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

Langdon Coburn, 25; F. Holland Day, 9; W. B. Dyer, 4; Frank Eugene, 28;
Gertrude Kaesebier, 22; Joseph T. Keiley, 22; Frederick H. Pratt, 4; Harry
C. Rubincam, 1; George H. Seeley, 23; Ema Spencer, 5; Katharine S.
Burgess (Stanbery), 1; Eduard J. Steichen, 31; Alfred Stieglitz, 29; Edmund
Stirling, 1; Clarence H. White, 34.
In the Open Section there were represented: Charlotte S. Albright, 3;
Paul L. Anderson, 6; Charles T. Archer, 1; Laura Armer, 1; Jeanne E.
Bennett, 7; Elizabeth Buehrmann, 3; Mrs. Chas. Byron Bostwick, 4; Robert
Bruce, 2; Francis Bruguiere, 4; Sidney Carter, 2; Pierre Dubreuil, 6; J.
Mitchell Elliot, 1; Arnold Genthe, 8; Paul B. Haviland, 7; J. P. Hodgins,
1; R. S. Kauffman, 1; Marshall R. Kernochan, 1; Luella Kimball, 2; Wm.
J. Mullins, 12; W. and G. Parrish, 3; W. B. Post, 3; Karl F. Struss, 12;
Augustus Thibaudeau, 8; Charles Van DerVelde, 4; Amy Whittemore, 2;
Myra Wiggins, 3; Eleanor W. Willard, 2; F. C. Baker, 3.
SECESSIONISTS AND NON-SECESSIONISTS
Of the 37 workers included in the Invitation Section, 17 were members
of the Photo-Secession and 20 were not. Of the 497 prints catalogued in this
Section, 259 were by Photo-Secessionists and 238 by others.
In the Open Section, 12 exhibitors out of 28 were Photo-Secessionists. Of
the 108 prints, 47 were by them.
NEW AND OLD WORK
Of the 584 prints hung in the exhibition, 217 were never before publicly
exhibited in America, and of these 101 never before exhibited anywhere at all.
These figures are particularly interesting when one remembers that it has been
universally supposed that the exhibition consisted virtually of “old work.”
VISITORS
Buffalo has a population of but half a million inhabitants and, although
the exhibition was open but three days over four weeks, it was visited by over
fifteen thousand people. The attendance on pay-days as well as free broke
all records for the Gallery.
SALES
The exhibition contained about 280 prints on which prices had been
placed. Sixty-five of those prints were purchased by art collectors and by the
Albright Art Gallery for the sum of approximately fifteen hundred dollars.
One hundred dollars was as much as any print brought.
THE ALBRIGHT GALLERY BUYS PRINTS
As far back as 1894 the Brussels Museum bought a few pictorial photo-
graphs, and since then several European art galleries have occasionally done
likewise. But amongst art galleries it has been left to the Albright Art Gallery
to give pictorial photography its first genuine recognition and whole-souled
support. As a memorial to the recent exhibition, the Trustees of the Albright
Art Gallery not only purchased twelve prints to form the nucleus of a perma-
nent collection but have reserved one of the galleries for the collection. The
pictures have been hung and not filed away.
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