In its early years, photography was used almost exclusively to record the appearance of people, places and things. The processes and materials available set serious limits to picture-making and very few attempted to use photography to make artistic pictures. Later in the nineteenth century, some of those who had trained in art took up photography, which led to placing more emphasis on selecting and arranging rather than on technique and materials – art rather than fact.

A number of influential photographers broke away from the Royal Photographic Society in May 1892 in protest against its emphasis over a number of years on science and technology at the expense of other aspects of photography. They set up the Linked Ring Brotherhood as an international body to promote artistic photography. The linked ring held its first Photographic Salon in 1893. From about 1908, many disputes arose on attitudes to selection procedures and this led to the setting up of the London Salon of Photography in 1910.



Friday 7th October 1910  Page 4 - The Hebrew Standard of Australasia (Sydney, NSW)

LONDON SALON of PHOTOGRAPHY
Mr C.H.L. Emanuel, Mr E.M. Rosenberg and Mr Alfred Loewy are among the exhibitors at the London Salon of Photography, which opened recently at the Galleries of the Fine Art Society, London.



Wednesday 4th September 1912  Page 46 - Sydney Mail (Sydney, NSW)

ART AND THE CAMERA
Amongst the experts of to-day in photography are men and women who are doing much to lift it out of the old ruck on to a higher artistic plane that breathes and tells us something of the emotions of art. The London Salon of Photography sets a high standard for exhibition workers from all parts of the world. The pictures are selected by a committee of gentlemen of high artistic skill and judgment and there are no awards. Some of the English photographic work was exhibited a little time ago in connection with a most successful exhibition held in the Art Society's rooms in Pitt-street by the Photographic Society of New South Wales. Critics who saw that exhibition cast aside their prejudice for things photographic and marveled at the artistic effects that had been produced.

Photography is making a claim that grows stronger every day and the time is not far distant when art exhibitions will include photographic works of art. To my mind, it does not matter whether a picture is made by photography, or by brush or pencil, so long as there is an idea expressed that makes us feel some emotion that is art. Many an artist rich in imagination, but lacking the gift of application that would have allowed him to express his feelings on canvas, has turned to photography as a medium to express his artistic feeling. These are the workers from whom we expect big things and as artistic photography is really only young amongst the fine arts, it may be expected that in time the best works of the year in photography will find a permanent resting-place in national art galleries.

What kept photography in the background as an art in times gone by was undoubtedly the bad selection by ignorant selection committees at photographic exhibitions. Just imagine how the Art Society's exhibition now showing would fare had the selection committee been inartistic and have passed in the poor or catchy stuff. This is exactly what happened at photographic exhibitions in the past. The needle-sharp-all over photograph was always preferred to the print showing some softness and suppression of detail. How things have changed since then. If the last exhibition held here by the Photographic Society of New South Wales be any criterion of the future of photography in Australia, local workers will soon be up amongst the leaders. Already the London Salon of Photography has opened its doors to a few Australian pioneers in photographic art.



Thursday 24th October 1912  Page 1 - Daily Advertiser (Wagga Wagga, NSW)
Saturday 2nd November 1912  Page 3 - Leader (Orange, NSW)
Monday 4th November 1912
Page 7 - Northern Star (Lismore, NSW)
Page 6 - The Maitland Daily Mercury (NSW)
Friday 8th November 1912  Page 6 - Kalgoorlie Miner (WA)
Tuesday 12th November 1912  Page 33 - Kalgoorlie Western Argus (WA)

LONDON SALON of PHOTOGRAPHY
In Lisbon, according to Mr. A.H. Blake M.A., in a lecture on his recent experiences in Portugal at the London Salon of Photography, the straw coat has become very fashionable. It is a rather cumbrous garment, but the Portuguese find that it serves excellently the purpose of a mackintosh. It is made entirely of straw and the wet runs down the individual straws and so drops to the ground.



Wednesday 6th November 1912  Page 30 - Sydney Mail (NSW)

LONDON SALON of PHOTOGRAPHY 1912
The big exhibition of the year of pictures made by the aid of the camera and submitted by artistic workers from all parts of the world has just been concluded in London by the London Salon of Photography. The standard of work was of a very high order and it may be interesting to Australian amateurs to know that two Sydney men had pictures hung at the exhibition.

Mr. Harold Cazneaux, of Sydney was represented by two fine subjects, "Break of Day" and a marine effect in colors. Mr. Norman Deck was represented by a beautiful photograph in gray, "The Lake's Edge". Gerald E. Jones, of New Zealand, was also represented by a portrait study.

It is highly gratifying to know that amongst Sydney workers in pictorial photography we have men who are capable of producing pictures up to the London Salon standard. Amateurs should look out for the publication that will arrive shortly from England of "Photograms of the Year". This book will reproduce many of the best pictures from the salon and also, give a description of the exhibition. Amateurs who wish to improve should keep in touch with all the best work, whether in exhibitions or in reproduction form. "Photograms of the Year" and the "American Annual of Photography" do a lot of good to ambitious amateur photographers in Australia.



Thursday 7th November 1912  Page 9 - The Herald (Melbourne, Victoria)

PHOTOGRAPHIC "ARTISTS"
ABSORBING QUESTION
(By M.H. SPIELMANN, In the "Daily News and Leader")
All of us, I suppose who are not photographers, are sick to death of the perennial discussion that surges around the question, "Is photography an art?" Photographers, as a body, proud of the pictures their cameras and their plates produce, enthusiastic and ambitious, confidently range themselves with the Masters; and even a few of their natural enemies, the art critics, hesitate before rejecting in toto critic so profound and so universally the claim to artistry. Nay, more; a respected as M. Robert de la Sizeranne frankly confessed that, judging by results which proved the gifts of artistic selection and manipulation, he could not deny that the men and women capable of realizing such delightful effects In nature and such fine and truthful expressions of character in portraiture, could not be considered otherwise than as artists! That is to say, that they are in a sense, "artists", if their profession is not an "art." And Watts, the master portrait-painter, once declared to me that in the reproduction of likeness the camera beat him on his own ground.

All that is true enough: but it begs the question. A man may be an artist in what he does and yet that which he practises is not necessarily an art. And even if it were, an art is not therefore Art. Surgeons there are, for example, who are artists - so their admirers tell us - in their way of operating, yet who could claim in vain that their scientific process places them along with members of the Royal Academy, the new English Art Club, or (save the mark!) with the Post-Impressionists. You cannot put a sun-ray in a slot and take out "art", however much you control the ray and manipulate the chemicals when developing and printing what it has given you. An artist who is also a photographer, or a photographer who uses real art methods in producing his results, may evolve a hybrid in which science and art help, or impede, one another; but in that case, surely, the print can no longer be called a "photograph"; it is something else.

ART AND METHOD
The fact is, that even were we to concede to the photographer's vanity that such a print is "art", we are as far off as ever from recognizing it as Fine Art. It is there that the real artist is unapproachable. He draws every atom of his picture. He composes it; not merely "arranges" it by a very restricted selection, but makes every fold of drapery and every limb in a figure-picture, every branch and leaf and cloud in a landscape, tell its tale and contribute to the general scheme of mass and line and chiaroscuro. The photographer, who knows these things, may try to obtain a good arrangement by suppressing and accentuation — but when all is said and done, he has been the servant and not the master of his subject. The photographer takes his subject, his figures or his view, and adapts them laboriously to his purpose as well he may.

Again, the painter or draughtsman produces what he calls his "study" — that is to say, an incomplete thing produced for studying and elaborating effect and so forth, during the period of gestation leading up to consummation of his efforts. The photographer, on the other hand, "takes" the complete subjects, then blots out, suppresses, evades, manipulates and brings forth what is perhaps, a beautiful thing, but what is certainly not, what he often calls it, a "study." He has reversed the process and with it the logic of it: and he is sometimes apt to become indignant if you repudiate the justice of his nomenclature and with it his claim to be an artist in the true sense.

TOUCHING-UP
At the same time, I do not agree with those of his opponents in this matter who reproach him with "faking". It is clear that if he wishes to get away from the true, matter-of-fact representation of what he points his camera at and aims at obtaining something more poetic in effect than nature in front of him provides, he is bound to use dodges and processes. For if we deny him that, we "give away" the etching. Are not the "stopping out", the chemical "biting" and "foul-biting", the tricks of the printer, inking, dragging, wiping, retroussage and the like, methods by no means dissimilar in character? We can imagine how the early line-engravers sneered at the "fakes" of the great etchers from Albert Durer to Rembrandt. But what makes the etching Fine Art and what shuts out the photograph is that the etcher's trained mind conceived and his dexterous hand drew the design of the plate and the thing so far was complete before forces of nature were called in: with the one the acid was a final process, doing what it was guided to do — in the other, the sun finishes the business and only when the negative is taken does the photographer begin partially to undo the work and add touches of his own.

And, furthermore, the art and science of color in the true sense is beyond the range of photography. I am aware that there are examples in the delightful exhibition of the London Salon of Photography, which is well worth a visit, of intelligent efforts at chromatic effects, sticky, gummy things for the most part and sometimes blotchy, which in quality and texture give little of the charm of color, in the painter's sense. Doubtless, improvement will be made in the near future in this respect; but it is questionable whether that supreme necessary virtue of "quality" will ever be attained in such fashion and measure as to rival a painted picture. The photographic basis forbids it.

BLACK AND WHITE
Meanwhile we must be content with the excellent results in "black and white" that can be derived from prints half-developed and out of focus and from the fogginess on which, in company with photographers, inferior painters of the type of Van Hier have so much depended. When they can produce anything in black and white so delicate and poetic as "A Summer Fantasy" by Mr. Rudolf Fackemeyer — which reminds one of a Japanese monochrome drawing on silk — we can at least be grateful. And there are many other prints, especially in pure photography, which are quite admirable of their kind and reveal a consummate knowledge of illumination and of posing. But what strikes one as strange is the number of photographs here of nude women, under such titles as "Remorse", "A Study" and "The Light". We appreciate such things in paint because they call forth a painter's highest skill in subtle draughtsmanship, flesh color, taste and expression. The photographer may lay some slight claim to the last two — but what of the others?

Within its natural field, then, photography is a very beautiful thing and the best of its professors are persons of highly developed skill and invention, as well as of delicacy of feeling and subtlety of manipulation. We welcome and applaud their excellent, performances. But at the portal of the Realm of Fine Art they knock and must continue to knock in vain.



Sunday 24th November 1912  Page 14 - Sunday Times (Sydney, NSW)

LONG-DISTANCE PHOTOGRAPHY
At the London Salon of Photography they are showing prints from plates taken at a distance of 30 or 40 miles. Scenes so remote that they yield, nothing to the ordinary camera record themselves at these enormous distances so clearly by the telephoto lens as to show the time of day by a public clock. It is true, says an exchange, that the views have been taken in Summer among the Italian lakes, but this region has no monopoly of clear air and the extension of the idea is obvious. One might, at a stretch, survey the coming war from a comfortable point on the safe side of the Adriatic and magnify the result ad libitum.



Monday 25th November 1912  Page 10 - The Herald (Melbourne, Victoria)
Wednesday 25th December 1912  Page 5 - Northern Star (Lismore, NSW)
Tuesday 31st December 1912  Page 5 - West Gippsland Gazette (Warragul, Victoria)

SNUFF FROM SNOWDROPS
Very good snuff can be made from the snowdrop, said Mr H. Essenhigh Corke, in a lecture on English wild flowers at the London Salon of Photography. The petals of the flower, he said, have only to be dried and crushed to powder to make a most excellent filling for the snuff-box.



Sunday 1st December 1912  Page 5 - Sunday Times (Sydney, NSW)
Saturday 31st May 1913  Page 30 - The Queenslander (Brisbane, Queensland)

THE PIG AND THE MOTOR CAR
In a lecture at the London Salon of Photography on the experiences of a motor-tourist in North-Western Ireland, Mr. Arthur Marshall, A.R.I.B.A., said that the manner in which the various animals on the unfrequented roads made their first acquaintance with the motorcar was one of the things that lent light relief to a trip.

Fowls invariably flew right in front of the wheels. Ducks were more sensible; they lay down flat in the middle of the road and let the car go over them without hurt. The pigs were the chief obstruction. On one occasion in Donegal no persuasion would remove a pig from the highway. Cold water and hot water, prods and pokes, were unavailing. At length an arrangement was made by which the exhaust from the car was directed upon the back of the pig. That did it.



Tuesday 3rd December 1912  Page 10 - The Sun (Sydney, NSW)

PHOTOGRAMS OF 1912
The publication of "Photograms of the Year", the pictorial annual for photographers, has always been a notable event in the photographic calendar during the past seventeen years. This well-known and popular annual is essentially a pictorial record of the years work with the camera and as such it is eagerly looked for and studied, not only by those who may be regarded as pictorial workers in photography, but by all who use a camera and are lovers of pictures in any form.

Since the death of the late editor (Mr. H. Snowden Ward) the publication has been taken over by the proprietors of "The Amateur Photographer", Hazell, Watson and Viney Ltd. It may be regarded as the only annual giving profusely illustrated reviews of the world's photographic pictorial work and is now edited by Mr. F.J. Mortimer FRPS, the editor of "The Amateur Photographer".

This year's annual is an advance on all previous volumes and is the first of a new series. It has been doubled in size. The book in consequence forms a volume of large proportions, containing, as it does, upwards of 140 pages of literary and pictorial contributions and is one that will prove a handsome addition to any library.

The editorial contribution deals with "The Year's Work - A Retrospect and Some Comments;" Mr. Antony Guest, the well-known critic, writes on "Paths of Progress"; Mr. F.C. Tilney writes a critical review of the Royal Photographic Society exhibition and the London Salon of Photography; while other literary contributions include "Pictorial Photography in France", by Robert Demachy, of Paris; "Pictorial Photography in Germany", by Herr Matthies Masuren, of Halle (editor of Photographische Rundschau und Mitteillungen); "Pictorial Photography In America", by Frank Roy Frapric (editor of "American Photography"); "Pictorial Photography in Holland", by Adriaan Boer (editor of De Camer); "Pictorial Photography in Australia", by Walter Burke (editor of the "Australasian Photo-Review); "Pictorial Photography in Italy", by Chev. Annibalde Cominetti (editor of "La Fotografia Artistica"); "Pictorial Photography in Spain", by Jose Ortiz Echague.

ROBERT DEMACHY

Monday 9th December 1912  Page 8 - The Mercury (Hobart, Tasmania)

LONDON SALON of PHOTOGRAPHY
Remarkable tele-photographs, showing the details of mountain peaks clearly at a distance of thirty or forty miles, were exhibited before the London Salon of Photography last month. Of one village taken from the other side of Lake Maggiore, in Italy, the ordinary photograph showed scarcely anything, but the photograph taken with the "tele" lens from the same position showed plainly the time of day by the public clock.



Tuesday 10th December 1912  Page 4 - West Gippsland Gazette (Warragul, Victoria)
Wednesday 11th December 1912  Page 2 - The Wollondilly Press (NSW)
Friday 13th December 1912  Page 2 - The Gundagai Times and Tumut, Adelong and Murrumbidgee District Advertiser (NSW)
Saturday 14th December 1912  Page 6 - The Shoalhaven News and South Coast Districts Advertiser (NSW)
Wednesday 18th December 1912
Page 4 - Lachlander and Condobolin and Western Districts Recorder (NSW)
Page 4 - The Scrutineer and Berrima District Press (NSW)
Saturday 4th January 1913  Page 3 - Coffs Harbour Advocate (NSW)

WHERE CASTLES ARE CHEAP
In a lecture at the London Salon of Photography Mr Alexander Keighley gave instances of the poverty of the Italian nobility. The ducal palace at Gubbio has manure heaps in its court yard and is probably rented at £10 a year, while an Italian medieval castle in fair preservation has been sold to an Englishman for £39.



Saturday 4th January 1913  Page 3 - Globe (Sydney, NSW)

SHORTHAND OF ART
In a lecture at the London Salon of Photography, in Pall Mall, on the subject of Japanese art. Mr. E.F. Strange, of the Victoria and Albert Museum, said he did not think that Chinese and Japanese art had ever reached as high a level as the art of Europe. But, as he proved in a series of examples in which the Japanese painting was placed side by side with a photograph of the same landscape, the Far East artists did go to Nature and what they learned from Nature they set down in the shorthand which they had derived from the accumulated experience of 1500 years.



Friday 24th October 1913
Page 3 - Goomalling-Dowerin Mail (Western Australia)
Page 2 - Northam Courier (Western Australia)
Saturday 25th October 1913  Page 6 - The Beverley Times (Western Australia)
Sunday 2nd November 1913  Page 20 - Sunday Times (Sydney, NSW)
Saturday 8th November 1913
Page 4 - Coolgardie Miner (Western Australia)
Page 2 - Meekatharra Miner (Western Australia)
Page 8 - Globe (Sydney, NSW)
Page 4 - The Southern Cross Times (Western Australia)
Friday 5th March 1915  Page 3 - Port Pirie Recorder and North Western Mail (South Australia)
Thursday 18th March 1915  Page 4 - Werribee Shire Banner (Victoria)
Wednesday 7th April 1915  Page 3 - The Gundagai Independent and Pastoral, Agricultural and Mining Advocate (NSW)
Friday 30th April 1915  Page 2 - Eastern Districts Chronicle (York, Western Australia)

AN INTERESTING MUNICIPALITY
Mr. James Shaw, in the course of a lecture in London, in connection with the exhibition of the London Salon of Photography, said that the town of Rothenburg, in Bavaria, in which he had spent some time, was a model in the way of municipalities. Should a business be on the point of leaving the town, the town itself would guarantee the necessary money in order that the disaster to local industry might be averted. Recently the town had in this manner financed a baby-car manufactory. All the people were housed well and comfortably, nearly every man owning his own dwelling and in many instances the town had lent him money with which to buy it. There was neither a workhouse nor a vestige of a slum in Rothenburg, The people had a sufficiency of good food grown or fed on their own allotments just outside the walls. Finally, the laborer, the artisan, the professional man and the nobleman lived next door to each other in the same street.



Wednesday 29th October 1913  Page 46 - Sydney Mail (NSW)

LONDON SALON of PHOTOGRAPHY
The journals and magazines now on the water on their way to Australia contain reviews and reproductions of the work that is showing at the London Salon of Photography. Australians were well to the fore in last year's Salon and it is to be hoped that they have made even a better showing in this year's Salon. When the details come to hand I will inform our readers of any Australian successes that have been chronicled. There are no awards of any description given at the Salon. It is just the honor of being selected to have a picture hung that draws photographers from all parts of the world to submit their work for the year's best exhibition. The photographer who is successful, in having a picture hung at the London Salon of Photography can conclude that he or she is well worthy of artistic respect. Ambitious artistic workers in Australia should make an effort to submit their best pictures once a year to the London Salon of Photography.



Wednesday 5th November 1913  Page 1 - The Evening Star (Boulder, Western Australia)

ST. BERNARD
MONKS WHO DIE YOUNG
Dr. Atkin Swan, in a lecture at the London Salon of Photography, Pall Mall East, describing his experience at the hospice of St. Bernard, said that a fact not generally known was that the lives of the monks were greatly shortened owing to the stress of the climate. On his recent visit he was introduced to the oldest monk, whose age was 37. This was considered to be a record age amongst them. The dogs numbered 36 and each had a numbered cell of its own and was named after a saint. One of his recollections was of St. Joseph and St. Christopher having it out over a bone.



Saturday 8th November 1913
Page 8 - Globe (Sydney, NSW)
Page 4 - Coolgardie Miner (Western Australia)
Page 4 - The Southern Cross Times (Western Australia)

A MODEL MUNICIPALITY
Mr. James Shaw, in the course of a lecture in London, in connection with the exhibition of the London Salon of Photography, said that the town of Rothenburg, in Bavaria, in which he had spent some time, was a model in the way of municipalities. Should the business be on the point of leaving the town, the town itself would guarantee the necessary money in order that the disaster to local industry might be averted. Recently the town had in this manner financed a baby-car manufactory. All the people were, housed well and comfortably, nearly every man owning his own dwelling, and in many instances the town had lent him money with which to buy it. There was neither a workhouse nor a vestige of a slum in Rothenburg. The people had a sufficiency of good food grown or fed on their own allotments just outside the walls. Finally, the laborer, the artisan, the professional man, and the nobleman lived next door to each other in the same street.



Saturday 15th November 1913  Page 9 - Geelong Advertiser (Victoria)
Tuesday 18th November 1913  Page 10 - The Sun (Sydney, NSW)
Saturday 22nd November 1913
Page 15 - Newcastle Morning Herald and Miners Advocate (NSW)
Page 10 - Bendigo Advertiser (Victoria)
Page 6 - The Express and Telegraph (Adelaide, South Australia)
Tuesday 23rd December 1913  Page 2 - Northern Star (Lismore, NSW)
Saturday 27th December 1913  Page 5 - The Newsletter: an Australian Paper for Australian People (Sydney, NSW)
Saturday 24th January 1914  Page 4 - Fitzroy City Press (Victoria)

300 MILES AN HOUR GOLF BALL
Lecturing at the London Salon of Photography in Pall Mall East. Dr. Adolphe Abrahams said he had discovered that a horse when galloping went through seven distinct phases of movement. The camera was so quick that it only picked out one of these phases. As six of the seven phases, when represented alone, were quite "lifeless and wooden" and the seventh good phase was extremely short, the obtaining of a spirited photograph of a horse was chiefly a matter of luck. Dr. Abrahams said that he had calculated that the average speed at which golf ball left the tee was 300 miles per hour. An increasing number of athletes were relying on the photograph to correct their faults of style.



Tuesday 2nd December 1913
Page 10 - The Sun (Sydney, NSW)

300 MILES AN HOUR GOLF BALL
One of the new uses which are claimed for photography is the measuring of the rate of speed of a traveling golf ball, and a lecturer before the London Salon of Photography last month calculated that the average rapidity with which a golf ball left the tee was 300 miles an hour. The statement is unsatisfactorily vague. It is certainly not as definite as the accepted estimate that bowlers like Tom Richardson and Ernest Jones bowled at the rate of 60 miles an hour, or three-quarters of a second from wicket to wicket. This was worked out by a long series of experiments with stop-watches.



22nd June 1914  Page 302 - Australasian photo-review

LONDON SALON of PHOTOGRAPHY
The most important item of pressing importance at the moment is the issue of the Salon prospectus. The following points are of interest to those contemplating submitting pictures for the show. The exhibition runs from September 5th to October 17th. Last day for receiving pictures by Agents, August 19th. Pictures may be delivered by hand (unpacked) at the gallery, August 26th, i.e.: Gallery of Royal Society of Painters in Water Color, 5a Pall Mall, East London. Agents: C.H. West, 117 Finchley Road, London, N.W. Agent’s fee, two shillings for any number of entries. This does not include return carriage. Pictures from abroad need not be framed, but must be mounted. Pictures submitted for selection must be accompanied by an entry form properly filled in. Entry forms and all other information may be obtained from the Hon. Secretary, Bertram Park, Esq., London Salon of Photography, 5a Pall Mall East, London, S.W.

PERSONALITY IN PICTORIAL WORK
Year by year there appears on the Salon prospectus some such intimation as “The aim of the London Salon of Photography is to exhibit only that class of work in which there is distinct evidence of personal artistic feeling and expression”. This point is often entirely ignored by those submitting pictures and surprise follows the rejection of work which has only faultless technique to recommend it. There are many photographers who have a genuine appreciation of artistic work — so much so that when they see fine work of this or that kind, they feel a powerful impetus to “Go and do likewise”. Imitation of this kind may be quite innocent, unconscious, unintentional, yet a moment’s thought should show the worker that it is not “personal” work in the above sense. Imitation may (or may not), be the most sincere form of flattery, but unquestionably it is bad for the imitator. It will prevent the development of his own personality. Then again, there is another factor at work. Many beginners in exhibiting start off with the notion that the judges or selecting committee are in favor of certain kinds of work, which may be having a vogue for the moment. But this notion is entirely wrong, at any rate with those judges who are worth their salt. The fact that a certain line of work is in favor or fashion for the moment means that the selecting committee are just about satiated with it, so that unless it is of quite exceptional merit it has a very poor chance of holding attention. And again, there is also the wrong notion that a judge who is an expert in one line, say marine subjects, favors work of that kind; whereas just the contrary is more likely to be the case if he has any bias at all. The man who has specialized in this way must have a more than average experience and skill, so that he will be unusually alert to detect failings and naturally his standard is very high. But again it is possible that he has not much sympathy for work in any line other than his own specialty. For these and other reasons a good all-round worker is often a better, i.e., sounder and more level headed judge, than a specialist is, apart from his own selected line. The gist of the matter may be put in the Shakespeare’s advice, “To thine own self be true” and just put your heart and mind into the line of work that you honestly love and pay no attention to fashions of any kind whatever.



Friday 12th November 1915  Page 4 - The Register (Adelaide, SA)

Mr. Alfred Wilkinson, President of the Adelaide Camera Club (photographic section of the South Australian Society of Arts), has been officially informed that his photograph, "Majestic Gums", a remarkably fine picture, has been accepted by the hanging committee of the London Photographic Salon and is now displayed at the society's annual exhibition. Only three or four years have passed since Mr. Wilkinson began to devote his spare time to photography as an amateur and the rapidity and sustained excellence of his achievements are shown in the fact that he has taken prizes in all directions. This result, however, has not been lightly attained; but is a reward of not only intrinsic art-capacity and art-love, but also of patience and perseverance. Frequently he waits for hours on some selected spot until the play of light-and-shade supplies the special characteristics which he wishes to give to the photograph in hand.

MAJESTIC GUMS, PROSPECT SOUTH AUSTRALIA
c.1924 Alfred Wilkinson

Saturday 9th December 1916  Page 8 - The Argus (Melbourne, Victoria)
Wednesday 27th December 1916  Page 3 - The Northern Miner (Charters Towers, Queensland)
Saturday 30th December 1916  Page 5 - Northern Star (Lismore, NSW)

LONDON SALON of PHOTOGRAPHY
Some clue as to the kind of pictures that appeal to the casual buyer at the present time was afforded by a visit to the London Salon of Photography. From the much coveted little red seal in the corner of the sold works, I judged that the most popular pictures were camera studies of children. In at least two instances a child picture had been sold three times over. Next to child pictures in popularity came pictures of the sea, especially those which reveal anything of the work of the navy. Merely fantastic compositions seem to find small place in public favor.



15th December 1916  Page 646 - Australasian photo-review

LONDON SALON of PHOTOGRAPHY
AUSTRALIA AT THE SALON
I was glad to see the Australian contingent represented at the London Salon. I have just been totting up the total number of exhibitors names, which I make 180 for 394 pictures, or, say, two and a quarter pictures each as a rough average.

The American party is particularly numerous, about 50 names; next comes Japan, 7; Australia, 6; Sweden, 4; Holland, 3; France, 3; Portugal, 3; Canada, 2; Italy, 2; Spain, 1; Egypt, 1; Shanghai, 1; Denmark, 1.

I am not sure that my figures are all quite correct, but anyway they are near enough to show that this exhibition is highly representative of the civilized world’s out put of pictorial camera work. I hear that about 3000 pictures were sent up for selection, of which the committee could find room for 400, say one in eight, or “there abouts”. The level of quality is as high, if not higher, than anything previously shown. The attendances have been excellent and altogether the show is voted a big success, especially when one bears in mind all the many factors at work which operate against the practice of pictorial camera work. This promises well for pictorial photography as soon as we may reach the longed for days of a world’s peace.



Wednesday 31st October 1917  Page 14 - The Daily Telegraph (Sydney, NSW)
Wednesday 7th November 1917  Page 14 - The Daily Telegraph (Sydney, NSW)
Saturday 10th November 1917  Page 16 - The Daily Telegraph (Sydney, NSW)
Sunday 11th November 1917  Page 15 - The Sun (Sydney, NSW)
Monday 12th November 1917
Page 3 - The Sydney Morning Herald (Sydney, NSW)
Page 8 - The Daily Telegraph (Sydney, NSW)
Tuesday 13th November 1917
Page 3 - The Sydney Morning Herald (Sydney, NSW)
Page 8 - The Daily Telegraph (Sydney, NSW)
Wednesday 14th November 1917
Page 3 - The Sydney Morning Herald (NSW)
Page 12 - The Daily Telegraph (Sydney, NSW)

PHOTOGRAPHIC SOCIETY OF NEW SOUTH WALES
has pleasure in announcing
AN EXHIBITION OF PICTORIAL PHOTOGRAPHY
to be held in the
ART GALLERY
New Education Building
corner Bridge and Loftus streets,
from 14th to 26th NOVEMBER
Sessions: 11am to 5pm, 7pm to 9.30pm
Admission Sixpence.
Illustrated Catalog One Shilling
WHOLE OF NET PROCEEDS IN AID OF WAR CHEST FUND

Saturday 17th November 1917  Page 4 - The Mirror (Sydney, NSW)

PHOTOGRAPHIC EXHIBITION
It is six years since we have had a Photographic Exhibition in Sydney, the Tenth International Exhibition being held in 1911. The Art Gallery at the Education Department has an excellent display of nearly 300 photographs representative of varieties of Australian work. A number of the pictures had already been exhibited at the London Salon of Photography and have been reproduced in British, American and Australian magazines. The net profits of the Exhibition are to be handed over to the War Chest and as the Exhibition is to be open until November 24, everyone interested in art, photography and the War Chest should not miss a visit.



15th February 1919  Page 141 - Australasian photo-review

AUSTRALIA AT THE
LONDON SALON of PHOTOGRAPHY
Although this year’s London Salon of Photography will have come and gone long before this note appears, yet I think it may be of some interest to my many good friends in Australasia to mention a few points about this year’s show and the creditable part played in it by the Australian contingent. First of all a few figures. About 2,000 prints were sent in. Of these 360 were selected for showing on the walls and three standards. Now 360 out of 2,000 (round numbers) is about 1 in 5 or 6, so that getting a picture on the walls is a “score”. Next according to the catalog there are four exhibitors from Australia, with a total of 11 pictures among four contributors, i.e., nearly an average of three each. The total number of pictures shown is 362 by 149 contributors, or, say, an average of 2 3/7. So the four Australians are better than average, so far as figures are concerned. With regard to the 11 pictures naturally they interested me greatly, but I do not think any useful purpose can be served by detailed remarks in the absence of the pictures themselves. But perhaps a hint may be offered to those who may be disposed to “try their luck” next year. The vast majority of the pictures accepted are characterized by general simplicity (both as regards selection of subject and also arrangement); also by a general suggestion of what one must call “atmospheric effect” in default of a better term. Some of these pictures are both homey and homely, a distinction with a difference, both of which characteristics give interest. We are all inclined to overlook the familiar and forget that it may not be stale to others. Speaking generally, this year’s Salon is a very fine show and considering that the world is in the midst of a gigantic war it is just a wonderful collection of pictures. Ten years ago it would have made a big sensation. This year’s outstanding feature is the strong contingent from America. Out of 149 exhibitors no less than 34 are from America, who contribute 95 exhibits, or roughly close on three apiece. These American pictures are a remarkably fine lot with a good level average quality, so that it would be a difficult task to select say, the best half-dozen. As a rule, each Salon has hitherto included some more or less freaky exhibits. The absence this year of this kind of “draw” is extremely welcome.



Monday 13th September 1920  Page 5 - The Sun (Sydney, NSW)
Tuesday 14th September 1920  Page 8 - The Herald (Melbourne, Victoria)

PHOTOGRAPHIC EXHIBITS
AUSTRALIAN WORK IN LONDON
("The Sun's" Special Representative)
LONDON, September 11
An exhibition has opened at the London Salon of Photography, that of 377 exhibits 19 are the work of Australians. Mrs. Alfred Wilson has four exhibits and Mr. Harold Cazneaux four, other Sydney photographers represented are Mr. Cecil Bostock, Mr. K. Ishida, Mr. James Paton, Mr. Charles Wakefield, Mr. W. White and Mr. Arthur Ford. Miss Ruth Hollick, of Melbourne, is also represented.



Tuesday 15th February 1921  Page 7 - The Daily Telegraph (Sydney, NSW)

PHOTOGRAPHY
BEAUTIES OF THE CAMERA
EXHIBITION IN SYDNEY
When Shaw expressed his preference for photography over painting as one of the arts he evidently had in mind, the brilliant class of pictorial photography, examples of which graced the salon of Kodak's yesterday.

Certainly the exhibition by the Sydney Camera Circle was of a high standard and the excellence achieved is all the more noteworthy when its short existence is considered.

It was in late 1916 that six lovers of the photographic art formed a circle, with the object of establishing a distinctive Australian school. The circle has apparently achieved this ambition judging by its work and the individual successes of members at the London Salon of Photography and the International Salon of Los Angeles testify to the advance in the art made by members.

Australians should rise to the "lofty heights" in this art, seeing the great field of study in the ever-changing moods of their own country. And while the camera loses undoubtedly the subtle touch of Nature, reproduced so finely in the masterly landscapes of Penleigh Boyd, yet the photographer, while missing the color, catches the light and shade and that marvelous suggestion of movement so finely presented in some of yesterday's exhibits, particularly Cecil W. Bostock's "An 'Old-World Harbor" and "Flower Sellers" (Durban) and also Arthur Ford's "The Spell".

The latter is typically Australian to one who has memories of the Australian hinter land. It shows a mob of sheep spelling after a long trek and the stockmen and the dogs slaking their thirst from the river, so smooth and quiet in the noonday sun. All is peaceful and Nature's pensive mood is caught by the faithful camera.

Through the exhibition runs these studies of Nature in less noisome ways and the same artist's "Along the Dusty Road", showing the passage homeward of the team after its day of toil, conveys the sense of movement very finely indeed. Quite different is the cameo of W.S. White, Trees, caught by the sunlight, stand out from the surrounding gloom and appear strangely beautiful. Somewhat similar is the same photographer's "Spectres". Well titled indeed, those tree, so fantastically touched by the sun.

E.N. Poole and S.W. Eutrope contribute some fine work. Poole is particularly at home in his cloud and sunlight effects. And he is seen at his best perhaps in "Presage", Nature's grandeur speaks in such a work as "The Cloud Majestic" and Mr. Eutrope made a fine capture indeed with this. His artistry has delightful results, particularly in "Shadow Romance" and "Tranquil Morn." Nature in its quieter moods seems more beautiful and the intense peace reflected in these studies perhaps accounts for the preference the majority of exhibitors show for this phase. One lingers long in this exhibition and looks again and again at most of the works, catching fresh beauties in the silent scenes.

J.E. Paton and Charles Wakeford provide some notable work, especially the latter's "Beaching the Boat", a subject full of the life and movement of youth. D.J. Webster's "Sunlight and Mist" is an impressive study and the memory of it lingers. Other exhibitors whose work is of a high standard are: C. Laseron, Henri Mallard and Monte Luke. The exhibition, which is well worth seeing, will continue until February 28.



Saturday 17th September 1921
Page 10 - The Daily Telegraph (Sydney, NSW)
Page 4 - Evening News (Sydney, NSW)
Page 16 - The Sydney Morning Herald (NSW)
15th October 1921  Page 516 - The Australasian Photo-Review

PHOTOGRAPHIC SOCIETY OF NEW SOUTH WALES  and  SYDNEY CAMERA CIRCLE
The following Sydney photographers have had pictures hung at the London Salon of Photography, 1921: Messrs. S.W. Eutrope, J.E. Paton, W.S. White, A. Ford, C.W. Bostock, H. Mallard, C.E. Wakeford and D.J. Webster, all of whom are members of the Photographic Society of New South Wales and the Sydney Camera Circle.

   

Left to Right - CECIL BOSTOCK; HENRI MALLARD

Wednesday 5th April 1922  Page 3 - Daily Advertiser (Wagga Wagga, NSW)

MR. MALCOLM M'KINNON B.A., B.Sc.
NEW HIGH SCHOOL PRINCIPAL
In Mr Malcolm M'Kinnon, B.A., B.Sc., the new principal of the Wagga High School, who took up his duties here on Monday, the parents of the scholars attending the school have a man in whom they can place the utmost confidence. Mr. M'Kinnon was born in the Richmond River district and had his early schooling there. He sat for a bursary in December, 1896, at time when only three were given in this State and came top with high honors. He then went to the Sydney High School, the only one in New South Wales, besides the Maitland High School and after a little over three years took up pupil teaching at Wardell and Ballina. In 1901 he was in Trangie and in 1905 sat for a University scholarship, which he secured and was thus entitled to lectures in the day time. He gained both his B.A. and B.Sc. in four years, with first class honors in geology and palaeontology. In 1910 he was appointed lecturer in science at the Teachers College and was there until November, 1912 when he was appointed science master at the Fort-street Boys High School. He remained there until Easter 1920, when he was transferred to the Parramatta High School as deputy head master and science master and now has been promoted to the head mastership at Wagga.

Apart from the teaching side of the educational life of the State, Mr. M'Kinnon has done a great deal for the Teachers' Federation. When the federation was first thought of Mr. M'Kinnon took a leading part and it was through his energies that after a deadlock of two months caused by disagreement regarding the representation of principals and assists, the federation was formed. He devised a sliding scheme whereby the principals and assistants had representation proportional to their numbers. Since the formation of the federation he has been on the council as a representative of the high schools and has always had charge of matters dealing with constitution, being the convener of the constitution sub-committee. He is on the building and finance committee of the Teachers' Club and was sole representative of the high schools on the salaries committee which recently secured advances in teachers salaries. He is treasurer of the Teachers Association, vice-president of the Science Teachers Association, vice president and past president of the Photographers Association of New South Wales and has had pictures exhibited at the London Salon of Photography.

Mr. M'Kinnon has taken an interest in all sports and was a member of different football teams. He was a representative in the Sydney University rifle team in Inter-State matches and was an excellent shot.

Personally Mr. M'Kinnon is a jovial looking man of about 40 years of age and is married, with three children. At present he is stopping at the Wagga Hotel and his family is at Epping. However, he hopes to have them up soon after Easter, when he expects to take up residence in the house recently purchased by the Department of Education next to the high school.



Saturday 8th April 1922  Page 8 - Evening News (Sydney, NSW)

Mr. M'Kinnon, the new Principal of the Wagga High School, was awarded his B.Sc., in 1909, gaining first class honors in geology and palaeontology. In Federation matters he has taken a prominent part. He represented the High Schools on the Round Table Conference between the section associations, which resulted in the formation of the Federation; proposed the sliding scale of representation on the council which settled a question which had been delaying progress for some time; and has represented the High Schools continuously since the Federation was first formed. He was convener of the sub-committee which drew up the Federation Constitution and has had charge of constitutional amendments at each annual conference. For the past three years he has been Hon.Treasurer of the Secondary Teachers Association. He was president of the Photographic Society of New South Wales, 1919-20 and is now Vice President and initiated a movement for the formation of a pictorial section and a technical section in connection with that body, which have now become very active adjuncts to the society. As a photographer he has had pictures exhibited in the London Salon of Photography. He at present is president of the Science Teachers Association of N.S.W.



Saturday 8th April 1922  Page 8 - Evening News (Sydney, NSW)

WHITE WINGS WAITING TO UNFURL
Photography, like drawing and painting, can be developed into a fine art by those who are prepared to treat the subject imaginatively. We reproduce from the original a remarkably fine study of "A Fantail", showing a fleet of sailing-boats in readiness for a race at Clark Island. The photo was taken by Mrs. Alfred G. (Florence) Milson, vice-president of the Sydney Flying Squadron of 18-footers and was exhibited in 1920 at the London Salon of Photography, where it received very high praise. As it is the purpose of the London Salon of Photography to exhibit only that class of work in which there is distinct evidence of personal artistic feeling and execution and, as the most distinguished camera experts in all countries regard it as an honor to hang their pictures there, Mrs. Milson may well claim to be one of the world's most notable photographers. Most of her work, however, has been displayed in England and America, so that it is more familiarly known abroad, where the scope is naturally wider than in her own land. Being intensely Australian, however, Mrs. Milson chooses Australian subjects of historic and picturesque interest and thus does her best to bring both the importance and the beauty of her country under the gaze of foreign eyes. "The Launching of the Naval Collier Biloela", "The Return of the Australian Light Horse" and "Ross Smith" were among her best pictures.

When the Prince of Wales was in Sydney he saw some photographs which Mrs. Milson had taken for the late Admiral Dumaresq and admired them so much that he expressed a desire that they should be reproduced for his Majesty the King and himself. Mrs. Milson complied with his wish and was honored with a letter of thanks from his Royal Highness, who also sent her his photo.

But, although Mrs. Milson is justly proud of her distinction as a camera-woman, she takes even a fuller measure of pride in her association with the Sydney Flying Squadron, of which she is vice-president for life. Her enthusiasm is divided between the beauty and speed of the 18-footers and the skill and daring of the men who sail them. The Squadron will open their season to-day, when 26 boats, manned by crews totaling no fewer than 260 men have entered for the first race.

Monday 9th October 1922  Page 6 - Evening News (Sydney, NSW)

AUSTRALIA'S HIGH PLACE
EXHIBITION AT FARMER'S
A splendid collection of photographs was opened at Farmer's Exhibition Hall to-day by the Governor.

Over 200 pictures, many of them of the most striking scenery, give evidence of the advance that has been made in the art.

The exhibition is the work of the Photographic Society of New South Wales, of which his Excellency is the patron. It is comprehensive to a high degree.

The impression given is that the aims of the society and its members is to secure pictures that are based on sound art principles. The advance that has been made in the study of composition and of the effects of light and shade is remarkable. Generally, too, a high standard of technique is shown.

With the exception of three or four exhibitors, the work is that of Amateurs photographers and it may be justly said that it is a solid testimony of the efforts that are being made in one of the most interesting and progressive of the arts.

The idea is the same as in other branches of art - to reveal the truth in whatever medium is employed. A number of the pictures have been to participate in international competitions. These are marked London Salon of Photography and no doubt great interest will be taken in them, for they are worthy of high praise. It should be noted that Australia now forms one of the leading groups of the world, comparatively, in pictorial photography and this exhibition is a good exemplification of the justice of the claim of the Australian photographer for recognition in that direction.

The list of exhibitors includes the following: C.W. Bostock, Harold Cazneaux, Monte Luke, K. Ishida, Arthur Smith, S.W. Eutrope, C. Goddard, C.E. Wakeford, Arthur Ford, H.R. Hitchman, D. Hill, J.E. Paton, J.H. Tindale, Henri Mallard, R. Davies, D.J. Webster, W.S. White, G. Potter, Captain C.E. Toovey, Norman Deck, G.H. Wilson, E.F. Pollock, H. Bedggood, K. Yama, D. Fraser, Malcolm MacKinnon, W. Barrett, H.N. Jones, J.C. Jebb and J.B. Spense.

OPENING CEREMONY
Mr. George Wright, managing director of Farmer and Company, Limited, welcomed his Excellency Sir Walter Edward Davidson and Dame Margaret Davidson.

In opening the exhibition, the Governor said that the selection of a number of the pictures for the London Salon of Photography was the highest compliment that could be paid to photographic artists, whether professional or amateur. In pictorial photography the exhibitors had the right to challenge comparison with any exhibition of the character ever held, not only in Sydney, but in the Commonwealth.

"But", said the Governor, "there are still worlds to conquer and I hope the photographic artists may march onward, as is their right as representatives of a young, energetic and resourceful country".

Mr. D.J. Webster, President of the Photographic Society of New South Wales, presented his Excellency with a deluxe copy of the catalog and another copy was presented to Mr. George Wright.

Judge Docker, in seconding the vote of thanks to his Excellency and Lady Davidson, expressed the pleasure felt by all artists at the extension of their term in the State for another year. Others present included: Mr. C.C. Whyte, director, Sir Denison Miller, Mrs S.T. Pearce and the Misses Pearce, Mr. and Mrs J.B. Spence, Mrs G. Potter and Mr. George Hooper, Curator of the Technological Museum. The exhibition will be continued daily for week.

SIR WALTER EDWARD DAVIDSON

Born 20th April 1859 Valletta, Malta
Died 15th September 1923 Sydney, Australia

GOVERNOR OF NEW SOUTH WALES
17th February 1918 to 15th September 1923

Tuesday 10th October 1922  Page 4 - Evening News (Sydney, NSW)

CAMERA ART
With the advance in the art of photography and the attainment of a higher skill in the realization of pictorial effects, there comes a greater admiration of Nature's handiwork. No dabbler in the science of the camera could look at the beautiful collection of pictures in Farmer's Exhibition Hall without being stimulated to emulate the achievements of the members of the Photographic Society of New South Wales who have given expression to their artistic impulses through this medium.

The progressive camera man endeavors, with all the fervor of the artist, to reveal Nature in all her moods and in all the seasons and with the aid of ever-advancing science, to express the effects of light and shade, of sunshine and gloom, on land and water, with a perfection that can only be reached by purposeful effort. Many of these pictures have been exhibited in the London Salon of Photography and it is hoped that the society of this State may achieve its object in the establishment of an Australian Salon.



Tuesday 10th October 1922  Page 7 - The Sydney Morning Herald (Sydney, NSW)

CAMERA PICTURES
SOCIETY'S EXHIBITION
OPENED BY THE GOVERNOR
With the purpose of bringing the work of the camera artists of Australia before the public and in the hope that the holding of similar displays at intervals will lead to the establishment of an Australian Salon of Photography, the Photographic Society of New South Wales opened an exhibition in Sydney yesterday. By the courtesy of Farmer and Company Ltd., the large showroom on the upper floor of the building was made available and proved an admirable setting for the display. Here the work of 31 exhibitors was staged to full advantage, the lighting effect being admirable. Amongst the pictures are many which have already received the hallmark of approval under testing conditions, having won meritorious notice in the London Salon of Photography.

An admirable collection has been assembled by Mr. C.W. Bostock. He has dealt masterfully with a large number of subjects. One of the most attractive is the London Salon of Photography picture "Flower Sellers, Durban". Mr. H.R. Hitchman shows only two photographs, one "Winter Willows" being an effective composition of a unique group of trees. Mr. Harold Cazneaux has relied on the local venue for the majority of his landscapes and seascapes and has reproduced many typically Australian scenes. Mr. D. Hill's "Prosperity" is a vista of our own land in harvest, which will make a wide appeal and his "Seclusion" is a nude full. Mr. J.E. Paton's "Harpstrings of Aeolus" is a truly poetic conception and his London Salon of Photography production "Sentinels of the Wood" a fine group of quaint Australian tree trunks set against a forest background. Mr. J.H. Tindale has some outstanding country pictures, "Eventide" with its hungry landscape and scowling storm effects being most striking. Mr. Henri Mallard's "Les Arbres" and "Sunset Light" are two particularly happy groupings. Mr. R. Davies is exhibiting three seascapes, charming each in their separate ways. Mr. D.I. Webster has been singularly happy in his half-dozen selections. His "Shaded Hillside Pastures", a typically Australian picture, has been in the London Salon of Photography. Mr. W.S. White has three London Salon of Photography photographs, the most effective of which is "A Shaded Curtain", depicting in a most attractive manner dappled lights playing in an ancient building through a group of trees. Mr. G. Potter has five pictures, of which "The Stillness of the Night" and "A Bushman's Home" make a special appeal. Mr. K. Ishida is a liberal exhibitor, several of his landscapes having been exhibited in the London Salon of Photography. His "Baldasane", "Shylock", "The Bohemian" and "The Children of Mrs Byles" are outstanding productions. In Mr. Arthur Smith's collection "A Stormy Homecoming" is an admirable sea picture.

Messrs. C. Goddard, Monte Luke, Norman Deck, J. Stening, S.W. Entrope, G.H. Wilson, Bedggood, C.E. Wakeford, K. Yama, D. Fraser, Arthur Ford, Alfred McKinnon, W. Barrett, J.B. Spenser, J.C. Jebb, H.W. Jones, E.F. Pollock, E. Toovey are also amongst exhibitors and have also some fine specimens of their work on view. The opening ceremony took place yesterday morning. Mr. George Wright, managing director of Farmer and Company Ltd., who presided, welcomed his Excellency the Governor and Dame Margaret Davidson. Sir Walter Davidson congratulated the artists on the collection. The time was not far distant when their camera artists would be able to challenge not only the rest of the Commonwealth, but the whole world. He formally declared the exhibition open. Mr. D.J. Webster, President of the Photographic Society of New South Wales, in proposing a vote of thanks to Sir Walter and Dame Margaret Davidson, said it was hoped that the society's present activities would result in the establishment of an Australian Salon within two years. Judge Docker (who was President of the Photographic Society of New South Wales upon its establishment in 1894) seconded the motion of thanks, which was carried by acclamation.



Sunday 15th October 1922  Page 8 - Truth (Sydney, NSW)

PHOTOGRAPHIC EXHIBITION
The display by the Photographic Society in Farmers Exhibition Hall should be visited by both amateur and professional camera enthusiasts. Many of the pictures were shown in the London Salon of Photography and are striking examples of what has become a new science.

In the Monte Luke section, Heifetz and Spivakovsky gaze from dark backgrounds, but the best example is a Spanish troubador caroling gaily into what might be the spotlight on the O.P. side.

Harold Cazneaux has a portrait of Norman Lindsay apparently engaged in drawing a semi-"nood" and special mention should be made of the Webster section; the "Idylls" are of almost ethereal delicacy.

There are many others who have been ingenious in their use of light and shade and the results show good reason why the society should achieve its desire to establish an Australian Salon.



Wednesday 1st November 1922  Page 8 - The Register (Adelaide, South Australia)

ADELAIDE CAMERA CLUB
Notable distinctions, in addition to the many previously received, have been gained by Mr. A. Wilkinson, the well-known South Australian art photographer and ex-President of the Adelaide Camera Club, two of whose pictures were recently purchased by the Public Library Board a a nucleus of the first photographic section to be established in Australia as a supplement to a National Gallery. English newspapers report that Mr. Wilkinson has had hung in the gallery of the Royal Photographic Society of Great Britain two of his art works, "The Monarch of the Glen" and "Overlooking the Plain of Adelaide", both studies of Glen Osmond, as also is another, "The Quarry", which has been accepted by the London Salon of Photography as one of the 414 selected from more than 4,000 which had been sent in for competition.



Sunday 5th November 1922  Page 13 - The Sun (Sydney, NSW)

AT SEA WITH THE FLEET

"BATTLE PRACTICE"
a fine study of naval gunnery shown last month at the
LONDON SALON OF PHOTOGRAPHY

Tuesday 5th December 1922  Page 6 - The Daily Telegraph (Sydney, NSW)

Mrs. A.G. Milson, who is to leave Sydney shortly on a tour abroad, is a guest at the Wentworth Hotel. She is a noted amateur photographer, a number of her pictures having been hung in the London Salon of Photography, which exhibits only the world's best photos. The latest study by Mrs. Milson to receive this distinction is entitled "In the Graving Dock", a Sydney scene. It is reproduced in "The Amateur Photographer and Photography" for October.



Saturday 20th January 1923  Page 8 - Mirror (Perth, Western Australia)

Australia so frequently achieves fame in England that one is not surprised at the success of the Australian exhibitors at the London Salon of Photography, which attracts photographers from Moscow to Malaya and from Egypt to Christiana, photographic artists from all of which places having achieved the distinction of being hung in the gallery in Pall Mall. The exhibitors look for no reward; they seek no prize other than the distinction of having their pictures judged worthy of being inspected by the public who visit the salon after the weeding out process has been completed. For every photograph accepted by the hanging committee ten are rejected and among the 404 exhibits the Dominions are represented as follows: New Zealand 1, South Africa 1, India 1, Canada 3 and Australia 22.



Wednesday 28th February 1923
Page 8 - The Newcastle Sun (NSW)
Page 6 - Newcastle Morning Herald and Miners Advocate (NSW)

EQUAL TO WORLD'S BEST
NEWCASTLE VIEWS
PICTORIAL PHOTOGRAPHY
A very large and appreciative audience listened to a most interesting lecture. on "Pictorial Photography", by Mr H.M. Mallard last night in the Australasian Hall.

Mr H.S. Thompson, Vice-President of the Newcastle Photographic Society, under whose auspices the lecture was held, occupied the chair. Mr Mallard, who was introduced by the chairman and supported by Messrs. C. Stanmore and J. Lance Lawson, exhibited thirty prints, most of which had been shown in the London Salon of Photography, the Los Angeles Salon and the New Zealand exhibition.

He commented upon the excellent work he had seen here and said that photographers had views in and around Newcastle equal to any part of the world. He felt sure that from the samples submitted to him, that the society, with its promising and enthusiastic band of members would certainly occupy, in the near future, a highly honorable position in the realm of pictorial photography. Mr Mallard's remarks upon the technique of photography in all its branches were followed with great attention. He was accorded an enthusiastic vote of thanks upon the motion of the chairman.

The Australasian Society, on the motion of Mr R.G. Shea, was thanked for the free use of the hall. Mr Moloney, on behalf of the Australasian Society, expressed the pleasure it afforded the society to assist any movement for the benefit of Newcastle.



Monday 25th June 1923  The Register (Adelaide SA)

ART PHOTOGRAPHY
In view of the establishment by the Public Library Board of the nucleus of a photographic section, it is interesting to note that the judgment of the board in selecting the two first pictures from the art photographs by Mr. A. Wilkinson, of Adelaide, has been confirmed by prominent art authorities in England. Mr. Wilkinson has received satisfaction of the acceptance by the Royal Photographic Society of London of two pictures, "Looking from Glen Osmond" and "The Monarch of the Glen". The London Salon of Photography has accepted "The Quarry" and all the art photographs submitted to the colonial competition held in London once a year by him and he was awarded the bronze plaque. This is the fifth plaque which he has won, besides a silver plaque in the colonial competition.



Monday 10th September 1923
Page 10 - The Age (Melbourne, Victoria)
Page 5 - The Daily Telegraph (Sydney, NSW)
Page 7 - The West Australian (Perth, Western Australia)
Page 16 - The Advertiser (Adelaide, South Australia)
Page 4 - Examiner (Launceston, Tasmania)
Page 4 - The Mercury (Hobart, Tasmania)
Page 5 - Northern Star (Lismore, NSW)
Page 2 - The Telegraph (Brisbane, Queensland)
Page 3 - The Brisbane Courier (Queensland)
Page 9 - The Sydney Morning Herald (NSW)
Page 3 - Daily Telegraph (Launceston, Tasmania)
Tuesday 11th September 1923
Page 2 - The Telegraph (Brisbane, Queensland)
Page 7 - World (Hobart, Tasmania)
Thursday 13th September 1923  Page 12 - The Register (Adelaide, South Australia)
Saturday 15th September 1923  Page 33 - The Australasian (Melbourne, Victoria)

AUSTRALIAN PHOTOGRAPHY
EXHIBITED AT LONDON SALON
LONDON 9th September
Messrs. Harold Cazneaux and Monte Luke, of Sydney, have been favorably noticed for their exhibits at the London Salon of Photography.

Other Australian exhibitors were: C. Bostock. S.W. Eutrope, A. Ford, D.R. Hill, K. Ishida and H. Mallard, of Sydney; J.B. Eaton and A. Field, of Victoria; A. Wilkinson, of Adelaide; and A. Macdonald, of Invercargill, New Zealand.

[Interviewed by a representative of "The Age" in Sydney on Sunday night, Mr. Harold Cazneaux. who is one of the Australian members of the London Salon of Photography, stated that it was his practice to exhibit there annually. Both he and Mr. Monte Luke had sent camera studies to the last exhibition, among those shown by himself being a study of Norman Lindsay (the artist), studies of Australian gum trees and a number of bromoil subjects. Among the exhibits sent by Mr. Luke was a picture of Eve Gray, the actress who recently won a beauty competition in New South Wales. Mr. Luke also forwarded portraits in bromoil].

           

Left to Right - HAROLD CAZNEAUX; MONTE LUKE; CECIL BOSTOCK; HENRI MALLARD

15th October 1923  Volume 30 Number 10 - Page 522 The Australasian Photographic Review

LONDON SALON OF PHOTOGRAPHY
The exhibits of Mr. Harold Cazneaux and Mr. Monte Luke have been favorably noticed at the London Salon of Photography. Other exhibitors are C. Bostock, S.W. Eutrope, Arthur Ford, D.R. Hill, K. Ishida, Henri Mallard (Sydney), J.B. Eaton, A. Field (Victoria), A. Wilkinson (Adelaide) and A. Macdonald (Invercargill).

The Australasian representatives had 25 pictures accepted out of a total of 400, being selected from 4,000 submitted. We offer our hearty congratulations to those concerned.



Thursday 18th October 1923  Page 12 - The Register (Adelaide, South Australia)

A LETTER FROM LONDON:
FROM OUR OWN CORRESPONDENT
CAMERA AND ART
I looked in for a few minutes at the London Salon of Photography to-day and stayed for an hour. The quality of the work easily justified the audacious prophecy of George Bernard Shaw that photography will take the place of painting in the future. Here is work from all over the world and the beauty of it is a revelation. Especially notable, is the success of the camera in portraying the nude with artistic effect. A daughter of Eve is, perhaps, the finest thing in the exhibition. The camera, or one should say the art of the photographer-artist, has mastered the difficulty of portraying the nude without crudity.

MASK AND MODEL
Portrait of South Australian born artist Gayfield Shaw with a mask by
HAROLD CAZNEAUX
This print was exhibited at the
LONDON SALON OF PHOTOGRAPHY
1924
and the
FIFTH INTERNATIONAL EXHIBITION
of the
PICTORIAL PHOTOGRAPHIC SOCIETY
of San Francisco, 1928
image held by the
State Library of South Australia

Tuesday 9th September 1924  Page 1 - Daily Standard (Brisbane, Queensland)
Page 1 - The Sun (Sydney, NSW)

PHOTOGRAPHIC EXHIBITION
AUSTRALIA WELL REPRESENTED AT LONDON SALON
(AUSTRALIAN CABLE SERVICE)
LONDON, MONDAY
Only one-tenth of the 4000 exhibits from all parts of the world were hung at the fifteenth exhibition of London Salon of Photography, dubbed the Royal Academy of Photography. Twenty Four of the pictures were Australian, comprising the following from Sydney: Harold Cazneaux (five), Cecil W. Bostock (two), S.W. Eutrope (two), D.R. Hill (three), Monty Luke (two), Henri Mallard (one) and A. Ford (one). Others were: Victoria: J.B. Eaton (three), Miss Sarah Hyams (one), F. Lewis (one); Adelaide: A. Wilkinson (two); New Zealand: H.E. Gaze (one).

The secretary (Mr. Mortimer) informed a representative of "The Daily Standard" that Britain continued to lead the world. The Australasian standard was high, especially Harold Cazneaux. Some of the Australians lacked variety, annually adhering to gum trees.



Saturday 27th September 1924  Page 37 - Chronicle (Adelaide South Australia)

A PHOTOGRAPHIC STUDY

EXHIBITED IN LONDON
"VANITY"
The photograph is by the Australian artist
MONTE LUKE
and has been hung in the
LONDON SALON OF PHOTOGRAPHY

Tuesday 30th December 1924  Page 3 - The Telegraph (Brisbane, Queensland)
Friday 9th January 1925  Page 6 - Traralgon Record (Traralgon, Victoria)

"JOHNSON", THE COMIC CAT
STORY OF A CLEVER PHOTOGRAPH
One of the most remarkable animal photographs ever taken is undoubtedly that of the black cat to be seen at the London Salon of Photography.

The Salon is to photographers what the Royal Academy is to artists and the picture of the cat is by far the most popular exhibit shown for a long time. The author of this wonder photograph is Mr. C.A. Bromley, who recently told the "Tit Bits" man some thing about the picture and the model for it.

"That cat really was rather a remarkable creature", Mr. Bromley said. "I don't know that I have ever heard a more intelligent animal. "We called him 'Johnson,' because he had a habit of sitting up and boxing with you. He was always carrying on warfare with a dog we had at the time.

TEASING THE DOG
"Johnson would lie in wait in some dark corner and then, when the dog came by", out would come a claw and the dog's nose would be scratched. Immediately the cat would rush up the stairs. He knew that the dog was not allowed up the stairs and so he would sit at the top and look at his enemy for all the world as if he were laughing at him.

"There was another trick of Johnson's which he would only perform when there were visitors about. 'Johnson', we would say 'show off!' He would at once jump on to the wooden knob at the end of the banisters. He stood on this and turned round and round. It was amazing that he never lost his balance.

"Johnson, I am afraid, was a little vain. We used to dress him up and if we said nothing he would immediately tear everything off. But If we said: 'Johnson, you do look pretty!' he would allow his finery to stay on and look quite pleased with himself.

"I have always been interested in animal photography" Mr. Bromley continued, "and Johnson was often my model. Generally I had to get someone to play with him and make him look up or do whatever I wanted. But in the case of my Salon picture, the photograph was entirely natural, Johnson did not know I was near and there was no one else present.

"I caught him whilst he was stalking some, birds. He used to sit on a post or fence and 'mee-ow' at them as though he were asking them to come down and give him a chance to catch them. Then he would stop crying, although his month would still be moving and prepare for the attack. It was at that moment that I took the picture".

Mr. Bromley calls his photograph, "Lo, Hear the Gentle Lark".

These stories of Johnson call to mind the cat that stole money. This animal lived in a small shop and for some reason or other money had an extraordinary fascination for her. She used to wait until the shop was empty and then go and scratch at the till until she opened it. In would go a paw and out would come a coin. The cat would then trot away with the money in her mouth and bury it under a mat. It is curious that this animal never stole anything but money and occasionally jewelery!

Another strange cat is the one which, on being given a plate of food which it apparently disliked, refused to eat. Its master said that it would get nothing else until it had eaten what was already before It. The cat, evidently determined not to eat the food, for a time appeared to be thinking.

Then it went out of the room and returned with the cat from next door, an underfed creature that quickly devoured the food in question! The other cat got its reward for its strategy.



Saturday 2nd May 1925  Page 8 - The Register (Adelaide South Australia)

Mr. A. Wilkinson, of Prospect, South Australia, has again been awarded the silver plaque in the recent colonial competition of The Amateur Photographer in London. He has also had two pictures hung - in the London Salon of Photography and one produced in the Photograms of the Year. In a letter of congratulation to Mr. Wilkinson, Mr. O.J. Mortimer, of The Amateur Photographer, writes: Your prints have been retained for a while to include in the Colonial Exhibition, organized by The Amateur Photographer, at the Royal Photographic Society house. I hope to see further examples of your excellent work for our next competition, also for the London Salon of Photography and Photograms of the Year.

"ASIDE FROM THE THRONG"
JOHN BERTRAM EATON
Exhibited at the 1925
LONDON SALON OF PHOTOGRAPHY
Image held by the National Gallery of Victoria, Melbourne

Saturday 12th September 1925  Page 1 - The Newcastle Sun (NSW)

PHOTOGRAPHIC EXHIBITION
Twenty-four exhibits out of 400 were hung at the International exhibition at the London Salon of Photography, including work by Bedggood, Cecil Bostock and Harold Cazneaux (Europe); Hill, Ford, Luke, Mallard, Morris and White (Sydney); Dickison and Eaton (Victoria) and Miss Girlick (New Zealand).



Sunday 6th June 1926  Page 1 - Sunday Times (Sydney, NSW)

BEAUTY AND INNOCENCE

IMPROVISATION
Charming photographic study,
shown at the International Exhibition of the
LONDON SALON OF PHOTOGRAPHY
at the gallery of the Royal Society of Painters, in water colors.

Friday 10th September 1926  Page 1 - The Newcastle Sun (NSW)
Page 15 - The Sun (Sydney, NSW)

PHOTOGRAPHIC EXHIBITS
("SUN" SPECIAL)
LONDON, THURSDAY.
Australians exhibiting at the London Salon of Photography Exhibition, include Harold Cazneaux, J.B. Eaton, S.W. Eutrope, Norman Harris, D.R. Hill, H.E. Jones, Monte Luke, P. Lawrence, F. Lewis, Henri Mallard, J. Metcalfe, A.E. Stevens and A. Wilkinson. H.E. Gaze of New Zealand, is also exhibiting.



Monday 18th September 1926  Page 39 - Table Talk (Melbourne, Victoria)

WHEN PORT IS REACHED

A picture of Newcastle by
NORMAN HARRIS
hung at the
LONDON SALON OF PHOTOGRAPHY

Monday 1st November 1926  Page 39 - Table Talk (Melbourne, Victoria)

AT THE CALL OF DUTY
GORDON BROWN

A wonderful study, which has won International recognition.
It depicts a stirring incident in the work of the
Melbourne Fire Brigade and has been exhibited at the
LONDON SALON OF PHOTOGRAPHY
and the recent International Exhibition at Dunedin, New Zealand.
It was also included in "Photograms of the Year", published in London by E.J. Mortimer

Tuesday 23rd November 1926  Page 13 - The Register (Adelaide, South Australia)

A recent issue of The Amateur Photographer referring to the seventeenth exhibition promoted by the members of the London Salon of Photography, stated: The quite definite position that the London Salon has secured, among pictorial workers with the camera in all parts of the world always ensures an attractive exhibition every year. In fact, the prestige of the exhibition has never been higher than it is at present, if the very large number of entries submitted may be taken as a criterion. This year the number of exhibits selected and hung, number 430, practically the same as last year and we understand they represent approximately 10 per cent, of the work submitted. A later issue announced that, "Among the colonial workers Australia easily takes pride of place and the contributors from the Commonwealth are up to their usual standard. Among the 12 from Australia who were successful in the exhibition, Mr. A. Wilkinson, from Adelaide, was one.



Wednesday 15th December 1926  Page 10 - Evening News (Sydney, NSW)

PHOTOGRAPHERS MEET PIONEERS TRIALS
How modern photography has climbed to its present pinnacle of success along a track watered by the sweat and tears of early enthusiasts, was related by the President of the Photographic Society of New South Wales, Mr. Monte Luke, at the annual reunion of the society last night. I am reminded here, said Mr. Luke of the late Judge Docker who in this very room, with his characteristic modesty, related how, when a young chap, he used to rob the hen coop for the eggs for albumen and then go to the kitchen and pester the cook for the salt to make his own paper. I am picturing him now, as he would pass along for inspection work that he had done forty years previously.

Although the Judge never attempted much pictorially, he had a sound technical knowledge of photography, as his fine collection of lantern slides testified. The speaker mentioned other names such as Stening, Jago, Heron, Ponder, Teddy Davies, Norman Cohen, Champion, Anchor and E.A. Bradford, whom he described as "pioneers who had helped to make this society".

CHEERFUL ENTHUSIASTS
"How many of us today", he asked, "would be enthusiastic enough to carry our own plates and paper and then, at the end, be content to produce a P.O.P. print?". Mr. Luke expressed pride in the fact that the pictorial work, of the Society now compared favorably with any in the world and proofs of this were revealed by the successes achieved at the London Salon of Photography and Continental exhibitions. During the evening movie films, illustrating "Rambles in Old China" and the progress of the Sydney Harbor Bridge, were shown by Mr. Van de Velden, of Kodak, Ltd.



Tuesday 17th May 1927  Page 7 - The Sydney Morning Herald (Sydney, NSW)

PHOTOGRAPHIC SOCIETY
INTERESTING EXHIBITION
Design and broadly decorative effects give the photographer his principal chance of distinction and it is in this sphere that the best work at the Photographic Society's exhibition in Kodak's salon has been done. In many cases the very simplicity of subject and treatment makes the success. Mr. G. Potter's picture, "The End of a Perfect Day", for example, shows nothing but four pairs of gaunt trees standing against the sky, yet it is intensely satisfying. In Mr. H.L.R. Bedggood's "The Call of the Open", again, little detail can be distinguished except the figures of the two golfers and the outlines of the cumulus cloud near the horizon, yet the flesh breath of the uplands is there and the composition as a whole seems full of interest. This photograph has been exhibited at the London Salon of Photography. So also has the pair of exteriors. "Proscenium" and "Reverie", by Mr. W.S. White, the former representing a bank of dark trees about a pool contrasted cleverly with some lighter and more detailed foliage close by and the other a figure silhouetted darkly and mysteriously on a hilltop. Another charming group of open-air studies is that by Mr. Arthur Smith, especially "A Sunlit Wall" with its delicately-textured play of shadows. As an example of massiveness in the arrangement of darkness and high light Mr. Victor Frantzen's "Through the Columns" would be hard to surpass. His other contribution, "Beauty and the Beast", is in quite a different vein - a whimsical little picture of a crinolined doll and the bust of a satyr. Mr. Monte Luke is represented by seven examples, in particular the "Figure Study", a portrait of a veiled dancer carried out all in low tones. This is a London Salon of Photography exhibit. Success in many branches of technique marks the group by Mr. W. Howells. The three photographs in it which have the greatest vitality are "The Goblins Curtain", a glimpse of tightly massed tree trunks against the sky, "Drifting Mist", conveying a sense of dreamy mystery beneath the moon and "Passing Shower", full of broken light. Other work worthy of mention is that by Messrs C.W. Bostock, J.T. Brown, Harold Cazneaux, Alfred Chambers, J.H. Tindale and S.W. Eutrope. In opening the exhibition yesterday morning, Mr. W.H. Ifould (Public Librarian) made an appeal to all photographers to help in obtaining worthy records of the buildings and landmarks which were vanishing from the city.



15th October 1927  Volume 34 Number 10 - Page 501 The Australasian Photographic Review

AUSTRALIAN EXHIBITORS AT THE LONDON SALON
The following Australians are represented in the London Salon, 1927: Harold Cazneaux, 4 pictures; Monte Luke, 3 pictures; Arthur Smith, 2 pictures; S.W. Eutrope, 1 picture; Peter Lawrence, 1 picture; J.B. Eaton, 4 pictures; Ruth Hollick, 2 pictures; W. Wilkinson, 1 picture; Heweart Snape, 1 picture.

This information was contained in a cable to Mr. Cazneaux, who also advises us that Mr. Peter Lawrence is returning to Australia, which will be his permanent residence.



Friday 18th November 1927  Page 8 - The Register (Adelaide, South Australia)

HONOR FOR AN AUSTRALIAN
Mr. A. Wilkinson, the well-known Adelaide amateur photographer, has been notified that another of his photographs, "Mallee Gums", was accepted for exhibition in London by the London Salon of Photography. At this exhibition 24 nationalities were represented and a record number of photographs was submitted for acceptance. This is the fourteenth occasion on which Mr. Wilkinson has been represented in the Salon. Yesterday he disposed of a picture, "Arkaba Creek", to the Board of Governors of the South Australian Gallery, in which he already had four of his photographs displayed.



Saturday 3rd December 1927  Page 8 - The Register (Adelaide, South Australia)

     

Photographic Studies by
MISS RUTH HOLLICK
of Melbourne accepted by the
LONDON SALON OF PHOTOGRAPHY
at their International Exhibition, 1927

Saturday 10th March 1928  Page 21 - The Australasian (Melbourne, Victoria)

HONOR FOR AN AUSTRALIAN
That "the camera cannot lie" is an accepted adage, yet without indulging in mendacity, it seems to see deeper than it used to do and to record more than the mere outer husk of things. The photographs by Mr. Harold Cazneaux, which are now on view at the Grosvenor Galleries, Sydney, are beautiful examples of this new order and are worthy to be called works of art. They seem, indeed, to be invested with the subtlety one associates with human temperament, rather than with a mechanical contrivance and to have caught the spirit, as well as the form, of the scene portrayed. The delicacy of atmospheres, the deep, soft bloom of shadows, the manipulation of sunshine and the sense of motion, or of tranquility, in these scenes are wonderfully portrayed.

In "Winter, Hyde Park, Sydney," tall palm trees are bending their heads to a fierce wind with frantic gestures; the sense of motion is so vivid that one almost hears their distraught rustlings as the rude southerly wrenches their pinnate leaves. The "Appin Mill", so dear to artists, a lonely tower, with depicted wings, standing on a little hill in a cloudy landscape, has a rich texture. "Greystanes", with its bow windows, pillars and iron scroll work, a tracery of trees against a pale sky and pools of deep shadow on the pathway, is a delightfully treated theme. The head of Mr. Norman Lindsay is shown, with a sort of wistful fawn like expression that does not harmonize with his Philistine, black bow necktie. A tumble-down post-and-rail fence, throwing zig-zag shadows on the ground, has the rich quality of an etching and a group of old wheelbarrows, war-worn warriors, which are taking a siesta near heaps of earth and stones, is full of personality.

Mr. Harold Cazneaux was elected a member of the London Salon of Photography, being the only Australian member and his work has also received recognition in America and Europe.



Wednesday 27th June 1928  Page 8 - Evening News (Sydney, NSW)

HONOR FOR AN AUSTRALIAN
Mr. MONTE LUKE is receiving congratulations all round on having been admitted as an Associate of the Royal Photographic Society, which represents to photographers what the Royal Academy is to painters: the hall mark of art. Apart from knowledge of his work by Authority in Australia. Mr. Luke has come directly under notice by having examples of his art hung in the London Salon of Photography, where they attracted special interest ranged alongside the finest accomplishments in photography. The new ARPS is President of the Photographic Society of New South Wales, member of the Sydney Camera Circle and executive member of the Australian Salon of Photography. He is an Australian of the second generation, on which fact he is awarded an extra cheer.



Sunday 30th December 1928  Page 2 - Sunday Times (Perth, Western Australia)

A CHARMING STUDY

This delightful child study called
"PETER"
MISS RUTH HOLLICK
of Melbourne and was hung in the
LONDON SALON OF PHOTOGRAPHY

Tuesday 2nd October 1929  Page 6 - The Sun (Sydney, NSW)

ART PHOTOGRAPHS
14 AUSTRALIANS "HUNG"
News has been received that 14 pictures taken by Australian photographers were judged worthy of inclusion in the exhibits of the London Salon of Photography, an International exhibition held annually in London.

Three thousand pictures were sent in from many countries for selection, of which 431 were selected. The Australians successful were: Harold Cazneaux (Sydney), five pictures; J.B. Eaton (Melbourne), three pictures; Monte Luke and Arthur Ford (Sydney), one each; Dr. Julian Smith and E.G. Adamson (Melbourne), one each; H.A. Snape (Brisbane), one; and F. Lewis (Victoria), one.

Australia's success at the salon is considered highly satisfactory. The salon is to the art photographer what the Royal Academy is to the artist. Mr. Harold Cazneaux is the only Australian amongst the 34 elected members of the salon.



Thursday 7th November 1929  Page 21 - The Brisbane Courier (Queensland)

POST FROM PARIS
By "CHRISTINE"
One of the events which made my week in London interesting was the international exhibition of the London Salon of Photography. Every one interested in modern art and the trend of modern decorative art and applied art is also keenly interested in the progress which photography has made during the past two or three years. There is nothing, these days, which photography cannot do, from the futuristic and cubistic compositions to the vaguely outlined landscapes. The exhibition shows some of the extraordinary things which are being done in photography - for example, the study by Cecil Beaton, where the same profile of a woman in black and wearing a huge spray of lilac, is reproduced three times. Another work is a composition showing several shiny white stiff collars lying in winding forms on a mahogany table and the play of light and shade in this study is most arresting.

THE NEW DUAL POSE
Then there are several examples of that newest idea, the dual pose. Mrs. Locker-Lampson has her profile back to back with the lovely Egyptian mask of Tutankhamen's mother-in-law, these two types of classical beauty forming a striking contrast. The Russian ballet dancer, Ivan Lifar, each side of whose Greek god-like head is quite different, is taken showing both profiles, with a black line dividing the center of the head.

Much comment was caused by the work of an Italian exhibitor, who has found a type closely resembling the Mona Lisa. Posed in the same manner with an identical background, it is extraordinarily like Leonardo's masterpiece.

AUSTRALIAN PHOTOGRAPHY SELECTED
Among the four hundred and thirty exhibits it is surprising to find such a large proportion of Australian photographers, whose work has been selected from the hundreds of candidates: Mr. E.G. Adamson, of Melbourne; Harold Cazneaux, of Sydney, who had four admirable works. One, the "Sand-minstrels", showing a typically Australian beach scene, was especially attractive. His portrait of Doris Zinkeisen, the Australian girl, was also the center of interest. John B. Eaton called one of his studies "The Bridge to the Never-Never"; Arthur Ford showed a photo of Port Jackson, NSW; Monte Luke, of Sydney, exhibited a portrait study of Louis XI.; Dr. Julian Smith, of Melbourne, was one of the amateur contributors. H.A. Snape and F. Lewis are other Australians whose work has been shown in the exhibition.



Tuesday 12th November 1929  Page 25 - The Herald (Melbourne, Victoria)

TAKING PORTRAITS
THE MODERN WAY
UNORTHODOX STUDIES
AUSTRALIANS REPRESENTED AT LONDON SALON
(By Nell Murray)
LONDON, September 12.
Should you go to one of London's ultra-fashionable photographers for a sitting, you will find, nowadays, that all the preconceived ideas of having your photograph taken are out of date.

Instead of being asked to sit still and "look-pleasant-please", you are likely to be told to walk negligently across the room, when you will be snapped "walking into the picture", pose (if you have nice hands and figure) carelessly for a picture in which only your body from the hips to the shoulders (and not your face) will appear; or — more modern still — have both profiles taken and joined together in the middle, making a "two-ways" picture.

Some husbands and wives have a liking for being taken together in this manner and several young couples prominent in English society circles have had them done.

Mrs Locker-Lampson, a young Mayfair matron, preferred to have hers done with a plaster cast (copied from a model in the British Museum)of Queen Nefretiti, Tutankhamen's mother-in-law.

The classic features of Nefretiti contrast well with the more modern type of Mrs Locker-Lampson's.

INTERNATIONAL SHOW
Examples of this new photography are on view this week at the international exhibition of the London Salon of Photography — at which, incidentally, several Australians, both professional and amateur, are represented. Mr E.G. Adamson, Mr Harold Cazneaux, Mr J.B. Eaton, Mr Arthur Ford, Mr F. Lewis, Mr Monte Luke, Dr. Julian Smith and Mr H.A. Snape have all had photographs accepted for this year's Salon.

Mr Harold Cazneaux, of Sydney, is the only Australian who is a member of the Salon — the Aim of which is to exhibit only that class of work in pictorial photography in which there is distinct evidence of personal artistic feeling and execution. Photographs are shown, this year, from such far away places as Madrid, Stockholm, all parts of U.S.A., Canada and Australia, India, Poland, Hungary, Japan, Kenya, Egypt and Montevideo.

Mr Harold Cazneaux shows a typical Australian beach scene, called "Sand Minstrels," in which the warm bronze tints of the bathers show up in vivid relief. Also a portrait of Miss Dora Zinkeisen, of Sydney.

STRANGE SUBJECTS
Some of the best effects are gained with the most unlikely subjects. There is one from Budapest, called "Study", of a man's hat, stick and gloves thrown down on a table as if their owner had just come home from the office. Another, from Ontario, is a picture of some men's stiff white collars, curling up at the ends and refusing to be confined in a collar-box.

A Japanese artist-photographer has found inspiration from a paper sunshade and two white balloons; while a Liverpool man has found that the light and shade of a cable factory, interior reproduce well. Another Japanese from Los Angeles has photographed "A Whirpool of Oil Bubbles".

Other "unusual", subjects are clothes flapping on a line at St. Ives, Cornwall; roof tiles arranged, in a decorative manner; a futuristic conception of pygmies crouching before the moon, called "All By Yourself in the Moonlight" and a self-picture taken peering through the camera, by a Belgian. A German has sent an extraordinary study of a candle burning. with grease dropping from it which he called Wachsperien".

Celebrities play an important part in this exhibition of pictorial art. Anna May Wong, the Chinese cinema star, appears six times and appreciative little crowds gather around Dorothy Wilding's, lovely portrait of Helen Wills.

Dorothy Wilding also shows decorative studies of Pola Negri and Nancy Beaton — the latter the beautiful sister of Cecil Beaton, the young "man-about-town" society photographer, whose unusual studies have caused a sensation at the Salon this year.

Cecil Beaton shows an arrangement, a composite portrait of his two sisters, Nancy and Baba, with four heads (two of each) arranged in the four corners of a square. Two are looking up and two down and the back ground is of rich, sombre drapery.

In his picture of Miss Rosamond Pinchot, three of her profiles are arranged in an ascending scale, with an ingenious arrangement of white flowers against a dark background, with extraordinary effect.

NO FACE AT ALL!
Gregory Bernard's portrait (it seems wrong to call it a photograph) of Elsa Lanchester, the famous young actress, shows no face at all. Just a pair of sensitive, white hands poised on a slender hip, with one provocative elbow in view. It is one of Elsa Lanchester's characteristic attitudes.

From Montevideo comes a lovely study of Pavlova, by one of her own countrymen, a Russian named Yarovoff. There are portraits of Compton Mackenzie, Sir Thomas Beecham, Sir William Orpen and Greta Garbo.

The picture in the salon which has provoked most discussion of all, in London, is by an American, F.R. Dapprich, of Los Angeles, has posed a model as Leonardo di Vinci's "Mona Lisa" — and critics declare that photographs of the original placed beside it are virtually indistinguishable from the other.

     

image 1: Mrs Locker-Lampson with a bust of Queen Nefretite — Tutankhamen's mother-in-law.
image 2: A two-way study of Serge Lifar, a famous member of the Russian ballet.

Tuesday 4th November 1930  Page 2 - Evening News (Sydney, NSW)

AUSTRALIAN PHOTOGRAPHERS IN EXHIBITION
From among the thousands of prints from all parts of the world sent to the International exhibition of the London Salon of Photography recently, 438 were selected to be hung in the galleries. Australians and New Zealanders were well represented, nine photographers displaying 18 prints. The salon is to the photographer what the Academy is to the painter.



Thursday 6th November 1930  Page 14 - The Herald (Melbourne, Victoria)

Miss Ruth Hollick received a pleasant message from London this week. Her photographic study of Miss Amy Johnson C.B.E., has been accepted by the London Salon of Photography and has been hung in the salon at Russell Square.

AMY JOHNSON c.1930
RUTH HOLLICK

15th November 1930  Page 552 - Vol. 37 No. 11 Australasian Photo-Review

LONDON SALON OF PHOTOGRAPHY  1930
Mr. Harold Cazneaux, universally admitted to be the outstanding figure of artistic photography, so far as this part of the world is concerned, has now been regularly exhibiting in the London Salon of Photography for no less than twenty years.

Five of his pictures were hung this year, amongst the 438 selected from the thousands submitted from all parts of the globe. Other Australians represented were: Monte Luke, 1; Arthur Ford, 1; J.B. Eaton, 4; F. Lewis, 3; Ruth Hollick, 1; W. Orthman, 1. New Zealand is represented by H.E. Gaze and F.H. Taylor, each with one exhibit.

   

left to right - MONTE LUKE, HAROLD CAZNEAUX

Thursday 4th December 1930  Page 3 - Western Mail (Perth, Western Australia)

DEMONSTRATION

The skill with which the up-to-date camera artist can capture striking
effects of light and shade is well illustrated by the above photograph
exhibited at the LONDON SALON OF PHOTOGRAPHY. The exhibition
dancers have paused for a moment in their number and there is
an admirable feeling of expectation about the whole composition.

Friday 15th September 1933  Page 15 - The Sun (Sydney, NSW)

CHOSEN PICTURES
AUSTRALIAN PHOTOGRAPHS ON SHOW
("Sun" Special) LONDON, Thursday.
Seven Australians are among the 300 world-wide exhibitors at the Royal Photographic Society's exhibition. Julian Smith (Melbourne) shows two, including a fine portrait of a pioneer; John Eaton, (Toorak), two landscapes; H.S. Lucraft (Perth), two; August Knapp (Perth) and R.V. Simpson (Sydney), one each. The London Salon of Photography displays 11 Australian works among the 404 chosen from 4500 submitted by 24 countries. John Eaton has four, Julian Smith three, Harold Cazneaux two, Monte Luke one and A.L. Smith one.

     

left to right -  Dr. JULIAN SMITH, HAROLD CAZNEAUX, MONTE LUKE, AUGUST KNAPP (Perth).

Friday 15th September 1933  Page 1 - The Daily News (Perth, Western Australia)

PHOTOGRAPHERS HONORED
PERTH EXHIBITORS IN LONDON
WORKS ACCEPTED BY ROYAL SOCIETY
LONDON - 14th September 1933
Two Perth photographers are included among seven Australians out of 300 world-wide exhibitors at the Royal Photographic Society today. Dr. H.S. Lucraft, of Perth, has two photographs, including an effective child study, "Ironing Days", while Mr. Augustus Knapp, of Perth, also has an exhibit. Dr. Julian Smith, of Melbourne, has a pair, including a fine portrait of a pioneer; Mr. John Eaton, of Toorak, has two landscapes and Messrs. R.V. Simpson, of Sydney and C.S. Tompkins of Camberwell, have one each. There are also three natural history studies by Mr. H. Chargois of Cairns. Mr. W.C. Davies, of New Zealand, has seven and Mr. Ellis Dungeon, of New Zealand, one. The London Salon of Photography displays eleven Australian works among the 404 chosen out of 4500 submitted from 24 countries. These include four from Mr. John Eaton, three from Dr. Julian Smith, two from Mr. Harold Cazneaux, one from Mr. Monte Luke and one from Mr. A.L. Smith.

FINE CHILD STUDY
The Royal Photographic Society sets the standard for the world and it is considered an honor to have work accepted. This honor is not entirely new to Perth. There is a Dilettante Club here, which has neither president nor committee; there are nine members and three of them have had exhibits accepted, which is a gratifyingly high proportion. When Mr. van Raalte began his aquatint work here Mr. Knapp saw possibilities in the process which he thought might be applied to photography and in Perth, mainly through his research and experiment, a new quality of print, with unusual roundness and softness, was obtained. This was treated at first rather with contempt, but when sent to London it attracted attention and favorable comment. "Dr. Julian Smith", said Mr. Knapp, "is probably the leading amateur portraitist in Australia. Dr. Lucraft's "Ironing Day" is an exquisite child study, one of the best things he has done". Mr. Knapp does not know which of his photographs have been accepted. He had sent some landscapes, "very simple in composition".

AUGUSTUS KNAPP

Saturday 16th September 1933
Queensland Times (Ipswich QLD)
Page 9 - Northern Star (Lismore NSW)
Cairns Post (Queensland)

LONDON EXHIBITION
ROYAL PHOTOGRAPHIC SOCIETY
SEVEN AUSTRALIANS INCLUDED
Seven Australians are among the 300 exhibitors from all over the world at the exhibition of the Royal Photographic Society. Two photographs by Julian Smith, of Melbourne, include a fine portrait of the pioneer John Eaton, of Toorak. There are two landscapes by H.S. Lucraft, of Perth and two photographs, including an effective child study of ironing day. One photograph each is exhibited by Augustus Knapp, of Perth, R.V. Simpson, of Sydney and C.S. Tompkins, of Camberwell. There are three natural history studies by H. Chargois, of Cairns. The New Zealanders, W.C. Davies and Ellis Dungeon, show seven and one photograph respectively. London Salon of Photography displays 11 Australian works among 404 chosen from 4500 submitted by 24 countries. John Eaton has four, Julian Smith three, Harold Cazneaux two, Monte Luke one and A.L. Smith one.



Saturday 16th September 1933  Page 9 - Northern Star (Lismore, NSW)

AUSTRALIAN EXHIBITORS
ROYAL PHOTOGRAPHIC SOCIETY
LONDON, Thursday
Mr. C.S. Tompkins, of Camberwell, New South Wales, is one of the seven Australians included in the 300 exhibitors from throughout the world represented at the Royal Photographic Society's exhibition. His studies are three natural history subjects. The London Salon of Photography displays 11 Australian works among the 404 chosen from 4500 submitted from 24 countries. They include one by Harold Cazneaux, of Roseville and two by Monte Luke, of Sydney.

 

left to right   HAROLD CAZNEAUX, MONTE LUKE.

Saturday 16th September 1933  Page 15 - The Sydney Morning Herald (Sydney, NSW)

PHOTOGRAPHIC ART
AUSTRALIAN EXHIBITORS
Seven Australians are among the 300 photographers in all parts of the world represented at the Royal Photographic Society's exhibition. Dr. Julian Smith, of Melbourne, has a pair of photographs, one of which is a fine portrait of a pioneer; Mr. John Eaton, of Toorak (Victoria), has two landscapes; Mr. H.S. Lucraft, of Perth, has two pictures, one of which is an effective child study.

Other Australian exhibitors are: Messrs. A. Knapp (Perth), R.V. Simpson (Sydney), C.S. Tompkins (Melbourne) and H. Chargois (Cairns).

The London Salon of Photography displays 11 Australian works. Among the 404 photographs chosen from 4500 submitted, from 24 countries, are four by Mr. John Eaton, three by Dr. Julian Smith, two by Mr. Harold Cazneaux, one by Mr. Monte Luke and one by Mr. A.L. Smith.



Friday 11th October 1935  Page 3 - The Advertiser (Adelaide, South Australia)

EXHIBITION OF ART PHOTOGRAPHY
Mr. Harold Cazneaux, the Australian art photographer, of Sydney, with Mrs. H. Cazneaux, is on a holiday visit to South Australia, the main objectives being a visit to the Flinders Range to take photographs of unusual scenery and to give an exhibition of art photography at the salon of Kodak, Rundle street, Adelaide. This show of photographic prints will contain some that have been exhibited at the London Salon of Photography, of which Mr. Cazneaux is the only Australian representative member. The exhibition will be on view from tomorrow morning for about a week.



Saturday 12th October 1935  Page 8 - The Age (Melbourne, Victoria)

LONDON GOSSIP
FROM OUR CORRESPONDENT LONDON, 20th SEPTEMBER
If in the neighborhood of Chelsea or Bloomsbury you notice a particularly arty-looking artist, complete with beard, sweater, sweeping tie and velvet jacket, you may depend upon his being a photographer. He probably has a picture in the London Salon of Photography, displaying an intricate pattern of light upon a tangle of mattress springs or something equally modernistic. That is the way things are going. Photography in its higher flights has become a fashionable art; its followers dress the part with thoroughness and they do not need to undergo the painful process of learning to draw.

The present exhibition of the London Salon of Photography, the most advanced of these societies, contains many pictures which certainly display originality and a sense of pattern. The materials used are surprisingly varied; cogwheels; pans, empty bottles, onions, cups and saucers, barrels and crinkled paper are just, a few from which subtle and pleasing effects are obtained. There are also a considerable number of nudes. In fact, the daring young leaders, of the movement take it for granted that in the near future the nude will be a common form of photographic portraiture.



The following four images were exhibited at the 1935 LONDON SALON OF PHOTOGRAPHY Images are held by the National Library of Australia

                 

image 1: A LITTLE SHIP WENT SAILING, VICTORIA by JOHN BERTRAM EATON
image 2: CALM SEA by JOHN BERTRAM EATON
image 3: SKYSCAPE, VICTORIA by JOHN BERTRAM EATON
image 4: THE MILKING SHED, VICTORIA by JOHN BERTRAM EATON

Friday 10th July 1936  Page 27 - The Advertiser (Adelaide, SA)

OUT AMONG THE PEOPLE
by Vox
Most of us must, admit that we enjoy the charm of the unusual. Yesterday, for example, I sat in the barber's chair and while Mr. Alfred Wilkinson trimmed my hair, he put on the shelf before me gems of his latest work with the camera.

These were perfect works of art; pictures he had taken during his last trip through the Flinders Range with Mr. Harold Cazneaux, a fellow Sydney artist and Mrs Cazneaux.
Mr. Wilkinson told me how he enjoyed his relaxation with the camera, rising early, or waiting for hours to get ideal light and shade effects. He showed a classic study of a scene at Melrose with the soft light filtering through drizzling rain on to a running stream and red gum tops, with Mount Remarkable faintly outlined in the misty background.

The hairdresser-artist, an ex-president of the Adelaide Camera Club is also an associate of the Royal Photographic Society of Great Britain and his work has been hung on the coveted line at exhibitions of that society and also the London Salon of Photography, amid world-wide competition.

Mr. Wilkinson's partner, Mr. P.H. Lodge, is at present on a holiday visit to England with his wife.



Friday 13th November 1936  Page 11 - Papuan Courier (Port Moresby, Papua New Guinea)

OUR LONDON LETTER
From Our Own Correspondent LONDON, SEPTEMBER 17th
AUTUMN PHOTOGRAPHIC SHOWS
As is the regular custom, private views were, held this week of the two principal photographic exhibitions of the year. There is no rivalry between the Royal Photographic Society in Russell Square and the London Salon of Photography at the "Royal Watercolour Society" Galleries in Pall Mall. The two exhibitions overlap in pictorial work and several exhibitors are represented at both places. Yet each show has a distinct character. At the Royal Photographic Society an attempt is made to give a comprehensive survey of camera technique in all branches — pictorial, scientific and technical. The aim of the London Salon is to exhibit only that class of work with distinct evidence of personal artistic feeling and execution.

The photograph of the year is at the London Salon of Photography. This is the portrait of his Majesty by Mr. Hugh Cecil which was used for the new postage stamps. Thereby it has become the most reproduced photograph in history. In its place of honor on these walls it is flanked on the one hand by a superb study of ploughing by an Australian photographer and on the other by a thrilling naval scene. This exhibition, like that of the Royal Photographic Society (which ranges to a picture taken at 72,395 feet up in the the stratosphere) is an Elysian field for students of photography.

The stratosphere picture was taken on November 11 last from the American balloon when it was at its world record height of more than thirteen miles above the earth. At that height the camera registered the horizon 330 miles away and produced the first photograph showing the boundary between the troposphere — the dust-laden region of air currents — and the stratosphere, a region which enjoys a nearly constant temperature.



Wednesday 29th December 1937  Page 17 - Sydney Mail (NSW)

LONDON SALON of PHOTOGRAPHY  - STUDIES
The London Salon of Photography, which recently held its annual exhibition, is noted for the artistry and skill of its exhibits and exhibitors. The photographs here reproduced were all prize-winners at the Salon and it will be noticed that one of them, the fine study of a famous Dickensian character, is from the camera of an Australian exhibitor. The names of the three artists, for such in truth they are, whose work is shown here gives good evidence of the cosmopolitanism of the Salon.

           

image 1: WELLER by Dr. Julian Smith (Melbourne)
image 2: PLAYING CARP by Munemitsu Katsuda
image 3: NEWSBOY by Valentine Sarra

Saturday 26th March 1938  Page 7 - The Sydney Morning Herald (NSW)

ART OF THE CAMERA
IT'S AMAZING GROWTH
HAROLD CAZNEAUX
The photographic art in Australia is comparatively young, but it has made remarkable progress and is destined to achieve much greater distinction. Until a few years ago Australia was practically unknown in the photographic world, but to-day, at the time of our 150th Anniversary, the work of Australians is recognized in all the noted salons overseas.

The Photographic Society of New South Wales, in association with the Sydney Camera Circle and the Professional Photographers Association of New South Wales, has organized the Commemorative Salon of Photography, which is now open in the gallery of the Commonwealth Bank building. This important salon, which is officially recognized by the Anniversary Celebrations Council, includes examples of photographic art by amateur and professional workers from all over the world and illustrates the tremendous advance which photography has made. The beauty of the pictures and the wide range of subject matter render the exhibition of unique interest to the public.

THE VELVET COAT
Photography had not been invented when Governor Phillip landed at Sydney Cove. It is a little over 100 years ago since Daguerre and Fox Talbot worked out the difficult experiments which led to the discovery of photography.

The real development of photography occurred only in our parents day and there are many old but well-preserved "Daguerreotypes" and even old silver prints still in existence which belonged to them. There came a change-over from the "wet plate" to the "dry plate" and the old and cumbersome process slowly gave way to the new and lighter method. Studios were opened in greater numbers in the cities and spread to country towns. The photographer, garbed in his velvet coat and perhaps a velvet cap was a personage in those days. He worked "by appointment only," and his studio bore the appearance of "back stage" of the old-time theatre, for he had to supply the accessories for his sitters — backgrounds that would provide interiors of mansions, churches, seaside scenes and landscapes. His stock-in-trade included fake terraces, staircases, ship's masts, boats, elaborate furniture and huge clam shells for the baby. Some possessed stuffed birds and animals and children were often specially dressed up to fit in with the photographer's ponderous accessories.

All this passed away. The accessories and velvet coats were sold as junk, heavy cameras and huge old-fashioned lenses were bundled out of the way and a newer era was ushered in. Young Australians got hold of newer cameras, lighter and more efficient lenses and simpler studio equipment. Electric light appeared and daylight was considered out of date. The photographer to-day works in a modern studio, he takes your portrait while you are chatting to him, he touches buttons and switches and lights appear from all angles of his studio and he uses thin sensitive films instead of heavy glass plates.

Australia is up to date in photographic matters, although it must still rely upon world centers for high-grade cameras and equipment. For many years, however, quality sensitive film, plates printing papers and much other photographic material have been manufactured in Victoria and New South Wales and eventually we may hope to produce cameras, lenses and other delicate equipment.

AUSTRALIANS FINE WORK
Australia has photographers whose work compares very favorably with that done overseas. It is being accepted and hung in the noted salons of the world, such as the annual show of the Royal Photographic Society of Great Britain and the London Salon of Photography and many foreign salons exhibit Australian pictorial photographs, which become a splendid advertisement for this country.

The amateur photographer has been responsible for a great deal of the progress of artistic photography in Australia. His independent and individual outlook has enabled him to produce pictures without thought of sales and much of the artistic quality apparent in to-day's photography has developed from the amateur's sound and natural outlook. We have throughout Australia many amateur photographic clubs and societies who work purely for the love of advancing artistic photography. The Photographic Society of New South Wales, which is affiliated with the Royal Photographic Society, was founded over 40 years ago and it continues its good work.

Photography is one of the world’s great hobbies and our workers have shared in the international interchange of the best examples of pictorial art. Commercial and advertising photography, like press photography has undergone a transformation and the old-time inartistic type of cameraman has no value to-day. The new work is exacting and only men and women of the highest artistic ability and photographic technique can hope to succeed.

Photography for the million is a great teacher it compels attention to detail, develops the powers of observation, imagination and patience and brings out latent artistic talent. Above all, it encourages a love of our great Australian outdoors. Whatever is spent on photography as a hobby is returned to the discriminating user tenfold.

A remarkable fact about photography is that while it is capable of being employed by scientists for record and other work, the artist, using the same materials, can produce a picture which will portray a subject arranged with pleasing composition and rendered in beautiful tonal quality, a picture which can be justly looked upon as a work of art. Critics who say that photography is only a mechanical means of producing a picture know little of artistic photographic technique. A first-class photographer who possesses depth of feeling, an eye for artistic selection and a creative mind can give lasting joy to the beholder of his work and elevate photography to the realm of true art.



Monday 9th October 1939  Page 4 - Townsville Daily Bulletin (Queensland)

Mr. Monte Luke, a well known Australian photographer, who was among the passengers who passed through at the week-end for Sydney, left Australia some weeks ago on a special assignment to obtain exclusive portraits of the Duke and Duchess of Kent and their children for Australian newspapers and was to have accompanied the Royal couple to Australia to take further snaps. Mr. Luke said he had been given an appointment for Tuesday 5th September, to call on their Royal Highnesses at their London home, but on the Sunday the bomb had been dropped, so to speak and he immediately set about arranging a passage home. Other valuable appointments lost by the war were a proposed visit to the Duke and Duchess of Windsor at their French home in Le Touquet and a weekend with Sir Philip Game, former Governor of New South Wales.

He did, however, obtain a real thrill when he visited the London Salon of Photography and the gallery of the Royal Photographic Society, the greatest world exhibition of its kind and saw some of his own work on the walls. He had taken photos at the famous Fashion salon of Molyneux, also at the big show places of Wirths and Norman Hartnelle. It was quite interesting to observe the way in which this particular business of the mannequin parades was conducted and he was quite convinced by the volume of business handled that women in Britain and France were not going to be restrained altogether by the war. From what he had seen it appeared colors would be quietened a good deal, but the fashion shows would continue.

SIR PHILIP WOOLCOTT GAME GCB, GCVO, GBE, KCMG, DSO

Born 20th March 1876 Streatham, Surrey, United Kingdom
Died 4th February 1961 (aged 84) Sevenoaks, Kent, United Kingdom

26th GOVERNOR of NEW SOUTH WALES
from 29th May 1930 – 15th January 1935

Sunday 31st March 1940  Page 7 - The Sun (Sydney, NSW)

FIRST EXHIBITION OF
MINIATURE CAMERA GROUP (SYDNEY)
COMMENCES AT FARMER'S ON TUESDAY
An event of real importance to every Australian art lover. Nearly 200 pictures, the work of brilliant Australian photographers, both amateur and professional and right in line with the highest overseas standards, will be on view. This first exhibition of the Miniature Camera Group has produced pictures of finer quality than Sydney has seen before. Open to the public from Tuesday until April 13th. Blaxland Galleries, Ninth Floor.



1st January 1942  Page 39 - Volume 49 No. 1 - The Australasian Photo-Review

AUSTRALIAN EXHIBITS AT THE 1941
LONDON SALON OF PHOTOGRAPHY
The following references to Australian exhibitors were noted in the catalog of the 32nd London Salon of Photography:

KEAST BURKE

HAROLD CAZNEAUX

J.B. EATON

F. COLE

DR. JULIAN SMITH

Husbandry

The Canyon

Rock Tracery

Tired Horses

Still Life (3)

In the Hills

Home in the Valley

Australian Eucalyptus

White Gums of the Flinders

Perhaps

Martinet

The Theatre Sister

Wedding March

Vespers

Nothing for Nothing

January 1943  Page 38 - The Australasian Photo-Review

SUCCESSFUL AUSTRALIAN EXHIBITORS IN THE 1942
LONDON SALON OF PHOTOGRAPHY
J.B. Eaton FRPS, Harold Cazneaux Hon. FRPS, F. Cole, Dr. Julian Smith FRPS and Clarence B. Young



17th November 1948  Page 3 - Press, Volume LXXXIV, Issue 25654

PRINTS ACCEPTED IN LONDON
SUCCESS OF CHRISTCHURCH PHOTOGRAPHER
Mr Lennard Casbolt ARPS, President of the Christchurch Photographic Society has received advice that three of his prints have been accepted and hung in this year’s London Salon of Photography. Mr Casbolt was also awarded three honorable mentions in the eighth annual competition organized by American Photography, in which 3284 prints were entered from all over the world. During the last, twelve months his work has been accepted and hung in international salons held at Johannesburg, Lisbon, Leeds, Bangalore, New York, and Budapest.

The following 11 images are from the
BRITISH PHOTOGRAPHIC ALMANAC 1951
and were exhibited at the LONDON SALON OF PHOTOGRAPHY 1950
http://earlyphotographers.blogspot.com/2011/01/1952.html

                 

image 1: PORTRAIT DE FILLETTE by Ed. Moulu, Belgium
image 2: STUDY OF A BOY by Marcus Adams, London
image 3: CLOUDS' EMBRACE by H.A. Murch, Selden
image 4: CHOPINIANA (MARKOVA AND DOLIN FESTIVAL BALLET) by Houston Rogers, London

                 

image 1: THE YOUNG MASTERS by Erich Auerbach, London
image 2: TOILERS OF PEACE by Vladimar Dimchev, Bulgaria
image 3: THE WHITE CARNATION by Joan Craven, London
image 4: MISS DAWNE by Omar Khairat, Egypt

           

image 1: OUTDOOR GIRL by F. Lennard Casbolt, New Zealand
image 2: THE GIRL IN THE LITTLE WHITE HAT by John St. Aubyn, Purley, London
image 3: PROFILE STUDY IN SOLARISATION by Mrs Jean Rudinger, London

Saturday 13th January 1951  Page 19 - The West Australian (Perth, Western Australia)

MORE MINIATURES
Even after the death of the principal, Ure Smith Pty. Ltd. continues to maintain its enterprise and excellence of workmanship.

"AUSTRALIAN Treescapes", No. 7 of the "Miniature Series", presents photographic studies, the majority by Harold Cazneaux, a member of the London Salon of Photography, who has been praised by Sir Arthur Streeton and Mr. Hans Heysen.

Elyne Mitchell, who has written the descriptive article, is the author of three notable books on Australian country subjects: "Australia's Alps", "Speak to the Earth" and "Soil and Civilization".

No. 8 of the series is "Sydney Beaches" and has been made up of a selection of camera studies from the work of well known photographers. Lou d'Alpuget, yachtsman, surfer and sports writer, amplifies the illustrations with a knowledgeable text.



Friday 14th November 1952  Page 2 - The West Australian (Perth, Western Australia)

Mr. R.E. Glasgow ARPS, of Kalamunda, has had work accepted for the London Salon of Photography, the most famous and exclusive of all open international exhibitions. Of some 5,000 prints submitted from 23 countries, 432 were selected for hanging at the gallery in Bond-street.

The following 14 images are from the
BRITISH PHOTOGRAPHIC ALMANAC 1954
and were exhibited at the LONDON SALON OF PHOTOGRAPHY 1953
http://earlyphotographers.blogspot.com/2011/01/1954.html

                 

image 1: IM HAHFEN by Emil Obrovsky, Austria
image 2: FREE AND INDEPENDENT by Lim Theng Hoon, Malaya
image 3: FASHION ILLUSTRATION by Laurence Le Guay, Australia
image 4: THE OLIVE OF GARDA by E. Gordon Barber, Harrow

                 

image 1: VIOLETTA ELVIN IN "LAC DES CYGNES" by Houston Rogers, London
image 2: VILLAGE KIDS by N.G. Ying Chung, Hong Kong
image 3: PALS by J. St Aubyn, Purley
image 4: THE SPIRIT OF LIFE by Fan Ho, Hong Kong

           

image 1: SHADOW SHOW by Hing-Fook Kan, Hong Kong
image 2: SPRING by B.J. Gosden, Coventry
image 3: ALL MY OWN WORK by S.C. Holbrook, Beaconfield

           

image 1: IN THE GALLERY by Matti A. Pitkanen, Finland
image 2: MIMI by Ivy M. Hill, Sutton Goldfield
image 3: STEAM UP by T. H. Morrison, New Castle-upon-Tyne

The following 20 images are from the
BRITISH PHOTOGRAPHIC ALMANAC 1955
and were exhibited at the LONDON SALON OF PHOTOGRAPHY 1954
http://earlyphotographers.blogspot.com/2011/01/photogravure-reproductions-from-british.html

                 

image 1: MY DAD'S A PHOTOGRAPHER by R.G. Fennah, Salford
image 2: JOHN O. MARRIOTT, ESQ. by Walter Bird, London
image 3: CHASE by Yu-Chiu Cheung, Hong Kong
image 4: SHELLFISH CATCHING AT DAWN by Francis Wu, Hong Kong

                 

image 1: FRESCO by E. Angenendt, Germany
image 2: WHAT'S THAT? by V.M. Chagas dos Santos, Portugal
image 3: BILLOW OF SAIL by Au Thian Chor, Singapore
image 4: MR. PETER BULL by John Sarsfield, Dublin, Ireland

                 

image 1: STILLEBEN by Elsie Kaiser, Switzerland
image 2: DAPHNE LOOKS IN by Gilbert Adams, Wargrave
image 3: SCRAM! by G.H. Allison, Mansfield
image 4: SPETTACOLO COMPLETO by G. Tosi, Italy

                 

image 1: THE WATER-HORSE FOUNTAIN - SYRACUSE by E. Gordon Barber, Harrow
image 2: PETALS AND PISTILS by Piero Borello, Italy
image 3: MOVIES by Karel Jan Hora, South Africa
image 4: LIGHT AND SHADOW by Dr. C.F. Hsu, Hong Kong

                 

image 1: DAZZLE by H.R. Thornton, Birmingham
image 2: THE YOUNG SWAN by Frederick Veal, Manchester
image 3: PAS DE DEUX by Cornel Lucas, London
image 4: SIXTEEN YEARS OLD by Ann-Marie Gripman, Sweden

Saturday 27th March 1954  Page 13 - The Argus (Melbourne, Victoria)

WORLD IN FOCUS
Chief virtue of an international salon of photography is its ability to break through international boundaries. It promotes good will and understanding between countries which are remote from each other in thought, language and tradition.

This pictorial Esperanto is strikingly demonstrated in the Victorian Salon of Photography 11th International Exhibition, which commences in the lower Melbourne Town Hall on Monday and continues until 7th April, from 10am till 10pm.

Sir Reginald Alexander Dallas Brooks, Governor, will perform the official opening at 8pm.

Of the 338 prints accepted for the exhibition, 244 are from 29 foreign countries. Hong Kong has had 44 prints accepted from the 81 submitted. U.S.A. comes next with 30 prints, then Malaya with 19, Brazil 13, Portugal 12, India 10, North Borneo 8 and Ceylon 4. The Iron Curtain was pierced to produce six exhibits from Czechoslovakia and nine from Hungary. Germany sent 13.

Exhibitors are not seeking a "riband to stick in their coat", but the Royal visit has lent special significance to this 1954 salon.

The Argus and Australasian Limited has placed two silver and eight bronze medals at the Judges disposal for exhibitors whose work warrants special recognition. The silver medals have gone to Brazil and U.S.A. Germany, Canada and U.S.A. have collected two bronze medals apiece. The two bronze medals for color transparencies have both gone to Australian exhibitors.

A New South Wales woman has scored with her color picture of an unlikely subject, the rooftops of Sydney.

Well-known Melbourne Camera Club exhibitor Mr. E.L. Rotherham, of Bealiba Road, Caulfield, has won the other medal for his atmospheric impression of Mount Bishop, Wilson's Promontory. Although the pictorialism is of high quality, there is nothing highbrow about it.

Still life, landscapes, seascapes and portraiture are presented with technical skill and pictorial imagination.

There is humor as well as drama and beauty. The hair of a small Chinese boy stands on end as he reads a ghost story in pop-eyed wonder.

A magnificent study of oxen rushing towards the camera won a silver medal for a Brazilian exhibitor. It was titled "Bois" and the judges, mistaking the language for French, could not make out why they couldn't see the wood for the beasts. They found out later that "bois" was Brazilian for oxen.

In dealing with the great weight of entries, the judges endeavored to work to the standard of the London Salon of Photography, which has been a leader in this type of exhibition for the past 35 years.

Because of currency restrictions, the organizers have had to make a small charge for admission - for the first time in its history - because most foreigners could not send entry fees or money for return postage.

"PORTRAIT OF LIANE"
this sympathetic, brooding portrait from Germany
is one of the most arresting in the international display.
It won an Argus Bronze Medal for FRIEDRICH HERWICKER

       

SIR REGINALD ALEXANDER DALLAS BROOKS

Born 22 August 1896 - Cambridge, Cambridgeshire, England
Died 22 March 1966 - Frankston, Melbourne, Victoria

19TH GOVERNOR OF VICTORIA
18th October 1949 – 7th May 1963

Saturday 12th May 1956  Page 2 - The Canberra Times (ACT)

EXHIBITION OF PHOTOGRAPHY AT RIVERSIDE
An artist's eye was necessary to good photography, the Minister for Sweden, Mr. J. Kastengren, said when he opened the Canberra exhibition of portrait photographs of Mrs. Anne Marie Gripman last night.

Mrs. Gripman's work certainly showed evidence of that, he said.

The exhibition, held at Riverside, was organized by the Canberra Photographic Society in conjunction with the Swedish Legation in Canberra.

A member of the society, Mr. Malcolm Morris, saw the exhibition in India and recommended it to the society, who contacted Mrs. Gripman in Sweden.

For the Australian and New Zealand exhibition of her work, Mrs. Gripman made new prints of each portrait in the collection.

She is renowned for child studies and in the Canberra selection, every possible child expression and mood is represented.

One member of the society said a feature of the collection was the general high standard of the work and the concentration of high "key" portraits.

Mrs. Gripman was reported as having said that she tried to capture, more than true representation of the facial features in that she tried to capture the personality of the sitter.

With particular reference to her child studies, she said she wanted mothers to feel, in later years, how warm, how soft and even how damp the child had been.

Mr. Kastengren said that Mrs. Gripman's rise to international fame had been most impressive mainly because of her ability to produce "speaking" portraits of children.

Mrs. Gripman has won prizes for photography in Poland, Austria, France and in her native Sweden. She has exhibited at the London Salon of Photography and the Royal Photographic Society, also in London, as well as in America.

The exhibition has been shown in Brisbane. Wollongong, Sydney, Melbourne and Southern Tasmania and it will leave Canberra for New Zealand, Philippines, Singapore and America.

The following 25 images are from the
BRITISH PHOTOGRAPHIC ALMANAC 1956
and were exhibited at the LONDON SALON OF PHOTOGRAPHY 1955
http://earlyphotographers.blogspot.com/2011/01/photogravure-reproductions-1956.html

                       

image 1: TEARS by Dr. S.Y. Chen, Hong Kong
image 2: BOYS AND GIRLS by T. Veres, Hungary
image 3: CHILDREN'S PARTY by T. Veres, Hungary
image 4: AVEIRO by Jean Dieuzaide, born 20 June 1921 in Granada, Haute-Garonne, died on 18 September 2003 in Toulouse, France
image 5: THREE PRIESTS by Ralph Aubrey, England

                       

image 1: MOMENT MODERNE by Dr. J.N. Levenson, USA
image 2: BHUDDIST STATE MONKS by Fong Ku Tchang, Vietnam
image 3: UNSLEEPING by H.A. Murch, England
image 4: MONT BLANC FROM THE BREVENT by M. O'Cleary, England
image 5: SIE VERSTEHEN EINANDER by Leopold Fischer, Austria

                       

image 1: THE GUARDIANS OF THE VIADUCT by E. Chambre-Hardman, England
image 2: DESET FLOWERS by W. Narynowicz, England
image 3: CANDLELIGHT by Chung Lim Chow, Hong Kong
image 4: ROMAN STAIRCASE by H.S. Newcombe, England
image 5: REFRACTION by V.M. Chagas dos Santos, Portugal

                       

image 1: ENIGMA by Walter Bird, England
image 2: BARBAGIANNI by Sergio Badh, Italy
image 3: INVOCATION by Hing-Fook Kan, Hong Kong
image 4: ANYA LINDEN by Houston Rogers, England
image 5: CALADIUM by L. Verbeke, Belgium

                       

image 1: ZWEI KRUGE by Kathrin Dietl, Germany
image 2: THE SHADOW APPROACHES by Fan Ho, Hong Kong
image 3: ALIGHTING by Raymond Fong, Hong Kong
image 4: VIELA by Jean Lecocq, Brazil
image 5: OLD GENTLEMAN by Dr. K.H. Wu, Hong Kong

HENRI MARIE JOSEPH MALLARD

DOB  9th February 1884 Sydney, Australia
Death  21st January 1967 (aged 82) Balmain, Sydney





Tuesday 23rd May 1978  Page 16 - Tharunka (Kensington, NSW)

BUILDING THE SYDNEY HARBOUR BRIDGE
For some the Sydney Harbour Bridge represents a daily peak-hour hassle, for others a tug at the heart strings on return to Sydney after an absence.

For Henri Mallard it represented five years of work between 1928 and 1932, during which he photographed the Bridge at every stage of its construction.

You can see this fascinating exhibition in the John Clark Gallery, top floor, Stage III Union building weekdays from May 22nd to 30th inclusive.
Gallery Hours: Monday to Friday 10am - 4pm, Wednesday 12 noon - 8pm.

The exhibition is on loan from the Australian Centre for Photography and is presented by the University Union. Information from C. Hartgill.

HENRI MALLARD
1900 Joined the photographic retailing firm of Harringtons in George Street, Sydney as junior boy and became General Manager.
Harringtons was later bought out by Kodak and Mallard continued to work there until his retirement.
Early associations with Harold Cazneaux, Monte Luke and Mons Perier.

EXHIBITED OVERSEAS
Exhibited with other Australians at the London Salon of Photography Exhibition. Also exhibited in the Netherlands East Indies.

Photographed throughout Balie, Jave, Papua New Guinea and Fiji.

1928 For five years he photographed the building of the Sydney Harbour Bridge until its opening in 1932.
1958 Received the J.W. Metcalfe Memorial Award.

Volunteer judge for many camera clubs.

FOUNDATION MEMBER SYDNEY CAMERA CIRCLE

1953 - 54 VICE PRESIDENT PHOTOGRAPHIC SOCIETY OF NEW SOUTH WALES

1963 LIFE MEMBER AUSTRALIAN PHOTOGRAPHIC SOCIETY

"incredibly enthusiastic"
"photography was his life".

COLLECTIONS
NATIONAL LIBRARY OF AUSTRALIA

c.1930 - 31

               

image 1: c.1928
image 2: c.1928
image 3: c.1928

       

image 1: c.1928
image 2: c.1930

MINNA KEENE

DOB  5th April 1861 Arolsen, Germany
Death November 1943 Oakville, Ontario

Minna Keene moved to Britain between 1870 and 1880 where she became a photographer. Both her pictorial photographs and her portraits were recognized by various newspapers and journals at this time. Her work varied from ornithological images for English school books to portraits of famous statesmen.

In 1908 she became a Fellow of the Royal Photographic Society of Great Britain, one of the first women to receive that honor.

Around 1903 the Keene family moved to Cape Town, South Africa where Minna Keene did photographic studies of various ethnic groups.

Ten years later the family moved to Canada and Keene was hired briefly by the Canadian Pacific Railroad to photograph the Rocky Mountains. The Keenes settled in Oakville in 1922, where Minna opened a studio.

Keene's work was exhibited around the world during her lifetime and was included in the 1983 exhibit
REDISCOVERY: CANADIAN WOMEN PHOTOGRAPHERS 1841-1941

Her photographs are in the collections of the National Archives of Canada and the Smithsonian Institution, Washington, DC.

1908 awarded FELLOWSHIP ROYAL PHOTOGRAPHIC SOCIETY

MEMBER Linked Ring, London

MEMBER London Salon of Photography

MINNA KEENE

RUTH MIRIAM HOLLICK

DOB  17th March 1883 - Williamstown, Victoria
Death 7th April 1977 - Sandringham, Victoria

SOURCES: The Australian Women's Register

Ruth Hollick was an award-winning society photographer who exhibited in Australia and Internationally. She was one of Australia's most successful professional photographers, her career lasting approximately 70 years. She is best known today for her portraits of children.

Ruth Hollick was born on 17th March 1883 in Williamstown, Victoria. She was the youngest of 13 children. Her parents were originally from England and her father worked as a senior customs official in Australia. The year she was born the family moved to Moonee Ponds, Melbourne, where she lived and worked for most of her career. Her parents encouraged artistic expression and from an early age she expressed the desire to study drawing at the National Gallery School of Design, which she eventually did from 1902 to 1906. At this school the painter Frederick McCubbin taught her and became a lifelong friend. In McCubbin's classes she met Dorothy Izard, who was to become her long-time companion and professional partner. She also met the painter Dora L. Wilson and the photographer Pegg Clarke (Dora and Pegg eventually went on to share a studio). These four women forged a strong personal friendship.

Hollick's interest in photography dates back to 1907, when she first started producing portraits in a small darkroom that she set up in the family home. In 1908 she began taking on freelance portrait work and then, along with Izard, she traveled about in a small French car visiting the prosperous towns of Victoria's Western District and the Riverina, photographing the wealthy families of the district. Their method was to place advertisements in local newspapers prior to their visits, thus generating interest among the locals. Most of their photographs were created outdoors using a field camera. They included 'casually stage-managed studies of children playing under trees' and family scenes. One, for example, showed a family "lounging around their splendid car". Upon their return to Melbourne, Hollick continued to work from her parents home in Moonee Ponds. This was to serve as her base during WW1, the very period when her photographic career first took shape. Working from there she was said to 'eclipse both Mina Moore and Alice Mills with her dramatic composition and free use of light in pictorial portraiture'.

When Mina Moore retired in 1918 and her studio at 167 Collins Street, Melbourne (situated in the Auditorium Building) became available, Hollick and Izard purchased it. They were to remain there until 1929. It was from this studio that Hollick was able to fully establish herself as a professional photographer. By the end of WW1 Hollick, along with her friend Pegg Clarke, were considered the leading photographers in Melbourne. Both were known for their fashion photography, their high society portraits, especially of debutantes and brides and their portraits of visiting celebrities. In 1930 Hollick was appointed the official photographer of the British aviatrix Amy Johnson who made a solo flight from the United Kingdom to Darwin in the record time of 16 days. The photographing of children was one of her specialties. She was known to create a relaxed atmosphere, quietly talking with them as they played and photographing them when they were unaware.

Hollick kept up with the latest developments in photography, but she also relied on her inherent artistic sense, adapting the various techniques to her individual style. This was arguably characterized by the use of natural light, the creation of a mood and a strong symmetrical composition. Her award-winning photograph, "Thought" (1920), was one of 483 photographs selected from several thousand submitted to the London Salon of Photography Exhibition in 1930. Executed in a Pictorialist style, it was of the character Portia from Shakespeare's The Merchant of Venice. Her niece, Lucy Crosbie Morrison (née Washington) was the model for this work. Portia was known to be one of the playwright's strongest female characters and Hollick placed her in a seated position against a dark background. She was wearing a white period costume adorned with Australian flowers, gum leaves and gumnuts and her hands were held in a prayer-like gesture that drew the onlooker's gaze towards her face.

"THOUGHT"

During the 1920s and 1930s Hollick worked for a variety of magazines, including The Lone Hand, an offshoot of the Bulletin. Her photographic work was regularly published in Art in Australia, Ure Smith's Home magazine and Harrington's Photographic Journal. It was said that, 'the role of Cazneaux covering home and social photographs for The Home magazine in Sydney was shared by Hollick and Clarke in Melbourne'. She also placed advertisements for her studio in the magazines Art in Australia, Home and Table Talk. As her reputation grew, so did her business. This saw her expanding the Collins Street studio to an adjoining building in which she took up a whole floor. She was known for working long hours, dressing well and enjoying herself with the artistic crowd in Melbourne. She was also reputed to be without a strong business sense, but if true this did not compromise the longevity of her studio, nor her reputation for artistic excellence.

Hollick exhibited widely, both internationally and within Australia, winning medals and plaques. In 1920 she participated in the London Salon of Photography. She also received a Bronze Medal in the 1921 Colonial Exhibition of the Royal Photographic Society in London for her photograph "Thought". Soon after, in 1927 she participated in the Chicago Photographic Exhibition and then in the same year she won a silver medal at the Colonial Exhibition of the Royal Photographic Society in London.

"THOUGHT"

In 1928 Ruth Hollick held a solo exhibition in her Collins Street studio. In 1929 she was the only woman to participate in the Melbourne Exhibition of Pictorial Photography. Nevertheless, she struggled to have her photographs 'recognized as a creative art form' by the art world of the day (Hall). As the impact of the Depression hit, she was fortunate enough to maintain some of her wealthy clients, such as the Baillieus, the McCaugheys and the Hams. However, she was not able to maintain her city studio and along with Izard she moved the studio back to their Moonee Ponds home, where she worked until 1950. Around this time she also went back to touring the countryside, using a Kodak Grafflex camera.

Hollick was aged 67 when she and Izard traveled overseas for the first time, it was 1950 and they visited England. On their return they moved to Heidelberg. Hollick eventually retired from photography when she was 75 years of age. She died in 1977 aged 94.

COLLECTIONS
NATIONAL GALLERY OF AUSTRALIA
ART GALLERY OF NEW SOUTH WALES
NATIONAL GALLERY OF VICTORIA
STATE LIBRARY OF VICTORIA

© PHOTOGRAPHIC EXHIBITIONS OF AUSTRALIA