Camera Work: A Photographic Quarterly (1903 (Heft 1))

the book has done well indeed, if he has described these characters as convin-
cingly in print as Mr. White has in platinum. F. Holland Day’sthree
portraits are all differently treated. The Edward Carpenter — which, by the
way, has been favorably mentioned in the lay press — dates from his late
visit to England. The light, impressionistic Portrait of Madame Georget
le Blanc has an interest, apart from the photograph, for all musicians and
lovers of M. Maeterlinck. Antonio—Study of a Head—is a strong, dark
portrait, showing, I thought, that Mr. Day had been using the Dallmeyer-
Bergheim lens with which he had possessed himself before leaving this
country. Of Mrs. Eva Watson-Schütze’s four prints, the Laughing Boy
attracted me most. It is a fine example of the success of simplicity, for, with
a most sparing application of (presumably) the gum-bichromate process, she
has suggested childhood, happiness, form, and color—a truly wonderful per-
formance. Miss Mathilde Weil has devoted herself to studies of children at
play. A very happy effect is her Soap Bubbles, where strong sunlight is
cleverly pressed into the service to help the scheme. Miss Mary Devens
has launched into more descriptive and complicated work, and has justified
her ambition in grappling with the difficulties the camera always puts in the
way of a composition; but, clever as much of it is, my recollection of some
of her earlier pictures is, to me, a more pleasant memory. If Mr. W. Dyer
could have listened to the questions asked regarding the title of his picture,
Brothers, he might have relented, and produced a name that would cause
less discussion; but some of his portraits have a subtle charm that no title
can affect. I still think Mr. Abbot’s warm rendering of snow hardly
sympathetic to the subject. Londoners are already familiar with this
photograph, as it was included in his one-man show at Russell Square. But
this in no way applies to “ Träumerei ,,, which is full of happy suggestions.
Rudolf Eickemeyer’sJapanese Landscape is a fine study of snow, quite
worthy the title chosen.
AMONGST the English photographs, George Davison’s big prints,
Bruges and Lake Maggiore,are fine examples of his outdoor work; but one
misses his child forms indoors, for sympathetic delineation of which, at one
time, he had no equal. A. Horsley Hinton, although followed by many, has
no rival in his own particular rendering of nature, and this year he shows
both carbon and platinum prints of his favorite subjects. Reginald Craigie's
portrait, M. Camper Wright, is, I think, his best work hung. It is
unaffected and direct, with good suggestion of atmosphere. Charles Moss
has forged ahead since last year. He has mixed his gum to a color that
admirably suits his subjects, and the tone-values in his big landscapes are
well preserved. J. Craig Annan's portrait of Harry Alfred Long is refined
and intimate, and his Etching Printer is full of controlled action. Walter
Bennington's small work is likely to be overlooked, because of its size, but
Cornish Combe carries conviction. The Secret is the only example of T.
Page Croft's photography in the gallery. One of his great charms is the
original way he treats his subjects; consequently, in his work we look for,
and generally find, a surprise. J. C. Warburg is against monotony.