DOI article:
J. [John] Nilsen Laurvik, International Photography at the National Arts Club, New York
DOI article:[Editor] [List of the Countries and Photographers Represented at the Exhibition at the Arts Club of New York]
DOI Page / Citation link:https://doi.org/10.11588/diglit.31040#0062
A manually made transcription or edition is also available for this page. Please change to the tab "transrciption" or "edition."
“Sunshine and Shadow” may be noted for their dexterous and supple technique. Of the rest
there remains to be mentioned the work of Joseph T. Keiley, Eva Watson Schuetze, Alice
Boughton, and F. Benedict Herzog, not to speak of the very notable group of Frank Eugene,
which, despite the limited space, I must refer to at greater length. This group, comprising his
well-known portrait of Henry Irving, done in 1898, and the “Man in Armor,” done in the same
year, and the no less well-known portrait of Alfred Stieglitz, was notable because of its unusual
excellence artistically as well as photographically, and by reason of the size of the prints, 5x7,
which depended entirely upon their intrinsic merits for their appeal. Nor can I let a survey of
this kind close without some further reference to the work of Joseph T. Keiley, who was one of
the most enthusiastic workers in the early days of this movement in America, aiding it by his
sympathetic and intelligent pen as much as by the actual work produced, of which one will always
remember with pleasure the laughing “Bacchante,” “A Bit of Paris,” and the “Zit-kala Sa,”
all marked by fine feeling and artistic discernment of no mean order. As for Herzog,—well, it’s
out of my province to speak of his work; Kenyon Cox alone is capable of doing it full justice.
It only remains to say that this exhibition was one of the best attended shows ever held in the
National Arts Club, and from the night of the opening, when there were several hundred persons
present, to the closing day, the galleries were always well filled with people, and many of them
came two and three times with the evident purpose of studying the work shown.
The Hanging Committee, to whom no little credit is due for the manner in which the work
was presented, was composed of the following gentlemen, all of whom acted and were present
throughout the four days required to hang and select the exhibits: Alfred Stieglitz, Chairman;
Alvin Langdon Coburn, Paul B. Haviland, J. Nilsen Laurvik, George H. Seeley, and Clarence
H. White.
J. Nilsen Laurvik.
The chief aim of the exhibition held at the Arts Club of New York, and above reviewed by
Mr. Laurvik, the originator of the exhibition, was to show pictorial photography’s evolution as
illustrated by a series of representative prints by the leading exponents of the various schools in
photography, both abroad and in this country.
The following is a list of the countries and photographers represented; the number in paren-
thesis denoting the number of prints shown by each exhibitor:
Great Britain: David O. Hill (7)—prints made by Coburn in 1906 from Hill’s negatives made
about 1843—; Julia Cameron (4); J. Craig Annan (7); Malcolm Arbuthnot (3); Walter Benning-
ton (3); Archibald Cochrane (1); George Davison (1); Frederick H. Evans (7); Dudley Johnson
(3); G. Bernard Shaw (3)—these were not hung—; E. Warner (3). Austria and Germany:
Hans Watzek (1); Hugo Henneberg (4); Heinrich Kuhn (7); Theodore and Oscar Hofmeister
(1); Baron A. De Meyer (7). France: Robert Demachy (7); Rene Le Bdgue (4); Major Puyo
(5). America: C. Yarnall Abbott (3); Jeanne E. Bennett (3); Alice Boughton (5); Annie W.
Brigman(7); Elizabeth Buehrmann (3); Fedora E. Brown (1); Sidney Carter (2); Alvin Langdon
Coburn (7); Wm. B. Dyer (2); J. Mitchell Elliot (1); Frank Eugene (7); Herbert G. French (5);
F. Benedict Herzog (7); J. P. Hodgins (1); Gertrude Kasebier (7); Marshall R. Kernochan (1);
Joseph T. Keiley (1); Helen Lohmann (4); Arthur Mooney (1); Wm. J. Mullins (3); Wm. B.
Post (2); Frederick H. Pratt (3); Harry C. Rubincam (1); Sarah C. Sears (1); George H. Seeley
(7); Emma Spencer (3); Eduard J. Steichen (7); Alfred Stieglitz (7); John Francis Strauss (1);
Eva Watson Schiitze (7); Katharine S. Stanbery (2); Clarence H. White (7); Wm. E. Wilmerding
(1); Myra A. Wiggins (1); W. A. Boger (1); Fannie Coburn (1); Richard M. Coit (1); Arthur
H. Flint (1); Landon Garlitz (1); Samuel Holden (1); James W. Kent (1); Robert B.
Montgomery (1); Wm. Elbert MacNaughton (1); Jas. E. Underhill (1).
In the color transparency section,there were represented: De Meyer; Arthur Mooney and
J. Nilsen Laurvik.—Editor.
42
there remains to be mentioned the work of Joseph T. Keiley, Eva Watson Schuetze, Alice
Boughton, and F. Benedict Herzog, not to speak of the very notable group of Frank Eugene,
which, despite the limited space, I must refer to at greater length. This group, comprising his
well-known portrait of Henry Irving, done in 1898, and the “Man in Armor,” done in the same
year, and the no less well-known portrait of Alfred Stieglitz, was notable because of its unusual
excellence artistically as well as photographically, and by reason of the size of the prints, 5x7,
which depended entirely upon their intrinsic merits for their appeal. Nor can I let a survey of
this kind close without some further reference to the work of Joseph T. Keiley, who was one of
the most enthusiastic workers in the early days of this movement in America, aiding it by his
sympathetic and intelligent pen as much as by the actual work produced, of which one will always
remember with pleasure the laughing “Bacchante,” “A Bit of Paris,” and the “Zit-kala Sa,”
all marked by fine feeling and artistic discernment of no mean order. As for Herzog,—well, it’s
out of my province to speak of his work; Kenyon Cox alone is capable of doing it full justice.
It only remains to say that this exhibition was one of the best attended shows ever held in the
National Arts Club, and from the night of the opening, when there were several hundred persons
present, to the closing day, the galleries were always well filled with people, and many of them
came two and three times with the evident purpose of studying the work shown.
The Hanging Committee, to whom no little credit is due for the manner in which the work
was presented, was composed of the following gentlemen, all of whom acted and were present
throughout the four days required to hang and select the exhibits: Alfred Stieglitz, Chairman;
Alvin Langdon Coburn, Paul B. Haviland, J. Nilsen Laurvik, George H. Seeley, and Clarence
H. White.
J. Nilsen Laurvik.
The chief aim of the exhibition held at the Arts Club of New York, and above reviewed by
Mr. Laurvik, the originator of the exhibition, was to show pictorial photography’s evolution as
illustrated by a series of representative prints by the leading exponents of the various schools in
photography, both abroad and in this country.
The following is a list of the countries and photographers represented; the number in paren-
thesis denoting the number of prints shown by each exhibitor:
Great Britain: David O. Hill (7)—prints made by Coburn in 1906 from Hill’s negatives made
about 1843—; Julia Cameron (4); J. Craig Annan (7); Malcolm Arbuthnot (3); Walter Benning-
ton (3); Archibald Cochrane (1); George Davison (1); Frederick H. Evans (7); Dudley Johnson
(3); G. Bernard Shaw (3)—these were not hung—; E. Warner (3). Austria and Germany:
Hans Watzek (1); Hugo Henneberg (4); Heinrich Kuhn (7); Theodore and Oscar Hofmeister
(1); Baron A. De Meyer (7). France: Robert Demachy (7); Rene Le Bdgue (4); Major Puyo
(5). America: C. Yarnall Abbott (3); Jeanne E. Bennett (3); Alice Boughton (5); Annie W.
Brigman(7); Elizabeth Buehrmann (3); Fedora E. Brown (1); Sidney Carter (2); Alvin Langdon
Coburn (7); Wm. B. Dyer (2); J. Mitchell Elliot (1); Frank Eugene (7); Herbert G. French (5);
F. Benedict Herzog (7); J. P. Hodgins (1); Gertrude Kasebier (7); Marshall R. Kernochan (1);
Joseph T. Keiley (1); Helen Lohmann (4); Arthur Mooney (1); Wm. J. Mullins (3); Wm. B.
Post (2); Frederick H. Pratt (3); Harry C. Rubincam (1); Sarah C. Sears (1); George H. Seeley
(7); Emma Spencer (3); Eduard J. Steichen (7); Alfred Stieglitz (7); John Francis Strauss (1);
Eva Watson Schiitze (7); Katharine S. Stanbery (2); Clarence H. White (7); Wm. E. Wilmerding
(1); Myra A. Wiggins (1); W. A. Boger (1); Fannie Coburn (1); Richard M. Coit (1); Arthur
H. Flint (1); Landon Garlitz (1); Samuel Holden (1); James W. Kent (1); Robert B.
Montgomery (1); Wm. Elbert MacNaughton (1); Jas. E. Underhill (1).
In the color transparency section,there were represented: De Meyer; Arthur Mooney and
J. Nilsen Laurvik.—Editor.
42
