19th Century amateur photographers faced trials and tribulations in mastering their new found craft, put into the spotlight after photography itself became a growing mass medium with the marketing of Kodak’s #1 box camera in late 1888.

In 1889, taking advantage of this new large audience-by giving them a fun diversion- the Milton Bradley company of Springfield, Massachusetts produced what is believed to be the world’s first card game on photography, one they called “The Amateur Photographer”.  So now, the agony and ecstasy experienced by those dedicated amateurs who owned more advanced cameras and maintained wet darkrooms while embracing art and science could be enjoyed by all. PhotoSeed recently acquired 24 cards of this game from the original set of 36.

The directions for this Victorian card game can be seen printed below in a vintage advertisement for the 1889-90 Milton Bradley Company “Catalogue of Games, Sectional Pictures, Toys, Puzzles, Blocks and Novelties”. 

For the most part up to the present day, physical card and board games have never featured the character of the photographer, although video games beginning in the 1990’s have included many, including: “Polaroid Pete” (1992), “Pokémon Snap” (1999), “Dead Rising” (2006): excerpt: “gamers play photojournalist Frank West, who somehow got stuck in a shopping mall in Colorado during the zombie apocalypse. Frank has to fight his way out through hoardes of zombies and uncover the truth with his camera.” and “Spiderman 3” (2007).

Instead, popular culture has taken the lead, with the larger than life character of the photographer (for good and bad) celebrated in films taking hold in our collective imaginations. Some that come to mind by this writer include James Stewart’s character spying out his apartment window using a telephoto camera lens in Alfred Hitchcock’s masterful film “Rear Window”, (1954) and Peter Parker’s more recent alter-ego occupation sans Spiderman suit. Enjoy the following select game cards from this surviving set.

One exception found online by this website is the 2016 Japanese card game  “Wind the Film!”, a half-frame camera photography themed card game for 2-4 players.

“And I never saw that love did any harm anywhere or was complained about O my brothers when you understood it: 

For that’s about all life comes to anyhow—comes to the love we can put into it:

I just give you what I’ve got, dear comrades.”   -Horace Traubel

In this 200th anniversary year of American poet Walt Whitman’s birth, articles and exhibitions abound, celebrating the continuing relevance of America’s “Bard of Democracy”. But who was largely responsible for initially preserving, and thus memorializing for a larger audience this most important literary voice? A gentleman by the name of Horace Traubel. (1858-1919)

Three years ago I had the good fortune of purchasing a heraldic roundel portrait of Traubel, the one featured above taken by a fellow Philadelphian, pictorialist photographer Allen Drew Cook. (1871-1923) 

Best remembered as the literary executor and biographer extraordinaire of Walt Whitman, Horace Traubel was also a magazine publisher and committed socialist who held the poet’s hand on his deathbed and compiled nearly two million words over the last four years in daily conversations with him, later transcribing and publishing in his lifetime the first three volumes of what would become his nine volume opus: With Walt Whitman in Camden. (completed 1996)

Unlike Whitman, whom The Guardian newspaper notes in an article published this year “was also the 19th century’s most photographed American writer”, (1.) there are only a smattering of photographs featuring Traubel-most being credited to Cook. By and large, Horace Traubel is a figure in American letters most people have never heard of.

But concerning the roundel portrait of Traubel, what a difference between it and the staid portraits published during his lifetime! The seller described it thus: “Vintage Risque Photo Handsome Shirtless Man w/ Love Poem c. 1910 Gay Interest”. If you are a collector like me, the proverbial eye roll is something experienced practically every day in the course of searches for new treasure. To wit: if it’s a photo depicting two men together- or for that matter, two women- a seller might add the descriptor of “Gay Interest” to the listing. This is laughable on the face of it, as to my mind there is often a complete disconnect between reality often taking over the minds of sellers intent on rewriting photographic evidence for the sole purpose of making a quick buck.

But not always. Fortunately for me, and unbeknownst to the seller, I had a hunch who the sitter of this portrait was. My offer accepted, I only later determined “gay interest” was only the tip of the iceberg.

After some sleuthing, I discovered this portrait had seemingly been published only one time in 1919: as the dust-jacket illustration to a limited-edition posthumous work on Traubel written by his biographer David Karsner, a close friend who describes him as part Karl Marx and Jesus of Nazareth, and “in possession of a point of view which issues a labor-conscious ‘warning and challenge.” (2.)

But unlike the aforementioned staid portraits, which always show him wearing a shirt or jacket- this profile view was unusual for the time in which it was made- 1910-bare-shouldered, and thus sans shirt. When I finally made out the signature of the person this particular print was dedicated to-personally inscribed by the sitter on the print surface recto to someone named “Wiksell” in the upper left corner, it all came together. For on the inside cover of the folder in which this portrait appears (when purchased it was framed) Traubel has inscribed several lines- a love poem, if you will, confirming the  sellers hunch, “For Percival Wiksell- 1910” :  

You don’t know me? I do not wonder: I dont know myself: I am at a loss about myself: 

You ask: who are you? and I shake my head : I look at you and say nothing:

I come to you but I could not tell why: I have something for you but I could not tell what:

Out of me some flower will blossom out of my seedthrow some harvest will come. – Horace Traubel

 (From Optimos:  “I Just Give You What I’ve Got”- 1910)

The recipient, Gustave Percival Wiksell, (1863-1940) was a Boston dentist who served as president of the Walt Whitman Fellowship from 1903-1919. So devoted was this disciple to the master that he went to the length of replicating the now famous pose Whitman took from a now lost 1854 daguerreotype by Gabriel Harrison made into an engraving and used as the frontispiece illustration for the 1855 & 1856 editions of Whitman’s masterpiece Leaves of Grass.

Wiksell’s papers are now in the Library of Congress in Washington and he was known to have eulogized Horace Traubell at his funeral in 1919. More than one Traubel scholar lays out the evidence that Wiksell and he were more than good friends, but I will leave that for your own further inquiries.  (further attribution can be found in a cutline with this post)

Five years ago on July 4th, America’s birthday, I published a post featuring several vintage likenesses of Walt Whitman- “Oh Say Can you See?” and his importance to capturing the enduring spirit of our country. In this, Traubel certainly will never be magically rediscovered as the good gray poet’s literary successor (none other than H.L. Mencken derided his  poetry as “dishwatery imitations of Walt Whitman, around whom Horace, in Walt’s Camden days, revolved as an humble satellite.”) (3.) But his ideals as one spreading love as written in the lines at the top of this post-a socialist ideal in the vein of Whitman- are surely honorable and needed in the fractured American present. Instead of cleaved partisan camps and tribes seemingly taking over our national conversation, how about a bit more love comrades? Socialism has nothing to do with that last word, by the way. Instead, let’s celebrate the ideals of our national melting pot, and give all her citizenry power to the truth of  her motto: “E Pluribus Unum” – Out of Many, One.

Just what Horace would have wanted.

Notes:

1. Excerpt: The Guardian (online): Julianne McShane: “Walt Whitman: celebrating an extraordinary life in his bicentennial”: June 12, 2019. One hundred thirty photographic portraits of Walt Whitman have been identified to date.

2. Excerpt: Online resource Poetrybay: Fall, 2009:  commentary on Traubel by Karsner. 

3.  Excerpt: Review: “Optimos” : “Novels for Hot Afternoons”: H.L. Mencken: The Smart Set: July, 1911.

Speaking of photography in general, of which this website is particularly enamored of, our recent visit to Rochester, New York and attendance in the three-day conference “PhotoHistory/PhotoFuture” sponsored and organized by RIT Press and The Wallace Center at the Rochester Institute of Technology gave new meaning to their claims for the medium: “there has never been more of it than there is today.” That might be stating the obvious, especially in 2018, but the new meaning part was my own takeaway and inspiration.

In present day Kodak city, the power of ideas relating to what made this place significant as an imaging industrial behemoth still exists, but has now gone in a new direction. With all due apologies, but the pun indeed appropriate, a snapshot of those ideas put forth by the conference attendees and speakers shows their passion for the medium’s minutiae both preserves and continues this essential democratic language. Those of memories past surely, but more and more the future in the form of ones and zeroes hurtling forward.

Although the “Big Yellow” of Rochester’s past is long gone, the ideas nourishing photography’s entire corpus continues apace, an alternate reality both present and future. For those curious enough, the RIT conference program along with a list of presenters can be found here, along with a few photos from the weekend courtesy of yours truly.  David Spencer- 

In 1926, Minnesota artist Cleora Clark Wheeler made the following observation in an article she wrote explaining her feat of photographing scores of fellow Kappa Kappa Gamma fraternity sisters by means of silhouette portraiture:

“anyone who saw the interested crowd getting their pictures on banquet night just before we all parted, will be sure it proved there is a way to have one’s picture taken without having one’s head turned.”

Using said dishpans in the title to this post, procured from a nearby hardware store outside Oakland, California, Cleora, or Cleo as she was known, went on to secure these pans used as reflectors for the photo shoot using her mother’s wooden tomato supports, placed in the trunk of her car before heading to the annual convention that year at Mills College from her St. Paul, MN home, a journey of 2000 miles.

So we will say it with our own flowers here: on the occasion of PhotoSeed posting a rare surviving folio volume of 23 of her delicate Japan-tissue photogravures of California landscapes taken and printed by Wheeler used as a sales catalogue, some further context into the life of this fascinating and talented woman is necessary in order to fill in the historical record.

To be clear, photography was just one of the many talents American artist Cleora Wheeler employed in her 98 years. Although never married, it might be said her significant partner through life was her beloved fraternity, Kappa Kappa Gamma, which she was initiated into at the Chi chapter at the University of Minnesota on October 9, 1899. Graduating in 1903, she went on to serve Kappa her entire life.

A designer and illuminator, as she would often describe herself while working out of the third floor studio of her longtime St. Paul family home, often in the act of creating unique bookplates and greeting cards, Cleora wore many professional hats.  Artist, poet, school teacher, women’s advocate, business manager, an expert in steel die stamping, photographer and tireless promoter of her fraternity both locally in Minnesota and around the country were but a few of her passions.

With the knowledge that “Miss Wheeler thinks of California as her second home” as noted in a follow-up article describing her hand-colored photographic work and bookplates on display in 1922 at the St. Paul Public Library, her love of place and record of spirit is evident in pictorial photographic work taken in the American West ca. 1914-1921: a reaffirmation of the cross-pollination taking place in the arts by unconventional practitioners.

The following timeline by year in the life of Cleora Wheeler is meant as a starting point for this remarkable artist.  It begins with her birth in Austin, Minnesota in 1882 and concludes with a 1980 obituary printed in her alumni magazine. Although long-winded in some cases, I’ve decided to include some of the expanded background articles written by and about Wheeler in The Key, the Kappa Kappa Gamma quarterly. In addition to photographic work by Wheeler held by this archive, a link to 45 bookplates held in the Helen Brainerd Lay Bookplate Collection at Mount Holyoke College in South Hadley, Massachusetts can be found here, and a general search link to the Wheeler family archive at the Minnesota Historical Society Library catalogue is here. (type in “Cleora Clark Wheeler”) Further suggestions for inclusion are welcomed. Please contact me through the blog or at admin@photoseed.com.

 David Spencer- February, 2018

Timeline: Cleora Clark Wheeler: 1882-1980

1882: Wheeler is born in Austin, Minnesota. Her father, Rush Benjamin Wheeler, (1844-1930) was an East coast transplant who graduated from Yale. He was a lawyer involved in banking and real estate. Her mother Harriet Sophia Clark Wheeler (1853-1938) was a graduate of the University of Minnesota. Her siblings were two brothers: Frost Montaine Wheeler: 1878-1963 & Ross Clark Wheeler: 1886-1901. The family lived in St. Paul.

1903: Graduates from The University of Minnesota with a Bachelor of Arts degree in English. She later went on to earn certificates of proficiency in engineering drafting and advanced engineering drafting from U. M.

  Moves to California and lives for a year: “Cleora Wheeler’s first work with the Young Women’s Christian Association was in California. Soon after her graduation from the University of Minnesota she was asked by Miss Louise Brooks of New York, national secretary of conventions and conferences, to be her assistant at the student conference at Capitola, Cal.” source: 1921 background on Wheeler in The Key.

“Miss Wheeler thinks of California as her second home, as she spent a year with Pi after graduating at Minnesota.” –The Key: 1926 (Pi chapter at the University of California, Berkeley)

1904: Named Grand Registrar for the Grand Council of Kappa Kappa Gamma, with offices at 301 Pioneer Press Building in St. Paul, MN. source: The Key, October.

1905: Wheeler’s love of nature,  a major theme that would soon emerge in her art, makes an initial greeting as Grand Registrar:

To all in Kappa Kappa Gamma, greetings! The wild thing of the woods has its call; the brook, playing with the bits of forest light and shadow, murmurs to itself; the wind, sighing through the trees, croons its melody and dies away; all nature is at peace, and sings. Song is the outpouring of a soul that cannot contain itself for very joy. Friendship is the life of that soul; a happiness too often unappreciated until perchance it is snatched away, only to leave a memory in its place. May we be worthy of this name of friend, appreciating more fully with each day the fortune that is ours. May we know a courtesy among ourselves that shall unconsciously touch each life we meet. May personal responsibility and devotion broaden into mutual helpfulness, and interest, and charity, until it meet and grace the world of kindly sympathy. (The Key: January: p. 298)

  Writes a poem in tribute to Anne Jones, a fellow Chi chapter member at the University of Minnesota, most likely a personal friend:

Jones. April 5, 1884-July 3, 1905. Initiated into Chi Chapter of Kappa Kappa Gamma October 16, 1902.

As breath of morning gently steals its way O’er sleeping valleys where the morning mist Half timidly awaits the smile of day, Gray mantled, ere the sun has kissed To gold the dim dew-crystaled haze, And gliding soft with footsteps all to fleet For ken of humankind, from out the maze Brings memories, intangible, replete With wonder-fancies, melodies akin To whisperings of heaven; thus she came, Her arms light laden with the green of springA radiance as summer showers win In afterglow, long held ere twilight claim A melody, low borne on evening wing.

 -Cleora Clark Wheeler.  (The Key: October: p. 534)

1906: Wheeler now living in Berkeley, CA, possibly for reasons of health, where she continue her duties as Grand Registrar:  Notices:

 “Record charts may be ordered by chapters or individuals at any time. One dollar, including postage; twenty-five cents in addition if backed with linen. Address care Corresponding Secretary of Pi chapter, Berkeley, California. Cleora Clark Wheeler.” (The Key: October: p. 262)

1907: Relinquishes her duties as Grand Registrar by January. In February, a confirmed report in The Key (p. 71) states health is the reason for her absence from MN:

“Cleora Wheeler, whom you all met at convention; is spending the winter in California. We miss her very much, but are glad to say that her health is greatly improved.”

1909: Takes up work again with the Young Women’s Christian Association, (YWCA) with a notice in the February issue of The Key that she is now the business secretary of the St. Paul Young Women’s Christian Association. (p. 72)

1910:  The first advertisement for Wheeler artwork appears in the October issue of The Key for what is believed to be her new book plate, although it’s described as a “plate book”. Showing her business savvy, earlier in August she had registered copyright in her own name for the design:

THE
Official Plate Book of the Fraternity
IN INDIVIDUAL PACKAGES
25 CENTS
Plan to Send Them at the Holidays
ORDER EARLY
Enclose Stamps or Money Order
1376 Summitt Ave. Cleora Wheeler St. Paul, Minn.

A notice in the December issue of The Key along with an accompanying photograph of the artist that Wheeler had indeed designed the official bookplate for her fraternity:

THE KAPPA BOOK-PLATE

There have been a number of inquiries as to the designer of the Kappa Kappa Gamma book-plate, which was adopted by the Grand Council at Convention Session as the official book-plate of the Fraternity. The plate was designed by Cleora Clark Wheeler, of Chi Chapter, who was Grand Registrar from 1904 to 1906. Miss Wheeler was particularly happy in her choice of the fraternity flower for decoration; for the fleur-de-lis with its long stem and heavy blossom lends itself with special effectiveness to composition. The Kappa bookplate should be an incentive to the growth of our chapter-house libraries; for the chapter name may be used in it, just as well as that of the individual owner.

(note: At the 1890 convention, the fraternity chose the fleur-de-lis “as the Kappa flower for its dignity and grace and because in it the two blues are combined.“)

1911: With the rough design of a new Kappa crest duly recorded in a 1910 committee report, the intent of the adoption of an official coat-of-arms for Kappa was soon becoming reality. (discussions began in 1905)  Because of this and given her proven design expertise on behalf of the fraternity, and with the aim of surely involving her in other design decisions regarding fraternity insignia, Wheeler is appointed by February as new Custodian of the Badge, an important oversight and secretarial role for the official fraternity Badge, a piece of jewelry in the shape of a golden key stamped with the Greek letters for Kappa and worn by chapter members. Wheeler’s role would have been to make sure changes to the key were permissible, and she held the position as Custodian through 1917.

In the October issue of The Key, two separate advertisements for Wheeler’s new book plate design featuring the fleur-de-lis iris appear. One, for correspondence cards, are stamped in gold and priced at 35 cents a dozen. Another is for her bookplate:

The KAPPA BOOK-PLATE
Several times the size
of this cut
In Individual Packages
of 25 Prints
Blue or black ink on English
gummed paper -25 cents
Black ink on Japanese handmade Vellum-50 cents
Tinted prints-50 cents a dozen
The design same size as the Book-Plate
adapted to Dinner Cards and Folders
Cards : Untinted, 30 cents a dozen
Tinted, 50 cents
Folders: Untinted, 50 cents a dozen
Tinted, 75 cents
Address: CLEORA WHEELER
1376 Summit Ave., St. Paul, Minn,
Enclose Stamps or Money Order

1912: Wheeler becomes artistically involved in creating metal dies for the new fraternity coat-of-arms (also referred to as the crest) after consulting with the British College of Arms.  Earlier in 1910, A National Committee for Kappa, with Margaret Brown Moore appointed Chairman, produced the new coat-of-arms. Brown designed it with advice and help from Joanna Strange, BZ-Iowa, head of the reference department of the Carnegie Library in Pittsburgh, as well as from J. F. Hopkins, the designer of the Sigma Nu coat of arms. Moore’s design was then put on paper in the form of a watercolor sketch by Philadelphia heraldry expert Mark J. Rowe: “Margaret urged the Fraternity to protect the design so that “the technically perfect coat-of-arms will not be lost to us.” She expressed a wish that there should be perfect dies for stamping in gold and silver as well as plates for printing on documents and reports. Cleora Wheeler, Minnesota, prepared such plates and dies. The College of Arms in England was consulted before Cleora cut her die in filigree and it was made after the others that were modeled in the regulation way. When these were done, Margaret Moore declared that perfect reproductions had been made.” (1.)

1912-13: Wheeler moves to New York City and attends classes at The School of Fine and Applied Art, (now Parsons School of Design) where she studied color harmony.  Two folders of notes, including those by Wheeler made during lectures given by Frank Alvah Parsons, are held by the school in the present day, as well as a set of her bookplates in the Kellen Design Archives. Sources: WorldCat and Minnesota 1900: Art and Life on the Upper Mississippi, 1890-1915: 1994, Newark: University of Delaware Press.

An article in the October issue of The Key for 1912 states Wheeler issues the limited edition book “Kappas I Have Known” in  250 copies:

A novelty in college scrap books was presented at Convention by Cleora Wheeler, Chi, in “Kappas I Have Known, ” which can be used not only in college, but as a life time fraternity record. The book is divided into sections, under the heads, “My Chapter,” ” National Officers”, and “Kappas From Other Chapters;” and further space is provided for songs and other miscellaneous entries. The book is bound with stubs, so that clippings and snapshots may be pasted in to illustrate the careers of the notable Kappas therein enrolled. And a particularly pretty Kappa touch is added by the Fleur-de-lis design on each page, and the blue and blue binding. (p. 257)

Further details are included about this book, illustrated by a photograph in the advertising section for the December issue of The Key:

Bound in two-tone blue cloth with gold stamping; page decorations and headings in gray-blue ink to harmonize. Sewed by hand. special attention being given to the reinforcement of the back by transverse tapes, and by stubs arranged to offset extra bulk of Kodak Prints and Clippings. In this way the book not only offers space for such additions, but also overcomes the possibility of having it stand open when only partially filled. Edition Limited to 250 copies. Price $1.50 net $1.65 by mail.

1914: This may have been the first year Wheeler undertook her series of Western U.S. photographs that would eventually appear in her 1922 St. Paul exhibit Atmospheric Studies, under the exhibition heading Out Where The West Begins : Colorado. Sometime in the Fall,  Wheeler travels to Boulder as part of fraternity business as noted in the December issue of The Key:

“We were very glad to have Miss Cleora Wheeler with us for luncheon, on her way home from a visit with Beta Mu at Boulder. We enjoyed hearing of the rushing season there, and also the interesting convention news from Miss Wheeler and the five Sigma girls who attended.”

1915: Wheeler’s photographic skills come into play as she visits the U.S. states of  Oklahoma, Kansas, Louisiana, Texas and Missouri while reporting on Kappa chapter houses for the article “Chapter Homes I Have Known“, accompanied by several halftones appearing in the December issue of The Key.  (pp. 317-21)

The magazine cover design for The Key changes with the addition of a new hand-drawn crest (coat-of-arms) designed by recent Xi chapter graduate Ruth Anthony beginning with the May issue. This cover design was used through mid 1927 when it was replaced by a simplified navy blue crest against a gray background.

1916: Wheeler expands her offering of Kappa designs in a full page advertisement for book plates, dinner cards, social stationary and other items appearing in the February issue of The Key.

1918: In May, Wheeler becomes Director for the newly formed St. Paul Vocational Bureau for Trained Women:

1015 Commerce Building, St. Paul
MISS CLEORA WHEELER, DIRECTOR

Backed by the Women’s College Clubs of the Twin Cities, a Bureau for Trained Women was opened in Minneapolis within the last six months. The original idea was to open a branch office in St. Paul, with Miss Cleora Wheeler of St. Paul in charge. It came to be realized, however, that the work in the two cities would be sufficient in importance and scope to warrant the opening of two independent bureaus, so on the morning of May 8 the St. Paul Vocational Bureau for Trained Women opened its office for business. It is conducted under the auspices of the St. Paul College Club, the Vocational Committee assuming the responsibility of its organization and management, while Miss Wheeler is in charge as director.

Miss Wheeler was for five years chairman of the Vocational section of the St. Paul Association of Collegiate Alumnae, and served on the Board of Directors of the Minneapolis bureau during its organization period and until joining their salaried staff as temporary assistant. She was their representative at the February convention of the Association for the Promotion of Industrial and Vocational Education in Philadelphia; and visited the Collegiate bureaus of Philadelphia, New York, Boston, Detroit and Chicago. She also visited the headquarters of Women’s Work in Washington that the St. Paul office might fully cooperate with them and with the government.

The St. Paul bureau is particularly fortunate in securing office accommodations with the Ramsey County Women’s War Organization, and it is fully expected that this arrangement will prove mutually beneficial.  (2.)

  First publicized notice of Christmas cards designed by Wheeler appear in the February issue of The Key. They are sold to raise money for French orphans impacted by WWI: “Epsilon made twenty dollars for the French children by selling the Christmas cards designed by Cleora Wheeler.” (p. 56)

1921: Accompanied by a reflective portrait of the artist, the December issue of The Key publishes a lengthy professional background story on her:

Cleora Wheeler’s first work with the Young Women’s Christian Association was in California. Soon after her graduation from the University of Minnesota she was asked by Miss Louise Brooks of New York, national secretary of conventions and conferences, to be her assistant at the student conference at Capitola, Cal. Soon after this she was elected business secretary of the St. Paul Association which was just organizing.

In a city association the business secretary banks the money, issues the membership cards, registers the gymnasium and educational classes, inspects rooming houses, acts as hostess, and audits the money if the association raises $250,000 in a whirlwind campaign for a new building. After helping in this way in her own city for two years, Miss Wheeler did county organization work under the state committee, assisting in the organizing of Mower County, Minn., the third county to be organized in the United States. It meant riding on freight trains to little towns throughout the county, arranging mass meetings and then lecture places for the state nurse, domestic science teacher, and sewing teacher who were sent down by the Agricultural Department of the university to give a ten-weeks’ course of lectures, the university collaborating in extension work with the association.

The next year under the National Board of the Young Women’s Christian Association Miss Wheeler was one of the two business managers of the student and city conferences at Lake Geneva. The national bookplate of the association used in all of the books at the National Training School, and in association libraries throughout the country is designed by Miss Wheeler. (p. 292)

1922: The May 20th issue of American Art News prints a notice of Wheeler’s exhibition Atmospheric Studies:

“A collection of more than eighty prints of western scenes by Miss Cleora Wheeler, St. Paul artist, have been on exhibition at the St. Paul Public Library. They show a wide range of color and subject matter, and were done on trips which extended from the eastern reaches of the Rockies through the mountains and as far south as the Mexican border of California.   -G.E.P.” (p. 7)

In June, the artist’s first known public exhibition of hand-colored pictorial photographs as well as a smaller series of original bookplates takes place from June 1-15 at the Saint Paul Public Library under the auspices of the Saint Paul Institute. A slim eight-page exhibition brochure is printed listing the following sub-headings for the 76 exhibited photographs:

Out Where The West Begins : Colorado; California: At Call-Of-The-Wild, California; Pacific Grove; California: The Seventeen-Mile Drive; Santa Barbara; Farther South; La Jolla; Old Town; San Diego; Minnesota:  Senator Kellog’s Garden, St. Paul & White Bear Lake. A separate section for 14 original bookplates is also listed, and the entire list with all titles can be found on this website at a link featuring the original framed exhibition print Evening.

Some of the work for the exhibit was for sale, and a price list was printed on the last page of the brochure:

PRICE LIST

The prints in this exhibition are not for sale.
Duplicates can be ordered as follows:

SEPIA PRINTS
Large size, mounted as shown………$10.00
Smaller size, mounted as shown……..7.50

COLORED PRINTS

No. 34 ……………………………….$12.50
No. 40 ……………………………….. 20.00
No. 43 …………………………………10.00
All others …………………………….7.50
These prices include frames.

MINIATURE PRINTS
Made by hand from copper plates.
See sample book at desk.
Prints on Japanese tissue ……$1.00
No.  50,  No. 60, No. 63, colored ink, with
envelope …………………………… .50
Folders tinted to order, with envelope $.40 and  .50
Same without tinting ………… .15
Card without tinting …………. .10

CHRISTMAS CARDS
See sample books at desk.
Folders with Christmas wording.
Per 100 ………………………………$35.00 to $50.00
These may be ordered for fall delivery.

BOOKPLATE PRICES
Design ………………………………$25.00 up

Metal plate and prints are extra, cost depend-
ing on material.  Allow six months for book-
plate orders.  Estimates given.

1376 Summit Avenue             Midway 0234

1924: In June, at the national Kappa convention held in Toronto, Canada at the Bigwin Inn, Wheeler makes 19 hand-cut silhouettes from black paper used as part of the Historical Pageant. The works were later reproduced in the October issue of The Key that year. (shown on pp. 250-253) Soon, Wheeler would take on the art of silhouette portraiture by means of photography. Additionally, a pictorial portrait of Kappa president May Whiting Westerman and Georgia Hayden Lloyd Jones, National Director of Provinces, appeared as a full page halftone in the issue and another pictorial photographic landscape: The White Birches of Bigwin, appeared on pages 248 and 255 respectively.

1925: Several California pictorial photographic works are published as halftones in the October issue of The Key with the following titles:

– Call-of-the-Wild, California

– San Juan Capistrano Mission-between Los Angeles and San Diego, California

Three further California images appear in the December issue of The Key promoting the national convention that would be held at Mills College outside Oakland, CA the following summer. The frontis photograph for the issue featured a view of a lone cypress tree that had become Wheeler’s signature California image known as “Near Monterey” taken along the Seventeen Mile Drive and was darkened and hand-colored with a star placed in the sky and re-titled “Evening“.

The article published on pages 415-17 of the issue is titled:

An Invitation To California

“The California chapters together with all Kappa alumnae in this western province unite in inviting every Kappa, young and old, to come to convention in California during the first week of August in 1926.” …The convention will be held at Mills College, in the suburbs of Oakland, across the bay from San Francisco.”

The two additional halftones are titled:

– At the Beginning of The Seventeen Mile Drive
 
– The Cloister Stairway, San Gabriel Mission

1925: Working out of her St. Paul home, Wheeler produced an unknown number of original artworks for the Buzza Company of Minneapolis in this year or before, with lithographed motto art being a specialty. (see example pulled from the web along with this post) Minnesota Historical Society author Moira F. Harris comments on the artist’s working methods:

Her studio was on the third floor of the family home at 1376 Summit Avenue. There she designed and engraved the plates for her cards and bookplates. Some cards she printed herself on a hand press, while others were printed on handmade paper by Brown & Bigelow and sold through the St. Paul Book & Stationery firm. (3.)

The Hennepin History Museum in Minneapolis, MN supplied this short overview of the Buzza Company as part of their 2016 exhibit “Greetings“:

A History of the Buzza Company

During its prime, the Minneapolis-based Buzza Company (1907-1942) was one of the nation’s largest manufacturers of greeting cards, framed mottos, gift books, and party stationery. GREETINGS tells the story of the company’s rise and fall, its larger-than-life founder, and the hundreds of artists, poets, printers, and others who produced, sold, and shipped many millions of items from the company’s Lake Street headquarters each year. (George Earl Buzza: 1883-1957)

1926: Interestingly, a review of Wheelers 1922 exhibit Atmospheric Studies is published nearly four years later in the February issue of The Key, with insight stating the artist had “tramped the California mountains” “for two successive summers” to produce the views. This may indicate the entire body of California work was taken ca. 1920-21, as it’s known she made a Santa Barbara landscape dated 1921. The issue features a commercial portrait of Wheeler to accompany the article. Four additional halftones of California landscapes are further reproduced in the issue.

California Photographs by Kappa Artist

THE California photographs by Cleora Wheeler which are appearing in these issues of THE KEY are reproductions of a part of an exhibit of seventy or more prints in colors which were recently hung in the art gallery of the beautiful public library of St. Paul, under the auspices of the St. Paul Institute. This constituted the only exhibition during the year which filled this large gallery with the work of one person. The pictures are being reproduced for the first time in THE KEY, and as they are part of a professional record they bear the name of the member who made them. Miss Wheeler thinks of California as her second home, as she spent a year with Pi after graduating at Minnesota. For two successive summers she has tramped the California mountains, and as a result has produced the pictures which you are now enjoying at the request of Mrs. Westermann, and of which Arthur L. Wilhelm, the art critic, wrote the following:

UNUSUAL QUALITIES ARE DISPLAYED IN WORK OF MISS
CLEORA WHEELER; SUBJECT MATTER SELECTED
WITH VIEW OF UNUSUAL

BY ARTHUR L. WILHELM

There is on exhibition at the St. Paul Public library this week a collection of colored California prints by Cleora Wheeler, St. Paul artist and etcher. The St. Paul Institute is sponsoring the exhibit. In the collection of more than eighty prints are many that have unusual qualities. All are atmospheric studies and are colored, many of them with fine Japanese dyes, giving a wide color range and depth. Miss Wheeler has grasped the fine essentials of design in many of her studies. Many simple little prints take on glowing beauty under the touch of her brush. The subject matter is carefully selected with a· view of the unusual. Here, in one print, one sees a fine flowing rhythm. Again one feels the structure of design carried out to a fine point. Again there is quality of the color that charms. Always there is something unusual to attract.

COLORADO-CALIFORNIA

Miss Wheeler has arranged the prints so that one follows her in her journey to the West, where the pictures were taken. First we see eight prints from Colorado, the first rampart range of the Rockies, a field of wild sunflowers with a great up-thrust of rock in the background, and others. Then we have what she terms the “Call of the Wild,” with a score of prints taken at random along the coast and in the big woods of the Sierras. There are many pictures that are romantic in feeling and others that have a rich poetic sentiment. The colors are soft and glowing or in the nocturnes are dimmed by the blue of night. There are ten prints taken at Pacific Grove which· include pictures of the woods and sea, pictures with the fog stealing in, and prints tinged with the sunset glow.

DRIVE PICTURES THE BEST

Perhaps the most charming group of the exhibition is that taken on the famous seventeen-mile drive at Monterey. Here the old cypresses are shown with all their varied forms. Also the rocks and the sea are most charmingly depicted. There are pictures of young eucalyptus groves with a bit of flaming sky showing through the foliage. One print, “The Old Witch,” is a portrait of a famous old tree which is known to the thousands of tourists who have made the trip. There is a group of prints from Santa Barbara and several from points farther South. The exhibition is enhanced by an oil painting, a landscape done by the mother of the artist, which has a fine feeling of harmony and color. The entire exhibition is both unusual and charming. (pp. 27-8)

1926:  July. Fifteen silhouettes, this time by means of photography, are taken by Wheeler of Kappa members taking part in the Historical Pageant held as part of the California annual convention at Mills College. In addition, she takes scores of additional silhouettes of those attending the convention itself on banquet day. The silhouette photos of the pageant members are published in the October issue of The Key.

November.  Calling Wheeler “a painter turned photographer“, partly referencing her motto work for the Buzza Company, an exhibition of her photographs-likely re-purposed from the 1922 Atmospheric Studies exhibition, are shown at Paul Elder & Company, a San Francisco bookseller & publisher. (1898-1968) The following notice for the show appeared in Bret Harte’s Overland Monthly and Out West Magazine that month:

A painter turned photographer will occupy the attention of the visitors at the Paul Elder Gallery October 25 to November 6.  Miss Cleora Clark Wheeler, of St. Paul, Minnesota, gained a reputation as a painter before she took up photography as her medium. As a result, her prints have a feeling of conscious design and a quality of painting. Those exhibited at Paul Elder’s will be some of her atmospheric studies of California scenes and a group of miniature prints from copper plates.

December. In The Key, the artist describes how she made the silhouettes that year:

Say It With Flowers . . . . Do It With Dishpans

CLEORA WHEELER

So Many persons have been interested to know how the silhouettes which I made in California last summer were done, that 1 am very glad to tell. It was with two huge electric lights of a thousand watts each, set into two deep dishpans. After the dishpans had been located at a hardware store, and the sockets soldered into place, they were nailed to the top of two of Mother’s two-by-four tomato supports which I took to convention in my trunk. They in turn were nailed at base of two wooden boxes which the janitor at Olney Hall found for me, and before the lights were put into the sockets Mr. Gibson the head electrician at Mills College made some special fuses of thirty amperes each, one of which was installed in the switchboard where the electric wiring from the room ended. Without these special fuses not only all the lights at that end of Olney Hall, but the big lamps themselves would have gone out as soon as lighted. He even provided some fuses of forty amperes each, to be kept on hand for emergency, in case the big lamps should suddenly stop.

A huge sheet was stretched across one end of the room, the two lights were focused on its center, from the front, and the person who was to have her silhouette, sat in the shadow between the lamps and the camera. The stool she sat upon was set upon a certain square, chalked upon the floor. The camera tripod stood on a triangle also chalked upon the floor as they had to be an exact number of inches apart. The camera was equipped with a special portrait lens which can be bought at any camera store for a dollar or two and added to the front of a camera lens. Regulation roll film was used which was very quick to operate. As a result the silhouettes were taken at the rate of two seconds each.

In order that there might be no reflection from walls, on the side of the person next the camera, black cloth was hung on one wall and an Oxford gown was hung over the looking glass on the other. Black oilcloth was fastened over the glass of the door leading into the hall, and over the transom above, so that no light from the hall lamps might enter. The girls lined up outside the door evenings, registered by number and the films were marked with the same numbers. · In that way each received her own negative and print in the end.

The developing solution was a special one, a formula which I brought with me. The photographer who prepared it for me on the coast had none of one of the ingredients. When it was located and added, it ate up the first roll of films, then when used one-tenth the strength, it blistered the second roll. After eight hours of experimenting in the darkroom I emerged with the mystery solved, and from that time on the negatives went through like magic. So far as I was able to find out, this was the first time the Oakland, Berkeley or San Francisco photographers had seen the experiment of silhouettes by this method, and they were interested. But they didn’t know what in the world to do when that first film was eaten up.

The silhouettes of Ruth Rochford (Mrs. George W. Schmitz of Berkeley) and her children were made by a reverse method, using the light back of the sheet, and directly back of the figure, the figure being the only thing to prevent its shining into the lens of the camera. The sheet was a piece of architect’s tracing paper, this time, wide enough and long enough to fasten over the entire area of an open doorway. Tracing paper (not tracing cloth) gives a more satisfactory light than a sheet. It is almost transparent and the light is suffused around the figure. Only one light could be used by this method, and as the amount was therefore cut in two, the length of exposure was necessarily to be doubled. It is impossible to expect a little child of two and a half years, as the youngest was here, to sit still more than one second, surely not four seconds. So a graflex camera was used as it has a very fast lens. The exposures were one second.

Frances Murphy of the Oklahoma chapter, whose silhouette appears at the top of the page, was the first delegate to brave the array of dishpans. Dozens followed her, and anyone who saw the interested crowd getting their pictures on banquet night just before we all parted, will be sure it proved there is a way to have one’s picture taken without having one’s head turned.

1932: A historian at heart, Wheeler writes the chapter on Kappa insignia and compiles extensive illustrations included in the weighty volume: The History of Kappa Kappa Gamma Fraternity, 1870-1930 published this year.

1930-1940’s: Advertisements for products bearing designs by Wheeler: book plates, stationary, etc, continue to appear with regularity in the back pages of the Kappa quarterly, The Key.

1952: The artist receives Kappa’s Alumnae Achievement Award, with the following notice appearring in the October issue of The Key:

Cleora Clark Wheeler, former grand registrar and custodian of the badge for the Fraternity, also prepared the text and illustrations on insignia which appears in the History of Kappa Kappa Gamma. Miss Wheeler is listed in Who’s Who in America and also in Who’s Who in American Art. She has recently served as national chairman of design for the National League of American Pen Women and holds certificates of proficiency in engineering drafting and advanced engineering drafting from the University of Minnesota. As a designer and illuminator of books and other publications, Miss Wheeler has gained national recognition. Her bookplate designs are represented in many collections. Of her work Miss Wheeler says: “The public seems to be especially interested in the fact that I learned’ the trade of steel-die stamping. It is a highly specialized field in the factories of wholesale stationery companies. It usually takes a girl nine years, stamping 1000 impressions a day by hand, to become an expert.” (p. 244)

1967: The following article published in the Mid-Winter issue of The Key gives a good overview of Cleora Wheeler’s accomplishments later in life:

CLEORA WHEELER, X-Minnesota, is one of America’s most distinguished artists in the rare field of illumination and etching. Forty three of her exquisitely fine drawings prepared as steel engravings, copper intaglio plates, and etchings on zinc and copper are on file in the Library of Congress, and in 28 university, historical and city libraries. She is listed in Who’s Who of American Women, Who’s Who in America, Who’s Who in American Art, and Who’s Who in the MidWest.

She has long made book plates, plaques, dedicatory scrolls, and coats-of-arms for New York firms, on special order for customers so discriminating they realize the surpassing quality of her workmanship. She is an honored member of the National League of American Pen Women, serving as national chairman of design (1944-46), of Heraldic Art (1954-56), and of Inscriptions, Illumination and Heraldic Art (1964-66). The work of the print maker is a dedicated one, and Miss Wheeler has experimented with the quiet and esoteric medium (as did Durer and Rembrandt) until her form of expression is close to perfection. In 1960 she went to Santa Barbara to extract the secrets of an early artist named Monsen, who washed glass slides with purple color, using other colors on top, to bring out rich values of greens in mountain landscapes. Miss Wheeler does many fraternity designs, seals, book covers, and Christmas cards. Her work requires space, and the entire third floor of her home is her shop, with the basement used for storing supplies.

1950-1977: A single advertisement for products bearing designs by Wheeler: letter stationary, place cards and matching envelopes among other things, illustrated with a small photographic halftone of the artist working at an embossing machine inside her St. Paul home studio, continue to appear with regularity in the back pages of the Kappa quarterly, The Key.

1980: Wheeler dies. Her obituary appears in the Spring issue of The Key:

Cleora Wheeler Dies

Kappa records with sorrow the death of Cleora Clark Wheeler, Minnesota, at age 97. She died of pneumonia February 24, 1980. Her BA in engineering and engraving was from Minnesota and she studied color harmony at New York School of Fine and Applied Art now Parsons School of Art) and is listed in Who’s Who of American Women. She began her career as a designer of Christmas cards and illuminator of books and publications. Her bookplates are on file in Paris, the Library of Congress and in 30 other libraries. They were exhibited at the Smithsonian Institution from 1946-1964 and at the International Ex Libris Association of Congress, Elsinore, Denmark, in 1972. Miss Wheeler received numerous awards for her work and served as president, chairwoman and judge of several national art associations. She was a member of the National Society of Magna Charta Dames, a past president of the Minnesota branch of the National League of American Pen Women, a member of the International Bookplate Association, held various offices in the Daughters of the American Revolution and was a life member of the American Association of University Women. Born July 8, 1882, Cleora Wheeler was initiated October 9, 1899 and served Kappa her entire life. She was an active delegate to the 1902 convention and an alumnae delegate to the 1908 convention. She was Grand Registrar of the Fraternity 1904-1906 and Custodian of the Badge 1911-1918. She received Kappa’s Achievement Award in 1952 and was the recipient of her 75 year pin.

Addendum: Wheeler family History

Described as “one of the best preserved upper-class Victorian promenade boulevards in America“, the homes along Summit Avenue in St. Paul, Minnesota- including one owned by Cleora Clark Wheeler at 1376 Summit Ave. where she maintained her studio for decades, were individually described for their architectural significance as part of the 2003 online posting: Thursday Night Hikes: Western Summit Avenue Hike Architecture Notes, Part 2.

Significant biographical background for Clark, her mother, father and extended family are included with the summary. It was compiled from public sources as well as from the University of Minnesota, Northwest Architectural Archives by historian Lawrence A. Martin. The following is his summary. I have only confirmed and filled in several birth and death dates for Cleora’s mother and father that were missing and added a few paragraph breaks for purposes of style:

1376 Summit Avenue: Rush B. Wheeler House; Built in 1909 (Ramsey County property tax records and Sandeen; 1909-1910 according to Larson;) Early Modern Rectilinear in style; Clarence H. Johnston, Sr., architect.

The structure is a two story, 2496 square foot, eight room, five bedroom, two bathroom, one half-bathroom, stucco house, with a detached garage. The house was constructed at a cost of $5,500 (Sandeen; $6,000 according to Larson.) In 1916, Rush B. Wheeler was a member of the Minnesota Historical Society and resided at this address. The 1918 and 1924 city directories indicate that Mr. and Mrs. R. B. Wheeler and their daughter resided at this address. The 1930 city directory indicates that Mrs. Harriet S. Wheeler, the widow of Rush B. Wheeler, resided at this address. In 1934, Harriet Clark Wheeler, the widow of Rush Wheeler, and Cleora Clark Wheeler resided at this address.

Rush B. Wheeler (1844-1930,) the son of Orange H. Wheeler and Eve Tucker Wheeler, was born in South Butler, Wayne County, New York, graduated from the Cazenovia Seminary in New York in 1867, was a graduate of Yale University in 1871, moved to Minnesota in 1873, resided in Austin, Minnesota, from 1873 until 1888, read the law in 1876, was a member of the board of directors of the First National Bank of Austin, Minnesota, from 1880 until 1883, moved to St. Paul in 1883, practiced law, was engaged in real estate and loans, was a member of the St. Paul Chamber of Commerce from 1885 until 1900, was president of the Real Estate Exchange of St. Paul from 1894 until 1896, resided at 520 Summit Avenue in 1907, and officed at the Pioneer Press Building in 1907.

Rush Wheeler married Harriet S. L. Clark in 1876. Harriet Clark Wheeler was a graduate of the University of Minnesota. Harriet Clark Wheeler and Cleora Clark Wheeler were members of the American Association of University Women and the Women’s City Club of St. Paul.

Cleora Clark Wheeler (1882-1980) was born in Austin, Minnesota, graduated with honors from St. Paul Central High School and from the University of Minnesota, received art training at the New York School of Fine and Applied Art/Parsons School of Art, opened a studio at this address, was a renowned artist, a designer, and an illuminator of books and other publications who received certificates of proficiency in advanced engineering drafting from the University of Minnesota, was a well-known bookplate and Christmas card designer, was also an architectural photographer and poet, was a wedding invitation designer, and was an expert in steel-die stamping with widespread recognition.

Cleora Clark Wheeler received an Alumnae Achievement Award from the Kappa Kappa Gamma Fraternity in 1952, after she served as the Fraternity’s Grand Registrar from 1904 to 1906 and as its representative to National Panhellenic Conference from 1905 to 1906, after she prepared a Song Leaflet and Manual of Information for distribution at the 1914 Estes Park Convention, after she attended the Fourth Inter-Sorority Conference in Chicago, where she was instrumental in bringing about the decision that the fraternities had the power of vote on recommendations only, not the power to legislate and hold their entire membership to rules passed by single representatives, after she served for seven years as the Fraternity’s Custodian of the Badge, after she prepared the text and illustrations on insignia which appeared in the 1930 History of Kappa Kappa Gamma, and after she created an official bookplate of the Fraternity.

Cleora Clark Wheeler was a member of the National Society Magna Charta Dames and Barons, whose membership is based upon the existence of a direct lineal descent from one or more of the twenty-five Sureties for the Magna Charta or from a Baron, Prelate, Knight, or other influential person present on the field of Runnemede, England, in June, 1215, was a judge for national achievement awards and was National Chairman of Heraldic Art of the National League of American Pen Women, and was state curator of the Nathan Hale chapter of the Minnesota Daughters of the American Revolution.

Cleora Wheeler also was a substitute teacher in the St. Paul Public Schools. Cleora Wheeler had an exhibition of her bookplate work, entitled “Atmospheric studies,” at the St. Paul Public Library in 1922, under the auspices of the Saint Paul Institute. Cleora Clark Wheeler was a niece of Charles A. Clark (1865-1929,) who was a Spanish-American War veteran and was a resident of the Far East. Clark airfield in Honolulu, Hawaii, was named for Clark’s son, Harold Melville Clark (1890-1919,) who died in a airplane crash. Rush B. Wheeler (1844 -1930) and Harriet S. Wheeler (1853-1938) both died in Ramsey County. Cleora Clark Wheeler (1882-1980) was born in Minnesota, had a mother with a maiden name of Clark, and died in Ramsey County. (current owner information as of 2003 was also included but has been left out here)  (4.)

Notes:

1. “All About the Fraternity Coat-of-Arms“, Excerpt from January 2006 Historically Speaking, by Kay Smith Larson, Washington, History Chairman 2002-2006, excerpted in This is Kappa blog: accessed January, 2018.
2. The Journal of the Association of Collegiate Alumnae: Ithaca, NY:  June, 1918: pp. 704-05
3. Citation #19: St. Paul Pioneer Press, Jan. 2, 1967, p. 13; Crump, Minnesota Prints, 173. Moira F. Harris: Season’s Greetings from Minnesota: Minnesota Historical Society magazine Winter 2011-12
4. Excerpt: Thursday Night Hikes: Western Summit Avenue Hike Architecture Notes, Part 2: Observations on Architectural Styles: Western Summit Avenue Hike Assembled by Lawrence A. Martin. Webpage Creation: October 20, 2003.

When I remarried a dozen years ago, an obscure bit of farce entered the equation leading up to the “I do” moment. The fateful convolution? My beloved hailed from Newark, OH: the same Midwestern US city where pioneering art photographer Clarence Hudson White (1871-1925) had spent his formative years before leaving permanently along with his family to New York City in 1906.

But this aside is merely an excuse for the real purpose of this post: today is the official public opening of an exciting and ground breaking new exhibit on Clarence White at the Princeton University Art Museum in Princeton, New Jersey. Clarence H. White and His World: The Art and Craft of Photography, 1895-1925 will be on display there from October 7, 2017 to January 7, 2018. But don’t despair if you can’t make it right away, because the show travels to an additional three US museums through early 2019. Venue details along with additional links including one for the first comprehensive monograph on White published in conjunction with the show and authored by Anne McCauley, David Hunter McAlpin Professor of the History of Photography and Modern Art at Princeton University, concludes this post.

Several years before, I had taken a deep-dive into the remarkable life of White, whose arc resonated with me on many levels, especially his love for breaking the rules as applied to photographic lighting. To wit: what do you mean I can’t photograph my subject backlit? A simple optical concept today perhaps but in the late 1890’s? Revolutionary. I kid you not.

In groundbreaking photographs by White such as his brooding landscape figure study At the Edge of the Woods Evening (1900), a remarkable twilight composition showing his sister-in-law Letitia Felix emerging from a thicket with just a hint of light on the horizon became just one example of his early output. White’s decidedly masterful reinterpretation of the possibilities of light and the photographic medium done with artistic intent was quickly getting accolades in the press, and his work was soon honored in salons the world over beginning at the end of the 19th century.

Not bad for a man with limited means and a high school education. Employed as a bookkeeper in 1890’s Newark nearly seven days a week for the same wholesale grocery firm his father worked at, (the family had moved there in 1887 from nearby West Carlisle, OH), White first took up amateur photography a year after his 1893 marriage to Jane Felix, with the young photographer diligently saving weekly spare change from his salary for camera and darkroom supplies. Reportedly, his reality of only being able to afford the exposure of several glass plates a week necessitated lots of planning in order to make successful photographs. With outdoor locations previously scouted throughout Licking County and interiors often taken in the darkened homes of family and friends, these same subjects were further cajoled into wearing fashions from the American Civil-War era or earlier in order to evoke feelings of times gone by for the compositions.

A founding member of the American Photo-Secession movement begun in 1902 by Alfred Stieglitz, White’s transition from Newark to New York City in 1906 began a new chapter of teaching by the photographer, who soon made the acquaintance of artist and arts educator Arthur Wesley Dow, (1857-1922) who hired White as an instructor at Columbia University’s Teachers College in 1907. White would go on to found his own groundbreaking schools of artistic photography utilizing a modern pedagogy learned from Dow among others: first in Maine beginning in 1910 and then in New York City in 1914. Besides emphasizing pictorial photographic technique as well as numerous technical processes as part of the school curriculum, modern composition as espoused by Dow was taught along with art history through lecture format in classes by artists including early American cubist painter Max Weber (1881-1961) and later by artists including Charles James Martin (1886-1955) in the early 1920’s.

At 54, Clarence White died of a heart attack while accompanying photo students during a summer session of his school in Mexico City in 1925. Besides his important contributions as a ground-breaking photographic artist in the late 19th and early 20th century, his legacy as a teacher is perhaps more important as we finally begin to reevaluate his importance in the larger history of early artistic photography. The Princeton exhibition and accompanying monograph-the first truly comprehensive volume on White ever published, will further our understanding and appreciation for this gentleman.

PhotoSeed is honored to have played a small role in the exhibition showcasing Clarence White’s talents at photographic book illustration. A slim volume loaned for the show, Songs of All Seasons, published in 1904 with prose by his uncle Ira Billman and photographs by White, will be included in an exhibit display case.  An additional rare illustrated copy of Irving Bacheller’s best-selling novel Eben Holden from 1903, with photogravure plates by White, will also appear after it was acquired by Princeton from this archive. This site further intends to publish additional posts over the next several years chronicling White’s groundbreaking schools of photography as well as other aspects of his early and later life in Newark, OH and New York.

EXHIBITION SCHEDULE: Clarence H. White and His World: The Art and Craft of Photography, 1895-1925

Princeton University Art Museum         (10/07/17–01/07/18)

Further link to the exhibit at Princeton

Video:  Breaking down photographic processes used by Pictorialist photographers: a collaboration between the Princeton University Art Museum and the Yale Institute for the Preservation of Cultural Heritage.

Davis Museum, Wellesley College                   (02/13/18–06/10/18)
Portland Museum of Art, Maine                      (06/22/18–09/16/18)
Cleveland Museum of Art                                    (10/21/18–01/21/19)

Book link:
October 31, 2017    408 pages, 10 x 11 1/2346 color + b/w illus.   ISBN: 9780300229080  Hardcover
Distributed for the Princeton University Art Museum

All the world’s a stage, And all the men and women merely players: They have their exits and their entrances; And one man in his time plays many parts, His acts being seven ages.

-From As You Like It, Act II. Scene VII, Jaques’s speech

In life, Birthdays typically get all the attention. At least while your friends are around. Not so much death. But for certain souls long departed this mortal coil, it’s just as important. This is especially true for English playwright and poet William Shakespeare, whose passing on April 23, 1616 at 52 years of age- or 400 years ago today- seems like a perfectly good excuse to throw a party as well. Cincinnati portrait photographer James M. Landy (1838-1897) would have readily agreed, and he used the excuse of another anniversary-America’s first Centennial held in 1876 in Philadelphia- to showcase his new series of “character photographs” illustrating the Bard’s Seven Ages of Man from his play As You Like It . (1.)

Come along on a short photographic journey exploring these ages of the male species, according to Shakespeare. Have they changed with the passage of time?

1. James Landy: from: Artists in Ohio, 1787-1900: A Biographical Dictionary, Mary Sayre Haverstock et al: Kent State University Press, 2000: p. 506