1896: “FINE PRINTS SHOWN. Splendid Annual Exhibition of Oregon Camera Club.
Visitors to the second annual print exhibition of the Oregon Camera Club, now open to the public on the seventh floor of The Oregonian building, will enjoy a surprise. The prints on view, while not as many as last year, far surpass those of the first exhibition in artistic excellence, and display an increased technical skill that attests the good work of the club. Some of the prints are surprisingly fine, being far out of the beaten ruts of photography, and approaching the work of acknowledged masters at the brush and pencil. Particularly is this true of the exhibits of Edgar Felloes, who won an especial commendatory notice for his artistic posing from the judges: Dr. J. C. Perry, whose very fine exhibit merited him the four prizes awarded him, and W. H. Walker, whose striking outdoor figure studies surprised even his fellow exhibitors, to whom they have suggested a new line of work.
S. Aune, W. E. Rollins and W. Lussier, the three judges, viewed the exhibits yesterday afternoon and awarded the prizes. The first prize in class A for figure studies was awarded to Edgar Felloes’ “The Novice.” Dr. J. C. Perry’s “When Lydia Smiles” took second prize, and W. H. Walker’s nude, “A Piping Shepherd.” was given third prize. In class B, for landscapes, Dr. J. C. Perry’s “Autumn” was given first prize; R. B. Lamson’s “Wilderness in Portland” won second prize, and Charles M. Cox’s “Winter Woods” was awarded third prize. In class C, for marines, R. B. Lamson’s “Sunset” was given first prize, and Dr. Perry‘s “Cape Disappointment” second prize. First prize in class D, for snapshots,. was won by Dr. Perry’s “Yellowstone Falls,” Dr. H. W. Cardwell’s “An Errand for Mamma” being awarded second prize.L. H. Lamberson‘s “Don’t Stop Me.” took first prize among the transparencies and George M. Wistar’s (sic – should be Weister) “Summit of Mount Hood” came second. First prize in class F, architectural exteriors, was awarded Charles U. Hooper’s “Synagogue,” and second prize was given Goldsmith Bros.’ “Courthouse at Oregon City”
The Oregon Camera Club prize for the best and most meritorious collection of photographs shown was easily awarded to Dr. Perry’s exhibit.
The display of Edgar Felloes is especially noticeable for its extreme artistic posing, on which the judges remarked. In “The Novice,” which won the first prize in its class, the artist was fortunate in having a fine model in Miss Hazel Wainwright, to which much or the success of the picture is due. The speaking expressiveness at the eye is striking. “The Gypsy Belle.” representing the head or a girl taken by a flickering camp fire, is considered by many who have seen the exhibit to be even better than the prize winner. The effect of the fire light in this study is phenomenal. It is an effect often strived for by the best at photographic artists, but rarely achieved. The lighting at several of the heads in Mr. Felloes’ exhibit is noticeably uncommon in photography, being more nearly like that of the artist than the
photographer. “The Fortune Teller” and “Guitar Player,” of the some class, are strongly suggestive of the real Rembrandt effects. which reproductions of that great artist’s paintings have made so familiar. A “Wenzell Pose,” in the same exhibit, is very suggestive Wenzell’s contributions to Truth and Life, being in his well-known style. Altogether, Mr. Felines‘ exhibit is a striking illustration of the artistic results that can be obtained with a camera, and is a revelation in the handling at light effects.
Dr. Perry has a remarkably fine exhibit in all classes, His “When Lydia Smiles,” which took second prize among the figure studies, is a very line effect in gray and white, and the pose is remarkable for its grace and naturalness. The conception of the study is very happy. and makes a most pleasing picture. “Day Dreams.” in the same exhibit, is an example at extremely fine lighting. The repetition of the curve of the model by the draped curtain is an excellent idea, and adds much to its effectiveness. The “Flower of Brittany.” is a very line figure study. Dr. Perry’s “Autumn.” which took first prize in the landscape class, is a beautiful thing. The view or this fine, old avenue of trees was evidently obtained in some at the older states of the East. The plate is very skillfully developed, and the work shows very fine handling. Though it is full of detail, it is not at the sacrifice of the artistic breadth of the picture. “Where the Roaring Waters Rush Onward Toward the Sea.” in Dr.Perry’s collection, is strongly reminiscent of the miniature Dutch landscapes painted about the time of Van Huissum (sic – should be Huysum). The snapshot of “Yellowstone Falls,” which took first prize in class D, is somewhat of the same character, and is an excellent piece or instantaneous work. “Cape Foulweather,” which took second prize among the “marines,” is a very good example of combination printing. Dr. Perry, who is the pioneer of the “X” ray experimentists in the Northwest, having met with unusual success in this ﬁeld, has two very fine “skiagraphs” on exhibition, that he made himself.
Owing to lack of space the remainder of the exhibits will be reviewed later.” Morning Oregonian, October 3, 1896, pg. 12, col. 2.
1900: “One of these days, and that not so far in the dim and misty future, the people of the East who are investing thousands and even millions of dollars on scenery-hunting trips in Switzerland and other picturesque countries of the world, will begin to realize that they can get as much for their money, and gaze upon cliffs just as imposing, mountains just as magnificent, and waterfalls just as graceful and filmy, if they will but come to Oregon. That will be a day of triumph for the Oregon Camera Club, for whenever the story of the scenery here becomes properly known throughout the East, it will be largely due to the efforts of that rapidly growing band of enthusiasts, which has found an inspiration among the hills within easy reach of Portland, and whose members have been bottling up the scenery and administering it to their Eastern friends, in the homeopathic dose of the Kodak view and the allopathic portion of the lantern slide, for some ten or a dozen years. In all that time the standard of excellence of production has been rising, until now the views that are hung on the walls of the club-rooms, in The Oregonian Building, are as fine as can be found anywhere, and have surprised some of the Eastern amateurs, when they have found their way into some of the big prize competitions.
And it is not alone in landscape work that the club has made a name for itself in the world of amateur photography. The portraits made by Edgar Felloes, who is one of its pioneer members, have taken world’s prizes in America and England, and Mr. Felloes has accumulated so large a collection of trophies of his victories that he has to keep an extra room. Hardly an important competition has been held in the United States in the last five years that some of the work of members of the Oregon Camera Club has not been entered therein, and it is never entered without getting away with a prize or two.
The “Camera Fiend.”
As is well known, there is no enthusiast like a “camera fiend.” Beside him, the baseball “fan” is the epitome of apathy, and the golf player is but tamely interested in his favorite diversion. Your true amateur photographer will go wherever he thinks a fine view is to be had, whether it is to the top of Mount Hood, or half way to the summit of some well-nigh inaccessible cliff in the gorge of the Columbia. He will rise at dawn to get a snap shot of an eclipse of the sun, or will sit up the whole of a moonlight night, tending – a camera that is engaged in absorbing enough of pale Cynthia’s rays to get an adequate impression of something or other “by moonlight.” He will jeopardize life and limb, lingering on the right of way of a railroad line, to get a snap at an overland flyer, when it comes thundering past, and when the Holland torpedo boat withdraws into the depths of the deep blue sea, there is the camera “fiend,” box in hand, peering into the streak of brilliancy made by the searchlight, bring back a picture of the bottom of the ocean.
It is this enthusiasm that makes the amateur photographer an ideal clubman, and unites all of the craft with a bond of sympathy. He will leave off any occupation under the face of the shining sun to discuss the relative merits of a newly developed “developer” with another enthusiast, or to get into an argument about the proper combination of figures required to take a certain mountain, at a certain distance, at a certain time of day. He is instantly the warm and familiar friend to any one whom he meets with a camera in the mountain wilderness, and is furnished with a topic of conversation which throws the weather completely into the shade.
This fellow-feeling is what has enabled the Oregon Camera Club to do so much for its members. They have kept together for mutual improvement and to benefit by each other’s experience, and the progress that they have made is abundant evidence of the helpful influence of cooperation. There is hardly a time during the day, when a knot of amateurs is not gathered in the tastefully furnished rooms of the club, discussing some new point that has been raised by a member, or that has been brought into prominence by a late number of a photographic magazine.
Deferred to by Others.
Those whose work is known to have a high standing are deferred to by the younger and newer members of the guild, and there, in turn, gladly draw from their experience any lessons that they can for the benefit of the tyros who sit so humbly at their feet. Soon these same tyros will have prize winners of their own on the walls, and then a younger generation will rise up and call them wise and beg instruction from their lips.
The hold that the camera takes on a man does not let go till death. He will drop his other amusements; he may even retire from business, but once an amateur photographer, always an amateur photographer. Thus the local club membership is growing, for although new recruits are received every week, the veterans in the service remain, and, as a consequence, the club has been obliged to increase its facilities from time to time, till it is now one of the best equipped organizations of the kind in the country. The Camera Club has four large rooms on the second floor of The Oregonian Building and a large operating room in the tower, which is admirably equipped for lighting — the chief requisite for portrait work. The second-floor rooms are divided into a large exhibition room or hall, on the walls of which some of the finest specimens of the work of the members are hung; a locker room, where the members keep their belongings, and four dark rooms, so that there is always room for all comers. The exhibition-room is of ample size for the lectures, lantern-slide exhibitions and such of the demonstrations as do not require dark rooms. The walls are hung with dark green art burlap mats, which show the pictures to fine advantage. Here are given the’ annual print exhibits of the club, which attract hundreds of visitors and bring pictures from members all over the state. Many of the finest views that are entered in these competitions are left hanging the year round, and may be seen at any time by visitors. And a fine collection of pictures they are. There are portraits which have won world’s prizes; landscapes of a delicacy of workmanship almost equal to an etching; character sketches and striking scenes that fix the attention ot the visitor as soon as he enters the room.
On a table near the window the latest photographic periodicals are always to be found, and usually several members of the club are collected about it “reading up,” or discussing articles that have given rise to contentions.
A fine, large stereoptlcon is in this room, by means of which a strong electric arc is made to throw lantern slides on a screen. Formerly the club was a member of the American Lantern-Slide Interchange, and it is now at work on a set of slides which will be used to renew its membership. The interchange is composed of all the prominent clubs of the country, each of which furnishes a series of slides every year. These are sent around from one club to another till they have made the entire round, and each club holds an exhibition about once a month, at which the views of other clubs are shown. This practice enables the clubs to view the scenery of other parts of tho country, as well as to keep informed on the quality of work that is being done in other cities.
In the locker-room each member has a pigeonhole where he stores the chemicals he uses in developing his pictures. There are hardly any two members of the club who develop alike, each having his own peculiar method, and as a consequence, the lockers contain a great variety of compounds, some of them of the cheapest and others of the most expensive character. The club furnishes all the “hypo” — the one thing that everybody must use — without charge, to the members. It is purchased by the barrel, and is used almost by the shovelful, when, several photographers are at work at once. The dark rooms are all furnished with sinks, running water, ruby lanterns, with incandescent lights, plate racks trays and graduates.
In the largest dark room there is room for several members to work without interfering with one another, while each of the others is designed for individual work. Every convenience that a photographer can desire is at hand, and, as a rule, nearly all the work of the members is done here. Miss Lily E. White, the assistant secretary of the club, is always to be found in the rooms, and is ever ready to assist beginners. Her assistance has been found invaluable to those who are just beginning to develop their own pictures.
In another room, which is divided off from the dark rooms by a light-proof partition, is an enlarging camera, one of the
finest to be procured. It Is here that many of the prize-winning pictures are enlarged, and by means of this camera, the possessor of an ordinary 4×5 machine can turn out pictures just as large as he wants them, and compete on equal, or almost equal, terms with the owner of the large cameras.
The operating-room is in the tower of The Oregonian Building, where it can be lighted from as many sides as necessary. It contains all the appliances of a first-class photograph gallery, including a splendid portrait camera, the use of which is free to club members. It is in this gallery that Mr. Felloes took nearly all his prize-winning pictures; and where he secured the lighting effects that have made his work, so well known. Portraiture is rapidly coming into vogue among the members of the club, and the success of Mr. Felloes, in this most difficult branch of the art, has inspired a great deal of generous emulation. As a result, on the walls of the clubrooms are hung many splendid portraits, whose artistic posing and execution would win attention in any company. The operating-room was at first little used, but it is now visited daily by club members, who have been so fortunate as to secure good “subjects,” while others are scouring the city every day for striking, faces whose reproduction, in carbon or platinum tints, the (sic — should be they) hope will bring them renown.
In order to keep up with the discoveries and developments of photography, the board of management of the Camera Club has arranged a series of lectures and demonstrations, some of which are given by local professional photographers and some by Miss White. Lectures of this kind are frequently followed by discussion, and the opportunity for the interchange of ideas thus afforded is of incalculable benefit.
Formation of Club.
The present Oregon Camera Club is the successor of two similar organizations which were born, flourished for a while and died. Those were the days when amateur photographers, although enthusiastic, were few, and when it was impossible to get enough together to support a club.
The present organizations came into existence about six years ago, when the kodak was first becoming common. Rooms were secured in a building on First street, and to the surprise of the promoters, whose confidence had undergone a pretty sever shaking in two similar experiences, the membership began to increase and the treasury to fill. In a year or two the club secured two rooms on the seventh floor of The Oregonian Building, where it set up better appliances than those in the rooms on First street. From that timeforth the success of the organization was assured.
Soon, a demand arose for instruction, and prominent professionals were secured to give lectures and demonstrations, while
members of the club who made specialties of certain classes of work were called upon to impart their experiences to fellow members. In a few years more room was needed, and the club moved to its present commodious quarters, where it will probably remain, as there is plenty of room for all the members, and the location is central and pleasant.
The present officers of the club are: A. Gavin, president; Harry G. Smith, vice-president, and W. S. Macrum, secretary and treasurer. These, with D. Ellery, J. W. Holmes, A. E. Morris, George W. Hoyt and C. M. Cox, constitute the board of directors. All of the officers are enthusiastic amateur photographers and energetic club members. Mr. Gavin was one of the organizers of, and has been a leading spirit in the club since it came into existence. His enthusiasm has done much to keep up interest in the club, while the other members of the board are always ready to second him in whatever plans of improvement he may make.
New Members Coming In.
Members of the Camera Club have been joining lately at a surprising rate. More than 20 were added to the rolls in April, and 32 names of applicants were posted in May. The friends of the club who have hitherto remained outside its pale are beginning to come in, as they realize how great are the benefits it extends to its members.
One of the most enjoyable features of the year is the annual excursion. A spot is selected, abounding in picturesque scenery, or in Indians or other people who will look well on carbon paper; excursion rates on steamer or train are obtained, and tho whole club goes forth under the open sky to paint nature, with the aid of the sunshine. The last excursion was made to Hood River, and others have had for an objective point many of the beautiful spots along the Columbia. The days when the owner of a camera sent his pictures to the factory to be developed, have passed. Photography has come to be recognized not as a mechanical craft but as an art, in which the artistic eye and temperament have as much to do as in any other.
Association with those who have made a success in photography is as indispensable to the aspiring amateur as a study of the works of the best masters is for the young artist. The opportunity to learn is afforded by the Oregon Camera Club.
But Interest in amateur photography is not limited to the membership of the Oregon Camera Club, nor is interest in the art confined to the ranks of amateurs. There are many excellent photographers in Portland and throughout the state who have received their training in the professional galleries, and who have found in the magnificent snow-capped mountains of Oregon, her majestic rivers, beetling cliffs and shining cataracts, the inspiration that has enabled them to do work that has attracted attention everywhere. The railroads have been prodigal in their use of photography, as a means of advertising Oregon, and have found no lack of splendid photographs of the scenery along their lines in the galleries of Portland and some of the cities of Eastern Oregon.
And an effective means of advertising it is, for a single photograph will convey a better idea of a mountain, or a picturesque bit of river, than columns of descriptive writing. The Columbia, from the fleets of fishing-boats which dot it near Astoria, to the gorges where it rushes madly along on its way to the sea, has been photographed by workmen who knew their trade, and hardly a tourist comes to Oregon who does not inquire for some bit of scenery of which he has seen a photograph.
Many amateurs throughout the state who have achieved distinction by their excellent work are not members of the Oregon Camera Club. Landscapes, abounding in features which make them the target of many a camera, are almost at every door in the state, and thousands of enthusiasts mark them for their own, every sunshiny day. A high standard of work has been maintained, and only pictures which are remarkably fine specimens of the photographer’s art can obtain recognition or stand a chance of sale.
No Lack ot Purchasers.
But unusual views, which are worthy of a place in a frame on the wall of a parlor or dining-room never lack for purchasers. There is one view of Mount Hood of which thousands of copies have been made, and the demand is still so great that the fortunate photographer who made the plate can hardly supply it.
Surgeons are beginning to find the camera useful in their profession, and have come to use it more and more in the laboratory and the operating-room By its use they are enabled to preserve, permanently features of a case which it would be impossible to carry in the memory and to exchange experiences with practitioners in other towns the more readily. Since the Roentgen ray was discovered, many excellent photographs have been made in Portland with its assistance, and the camera has been an invaluable means of preserving its records.
The camera has also become useful in commerce. Miners with mines to dispose of, real estate agents who have houses to sell, farmers who are looking for customers for tracts of young orchard lands, all find it a valuable means of making known what they have in the market, and intending buyers know that it will not prevaricate or exaggerate. Its use is becoming more and more common, and such
is the demand for cameras and photographic supplies that many concerns are engaged in their sale, and find it a profitable
and growing business.
The aim of a great many amateurs who do the better sort to work, is toward the use of photography in illustrating. Although the time will undoubtedly come when it will be generally used for this
purpose, progress towards the goal is slow. The reason for this is the great difficulty in securing models who can forget themselves long enough to assume the poses and facial expression necessary to the characters which they are intended to represent. Not only must a photographer who hopes to achieve any distinct success as a portrait artist be a master of technique, but he must be careful in
selecting for models people whom he cart pose as he wishes to, and whom he can bring under the control of his will. Many pretty girls wrho “lock the part” the aspiring photographer desires them to, and who have been arrayed in the fitting garments, are utterly unable to forget that they are sitting for their pictures, and as a consequence the most carefully taken plates are disappointing to their makers when their dim outlines begin to be visible in the faint glow of the ruby light. In other words, a man or woman who is a good model must be either a clever actor or actress, or must have a mind that will yield to what may be termed the hypnotic influence of the man with the camera. And actors and actresses, as a rule, know how to pose for pictures so as to get the very best results. This is why a woman who is not of especially pleasing countenance on the street, or even masked in the make-up she wears behind the footlights, will take a photograph that makes her look a raving beauty.
When a photographer succeeds in getting a collection of models which he can pose for any picture, mythological, religious or merely of a society scene, he will be able to do something with his camera in illustration, but not till then.
In Newspaper Work.
In newspaper illustration, however, the camera is indispensable. No effort is made for artistic effects. What is required is a picture which will convey an accurate impression of a human countenance or a general idea of a street scene, a railroad accident, or any of the numerous things that a newspaper puts in its columns. Time is a prime consideration. A newspaper artist who uses a camera to assist him in making street pictures — who takes notes with it, so to speak, will develop five pictures while the average amateur is hunting for his developing materials. The artistic finish of the picture is done with the pen, not with the camera, and that amount of work that is sometimes turned out of the trusty box of the newspaper illustrator, would take most amateurs breath away. For them a picture is an achievement to be tolled upon for hours, and to be gazed at for days after its completion. To him it is a convenient adjunct to his calling, to be made use of and thrown away within an hour. In many cities reporters go armed with cameras and are on hand ready to make a picture of anything of interest that comes in their line. As a rule, they turn their camera over to the art room when they have snapped it on what they want reproduced in the paper, and the art room does the rest.” The Sunday Oregonian, June 03, 1900, pg. 25, whole page with illustrations.
1901: “FAIR A GREAT SUCCESS …Photographic Prizes. …
Following is the list of awards in the photographic department the Portland Carnival: Class 1, portraits — First prize to Mrs. Claud Gatch, Salem, No. 12, “A New String”; second prize to W. H. Walker, Portland, No. 93, “Portrait”
Class 2, genre — First prize to Mrs. Myra Albert Wiggins, Salem, No. 10S, second to Mrs. Claud Gatch, Salem, No. 10, “Across the Dunes.”
Class 3, landscape and marine — First prize to Mrs. Myra Albert Wiggins, Salem, No. 109, “Through the Mist”; second prize to W. A. Walker, Portland, No. 96, “Beach by Moonlight.”
Class 4, architecture and interiors — First prize to E. D. Jorgensen, Portland, No. 49, “Canal Venise”; second prize withheld.
Class 5, still life — First prize to Mrs. Albert Myra Wiggins, Salem, No. 106, “Roses”; second prize withheld.
Grand prize for best general exhibit to Mrs. Myra Albert Wiggins, Salem.
A. B. M’ALPIN,(sic)
Judges.” The Sunday Oregonian, October 06, 1901, pg. 16, col. 1-2.
1902: “PHOTOGRAPHS ON VIEW. Oregon Camera Club Shows Many Beautiful Pictures.
The eighth annual exhibition of the Oregon Campra Club was opened to the public last evening in the clubrooms, on the second floor of The Oregonlan building, and during the evening a large number of members and visitors inspected themany prints that were on exhibition. There are about 160 pictures on show, and the rooms will be opened to the public during the remainder of the week.
The judges have already gone over the prints, and have awarded the E. Y. Judd cup to Mr. O. M. Ash, and the Ladd cup to Miss Breyman, for her picture, “Peaceful Twilight.” Neither of these cups have been won three times yet, and they will remain to be competed for till they are. The pictures which secured them this year have’ much merit, and the Judges’ decisions are considered very fortunate.
The exhibition of this year, as compared with that of last, shows a marked progress on the part of the exhibitors, and a deep regard for the true art of photography. Last year but seven of the 33 exhibitors placed bromide prints on the boards, while this year 19 out of 33 showed this sort of picture. Instead of 35 bromide prints out of 195 as shown last year, there are 92 out of 165 this year. This is but one example of many that serve to show that the exhibit now in the club-rooms is one of the best ever placed on show.
Among the many pictures that have attracted universal attontlon from the visitors is the print, of a Chinese vegetable garden, by Edgar Felloes. Mr. O. M. Ash’s four portraits of the four presidents of the club are also greatly admired, and the show will become the property of the club, and will always be with the club collection. A. Gavin’s picture of the Columbia at the Cascades during the many destructive forest fires that raged in that region last Summer shows much careful preparation and attention to details, and Mr. O. W. West’s picture of the Portland fire in June is something out of the ordinary, turned, as it is, into a beautiful bromide effect.
Mrs. C. E. Ladd’s pictures merit a great deal of praise, especially a beautiful print of California wilding, and another of Monterey Bay. Miss Lily E. White’s picture of the Monterey Sphinx is a very remarkable picture, showing a face of solid stone in the sea beach rocks.
From San Francisco are several prints of Hugo B. Goldsmith, one in particular being very attractive, entitled “A Chinatown Hold-Up.” It represents burly policeman holding in his arms a little Chinese baby.
The officers of the club are very much pleased with the prints that have been offered, and the exhibition promises to be one of the most successful ever held.” Morning Oregonian, December 09, 1902, pg. 14, col. 3.
1902:”Last Day of Camera Club Exhibit. The annual exhibit of the Oregon Camera Club will be open today, from 2 to 11 P. M., when it will come to a close. The best work of the following photographers is open to the inspection of the public: Miss Maud Alnsworth, Alfred Anderson, O. M. Ash, H. Berger, Jr., Miss Bertha Breyman. H. Claussenlus. Jr., I. Lesser Cohen, W. H. Downing, D. Ellery, Edgar Felloes, A. Gavin, Milton P. Goldsmith, C. J. Gray, Wr. O. Haines, J. A. Horan, L. C. Henrichsen, G. F. Holman, Miss Elizabeth Hutsby. Arthur H. Jones, Samuel C. Kerr, Mrs. Charles E. Ladd, I. N. Lipman, George S. Shepherd, Mrs. A. H. Tanner, J. J. Tyrrell. H. J. Thorne, S. A. Thrall, Henry Wagner, Will H. Walker, Paul Wessinger, Orvll W. West, Lily E. White and Mrs. C. H. Williamson.” Morning Oregonian, December 13, 1902, pg. 9, col. 2.
1902: “OREGON CAMERA CLUB’S EXHIBIT.
The exhibit of the Oregon Camera Club last week was a source of profit to its members and pleasure to the many outsiders who visited the rooms. That the exhibit excited interest is evidenced by the little groups gathered every afternoon and evening around first one and then another of the exhibits, discussing the merits, but quite as often the demerits, of the work. Many a poor exhibitor, seeing a group around his pet picture, craning their necks to see if there are bubbles on his carbon print, or using a glass to see if they are “faked,” probably wishes himself a “mouse in the corner” to hear what they are saying, and then, on second thought, glad he isn’t, it being better to imagine praise than to hear condemnation.
As one entered the room for the first time the eye, was naturally attracted to the exhibit as a whole, showing as it did all sides of the room covered with a pleasing arrangement of artistic frames, for this year there were only 51 out of 168 prints unframed. Attention would be called to prints which by reason of their light tone or brilliant color attract the eye like spots of light in the dark. Then at last it was realized that the exhibit was composed of individual pictures, some of them better than others, and the real business of systematic examination began.
Probably the finest picture in the room was the one which, on account of its low tone and dark frame, would be among the last to be examined, but once seen, would not be forgotten by any artist, be he of the brush or camera, viz., “At a Chinese Vegetable Garden,” by Edgar Felloes. In this case the subject is probably not attractive in the original, but the artist has thrown into it so much individuality and treated it so well that one feels the only adverse criticism is as to title. So good a picture seems worthy of a better name.
In spite of Juliet’s sentimental little speech about the rose, there is a whole lot in a name. Even Millet’s famous “Angelus” would have suffered a little, had it been called, for instance, “An Evening Scene in M. Jacques’ Potato Patch.”
Hanging next to Mr. Felloes’ picture was one of the prize pictures, Miss Breyman’s “Peaceful Twilight,” which won the Excelsior cup presented by Mrs. W. S. Ladd. This picture shows good composition, careful treatment and delicacy of feeling in every line and tone. The print shown is perhaps a trifle light fully to realize the sentiment implied by the name, but for all that it remains true to a comment made upon it, “one of the most beautiful landscapes ever shown in the club.”
“Reflection,” another picture of Miss Breyman’s, is a large sepia carbon very similar in composition to her picture, “Leafless,” which won the cup last year.
W. H. Walker’s “Keep Guard, for the Army Is Sleeping,” shows two men on picket duty in the snow. One is seated, half asleep, beside a small fire; the other standing leaning on his rifle. The arrangement of living figures, with natural backgrounds, thus forming a real picture to be photographed, is a thing not often seen, and is a line of work for which Mr. Walker has more than a local reputation. The pose and arrangement of figures in this case is very natural, and while a slightly lower tone in the snow and sky might add a little to the interest, the effect as a whole is good.
Prominent in the exhibit of Mrs. Charles E. Ladd, which hangs next to that of Mr. Walker, are her flower studies, three carbon prints on celluloid, all of them gracefully arranged and faultlessly printed. A study of grapes by the same member, and entitled “A Decorative Panel,”, shows the delicate bloom on the fruit as perfectly as if the grape itself was there. The portrait in this exhibit is also excellent, and leaves very little to be desired.
“His First Sitting,” by Miss Ainsworth, was the center of attraction to all who visited her corner of the room. It shows a small child with a Brownie Camera taking a snap shot at a small dog posing on a stool. The pose of the child is good, but all the other beauties of the picture fade before the expression on that little dog’s face; Doggy Is so evidently trying to “look pleasant.” The portrait in this exhibit shows equally good photography and much better art, but, alas! doesn’t attract like the dog.
The exhibit of George F. Holman is noticeable for the graceful draping of its figure studies, most of them in the Oriental character, and showing careful study and attention to detail in the backgrounds and accessories. In entering this field Mr. Holman has taken up what is probably the most difficult of all classes of photographic picture-making, from the fact that the model must be led to feel the sentiment of the intended picture before success can be even approached, and after that all the usual manipulative skill must be called into requisition to secure the final result. This exhibit shows that its author’s heart is in this class of work, and the results fully justify the effort.
Next to Mr. Holman’s hangs the exhibit of nine pictures by O. M. Ash, which won the Judd cup, that is awarded to the best general exhibit of six or more prints. Prominent In this group are the portraits of S. H. Thrall, president of the club, and A. Gavin, Edgar Felloes and A. Anderson, ex-ppresidents. These prints becomethe property of the club at the close
of the exhibit. Several of Mr. Ash’s pictures are worthy of more than passing notice. “The Mighty Deep,” a marine, shows good composition and careful treatment, which, with the fortunate conditions under which it was taken, makes it one of the best pictures shown this year. “The Roaring Surf” is a rather startling green carbon print of a large wave just breaking into foam. It has strength and the merit of concentration of interest, but one lady was heard to say, “I wish it would move.” “Solitude” has also attracted attention, and is a evening effect. There is, however, a little inclination for the eye to wander from the high lights of the water to those in the sky, which would be relieved by a slightly lower tone in the water. “Snow” Is an excellent little platinotype of Sixth street during a snow storm. “Still Life” is a happy combination of picture and frame.
The seven pictures exhibited by Paul Wessinger are carbon prints of more than usual good quality, and beautifully framed. His “School Girl” is one of those happy combinations of light and shade which centers the interest at once in the face and leaves it there. “Moonlight” is a marine, restful, and of which one does not tire. “Genre,” one of his best pictures,
is somewhat marred by the fact that the little girl is apparently sewing with her left hand. This, however, is due to the reversal of image well known to all carbon printers, and one forgets it in the beauty of the picture.
Three tastefully framed carbons in the sepia tones and one sea-green form the exhibit of Miss Lily E. White. Her “Old Carmel” shows the nearly leveled ruins of one of the earlier California missions, and has much sentiment in it. One cannot look at it without a regret that the handiwork of the old fathers has been allowed to crumble and decay. “The Monterey Sphinx” is a happy combination of the pictorially beautiful and a “view” of a natural curiosity. The face of the “Sphinx” is plainly seen In the picture, but so unobtrusively as not to mar it. It is to be regretted that Miss White has not been able to exhibit a larger collection this year, as her work is always of interest.
One of the most attractive studies on the walls is by J. A. Haran, entitled “Pietro.” It is a toned bromide print of an old Italian laborer. It is full of life, but must be seen to be appreciated.
Henry Wagner shows eight prints tastefully framed and carefully prepared, the most interesting of which is the figure and jolly, laughing face of a small boy. “Playing Injun” is also of interest. “Reflections,” one of his best landscapes, was
not mentioned in the catalogue, probably through error, but attracted much attention on the walls.
D. Ellery’s exhibit consists of six tastefully mounted prints, all of the portrait class, and showing good lighting and careful pose. One of the prints would perhaps be improved by trimming, and two have been somewhat marred by it, but generally speaking Mr. Ellery’s exhibit is as George Ade says, “easy to look at.”
H. Berger, Jr.’s, copy of the famous painting, “A Joke,” and entitled by him “A Stolen Joke,” is a good joke and a good picture.
Hugo B. and Milton P. Goldsmith, of San Francisco, were represented by 10 pictures, most of them bromide enlargements of Chinatown snap shots. One, “A Hold-Up in Chinatown,” showing a policeman holding a little Chinese baby in his arms,
is a good pun and a good picture.
Lack of space prohibits the mention in detail of all the exhibits on the walls, and thus much creditable work remains unnoticed. All of them show merit. Many of them could be greatly improved by a little simple manipulation of either negative or print, and several could by more careful work be made to equal some of the best work shown.
Among those whom lack of space prevents more extended notice, but whose work is worthy of it, are Messrs. A. Anderson, W. O. Haines,. L. C. Henrichsen and Miss Elizabeth Hutsby.
“Portland is fortunate in having in and around it places of such interest and natural beauty that there has grown up in her midst one of the largest clubs of amateur photographers in America. It is a good work, a beautiful art, and should be encouraged.” Sunday Oregonian, December 14, 1902, pg. 32, cols. 1-3.
1903: ” CAMERA CLUB EXCURSION
Amateur Photographers Snap Everything but the Rainbow.
The Bailey Gatzert carried over 230 passengers yesterday on the Oregon Camera Club’s excursion to Cape Horn, 47 miles from Portland on the Columbia River. On former annual trips the club has gone to Multnomah Falls and the Castle Rock, but yesterday’s was the first visit made to the picturesque point on the Washington side.
Captain F. K. Sherman was very attentive in looking after the comfort of his passengers, and the excursion committee, who managed the expedition in a most admirable manner, were, A. Gavin, F. W. Holmes and C. H. Hoeg. Mrs. K M. Randall, assistant secretary of the club, was also active making the trip pleasant.
Comfortable accommodations were provided for everybody on deck and inside a stateroom was fitted up as a darkroom for the convenience of the photographers.
Coming up the river the passengers chatted merrily over the picturesque farms and Summer homes along the bank, but when the boat reached a bend where the whole vast upper river seemed to be spread before their vision, everybody stopped talking.
On each side were the cliffs, hundreds of feet high, with Cape Horn jutting grandly out into the water, and beyond
were the navy-blue Cascades. In the foreground a white sailboat went scudding across the Bridal Veil and the Gatzert came to a full stop in midstream. The passengers lined up along the decks with eager cameras trained on the banks, every photographer confident of getting a good picture.
After a midday dinner, served on the boat, the excursionists landed at Cape Horn and immediately scattered in small picnic parties and parties of ambitious mountain climbers who wanted to climb to the top of Cape Horn. Among the few who reached the rocky summit were Mr. Hoeg, Oscar Kerrigan, Claude Merchant, of Seattle; George Brackett and Miss White, of St. Paul. Miss White was accompanied yesterday by Mrs. Nelsz, also of St. Paul, and both were in raptures over the scenery.
The Camera Club people got any number of pictures at Cape Horn and a number of them secured small boats and crossed the river to Bridal Veil, which is always a favorite spot for the amateur photographer.
C. Thrall, president of the club, seemed to enjoy the day hugely. He took pictures with enthusiasm and posed for
several. In one of these Mr. Thrall appears as “The Man With the Hoe,” the hoe having been borrowed from Mr. Jones, a resident of Cape Horn. Mr. Gavin took the picture, which he says is to adorn the walls of the Camera Club’s studio in the Macleay building.
Late in the afternoon the boat started for Portland going up the river to Multnomah Falls before turning westward.
The sun shone upon the falling spray in such a way as to produce a mass of rain-bow color, making a picture that the beauty-loving students of camera craft will always remember.” Morning Oregonian, July 13, 1903, pg. 12, col. 2.
1904: Photo of Thomas Gray published, credited to Edgar Felloes, Morning Oregonian, June 17, 1904, pg. 7.
1904: “PHOTOGRAPHERS TO EXHIBIT
Local Amateurs May Affiliate With American Association.
Affiliation with the American Association of Photographic Societies is contemplated by the amateur photographers of Portland, and a meeting will be held this evening in Fred V. Holman’s office for discussion of this federation.
The American Federation consists of 12 cities in the United States, and the best amateur photographic work from the members in these cities is collected annually and mounted in an exhibit, which is sent from city to city and placed on exhibition. The first salon exhibit to reach Portland will probably come during next April, and the intention fcto place it on exhibition in the rooms of the Portland Art Association. If the new building is finished by that time it will be seen there. The salon exhibit consists of about 300 pictures.
Will H. Walker will be the resident member of the committee which will collect the pictures to be exhibited, and it is estimated that the Pacific Coast will present fully 1000 pictures from which selections will have to be made for the salon exhibit. The Portland branch will probably be called the “Portland Society of Photographic Art.” and the membership will include Will H. Walker, Edgar Felloes, Mrs. Julia Hoffman, Henry Wagner, Paul Wessinger, Alfred Tucker, George F. Holman, Henry Berger, Jr., Charles Basey, William F. Woodward, F. A. Jackson. F. A. Routledge, L. S. Gilliland, D. W. Ross, W. M. Ladd, Edgar E. Frank. J. A. Horan. W. O. Haines, O. M. Plummer. George W. Hoyt, R. B. Lamson, Mrs. Sarah H. Ladd, Lily E. White, Maud Ainsworth. O. M. Ash and Bertha Breyman.” Morning Oregonian, October 05, 1904, pg. 14, col. 2.
1905: “CAMERA CLUB CLOSES AN ADMIRABLE DISPLAY. The doors of the Art Museum closed last evening on the largest and most successful exhibition of camera-caught scenes ever made by Oregon photographers. For the encouraging results of its thirteenth annual exhibit the Oregon Camera club is flooded with congratulations — especially so since it is believed the event will serve to awaken greater interest among club members in the work and prestige to the splendid
reputation which the organization already enjoys.
The exhibit wss not attended as largely as it deserved, but there was a good representation of art admirers in the halls each afternoon and evening of the present week, and not a few of the
more conspicuous prints, were sold at good prices.
In this regard it was notable that the pictures which attracted greater attention were those of local photographers, rather than the prints loaned by outside enthusiasts and imported by the olub.
For while there were pictures from San Francisco and other foreign points by amateurs of more or less fame, their subjects were not nearly as original as most of the Oregon pictures and as a whole did not compare favorably with the latter.
In this year’s exhibit there were 143 prints, about 20 more than were shown last year. Five cups were awarded, including the general exhibit cup, which must be won three times before it
becomes the property of the holder. The big cup went to George F. Holman this time. He had 18 fine prints on display, among them “Finis.’ shown on this page. It is a reproduction of the wreck of an ocean vessel on the coast and was greatly enlarged from the original negative. This Is not the first time the picture has been exhibited but a view of it is always welcome to admirers
of the photographic art. –
In the genre class, William D. Smith’s picture a mother hen and her chicks won the cup “hands down.” It was admittedly a well deserved award.
As a landscape specimen, the judges concluded there was none quite so impressive as Henry Berger’s “Woodland Patch.” Rarely’ does a photographer happen on a prettier scene in nature, and the delicacy of the shadows in the print demonstrates, besides a keen artistic sense; an admirable practicality which caused the artist to make the picture at the proper moment of the day.
Another magnificent study was the Greek portrait by James A. Haran. The country’s most celebrated photographers have done little better.
The final prize went to Harry G. Smith for a view of Portland harbor. It was not a picture suggestive of romance or sentiment, nor was it an oddity, but It was cleverly executed.
To enumerate the fine pictures which did not win prizes would be almost as difficult as was the task of the judges. For a club of 175 members, the showing was remarkable from every point of
view and one that cannot be excelled in any part of ths country by an organization of similar size.”
1906: “Oregon Camera Club Exhibit Open. Prints of Amateur Photographers Attract Many Visitors to Museum of Art. The Twelfth annual print exhibit of the Oregon Camera Club, now being held at the Museum of Art, on Fifth and Taylor streets, is attracting much attention from the general public and from art lovers in particular. There is a greater number of exhibits than ever before, and the general tone of the work is better. Many new exhibitors are included, which is a most gratifying feature
to the club as it encourages all members to make an effort to excel in photography. The many beautiful color prints are particular (sic) notable. Bromides and gum prints are in ascendency, and there a few very beautiful and effective
The committee appointed to judge the pictures and award the prizes consisted of Mrs. Claud Gatch of Salem, amateur photographer, Struck Aune, professional photographer, Cleveland Rockwell, artist. The Jud (sic – should be Judd) Cup for the best general collection was awarded to George F. Holman, the other prizes consisting of club pins and honorary mention, being for landscape, marine and river and harbor views, still life, flowers, portraits, clouds, animal studies, and genre prints.
While the decision of the judges is satisfactory, there are several very fine exhibits which are fully up to the standard of the prize winners. This is most noticeable in the portrait class, for though prints Bert C. Lewis and H. J. Thorne, which received first and second prizes, are artistic and well executed, the one in George F. Holman’s collection is a most delicate and artistic bit of work.
In making the decision on cloud effects, the judges gave first to Albert Myers’ “After Storm” and second to I. N. Lipman on a study entitled “After the Shower.”
Two of the best pictures in the exhibition are the river and harbor prints which took first and second prizes, the first going to F. H. McClure and the second to J. V. Reid. Here again it is difficult to determine which is the more meritorious, both of them being gems in their way and the exquisite color effects most perfect and pleasing.
The landscapes and seascapes were many and excellent, and the awards in this class to J. A. Haran and Albert Myers were most satisfactory. H. J. Thorne has a beautiful landscape print, and J. V. Reid shows a sunset landscape which is an exquisite bit of color and of beautiful composition. G. F. Holman won first on seascapes and H. J. Thorne second. Mr. Haran has a beautiful specimen in this class, quite up to the two prize winners.
The awards for genre prints went to Fred J. Rogers and J. A. Haran. both of them being good, and H. E. Powell won both first and second for flowers. His work was fine in this most difficult field.
J. L. Braden and Mrs. J. J. Fitzgerald were first and second on animal studies and the still-life prizes went to H. J. Thorne and Dana Sleeth. Mr. Thorne pictures a pair of mallard ducks which were much admired.
Moonlight on Mount Hood.
Among the most artistic and beautiful prints in the exhibit is in the collection of F. H. McClure, who presents a moonlight scene on Mount Hood in carbon. The tones are deep green and the moonlight is particularly effective. An old pine tree stands in the foreground, making a most pleasing composition. Mr. Holman has a fine foggy day scene. Haran’s collection attracts much favorable comment. Dana Sleeth runs to the spectacular in color effects but he has a pretty thing in “A Sea Cliff” in deep blue tones.
Fully a thousand visitors viewed the pictures Monday night and all day yesterday the gallery was well filled. Among the callers were about 500 school teachers who are attending an institute in Portland. Everyone expresses great satisfaction over the excellent showing made by the amateur photographers and the exhibitors naturally feel much encouraged in their work.
The hanging and lighting of the prints are all that could be desired. The exhibition will be open every afternoon and evening this week and the public is cordially welcomed.” Morning Oregonian, November 28, 1906, pg. 18, cols. 1-2. Oregon Sunday journal (Portland), December 03, 1905, sec. 2, pg. 18, cols. 1-5. Pictures reproduced; A Woodland Path, Landscape cup awarded to Henry Berger, Jr.; Finis, a Carbon by George F. Holman.’ In Portland Harbor, Marine cup awarded to Harry G. Smith; Portrait, a Greek study Portrait Cup awarded to James A. Haran.
1907: “Oregon Camera Club Will Open Thirteenth Annual Exhibit Tomorrow.
TWO PHOTOGRAPHS WHICH WILL BE ON VIEW AT THE CAMERA CLUB EXHIBIT; Indian study by James A. Haran, and Drying Sails by H. F. Smith. In the Art Museum, corner of Fifth and Taylor streets, the Oregon Camera will open its thirteenth annual exhibit tomorrow afternoon. The pictures will be on view free of all charge every afternoon and evening of the coming week. No one but amatuers are allowed to compete for the nine cups to be given as prizes for the best work shown. Over two hundred photographs will be hung, the product of 38 of the best amateur photographers on the Pacific Coast. The contest is limited to club members. The best landscapes, marine, animal study, river and harbor views, flower study, genre (a picture that tells a story and must contain at least one human figure) portrait and still life will each be awarded a prize cup. Besides this, the Judd cup Is offered for the best collection, which must include not more than 10 nor less than six photographs. This cup must be won three times by some one person before it becomes the personal property of the winner. Henry G. Smith and George F. Holman have each won the Judd decision twice. Three judges will today decide which are the prize-winners; one judge is a professional photographer, another is an amateur, and the third is an artist not in photographic lines at all.
The Oregon Camera Club contains 160 members, whose residence is not confined to this city, nor are the subjects of the pictures limited to any particular section. The sole aim is to produce the best possible photographic effects regardless of all other requirements. Several of the pictures to be shown will come from club members in San Francisco and other cities.
The officers of the club are: James Tyrrell, president; James A. Haran, vice-president; J. V. Reid, secretary; and B. S. Durkee, treasurer. The exhibit this week will be one of the largest and best ever shown in America, as the Oregon Camera Club is one of the leading amateur photographic clubs in this country. It ranks with those of San Francisco, Philadelphia and New York City. Everything has been done to make this exhibit one of the most artistic ever seen in this city. Sunday Oregonian. (Portland, Ore.) 1881-current, October 20, 1907, pg. 8, cols. 2-6.
1907: “FINE EXHIBITION BY CAMERA CLUB
Two Hundred Photographs by Amateurs on Display at Art Museum.
SHOW IS FREE TO PUBLIC
Pictures Show Highest Development of Camera Craft and Collection Is Best Ever Seen In Portland–The Prizewinners.
PRIZEWINNERS IN CAMERA CLUB
ANIMAL STUDY First prize. No. 17. “Lost.” by Henry Berger. Jr.; second prize. No. 14, “Early Morning,” by Henry Berger, Jr.
RIVER AND HARBOR VIEW First prize. No. 18. “In Harbor,” by Henry Berger. Jr.; second prize. No. 150, “The Glow of Evening,” by Harrv G. Smith.
GENRE First prize. No. 63, “The Blacksmith.” by J. A. Haran; second prize. No. 20. “Summer Days,” by Henry Berger, Jr.
MARINE: First prize. No. 65, “A Marine Sunset,” by J. A. Haran; second
Prize. No. 15. “Last of the Iredale,” by Henry Berger. Jr.
PORTRAIT First prize, No. 58, “Indian Head Study.” by J. A. Haran; second prize, No. 60, “Goin’ Fishin” by J. A. Haran.
LANDSCAPE First prize, No. 78,”The Calm Before the Storm,” by C. H. Hoes; second prize. No. 175, “Landscape.” by H. J. Thorne.
STILL LIFE, First prize, No. 169, “Peach Brandy.” by W. D. Smith; second prize, No. 170, “Peaches,” by W. D. Smith.
FLOWERS, First prlze, No. 180, “Oregon Roses.” by H. J. Thorne; second prize. No. 163. “Roses,” by W. D. Smith.
Judd cup, best collection, won by J. A. Haran. ”
Two hundred photographs by 38 members of the Oregon Camera Club were hung yesterday in the Art Museum,
Fifth and Taylor streets. This is the thirteenth annual exhibit made by the club, and a better collection of photographs was never seen in this city. The rooms are open every afternoon until 5 o’clock and every evening from 8 o’clock till closing time all this week. Admission and catalogues are
Before the pictures were hung the eight prize cups were awarded as first prizes, and– for second prizes eight more were selected for honorable mention. The Judd cup. given for the best
collection, was awarded to H. J. Haran. This prize must be won three times by some one person to become his personal property. It is still open to competition and must be contested for again
next year. ,
The Judges were: Artist, Max Meyer, of Portland; professional photographer, C. Elmore Grove, of Portland; amateur photographer, Fayette J. Clute, editor of Camera Craft, of San Francisco.
Their selections were made independently on the basis of 15 points for subject, 30 points for composition and 60 points for general effect and other considerations. After each Judge had made
his selection in this way the points were compared and the prizee awarded
The Oregon Camera Club is one of the largest and best in America. It ranks with those of New York City, Philadelphia and San Francisco. At present the membership is over 200.
Members need not be residents of Portland nor of Oregon. The club maintains
rooms in the Macleay building, corner of Fourth and Washington streets, which are open dally from 2
to 6, and are in charge of Miss Orlene Hutton, the assistant secretary. Here are all means convenient for artistic photographic work; such as dark rooms, enlarging camera, portrait studio, and the latest reading matter of interest to photographers. The club is for amateurs, not professionals, and some of
the most prominent people in the city are members.
The officers are: President, James J. Tyrrell; vice-president, James A. Haran; treasurer,
B. S. Durkee; secretary, John V. Reid; assistant secretary. Miss Orlene Hutton.
The executive committee is composed of H. J. Thorne; chairman; Albert G. Myers, Harry G. Smith, John V. Reid, Miss Orlene Hutton, Mrs. J. J. Fitzgerald, Mrs. J. McClelland and Mrs. L C. Otis.
The exhibitors are: L. E. Anderson, George Fisher Bardon (not for competition), George E. Beeson, Henry Berger Jr., T. Birdsall (not for competition), S. H. Brainard, D. Ellery, Mrs. C. Dunn, E. N. Fairchild, Nelson Gammans. Hugo B. Goldsmith (not for competition), Milton P. Goldsmith (not for competition), Otto K. Hagel, J. A. Haran, L. C. Henrichsen, C. H. Hoeg, George F. Holman (for Judd Cup competition only), Herbert Hussock, L. W. Jones (not for competition). Dr. A. F. Knoder (not for competition), J. D. Leonard, Mrs. Joseph McClelland, F. H McClure (not for competition), J. C. Michaels. Albert G. Myers, C J Nougues, F. Phlllippe, W. H. Purdy, J. V. Reid, A. H. Ruedy, M. D., Harry G. Smith, W. D. Smith. H. J. Thorne, J. J. Tyrrell, F. W. Vollmann, E. D. Whitney, R. Zehnthauer, A. H. Zinsley.” Morning Oregonian, October 22, 1907, pg. 10, cols. 3-4.
1916: “PICTURES ON VIEW. Photographs That Have Won
Prizes Are at Library. SEA AND FIELD CONTRIBUTE.
Nude Art, Particularly “Spring,” Is Exceptionally Good, While Action in Marine Disaster Is Most
Vivid — Oregon Birds Taken.
Large crowds saw the opening of the Camera Club exhibit Wednesday night at Central Library, when 100 amateur photographers displayed a collection of 480 pictures. Many of those shown have won honors at salons in London and New York. Some very fine action, portrait, marine, fog and frost pictures are in the collection, also artistic nude photography. The exhibit was arranged by Will H. Walker, Henry C. Morse and Walter B. Struble.
“Spring,” a wee lad among the daisies, is shown by Will H. Walker, and is a picture that won honors at the London Salon.
Will H. Walker has an admirable collection that contains pictures that have won honors at the First American
Salon at New York, and at many other exhibitions. “White Death.” “Nydia,” “Father Andrew,” “Lone Victim of a
Stormy Sea.” Edgar Felloes shows “The Highland Shepherd.” a striking portrait study, and many other attractive photographs.
“A Wintry Night” and “Embargo Merchants,” by S. Itow, and Harold Sawyer’s “Closed Door,” are fine pictures. Bertha M. Ash shows “Peaceful Twilight” S. Ninomiya has a number of attractive pictures with oriental quaintness of atmosphere and Japanese freedom of art.
Harry G. Smith has another picture shown at the London Salon, a misty, beautiful marine photograph with a ship as the central object.
Royal Burial Place Is Shown.
“The Wild Duckling.” by George F. Holman, was displayed at the first American Salon at London and is attracting much favorable comment at
the exhibit. Standing out from the foreign collection is “Dom Kirche,” an interior picture of the burial church of the Kings and Queens of Denmark at Roskilde. Other notable works are among those having won honors abroad.
A placid mission scene is “Peace in Mexico.” a remarkable photograph by Henry C. Morse. Edgar Felloes in his collection shows a portrait of Nance O’Neil, the famous actress and one of
Frederick Warde. Henry Berger, Jr., is attracting attention with a portrait of Dr. Baar os “Lost” C. Ford Richardson
has a striking potrait of” an old characteristic face. “A Section Hand.” His shipwreck of the Glenesslin is also striking.
A dark figure weighted with fagots stands out, against a leaden sky in D. W. Ross “Winter,” a fascinating piece of work, and H. B. Simington’s “The Happiest Hours of Our Lives,” a child on the sands, owes its beauty to a clear reflection on the wet sand and lights and shadows about the small figure.
Oregon Birds Pictured.
A striking collection is by O. M. Ash and a dozen bird pictures are displayed by H. E. Bohlman, showing chiefly Oregon and California bird life. A fine carbon, “Her Voyage Done,” a shipwreck, by Alfred Anderson and A. A. Bailey, shows a collection with good soft focus work. “Yellowstone Falls is one of Charles Basey’s best.
An animal picture, “The Chief Mourner.” by David W. Ross, is a winner of honors both in the East and West. George M. Allen shows a dainty
“Sunlight and Shadows” that is a gem of the exhibit. Fine work is contributed by William C. Bristol. MacGill’s nude pictures of masculine figures are noteworthy.
J. Letz and Charles A. Benz, both Mazamas, have gleaned beautiful mountains pictures on their trips that are among the most interesting local pictures at the exhibit.” Morning Oregonian, October 06, 1916, pg. 13, col. 3.