Camera Work: A Photographic Quarterly (1911 (Heft 33))

of their work much the same pleasure that I enjoyed in going over the col-
lection of original prints of some of the master etchers in the British Museum.
As I enjoyed those etchings for their individual charm and beauty, for the sheer
pleasure that their contemplation gave me, so did I enjoy these prints.
In studying the French and Austria-Germany collection it was instructive
to note how strong the impression left by the latter as compared with the
former—the latter showing a greater sincerity of purpose and deeper belief in
the artistic worth of the medium. The French collection, of which Demachy’s
prints far outranked those of the rest (I have never seen Demachy so com-
pletely and splendidly represented, and it was his work that gave France the
right to a serious consideration), while dainty and full of a light charm, was
not convincing and left the feeling that as a whole the French took their work
with but half-hearted seriousness, and had not realized “the importance of
being in earnest.” Le Begue displayed several pleasing nudes; and Captain
Puyo, whose exhibition was well selected, showed one particularly pleasing
landscape.
The Austria-Germany collection, as represented by Henneberg, Kuehn,
Watzek and the Hofmeisters, while lacking the lighter, daintier touch, showed
power and conviction.
Among the other exhibitors whose work showed distinct merit were
Malcolm Arbuthnot, whose work, while lacking something of certainty,
possessed a delicate charm and a promising ambitiousness, his “Whither”
being rather big in conception; Walter Bennington, whose “Fleet Street”
and “Lambeth Bridge, Twilight” show him to be a worker of distinct indi-
viduality and feeling; Archibald Cochrane, whose “Night Summons” and
“Bonne Bouche” attracted special attention; George Davison, whose “Har-
lech Castle” still holds its own and wears well; Frank Read, whose landscape
and river bits cannot fail to awaken pleasant memories in any one who knows
and loves English landscape; Wm. B. Dyer, John Bullock and Edmund
Stirling, whose little prints have lost none of their charm through the lapse
of years; Frederick H. Pratt, whose “House in Mist” was rather poetic;
Paul Anderson, Mrs. Chas. Byron Bostwick, Robert Bruce, Luella Kimball,
Karl F. Struss, who displayed some remarkably interesting examples of the
pictorial possibilities of New York and Pittsburg, as did Pierre Dubreuil in
his pictures of Paris. Arnold Genthe’s work was full of fine feeling and orig-
inality, while that of Paul Haviland was marked by quiet refinement and
force. His “Girl Reading” had a deal of the simple bigness of the Dutch
school and was one of the finest things in the open section. Wm. J. Mullin’s
delightful group of little landscapes were perfection of their sort, dainty,
exquisite, charming. Wm. B. Post’s snow studies were gems, as beautiful
as anything of his that I have ever seen. About the work of Augustus Thi-
baudeau there was a fine simplicity and depth of feeling that was refreshing.
One of his prints “Santa Lucia” possessed a curious haunting charm. Of
the prints shown by W. & G. Parrish, the one entitled “The Haunted Room”
was one of the most striking things in the exhibition. It was well composed
and full of feeling, action, mystery. The works of F. Holland Day, while
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