Camera Work: A Photographic Quarterly (1906 (Heft 13))

each; but as these fully exploit their special and several characteristics, one
must not unduly complain at the paucity of frames. M. Grimprel has a
very rich study in five colors, quietly strong and true. M. Le Begue has a
study of three heads, most beautifully modeled, and printed in a very rich
sanguine. The only blot on the French collection is the colored head-study
by M. Hachette, the purple tones of which are most displeasing and untrue;
it hangs most disastrously for the other fine color-work this section is so
noticeable for.
Our English section is above the average, I think, in good, sound, sane
work, though it lacks anything of a startlingly fine character. Mr. Craig
Annan, in No. 24, sends a nearly full-length portrait of that very delicate
artist in black and white, Miss Jessie M. King, that is much beyond any-
thing he has done for some years, excepting only his superb portrait a year
or so ago of the sculptor.
Will Cadby has some very delicate and intimate child-studies, which
must be very precious to the parents. Mrs. Cadby has but one, a kitten-
study, a very happily caught pose, very nicely furry and arched back, and
most refreshingly apart from the animal versions one gets so tired of. Mr.
Cochrane is stronger than usual; his No. 28, Grannie's Stocking, is very
successfully worked out, very luminous and rich, and especially well placed;
it is full of dignity and is a striking success on the walls. In No. 4 he has
a very strong, Dutch-like study of an old woman holding a small cask;
it hangs very effectively indeed.
Mr. Moss is not so fine as last year, neither so happy or rare in
subject, or so fresh and unhackneyed in treatment. Neither is Mr. Horsley
Hinton so much in advance as one would like to expect, though his No. 26,
Rylstone, is good, sound work, less mannered and therefore more convincing
and enjoyable than usual.
Mr. Keighley sends three very choice pictures, though in no case any
advance on his fine work of last year; the same characteristics pervade them,
and afford a standing rebuke to those who say there is no individuality in
photography; these are instantly recognizable from the farthest end of the
room, and their paternity is writ large all over them. Mr. Hollyer sends a
vivid portrait of the lately deceased painter, Simeon Solomon; and he sends
also a portrait, enlarged on canvas, of the writer hereof, good in likeness and
very strong and good in handling. Mr. F. T. Hollyer sends two of the
best color-studies in the gallery, the head in No. 80 being exceptionally
delicate, true, and miniature-like in color. Mrs. Barton sends four works
very much in her well-known manner, Nos. 213 and 224 being the freshest
and most successful. Mr. George Davison’s No. 217, Molesey Lock, is a
large-mannered study of evening, full of rich gloom. The treatment of the
water in No. 215, A Wet Sun, is most felicitously given. Mr. Calland is
happier than usual this year, but space forbids any further detailed criticisms,
though there are many more pictures fully deserving of detailed notice.
To sum up: the average of the American work is the most encouraging
sign one could desire for the outlook of artistic Pictorial Photography.

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