initial commit of ebook 28024HEADmain

1 files changed, 1687 insertions, 0 deletions

diff --git a/28024.txt b/28024.txt
new file mode 100644
index 0000000..a7e8d25
--- /dev/null
+++ b/28024.txt
@@ -0,0 +1,1687 @@
+The Project Gutenberg EBook of Pictorial Photography in America 1922 by
+Pictorial Photographers of America
+
+
+
+This eBook is for the use of anyone anywhere at no cost and with almost no
+restrictions whatsoever. You may copy it, give it away or re-use it under
+the terms of the Project Gutenberg License included with this eBook or
+online at http://www.gutenberg.org/license
+
+
+
+Title: Pictorial Photography in America 1922
+
+Author: Pictorial Photographers of America
+
+Release Date: February 8, 2009 [Ebook #28024]
+
+Language: English
+
+Character set encoding: US-ASCII
+
+
+***START OF THE PROJECT GUTENBERG EBOOK PICTORIAL PHOTOGRAPHY IN AMERICA 1922***
+
+
+
+
+
+Pictorial Photography in America 1922
+
+
+
+
+
+
+
+
+
+
+
+
+
+Pictorial Photographers of America
+
+New York
+
+1922
+
+
+
+
+
+_Committee of Selection_
+DR. A. D. CHAFFEE
+JOHN PAUL EDWARDS
+G. W. HARTING
+DR. ARNOLD GENTHE
+GERTRUDE KASEBIER
+O.C. REITER
+
+_Advisory Committe from American Institute of Graphic Arts_
+RAY GREENLEAF
+HARRY A. GROESBECK, JR.
+WILLIAM EDWIN RUDGE
+
+_Publication Committee_
+GUY GAYLOR CLARK
+G. W. HARTING
+DR. THERON W. KILMER
+JOSEPH R. MASON
+HENRY HOYT MOORE
+CORNELIA WHITE
+MILDRED RUTH WILSON
+JERRY D. DREW, _Chairman_
+
+
+
+
+
+ILLUSTRATIONS
+
+
+A DECORATIVE PANEL
+_By _Thos. O. Sheckell, _Salt Lake City, Utah_
+IN A DANCER'S STUDIO
+_By _Wayne Albee, _Seattle, Washington_
+HOUSE-BOATS
+_By _Ernest M. Pratt, _Los Angeles, Calif._
+MAY I COME IN?
+_By _Robert R. McGeorge, _Buffalo, N. Y._
+THE DISTANT SAIL
+_By _William Gordon Shields, _New York City_
+GATEWAY, DINAN
+_By _Dr. Chas. H. Jaeger, _New York City_
+SILHOUETTES--EGYPT
+_By _JULIA MARSHALL, _Duluth, Minn._
+MOUNT EVERETT
+_By _Robert B. Montgomery, _Brooklyn, N. Y._
+THE BACK FENCE
+_By _C. R. Herzler, _New York City_
+ON DECK OF THE METAGAMA
+_By _JOHAN HAGEMEYER, _San Francisco, Calif._
+TIDEWATER
+_By _Amelia H. McLean, _Bronxville, N. Y._
+STREET VENDORS--ROME, ITALY
+_By __H. A. Latimer, __Boston, Mass._
+SUMMERTIME
+_By _PAUL  WIERUM, _Chicago, Ill._
+TORSO OF A DANCER
+_By _Arnold Genthe, _New York City_
+A MAINE FISHING VILLAGE
+_By _EUGENE P. HENRY, _Brooklyn, N. Y._
+SMOKE EATERS
+_By _W.  H. ZERBE, _Richmond Hill, N. Y._
+PUEBLO DWELLING
+_By _Ernest Williams, _Los Angeles, Calif._
+IN THE BERKSHIRES
+_By _William Elbert Macnaughton, _New York City_
+BEPPY
+_By _HELEN W.  DREW, _Montclair, N. J._
+EMPTIES
+_By _K. B.  LAMBERT, _Glen Ridge, N. J._
+THE WOODCHOPPER'S WOMAN
+_By _HARRY C. PHIPPS, _Chicago, Ill._
+THE DES PLAINES TRAIL
+_By _E. E. GRAY, _Chicago, Ill._
+MOTHER AND CHILD
+_By _Clarence H. White, _New York City_
+YE OLD BARN
+_By _Olive Garrison, _Yonkers, N. Y._
+INTERIOR
+_By _JANE  REECE, _Dayton, Ohio_
+PENNSYLVANIA STATION
+_By _Dr. D. J. Ruzicka, _New York City_
+CLOUDS OF MORNING
+_By _Francis O. Libby, F.R.P.S., _Portland, Me._
+THE CANYON
+_By _Jerry D. Drew, _Montclair, N. J._
+THE EAST RIVER
+_By _John Paul Edwards, _San Francisco, Calif._
+THE TRAIN SHED--PITTSBURGH
+_By __W. W. Zieg, __Pittsburgh, Pa._
+ODD MOMENTS IN BRITTANY
+_By _GEORGE HENRY HIGH, _Chicago, Ill._
+UZERCHES: "IL FAIT UN BON SOLEIL"
+_By _DR. A. D. CHAFFEE, _New York  City_
+A MISTY MORNING
+_By _N. S. Wooldridge, _Pittsburgh, Pa._
+PTARMIGAN IN WINTER
+_By _Clark Blickensderfer, _Denver, Colo._
+MARJORIE
+_By _SOPHIE  L. LAUFFER, _New York City_
+THE PATTERNED WALL
+_By _Mildred Ruth Wilson, _Montclair, N. J._
+THE SUNNY WINDOW
+_By _Mary F. Boyd, _Chambersburg, Pa._
+AT CLARENCE WHITE'S, CANAAN, CONN.
+_By __Florence Burton Livingston, __Mohegan Lake, N.  Y._
+STUDY OF A YOUNG GIRL
+_By _CHARLES H. BROWN, _Santa Barbara, Calif._
+IVY AND OLD GLASS
+_By _Clara E. Sipprell, _New York City_
+ROSE DANCE
+_By _J.  ANTHONY BULL, _Cincinnati, Ohio_
+A CONCERT IN THE NURSERY
+_By _FRANK R. NIVISON, _Fall River, Mass._
+GREY ATTIC
+_By _Edward Weston, _Glendale, Calif._
+MUD-PIES
+_By _Cornelia F. White, _New York City_
+CARVED WITH THE TOOLS OF TIME, THE SCULPTOR
+_By _EDITH R. WILSON, _Mt. Vernon, N.  Y._
+MORNING GLORY
+_By _Otis Williams, _Los Angeles, Calif._
+THE CIRCUS COMES TO TOWN
+_By _THOMAS R. HARTLEY, _Pittsburgh, Pa._
+SEAR AUTUMN
+_By _Anson Herrick, _San Francisco, Cal._
+THE BAZAR
+_By _Margaret D. M. Brown, _Arlington, Poughkeepsie, N.  Y._
+WANDERERS FROM HOME
+_By _P. Douglas Anderson, _San Francisco, Calif._
+DECORATIVE STUDY
+_By _Henry A. Hussey, _Berkeley, Calif._
+THE WAY UP
+_By _Folsom Rich, _Chicago, Ill._
+COLONEL MARSH
+_By _E. L. Mix, _New York City_
+SHADOW DESIGN
+_By _G. W. Harting, _New York City_
+AT GUINGAMP
+_By _Mrs. Antoinette B. Hervey, _New York City_
+KISSING THE PADRE'S HAND
+_By _MYERS R. JONES, _Brooklyn, N. Y._
+UNDER BROOKLYN BRIDGE
+_By _A. E. SCHAAF, _Cleveland, Ohio_
+THE BRIDGES
+_By _Henry Hoyt Moore, _Brooklyn, N. Y._
+WHIRLPOOL RAPIDS, NIAGARA
+_By _WILLIAM A. ALCOCK, _New York City_
+STUDY
+_By _A. RALPH  STEINER, _New York City_
+DOMESTIC SYMPHONY
+_By _Margaret Watkins, _New York City_
+MORNING SUNLIGHT
+_By _Ira W. Martin, _New York City_
+L'ESPRIT DE MANDALAY
+_By _J. Ludger Rainville, _Portland, Me._
+THE GORGE BELOW THE WHIRLPOOL, NIAGARA
+_By _W. H. PORTERFIELD, _Buffalo, N.  Y._
+PORTRAIT--GIRL IN BLACK
+_By __Rabinovitch, __New York City_
+THE TOILERS
+_By _Edward Ostrom, Jr., _Brooklyn, N. Y._
+FROM MY WINDOW
+_By _Betty Gresh, _Norristown, Penn._
+YOUNG AMERICAN
+_By _Louis Fleckenstein, _Long Beach, Calif._
+MESA DEL MAR
+_By _G.  H. S. HARDING, _Berkeley, Calif._
+SEINE BOATS
+_By _William B. Imlach, _New York City_
+THE MOON OF THE RED GODS
+_By _LAURA GILPIN, _Colorado Springs, Colo._
+HIGH SEAS
+_By _Joseph Petrocelli, _New York City_
+SIXTH AVENUE, NEW YORK CITY
+_By _BEN J. LUBSCHEZ, _New York City_
+HILLSIDE SHADOWS
+_By _Charles K. Archer, _Pittsburgh, Pa._
+MOTHER CAREY'S CHICKENS COME HOME TO ROOST
+_By _HERBERT B. TURNER, _Boston,  Mass._
+THE SCHOOL YARD
+_By _Vernon E. Duroe, _Brooklyn, N. Y._
+
+
+
+
+
+CONTENTS
+
+
+SINCERITY
+THE YEAR'S PROGRESS
+ON IDEAS
+THE PURPOSE OF THE PICTORIAL PHOTOGRAPHERS OF AMERICA
+THE PICTORIAL PHOTOGRAPHERS OF AMERICA
+
+
+
+
+
+SINCERITY
+
+
+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.
+
+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.  "How true these are" I exclaimed.
+"How  do you know?" said my companion, "you have never been to the North
+Pole."  "That is not necessary" I rejoined. "These studies have the truth
+written in  every inch of them."  The work proclaimed the sincerity of its
+maker.
+
+He who reverently observes life and wrests from its verities those
+elements  which are in tune with his "ego"--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 "Modern Art" proceed.
+
+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.
+
+The graphic artist is concerned with "_pictorial_" 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.
+
+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.
+
+If over and above his technical skill the photographer starts with a
+"vital idea," he may like the painter convey with his photograph "_the
+moving thrill_" which is the final test of any work of art.
+
+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.
+
+                                                            Albert Sterner
+
+
+
+
+
+THE YEAR'S PROGRESS
+
+
+_By _HENRY HOYT MOORE
+
+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 Lumiere 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.
+
+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.
+
+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. 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.
+
+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 "come back"; 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.
+
+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.
+
+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.
+
+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 "Sept," which can be
+carried in the hand and with which, it is claimed, good "stills" 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 "spotlight"
+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 "light that never was on sea or land," 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.
+
+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 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.
+
+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.
+
+
+
+
+
+ON IDEAS
+
+
+_By _HEYWORTH CAMPBELL
+
+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.
+
+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.
+
+Struggling young artists are constantly advised to cultivate their
+imagination.  What is imagination?  Arthur Brisbane defined this in the
+most compact, tangible statement: "Imagination is nothing more than the
+power to see and realize what others fail to see and realize."  The
+illusive idea that we are searching for is nothing hidden or mystic but
+right before our very eyes.  We have only to "see and realize."
+
+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 "what ideas?"  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 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.
+
+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.
+
+Quotations are generally sneered at, but they make excellent conclusions.
+Some one once said: "All one's life is music if one touched the notes
+rightly and in tune."  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.
+
+A thought possibly worthy of the deliberation of every artist is that
+Distinction is a result, never the object, of a great mind.
+
+
+
+
+
+
+    [A DECORATIVE PANEL, By Thos. O. Sheckell, Salt Lake City,  Utah]
+
+                           A DECORATIVE PANEL
+              _By _Thos. O. Sheckell, _Salt Lake City, Utah_
+
+
+       [IN A DANCER'S STUDIO, By Wayne Albee, Seattle, Washington]
+
+                          IN A DANCER'S STUDIO
+                 _By _Wayne Albee, _Seattle, Washington_
+
+
+          [HOUSE-BOATS, By Ernest M. Pratt, Los Angeles, Calif.]
+
+                               HOUSE-BOATS
+               _By _Ernest M. Pratt, _Los Angeles, Calif._
+
+
+         [MAY I COME IN?, By Robert R. McGeorge, Buffalo, N. Y.]
+
+                             MAY I COME IN?
+                _By _Robert R. McGeorge, _Buffalo, N. Y._
+
+
+       [THE DISTANT SAIL, By William Gordon Shields, New York City]
+
+                            THE DISTANT SAIL
+               _By _William Gordon Shields, _New York City_
+
+
+         [GATEWAY, DINAN, By Dr. Chas. H. Jaeger, New York City]
+
+                             GATEWAY, DINAN
+                _By _Dr. Chas. H. Jaeger, _New York City_
+
+
+          [SILHOUETTES--EGYPT, By Julia Marshall, Duluth, Minn.]
+
+                            SILHOUETTES--EGYPT
+                   _By _JULIA MARSHALL, _Duluth, Minn._
+
+
+        [MOUNT EVERETT, By Robert B. Montgomery, Brooklyn, N. Y.]
+
+                              MOUNT EVERETT
+               _By _Robert B. Montgomery, _Brooklyn, N. Y._
+
+
+            [THE BACK FENCE, By C. R. Herzler, New York City]
+
+                             THE BACK FENCE
+                   _By _C. R. Herzler, _New York City_
+
+
+  [ON DECK OF THE METAGAMA, By Johan Hagemeyer, San Francisco,  Calif.]
+
+                         ON DECK OF THE METAGAMA
+              _By _JOHAN HAGEMEYER, _San Francisco, Calif._
+
+
+           [TIDEWATER, By Amelia H. McLean, Bronxville, N. Y.]
+
+                                TIDEWATER
+                _By _Amelia H. McLean, _Bronxville, N. Y._
+
+
+      [STREET VENDORS--ROME, ITALY, By H. A. Latimer, Boston,  Mass.]
+
+                       STREET VENDORS--ROME, ITALY
+                  _By __H. A. Latimer, __Boston, Mass._
+
+
+               [SUMMERTIME, By Paul Wierum, Chicago, Ill.]
+
+                               SUMMERTIME
+                    _By _PAUL  WIERUM, _Chicago, Ill._
+
+
+           [TORSO OF A DANCER, By Arnold Genthe, New York City]
+
+                            TORSO OF A DANCER
+                   _By _Arnold Genthe, _New York City_
+
+
+     [A MAINE FISHING VILLAGE, By Eugene P. Henry, Brooklyn, N.  Y.]
+
+                         A MAINE FISHING VILLAGE
+                 _By _EUGENE P. HENRY, _Brooklyn, N. Y._
+
+
+           [SMOKE EATERS, By W. H. Zerbe, Richmond Hill, N. Y.]
+
+                              SMOKE EATERS
+                _By _W.  H. ZERBE, _Richmond Hill, N. Y._
+
+
+        [PUEBLO DWELLING, By Ernest Williams, Los Angeles, Calif.]
+
+                             PUEBLO DWELLING
+               _By _Ernest Williams, _Los Angeles, Calif._
+
+
+    [IN THE BERKSHIRES, By William Elbert Macnaughton, New York  City]
+
+                            IN THE BERKSHIRES
+             _By _William Elbert Macnaughton, _New York City_
+
+
+               [BEPPY, By Helen W. Drew, Montclair, N. J.]
+
+                                  BEPPY
+                 _By _HELEN W.  DREW, _Montclair, N. J._
+
+
+              [EMPTIES, By K. B. Lambert, Glen Ridge, N. J.]
+
+                                 EMPTIES
+                 _By _K. B.  LAMBERT, _Glen Ridge, N. J._
+
+
+       [THE WOODCHOPPER'S WOMAN, By Harry C. Phipps, Chicago, Ill.]
+
+                         THE WOODCHOPPER'S WOMAN
+                  _By _HARRY C. PHIPPS, _Chicago, Ill._
+
+
+          [THE DES PLAINES TRAIL, By E. E. Gray, Chicago, Ill.]
+
+                          THE DES PLAINES TRAIL
+                     _By _E. E. GRAY, _Chicago, Ill._
+
+
+         [MOTHER AND CHILD, By clarence H. White, New York City]
+
+                            MOTHER AND CHILD
+                 _By _Clarence H. White, _New York City_
+
+
+             [YE OLD BARN, By Olive Garrison, Yonkers, N. Y.]
+
+                               YE OLD BARN
+                  _By _Olive Garrison, _Yonkers, N. Y._
+
+
+                 [INTERIOR, By Jane Reece, Dayton, Ohio]
+
+                                INTERIOR
+                     _By _JANE  REECE, _Dayton, Ohio_
+
+
+       [PENNSYLVANIA STATION, By Dr. D. J. Ruzicka, New York City]
+
+                          PENNSYLVANIA STATION
+                 _By _Dr. D. J. Ruzicka, _New York City_
+
+
+    [CLOUDS OF MORNING, By Francis O. Libby, F.R.P.S., Portland,  Me.]
+
+                            CLOUDS OF MORNING
+             _By _Francis O. Libby, F.R.P.S., _Portland, Me._
+
+
+             [THE CANYON, By Jerry D. Drew, Montclair, N. J.]
+
+                               THE CANYON
+                  _By _Jerry D. Drew, _Montclair, N. J._
+
+
+      [THE EAST RIVER, By John Paul Edwards, San Francisco, Calif.]
+
+                             THE EAST RIVER
+             _By _John Paul Edwards, _San Francisco, Calif._
+
+
+       [THE TRAIN SHED--PITTSBURGH, By W. W. Zieg, Pittsburgh,  Pa.]
+
+                        THE TRAIN SHED--PITTSBURGH
+                   _By __W. W. Zieg, __Pittsburgh, Pa._
+
+
+     [ODD MOMENTS IN BRITTANY, By George Henry High, Chicago,  Ill.]
+
+                         ODD MOMENTS IN BRITTANY
+                 _By _GEORGE HENRY HIGH, _Chicago, Ill._
+
+
+[UZERCHES: "IL FAIT UN BON SOLEIL", By Dr. A. D. Chaffee, New  York City]
+
+                    UZERCHES: "IL FAIT UN BON SOLEIL"
+                 _By _DR. A. D. CHAFFEE, _New York  City_
+
+
+         [A MISTY MORNING, By N. S. Wooldridge, Pittsburgh, Pa.]
+
+                             A MISTY MORNING
+                 _By _N. S. Wooldridge, _Pittsburgh, Pa._
+
+
+      [PTARMIGAN IN WINTER, By Clark Blickensderfer, Denver, Colo.]
+
+                           PTARMIGAN IN WINTER
+                _By _Clark Blickensderfer, _Denver, Colo._
+
+
+             [MARJORIE, By sophie L. Lauffer, New York City]
+
+                                MARJORIE
+                 _By _SOPHIE  L. LAUFFER, _New York City_
+
+
+     [THE PATTERNED WALL, By Mildred Ruth Wilson, Montclair, N.  J.]
+
+                           THE PATTERNED WALL
+               _By _Mildred Ruth Wilson, _Montclair, N. J._
+
+
+          [THE SUNNY WINDOW, By Mary F. Boyd, Chambersburg, Pa.]
+
+                            THE SUNNY WINDOW
+                  _By _Mary F. Boyd, _Chambersburg, Pa._
+
+
+   [AT CLARENCE WHITE'S, CANAAN, CONN., By Florence Burton Livingston,
+                           Mohegan Lake, N. Y.]
+
+                   AT CLARENCE WHITE'S, CANAAN, CONN.
+        _By __Florence Burton Livingston, __Mohegan Lake, N.  Y._
+
+
+   [STUDY OF A YOUNG GIRL, By charles H. Brown, Santa Barbara,  Calif.]
+
+                          STUDY OF A YOUNG GIRL
+              _By _CHARLES H. BROWN, _Santa Barbara, Calif._
+
+
+         [IVY AND OLD GLASS, By Clara E. Sipprell, New York City]
+
+                            IVY AND OLD GLASS
+                 _By _Clara E. Sipprell, _New York City_
+
+
+            [ROSE DANCE, By J. Anthony Bull, Cincinnati, Ohio]
+
+                               ROSE DANCE
+                _By _J.  ANTHONY BULL, _Cincinnati, Ohio_
+
+
+   [A CONCERT IN THE NURSERY, By Frank R. Nivison, Fall River,  Mass.]
+
+                        A CONCERT IN THE NURSERY
+                _By _FRANK R. NIVISON, _Fall River, Mass._
+
+
+             [GREY ATTIC, By Edward Weston, Glendale, Calif.]
+
+                               GREY ATTIC
+                  _By _Edward Weston, _Glendale, Calif._
+
+
+             [MUD-PIES, By Cornelia F. White, New York City]
+
+                                MUD-PIES
+                 _By _Cornelia F. White, _New York City_
+
+
+  [CARVED WITH THE TOOLS OF TIME, THE SCULPTOR, By Edith R. Wilson, Mt.
+                              Vernon, N. Y.]
+
+               CARVED WITH THE TOOLS OF TIME, THE SCULPTOR
+                _By _EDITH R. WILSON, _Mt. Vernon, N.  Y._
+
+
+          [MORNING GLORY, By Otis Williams, Los Angeles, Calif.]
+
+                              MORNING GLORY
+                _By _Otis Williams, _Los Angeles, Calif._
+
+
+    [THE CIRCUS COMES TO TOWN, By Thomas R. Hartley, Pittsburgh,  Pa.]
+
+                        THE CIRCUS COMES TO TOWN
+                _By _THOMAS R. HARTLEY, _Pittsburgh, Pa._
+
+
+           [SEAR AUTUMN, By Anson Herrick, San Francisco, Cal.]
+
+                               SEAR AUTUMN
+                _By _Anson Herrick, _San Francisco, Cal._
+
+
+  [THE BAZAR, By Margaret D. M. Brown, Arlington, Poughkeepsie, N.  Y.]
+
+                                THE BAZAR
+       _By _Margaret D. M. Brown, _Arlington, Poughkeepsie, N.  Y._
+
+
+  [WANDERERS FROM HOME, By P. Douglas Anderson, San Francisco,  Calif.]
+
+                           WANDERERS FROM HOME
+            _By _P. Douglas Anderson, _San Francisco, Calif._
+
+
+         [DECORATIVE STUDY, By Henry A. Hussey, Berkeley, Calif.]
+
+                            DECORATIVE STUDY
+                 _By _Henry A. Hussey, _Berkeley, Calif._
+
+
+               [THE WAY UP, By Folsom Rich, Chicago, Ill.]
+
+                               THE WAY UP
+                    _By _Folsom Rich, _Chicago, Ill._
+
+
+               [COLONEL MARSH, By E. L. Mix, New York City]
+
+                              COLONEL MARSH
+                     _By _E. L. Mix, _New York City_
+
+
+             [SHADOW DESIGN, By G. W. Harting, New York City]
+
+                              SHADOW DESIGN
+                   _By _G. W. Harting, _New York City_
+
+
+        [AT GUINGAMP, By Mrs. Antoinette B. Hervey, New York City]
+
+                               AT GUINGAMP
+             _By _Mrs. Antoinette B. Hervey, _New York City_
+
+
+     [KISSING THE PADRE'S HAND, By Myers R. Jones, Brooklyn, N.  Y.]
+
+                        KISSING THE PADRE'S HAND
+                  _By _MYERS R. JONES, _Brooklyn, N. Y._
+
+
+        [UNDER BROOKLYN BRIDGE, By A. E. Schaaf, Cleveland, Ohio]
+
+                          UNDER BROOKLYN BRIDGE
+                   _By _A. E. SCHAAF, _Cleveland, Ohio_
+
+
+           [THE BRIDGES, By Henry Hoyt Moore, Brooklyn, N. Y.]
+
+                               THE BRIDGES
+                 _By _Henry Hoyt Moore, _Brooklyn, N. Y._
+
+
+    [WHIRLPOOL RAPIDS, NIAGARA, By William A. Alcock, New York  City]
+
+                        WHIRLPOOL RAPIDS, NIAGARA
+                 _By _WILLIAM A. ALCOCK, _New York City_
+
+
+               [STUDY, By A. Ralph Steiner, New York City]
+
+                                  STUDY
+                 _By _A. RALPH  STEINER, _New York City_
+
+
+         [DOMESTIC SYMPHONY, By Margaret Watkins, New York City]
+
+                            DOMESTIC SYMPHONY
+                  _By _Margaret Watkins, _New York City_
+
+
+           [MORNING SUNLIGHT, By Ira W. Martin, New York City]
+
+                            MORNING SUNLIGHT
+                   _By _Ira W. Martin, _New York City_
+
+
+      [L'ESPRIT DE MANDALAY, By J. Ludger Rainville, Portland, Me.]
+
+                          L'ESPRIT DE MANDALAY
+                _By _J. Ludger Rainville, _Portland, Me._
+
+
+ [THE GORGE BELOW THE WHIRLPOOL, NIAGARA, By W. H. Porterfield,  Buffalo,
+                                  N. Y.]
+
+                 THE GORGE BELOW THE WHIRLPOOL, NIAGARA
+                _By _W. H. PORTERFIELD, _Buffalo, N.  Y._
+
+
+         [PORTRAIT--GIRL IN BLACK, By Rabinovitch, New York City]
+
+                         PORTRAIT--GIRL IN BLACK
+                   _By __Rabinovitch, __New York City_
+
+
+          [THE TOILERS, By Edward Ostrom, Jr., Brooklyn, N. Y.]
+
+                               THE TOILERS
+                _By _Edward Ostrom, Jr., _Brooklyn, N. Y._
+
+
+           [FROM MY WINDOW, By Betty Gresh, Norristown, Penn.]
+
+                             FROM MY WINDOW
+                  _By _Betty Gresh, _Norristown, Penn._
+
+
+       [YOUNG AMERICAN, By Louis Fleckenstein, Long Beach, Calif.]
+
+                             YOUNG AMERICAN
+              _By _Louis Fleckenstein, _Long Beach, Calif._
+
+
+          [MESA DEL MAR, By G. H. S. Harding, Berkeley, Calif.]
+
+                              MESA DEL MAR
+                _By _G.  H. S. HARDING, _Berkeley, Calif._
+
+
+            [SEINE BOATS, By William B. Imlach, New York City]
+
+                               SEINE BOATS
+                 _By _William B. Imlach, _New York City_
+
+
+  [THE MOON OF THE RED GODS, By Laura Gilpin, Colorado Springs,  Colo.]
+
+                        THE MOON OF THE RED GODS
+               _By _LAURA GILPIN, _Colorado Springs, Colo._
+
+
+             [HIGH SEAS, By Joseph Petrocelli, New York City]
+
+                                HIGH SEAS
+                 _By _Joseph Petrocelli, _New York City_
+
+
+    [SIXTH AVENUE, NEW YORK CITY, By Ben J. Lubschez, New York  City]
+
+                       SIXTH AVENUE, NEW YORK CITY
+                  _By _BEN J. LUBSCHEZ, _New York City_
+
+
+        [HILLSIDE SHADOWS, By Charles K. Archer, Pittsburgh, Pa.]
+
+                            HILLSIDE SHADOWS
+                _By _Charles K. Archer, _Pittsburgh, Pa._
+
+
+    [MOTHER CAREY'S CHICKENS COME HOME TO ROOST, By Herbert B. Turner,
+                              Boston, Mass.]
+
+               MOTHER CAREY'S CHICKENS COME HOME TO ROOST
+                 _By _HERBERT B. TURNER, _Boston,  Mass._
+
+
+          [THE SCHOOL YARD, By Vernon E. Duroe, Brooklyn, N. Y.]
+
+                             THE SCHOOL YARD
+                 _By _Vernon E. Duroe, _Brooklyn, N. Y._
+
+
+
+
+
+
+THE PURPOSE OF THE PICTORIAL PHOTOGRAPHERS OF AMERICA
+
+
+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.
+
+                                    *
+
+
+
+
+
+THE PICTORIAL PHOTOGRAPHERS OF AMERICA
+
+
+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 "It is accomplished"; 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.
+
+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.
+
+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 "get-together" 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 Mr. Ben J. Lubschez addressed a large audience
+upon the "Story of the Motion Picture," followed by Mr. Herbert J.
+Seligman upon "Cinema Plastik."  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.
+
+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.
+
+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.
+
+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.
+
+In conjunction with the _Shadowland Magazine_ 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.
+
+We have become affiliated with _The Club Photographer_ 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.
+
+It is interesting to note that, besides satisfactory sales at home, we
+received from Japan two large orders for _Pictorial Photography in
+America_ for 1921.
+
+       -----------------------------------------------------------
+
+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.
+
+"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 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.
+
+"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, 'Marpessa.'
+
+"It was in October, 1913, that Mr. Dickson published the first number of
+_Platinum Print_, 'a journal of personal expression.'  Between that date
+and October, 1917, eleven numbers of this remarkable magazine were
+published, the last two under the title of _Photo-Graphic Art_.
+
+"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 'Poems of the Dance,' 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.
+
+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.
+
+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.
+
+       -----------------------------------------------------------
+
+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 _Pictorial Photography in America for 1922_ a good record of
+current American Photographic Art.
+
+                                           AMASA DAY CHAFFEE, _President._
+The Art Center
+Sixty-five East Fifty-sixth Street,
+New York City.
+                  [Advertisement: Eastman Kodak Company]
+                    [Advertisement: Harold M. Bennett]
+               [Advertisement: The Beck Engraving Company]
+              [Advertisement: Roehrig-Bielenberg Co., Inc.]
+               [Advertisement: Wollensack Optical Company]
+                [Advertisement: Louis Dejonge and Company]
+                    [Advertisement: Graf Super Lenses]
+   [Advertisements: Pinkham and Smith Company, Camera Craft Publishing
+                                 Company]
+     [Advertisements: Japan Paper Company, New York Camera Exchange]
+              [Advertisements: Hathaway-Dunn, Willoughby's]
+ [Advertisements: J. L. Lewis, Inc., Gundlach-Manhattan Optical Company]
+    [Advertisements: George Murphy, Inc.; Abe Cohen's Exchange, Inc.]
+           [Advertisement: William Edward Rudge, New York City]
+
+
+
+
+
+***END OF THE PROJECT GUTENBERG EBOOK PICTORIAL PHOTOGRAPHY IN AMERICA 1922***
+
+
+
+CREDITS
+
+
+February 8, 2009
+
+            Project Gutenberg Edition
+            Martin Schub
+
+
+
+A WORD FROM PROJECT GUTENBERG
+
+
+This file should be named 28024.txt or 28024.zip.
+
+This and all associated files of various formats will be found in:
+
+
+    http://www.gutenberg.org/dirs/2/8/0/2/28024/
+
+
+Updated editions will replace the previous one -- the old editions will be
+renamed.
+
+Creating the works from public domain print editions means that no one
+owns a United States copyright in these works, so the Foundation (and
+you!) can copy and distribute it in the United States without permission
+and without paying copyright royalties. Special rules, set forth in the
+General Terms of Use part of this license, apply to copying and
+distributing Project Gutenberg{~TRADE MARK SIGN~} electronic works to protect the Project
+Gutenberg{~TRADE MARK SIGN~} 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 _anything_ with public domain eBooks.
+Redistribution is subject to the trademark license, especially commercial
+redistribution.
+
+
+
+THE FULL PROJECT GUTENBERG LICENSE
+
+
+_Please read this before you distribute or use this work._
+
+To protect the Project Gutenberg{~TRADE MARK SIGN~} 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 "Project Gutenberg"),
+you agree to comply with all the terms of the Full Project Gutenberg{~TRADE MARK SIGN~}
+License (available with this file or online at
+http://www.gutenberg.org/license).
+
+
+Section 1.
+
+
+General Terms of Use & Redistributing Project Gutenberg{~TRADE MARK SIGN~} electronic works
+
+
+1.A.
+
+
+By reading or using any part of this Project Gutenberg{~TRADE MARK SIGN~} 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{~TRADE MARK SIGN~} electronic works in your possession. If you paid a fee
+for obtaining a copy of or access to a Project Gutenberg{~TRADE MARK SIGN~} 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 1.E.8.
+
+
+1.B.
+
+
+"Project Gutenberg" 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{~TRADE MARK SIGN~} electronic works even without complying
+with the full terms of this agreement. See paragraph 1.C below. There are
+a lot of things you can do with Project Gutenberg{~TRADE MARK SIGN~} electronic works if you
+follow the terms of this agreement and help preserve free future access to
+Project Gutenberg{~TRADE MARK SIGN~} electronic works. See paragraph 1.E below.
+
+
+1.C.
+
+
+The Project Gutenberg Literary Archive Foundation ("the Foundation" or
+PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg{~TRADE MARK SIGN~} 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{~TRADE MARK SIGN~} mission of
+promoting free access to electronic works by freely sharing Project
+Gutenberg{~TRADE MARK SIGN~} works in compliance with the terms of this agreement for
+keeping the Project Gutenberg{~TRADE MARK SIGN~} 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{~TRADE MARK SIGN~} License when you
+share it without charge with others.
+
+
+1.D.
+
+
+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{~TRADE MARK SIGN~} work.
+The Foundation makes no representations concerning the copyright status of
+any work in any country outside the United States.
+
+
+1.E.
+
+
+Unless you have removed all references to Project Gutenberg:
+
+
+1.E.1.
+
+
+The following sentence, with active links to, or other immediate access
+to, the full Project Gutenberg{~TRADE MARK SIGN~} License must appear prominently whenever
+any copy of a Project Gutenberg{~TRADE MARK SIGN~} work (any work on which the phrase
+"Project Gutenberg" appears, or with which the phrase "Project Gutenberg"
+is associated) is accessed, displayed, performed, viewed, copied or
+distributed:
+
+
+    This eBook is for the use of anyone anywhere at no cost and with
+    almost no restrictions whatsoever. You may copy it, give it away
+    or re-use it under the terms of the Project Gutenberg License
+    included with this eBook or online at http://www.gutenberg.org
+
+
+1.E.2.
+
+
+If an individual Project Gutenberg{~TRADE MARK SIGN~} 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 "Project Gutenberg" associated with or appearing on the work, you
+must comply either with the requirements of paragraphs 1.E.1 through 1.E.7
+or obtain permission for the use of the work and the Project Gutenberg{~TRADE MARK SIGN~}
+trademark as set forth in paragraphs 1.E.8 or 1.E.9.
+
+
+1.E.3.
+
+
+If an individual Project Gutenberg{~TRADE MARK SIGN~} electronic work is posted with the
+permission of the copyright holder, your use and distribution must comply
+with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed
+by the copyright holder. Additional terms will be linked to the Project
+Gutenberg{~TRADE MARK SIGN~} License for all works posted with the permission of the
+copyright holder found at the beginning of this work.
+
+
+1.E.4.
+
+
+Do not unlink or detach or remove the full Project Gutenberg{~TRADE MARK SIGN~} License
+terms from this work, or any files containing a part of this work or any
+other work associated with Project Gutenberg{~TRADE MARK SIGN~}.
+
+
+1.E.5.
+
+
+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 1.E.1 with active links or immediate
+access to the full terms of the Project Gutenberg{~TRADE MARK SIGN~} License.
+
+
+1.E.6.
+
+
+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{~TRADE MARK SIGN~} work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version posted
+on the official Project Gutenberg{~TRADE MARK SIGN~} 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 "Plain Vanilla ASCII" or other form.
+Any alternate format must include the full Project Gutenberg{~TRADE MARK SIGN~} License as
+specified in paragraph 1.E.1.
+
+
+1.E.7.
+
+
+Do not charge a fee for access to, viewing, displaying, performing,
+copying or distributing any Project Gutenberg{~TRADE MARK SIGN~} works unless you comply
+with paragraph 1.E.8 or 1.E.9.
+
+
+1.E.8.
+
+
+You may charge a reasonable fee for copies of or providing access to or
+distributing Project Gutenberg{~TRADE MARK SIGN~} electronic works provided that
+
+    - You pay a royalty fee of 20% of the gross profits you derive from
+      the use of Project Gutenberg{~TRADE MARK SIGN~} works calculated using the method you
+      already use to calculate your applicable taxes. The fee is owed to
+      the owner of the Project Gutenberg{~TRADE MARK SIGN~} 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 Section 4,
+      "Information about donations to the Project Gutenberg Literary
+      Archive Foundation."
+
+      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{~TRADE MARK SIGN~} 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{~TRADE MARK SIGN~} works.
+
+      You provide, in accordance with paragraph 1.F.3, 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.
+
+      You comply with all other terms of this agreement for free
+      distribution of Project Gutenberg{~TRADE MARK SIGN~} works.
+
+
+1.E.9.
+
+
+If you wish to charge a fee or distribute a Project Gutenberg{~TRADE MARK SIGN~} 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{~TRADE MARK SIGN~} trademark. Contact the Foundation as set forth in
+Section 3 below.
+
+
+1.F.
+
+
+1.F.1.
+
+
+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{~TRADE MARK SIGN~} collection. Despite these
+efforts, Project Gutenberg{~TRADE MARK SIGN~} electronic works, and the medium on which they
+may be stored, may contain "Defects," 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.
+
+
+1.F.2.
+
+
+LIMITED WARRANTY, DISCLAIMER OF DAMAGES -- Except for the "Right of
+Replacement or Refund" described in paragraph 1.F.3, the Project Gutenberg
+Literary Archive Foundation, the owner of the Project Gutenberg{~TRADE MARK SIGN~}
+trademark, and any other party distributing a Project Gutenberg{~TRADE MARK SIGN~}
+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.
+
+
+1.F.3.
+
+
+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.
+
+
+1.F.4.
+
+
+Except for the limited right of replacement or refund set forth in
+paragraph 1.F.3, 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.
+
+
+1.F.5.
+
+
+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.
+
+
+1.F.6.
+
+
+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{~TRADE MARK SIGN~} electronic works in accordance with this agreement, and
+any volunteers associated with the production, promotion and distribution
+of Project Gutenberg{~TRADE MARK SIGN~} 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{~TRADE MARK SIGN~} work, (b) alteration, modification, or
+additions or deletions to any Project Gutenberg{~TRADE MARK SIGN~} work, and (c) any Defect
+you cause.
+
+
+Section  2.
+
+
+           Information about the Mission of Project Gutenberg{~TRADE MARK SIGN~}
+
+
+Project Gutenberg{~TRADE MARK SIGN~} 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.
+
+Volunteers and financial support to provide volunteers with the assistance
+they need, is critical to reaching Project Gutenberg{~TRADE MARK SIGN~}'s goals and ensuring
+that the Project Gutenberg{~TRADE MARK SIGN~} 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{~TRADE MARK SIGN~} and future generations. To learn more about the Project
+Gutenberg Literary Archive Foundation and how your efforts and donations
+can help, see Sections 3 and 4 and the Foundation web page at
+http://www.pglaf.org.
+
+
+Section 3.
+
+
+   Information about the Project Gutenberg Literary Archive Foundation
+
+
+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
+http://www.gutenberg.org/fundraising/pglaf. 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.
+
+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
+http://www.pglaf.org
+
+For additional contact information:
+
+
+    Dr. Gregory B. Newby
+    Chief Executive and Director
+    gbnewby@pglaf.org
+
+
+Section 4.
+
+
+  Information about Donations to the Project Gutenberg Literary Archive
+                                Foundation
+
+
+Project Gutenberg{~TRADE MARK SIGN~} 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.
+
+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
+http://www.gutenberg.org/fundraising/donate
+
+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.
+
+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.
+
+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: http://www.gutenberg.org/fundraising/donate
+
+
+Section 5.
+
+
+      General Information About Project Gutenberg{~TRADE MARK SIGN~} electronic works.
+
+
+Professor Michael S. Hart is the originator of the Project Gutenberg{~TRADE MARK SIGN~}
+concept of a library of electronic works that could be freely shared with
+anyone. For thirty years, he produced and distributed Project Gutenberg{~TRADE MARK SIGN~}
+eBooks with only a loose network of volunteer support.
+
+Project Gutenberg{~TRADE MARK SIGN~} 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.
+
+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.
+
+Corrected _editions_ of our eBooks replace the old file and take over the
+old filename and etext number. The replaced older file is renamed.
+_Versions_ based on separate sources are treated as new eBooks receiving
+new filenames and etext numbers.
+
+Most people start at our Web site which has the main PG search facility:
+
+
+    http://www.gutenberg.org
+
+
+This Web site includes information about Project Gutenberg{~TRADE MARK SIGN~}, 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.
+
+
+
+
+
+
+***FINIS***
+
\ No newline at end of file