Alfred Stieglitz - Camera work - A Pictorial guide with 559 reproductions (Photography Art Ebook).pdf

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DOVER PHOTOGRAPHY COLLECTIONS the Thirties, Berenice Abbott. (22967-X) $6.50 Photographic Views of Sherman's Campaign, George N. Barnard.

New York

in

(23445-2) $6.00

Old New York

in

Early Photographs, 1853-1901, Mary Black.

(22907-6) $8.95

Old China

in

Historic Photographs, Ernst Boerschmann. (24282-X)

$12.95 Bubley. Esther Bubley's World of Children in Photographs, Esther (24168-8) $6.00 Great Composers in Historic Photographs, James Camner (ed.).

(24132-7) $7.95

Great Conductors

in

Historic Photographs, James

Camner

(ed.).

(24397-4) $6.95

Cruickshank's Photographs of Birds of America, Allan D. Cruickshank. (23497-5) $7.95

Photo-Secession, Robert Doty. (23588-2) $5.95 Great News Photos and the Stories Behind Them, John Faber. (23667-6) $6.00

San Francisco in the 1850s, G.R. Fardon. (23459-2) $3.00 Anatomy of Nature, Andreas Feininger. (23840-7) $7.95 Feininger's Chicago, 1941, Andreas Feininger. (23991-8) $5.00 Industrial America, 1940-1960, Andreas Feininger. (24198-X) $9.95

Nature Close Up, Andreas

Feininger. (24102-5) $9.95

New York in the Forties, Andreas Feininger. (23585-8) New York Nocturnes, Peter Fink. (24299-4) $5.95

$6.95

Photographic Sketchbook of the Civil War, Alexander Gardner. (22731-6) $6.95

Lewis Carroll, Photographer, Helmut Gemsheim. (22327-2) $4.50 Men at Work, Lewis W. Hine. (23475-4) $4.00 at Work, Lewis H. Hine. (24154-8) $6.00 Nineteenth-Century South America in Photographs, H.L. HofTenberg.

Women

(24133-5) $10.95

The Building of the Panama Canal

in

Historic Photographs, Ulrich

Keller. (24408-3) $8.95

New York

City:

A

Photographic Portrait, Victor Laredo. (22852-5)

$5.95

the Sixties; Photographs by Klaus Lehnartz, Klaus Lehnartz. (23674-9) $6.00 Old Philadelphia in Early Photographs, 1839-1914, Robert F. Looney

New York

(ed.).

in

(23345-6) $8.95

Mr. Lincoln's Camera Man, Mathew

B.

Brady, Roy Meredith.

(23021-X) $11.95 Celebrity Portraits of the Twenties and Thirties, Nickolas Muray. (23578-5) $6.00 Animals in Motion, Eadweard Muybridge. (20203-8) Clothbound $19.95 (continued on back flap)

Mr. Alfred

Stieglitz,

by Frank Eugene.

Camera Work A PICTORIAL GUIDE With Reproductions of All 559

and

Plates, Fully

Illustrations

Indexed

ALFRED STIEGLITZ Edited by Marianne Fulton Margolis

DOVER PUBLICATIONS, INC, NEW YORK and The at

International

Museum

of Photography

George Eastman House, Rochester

ACKNOWLEDGMENTS

I

wish to thank the following people

Museum

provided the

at the International

of Photography: Robert Doherty, Director,

Andrew

initial

impetus for

Eskind, Assistant Director, and Robert Sobieszek, Associate

worked with Mr. Vance on

Van Ness, Susan Stromei, Deborah K. Barsel and Jeff Wolin for their assistance; Christina Clarke and, in particular, James C. A. Kaufmann for patience and good humor in dealing with me and the

izing a manuscript.

Curator, for their support; Gretchen

computer; and

W.

I

especially

puterization of the work.

For generous and valuable advice,

want

scholar, poet, writer, critic. Dr.

which of I

his talents to

©

am most

grateful to

my

com-

1978 by Dover Publications,

Inc.

All rights reserved under Pan American and International Copyright Conventions.

Published in Canada by General Publishing Company, Ltd., 30 Lesmill Road,

Don

Mills, Toronto, Ontario.

Published in the United Ltd., 10

Orange

Street,

"Camera Work":

A

by Dover Publications,

Kingdom by Constable and Company,

WC2H

London Pictorial Inc., in

International Standard

Guide

7EG. is

new work,

a

first

Book Number: 0-486-235^1-2 Number: 77-85410

in the

United States of America

Dover Publications,

Inc.

180 Varick Street

New

published

1978.

Library of Congress Catalog Card

Manufactured

Dorothy

I

wish

to

thank Clarence

Deba

P.

Patnaik always

knew

apply in times of need.

his graduate class

Copyright

assistance of

husband, Richard Margolis, with-

out whose knowledge of photography and unceasing confidence in me this work could not have been completed.

Computer Network,

Alan Klotz and

and

Strowbridge and Thomas Baker of Dover Publications. Also,

help and encouragement.

David Vance, President of the Museum

the special problems of computer-

also appreciate the cooperation

I

to thank Martha E. Jenks, Director of the Archives, for her

selected the appropriate data classification for use in the

Thaddeus Bukow-

Norman and Jonathan Green.

Paul Rayner, co-editor of Image, and Jose

Orraca, former Conservator, for their advice.

this project.

designed the original information forms and John Prater

ski

York, N.Y. 10014

CONTENTS

PAGE

Introduction

Bibliography

Note on the Contents and Glossary of Terms

Chronological Picture Index

vii

xiii

xv

1

Index of Artists

141

Index of Titles

147

Index of Sitters

155

INTRODUCTION

In the

numbers of Camera Work, published

fifty

tween the years 190^ and finest

era

chronicled the introduction of

America

art into

show,

modern

modern EuroArmory

art

which

it

have

medium

of artistic expression.

number

editorial staff stated in issue

elucidation of which

photography "to return

to

true duty,

its

be the servant of the sciences and

humble

nor

supplemented

—but

arts

which

servant, like printing or shorthand,

created

neither

it

literature."*

Baudelaire feared that by imitating the extreme accuracy

acted as a catalyst in the fight to have photog-

raphy accepted as a

for to

is

the very

and criticism of new

for the discussion

the

it is not;''

was time

by reprinting reviews from the newspapers. In

forum

in

In an article written in 1859, Baudelaire declared that

three years before the

recorded public and journalistic reaction to this

addition, as a

work,

what

published plates of Rodin's and Matisse's draw-

it

ings. It

—

Art,

photography can give valuable help, simply by showing

Cam-

art.

mystery called

that

be-

some of the

examples of photography and modernist

Work

pean

1917, there appeared

of photography, art would

The

creative imagination

fall

away from

and concern

its

reliance

on

only with super-

itself

i

ficial reality.

But

The time appearing ripe for the publication of an independent

American

magazine

photographic

largely to the interests of pictorial photography,

Work" makes

its

devoted

its

"Camera

control

appearance as the logical outcome of

the evolution of the photographic

pictorial

evolution of photographic

art,

one primary

question had always been whether a machine could indeed

produce a work of

art.

and while most people rival the

Various views were expounded, felt that

its

and places and the freedom

it

new

subject

its

Their

ability to preserve

gave painting

first

"High Art" photography of the

with depicting scenes from literature, as Price's

St.

tions,

people

(

Don

to explore

in

William

his Study, the Bible, in

John the Baptist by O. G. Rejlander, and

Ways

Head

allegory,

of Life. In these produc-

models were dressed or undressed

in

accordance

themselves to the illusion. Decisions about placing, drap-

1S09-1893) wrote that photog-

as impartially as, to

Quixote in

with the theme, with props and backgrounds also lending

taken.

raphy's legitimate business was "to give evidence of facts,

and

1850s concerned

Lake

ing and focusing

Lady Elizabeth Eastlake

matter and mechanical short-

consideration was the choice of subject

such as Rejlander 's Tivo

areas.

as minutely

over

itself

of

photography could not

combination of creativity and hand work found

in painting, they appreciated

break away from

raphers hoped to show that they were part of the art tradi-

matter. this

to

comings. Thus, through obvious manipulation, photog-

art.'

tion.

During

photography sought

designation as a mindless purveyor of facts and achieve

all

were made before the picture was

After the negative was developed, the photog-

rapher could retouch the negative to add or delete

our shame, only an

details,

and could even combine negatives or paste-up prints and

unreasoning machine can give."" She stated the crux of

rephotograph them to form a new image.

the argument against photography as a fine art in 1857:

Henry Peach Robinson

(1830- 1901)

argued that to

"admit that photographers had no control over their sub-

The power

of selection and rejection, the living applicajects

tion of the language

the marriage of his

which

lies

dead in his paint-box,

own mind with

tures, half

with those of Nature, which

—whatever appertains opposed machine, — and much more

union

telligent

is

own

this,

as

to

the

born of the

this,

printing.

This technique of printing several negatives by means of

masks

to

produce one unified print allowed the photog-

rapher to arrange and select only those portions which

obedience of the

than

deny that the works of one photographer

method he proposed and taught was combination

fea-

to the free-will of the in-

being,

to

were better than another, which would be untrue."^ The

the object before

him, and the offspring, half stamped with his

would be

added

constitutes

vtt

to the overall effect.

By "building" an image

in the

vm

darkroom not only could a photographer compensate

for

and along with the

The photographer was

the film's inability to record true tones for both sky and

oped.

land

as well as the

simultaneously,

but he

could construct idealized

scenes by, for instance, introducing posed studio models into a pastoral background. Natural detail

was of major

importance; Robinson stressed the use of "proper focus" for each portion of the

now had new tools that prints, many pictorialists who

even though photographers vided sharp, vibrant

interesting to the scientist, but of

The photographer was

instructed to learn the laws

which

Morgan

focus, "impressionistic" images. Llewellen

principles of composition used in academic painting.

in

profelt

they were following Emerson's advice produced out-of-

Amateur Photographer reported

effect

from the studio

finally freed

posed subject and painted backdrop. But

photography with the

pictorial

same

composite picture, and taught that

was achieved

hand cameras were devel-

faster film

For

pictorialists,

all

in

The

that "little details are

no value

to the artist."^"

the primary interest lay in artistic

governed the arrangement of the picture so that he would

expression of a non-documentary nature. In other words,

be capable of producing "an agreeable presentation of

the pictorialist used the photographic subject as a

forms and tones, to

to

and

embody

to

tell

the story which

the spirit of

what

it is

is

to be elucidated,

intended the picture

shall represent or suggest.""

an end: to achieve a satisfactory

he might em-

result,

phasize a certain feature of the composition to alter

To sum up

the situation

when Camera Work appeared

sionately rebuked any kind of constructed picture, in part

on the scene, "pictorialism" was synonymous with

because the separate portions of the picture printed with

tic"

separate negatives failed to allow for a center of interest.

today,

Having everything

art

of the subject:

tended to diffuse the power

in focus

"This "sharp' ideal

is

the childish view

taken of nature by the uneducated in art matters and they call their

productions true, whereas, they are just about as

artistically false as

was not

that this natural.

subject

He

but he also

art,

believed that

was

were thus

clear,

Not only

can be."'

did

when one looked

and that other sections

less defined.*

He

Emerson

known

as

In the early stages of photography man's interest was

captured by the camera's ability to record the

artist's

the

fact,

aim

is

to

make

it

facts;

of false sentiment, and

it).

advocated a dramatic in

and to express in the print his personal

feeling.^'

Some groups

of pictorial workers formed large camera

for these tendencies,

their

work. Sometimes darkrooms were pro-

vided on the premises, lecmres given on various processes

and

theories,

and small journals published showing the

club's activities.

And, of course,

for these

amateur photog-

themselves in morasses

raphers social functions were an important part of the

swamps

of elaborate theatrical

appeal.

ability to see

and choose a beautiful

subject, deplored the manipulation of the negative.

wanted the photograph

and share

lost

Emerson, however, whose theory of composi-

to

He

be true to the way he sup-

saw. His approach

was based on the

scientific

Hermann von Helmholtz's Physiological to make painterly photographs.

and not on a desire

Late Victorian photographers such as Emerson had the

Over the years the

largest of these groups dedicated to

the advancement of photography became

standards of achievement. Perhaps

becoming more democratic:

it

shows were loosened, allowing

committed sion

to

became

wet.

The

photography

as a

means of personal expres-

The

first

and began

to break

important exhibit sponsored by a new group i8gi sponsored

increased sensitivity of both paper and negatives brought

was the Viennese Photographic Salon of

new

by the Vienna Camera Club, which included in

aesthetic possibilities, such as a wider tonal range,

their

increasingly disgruntled with the large, con-

away.

still

in

of work to be shown. Those photographers genuinely

the photographer to develop negatives at his convenience

was

lax

a question of

for a greater cross section

servative photographic establishments

rather than only while the emulsion

was

rules regarding admission to

advantage of commercially made dry plates; these enabled

Introduction

today,

record his impressions of

soft

R. Child Bayley later con-

life.

claiming that "able workers

Optics,

could not be aesthetic.

organizations provided a place for photographers to meet

He

demned mid-Victorian photography

discoveries of

or reporting

was an inherent quality of photog-

a rather artificial look at

man

method of recording

which did not imitate painting, and consequently

facts

away and

approach to the staging of a photograph which resulted

posed

the distinctions between documentary and

clubs which sponsored photographic exhibitions. These

overdoing

raphy and should be preserved.

was based on the

"artis-

and unlike

Robinson had

to abuse the technique by

tion

styles;

feel

focusing (although he was careful to advise students not

unrealities."*

wide variety of

therefore suggested a proce-

dure called "differential focusing," also

also taught that detail

when

to a

seen as an objective

at a scene the fell

and applied

photography have blurred, documentary work was

was not

felt that it

its

and meaning.

significance

In the 1880S, Peter Henry Emerson (1856-1936) pas-

means

its

mem-

bership Heinrich Kiihn

(1866- 1944), Dr.

Hugo Henne-

members

fifteen

encouraging them, that refused

nality instead of

—such groups gave

any new doctrine

berg (1863-1918) and Hans Watzek (1849-1905). In 1892,

ear to

its

birth to secession.'^

of the Royal Photographic Society with-

Robert Demachy

Camera Notes and prepared a new, independent quarterly, Camera Work. The quarterly was the "mouthpiece" of the Photo-

group show

Secession,

drew from the club and formed the Linked Ring. The Photo-Club de Paris was organized

in

By

and included

1894

igo2, Stieglitz

(

1

Heliochrome Company

the

Engraving Company

)

(

and had won

890 he

became a partner

later

the Photochrome

a photoengraving business.

,

He

also

tion, will find recognition in these pages.

The of the

from 189^

Stieglitz

on

a high standard of pictorial

work. The same objection developed within the Camera

Club of

New York

—

it

should be kept in mind that the

group had given serious thought

to

becoming

a bicycle

club before Stieglitz became vice-president. Stieglitz tried the club's interest in photography by re-

to strengthen

organizing the Publications Committee and converting the club publication, a small

journal of activities and

meetings, into the full-scale commercial periodical

The magazine was

seriously interested

in

successful in attracting those

photography, but

created factions within the club. Stieglitz

It

in

1

became apparent

90 1,

when

his

felt

opponents.

the opportunity presented itself to

New York

at the National Arts Club, Stieglitz accepted.

it

that

could not operate Camera Notes the way he

a "select" exhibition of photographs in

"An

doing so

in

he must, nor could he change the views of So

Camera

He

hang City

called

it

numbers published, a page was devoted

fifty

served as editor of the American

of his staunch insistence

^^

printing was of primary importance. In forty-eight

describing

Amateur Photographer to 1896. When the Society of Amateur Photographers merged with the New York Camera Club, he became vice-president of the new Camera Club of New York and created the quarterly Camera Notes. Stieglitz had encountered difficulties during his management of the American Amateur Photographer because

feature of technical merit, or

such as exemplifies some treatment worthy of considera-

over a hundred medals in photography competitions. After returning to the United States in

some exceptional

contains

he had

Berlin

in

as gives evidence of in-

dividuality and artistic worth, regardless of school, or

1864-1946) was an internationally

studied photochemistry with Professor Vogel

Notes.

as such Stieglitz pledged:

Only examples of such work

Stieglitz.

famous photographer. As a student

in

and

marked the founding of the Photo-Secession by

1902

Alfred

at

in

(d. 1937) and Commandant Puyo. A the National Arts Club in New York City

In 1902 Stieglitz resigned as editor of

printing

the

methods

of

careful

to

was particularly

the

to

illustrations.

which

out

point

images were made from the original negatives; these were

number

considered original prints. In a special insert in 12,

to

Stieglitz pointed out that the gravures were thought

be so

fine that they

were chosen to hang

in the 1904

exhibition of the Societe L'Effort in Brussels

when

the

photographic prints from the Photo-Secession failed to arrive.

Most of the gravures were printed on Japan

which held the delicate tones of the

original.

tissue,

These hand-

pulled plates were then tipped into each copy by the

small

A

Camera Work

staff.

A. Radclyffe Dugmore's gravure

Study in Natural History (Jan. 1903, 1:55)

example of the time taken

The photogravure Japan

to create a beautiful

picture of

young

which was mounted

tissue,

birds

soft

a good

magazine.

was printed on

in the center of a

gray page over a cream-colored mount,

enhance the

is

all

heavy

in order to

birds' breasts.

white feathers of the

page often included a reference to the printer, a compliment if a difficult subject was well done and, in one case, a castigation. In number 4, Frederick H.

The

illustration

Evans (1853- 1943) was allowed to avoid

sending

to use

his original prints to

was completely unsatisfactory

an English printer

America. The result

to Stieglitz,

who wrote

Exhibition of Photography Arranged by the Photo-

Secession."

The term modern

"Secession" was borrowed

painters in Austria and

from a group of

Germany. Eduard Steichen

Imagine our consternation upon the arrival of the edition to find that the work was uneven, not up to proof, and in most cases far below that standard which we had late to

do aught

the best of a bad job, feeling that

we have

every reason to expect.

(1879- 1 973) explained;

than

make

It

was then too

only ourselves to blame fot having broken our rule. Secessionists of

movement, the

Munich

a

.

.

fact that they

set convictions of the

themselves,

.

gave, as the reason of their

could no longer tolerate the

body from which they detached

body which

exists

steieotyped formulae, that checked

on conventions and all

spirits of origi-

who have striven illustrations of Camera Work as perfect as ing spared no expense or pains, we feel For our

that this satisfied

own

sakes,

number should

with

it.

It shall

to

make

.

.

.

the

possible, hav-

disappointed

leave our hands and

we

not

never happen again. 1*

Introduction

IX

But perhaps Camera Work's greatest contribution was

forum

as a

for debate,

both on the questions of what in

photography could be admissible theories of criticism

modern

art in general.

was formed

A

as

art

and on the

solid basis for

modern

by such people as

in articles written

R. Child Bayley, Charles H. Caffin, Robert Demachy,

H.

Frederick

Evans,

Hartmann,

Sadakichi

Joseph

T.

George Bernard Shaw and Eduard Steichen. Al-

Keiley,

though most pieces were written especially

Camera Work, reviews and

for

was

instance,

and any

ulation,

artificial

came apparent. With (Oct. 191

1911,

36:37)

pictures like

and The

the eyes of the 'pictorial photographers') they therefore

theme

in

"My photographs

wrote,

Camera

look like photographs

art,

but offered

and

character,

anti-artistic

and always has been, an

the

mechanically-produced

the eyes of a true artist faults in values and absence of

which the

(

in

made

evident in two ways

:

tech-

he began to exhibit

sculpture,

and

in 1910

he

organized a grand finale to the fine-art fight of pictori-

print from an unrerouched negative will always have in

accents against

growing impatience with painterly

Stieglitz's

alism is,

—and

can't be art."'^

modern European paintings and

character

(Oct.

manipulation contro-

vs.

the manipulated print:

The photographic

(1910)

the beautifully rendered scene and began to experiment

being too mechanical to be

as

(igoj)

36:43) he broke away from the noble thought or

1,

photography

—

their

The Steerage

Pool — Deal

niques was

way out

and in

sort of "impressionism,"

place a concern for pattern and design relationships be-

Work's pages. In 1907 Robert Demachy, famous for his gum and oil prints, restated Lady Eastlake's objection to a

subject matter, manip-

with the inherent qualities of the medium. In 1923 he

recurring

a

appeared a de-emphasis of

from

other magazines and newspapers were reprinted.

versy,

years the story-telling aspect of pictori-

use in

for

controversial articles

The photographic honesty

Thus over the

alism was dropped. In Stieglitz's work especially there

special qualities so loudly pro-

—

raphy

the International Exhibition of Pictorial Photog-

at the

The

Albright Art Gallery in Buffalo.

with an exhibition of work by

in 1905

the members. The

practice of two-week-long photographic exhibitions be-

May was broken

tween November and

claimed will not count for much.^^

had opened

Little Galleries of the Photo-Secession

Stieglitz

in

1907

when

put up a show of drawings by Pamela Coleman

George Bernard Shaw then replied that the photographer who uses painterly methods "fails in respect for his art.

Smith. Aftet 1908,

He

when

renamed

the hall and

moved

the galleries were

"291," a variety of

across

American and

a traitor in the photographic camp."'^ Frederick

European avant-garde work was presented. In the next

Evans pointed out that the basis of pure, straight photography was the perfect negative; how many "gummists,"

only ten more photographic shows were hung. In response

he wondered, could say that and also maintain that the

to those

gum

Camera Work reminded

is

print produced the ideal rendering of that perfect

negative?" Steichen,

in

an

earlier article,

had come out

favor of manipulation by maintaining that, due to tudes in exposure and development,

manipulated

to

a certain

degree.

all

in

lati-

photography was

Each

piece,

Steichen

claimed, should be regarded as an "original." Stieglitz's position

Work

years.

talk at the National Arts

Club

in

1902, Stieglitz reportedly

had taken the view that "the

was the only

judgment and that

result

justifiable to use

attain

the

fair basis for

it

was

any means upon negative or paper to

desired

end."'**

However, the next year

is

Stieglitz

brutally

trickery

and of any

Devoid of 'ism;'

all

flim-flam;

its

readers that the idea of "seces-

medium

alone,

but was the spirit of the "too often discarded lamp of honesty;

honesty

of

aim,

honesty

of

self-expression,

honesty of revolt against the autocracy of convention."'" gigantic exhibition at the Albright Art Gallery in

1910 consisted of 5S4 prints and filled eight galleries.

The

foreword to the catalogue read:

The aim

of this exhibition

is

to

ment and progress of photography

The

sum up as a

the develop-

means of

pictorial

Invitation Section consists largely of the

in

wrote of Paul Strand's pictures: "The work

direct.

gallery's closing in 1917,

protested the showing of drawings at 291,

expression.

Camera Work editorial opinion endorsed Gertrude Kasebier's work as "absolutely straight photography, being in no way faked, doctored or retouched."" The critical language grew stronger, and in the last number of Camera

Work

who

and the

sion" did not belong to the photographic

The

evolved slowly during the Camera

During a

ten years, between 1908

devoid of

devoid of any attempt to mystify

work of photographers of international reputation American and foreign, whose work has been the chief factor in bringing

now

photography

to the position to

which

it

has

attained.--''

The work was submitted by Secessionists a series of

Secessionists

and non-

from Europe and America and was hung

one-man shows. The crowds were

as

large, the

an ignorant public, including the photographers them-

press

selves."^"

the exhibition was a huge success and gave the photo-

Introduction

enthusiastic.

Paradoxically, perhaps, even

though

graphic

movement

art

the

attention

photographers (including Stieghtz) impatient with Victorian aesthetic. as a

group

essentially disbanded

due

it

many

desired,

published piece by Gertrude Stein.

first

Also during

to differing opinions

Robert Adamson, and Julia Margaret Cameron. Their

this

period

had expressed

his

feelings about the impor-

movement towards

the individual American photographer was sub-

ordinated to the success of the cause, yet, in

its

ulated, "straight" approach, culminating in the

greater distinction than could ever have been his

portion effort.

.

he had been compelled to

if .

rely

on

his

of photography has been given to the world through

Camera Work.

.

until 1917.

all,

Dur-

towards a more modern

sensibility,

the April/July 191

both literary and

issue, collotype

1

of Rodin's drawings were published. first

after

many seem is

vis-

as either,

is

1912

its it

absolute jus-

needs one and

and

irrelevant.

whether a

useless

is

To have

inconsequent.

in order to respect

is

inferior to an oil, or

comparison of potentialities a watercolor

all,

to think,

drawing, an etching, or a photograph

reproductions

The August

medium,

existence of a

Whether

seven years, Stieglitz steered the magazine

last

issue, the

concluded:

."

Camera Work continued publication

1(1

He

."

.

unaided

tification, if as so

ual.

Camera Work,

Strand himself stated in 1917 that "the whole develop-

ment

The

ing these

work of

Stieglitz and modern photography.

success,

the individual was enabled to achieve, and did achieve, a far

the unmanip-

Paul Strand, whose bold surface design and urban-oriented

Camera Work:

pictures expressed perfectly the ideals of

Though

re-

discovery of the early masters, David Octavius Hill and

pictures reinforced the

tance of this seminal group earlier in

Camera Work encouraged a

had already grown The Photo-Secession

and a fragmenting of goals. Stieglitz

along with the

something

else

is

not as important

to despise

is

something

a sign of impotence.

Let us rather accept joyously and with gratitude every-

"special" issue since the earlier Steichen

thing through which the spirit of

Supplement, presented the work of Matisse and Picasso

fuller

and more intense

man

seeks to an ever

self-realization.'^

NOTES Alfred

Stieglitz,

Jan.

12.

Eduard Steichen, "The American School," Camera Notes,

Beaumont Source Book of Photo

IS-

Stieglitz, loc. cit.

M-

"Our

"An Apology," Camera Work,

6:1:22.

1903, 1:15.

Lady Elizabeth Eastlake, "Photography," Newhall,

ed..

On

Photography:

History in Facsimile

House, 1956),

A

in

Ibid., p. 106.

Modern and Photography,"

in

p. 106.

Henry Peach Robinson, (1869; reprint

ed.,

Pictorial Effect in

George Bernard Shaw,

in ibid., p. 45.

17-

Frederick H. Evans, in

ibid., p.

18.

John Francis Strauss, "The 'Photo-Secession' Club," Camera Notes, 6: i 34.

Photography

Pawlet, Vt.: Helios, 1971),

p.

20. 21.

Arts

I

in

this

Number," Camera Work,

Jan.

-.6^.

Illustrations," Camera Work, June 1917, 49/50:36. Dorothy Norman, "From the Writings and Conversa-

"Our

Twice

A

Year, Fall-Winter

1938,1:98.

R. Child Bayley, "Pictorial Photography,"

Camera Work,

Apr. 1907, 18:23.

22. 23-

Making by PhotogThe Amateur Photographer, 5

Llewellen Morgan, "Aids to Picture raphy, for Beginners,"

Charles H. Caffin, Photography as a Vine Art

Hastings-on-Hudson, ), p.

"The Editors' Page," Camera Work, Apr. 1907, 18:37. Quoted in "The Exhibition at the Albright Gallery Some Facts, Figures, and Notes," Camera Work, Jan. 1911,33:61.

24 Quoted

Apr. 1901, 33:283.

Morgan, 1971

at the

tions of Alfred Stieglitz,"

p. 151.

Ibid., p. 150.

ed.,

"The Pictures 1903,

Henry Emerson, Naturalistic Photography (London: Sampson Low, Marston, Searle & Rivington,

46.

:

19-

13.

Peter

reprint

"Monsieur Demachy and English

16.

Ibid., p. 21.

1889),

Camera Work, Oct. 1903, 4:25.

in

Photographic Art," Camera Work, Apr. 1907, 18:44.

p. 102.

Charles Baudelaire, "The

Newhall,

Illustrations,"

Robert Demachy,

(Watkins Glen, N.Y.: Century

N.Y.:

(1901;

Morgan

&

25-

in Bayley, pp. 26-27.

Paul Strand, "Photography," Camera Work, June 1917,

49/50:3-

95.

Introduction

xt

BIBLIOGRAPHY

Anderson, Paul

and

rapher/Pagan/ Member of the Photo-Secession. Oakland: The Oakland Museum, 1974.

Inquiry into the Aesthetics of Photog-

Horgan, Stephen H. Horgan's Half-Tone and Photomechan-

L. Pictorial

Photography:

Practice. Philadelphia:

Borcoman, James.

An

J.

Its

Principles

B. Lippincott, 1917.

ical Processes.

raphy. Toronto; Society for Art Publications, 1975. Bry, Doris. Alfred Stieglitz: Photographer. Boston:

Museum

Hutchins, C.

Amateur Photographer,

of Fine Arts, 1965.

Jones, Bernard

Caffin, Charles H. Photography as a Fine Art. 1901. Reprint.

Hastings-on-Hudson, N.Y.: Morgan

Camera Notes.

&

print.

Camera Work. New York: Alfred Stieglitz, 1903-1917. Camera Work. 1903-1917. Reprint. Nendeln, Liechtenstein:

Albuquerque:

Era,]\3.\y

University

of

New

Mexico

1903, 11:314-315.

Englewood

Maclean, Hector. "The

Press,

The Hieroglyphics of a New Speech: Cuband the Early Poetry of Williayn Carlos University

Princeton

Princeton:

Two

York.

for Beginners."

Dover Publications, 1978. Interaction of Technological

A

Study of the

Growth and Nineteenth

i960.

Doubleday, 1964.

Newhall, Beaumont.

Newhall, Nancy.

Gernsheim, Helmut and Gernsheim, Alison. The History of ginning of the Modern Era.

2d

ed.

to

New

the Be-

Source Book of

H. Emerson: The Fight for Photography

A

Portfolio

of

Sixteen Photographs

by

Alvin Langdon Coburn. Rochester: George Eastman

House, 1962.

A

Critical

Norman, Dorothy. Alfred

Anthology.

York:

Art. Boston:

L.

C.

Page

&

An American

Seer.

New

1973.

the Writings and Conversations of

Alfred Stieglitz." Twice

1902.

A

Year, Fall-Winter 1938,

1:77-110. Poore,

"Carbon Printing." Photo Era, Oct. 1901,

Henry R.

Pictorial Composition.

New

York: Baker

&

Taylor, 1903.

Robinson, Henry Peach. Pictorial Effect in Photography.

7:147-151.

Heyman, Therese Thau. Anne Brigman:

Stieglitz:

Random House,

Norman, Dorothy. "From

History of American Art. 2 vols.

Co., 1904.

W.

P.

Newhall, Nancy.

York:

Millerton, N.Y.: Aperture, 1973.

Hartmann, Sadakichi. Japanese

A

as a Fine Art. Millerton, N.Y.: Aperture, 1975.

McGraw-Hill, 1969. Green, Jonathan, ed. Camera Work:

& Co.,

Photography:

Century House, 1956.

:

Photography from the Camera Ohscura

On

Photo History in Facsimile. Watkins Glen, N.Y.:

Co., 1934.

A

to Picture

Aperture, 1975.

Sampson Low, Marston, Searle & Rivington, 1889. Frank, Waldo et al., ed. America and Alfred Stieglitz: A Collective Portrait. Garden City, N.Y. Doubleday, Doran

Page

Year,

Newhall, Beaumont. The History of Photography, from i8}C) to the Present Day. Rev. ed. Garden City, N.Y.:

Emerson, Peter Henry. Naturalistic Photography. London:

L. C.

A

Newhall, Beaumont. Frederick H. Evans. Millerton, N.Y.:

Century American Pictorial Art." Ph.D. dissertation,

Hartmann, Sadakichi.

and John Marin." Twice

1901, 33:281-283.

Ehrlich, George. "Technology and the Artist:

Illinois,

Chief Photographic Exhibitions

Making by Photography, The Amateur Photographer, 5 Apr.

Morgan, Llewellyn. "Aids

University of

Critical

Spring-Summer/ Fall-Winter 1942, 89:146-155.

Press,

New

i960. Reprint.

N.J.:

A

Prentice-Hall,

29:74.

1969.

Doty, Robert. Photo-Secession,

Cliffs,

The Photographic Times, Feb. 1897,

Miller, Henry. "Stieglitz

ism, Stieglitz,

Hearn, Charles

Photography, London). RePress, 1974.

1966.

Painter and the Photograph. Rev. ed.

1972.

Boston:

York: Arno

of the Year."

Williams.

Feb. 1893, 5:55-57.

Encyclopedia of Photography. 191

Lyons, Nathan, ed. Photographers on Photography:

Kraus, 1969.

&

New

Anthology.

Van Deren. The

Dijkstra, Bram.

ed..

3.

The American

Process."

Keiley, Joseph T. "Concerning the Photo-Secession." Photo

1897-1903.

Coke,

E.,

(Cassell's Cyclopedia of

Morgan, 1971. York: The Camera Club of New York,

New

Chicago: Inland Printer Co., 191

"The Platinum

C.

1869. Reprint. Pawlet, Vt.: Helios, 1971.

Pictorial Photog-

xtn

Rosenfeld, Paul. Port of

Brace Satterlee,

& Co.,

Edward.

New

York.

New

York: Harcourt

"Is

Photography a Fine Art?" The Phila-

delphia Photographer, 6:326-328. Stieglitz,

Alfred.

"Correspondence

'Officialdom')."

Winter 1942, Stieglitz, Alfred.

Twice

A

(Stieglitz

Replies

to

Year, Spring-Summer /Fall-

8-9: 172-178.

"Four Happenings." Twice

1893,5:209.

Year, Spring-

"Three Parables and a Happening." Twice

A

Year, Spring-Summer/Fall-Winter 1942, 8-9: 163-171. Strasser,

Alexander. Immortal Portraits.

Press,

A

on Developing Cold Bath Platino-

The American Amateur Photographer, May

Stieglitz, Alfred.

Summer/Fall-Winter 1942, 8-9:105-136. Stieglitz, Alfred. "Four Marin Stories." Twice A Year, SpringSummer/Fall-Winter 1942, 8-9: 156-162.

Bibliography

Stieglitz, Alfred. "Points

types."

1924.

Strasser,

1

New

York: Focal

94 1.

Alexander. Victorian Photography. London:

Focal

Press, 1942.

Zigrosser, Carl.

"Alfred Stieglitz." Twice

Summer/Fall-Winter 1942,

A

Year, Spring-

8-9: 137-145.

NOTE ON THE CONTENTS AND GLOSSARY OF TERMS This book first

in essence,

is,

(pp. 1-140)

inventory of

made up

of four indexes.

photographs and other

all

The

identification of

a complete, illustrated chronological

is

betically by artist, the third

lists

The

The

first

index

by

(pp. 147-153)

title,

the picture; the

ume and page tion

month

exactly as

it

appeared with

the case of delayed issues (

;

era

)

;

and the dimensions of the

appeared in the magazine. The

artist

the photo-

title

however, attempts

The

sitter

index

usually grouped

magazine, and

its

to the pictures in

In

at

the

CamCamera

make

the

arranged with printing

beginning and reproduction

unsensitized paper

made carbon

During contact printing

into

hardened

tissue

frequently assigned

was coated with

tissue.

pigment color or

The paper was

in

in daylight, areas of the

carbon

proportion to the amount of light the

negative permitted. After exposure the print was devel-

each group. These numbers have been

oped

washing away those areas of carbon not

in water,

hardened by the

titles,

The top

light.

of the carbon tissue formed a tough "skin"

during exposure so that the underside next to the paper

Camera Work pagination

has been determined from

the original issues and not from the

most

process

this

with commercially

same name.

was

Kraus reprint edition

still

soluble.

Because of

differentiated the carbon process

also be noted that

piece of paper

libraries.

no

illustrations

emulsions. right

appeared in number 47

(July 1914, published Jan. 1915). in

The

transferred

image was reversed

and could be transferred a second time onto (

this

from other light-hardened

the double transfer was also

left

to

a third

known

as

an

parentheses repre-

GUM

sents alternate spellings or other discrepancies that ap-

Work from

property, the carbon

autotype )

Throughout each index, material peared in Camera

this

had to be transferred to another sheet of paper;

tissue

The abbreviation "SS" denotes the special, unnumbered Steichen Supplement (Apr. 1906) and "SN" refers to a "Special Number." It should in

this

the process used to

either gelatin containing carbon black or

primarily to help distinguish different photographs with

found

first is

is

then sensitized in a bichromate bath and allowed to dry.

illustrations

retained in these indexes as integral parts of the

the

are listed, the second

CARBON PROCESS

index

artist

from the text portions of the

Roman numbers were

listed.

method of

indexes

determined by the editor, and the page location.

Camera Work

the

is

processes nearer to the end.

more complete forms of names. only the full name of the sitter, as

sections that stood apart

given, this

which Camera Work reproduced from. In

grouped

processes

to give

lists

is

this glossary the entries are thus

the

suppress the extra bibliographical information about the

and the dimensions; the

process and the

original print

illustration as

and

process only

Work; where two

Work

both the printing method used in Camera

dates, the process

1-140) the photo-

reproduction used to produce the print published in

any was given; the month, vol-

and, where applicable, the process used in

original print ) it

name

title, if

main chronological index (pp.

Where one

each

It lists for

of the issue (including the actual publica-

in

graphic process

Work

In the

graphic processes related to each photograph are

the most complete.

illustration the artist's

name.

and

sitter. is

or the presen-

title

artist's

GLOSSARY OF PHOTOGRAPHIC PROCESSES

the illustrations alpha-

the fourth (pp. 155-157), which applies to portraits only,

by the name of the

more complete form of an

tation of a

illustrations ap-

pearing in Camera Work, advertisements excepted.

secpnd index (pp. 141-146)

an illustration with no

time to time; bracketed

material represents this editor's additions, such

as

This popular process

is

most often associated with the

Europeans Robert Demachy and Heinrich Kiihn but was

the

XV

widely used in

also

this

country

the

at

turn

of

the

century.

orange, green and blue-violet were dusted over a piece of

which had been coated with adhesive varnish

glass

Paper was coated with a sensitized

gum

arabic and

form a single

layer.

The

allowed to dry in a dark room. As in the carbon process,

the glass to form a mosaic pattern.

the photograph was contact-printed, developed in water

ings between grains were filled with finely

and

dried.

However,

in the

had the option of adding

gum

process the photographer

layers of other color

the paper and proceeding as in the

first

by recoating

simply be

left

out by not applying

Any remaining

open-

ground carbon

black to ensure that light would only pass through the

dyed grains. The plate was then varnished and coated with panchromatic-sensitive emulsion.

layer.

Because the paper was hand-coated, areas of the negative could

to

grains were then crushed against

gum

to that

Because the plate was placed in the camera with the glass side

toward the

lens, the light

portion of the paper. Manipulation of the surface could

dyed starch grains, which served

also be accomplished during

color

development by rubbing or

brushing the soft emulsion.

filters,

before

it

reached the color-sensitive emul-

Thus, when red light reflected

sion.

passed through the

as selective, microscopic

of?

an apple,

it

passed

through only the red-orange starch grains and exposed

OZOTYPE

only that section of the emulsion. After the plate was

The ozotype

gum

with either tin.

process was similar to both carbon and

processes because unsensitized paper could be coated

Also

gum

or a commercially

made

sensitized gela-

gum

with carbon and gum, the gelatin or

as

developed, a pattern of exposed red-orange, green and blue-violet points emerged. These

when

the plate

was held up

were so miniscule that

to the light, a positive color

picture could be seen.

emulsion hardened with exposure portions were washed

A pigment plaster was soaked

in acid

(paper coated with pigment gelatin)

and applied

to the

image surface. The

In photogravure a carbon negative was attached to the surface of a specially treated copper plate.

During

a series

of acid baths the plate was etched to different depths, de-

and the paper backing on the plaster was

pending on the thickness of the carbon. The depth of the

pulled away. While the photograph was

still

surface could be manipulated with a soft brush. fer of

PHOTOGRAVURE

was picked up by the surface of the

color of the plaster original print

to light and the soluble away during development.

damp

No

the

trans-

image was required.

etched

area

determined

printed image

when

the

relative

darkness

of

the

the desired printing paper was pressed

against the cleaned and inked intaglio plate.

PLATINUM/PLATINOTYPE These synonymous terms described a process in which paper was coated with a solution of iron salts and a platinum compound. A difficult chemical process, most

DUOGRAVURE An image made

by double printing on a gravure press,

duogravure was used to deepen tones or

add

to

color.

photographers of the time bought ready-made platinum

COLLOTYPE

paper, which was then available.

The

much admired

permanency and wide

Collotype was an ink printing process in which a glass

range of tones, was contact-printed until the image was

printing plate was coated with bichromated gelatin that

paper,

for

lightly visible ("printed out")

its

and then developed

to the

desired intensity.

reticulated during the drying process.

tact-printed with a negative

positive

GLYCERINE/GLYCERINE PLATINOTYPE A glycerine print was a manipulated platinum

A print.

A

plate

image formed by the light-hardened

dilution of glycerine

was con-

gelatin.

and water was then applied

to

the surface and absorbed into the areas of less hardened

As

in lithographic printing, the ink

was repelled

combination of glycerine and developer was brushed on

gelatin.

desired areas of a normally developed platinotype to alter

from those areas where water had been absorbed, leaving

the appearance of the print.

a positive ink

AUTOCHROME

HALFTONE

Perfected during the years 1904-1907 by the Lumiere brothers, the cessful

xvi

The

and then washed, leaving a

color

autochrome was the transparency.

Note on the Contents

first

commercially suc-

Grains of starch dyed red-

A

image on the hardened

gelatin.

commercial reproduction process that prepared a

continuous tone image for printing by a process of reducing the image to a dot pattern.

The

dots varied in size,

the largest carrying

more

ink and therefore printing the

darkest areas, the middle sizes printing the half or middle

high-contrast

negative

By using

a double printing

same monochrome

tones and the smallest printing highlights.

A

DUOTONE

was made of the desired

original,

on

a halftone press

from the

duotone achieved a two-color

effect,

photograph by placing the grated screen between the film and the photograph. This caused the screen to be super-

imposed onto the original image. The halftone image was transferred to a

reproduction,

treated

printing plate

used

for

offset

MEZZOTINT PHOTOGRAVURE In this process a special screen pattern was used to pro-

duce a screened image on a gravure press for a hand-

drawn

effect.

Note on the Contents

xvit

UPPER LEFT:

/. Dorothy, by Gertrude Kasebier. Jan. 1903, 1:5. Original negative; photogravure. 19.9 x 16. i cm. UPPER RIGHT: //. The Manger, by Gertrude Kasebier. Jan. 1903, 1:7. Original negative; photogravure. 21.1 x 14.8 cm. LOWER LEFT: ///.

Thou Among Women, by Gertrude

Blessed Art

Kasebier. Jan.

1903, 1:9. Original negative; photogravure. 23.6 x 14.0 cm. LOWER RIGHT: IV. Portrait I Miss N.), by Gertrude Kasebier. Jan. 1903,

I

:

II. Original negative;

photogravure. 19.5 x 14.7 cm.

(1903)

^^?

UPPER LEFT: The Hand

of

Man, by Alfred

1:47. Original negative; photogravure. 15.6

RIGHT:

A

Stieglitz. Jan.

1903,

x 21.3 cm. UPPER

Study in Natural History, by A. Radclyffe Dugmore.

Jan. 1903, 1:55. Original negative; photogravure.

11.2

x 17.2

cm. 2:5.

LOWER LEFT: /. Rodin, by Eduard J. Steichen. Apr. 1903, Gum; photogravure. 21. i x 16.0 cm. LOWER right: //. The

Pool, by Eduard

J.

Steichen. Apr. 1903, 2:7. Original negative;

photogravure. 20.3 x 15.3 cm.

(1903}

UPPER LEFT:

///.

Self-portrait,

by Eduard

J.

Steichen. Apr. 1903,

Gum, photogravure. 21.3 x 16.1 cm. upper right; IV. Dawn- flowers, by Eduard J. Steichen. Apr. 1903, 2:11. Original negative; photogravure. 14.8 x 19.5 cm. LOWER left: V. 2:9.

(1903)

Bartbolotne, by Eduard negative;

Dolor, by Eduard tive;

J.

Steichen. Apr. 1903, 2:13. Original

photogravure. 20.8 x 15.1 J.

cm.

LOWER

RIGHT:

VI.

Steichen. Apr. 1903, 2:15. Original nega-

photogravure. 19.2 x 14.8 cm.

VII. Lenbach, by Eduard J. Steichen. Apr. 1903, photogravure. 20.3 x 15.8 cm. UPPER RIGHT: VIll. 2:17. Gum; Besnard, by Eduard J. Sreichen. Apr. 1903, 2:20. Gum; halftone. 17.4 X 13. 1 cm. LOWER left: IX. Portrait, by Eduard J.

UPPER LEFT:

Steichen. Apr.

LOWER

1903, 2:37. Gum; halftone. 16.8 x 13. i cm. Nude with Cat, by Eduard J. Steichen. Apr.

RIGHT: X.

1903, 2:39.

Gum;

halftone, ii.o x 13.7 cm.

{1903^

UPPER LEFT:

XL

ment, by Eduard

Judgment of J.

Paris

—A

Landscape Arrange-

Steichen. Apr. 1903, 2:41. Platinum; half-

tone. 15.2 X 1 1.5 cm. UPPER RIGHT: /. Letitia Felix, by Clarence H. White. July 1903, 3:7. Original negative; photogravure. 21.0 X 14.3 cm. LOWER left: //. Telegraph Poles, by Clarence

6

(1903)

H. White. July 1903, 3:9. Original negative; photogravure. 18.7 X 10.3 cm. LOWER RIGHT: ///. Illustration to "Eben Holden," by Clarence H. White. July 1903, 3:11. Original negative; photogravure. 19.5 X 14.9 cm.

'

f-,Ci»j«*-

UPPER LEFT:

IV.

Winter Landscape, by Clarence H. White,

July 1903, 3:13. Platinum; halftone.

17.7 x

13.6 cm.

UPPER

RIGHT: V. Ring Toss, by Clarence H. White. July 1903, 3:14. Gum; color halftone. 17.5 x 13,7 cm. LOWER LEFT: The Break-

Bed, by Mary Cassatt. July 1903, 3:19. Halftone. 9.2 x cm. LOWER RIGHT: The Old Basin of Dunkirk, by E. Boudin. July 1903, 3:19. Halftone. 7.7 x 11.3 cm. fast in 1

1.2

(1903}

UPPER LEFT: The Admiral's Wife, by Rembrandt. July 1903, 3:29. Halftone. 15.8 x 12.6 cm. upper right: Untitled [silhouette 1

8

photograph], by

1.4 X 8.5

(1903)

cm.

LOWER

Ward

Muir. July 1903, 3:35. Halftone. LEFT: Untitled [silhouette photograph],

by Ward Muir. July 1903, 3:37. Halftone. 6.4 x 8.6 cm. LOWER RIGHT: /. The Bridge, by John Francis Strauss. July 1903, 3:43. Original negative; photogravure. 15.8 x 20.7 cm.

UPPER LEFT;

//.

The

Last Hour, by Joseph T. Keiley. July 1903,

3:45. Platinum; halftone. 11.6 x 19.2 cm. Street

—Design

UPPER RIGHT:

///.

The

for a Poster, by Alfred Stieglitz. July 1903, 3:47.

Original negative; photogravure. 17.5 x 13.2 cm.

LOWER

LEFT:

IV. Winter Shadows, by Alvin

Langdon Coburn. July 1903, 3:49.

Original negative; photogravure. 14.4 x 19. i cm. LOWER RIGHT: /. Ely Cathedral: A Memory of the Normans, by Frederick H. Evans. Oct. 1903, 4:5. Photogravure. 19.9 x 13.0 cm.

(1903^

UPPER LEFT:

//.

Ely Cathedral: Across

Nave and Octagon, by

Frederick H. Evans. Oct. 1903, 4:7. Photogravure. 14.5 x 18.4 cm. UPPER RIGHT: ///. Height and Light in Bourges Cathedral,

by Frederick H. Evans. Oct. 1903, 4:9. Photogravure. 7.0 x 7.0 cm. LOWER LEFT: IV. York Minster: "In Sure and Certain

10

(1903)

Hope," by Frederick H. Evans. Oct. 1903, 4:12. Photogravure. 20.0 X 14.8 cm. LOWER RIGHT: V. York Mitister: Into the North Transept, by Frederick H. Evans. Oct. 1903, 4:29. Halftone. 20.2 X 15.0 cm.

UPPER LEFT:

VI. Ely Cathedral:

A

Grotesque, by Frederick H.

Evans. Oct. 1903, 4:31. Halftone. 20.7 x 15.0 cm. UPPER RIGHT; /. The "Flat-iron," by Alfred Stieglitz. Oct. 1903, 4:49. Original negative; photogravure. 16.8 x 8.2 cm. lower left: //. Moon-

light,

by Arthur

Demachy.

1903, 4:51. Gum; colored halfLOWER RIGHT: /. hi Brittany, by Robert 5:5. Gum; photogravure. 13.1 x 20.1 cm.

E. Becher. Oct.

tone. 17.0 X 12.9

cm.

Jan. 1904,

(igo^/igo4)

11

UPPER LEFT;

Mentone, by Robert Demachy. Jan. upper right: ///. Seteritj, by Robert Demachy. Jan. 1904, 5:9. Gum; halftone. 114 X 15.8 cm. LOVCER LEFT: IV. On the Lake, by Robert 1904, 5:7.

72

//.

Gum;

(ig04}

Street in

photogravure. 16.3 x 12.7 cm.

Jan. 1904, 5:11. Gum; halftone. 11.8 x 17.0 cm. LOWER RIGHT: V. Contrasts, by Robert Demachy. Jan. 1904, 5: 13. Gum; photogravure. 16.6 x 11.5 cm.

Demachy.

??r.

t*^ '*.

UPPER LEFT:

Gum;

VI. Strtiggle,hY Robert

halftone. 19.4

x

12. i

Demachy.

cm. UPPER RIGHT;

/.

Jan. 1904, 5:16.

'Midst Steam

and

Smoke, by Prescott Adamson. Jan. 1904, 5:37. Original negative; photogravure. 13. i x 18.4 cm. lovcer left; //. L/ Cigale. by

y

Frank Eugene. Jan. 1904. ';;39. Original negative; photogra%'ure. 12. 1 X 17.0 cm. LOWER r:ght; /. Gables, by Alvin Langdon Coburn. Apr. 1904, 6:5. Photogravure. 18.7 x 14.S cm.

(1904)

IS

TIPPER LEFT:

//.

A

Portrait Study, by Alvin

Langdon Coburn.

Apr. 1904, 6:7. Photogravure. 17.7 x 14.8 cm. UPPER RIGHT: ///. The Dragon, by Alvin Langdon Coburn. Apr. 1904, 6:9.

Duotone. 13.7 x 17.7 cm.

14

(1904)

LOWER

—

LEFT: IV. Mother and Child

A

Study, by Alvin

Langdon Coburn. Apr. 1904, 6:11. PhotoLOWER RIGHT: V. The Bridge Ipswich,

—

gravure. 18.0 X 14.6 cm.

by Alvin Langdon Coburn. 19.2 X 14.9 cm.

Apr.

1904, 6:13.

Photogravure.

UPPER LEFT: VI. House on the Hill, by Alvin Langdon Coburn. Apr. 1904, 6:16. Photogravure. 14.8 x 18.7 cm. UPPER RIGHT: /. Under the Pines, by Will A. Cadby. Apr. 1904, 6:29. Halftone. 18.3 X 12.9 cm.

LOWER

LEFT:

//.

Apr. 1904, 6:31. Halftone. 9.6 x 13.0 cm. LOWER RIGHT: Wintry Weather, by W. B. Post. Apr. 1904, 6:43. Photogravure. 14.9 X 16.2 cm.

Storm Light, by Will A. Cadby. (1904)

IS

UPPER LEFT:

V.

A

Village

Corner, by Theodor and Oscar

Hofmeister. July 1904, 7:13. Gum; halftone. 12.0 x 17.6 cm. UPPER RIGHT: VI. Sea Calm, by Theodor and Oscar Hofmeister. July 1904, 7:16.

Gum;

halftone. 17.7

x

12. i

cm.

LOWER

/.

Behind the Scenes, by Robert Demachy. July 1904, 7:29.

Gum;

halftone.

19.2

x 9.5 cm.

Robert Demachy. July 1904, 7:31.

lower right: Gum; halftone.

//.

Speed, by

12.4 x 17.9 cm.

LEFT:

(1904)

17

UPPER LEFT:

/.

July 1904, 7:49. //.

The

Sadakichi Hartmann, by Eduard

Gum;

halftone. 11.9 x 15. i cm.

Perry, Concarneau, by

Mary Devens.

Ozotype; halftone. 12.2 x 15.5 cm.

18

(1904)

lower

J.

Steichen.

upper right:

July 1904, 7:51. left: /, A Franciscan,

Venice,

by

J.

19.6 X 13.8 cm.

Craig

LOWER

Annan. Oct. RIGHT:

//.

On

1904,

8:5.

Photogravure.

a Dutch Shore, by

Annan. Oct. 1904, 8:7. Photogravure. 15.0 x 23.0 cm.

J.

Craig

UPPER LEFT: 8:9.

///.

Frau Mathasius, by

Photogravure. 20.6 x

15.5

J.

Craig Annan. Oct. 1904,

cm. UPPER RIGHT:

John Young, of Glasgow University, by 1904, 8: 11. Photogravure. 19.8 x 15.3 cm.

J.

IV. Prof.

Craig Annan. Oct.

LOWER

LEFT: V. The

Schiavotii, Venice, by J. Craig Annan. Oct. 1904, 8:13. Photogravure. 14.2 x 19.9 cm. LOWER RIGHT: VI. The Dark Mountains, by J. Craig Annan. Oct. 1904, 8:15. Photogravure.

Riva

14.9 x 20.1 cm.

(igo4)

19

UPPER LEFT: Untitled

[inkblot], by

J-

B. Kerfoot. Oct.

1904,

8:29. Letterpress. 3.3 x 1.8 cm. (approx.). upper RIGHT: Untitled [silhouette of Stieglitz], by J. B. Kerfoot. Oct. 1904, 8:29. Letterpress. 5.2

20

(1904)

x 3.2 cm.

(approx.).

LOWER

LEFT:

Untitled

[silhouette of Steichen], by terpress. 4.5 X 2.8

houette of Coburn], by press. 5.5 X 3.8

J.

B. Kerfoot. Oct. 1904, 8:30. Let-

cm. (approx.). J.

lower

right: Untitled

[sil-

B. Kerfoot. Oct. 1904, 8:30. Lettet-

cm. (approx.).

S

UPPER LEFT: Untitled

[silhouette of Coburn], by

J.

B. Kerfoot.

Oct, 1904, 8:31. Letterpress. 5.0 x 6.5 cm. (approx.). UPPER RIGHT: Untitled [silhouette of Kiisebier], by J. B. Kerfoot. Oct.

1904, 8:31. Letterpress. 4.2 x 7.2 cm. (approx.).

lower

left:

Study

—Miss

R.,

by Alvin Langdon Coburn. Oct. 1904, 8:33. lower right: In Sure and Cer-

Photogravure. 21.0 x 16.2 cm. tain

Hope, by Frederick H. Evans.

Oct.

1904, 8:47. Photo-

gravure. 19.8 X 14.6 cm.

(1904)

21

UPPER LEFT:

/.

The Orchard, by Clarence H. White.

9:5. Original negative; photogravure. 20.5

RIGHT:

Jan. 1905,

x 15.6 cm.

UPPER

//. Illustration to "Beneath the Wrinkle," by Clarence H. White. Jan. 1905, 9:7. Original negative; photogravure. 20.1 X 15.5 cm. LOWER LEFT: ///. Illustration to "Eben Holden,"

22

(1905)

by Clarence H. White. Jan. 1905, 9:9. Original negative; photoLOWER RIGHT: IV. Boy with Camera Work, by Clarence H. White. Jan. 1905, 9:11. Original negative;

gravure. 19.6 X 13.9 cm.

photogravure. 19.2 x 14.5 cm.

JoJin

W Beaftij —

Jr.

Eluobeth

UPPER LEFT:

V.

The

•/iissister Kfiifienne. -AnnoDofii

•

l,9°5

'

"

Beatty Children, by Clarence H. White.

x 14.3 cm. UPPER RIGHT: VI. Portrait of Clarence H. White, by Eduard

Jan. 1905, 9:13. Original negative; photogravure. 21.4

J.

Steichen. Jan.

21.3 X 16. 1 cm.

1905, 9:15. Original negative; photogravure.

LOWER

LEFT:

/.

Head

of a

Young

Girl,

Watson-Schiitze. Jan. 1905, 9:29. Original negative; photogravure. 19.8 X 13.6 cm. LOWER RIGHT: //. Portrait Study, by Eva Watson-Schiitze. Jan. 1905, 9:31. Original negative; photogravure. 21.0 X 16.3 cm.

by Eva (190s)

23

UPPER LEFT: 9:33.

Gum;

///.

The Rose, by Eva Watson-Schiitze. UPPER RIGHT:

halftone. 21.3 x 7.9 cm.

Jan. 1905,

IV. Storm,

by Eva Watson-Schiitze. Jan. 1905, 9:35. Glycerine; halftone. 18.5 X 13.9 cm. LOWER LEFT: /. Portrait Miss Minnie Ashley,

—

24

C/905)

by Gertrude Kasebier. Apr. 1905, 10:5. Original negative; photogravure. 22.3 X 17.2 cm. LOWER RIGHT: //. The Picture-book, by Gertrude Kasebier. Apr. 1905, 10:7. Original negative; photogravure. 21.2 X 16.5 cm.

&^:^ii._jMP

UPPER LEFT; Kasebier.

///.

Apr.

20.3 X 14.7 cm.

Kasebier. Apr. 20.5 X 16.5 cm.

Portrait

1905,

—Mrs.

10:9.

Philip

Lydig,

Original negative;

UPPER RIGHT:

IV.

Happy

by Gertrude photogravure.

Days, by Gertrude

1905, 10:11. Original negative; photogravure.

LOWER

LEFT: V.

My

Kasebier. Apr. 1905, 10:13. Original negative; photogravure.

21.4 X

16.6

cm.

Kasebier. Apr. 21. 1

LOWER

RIGHT:

VI.

Pastoral,

by Gertrude

1905, 10:15. Original negative; photogravure.

X 16.6 cm.

Neighbors, by Gertrude

(1905)

25

'^^i,. /

UPPER LEFT:

W. 26

Untitled, by Outamaro. Apr. 1905, 10:29. Half-

cm. UPPER RIGHT: In the Garden, by Thomas Dewing. Apr. 1905, 10:31. Halftone. 7.3 x 13.0 cm. LOWER

tone. 18.7 X

(190 s)

1

1.9

LEFT: Spring, by 12.9 cm.

LOWER

Botticelli.

RIGHT:

/.

Apr. 1905, 10:31. Halftone. 8.3 x Coryphee, by C. Yarnall Abbott.

A

Apr. 1905, 10:45. Halftone. 17.5 x 9.7 cm.

V^i

s^;,z^l^^1

UPPER LEFT:

II.

Illustration

for

"Madame

Butterfly."

by C.

Yarnall Abbott. Apr. 1905, 10:47. Halftone. 20.2 x 14.2 cm.

UPPER RIGHT:

Untitled, by E.

M. Bane. Apr. 1905, 10:53. Pho-

LOWER

LEFT: /. Dr. Munro [Monro], by David Octavius Hill [and Robert Adamson]. July 1905, togravure. 29.1 X 2

I.I

cm.

11:5. Original negative; photogravure. 20.8 x 15.5 cm.

LOWER

Mrs. Rigby, by David Octavius Hill [and Robert Adamson}. July 1905, 11:7. Original negative; photogravure.

RIGHT:

//.

20.3 X 15.0 cm.

(190$)

27

UPPER LEFT:

7/7. Lady Ruthven, by David Octavius Hill [and Robert Adamson]. Apr. 1905, 11:9. Original negative; photogravure. 19.9 X 14.7 cm. UPPER RIGHT: IV. John Gibson Lockhart, by David Octavius Hill [and Robert Adamson]. July 1905, 11: II. Modern reprint; halftone. 18.7 x 13.9 cm. LOWER LEFT:

28

(1905)

V. "Christopher

North" (Professor Wilson), by David Octavius Adamson]. July 1905, 11:13. Modern reprint;

Hill [and Robert

halftone. 21.5 x 15.8 cm.

LOWER

RIGHT:

VL

Mrs. Jameson, by

David Octavius Hill [and Robert Adamson]. July 1905, 11:15.

Modern

reprint; halftone. 19.7 x 14.6 cm.

UPPER LEFT:

7.

1905, 11:35.

Gum;

II.

Rodin

Portrait of a

11:37.

Gum;

—Le

Penseiir,

halftone.

by Eduard

14.6 x

18.3

Young Man, by Eduard

halftone.

12.0

x

14.6

J.

cm.

cm.

J.

Steichen. July

UPPER RIGHT:

Steichen. July 1905,

LOWER

LEFT:

///.

by Robert Demachy. July 1905, 11:39. Gum; halftone. LOWER RIGHT: I. Rain from the Hills, by A. Hinton. Horsley July 1905, 11:53. Platinotype; photogravure. 19.7 X 14.6 cm. L'Effort,

20.5 X 15.0 cm.

f/905;

29

tlnr

A 4 'I

UPPER LEFT:

Avenue (1892), by Alfred

Stieglitz. Oct.

Original negative; photogravure. 21.7 x 15.2 cm.

Horses (11)04), by Alfred Stieglitz. Oct. 1905, 12:5. Original negative; photogravure. 22.8 x 18.2 cm. LOWER LEFT: //. Win-

///.

/.

30

—

Beyond, by A. Horsley Hinton. July 1905, UPPER RIGHT:

ter

11:55. Platinotype; photogravure. 14.2 x 18.7 cm.

(1905)

//.

Fifth

Going

1905, 12:7.

LOWER

RIGHT:

by Alfred Stieglitz. Oct. 1905, 12:9. Original negative; photogravure. 21.2 x 18.9 cm. to the Start (1904),

UPPER LEFT:

IV. Spring (1901), by Alfred Stieglitz. Oct. 1905,

UPPER

12:11. Original negative; photogravure. 15.7 x 12.5 cm.

RIGHT: V. Nearing Land (1904), by Alfred

Stieglitz. Oct.

12:13. Original negative; photogravure. 21.4 x 17.3 cm.

1905,

LOWER

LEFT: VI. Katberine ('7905), by Alfred Stieglitz. Oct. 1905, 12:15. Original negative; photogravure. 20.7 x 16.8 cm. LOWER RIGHT: VII. Miss S. R. (1904), by Alfred Stieglitz. Oct. 1905, 12:17. Original negative; photogravure. 20.4 x 14.0 cm.

(1905)

31

If

D C'"*A

3=& UPPER LEFT: VIU. Ploughing (1904), by Alfred

Stieglitz. Oct. 1905, 12:19. Original negative; photogravure. 24.2 x 18.8 cm. UPPER RIGHT: IX. Gossip— Kativyk (1894), by Alfred Stieglitz.

Oct.

32

1905,

(1905)

12:21. Carbon;

halftone.

20.4 x

12.6 cm.

LOWER

LEFT:

)l

V

X. September (1899), by Alfred Stieglitz. Oct. 1905, Gum; halftone. 15.8 x 11. 4 cm. LOWER RIGHT: Untitled, unidentified. Oct. 1905, 12:31. Halftone. 21.0 x ii.o cm. 12:23.

UPPER LEFT; Untitled

[Prince Felipe Prospero], by Velasquez.

Oct. 1905, 12:39. Halftone. 15. i x 11. 8 cm.

Marcella, by

F.

Benedict Herzog. Oct.

negative; photogravure. 20.3 x 17. i cm.

34

(1905)

upper right:

/.

1905, 12:53. Original

LOWER

LEFT:

//.

Angela,

by

F.

Benedict Herzog. Oct. 1905, 12:55. Original negative; pho17.0 cm. LOWER RIGHT: ///. The Tale of

togravure. 20.8 X Isolde,

by

F.

Benedict Herzog. Oct. 1905, 12:57. Photogravure.

18.9 X 18.1 cm.

UPPER LEFT:

/.

Villa Falconieri, by

Hugo Henneberg.

Jan. 1906,

cm. UPPER RIGHT: //. Villa Torlonia, by Hugo Henneberg. Jan. 1906, 13:7. Photogravure. 12.9 X 24.0 cm. LOWER LEFT: ///. Pomeranian Motif, by Hugo 13:5. Photogravure. 23.8 x

12.7

Henneberg. Jan. 1906, 13:9. Photogravure. 24.5 x 17.2 cm. LOWER RIGHT: IV. Roman Campagna, by Heinrich Kiihn. Jan. 1906, 13: 13. Photogravure. 17.3 x 22.7 cm.

(igo6)

35

UPPER LEFT:

V. Girl with Mirror, by Heinrich Kiihn. Jan. 1906,

13:15. Photogravure. 19.6 x 14.5 cm.

UPPER right:

VI.

A

Study

in Sunlight, by Heinrich Kiihn. Jan. 1906, 13:17. Photogravure. 19.7 X 13.8 cm.

^6

(1906)

LOWER

LEFT: Vll. Washeru'oman on the Dunes,

by Heinrich Kiihn. Jan. 1906, 13:19. Photogravure. 16.8 x 22.8 cm. LOWER RIGHT: VIU. Poplars and Clouds, by Hans Watzek. Jan. 1906, 13:31. Photogravure. 21.1 x 13.3 cm.

WaKr-'^\jHi^t;^.

i

UPPER LEFT:

/.

George Frederick Watts, by Eduard

J.

Steichen.

Apr. 1906, 14:5. Original negative; photogravure. 21. i x.16.4 cm. UPPER RIGHT: //. William M. Chase, by Eduard J. Steichen. Apr. 1906, 14:7. Original negative; photogravure. 20.2 x 16.

cm.

38

LOWER (1906)

LEFT:

///.

Lilac Buds: Mrs.

S.,

by Eduard

J.

Steichen.

Apr. 1906, 14:9. Original negative; photogravure. 20.5 x 15.7 cm. LOWER RIGHT: IV. Moonlight: The Pond, by Eduard J. Steichen. Apr. 1906, 14:11. Original negative; photogravure. 16.

1

X 20.3 cm.

UPPER LEFT:

V.

The

Little

Round

Mirror, by Eduard

J.

Steichen.

Apr. 1906, 14:13. Original negative; photogravure. 21.3 x 14.2 cm, UPPER RIGHT: VI. The Little Model, by Eduard J. Steichen. Apr. 1906, 14:15. Original negative; photogravure. 20.8 x 16.1

LOWER LEFT: VU. The Brass Bowl, by Eduard J. Steichen. Apr. 1906, 14:29. Halftone. 19.2 x 16.2 cm. LOWER RIGHT: VUL The Flat iron Evening, by Eduard J. Steichen. Apr. 1906, cm.

—

14:31. Three-color halftone. 21.1 x 16.5 cm.

(igo6)

39

UPPER LEFT: The

Little

Galleries of the Photo-Secession, by

LEFT: The

Alfred Stieglitz.

UPPER RIGHT: The

LOWER

1906, 14:42. Halftone. 7.3 x 12.3 cm. Little Galleries of the Photo-Secession, by

Alfred Stieglitz. Apr. 1906, 14:42. Halftone. 7.4 x

40

LOWER

Alfred Stieglitz. Apr.

(1906)

12.3 cm.

Little Galleries

Apr.

RIGHT: The

1906,

of the Photo-Secession, by

14:43.

Halftone. 7.9 x 8.3

Little Galleries of the Photo-Secession,

Alfred Stieglitz. Apr. 1906, 14:43. Halftone. 7.4 x 10.5 cm.

cm.

by

UPPER LEFT:

—

IX. Mother and Child

Sunlight, by Eduard

J.

LOWER

LEFT:

/.

Maeterlinck, by Eduard

lower

Steichen. Apr. 1906, 14:53. Original negative; photogravure. 12.7 X 15.7 cm. UPPER RIGHT: X. Cover Design, by Eduard J.

SS:7. Halftone. 21.4 x 16.2 cm.

Steichen. Apr. 1906, 14:55. Colored halftone. 20.1 x 13.3 cm.

negative; photogravure. 20.6 x 15.5 cm.

Morgan,

Esq.,

by Eduard

J.

J.

Steichen. Apr. 1906,

right:

//.

/.

Pierpont

Steichen. Apr. 1906, SS:9. Original

iigo6)

41

UPPER LEFT:

///.

Duse, by Eduard

J.

Steichen. Apr. 1906, SS: 11.

Original negative; photogravure. 21.5 x 16.3 cm. IV. Portraits

—Evening, by Eduard

J.

Original negative; photogravure. 18.6 x 17.1 cm.

42

(1906)

UPPER RIGHT:

Steichen. Apr. 1906, 88:13.

LOWER

LEFT:

V. Wm. M. Chase, by Eduard J. 8teichen. Apr. 1906, 88:15. Original negative; photogravure. 20.7 x 16.5 cm. LOWER RIGHT: Steichen. Apr. 1906, S8: 17. Original VI. La Cigale, by Eduard J.

negative; photogravure. 16.0 x 17.9 cm.

^^^^.^Jr

JI^H^^^H

UPPER LEFT: XI. The Big White Cloud, by Eduard J. Steichen, Apr. 1906, $8:27. Halftone. 16.3 x 21. i cm. UPPER RIGHT: Xll. Landscape in

Two

Colors, by Eduard

J.

Steichen. Apr.

88:29. Two-color halftone. 16.1 x 17.7 cm.

44

(1906)

LOWER

1906,

LEFT: X/7/.

by Eduard J. 8teichen. Apr. 1906, 88:31. Halftone. cm. LOWER RIGHT: XIV. SoUtude, by Eduard J. 1 8teichen. Apr. 1906, 88:33. Original negative; photogravure. Profile,

20.1

12. 1

X

X

16.

16. 1

cm.

UPPER LEFT: XV.

Poster Lady, by Eduard

J.

Steichen. Apr. 1906,

88:35. Original negative; photogravoire. 17. i x 15.9 cm.

upper

—Moonrise, by Eduard x Apr. 1906, 88:37. Hand-toned photogravure. LOWER LEFT: Wter's Close —Edinburgh, by Alvin

RIGHT: XVI. Road into the Valley 8teichen.

20.6 cm.

J.

16.3

Langdon Coburn. July 1906, 15:5. Original negative; photo-

—

LOWER RIGHT: //. The Bridge Sunby Alvin Langdon Coburn. July 1906, 15:7. Original negaphotogravure. 19.6 x 15.8 cm.

gravure. 20.2 X 16.0 cm. light, tive;

/.

(1906)

4S

w^

UPPER LEFT:

///.

Langdon Coburn. July 1906, 15:13. Original negative; photogra-

LOWER

cm. UPPER RIGHT: IV. Decorative Study, by Alvin Langdon Coburn. July 1906, 15:11. Original negative; photogravure.

Langdon Coburn, by George Bernard Shaw. July 1906, 15:15.

(1906)

LOWER

LEFT: V. The Bridge

—London, by Alvin

20.3

X

16. 1

cm.

RIGHT:

of Alvin

vure.

20.0 X 16.2 cm.

46

After the Blizzard, by Alvin Langdon Coburn.

July 1906, 15:9. Original negative; photogravure. 16.2 x 21.0

VJ.

Portrait

Original negative; photogravure. 21.2 x 16.1 cm.

UPPER LEFT:

/. Experiment in Three-color Photography, by Eduard J. Steichen. July 1906, 15:31. Three-color halftone. 10.3 X 12.3 cm. UPPER RIGHT: /. No Title, by George H. Seeley. July 1906, 15:37. Photogravure. 11.9 x 15.2 cm. LOWER LEFT:

No

by George H. Seeley. July 1906, 15:39. Photogra19.2 cm. LOWER RIGHT: /. Toucques Valley, by Robert Demachy. Oct. 1906, 16:5. Gum; photogravure. 15.5 x 20.4 cm. //.

vure.

Title,

15.2 X

(1906}

47

UPPER LEFT:

Gum; trait

//.

A

Model, by Robert Demachy. Oct. 1906, 16:7. UPPER RIGHT: ///. Por-

photogravure. 17.4 x 15.0 cm.

—Mile.

D.,

by Robert Demachy. Oct. 1906, 16:9. Gum; LOWER LEFT: IV. Street in Lisieux, by

halftone. 20.6 x 15.2 cm.

48

(1906)

Robert Demachy. Oct. 1906, 16:11. Gum; halftone. 20.3 x 12.2 cm. LOWER RIGHT: V. Behind the Scenes, by Robert Demachy. Oct. 1906, 16:13. Gum; photogravure. 13.7 x 15. i cm.

UPPER LEFT:

Robert Demachy. Oct. 1906, 16:15. UPPER right; I. Montmartre, by C. Puyo. Oct. 1906, 16:25. Gum; halftone. 16.1 x 20.8 cm. LOWER LEFT; //. The Straw Hat, by C. Puyo. Oct. 1906, 16:27.

Gum;

VI. Study, by

halftone. 20.9 x 15. i cm.

Gum;

halftone. 21. i x 15.7 cm.

LOWER

the Light, by C. Puyo. Oct. 1906, 16:29.

RIGHT;

Gum;

Nude

—Against

halftone. 21. i x

14.5 cm.

(igo6)

4g

UPPER LEFT:

IV.

The Seine

at Clichy,

by Robert Demachy. Oct. UPPER RIGHT: 7.

1906, 16:31. Gum; halftone. 20.3 x 15.0 cm. Study, by Renee Le Begue. Oct. 1906, 16:41. vure. 21.7 X

$0

11.5 cm.

(igoS/igoy)

LOWER

LEFT:

//.

Gum;

photogra-

Study, by

Renee Le

Begue.

Oct.

LOWER

RIGHT:

1906, /.

16:43.

Gum;

halftone.

22.5

x

14.8

cm.

Lenore, by Joseph T. Keiley. Jan. 1907, 17:5.

Original negative; photogravure. 18.8 x 11.6 cm.

UPPER LEFT:

//.

The

Last Hour, by Joseph T. Keiley. Jan. 1907,

17:7. Original negative; photogravure. 12.0 x 19.1 cm.

RIGHT:

///.

Portrait

—Miss

De C,

UPPER

by Joseph T, Keiley. Jan.

1907, 17:9. Original negative; photogravure. 12.0 x 15.9 cm.

LOWER

LEFT: IV.

A

Garden

of

Dreams, by Joseph T. Keiley.

Jan. 1907, 17:11. Glycerine platinotype; halftone. 19. i x 13.9 cm. LOWER RIGHT: V. Spring, by Joseph T. Keiley. Jan. 1907,

17:13. Original negative; photogravure. 11. 2 x 18.5 cm.

(1907}

51

«i

UPPER LEFT:

VI.

A

Bit of Paris, by Joseph T. Keiley. Jan. 1907,

17:15. Glycerine platinotype; halftone. 19.8 x 11.8 cm.

UPPER

RIGHT: /. The Banks of Lethe, by F. Benedict Herzog. Jan. 1907, 17:25. Original negative; photogravure. 12.0 x 26.5 cm. LOWER

52

(7907)

LEFT:

//.

Tu'txt the Cttp

and the

Lip, by F. Benedict Herzog.

x 26.5 Rubincam. Jan.

Jan. 1907, 17:27. Original negative; photogravure. 10.4

cm.

LOWER

RIGHT:

/.

In the Circus, by Harry C.

1907, yi'.yi- Original negative; photogravure. 15.5 x 19.3 cm.

UPPER LEFT:

//.

Fish,

by A. Radclyffe EHigmore. Jan. 1907,

17:39. Original negative; photogravure. 14. i x 19.2 cm.

UPPER

RIGHT: Progress in Photo-Portraiture. 1. Portrait of Mr. Wotsname taken several years ago, by J. Montgomery Flagg. Jan. 1907, 17:46. Two-color halftone. 15.0 x 9.4 cm. LOWER LEFT:

Progress in Photo-Portraiture.

taken to-day, by

J.

II.

Montgomery

color halftone. 17.3 x 15.5 cm.

Field

— 18^0,

Portrait of the

same gentleman

TwoThe Onion

Flagg. Jan. 1907, 17:47.

LOWER

right:

/.

by George Davison. Apr. 1907, 18:5. Photogra-

vure. 15.4 X 20.4 cm.

(1907)

53

UPPER LEFT:

under the South Downs, by George Davison. Apr. 1907, 18:7. Photogravure. 11.5 x 16.8 cm. UPPER RIGHT: ///. A Thames Locker, by George Davison. Apr. 1907, 18:9. Photogravure. 11. 8 x 16.6 cm. LOWER LEFT: IV.

54

(1907)

//.

In a

Village

the Colne in Essex, by George Davison. Apr. Photogravure. 7.2 x 16.7 cm. LOWER RIGHT: V. 1907, 18:11. The Long Arm, by George Davison. Apr. 1907, 18:13. Photo-

Wyvenhoe on

gravure.

1

1.4

X 16.3 cm.

UPPER LEFT: Davison.

Apr.

VI. Berkshire

1907, 18:15. /. Mrs. Julia

Teams and Teamsters, by George Photogravure.

10.8

x

16.8

cm.

UPPER RIGHT: Ward Hone, by Sarah C. Sears. Apr. 1907, 18:33. Original negative; photogravure. 20.7 x 16.7

cm.

LOWER

LEFT:

//.

Mary, by Sarah C.

Sears.

Apr. 1907, 18:35. LOWER RIGHT:

Original negative; photogravure. 20.6 x 16.4 cm. /.

The

Spider, by William B. Dyer. Apr.

1907, 18:53.

Gum;

photogravure. 22.1 x 11.9 cm.

(1907)

55

II^V'

UPPER LEFT:

Craig Annan. July 1907, 19:11. Photogravure. 20.3 x 16.6 cm. UPPER RIGHT: V. Ploughing Team, by J. Craig Annan. July 1907, 19:13. Photogravure. 9.1

X 23.6 cm.

IV. Janet Burnet, by

LOWER

LEFT:

/.

J.

Pastoral

—Moonlight, by Eduard

J.

Steichen. July 1907, 19:35.

Hand-toned photogravure. 15.6 x Firefly, by George H. Seeley.

19.8 cm. LOWER RIGHT: Oct. 1907, 20:5. Original negative; photogravure. 20.1 x 15.6 cm. /.

The

(1907)

57

UPPER LEFT:

//.

The Black Bowl, by George H.

Seeley. Oct.

1907, 20:7. Original negative; photogravure. 20.5 x 15.4 cm. ///. Blotches of Sunlight and Spots of Ink, by George H. Seeley. Oct. 1907, 20:9. Original negative; photogra-

UPPER RIGHT;

vure. 20.6 X 15.5 cm.

58

(1907)

LOWER

LEFT: IV. The Burning of Rome,

by George H. Seeley. Oct. 1907, 20:11. Original negative; photogravure. 19.7 X 15.7 cm. LOWER RIGHT: V. Girl with Dog, by George H. Seeley. Oct. 1907, 20:13. Original negative; photogravure. 19.7 X 15.4 cm.

',.%*•

**f.

1 "

'

if

n ii

i

ii iii !

%,mm

H ji

iii'! !

i

:"

V'"i""

immmn p

!

'

''

T

im i**

"'^^

" j

*'*'"

**A

\ \

UPPER LEFT:

VI.

The White Landscape, by George H.

Seeley.

Oct. 1907, 20:15. Original negative; photogravure. 15.6 x 19.2

cm. UPPER RIGHT:

Snapshot — From my

Window,

New

York, /. by Alfred Stieglitz. Oct. 1907, 20:41. Original negative; photoFrom my gravure. 18.4 X 12.8 cm. LOWER LEFT: //. Snapshot

—

Window,

Berlin, by Alfred Stieglitz. Oct. 1907, 20:43. Original

negative;

photogravure. 21.0 x

Snapshot

—In

the

New

17.

i

cm.

LOWER

RIGHT:

York Central Yards, by Alfred

///.

Stieglitz.

Oct. 1907, 20:45. Original negative; photogravure. 19.2 x 15.6

cm.

(1907)

59

UPPER LEFT:

W. W.

Renwick. Oct. 1907, 20:47. Original negative; photogravure. 7.3 x 19.3 cm. UPPER RIGHT: 1908, 21:5. Gum /. El Toros, by Alvin Langdon Coburn. Jan. platinotype; photogravure. 23.8 x 12.8 cm. LOWER LEFT; //.

60

IV.

Nude, by

(igoj/ igo8)

by Alvin Langdon Coburn. Jan. 1908, 21:7. LOWER RIGHT:

Road

to Algeciras,

Gum

platinotype; photogravure. 19.6 x 17.5 cm.

///.

The Duck Pond, by Alvin Langdon Coburn.

21:9.

Gum

Jan.

platinotype; photogravure. 18.8 x 14.5 cm.

1908,

UPPER LEFT: 21:11,

Gum

IV. Rodin, by Alvin

RIGHT: V. Bernard Shaw, 21:13.

Gum

Langdon Coburn.

Jan. 1908,

platinotype; photogravure. 20.1 x 15.8 cm. lay

Alvin Langdon Coburn. Jan. 1908,

platinotype; photogravure. 20.9 x 16.4 cm.

LEFT: VI. Alfred

UPPER

Stieglitz, Esq.,

LOWER

1908, 21:15.

LOWER

Gum

RIGHT:

platinotype; photogravure.

VII.

The

Coburn. Jan. 1908, 21:33. 16.9 cm.

Bridge,

Gum

Venice, by

15.7 cm. diam.

Alvin Langdon

platinotype; halftone. 21.1 x

by Alvin Langdon Coburn. Jan.

(1908}

61

JBPi

^^^^

h^ptk^

\..

UPPER LEFT; XII. The Fountain at Trevi, by Alvin Langdon Coburn. Jan. 1908, 21:43. Gum platinotype; halftone. 20.7 x 16.7 cm. UPPER RIGHT: /. G. Bernard Shaw, by Eduard J. Steichen. 19.7

Apr.

1908,

X 14.4 cm.

22:7.

LOWER

Autochrome;

LEFT:

//.

On

four-color

halftone.

the House-boat

—"The

Steichen. Apr. 1908, 22:9. AutoJ. chrome; four-color halftone. 14.6 x 19.5 cm. LOWER RIGHT: ///. Portrait Lady H., by Eduard J. Steichen. Apr. 1908, 22:11. Autochrome; four-color halftone. 19.7 x 14.5 cm.

Log Cabin," by Eduard

—

(1908)

63

UPPER LEFT:

—Miss

Mary Everett, by Clarence H. White. July 1908, 23: 17. Original negative; photogravure. 21.8 x 15.6 cm. UPPER RIGHT: //. Morning, by Clarence H. White. July 1908, 23:19. Original negative; photogravure. 20.1 x 15.8 cm. LOWER LEFT: ///. The Arbor, by Clarence H. White. July 1908,

64

(1908)

/.

Portrait

23:21. Original negative; photogravure. 20.6 x 15.2 cm. LOWER RIGHT: IV. Lady in Black with Statuette, by Clarence H. White. July 1908, 23:23. Original negative; photogravure. 19.2 x 13.5

cm.

UPPER LEFT;

V. Boy!

Going

to School,

by Clarence H. White.

July 1908, 23:25. Original negative; photogravure. 20.4 x 15.5

cm.

UPPER RIGHT:

VI.

Laitdscape

—

W^inter,

by Clarence H.

White. July 1908, 23:27. Original negative; photogravure. Master Tom, by 15. 1 X 18.8 cm. LOWER LEFT: VII. Portrait

—

Clarence H. White. July 1908, 23:29. Original negative; photogravure. 20.9 X 15.6 cm. LOWER RIGHT: VIII. Boys Wrestling, by Clarence H. White. July 1908, 23:31. Original negative; photogravure. 21.4 X 15.4 cm.

(1908)

6s

UPPER LEFT:

IX.

The Pipes

of Pan, by Clarence H. White. July

1908, 23:33. Original negative; photogravure. 19.6 x 14.8 cm. UPPER RIGHT: X. Nude, by Clarence H. White. July 1908, 23:35. Original negative; photogravure. 15.5 x 18.0 cm. LOWER

LEFT: \7. Entrance to the Garden, by Clarence H. White. July

66

(1908)

1908, 23:37. Original negative; photogravure. 20.4 x 15.3 cm. RIGHT: Xll. Portrait Mrs. Clarence H. White, by

LOWER

—

Clarence H. White. July 1908, 23:39. Original negative; photogravure. 20.7 X 15.4 cm.

Drops of Rain, by Clarence H. White. July 1908, 23:41. Original negative; photogravure. 19.3 x 15.5 cm. UPPER RIGHT: XIV. Boy with Wagon, by Clarence H. White.

Clarence H. White. July 1908, 23:45. Original negative; photogravure. 19.9 X 15.0 cm. LOWER RIGHT: XVI. Girl with Rose, by Clarence H. White. July 1908, 23:47. Original negative; photo-

July 1908, 23:43. Original negative; photogravure. 19.7 x 15.7

gravure. 19.5 X 14.5 cm.

UPPER LEFT:

cm.

LOWER

XIII.

LEFT:

XV.

Portrait

—Mrs.

Harrington Mann, by

(1908)

67

i UPPER LEFT:

/.

Still Life,

by Baron A.

De

Meyer. Oct. 1908, UPPER RIGHT:

24:5. Platinotype; photogravure. 21.2 x 15.2 cm. //. Still

Life,

by Baron A.

De

Meyer. Oct. 1908, 24:7. PlatinoLOWER LEFT: ///. Still Life,

type; photogravure. 16.2 x 22.2 cm.

68

(1908)

m by Baron A.

De

Meyer. Oct. 1908, 24:9. Platinotype; photograLOWER RIGHT: IV. Still Life, by Baron A. De Meyer. Oct. 1908, 24:11. Platinotype; photogravure. 19. i x 15.5 cm. vure. 21.9 X 16.4 cm.

UPPER LEFT;

V. Mrs.

Brown

Potter,

by Baron A.

De

Meyer. Oct.

1908, 24:29. Platinotype; photogravure. 20.7 x 16.0 cm. UPPER right: VI. Guitar Player of Seville, by Baron A. De Meyer. Oct. 1908, 24:31. Platinotype; photogravure. 20.6 x 15.5 cm.

LOWER

LEFT: VII. Study of a Gitana, by Baron A.

De

Oct. 1908, 24:33. Platinotype; photogravure. 20.6 x 14.9 cm. York, by LOWER RIGHT: VIII. Over the House-Tops

—New

Wilmerding. Oct. 1908, 24:35. Original negative; photogravure. 15.1 x 19.0 cm.

William

E.

Meyer.

(1908)

6g

UPPER LEFT:

The

Letter, by Guido Rey. Oct. 1908, 24:41. x 15.2 cm. UPPER RIGHT: X. A Flemish Interior, by Guido Rey. Oct. 1908, 24:43. Photogravure. 21.2 x 15.5 cm. LOWER LEFT: /. Soul of the Blasted Pine, by Annie W.

IX.

Photogravure. 20.1

70

(igo8/igog)

Brigman. Jan. 1909, 25:5. Original negative; photogravure. 15.4 X 20.8 cm. LOWER RIGHT: //. The Dying Cedar, by Annie W. Brigman. Jan. 1909, 25:7. Original negative; photogravure. 23.2 X 13.7 cm.

UPPER LEFT:

rhe Brook, by Annie W. Brigman. Jan. 1909, 15.6 x 21.2 cm. UPPER RIGHT: IV. The Source, by Annie W. Brigman. Jan. 1909, 25:11. Original negative; photogravure. 23.6 x 13.8 cm. LOWER LEFT: V. The ///.

25:9. Photogravure.

W. Brigman. Jan. 1909, 25: 13. Original negaphotogravure. 16.0 x 23.4 cm. LOWER RIGHT: /. Girl with Parasol, by Ema Spencer. Jan. 1909, 25:25. Original negative; photogravure. 20.5 x 15.6 cm. Bubble, by Annie tive;

(7909;

7/

UPPER LEFT:

//.

Sentinels, by C. Yarnall Abbott. Jan.

25:27. Original negative; photogravure. 12.3 x 15.5 cm.

1909,

UPPER

Frank Eugene. Jan. 1909, /. Mr. Alfred Stieglitz, by 25:41. Original negative; photogravure. 16.3 x ii.i cm. LOWER

RIGHT:

72

(iQog)

LEFT: //. Lady of Charlotte, by Frank Eugene. Jan. 1909, 25:43. Original negative; photogravure. 11.4 x 8.2 cm. LOWER RIGHT: /.

Danish

Girl,

by Alice Boughton. Apr. 1909, 26:5. Photogra-

vure. 20.0 X 15.8 cm.

UPPER LEFT:

//.

Dawn, by

Alice Boughton. Apr. 1909, 26:7.

Sand and Wild

Photogravure. 19.4 x 15.3 cm. UPPER RIGHT: ///. by Alice Boughton. Apr. 1909, 26:9. Photogravure. 20.9 X 15.5 cm. LOWER LEFT: IV. Nature, by Alice Boughton.

Roses,

Apr. 1909, 26:11. Photogravure. 22.1 x 15.9 cm. LOWER RIGHT: V. Nude, by Alice Boughton. Apr. 1909, 26:13. Photogravure. 21.8 x 13.2 cm.

(1909)

73

^^H^l

UPPER LEFT:

//.

Egyptian Princess, by Herbert G. French. July

1909, 27:7. Original negative; photogravure. 21.6 x 16.0 cm.

UPPER right:

///. Iris, by Herbert G. French. July 1909, 27:9. Original negative; photogravure. 23.4 x 15.0 cm. lower LEFT:

IV. Illustration, No. 18, by Herbert G. French. July 1909, 27:11. Original negative; photogravure. 21.3 x 15.2 cm. LOWER RIGHT: V. Illustration,

No. 22, by Herbert G. French. July 1909, 27:13.

Original negative; photogravure. 17.3 x 9.8 cm.

(1909)

75

UPPER LEFT:

/.

Experiment 27, by Clarence H. White and

Stieglitz. July

1909, 27:37. Original negative; photogravure. 22.5 x 15.7 cm. LOWER RIGHT: IV. Torso, by Clarence H. White and Alfred

Clarence H. White and Alfred

Stieglitz.

Stieglitz. July

nal negative; photogravure. 20.5 x 15.8 cm.

76

Miss Mabel C, by Clarence H. White and Alfred

Alfred Stieglitz. July 1909, 27:33. Original negative; photogravure. 20.4 X 15.8 cm. UPPER RIGHT: //. Experiment 28, by

(igog)

1909, 27:35. Origi-

LOWER

LEFT:

///.

July

21.4 X 16.2 cm.

1909,

27:39. Original negative; photogravure.

UPPER LEFT:

V. Mrs. Rigby, by David Octavius Hill [and Robert Adamson}. Oct. 1909, 28:13. Original negative; photogravure. 20.3 X 14.9 cm. UPPER RIGHT: VI. Newhaven Fisheries, by David Octavius Hill [and Robert Adamson]. Oct. 1909,

28:15. Original negative; photogravure. 19.2 x 14.0 cm.

78

(1909)

LOWER

LEFT:

/.

House Near

Aix-les-Bains, by

George Davison. Oct.

1909, 28:29. Photogravure. 19.4 x 15.2 cm. LOWER RIGHT: /. Portrait Miss G. G., by Paul E. Haviland. Oct. 1909, 28:41. Photogravure. 19.3 x 15.8 cm.

—

—

Vecchio Florence, by Marshall R. Kernochan. Oct. 1909, 28:43. Photogravure. 21. i x 16.0 cib. UPPER RIGHT: 7. On the Embanknient, by Alvin Langdon

UPPER LEFT:

//.

Ponte

Coburn. Oct. 1909, 28:55. Photogravure. 22.1 x 16.4 cm.

LOWER

LEFT;

/.

Gid with Bowl, by George H.

Seeley. Jan. 1910, 29:5.

Original negative; photogravure. 19.9 x 16.0 cm. //.

Autumn, by George H.

Seeley. Jan.

LOWER

RIGHT:

1910, 29:7. Original

negative; photogravure. 20.2 x 15.9 cm.

(igog/igw)

79

UPPER LEFT:

///.

The white

Screen, by

George H.

Seeley. Jan.

1910, 29:9. Original negative; photogravure. 20.9 x 15.9 cm.

UPPER RIGHT:

IV.

The

Artist,

by George H. Seeley. Jan. 1910,

29:11. Original negative; photogravure. 20.0 x 15.8 cm.

80

(1910)

LOWER

LEFT: V. Conspiracy, by George H. Seeley. Jan. 1910, 29:13 LOWER RIGHT:

Original negative; photogravure. 15.4 x 19.2 cm. VI.

Nude

—The

Pool, by

George H.

Seeley. Jan.

Original negative; photogravure. 20.1 x 15.9 cm.

1910, 29:15

UPPER LEFT:

VII.

White

Trees, by

George H.

Seeley. Jan. 1910,

29:25. Original negative; pliotogravure. 19.7 x 15.6 cm. UPPER RIGHT: VIII. Spring, by George H. Seeley. Jan. 1910, 29:27. Original negative; photogravure. 19.5 x 15.7 cm. LOWER LEFT:

7.

Benjamin De

Photogravure.

Casseres, by

20.2

Hanako, by Marius

x

De

15.9

Marius De Zayas. Jan. 1910, 29:41. cm. LOWER RIGHT: //. Madame

Zayas. Jan. 1910, 29:43. Photogravtire.

21.3 X 16.2 cm.

(igio)

81

4^

UPPER LEFT:

Adam and

/.

Eve, by Frank Eugene. Apr. 19 lO,

30:5. Original negative; photogravure. 17.6 x 12.6 cm.

RIGHT: Eugene.

//.

Princess

Apr.

1910,

17.5 X 12.0 cm.

UPPER

Rupprecht and Her Children, by Frank 30:7.

LOWER

Original

LEFT:

///,

negative;

Apr. 1910, 30:9. Original negative; photogravure. 17. i x 12. i cm. RIGHT: IV. Master Prank Jefferson, by Frank Eugene.

LOWER

Apr. 1910, 30:11. Original negative; photogravure. 17.3 x 12.5

photogravure.

Rebecca, by Frank Eugene.

(1910)

83

B^^

UPPER LEFT:

IX. Minuet, by Frank Eugene. Apr. 19 lo, 30:59.

Original negative; photogravure. 12.5 x 17.5 cm.

X.

Brigitta,

tive;

UPPER RIGHT:

by Frank Eugene. Apr. 191 o, 30:61. Original nega11.8 x 16.8 cm. LOWER LEFT: /. H.R.H.

photogravure.

Rupprecht, Prince of Bavaria, by Frank Eugene. July 1910, 31:5. Original negative; photogravure. 23.3 x 16.5 cm. LOWER RIGHT: //. Fritz V. Uhde, by Frank Eugene. July 1910, 31:7. Original negative; photogravure. 17.6 x 12.5 cm.

(igio)

55

FRANZ^fSTVCK

UPPER LEFT:

86

LOWER

Adolf Hengeler, by Frank Eugene. July 17.0 x 12.2 cm. UPPER RIGHT: IV. Prof. Franz v. Stuck, by Frank Eugene. July

RIGHT: VI. Prof. Adolf

1910, 31:11. Original negative; photogravure. 17.0 x 12.0 cm.

31:15. Original negative; photogravure. 16.2 x 12. i cm.

///.

Prof.

1910, 31:9. Original negative; photogravure.

(1910)

LEFT:

V.

Willi Geiger, by Frank Eugene. July

31:13. Original negative; photogravure. 17.6 x 12.7 cm. v.

Seitz,

1910,

LOWER

by Frank Eugene. July 1910,

UPPER LEFT:

VIII.

Dr. Georg Hirih, by Frank Eugene. July

1910, 31:17. Original negative; photogravure. 17.0 x 12.0 cm. UPPER RIGHT: VII. Dr. Emanuel Lasker and His Brother, by

Frank Eugene. July 1910, 31:19. Original negative; photograErl. v. S., by vure. 17.0 X 12.4 cm. LOWER LEFT: IX. Kiniono

—

Frank Eugene. July 1910, 31:37. Original negative; photogra17.3 X 12.4 cm. LOWER RIGHT: X. Prau Ludwig von

vure.

Hohlwein, by Frank Eugene. July 1910, 31:39. Original negative; photogravure. 12.3 x 17.6 cm.

(igio)

87

UPPER LEFT:

XI.

Nude

—A

Child, by Frank Eugene. July 1910,

cm. UPPER

31:57. Original negative; photogravure. 17.2 x 12.0 RIGHT: Xll. "Hortensia," by Frank Eugene. July 1910, 31:59. Original negative; photogravure. 17.4 x 12.4 cm. LOWER LEFT: J

(igio)

XIII.

Nude

—A

Study,

by Frank Eugene. July

Original negative; photogravure. 12.0 x 16.8 cm.

XIV. Direktor

F.

1910, 31:61.

LOWER RIGHT:

Goetz, by Frank Eugene. July 1910, 31:63.

Original negative; photogravure. 12.5 x 17.4 cm.

I

1

s

UPPER LEFT:

/.

East

&

West, by

J.

Craig Annan. Oct. 1910,

32:5. Original negative; photogravure. 20.6 x 15.6 cm.

RIGHT:

//.

Man

Sketching, by

J.

UPPER

Craig Annan. Oct. 1910, 32:7. LOWER LEFT:

Original negative; photogravure. 21.0 x 16.0 cm.

///.

Harlech Castle, by

negative;

J.

Craig Annan. Oct. 1910, 32:9. Original cm. LOWER RIGHT: IV.

photogravure. 21.5 x 15.1

Bolney Backwater, by

J.

Craig Annan. Oct. 1910, 32:

1 1.

Original

negative; photogravure. 23.3 x 14.2 cm.

(1910)

8g

j^j^el:

-'W

UPPER LEFT:

V.

The White House, by

J.

Craig Annan. Oct.

1910, 32:13. Original negative; photogravure. 19.6 x 17.4 cm. UPPER RIGHT: /. Photogravure of Draiving, by Henri Matisse. Oct. 1910, 32:29. Photogravure. 23.0 x 17.3 cm.

90

(igio)

lower

left:

Photogravure of Drawing, by Henri Matisse. Oct. 1910, 32:31. Photogravure. 17.7 x 22.8 cm. LOWER RIGHT: I. Ninth Movement, by Gordon Craig. Oct. 1910, 32:37. Photogravure.

II.

19.8 X 15.7 cm.

UPPER LEFT:

/.

Alvin Langdon Coburn and His Mother, by

Clarence H. White. Oct. 1910, 32:45. Photogravure. 21. i x 15.8 cm. UPPER RIGHT: /. Portrait Meine Mutter, by Heinrich Kuehn. Jan. 191 1, 33:5. Gum; photogravure. 19.8 x 14.7 cm.

—

LOWER LEFT: //. On the Shore, by Heinrich Kuehn. Jan. 191 1, 33:7. Gum; photogravure. 21.5 x 15.4 cm. LOWER RIGHT: ///. Windblotim, by Heinrich Kuehn. Jan. 191 1, 33:9. Gum; photogravure. 19.3 X 13.7 cm.

(igio/ igii)

9/

UPPER LEFT: Jan. 191

1,

IV.

33:11.

Harbour of Hamburg, by Heinrich Kuehn.

Gum;

photogravure. 21.7 x 12.0 cm.

UPPER

RIGHT: V. Portrait, by Heinrich Kuehn. Jan. 1911, 33:13- Gum; photogravure. 17.7 x 14.2 cm. LOWER LEFT: VI. Portrait, by

92

(1911)

Heinrich Kuehn. Jan. 191 1, 33:15. Gum; photogravure. 17.7 x The Mirror, by Heinrich 14. 1 cm. LOWER RIGHT: VII. Portrait Kuehn. Jan. 191 1, 33:17. Gum; photogravure. 18.4 x 14.3 cm.

—

UPPER LEFT: 33:37.

Gum;

RIGHT:

IX.

33:39.

Gum;

VIII. Landscape,

by Heinrich Kuehn. Jan. 191 1,

mezzotint photogravure. 12.2 x 15.6 cm. UPPER

On

the Dunes, by Heinrich Kuehn. Jan. 191 1, mezzotint photogravure. 11.5 x 15.7 cm. LOWER

LEFT: X. Study, by Heinrich Kuehn. Jan. 1911, 33:41. Gum; mezzotint photogravure. 18.7 x 13.8 cm. LOWER RIGHT: XI.

Winter Landscape, by Heinrich Kuehn.

Jan. 191

1,

33:43.

Gum;

mezzotint photogravure. 11.8 x 16.4 cm.

(igil)

93

UPPER LEFT:

Sailing Boats, by Heinrich

Gum;

plex halftone. 20.3 x 14.3 cm.

XII. Venice, by Heinrich Kuehn. Jan. 191 1, 33:53. duplex halftone. 19.6 x 14.8 cm. UPPER RIGHT: Xlll. Lotte and Her Nurse, by Heinrich Kuehn. Jan. 1911, 33:55. Gum; duplex halftone. 18.3 x 14.6 cm. LOWER LEFT: XIV.

94

(191 1)

Kuehn. Jan. 1911, 33:57. Gum; duLOWER RIGHT: XV. Landscape, by

Heinrich Kuehn. Jan. 1911, 33: 14.6 cm.

59.

Gum; duplex

halftone. 19.3 x

UPPER LEFT:

/.

M. Auguste Rodin, by Eduard

J.

Steichen. Apr./

July 191 1, 34/35:5. Original negative; photogravure. 23.9 x The Open Sky, by Eduard 16.5 cm. UPPER RIGHT: //. Balzac

—

J.

Steichen. Apr. /July 1911, 34/35:7. Original negative; photoLOWER LEFT: ///. Balzac Towards the

gravure. 20.3 X 15.6 cm.

—

Light. Midnight, by

Eduard

J.

Steichen. Apr./ July 191

1,

34/

35:9. Original negative; photogravure. 15.7 x 20.2 cm. LOWER RIGHT: IV. Balzac The Silhouette, 4 a. m., by Eduard J. Steichen. Apr./July 1911, 34/35:11. Original negative; photo-

—

gravure. 16.0 X 20.5 cm.

(igii)

95

fb

'J

^i^h^

.^^.

1^

I

< Jr UPPER LEFT;

Z.

Photogravure of Drawing, by Auguste Rodin.

Apr./July 1911, 34/35:25. Photogravure. 18.5 x 13.6 cm. upper RIGHT: //. Photogravure of Drawing, by Auguste Rodin. Apr./ July

g6

191

1,

(1911)

34/35:27. Photogravure. 19.4 x 15.7 cm.

LOWER

LEFT:

///.

Cambodian Dancer, by Auguste Rodin. Apr./July

1911, 34/35:37. Colored collotype. 24.1 x 18.4 cm. lower RIGHT: IV. Drawing, by Auguste Rodin. Apr./July 191 1, 34/ 35:39. Colored collotype. 26.8 x 18.5 cm.

V

^/,VX.

UPPER LEFT:

V. Drawing, by Auguste Rodin. Apr./July 1911, 34/35:41. Colored collotype. 24.2 x 18.6 cm. UPPER RIGHT: VI. Drawing, by Auguste Rodin. Apr./July 1911, 34/35:43- Colored collotype. 26.1 X 18.4 cm. LOWER LEFT: Vll. Drawing (Sun

by Auguste Rodin. Apr./July 1911, 34/35:57- Colored X 18.6 cm. LOWER RIGHT: Vlll. Drawing (Sun Series), by Auguste Rodin. Apr./July 191 1, 34/35:59- Colored Series),

collotype. 28.8

collotype. 18.4 X 28.8 cm.

(1911)

97

UPPER LEFT:

IX. Drawing, by Auguste Rodin. Apr./ July 191 1, 34/35:61. Collotype. 25.8 X 17.0 cm. UPPER right: /. The City of Anibitiofi (igioj, by Alfred Stieglitz. Oct. 191 1, 36:5. Original negative; photogravure. 22.1 x 16.7 cm. LOWER LEFT: //. The

98

(1911)

City Across the River ('7970), by Alfred Stieglitz. Oct. 191

Original negative; photogravure. 19.9 x 15.8 cm. ///.

The Ferry Boat (igjo), by Alfred

LOWER

Stieglitz. Oct.

Original negative; photogravure. 20.8 x 16.1 cm.

191

1.

36:7.

RIGHT: 1,

36:9.

UPPER LEFT:

IV. The Mauretania (1910), by Alfred Stieglitz. 36:11. Original negative; photogravure. 20.8 x 16.2 cnri. UPPER RIGHT: V. Lower Manhattan (1910), by Alfred Sneghtz. Oct. 191 1, 36:13, Original negative; photogravure. 15-9 X 19.7 cm. LOWER LEFT: VI. Old and New New York Oct. 191

1,

(1910), by Alfred Stieglitz. Oct. 191 1, 36:15. Original negative; photogravure. 20.2 x 15.7 cm. lower right: VII. The Aeroplane (1910), by Alfred Stieglitz. Oct. 191 1, 36:25. Original negative; photogravure. 14.3 x 17.4 cm.

(1911)

99

UPPER LEFT: Oct. 191

1,

cm. UPPER

VIII.

A

Dirigible (1910), by Alfred Stieglitz.

36:27. Original negative; photogravure. 17.7 x 17.9 RIGHT: IX. The Steerage (190J), by Alfred Stieglitz.

36:37. Original negative; photogravure. 19.6 x 15.7 cm. LOWER LEFT: X. Excavating New York (1911), by Alfred

Oct. 191

100

1,

(igii)

—

Stieglitz.

12.6 X

Oct.

191

15.6 cm.

1,

36:39. Original negative; photogravure. RIGHT: XI. The Swimming Lesson

LOWER

(1906), by Alfred Stieglitz. Oct. 191 photogravure. 14.7 x 22.9 cm.

1,

36:41. Original negative;

UPPER LEFT:

XII.

The Pool— Deal (1910), by Alfred

Stieglitz.

Yards (1903), by Alfred

Stieglitz.

Oct. 1911, 36:43. Original negative; photogravure. 12.5 x 15.7

negative; photogravure.

Hand of Man (1902), by Alfred 191 1, 36:57. Original negative; photogravure. 15.8 X 21.4 cm. LOWER LEFT: XIV. In the New York Central

The Terminal (1892), by Alfred

cm. UPPER RIGHT: XIII. The Stieglitz.

Oct.

19.3

Oct.

191

x 15.8 cm.

1,

36:59. Original

LOWER right: XV.

Stieglitz.

Oct.

191

1,

36:61.

Original negative; photogravure. 12.0 x 15.8 cm.

(1911)

1 01

UPPER LEFT: XVI. Spring Showers, Alfred Stieglitz. Oct. 191 vure. 22.9 X 9.1 cm.

1,

New

York (1900), by

son]. Jan. 1912, 37:5. Original negative; photogravure. 21.5 x

36:63. Original negative; photogra-

15.9 cm. LOWER RIGHT: //. The Marquis of Northampton, by David Octavius Hill [and Robert Adamson]. Jan. 1912, 37:7.

UPPER RIGHT:

/.

Drawing, by Pablo

Picasso.

191 1, 36:71. Halftone. 27.9 x 17.2 cm. LOWER LEFT: /. Principal Haldane, by David Octavius Hill [and Robert Adam-

Oct.

102

(1^11/ igi2)

Original negative; photogravure. lo.o x 14.9 cm.

Handyside Ritchie and Wm. Henning, by David Octavius Hill [and Robert Adamson]. Jan. 1912, 37:9. Original negative; photogravure. 21.4 x 15.8 cm. UPPER RIGHT: IV. Sir Francis Grant, P. R. A., by David Octavius Hill [and

UPPER LEFT;

///.

Robert Adamson}. Jan. 1912, 37:11. Original negative; photogravure. 20.0 X 14.8 cm. LOWER LEFT: V. Mrs. Anna Brownell

Jameson, by David Octavius Hill [and Robert Adamson], Jan. 1912, 37:13. Original negative; photogravure. 20.4 x 14.7 cm.

LOWER RIGHT: VI. Lady in Black, by David Octavius Hill [and Robert Adamson}. Jan. 1912, 37:29. Original negative; photogravure. 20.8 X 15.7 cm. (igi2}

103

Lady in Flowered Dress, by David Octavius Hill [and Robert Adamson]. Jan. 19 12, 37:31. Original negative; photogravure. 20.6 x 15.7 cm. UPPER RIGHT: VIII, Girl in Strati' Hat, by David Octavius Hill [and Robert Adamson].

cm. LOWER LEFT: IX. Mr. Rintoid, Editor "Spectator," by David Octavius Hill [and Robert Adamson]. Jan. 1912, 37:35. Original negative; photogravure. 20.3 x 14.9 cm. LOWER RIGHT: /. The Cleft of the Rock, by Annie W. Brigman. Apr. 191 2, 38:5.

Jan. 1912, 37:33. Original negative; photogravure. 21.5 x 15.9

Original negative; photogravure. 23.8 x 12.9 cm.

UPPER LEFT:

104

(1912)

VII.

UPPER LEFT;

//.

Daivn, by Annie

W.

Brigman. Apr.

38:7. Original negative; photogravure. 10.5 x 24.3 cm.

1912,

UPPER

by Annie W. Brigman. Apr. 191 2, 38:9. Original negative; photogravure. 13.5 x 23.9 cm. LOWER LEFT; RIGHT;

///.

Finis,

IV.

The Wondrous Globe, by Annie W. Brigman. Apr. 191 2,

Original negative; photogravure. 12.1 x 19.9 cm. LOWER RIGHT; V. The Pool, by Annie W. Brigman, Apr. 1912, 38; 13. Original negative; photogravure. 23.6 x 12.4 cm. 38;

1 1.

(igi2)

105

UPPER LEFT;

/.

Ducks, Lake Como, by Karl

F. Struss.

Apr. 1912,

38:25. Original negative; photogravure. 17.7 x 15.8 cm.

RIGHT:

//.

Struss.

Apr.

Sufiday

1912,

19.6 X 16.2 cm.

106

(igi2)

Morning 38:27.

LOWER

Chester,

///.

Scotia,

by Karl

F.

negative;

photogravure.

The Outlook,

Villa Carlotta,

Original

LEFT:

Nova

UPPER

Apr. 191 2, 38:29. Original negative; photoLOWER RIGHT; IV. On the East River, Neiv York, by Karl F. Struss. Apr. 1912, 38:31. Original negative; photogravure. 19.9 x 16.0 cm.

by Karl

F. Struss.

gravure. 19.4 X 15.9 cm.

UPPER LEFT:

V. Capri, by Karl F. Struss. Apr.

Original negative; photogravure. 19.8 x 16.0 cm. VI.

The Landing

Place, Villa Carlotta,

by Karl

1912, 38:49.

UPPER RIGHT: F. Struss.

Apr.

1912, 38:51. Original negative; photogravure. 21.6 x 15.9 cm. LEFT: VIL Over the House Tops, Missen, by Karl F.

Struss.

Apr.

1912,

23.0 X 12.5 cm.

38:53.

LOWER

Original

negative;

RIGHT: Vlll. The

photogravure.

Cliffs,

Sorrento, by

Apr. 1912, 38:55. Original negative; photogravure. 20.8 X 15.7 cm.

Karl

F. Struss.

LOWER

(igi2)

lo-j

2

UPPER LEFT: 191

2,

/.

The Spanish Shawl, by Paul

B. Haviland. July

39:5. Original negative; photogravure. 22.2 x

UPPER RIGHT:

//.

The Japanese

15.9 cm.

Lantern, by Paul B. Haviland.

July 1912, 39:7. Original negative; photogravure. 20.6 x 15.7

108

(1912)

cm.

LOWER

LEFT:

///.

Miss Doris Keane, by Paul B. Haviland

July 1912, 39:9. Original negative; photogravure. 20.6 x 15.^ cm. LOWER RIGHT: IV. Totote, by Paul B. Haviland. July 191

39:11. Original negative; photogravure. 21.0 x 16.0 cm.

"

n.~ei.-