By </span><span style="font-variant: small-caps">Clarence H. White, </span><span style="font-style: italic">New York</span></a></li><li><a href="#fig115">THE FLOWER GARDEN<span style="font-style: italic">By </span><span style="font-variant: small-caps">Cornelia F. White, </span><span style="font-style: italic">New York</span></a></li><li><a href="#fig116">THROUGH THE WINDOW<span style="font-style: italic">By </span><span style="font-variant: small-caps">Hazel Jane Wiegner, </span><span style="font-style: italic">Philadelphia, Pa.</span></a></li><li><a href="#fig117">MARIONETTE<span style="font-style: italic">By </span><span style="font-variant: small-caps">Edith R. Wilson, </span><span style="font-style: italic">Mount Vernon, N. Y.</span></a></li><li><a href="#fig118">JEAN<span style="font-style: italic">By </span><span style="font-variant: small-caps">Mildred R. Wilson, </span><span style="font-style: italic">Orange, N. J.</span></a></li><li><a href="#fig119">CITY BEYOND<span style="font-style: italic">By </span><span style="font-variant: small-caps">N. S. Wooldridge, </span><span style="font-style: italic">Pittsburgh, Pa.</span></a></li></ul> +</div> + +<hr class="doublepage" /><div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em"> +<a name="pdf1" id="pdf1"></a> +<h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">Contents</span></h1> +<ul class="tei tei-index tei-index-toc"><li><a href="#toc2">FOREWORD</a></li><li><a href="#toc4">The Pictorial Photographers of America</a></li><li><a href="#toc6">Pictorial Photography in New Jersey</a></li><li><a href="#toc8">Pictorial Photograpny in Maine</a></li><li><a href="#toc10">Pictorial Photography in Massachusetts</a></li><li><a href="#toc12">Pictorial Photograpky in Maryland</a></li><li><a href="#toc14">Middle West Activities and the Pittsburgh Salon</a></li><li><a href="#toc16">Pictorial Photography in the Far West</a></li><li><a href="#toc18">Illustrations</a></li><li><a href="#toc120">The following is a partial list of photographic organizations in America which are encouraging pictorial Photography</a></li></ul> +</div> + +<hr class="doublepage" /><div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em"> + <a name="toc2" id="toc2"></a> + <a name="pdf3" id="pdf3"></a> +<h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">FOREWORD</span></h1> +<span class="tei tei-pb" id="page5">[pg 5]</span> +<div class="tei tei-byline"> +<em class="tei tei-emph"><span style="font-style: italic">By </span></em><span class="tei tei-hi"><span style="font-variant: small-caps">Clarence H. White</span></span><br /><em class="tei tei-emph"><span style="font-style: italic">President of the Pictorial Photographers of America</span></em> +</div> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +To many people photography is merely a mechanical process. To an increasing number, however, photography is being seen as an art, by which personal impressions of nature or human life may be expressed as truly as by the brush. These workers in photography see in it a medium by which the action of light upon sensitive surfaces may be so controlled as really to interpret scenes and persons in the individualistic spirit of a true art. From every part of our country come evidences of the growing appreciation of photography as a pictorial medium. Exhibitions in many museums which have hitherto been indifferent to pictures made with the lens have opened the eyes of the public to the possibilities of the camera. Clubs of photographic workers in various cities have maintained or fostered the movement. The lure of the moving picture has stimulated the interest of countless multitudes in photography, and the occasional presentation of fine pictorial work in this direction has given a prophecy of better things to come. The time, therefore, seems ripe to present in this book a collection of the work of American pictorial photographers in all sections of the country. Many of these workers are members of the organization known as the Pictorial Photographers of America; but the appeal for photographic material for this book has been confined to no one society or club, but has been widely inclusive of associations and individuals, and it is believed that the work here presented is fairly representative of the best American effort along these lines at the present time. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +It is the hope and intention of the organization that publishes this book to stimulate interest in this branch of pictorial art. This is believed to be the first attempt in America to give a comprehensive presentation of the status of pictorial photography as illustrated by the product of many of its best workers. As such it is commended to the consideration of photographers both professional and amateur, of artists and art lovers, and of the public generally. +</p> +</div> + +<span class="tei tei-pb" id="page6">[pg 6]</span> +<div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em"> + <a name="toc4" id="toc4"></a> + <a name="pdf5" id="pdf5"></a> +<h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">The Pictorial Photographers of America</span></h1> +<h1 class="tei tei-head" style="text-align: center; margin-bottom: 2.88em; margin-top: 2.88em"><span style="font-size: 144%">The Association's Work and Aim</span></h1> + +<div class="tei tei-byline"><em class="tei tei-emph"><span style="font-style: italic">By</span></em> <span class="tei tei-hi"><span style="font-variant: small-caps">Edward R. Dickson</span></span></div> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +The Pictorial Photographers of America is an association having in mind solely the development of the art of photography from a standpoint of educational value. Its position is unique, since the worker is afforded not only an opportunity to exhibit his pictures in various museums and art galleries, but is made to feel that maintaining photographic standards and studying the arts for breadth of view are of chief importance. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Some of the advantages which photography offers are worth restating. It helps to draw one closer to nature and to seek fresh air. Through the exercise and cultivation of choice, it teaches how to decorate the home, to dress with taste, and to keep an alert eye and mind on the passing events of the world. Because the Association knows that photography is able to teach these things, it sought the aid of art museums and public libraries to conduct photographic exhibitions so that children and adults may not only see fine examples of the work of the camera in the hands of artists, but be led thereby to appreciate more fully the value of photography as an aid to interesting composition and a quickening of the eye in realizing the beauty of sunlight and shadows which flit around us much unrecognized at times. Succeeding in gaining the sympathetic co-operation of seventeen museums, in the winter of 1917-18 the Association collected, from many of the most important workers in this country, more than two hundred prints, which were divided into two groups and exhibited as follows: +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Minneapolis Institute of Arts, Milwaukee Art Institute, Art Institute of Chicago, City Art Museum (St. Louis), Toledo Museum of Art, Detroit Museum of Art, Cleveland Art Museum, Cincinnati Museum of Art, Morristown Library, Newark Museum Association, New Britain (Conn.) Institute, Worcester Art Museum, Syracuse Museum of Fine Arts, Guild of Allied Arts (Buffalo), Grand Rapids Art Association, University of Oklahoma, New Orleans Art Association. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +There was also held in New York City an exhibition of the work of the New England, New Jersey and Connecticut photographers, and among the immediate activities of the Association will be the holding in New York of exhibitions of the work of members of the Pacific Coast and other places, so that there may be established a fuller understanding of the points of view among the various pictorialists throughout the country. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +The Association hopes to establish, in designated cities, pictorial centers where photographs may always be seen, and centers for intercourse and for exchange of views among workers. As a result of its plans, there will soon be opened a branch of the Pictorial Photographers of America, which will be called the Pacific Coast +<span class="tei tei-pb" id="page7">[pg 7]</span> +Chapter, embracing workers in the following States: Oregon, California, Wyoming, Nevada, and Utah. Meetings will be held monthly, and lectures and exhibitions arranged in co-operation with the parent body in New York. As soon as this chapter has begun active work, another will be opened in the New England and Middle West States, modeled after the California chapter. In this way the Association hopes to be of national service in the advancement of photography on educational lines, and it asks the sympathy of the public as well as that of every worker of the camera in America. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Among other of its plans are: honoring those who have given valued service to photography; the formation of a library; the establishment of a home headquarters; the distribution of knowledge tending toward the making of better catalogues; the art of hanging pictures so that their individual beauty may be enhanced; the application of the motion picture to pictorial expression; the recommendation of books on the development of the individual, as well as others relating to the study of contemporary arts, so that, through an acquaintance with all these, there may be brought to the student a new and an individual approach in his photographic work. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +The Association holds monthly meetings at the National Arts Club, 119 East 19th Street, New York, where exhibitions and lectures are given. Admission is free. The Association now publishes its first annual <span class="tei tei-q">“Pictorial Photography in America,”</span> which comprises the work of important pictorialists in this country, whether or not members of the Association. And in following out so broad a plan the Association has demonstrated to its friends that its main interests lie in the presentation of fine work, little caring who the individual may be. As soon as the world has resumed its normal stride, the Association will extend invitations for an exhibition of foreign work to be shown in America. In turn, the Association will be glad to send an exhibition of American work abroad to those who desire to see, more intimately than we are able to do by the process of reproduction, what American pictorialists are doing. In another volume we hope to present the work of foreign pictorialists. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Plans are now being made whereby the original prints selected for this Annual will be exhibited, under the direction of the American Federation of Arts, in the galleries of many art museums throughout the country. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Herewith we list the names of the present officers and executive members of the Association, as well as those who are members of the Council having to do with pictorial activities in the different States. Membership in the Association is open to men and women of good character and ambitious intentions, including those who, though not photographers, are interested in the development of the art. +</p> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">CLARENCE H. WHITE, <em class="tei tei-emph" style="text-align: left"><span style="font-style: italic">President</span></em></div> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-variant: small-caps">Dr. A. D. Chaffee</span></span>, <em class="tei tei-emph" style="text-align: left"><span style="font-style: italic">Vice-President</span></em></div> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-variant: small-caps">Gertrude Kasebier</span></span>, <em class="tei tei-emph" style="text-align: left"><span style="font-style: italic">Hon. Vice-President</span></em></div> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-variant: small-caps">Prof. Charles F. Chandler</span></span>, <em class="tei tei-emph" style="text-align: left"><span style="font-style: italic">Hon. Vice-President</span></em></div> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-variant: small-caps">Dr. Charles H. Jaeger</span></span>, <em class="tei tei-emph" style="text-align: left"><span style="font-style: italic">Treasurer.</span></em></div> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-variant: small-caps">Edward R. Dickson</span></span>, <em class="tei tei-emph" style="text-align: left"><span style="font-style: italic">Recording Secretary</span></em></div> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-variant: small-caps">Margaret Watkins</span></span>, <em class="tei tei-emph" style="text-align: left"><span style="font-style: italic">Corresponding Secretary</span></em></div> +</div> +<span class="tei tei-pb" id="page8">[pg 8]</span> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +EXECUTIVE COMMITTEE +</p> +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-variant: small-caps">Walter L. Ehrich</span></span></div> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-variant: small-caps">Ray Greenleaf</span></span></div> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-variant: small-caps">Bernard S. Horne</span></span></div> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-variant: small-caps">Charles J. Martin</span></span></div> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-variant: small-caps">Henry Hoyt Moore</span></span></div> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-variant: small-caps">Dr. D. J. Ruzicka</span></span></div> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-variant: small-caps">W. G. Shields</span></span></div> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-variant: small-caps">Adele C. Shreve</span></span></div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +COUNCIL +</p> +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left"><em class="tei tei-emph" style="text-align: left"><span style="font-style: italic">Arizona</span></em></div> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-variant: small-caps">Forman G. Hanna</span></span></div> +</div> +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left"><em class="tei tei-emph" style="text-align: left"><span style="font-style: italic">California</span></em></div> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-variant: small-caps">John Paul Edwards</span></span></div> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-variant: small-caps">Louis Fleckenstein</span></span></div> +</div><div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left"><em class="tei tei-emph" style="text-align: left"><span style="font-style: italic">Connecticut</span></em></div> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-variant: small-caps">George S. Hawley</span></span></div> +</div><div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left"><em class="tei tei-emph" style="text-align: left"><span style="font-style: italic">Florida</span></em></div> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-variant: small-caps">Dr. Addison O'Neill</span></span></div> +</div><div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left"><em class="tei tei-emph" style="text-align: left"><span style="font-style: italic">Illinois</span></em></div> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-variant: small-caps">Eugene Hutchinson</span></span></div> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-variant: small-caps">margaret rhodes peattie</span></span></div> +</div><div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left"><em class="tei tei-emph" style="text-align: left"><span style="font-style: italic">Indiana</span></em></div> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-variant: small-caps">Albert Ernest Schaaf</span></span></div> +</div><div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left"><em class="tei tei-emph" style="text-align: left"><span style="font-style: italic">Iowa</span></em></div> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-variant: small-caps">Charles B. Keeler</span></span></div> +</div><div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left"><em class="tei tei-emph" style="text-align: left"><span style="font-style: italic">Maine</span></em></div> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-variant: small-caps">Sylvan B. Phillips</span></span></div> +</div><div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left"><em class="tei tei-emph" style="text-align: left"><span style="font-style: italic">Massachusetts</span></em></div> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-variant: small-caps">Dwight A. Davis</span></span></div> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-variant: small-caps">Walter G. Wolfe</span></span></div> +</div><div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left"><em class="tei tei-emph" style="text-align: left"><span style="font-style: italic">Michigan</span></em></div> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-variant: small-caps">Herman Gabriel</span></span></div> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-variant: small-caps">Eleanor W. Willard</span></span></div> +</div><div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left"><em class="tei tei-emph" style="text-align: left"><span style="font-style: italic">Missouri</span></em></div> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-variant: small-caps">Edwin Loker</span></span></div> +</div><div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left"><em class="tei tei-emph" style="text-align: left"><span style="font-style: italic">New Jersey</span></em></div> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-variant: small-caps">Joseph R. Ashmore</span></span></div> +</div><div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left"><em class="tei tei-emph" style="text-align: left"><span style="font-style: italic">New York State</span></em></div> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-variant: small-caps">Spencer Kellogg, Jr.</span></span></div> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-variant: small-caps">George B. Hollister</span></span></div> +</div><div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left"><em class="tei tei-emph" style="text-align: left"><span style="font-style: italic">New York City</span></em></div> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-variant: small-caps">Edward R. Dickson</span></span></div> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-variant: small-caps">Walter L. Ehrich</span></span></div> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-variant: small-caps">Antoinette B. Hervey</span></span></div> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-variant: small-caps">Dr. Charles H. Jaeger</span></span></div> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-variant: small-caps">Mervin W. Palmer</span></span></div> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-variant: small-caps">Clarence H. White</span></span></div> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-variant: small-caps">Edith R. Wilson</span></span></div> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-variant: small-caps">Thomas Coke Watkins</span></span></div> +</div><div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left"><em class="tei tei-emph" style="text-align: left"><span style="font-style: italic">Ohio</span></em></div> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-variant: small-caps">Jane Reece</span></span></div> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-variant: small-caps">Austin R. Breed</span></span></div> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-variant: small-caps">Carle Semon</span></span></div> +</div><div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left"><em class="tei tei-emph" style="text-align: left"><span style="font-style: italic">Oregon</span></em></div> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-variant: small-caps">Clementine Hirsch</span></span></div> +</div><div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left"><em class="tei tei-emph" style="text-align: left"><span style="font-style: italic">Pennsylvania</span></em></div> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-variant: small-caps">Will D. brodhun</span></span></div> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-variant: small-caps">Elias Goldensky</span></span></div> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-variant: small-caps">Maurice L. Fleisher</span></span></div> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-variant: small-caps">Mrs. M. W. Wiltse</span></span></div> +</div><div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left"><em class="tei tei-emph" style="text-align: left"><span style="font-style: italic">Utah</span></em></div> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-variant: small-caps">Thomas O. Sheckell</span></span></div> +</div><div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left"><em class="tei tei-emph" style="text-align: left"><span style="font-style: italic">Wisconsin</span></em></div> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-variant: small-caps">B. F. Langland</span></span></div> +</div><div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left"><em class="tei tei-emph" style="text-align: left"><span style="font-style: italic">England</span></em></div> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-variant: small-caps">Alvin Langdon Colburn</span></span></div> +</div><div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left"><em class="tei tei-emph" style="text-align: left"><span style="font-style: italic">Canada</span></em></div> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-variant: small-caps">Charles H. Barnard</span></span></div> +</div> +</div> + +<div class="tei tei-tb">* </div> +<div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em"> + <a name="toc6" id="toc6"></a> + <a name="pdf7" id="pdf7"></a> +<h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">Pictorial Photography in New Jersey</span></h1> +<div class="tei tei-byline"><em class="tei tei-emph"><span style="font-style: italic">By</span></em> <span class="tei tei-hi"><span style="font-variant: small-caps">Louis F. Bucher</span></span> <em class="tei tei-emph"><span style="font-style: italic">of the Newark Camera Club, Inc.</span></em></div> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +In New Jersey, as well as in other States, pictorial photography was at its lowest ebb during the period of the war. The official ban on the use of the camera in places that presented just the sort of material which stirs the enthusiasm of the amateur photographer tended so to dampen his ardor that his trusty <span class="tei tei-q">“box”</span> was left at home to accumulate dust. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +But not for long, for a New Jersey cameraist, with the vision of a seer, saw an opportunity to use his beloved instrument in a far-reaching service. His enthusiasm was soon imparted to fellow members of the Newark Camera Club, and there quickly followed the birth of the Red Triangle Camera Club, affiliated with the local Y. M. C. A. Its object was pithily expressed in its slogan, <span class="tei tei-q">“A picture of home to every soldier overseas”</span>—at least to every Newark soldier in service. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +While the members of the Camera Club were prompted solely by a desire to serve, it was not long before there came responses in the form of letters of gratitude from the soldier boys that heartened them to renewed activity. The written messages frequently attested that the pictures of the home folks sent by the Camera Club members were the only ones that had reached foreign shores. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +As a stepping stone to something even greater, we have organized the Associated Camera Clubs of America, with a view to linking the activities of camera clubs and societies, the end to be sought being the creating of greater interest in exhibitions, +<span class="tei tei-pb" id="page9">[pg 9]</span> +and interchanges of lantern slides and prints. The prime object, of course, is to promote and cultivate the art-sense through the science of photography. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +If a camera club does not exist in the community in which the reader resides, lend your services to the formation of one. The members of the Associated Camera Clubs of America stand ready to do their utmost to assist an infant organization on its way to success. +</p> +</div> + +<div class="tei tei-tb">* </div> +<div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em"> + <a name="toc8" id="toc8"></a> + <a name="pdf9" id="pdf9"></a> +<h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">Pictorial Photograpny in Maine</span></h1> + +<div class="tei tei-byline"><em class="tei tei-emph"><span style="font-style: italic">By </span></em><span class="tei tei-hi"><span style="font-variant: small-caps">Francis O. Libby</span></span></div> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Maine, the State of forest and lakes, does not hold the position in pictorial photography warranted by her natural beauties. It would not be unreasonable, considering the advantages of the land and the opportunities offered by the varying atmospheric conditions, particularly along the coast, to expect that there would be many pictorialists of high rank in the State; but it is a lamentable fact that there are not. After all, the making of pictures with a camera is to a large extent a matter of education and training—not so much in the way of overcoming the technical difficulties of the medium, though of course this must be learned too, but in such vital matters as composition, choice of subject matter, unity, simplicity, and the like. Then, given the vision, the pictorial photographer is born. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +This preliminary training and the art education of the beginner can best be obtained in clubs; and in Maine the two centers of photographic activity are Portland and Bangor, in both of which cities are active camera clubs, each affiliated with the local art society and each holding annual exhibitions in the spring of the year, at which workers from all parts of the country show their pictures. During the war these clubs have been doing little more than marking time, but now that at last days of peace have come again, we feel that the future holds prospects of great promise to us. For one reason or another the men whose names were known ten or fifteen years ago seem to have dropped out and their places are being filled by new blood, men with high ideals and aspirations, who are not content merely with reproducing, by means of their cameras, pretty scenes and places, but who believe that photography is capable of much more—of showing not only the physical facts, but the very spirit of nature herself—a true impressionism; and it is the task of these men to place Maine in the position she should hold in pictorial work. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +During the past year much has been accomplished by a very few men, and through these men Maine has been represented at all the largest and best salons, not only in this country and Canada, but also in England at the London Salon. Prints by the multiple gum process are favored by some of the Portland workers, but the use of this process as a medium of expression is limited to a few men, +<span class="tei tei-pb" id="page10">[pg 10]</span> +and the most of the large prints produced are enlargements on bromide paper, as is probably the case generally throughout the country. This is perhaps somewhat to be regretted, for although bromide paper is capable of producing very fine prints when the subject is exactly adapted to it, still it does not permit of the personal control afforded by some of the other processes, and of course this is a handicap to the pictorial worker. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +As before stated, the pictorial output of the State during the past year has been limited to the work of a few men, but this condition is not going to continue for long. The clubs and societies are bending every effort toward the encouragement of the new workers, and already some very creditable work has been produced, and the coming year should see a worthy showing from Maine at all the salons. +</p> +</div> + +<div class="tei tei-tb">* </div> +<div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em"> + <a name="toc10" id="toc10"></a> + <a name="pdf11" id="pdf11"></a> +<h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">Pictorial Photography in Massachusetts</span></h1> +<div class="tei tei-byline"><em class="tei tei-emph"><span style="font-style: italic">By</span></em> <span class="tei tei-hi"><span style="font-variant: small-caps">Dwight A. Davis</span></span></div> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +In Massachusetts, as in other parts of the country, war-time activities interfered to a noticeable extent with the cause of pictorial photography. The interference was perhaps less marked than in some other sections, where more of the prominent workers were actively engaged at the front. The difficulty in securing materials, amounting now and then to utter impossibility, was, however, the same, and there was the same falling off in enthusiasm, due to the demands on one's heart and pocketbook from across the sea. In this crisis organized effort might have been especially helpful, but it is just in this respect that Massachusetts has always been weak. Her workers have been widely scattered from the Berkshires to the shore, and such local clubs as have here and there existed have not been deeply or permanently influential. In Boston there was the once famous Photo Clan, with Garo, Eicheim, and Schuman as its leading spirits, but that has long since ceased to be an active force. On the other hand, the Boston Young Men's Christian Union Camera Club and the Boston Society of Arts and Crafts have lately come into new prominence through their efforts to stimulate interest and afford frequent opportunities to view exhibitions of the best in photographic art. The former held, during the past winter, excellent one-man exhibits, in which work of such prominent pictorialists as John Paul Edwards, Dr. Rupert Lovejoy, Dwight A. Davis, Francis O. Libby, John H. Garo, Edward H. Weston, and Arthur Hammond was shown. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +But, in spite of these various influences, the workers of Massachusetts for the most part pursue solitary ways, with little enough—all too little, some would say—of the advantages that come from intimate association. There is, however, another side of the shield. It is at least questionable whether such strongly marked personality as appears in the work of Seeley, Garo, Davis, Hammond, Eicheim, +<span class="tei tei-pb" id="page11">[pg 11]</span> +Buttler, the Allen sisters, and a dozen others who might be mentioned, would be possible if the workers of this section were under the closely dominating influence of a centralized group, itself dominated by a single individual of exceptional powers. Such a state of affairs has sometimes been observed in other parts of the country, and the results have not always been advantageous to the interests of the individual workers. Under such conditions as exist in Massachusetts, the Pictorial Photographers of America has come as a boon, since it affords just the kind of stimulus most needed. Massachusetts has been swift to avail herself of the advantages thus offered. At the recent exhibition of the work of New England and New Jersey pictorialists, held in New York, Massachusetts was represented by 16 out of a total of 27 exhibitors, with 64 out of a total of 107 prints—a showing decidedly creditable to the old Bay State. +</p> +</div> + +<div class="tei tei-tb">* </div> +<div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em"> + <a name="toc12" id="toc12"></a> + <a name="pdf13" id="pdf13"></a> +<h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">Pictorial Photograpky in Maryland</span></h1> +<div class="tei tei-byline"><em class="tei tei-emph"><span style="font-style: italic">By</span></em> <span class="tei tei-hi"><span style="font-variant: small-caps">H. R. Neeson</span></span></div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +The progress of pictorial photography in Maryland is to be ascertained by +an examination of the progress of the amateur in Baltimore, for aside from +the local exhibitions we have no record of anything done in the State. While +this condition is regrettable and hard to comprehend in an art-loving center of such population, there is none the less an improvement over former times. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +The shops and the <span class="tei tei-q">“finishers”</span> have prospered, while the club—the old organization in which the reason of being has been lost in a maze of constitutional amendments, by-laws, and such like red tape—has declined in influence and popularity. In the world at large, pictorial photography has grown amazingly. This has led to a more pronounced line of demarkation between the dilettante and the intelligent worker of appreciation, with the balance of influence inclining strongly to the latter. In Maryland there has been an upheaval, a photographic revolution, so to speak, and out of the wreckage has sprung the Photographic Guild of Baltimore, which has done more to put Maryland photographically to the fore in its five years of activity than had been done in all the years previous. It was due almost entirely to Guilders that Maryland stood fourth at the recent Pittsburgh Salon. Two prerequisites to membership in the Guild are ability in keeping with the highest standards and <em class="tei tei-emph"><span style="font-style: italic">productiveness</span></em>, as a consequence of which it has only six members, who may be said to comprise the representative pictorialists of the State. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +For the past four years there has been an annual exhibition under the auspices of the Guild at the Peabody Gallery, each well attended by the art-loving public, with marked enthusiasm for what is being done with the process. A feature of the Guild exhibitions, beginning with the 1919 portfolio recently hung, is the invited work of out-of-town amateurs, which is giving Baltimoreans a wider and better +<span class="tei tei-pb" id="page12">[pg 12]</span> +knowledge. While this exhibition has not assumed salon proportions, it will in a measure bring the salons to Baltimore if help in the way of prints from outside is forthcoming, as we hope and believe will be the case. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +On the whole, it may be truly said that the flexibility and responsiveness of the photographic process have been sufficiently demonstrated to fix it firmly among the art mediums. +</p> +</div> + + +<div class="tei tei-tb">* </div> +<div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em"> + <a name="toc14" id="toc14"></a> + <a name="pdf15" id="pdf15"></a> +<h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">Middle West Activities and the Pittsburgh Salon</span></h1> +<div class="tei tei-byline"><em class="tei tei-emph"><span style="font-style: italic">By</span></em> <span class="tei tei-hi"><span style="font-variant: small-caps">W. H. PORTERFIELD</span></span></div> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Any article describing the activity in pictorial photography in the United States since 1914 must include a history of the work of the Pittsburgh Salon, and that has been very thoroughly covered in magazine articles immediately succeeding the close of each salon. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +At the outbreak of the war, the thoughts and energies of many of our foremost workers were directed toward other fields, and those who still practiced the work for the art side of it did so under difficulties. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +The governmental restrictions placed on the use of the camera in ports and about all public buildings, and in many sections of nearly every city, naturally had a tendency to discourage workers, but in spite of all the obstacles in the path of the art photographer the years have not been barren. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Some of the older societies have all but ceased to exist, if one can judge by their contributions to the salons. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Each year has witnessed new names among the exhibitors at Pittsburgh, and to an already formidable list there are annually added more than enough names to fill the vacancies caused by the dropping of former members who have failed to retain their membership due to non-compliance with the rules which automatically eliminate inactives. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +After six years of unprecedented success it may safely be said that the Pittsburgh Salon has become a permanent fixture in the world of photographic art and has unquestionably rendered a most valuable service in keeping alive the exhibition spirit. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Mention should also be made of the good work done by the Chicago Photo-Fellows, the Buffalo Camera Club, the Photographic Guild of Baltimore, and the Photographic Section of the Pittsburgh Academy of Fine Arts, each one composed of enthusiasts, who loyally support the American and London Salons as well as being active workers in the Pictorial Photographers of America. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +These societies have been continually engaged in the promotion of inter-club exhibitions as well as in encouraging the circulation of work of individual members. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +As an educational feature the club interchange has no equal. +</p> +<span class="tei tei-pb" id="page13">[pg 13]</span> +</div> + +<div class="tei tei-tb">* </div> +<div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em"> + <a name="toc16" id="toc16"></a> + <a name="pdf17" id="pdf17"></a> +<h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">Pictorial Photography in the Far West</span></h1> +<div class="tei tei-byline"><em class="tei tei-emph"><span style="font-style: italic">By</span></em> <span class="tei tei-hi"><span style="font-variant: small-caps">John Paul Edwards</span></span></div> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +The progress of pictorial photography in the Far West can be aptly compared with the settlement and growth of this big new country itself. We have had our pictorial pioneers, as it were—our hard-working, enthusiastic, rather crude first settlers in the art; now we have come to the stage of permanent abode, with traditions, albeit young, great enthusiasm, definite ideals, and ambitious hopes for the future. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +The one great asset in the upbuilding of the West has been boundless enthusiasm. This characteristic trait dominates the very soul of the Western pictorialist. In it lies his greatest hope for the future progress in his chosen field of art. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +It is this live energy and enthusiasm which brings him out afield even before break of day, which leads him over hill and dale, mountain and valley, in his insatiable quest for the pictorial. Miles are as nothing; hunger stays him not; nor rests he at night until his potential treasures are developed and their beauties appraised. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +The purpose of this preliminary psychologic analysis is to explain the militant attitude of the Western pictorialist in his pursuit of the art of the camera. His extremely prolific production, manifesting itself in liberal contributions to the salons and exhibitions of the world photographic, rises not from vanity but from super-enthusiasm—from the great joy he derives in making his picture, from the creation of the beautiful, and from the playing of the game as it is best played. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Without losing a whit of the steady enthusiasm which has brought it to its present encouraging stage, Western pictorial photography is, nevertheless, settling down to a more staid and intellectual plane of progress. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +The broad average of quality of work is steadily improving. Better standards have been established. The workers are <span class="tei tei-q">“finding”</span> themselves. Enthusiasm is being beneficently tempered by increased technical skill, and more particularly by the intellectual development of the art side of the work. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +And so the future of pictorial photography in the Far West looks exceedingly bright. The salon workers of the past five or ten years are with few exceptions as keen as ever for their art, and a very talented and numerous lot of new workers are coming to the front. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +The center, in fact the stronghold, of Western pictorial photography is undoubtedly California. All forms of art seem to flourish mightily in this genial clime of wondrous, colorful beauty. A land of smiling sunshine, of lofty snow-capped peaks, of weird trees, of golden poppy-covered slopes, of sparkling seas—it is small wonder that the young art of the camera should thrive so vigorously there. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +There are several active foci of pictorial interest in the State. The most active and most promising of these centers is the Camera Pictorialists of Los Angeles. +<span class="tei tei-pb" id="page14">[pg 14]</span> +This club, as we may call it, has a membership of fourteen under the directorship of Louis Fleckenstein. Every member is an active worker of ability and promise. This group has made an imposing representation in nearly every photographic salon of recent years. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +They are sponsors for the International Photographic Salon held annually in the municipal art gallery of Los Angeles. This exhibition, with two years of success behind it, must be rated as the premier event of its kind in the West, and, in the quality of its offerings, second to none on the continent. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +While this is the only prominent group in California organized for strictly pictorial work, there are a great many independent workers widely scattered about the State. San Francisco and the bay region can claim a score or more whose achievements have been notable. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Oregon has many enthusiastic workers and a strong club in Portland. Washington likewise has many camera artists of talent. Both these States have an untold wealth of pictorial material and many keen pictorialists. All they lack is an active leader or two to bring them to the rank they should hold in the photographic world. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +In Salt Lake City we find an active, enthusiastic and very promising group of workers under the able leadership of Thomas O. Sheckell. Through the medium of an extensive series of one-man exhibitions they have brought before the art-loving public of their city the best work of a large number of our leading pictorialists. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +One of the most interesting and auspicious developments of the year has been the recent formation of the Pacific Coast Chapter of the Pictorial Photographers of America. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +For very logical reasons the chief activities of the parent body of the Pictorial Photographers of America have been centered in the City of New York. An earnest desire to enjoy like activities right at home while still sharing the privileges of direct affiliation with our fellows of the Pictorial Photographers of America led to the formation of the Pacific Coast Chapter. The idea is still young, but the success of the chapter is definitely assured by the strong character of the membership already secured. It is the purpose of the chapter to uphold strongly the purposes and ideals of its parent body and to work continuously for the advancement of pictorial photography in the West. A number of interesting exhibitions are scheduled for the near future, the most important of these being the <span class="tei tei-q">“All Western”</span> exhibition, which is planned for the fall and winter of 1919-20. The aim is to include the best pictorial photography of the West. It will be shown first in New York by the Pictorial Photographers of America and then routed through some of the more representative clubs of the East and Middle West. +</p> +</div> +<span class="tei tei-pb" id="page15">[pg 15]</span> + +</div> + +<div class="tei tei-body" style="margin-bottom: 6.00em; margin-top: 6.00em"> +<div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em"> + <a name="toc18" id="toc18"></a> + <a name="pdf19" id="pdf19"></a> +<h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">Illustrations</span></h1> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +</p> +<span class="tei tei-pb" id="page15">[pg 15]</span> +<a name="fig20" id="fig20"></a><div class="tei tei-figure" style="text-align: center"><img src="images/flurries.jpg" width="746" height="610" alt="APRIL FLURRIES, By W. A. Alcock, Brooklyn, N.Y." title="APRIL FLURRIESBy W. A. Alcock, Brooklyn, N.Y." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">APRIL FLURRIES<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">W. A. Alcock, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">Brooklyn, N.Y.</span></em></div></div> + + +<span class="tei tei-pb" id="page16">[pg 16]</span> +<a name="fig21" id="fig21"></a><div class="tei tei-figure" style="text-align: center"><img src="images/seagull.jpg" width="620" height="1044" alt="PUCKACHIPE—SEAGULL, By Elizabeth R. Allen, Moorestown, N.J." title="PUCKACHIPE—SEAGULLBy Elizabeth R. Allen, Moorestown, N.J." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">PUCKACHIPE—SEAGULL<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">Elizabeth R. Allen, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">Moorestown, N.J.</span></em></div></div> + + +<span class="tei tei-pb" id="page17">[pg 17]</span> +<a name="fig22" id="fig22"></a><div class="tei tei-figure" style="text-align: center"><img src="images/homewest.jpg" width="701" height="1038" alt="MY LITTLE GRAY HOME IN THE WEST, By George M. Allen, Portland, Ore." title="MY LITTLE GRAY HOME IN THE WESTBy George M. Allen, Portland, Ore." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">MY LITTLE GRAY HOME IN THE WEST<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">George M. Allen, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">Portland, Ore.</span></em></div></div> + + +<span class="tei tei-pb" id="page18">[pg 18]</span> +<a name="fig23" id="fig23"></a><div class="tei tei-figure" style="text-align: center"><img src="images/buddha.jpg" width="747" height="993" alt="THE BUDDHA, By Fred R. Archer, Los Angeles, Cal." title="THE BUDDHABy Fred R. Archer, Los Angeles, Cal." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">THE BUDDHA<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">Fred R. Archer, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">Los Angeles, Cal.</span></em></div></div> + + +<span class="tei tei-pb" id="page19">[pg 19]</span> +<a name="fig24" id="fig24"></a><div class="tei tei-figure" style="text-align: center"><img src="images/islander.jpg" width="755" height="416" alt="ISLANDERS, By Laura Adams Armer, Berkeley, Cal." title="ISLANDERSBy Laura Adams Armer, Berkeley, Cal." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">ISLANDERS<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">Laura Adams Armer, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">Berkeley, Cal.</span></em></div></div> + + +<span class="tei tei-pb" id="page20">[pg 20]</span> +<a name="fig25" id="fig25"></a><div class="tei tei-figure" style="text-align: center"><img src="images/spencer.jpg" width="731" height="987" alt="ANN SPENCER, By Jessie Tarbox Beals, New York" title="ANN SPENCERBy Jessie Tarbox Beals, New York" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">ANN SPENCER<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">Jessie Tarbox Beals, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">New York</span></em></div></div> + + +<span class="tei tei-pb" id="page21">[pg 21]</span> +<a name="fig26" id="fig26"></a><div class="tei tei-figure" style="text-align: center"><img src="images/morning.jpg" width="753" height="383" alt="EARLY MORNING, By David W. Bonnar, Buffalo, N. Y." title="EARLY MORNINGBy David W. Bonnar, Buffalo, N. Y." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">EARLY MORNING<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">David W. Bonnar, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">Buffalo, N. Y.</span></em></div></div> + + +<span class="tei tei-pb" id="page22">[pg 22]</span> +<a name="fig27" id="fig27"></a><div class="tei tei-figure" style="text-align: center"><img src="images/homelife.jpg" width="750" height="596" alt="A BIT OF HOME LIFE, By Will D. Brodhun, Wilkes-Barre, Pa." title="A BIT OF HOME LIFEBy Will D. Brodhun, Wilkes-Barre, Pa." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">A BIT OF HOME LIFE<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">Will D. Brodhun, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">Wilkes-Barre, Pa.</span></em></div></div> + + +<span class="tei tei-pb" id="page23">[pg 23]</span> +<a name="fig28" id="fig28"></a><div class="tei tei-figure" style="text-align: center"><img src="images/momerest.jpg" width="743" height="1001" alt="A MOMENT'S REST, By Gertrude L. Brown, Evanston, Ill." title="A MOMENT'S RESTBy Gertrude L. Brown, Evanston, Ill." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">A MOMENT'S REST<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">Gertrude L. Brown, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">Evanston, Ill.</span></em></div></div> + + +<span class="tei tei-pb" id="page24">[pg 24]</span> +<a name="fig29" id="fig29"></a><div class="tei tei-figure" style="text-align: center"><img src="images/dancers.jpg" width="749" height="979" alt="DANCERS, By John C. Burkhardt, Portland, Ore." title="DANCERSBy John C. Burkhardt, Portland, Ore." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">DANCERS<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">John C. Burkhardt, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">Portland, Ore.</span></em></div></div> + + +<span class="tei tei-pb" id="page25">[pg 25]</span> +<a name="fig30" id="fig30"></a><div class="tei tei-figure" style="text-align: center"><img src="images/douarnene.jpg" width="754" height="568" alt="DOUARNENEZ, FINISTÈRE, By Dr. A. D. Chaffee, New York" title="DOUARNENEZ, FINISTÈREBy Dr. A. D. Chaffee, New York" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">DOUARNENEZ, FINISTÈRE<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">Dr. A. D. Chaffee, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">New York</span></em></div></div> + + +<span class="tei tei-pb" id="page26">[pg 26]</span> +<a name="fig31" id="fig31"></a><div class="tei tei-figure" style="text-align: center"><img src="images/rheims.jpg" width="741" height="1039" alt="RHEIMS, By Arthur D. Chapman, New York" title="RHEIMSBy Arthur D. Chapman, New York" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">RHEIMS<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">Arthur D. Chapman, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">New York</span></em></div></div> + + +<span class="tei tei-pb" id="page27">[pg 27]</span> +<a name="fig32" id="fig32"></a><div class="tei tei-figure" style="text-align: center"><img src="images/itoro.jpg" width="737" height="991" alt="MICHIO ITORO, By Alvin Langdon Colburn, New York" title="MICHIO ITOROBy Alvin Langdon Colburn, New York" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">MICHIO ITORO<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">Alvin Langdon Colburn, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">New York</span></em></div></div> + + +<span class="tei tei-pb" id="page28">[pg 28]</span> +<a name="fig33" id="fig33"></a><div class="tei tei-figure" style="text-align: center"><img src="images/street.jpg" width="751" height="574" alt="THE STREET, By Alfred Cohn, Brooklyn, N. Y." title="THE STREETBy Alfred Cohn, Brooklyn, N. Y." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">THE STREET<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">Alfred Cohn, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">Brooklyn, N. Y.</span></em></div></div> + + +<span class="tei tei-pb" id="page29">[pg 29]</span> +<a name="fig34" id="fig34"></a><div class="tei tei-figure" style="text-align: center"><img src="images/stjohns.jpg" width="681" height="993" alt="ST. JOHN'S CATHEDRAL, By James Copella, New York" title="ST. JOHN'S CATHEDRALBy James Copella, New York" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">ST. JOHN'S CATHEDRAL<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">James Copella, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">New York</span></em></div></div> + + +<span class="tei tei-pb" id="page30">[pg 30]</span> +<a name="fig35" id="fig35"></a><div class="tei tei-figure" style="text-align: center"><img src="images/koshiro.jpg" width="741" height="981" alt="MR. MATSUMOTO KOSHIRO AS “TCHIKAWA GOYEMON” (THE ROBIN HOOD OF JAPAN), By C. P. Crowther, Kobe, Japan" title="MR. MATSUMOTO KOSHIRO AS “TCHIKAWA GOYEMON” (THE ROBIN HOOD OF JAPAN)By C. P. Crowther, Kobe, Japan" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">MR. MATSUMOTO KOSHIRO AS <span class="tei tei-q" style="text-align: center">“TCHIKAWA GOYEMON”</span> (THE ROBIN HOOD OF JAPAN)<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">C. P. Crowther, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">Kobe, Japan</span></em></div></div> + + +<span class="tei tei-pb" id="page31">[pg 31]</span> +<a name="fig36" id="fig36"></a><div class="tei tei-figure" style="text-align: center"><img src="images/springyr.jpg" width="735" height="971" alt="SPRING O' THE YEAR, By Helen W. Drew, Montclair, N. J." title="SPRING O' THE YEARBy Helen W. Drew, Montclair, N. J." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">SPRING O' THE YEAR<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">Helen W. Drew, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">Montclair, N. J.</span></em></div></div> + + +<span class="tei tei-pb" id="page32">[pg 32]</span> +<a name="fig37" id="fig37"></a><div class="tei tei-figure" style="text-align: center"><img src="images/liftmist.jpg" width="745" height="509" alt="THE LIFTING MIST, By Jerry D. Drew, Montclair, N. J." title="THE LIFTING MISTBy Jerry D. Drew, Montclair, N. J." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">THE LIFTING MIST<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">Jerry D. Drew, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">Montclair, N. J.</span></em></div></div> + + +<span class="tei tei-pb" id="page33">[pg 33]</span> +<a name="fig38" id="fig38"></a><div class="tei tei-figure" style="text-align: center"><img src="images/doorway.jpg" width="691" height="1041" alt="THE DOORWAY, By Dwight A. Davis, Worcester, Mass." title="THE DOORWAYBy Dwight A. Davis, Worcester, Mass." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">THE DOORWAY<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">Dwight A. Davis, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">Worcester, Mass.</span></em></div></div> + + +<span class="tei tei-pb" id="page34">[pg 34]</span> +<a name="fig39" id="fig39"></a><div class="tei tei-figure" style="text-align: center"><img src="images/hibridge.jpg" width="737" height="933" alt="HIGH BRIDGE, By Edward R. Dickson, New York City" title="HIGH BRIDGEBy Edward R. Dickson, New York City" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">HIGH BRIDGE<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">Edward R. Dickson, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">New York City</span></em></div></div> + + +<span class="tei tei-pb" id="page35">[pg 35]</span> +<a name="fig40" id="fig40"></a><div class="tei tei-figure" style="text-align: center"><img src="images/mscastle.jpg" width="743" height="987" alt="MRS. VERNON CASTLE, By De Meyer, New York" title="MRS. VERNON CASTLEBy De Meyer, New York" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">MRS. VERNON CASTLE<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">De Meyer, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">New York</span></em></div></div> + + +<span class="tei tei-pb" id="page36">[pg 36]</span> +<a name="fig41" id="fig41"></a><div class="tei tei-figure" style="text-align: center"><img src="images/boats.jpg" width="745" height="554" alt="BOATS, By E. G. Dunning, New York" title="BOATSBy E. G. Dunning, New York" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">BOATS<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">E. G. Dunning, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">New York</span></em></div></div> + + +<span class="tei tei-pb" id="page37">[pg 37]</span> +<a name="fig42" id="fig42"></a><div class="tei tei-figure" style="text-align: center"><img src="images/school.jpg" width="751" height="979" alt="COMING TO SCHOOL, By Vernon Everett Duroc, Brooklyn, N. Y." title="COMING TO SCHOOLBy Vernon Everett Duroc, Brooklyn, N. Y." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">COMING TO SCHOOL<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">Vernon Everett Duroc, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">Brooklyn, N. Y.</span></em></div></div> + + +<span class="tei tei-pb" id="page38">[pg 38]</span> +<a name="fig43" id="fig43"></a><div class="tei tei-figure" style="text-align: center"><img src="images/studydyr.jpg" width="745" height="802" alt="STUDY, By William B. Dyer, Portland, Ore." title="STUDYBy William B. Dyer, Portland, Ore." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">STUDY<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">William B. Dyer, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">Portland, Ore.</span></em></div></div> + + +<span class="tei tei-pb" id="page39">[pg 39]</span> +<a name="fig44" id="fig44"></a><div class="tei tei-figure" style="text-align: center"><img src="images/tapestry.jpg" width="749" height="963" alt="DESIGN FOR A TAPESTRY, By John Paul Edwards, Sacramento, Cal." title="DESIGN FOR A TAPESTRYBy John Paul Edwards, Sacramento, Cal." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">DESIGN FOR A TAPESTRY<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">John Paul Edwards, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">Sacramento, Cal.</span></em></div></div> + + +<span class="tei tei-pb" id="page40">[pg 40]</span> +<a name="fig45" id="fig45"></a><div class="tei tei-figure" style="text-align: center"><img src="images/studyehr.jpg" width="541" height="704" alt="STUDY, By Adelaide Wallach Ehrich, New York" title="STUDYBy Adelaide Wallach Ehrich, New York" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">STUDY<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">Adelaide Wallach Ehrich, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">New York</span></em></div></div> + + +<span class="tei tei-pb" id="page41">[pg 41]</span> +<a name="fig46" id="fig46"></a><div class="tei tei-figure" style="text-align: center"><img src="images/landerv.jpg" width="751" height="584" alt="LANDSCAPE, By Eleanor C. Erving, Albany, N. Y." title="LANDSCAPEBy Eleanor C. Erving, Albany, N. Y." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">LANDSCAPE<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">Eleanor C. Erving, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">Albany, N. Y.</span></em></div></div> + + +<span class="tei tei-pb" id="page42">[pg 42]</span> +<a name="fig47" id="fig47"></a><div class="tei tei-figure" style="text-align: center"><img src="images/sugarlof.jpg" width="750" height="581" alt="SUGARLOAF MOUNTAIN, By W. H. Evans, Wilkes-Barre, Pa." title="SUGARLOAF MOUNTAINBy W. H. Evans, Wilkes-Barre, Pa." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">SUGARLOAF MOUNTAIN<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">W. H. Evans, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">Wilkes-Barre, Pa.</span></em></div></div> + + +<span class="tei tei-pb" id="page43">[pg 43]</span> +<a name="fig48" id="fig48"></a><div class="tei tei-figure" style="text-align: center"><img src="images/treasure.jpg" width="749" height="606" alt="SIDEWALK TREASURES, By O. E. Fischer, M. D., Detroit, Mich." title="SIDEWALK TREASURESBy O. E. Fischer, M. D., Detroit, Mich." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">SIDEWALK TREASURES<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">O. E. Fischer, M. D., </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">Detroit, Mich.</span></em></div></div> + + +<span class="tei tei-pb" id="page44">[pg 44]</span> +<a name="fig49" id="fig49"></a><div class="tei tei-figure" style="text-align: center"><img src="images/delhi.jpg" width="735" height="973" alt="THE GIRL FROM DELHI, By Louis Fleckenstein, Los Angeles, Cal." title="THE GIRL FROM DELHIBy Louis Fleckenstein, Los Angeles, Cal." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">THE GIRL FROM DELHI<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">Louis Fleckenstein, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">Los Angeles, Cal.</span></em></div></div> + + +<span class="tei tei-pb" id="page45">[pg 45]</span> +<a name="fig50" id="fig50"></a><div class="tei tei-figure" style="text-align: center"><img src="images/fiftyyrs.jpg" width="727" height="1049" alt="FIFTY YEARS, By Frederick Frittita, Baltimore, Md." title="FIFTY YEARSBy Frederick Frittita, Baltimore, Md." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">FIFTY YEARS<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">Frederick Frittita, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">Baltimore, Md.</span></em></div></div> + + +<span class="tei tei-pb" id="page46">[pg 46]</span> +<a name="fig51" id="fig51"></a><div class="tei tei-figure" style="text-align: center"><img src="images/waterscn.jpg" width="755" height="511" alt="WATER SCENE, By John Wallace Gillies, New York" title="WATER SCENEBy John Wallace Gillies, New York" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">WATER SCENE<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">John Wallace Gillies, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">New York</span></em></div></div> + + +<span class="tei tei-pb" id="page47">[pg 47]</span> +<a name="fig52" id="fig52"></a><div class="tei tei-figure" style="text-align: center"><img src="images/cutters.jpg" width="747" height="999" alt="THE MARBLE CUTTERS, By Laura Gilpin, Colorado Springs, Col." title="THE MARBLE CUTTERSBy Laura Gilpin, Colorado Springs, Col." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">THE MARBLE CUTTERS<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">Laura Gilpin, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">Colorado Springs, Col.</span></em></div></div> + + +<span class="tei tei-pb" id="page48">[pg 48]</span> +<a name="fig53" id="fig53"></a><div class="tei tei-figure" style="text-align: center"><img src="images/walpi.jpg" width="752" height="576" alt="WALPI, By Forman Hanna, Globe, Ariz." title="WALPIBy Forman Hanna, Globe, Ariz." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">WALPI<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">Forman Hanna, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">Globe, Ariz.</span></em></div></div> + + +<span class="tei tei-pb" id="page49">[pg 49]</span> +<a name="fig54" id="fig54"></a><div class="tei tei-figure" style="text-align: center"><img src="images/shorelin.jpg" width="745" height="935" alt="THE SHORE LINE, By G. H. S. Harding, Berkeley, Cal." title="THE SHORE LINEBy G. H. S. Harding, Berkeley, Cal." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">THE SHORE LINE<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">G. H. S. Harding, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">Berkeley, Cal.</span></em></div></div> + + +<span class="tei tei-pb" id="page50">[pg 50]</span> +<a name="fig55" id="fig55"></a><div class="tei tei-figure" style="text-align: center"><img src="images/aprilsno.jpg" width="1468" height="1501" alt="APRIL SNOW, By Edward Heim, New York" title="APRIL SNOWBy Edward Heim, New York" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">APRIL SNOW<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">Edward Heim, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">New York</span></em></div></div> + + +<span class="tei tei-pb" id="page51">[pg 51]</span> +<a name="fig56" id="fig56"></a><div class="tei tei-figure" style="text-align: center"><img src="images/daydream.jpg" width="745" height="937" alt="DAY DREAMS, By G. W. Harting, New York" title="DAY DREAMSBy G. W. Harting, New York" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">DAY DREAMS<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">G. W. Harting, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">New York</span></em></div></div> + + +<span class="tei tei-pb" id="page52">[pg 52]</span> +<a name="fig57" id="fig57"></a><div class="tei tei-figure" style="text-align: center"><img src="images/inarbor.jpg" width="753" height="577" alt="IN THE ARBOR, By Antoinette B. Hervey, New York" title="IN THE ARBORBy Antoinette B. Hervey, New York" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">IN THE ARBOR<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">Antoinette B. Hervey, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">New York</span></em></div></div> + + +<span class="tei tei-pb" id="page53">[pg 53]</span> +<a name="fig58" id="fig58"></a><div class="tei tei-figure" style="text-align: center"><img src="images/missh.jpg" width="749" height="997" alt="MISS H., By George Henry High, Chicago, Ill." title="MISS H.By George Henry High, Chicago, Ill." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">MISS H.<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">George Henry High, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">Chicago, Ill.</span></em></div></div> + + +<span class="tei tei-pb" id="page54">[pg 54]</span> +<a name="fig59" id="fig59"></a><div class="tei tei-figure" style="text-align: center"><img src="images/sunshine.jpg" width="476" height="631" alt="SUNSHINE, By L. Willis Hoops, New York" title="SUNSHINEBy L. Willis Hoops, New York" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">SUNSHINE<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">L. Willis Hoops, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">New York</span></em></div></div> + + +<span class="tei tei-pb" id="page55">[pg 55]</span> +<a name="fig60" id="fig60"></a><div class="tei tei-figure" style="text-align: center"><img src="images/whitehat.jpg" width="711" height="1037" alt="THE WHITE HAT, By G. B. Hollister, Corning, N. Y." title="THE WHITE HATBy G. B. Hollister, Corning, N. Y." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">THE WHITE HAT<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">G. B. Hollister, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">Corning, N. Y.</span></em></div></div> + + +<span class="tei tei-pb" id="page56">[pg 56]</span> +<a name="fig61" id="fig61"></a><div class="tei tei-figure" style="text-align: center"><img src="images/design.jpg" width="751" height="997" alt="DESIGN, By Bernard S. Horne, Princeton, N. J." title="DESIGNBy Bernard S. Horne, Princeton, N. J." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">DESIGN<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">Bernard S. Horne, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">Princeton, N. J.</span></em></div></div> + + +<span class="tei tei-pb" id="page57">[pg 57]</span> +<a name="fig62" id="fig62"></a><div class="tei tei-figure" style="text-align: center"><img src="images/cityst.jpg" width="681" height="989" alt="CITY STREET, By Blanche C. Hungerford (Mrs. Latimer), High Bridge, N. J." title="CITY STREETBy Blanche C. Hungerford (Mrs. Latimer), High Bridge, N. J." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">CITY STREET<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">Blanche C. Hungerford (Mrs. Latimer), </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">High Bridge, N. J.</span></em></div></div> + + +<span class="tei tei-pb" id="page58">[pg 58]</span> +<a name="fig63" id="fig63"></a><div class="tei tei-figure" style="text-align: center"><img src="images/columbia.jpg" width="461" height="605" alt="COLUMBIA UNIVERSITY, By Dr. Charles H. Jaeger, New York" title="COLUMBIA UNIVERSITYBy Dr. Charles H. Jaeger, New York" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">COLUMBIA UNIVERSITY<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">Dr. Charles H. Jaeger, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">New York</span></em></div></div> + + +<span class="tei tei-pb" id="page59">[pg 59]</span> +<a name="fig64" id="fig64"></a><div class="tei tei-figure" style="text-align: center"><img src="images/prtchild.jpg" width="741" height="991" alt="PORTRAIT OF A CHILD, By Doris U. Jaeger, New York" title="PORTRAIT OF A CHILDBy Doris U. Jaeger, New York" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">PORTRAIT OF A CHILD<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">Doris U. Jaeger, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">New York</span></em></div></div> + + +<span class="tei tei-pb" id="page60">[pg 60]</span> +<a name="fig65" id="fig65"></a><div class="tei tei-figure" style="text-align: center"><img src="images/vale.jpg" width="747" height="923" alt="THE VALE OF THE SHADOW, By Arthur F. Kales, Los Angeles, Cal." title="THE VALE OF THE SHADOWBy Arthur F. Kales, Los Angeles, Cal." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">THE VALE OF THE SHADOW<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">Arthur F. Kales, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">Los Angeles, Cal.</span></em></div></div> + + +<span class="tei tei-pb" id="page61">[pg 61]</span> +<a name="fig66" id="fig66"></a><div class="tei tei-figure" style="text-align: center"><img src="images/portkase.jpg" width="733" height="1043" alt="PORTRAIT, By Gertrude Kasebier, New York" title="PORTRAITBy Gertrude Kasebier, New York" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">PORTRAIT<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">Gertrude Kasebier, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">New York</span></em></div></div> + + +<span class="tei tei-pb" id="page62">[pg 62]</span> +<a name="fig67" id="fig67"></a><div class="tei tei-figure" style="text-align: center"><img src="images/oldhill.jpg" width="746" height="961" alt="OLD HILL TOWN, By William Kriebel, Philadelphia, Pa." title="OLD HILL TOWNBy William Kriebel, Philadelphia, Pa." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">OLD HILL TOWN<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">William Kriebel, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">Philadelphia, Pa.</span></em></div></div> + + +<span class="tei tei-pb" id="page63">[pg 63]</span> +<a name="fig68" id="fig68"></a><div class="tei tei-figure" style="text-align: center"><img src="images/solitude.jpg" width="746" height="491" alt="SOLITUDE, By W. R. Latimer, High Bridge, N. J." title="SOLITUDEBy W. R. Latimer, High Bridge, N. J." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">SOLITUDE<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">W. R. Latimer, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">High Bridge, N. J.</span></em></div></div> + + +<span class="tei tei-pb" id="page64">[pg 64]</span> +<a name="fig69" id="fig69"></a><div class="tei tei-figure" style="text-align: center"><img src="images/ellen.jpg" width="746" height="1003" alt="ELLEN, By Sophie L. Lauffer, Brooklyn, N. Y." title="ELLENBy Sophie L. Lauffer, Brooklyn, N. Y." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">ELLEN<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">Sophie L. Lauffer, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">Brooklyn, N. Y.</span></em></div></div> + + +<span class="tei tei-pb" id="page65">[pg 65]</span> +<a name="fig70" id="fig70"></a><div class="tei tei-figure" style="text-align: center"><img src="images/johnspeer.jpg" width="753" height="1005" alt="MASTER JOHN SPEER, By George P. Lester, Bloomfield, N. J." title="MASTER JOHN SPEERBy George P. Lester, Bloomfield, N. J." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">MASTER JOHN SPEER<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">George P. Lester, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">Bloomfield, N. J.</span></em></div></div> + + +<span class="tei tei-pb" id="page66">[pg 66]</span> +<a name="fig71" id="fig71"></a><div class="tei tei-figure" style="text-align: center"><img src="images/mtadams.jpg" width="749" height="903" alt="MOUNT ADAMS OF THE NORTHERN LAKES, By Francis Orville Libby, Portland, Me." title="MOUNT ADAMS OF THE NORTHERN LAKESBy Francis Orville Libby, Portland, Me." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">MOUNT ADAMS OF THE NORTHERN LAKES<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">Francis Orville Libby, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">Portland, Me.</span></em></div></div> + + +<span class="tei tei-pb" id="page67">[pg 67]</span> +<a name="fig72" id="fig72"></a><div class="tei tei-figure" style="text-align: center"><img src="images/miststod.jpg" width="751" height="534" alt="MISTS TO-DAY—CLEAR ANON, By Edwin Loker, St. Louis, Mo." title="MISTS TO-DAY—CLEAR ANONBy Edwin Loker, St. Louis, Mo." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">MISTS TO-DAY—CLEAR ANON<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">Edwin Loker, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">St. Louis, Mo.</span></em></div></div> + + +<span class="tei tei-pb" id="page68">[pg 68]</span> +<a name="fig73" id="fig73"></a><div class="tei tei-figure" style="text-align: center"><img src="images/treesclou.jpg" width="752" height="424" alt="TREES AND CLOUDS, By Dr. William F. Makk, Los Angeles, Cal." title="TREES AND CLOUDSBy Dr. William F. Makk, Los Angeles, Cal." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">TREES AND CLOUDS<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">Dr. William F. Makk, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">Los Angeles, Cal.</span></em></div></div> + + +<span class="tei tei-pb" id="page69">[pg 69]</span> +<a name="fig74" id="fig74"></a><div class="tei tei-figure" style="text-align: center"><img src="images/yitkim.jpg" width="741" height="975" alt="PLAYER ON THE YIT-KIM, By Margrethe Mather, Los Angeles, Cal." title="PLAYER ON THE YIT-KIMBy Margrethe Mather, Los Angeles, Cal." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">PLAYER ON THE YIT-KIM<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">Margrethe Mather, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">Los Angeles, Cal.</span></em></div></div> + + +<span class="tei tei-pb" id="page70">[pg 70]</span> +<a name="fig75" id="fig75"></a><div class="tei tei-figure" style="text-align: center"><img src="images/patzcuar.jpg" width="753" height="544" alt="ON LAKE PATZCUARO, MEXICO, By Oscar Maurer, Los Angeles, Cal." title="ON LAKE PATZCUARO, MEXICOBy Oscar Maurer, Los Angeles, Cal." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">ON LAKE PATZCUARO, MEXICO<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">Oscar Maurer, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">Los Angeles, Cal.</span></em></div></div> + + +<span class="tei tei-pb" id="page71">[pg 71]</span> +<a name="fig76" id="fig76"></a><div class="tei tei-figure" style="text-align: center"><img src="images/wharf.jpg" width="753" height="459" alt="ALONG THE WHARF, By Holmes I. Mettee, Baltimore, Md." title="ALONG THE WHARFBy Holmes I. Mettee, Baltimore, Md." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">ALONG THE WHARF<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">Holmes I. Mettee, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">Baltimore, Md.</span></em></div></div> + + +<span class="tei tei-pb" id="page72">[pg 72]</span> +<a name="fig77" id="fig77"></a><div class="tei tei-figure" style="text-align: center"><img src="images/marsh.jpg" width="749" height="975" alt="THE MARSH—EVENING, By J. George Midgley, Salt Lake City, Utah" title="THE MARSH—EVENINGBy J. George Midgley, Salt Lake City, Utah" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">THE MARSH—EVENING<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">J. George Midgley, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">Salt Lake City, Utah</span></em></div></div> + + +<span class="tei tei-pb" id="page73">[pg 73]</span> +<a name="fig78" id="fig78"></a><div class="tei tei-figure" style="text-align: center"><img src="images/dancer.jpg" width="643" height="1057" alt="THE DANCER, By H. W. Minns, Akron, Ohio" title="THE DANCERBy H. W. Minns, Akron, Ohio" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">THE DANCER<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">H. W. Minns, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">Akron, Ohio</span></em></div></div> + + +<span class="tei tei-pb" id="page74">[pg 74]</span> +<a name="fig79" id="fig79"></a><div class="tei tei-figure" style="text-align: center"><img src="images/snowpatt.jpg" width="752" height="929" alt="SNOW PATTERN, By H. Remick Neeson, Baltimore, Md." title="SNOW PATTERNBy H. Remick Neeson, Baltimore, Md." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">SNOW PATTERN<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">H. Remick Neeson, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">Baltimore, Md.</span></em></div></div> + + +<span class="tei tei-pb" id="page75">[pg 75]</span> +<a name="fig80" id="fig80"></a><div class="tei tei-figure" style="text-align: center"><img src="images/farmer.jpg" width="751" height="929" alt="THE FARMER, By Henry Hoyt Moore, Brooklyn, N. Y." title="THE FARMERBy Henry Hoyt Moore, Brooklyn, N. Y." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">THE FARMER<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">Henry Hoyt Moore, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">Brooklyn, N. Y.</span></em></div></div> + + +<span class="tei tei-pb" id="page76">[pg 76]</span> +<a name="fig81" id="fig81"></a><div class="tei tei-figure" style="text-align: center"><img src="images/steamup.jpg" width="754" height="525" alt="STEAM UP, By J. W. Newton, Columbus, Ohio" title="STEAM UPBy J. W. Newton, Columbus, Ohio" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">STEAM UP<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">J. W. Newton, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">Columbus, Ohio</span></em></div></div> + + +<span class="tei tei-pb" id="page77">[pg 77]</span> +<a name="fig82" id="fig82"></a><div class="tei tei-figure" style="text-align: center"><img src="images/eve.jpg" width="747" height="1033" alt="EVE REPENTENT, By Imogen Cunningham Partridge, San Francisco, Cal." title="EVE REPENTENTBy Imogen Cunningham Partridge, San Francisco, Cal." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">EVE REPENTENT<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">Imogen Cunningham Partridge, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">San Francisco, Cal.</span></em></div></div> + + +<span class="tei tei-pb" id="page78">[pg 78]</span> +<a name="fig83" id="fig83"></a><div class="tei tei-figure" style="text-align: center"><img src="images/swans.jpg" width="750" height="592" alt="SWANS, By G. Houson Payne, Jr., Baltimore, Md." title="SWANSBy G. Houson Payne, Jr., Baltimore, Md." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">SWANS<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">G. Houson Payne, Jr., </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">Baltimore, Md.</span></em></div></div> + + +<span class="tei tei-pb" id="page79">[pg 79]</span> +<a name="fig84" id="fig84"></a><div class="tei tei-figure" style="text-align: center"><img src="images/mothchil.jpg" width="739" height="823" alt="MOTHER AND CHILD, By Margaret Rhodes Peattie, Chicago, Ill." title="MOTHER AND CHILDBy Margaret Rhodes Peattie, Chicago, Ill." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">MOTHER AND CHILD<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">Margaret Rhodes Peattie, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">Chicago, Ill.</span></em></div></div> + + +<span class="tei tei-pb" id="page80">[pg 80]</span> +<a name="fig85" id="fig85"></a><div class="tei tei-figure" style="text-align: center"><img src="images/placpict.jpg" width="753" height="981" alt="PLACING A PICTURE, By Leo Pokras, Brooklyn, N. Y." title="PLACING A PICTUREBy Leo Pokras, Brooklyn, N. Y." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">PLACING A PICTURE<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">Leo Pokras, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">Brooklyn, N. Y.</span></em></div></div> + + +<span class="tei tei-pb" id="page81">[pg 81]</span> +<a name="fig86" id="fig86"></a><div class="tei tei-figure" style="text-align: center"><img src="images/twilight.jpg" width="751" height="557" alt="TWILIGHT'S MYSTERY, By W. H. Porterfield, Buffalo, N. Y." title="TWILIGHT'S MYSTERYBy W. H. Porterfield, Buffalo, N. Y." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">TWILIGHT'S MYSTERY<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">W. H. Porterfield, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">Buffalo, N. Y.</span></em></div></div> + + +<span class="tei tei-pb" id="page82">[pg 82]</span> +<a name="fig87" id="fig87"></a><div class="tei tei-figure" style="text-align: center"><img src="images/mornboat.jpg" width="760" height="611" alt="THE MORNING BOAT, By E. M. Pratt, Tracy, Cal." title="THE MORNING BOATBy E. M. Pratt, Tracy, Cal." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">THE MORNING BOAT<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">E. M. Pratt, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">Tracy, Cal.</span></em></div></div> + + +<span class="tei tei-pb" id="page83">[pg 83]</span> +<a name="fig88" id="fig88"></a><div class="tei tei-figure" style="text-align: center"><img src="images/sixteen.jpg" width="743" height="1009" alt="SWEET SIXTEEN, By Mrs. William H. Rau, Philadelphia, Pa." title="SWEET SIXTEENBy Mrs. William H. Rau, Philadelphia, Pa." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">SWEET SIXTEEN<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">Mrs. William H. Rau, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">Philadelphia, Pa.</span></em></div></div> + + +<span class="tei tei-pb" id="page84">[pg 84]</span> +<a name="fig89" id="fig89"></a><div class="tei tei-figure" style="text-align: center"><img src="images/mother.jpg" width="749" height="981" alt="MOTHER, By Jane Reece, Dayton, Ohio" title="MOTHERBy Jane Reece, Dayton, Ohio" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">MOTHER<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">Jane Reece, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">Dayton, Ohio</span></em></div></div> + + +<span class="tei tei-pb" id="page85">[pg 85]</span> +<a name="fig90" id="fig90"></a><div class="tei tei-figure" style="text-align: center"><img src="images/husbandm.jpg" width="748" height="560" alt="THE HUSBANDMAN, By O. C. Reiter, Pittsburgh, Pa." title="THE HUSBANDMANBy O. C. Reiter, Pittsburgh, Pa." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">THE HUSBANDMAN<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">O. C. Reiter, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">Pittsburgh, Pa.</span></em></div></div> + + +<span class="tei tei-pb" id="page86">[pg 86]</span> +<a name="fig91" id="fig91"></a><div class="tei tei-figure" style="text-align: center"><img src="images/lastrace.jpg" width="754" height="563" alt="THE LAST OF HIS RACE, By L. M. A. Roy, La Crosse, Wis." title="THE LAST OF HIS RACEBy L. M. A. Roy, La Crosse, Wis." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">THE LAST OF HIS RACE<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">L. M. A. Roy, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">La Crosse, Wis.</span></em></div></div> + + +<span class="tei tei-pb" id="page87">[pg 87]</span> +<a name="fig92" id="fig92"></a><div class="tei tei-figure" style="text-align: center"><img src="images/pennstat.jpg" width="751" height="967" alt="PENNSYLVANIA STATION, NEW YORK, By Dr. D. J. Ruzicka, New York" title="PENNSYLVANIA STATION, NEW YORKBy Dr. D. J. Ruzicka, New York" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">PENNSYLVANIA STATION, NEW YORK<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">Dr. D. J. Ruzicka, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">New York</span></em></div></div> + + +<span class="tei tei-pb" id="page88">[pg 88]</span> +<a name="fig93" id="fig93"></a><div class="tei tei-figure" style="text-align: center"><img src="images/pleasant.jpg" width="743" height="1015" alt="A GLIMPSE OF PLEASANT VALLEY, By J. G. Sarvent, Kansas City, Mo." title="A GLIMPSE OF PLEASANT VALLEYBy J. G. Sarvent, Kansas City, Mo." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">A GLIMPSE OF PLEASANT VALLEY<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">J. G. Sarvent, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">Kansas City, Mo.</span></em></div></div> + + +<span class="tei tei-pb" id="page89">[pg 89]</span> +<a name="fig94" id="fig94"></a><div class="tei tei-figure" style="text-align: center"><img src="images/vallbeyo.jpg" width="739" height="889" alt="THE VALLEY BEYOND OUR HILL, By Otto C. Shulte, San Franciso, Cal." title="THE VALLEY BEYOND OUR HILLBy Otto C. Shulte, San Franciso, Cal." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">THE VALLEY BEYOND OUR HILL<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">Otto C. Shulte, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">San Franciso, Cal.</span></em></div></div> + + +<span class="tei tei-pb" id="page90">[pg 90]</span> +<a name="fig95" id="fig95"></a><div class="tei tei-figure" style="text-align: center"><img src="images/elysian.jpg" width="745" height="967" alt="ELYSIAN PARK VISTA, By David J. Sheahan, Los Angeles, Cal." title="ELYSIAN PARK VISTABy David J. Sheahan, Los Angeles, Cal." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">ELYSIAN PARK VISTA<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">David J. Sheahan, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">Los Angeles, Cal.</span></em></div></div> + + +<span class="tei tei-pb" id="page91">[pg 91]</span> +<a name="fig96" id="fig96"></a><div class="tei tei-figure" style="text-align: center"><img src="images/wasatch.jpg" width="742" height="547" alt="IN THE FOOTHILLS OF THE WASATCH, By Thomas O. Sheckell, Salt Lake City, Utah" title="IN THE FOOTHILLS OF THE WASATCHBy Thomas O. Sheckell, Salt Lake City, Utah" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">IN THE FOOTHILLS OF THE WASATCH<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">Thomas O. Sheckell, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">Salt Lake City, Utah</span></em></div></div> + + +<span class="tei tei-pb" id="page92">[pg 92]</span> +<a name="fig97" id="fig97"></a><div class="tei tei-figure" style="text-align: center"><img src="images/stpats.jpg" width="743" height="979" alt="DOORWAY OF ST. PATRICK'S CATHEDRAL, By William Gordon Shields, New York" title="DOORWAY OF ST. PATRICK'S CATHEDRALBy William Gordon Shields, New York" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">DOORWAY OF ST. PATRICK'S CATHEDRAL<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">William Gordon Shields, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">New York</span></em></div></div> + + +<span class="tei tei-pb" id="page93">[pg 93]</span> +<a name="fig98" id="fig98"></a><div class="tei tei-figure" style="text-align: center"><img src="images/portsmit.jpg" width="751" height="995" alt="PORTRAIT, By Mrs. Sterling Smith, San Diego, Cal." title="PORTRAITBy Mrs. Sterling Smith, San Diego, Cal." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">PORTRAIT<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">Mrs. Sterling Smith, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">San Diego, Cal.</span></em></div></div> + + +<span class="tei tei-pb" id="page94">[pg 94]</span> +<a name="fig99" id="fig99"></a><div class="tei tei-figure" style="text-align: center"><img src="images/columns.jpg" width="532" height="668" alt="THE COLUMNS, By E. Radiker Standcliff, Elmira, N. Y." title="THE COLUMNSBy E. Radiker Standcliff, Elmira, N. Y." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">THE COLUMNS<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">E. Radiker Standcliff, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">Elmira, N. Y.</span></em></div></div> + + +<span class="tei tei-pb" id="page95">[pg 95]</span> +<a name="fig100" id="fig100"></a><div class="tei tei-figure" style="text-align: center"><img src="images/tamalpai.jpg" width="749" height="517" alt="TOWARD TAMALPAIS, By W. H. Stephens, San Franciso, Cal." title="TOWARD TAMALPAISBy W. H. Stephens, San Franciso, Cal." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">TOWARD TAMALPAIS<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">W. H. Stephens, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">San Franciso, Cal.</span></em></div></div> + + +<span class="tei tei-pb" id="page96">[pg 96]</span> +<a name="fig101" id="fig101"></a><div class="tei tei-figure" style="text-align: center"><img src="images/murray.jpg" width="737" height="569" alt="MAE MURRAY, By Ford Sterling, Los Angeles, Cal." title="MAE MURRAYBy Ford Sterling, Los Angeles, Cal." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">MAE MURRAY<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">Ford Sterling, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">Los Angeles, Cal.</span></em></div></div> + + +<span class="tei tei-pb" id="page97">[pg 97]</span> +<a name="fig102" id="fig102"></a><div class="tei tei-figure" style="text-align: center"><img src="images/margaret.jpg" width="743" height="574" alt="MARGARET, By John H. Stocksdale, Baltimore, Md." title="MARGARETBy John H. Stocksdale, Baltimore, Md." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">MARGARET<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">John H. Stocksdale, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">Baltimore, Md.</span></em></div></div> + + +<span class="tei tei-pb" id="page98">[pg 98]</span> +<a name="fig103" id="fig103"></a><div class="tei tei-figure" style="text-align: center"><img src="images/canal.jpg" width="748" height="937" alt="THE CANAL, By M. Sugimoto, New York" title="THE CANALBy M. Sugimoto, New York" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">THE CANAL<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">M. Sugimoto, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">New York</span></em></div></div> + + +<span class="tei tei-pb" id="page99">[pg 99]</span> +<a name="fig104" id="fig104"></a><div class="tei tei-figure" style="text-align: center"><img src="images/stilllif.jpg" width="749" height="520" alt="STILL LIFE, By Elizabeth Talcott, Elmwood, Conn." title="STILL LIFEBy Elizabeth Talcott, Elmwood, Conn." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">STILL LIFE<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">Elizabeth Talcott, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">Elmwood, Conn.</span></em></div></div> + + +<span class="tei tei-pb" id="page100">[pg 100]</span> +<a name="fig105" id="fig105"></a><div class="tei tei-figure" style="text-align: center"><img src="images/dreamhou.jpg" width="760" height="563" alt="THE HOUSE O' DREAMS, By William H. Thompson, Hartford, Conn." title="THE HOUSE O' DREAMSBy William H. Thompson, Hartford, Conn." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">THE HOUSE O' DREAMS<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">William H. Thompson, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">Hartford, Conn.</span></em></div></div> + + +<span class="tei tei-pb" id="page101">[pg 101]</span> +<a name="fig106" id="fig106"></a><div class="tei tei-figure" style="text-align: center"><img src="images/tofront.jpg" width="753" height="573" alt="WITH FACE SET TOWARD THE WESTERN FRONT, By Lieut. Edward Larocque Tinker, U. S. N.,New York" title="WITH FACE SET TOWARD THE WESTERN FRONTBy Lieut. Edward Larocque Tinker, U. S. N., New York" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">WITH FACE SET TOWARD THE WESTERN FRONT<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">Lieut. Edward Larocque Tinker, U. S. N., </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">New York</span></em></div></div> + + +<span class="tei tei-pb" id="page102">[pg 102]</span> +<a name="fig107" id="fig107"></a><div class="tei tei-figure" style="text-align: center"><img src="images/shftsand.jpg" width="749" height="899" alt="SHIFTING SAND, By Charles Vandervelde, Grand Rapids, Mich." title="SHIFTING SANDBy Charles Vandervelde, Grand Rapids, Mich." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">SHIFTING SAND<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">Charles Vandervelde, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">Grand Rapids, Mich.</span></em></div></div> + + +<span class="tei tei-pb" id="page103">[pg 103]</span> +<a name="fig108" id="fig108"></a><div class="tei tei-figure" style="text-align: center"><img src="images/ruthdeni.jpg" width="746" height="544" alt="RUTH ST. DENIS, By the late Lieut. Luke R. Vickers, Church Creek, Md." title="RUTH ST. DENISBy the late Lieut. Luke R. Vickers, Church Creek, Md." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">RUTH ST. DENIS<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">the late Lieut. Luke R. Vickers, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">Church Creek, Md.</span></em></div></div> + + +<span class="tei tei-pb" id="page104">[pg 104]</span> +<a name="fig109" id="fig109"></a><div class="tei tei-figure" style="text-align: center"><img src="images/newyears.jpg" width="752" height="604" alt="THE NEW YEAR'S EDITION, By Will H. Walker, Portland, Ore." title="THE NEW YEAR'S EDITIONBy Will H. Walker, Portland, Ore." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">THE NEW YEAR'S EDITION<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">Will H. Walker, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">Portland, Ore.</span></em></div></div> + + +<span class="tei tei-pb" id="page105">[pg 105]</span> +<a name="fig110" id="fig110"></a><div class="tei tei-figure" style="text-align: center"><img src="images/girlwfan.jpg" width="749" height="940" alt="GIRL WITH THE FAN, By Mabel Watson, Pasadena, Cal." title="GIRL WITH THE FANBy Mabel Watson, Pasadena, Cal." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">GIRL WITH THE FAN<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">Mabel Watson, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">Pasadena, Cal.</span></em></div></div> + + +<span class="tei tei-pb" id="page106">[pg 106]</span> +<a name="fig111" id="fig111"></a><div class="tei tei-figure" style="text-align: center"><img src="images/eleanor.jpg" width="755" height="993" alt="ELEANOR, By Delight Weston, Blue Hill, Me." title="ELEANORBy Delight Weston, Blue Hill, Me." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">ELEANOR<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">Delight Weston, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">Blue Hill, Me.</span></em></div></div> + + +<span class="tei tei-pb" id="page107">[pg 107]</span> +<a name="fig112" id="fig112"></a><div class="tei tei-figure" style="text-align: center"><img src="images/epilogue.jpg" width="747" height="971" alt="EPILOGUE, By Edward Weston, Glendale, Cal." title="EPILOGUEBy Edward Weston, Glendale, Cal." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">EPILOGUE<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">Edward Weston, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">Glendale, Cal.</span></em></div></div> + + +<span class="tei tei-pb" id="page108">[pg 108]</span> +<a name="fig113" id="fig113"></a><div class="tei tei-figure" style="text-align: center"><img src="images/mrsm.jpg" width="695" height="1043" alt="MRS. M., By Leonard Westphalen, Chicago, Ill." title="MRS. M.By Leonard Westphalen, Chicago, Ill." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">MRS. M.<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">Leonard Westphalen, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">Chicago, Ill.</span></em></div></div> + + +<span class="tei tei-pb" id="page109">[pg 109]</span> +<a name="fig114" id="fig114"></a><div class="tei tei-figure" style="text-align: center"><img src="images/family.jpg" width="751" height="938" alt="THE FAMILY, By Clarence H. White, New York" title="THE FAMILYBy Clarence H. White, New York" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">THE FAMILY<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">Clarence H. White, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">New York</span></em></div></div> + + +<span class="tei tei-pb" id="page110">[pg 110]</span> +<a name="fig115" id="fig115"></a><div class="tei tei-figure" style="text-align: center"><img src="images/flowgard.jpg" width="754" height="522" alt="THE FLOWER GARDEN, By Cornelia F. White, New York" title="THE FLOWER GARDENBy Cornelia F. White, New York" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">THE FLOWER GARDEN<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">Cornelia F. White, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">New York</span></em></div></div> + + +<span class="tei tei-pb" id="page111">[pg 111]</span> +<a name="fig116" id="fig116"></a><div class="tei tei-figure" style="text-align: center"><img src="images/thruwind.jpg" width="753" height="969" alt="THROUGH THE WINDOW, By Hazel Jane Wiegner, Philadelphia, Pa." title="THROUGH THE WINDOWBy Hazel Jane Wiegner, Philadelphia, Pa." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">THROUGH THE WINDOW<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">Hazel Jane Wiegner, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">Philadelphia, Pa.</span></em></div></div> + + +<span class="tei tei-pb" id="page112">[pg 112]</span> +<a name="fig117" id="fig117"></a><div class="tei tei-figure" style="text-align: center"><img src="images/marionet.jpg" width="519" height="1043" alt="MARIONETTE, By Edith R. Wilson, Mount Vernon, N. Y." title="MARIONETTEBy Edith R. Wilson, Mount Vernon, N. Y." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">MARIONETTE<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">Edith R. Wilson, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">Mount Vernon, N. Y.</span></em></div></div> + + +<span class="tei tei-pb" id="page113">[pg 113]</span> +<a name="fig118" id="fig118"></a><div class="tei tei-figure" style="text-align: center"><img src="images/jean.jpg" width="743" height="969" alt="JEAN, By Mildred R. Wilson, Orange, N. J." title="JEANBy Mildred R. Wilson, Orange, N. J." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">JEAN<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">Mildred R. Wilson, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">Orange, N. J.</span></em></div></div> + + +<span class="tei tei-pb" id="page114">[pg 114]</span> +<a name="fig119" id="fig119"></a><div class="tei tei-figure" style="text-align: center"><img src="images/citybeyo.jpg" width="767" height="517" alt="CITY BEYOND, By N. S. Wooldridge, Pittsburgh, Pa." title="CITY BEYONDBy N. S. Wooldridge, Pittsburgh, Pa." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">CITY BEYOND<br /><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">By </span></em><span class="tei tei-hi" style="text-align: center"><span style="font-variant: small-caps">N. S. Wooldridge, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">Pittsburgh, Pa.</span></em></div></div> + +</div> +</div> + +<div class="tei tei-back" style="margin-bottom: 2.00em; margin-top: 6.00em"> +<div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em"> + <a name="toc120" id="toc120"></a> + <a name="pdf121" id="pdf121"></a> +<span class="tei tei-pb" id="page115">[pg 115]</span> +<h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">The following is a partial list of photographic organizations in America which are encouraging pictorial Photography</span></h1> +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Bangor Society of Art</div> +<div class="tei tei-l" style="text-align: left">Bangor, Me.</div> +</div><div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Boston Y. M. C. U. Camera Club</div> +<div class="tei tei-l" style="text-align: left">48 Boylston Street, Boston, Mass.</div> +</div><div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Brooklyn Institute of Arts and Science, <em class="tei tei-emph" style="text-align: left"><span style="font-style: italic">Photographic Section</span></em></div> +<div class="tei tei-l" style="text-align: left">Academy of Music Building, Brooklyn, N. Y.</div> +</div><div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Buffalo Camera Club</div> +<div class="tei tei-l" style="text-align: left">Kinne Building, corner Main and Utica Streets,</div> +<div class="tei tei-l" style="text-align: left">Buffalo, N. Y.</div> +</div><div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">California Camera Club</div> +<div class="tei tei-l" style="text-align: left">833 Market Street, San Francisco, Cal.</div> +</div><div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Camera Club</div> +<div class="tei tei-l" style="text-align: left">121 West 68th Street, New York City</div> +</div><div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Camera Club of Detroit</div> +<div class="tei tei-l" style="text-align: left">513-515 Kresge Building, West Grand Circus Park, Detroit, Mich.</div> +</div><div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Camera Pictorialists of Los Angeles</div> +<div class="tei tei-l" style="text-align: left">415 Blanchard Building, Los Angeles, Cal.</div> +</div><div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Chicago Camera Club</div> +<div class="tei tei-l" style="text-align: left">31 West Lake Street, Chicago, Ill.</div> +</div><div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Camera Pictorialists of Columbus</div> +<div class="tei tei-l" style="text-align: left">40 North High Street, Columbus, Ohio</div> +</div><div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Elmira Camera Club</div> +<div class="tei tei-l" style="text-align: left">116 Baldwin Street, Elmira, N. Y.</div> +</div><div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Grand Rapids Camera Club</div> +<div class="tei tei-l" style="text-align: left">2 Central Place, N. E., Grand Rapids, Mich.</div> +</div><div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Missouri Camera Club</div> +<div class="tei tei-l" style="text-align: left">706 Merchants-Laclede Building, 408 Olive Street, St. Louis, Mo.</div> +</div><div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left"> Newark Camera Club</div> +<div class="tei tei-l" style="text-align: left">878 Broad Street, Newark, N. J.</div> +</div><div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Orange Camera Club</div> +<div class="tei tei-l" style="text-align: left">Main and Clinton Streets, Orange, N. J.</div> +</div><div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Oregon Camera Club</div> +<div class="tei tei-l" style="text-align: left">Elks Building, Portland, Oregon</div> +</div><div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Photographic Guild of the Society of Arts and Crafts</div> +<div class="tei tei-l" style="text-align: left">Boston, Mass.</div> +</div><div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Photo Fellows of the World</div> +<div class="tei tei-l" style="text-align: left"><em class="tei tei-emph" style="text-align: left"><span style="font-style: italic">Dean</span></em>, Sigismund Blumann, 3217 Davis Street, Fruitvale, Cal.</div> +</div><div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Photographic Guild of Baltimore</div> +<div class="tei tei-l" style="text-align: left">Baltimore, Md.</div> +</div><div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Pittsburgh Academy of Science and Art, <em class="tei tei-emph" style="text-align: left"><span style="font-style: italic">Photographic Section</span></em></div> +<div class="tei tei-l" style="text-align: left">Carnegie Institute, Schenley Park, Pittsburgh, Pa.</div> +<div class="tei tei-l" style="text-align: left">The Pittsburgh Salon of Photographic Art</div> +</div><div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Portland Camera Club. <em class="tei tei-emph" style="text-align: left"><span style="font-style: italic">Photographic Section of the Portland Society of Art</span></em></div> +<div class="tei tei-l" style="text-align: left">Corner Spring and High Streets, Portland, Me.</div> +</div><div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Toledo Camera Club</div> +<div class="tei tei-l" style="text-align: left">Museum of Art, Toledo, Ohio</div> +</div><div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Toronto Camera Club</div> +<div class="tei tei-l" style="text-align: left">2 Gould Street, Toronto, Ontario, Canada</div> +</div><div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Wilkes-Barre Camera Club</div> +<div class="tei tei-l" style="text-align: left">Poli Building, 131 South Main Street, Wilkes-Barre, Pa.</div> +</div> +<div class="tei tei-tb"><hr style="width: 20%" /></div> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +The reproductions in this Annual were selected from a group of nearly 1100 photographs. Of the 100 artists whose prints are now reproduced: +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +36 are new workers. 16 were unknown to the judges. 32 are workers of recent years. 16 are old workers. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +A further computation shows that 56 are members of the Association, while 44 are non-members. +</p> +<span class="tei tei-pb" id="page118">[pg 118]</span> +<div class="tei tei-figure" style="text-align: center"><img src="images/smithsyn.jpg" width="843" height="1208" alt="Advertisement: The Smith Synthetic Lens" /></div> + + +<span class="tei tei-pb" id="page119">[pg 119]</span> +<div class="tei tei-figure" style="text-align: center"><img src="images/ensirefl.jpg" width="841" height="1221" alt="Advertisement: Ensign Reflex Cameras" /></div> + + +<span class="tei tei-pb" id="page120">[pg 120]</span> +<div class="tei tei-figure" style="text-align: center"><img src="images/whitesch.jpg" width="851" height="1223" alt="Advertisements: Japan Paper Company and Clarence H. White School of Photography" /></div> + + +<span class="tei tei-pb" id="page121">[pg 121]</span> +<div class="tei tei-figure" style="text-align: center"><img src="images/willough.jpg" width="848" height="1211" alt="Advertisements: Willoughby's and Willis & Clements" /></div> + + +<span class="tei tei-pb" id="page122">[pg 122]</span> +<div class="tei tei-figure" style="text-align: center"><img src="images/photomin.jpg" width="856" height="1218" alt="Advertisements: George Murphy, Inc. and The Photo-Miniature" /></div> + + +<span class="tei tei-pb" id="page123">[pg 123]</span> +<div class="tei tei-figure" style="text-align: center"><img src="images/spenhypa.jpg" width="846" height="1216" alt="Advertisements: Spencer Lens Co. and C. P. Goerz American Optical Company" /></div> + + +<span class="tei tei-pb" id="page124">[pg 124]</span> +<div class="tei tei-figure" style="text-align: center"><img src="images/wallwoll.jpg" width="848" height="1213" alt="Advertisements: Wallace Chemical Company and Wollensak Optical Company" /></div> +</div> + +<hr class="doublepage" /><div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em"> +<div id="pgfooter" class="tei tei-div" style="margin-bottom: 4.00em; margin-top: 4.00em"><pre class="pre tei tei-div" style="margin-bottom: 3.00em; margin-top: 3.00em">***END OF THE PROJECT GUTENBERG EBOOK PICTORIAL PHOTOGRAPHY IN AMERICA 1920*** +</pre><hr class="doublepage" /><div class="tei tei-div" style="margin-bottom: 3.00em; margin-top: 3.00em"><a name="rightpageheader122" id="rightpageheader122"></a><a name="pgtoc123" id="pgtoc123"></a><a name="pdf124" id="pdf124"></a><h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">Credits</span></h1><table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr><th class="tei tei-label tei-label-gloss">February 7, 2008 </th></tr><tr><td class="tei tei-item"><table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Project Gutenberg Edition</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item"><span class="tei tei-respStmt"> + <span class="tei tei-name">Martin Schub<br /></span> + </span></td></tr></tbody></table></td></tr></tbody></table></div><hr class="doublepage" /><div class="tei tei-div" style="margin-bottom: 3.00em; margin-top: 3.00em"><a name="rightpageheader125" id="rightpageheader125"></a><a name="pgtoc126" id="pgtoc126"></a><a name="pdf127" id="pdf127"></a><h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">A Word from Project Gutenberg</span></h1><p class="tei tei-p" style="margin-bottom: 1.00em">This file should be named + 28015-h.html or + 28015-h.zip.</p><p class="tei tei-p" style="margin-bottom: 1.00em">This and all associated files of various formats will be found + in: + + <a href="http://www.gutenberg.org/dirs/2/8/0/1/28015/" class="block tei tei-xref" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"><span style="font-size: 90%">http://www.gutenberg.org</span><span style="font-size: 90%">/dirs/2/8/0/1/28015/</span></a></p><p class="tei tei-p" style="margin-bottom: 1.00em">Updated editions will replace the previous one — the old + editions will be renamed.</p><p class="tei tei-p" style="margin-bottom: 1.00em">Creating the works from public domain print editions means that + no one owns a United States copyright in these works, so the + Foundation (and you!) can copy and distribute it in the United + States without permission and without paying copyright royalties. + Special rules, set forth in the General Terms of Use part of this + license, apply to copying and distributing Project Gutenberg™ electronic works + to protect the Project Gutenberg™ concept and trademark. 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<availability> + <p>This eBook is for the use of anyone anywhere at no cost and + with almost no restrictions whatsoever. You may copy it, give it + away or re-use it under the terms of the Project Gutenberg + License online at www.gutenberg.org/license</p> + </availability> + </publicationStmt> + + <sourceDesc> + <bibl> + <title>Pictorial Photography in America 1920</title> + <author>Pictorial Photographers of America</author> + <imprint> + <pubPlace>New York</pubPlace> + <publisher>Pictorial Photographers of America</publisher> + <date>1920</date> + </imprint> + </bibl> + </sourceDesc> + </fileDesc> + + <encodingDesc> + <classDecl> + <taxonomy id="lc"> + <bibl> + <title>Library of Congress Classification</title> + </bibl> + </taxonomy> + </classDecl> + </encodingDesc> + <profileDesc> + <langUsage> + <language id="en"></language> + <language id="la"></language> + </langUsage> +<textClass> + <classCode scheme="lc">PR</classCode> +<keywords> +<list> +<item>Photography, Artistic</item> +</list> +</keywords> +</textClass> + + </profileDesc> + <revisionDesc> + <change> + <date value="2009-02-07">February 7, 2008</date> + <respStmt> + <name>Martin Schub<lb /></name> + </respStmt> + <item>Project Gutenberg Edition</item> + </change> + </revisionDesc> +</teiHeader> + +<pgExtensions> + <pgStyleSheet> + figure { text-align: center; page-float: 'p' } + .floatleft { float: left; margin-right: 2em } + .floatright { float: right; margin-left: 2em } + .w90 { } + .w80 { } + .w70 { } + .w50 { } + .w20 { } + .w05 { } + @media pdf { + .w90 { width: 90% } + .w80 { width: 80% } + .w70 { width: 70% } + .w50 { width: 50% } + .w20 { width: 20% } + .w05 { width: 5% } + } + </pgStyleSheet> +</pgExtensions> + +<text lang="en"> + +<front> + +<div> +<divGen type="pgheader" /> +</div> +<div> + <divGen type="encodingDesc" /> +</div> + + +<titlePage rend="page-break-before: right"> + <docTitle><titlePart type="main" rend="font-size: x-large">Pictorial Photography in America<lb />1920</titlePart><lb /><lb /><lb /><lb /><lb /><lb /><lb /><lb /><lb /><lb /><lb /><lb /><lb /><lb /> +</docTitle> + <byline><docAuthor>Pictorial Photographers of America</docAuthor><lb /><lb /></byline> + +<docImprint>Tennant and Ward, New York<lb /> +Publisher's Agents<lb /><lb /></docImprint> +<docDate>1920</docDate> +</titlePage> + +<div rend="page-break-before: right"> +<lg> +<l><emph>Editorial Board</emph></l> +<l><hi rend="font-variant: small-caps">Clarence H. White</hi></l> +<l><hi rend="font-variant: small-caps">W. H. Porterfield</hi></l> +<l><hi rend="font-variant: small-caps">John Paul Edwards</hi></l> +<l><hi rend="font-variant: small-caps">Dwight A. Davis</hi></l> +</lg> +<lg> +<l><emph>Committee on Publication</emph></l> +<l><hi rend="font-variant: small-caps">Henry Hoyt Moore</hi></l> +<l><hi rend="font-variant: small-caps">Walter L. Ehrich</hi></l> +<l><hi rend="font-variant: small-caps">Ray Greenleaf</hi></l> +<l><hi rend="font-variant: small-caps">John A. Tennant</hi></l> +</lg> +</div> + +<div rend="page-break-before: right"> +<head>Illustrations</head> +<divGen type="fig" /> +</div> + +<div rend="page-break-before: right"> +<index index="pdf" /> +<head>Contents</head> +<divGen type="toc" /> +</div> + +<div rend="page-break-before: right"> + <index index="toc" /> + <index index="pdf" /> +<head>FOREWORD</head> +<pb n="5" /> +<byline> +<emph>By </emph><hi rend="font-variant: small-caps">Clarence H. White</hi><lb /><emph>President of the Pictorial Photographers of America</emph> +</byline> +<p> +To many people photography is merely a mechanical process. To an increasing number, however, photography is being seen as an art, by which personal impressions of nature or human life may be expressed as truly as by the brush. These workers in photography see in it a medium by which the action of light upon sensitive surfaces may be so controlled as really to interpret scenes and persons in the individualistic spirit of a true art. From every part of our country come evidences of the growing appreciation of photography as a pictorial medium. Exhibitions in many museums which have hitherto been indifferent to pictures made with the lens have opened the eyes of the public to the possibilities of the camera. Clubs of photographic workers in various cities have maintained or fostered the movement. The lure of the moving picture has stimulated the interest of countless multitudes in photography, and the occasional presentation of fine pictorial work in this direction has given a prophecy of better things to come. The time, therefore, seems ripe to present in this book a collection of the work of American pictorial photographers in all sections of the country. Many of these workers are members of the organization known as the Pictorial Photographers of America; but the appeal for photographic material for this book has been confined to no one society or club, but has been widely inclusive of associations and individuals, and it is believed that the work here presented is fairly representative of the best American effort along these lines at the present time. +</p> +<p> +It is the hope and intention of the organization that publishes this book to stimulate interest in this branch of pictorial art. This is believed to be the first attempt in America to give a comprehensive presentation of the status of pictorial photography as illustrated by the product of many of its best workers. As such it is commended to the consideration of photographers both professional and amateur, of artists and art lovers, and of the public generally. +</p> +</div> + +<pb n="6" /> +<div> + <index index="toc" /> + <index index="pdf" /> +<head>The Pictorial Photographers of America</head> +<head type="sub">The Association's Work and Aim</head> + +<byline><emph>By</emph> <hi rend="font-variant: small-caps">Edward R. Dickson</hi></byline> +<p> +The Pictorial Photographers of America is an association having in mind solely the development of the art of photography from a standpoint of educational value. Its position is unique, since the worker is afforded not only an opportunity to exhibit his pictures in various museums and art galleries, but is made to feel that maintaining photographic standards and studying the arts for breadth of view are of chief importance. +</p> +<p> +Some of the advantages which photography offers are worth restating. It helps to draw one closer to nature and to seek fresh air. Through the exercise and cultivation of choice, it teaches how to decorate the home, to dress with taste, and to keep an alert eye and mind on the passing events of the world. Because the Association knows that photography is able to teach these things, it sought the aid of art museums and public libraries to conduct photographic exhibitions so that children and adults may not only see fine examples of the work of the camera in the hands of artists, but be led thereby to appreciate more fully the value of photography as an aid to interesting composition and a quickening of the eye in realizing the beauty of sunlight and shadows which flit around us much unrecognized at times. Succeeding in gaining the sympathetic co-operation of seventeen museums, in the winter of 1917-18 the Association collected, from many of the most important workers in this country, more than two hundred prints, which were divided into two groups and exhibited as follows: +</p> +<p> +Minneapolis Institute of Arts, Milwaukee Art Institute, Art Institute of Chicago, City Art Museum (St. Louis), Toledo Museum of Art, Detroit Museum of Art, Cleveland Art Museum, Cincinnati Museum of Art, Morristown Library, Newark Museum Association, New Britain (Conn.) Institute, Worcester Art Museum, Syracuse Museum of Fine Arts, Guild of Allied Arts (Buffalo), Grand Rapids Art Association, University of Oklahoma, New Orleans Art Association. +</p> +<p> +There was also held in New York City an exhibition of the work of the New England, New Jersey and Connecticut photographers, and among the immediate activities of the Association will be the holding in New York of exhibitions of the work of members of the Pacific Coast and other places, so that there may be established a fuller understanding of the points of view among the various pictorialists throughout the country. +</p> +<p> +The Association hopes to establish, in designated cities, pictorial centers where photographs may always be seen, and centers for intercourse and for exchange of views among workers. As a result of its plans, there will soon be opened a branch of the Pictorial Photographers of America, which will be called the Pacific Coast +<pb n="7" /> +Chapter, embracing workers in the following States: Oregon, California, Wyoming, Nevada, and Utah. Meetings will be held monthly, and lectures and exhibitions arranged in co-operation with the parent body in New York. As soon as this chapter has begun active work, another will be opened in the New England and Middle West States, modeled after the California chapter. In this way the Association hopes to be of national service in the advancement of photography on educational lines, and it asks the sympathy of the public as well as that of every worker of the camera in America. +</p> +<p> +Among other of its plans are: honoring those who have given valued service to photography; the formation of a library; the establishment of a home headquarters; the distribution of knowledge tending toward the making of better catalogues; the art of hanging pictures so that their individual beauty may be enhanced; the application of the motion picture to pictorial expression; the recommendation of books on the development of the individual, as well as others relating to the study of contemporary arts, so that, through an acquaintance with all these, there may be brought to the student a new and an individual approach in his photographic work. +</p> +<p> +The Association holds monthly meetings at the National Arts Club, 119 East 19th Street, New York, where exhibitions and lectures are given. Admission is free. The Association now publishes its first annual <q>Pictorial Photography in America,</q> which comprises the work of important pictorialists in this country, whether or not members of the Association. And in following out so broad a plan the Association has demonstrated to its friends that its main interests lie in the presentation of fine work, little caring who the individual may be. As soon as the world has resumed its normal stride, the Association will extend invitations for an exhibition of foreign work to be shown in America. In turn, the Association will be glad to send an exhibition of American work abroad to those who desire to see, more intimately than we are able to do by the process of reproduction, what American pictorialists are doing. In another volume we hope to present the work of foreign pictorialists. +</p> +<p> +Plans are now being made whereby the original prints selected for this Annual will be exhibited, under the direction of the American Federation of Arts, in the galleries of many art museums throughout the country. +</p> +<p> +Herewith we list the names of the present officers and executive members of the Association, as well as those who are members of the Council having to do with pictorial activities in the different States. Membership in the Association is open to men and women of good character and ambitious intentions, including those who, though not photographers, are interested in the development of the art. +</p> + +<lg> +<l>CLARENCE H. WHITE, <emph>President</emph></l> +<l><hi rend="font-variant: small-caps">Dr. A. D. Chaffee</hi>, <emph>Vice-President</emph></l> +<l><hi rend="font-variant: small-caps">Gertrude Kasebier</hi>, <emph>Hon. Vice-President</emph></l> +<l><hi rend="font-variant: small-caps">Prof. Charles F. Chandler</hi>, <emph>Hon. Vice-President</emph></l> +<l><hi rend="font-variant: small-caps">Dr. Charles H. Jaeger</hi>, <emph>Treasurer.</emph></l> +<l><hi rend="font-variant: small-caps">Edward R. Dickson</hi>, <emph>Recording Secretary</emph></l> +<l><hi rend="font-variant: small-caps">Margaret Watkins</hi>, <emph>Corresponding Secretary</emph></l> +</lg> +<pb n="8" /> +<p> +EXECUTIVE COMMITTEE +</p> +<lg> +<l><hi rend="font-variant: small-caps">Walter L. Ehrich</hi></l> +<l><hi rend="font-variant: small-caps">Ray Greenleaf</hi></l> +<l><hi rend="font-variant: small-caps">Bernard S. Horne</hi></l> +<l><hi rend="font-variant: small-caps">Charles J. Martin</hi></l> +<l><hi rend="font-variant: small-caps">Henry Hoyt Moore</hi></l> +<l><hi rend="font-variant: small-caps">Dr. D. J. Ruzicka</hi></l> +<l><hi rend="font-variant: small-caps">W. G. Shields</hi></l> +<l><hi rend="font-variant: small-caps">Adele C. Shreve</hi></l> +</lg> + +<p> +COUNCIL +</p> +<lg> +<l><emph>Arizona</emph></l> +<l><hi rend="font-variant: small-caps">Forman G. Hanna</hi></l> +</lg> +<lg> +<l><emph>California</emph></l> +<l><hi rend="font-variant: small-caps">John Paul Edwards</hi></l> +<l><hi rend="font-variant: small-caps">Louis Fleckenstein</hi></l> +</lg><lg> +<l><emph>Connecticut</emph></l> +<l><hi rend="font-variant: small-caps">George S. Hawley</hi></l> +</lg><lg> +<l><emph>Florida</emph></l> +<l><hi rend="font-variant: small-caps">Dr. Addison O'Neill</hi></l> +</lg><lg> +<l><emph>Illinois</emph></l> +<l><hi rend="font-variant: small-caps">Eugene Hutchinson</hi></l> +<l><hi rend="font-variant: small-caps">margaret rhodes peattie</hi></l> +</lg><lg> +<l><emph>Indiana</emph></l> +<l><hi rend="font-variant: small-caps">Albert Ernest Schaaf</hi></l> +</lg><lg> +<l><emph>Iowa</emph></l> +<l><hi rend="font-variant: small-caps">Charles B. Keeler</hi></l> +</lg><lg> +<l><emph>Maine</emph></l> +<l><hi rend="font-variant: small-caps">Sylvan B. Phillips</hi></l> +</lg><lg> +<l><emph>Massachusetts</emph></l> +<l><hi rend="font-variant: small-caps">Dwight A. Davis</hi></l> +<l><hi rend="font-variant: small-caps">Walter G. Wolfe</hi></l> +</lg><lg> +<l><emph>Michigan</emph></l> +<l><hi rend="font-variant: small-caps">Herman Gabriel</hi></l> +<l><hi rend="font-variant: small-caps">Eleanor W. Willard</hi></l> +</lg><lg> +<l><emph>Missouri</emph></l> +<l><hi rend="font-variant: small-caps">Edwin Loker</hi></l> +</lg><lg> +<l><emph>New Jersey</emph></l> +<l><hi rend="font-variant: small-caps">Joseph R. Ashmore</hi></l> +</lg><lg> +<l><emph>New York State</emph></l> +<l><hi rend="font-variant: small-caps">Spencer Kellogg, Jr.</hi></l> +<l><hi rend="font-variant: small-caps">George B. Hollister</hi></l> +</lg><lg> +<l><emph>New York City</emph></l> +<l><hi rend="font-variant: small-caps">Edward R. Dickson</hi></l> +<l><hi rend="font-variant: small-caps">Walter L. Ehrich</hi></l> +<l><hi rend="font-variant: small-caps">Antoinette B. Hervey</hi></l> +<l><hi rend="font-variant: small-caps">Dr. Charles H. Jaeger</hi></l> +<l><hi rend="font-variant: small-caps">Mervin W. Palmer</hi></l> +<l><hi rend="font-variant: small-caps">Clarence H. White</hi></l> +<l><hi rend="font-variant: small-caps">Edith R. Wilson</hi></l> +<l><hi rend="font-variant: small-caps">Thomas Coke Watkins</hi></l> +</lg><lg> +<l><emph>Ohio</emph></l> +<l><hi rend="font-variant: small-caps">Jane Reece</hi></l> +<l><hi rend="font-variant: small-caps">Austin R. Breed</hi></l> +<l><hi rend="font-variant: small-caps">Carle Semon</hi></l> +</lg><lg> +<l><emph>Oregon</emph></l> +<l><hi rend="font-variant: small-caps">Clementine Hirsch</hi></l> +</lg><lg> +<l><emph>Pennsylvania</emph></l> +<l><hi rend="font-variant: small-caps">Will D. brodhun</hi></l> +<l><hi rend="font-variant: small-caps">Elias Goldensky</hi></l> +<l><hi rend="font-variant: small-caps">Maurice L. Fleisher</hi></l> +<l><hi rend="font-variant: small-caps">Mrs. M. W. Wiltse</hi></l> +</lg><lg> +<l><emph>Utah</emph></l> +<l><hi rend="font-variant: small-caps">Thomas O. Sheckell</hi></l> +</lg><lg> +<l><emph>Wisconsin</emph></l> +<l><hi rend="font-variant: small-caps">B. F. Langland</hi></l> +</lg><lg> +<l><emph>England</emph></l> +<l><hi rend="font-variant: small-caps">Alvin Langdon Colburn</hi></l> +</lg><lg> +<l><emph>Canada</emph></l> +<l><hi rend="font-variant: small-caps">Charles H. Barnard</hi></l> +</lg> +</div> + +<milestone unit="tb" rend="stars: 1" /> +<div> + <index index="toc" /> + <index index="pdf" /> +<head>Pictorial Photography in New Jersey</head> +<byline><emph>By</emph> <hi rend="font-variant: small-caps">Louis F. Bucher</hi> <emph>of the Newark Camera Club, Inc.</emph></byline> +<p> +In New Jersey, as well as in other States, pictorial photography was at its lowest ebb during the period of the war. The official ban on the use of the camera in places that presented just the sort of material which stirs the enthusiasm of the amateur photographer tended so to dampen his ardor that his trusty <q>box</q> was left at home to accumulate dust. +</p> +<p> +But not for long, for a New Jersey cameraist, with the vision of a seer, saw an opportunity to use his beloved instrument in a far-reaching service. His enthusiasm was soon imparted to fellow members of the Newark Camera Club, and there quickly followed the birth of the Red Triangle Camera Club, affiliated with the local Y. M. C. A. Its object was pithily expressed in its slogan, <q>A picture of home to every soldier overseas</q>—at least to every Newark soldier in service. +</p> +<p> +While the members of the Camera Club were prompted solely by a desire to serve, it was not long before there came responses in the form of letters of gratitude from the soldier boys that heartened them to renewed activity. The written messages frequently attested that the pictures of the home folks sent by the Camera Club members were the only ones that had reached foreign shores. +</p> +<p> +As a stepping stone to something even greater, we have organized the Associated Camera Clubs of America, with a view to linking the activities of camera clubs and societies, the end to be sought being the creating of greater interest in exhibitions, +<pb n="9" /> +and interchanges of lantern slides and prints. The prime object, of course, is to promote and cultivate the art-sense through the science of photography. +</p> +<p> +If a camera club does not exist in the community in which the reader resides, lend your services to the formation of one. The members of the Associated Camera Clubs of America stand ready to do their utmost to assist an infant organization on its way to success. +</p> +</div> + +<milestone unit="tb" rend="stars: 1" /> +<div> + <index index="toc" /> + <index index="pdf" /> +<head>Pictorial Photograpny in Maine</head> + +<byline><emph>By </emph><hi rend="font-variant: small-caps">Francis O. Libby</hi></byline> +<p> +Maine, the State of forest and lakes, does not hold the position in pictorial photography warranted by her natural beauties. It would not be unreasonable, considering the advantages of the land and the opportunities offered by the varying atmospheric conditions, particularly along the coast, to expect that there would be many pictorialists of high rank in the State; but it is a lamentable fact that there are not. After all, the making of pictures with a camera is to a large extent a matter of education and training—not so much in the way of overcoming the technical difficulties of the medium, though of course this must be learned too, but in such vital matters as composition, choice of subject matter, unity, simplicity, and the like. Then, given the vision, the pictorial photographer is born. +</p> +<p> +This preliminary training and the art education of the beginner can best be obtained in clubs; and in Maine the two centers of photographic activity are Portland and Bangor, in both of which cities are active camera clubs, each affiliated with the local art society and each holding annual exhibitions in the spring of the year, at which workers from all parts of the country show their pictures. During the war these clubs have been doing little more than marking time, but now that at last days of peace have come again, we feel that the future holds prospects of great promise to us. For one reason or another the men whose names were known ten or fifteen years ago seem to have dropped out and their places are being filled by new blood, men with high ideals and aspirations, who are not content merely with reproducing, by means of their cameras, pretty scenes and places, but who believe that photography is capable of much more—of showing not only the physical facts, but the very spirit of nature herself—a true impressionism; and it is the task of these men to place Maine in the position she should hold in pictorial work. +</p> +<p> +During the past year much has been accomplished by a very few men, and through these men Maine has been represented at all the largest and best salons, not only in this country and Canada, but also in England at the London Salon. Prints by the multiple gum process are favored by some of the Portland workers, but the use of this process as a medium of expression is limited to a few men, +<pb n="10" /> +and the most of the large prints produced are enlargements on bromide paper, as is probably the case generally throughout the country. This is perhaps somewhat to be regretted, for although bromide paper is capable of producing very fine prints when the subject is exactly adapted to it, still it does not permit of the personal control afforded by some of the other processes, and of course this is a handicap to the pictorial worker. +</p> +<p> +As before stated, the pictorial output of the State during the past year has been limited to the work of a few men, but this condition is not going to continue for long. The clubs and societies are bending every effort toward the encouragement of the new workers, and already some very creditable work has been produced, and the coming year should see a worthy showing from Maine at all the salons. +</p> +</div> + +<milestone unit="tb" rend="stars: 1" /> +<div> + <index index="toc" /> + <index index="pdf" /> +<head>Pictorial Photography in Massachusetts</head> +<byline><emph>By</emph> <hi rend="font-variant: small-caps">Dwight A. Davis</hi></byline> +<p> +In Massachusetts, as in other parts of the country, war-time activities interfered to a noticeable extent with the cause of pictorial photography. The interference was perhaps less marked than in some other sections, where more of the prominent workers were actively engaged at the front. The difficulty in securing materials, amounting now and then to utter impossibility, was, however, the same, and there was the same falling off in enthusiasm, due to the demands on one's heart and pocketbook from across the sea. In this crisis organized effort might have been especially helpful, but it is just in this respect that Massachusetts has always been weak. Her workers have been widely scattered from the Berkshires to the shore, and such local clubs as have here and there existed have not been deeply or permanently influential. In Boston there was the once famous Photo Clan, with Garo, Eicheim, and Schuman as its leading spirits, but that has long since ceased to be an active force. On the other hand, the Boston Young Men's Christian Union Camera Club and the Boston Society of Arts and Crafts have lately come into new prominence through their efforts to stimulate interest and afford frequent opportunities to view exhibitions of the best in photographic art. The former held, during the past winter, excellent one-man exhibits, in which work of such prominent pictorialists as John Paul Edwards, Dr. Rupert Lovejoy, Dwight A. Davis, Francis O. Libby, John H. Garo, Edward H. Weston, and Arthur Hammond was shown. +</p> +<p> +But, in spite of these various influences, the workers of Massachusetts for the most part pursue solitary ways, with little enough—all too little, some would say—of the advantages that come from intimate association. There is, however, another side of the shield. It is at least questionable whether such strongly marked personality as appears in the work of Seeley, Garo, Davis, Hammond, Eicheim, +<pb n="11" /> +Buttler, the Allen sisters, and a dozen others who might be mentioned, would be possible if the workers of this section were under the closely dominating influence of a centralized group, itself dominated by a single individual of exceptional powers. Such a state of affairs has sometimes been observed in other parts of the country, and the results have not always been advantageous to the interests of the individual workers. Under such conditions as exist in Massachusetts, the Pictorial Photographers of America has come as a boon, since it affords just the kind of stimulus most needed. Massachusetts has been swift to avail herself of the advantages thus offered. At the recent exhibition of the work of New England and New Jersey pictorialists, held in New York, Massachusetts was represented by 16 out of a total of 27 exhibitors, with 64 out of a total of 107 prints—a showing decidedly creditable to the old Bay State. +</p> +</div> + +<milestone unit="tb" rend="stars: 1" /> +<div> + <index index="toc" /> + <index index="pdf" /> +<head>Pictorial Photograpky in Maryland</head> +<byline><emph>By</emph> <hi rend="font-variant: small-caps">H. R. Neeson</hi></byline> + +<p> +The progress of pictorial photography in Maryland is to be ascertained by +an examination of the progress of the amateur in Baltimore, for aside from +the local exhibitions we have no record of anything done in the State. While +this condition is regrettable and hard to comprehend in an art-loving center of such population, there is none the less an improvement over former times. +</p> +<p> +The shops and the <q>finishers</q> have prospered, while the club—the old organization in which the reason of being has been lost in a maze of constitutional amendments, by-laws, and such like red tape—has declined in influence and popularity. In the world at large, pictorial photography has grown amazingly. This has led to a more pronounced line of demarkation between the dilettante and the intelligent worker of appreciation, with the balance of influence inclining strongly to the latter. In Maryland there has been an upheaval, a photographic revolution, so to speak, and out of the wreckage has sprung the Photographic Guild of Baltimore, which has done more to put Maryland photographically to the fore in its five years of activity than had been done in all the years previous. It was due almost entirely to Guilders that Maryland stood fourth at the recent Pittsburgh Salon. Two prerequisites to membership in the Guild are ability in keeping with the highest standards and <emph>productiveness</emph>, as a consequence of which it has only six members, who may be said to comprise the representative pictorialists of the State. +</p> +<p> +For the past four years there has been an annual exhibition under the auspices of the Guild at the Peabody Gallery, each well attended by the art-loving public, with marked enthusiasm for what is being done with the process. A feature of the Guild exhibitions, beginning with the 1919 portfolio recently hung, is the invited work of out-of-town amateurs, which is giving Baltimoreans a wider and better +<pb n="12" /> +knowledge. While this exhibition has not assumed salon proportions, it will in a measure bring the salons to Baltimore if help in the way of prints from outside is forthcoming, as we hope and believe will be the case. +</p> +<p> +On the whole, it may be truly said that the flexibility and responsiveness of the photographic process have been sufficiently demonstrated to fix it firmly among the art mediums. +</p> +</div> + + +<milestone unit="tb" rend="stars: 1" /> +<div> + <index index="toc" /> + <index index="pdf" /> +<head>Middle West Activities and the Pittsburgh Salon</head> +<byline><emph>By</emph> <hi rend="font-variant: small-caps">W. H. PORTERFIELD</hi></byline> +<p> +Any article describing the activity in pictorial photography in the United States since 1914 must include a history of the work of the Pittsburgh Salon, and that has been very thoroughly covered in magazine articles immediately succeeding the close of each salon. +</p> +<p> +At the outbreak of the war, the thoughts and energies of many of our foremost workers were directed toward other fields, and those who still practiced the work for the art side of it did so under difficulties. +</p> +<p> +The governmental restrictions placed on the use of the camera in ports and about all public buildings, and in many sections of nearly every city, naturally had a tendency to discourage workers, but in spite of all the obstacles in the path of the art photographer the years have not been barren. +</p> +<p> +Some of the older societies have all but ceased to exist, if one can judge by their contributions to the salons. +</p> +<p> +Each year has witnessed new names among the exhibitors at Pittsburgh, and to an already formidable list there are annually added more than enough names to fill the vacancies caused by the dropping of former members who have failed to retain their membership due to non-compliance with the rules which automatically eliminate inactives. +</p> +<p> +After six years of unprecedented success it may safely be said that the Pittsburgh Salon has become a permanent fixture in the world of photographic art and has unquestionably rendered a most valuable service in keeping alive the exhibition spirit. +</p> +<p> +Mention should also be made of the good work done by the Chicago Photo-Fellows, the Buffalo Camera Club, the Photographic Guild of Baltimore, and the Photographic Section of the Pittsburgh Academy of Fine Arts, each one composed of enthusiasts, who loyally support the American and London Salons as well as being active workers in the Pictorial Photographers of America. +</p> +<p> +These societies have been continually engaged in the promotion of inter-club exhibitions as well as in encouraging the circulation of work of individual members. +</p> +<p> +As an educational feature the club interchange has no equal. +</p> +<pb n="13" /> +</div> + +<milestone unit="tb" rend="stars: 1" /> +<div> + <index index="toc" /> + <index index="pdf" /> +<head>Pictorial Photography in the Far West</head> +<byline><emph>By</emph> <hi rend="font-variant: small-caps">John Paul Edwards</hi></byline> +<p> +The progress of pictorial photography in the Far West can be aptly compared with the settlement and growth of this big new country itself. We have had our pictorial pioneers, as it were—our hard-working, enthusiastic, rather crude first settlers in the art; now we have come to the stage of permanent abode, with traditions, albeit young, great enthusiasm, definite ideals, and ambitious hopes for the future. +</p> +<p> +The one great asset in the upbuilding of the West has been boundless enthusiasm. This characteristic trait dominates the very soul of the Western pictorialist. In it lies his greatest hope for the future progress in his chosen field of art. +</p> +<p> +It is this live energy and enthusiasm which brings him out afield even before break of day, which leads him over hill and dale, mountain and valley, in his insatiable quest for the pictorial. Miles are as nothing; hunger stays him not; nor rests he at night until his potential treasures are developed and their beauties appraised. +</p> +<p> +The purpose of this preliminary psychologic analysis is to explain the militant attitude of the Western pictorialist in his pursuit of the art of the camera. His extremely prolific production, manifesting itself in liberal contributions to the salons and exhibitions of the world photographic, rises not from vanity but from super-enthusiasm—from the great joy he derives in making his picture, from the creation of the beautiful, and from the playing of the game as it is best played. +</p> +<p> +Without losing a whit of the steady enthusiasm which has brought it to its present encouraging stage, Western pictorial photography is, nevertheless, settling down to a more staid and intellectual plane of progress. +</p> +<p> +The broad average of quality of work is steadily improving. Better standards have been established. The workers are <q>finding</q> themselves. Enthusiasm is being beneficently tempered by increased technical skill, and more particularly by the intellectual development of the art side of the work. +</p> +<p> +And so the future of pictorial photography in the Far West looks exceedingly bright. The salon workers of the past five or ten years are with few exceptions as keen as ever for their art, and a very talented and numerous lot of new workers are coming to the front. +</p> +<p> +The center, in fact the stronghold, of Western pictorial photography is undoubtedly California. All forms of art seem to flourish mightily in this genial clime of wondrous, colorful beauty. A land of smiling sunshine, of lofty snow-capped peaks, of weird trees, of golden poppy-covered slopes, of sparkling seas—it is small wonder that the young art of the camera should thrive so vigorously there. +</p> +<p> +There are several active foci of pictorial interest in the State. The most active and most promising of these centers is the Camera Pictorialists of Los Angeles. +<pb n="14" /> +This club, as we may call it, has a membership of fourteen under the directorship of Louis Fleckenstein. Every member is an active worker of ability and promise. This group has made an imposing representation in nearly every photographic salon of recent years. +</p> +<p> +They are sponsors for the International Photographic Salon held annually in the municipal art gallery of Los Angeles. This exhibition, with two years of success behind it, must be rated as the premier event of its kind in the West, and, in the quality of its offerings, second to none on the continent. +</p> +<p> +While this is the only prominent group in California organized for strictly pictorial work, there are a great many independent workers widely scattered about the State. San Francisco and the bay region can claim a score or more whose achievements have been notable. +</p> +<p> +Oregon has many enthusiastic workers and a strong club in Portland. Washington likewise has many camera artists of talent. Both these States have an untold wealth of pictorial material and many keen pictorialists. All they lack is an active leader or two to bring them to the rank they should hold in the photographic world. +</p> +<p> +In Salt Lake City we find an active, enthusiastic and very promising group of workers under the able leadership of Thomas O. Sheckell. Through the medium of an extensive series of one-man exhibitions they have brought before the art-loving public of their city the best work of a large number of our leading pictorialists. +</p> +<p> +One of the most interesting and auspicious developments of the year has been the recent formation of the Pacific Coast Chapter of the Pictorial Photographers of America. +</p> +<p> +For very logical reasons the chief activities of the parent body of the Pictorial Photographers of America have been centered in the City of New York. An earnest desire to enjoy like activities right at home while still sharing the privileges of direct affiliation with our fellows of the Pictorial Photographers of America led to the formation of the Pacific Coast Chapter. The idea is still young, but the success of the chapter is definitely assured by the strong character of the membership already secured. It is the purpose of the chapter to uphold strongly the purposes and ideals of its parent body and to work continuously for the advancement of pictorial photography in the West. A number of interesting exhibitions are scheduled for the near future, the most important of these being the <q>All Western</q> exhibition, which is planned for the fall and winter of 1919-20. The aim is to include the best pictorial photography of the West. It will be shown first in New York by the Pictorial Photographers of America and then routed through some of the more representative clubs of the East and Middle West. +</p> +</div> +<pb n="15" /> + +</front> + +<body> +<div> + <index index="toc" /> + <index index="pdf" /> +<head>Illustrations</head> +<p> +</p> +<pb n="15" /> +<figure url="images/flurries.jpg" rend="w90"> +<index index="fig" /> +<head>APRIL FLURRIES<lb /><emph>By </emph><hi rend="font-variant: small-caps">W. A. Alcock, </hi><emph>Brooklyn, N.Y.</emph></head> +<figDesc>APRIL FLURRIES, By W. A. Alcock, Brooklyn, N.Y.</figDesc> +</figure> + + +<pb n="16" /> +<figure url="images/seagull.jpg" rend="w90"> +<index index="fig" /> +<head>PUCKACHIPE—SEAGULL<lb /><emph>By </emph><hi rend="font-variant: small-caps">Elizabeth R. Allen, </hi><emph>Moorestown, N.J.</emph></head> +<figDesc>PUCKACHIPE—SEAGULL, By Elizabeth R. Allen, Moorestown, N.J.</figDesc> +</figure> + + +<pb n="17" /> +<figure url="images/homewest.jpg" rend="w90"> +<index index="fig" /> +<head>MY LITTLE GRAY HOME IN THE WEST<lb /><emph>By </emph><hi rend="font-variant: small-caps">George M. Allen, </hi><emph>Portland, Ore.</emph></head> +<figDesc>MY LITTLE GRAY HOME IN THE WEST, By George M. Allen, Portland, Ore.</figDesc> +</figure> + + +<pb n="18" /> +<figure url="images/buddha.jpg" rend="w90"> +<index index="fig" /> +<head>THE BUDDHA<lb /><emph>By </emph><hi rend="font-variant: small-caps">Fred R. Archer, </hi><emph>Los Angeles, Cal.</emph></head> +<figDesc>THE BUDDHA, By Fred R. Archer, Los Angeles, Cal.</figDesc> +</figure> + + +<pb n="19" /> +<figure url="images/islander.jpg" rend="w90"> +<index index="fig" /> +<head>ISLANDERS<lb /><emph>By </emph><hi rend="font-variant: small-caps">Laura Adams Armer, </hi><emph>Berkeley, Cal.</emph></head> +<figDesc>ISLANDERS, By Laura Adams Armer, Berkeley, Cal.</figDesc> +</figure> + + +<pb n="20" /> +<figure url="images/spencer.jpg" rend="w90"> +<index index="fig" /> +<head>ANN SPENCER<lb /><emph>By </emph><hi rend="font-variant: small-caps">Jessie Tarbox Beals, </hi><emph>New York</emph></head> +<figDesc>ANN SPENCER, By Jessie Tarbox Beals, New York</figDesc> +</figure> + + +<pb n="21" /> +<figure url="images/morning.jpg" rend="w90"> +<index index="fig" /> +<head>EARLY MORNING<lb /><emph>By </emph><hi rend="font-variant: small-caps">David W. Bonnar, </hi><emph>Buffalo, N. Y.</emph></head> +<figDesc>EARLY MORNING, By David W. Bonnar, Buffalo, N. Y.</figDesc> +</figure> + + +<pb n="22" /> +<figure url="images/homelife.jpg" rend="w90"> +<index index="fig" /> +<head>A BIT OF HOME LIFE<lb /><emph>By </emph><hi rend="font-variant: small-caps">Will D. Brodhun, </hi><emph>Wilkes-Barre, Pa.</emph></head> +<figDesc>A BIT OF HOME LIFE, By Will D. Brodhun, Wilkes-Barre, Pa.</figDesc> +</figure> + + +<pb n="23" /> +<figure url="images/momerest.jpg" rend="w90"> +<index index="fig" /> +<head>A MOMENT'S REST<lb /><emph>By </emph><hi rend="font-variant: small-caps">Gertrude L. Brown, </hi><emph>Evanston, Ill.</emph></head> +<figDesc>A MOMENT'S REST, By Gertrude L. Brown, Evanston, Ill.</figDesc> +</figure> + + +<pb n="24" /> +<figure url="images/dancers.jpg" rend="w90"> +<index index="fig" /> +<head>DANCERS<lb /><emph>By </emph><hi rend="font-variant: small-caps">John C. Burkhardt, </hi><emph>Portland, Ore.</emph></head> +<figDesc>DANCERS, By John C. Burkhardt, Portland, Ore.</figDesc> +</figure> + + +<pb n="25" /> +<figure url="images/douarnene.jpg" rend="w90"> +<index index="fig" /> +<head>DOUARNENEZ, FINISTÈRE<lb /><emph>By </emph><hi rend="font-variant: small-caps">Dr. A. D. Chaffee, </hi><emph>New York</emph></head> +<figDesc>DOUARNENEZ, FINISTÈRE, By Dr. A. D. Chaffee, New York</figDesc> +</figure> + + +<pb n="26" /> +<figure url="images/rheims.jpg" rend="w90"> +<index index="fig" /> +<head>RHEIMS<lb /><emph>By </emph><hi rend="font-variant: small-caps">Arthur D. Chapman, </hi><emph>New York</emph></head> +<figDesc>RHEIMS, By Arthur D. Chapman, New York</figDesc> +</figure> + + +<pb n="27" /> +<figure url="images/itoro.jpg" rend="w90"> +<index index="fig" /> +<head>MICHIO ITORO<lb /><emph>By </emph><hi rend="font-variant: small-caps">Alvin Langdon Colburn, </hi><emph>New York</emph></head> +<figDesc>MICHIO ITORO, By Alvin Langdon Colburn, New York</figDesc> +</figure> + + +<pb n="28" /> +<figure url="images/street.jpg" rend="w90"> +<index index="fig" /> +<head>THE STREET<lb /><emph>By </emph><hi rend="font-variant: small-caps">Alfred Cohn, </hi><emph>Brooklyn, N. Y.</emph></head> +<figDesc>THE STREET, By Alfred Cohn, Brooklyn, N. Y.</figDesc> +</figure> + + +<pb n="29" /> +<figure url="images/stjohns.jpg" rend="w90"> +<index index="fig" /> +<head>ST. JOHN'S CATHEDRAL<lb /><emph>By </emph><hi rend="font-variant: small-caps">James Copella, </hi><emph>New York</emph></head> +<figDesc>ST. JOHN'S CATHEDRAL, By James Copella, New York</figDesc> +</figure> + + +<pb n="30" /> +<figure url="images/koshiro.jpg" rend="w90"> +<index index="fig" /> +<head>MR. MATSUMOTO KOSHIRO AS <q>TCHIKAWA GOYEMON</q> (THE ROBIN HOOD OF JAPAN)<lb /><emph>By </emph><hi rend="font-variant: small-caps">C. P. Crowther, </hi><emph>Kobe, Japan</emph></head> +<figDesc>MR. MATSUMOTO KOSHIRO AS <q>TCHIKAWA GOYEMON</q> (THE ROBIN HOOD OF JAPAN), By C. P. Crowther, Kobe, Japan</figDesc> +</figure> + + +<pb n="31" /> +<figure url="images/springyr.jpg" rend="w90"> +<index index="fig" /> +<head>SPRING O' THE YEAR<lb /><emph>By </emph><hi rend="font-variant: small-caps">Helen W. Drew, </hi><emph>Montclair, N. J.</emph></head> +<figDesc>SPRING O' THE YEAR, By Helen W. Drew, Montclair, N. J.</figDesc> +</figure> + + +<pb n="32" /> +<figure url="images/liftmist.jpg" rend="w90"> +<index index="fig" /> +<head>THE LIFTING MIST<lb /><emph>By </emph><hi rend="font-variant: small-caps">Jerry D. Drew, </hi><emph>Montclair, N. J.</emph></head> +<figDesc>THE LIFTING MIST, By Jerry D. Drew, Montclair, N. J.</figDesc> +</figure> + + +<pb n="33" /> +<figure url="images/doorway.jpg" rend="w90"> +<index index="fig" /> +<head>THE DOORWAY<lb /><emph>By </emph><hi rend="font-variant: small-caps">Dwight A. Davis, </hi><emph>Worcester, Mass.</emph></head> +<figDesc>THE DOORWAY, By Dwight A. Davis, Worcester, Mass.</figDesc> +</figure> + + +<pb n="34" /> +<figure url="images/hibridge.jpg" rend="w90"> +<index index="fig" /> +<head>HIGH BRIDGE<lb /><emph>By </emph><hi rend="font-variant: small-caps">Edward R. Dickson, </hi><emph>New York City</emph></head> +<figDesc>HIGH BRIDGE, By Edward R. Dickson, New York City</figDesc> +</figure> + + +<pb n="35" /> +<figure url="images/mscastle.jpg" rend="w90"> +<index index="fig" /> +<head>MRS. VERNON CASTLE<lb /><emph>By </emph><hi rend="font-variant: small-caps">De Meyer, </hi><emph>New York</emph></head> +<figDesc>MRS. VERNON CASTLE, By De Meyer, New York</figDesc> +</figure> + + +<pb n="36" /> +<figure url="images/boats.jpg" rend="w90"> +<index index="fig" /> +<head>BOATS<lb /><emph>By </emph><hi rend="font-variant: small-caps">E. G. Dunning, </hi><emph>New York</emph></head> +<figDesc>BOATS, By E. G. Dunning, New York</figDesc> +</figure> + + +<pb n="37" /> +<figure url="images/school.jpg" rend="w90"> +<index index="fig" /> +<head>COMING TO SCHOOL<lb /><emph>By </emph><hi rend="font-variant: small-caps">Vernon Everett Duroc, </hi><emph>Brooklyn, N. Y.</emph></head> +<figDesc>COMING TO SCHOOL, By Vernon Everett Duroc, Brooklyn, N. Y.</figDesc> +</figure> + + +<pb n="38" /> +<figure url="images/studydyr.jpg" rend="w90"> +<index index="fig" /> +<head>STUDY<lb /><emph>By </emph><hi rend="font-variant: small-caps">William B. Dyer, </hi><emph>Portland, Ore.</emph></head> +<figDesc>STUDY, By William B. Dyer, Portland, Ore.</figDesc> +</figure> + + +<pb n="39" /> +<figure url="images/tapestry.jpg" rend="w90"> +<index index="fig" /> +<head>DESIGN FOR A TAPESTRY<lb /><emph>By </emph><hi rend="font-variant: small-caps">John Paul Edwards, </hi><emph>Sacramento, Cal.</emph></head> +<figDesc>DESIGN FOR A TAPESTRY, By John Paul Edwards, Sacramento, Cal.</figDesc> +</figure> + + +<pb n="40" /> +<figure url="images/studyehr.jpg" rend="w90"> +<index index="fig" /> +<head>STUDY<lb /><emph>By </emph><hi rend="font-variant: small-caps">Adelaide Wallach Ehrich, </hi><emph>New York</emph></head> +<figDesc>STUDY, By Adelaide Wallach Ehrich, New York</figDesc> +</figure> + + +<pb n="41" /> +<figure url="images/landerv.jpg" rend="w90"> +<index index="fig" /> +<head>LANDSCAPE<lb /><emph>By </emph><hi rend="font-variant: small-caps">Eleanor C. Erving, </hi><emph>Albany, N. Y.</emph></head> +<figDesc>LANDSCAPE, By Eleanor C. Erving, Albany, N. Y.</figDesc> +</figure> + + +<pb n="42" /> +<figure url="images/sugarlof.jpg" rend="w90"> +<index index="fig" /> +<head>SUGARLOAF MOUNTAIN<lb /><emph>By </emph><hi rend="font-variant: small-caps">W. H. Evans, </hi><emph>Wilkes-Barre, Pa.</emph></head> +<figDesc>SUGARLOAF MOUNTAIN, By W. H. Evans, Wilkes-Barre, Pa.</figDesc> +</figure> + + +<pb n="43" /> +<figure url="images/treasure.jpg" rend="w90"> +<index index="fig" /> +<head>SIDEWALK TREASURES<lb /><emph>By </emph><hi rend="font-variant: small-caps">O. E. Fischer, M. D., </hi><emph>Detroit, Mich.</emph></head> +<figDesc>SIDEWALK TREASURES, By O. E. Fischer, M. D., Detroit, Mich.</figDesc> +</figure> + + +<pb n="44" /> +<figure url="images/delhi.jpg" rend="w90"> +<index index="fig" /> +<head>THE GIRL FROM DELHI<lb /><emph>By </emph><hi rend="font-variant: small-caps">Louis Fleckenstein, </hi><emph>Los Angeles, Cal.</emph></head> +<figDesc>THE GIRL FROM DELHI, By Louis Fleckenstein, Los Angeles, Cal.</figDesc> +</figure> + + +<pb n="45" /> +<figure url="images/fiftyyrs.jpg" rend="w90"> +<index index="fig" /> +<head>FIFTY YEARS<lb /><emph>By </emph><hi rend="font-variant: small-caps">Frederick Frittita, </hi><emph>Baltimore, Md.</emph></head> +<figDesc>FIFTY YEARS, By Frederick Frittita, Baltimore, Md.</figDesc> +</figure> + + +<pb n="46" /> +<figure url="images/waterscn.jpg" rend="w90"> +<index index="fig" /> +<head>WATER SCENE<lb /><emph>By </emph><hi rend="font-variant: small-caps">John Wallace Gillies, </hi><emph>New York</emph></head> +<figDesc>WATER SCENE, By John Wallace Gillies, New York</figDesc> +</figure> + + +<pb n="47" /> +<figure url="images/cutters.jpg" rend="w90"> +<index index="fig" /> +<head>THE MARBLE CUTTERS<lb /><emph>By </emph><hi rend="font-variant: small-caps">Laura Gilpin, </hi><emph>Colorado Springs, Col.</emph></head> +<figDesc>THE MARBLE CUTTERS, By Laura Gilpin, Colorado Springs, Col.</figDesc> +</figure> + + +<pb n="48" /> +<figure url="images/walpi.jpg" rend="w90"> +<index index="fig" /> +<head>WALPI<lb /><emph>By </emph><hi rend="font-variant: small-caps">Forman Hanna, </hi><emph>Globe, Ariz.</emph></head> +<figDesc>WALPI, By Forman Hanna, Globe, Ariz.</figDesc> +</figure> + + +<pb n="49" /> +<figure url="images/shorelin.jpg" rend="w90"> +<index index="fig" /> +<head>THE SHORE LINE<lb /><emph>By </emph><hi rend="font-variant: small-caps">G. H. S. Harding, </hi><emph>Berkeley, Cal.</emph></head> +<figDesc>THE SHORE LINE, By G. H. S. Harding, Berkeley, Cal.</figDesc> +</figure> + + +<pb n="50" /> +<figure url="images/aprilsno.jpg" rend="w90"> +<index index="fig" /> +<head>APRIL SNOW<lb /><emph>By </emph><hi rend="font-variant: small-caps">Edward Heim, </hi><emph>New York</emph></head> +<figDesc>APRIL SNOW, By Edward Heim, New York</figDesc> +</figure> + + +<pb n="51" /> +<figure url="images/daydream.jpg" rend="w90"> +<index index="fig" /> +<head>DAY DREAMS<lb /><emph>By </emph><hi rend="font-variant: small-caps">G. W. Harting, </hi><emph>New York</emph></head> +<figDesc>DAY DREAMS, By G. W. Harting, New York</figDesc> +</figure> + + +<pb n="52" /> +<figure url="images/inarbor.jpg" rend="w90"> +<index index="fig" /> +<head>IN THE ARBOR<lb /><emph>By </emph><hi rend="font-variant: small-caps">Antoinette B. Hervey, </hi><emph>New York</emph></head> +<figDesc>IN THE ARBOR, By Antoinette B. Hervey, New York</figDesc> +</figure> + + +<pb n="53" /> +<figure url="images/missh.jpg" rend="w90"> +<index index="fig" /> +<head>MISS H.<lb /><emph>By </emph><hi rend="font-variant: small-caps">George Henry High, </hi><emph>Chicago, Ill.</emph></head> +<figDesc>MISS H., By George Henry High, Chicago, Ill.</figDesc> +</figure> + + +<pb n="54" /> +<figure url="images/sunshine.jpg" rend="w90"> +<index index="fig" /> +<head>SUNSHINE<lb /><emph>By </emph><hi rend="font-variant: small-caps">L. Willis Hoops, </hi><emph>New York</emph></head> +<figDesc>SUNSHINE, By L. Willis Hoops, New York</figDesc> +</figure> + + +<pb n="55" /> +<figure url="images/whitehat.jpg" rend="w90"> +<index index="fig" /> +<head>THE WHITE HAT<lb /><emph>By </emph><hi rend="font-variant: small-caps">G. B. Hollister, </hi><emph>Corning, N. Y.</emph></head> +<figDesc>THE WHITE HAT, By G. B. Hollister, Corning, N. Y.</figDesc> +</figure> + + +<pb n="56" /> +<figure url="images/design.jpg" rend="w90"> +<index index="fig" /> +<head>DESIGN<lb /><emph>By </emph><hi rend="font-variant: small-caps">Bernard S. Horne, </hi><emph>Princeton, N. J.</emph></head> +<figDesc>DESIGN, By Bernard S. Horne, Princeton, N. J.</figDesc> +</figure> + + +<pb n="57" /> +<figure url="images/cityst.jpg" rend="w90"> +<index index="fig" /> +<head>CITY STREET<lb /><emph>By </emph><hi rend="font-variant: small-caps">Blanche C. Hungerford (Mrs. Latimer), </hi><emph>High Bridge, N. J.</emph></head> +<figDesc>CITY STREET, By Blanche C. Hungerford (Mrs. Latimer), High Bridge, N. J.</figDesc> +</figure> + + +<pb n="58" /> +<figure url="images/columbia.jpg" rend="w90"> +<index index="fig" /> +<head>COLUMBIA UNIVERSITY<lb /><emph>By </emph><hi rend="font-variant: small-caps">Dr. Charles H. Jaeger, </hi><emph>New York</emph></head> +<figDesc>COLUMBIA UNIVERSITY, By Dr. Charles H. Jaeger, New York</figDesc> +</figure> + + +<pb n="59" /> +<figure url="images/prtchild.jpg" rend="w90"> +<index index="fig" /> +<head>PORTRAIT OF A CHILD<lb /><emph>By </emph><hi rend="font-variant: small-caps">Doris U. Jaeger, </hi><emph>New York</emph></head> +<figDesc>PORTRAIT OF A CHILD, By Doris U. Jaeger, New York</figDesc> +</figure> + + +<pb n="60" /> +<figure url="images/vale.jpg" rend="w90"> +<index index="fig" /> +<head>THE VALE OF THE SHADOW<lb /><emph>By </emph><hi rend="font-variant: small-caps">Arthur F. Kales, </hi><emph>Los Angeles, Cal.</emph></head> +<figDesc>THE VALE OF THE SHADOW, By Arthur F. Kales, Los Angeles, Cal.</figDesc> +</figure> + + +<pb n="61" /> +<figure url="images/portkase.jpg" rend="w90"> +<index index="fig" /> +<head>PORTRAIT<lb /><emph>By </emph><hi rend="font-variant: small-caps">Gertrude Kasebier, </hi><emph>New York</emph></head> +<figDesc>PORTRAIT, By Gertrude Kasebier, New York</figDesc> +</figure> + + +<pb n="62" /> +<figure url="images/oldhill.jpg" rend="w90"> +<index index="fig" /> +<head>OLD HILL TOWN<lb /><emph>By </emph><hi rend="font-variant: small-caps">William Kriebel, </hi><emph>Philadelphia, Pa.</emph></head> +<figDesc>OLD HILL TOWN, By William Kriebel, Philadelphia, Pa.</figDesc> +</figure> + + +<pb n="63" /> +<figure url="images/solitude.jpg" rend="w90"> +<index index="fig" /> +<head>SOLITUDE<lb /><emph>By </emph><hi rend="font-variant: small-caps">W. R. Latimer, </hi><emph>High Bridge, N. J.</emph></head> +<figDesc>SOLITUDE, By W. R. Latimer, High Bridge, N. J.</figDesc> +</figure> + + +<pb n="64" /> +<figure url="images/ellen.jpg" rend="w90"> +<index index="fig" /> +<head>ELLEN<lb /><emph>By </emph><hi rend="font-variant: small-caps">Sophie L. Lauffer, </hi><emph>Brooklyn, N. Y.</emph></head> +<figDesc>ELLEN, By Sophie L. Lauffer, Brooklyn, N. Y.</figDesc> +</figure> + + +<pb n="65" /> +<figure url="images/johnspeer.jpg" rend="w90"> +<index index="fig" /> +<head>MASTER JOHN SPEER<lb /><emph>By </emph><hi rend="font-variant: small-caps">George P. Lester, </hi><emph>Bloomfield, N. J.</emph></head> +<figDesc>MASTER JOHN SPEER, By George P. Lester, Bloomfield, N. J.</figDesc> +</figure> + + +<pb n="66" /> +<figure url="images/mtadams.jpg" rend="w90"> +<index index="fig" /> +<head>MOUNT ADAMS OF THE NORTHERN LAKES<lb /><emph>By </emph><hi rend="font-variant: small-caps">Francis Orville Libby, </hi><emph>Portland, Me.</emph></head> +<figDesc>MOUNT ADAMS OF THE NORTHERN LAKES, By Francis Orville Libby, Portland, Me.</figDesc> +</figure> + + +<pb n="67" /> +<figure url="images/miststod.jpg" rend="w90"> +<index index="fig" /> +<head>MISTS TO-DAY—CLEAR ANON<lb /><emph>By </emph><hi rend="font-variant: small-caps">Edwin Loker, </hi><emph>St. Louis, Mo.</emph></head> +<figDesc>MISTS TO-DAY—CLEAR ANON, By Edwin Loker, St. Louis, Mo.</figDesc> +</figure> + + +<pb n="68" /> +<figure url="images/treesclou.jpg" rend="w90"> +<index index="fig" /> +<head>TREES AND CLOUDS<lb /><emph>By </emph><hi rend="font-variant: small-caps">Dr. William F. Makk, </hi><emph>Los Angeles, Cal.</emph></head> +<figDesc>TREES AND CLOUDS, By Dr. William F. Makk, Los Angeles, Cal.</figDesc> +</figure> + + +<pb n="69" /> +<figure url="images/yitkim.jpg" rend="w90"> +<index index="fig" /> +<head>PLAYER ON THE YIT-KIM<lb /><emph>By </emph><hi rend="font-variant: small-caps">Margrethe Mather, </hi><emph>Los Angeles, Cal.</emph></head> +<figDesc>PLAYER ON THE YIT-KIM, By Margrethe Mather, Los Angeles, Cal.</figDesc> +</figure> + + +<pb n="70" /> +<figure url="images/patzcuar.jpg" rend="w90"> +<index index="fig" /> +<head>ON LAKE PATZCUARO, MEXICO<lb /><emph>By </emph><hi rend="font-variant: small-caps">Oscar Maurer, </hi><emph>Los Angeles, Cal.</emph></head> +<figDesc>ON LAKE PATZCUARO, MEXICO, By Oscar Maurer, Los Angeles, Cal.</figDesc> +</figure> + + +<pb n="71" /> +<figure url="images/wharf.jpg" rend="w90"> +<index index="fig" /> +<head>ALONG THE WHARF<lb /><emph>By </emph><hi rend="font-variant: small-caps">Holmes I. Mettee, </hi><emph>Baltimore, Md.</emph></head> +<figDesc>ALONG THE WHARF, By Holmes I. Mettee, Baltimore, Md.</figDesc> +</figure> + + +<pb n="72" /> +<figure url="images/marsh.jpg" rend="w90"> +<index index="fig" /> +<head>THE MARSH—EVENING<lb /><emph>By </emph><hi rend="font-variant: small-caps">J. George Midgley, </hi><emph>Salt Lake City, Utah</emph></head> +<figDesc>THE MARSH—EVENING, By J. George Midgley, Salt Lake City, Utah</figDesc> +</figure> + + +<pb n="73" /> +<figure url="images/dancer.jpg" rend="w90"> +<index index="fig" /> +<head>THE DANCER<lb /><emph>By </emph><hi rend="font-variant: small-caps">H. W. Minns, </hi><emph>Akron, Ohio</emph></head> +<figDesc>THE DANCER, By H. W. Minns, Akron, Ohio</figDesc> +</figure> + + +<pb n="74" /> +<figure url="images/snowpatt.jpg" rend="w90"> +<index index="fig" /> +<head>SNOW PATTERN<lb /><emph>By </emph><hi rend="font-variant: small-caps">H. Remick Neeson, </hi><emph>Baltimore, Md.</emph></head> +<figDesc>SNOW PATTERN, By H. Remick Neeson, Baltimore, Md.</figDesc> +</figure> + + +<pb n="75" /> +<figure url="images/farmer.jpg" rend="w90"> +<index index="fig" /> +<head>THE FARMER<lb /><emph>By </emph><hi rend="font-variant: small-caps">Henry Hoyt Moore, </hi><emph>Brooklyn, N. Y.</emph></head> +<figDesc>THE FARMER, By Henry Hoyt Moore, Brooklyn, N. Y.</figDesc> +</figure> + + +<pb n="76" /> +<figure url="images/steamup.jpg" rend="w90"> +<index index="fig" /> +<head>STEAM UP<lb /><emph>By </emph><hi rend="font-variant: small-caps">J. W. Newton, </hi><emph>Columbus, Ohio</emph></head> +<figDesc>STEAM UP, By J. W. Newton, Columbus, Ohio</figDesc> +</figure> + + +<pb n="77" /> +<figure url="images/eve.jpg" rend="w90"> +<index index="fig" /> +<head>EVE REPENTENT<lb /><emph>By </emph><hi rend="font-variant: small-caps">Imogen Cunningham Partridge, </hi><emph>San Francisco, Cal.</emph></head> +<figDesc>EVE REPENTENT, By Imogen Cunningham Partridge, San Francisco, Cal.</figDesc> +</figure> + + +<pb n="78" /> +<figure url="images/swans.jpg" rend="w90"> +<index index="fig" /> +<head>SWANS<lb /><emph>By </emph><hi rend="font-variant: small-caps">G. Houson Payne, Jr., </hi><emph>Baltimore, Md.</emph></head> +<figDesc>SWANS, By G. Houson Payne, Jr., Baltimore, Md.</figDesc> +</figure> + + +<pb n="79" /> +<figure url="images/mothchil.jpg" rend="w90"> +<index index="fig" /> +<head>MOTHER AND CHILD<lb /><emph>By </emph><hi rend="font-variant: small-caps">Margaret Rhodes Peattie, </hi><emph>Chicago, Ill.</emph></head> +<figDesc>MOTHER AND CHILD, By Margaret Rhodes Peattie, Chicago, Ill.</figDesc> +</figure> + + +<pb n="80" /> +<figure url="images/placpict.jpg" rend="w90"> +<index index="fig" /> +<head>PLACING A PICTURE<lb /><emph>By </emph><hi rend="font-variant: small-caps">Leo Pokras, </hi><emph>Brooklyn, N. Y.</emph></head> +<figDesc>PLACING A PICTURE, By Leo Pokras, Brooklyn, N. Y.</figDesc> +</figure> + + +<pb n="81" /> +<figure url="images/twilight.jpg" rend="w90"> +<index index="fig" /> +<head>TWILIGHT'S MYSTERY<lb /><emph>By </emph><hi rend="font-variant: small-caps">W. H. Porterfield, </hi><emph>Buffalo, N. Y.</emph></head> +<figDesc>TWILIGHT'S MYSTERY, By W. H. Porterfield, Buffalo, N. Y.</figDesc> +</figure> + + +<pb n="82" /> +<figure url="images/mornboat.jpg" rend="w90"> +<index index="fig" /> +<head>THE MORNING BOAT<lb /><emph>By </emph><hi rend="font-variant: small-caps">E. M. Pratt, </hi><emph>Tracy, Cal.</emph></head> +<figDesc>THE MORNING BOAT, By E. M. Pratt, Tracy, Cal.</figDesc> +</figure> + + +<pb n="83" /> +<figure url="images/sixteen.jpg" rend="w90"> +<index index="fig" /> +<head>SWEET SIXTEEN<lb /><emph>By </emph><hi rend="font-variant: small-caps">Mrs. William H. Rau, </hi><emph>Philadelphia, Pa.</emph></head> +<figDesc>SWEET SIXTEEN, By Mrs. William H. Rau, Philadelphia, Pa.</figDesc> +</figure> + + +<pb n="84" /> +<figure url="images/mother.jpg" rend="w90"> +<index index="fig" /> +<head>MOTHER<lb /><emph>By </emph><hi rend="font-variant: small-caps">Jane Reece, </hi><emph>Dayton, Ohio</emph></head> +<figDesc>MOTHER, By Jane Reece, Dayton, Ohio</figDesc> +</figure> + + +<pb n="85" /> +<figure url="images/husbandm.jpg" rend="w90"> +<index index="fig" /> +<head>THE HUSBANDMAN<lb /><emph>By </emph><hi rend="font-variant: small-caps">O. C. Reiter, </hi><emph>Pittsburgh, Pa.</emph></head> +<figDesc>THE HUSBANDMAN, By O. C. Reiter, Pittsburgh, Pa.</figDesc> +</figure> + + +<pb n="86" /> +<figure url="images/lastrace.jpg" rend="w90"> +<index index="fig" /> +<head>THE LAST OF HIS RACE<lb /><emph>By </emph><hi rend="font-variant: small-caps">L. M. A. Roy, </hi><emph>La Crosse, Wis.</emph></head> +<figDesc>THE LAST OF HIS RACE, By L. M. A. Roy, La Crosse, Wis.</figDesc> +</figure> + + +<pb n="87" /> +<figure url="images/pennstat.jpg" rend="w90"> +<index index="fig" /> +<head>PENNSYLVANIA STATION, NEW YORK<lb /><emph>By </emph><hi rend="font-variant: small-caps">Dr. D. J. Ruzicka, </hi><emph>New York</emph></head> +<figDesc>PENNSYLVANIA STATION, NEW YORK, By Dr. D. J. Ruzicka, New York</figDesc> +</figure> + + +<pb n="88" /> +<figure url="images/pleasant.jpg" rend="w90"> +<index index="fig" /> +<head>A GLIMPSE OF PLEASANT VALLEY<lb /><emph>By </emph><hi rend="font-variant: small-caps">J. G. Sarvent, </hi><emph>Kansas City, Mo.</emph></head> +<figDesc>A GLIMPSE OF PLEASANT VALLEY, By J. G. Sarvent, Kansas City, Mo.</figDesc> +</figure> + + +<pb n="89" /> +<figure url="images/vallbeyo.jpg" rend="w90"> +<index index="fig" /> +<head>THE VALLEY BEYOND OUR HILL<lb /><emph>By </emph><hi rend="font-variant: small-caps">Otto C. Shulte, </hi><emph>San Franciso, Cal.</emph></head> +<figDesc>THE VALLEY BEYOND OUR HILL, By Otto C. Shulte, San Franciso, Cal.</figDesc> +</figure> + + +<pb n="90" /> +<figure url="images/elysian.jpg" rend="w90"> +<index index="fig" /> +<head>ELYSIAN PARK VISTA<lb /><emph>By </emph><hi rend="font-variant: small-caps">David J. Sheahan, </hi><emph>Los Angeles, Cal.</emph></head> +<figDesc>ELYSIAN PARK VISTA, By David J. Sheahan, Los Angeles, Cal.</figDesc> +</figure> + + +<pb n="91" /> +<figure url="images/wasatch.jpg" rend="w90"> +<index index="fig" /> +<head>IN THE FOOTHILLS OF THE WASATCH<lb /><emph>By </emph><hi rend="font-variant: small-caps">Thomas O. Sheckell, </hi><emph>Salt Lake City, Utah</emph></head> +<figDesc>IN THE FOOTHILLS OF THE WASATCH, By Thomas O. Sheckell, Salt Lake City, Utah</figDesc> +</figure> + + +<pb n="92" /> +<figure url="images/stpats.jpg" rend="w90"> +<index index="fig" /> +<head>DOORWAY OF ST. PATRICK'S CATHEDRAL<lb /><emph>By </emph><hi rend="font-variant: small-caps">William Gordon Shields, </hi><emph>New York</emph></head> +<figDesc>DOORWAY OF ST. PATRICK'S CATHEDRAL, By William Gordon Shields, New York</figDesc> +</figure> + + +<pb n="93" /> +<figure url="images/portsmit.jpg" rend="w90"> +<index index="fig" /> +<head>PORTRAIT<lb /><emph>By </emph><hi rend="font-variant: small-caps">Mrs. Sterling Smith, </hi><emph>San Diego, Cal.</emph></head> +<figDesc>PORTRAIT, By Mrs. Sterling Smith, San Diego, Cal.</figDesc> +</figure> + + +<pb n="94" /> +<figure url="images/columns.jpg" rend="w90"> +<index index="fig" /> +<head>THE COLUMNS<lb /><emph>By </emph><hi rend="font-variant: small-caps">E. Radiker Standcliff, </hi><emph>Elmira, N. Y.</emph></head> +<figDesc>THE COLUMNS, By E. Radiker Standcliff, Elmira, N. Y.</figDesc> +</figure> + + +<pb n="95" /> +<figure url="images/tamalpai.jpg" rend="w90"> +<index index="fig" /> +<head>TOWARD TAMALPAIS<lb /><emph>By </emph><hi rend="font-variant: small-caps">W. H. Stephens, </hi><emph>San Franciso, Cal.</emph></head> +<figDesc>TOWARD TAMALPAIS, By W. H. Stephens, San Franciso, Cal.</figDesc> +</figure> + + +<pb n="96" /> +<figure url="images/murray.jpg" rend="w90"> +<index index="fig" /> +<head>MAE MURRAY<lb /><emph>By </emph><hi rend="font-variant: small-caps">Ford Sterling, </hi><emph>Los Angeles, Cal.</emph></head> +<figDesc>MAE MURRAY, By Ford Sterling, Los Angeles, Cal.</figDesc> +</figure> + + +<pb n="97" /> +<figure url="images/margaret.jpg" rend="w90"> +<index index="fig" /> +<head>MARGARET<lb /><emph>By </emph><hi rend="font-variant: small-caps">John H. Stocksdale, </hi><emph>Baltimore, Md.</emph></head> +<figDesc>MARGARET, By John H. Stocksdale, Baltimore, Md.</figDesc> +</figure> + + +<pb n="98" /> +<figure url="images/canal.jpg" rend="w90"> +<index index="fig" /> +<head>THE CANAL<lb /><emph>By </emph><hi rend="font-variant: small-caps">M. Sugimoto, </hi><emph>New York</emph></head> +<figDesc>THE CANAL, By M. Sugimoto, New York</figDesc> +</figure> + + +<pb n="99" /> +<figure url="images/stilllif.jpg" rend="w90"> +<index index="fig" /> +<head>STILL LIFE<lb /><emph>By </emph><hi rend="font-variant: small-caps">Elizabeth Talcott, </hi><emph>Elmwood, Conn.</emph></head> +<figDesc>STILL LIFE, By Elizabeth Talcott, Elmwood, Conn.</figDesc> +</figure> + + +<pb n="100" /> +<figure url="images/dreamhou.jpg" rend="w90"> +<index index="fig" /> +<head>THE HOUSE O' DREAMS<lb /><emph>By </emph><hi rend="font-variant: small-caps">William H. Thompson, </hi><emph>Hartford, Conn.</emph></head> +<figDesc>THE HOUSE O' DREAMS, By William H. Thompson, Hartford, Conn.</figDesc> +</figure> + + +<pb n="101" /> +<figure url="images/tofront.jpg" rend="w90"> +<index index="fig" /> +<head>WITH FACE SET TOWARD THE WESTERN FRONT<lb /><emph>By </emph><hi rend="font-variant: small-caps">Lieut. Edward Larocque Tinker, U. S. N., </hi><emph>New York</emph></head> +<figDesc>WITH FACE SET TOWARD THE WESTERN FRONT, By Lieut. Edward Larocque Tinker, U. S. N.,New York</figDesc> +</figure> + + +<pb n="102" /> +<figure url="images/shftsand.jpg" rend="w90"> +<index index="fig" /> +<head>SHIFTING SAND<lb /><emph>By </emph><hi rend="font-variant: small-caps">Charles Vandervelde, </hi><emph>Grand Rapids, Mich.</emph></head> +<figDesc>SHIFTING SAND, By Charles Vandervelde, Grand Rapids, Mich.</figDesc> +</figure> + + +<pb n="103" /> +<figure url="images/ruthdeni.jpg" rend="w90"> +<index index="fig" /> +<head>RUTH ST. DENIS<lb /><emph>By </emph><hi rend="font-variant: small-caps">the late Lieut. Luke R. Vickers, </hi><emph>Church Creek, Md.</emph></head> +<figDesc>RUTH ST. DENIS, By the late Lieut. Luke R. Vickers, Church Creek, Md.</figDesc> +</figure> + + +<pb n="104" /> +<figure url="images/newyears.jpg" rend="w90"> +<index index="fig" /> +<head>THE NEW YEAR'S EDITION<lb /><emph>By </emph><hi rend="font-variant: small-caps">Will H. Walker, </hi><emph>Portland, Ore.</emph></head> +<figDesc>THE NEW YEAR'S EDITION, By Will H. Walker, Portland, Ore.</figDesc> +</figure> + + +<pb n="105" /> +<figure url="images/girlwfan.jpg" rend="w90"> +<index index="fig" /> +<head>GIRL WITH THE FAN<lb /><emph>By </emph><hi rend="font-variant: small-caps">Mabel Watson, </hi><emph>Pasadena, Cal.</emph></head> +<figDesc>GIRL WITH THE FAN, By Mabel Watson, Pasadena, Cal.</figDesc> +</figure> + + +<pb n="106" /> +<figure url="images/eleanor.jpg" rend="w90"> +<index index="fig" /> +<head>ELEANOR<lb /><emph>By </emph><hi rend="font-variant: small-caps">Delight Weston, </hi><emph>Blue Hill, Me.</emph></head> +<figDesc>ELEANOR, By Delight Weston, Blue Hill, Me.</figDesc> +</figure> + + +<pb n="107" /> +<figure url="images/epilogue.jpg" rend="w90"> +<index index="fig" /> +<head>EPILOGUE<lb /><emph>By </emph><hi rend="font-variant: small-caps">Edward Weston, </hi><emph>Glendale, Cal.</emph></head> +<figDesc>EPILOGUE, By Edward Weston, Glendale, Cal.</figDesc> +</figure> + + +<pb n="108" /> +<figure url="images/mrsm.jpg" rend="w90"> +<index index="fig" /> +<head>MRS. M.<lb /><emph>By </emph><hi rend="font-variant: small-caps">Leonard Westphalen, </hi><emph>Chicago, Ill.</emph></head> +<figDesc>MRS. M., By Leonard Westphalen, Chicago, Ill.</figDesc> +</figure> + + +<pb n="109" /> +<figure url="images/family.jpg" rend="w90"> +<index index="fig" /> +<head>THE FAMILY<lb /><emph>By </emph><hi rend="font-variant: small-caps">Clarence H. White, </hi><emph>New York</emph></head> +<figDesc>THE FAMILY, By Clarence H. White, New York</figDesc> +</figure> + + +<pb n="110" /> +<figure url="images/flowgard.jpg" rend="w90"> +<index index="fig" /> +<head>THE FLOWER GARDEN<lb /><emph>By </emph><hi rend="font-variant: small-caps">Cornelia F. White, </hi><emph>New York</emph></head> +<figDesc>THE FLOWER GARDEN, By Cornelia F. White, New York</figDesc> +</figure> + + +<pb n="111" /> +<figure url="images/thruwind.jpg" rend="w90"> +<index index="fig" /> +<head>THROUGH THE WINDOW<lb /><emph>By </emph><hi rend="font-variant: small-caps">Hazel Jane Wiegner, </hi><emph>Philadelphia, Pa.</emph></head> +<figDesc>THROUGH THE WINDOW, By Hazel Jane Wiegner, Philadelphia, Pa.</figDesc> +</figure> + + +<pb n="112" /> +<figure url="images/marionet.jpg" rend="w70"> +<index index="fig" /> +<head>MARIONETTE<lb /><emph>By </emph><hi rend="font-variant: small-caps">Edith R. Wilson, </hi><emph>Mount Vernon, N. Y.</emph></head> +<figDesc>MARIONETTE, By Edith R. Wilson, Mount Vernon, N. Y.</figDesc> +</figure> + + +<pb n="113" /> +<figure url="images/jean.jpg" rend="w90"> +<index index="fig" /> +<head>JEAN<lb /><emph>By </emph><hi rend="font-variant: small-caps">Mildred R. Wilson, </hi><emph>Orange, N. J.</emph></head> +<figDesc>JEAN, By Mildred R. Wilson, Orange, N. J.</figDesc> +</figure> + + +<pb n="114" /> +<figure url="images/citybeyo.jpg" rend="w90"> +<index index="fig" /> +<head>CITY BEYOND<lb /><emph>By </emph><hi rend="font-variant: small-caps">N. S. Wooldridge, </hi><emph>Pittsburgh, Pa.</emph></head> +<figDesc>CITY BEYOND, By N. S. Wooldridge, Pittsburgh, Pa.</figDesc> +</figure> + +</div> +</body> + +<back> +<div> + <index index="toc" /> + <index index="pdf" /> +<pb n="115" /> +<head>The following is a partial list of photographic organizations in America which are encouraging pictorial Photography</head> +<lg> +<l>Bangor Society of Art</l> +<l>Bangor, Me.</l> +</lg><lg> +<l>Boston Y. M. C. U. Camera Club</l> +<l>48 Boylston Street, Boston, Mass.</l> +</lg><lg> +<l>Brooklyn Institute of Arts and Science, <emph>Photographic Section</emph></l> +<l>Academy of Music Building, Brooklyn, N. Y.</l> +</lg><lg> +<l>Buffalo Camera Club</l> +<l>Kinne Building, corner Main and Utica Streets,</l> +<l>Buffalo, N. Y.</l> +</lg><lg> +<l>California Camera Club</l> +<l>833 Market Street, San Francisco, Cal.</l> +</lg><lg> +<l>Camera Club</l> +<l>121 West 68th Street, New York City</l> +</lg><lg> +<l>Camera Club of Detroit</l> +<l>513-515 Kresge Building, West Grand Circus Park, Detroit, Mich.</l> +</lg><lg> +<l>Camera Pictorialists of Los Angeles</l> +<l>415 Blanchard Building, Los Angeles, Cal.</l> +</lg><lg> +<l>Chicago Camera Club</l> +<l>31 West Lake Street, Chicago, Ill.</l> +</lg><lg> +<l>Camera Pictorialists of Columbus</l> +<l>40 North High Street, Columbus, Ohio</l> +</lg><lg> +<l>Elmira Camera Club</l> +<l>116 Baldwin Street, Elmira, N. Y.</l> +</lg><lg> +<l>Grand Rapids Camera Club</l> +<l>2 Central Place, N. E., Grand Rapids, Mich.</l> +</lg><lg> +<l>Missouri Camera Club</l> +<l>706 Merchants-Laclede Building, 408 Olive Street, St. Louis, Mo.</l> +</lg><lg> +<l> Newark Camera Club</l> +<l>878 Broad Street, Newark, N. J.</l> +</lg><lg> +<l>Orange Camera Club</l> +<l>Main and Clinton Streets, Orange, N. J.</l> +</lg><lg> +<l>Oregon Camera Club</l> +<l>Elks Building, Portland, Oregon</l> +</lg><lg> +<l>Photographic Guild of the Society of Arts and Crafts</l> +<l>Boston, Mass.</l> +</lg><lg> +<l>Photo Fellows of the World</l> +<l><emph>Dean</emph>, Sigismund Blumann, 3217 Davis Street, Fruitvale, Cal.</l> +</lg><lg> +<l>Photographic Guild of Baltimore</l> +<l>Baltimore, Md.</l> +</lg><lg> +<l>Pittsburgh Academy of Science and Art, <emph>Photographic Section</emph></l> +<l>Carnegie Institute, Schenley Park, Pittsburgh, Pa.</l> +<l>The Pittsburgh Salon of Photographic Art</l> +</lg><lg> +<l>Portland Camera Club. <emph>Photographic Section of the Portland Society of Art</emph></l> +<l>Corner Spring and High Streets, Portland, Me.</l> +</lg><lg> +<l>Toledo Camera Club</l> +<l>Museum of Art, Toledo, Ohio</l> +</lg><lg> +<l>Toronto Camera Club</l> +<l>2 Gould Street, Toronto, Ontario, Canada</l> +</lg><lg> +<l>Wilkes-Barre Camera Club</l> +<l>Poli Building, 131 South Main Street, Wilkes-Barre, Pa.</l> +</lg> +<milestone unit="tb" rend="rule: 20%" /> +<p> +The reproductions in this Annual were selected from a group of nearly 1100 photographs. Of the 100 artists whose prints are now reproduced: +</p> +<p> +36 are new workers. 16 were unknown to the judges. 32 are workers of recent years. 16 are old workers. +</p> +<p> +A further computation shows that 56 are members of the Association, while 44 are non-members. +</p> +<pb n="118" /> +<figure url="images/smithsyn.jpg" rend="w90"> +<figDesc>Advertisement: The Smith Synthetic Lens</figDesc> +</figure> + + +<pb n="119" /> +<figure url="images/ensirefl.jpg" rend="w90"> +<figDesc>Advertisement: Ensign Reflex Cameras</figDesc> +</figure> + + +<pb n="120" /> +<figure url="images/whitesch.jpg" rend="w90"> +<figDesc>Advertisements: Japan Paper Company and Clarence H. White School of Photography </figDesc> +</figure> + + +<pb n="121" /> +<figure url="images/willough.jpg" rend="w90"> +<figDesc>Advertisements: Willoughby's and Willis & Clements</figDesc> +</figure> + + +<pb n="122" /> +<figure url="images/photomin.jpg" rend="w90"> +<figDesc>Advertisements: George Murphy, Inc. and The Photo-Miniature</figDesc> +</figure> + + +<pb n="123" /> +<figure url="images/spenhypa.jpg" rend="w90"> +<figDesc>Advertisements: Spencer Lens Co. and C. P. Goerz American Optical Company</figDesc> +</figure> + + +<pb n="124" /> +<figure url="images/wallwoll.jpg" rend="w90"> +<figDesc>Advertisements: Wallace Chemical Company and Wollensak Optical Company</figDesc> +</figure> +</div> + +<div rend="page-break-before: right"> +<divGen type="pgfooter" /> +</div> + +</back> +</text> +</TEI.2> diff --git a/28015-tei/images/aprilsno.jpg b/28015-tei/images/aprilsno.jpg Binary files differnew file mode 100644 index 0000000..c71c52b --- /dev/null +++ b/28015-tei/images/aprilsno.jpg diff --git a/28015-tei/images/boats.jpg b/28015-tei/images/boats.jpg Binary files differnew file mode 100644 index 0000000..e1eb439 --- /dev/null +++ b/28015-tei/images/boats.jpg diff --git a/28015-tei/images/buddha.jpg b/28015-tei/images/buddha.jpg Binary files differnew file mode 100644 index 0000000..0990b86 --- /dev/null +++ b/28015-tei/images/buddha.jpg diff --git a/28015-tei/images/canal.jpg b/28015-tei/images/canal.jpg Binary files differnew file mode 100644 index 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You may copy it, give it away or re-use it under +the terms of the Project Gutenberg License included with this eBook or +online at http://www.gutenberg.org/license + + + +Title: Pictorial Photography in America 1920 + +Author: Pictorial Photographers of America + +Release Date: February 7, 2008 [Ebook #28015] + +Language: English + +Character set encoding: US-ASCII + + +***START OF THE PROJECT GUTENBERG EBOOK PICTORIAL PHOTOGRAPHY IN AMERICA 1920*** + + + + + +Pictorial Photography in America +1920 + + + + + + + + + + + + + +Pictorial Photographers of America + +Tennant and Ward, New York +Publisher's Agents + +1920 + + + + + +_Editorial Board_ +CLARENCE H. WHITE +W. H. PORTERFIELD +JOHN PAUL EDWARDS +DWIGHT A. DAVIS + +_Committee on Publication_ +HENRY HOYT MOORE +WALTER L. EHRICH +RAY GREENLEAF +JOHN A. TENNANT + + + + + +ILLUSTRATIONS + + +APRIL FLURRIES +_By _W. A. ALCOCK, _Brooklyn, N.Y._ +PUCKACHIPE--SEAGULL +_By _ELIZABETH R. ALLEN, _Moorestown, N.J._ +MY LITTLE GRAY HOME IN THE WEST +_By _GEORGE M. ALLEN, _Portland, Ore._ +THE BUDDHA +_By _FRED R. ARCHER, _Los Angeles, Cal._ +ISLANDERS +_By _LAURA ADAMS ARMER, _Berkeley, Cal._ +ANN SPENCER +_By _JESSIE TARBOX BEALS, _New York_ +EARLY MORNING +_By _DAVID W. BONNAR, _Buffalo, N. Y._ +A BIT OF HOME LIFE +_By _WILL D. BRODHUN, _Wilkes-Barre, Pa._ +A MOMENT'S REST +_By _GERTRUDE L. BROWN, _Evanston, Ill._ +DANCERS +_By _JOHN C. BURKHARDT, _Portland, Ore._ +DOUARNENEZ, FINISTERE +_By _DR. A. D. CHAFFEE, _New York_ +RHEIMS +_By _ARTHUR D. CHAPMAN, _New York_ +MICHIO ITORO +_By _ALVIN LANGDON COLBURN, _New York_ +THE STREET +_By _ALFRED COHN, _Brooklyn, N. Y._ +ST. JOHN'S CATHEDRAL +_By _JAMES COPELLA, _New York_ +MR. MATSUMOTO KOSHIRO AS "TCHIKAWA GOYEMON" (THE ROBIN HOOD OF JAPAN) +_By _C. P. CROWTHER, _Kobe, Japan_ +SPRING O' THE YEAR +_By _HELEN W. DREW, _Montclair, N. J._ +THE LIFTING MIST +_By _JERRY D. DREW, _Montclair, N. J._ +THE DOORWAY +_By _DWIGHT A. DAVIS, _Worcester, Mass._ +HIGH BRIDGE +_By _EDWARD R. DICKSON, _New York City_ +MRS. VERNON CASTLE +_By _DE MEYER, _New York_ +BOATS +_By _E. G. DUNNING, _New York_ +COMING TO SCHOOL +_By _VERNON EVERETT DUROC, _Brooklyn, N. Y._ +STUDY +_By _WILLIAM B. DYER, _Portland, Ore._ +DESIGN FOR A TAPESTRY +_By _JOHN PAUL EDWARDS, _Sacramento, Cal._ +STUDY +_By _ADELAIDE WALLACH EHRICH, _New York_ +LANDSCAPE +_By _ELEANOR C. ERVING, _Albany, N. Y._ +SUGARLOAF MOUNTAIN +_By _W. H. EVANS, _Wilkes-Barre, Pa._ +SIDEWALK TREASURES +_By _O. E. FISCHER, M. D., _Detroit, Mich._ +THE GIRL FROM DELHI +_By _LOUIS FLECKENSTEIN, _Los Angeles, Cal._ +FIFTY YEARS +_By _FREDERICK FRITTITA, _Baltimore, Md._ +WATER SCENE +_By _JOHN WALLACE GILLIES, _New York_ +THE MARBLE CUTTERS +_By _LAURA GILPIN, _Colorado Springs, Col._ +WALPI +_By _FORMAN HANNA, _Globe, Ariz._ +THE SHORE LINE +_By _G. H. S. HARDING, _Berkeley, Cal._ +APRIL SNOW +_By _EDWARD HEIM, _New York_ +DAY DREAMS +_By _G. W. HARTING, _New York_ +IN THE ARBOR +_By _ANTOINETTE B. HERVEY, _New York_ +MISS H. +_By _GEORGE HENRY HIGH, _Chicago, Ill._ +SUNSHINE +_By _L. WILLIS HOOPS, _New York_ +THE WHITE HAT +_By _G. B. HOLLISTER, _Corning, N. Y._ +DESIGN +_By _BERNARD S. HORNE, _Princeton, N. J._ +CITY STREET +_By _BLANCHE C. HUNGERFORD (MRS. LATIMER), _High Bridge, N. J._ +COLUMBIA UNIVERSITY +_By _DR. CHARLES H. JAEGER, _New York_ +PORTRAIT OF A CHILD +_By _DORIS U. JAEGER, _New York_ +THE VALE OF THE SHADOW +_By _ARTHUR F. KALES, _Los Angeles, Cal._ +PORTRAIT +_By _GERTRUDE KASEBIER, _New York_ +OLD HILL TOWN +_By _WILLIAM KRIEBEL, _Philadelphia, Pa._ +SOLITUDE +_By _W. R. LATIMER, _High Bridge, N. J._ +ELLEN +_By _SOPHIE L. LAUFFER, _Brooklyn, N. Y._ +MASTER JOHN SPEER +_By _GEORGE P. LESTER, _Bloomfield, N. J._ +MOUNT ADAMS OF THE NORTHERN LAKES +_By _FRANCIS ORVILLE LIBBY, _Portland, Me._ +MISTS TO-DAY--CLEAR ANON +_By _EDWIN LOKER, _St. Louis, Mo._ +TREES AND CLOUDS +_By _DR. WILLIAM F. MAKK, _Los Angeles, Cal._ +PLAYER ON THE YIT-KIM +_By _MARGRETHE MATHER, _Los Angeles, Cal._ +ON LAKE PATZCUARO, MEXICO +_By _OSCAR MAURER, _Los Angeles, Cal._ +ALONG THE WHARF +_By _HOLMES I. METTEE, _Baltimore, Md._ +THE MARSH--EVENING +_By _J. GEORGE MIDGLEY, _Salt Lake City, Utah_ +THE DANCER +_By _H. W. MINNS, _Akron, Ohio_ +SNOW PATTERN +_By _H. REMICK NEESON, _Baltimore, Md._ +THE FARMER +_By _HENRY HOYT MOORE, _Brooklyn, N. Y._ +STEAM UP +_By _J. W. NEWTON, _Columbus, Ohio_ +EVE REPENTENT +_By _IMOGEN CUNNINGHAM PARTRIDGE, _San Francisco, Cal._ +SWANS +_By _G. HOUSON PAYNE, JR., _Baltimore, Md._ +MOTHER AND CHILD +_By _MARGARET RHODES PEATTIE, _Chicago, Ill._ +PLACING A PICTURE +_By _LEO POKRAS, _Brooklyn, N. Y._ +TWILIGHT'S MYSTERY +_By _W. H. PORTERFIELD, _Buffalo, N. Y._ +THE MORNING BOAT +_By _E. M. PRATT, _Tracy, Cal._ +SWEET SIXTEEN +_By _MRS. WILLIAM H. RAU, _Philadelphia, Pa._ +MOTHER +_By _JANE REECE, _Dayton, Ohio_ +THE HUSBANDMAN +_By _O. C. REITER, _Pittsburgh, Pa._ +THE LAST OF HIS RACE +_By _L. M. A. ROY, _La Crosse, Wis._ +PENNSYLVANIA STATION, NEW YORK +_By _DR. D. J. RUZICKA, _New York_ +A GLIMPSE OF PLEASANT VALLEY +_By _J. G. SARVENT, _Kansas City, Mo._ +THE VALLEY BEYOND OUR HILL +_By _OTTO C. SHULTE, _San Franciso, Cal._ +ELYSIAN PARK VISTA +_By _DAVID J. SHEAHAN, _Los Angeles, Cal._ +IN THE FOOTHILLS OF THE WASATCH +_By _THOMAS O. SHECKELL, _Salt Lake City, Utah_ +DOORWAY OF ST. PATRICK'S CATHEDRAL +_By _WILLIAM GORDON SHIELDS, _New York_ +PORTRAIT +_By _MRS. STERLING SMITH, _San Diego, Cal._ +THE COLUMNS +_By _E. RADIKER STANDCLIFF, _Elmira, N. Y._ +TOWARD TAMALPAIS +_By _W. H. STEPHENS, _San Franciso, Cal._ +MAE MURRAY +_By _FORD STERLING, _Los Angeles, Cal._ +MARGARET +_By _JOHN H. STOCKSDALE, _Baltimore, Md._ +THE CANAL +_By _M. SUGIMOTO, _New York_ +STILL LIFE +_By _ELIZABETH TALCOTT, _Elmwood, Conn._ +THE HOUSE O' DREAMS +_By _WILLIAM H. THOMPSON, _Hartford, Conn._ +WITH FACE SET TOWARD THE WESTERN FRONT +_By _LIEUT. EDWARD LAROCQUE TINKER, U. S. N., _New York_ +SHIFTING SAND +_By _CHARLES VANDERVELDE, _Grand Rapids, Mich._ +RUTH ST. DENIS +_By _THE LATE LIEUT. LUKE R. VICKERS, _Church Creek, Md._ +THE NEW YEAR'S EDITION +_By _WILL H. WALKER, _Portland, Ore._ +GIRL WITH THE FAN +_By _MABEL WATSON, _Pasadena, Cal._ +ELEANOR +_By _DELIGHT WESTON, _Blue Hill, Me._ +EPILOGUE +_By _EDWARD WESTON, _Glendale, Cal._ +MRS. M. +_By _LEONARD WESTPHALEN, _Chicago, Ill._ +THE FAMILY +_By _CLARENCE H. WHITE, _New York_ +THE FLOWER GARDEN +_By _CORNELIA F. WHITE, _New York_ +THROUGH THE WINDOW +_By _HAZEL JANE WIEGNER, _Philadelphia, Pa._ +MARIONETTE +_By _EDITH R. WILSON, _Mount Vernon, N. Y._ +JEAN +_By _MILDRED R. WILSON, _Orange, N. J._ +CITY BEYOND +_By _N. S. WOOLDRIDGE, _Pittsburgh, Pa._ + + + + + +CONTENTS + + +FOREWORD +The Pictorial Photographers of America +Pictorial Photography in New Jersey +Pictorial Photograpny in Maine +Pictorial Photography in Massachusetts +Pictorial Photograpky in Maryland +Middle West Activities and the Pittsburgh Salon +Pictorial Photography in the Far West +Illustrations +The following is a partial list of photographic organizations in America +which are encouraging pictorial Photography + + + + + +FOREWORD + + +_By _CLARENCE H. WHITE +_President of the Pictorial Photographers of America_ + +To many people photography is merely a mechanical process. To an +increasing number, however, photography is being seen as an art, by which +personal impressions of nature or human life may be expressed as truly as +by the brush. These workers in photography see in it a medium by which +the action of light upon sensitive surfaces may be so controlled as really +to interpret scenes and persons in the individualistic spirit of a true +art. From every part of our country come evidences of the growing +appreciation of photography as a pictorial medium. Exhibitions in many +museums which have hitherto been indifferent to pictures made with the +lens have opened the eyes of the public to the possibilities of the +camera. Clubs of photographic workers in various cities have maintained +or fostered the movement. The lure of the moving picture has stimulated +the interest of countless multitudes in photography, and the occasional +presentation of fine pictorial work in this direction has given a prophecy +of better things to come. The time, therefore, seems ripe to present in +this book a collection of the work of American pictorial photographers in +all sections of the country. Many of these workers are members of the +organization known as the Pictorial Photographers of America; but the +appeal for photographic material for this book has been confined to no one +society or club, but has been widely inclusive of associations and +individuals, and it is believed that the work here presented is fairly +representative of the best American effort along these lines at the +present time. + +It is the hope and intention of the organization that publishes this book +to stimulate interest in this branch of pictorial art. This is believed +to be the first attempt in America to give a comprehensive presentation of +the status of pictorial photography as illustrated by the product of many +of its best workers. As such it is commended to the consideration of +photographers both professional and amateur, of artists and art lovers, +and of the public generally. + + + + + +THE PICTORIAL PHOTOGRAPHERS OF AMERICA + + + The Association's Work and Aim + + +_By_ EDWARD R. DICKSON + +The Pictorial Photographers of America is an association having in mind +solely the development of the art of photography from a standpoint of +educational value. Its position is unique, since the worker is afforded +not only an opportunity to exhibit his pictures in various museums and art +galleries, but is made to feel that maintaining photographic standards and +studying the arts for breadth of view are of chief importance. + +Some of the advantages which photography offers are worth restating. It +helps to draw one closer to nature and to seek fresh air. Through the +exercise and cultivation of choice, it teaches how to decorate the home, +to dress with taste, and to keep an alert eye and mind on the passing +events of the world. Because the Association knows that photography is +able to teach these things, it sought the aid of art museums and public +libraries to conduct photographic exhibitions so that children and adults +may not only see fine examples of the work of the camera in the hands of +artists, but be led thereby to appreciate more fully the value of +photography as an aid to interesting composition and a quickening of the +eye in realizing the beauty of sunlight and shadows which flit around us +much unrecognized at times. Succeeding in gaining the sympathetic +co-operation of seventeen museums, in the winter of 1917-18 the +Association collected, from many of the most important workers in this +country, more than two hundred prints, which were divided into two groups +and exhibited as follows: + +Minneapolis Institute of Arts, Milwaukee Art Institute, Art Institute of +Chicago, City Art Museum (St. Louis), Toledo Museum of Art, Detroit Museum +of Art, Cleveland Art Museum, Cincinnati Museum of Art, Morristown +Library, Newark Museum Association, New Britain (Conn.) Institute, +Worcester Art Museum, Syracuse Museum of Fine Arts, Guild of Allied Arts +(Buffalo), Grand Rapids Art Association, University of Oklahoma, New +Orleans Art Association. + +There was also held in New York City an exhibition of the work of the New +England, New Jersey and Connecticut photographers, and among the immediate +activities of the Association will be the holding in New York of +exhibitions of the work of members of the Pacific Coast and other places, +so that there may be established a fuller understanding of the points of +view among the various pictorialists throughout the country. + +The Association hopes to establish, in designated cities, pictorial +centers where photographs may always be seen, and centers for intercourse +and for exchange of views among workers. As a result of its plans, there +will soon be opened a branch of the Pictorial Photographers of America, +which will be called the Pacific Coast Chapter, embracing workers in the +following States: Oregon, California, Wyoming, Nevada, and Utah. Meetings +will be held monthly, and lectures and exhibitions arranged in +co-operation with the parent body in New York. As soon as this chapter +has begun active work, another will be opened in the New England and +Middle West States, modeled after the California chapter. In this way the +Association hopes to be of national service in the advancement of +photography on educational lines, and it asks the sympathy of the public +as well as that of every worker of the camera in America. + +Among other of its plans are: honoring those who have given valued service +to photography; the formation of a library; the establishment of a home +headquarters; the distribution of knowledge tending toward the making of +better catalogues; the art of hanging pictures so that their individual +beauty may be enhanced; the application of the motion picture to pictorial +expression; the recommendation of books on the development of the +individual, as well as others relating to the study of contemporary arts, +so that, through an acquaintance with all these, there may be brought to +the student a new and an individual approach in his photographic work. + +The Association holds monthly meetings at the National Arts Club, 119 East +19th Street, New York, where exhibitions and lectures are given. +Admission is free. The Association now publishes its first annual +"Pictorial Photography in America," which comprises the work of important +pictorialists in this country, whether or not members of the Association. +And in following out so broad a plan the Association has demonstrated to +its friends that its main interests lie in the presentation of fine work, +little caring who the individual may be. As soon as the world has resumed +its normal stride, the Association will extend invitations for an +exhibition of foreign work to be shown in America. In turn, the +Association will be glad to send an exhibition of American work abroad to +those who desire to see, more intimately than we are able to do by the +process of reproduction, what American pictorialists are doing. In +another volume we hope to present the work of foreign pictorialists. + +Plans are now being made whereby the original prints selected for this +Annual will be exhibited, under the direction of the American Federation +of Arts, in the galleries of many art museums throughout the country. + +Herewith we list the names of the present officers and executive members +of the Association, as well as those who are members of the Council having +to do with pictorial activities in the different States. Membership in +the Association is open to men and women of good character and ambitious +intentions, including those who, though not photographers, are interested +in the development of the art. + +CLARENCE H. WHITE, _President_ +DR. A. D. CHAFFEE, _Vice-President_ +GERTRUDE KASEBIER, _Hon. Vice-President_ +PROF. CHARLES F. CHANDLER, _Hon. Vice-President_ +DR. CHARLES H. JAEGER, _Treasurer._ +EDWARD R. DICKSON, _Recording Secretary_ +MARGARET WATKINS, _Corresponding Secretary_ + +EXECUTIVE COMMITTEE + +WALTER L. EHRICH +RAY GREENLEAF +BERNARD S. HORNE +CHARLES J. MARTIN +HENRY HOYT MOORE +DR. D. J. RUZICKA +W. G. SHIELDS +ADELE C. SHREVE + +COUNCIL + +_Arizona_ +FORMAN G. HANNA + +_California_ +JOHN PAUL EDWARDS +LOUIS FLECKENSTEIN + +_Connecticut_ +GEORGE S. HAWLEY + +_Florida_ +DR. ADDISON O'NEILL + +_Illinois_ +EUGENE HUTCHINSON +MARGARET RHODES PEATTIE + +_Indiana_ +ALBERT ERNEST SCHAAF + +_Iowa_ +CHARLES B. KEELER + +_Maine_ +SYLVAN B. PHILLIPS + +_Massachusetts_ +DWIGHT A. DAVIS +WALTER G. WOLFE + +_Michigan_ +HERMAN GABRIEL +ELEANOR W. WILLARD + +_Missouri_ +EDWIN LOKER + +_New Jersey_ +JOSEPH R. ASHMORE + +_New York State_ +SPENCER KELLOGG, JR. +GEORGE B. HOLLISTER + +_New York City_ +EDWARD R. DICKSON +WALTER L. EHRICH +ANTOINETTE B. HERVEY +DR. CHARLES H. JAEGER +MERVIN W. PALMER +CLARENCE H. WHITE +EDITH R. WILSON +THOMAS COKE WATKINS + +_Ohio_ +JANE REECE +AUSTIN R. BREED +CARLE SEMON + +_Oregon_ +CLEMENTINE HIRSCH + +_Pennsylvania_ +WILL D. BRODHUN +ELIAS GOLDENSKY +MAURICE L. FLEISHER +MRS. M. W. WILTSE + +_Utah_ +THOMAS O. SHECKELL + +_Wisconsin_ +B. F. LANGLAND + +_England_ +ALVIN LANGDON COLBURN + +_Canada_ +CHARLES H. BARNARD + + + + + + * + + + + + +PICTORIAL PHOTOGRAPHY IN NEW JERSEY + + +_By_ LOUIS F. BUCHER _of the Newark Camera Club, Inc._ + +In New Jersey, as well as in other States, pictorial photography was at +its lowest ebb during the period of the war. The official ban on the use +of the camera in places that presented just the sort of material which +stirs the enthusiasm of the amateur photographer tended so to dampen his +ardor that his trusty "box" was left at home to accumulate dust. + +But not for long, for a New Jersey cameraist, with the vision of a seer, +saw an opportunity to use his beloved instrument in a far-reaching +service. His enthusiasm was soon imparted to fellow members of the Newark +Camera Club, and there quickly followed the birth of the Red Triangle +Camera Club, affiliated with the local Y. M. C. A. Its object was pithily +expressed in its slogan, "A picture of home to every soldier overseas"--at +least to every Newark soldier in service. + +While the members of the Camera Club were prompted solely by a desire to +serve, it was not long before there came responses in the form of letters +of gratitude from the soldier boys that heartened them to renewed +activity. The written messages frequently attested that the pictures of +the home folks sent by the Camera Club members were the only ones that had +reached foreign shores. + +As a stepping stone to something even greater, we have organized the +Associated Camera Clubs of America, with a view to linking the activities +of camera clubs and societies, the end to be sought being the creating of +greater interest in exhibitions, and interchanges of lantern slides and +prints. The prime object, of course, is to promote and cultivate the +art-sense through the science of photography. + +If a camera club does not exist in the community in which the reader +resides, lend your services to the formation of one. The members of the +Associated Camera Clubs of America stand ready to do their utmost to +assist an infant organization on its way to success. + + + + + + * + + + + + +PICTORIAL PHOTOGRAPNY IN MAINE + + +_By _FRANCIS O. LIBBY + +Maine, the State of forest and lakes, does not hold the position in +pictorial photography warranted by her natural beauties. It would not be +unreasonable, considering the advantages of the land and the opportunities +offered by the varying atmospheric conditions, particularly along the +coast, to expect that there would be many pictorialists of high rank in +the State; but it is a lamentable fact that there are not. After all, the +making of pictures with a camera is to a large extent a matter of +education and training--not so much in the way of overcoming the technical +difficulties of the medium, though of course this must be learned too, but +in such vital matters as composition, choice of subject matter, unity, +simplicity, and the like. Then, given the vision, the pictorial +photographer is born. + +This preliminary training and the art education of the beginner can best +be obtained in clubs; and in Maine the two centers of photographic +activity are Portland and Bangor, in both of which cities are active +camera clubs, each affiliated with the local art society and each holding +annual exhibitions in the spring of the year, at which workers from all +parts of the country show their pictures. During the war these clubs have +been doing little more than marking time, but now that at last days of +peace have come again, we feel that the future holds prospects of great +promise to us. For one reason or another the men whose names were known +ten or fifteen years ago seem to have dropped out and their places are +being filled by new blood, men with high ideals and aspirations, who are +not content merely with reproducing, by means of their cameras, pretty +scenes and places, but who believe that photography is capable of much +more--of showing not only the physical facts, but the very spirit of nature +herself--a true impressionism; and it is the task of these men to place +Maine in the position she should hold in pictorial work. + +During the past year much has been accomplished by a very few men, and +through these men Maine has been represented at all the largest and best +salons, not only in this country and Canada, but also in England at the +London Salon. Prints by the multiple gum process are favored by some of +the Portland workers, but the use of this process as a medium of +expression is limited to a few men, and the most of the large prints +produced are enlargements on bromide paper, as is probably the case +generally throughout the country. This is perhaps somewhat to be +regretted, for although bromide paper is capable of producing very fine +prints when the subject is exactly adapted to it, still it does not permit +of the personal control afforded by some of the other processes, and of +course this is a handicap to the pictorial worker. + +As before stated, the pictorial output of the State during the past year +has been limited to the work of a few men, but this condition is not going +to continue for long. The clubs and societies are bending every effort +toward the encouragement of the new workers, and already some very +creditable work has been produced, and the coming year should see a worthy +showing from Maine at all the salons. + + + + + + * + + + + + +PICTORIAL PHOTOGRAPHY IN MASSACHUSETTS + + +_By_ DWIGHT A. DAVIS + +In Massachusetts, as in other parts of the country, war-time activities +interfered to a noticeable extent with the cause of pictorial photography. +The interference was perhaps less marked than in some other sections, +where more of the prominent workers were actively engaged at the front. +The difficulty in securing materials, amounting now and then to utter +impossibility, was, however, the same, and there was the same falling off +in enthusiasm, due to the demands on one's heart and pocketbook from +across the sea. In this crisis organized effort might have been +especially helpful, but it is just in this respect that Massachusetts has +always been weak. Her workers have been widely scattered from the +Berkshires to the shore, and such local clubs as have here and there +existed have not been deeply or permanently influential. In Boston there +was the once famous Photo Clan, with Garo, Eicheim, and Schuman as its +leading spirits, but that has long since ceased to be an active force. On +the other hand, the Boston Young Men's Christian Union Camera Club and the +Boston Society of Arts and Crafts have lately come into new prominence +through their efforts to stimulate interest and afford frequent +opportunities to view exhibitions of the best in photographic art. The +former held, during the past winter, excellent one-man exhibits, in which +work of such prominent pictorialists as John Paul Edwards, Dr. Rupert +Lovejoy, Dwight A. Davis, Francis O. Libby, John H. Garo, Edward H. +Weston, and Arthur Hammond was shown. + +But, in spite of these various influences, the workers of Massachusetts +for the most part pursue solitary ways, with little enough--all too little, +some would say--of the advantages that come from intimate association. +There is, however, another side of the shield. It is at least +questionable whether such strongly marked personality as appears in the +work of Seeley, Garo, Davis, Hammond, Eicheim, Buttler, the Allen sisters, +and a dozen others who might be mentioned, would be possible if the +workers of this section were under the closely dominating influence of a +centralized group, itself dominated by a single individual of exceptional +powers. Such a state of affairs has sometimes been observed in other +parts of the country, and the results have not always been advantageous to +the interests of the individual workers. Under such conditions as exist +in Massachusetts, the Pictorial Photographers of America has come as a +boon, since it affords just the kind of stimulus most needed. +Massachusetts has been swift to avail herself of the advantages thus +offered. At the recent exhibition of the work of New England and New +Jersey pictorialists, held in New York, Massachusetts was represented by +16 out of a total of 27 exhibitors, with 64 out of a total of 107 prints--a +showing decidedly creditable to the old Bay State. + + + + + + * + + + + + +PICTORIAL PHOTOGRAPKY IN MARYLAND + + +_By_ H. R. NEESON + +The progress of pictorial photography in Maryland is to be ascertained by +an examination of the progress of the amateur in Baltimore, for aside from +the local exhibitions we have no record of anything done in the State. +While this condition is regrettable and hard to comprehend in an +art-loving center of such population, there is none the less an +improvement over former times. + +The shops and the "finishers" have prospered, while the club--the old +organization in which the reason of being has been lost in a maze of +constitutional amendments, by-laws, and such like red tape--has declined in +influence and popularity. In the world at large, pictorial photography +has grown amazingly. This has led to a more pronounced line of +demarkation between the dilettante and the intelligent worker of +appreciation, with the balance of influence inclining strongly to the +latter. In Maryland there has been an upheaval, a photographic +revolution, so to speak, and out of the wreckage has sprung the +Photographic Guild of Baltimore, which has done more to put Maryland +photographically to the fore in its five years of activity than had been +done in all the years previous. It was due almost entirely to Guilders +that Maryland stood fourth at the recent Pittsburgh Salon. Two +prerequisites to membership in the Guild are ability in keeping with the +highest standards and _productiveness_, as a consequence of which it has +only six members, who may be said to comprise the representative +pictorialists of the State. + +For the past four years there has been an annual exhibition under the +auspices of the Guild at the Peabody Gallery, each well attended by the +art-loving public, with marked enthusiasm for what is being done with the +process. A feature of the Guild exhibitions, beginning with the 1919 +portfolio recently hung, is the invited work of out-of-town amateurs, +which is giving Baltimoreans a wider and better knowledge. While this +exhibition has not assumed salon proportions, it will in a measure bring +the salons to Baltimore if help in the way of prints from outside is +forthcoming, as we hope and believe will be the case. + +On the whole, it may be truly said that the flexibility and responsiveness +of the photographic process have been sufficiently demonstrated to fix it +firmly among the art mediums. + + + + + + * + + + + + +MIDDLE WEST ACTIVITIES AND THE PITTSBURGH SALON + + +_By_ W. H. PORTERFIELD + +Any article describing the activity in pictorial photography in the United +States since 1914 must include a history of the work of the Pittsburgh +Salon, and that has been very thoroughly covered in magazine articles +immediately succeeding the close of each salon. + +At the outbreak of the war, the thoughts and energies of many of our +foremost workers were directed toward other fields, and those who still +practiced the work for the art side of it did so under difficulties. + +The governmental restrictions placed on the use of the camera in ports and +about all public buildings, and in many sections of nearly every city, +naturally had a tendency to discourage workers, but in spite of all the +obstacles in the path of the art photographer the years have not been +barren. + +Some of the older societies have all but ceased to exist, if one can judge +by their contributions to the salons. + +Each year has witnessed new names among the exhibitors at Pittsburgh, and +to an already formidable list there are annually added more than enough +names to fill the vacancies caused by the dropping of former members who +have failed to retain their membership due to non-compliance with the +rules which automatically eliminate inactives. + +After six years of unprecedented success it may safely be said that the +Pittsburgh Salon has become a permanent fixture in the world of +photographic art and has unquestionably rendered a most valuable service +in keeping alive the exhibition spirit. + +Mention should also be made of the good work done by the Chicago +Photo-Fellows, the Buffalo Camera Club, the Photographic Guild of +Baltimore, and the Photographic Section of the Pittsburgh Academy of Fine +Arts, each one composed of enthusiasts, who loyally support the American +and London Salons as well as being active workers in the Pictorial +Photographers of America. + +These societies have been continually engaged in the promotion of +inter-club exhibitions as well as in encouraging the circulation of work +of individual members. + +As an educational feature the club interchange has no equal. + + + + + + * + + + + + +PICTORIAL PHOTOGRAPHY IN THE FAR WEST + + +_By_ JOHN PAUL EDWARDS + +The progress of pictorial photography in the Far West can be aptly +compared with the settlement and growth of this big new country itself. +We have had our pictorial pioneers, as it were--our hard-working, +enthusiastic, rather crude first settlers in the art; now we have come to +the stage of permanent abode, with traditions, albeit young, great +enthusiasm, definite ideals, and ambitious hopes for the future. + +The one great asset in the upbuilding of the West has been boundless +enthusiasm. This characteristic trait dominates the very soul of the +Western pictorialist. In it lies his greatest hope for the future +progress in his chosen field of art. + +It is this live energy and enthusiasm which brings him out afield even +before break of day, which leads him over hill and dale, mountain and +valley, in his insatiable quest for the pictorial. Miles are as nothing; +hunger stays him not; nor rests he at night until his potential treasures +are developed and their beauties appraised. + +The purpose of this preliminary psychologic analysis is to explain the +militant attitude of the Western pictorialist in his pursuit of the art of +the camera. His extremely prolific production, manifesting itself in +liberal contributions to the salons and exhibitions of the world +photographic, rises not from vanity but from super-enthusiasm--from the +great joy he derives in making his picture, from the creation of the +beautiful, and from the playing of the game as it is best played. + +Without losing a whit of the steady enthusiasm which has brought it to its +present encouraging stage, Western pictorial photography is, nevertheless, +settling down to a more staid and intellectual plane of progress. + +The broad average of quality of work is steadily improving. Better +standards have been established. The workers are "finding" themselves. +Enthusiasm is being beneficently tempered by increased technical skill, +and more particularly by the intellectual development of the art side of +the work. + +And so the future of pictorial photography in the Far West looks +exceedingly bright. The salon workers of the past five or ten years are +with few exceptions as keen as ever for their art, and a very talented and +numerous lot of new workers are coming to the front. + +The center, in fact the stronghold, of Western pictorial photography is +undoubtedly California. All forms of art seem to flourish mightily in +this genial clime of wondrous, colorful beauty. A land of smiling +sunshine, of lofty snow-capped peaks, of weird trees, of golden +poppy-covered slopes, of sparkling seas--it is small wonder that the young +art of the camera should thrive so vigorously there. + +There are several active foci of pictorial interest in the State. The +most active and most promising of these centers is the Camera +Pictorialists of Los Angeles. This club, as we may call it, has a +membership of fourteen under the directorship of Louis Fleckenstein. +Every member is an active worker of ability and promise. This group has +made an imposing representation in nearly every photographic salon of +recent years. + +They are sponsors for the International Photographic Salon held annually +in the municipal art gallery of Los Angeles. This exhibition, with two +years of success behind it, must be rated as the premier event of its kind +in the West, and, in the quality of its offerings, second to none on the +continent. + +While this is the only prominent group in California organized for +strictly pictorial work, there are a great many independent workers widely +scattered about the State. San Francisco and the bay region can claim a +score or more whose achievements have been notable. + +Oregon has many enthusiastic workers and a strong club in Portland. +Washington likewise has many camera artists of talent. Both these States +have an untold wealth of pictorial material and many keen pictorialists. +All they lack is an active leader or two to bring them to the rank they +should hold in the photographic world. + +In Salt Lake City we find an active, enthusiastic and very promising group +of workers under the able leadership of Thomas O. Sheckell. Through the +medium of an extensive series of one-man exhibitions they have brought +before the art-loving public of their city the best work of a large number +of our leading pictorialists. + +One of the most interesting and auspicious developments of the year has +been the recent formation of the Pacific Coast Chapter of the Pictorial +Photographers of America. + +For very logical reasons the chief activities of the parent body of the +Pictorial Photographers of America have been centered in the City of New +York. An earnest desire to enjoy like activities right at home while +still sharing the privileges of direct affiliation with our fellows of the +Pictorial Photographers of America led to the formation of the Pacific +Coast Chapter. The idea is still young, but the success of the chapter is +definitely assured by the strong character of the membership already +secured. It is the purpose of the chapter to uphold strongly the purposes +and ideals of its parent body and to work continuously for the advancement +of pictorial photography in the West. A number of interesting exhibitions +are scheduled for the near future, the most important of these being the +"All Western" exhibition, which is planned for the fall and winter of +1919-20. The aim is to include the best pictorial photography of the +West. It will be shown first in New York by the Pictorial Photographers +of America and then routed through some of the more representative clubs +of the East and Middle West. + + + + + + +ILLUSTRATIONS + + + [APRIL FLURRIES, By W. A. Alcock, Brooklyn, N.Y.] + + APRIL FLURRIES + _By _W. A. ALCOCK, _Brooklyn, N.Y._ + + + [PUCKACHIPE--SEAGULL, By Elizabeth R. Allen, Moorestown, N.J.] + + PUCKACHIPE--SEAGULL + _By _ELIZABETH R. ALLEN, _Moorestown, N.J._ + + + [MY LITTLE GRAY HOME IN THE WEST, By George M. Allen, Portland, Ore.] + + MY LITTLE GRAY HOME IN THE WEST + _By _GEORGE M. ALLEN, _Portland, Ore._ + + + [THE BUDDHA, By Fred R. Archer, Los Angeles, Cal.] + + THE BUDDHA + _By _FRED R. ARCHER, _Los Angeles, Cal._ + + + [ISLANDERS, By Laura Adams Armer, Berkeley, Cal.] + + ISLANDERS + _By _LAURA ADAMS ARMER, _Berkeley, Cal._ + + + [ANN SPENCER, By Jessie Tarbox Beals, New York] + + ANN SPENCER + _By _JESSIE TARBOX BEALS, _New York_ + + + [EARLY MORNING, By David W. Bonnar, Buffalo, N. Y.] + + EARLY MORNING + _By _DAVID W. BONNAR, _Buffalo, N. Y._ + + + [A BIT OF HOME LIFE, By Will D. Brodhun, Wilkes-Barre, Pa.] + + A BIT OF HOME LIFE + _By _WILL D. BRODHUN, _Wilkes-Barre, Pa._ + + + [A MOMENT'S REST, By Gertrude L. Brown, Evanston, Ill.] + + A MOMENT'S REST + _By _GERTRUDE L. BROWN, _Evanston, Ill._ + + + [DANCERS, By John C. Burkhardt, Portland, Ore.] + + DANCERS + _By _JOHN C. BURKHARDT, _Portland, Ore._ + + + [DOUARNENEZ, FINISTERE, By Dr. A. D. Chaffee, New York] + + DOUARNENEZ, FINISTERE + _By _DR. A. D. CHAFFEE, _New York_ + + + [RHEIMS, By Arthur D. Chapman, New York] + + RHEIMS + _By _ARTHUR D. CHAPMAN, _New York_ + + + [MICHIO ITORO, By Alvin Langdon Colburn, New York] + + MICHIO ITORO + _By _ALVIN LANGDON COLBURN, _New York_ + + + [THE STREET, By Alfred Cohn, Brooklyn, N. Y.] + + THE STREET + _By _ALFRED COHN, _Brooklyn, N. Y._ + + + [ST. JOHN'S CATHEDRAL, By James Copella, New York] + + ST. JOHN'S CATHEDRAL + _By _JAMES COPELLA, _New York_ + + +[MR. MATSUMOTO KOSHIRO AS "TCHIKAWA GOYEMON" (THE ROBIN HOOD OF JAPAN), By + C. P. Crowther, Kobe, Japan] + + MR. MATSUMOTO KOSHIRO AS "TCHIKAWA GOYEMON" (THE ROBIN HOOD OF JAPAN) + _By _C. P. CROWTHER, _Kobe, Japan_ + + + [SPRING O' THE YEAR, By Helen W. Drew, Montclair, N. J.] + + SPRING O' THE YEAR + _By _HELEN W. DREW, _Montclair, N. J._ + + + [THE LIFTING MIST, By Jerry D. Drew, Montclair, N. J.] + + THE LIFTING MIST + _By _JERRY D. DREW, _Montclair, N. J._ + + + [THE DOORWAY, By Dwight A. Davis, Worcester, Mass.] + + THE DOORWAY + _By _DWIGHT A. DAVIS, _Worcester, Mass._ + + + [HIGH BRIDGE, By Edward R. Dickson, New York City] + + HIGH BRIDGE + _By _EDWARD R. DICKSON, _New York City_ + + + [MRS. VERNON CASTLE, By De Meyer, New York] + + MRS. VERNON CASTLE + _By _DE MEYER, _New York_ + + + [BOATS, By E. G. Dunning, New York] + + BOATS + _By _E. G. DUNNING, _New York_ + + + [COMING TO SCHOOL, By Vernon Everett Duroc, Brooklyn, N. Y.] + + COMING TO SCHOOL + _By _VERNON EVERETT DUROC, _Brooklyn, N. Y._ + + + [STUDY, By William B. Dyer, Portland, Ore.] + + STUDY + _By _WILLIAM B. DYER, _Portland, Ore._ + + + [DESIGN FOR A TAPESTRY, By John Paul Edwards, Sacramento, Cal.] + + DESIGN FOR A TAPESTRY + _By _JOHN PAUL EDWARDS, _Sacramento, Cal._ + + + [STUDY, By Adelaide Wallach Ehrich, New York] + + STUDY + _By _ADELAIDE WALLACH EHRICH, _New York_ + + + [LANDSCAPE, By Eleanor C. Erving, Albany, N. Y.] + + LANDSCAPE + _By _ELEANOR C. ERVING, _Albany, N. Y._ + + + [SUGARLOAF MOUNTAIN, By W. H. Evans, Wilkes-Barre, Pa.] + + SUGARLOAF MOUNTAIN + _By _W. H. EVANS, _Wilkes-Barre, Pa._ + + + [SIDEWALK TREASURES, By O. E. Fischer, M. D., Detroit, Mich.] + + SIDEWALK TREASURES + _By _O. E. FISCHER, M. D., _Detroit, Mich._ + + + [THE GIRL FROM DELHI, By Louis Fleckenstein, Los Angeles, Cal.] + + THE GIRL FROM DELHI + _By _LOUIS FLECKENSTEIN, _Los Angeles, Cal._ + + + [FIFTY YEARS, By Frederick Frittita, Baltimore, Md.] + + FIFTY YEARS + _By _FREDERICK FRITTITA, _Baltimore, Md._ + + + [WATER SCENE, By John Wallace Gillies, New York] + + WATER SCENE + _By _JOHN WALLACE GILLIES, _New York_ + + + [THE MARBLE CUTTERS, By Laura Gilpin, Colorado Springs, Col.] + + THE MARBLE CUTTERS + _By _LAURA GILPIN, _Colorado Springs, Col._ + + + [WALPI, By Forman Hanna, Globe, Ariz.] + + WALPI + _By _FORMAN HANNA, _Globe, Ariz._ + + + [THE SHORE LINE, By G. H. S. Harding, Berkeley, Cal.] + + THE SHORE LINE + _By _G. H. S. HARDING, _Berkeley, Cal._ + + + [APRIL SNOW, By Edward Heim, New York] + + APRIL SNOW + _By _EDWARD HEIM, _New York_ + + + [DAY DREAMS, By G. W. Harting, New York] + + DAY DREAMS + _By _G. W. HARTING, _New York_ + + + [IN THE ARBOR, By Antoinette B. Hervey, New York] + + IN THE ARBOR + _By _ANTOINETTE B. HERVEY, _New York_ + + + [MISS H., By George Henry High, Chicago, Ill.] + + MISS H. + _By _GEORGE HENRY HIGH, _Chicago, Ill._ + + + [SUNSHINE, By L. Willis Hoops, New York] + + SUNSHINE + _By _L. WILLIS HOOPS, _New York_ + + + [THE WHITE HAT, By G. B. Hollister, Corning, N. Y.] + + THE WHITE HAT + _By _G. B. HOLLISTER, _Corning, N. Y._ + + + [DESIGN, By Bernard S. Horne, Princeton, N. J.] + + DESIGN + _By _BERNARD S. HORNE, _Princeton, N. J._ + + +[CITY STREET, By Blanche C. Hungerford (Mrs. Latimer), High Bridge, N. J.] + + CITY STREET + _By _BLANCHE C. HUNGERFORD (MRS. LATIMER), _High Bridge, N. J._ + + + [COLUMBIA UNIVERSITY, By Dr. Charles H. Jaeger, New York] + + COLUMBIA UNIVERSITY + _By _DR. CHARLES H. JAEGER, _New York_ + + + [PORTRAIT OF A CHILD, By Doris U. Jaeger, New York] + + PORTRAIT OF A CHILD + _By _DORIS U. JAEGER, _New York_ + + + [THE VALE OF THE SHADOW, By Arthur F. Kales, Los Angeles, Cal.] + + THE VALE OF THE SHADOW + _By _ARTHUR F. KALES, _Los Angeles, Cal._ + + + [PORTRAIT, By Gertrude Kasebier, New York] + + PORTRAIT + _By _GERTRUDE KASEBIER, _New York_ + + + [OLD HILL TOWN, By William Kriebel, Philadelphia, Pa.] + + OLD HILL TOWN + _By _WILLIAM KRIEBEL, _Philadelphia, Pa._ + + + [SOLITUDE, By W. R. Latimer, High Bridge, N. J.] + + SOLITUDE + _By _W. R. LATIMER, _High Bridge, N. J._ + + + [ELLEN, By Sophie L. Lauffer, Brooklyn, N. Y.] + + ELLEN + _By _SOPHIE L. LAUFFER, _Brooklyn, N. Y._ + + + [MASTER JOHN SPEER, By George P. Lester, Bloomfield, N. J.] + + MASTER JOHN SPEER + _By _GEORGE P. LESTER, _Bloomfield, N. J._ + + + [MOUNT ADAMS OF THE NORTHERN LAKES, By Francis Orville Libby, Portland, + Me.] + + MOUNT ADAMS OF THE NORTHERN LAKES + _By _FRANCIS ORVILLE LIBBY, _Portland, Me._ + + + [MISTS TO-DAY--CLEAR ANON, By Edwin Loker, St. Louis, Mo.] + + MISTS TO-DAY--CLEAR ANON + _By _EDWIN LOKER, _St. Louis, Mo._ + + + [TREES AND CLOUDS, By Dr. William F. Makk, Los Angeles, Cal.] + + TREES AND CLOUDS + _By _DR. WILLIAM F. MAKK, _Los Angeles, Cal._ + + + [PLAYER ON THE YIT-KIM, By Margrethe Mather, Los Angeles, Cal.] + + PLAYER ON THE YIT-KIM + _By _MARGRETHE MATHER, _Los Angeles, Cal._ + + + [ON LAKE PATZCUARO, MEXICO, By Oscar Maurer, Los Angeles, Cal.] + + ON LAKE PATZCUARO, MEXICO + _By _OSCAR MAURER, _Los Angeles, Cal._ + + + [ALONG THE WHARF, By Holmes I. Mettee, Baltimore, Md.] + + ALONG THE WHARF + _By _HOLMES I. METTEE, _Baltimore, Md._ + + + [THE MARSH--EVENING, By J. George Midgley, Salt Lake City, Utah] + + THE MARSH--EVENING + _By _J. GEORGE MIDGLEY, _Salt Lake City, Utah_ + + + [THE DANCER, By H. W. Minns, Akron, Ohio] + + THE DANCER + _By _H. W. MINNS, _Akron, Ohio_ + + + [SNOW PATTERN, By H. Remick Neeson, Baltimore, Md.] + + SNOW PATTERN + _By _H. REMICK NEESON, _Baltimore, Md._ + + + [THE FARMER, By Henry Hoyt Moore, Brooklyn, N. Y.] + + THE FARMER + _By _HENRY HOYT MOORE, _Brooklyn, N. Y._ + + + [STEAM UP, By J. W. Newton, Columbus, Ohio] + + STEAM UP + _By _J. W. NEWTON, _Columbus, Ohio_ + + + [EVE REPENTENT, By Imogen Cunningham Partridge, San Francisco, Cal.] + + EVE REPENTENT + _By _IMOGEN CUNNINGHAM PARTRIDGE, _San Francisco, Cal._ + + + [SWANS, By G. Houson Payne, Jr., Baltimore, Md.] + + SWANS + _By _G. HOUSON PAYNE, JR., _Baltimore, Md._ + + + [MOTHER AND CHILD, By Margaret Rhodes Peattie, Chicago, Ill.] + + MOTHER AND CHILD + _By _MARGARET RHODES PEATTIE, _Chicago, Ill._ + + + [PLACING A PICTURE, By Leo Pokras, Brooklyn, N. Y.] + + PLACING A PICTURE + _By _LEO POKRAS, _Brooklyn, N. Y._ + + + [TWILIGHT'S MYSTERY, By W. H. Porterfield, Buffalo, N. Y.] + + TWILIGHT'S MYSTERY + _By _W. H. PORTERFIELD, _Buffalo, N. Y._ + + + [THE MORNING BOAT, By E. M. Pratt, Tracy, Cal.] + + THE MORNING BOAT + _By _E. M. PRATT, _Tracy, Cal._ + + + [SWEET SIXTEEN, By Mrs. William H. Rau, Philadelphia, Pa.] + + SWEET SIXTEEN + _By _MRS. WILLIAM H. RAU, _Philadelphia, Pa._ + + + [MOTHER, By Jane Reece, Dayton, Ohio] + + MOTHER + _By _JANE REECE, _Dayton, Ohio_ + + + [THE HUSBANDMAN, By O. C. Reiter, Pittsburgh, Pa.] + + THE HUSBANDMAN + _By _O. C. REITER, _Pittsburgh, Pa._ + + + [THE LAST OF HIS RACE, By L. M. A. Roy, La Crosse, Wis.] + + THE LAST OF HIS RACE + _By _L. M. A. ROY, _La Crosse, Wis._ + + + [PENNSYLVANIA STATION, NEW YORK, By Dr. D. J. Ruzicka, New York] + + PENNSYLVANIA STATION, NEW YORK + _By _DR. D. J. RUZICKA, _New York_ + + + [A GLIMPSE OF PLEASANT VALLEY, By J. G. Sarvent, Kansas City, Mo.] + + A GLIMPSE OF PLEASANT VALLEY + _By _J. G. SARVENT, _Kansas City, Mo._ + + + [THE VALLEY BEYOND OUR HILL, By Otto C. Shulte, San Franciso, Cal.] + + THE VALLEY BEYOND OUR HILL + _By _OTTO C. SHULTE, _San Franciso, Cal._ + + + [ELYSIAN PARK VISTA, By David J. Sheahan, Los Angeles, Cal.] + + ELYSIAN PARK VISTA + _By _DAVID J. SHEAHAN, _Los Angeles, Cal._ + + + [IN THE FOOTHILLS OF THE WASATCH, By Thomas O. Sheckell, Salt Lake City, + Utah] + + IN THE FOOTHILLS OF THE WASATCH + _By _THOMAS O. SHECKELL, _Salt Lake City, Utah_ + + +[DOORWAY OF ST. PATRICK'S CATHEDRAL, By William Gordon Shields, New York] + + DOORWAY OF ST. PATRICK'S CATHEDRAL + _By _WILLIAM GORDON SHIELDS, _New York_ + + + [PORTRAIT, By Mrs. Sterling Smith, San Diego, Cal.] + + PORTRAIT + _By _MRS. STERLING SMITH, _San Diego, Cal._ + + + [THE COLUMNS, By E. Radiker Standcliff, Elmira, N. Y.] + + THE COLUMNS + _By _E. RADIKER STANDCLIFF, _Elmira, N. Y._ + + + [TOWARD TAMALPAIS, By W. H. Stephens, San Franciso, Cal.] + + TOWARD TAMALPAIS + _By _W. H. STEPHENS, _San Franciso, Cal._ + + + [MAE MURRAY, By Ford Sterling, Los Angeles, Cal.] + + MAE MURRAY + _By _FORD STERLING, _Los Angeles, Cal._ + + + [MARGARET, By John H. Stocksdale, Baltimore, Md.] + + MARGARET + _By _JOHN H. STOCKSDALE, _Baltimore, Md._ + + + [THE CANAL, By M. Sugimoto, New York] + + THE CANAL + _By _M. SUGIMOTO, _New York_ + + + [STILL LIFE, By Elizabeth Talcott, Elmwood, Conn.] + + STILL LIFE + _By _ELIZABETH TALCOTT, _Elmwood, Conn._ + + + [THE HOUSE O' DREAMS, By William H. Thompson, Hartford, Conn.] + + THE HOUSE O' DREAMS + _By _WILLIAM H. THOMPSON, _Hartford, Conn._ + + +[WITH FACE SET TOWARD THE WESTERN FRONT, By Lieut. Edward Larocque Tinker, + U. S. N.,New York] + + WITH FACE SET TOWARD THE WESTERN FRONT + _By _LIEUT. EDWARD LAROCQUE TINKER, U. S. N., _New York_ + + + [SHIFTING SAND, By Charles Vandervelde, Grand Rapids, Mich.] + + SHIFTING SAND + _By _CHARLES VANDERVELDE, _Grand Rapids, Mich._ + + + [RUTH ST. DENIS, By the late Lieut. Luke R. Vickers, Church Creek, Md.] + + RUTH ST. DENIS + _By _THE LATE LIEUT. LUKE R. VICKERS, _Church Creek, Md._ + + + [THE NEW YEAR'S EDITION, By Will H. Walker, Portland, Ore.] + + THE NEW YEAR'S EDITION + _By _WILL H. WALKER, _Portland, Ore._ + + + [GIRL WITH THE FAN, By Mabel Watson, Pasadena, Cal.] + + GIRL WITH THE FAN + _By _MABEL WATSON, _Pasadena, Cal._ + + + [ELEANOR, By Delight Weston, Blue Hill, Me.] + + ELEANOR + _By _DELIGHT WESTON, _Blue Hill, Me._ + + + [EPILOGUE, By Edward Weston, Glendale, Cal.] + + EPILOGUE + _By _EDWARD WESTON, _Glendale, Cal._ + + + [MRS. M., By Leonard Westphalen, Chicago, Ill.] + + MRS. M. + _By _LEONARD WESTPHALEN, _Chicago, Ill._ + + + [THE FAMILY, By Clarence H. White, New York] + + THE FAMILY + _By _CLARENCE H. WHITE, _New York_ + + + [THE FLOWER GARDEN, By Cornelia F. White, New York] + + THE FLOWER GARDEN + _By _CORNELIA F. WHITE, _New York_ + + + [THROUGH THE WINDOW, By Hazel Jane Wiegner, Philadelphia, Pa.] + + THROUGH THE WINDOW + _By _HAZEL JANE WIEGNER, _Philadelphia, Pa._ + + + [MARIONETTE, By Edith R. Wilson, Mount Vernon, N. Y.] + + MARIONETTE + _By _EDITH R. WILSON, _Mount Vernon, N. Y._ + + + [JEAN, By Mildred R. Wilson, Orange, N. J.] + + JEAN + _By _MILDRED R. WILSON, _Orange, N. J._ + + + [CITY BEYOND, By N. S. Wooldridge, Pittsburgh, Pa.] + + CITY BEYOND + _By _N. S. WOOLDRIDGE, _Pittsburgh, Pa._ + + + + + + +THE FOLLOWING IS A PARTIAL LIST OF PHOTOGRAPHIC ORGANIZATIONS IN AMERICA +WHICH ARE ENCOURAGING PICTORIAL PHOTOGRAPHY + + +Bangor Society of Art +Bangor, Me. + +Boston Y. M. C. U. Camera Club +48 Boylston Street, Boston, Mass. + +Brooklyn Institute of Arts and Science, _Photographic Section_ +Academy of Music Building, Brooklyn, N. Y. + +Buffalo Camera Club +Kinne Building, corner Main and Utica Streets, +Buffalo, N. Y. + +California Camera Club +833 Market Street, San Francisco, Cal. + +Camera Club +121 West 68th Street, New York City + +Camera Club of Detroit +513-515 Kresge Building, West Grand Circus Park, Detroit, Mich. + +Camera Pictorialists of Los Angeles +415 Blanchard Building, Los Angeles, Cal. + +Chicago Camera Club +31 West Lake Street, Chicago, Ill. + +Camera Pictorialists of Columbus +40 North High Street, Columbus, Ohio + +Elmira Camera Club +116 Baldwin Street, Elmira, N. Y. + +Grand Rapids Camera Club +2 Central Place, N. E., Grand Rapids, Mich. + +Missouri Camera Club +706 Merchants-Laclede Building, 408 Olive Street, St. Louis, Mo. + +Newark Camera Club +878 Broad Street, Newark, N. J. + +Orange Camera Club +Main and Clinton Streets, Orange, N. J. + +Oregon Camera Club +Elks Building, Portland, Oregon + +Photographic Guild of the Society of Arts and Crafts +Boston, Mass. + +Photo Fellows of the World +_Dean_, Sigismund Blumann, 3217 Davis Street, Fruitvale, Cal. + +Photographic Guild of Baltimore +Baltimore, Md. + +Pittsburgh Academy of Science and Art, _Photographic Section_ +Carnegie Institute, Schenley Park, Pittsburgh, Pa. +The Pittsburgh Salon of Photographic Art + +Portland Camera Club. _Photographic Section of the Portland Society of + Art_ +Corner Spring and High Streets, Portland, Me. + +Toledo Camera Club +Museum of Art, Toledo, Ohio + +Toronto Camera Club +2 Gould Street, Toronto, Ontario, Canada + +Wilkes-Barre Camera Club +Poli Building, 131 South Main Street, Wilkes-Barre, Pa. + + -------------- + +The reproductions in this Annual were selected from a group of nearly 1100 +photographs. Of the 100 artists whose prints are now reproduced: + +36 are new workers. 16 were unknown to the judges. 32 are workers of +recent years. 16 are old workers. + +A further computation shows that 56 are members of the Association, while +44 are non-members. + + [Advertisement: The Smith Synthetic Lens] + [Advertisement: Ensign Reflex Cameras] + [Advertisements: Japan Paper Company and Clarence H. White School of + Photography ] + [Advertisements: Willoughby's and Willis & Clements] + [Advertisements: George Murphy, Inc. and The Photo-Miniature] + [Advertisements: Spencer Lens Co. and C. P. Goerz American Optical + Company] + [Advertisements: Wallace Chemical Company and Wollensak Optical Company] + + + + + +***END OF THE PROJECT GUTENBERG EBOOK PICTORIAL PHOTOGRAPHY IN AMERICA 1920*** + + + +CREDITS + + +February 7, 2008 + + Project Gutenberg Edition + Martin Schub + + + +A WORD FROM PROJECT GUTENBERG + + +This file should be named 28015.txt or 28015.zip. + +This and all associated files of various formats will be found in: + + + http://www.gutenberg.org/dirs/2/8/0/1/28015/ + + +Updated editions will replace the previous one -- the old editions will be +renamed. + +Creating the works from public domain print editions means that no one +owns a United States copyright in these works, so the Foundation (and +you!) can copy and distribute it in the United States without permission +and without paying copyright royalties. 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