diff options
| author | Roger Frank <rfrank@pglaf.org> | 2025-10-15 02:37:05 -0700 |
|---|---|---|
| committer | Roger Frank <rfrank@pglaf.org> | 2025-10-15 02:37:05 -0700 |
| commit | 25f8758d872ca7a999480eb82f8f0bdf3dd56957 (patch) | |
| tree | 76cf7cf241ea0ea10c770642722483a50b1fd807 /28024-h | |
Diffstat (limited to '28024-h')
| -rw-r--r-- | 28024-h/28024-h.html | 986 | ||||
| -rw-r--r-- | 28024-h/images/adaldrad.jpg | bin | 0 -> 160963 bytes | |||
| -rw-r--r-- | 28024-h/images/adbeck.jpg | bin | 0 -> 120029 bytes | |||
| -rw-r--r-- | 28024-h/images/addejong.jpg | bin | 0 -> 143408 bytes | |||
| -rw-r--r-- | 28024-h/images/adgraf.jpg | bin | 0 -> 120506 bytes | |||
| -rw-r--r-- | 28024-h/images/adjapan.jpg | bin | 0 -> 139660 bytes | |||
| -rw-r--r-- | 28024-h/images/adkodak.jpg | bin | 0 -> 129237 bytes | |||
| -rw-r--r-- | 28024-h/images/admurabe.jpg | bin | 0 -> 118847 bytes | |||
| -rw-r--r-- | 28024-h/images/adpinkcc.jpg | bin | 0 -> 123125 bytes | |||
| -rw-r--r-- | 28024-h/images/adroehrg.jpg | bin | 0 -> 160499 bytes | |||
| -rw-r--r-- | 28024-h/images/adrudge.jpg | bin | 0 -> 185415 bytes | |||
| -rw-r--r-- | 28024-h/images/adsplwil.jpg | bin | 0 -> 161529 bytes | |||
| -rw-r--r-- | 28024-h/images/adwollen.jpg | bin | 0 -> 129639 bytes | |||
| -rw-r--r-- | 28024-h/images/adzeiss.jpg | bin | 0 -> 212188 bytes | |||
| -rw-r--r-- | 28024-h/images/american.jpg | bin | 0 -> 125228 bytes | |||
| -rw-r--r-- | 28024-h/images/attic.jpg | bin | 0 -> 79571 bytes | |||
| -rw-r--r-- | 28024-h/images/atwhites.jpg | bin | 0 -> 52873 bytes | |||
| -rw-r--r-- | 28024-h/images/autumn.jpg | bin | 0 -> 147661 bytes | |||
| -rw-r--r-- | 28024-h/images/backfenc.jpg | bin | 0 -> 99385 bytes | |||
| -rw-r--r-- | 28024-h/images/bazar.jpg | bin | 0 -> 100110 bytes | |||
| -rw-r--r-- | 28024-h/images/beppy.jpg | bin | 0 -> 121820 bytes | |||
| -rw-r--r-- | 28024-h/images/berkshir.jpg | bin | 0 -> 84958 bytes | |||
| -rw-r--r-- | 28024-h/images/bridges.jpg | bin | 0 -> 87720 bytes | |||
| -rw-r--r-- | 28024-h/images/brittany.jpg | bin | 0 -> 143955 bytes | |||
| -rw-r--r-- | 28024-h/images/canyon.jpg | bin | 0 -> 153306 bytes | |||
| -rw-r--r-- | 28024-h/images/carved.jpg | bin | 0 -> 145313 bytes | |||
| -rw-r--r-- | 28024-h/images/chickens.jpg | bin | 0 -> 141921 bytes | |||
| -rw-r--r-- | 28024-h/images/circus.jpg | bin | 0 -> 77363 bytes | |||
| -rw-r--r-- | 28024-h/images/clouds.jpg | bin | 0 -> 169172 bytes | |||
| -rw-r--r-- | 28024-h/images/colonel.jpg | bin | 0 -> 135873 bytes | |||
| -rw-r--r-- | 28024-h/images/comein.jpg | bin | 0 -> 176932 bytes | |||
| -rw-r--r-- | 28024-h/images/decorati.jpg | bin | 0 -> 159093 bytes | |||
| -rw-r--r-- | 28024-h/images/desplain.jpg | bin | 0 -> 168875 bytes | |||
| -rw-r--r-- | 28024-h/images/distsail.jpg | bin | 0 -> 179236 bytes | |||
| -rw-r--r-- | 28024-h/images/domsymph.jpg | bin | 0 -> 118006 bytes | |||
| -rw-r--r-- | 28024-h/images/empties.jpg | bin | 0 -> 104516 bytes | |||
| -rw-r--r-- | 28024-h/images/everett.jpg | bin | 0 -> 110385 bytes | |||
| -rw-r--r-- | 28024-h/images/fromwind.jpg | bin | 0 -> 68970 bytes | |||
| -rw-r--r-- | 28024-h/images/gateway.jpg | bin | 0 -> 113120 bytes | |||
| -rw-r--r-- | 28024-h/images/gorge.jpg | bin | 0 -> 84355 bytes | |||
| -rw-r--r-- | 28024-h/images/grlblack.jpg | bin | 0 -> 109701 bytes | |||
| -rw-r--r-- | 28024-h/images/guingamp.jpg | bin | 0 -> 52930 bytes | |||
| -rw-r--r-- | 28024-h/images/highseas.jpg | bin | 0 -> 105552 bytes | |||
| -rw-r--r-- | 28024-h/images/hillside.jpg | bin | 0 -> 85236 bytes | |||
| -rw-r--r-- | 28024-h/images/housboat.jpg | bin | 0 -> 136326 bytes | |||
| -rw-r--r-- | 28024-h/images/interior.jpg | bin | 0 -> 126671 bytes | |||
| -rw-r--r-- | 28024-h/images/ivyglass.jpg | bin | 0 -> 61650 bytes | |||
| -rw-r--r-- | 28024-h/images/maine.jpg | bin | 0 -> 208067 bytes | |||
| -rw-r--r-- | 28024-h/images/mandalay.jpg | bin | 0 -> 109292 bytes | |||
| -rw-r--r-- | 28024-h/images/marjorie.jpg | bin | 0 -> 100685 bytes | |||
| -rw-r--r-- | 28024-h/images/mesadmar.jpg | bin | 0 -> 93434 bytes | |||
| -rw-r--r-- | 28024-h/images/metagama.jpg | bin | 0 -> 153524 bytes | |||
| -rw-r--r-- | 28024-h/images/moon.jpg | bin | 0 -> 96158 bytes | |||
| -rw-r--r-- | 28024-h/images/mornglor.jpg | bin | 0 -> 114643 bytes | |||
| -rw-r--r-- | 28024-h/images/morning.jpg | bin | 0 -> 136321 bytes | |||
| -rw-r--r-- | 28024-h/images/mothchil.jpg | bin | 0 -> 116740 bytes | |||
| -rw-r--r-- | 28024-h/images/mudpies.jpg | bin | 0 -> 87860 bytes | |||
| -rw-r--r-- | 28024-h/images/nursery.jpg | bin | 0 -> 85305 bytes | |||
| -rw-r--r-- | 28024-h/images/oldbarn.jpg | bin | 0 -> 88869 bytes | |||
| -rw-r--r-- | 28024-h/images/padrehnd.jpg | bin | 0 -> 151949 bytes | |||
| -rw-r--r-- | 28024-h/images/panel.jpg | bin | 0 -> 139402 bytes | |||
| -rw-r--r-- | 28024-h/images/pattwall.jpg | bin | 0 -> 151629 bytes | |||
| -rw-r--r-- | 28024-h/images/pennstat.jpg | bin | 0 -> 127156 bytes | |||
| -rw-r--r-- | 28024-h/images/ptarmign.jpg | bin | 0 -> 87310 bytes | |||
| -rw-r--r-- | 28024-h/images/pueblo.jpg | bin | 0 -> 83345 bytes | |||
| -rw-r--r-- | 28024-h/images/rapids.jpg | bin | 0 -> 66592 bytes | |||
| -rw-r--r-- | 28024-h/images/river.jpg | bin | 0 -> 138883 bytes | |||
| -rw-r--r-- | 28024-h/images/rosedanc.jpg | bin | 0 -> 159429 bytes | |||
| -rw-r--r-- | 28024-h/images/schoolyrd.jpg | bin | 0 -> 202251 bytes | |||
| -rw-r--r-- | 28024-h/images/seine.jpg | bin | 0 -> 91784 bytes | |||
| -rw-r--r-- | 28024-h/images/shadow.jpg | bin | 0 -> 123816 bytes | |||
| -rw-r--r-- | 28024-h/images/silhouet.jpg | bin | 0 -> 98300 bytes | |||
| -rw-r--r-- | 28024-h/images/sixthave.jpg | bin | 0 -> 132689 bytes | |||
| -rw-r--r-- | 28024-h/images/smokeeat.jpg | bin | 0 -> 90052 bytes | |||
| -rw-r--r-- | 28024-h/images/studio.jpg | bin | 0 -> 142902 bytes | |||
| -rw-r--r-- | 28024-h/images/study.jpg | bin | 0 -> 46695 bytes | |||
| -rw-r--r-- | 28024-h/images/summer.jpg | bin | 0 -> 88335 bytes | |||
| -rw-r--r-- | 28024-h/images/sunlight.jpg | bin | 0 -> 94994 bytes | |||
| -rw-r--r-- | 28024-h/images/tidewate.jpg | bin | 0 -> 82282 bytes | |||
| -rw-r--r-- | 28024-h/images/toilers.jpg | bin | 0 -> 95980 bytes | |||
| -rw-r--r-- | 28024-h/images/torso.jpg | bin | 0 -> 138805 bytes | |||
| -rw-r--r-- | 28024-h/images/trainshd.jpg | bin | 0 -> 180128 bytes | |||
| -rw-r--r-- | 28024-h/images/underbrg.jpg | bin | 0 -> 207590 bytes | |||
| -rw-r--r-- | 28024-h/images/uzerches.jpg | bin | 0 -> 188204 bytes | |||
| -rw-r--r-- | 28024-h/images/vendors.jpg | bin | 0 -> 186657 bytes | |||
| -rw-r--r-- | 28024-h/images/wanderer.jpg | bin | 0 -> 128504 bytes | |||
| -rw-r--r-- | 28024-h/images/wayup.jpg | bin | 0 -> 87975 bytes | |||
| -rw-r--r-- | 28024-h/images/window.jpg | bin | 0 -> 95244 bytes | |||
| -rw-r--r-- | 28024-h/images/woodchop.jpg | bin | 0 -> 191636 bytes | |||
| -rw-r--r-- | 28024-h/images/younggrl.jpg | bin | 0 -> 137707 bytes |
90 files changed, 986 insertions, 0 deletions
diff --git a/28024-h/28024-h.html b/28024-h/28024-h.html new file mode 100644 index 0000000..7d7ddd9 --- /dev/null +++ b/28024-h/28024-h.html @@ -0,0 +1,986 @@ +<?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 1922" /><meta name="DC.Date" content="February 8, 2009" /><meta name="DC.Language" content="English" /><meta name="DC.Publisher" content="Project Gutenberg" /><meta name="DC.Identifier" content="http://www.gutenberg.org/etext/28024" /><meta name="DC.Rights" content="This text is in the public domain." /><title>The Project Gutenberg EBook of Pictorial Photography in America 1922 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 !!! +*/ + +.tei { margin: 0; padding: 0; + font-size: 100%; font-weight: normal; font-style: normal } + +.block { display: block; } +.inline { display: inline; } +.floatleft { float: left; margin: 1em 2em 1em 0; } +.floatright { float: right; margin: 1em 0 1em 2em; } +.shaded { margin-top: 1em; margin-bottom: 1em; + padding: 1em; background-color: #eee; } +.boxed { margin-top: 1em; margin-bottom: 1em; + padding: 1em; border: 1px solid black; } + +body.tei { margin: 4ex 10%; text-align: justify } +div.tei { margin: 2em 0em } +p.tei { margin: 0em 0em 1em 0em; text-indent: 0em; } +blockquote.tei { margin: 2em 4em } + +div.tei-lg { margin: 1em 0em; } +div.tei-l { margin: 0em; text-align: left; } +div.tei-tb { text-align: center; } +div.tei-epigraph { margin: 0em 0em 1em 10em; } +div.tei-dateline { margin: 1ex 0em; text-align: right } +div.tei-salute { margin: 1ex 0em; } +div.tei-signed { margin: 1ex 0em; text-align: right } +div.tei-byline { margin: 1ex 0em; } + + /* calculate from size of body = 80% */ +div.tei-marginnote { margin: 0em 0em 0em -12%; width: 11%; float: left; } + +div.tei-sp { margin: 1em 0em 1em 2em } +div.tei-speaker { margin: 0em 0em 1em -2em; + font-weight: bold; text-indent: 0em } +div.tei-stage { margin: 1em 0em; font-weight: normal; font-style: italic } +span.tei-stage { font-weight: normal; font-style: italic } + +div.tei-eg { padding: 1em; + color: black; background-color: #eee } + +hr.doublepage { margin: 4em 0em; height: 5px; } +hr.page { margin: 4em 0em; height: 2px; } + +ul.tei-index { list-style-type: none } + +dl.tei { margin: 1em 0em } + +dt.tei-notelabel { font-weight: normal; text-align: right; + float: left; width: 3em } +dd.tei-notetext { margin: 0em 0em 1ex 4em } + +span.tei-pb { position: absolute; left: 1%; width: 8%; + font-style: normal; } + +span.code { font-family: monospace; font-size: 110%; } + +ul.tei-castlist { margin: 0em; list-style-type: none } +li.tei-castitem { margin: 0em; } +table.tei-castgroup { margin: 0em; } +ul.tei-castgroup { margin: 0em; list-style-type: none; + padding-right: 2em; border-right: solid black 2px; } +caption.tei-castgroup-head { caption-side: right; width: 50%; text-align: left; + vertical-align: middle; padding-left: 2em; } +*.tei-roledesc { font-style: italic } +*.tei-set { font-style: italic } + +table.rules { border-collapse: collapse; } +table.rules caption, +table.rules th, +table.rules td { border: 1px solid black; } + +table.tei { border-collapse: collapse; } +table.tei-list { width: 100% } + +th.tei-head-table { padding: 0.5ex 1em } + +th.tei-cell { padding: 0em 1em } +td.tei-cell { padding: 0em 1em } + +td.tei-item { padding: 0; font-weight: normal; + vertical-align: top; text-align: left; } +th.tei-label, +td.tei-label { width: 3em; padding: 0; font-weight: normal; + vertical-align: top; text-align: right; } + +th.tei-label-gloss, +td.tei-label-gloss { text-align: left } + +td.tei-item-gloss, +th.tei-headItem-gloss { padding-left: 4em; } + +img.tei-formula { vertical-align: middle; } + +</style></head><body class="tei"> + + + + + + +<div lang="en" class="tei tei-text" style="margin-bottom: 2.00em; margin-top: 2.00em" xml:lang="en"> + +<div class="tei tei-front" style="margin-bottom: 6.00em; margin-top: 2.00em"> + +<div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em"> +<div id="pgheader" class="tei tei-div" style="margin-bottom: 4.00em; margin-top: 4.00em"><div class="tei tei-div" style="margin-bottom: 3.00em; margin-top: 3.00em"><p class="tei tei-p" style="margin-bottom: 2.00em">The Project Gutenberg EBook of Pictorial Photography in America 1922 by Pictorial Photographers of America</p></div><div class="tei tei-div" style="margin-bottom: 3.00em; margin-top: 3.00em"><p class="tei tei-p" style="margin-bottom: 1.00em">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 <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 1922 + +Author: Pictorial Photographers of America + +Release Date: February 8, 2009 [Ebook #28024] + +Language: English + +Character set encoding: UTF-8 + + +***START OF THE PROJECT GUTENBERG EBOOK PICTORIAL PHOTOGRAPHY IN AMERICA 1922*** +</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 1922</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">New York<br /> +<br /></span> +<span class="tei tei-docDate">1922</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">Committee of Selection</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></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">G. W. Harting</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. Arnold Genthe</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">Gertrude Kasebier</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">O.C. Reiter</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">Advisory Committe from American Institute of Graphic Arts</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">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">Harry A. Groesbeck, 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">William Edwin Rudge</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">Publication Committee</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">Guy Gaylor Clark</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">G. W. Harting</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. Theron W. Kilmer</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">Joseph R. Mason</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">Cornelia 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">Mildred Ruth 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">Jerry D. Drew, </span></span><em class="tei tei-emph" style="text-align: left"><span style="font-style: italic">Chairman</span></em></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="#fig8">A DECORATIVE PANEL<span style="font-style: italic">By </span><span style="font-variant: small- caps">Thos. O. Sheckell, </span><span style="font-style: italic">Salt Lake City, Utah</span></a></li><li><a href="#fig9">IN A DANCER'S STUDIO<span style="font-style: italic">By </span><span style="font-variant: small -caps">Wayne Albee, </span><span style="font-style: italic">Seattle, Washington</span></a></li><li><a href="#fig10">HOUSE-BOATS<span style="font-style: italic">By </span><span style="font-variant: small- caps">Ernest M. Pratt, </span><span style="font-style: italic">Los Angeles, Calif.</span></a></li><li><a href="#fig11">MAY I COME IN?<span style="font-style: italic">By </span><span style="font-variant: small- caps">Robert R. McGeorge, </span><span style="font-style: italic">Buffalo, N. Y.</span></a></li><li><a href="#fig12">THE DISTANT SAIL<span style="font-style: italic">By </span><span style="font-variant: small- caps">William Gordon Shields, </span><span style="font-style: italic">New York City</span></a></li><li><a href="#fig13">GATEWAY, DINAN<span style="font-style: italic">By </span><span style="font-variant: small- caps">Dr. Chas. H. Jaeger, </span><span style="font-style: italic">New York City</span></a></li><li><a href="#fig14">SILHOUETTES—EGYPT<span style="font-style: italic">By </span><span style="font-variant: small-caps">Julia Marshall, </span><span style="font-style: italic">Duluth, Minn.</span></a></li><li><a href="#fig15">MOUNT EVERETT<span style="font-style: italic">By </span><span style="font-variant: small- caps">Robert B. Montgomery, </span><span style="font-style: italic">Brooklyn, N. Y.</span></a></li><li><a href="#fig16">THE BACK FENCE<span style="font-style: italic">By </span><span style="font-variant: small- caps">C. R. Herzler, </span><span style="font-style: italic">New York City</span></a></li><li><a href="#fig17">ON DECK OF THE METAGAMA<span style="font-style: italic">By </span><span style="font-variant: small-caps">Johan Hagemeyer, </span><span style="font-style: italic">San Francisco, Calif.</span></a></li><li><a href="#fig18">TIDEWATER<span style="font-style: italic">By </span><span style="font-variant: small- caps">Amelia H. McLean, </span><span style="font-style: italic">Bronxville, N. Y.</span></a></li><li><a href="#fig19">STREET VENDORS—ROME, ITALY<span style="font-style: italic">By </span><span style="font-style: italic">H. A. Latimer, </span><span style="font-style: italic">Boston, Mass.</span></a></li><li><a href="#fig20">SUMMERTIME<span style="font-style: italic">By </span><span style="font-variant: small-caps">Paul Wierum, </span><span style="font-style: italic">Chicago, Ill.</span></a></li><li><a href="#fig21">TORSO OF A DANCER<span style="font-style: italic">By </span><span style="font-variant: small- caps">Arnold Genthe, </span><span style="font-style: italic">New York City</span></a></li><li><a href="#fig22">A MAINE FISHING VILLAGE<span style="font-style: italic">By </span><span style="font-variant: small-caps">Eugene P. Henry, </span><span style="font-style: italic">Brooklyn, N. Y.</span></a></li><li><a href="#fig23">SMOKE EATERS<span style="font-style: italic">By </span><span style="font-variant: small-caps">W. H. Zerbe, </span><span style="font-style: italic">Richmond Hill, N. Y.</span></a></li><li><a href="#fig24">PUEBLO DWELLING<span style="font-style: italic">By </span><span style="font-variant: small- caps">Ernest Williams, </span><span style="font-style: italic">Los Angeles, Calif.</span></a></li><li><a href="#fig25">IN THE BERKSHIRES<span style="font-style: italic">By </span><span style="font-variant: small- caps">William Elbert Macnaughton, </span><span style="font-style: italic">New York City</span></a></li><li><a href="#fig26">BEPPY<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="#fig27">EMPTIES<span style="font-style: italic">By </span><span style="font-variant: small-caps">K. B. Lambert, </span><span style="font-style: italic">Glen Ridge, N. J.</span></a></li><li><a href="#fig28">THE WOODCHOPPER'S WOMAN<span style="font-style: italic">By </span><span style="font-variant: small-caps">Harry C. Phipps, </span><span style="font-style: italic">Chicago, Ill.</span></a></li><li><a href="#fig29">THE DES PLAINES TRAIL<span style="font-style: italic">By </span><span style="font-variant: small-caps">E. E. Gray, </span><span style="font-style: italic">Chicago, Ill.</span></a></li><li><a href="#fig30">MOTHER AND CHILD<span style="font-style: italic">By </span><span style="font-variant: small- caps">Clarence H. White, </span><span style="font-style: italic">New York City</span></a></li><li><a href="#fig31">YE OLD BARN<span style="font-style: italic">By </span><span style="font-variant: small- caps">Olive Garrison, </span><span style="font-style: italic">Yonkers, N. Y.</span></a></li><li><a href="#fig32">INTERIOR<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="#fig33">PENNSYLVANIA STATION<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 City</span></a></li><li><a href="#fig34">CLOUDS OF MORNING<span style="font-style: italic">By </span><span style="font-variant: small- caps">Francis O. Libby, F.R.P.S., </span><span style="font-style: italic">Portland, Me.</span></a></li><li><a href="#fig35">THE CANYON<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="#fig36">THE EAST RIVER<span style="font-style: italic">By </span><span style="font-variant: small- caps">John Paul Edwards, </span><span style="font-style: italic">San Francisco, Calif.</span></a></li><li><a href="#fig37">THE TRAIN SHED—PITTSBURGH<span style="font-style: italic">By </span><span style="font-style: italic">W. W. Zieg, </span><span style="font-style: italic">Pittsburgh, Pa.</span></a></li><li><a href="#fig38">ODD MOMENTS IN BRITTANY<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="#fig39">UZERCHES: "IL FAIT UN BON SOLEIL"<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 City</span></a></li><li><a href="#fig40">A MISTY MORNING<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><li><a href="#fig41">PTARMIGAN IN WINTER<span style="font-style: italic">By </span><span style="font-variant: small- caps">Clark Blickensderfer, </span><span style="font-style: italic">Denver, Colo.</span></a></li><li><a href="#fig42">MARJORIE<span style="font-style: italic">By </span><span style="font-variant: small-caps">Sophie L. Lauffer, </span><span style="font-style: italic">New York City</span></a></li><li><a href="#fig43">THE PATTERNED WALL<span style="font-style: italic">By </span><span style="font-variant: small- caps">Mildred Ruth Wilson, </span><span style="font-style: italic">Montclair, N. J.</span></a></li><li><a href="#fig44">THE SUNNY WINDOW<span style="font-style: italic">By </span><span style="font-variant: small- caps">Mary F. Boyd, </span><span style="font-style: italic">Chambersburg, Pa.</span></a></li><li><a href="#fig45">AT CLARENCE WHITE'S, CANAAN, CONN.<span style="font-style: italic">By </span><span style="font-style: italic">Florence Burton Livingston, </span><span style="font-style: italic">Mohegan Lake, N. Y.</span></a></li><li><a href="#fig46">STUDY OF A YOUNG GIRL<span style="font-style: italic">By </span><span style="font-variant: small-caps">charles H. Brown, </span><span style="font-style: italic">Santa Barbara, Calif.</span></a></li><li><a href="#fig47">IVY AND OLD GLASS<span style="font-style: italic">By </span><span style="font-variant: small- caps">Clara E. Sipprell, </span><span style="font-style: italic">New York City</span></a></li><li><a href="#fig48">ROSE DANCE<span style="font-style: italic">By </span><span style="font-variant: small-caps">J. Anthony Bull, </span><span style="font-style: italic">Cincinnati, Ohio</span></a></li><li><a href="#fig49">A CONCERT IN THE NURSERY<span style="font-style: italic">By </span><span style="font-variant: small-caps">Frank R. Nivison, </span><span style="font-style: italic">Fall River, Mass.</span></a></li><li><a href="#fig50">GREY ATTIC<span style="font-style: italic">By </span><span style="font-variant: small- caps">Edward Weston, </span><span style="font-style: italic">Glendale, Calif.</span></a></li><li><a href="#fig51">MUD-PIES<span style="font-style: italic">By </span><span style="font-variant: small- caps">Cornelia F. White, </span><span style="font-style: italic">New York City</span></a></li><li><a href="#fig52">CARVED WITH THE TOOLS OF TIME, THE SCULPTOR<span style="font-style: italic">By </span><span style="font-variant: small-caps">Edith R. Wilson, </span><span style="font-style: italic">Mt. Vernon, N. Y.</span></a></li><li><a href="#fig53">MORNING GLORY<span style="font-style: italic">By </span><span style="font-variant: small- caps">Otis Williams, </span><span style="font-style: italic">Los Angeles, Calif.</span></a></li><li><a href="#fig54">THE CIRCUS COMES TO TOWN<span style="font-style: italic">By </span><span style="font-variant: small-caps">Thomas R. Hartley, </span><span style="font-style: italic">Pittsburgh, Pa.</span></a></li><li><a href="#fig55">SEAR AUTUMN<span style="font-style: italic">By </span><span style="font-variant: small- caps">Anson Herrick, </span><span style="font-style: italic">San Francisco, Cal.</span></a></li><li><a href="#fig56">THE BAZAR<span style="font-style: italic">By </span><span style="font-variant: small- caps">Margaret D. M. Brown, </span><span style="font-style: italic">Arlington, Poughkeepsie, N. Y.</span></a></li><li><a href="#fig57">WANDERERS FROM HOME<span style="font-style: italic">By </span><span style="font-variant: small- caps">P. Douglas Anderson, </span><span style="font-style: italic">San Francisco, Calif.</span></a></li><li><a href="#fig58">DECORATIVE STUDY<span style="font-style: italic">By </span><span style="font-variant: small- caps">Henry A. Hussey, </span><span style="font-style: italic">Berkeley, Calif.</span></a></li><li><a href="#fig59">THE WAY UP<span style="font-style: italic">By </span><span style="font-variant: small- caps">Folsom Rich, </span><span style="font-style: italic">Chicago, Ill.</span></a></li><li><a href="#fig60">COLONEL MARSH<span style="font-style: italic">By </span><span style="font-variant: small- caps">E. L. Mix, </span><span style="font-style: italic">New York City</span></a></li><li><a href="#fig61">SHADOW DESIGN<span style="font-style: italic">By </span><span style="font-variant: small- caps">G. W. Harting, </span><span style="font-style: italic">New York City</span></a></li><li><a href="#fig62">AT GUINGAMP<span style="font-style: italic">By </span><span style="font-variant: small- caps">Mrs. Antoinette B. Hervey, </span><span style="font-style: italic">New York City</span></a></li><li><a href="#fig63">KISSING THE PADRE'S HAND<span style="font-style: italic">By </span><span style="font-variant: small-caps">Myers R. Jones, </span><span style="font-style: italic">Brooklyn, N. Y.</span></a></li><li><a href="#fig64">UNDER BROOKLYN BRIDGE<span style="font-style: italic">By </span><span style="font-variant: small-caps">A. E. Schaaf, </span><span style="font-style: italic">Cleveland, Ohio</span></a></li><li><a href="#fig65">THE BRIDGES<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="#fig66">WHIRLPOOL RAPIDS, NIAGARA<span style="font-style: italic">By </span><span style="font-variant: small-caps">William A. Alcock, </span><span style="font-style: italic">New York City</span></a></li><li><a href="#fig67">STUDY<span style="font-style: italic">By </span><span style="font-variant: small-caps">A. Ralph Steiner, </span><span style="font-style: italic">New York City</span></a></li><li><a href="#fig68">DOMESTIC SYMPHONY<span style="font-style: italic">By </span><span style="font-variant: small- caps">Margaret Watkins, </span><span style="font-style: italic">New York City</span></a></li><li><a href="#fig69">MORNING SUNLIGHT<span style="font-style: italic">By </span><span style="font-variant: small- caps">Ira W. Martin, </span><span style="font-style: italic">New York City</span></a></li><li><a href="#fig70">L'ESPRIT DE MANDALAY<span style="font-style: italic">By </span><span style="font-variant: small -caps">J. Ludger Rainville, </span><span style="font-style: italic">Portland, Me.</span></a></li><li><a href="#fig71">THE GORGE BELOW THE WHIRLPOOL, NIAGARA<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="#fig72">PORTRAIT—GIRL IN BLACK<span style="font-style: italic">By </span><span style="font-style: italic">Rabinovitch, </span><span style="font-style: italic">New York City</span></a></li><li><a href="#fig73">THE TOILERS<span style="font-style: italic">By </span><span style="font-variant: small- caps">Edward Ostrom, Jr., </span><span style="font-style: italic">Brooklyn, N. Y.</span></a></li><li><a href="#fig74">FROM MY WINDOW<span style="font-style: italic">By </span><span style="font-variant: small- caps">Betty Gresh, </span><span style="font-style: italic">Norristown, Penn.</span></a></li><li><a href="#fig75">YOUNG AMERICAN<span style="font-style: italic">By </span><span style="font-variant: small- caps">Louis Fleckenstein, </span><span style="font-style: italic">Long Beach, Calif.</span></a></li><li><a href="#fig76">MESA DEL MAR<span style="font-style: italic">By </span><span style="font-variant: small-caps">G. H. S. Harding, </span><span style="font-style: italic">Berkeley, Calif.</span></a></li><li><a href="#fig77">SEINE BOATS<span style="font-style: italic">By </span><span style="font-variant: small- caps">William B. Imlach, </span><span style="font-style: italic">New York City</span></a></li><li><a href="#fig78">THE MOON OF THE RED GODS<span style="font-style: italic">By </span><span style="font-variant: small-caps">Laura Gilpin, </span><span style="font-style: italic">Colorado Springs, Colo.</span></a></li><li><a href="#fig79">HIGH SEAS<span style="font-style: italic">By </span><span style="font-variant: small- caps">Joseph Petrocelli, </span><span style="font-style: italic">New York City</span></a></li><li><a href="#fig80">SIXTH AVENUE, NEW YORK CITY<span style="font-style: italic">By </span><span style="font-variant: small-caps">Ben J. Lubschez, </span><span style="font-style: italic">New York City</span></a></li><li><a href="#fig81">HILLSIDE SHADOWS<span style="font-style: italic">By </span><span style="font-variant: small- caps">Charles K. Archer, </span><span style="font-style: italic">Pittsburgh, Pa.</span></a></li><li><a href="#fig82">MOTHER CAREY'S CHICKENS COME HOME TO ROOST<span style="font-style: italic">By </span><span style="font-variant: small-caps">Herbert B. Turner, </span><span style="font-style: italic">Boston, Mass.</span></a></li><li><a href="#fig83">THE SCHOOL YARD<span style="font-style: italic">By </span><span style="font-variant: small- caps">Vernon E. Duroe, </span><span style="font-style: italic">Brooklyn, N. Y.</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">SINCERITY</a></li><li><a href="#toc4">THE YEAR'S PROGRESS</a></li><li><a href="#toc6">ON IDEAS</a></li><li><a href="#toc84">THE PURPOSE OF THE PICTORIAL PHOTOGRAPHERS OF AMERICA</a></li><li><a href="#toc86">THE PICTORIAL PHOTOGRAPHERS OF AMERICA</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> +<span class="tei tei-pb" id="page7">[pg 7]</span> +<h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">SINCERITY</span></h1> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Art that endures is sincere. It is universal in its appeal though it may have been produced in a remote corner of the world by one who was unacquainted with the work of artists. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +I remember going with a friend into a picture gallery in Chicago, where an artist—I think his name was Bradford—was showing some sketches he had brought back from the arctic regions. <span class="tei tei-q">“How true these are”</span> I exclaimed. <span class="tei tei-q">“How do you know?”</span> said my companion, <span class="tei tei-q">“you have never been to the North Pole.”</span> <span class="tei tei-q">“That is not necessary”</span> I rejoined. <span class="tei tei-q">“These studies have the truth written in every inch of them.”</span> The work proclaimed the sincerity of its maker. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +He who reverently observes life and wrests from its verities those elements which are in tune with his <span class="tei tei-q">“ego”</span>—transposes these into some concrete form without the damning desire for self aggrandizement, pretense, or mere seeking for originality—is building on good foundations. It is from an over-weening desire for originality that most of the affectations of so called <span class="tei tei-q">“Modern Art”</span> proceed. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Natural individuality—the sincere personal vision of the artist—is an inherited asset. His work is the acquiring of a technique, the constant patient practice and experiment in his particular craft. This unending exercise gives the artist power to state his message clearly—in the simplest way. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +The graphic artist is concerned with <span class="tei tei-q">“<em class="tei tei-emph"><span style="font-style: italic">pictorial</span></em>”</span> ideas. These are necessarily limited; they must be ideas possible of expression by light and shade, by line, by form, by color. The artist's vision includes his point of view. He receives an impression and simultaneously determines how he will express it. He has, as it were, analyzed his subject and decided at once on the form of its presentation—in the clay, on the canvas, in the drawing or photograph. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Given the most favorable mechanical contrivances which science places today at the disposal of the painter or photographer, the latter may proceed in his work under the same maxims, the same theories, that guide the painter. His design may be as interesting, his key as aptly chosen, his black and white (values) as colorful, his composition in the space as distinguished. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-pb" id="page8">[pg 8]</span> +If over and above his technical skill the photographer starts with a <span class="tei tei-q">“vital idea,”</span> he may like the painter convey with his photograph <span class="tei tei-q">“<em class="tei tei-emph"><span style="font-style: italic">the moving thrill</span></em>”</span> which is the final test of any work of art. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Then perchance, working patiently along the lines here barely indicated, the artist may one day unconsciously achieve that coveted note of true originality which marks a forward step to be hailed and recorded in the great tradition. +</p> +<div class="tei tei-closer"> +<div class="tei tei-signed" style="text-align: right"> +Albert Sterner +</div> +</div> +</div> + + +<hr class="doublepage" /><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> +<span class="tei tei-pb" id="page9">[pg 9]</span> +<h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">THE YEAR'S PROGRESS</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">Henry Hoyt Moore</span></span></div> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +We cannot claim for our art any outstanding phenomenon like the interest in the radio that has swept the country this year, or any remarkable development in the science of photography like the invention a few years ago of the Lumière plate. The day may come when our exhibitions will show masses of color on their walls which will make the water-colorists and the miniaturists green with envy, but that day is not yet. And I for one would be sorry to see it come. There is to me a charm about good monotone photography that is all its own and that puts it on a plane with etching, engraving, lithography, and other monotone processes. Of course some artists, strictly so called, object to regarding photography as anything but a mechanical process, but the number of those who would make art a close corporation is happily diminishing. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +In fact, the recognition that photography is receiving from accredited representatives of the fine arts makes its position no longer a doubtful one. Any of the arts may be used for commercial purposes, but that fact does not take away from them their rightful place when they are used by competent hands for aesthetic purposes. The increasing number of museums that are opening their exhibition halls to good photography is an evidence that is obvious to all observers. Caustic critics like Joseph Pennell may decry photography, but many able artists and critics, attending exhibitions of photography that are being held in many of our centers of art, are having their eyes opened to the beauty of lens work in the hands of men and women who use the camera with feeling and insight. Then, too, we must not forget the fact that some well-known artists, beginning with D. O. Hill and continuing with Mrs. Kasebier, Frank Eugene, Steichen, and others, have found in the practice of photography a more lasting fame than in any other line of their effort. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Among notable exhibitions of the past year several should be mentioned. Of course there are what might be called the historic exhibitions that have won an established place, like the London Salon, the Royal Photographic Exhibition, the Pittsburgh Salon, the Los Angeles Salon, the Portland Exhibition, and others. +<span class="tei tei-pb" id="page10">[pg 10]</span> +More recently established exhibitions that are to be noted are those of the San Francisco Pictorialists, the Oakland Salon, the Canadian National at Toronto, the Buffalo Salon, and that of the Pictorial Photographers of America at the opening of the Art Center in New York City. At many of these exhibitions pictures from the same exhibitors were hung, and as the judges at practically all of them were different men (and women), including professional artists, it is evident that there was a consensus among the competent critics that these exhibitors at least are doing worthy work. But in that fact there is no cause for discouragement to the novice, for new names are to be found in the catalogues of all the exhibitions, and there is no league to keep out any individual's pictures anywhere. That is one of the triumphs of our art—that, while judges may sometimes err and exclude a good picture or select a poor one, there is a general open-mindedness in recognizing merit wherever it exists. A well-known worker is pretty sure to have his photographs declined by the judges in most of the photographic exhibitions if he falls below his standard, and, on the other hand, a gifted beginner will quickly get a place in the seats of the mighty if he can produce the photographs that entitle him to distinction. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Some notable one-man exhibitions have been held since our last Annual was published. Among them should be mentioned those of the veterans Alfred Stieglitz and Rudolph Eickemeyer in the Anderson Galleries in New York—and it is a significant testimony to the lure of our art that these masters of it have <span class="tei tei-q">“come back”</span>; those of Dr. H. B. Goodwin, of Stockholm, at the Brown-Robertson Gallery, and E. O. Hoppe, of England, at Wanamaker's, in New York; that of Clarence H. White, of New York, at the Art Center; the joint exhibition of prints of W. E. Macnaughtan and William A. Alcock, of Brooklyn, at the New York Camera Club, and of F. J. Mortimer and Alexander Keighley of England at the same place; and by Mrs. Antoinette B. Hervey, Miss Sophie Lauffer, Nicholas Muray, and F. O. Libby, with numerous others, that show the popularity of this method of placing good work before the public. Such exhibitions should be encouraged, for not only do they stimulate the exhibitor to show worthy work, but they are in the nature of spurs to the activity of every serious worker who has the privilege of seeing them. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +As to processes that are in favor, the bromoil and the bromoil transfer still continue to attract a host of workers. European workers seem still to have access to better and cheaper materials for this work than we in America, as is evidenced by the number and quality of the prints that are produced in the Scandinavian countries and in Germany, where bromoil work has even acquired a commercial status among professional photographers. +</p> +<span class="tei tei-pb" id="page11">[pg 11]</span> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +The question is sometimes raised whether the general public who attend photographic exhibitions are interested in processes as such. I think the question must be answered in the negative. It is the general effect that interests the outsider, and he cares not whether the print is a gum, a bromoil, a bromide, a platinum, or a palladiotype. We must beware lest we get enamored of a process rather than the result. I say this with no disrespect to the bromoilists, many of whom are gifted workers and endowed with art feeling. But we must remember that we are working to popularize photography as an art as well as to demonstrate our own artistic feeling and technical skill, and we ought not to lay too great stress on a difficult branch of our work, to the discouragement of those who would seek to share the delights of a beautiful recreation. The problem must be left to each individual. The beauty of a bromoil print, for instance, is supreme to its devotee: is its superiority to other processes worth the time and the toil necessary to make it, which might be devoted to the study of composition, of a wider range of subject, or to the mastery of simpler processes? Picture construction and print quality are after all the main things in photography, not the medium we use. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +There is no royal road to distinction in photography, but each year sees some helps devised for the earnest worker, whether amateur or professional. For the amateur there is now an increasing variety of cameras and photographic material. New cameras are coming from abroad, among them a small French moving-picture machine, the <span class="tei tei-q">“Sept,”</span> which can be carried in the hand and with which, it is claimed, good <span class="tei tei-q">“stills”</span> may be taken as well as good regulation movie pictures. An auto-focus enlarger, at a comparatively small price, has also been put on the market for amateur use; and with the increasing use of small cameras and the adoption of simpler methods this may prove a boon to those who wish to make bromide enlargements more easily than they could by the older methods. It is to be regretted that platinum paper is not being manufactured in America for photographic purposes, for the quality of a choice platinum print is still regarded by many as unsurpassed, and many workers wish to see platinum resume its old place among the photographer's resources. Many <span class="tei tei-q">“spotlight”</span> machines and artificial illuminating devices have been put on the market, and with these the photographer will be equipped to play on his sitters the <span class="tei tei-q">“light that never was on sea or land,”</span> if he so desires. But the ingenious photographer who is quick to seize good lighting effects will not need the aid of artificial lighting, anymore than did the early master of photography, D. O. Hill, whose simple effects reached almost the finality of lens art. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Just here I might add a word as to the increasing coalescence of the amateur and the professional photographer in America. Strictly speaking, an amateur may +<span class="tei tei-pb" id="page12">[pg 12]</span> +be said to be one who gets no return in money for his work, while the professional's work is mainly financial in its object. The amateur photographer, however, finds his expenses heavy and the temptation strong to sell his pictures; while in America the professional photographer is frequently so much in love with the pictorial possibilities of his work that he loses sight of the financial end of it. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +For the worker to get the real enthusiasm and benefit from photography, the +thing now necessary to mark a distinct note of progress, or to make an outstanding year, is to have a great international exhibition, similar to the one held in Buffalo in 1910. This, I am glad to say, is already planned for next year, to be held in New York City, which, although the great center of activity, has never had an exhibition of this kind. +</p> +</div> + + +<hr class="doublepage" /><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%">ON IDEAS</span></h1> +<span class="tei tei-pb" id="page13">[pg 13]</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">Heyworth Campbell</span></span> +</div> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Thackeray resigned the editorship of a British periodical only because he could not endure the ordeal of rejecting the thousands of submitted manuscripts. This is a distressing phase of an Art Director's duties and to my mind his most sacred obligation. No matter how hardened by experience, a conscientious editor cannot fail to suffer for and with the unhappy authors and artists whose work goes back with the proverbial pink rejection slip. Why are drawings and photographs rejected? What is wrong with the great mass of rejected material? My observation is that they suffer more from a lack of clear thinking and careful execution than from a paucity of ideas. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +The weird conceptions and grotesque ideas in back of most of the unsolicited material submitted would make one easily believe that the artists are inmates, or perfectly qualified to be inmates of asylums. I am seldom inclined or required to urge an artist to seek originality of idea. My constant plea, and what to my mind is a prerequisite, is an optimistic point of view, a sound, intelligent thought rendered with, may I say, reverence. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Struggling young artists are constantly advised to cultivate their imagination. What is imagination? Arthur Brisbane defined this in the most compact, tangible statement: <span class="tei tei-q">“Imagination is nothing more than the power to see and realize what others fail to see and realize.”</span> The illusive idea that we are searching for is nothing hidden or mystic but right before our very eyes. We have only to <span class="tei tei-q">“see and realize.”</span> +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +It is conceded, I am sure, that the idea is the prime requisite of a political cartoon. A prominent cartoonist was once asked where he got his ideas. In reply he asked <span class="tei tei-q">“what ideas?”</span> Men of ideas have brains that function exactly as those of other normal well-ordered citizens. They are not gifted by strange kinks in their brain cells. When the prominent cartoonist is contemplating the banal act of shaving or putting in a new furnace, his thoughts are no more or less exalted or lofty than when creating a cartoon idea intended to sway public opinion. Strange, isn't it, that considering the thousands of earnest thinking +<span class="tei tei-pb" id="page14">[pg 14]</span> +diligent-working young students, that there are so few artists whose work reflects real genius? Strange that the standard of the Graphic Arts is as discouragingly low as it is considering this army of talent. But even more strange that this contradiction to the law of averages is also applicable to the field of sports—to a field so practical, tangible and therefore measurable. Every healthy-minded youngster born, has two early ambitions: one to be a great baseball player, another to become President. And yet the scouts and managers for the Big Leagues have difficulty in discovering talent above the average. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +In the field of Pictorial Photography, the average is exceedingly high. This volume is a demonstration. To be sure, if one seeks, one can quickly discover atrocities in the galleries and on the printed page; but my conviction is that the progress from the purely aesthetic standpoint has kept pace with the mechanical and scientific strides made in Photography. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Quotations are generally sneered at, but they make excellent conclusions. Some one once said: <span class="tei tei-q">“All one's life is music if one touched the notes rightly and in tune.”</span> A very happy thought and true. But finding the right note is infinitely more difficult than the striking in tune. Ideas, to be sure, you must seek. But orderly thought, patience and fine craftsmanship in carrying out your idea frequently count for more than the originality or brilliance of the idea itself. Owing to the restlessness of the world situation—wars and rumors of wars, strikes and overtendency towards jazz and slang—there is already, especially in the work of youngsters, too evident an urge to be different; different merely for the sake of being different. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +A thought possibly worthy of the deliberation of every artist is that Distinction is a result, never the object, of a great mind. +</p> +</div> + +</div> + +<div class="tei tei-body" style="margin-bottom: 6.00em; margin-top: 6.00em"> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +</p> +<span class="tei tei-pb" id="page16">[pg 16]</span> +<a name="fig8" id="fig8"></a><div class="tei tei-figure" style="text-align: center"><img src="images/panel.jpg" width="901" height="1208" alt="A DECORATIVE PANEL, By Thos. O. Sheckell, Salt Lake City, Utah" title="A DECORATIVE PANELBy Thos. O. Sheckell, Salt Lake City, Utah" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">A DECORATIVE PANEL<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">Thos. 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="page17">[pg 17]</span> +<a name="fig9" id="fig9"></a><div class="tei tei-figure" style="text-align: center"><img src="images/studio.jpg" width="913" height="1188" alt="IN A DANCER'S STUDIO, By Wayne Albee, Seattle, Washington" title="IN A DANCER'S STUDIOBy Wayne Albee, Seattle, Washington" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">IN A DANCER'S STUDIO<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">Wayne Albee, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">Seattle, Washington</span></em></div></div> + + +<span class="tei tei-pb" id="page18">[pg 18]</span> +<a name="fig10" id="fig10"></a><div class="tei tei-figure" style="text-align: center"><img src="images/housboat.jpg" width="893" height="1161" alt="HOUSE-BOATS, By Ernest M. Pratt, Los Angeles, Calif." title="HOUSE-BOATSBy Ernest M. Pratt, Los Angeles, Calif." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">HOUSE-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">Ernest M. Pratt, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">Los Angeles, Calif.</span></em></div></div> + + +<span class="tei tei-pb" id="page19">[pg 19]</span> +<a name="fig11" id="fig11"></a><div class="tei tei-figure" style="text-align: center"><img src="images/comein.jpg" width="896" height="1241" alt="MAY I COME IN?, By Robert R. McGeorge, Buffalo, N. Y." title="MAY I COME IN?By Robert R. McGeorge, Buffalo, N. Y." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">MAY I COME IN?<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">Robert R. McGeorge, </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="page20">[pg 20]</span> +<a name="fig12" id="fig12"></a><div class="tei tei-figure" style="text-align: center"><img src="images/distsail.jpg" width="903" height="1186" alt="THE DISTANT SAIL, By William Gordon Shields, New York City" title="THE DISTANT SAILBy William Gordon Shields, New York City" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">THE DISTANT SAIL<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 City</span></em></div></div> + + +<span class="tei tei-pb" id="page21">[pg 21]</span> +<a name="fig13" id="fig13"></a><div class="tei tei-figure" style="text-align: center"><img src="images/gateway.jpg" width="595" height="991" alt="GATEWAY, DINAN, By Dr. Chas. H. Jaeger, New York City" title="GATEWAY, DINANBy Dr. Chas. H. Jaeger, New York City" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">GATEWAY, DINAN<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. Chas. H. Jaeger, </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="page22">[pg 22]</span> +<a name="fig14" id="fig14"></a><div class="tei tei-figure" style="text-align: center"><img src="images/silhouet.jpg" width="898" height="613" alt="SILHOUETTES—EGYPT, By Julia Marshall, Duluth, Minn." title="SILHOUETTES—EGYPTBy Julia Marshall, Duluth, Minn." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">SILHOUETTES—EGYPT<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">Julia Marshall, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">Duluth, Minn.</span></em></div></div> + + +<span class="tei tei-pb" id="page23">[pg 23]</span> +<a name="fig15" id="fig15"></a><div class="tei tei-figure" style="text-align: center"><img src="images/everett.jpg" width="899" height="728" alt="MOUNT EVERETT, By Robert B. Montgomery, Brooklyn, N. Y." title="MOUNT EVERETTBy Robert B. Montgomery, Brooklyn, N. Y." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">MOUNT EVERETT<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">Robert B. Montgomery, </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="page24">[pg 24]</span> +<a name="fig16" id="fig16"></a><div class="tei tei-figure" style="text-align: center"><img src="images/backfenc.jpg" width="893" height="719" alt="THE BACK FENCE, By C. R. Herzler, New York City" title="THE BACK FENCEBy C. R. Herzler, New York City" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">THE BACK FENCE<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. R. Herzler, </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="page25">[pg 25]</span> +<a name="fig17" id="fig17"></a><div class="tei tei-figure" style="text-align: center"><img src="images/metagama.jpg" width="896" height="1171" alt="ON DECK OF THE METAGAMA, By Johan Hagemeyer, San Francisco, Calif." title="ON DECK OF THE METAGAMABy Johan Hagemeyer, San Francisco, Calif." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">ON DECK OF THE METAGAMA<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">Johan Hagemeyer, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">San Francisco, Calif.</span></em></div></div> + + +<span class="tei tei-pb" id="page26">[pg 26]</span> +<a name="fig18" id="fig18"></a><div class="tei tei-figure" style="text-align: center"><img src="images/tidewate.jpg" width="908" height="634" alt="TIDEWATER, By Amelia H. McLean, Bronxville, N. Y." title="TIDEWATERBy Amelia H. McLean, Bronxville, N. Y." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">TIDEWATER<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">Amelia H. McLean, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">Bronxville, N. Y.</span></em></div></div> + + +<span class="tei tei-pb" id="page27">[pg 27]</span> +<a name="fig19" id="fig19"></a><div class="tei tei-figure" style="text-align: center"><img src="images/vendors.jpg" width="896" height="1156" alt="STREET VENDORS—ROME, ITALY, By H. A. Latimer, Boston, Mass." title="STREET VENDORS—ROME, ITALYBy H. A. Latimer, Boston, Mass." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">STREET VENDORS—ROME, ITALY<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-style: italic">H. A. Latimer, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">Boston, Mass.</span></em></div></div> + + +<span class="tei tei-pb" id="page28">[pg 28]</span> +<a name="fig20" id="fig20"></a><div class="tei tei-figure" style="text-align: center"><img src="images/summer.jpg" width="907" height="676" alt="SUMMERTIME, By Paul Wierum, Chicago, Ill." title="SUMMERTIMEBy Paul Wierum, Chicago, Ill." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">SUMMERTIME<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">Paul Wierum, </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="page29">[pg 29]</span> +<a name="fig21" id="fig21"></a><div class="tei tei-figure" style="text-align: center"><img src="images/torso.jpg" width="897" height="1181" alt="TORSO OF A DANCER, By Arnold Genthe, New York City" title="TORSO OF A DANCERBy Arnold Genthe, New York City" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">TORSO OF A 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">Arnold Genthe, </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="page30">[pg 30]</span> +<a name="fig22" id="fig22"></a><div class="tei tei-figure" style="text-align: center"><img src="images/maine.jpg" width="898" height="1171" alt="A MAINE FISHING VILLAGE, By Eugene P. Henry, Brooklyn, N. Y." title="A MAINE FISHING VILLAGEBy Eugene P. Henry, Brooklyn, N. Y." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">A MAINE FISHING VILLAGE<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">Eugene P. Henry, </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="page31">[pg 31]</span> +<a name="fig23" id="fig23"></a><div class="tei tei-figure" style="text-align: center"><img src="images/smokeeat.jpg" width="905" height="698" alt="SMOKE EATERS, By W. H. Zerbe, Richmond Hill, N. Y." title="SMOKE EATERSBy W. H. Zerbe, Richmond Hill, N. Y." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">SMOKE EATERS<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. Zerbe, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">Richmond Hill, N. Y.</span></em></div></div> + + +<span class="tei tei-pb" id="page32">[pg 32]</span> +<a name="fig24" id="fig24"></a><div class="tei tei-figure" style="text-align: center"><img src="images/pueblo.jpg" width="908" height="703" alt="PUEBLO DWELLING, By Ernest Williams, Los Angeles, Calif." title="PUEBLO DWELLINGBy Ernest Williams, Los Angeles, Calif." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">PUEBLO DWELLING<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">Ernest Williams, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">Los Angeles, Calif.</span></em></div></div> + + +<span class="tei tei-pb" id="page33">[pg 33]</span> +<a name="fig25" id="fig25"></a><div class="tei tei-figure" style="text-align: center"><img src="images/berkshir.jpg" width="901" height="746" alt="IN THE BERKSHIRES, By William Elbert Macnaughton, New York City" title="IN THE BERKSHIRESBy William Elbert Macnaughton, New York City" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">IN THE BERKSHIRES<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 Elbert Macnaughton, </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="page34">[pg 34]</span> +<a name="fig26" id="fig26"></a><div class="tei tei-figure" style="text-align: center"><img src="images/beppy.jpg" width="899" height="1123" alt="BEPPY, By Helen W. Drew, Montclair, N. J." title="BEPPYBy Helen W. Drew, Montclair, N. J." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">BEPPY<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="page35">[pg 35]</span> +<a name="fig27" id="fig27"></a><div class="tei tei-figure" style="text-align: center"><img src="images/empties.jpg" width="904" height="676" alt="EMPTIES, By K. B. Lambert, Glen Ridge, N. J." title="EMPTIESBy K. B. Lambert, Glen Ridge, N. J." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">EMPTIES<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">K. B. Lambert, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">Glen Ridge, N. J.</span></em></div></div> + + +<span class="tei tei-pb" id="page36">[pg 36]</span> +<a name="fig28" id="fig28"></a><div class="tei tei-figure" style="text-align: center"><img src="images/woodchop.jpg" width="896" height="1301" alt="THE WOODCHOPPER'S WOMAN, By Harry C. Phipps, Chicago, Ill." title="THE WOODCHOPPER'S WOMANBy Harry C. Phipps, Chicago, Ill." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">THE WOODCHOPPER'S WOMAN<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">Harry C. Phipps, </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="page37">[pg 37]</span> +<a name="fig29" id="fig29"></a><div class="tei tei-figure" style="text-align: center"><img src="images/desplain.jpg" width="898" height="1138" alt="THE DES PLAINES TRAIL, By E. E. Gray, Chicago, Ill." title="THE DES PLAINES TRAILBy E. E. Gray, Chicago, Ill." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">THE DES PLAINES TRAIL<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. E. Gray, </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="page38">[pg 38]</span> +<a name="fig30" id="fig30"></a><div class="tei tei-figure" style="text-align: center"><img src="images/mothchil.jpg" width="893" height="1113" alt="MOTHER AND CHILD, By clarence H. White, New York City" title="MOTHER AND CHILDBy Clarence H. White, New York City" /><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">Clarence H. White, </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="page39">[pg 39]</span> +<a name="fig31" id="fig31"></a><div class="tei tei-figure" style="text-align: center"><img src="images/oldbarn.jpg" width="691" height="934" alt="YE OLD BARN, By Olive Garrison, Yonkers, N. Y." title="YE OLD BARNBy Olive Garrison, Yonkers, N. Y." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">YE OLD BARN<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">Olive Garrison, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">Yonkers, N. Y.</span></em></div></div> + + +<span class="tei tei-pb" id="page40">[pg 40]</span> +<a name="fig32" id="fig32"></a><div class="tei tei-figure" style="text-align: center"><img src="images/interior.jpg" width="916" height="1096" alt="INTERIOR, By Jane Reece, Dayton, Ohio" title="INTERIORBy Jane Reece, Dayton, Ohio" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">INTERIOR<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="page41">[pg 41]</span> +<a name="fig33" id="fig33"></a><div class="tei tei-figure" style="text-align: center"><img src="images/pennstat.jpg" width="876" height="1153" alt="PENNSYLVANIA STATION, By Dr. D. J. Ruzicka, New York City" title="PENNSYLVANIA STATIONBy Dr. D. J. Ruzicka, New York City" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">PENNSYLVANIA STATION<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 City</span></em></div></div> + + +<span class="tei tei-pb" id="page42">[pg 42]</span> +<a name="fig34" id="fig34"></a><div class="tei tei-figure" style="text-align: center"><img src="images/clouds.jpg" width="901" height="1216" alt="CLOUDS OF MORNING, By Francis O. Libby, F.R.P.S., Portland, Me." title="CLOUDS OF MORNINGBy Francis O. Libby, F.R.P.S., Portland, Me." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">CLOUDS OF 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">Francis O. Libby, F.R.P.S., </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="page43">[pg 43]</span> +<a name="fig35" id="fig35"></a><div class="tei tei-figure" style="text-align: center"><img src="images/canyon.jpg" width="886" height="1268" alt="THE CANYON, By Jerry D. Drew, Montclair, N. J." title="THE CANYONBy Jerry D. Drew, Montclair, N. J." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">THE CANYON<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="page44">[pg 44]</span> +<a name="fig36" id="fig36"></a><div class="tei tei-figure" style="text-align: center"><img src="images/river.jpg" width="903" height="1056" alt="THE EAST RIVER, By John Paul Edwards, San Francisco, Calif." title="THE EAST RIVERBy John Paul Edwards, San Francisco, Calif." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">THE EAST RIVER<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">San Francisco, Calif.</span></em></div></div> + + +<span class="tei tei-pb" id="page45">[pg 45]</span> +<a name="fig37" id="fig37"></a><div class="tei tei-figure" style="text-align: center"><img src="images/trainshd.jpg" width="901" height="1168" alt="THE TRAIN SHED—PITTSBURGH, By W. W. Zieg, Pittsburgh, Pa." title="THE TRAIN SHED—PITTSBURGHBy W. W. Zieg, Pittsburgh, Pa." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">THE TRAIN SHED—PITTSBURGH<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-style: italic">W. W. Zieg, </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="page46">[pg 46]</span> +<a name="fig38" id="fig38"></a><div class="tei tei-figure" style="text-align: center"><img src="images/brittany.jpg" width="901" height="1138" alt="ODD MOMENTS IN BRITTANY, By George Henry High, Chicago, Ill." title="ODD MOMENTS IN BRITTANYBy George Henry High, Chicago, Ill." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">ODD MOMENTS IN BRITTANY<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="page47">[pg 47]</span> +<a name="fig39" id="fig39"></a><div class="tei tei-figure" style="text-align: center"><img src="images/uzerches.jpg" width="903" height="1201" alt="UZERCHES: "IL FAIT UN BON SOLEIL", By Dr. A. D. Chaffee, New York City" title="UZERCHES: "IL FAIT UN BON SOLEIL"By Dr. A. D. Chaffee, New York City" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">UZERCHES: "IL FAIT UN BON SOLEIL"<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 City</span></em></div></div> + + +<span class="tei tei-pb" id="page48">[pg 48]</span> +<a name="fig40" id="fig40"></a><div class="tei tei-figure" style="text-align: center"><img src="images/morning.jpg" width="898" height="1126" alt="A MISTY MORNING, By N. S. Wooldridge, Pittsburgh, Pa." title="A MISTY MORNINGBy N. S. Wooldridge, Pittsburgh, Pa." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">A MISTY 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">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> + + +<span class="tei tei-pb" id="page49">[pg 49]</span> +<a name="fig41" id="fig41"></a><div class="tei tei-figure" style="text-align: center"><img src="images/ptarmign.jpg" width="901" height="1118" alt="PTARMIGAN IN WINTER, By Clark Blickensderfer, Denver, Colo." title="PTARMIGAN IN WINTERBy Clark Blickensderfer, Denver, Colo." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">PTARMIGAN IN WINTER<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">Clark Blickensderfer, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">Denver, Colo.</span></em></div></div> + + +<span class="tei tei-pb" id="page50">[pg 50]</span> +<a name="fig42" id="fig42"></a><div class="tei tei-figure" style="text-align: center"><img src="images/marjorie.jpg" width="901" height="1141" alt="MARJORIE, By sophie L. Lauffer, New York City" title="MARJORIEBy Sophie L. Lauffer, New York City" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">MARJORIE<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">New York City</span></em></div></div> + + +<span class="tei tei-pb" id="page51">[pg 51]</span> +<a name="fig43" id="fig43"></a><div class="tei tei-figure" style="text-align: center"><img src="images/pattwall.jpg" width="901" height="1131" alt="THE PATTERNED WALL, By Mildred Ruth Wilson, Montclair, N. J." title="THE PATTERNED WALLBy Mildred Ruth Wilson, Montclair, N. J." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">THE PATTERNED WALL<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 Ruth Wilson, </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="page52">[pg 52]</span> +<a name="fig44" id="fig44"></a><div class="tei tei-figure" style="text-align: center"><img src="images/window.jpg" width="709" height="1003" alt="THE SUNNY WINDOW, By Mary F. Boyd, Chambersburg, Pa." title="THE SUNNY WINDOWBy Mary F. Boyd, Chambersburg, Pa." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">THE SUNNY 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">Mary F. Boyd, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">Chambersburg, Pa.</span></em></div></div> + + +<span class="tei tei-pb" id="page53">[pg 53]</span> +<a name="fig45" id="fig45"></a><div class="tei tei-figure" style="text-align: center"><img src="images/atwhites.jpg" width="530" height="667" alt="AT CLARENCE WHITE'S, CANAAN, CONN., By Florence Burton Livingston, Mohegan Lake, N. Y." title="AT CLARENCE WHITE'S, CANAAN, CONN.By Florence Burton Livingston, Mohegan Lake, N. Y." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">AT CLARENCE WHITE'S, CANAAN, CONN.<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-style: italic">Florence Burton Livingston, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">Mohegan Lake, N. Y.</span></em></div></div> + + +<span class="tei tei-pb" id="page54">[pg 54]</span> +<a name="fig46" id="fig46"></a><div class="tei tei-figure" style="text-align: center"><img src="images/younggrl.jpg" width="908" height="1153" alt="STUDY OF A YOUNG GIRL, By charles H. Brown, Santa Barbara, Calif." title="STUDY OF A YOUNG GIRLBy charles H. Brown, Santa Barbara, Calif." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">STUDY OF A YOUNG GIRL<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 H. Brown, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">Santa Barbara, Calif.</span></em></div></div> + + +<span class="tei tei-pb" id="page55">[pg 55]</span> +<a name="fig47" id="fig47"></a><div class="tei tei-figure" style="text-align: center"><img src="images/ivyglass.jpg" width="898" height="682" alt="IVY AND OLD GLASS, By Clara E. Sipprell, New York City" title="IVY AND OLD GLASSBy Clara E. Sipprell, New York City" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">IVY AND OLD GLASS<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">Clara E. Sipprell, </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="page56">[pg 56]</span> +<a name="fig48" id="fig48"></a><div class="tei tei-figure" style="text-align: center"><img src="images/rosedanc.jpg" width="906" height="1176" alt="ROSE DANCE, By J. Anthony Bull, Cincinnati, Ohio" title="ROSE DANCEBy J. Anthony Bull, Cincinnati, Ohio" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">ROSE DANCE<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. Anthony Bull, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">Cincinnati, Ohio</span></em></div></div> + + +<span class="tei tei-pb" id="page57">[pg 57]</span> +<a name="fig49" id="fig49"></a><div class="tei tei-figure" style="text-align: center"><img src="images/nursery.jpg" width="910" height="781" alt="A CONCERT IN THE NURSERY, By Frank R. Nivison, Fall River, Mass." title="A CONCERT IN THE NURSERYBy Frank R. Nivison, Fall River, Mass." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">A CONCERT IN THE NURSERY<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">Frank R. Nivison, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">Fall River, Mass.</span></em></div></div> + + +<span class="tei tei-pb" id="page58">[pg 58]</span> +<a name="fig50" id="fig50"></a><div class="tei tei-figure" style="text-align: center"><img src="images/attic.jpg" width="898" height="712" alt="GREY ATTIC, By Edward Weston, Glendale, Calif." title="GREY ATTICBy Edward Weston, Glendale, Calif." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">GREY ATTIC<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, Calif.</span></em></div></div> + + +<span class="tei tei-pb" id="page59">[pg 59]</span> +<a name="fig51" id="fig51"></a><div class="tei tei-figure" style="text-align: center"><img src="images/mudpies.jpg" width="902" height="644" alt="MUD-PIES, By Cornelia F. White, New York City" title="MUD-PIESBy Cornelia F. White, New York City" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">MUD-PIES<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 City</span></em></div></div> + + +<span class="tei tei-pb" id="page60">[pg 60]</span> +<a name="fig52" id="fig52"></a><div class="tei tei-figure" style="text-align: center"><img src="images/carved.jpg" width="891" height="1168" alt="CARVED WITH THE TOOLS OF TIME, THE SCULPTOR, By Edith R. Wilson, Mt. Vernon, N. Y." title="CARVED WITH THE TOOLS OF TIME, THE SCULPTORBy Edith R. Wilson, Mt. Vernon, N. Y." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">CARVED WITH THE TOOLS OF TIME, THE SCULPTOR<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">Mt. Vernon, N. Y.</span></em></div></div> + + +<span class="tei tei-pb" id="page61">[pg 61]</span> +<a name="fig53" id="fig53"></a><div class="tei tei-figure" style="text-align: center"><img src="images/mornglor.jpg" width="905" height="692" alt="MORNING GLORY, By Otis Williams, Los Angeles, Calif." title="MORNING GLORYBy Otis Williams, Los Angeles, Calif." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">MORNING GLORY<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">Otis Williams, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">Los Angeles, Calif.</span></em></div></div> + + +<span class="tei tei-pb" id="page62">[pg 62]</span> +<a name="fig54" id="fig54"></a><div class="tei tei-figure" style="text-align: center"><img src="images/circus.jpg" width="904" height="668" alt="THE CIRCUS COMES TO TOWN, By Thomas R. Hartley, Pittsburgh, Pa." title="THE CIRCUS COMES TO TOWNBy Thomas R. Hartley, Pittsburgh, Pa." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">THE CIRCUS COMES TO 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">Thomas R. Hartley, </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="page63">[pg 63]</span> +<a name="fig55" id="fig55"></a><div class="tei tei-figure" style="text-align: center"><img src="images/autumn.jpg" width="908" height="1101" alt="SEAR AUTUMN, By Anson Herrick, San Francisco, Cal." title="SEAR AUTUMNBy Anson Herrick, San Francisco, Cal." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">SEAR AUTUMN<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">Anson Herrick, </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="page64">[pg 64]</span> +<a name="fig56" id="fig56"></a><div class="tei tei-figure" style="text-align: center"><img src="images/bazar.jpg" width="901" height="670" alt="THE BAZAR, By Margaret D. M. Brown, Arlington, Poughkeepsie, N. Y." title="THE BAZARBy Margaret D. M. Brown, Arlington, Poughkeepsie, N. Y." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">THE BAZAR<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 D. M. Brown, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">Arlington, Poughkeepsie, N. Y.</span></em></div></div> + + +<span class="tei tei-pb" id="page65">[pg 65]</span> +<a name="fig57" id="fig57"></a><div class="tei tei-figure" style="text-align: center"><img src="images/wanderer.jpg" width="913" height="1101" alt="WANDERERS FROM HOME, By P. Douglas Anderson, San Francisco, Calif." title="WANDERERS FROM HOMEBy P. Douglas Anderson, San Francisco, Calif." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">WANDERERS FROM HOME<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">P. Douglas Anderson, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">San Francisco, Calif.</span></em></div></div> + + +<span class="tei tei-pb" id="page66">[pg 66]</span> +<a name="fig58" id="fig58"></a><div class="tei tei-figure" style="text-align: center"><img src="images/decorati.jpg" width="858" height="1283" alt="DECORATIVE STUDY, By Henry A. Hussey, Berkeley, Calif." title="DECORATIVE STUDYBy Henry A. Hussey, Berkeley, Calif." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">DECORATIVE 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">Henry A. Hussey, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">Berkeley, Calif.</span></em></div></div> + + +<span class="tei tei-pb" id="page67">[pg 67]</span> +<a name="fig59" id="fig59"></a><div class="tei tei-figure" style="text-align: center"><img src="images/wayup.jpg" width="899" height="697" alt="THE WAY UP, By Folsom Rich, Chicago, Ill." title="THE WAY UPBy Folsom Rich, Chicago, Ill." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">THE WAY 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">Folsom Rich, </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="page68">[pg 68]</span> +<a name="fig60" id="fig60"></a><div class="tei tei-figure" style="text-align: center"><img src="images/colonel.jpg" width="891" height="1133" alt="COLONEL MARSH, By E. L. Mix, New York City" title="COLONEL MARSHBy E. L. Mix, New York City" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">COLONEL MARSH<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. L. Mix, </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="page69">[pg 69]</span> +<a name="fig61" id="fig61"></a><div class="tei tei-figure" style="text-align: center"><img src="images/shadow.jpg" width="901" height="1193" alt="SHADOW DESIGN, By G. W. Harting, New York City" title="SHADOW DESIGNBy G. W. Harting, New York City" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">SHADOW 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">G. W. Harting, </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="page70">[pg 70]</span> +<a name="fig62" id="fig62"></a><div class="tei tei-figure" style="text-align: center"><img src="images/guingamp.jpg" width="511" height="656" alt="AT GUINGAMP, By Mrs. Antoinette B. Hervey, New York City" title="AT GUINGAMPBy Mrs. Antoinette B. Hervey, New York City" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">AT GUINGAMP<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. Antoinette B. Hervey, </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="page71">[pg 71]</span> +<a name="fig63" id="fig63"></a><div class="tei tei-figure" style="text-align: center"><img src="images/padrehnd.jpg" width="861" height="1256" alt="KISSING THE PADRE'S HAND, By Myers R. Jones, Brooklyn, N. Y." title="KISSING THE PADRE'S HANDBy Myers R. Jones, Brooklyn, N. Y." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">KISSING THE PADRE'S HAND<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">Myers R. Jones, </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="page72">[pg 72]</span> +<a name="fig64" id="fig64"></a><div class="tei tei-figure" style="text-align: center"><img src="images/underbrg.jpg" width="846" height="1273" alt="UNDER BROOKLYN BRIDGE, By A. E. Schaaf, Cleveland, Ohio" title="UNDER BROOKLYN BRIDGEBy A. E. Schaaf, Cleveland, Ohio" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">UNDER BROOKLYN 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">A. E. Schaaf, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">Cleveland, Ohio</span></em></div></div> + + +<span class="tei tei-pb" id="page73">[pg 73]</span> +<a name="fig65" id="fig65"></a><div class="tei tei-figure" style="text-align: center"><img src="images/bridges.jpg" width="901" height="731" alt="THE BRIDGES, By Henry Hoyt Moore, Brooklyn, N. Y." title="THE BRIDGESBy Henry Hoyt Moore, Brooklyn, N. Y." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">THE BRIDGES<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="page74">[pg 74]</span> +<a name="fig66" id="fig66"></a><div class="tei tei-figure" style="text-align: center"><img src="images/rapids.jpg" width="902" height="703" alt="WHIRLPOOL RAPIDS, NIAGARA, By William A. Alcock, New York City" title="WHIRLPOOL RAPIDS, NIAGARABy William A. Alcock, New York City" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">WHIRLPOOL RAPIDS, NIAGARA<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 A. Alcock, </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="page75">[pg 75]</span> +<a name="fig67" id="fig67"></a><div class="tei tei-figure" style="text-align: center"><img src="images/study.jpg" width="563" height="706" alt="STUDY, By A. Ralph Steiner, New York City" title="STUDYBy A. Ralph Steiner, New York City" /><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">A. Ralph Steiner, </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="page76">[pg 76]</span> +<a name="fig68" id="fig68"></a><div class="tei tei-figure" style="text-align: center"><img src="images/domsymph.jpg" width="888" height="1168" alt="DOMESTIC SYMPHONY, By Margaret Watkins, New York City" title="DOMESTIC SYMPHONYBy Margaret Watkins, New York City" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">DOMESTIC SYMPHONY<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 Watkins, </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="page77">[pg 77]</span> +<a name="fig69" id="fig69"></a><div class="tei tei-figure" style="text-align: center"><img src="images/sunlight.jpg" width="898" height="863" alt="MORNING SUNLIGHT, By Ira W. Martin, New York City" title="MORNING SUNLIGHTBy Ira W. Martin, New York City" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">MORNING SUNLIGHT<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">Ira W. Martin, </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="page78">[pg 78]</span> +<a name="fig70" id="fig70"></a><div class="tei tei-figure" style="text-align: center"><img src="images/mandalay.jpg" width="903" height="1158" alt="L'ESPRIT DE MANDALAY, By J. Ludger Rainville, Portland, Me." title="L'ESPRIT DE MANDALAYBy J. Ludger Rainville, Portland, Me." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">L'ESPRIT DE MANDALAY<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. Ludger Rainville, </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="page79">[pg 79]</span> +<a name="fig71" id="fig71"></a><div class="tei tei-figure" style="text-align: center"><img src="images/gorge.jpg" width="901" height="695" alt="THE GORGE BELOW THE WHIRLPOOL, NIAGARA, By W. H. Porterfield, Buffalo, N. Y." title="THE GORGE BELOW THE WHIRLPOOL, NIAGARABy W. H. Porterfield, Buffalo, N. Y." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">THE GORGE BELOW THE WHIRLPOOL, NIAGARA<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="page80">[pg 80]</span> +<a name="fig72" id="fig72"></a><div class="tei tei-figure" style="text-align: center"><img src="images/grlblack.jpg" width="901" height="1131" alt="PORTRAIT—GIRL IN BLACK, By Rabinovitch, New York City" title="PORTRAIT—GIRL IN BLACKBy Rabinovitch, New York City" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">PORTRAIT—GIRL IN BLACK<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-style: italic">Rabinovitch, </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="page81">[pg 81]</span> +<a name="fig73" id="fig73"></a><div class="tei tei-figure" style="text-align: center"><img src="images/toilers.jpg" width="899" height="719" alt="THE TOILERS, By Edward Ostrom, Jr., Brooklyn, N. Y." title="THE TOILERSBy Edward Ostrom, Jr., Brooklyn, N. Y." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">THE TOILERS<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 Ostrom, Jr., </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="page82">[pg 82]</span> +<a name="fig74" id="fig74"></a><div class="tei tei-figure" style="text-align: center"><img src="images/fromwind.jpg" width="586" height="857" alt="FROM MY WINDOW, By Betty Gresh, Norristown, Penn." title="FROM MY WINDOWBy Betty Gresh, Norristown, Penn." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">FROM MY 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">Betty Gresh, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">Norristown, Penn.</span></em></div></div> + + +<span class="tei tei-pb" id="page83">[pg 83]</span> +<a name="fig75" id="fig75"></a><div class="tei tei-figure" style="text-align: center"><img src="images/american.jpg" width="901" height="1248" alt="YOUNG AMERICAN, By Louis Fleckenstein, Long Beach, Calif." title="YOUNG AMERICANBy Louis Fleckenstein, Long Beach, Calif." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">YOUNG AMERICAN<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">Long Beach, Calif.</span></em></div></div> + + +<span class="tei tei-pb" id="page84">[pg 84]</span> +<a name="fig76" id="fig76"></a><div class="tei tei-figure" style="text-align: center"><img src="images/mesadmar.jpg" width="898" height="703" alt="MESA DEL MAR, By G. H. S. Harding, Berkeley, Calif." title="MESA DEL MARBy G. H. S. Harding, Berkeley, Calif." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">MESA DEL MAR<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, Calif.</span></em></div></div> + + +<span class="tei tei-pb" id="page85">[pg 85]</span> +<a name="fig77" id="fig77"></a><div class="tei tei-figure" style="text-align: center"><img src="images/seine.jpg" width="898" height="691" alt="SEINE BOATS, By William B. Imlach, New York City" title="SEINE BOATSBy William B. Imlach, New York City" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">SEINE 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">William B. Imlach, </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="page86">[pg 86]</span> +<a name="fig78" id="fig78"></a><div class="tei tei-figure" style="text-align: center"><img src="images/moon.jpg" width="908" height="727" alt="THE MOON OF THE RED GODS, By Laura Gilpin, Colorado Springs, Colo." title="THE MOON OF THE RED GODSBy Laura Gilpin, Colorado Springs, Colo." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">THE MOON OF THE RED GODS<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, Colo.</span></em></div></div> + + +<span class="tei tei-pb" id="page87">[pg 87]</span> +<a name="fig79" id="fig79"></a><div class="tei tei-figure" style="text-align: center"><img src="images/highseas.jpg" width="898" height="622" alt="HIGH SEAS, By Joseph Petrocelli, New York City" title="HIGH SEASBy Joseph Petrocelli, New York City" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">HIGH SEAS<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">Joseph Petrocelli, </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="page88">[pg 88]</span> +<a name="fig80" id="fig80"></a><div class="tei tei-figure" style="text-align: center"><img src="images/sixthave.jpg" width="901" height="1158" alt="SIXTH AVENUE, NEW YORK CITY, By Ben J. Lubschez, New York City" title="SIXTH AVENUE, NEW YORK CITYBy Ben J. Lubschez, New York City" /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">SIXTH AVENUE, NEW YORK CITY<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">Ben J. Lubschez, </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="page89">[pg 89]</span> +<a name="fig81" id="fig81"></a><div class="tei tei-figure" style="text-align: center"><img src="images/hillside.jpg" width="898" height="626" alt="HILLSIDE SHADOWS, By Charles K. Archer, Pittsburgh, Pa." title="HILLSIDE SHADOWSBy Charles K. Archer, Pittsburgh, Pa." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">HILLSIDE SHADOWS<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 K. Archer, </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="page90">[pg 90]</span> +<a name="fig82" id="fig82"></a><div class="tei tei-figure" style="text-align: center"><img src="images/chickens.jpg" width="901" height="1103" alt="MOTHER CAREY'S CHICKENS COME HOME TO ROOST, By Herbert B. Turner, Boston, Mass." title="MOTHER CAREY'S CHICKENS COME HOME TO ROOSTBy Herbert B. Turner, Boston, Mass." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">MOTHER CAREY'S CHICKENS COME HOME TO ROOST<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">Herbert B. Turner, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">Boston, Mass.</span></em></div></div> + + +<span class="tei tei-pb" id="page91">[pg 91]</span> +<a name="fig83" id="fig83"></a><div class="tei tei-figure" style="text-align: center"><img src="images/schoolyrd.jpg" width="891" height="1198" alt="THE SCHOOL YARD, By Vernon E. Duroe, Brooklyn, N. Y." title="THE SCHOOL YARDBy Vernon E. Duroe, Brooklyn, N. Y." /><div class="tei tei-head" style="text-align: center; margin-bottom: 1.00em; margin-top: 1.00em">THE SCHOOL YARD<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 E. Duroe, </span></span><em class="tei tei-emph" style="text-align: center"><span style="font-style: italic">Brooklyn, N. Y.</span></em></div></div> + +</div> + + +<hr class="doublepage" /><div class="tei tei-back" style="margin-bottom: 2.00em; margin-top: 6.00em"> +<hr class="doublepage" /><div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em"> + <a name="toc84" id="toc84"></a> + <a name="pdf85" id="pdf85"></a> +<span class="tei tei-pb" id="page93">[pg 93]</span> +<h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">THE PURPOSE OF THE PICTORIAL PHOTOGRAPHERS OF AMERICA</span></h1> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +To stimulate and encourage those engaged and interested in the Art of Photography; to honor those who have given valuable service to the advancement of Photography; to form centers for intercourse and for exchange of views; to facilitate the formation of centers where the photographers may be always seen and purchased by the public; to enlist the aid of museums and public libraries in adding photographic prints to their departments; to stimulate public taste through exhibitions, lectures, and publication; to invite exhibits of foreign work and encourage participation in exhibitions held in foreign countries; to promote education in this Art so as to raise the standards of Photography in the United States of America. +</p> +<div class="tei tei-tb">* </div> +</div> + +<hr class="doublepage" /><div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em"> + <a name="toc86" id="toc86"></a> + <a name="pdf87" id="pdf87"></a> +<span class="tei tei-pb" id="page95">[pg 95]</span> +<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> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Some five years ago a small group of photographers in New York City and vicinity formed a nucleus for the institution of a society. Its name was ambitious—The Pictorial Photographers of America; its aims and objects sounded visionary, almost fantastic. Already many times printed, they bear repetition and have been incorporated in a separate page in this book. In one sense these aims were visionary, because they were thought out and formulated by men of vision, who now stand justified: in hardly one of these directions have we failed to make important advance and in many we have pushed far. But we do not rest upon what we have done; in none of these pursuits can we pause and say <span class="tei tei-q">“It is accomplished”</span>; much remains to be achieved in every line; new activities constantly present themselves; and the maintenance of each of our undertakings implies continuance of effort nearly as strenuous as that of its initiative. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +In the Art Center, from its inception as a mere idea, the Pictorial Photographers of America have been active. This Institution, enthusiastically planned and rapidly carried forward, has been since November, 1921, an accomplished fact. It is devoted to the development and association of various Arts and Crafts, to interesting the public therein and, particularly, to bringing producer and user together. It is compounded of the seven following Societies, to wit: Art Alliance of America, Art Directors Club, American Institute of Graphic Arts, New York Society of Craftsmen, Society of Illustrators, the Stowaways and the Pictorial Photographers of America, which together own a fine, large, centrally situated building, completely remodeled for their occupation and divided into galleries, meeting rooms and executive offices. The Pictorial Photographers, besides holding their general meetings in one of the larger rooms and sharing the lounge for social purposes, have now their own room (with attendance) which, accessible day and evening, will be a meeting place for our members, resident and non-resident, and a center from which we may get into touch with one another; a place for the continuous exhibition of prints upon the walls and in portfolios, where art lovers, buyers and advertisers can see and, if they wish, arrange to buy our work or come into communication with our workers; a reading room supplied with recent photographic magazines and literature; and a publicity bureau with a bulletin board displaying announcements of current and future local and national photographic events. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +The usual series of monthly meetings has been held throughout the past season, with a larger attendance than heretofore. Our first meeting was the usual informal <span class="tei tei-q">“get-together”</span> dinner. Our second took place in the opening week of the Art Center: we held an informal reception during the afternoon and in the evening gave a large dinner to our members and friends. Mrs. Ripley Hitchcock was our guest of honor. Our general meeting followed, at which +<span class="tei tei-pb" id="page96">[pg 96]</span> +Mr. Ben J. Lubschez addressed a large audience upon the <span class="tei tei-q">“Story of the Motion Picture,”</span> followed by Mr. Herbert J. Seligman upon <span class="tei tei-q">“Cinema Plastik.”</span> At our succeeding meetings we have had the pleasure of listening to Mr. William H. Zerbe, Mr. Richard M. Coit, Mr. Ira W. Martin, Mr. Pirie MacDonald, Mr. Edward Penfield, Mr. Fred Dana Marsh and Mr. Alexander P. Milne. Interest in the monthly print contests held at these meetings has been maintained and the value of the feature demonstrated by the gain in number and quality of the entries. We hope during the succeeding year to keep the monthly prints upon exhibition until the following meeting, believing that this measure will both stimulate those who show and benefit those who look. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +As a part of the general exhibition of all the conjoined Societies throughout the opening month of the Art Center (November, 1921) we presented a collection of one hundred and sixty-two prints from our own membership, filling one of the large galleries upon the ground floor. This Exhibition, representing all parts of the country, was exceedingly well received and, under the charge of the American Federation of Arts, was afterwards shown in Corvallis, Oregon; Emporia, Kansas; College Station, Texas; and Greeley, Colorado. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +During the past summer we have shown at the Art Center a collection of fifty prints from the Copenhagen Photographic Amateur Club. We have thus enjoyed the double privilege of in some measure returning the courtesy of the Copenhagen Club, who invited us to cooperate in their Twenty-fifth Anniversary Exhibition, and of seeing and showing representative and distinguished work from the members of this Club. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +A periodical Bulletin of the meetings, activities and news of the Society, long contemplated, has been established, which through the ensuing year we expect to issue monthly in the shape of an eight-page miniature magazine. The Art Center has also undertaken the issue of a monthly Bulletin of the conjoined Societies, in which we shall have our proportionate share. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +In conjunction with the <em class="tei tei-emph"><span style="font-style: italic">Shadowland Magazine</span></em> we have begun a series of monthly print contests, in which the magazine offers to the winners not only valuable prizes but expert reproduction and wide publicity. Though not many months in operation, entries and awards have been encouraging and interest has been aroused abroad, even so far as China, as well as at home. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +We have become affiliated with <em class="tei tei-emph"><span style="font-style: italic">The Club Photographer</span></em> of Great Britain, contributing the articles and illustrations of the issue for April, 1922, and have been invited to supply such material in the future for one number per year. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +It is interesting to note that, besides satisfactory sales at home, we received from Japan two large orders for <em class="tei tei-emph"><span style="font-style: italic">Pictorial Photography in America</span></em> for 1921. +</p> +<div class="tei tei-tb"><hr style="width: 80%" /></div> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Our year has been shadowed by the death of Edward R. Dickson, one of the Society's most enthusiastic founders and active promoters. We can do no better than to quote the brief memorial account of his life, written at the time of his death by a few of his intimate friends. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-q">“On March 5, 1922, occurred the untimely death of Edward R. Dickson, one of the most eager and gifted workers in the group of men and women devoting themselves to pictorial photography. He was born in Quito, Ecuador, forty-two years ago. According to the custom in Ecuador, he, as the eldest son, was sent abroad, to London, to finish his education. He returned home only to find that he had outgrown the thought and customs of his country. He therefore returned to England, and later, in 1903, came to New York. Here he joined the staff of the Marine Engine Corporation, later merged with the Otis Elevator Company. His chief interest, however, was not in engineering but in art. He was a friend and pupil of Clarence H. White, and for many +<span class="tei tei-pb" id="page97">[pg 97]</span> +years devoted every moment of his spare time to artistic creation. In 1917 he cut loose from his his business moorings and embarked on the great adventure of his life. Henceforth until his death he devoted himself wholly to creative work in photography.</span> +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-q">“The later years of his life were spent in that part of Manhattan, beyond Dyckman Street, known as Inwood. That section of the Island he very much loved, and many of his pictures were taken in or around those wooded heights overlooking Spuyten Duyvil. These pictures include a series of illustrations to Stephen Phillips' poem, <span class="tei tei-q">‘Marpessa.’</span></span> +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-q">“It was in October, 1913, that Mr. Dickson published the first number of <span class="tei tei-title"><span style="font-style: italic">Platinum Print</span></span>, <span class="tei tei-q">‘a journal of personal expression.’</span> Between that date and October, 1917, eleven numbers of this remarkable magazine were published, the last two under the title of <span class="tei tei-title"><span style="font-style: italic">Photo-Graphic Art</span></span>.</span> +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-q">“He was one of the founders in 1916 of the Pictorial Photographers of America and was secretary to that organization until 1920. In 1921 he completed the editing of the <span class="tei tei-q">‘Poems of the Dance,’</span> an anthology illustrated by his own photographs, which was published in the same year. At the time of his death he was at work on other projects, which would have been genuine contributions.</span> +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +We have also been saddened by the death of Richard H. Rice, which occurred last February and cost the country one of its wisest industrial leaders. Becoming manager of the Lynn Works of the General Electric Company during a great strike, he had made them famous for productive cooperation. His methods have been generally copied; and the confidence and support of his twelve thousand workmen and women were due to his devotion and his inviolable sense of justice. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Photography was his refuge from pressing affairs. With the engineer's skill and interest in processes and a keen love of natural beauty, he produced during his last decade half a hundred landscape studies of a reticent and enduring beauty. The scant leisure of his last winter had been spent in preparing these for exhibition, and they remain as a characteristic memorial to an unusual personality. +</p> +<div class="tei tei-tb"><hr style="width: 80%" /></div> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +In this book, our third Pictorial Annual, we offer the choice of our Jury from nearly a thousand prints, selected without regard to membership in the organization and solely with the intention of exhibiting the best that America can produce. We are grateful to all who have contributed, whether successfully or not, for their encouragement and support, often by letter as well as by entries; to the Jury of Selection for their careful, painstaking judgment; to our Committee on Publication for its detailed and arduous work; to our engravers and printers for their preparation and presentation of our material; to all, in fact, who have cooperated in making <span class="tei tei-title"><span style="font-style: italic">Pictorial Photography in America for 1922</span></span> a good record of current American Photographic Art. +</p> +<div class="tei tei-closer"> +<div class="tei tei-signed" style="text-align: right"> +<span class="tei tei-hi" style="text-align: right"><span style="font-variant: small-caps">Amasa Day Chaffee</span></span>, <em class="tei tei-emph" style="text-align: right"><span style="font-style: italic">President.</span></em> +</div> +<div class="tei tei-dateline">The Art Center<br />Sixty-five East Fifty-sixth Street, <br />New York City. +</div> +</div> + +<span class="tei tei-pb" id="page98">[pg 98]</span> +<div class="tei tei-figure" style="text-align: center"><img src="images/adkodak.jpg" width="851" height="1198" alt="Advertisement: Eastman Kodak Company" /></div> + +<span class="tei tei-pb" id="page99">[pg 99]</span> +<div class="tei tei-figure" style="text-align: center"><img src="images/adzeiss.jpg" width="841" height="1196" alt="Advertisement: Harold M. Bennett" /></div> + +<span class="tei tei-pb" id="page100">[pg 100]</span> +<div class="tei tei-figure" style="text-align: center"><img src="images/adbeck.jpg" width="858" height="1198" alt="Advertisement: The Beck Engraving Company" /></div> + +<span class="tei tei-pb" id="page101">[pg 101]</span> +<div class="tei tei-figure" style="text-align: center"><img src="images/adroehrg.jpg" width="851" height="1201" alt="Advertisement: Roehrig-Bielenberg Co., Inc." /></div> + +<span class="tei tei-pb" id="page102">[pg 102]</span> +<div class="tei tei-figure" style="text-align: center"><img src="images/adwollen.jpg" width="846" height="1191" alt="Advertisement: Wollensack Optical Company" /></div> + +<span class="tei tei-pb" id="page103">[pg 103]</span> +<div class="tei tei-figure" style="text-align: center"><img src="images/addejong.jpg" width="846" height="1193" alt="Advertisement: Louis Dejonge and Company" /></div> + +<span class="tei tei-pb" id="page104">[pg 104]</span> +<div class="tei tei-figure" style="text-align: center"><img src="images/adgraf.jpg" width="843" height="1181" alt="Advertisement: Graf Super Lenses" /></div> + +<span class="tei tei-pb" id="page105">[pg 105]</span> +<div class="tei tei-figure" style="text-align: center"><img src="images/adpinkcc.jpg" width="853" height="1188" alt="Advertisements: Pinkham and Smith Company, Camera Craft Publishing Company" /></div> + +<span class="tei tei-pb" id="page106">[pg 106]</span> +<div class="tei tei-figure" style="text-align: center"><img src="images/adjapan.jpg" width="841" height="1196" alt="Advertisements: Japan Paper Company, New York Camera Exchange" /></div> + +<span class="tei tei-pb" id="page107">[pg 107]</span> +<div class="tei tei-figure" style="text-align: center"><img src="images/adsplwil.jpg" width="851" height="1188" alt="Advertisements: Hathaway-Dunn, Willoughby's" /></div> + +<span class="tei tei-pb" id="page108">[pg 108]</span> +<div class="tei tei-figure" style="text-align: center"><img src="images/adaldrad.jpg" width="1056" height="1453" alt="Advertisements: J. L. Lewis, Inc., Gundlach-Manhattan Optical Company" /></div> + +<span class="tei tei-pb" id="page109">[pg 109]</span> +<div class="tei tei-figure" style="text-align: center"><img src="images/admurabe.jpg" width="873" height="1203" alt="Advertisements: George Murphy, Inc.; Abe Cohen's Exchange, Inc." /></div> + +<span class="tei tei-pb" id="page110">[pg 110]</span> +<div class="tei tei-figure" style="text-align: center"><img src="images/adrudge.jpg" width="853" height="1271" alt="Advertisement: William Edward Rudge, New York City" /></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 1922*** +</pre><hr class="doublepage" /><div class="tei tei-div" style="margin-bottom: 3.00em; margin-top: 3.00em"><a name="rightpageheader88" id="rightpageheader88"></a><a name="pgtoc89" id="pgtoc89"></a><a name="pdf90" id="pdf90"></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 8, 2009 </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="rightpageheader91" id="rightpageheader91"></a><a name="pgtoc92" id="pgtoc92"></a><a name="pdf93" id="pdf93"></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 + 28024-h.html or + 28024-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/2/8/0/2/28024/" 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/2/8/0/2/28024/</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. Project Gutenberg is a registered + trademark, and may not be used if you charge for the eBooks, + unless you receive specific permission. If you do not charge + anything for copies of this eBook, complying with the rules is + very easy. You may use this eBook for nearly any purpose such as + creation of derivative works, reports, performances and research. + They may be modified and printed and given away — you may do + practically <em class="tei tei-emph"><span style="font-style: italic">anything</span></em> with public domain eBooks. + Redistribution is subject to the trademark license, especially + commercial redistribution.</p></div><hr class="page" /><div id="pglicense" class="tei tei-div" style="margin-bottom: 3.00em; margin-top: 3.00em"><a name="rightpageheader94" id="rightpageheader94"></a><a name="pgtoc95" id="pgtoc95"></a><a name="pdf96" id="pdf96"></a><h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">The Full Project Gutenberg License</span></h1><p class="tei tei-p" style="margin-bottom: 1.00em"><em class="tei tei-emph"><span style="font-style: italic">Please read this before you distribute or use this + work.</span></em></p><p class="tei tei-p" style="margin-bottom: 1.00em">To protect the Project Gutenberg™ mission of promoting the free + distribution of electronic works, by using or distributing + this work (or any other work associated in any way with the + phrase <span class="tei tei-q">“Project Gutenberg”</span>), you agree to comply with all the terms + of the Full Project Gutenberg™ License (<a href="#pglicense" class="tei tei-ref">available with this file</a> or online + at <a href="http://www.gutenberg.org/license" class="tei tei-xref">http://www.gutenberg.org/license</a>).</p><div id="pglicense1" class="tei tei-div" style="margin-bottom: 2.00em; margin-top: 2.00em"><h2 class="tei tei-head" style="text-align: left; margin-bottom: 2.88em; margin-top: 2.88em"><span style="font-size: 144%">Section 1.</span></h2><h2 class="tei tei-head" style="text-align: center; margin-bottom: 2.40em; margin-top: 2.40em"><span style="font-size: 120%">General Terms of Use & Redistributing Project Gutenberg™ + electronic works</span></h2><div id="pglicense1A" class="tei tei-div" style="margin-bottom: 2.00em; margin-top: 2.00em"><h3 class="tei tei-head" style="text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"><span style="font-size: 120%">1.A.</span></h3><p class="tei tei-p" style="margin-bottom: 1.00em">By reading or using any part of this Project Gutenberg™ electronic + work, you indicate that you have read, understand, agree to + and accept all the terms of this license and intellectual + property (trademark/copyright) agreement. If you do not agree + to abide by all the terms of this agreement, you must cease + using and return or destroy all copies of Project Gutenberg™ electronic + works in your possession. If you paid a fee for obtaining a + copy of or access to a Project Gutenberg™ electronic work and you do not + agree to be bound by the terms of this agreement, you may + obtain a refund from the person or entity to whom you paid the + fee as set forth in paragraph <a href="#pglicense1E8" class="tei tei-ref">1.E.8.</a></p></div><div id="pglicense1B" class="tei tei-div" style="margin-bottom: 2.00em; margin-top: 2.00em"><h3 class="tei tei-head" style="text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"><span style="font-size: 120%">1.B.</span></h3><p class="tei tei-p" style="margin-bottom: 1.00em"><span class="tei tei-q">“Project Gutenberg”</span> is a registered trademark. It may only be used on or + associated in any way with an electronic work by people who agree to be + bound by the terms of this agreement. There are a few things that you + can do with most Project Gutenberg™ electronic works even without complying with the + full terms of this agreement. See paragraph <a href="#pglicense1C" class="tei tei-ref">1.C</a> below. There are a lot of things you can + do with Project Gutenberg™ electronic works if you follow the terms of this + agreement and help preserve free future access to Project Gutenberg™ electronic + works. See paragraph <a href="#pglicense1E" class="tei tei-ref">1.E</a> below.</p></div><div id="pglicense1C" class="tei tei-div" style="margin-bottom: 2.00em; margin-top: 2.00em"><h3 class="tei tei-head" style="text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"><span style="font-size: 120%">1.C.</span></h3><p class="tei tei-p" style="margin-bottom: 1.00em">The Project Gutenberg Literary Archive Foundation (<span class="tei tei-q">“the Foundation”</span> or PGLAF), owns a compilation + copyright in the collection of Project Gutenberg™ electronic works. Nearly all the + individual works in the collection are in the public domain in the + United States. If an individual work is in the public domain in the + United States and you are located in the United States, we do not claim + a right to prevent you from copying, distributing, performing, + displaying or creating derivative works based on the work as long as all + references to Project Gutenberg are removed. Of course, we hope that you will support + the Project Gutenberg™ mission of promoting free access to electronic works by + freely sharing Project Gutenberg™ works in compliance with the terms of this + agreement for keeping the Project Gutenberg™ name associated with the work. You can + easily comply with the terms of this agreement by keeping this work in + the same format with its attached full Project Gutenberg™ License when you share it + without charge with others.</p></div><div id="pglicense1D" class="tei tei-div" style="margin-bottom: 2.00em; margin-top: 2.00em"><h3 class="tei tei-head" style="text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"><span style="font-size: 120%">1.D.</span></h3><p class="tei tei-p" style="margin-bottom: 1.00em">The copyright laws of the place where you are located also govern + what you can do with this work. Copyright laws in most countries are in + a constant state of change. If you are outside the United States, check + the laws of your country in addition to the terms of this agreement + before downloading, copying, displaying, performing, distributing or + creating derivative works based on this work or any other Project Gutenberg™ work. + The Foundation makes no representations concerning the copyright status + of any work in any country outside the United States.</p></div><div id="pglicense1E" class="tei tei-div" style="margin-bottom: 2.00em; margin-top: 2.00em"><h3 class="tei tei-head" style="text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"><span style="font-size: 120%">1.E.</span></h3><p class="tei tei-p" style="margin-bottom: 1.00em">Unless you have removed all references to Project Gutenberg:</p><div id="pglicense1E1" class="tei tei-div" style="margin-bottom: 2.00em; margin-top: 2.00em"><h4 class="tei tei-head" style="text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">1.E.1.</h4><p class="tei tei-p" style="margin-bottom: 1.00em">The following sentence, with active links to, or other immediate + access to, the full Project Gutenberg™ License must appear prominently whenever any + copy of a Project Gutenberg™ work (any work on which the phrase <span class="tei tei-q">“Project Gutenberg”</span> + appears, or with which the phrase <span class="tei tei-q">“Project Gutenberg”</span> is associated) is + accessed, displayed, performed, viewed, copied or distributed: + + </p><div class="block tei tei-q" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"><p class="tei tei-p" style="margin-bottom: 0.90em"><span style="font-size: 90%">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 </span><a href="http://www.gutenberg.org" class="tei tei-xref"><span style="font-size: 90%">http://www.gutenberg.org</span></a></p></div></div><div id="pglicense1E2" class="tei tei-div" style="margin-bottom: 2.00em; margin-top: 2.00em"><h4 class="tei tei-head" style="text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">1.E.2.</h4><p class="tei tei-p" style="margin-bottom: 1.00em">If an individual Project Gutenberg™ electronic work is derived from the public + domain (does not contain a notice indicating that it is posted with + permission of the copyright holder), the work can be copied and + distributed to anyone in the United States without paying any fees or + charges. If you are redistributing or providing access to a work with + the phrase <span class="tei tei-q">“Project Gutenberg”</span> associated with or appearing on the work, you + must comply either with the requirements of paragraphs <a href="#pglicense1E1" class="tei tei-ref">1.E.1</a> through 1.E.7 or obtain permission for + the use of the work and the Project Gutenberg™ trademark as set forth in paragraphs + <a href="#pglicense1E8" class="tei tei-ref">1.E.8</a> or 1.E.9.</p></div><div id="pglicense1E3" class="tei tei-div" style="margin-bottom: 2.00em; margin-top: 2.00em"><h4 class="tei tei-head" style="text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">1.E.3.</h4><p class="tei tei-p" style="margin-bottom: 1.00em">If an individual Project Gutenberg™ electronic work is posted with the permission + of the copyright holder, your use and distribution must comply with both + paragraphs <a href="#pglicense1E1" class="tei tei-ref">1.E.1</a> through 1.E.7 and any + additional terms imposed by the copyright holder. Additional terms will + be linked to the Project Gutenberg™ License for all works posted with the permission + of the copyright holder found at the beginning of this work.</p></div><div id="pglicense1E4" class="tei tei-div" style="margin-bottom: 2.00em; margin-top: 2.00em"><h4 class="tei tei-head" style="text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">1.E.4.</h4><p class="tei tei-p" style="margin-bottom: 1.00em">Do not unlink or detach or remove the full Project Gutenberg™ License terms from + this work, or any files containing a part of this work or any other work + associated with Project Gutenberg™.</p></div><div id="pglicense1E5" class="tei tei-div" style="margin-bottom: 2.00em; margin-top: 2.00em"><h4 class="tei tei-head" style="text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">1.E.5.</h4><p class="tei tei-p" style="margin-bottom: 1.00em">Do not copy, display, perform, distribute or redistribute this + electronic work, or any part of this electronic work, without + prominently displaying the sentence set forth in paragraph <a href="#pglicense1E1" class="tei tei-ref">1.E.1</a> with active links or immediate access + to the full terms of the Project Gutenberg™ License.</p></div><div id="pglicense1E6" class="tei tei-div" style="margin-bottom: 2.00em; margin-top: 2.00em"><h4 class="tei tei-head" style="text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">1.E.6.</h4><p class="tei tei-p" style="margin-bottom: 1.00em">You may convert to and distribute this work in any binary, + compressed, marked up, nonproprietary or proprietary form, including + any word processing or hypertext form. However, if you provide access + to or distribute copies of a Project Gutenberg™ work in a format other than + <span class="tei tei-q">“Plain Vanilla ASCII”</span> or other format used in the official + version posted on the official Project Gutenberg™ web site (http://www.gutenberg.org), you must, at + no additional cost, fee or expense to the user, provide a copy, a + means of exporting a copy, or a means of obtaining a copy upon + request, of the work in its original <span class="tei tei-q">“Plain Vanilla ASCII”</span> or + other form. Any alternate format must include the full Project Gutenberg™ License + as specified in paragraph <a href="#pglicense1E1" class="tei tei-ref">1.E.1.</a></p></div><div id="pglicense1E7" class="tei tei-div" style="margin-bottom: 2.00em; margin-top: 2.00em"><h4 class="tei tei-head" style="text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">1.E.7.</h4><p class="tei tei-p" style="margin-bottom: 1.00em">Do not charge a fee for access to, viewing, displaying, performing, + copying or distributing any Project Gutenberg™ works unless you comply with + paragraph <a href="#pglicense1E8" class="tei tei-ref">1.E.8</a> or 1.E.9.</p></div><div id="pglicense1E8" class="tei tei-div" style="margin-bottom: 2.00em; margin-top: 2.00em"><h4 class="tei tei-head" style="text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">1.E.8.</h4><p class="tei tei-p" style="margin-bottom: 1.00em">You may charge a reasonable fee for copies of or providing access to + or distributing Project Gutenberg™ electronic works provided that</p><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"><p class="tei tei-p" style="margin-bottom: 1.00em">You pay a royalty fee of 20% of the gross profits you derive from + the use of Project Gutenberg™ works calculated using the method you already use to + calculate your applicable taxes. The fee is owed to the owner of the + Project Gutenberg™ trademark, but he has agreed to donate royalties under this + paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days + following each date on which you prepare (or are legally required to + prepare) your periodic tax returns. Royalty payments should be clearly + marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in <a href="#pglicense4" class="tei tei-ref">Section 4, <span class="tei tei-q">“Information about donations to the + Project Gutenberg Literary Archive Foundation.”</span></a></p></td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item"><p class="tei tei-p" style="margin-bottom: 1.00em">You provide a full refund of any money paid by a user who notifies + you in writing (or by e-mail) within 30 days of receipt that s/he does + not agree to the terms of the full Project Gutenberg™ License. You must require such + a user to return or destroy all copies of the works possessed in a + physical medium and discontinue all use of and all access to other + copies of Project Gutenberg™ works.</p></td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item"><p class="tei tei-p" style="margin-bottom: 1.00em">You provide, in accordance with paragraph <a href="#pglicense1F3" class="tei tei-ref">1.F.3</a>, a full refund of any money paid for a + work or a replacement copy, if a defect in the electronic work is + discovered and reported to you within 90 days of receipt of the + work.</p></td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item"><p class="tei tei-p" style="margin-bottom: 1.00em">You comply with all other terms of this agreement for free + distribution of Project Gutenberg™ works.</p></td></tr></tbody></table></div><div id="pglicense1E9" class="tei tei-div" style="margin-bottom: 2.00em; margin-top: 2.00em"><h4 class="tei tei-head" style="text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">1.E.9.</h4><p class="tei tei-p" style="margin-bottom: 1.00em">If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or + group of works on different terms than are set forth in this agreement, + you must obtain permission in writing from both the Project Gutenberg Literary Archive Foundation and Michael + Hart, the owner of the Project Gutenberg™ trademark. Contact the Foundation as set + forth in <a href="#pglicense3" class="tei tei-ref">Section 3</a> below.</p></div></div><div id="pglicense1F" class="tei tei-div" style="margin-bottom: 2.00em; margin-top: 2.00em"><h3 class="tei tei-head" style="text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"><span style="font-size: 120%">1.F.</span></h3><div id="pglicense1F1" class="tei tei-div" style="margin-bottom: 2.00em; margin-top: 2.00em"><h4 class="tei tei-head" style="text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">1.F.1.</h4><p class="tei tei-p" style="margin-bottom: 1.00em">Project Gutenberg volunteers and employees expend considerable effort to identify, + do copyright research on, transcribe and proofread public domain works + in creating the Project Gutenberg™ collection. Despite these efforts, Project Gutenberg™ + electronic works, and the medium on which they may be stored, may + contain <span class="tei tei-q">“Defects,”</span> such as, but not limited to, incomplete, + inaccurate or corrupt data, transcription errors, a copyright or other + intellectual property infringement, a defective or damaged disk or other + medium, a computer virus, or computer codes that damage or cannot be + read by your equipment.</p></div><div id="pglicense1F2" class="tei tei-div" style="margin-bottom: 2.00em; margin-top: 2.00em"><h4 class="tei tei-head" style="text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">1.F.2.</h4><p class="tei tei-p" style="margin-bottom: 1.00em">LIMITED WARRANTY, DISCLAIMER OF DAMAGES — Except for the <span class="tei tei-q">“Right of + Replacement or Refund”</span> described in <a href="#pglicense1F3" class="tei tei-ref">paragraph + 1.F.3</a>, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg™ trademark, and any + other party distributing a Project Gutenberg™ electronic work under this agreement, + disclaim all liability to you for damages, costs and expenses, including + legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT + LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE + PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK + OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO + YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL + DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE.</p></div><div id="pglicense1F3" class="tei tei-div" style="margin-bottom: 2.00em; margin-top: 2.00em"><h4 class="tei tei-head" style="text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">1.F.3.</h4><p class="tei tei-p" style="margin-bottom: 1.00em">LIMITED RIGHT OF REPLACEMENT OR REFUND — If you discover a defect in + this electronic work within 90 days of receiving it, you can receive a + refund of the money (if any) you paid for it by sending a written + explanation to the person you received the work from. If you received + the work on a physical medium, you must return the medium with your + written explanation. The person or entity that provided you with the + defective work may elect to provide a replacement copy in lieu of a + refund. If you received the work electronically, the person or entity + providing it to you may choose to give you a second opportunity to + receive the work electronically in lieu of a refund. If the second copy + is also defective, you may demand a refund in writing without further + opportunities to fix the problem.</p></div><div id="pglicense1F4" class="tei tei-div" style="margin-bottom: 2.00em; margin-top: 2.00em"><h4 class="tei tei-head" style="text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">1.F.4.</h4><p class="tei tei-p" style="margin-bottom: 1.00em">Except for the limited right of replacement or refund set forth in + <a href="#pglicense1F3" class="tei tei-ref">paragraph 1.F.3</a>, this work is provided + to you 'AS-IS,' WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR + IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTIBILITY OR + FITNESS FOR ANY PURPOSE.</p></div><div id="pglicense1F5" class="tei tei-div" style="margin-bottom: 2.00em; margin-top: 2.00em"><h4 class="tei tei-head" style="text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">1.F.5.</h4><p class="tei tei-p" style="margin-bottom: 1.00em">Some states do not allow disclaimers of certain implied warranties or + the exclusion or limitation of certain types of damages. If any + disclaimer or limitation set forth in this agreement violates the law of + the state applicable to this agreement, the agreement shall be + interpreted to make the maximum disclaimer or limitation permitted by + the applicable state law. The invalidity or unenforceability of any + provision of this agreement shall not void the remaining provisions.</p></div><div id="pglicense1F6" class="tei tei-div" style="margin-bottom: 2.00em; margin-top: 2.00em"><h4 class="tei tei-head" style="text-align: left; margin-bottom: 2.00em; margin-top: 2.00em">1.F.6.</h4><p class="tei tei-p" style="margin-bottom: 1.00em">INDEMNITY — You agree to indemnify and hold the Foundation, the + trademark owner, any agent or employee of the Foundation, anyone + providing copies of Project Gutenberg™ electronic works in accordance with this + agreement, and any volunteers associated with the production, promotion + and distribution of Project Gutenberg™ electronic works, harmless from all + liability, costs and expenses, including legal fees, that arise directly + or indirectly from any of the following which you do or cause to occur: + (a) distribution of this or any Project Gutenberg™ work, (b) alteration, + modification, or additions or deletions to any Project Gutenberg™ work, and (c) any + Defect you cause.</p></div></div></div><div id="pglicense2" class="tei tei-div" style="margin-bottom: 2.00em; margin-top: 2.00em"><h2 class="tei tei-head" style="text-align: left; margin-bottom: 2.88em; margin-top: 2.88em"><span style="font-size: 144%">Section 2.</span></h2><h2 class="tei tei-head" style="text-align: center; margin-bottom: 2.40em; margin-top: 2.40em"><span style="font-size: 120%">Information about the Mission of Project Gutenberg™</span></h2><p class="tei tei-p" style="margin-bottom: 1.00em">Project Gutenberg™ is synonymous with the free distribution of electronic works + in formats readable by the widest variety of computers including + obsolete, old, middle-aged and new computers. It exists because of the + efforts of hundreds of volunteers and donations from people in all walks + of life.</p><p class="tei tei-p" style="margin-bottom: 1.00em">Volunteers and financial support to provide volunteers with the + assistance they need, is critical to reaching Project Gutenberg™'s goals and + ensuring that the Project Gutenberg™ collection will remain freely available for + generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a + secure and permanent future for Project Gutenberg™ and future generations. To learn + more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see + Sections <a href="#pglicense3" class="tei tei-ref">3</a> and <a href="#pglicense4" class="tei tei-ref">4</a> and the Foundation web page at <a href="http://www.pglaf.org" class="tei tei-xref">http://www.pglaf.org</a>.</p></div><div id="pglicense3" class="tei tei-div" style="margin-bottom: 2.00em; margin-top: 2.00em"><h2 class="tei tei-head" style="text-align: left; margin-bottom: 2.88em; margin-top: 2.88em"><span style="font-size: 144%">Section 3.</span></h2><h2 class="tei tei-head" style="text-align: center; margin-bottom: 2.40em; margin-top: 2.40em"><span style="font-size: 120%">Information about the Project Gutenberg Literary Archive Foundation</span></h2><p class="tei tei-p" style="margin-bottom: 1.00em">The Project Gutenberg Literary Archive Foundation is a non profit 501(c)(3) educational corporation + organized under the laws of the state of Mississippi and granted tax + exempt status by the Internal Revenue Service. The Foundation's EIN or + federal tax identification number is 64-6221541. Its 501(c)(3) letter + is posted at <a href="http://www.gutenberg.org/fundraising/pglaf" class="tei tei-xref">http://www.gutenberg.org/fundraising/pglaf</a>. Contributions + to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. + federal laws and your state's laws.</p><p class="tei tei-p" style="margin-bottom: 1.00em">The Foundation's principal office is located at 4557 Melan Dr. + S. Fairbanks, AK, 99712., but its volunteers and employees are + scattered throughout numerous locations. Its business office is + located at 809 North 1500 West, Salt Lake City, UT 84116, (801) + 596-1887, email business@pglaf.org. Email contact links and up to date + contact information can be found at the Foundation's web site and + official page at <a href="http://www.pglaf.org" class="tei tei-xref">http://www.pglaf.org</a></p><p class="tei tei-p" style="margin-bottom: 1.00em">For additional contact information: + + </p><div class="block tei tei-address" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"><span class="tei tei-addrLine"><span style="font-size: 90%">Dr. Gregory B. Newby</span></span><br /><span class="tei tei-addrLine"><span style="font-size: 90%">Chief Executive and Director</span></span><br /><span class="tei tei-addrLine"><span style="font-size: 90%">gbnewby@pglaf.org</span></span><br /></div></div><div id="pglicense4" class="tei tei-div" style="margin-bottom: 2.00em; margin-top: 2.00em"><h2 class="tei tei-head" style="text-align: left; margin-bottom: 2.88em; margin-top: 2.88em"><span style="font-size: 144%">Section 4.</span></h2><h2 class="tei tei-head" style="text-align: center; margin-bottom: 2.40em; margin-top: 2.40em"><span style="font-size: 120%">Information about Donations to the Project Gutenberg Literary Archive Foundation</span></h2><p class="tei tei-p" style="margin-bottom: 1.00em">Project Gutenberg™ depends upon and cannot survive without wide spread public + support and donations to carry out its mission of increasing the number + of public domain and licensed works that can be freely distributed in + machine readable form accessible by the widest array of equipment + including outdated equipment. Many small donations ($1 to $5,000) are + particularly important to maintaining tax exempt status with the + IRS.</p><p class="tei tei-p" style="margin-bottom: 1.00em">The Foundation is committed to complying with the laws regulating + charities and charitable donations in all 50 states of the United + States. Compliance requirements are not uniform and it takes a + considerable effort, much paperwork and many fees to meet and keep up + with these requirements. We do not solicit donations in locations where + we have not received written confirmation of compliance. To SEND + DONATIONS or determine the status of compliance for any particular state + visit <a href="http://www.gutenberg.org/fundraising/donate" class="tei tei-xref">http://www.gutenberg.org/fundraising/donate</a></p><p class="tei tei-p" style="margin-bottom: 1.00em">While we cannot and do not solicit contributions from states where we + have not met the solicitation requirements, we know of no prohibition + against accepting unsolicited donations from donors in such states who + approach us with offers to donate.</p><p class="tei tei-p" style="margin-bottom: 1.00em">International donations are gratefully accepted, but we cannot make + any statements concerning tax treatment of donations received from + outside the United States. U.S. laws alone swamp our small staff.</p><p class="tei tei-p" style="margin-bottom: 1.00em">Please check the Project Gutenberg Web pages for current donation methods and + addresses. Donations are accepted in a number of other ways including + checks, online payments and credit card donations. To donate, please + visit: <a href="http://www.gutenberg.org/fundraising/donate" class="tei tei-xref">http://www.gutenberg.org/fundraising/donate</a></p></div><div id="pglicense5" class="tei tei-div" style="margin-bottom: 2.00em; margin-top: 2.00em"><h2 class="tei tei-head" style="text-align: left; margin-bottom: 2.88em; margin-top: 2.88em"><span style="font-size: 144%">Section 5.</span></h2><h2 class="tei tei-head" style="text-align: center; margin-bottom: 2.40em; margin-top: 2.40em"><span style="font-size: 120%">General Information About Project Gutenberg™ electronic + works.</span></h2><p class="tei tei-p" style="margin-bottom: 1.00em"><span class="tei tei-name">Professor Michael S. Hart</span> is the + originator of the Project Gutenberg™ concept of a library of electronic works that + could be freely shared with anyone. For thirty years, he produced and + distributed Project Gutenberg™ eBooks with only a loose network of volunteer + support.</p><p class="tei tei-p" style="margin-bottom: 1.00em">Project Gutenberg™ eBooks are often created from several printed editions, all of + which are confirmed as Public Domain in the U.S. unless a copyright + notice is included. Thus, we do not necessarily keep eBooks in + compliance with any particular paper edition.</p><p class="tei tei-p" style="margin-bottom: 1.00em">Each eBook is in a subdirectory of the same number as the eBook's + eBook number, often in several formats including plain vanilla ASCII, + compressed (zipped), HTML and others.</p><p class="tei tei-p" style="margin-bottom: 1.00em">Corrected <em class="tei tei-emph"><span style="font-style: italic">editions</span></em> of our eBooks replace the old file + and take over the old filename and etext number. The replaced older file + is renamed. <em class="tei tei-emph"><span style="font-style: italic">Versions</span></em> based on separate sources are treated + as new eBooks receiving new filenames and etext numbers.</p><p class="tei tei-p" style="margin-bottom: 1.00em">Most people start at our Web site which has the main PG search + facility: + + <a href="http://www.gutenberg.org" 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></a></p><p class="tei tei-p" style="margin-bottom: 1.00em">This Web site includes information about Project Gutenberg™, including how to + make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and + how to subscribe to our email newsletter to hear about new eBooks.</p></div></div></div> +</div> +</div> + +</div> +</body></html> diff --git a/28024-h/images/adaldrad.jpg b/28024-h/images/adaldrad.jpg Binary files differnew file mode 100644 index 0000000..9baf61a --- /dev/null +++ b/28024-h/images/adaldrad.jpg diff --git a/28024-h/images/adbeck.jpg b/28024-h/images/adbeck.jpg Binary files differnew file mode 100644 index 0000000..712f0b7 --- /dev/null +++ b/28024-h/images/adbeck.jpg diff --git a/28024-h/images/addejong.jpg b/28024-h/images/addejong.jpg Binary files differnew file mode 100644 index 0000000..117e5a3 --- /dev/null +++ b/28024-h/images/addejong.jpg diff --git a/28024-h/images/adgraf.jpg b/28024-h/images/adgraf.jpg Binary files differnew file mode 100644 index 0000000..5e40f6e --- /dev/null +++ b/28024-h/images/adgraf.jpg diff --git a/28024-h/images/adjapan.jpg b/28024-h/images/adjapan.jpg Binary files differnew file mode 100644 index 0000000..fd1b384 --- /dev/null +++ b/28024-h/images/adjapan.jpg diff --git a/28024-h/images/adkodak.jpg b/28024-h/images/adkodak.jpg Binary files differnew file mode 100644 index 0000000..acba8c3 --- /dev/null +++ b/28024-h/images/adkodak.jpg diff --git a/28024-h/images/admurabe.jpg b/28024-h/images/admurabe.jpg Binary files differnew file mode 100644 index 0000000..25f7026 --- /dev/null +++ b/28024-h/images/admurabe.jpg diff --git a/28024-h/images/adpinkcc.jpg b/28024-h/images/adpinkcc.jpg Binary files differnew file mode 100644 index 0000000..1430a29 --- /dev/null +++ b/28024-h/images/adpinkcc.jpg diff --git a/28024-h/images/adroehrg.jpg b/28024-h/images/adroehrg.jpg Binary files differnew file mode 100644 index 0000000..dbf540e --- /dev/null +++ b/28024-h/images/adroehrg.jpg diff --git a/28024-h/images/adrudge.jpg b/28024-h/images/adrudge.jpg Binary files differnew file mode 100644 index 0000000..a5d2f97 --- /dev/null +++ b/28024-h/images/adrudge.jpg diff --git a/28024-h/images/adsplwil.jpg b/28024-h/images/adsplwil.jpg Binary files differnew file mode 100644 index 0000000..ad9fa60 --- /dev/null +++ b/28024-h/images/adsplwil.jpg diff --git a/28024-h/images/adwollen.jpg b/28024-h/images/adwollen.jpg Binary files differnew file mode 100644 index 0000000..aacf751 --- /dev/null +++ b/28024-h/images/adwollen.jpg diff --git a/28024-h/images/adzeiss.jpg b/28024-h/images/adzeiss.jpg Binary files differnew file mode 100644 index 0000000..9b93ef6 --- /dev/null +++ b/28024-h/images/adzeiss.jpg diff --git a/28024-h/images/american.jpg b/28024-h/images/american.jpg Binary files differnew file mode 100644 index 0000000..79f157c --- /dev/null +++ b/28024-h/images/american.jpg diff --git a/28024-h/images/attic.jpg b/28024-h/images/attic.jpg Binary files differnew file mode 100644 index 0000000..fb35bc0 --- /dev/null +++ b/28024-h/images/attic.jpg diff --git a/28024-h/images/atwhites.jpg b/28024-h/images/atwhites.jpg Binary files differnew file mode 100644 index 0000000..b08df8f --- /dev/null +++ b/28024-h/images/atwhites.jpg diff --git a/28024-h/images/autumn.jpg b/28024-h/images/autumn.jpg Binary files differnew file mode 100644 index 0000000..92998fe --- /dev/null +++ b/28024-h/images/autumn.jpg diff --git a/28024-h/images/backfenc.jpg b/28024-h/images/backfenc.jpg Binary files differnew file mode 100644 index 0000000..43c389f --- /dev/null +++ b/28024-h/images/backfenc.jpg diff --git a/28024-h/images/bazar.jpg b/28024-h/images/bazar.jpg Binary files differnew file mode 100644 index 0000000..7492309 --- /dev/null +++ b/28024-h/images/bazar.jpg diff --git a/28024-h/images/beppy.jpg b/28024-h/images/beppy.jpg Binary files differnew file mode 100644 index 0000000..2f2983f --- /dev/null +++ b/28024-h/images/beppy.jpg diff --git a/28024-h/images/berkshir.jpg b/28024-h/images/berkshir.jpg Binary files differnew file mode 100644 index 0000000..8fd4b6b --- /dev/null +++ b/28024-h/images/berkshir.jpg diff --git a/28024-h/images/bridges.jpg b/28024-h/images/bridges.jpg Binary files differnew file mode 100644 index 0000000..37166f9 --- /dev/null +++ b/28024-h/images/bridges.jpg diff --git a/28024-h/images/brittany.jpg b/28024-h/images/brittany.jpg Binary files differnew file mode 100644 index 0000000..1b05985 --- /dev/null +++ b/28024-h/images/brittany.jpg diff --git a/28024-h/images/canyon.jpg b/28024-h/images/canyon.jpg Binary files differnew file mode 100644 index 0000000..926ecfb --- /dev/null +++ b/28024-h/images/canyon.jpg diff --git a/28024-h/images/carved.jpg b/28024-h/images/carved.jpg Binary files differnew file mode 100644 index 0000000..2a43382 --- /dev/null +++ b/28024-h/images/carved.jpg diff --git a/28024-h/images/chickens.jpg b/28024-h/images/chickens.jpg Binary files differnew file mode 100644 index 0000000..7b84f75 --- /dev/null +++ b/28024-h/images/chickens.jpg diff --git a/28024-h/images/circus.jpg b/28024-h/images/circus.jpg Binary files differnew file mode 100644 index 0000000..064526a --- /dev/null +++ b/28024-h/images/circus.jpg diff --git a/28024-h/images/clouds.jpg b/28024-h/images/clouds.jpg Binary files differnew file mode 100644 index 0000000..cee5bbd --- /dev/null +++ b/28024-h/images/clouds.jpg diff --git a/28024-h/images/colonel.jpg b/28024-h/images/colonel.jpg Binary files differnew file mode 100644 index 0000000..2d94e44 --- /dev/null +++ b/28024-h/images/colonel.jpg diff --git a/28024-h/images/comein.jpg b/28024-h/images/comein.jpg Binary files differnew file mode 100644 index 0000000..c1686de --- /dev/null +++ b/28024-h/images/comein.jpg diff --git a/28024-h/images/decorati.jpg b/28024-h/images/decorati.jpg Binary files differnew file mode 100644 index 0000000..4719161 --- /dev/null +++ b/28024-h/images/decorati.jpg diff --git a/28024-h/images/desplain.jpg b/28024-h/images/desplain.jpg Binary files differnew file mode 100644 index 0000000..ddc6475 --- /dev/null +++ b/28024-h/images/desplain.jpg diff --git a/28024-h/images/distsail.jpg b/28024-h/images/distsail.jpg Binary files differnew file mode 100644 index 0000000..f89b241 --- /dev/null +++ b/28024-h/images/distsail.jpg diff --git a/28024-h/images/domsymph.jpg b/28024-h/images/domsymph.jpg Binary files differnew file mode 100644 index 0000000..89330e4 --- /dev/null +++ b/28024-h/images/domsymph.jpg diff --git a/28024-h/images/empties.jpg b/28024-h/images/empties.jpg Binary files differnew file mode 100644 index 0000000..0ef731d --- /dev/null +++ b/28024-h/images/empties.jpg diff --git a/28024-h/images/everett.jpg b/28024-h/images/everett.jpg Binary files differnew file mode 100644 index 0000000..a356161 --- /dev/null +++ b/28024-h/images/everett.jpg diff --git a/28024-h/images/fromwind.jpg b/28024-h/images/fromwind.jpg Binary files differnew file mode 100644 index 0000000..6ddf175 --- /dev/null +++ b/28024-h/images/fromwind.jpg diff --git a/28024-h/images/gateway.jpg b/28024-h/images/gateway.jpg Binary files differnew file mode 100644 index 0000000..efcef96 --- /dev/null +++ b/28024-h/images/gateway.jpg diff --git a/28024-h/images/gorge.jpg b/28024-h/images/gorge.jpg Binary files differnew file mode 100644 index 0000000..ac8c39c --- /dev/null +++ b/28024-h/images/gorge.jpg diff --git a/28024-h/images/grlblack.jpg b/28024-h/images/grlblack.jpg Binary files differnew file mode 100644 index 0000000..72966f9 --- /dev/null +++ b/28024-h/images/grlblack.jpg diff --git a/28024-h/images/guingamp.jpg b/28024-h/images/guingamp.jpg Binary files differnew file mode 100644 index 0000000..2a75ce1 --- /dev/null +++ b/28024-h/images/guingamp.jpg diff --git a/28024-h/images/highseas.jpg b/28024-h/images/highseas.jpg Binary files differnew file mode 100644 index 0000000..2b1e923 --- /dev/null +++ b/28024-h/images/highseas.jpg diff --git a/28024-h/images/hillside.jpg b/28024-h/images/hillside.jpg Binary files differnew file mode 100644 index 0000000..0d592e0 --- /dev/null +++ b/28024-h/images/hillside.jpg diff --git a/28024-h/images/housboat.jpg b/28024-h/images/housboat.jpg Binary files differnew file mode 100644 index 0000000..ce01e71 --- /dev/null +++ b/28024-h/images/housboat.jpg diff --git a/28024-h/images/interior.jpg b/28024-h/images/interior.jpg Binary files differnew file mode 100644 index 0000000..f458e63 --- /dev/null +++ b/28024-h/images/interior.jpg diff --git a/28024-h/images/ivyglass.jpg b/28024-h/images/ivyglass.jpg Binary files differnew file mode 100644 index 0000000..9b73ccc --- /dev/null +++ b/28024-h/images/ivyglass.jpg diff --git a/28024-h/images/maine.jpg b/28024-h/images/maine.jpg Binary files differnew file mode 100644 index 0000000..eef5f57 --- /dev/null +++ b/28024-h/images/maine.jpg diff --git a/28024-h/images/mandalay.jpg b/28024-h/images/mandalay.jpg Binary files differnew file mode 100644 index 0000000..5bf8e33 --- /dev/null +++ b/28024-h/images/mandalay.jpg diff --git a/28024-h/images/marjorie.jpg b/28024-h/images/marjorie.jpg Binary files differnew file mode 100644 index 0000000..2e580da --- /dev/null +++ b/28024-h/images/marjorie.jpg diff --git a/28024-h/images/mesadmar.jpg b/28024-h/images/mesadmar.jpg Binary files differnew file mode 100644 index 0000000..549bc0d --- /dev/null +++ b/28024-h/images/mesadmar.jpg diff --git a/28024-h/images/metagama.jpg b/28024-h/images/metagama.jpg Binary files differnew file mode 100644 index 0000000..a1b60b8 --- /dev/null +++ b/28024-h/images/metagama.jpg diff --git a/28024-h/images/moon.jpg b/28024-h/images/moon.jpg Binary files differnew file mode 100644 index 0000000..f983860 --- /dev/null +++ b/28024-h/images/moon.jpg diff --git a/28024-h/images/mornglor.jpg b/28024-h/images/mornglor.jpg Binary files differnew file mode 100644 index 0000000..bffaa60 --- /dev/null +++ b/28024-h/images/mornglor.jpg diff --git a/28024-h/images/morning.jpg b/28024-h/images/morning.jpg Binary files differnew file mode 100644 index 0000000..6624496 --- /dev/null +++ b/28024-h/images/morning.jpg diff --git a/28024-h/images/mothchil.jpg b/28024-h/images/mothchil.jpg Binary files differnew file mode 100644 index 0000000..0c82e95 --- /dev/null +++ b/28024-h/images/mothchil.jpg diff --git a/28024-h/images/mudpies.jpg b/28024-h/images/mudpies.jpg Binary files differnew file mode 100644 index 0000000..f4fea21 --- /dev/null +++ b/28024-h/images/mudpies.jpg diff --git a/28024-h/images/nursery.jpg b/28024-h/images/nursery.jpg Binary files differnew file mode 100644 index 0000000..e127901 --- /dev/null +++ b/28024-h/images/nursery.jpg diff --git a/28024-h/images/oldbarn.jpg b/28024-h/images/oldbarn.jpg Binary files differnew file mode 100644 index 0000000..c537165 --- /dev/null +++ b/28024-h/images/oldbarn.jpg diff --git a/28024-h/images/padrehnd.jpg b/28024-h/images/padrehnd.jpg Binary files differnew file mode 100644 index 0000000..4462fa0 --- /dev/null +++ b/28024-h/images/padrehnd.jpg diff --git a/28024-h/images/panel.jpg b/28024-h/images/panel.jpg Binary files differnew file mode 100644 index 0000000..033bf66 --- /dev/null +++ b/28024-h/images/panel.jpg diff --git a/28024-h/images/pattwall.jpg b/28024-h/images/pattwall.jpg Binary files differnew file mode 100644 index 0000000..90ae461 --- /dev/null +++ b/28024-h/images/pattwall.jpg diff --git a/28024-h/images/pennstat.jpg b/28024-h/images/pennstat.jpg Binary files differnew file mode 100644 index 0000000..991758b --- /dev/null +++ b/28024-h/images/pennstat.jpg diff --git a/28024-h/images/ptarmign.jpg b/28024-h/images/ptarmign.jpg Binary files differnew file mode 100644 index 0000000..2a4b769 --- /dev/null +++ b/28024-h/images/ptarmign.jpg diff --git a/28024-h/images/pueblo.jpg b/28024-h/images/pueblo.jpg Binary files differnew file mode 100644 index 0000000..3baab07 --- /dev/null +++ b/28024-h/images/pueblo.jpg diff --git a/28024-h/images/rapids.jpg b/28024-h/images/rapids.jpg Binary files differnew file mode 100644 index 0000000..7475182 --- /dev/null +++ b/28024-h/images/rapids.jpg diff --git a/28024-h/images/river.jpg b/28024-h/images/river.jpg Binary files differnew file mode 100644 index 0000000..4ddc010 --- /dev/null +++ b/28024-h/images/river.jpg diff --git a/28024-h/images/rosedanc.jpg b/28024-h/images/rosedanc.jpg Binary files differnew file mode 100644 index 0000000..2fc8a7b --- /dev/null +++ b/28024-h/images/rosedanc.jpg diff --git a/28024-h/images/schoolyrd.jpg b/28024-h/images/schoolyrd.jpg Binary files differnew file mode 100644 index 0000000..8a14f15 --- /dev/null +++ b/28024-h/images/schoolyrd.jpg diff --git a/28024-h/images/seine.jpg b/28024-h/images/seine.jpg Binary files differnew file mode 100644 index 0000000..e5719c2 --- /dev/null +++ b/28024-h/images/seine.jpg diff --git a/28024-h/images/shadow.jpg b/28024-h/images/shadow.jpg Binary files differnew file mode 100644 index 0000000..fdf74c5 --- /dev/null +++ b/28024-h/images/shadow.jpg diff --git a/28024-h/images/silhouet.jpg b/28024-h/images/silhouet.jpg Binary files differnew file mode 100644 index 0000000..c8e0782 --- /dev/null +++ b/28024-h/images/silhouet.jpg diff --git a/28024-h/images/sixthave.jpg b/28024-h/images/sixthave.jpg Binary files differnew file mode 100644 index 0000000..9535a11 --- /dev/null +++ b/28024-h/images/sixthave.jpg diff --git a/28024-h/images/smokeeat.jpg b/28024-h/images/smokeeat.jpg Binary files differnew file mode 100644 index 0000000..5d3e21c --- /dev/null +++ b/28024-h/images/smokeeat.jpg diff --git a/28024-h/images/studio.jpg b/28024-h/images/studio.jpg Binary files differnew file mode 100644 index 0000000..62c93ac --- /dev/null +++ b/28024-h/images/studio.jpg diff --git a/28024-h/images/study.jpg b/28024-h/images/study.jpg Binary files differnew file mode 100644 index 0000000..527dfd7 --- /dev/null +++ b/28024-h/images/study.jpg diff --git a/28024-h/images/summer.jpg b/28024-h/images/summer.jpg Binary files differnew file mode 100644 index 0000000..da557b9 --- /dev/null +++ b/28024-h/images/summer.jpg diff --git a/28024-h/images/sunlight.jpg b/28024-h/images/sunlight.jpg Binary files differnew file mode 100644 index 0000000..3e37f12 --- /dev/null +++ b/28024-h/images/sunlight.jpg diff --git a/28024-h/images/tidewate.jpg b/28024-h/images/tidewate.jpg Binary files differnew file mode 100644 index 0000000..fa7059a --- /dev/null +++ b/28024-h/images/tidewate.jpg diff --git a/28024-h/images/toilers.jpg b/28024-h/images/toilers.jpg Binary files differnew file mode 100644 index 0000000..b49e7c0 --- /dev/null +++ b/28024-h/images/toilers.jpg diff --git a/28024-h/images/torso.jpg b/28024-h/images/torso.jpg Binary files differnew file mode 100644 index 0000000..06203a6 --- /dev/null +++ b/28024-h/images/torso.jpg diff --git a/28024-h/images/trainshd.jpg b/28024-h/images/trainshd.jpg Binary files differnew file mode 100644 index 0000000..c9b971e --- /dev/null +++ b/28024-h/images/trainshd.jpg diff --git a/28024-h/images/underbrg.jpg b/28024-h/images/underbrg.jpg Binary files differnew file mode 100644 index 0000000..671c5ad --- /dev/null +++ b/28024-h/images/underbrg.jpg diff --git a/28024-h/images/uzerches.jpg b/28024-h/images/uzerches.jpg Binary files differnew file mode 100644 index 0000000..edc1a2a --- /dev/null +++ b/28024-h/images/uzerches.jpg diff --git a/28024-h/images/vendors.jpg b/28024-h/images/vendors.jpg Binary files differnew file mode 100644 index 0000000..2142703 --- /dev/null +++ b/28024-h/images/vendors.jpg diff --git a/28024-h/images/wanderer.jpg b/28024-h/images/wanderer.jpg Binary files differnew file mode 100644 index 0000000..c1f968e --- /dev/null +++ b/28024-h/images/wanderer.jpg diff --git a/28024-h/images/wayup.jpg b/28024-h/images/wayup.jpg Binary files differnew file mode 100644 index 0000000..b775d64 --- /dev/null +++ b/28024-h/images/wayup.jpg diff --git a/28024-h/images/window.jpg b/28024-h/images/window.jpg Binary files differnew file mode 100644 index 0000000..8ce3765 --- /dev/null +++ b/28024-h/images/window.jpg diff --git a/28024-h/images/woodchop.jpg b/28024-h/images/woodchop.jpg Binary files differnew file mode 100644 index 0000000..bd410dc --- /dev/null +++ b/28024-h/images/woodchop.jpg diff --git a/28024-h/images/younggrl.jpg b/28024-h/images/younggrl.jpg Binary files differnew file mode 100644 index 0000000..583f29e --- /dev/null +++ b/28024-h/images/younggrl.jpg |
