The Photo-Club de Paris was created by members who seceded from the Société de Francaise de Photographie and it included influential photographers including Robert Demachy and Constant Puyo.
In 1894 they hosted one of the most lavish and international of the artistic photographic salons of the late nineteenth century. Precedents to this had been set by the 1888 Vienna salon, followed by the Vienna salons of 1891 and 1892 and the first London (Linked Ring) salon held in 1893. Each of these broke away from the older established photographic societies that were inclusive but frequently interested in technical rather than artistic achievement.
Entry rules for the salon exposition stated that “only work, which, beyond excellent technique, presents real artistic character will be accepted.” It was seen as important by the founders of the salons that photography was accepted within the broader community of the arts and the composition of the jury reflects this goal.
In 1894 they hosted one of the most lavish and international of the artistic photographic salons of the late nineteenth century. Precedents to this had been set by the 1888 Vienna salon, followed by the Vienna salons of 1891 and 1892 and the first London (Linked Ring) salon held in 1893. Each of these broke away from the older established photographic societies that were inclusive but frequently interested in technical rather than artistic achievement.
Entry rules for the salon exposition stated that “only work, which, beyond excellent technique, presents real artistic character will be accepted.” It was seen as important by the founders of the salons that photography was accepted within the broader community of the arts and the composition of the jury reflects this goal.
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| Photographer: John Bergheim; Title: Gazaleh |
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| Photographer: Bernard Lintott; Title: Marée montante |
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| Photographer: A.G. Tagliaferro; Title: Le Doigt coupé |
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| Photographer: Rudolph Eickemeyer Jr.; Title: En descendant les marches |
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| Photographer: Rene Le Bègue; Title: Une Muse |
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| Photographer: Constant Puyo; Title: La Tapisserie |
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| Photographer: William Anckorn; Title: Réve d'Enfant |
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| Photographer: William Crooke; Title: Portrait de M. le Professeur Blakie |
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| Photographer: Frederick Boissonnas; Title: Les Troglodytes |
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| Photographer: Clarence Moore; Title: Le Récit d'un Ancien |
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| Photographer: Emilie Clarkson; Title: Miroir de l'Eau |
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| Photographer: Robert Demachy; Title: Etude de Femme (buste) |
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| Photographer: Maurice Bremard; Title: Crépuscule |
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| Photographer: Michel Kotchoubey; Title: Bords du Soupoï |
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| Photographer: Georges Balagny; Title: Coucher de Soleil |
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| Photographer: Lewis Cohen; Title: Un Bivouac |
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| Photographer: Georges Berteaux; Title: « Pelotons, demi à gauche!… Halte! » |
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| Photographer: Albert-Edouard Drains; Title: Étude de Femme |
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| Photographer: Benjamin Gay Wilkinson; Title: Le Retour du Troupeau |
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| Photographer: Maurice Bucquet; Title: Étude |
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| Photographer: Dr. Hugo Henneberg; Title: En Été |
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| Photographer: Ralph Winwood Robinson; Title: Brouillard sur la Tamise |
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| Photographer: Antoine Ruffo, Prince della Scaletta; Title: Un Bravo de Venise |
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| Photographer: Comte d'Assche; Title: La Prière |
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| Photographer: Georges Robard; Title: Départ matinal de Régates |
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| Photographer: W. Dawes; Title: En route pour le Marché |
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| Photographer: Arthur R. Dresser; Title: Nettoyage |
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| Photographer: Henry Peach Robinson; Title: Temps orageux |
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