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TTred Stieglit#
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^ WORKAfICTORIAL GUID^^
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V With Reprodugtions ofAll 5591^*
Illustrations Elates, Fully Indexed•Jr^sS.
Edited by Marianne Fji|f(^juMargolis C
DOVER PHOTOGRAPHYCOLLECTIONS
New York in the Thirties, Berenice Abbott. (22967-X) $6.50
Photographic Views of Sherman's Campaign, George N. Barnard.
(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
Esther Bubley's World of Children in Photographs, Esther Bubley.
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Great Composers in Historic Photographs, James Camner (ed.).
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Great Conductors in Historic Photographs, James Camner (ed.).
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Cruickshank's Photographs of Birds of America, Allan D. Cruick-
shank. (23497-5) $7.95
Photo-Secession, Robert Doty. (23588-2) $5.95
Great News Photos and the Stories Behind Them, John Faber.
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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) $6.95
New York Nocturnes, Peter Fink. (24299-4) $5.95
Photographic Sketchbook of the Civil War, Alexander Gardner.
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Lewis Carroll, Photographer, Helmut Gemsheim. (22327-2) $4.50
Men at Work, Lewis W. Hine. (23475-4) $4.00
Women at Work, Lewis H. Hine. (24154-8) $6.00
Nineteenth-Century South America in Photographs, H.L. HofTenberg.
(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
New York in the Sixties; Photographs by Klaus Lehnartz, Klaus Leh-
nartz. (23674-9) $6.00
Old Philadelphia in Early Photographs, 1839-1914, Robert F. Looney
(ed.). (23345-6) $8.95
Mr. Lincoln's Camera Man, Mathew B. Brady, Roy Meredith.
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(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 WorkA PICTORIAL GUIDEWith Reproductions of All 559 Illustrations
and Plates, Fully Indexed
ALFRED STIEGLITZEdited by Marianne Fulton Margolis
DOVER PUBLICATIONS, INC, NEW YORK
and The International Museum of Photography
at George Eastman House, Rochester
ACKNOWLEDGMENTS
I wish to thank the following people at the International
Museum of Photography: Robert Doherty, Director, Andrew
Eskind, Assistant Director, and Robert Sobieszek, Associate
Curator, for their support; Gretchen 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
computer; and W. Paul Rayner, co-editor of Image, and Jose
Orraca, former Conservator, for their advice. I especially want
to thank Martha E. Jenks, Director of the Archives, for her
help and encouragement.
David Vance, President of the Museum Computer Network,
selected the appropriate data classification for use in the com-
puterization of the work. Alan Klotz and his graduate class
provided the initial impetus for this project. Thaddeus Bukow-
ski designed the original information forms and John Prater
worked with Mr. Vance on the special problems of computer-
izing a manuscript.
I also appreciate the cooperation and assistance of Dorothy
Norman and Jonathan Green.
For generous and valuable advice, I wish to thank Clarence
Strowbridge and Thomas Baker of Dover Publications. Also,
scholar, poet, writer, critic. Dr. Deba P. Patnaik always knew
which of his talents to apply in times of need.
I am most grateful to my husband, Richard Margolis, with-
out whose knowledge of photography and unceasing con-
fidence in me this work could not have been completed.
Copyright © 1978 by Dover Publications, Inc.
All rights reserved under Pan American and International Copy-
right Conventions.
Published in Canada by General Publishing Company, Ltd., 30
Lesmill Road, Don Mills, Toronto, Ontario.
Published in the United Kingdom by Constable and Company,
Ltd., 10 Orange Street, London WC2H 7EG.
"Camera Work": A Pictorial Guide is a new work, first published
by Dover Publications, Inc., in 1978.
International Standard Book Number: 0-486-235^1-2
Library of Congress Catalog Card Number: 77-85410
Manufactured in the United States of America
Dover Publications, Inc.
180 Varick Street
New York, N.Y. 10014
CONTENTS
PAGE
Introduction vii
Bibliography xiii
Note on the Contents and Glossary of Terms xv
Chronological Picture Index 1
Index of Artists 141
Index of Titles 147
Index of Sitters 155
INTRODUCTION
In the fifty numbers of Camera Work, published be-
tween the years 190^ and 1917, there appeared some of the
finest examples of photography and modernist art. Cam-
era Work chronicled the introduction of modern Euro-
pean art into America—three years before the Armory
show, it published plates of Rodin's and Matisse's draw-
ings. It recorded public and journalistic reaction to this
modern art by reprinting reviews from the newspapers. In
addition, as a forum for the discussion and criticism of new
work, it acted as a catalyst in the fight to have photog-
raphy accepted as a medium of artistic expression. The
editorial staff stated in issue number i
:
The time appearing ripe for the publication of an inde-
pendent American photographic magazine devoted
largely to the interests of pictorial photography, "Camera
Work" makes its appearance as the logical outcome of
the evolution of the photographic art.'
During this evolution of photographic art, one primary
question had always been whether a machine could indeed
produce a work of art. Various views were expounded,
and while most people felt that photography could not
rival the combination of creativity and hand work found
in painting, they appreciated its ability to preserve people
and places and the freedom it gave painting to explore
new areas.
Lady Elizabeth Eastlake ( 1S09-1893) wrote that photog-
raphy's legitimate business was "to give evidence of facts,
as minutely and as impartially as, to our shame, only an
unreasoning machine can give."" She stated the crux of
the argument against photography as a fine art in 1857:
The power of selection and rejection, the living applica-
tion of the language which lies dead in his paint-box,
the marriage of his own mind with the object before
him, and the offspring, half stamped with his own fea-
tures, half with those of Nature, which is born of the
union—whatever appertains to the free-will of the in-
telligent being, as opposed to the obedience of the
machine,—this, and much more than this, constitutes
that mystery called Art, in the elucidation of which
photography can give valuable help, simply by showing
what it is not;''
In an article written in 1859, Baudelaire declared that it
was time for photography "to return to its true duty,
which is to be the servant of the sciences and arts—but
the very humble servant, like printing or shorthand, which
have neither created nor supplemented literature."*
Baudelaire feared that by imitating the extreme accuracy
of photography, art would fall away from its reliance on
creative imagination and concern itself only with super-
ficial reality.
But pictorial photography sought to break away from
its designation as a mindless purveyor of facts and achieve
control over its subject matter and mechanical short-
comings. Thus, through obvious manipulation, photog-
raphers hoped to show that they were part of the art tradi-
tion. Their first consideration was the choice of subject
matter. "High Art" photography of the 1850s concerned
itself with depicting scenes from literature, as in William
Lake Price's Don Quixote in his Study, the Bible, in Head
of St. John the Baptist by O. G. Rejlander, and allegory,
such as Rejlander 's Tivo Ways of Life. In these produc-
tions, models were dressed or undressed in accordance
with the theme, with props and backgrounds also lending
themselves to the illusion. Decisions about placing, drap-
ing and focusing all were made before the picture was
taken. After the negative was developed, the photog-
rapher could retouch the negative to add or delete details,
and could even combine negatives or paste-up prints and
rephotograph them to form a new image.
Henry Peach Robinson (1830- 1901) argued that to
"admit that photographers had no control over their sub-
jects would be to deny that the works of one photographer
were better than another, which would be untrue."^ The
method he proposed and taught was combination 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
added to the overall effect. By "building" an image in the
vtt
darkroom not only could a photographer compensate for
the film's inability to record true tones for both sky and
land 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 composite picture, and taught that
pictorial effect was achieved in photography with the
same principles of composition used in academic painting.
The photographer was instructed to learn the laws which
governed the arrangement of the picture so that he would
be capable of producing "an agreeable presentation of
forms and tones, to tell the story which is to be elucidated,
and to embody the spirit of what it is intended the picture
shall represent or suggest.""
In the 1880S, Peter Henry Emerson (1856-1936) pas-
sionately rebuked any kind of constructed picture, in part
because the separate portions of the picture printed with
separate negatives failed to allow for a center of interest.
Having everything in focus tended to diffuse the power
of the subject: "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 can be."' Not only did Emerson feel
that this was not art, but he also felt that it was not
natural. He believed that when one looked at a scene the
subject was clear, and that other sections fell away and
were thus less defined.* He therefore suggested a proce-
dure called "differential focusing," also known as soft
focusing (although he was careful to advise students not
to abuse the technique by overdoing it). Robinson had
also taught that detail was an inherent quality of photog-
raphy and should be preserved. He advocated a dramatic
approach to the staging of a photograph which resulted in
a rather artificial look at life. R. Child Bayley later con-
demned mid-Victorian photography for these tendencies,
claiming that "able workers lost themselves in morasses
of false sentiment, and swamps of elaborate theatrical
unrealities."* Emerson, however, whose theory of composi-
tion was based on the ability to see and choose a beautiful
subject, deplored the manipulation of the negative. Hewanted the photograph to be true to the way he sup-
posed man saw. His approach was based on the scientific
discoveries of Hermann von Helmholtz's Physiological
Optics, and not on a desire to make painterly photographs.
Late Victorian photographers such as Emerson had the
advantage of commercially made dry plates; these enabled
the photographer to develop negatives at his convenience
rather than only while the emulsion was still wet. The
increased sensitivity of both paper and negatives brought
new aesthetic possibilities, such as a wider tonal range,
and along with the faster film hand cameras were devel-
oped. The photographer was finally freed from the studio
as well as the posed subject and painted backdrop. But
even though photographers now had new tools that pro-
vided sharp, vibrant prints, many pictorialists who felt
they were following Emerson's advice produced out-of-
focus, "impressionistic" images. Llewellen Morgan in The
Amateur Photographer reported that "little details are
interesting to the scientist, but of no value to the artist."^"
For all pictorialists, the primary interest lay in artistic
expression of a non-documentary nature. In other words,
the pictorialist used the photographic subject as a means
to an end: to achieve a satisfactory result, he might em-
phasize a certain feature of the composition to alter its
significance and meaning.
To sum up the situation when Camera Work appeared
on the scene, "pictorialism" was synonymous with "artis-
tic" and applied to a wide variety of styles; and unlike
today, when the distinctions between documentary and
art photography have blurred, documentary work was
seen as an objective method of recording or reporting
facts which did not imitate painting, and consequently
could not be aesthetic.
In the early stages of photography man's interest was
captured by the camera's ability to record facts; today,
the artist's aim is to make it record his impressions of
the fact, and to express in the print his personal feeling.^'
Some groups of pictorial workers formed large camera
clubs which sponsored photographic exhibitions. These
organizations provided a place for photographers to meet
and share 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-
raphers social functions were an important part of the
appeal.
Over the years the largest of these groups dedicated to
the advancement of photography became lax in their
standards of achievement. Perhaps it was a question of
becoming more democratic: rules regarding admission to
shows were loosened, allowing for a greater cross section
of work to be shown. Those photographers genuinely
committed to photography as a means of personal expres-
sion became increasingly disgruntled with the large, con-
servative photographic establishments and began to break
away.
The first important exhibit sponsored by a new group
was the Viennese Photographic Salon of i8gi sponsored
by the Vienna Camera Club, which included in its mem-
vm Introduction
bership Heinrich Kiihn (1866- 1944), Dr. Hugo Henne-
berg (1863-1918) and Hans Watzek (1849-1905). In 1892,
fifteen members of the Royal Photographic Society with-
drew from the club and formed the Linked Ring. The
Photo-Club de Paris was organized in 1894 and included
Robert Demachy (d. 1937) and Commandant Puyo. Agroup show at the National Arts Club in New York City
in 1902 marked the founding of the Photo-Secession by
Alfred Stieglitz.
By igo2, Stieglitz ( 1864-1946) was an internationally
famous photographer. As a student in Berlin he had
studied photochemistry with Professor Vogel and had wonover a hundred medals in photography competitions. After
returning to the United States in 1 890 he became a partner
in the Heliochrome Company ( later the Photochrome
Engraving Company ) , a photoengraving business. He also
served as editor of the American Amateur Photographer
from 189^ to 1896. When the Society of Amateur Photog-
raphers merged with the New York Camera Club, he
became vice-president of the new Camera Club of NewYork and created the quarterly Camera Notes.
Stieglitz had encountered difficulties during his man-
agement of the American Amateur Photographer because
of his staunch insistence 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
to strengthen the club's interest in photography by re-
organizing the Publications Committee and converting
the club publication, a small journal of activities and
meetings, into the full-scale commercial periodical Camera
Notes. The magazine was successful in attracting those
seriously interested in photography, but in doing so it
created factions within the club. It became apparent that
Stieglitz could not operate Camera Notes the way he felt
he must, nor could he change the views of his opponents.
So in 1 90 1, when the opportunity presented itself to hang
a "select" exhibition of photographs in New York City
at the National Arts Club, Stieglitz accepted. He called it
"An Exhibition of Photography Arranged by the Photo-
Secession."
The term "Secession" was borrowed from a group of
modern painters in Austria and Germany. Eduard Steichen
(1879-1 973) explained;
Secessionists of Munich . . . gave, as the reason of their
movement, the fact that they could no longer tolerate the
set convictions of the body from which they detached
themselves, a body which exists on conventions and
steieotyped formulae, that checked all spirits of origi-
nality instead of encouraging them, that refused its ear to
any new doctrine—such groups gave birth to secession.'^
In 1902 Stieglitz resigned as editor of Camera Notes
and prepared a new, independent quarterly, Camera
Work. The quarterly was the "mouthpiece" of the Photo-
Secession, and as such Stieglitz pledged:
Only examples of such work as gives evidence of in-
dividuality and artistic worth, regardless of school, or
contains some exceptional feature of technical merit, or
such as exemplifies some treatment worthy of considera-
tion, will find recognition in these pages. ^^
The printing was of primary importance. In forty-eight
of the fifty numbers published, a page was devoted to
describing the printing methods of the illustrations.
Stieglitz was particularly careful to point out which
images were made from the original negatives; these were
considered original prints. In a special insert in number
12, Stieglitz pointed out that the gravures were thought
to 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 tissue,
which held the delicate tones of the original. These hand-
pulled plates were then tipped into each copy by the
small Camera Work staff. A. Radclyffe Dugmore's gravure
A Study in Natural History (Jan. 1903, 1:55) is a good
example of the time taken to create a beautiful magazine.
The photogravure picture of young birds was printed on
Japan tissue, which was mounted in the center of a heavy
gray page over a cream-colored mount, all in order to
enhance the soft white feathers of the birds' breasts.
The illustration 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.
Evans (1853- 1943) was allowed to use an English printer
to avoid sending his original prints to America. The result
was completely unsatisfactory to Stieglitz, who wrote
:
Imagine our consternation upon the arrival of the edi-
tion to find that the work was uneven, not up to proof,
and in most cases far below that standard which we had
every reason to expect. It was then too late to do aught
than make the best of a bad job, feeling that we have
only ourselves to blame fot having broken our rule. . . .
For our own sakes, who have striven to make the
illustrations of Camera Work as perfect as possible, hav-
ing spared no expense or pains, we feel disappointed
that this number should leave our hands and we not
satisfied with it. It shall never happen again. 1*
Introduction IX
But perhaps Camera Work's greatest contribution was
as a forum for debate, both on the questions of what in
photography could be admissible as art and on the
theories of modern art in general. A solid basis for modern
criticism was formed in articles written by such people as
R. Child Bayley, Charles H. Caffin, Robert Demachy,
Frederick H. Evans, Sadakichi Hartmann, Joseph T.
Keiley, George Bernard Shaw and Eduard Steichen. Al-
though most pieces were written especially for use in
Camera Work, reviews and controversial articles from
other magazines and newspapers were reprinted.
The photographic honesty vs. manipulation contro-
versy, for instance, was a recurring theme in Camera
Work's pages. In 1907 Robert Demachy, famous for his
gum and oil prints, restated Lady Eastlake's objection to
photography as being too mechanical to be art, but offered
a way out—the manipulated print:
The photographic character is, and always has been, an
anti-artistic character, and the mechanically-produced
print from an unrerouched negative will always have in
the eyes of a true artist faults in values and absence of
accents against which the special qualities so loudly pro-
claimed will not count for much.^^
George Bernard Shaw then replied that the photographer
who uses painterly methods "fails in respect for his art.
He is a traitor in the photographic camp."'^ Frederick
Evans pointed out that the basis of pure, straight photog-
raphy was the perfect negative; how many "gummists,"
he wondered, could say that and also maintain that the
gum print produced the ideal rendering of that perfect
negative?" Steichen, in an earlier article, had come out in
favor of manipulation by maintaining that, due to lati-
tudes in exposure and development, all photography was
manipulated to a certain degree. Each piece, Steichen
claimed, should be regarded as an "original."
Stieglitz's position evolved slowly during the Camera
Work years. During a talk at the National Arts Club in
1902, Stieglitz reportedly had taken the view that "the
result was the only fair basis for judgment and that it was
justifiable to use any means upon negative or paper to
attain the desired end."'** However, the next year in
Camera Work editorial opinion endorsed Gertrude Kase-
bier's work as "absolutely straight photography, being in
no way faked, doctored or retouched."" The critical lan-
guage grew stronger, and in the last number of CameraWork Stieglitz wrote of Paul Strand's pictures: "The work
is brutally direct. Devoid of all flim-flam; devoid of
trickery and of any 'ism;' devoid of any attempt to mystify
an ignorant public, including the photographers them-
selves."^"
Thus over the years the story-telling aspect of pictori-
alism was dropped. In Stieglitz's work especially there
appeared a de-emphasis of artificial subject matter, manip-
ulation, and any sort of "impressionism," and in their
place a concern for pattern and design relationships be-
came apparent. With pictures like The Steerage (igoj)
(Oct. 1911, 36:37) and The Pool—Deal (1910) (Oct.
191 1, 36:43) he broke away from the noble thought or
the beautifully rendered scene and began to experiment
with the inherent qualities of the medium. In 1923 he
wrote, "My photographs look like photographs—and ( in
the eyes of the 'pictorial photographers') they therefore
can't be art."'^
Stieglitz's growing impatience with painterly tech-
niques was made evident in two ways : he began to exhibit
modern European paintings and sculpture, and in 1910 he
organized a grand finale to the fine-art fight of pictori-
alism—the International Exhibition of Pictorial Photog-
raphy at the Albright Art Gallery in Buffalo.
The Little Galleries of the Photo-Secession had opened
in 1905 with an exhibition of work by the members. The
practice of two-week-long photographic exhibitions be-
tween November and May was broken in 1907 when
Stieglitz put up a show of drawings by Pamela Coleman
Smith. Aftet 1908, when the galleries were moved across
the hall and renamed "291," a variety of American and
European avant-garde work was presented. In the next
ten years, between 1908 and the gallery's closing in 1917,
only ten more photographic shows were hung. In response
to those who protested the showing of drawings at 291,
Camera Work reminded its readers that the idea of "seces-
sion" did not belong to the photographic 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."'"
The 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 sum up the develop-
ment and progress of photography as a means of pictorial
expression. The Invitation Section consists largely of the
work of photographers of international reputation Amer-
ican and foreign, whose work has been the chief factor
in bringing photography to the position to which it has
now attained.--''
The work was submitted by Secessionists and non-
Secessionists from Europe and America and was hung as
a series of one-man shows. The crowds were large, the
press enthusiastic. Paradoxically, perhaps, even though
the exhibition was a huge success and gave the photo-
Introduction
graphic art movement the attention it desired, many
photographers (including Stieghtz) had already grown
impatient with Victorian aesthetic. The Photo-Secession
as a group essentially disbanded due to differing opinions
and a fragmenting of goals.
Stieglitz had expressed his feelings about the impor-
tance of this seminal group earlier in Camera Work:
Though the individual American photographer was sub-
ordinated to the success of the cause, yet, in its success,
the individual was enabled to achieve, and did achieve, a
far greater distinction than could ever have been his
portion if he had been compelled to rely on his unaided
effort. . .."
Camera Work continued publication until 1917. Dur-
ing these last seven years, Stieglitz steered the magazine
towards a more modern sensibility, both literary and vis-
ual. 1(1 the April/July 191 1 issue, collotype reproductions
of Rodin's drawings were published. The August 1912
issue, the first "special" issue since the earlier Steichen
Supplement, presented the work of Matisse and Picasso
along with the first published piece by Gertrude Stein.
Also during this period Camera Work encouraged a re-
discovery of the early masters, David Octavius Hill and
Robert Adamson, and Julia Margaret Cameron. Their
pictures reinforced the movement towards the unmanip-
ulated, "straight" approach, culminating in the work of
Paul Strand, whose bold surface design and urban-oriented
pictures expressed perfectly the ideals of Camera Work,
Stieglitz and modern photography.
Strand himself stated in 1917 that "the whole develop-
ment of photography has been given to the world through
Camera Work. . .." He concluded:
The existence of a medium, after all, is its absolute jus-
tification, if as so many seem to think, it needs one and
all, comparison of potentialities is useless and irrelevant.
Whether a watercolor is inferior to an oil, or whether a
drawing, an etching, or a photograph is not as important
as either, is inconsequent. To have to despise something
in order to respect something else is a sign of impotence.
Let us rather accept joyously and with gratitude every-
thing through which the spirit of man seeks to an ever
fuller and more intense self-realization.'^
NOTES
Alfred Stieglitz, "An Apology," Camera Work, Jan.
1903, 1:15.
Lady Elizabeth Eastlake, "Photography," in Beaumont
Newhall, ed.. On Photography: A Source Book of Photo
History in Facsimile (Watkins Glen, N.Y.: Century
House, 1956), p. 102.
Ibid., p. 106.
Charles Baudelaire, "The Modern and Photography," in
Newhall, p. 106.
Henry Peach Robinson, Pictorial Effect in Photography
(1869; reprint ed., Pawlet, Vt.: Helios, 1971), p. 13.
Ibid., p. 21.
Peter Henry Emerson, Naturalistic Photography (Lon-
don: Sampson Low, Marston, Searle & Rivington,
1889), p. 151.
Ibid., p. 150.
R. Child Bayley, "Pictorial Photography," Camera Work,
Apr. 1907, 18:23.
Llewellen Morgan, "Aids to Picture Making by Photog-
raphy, for Beginners," The Amateur Photographer, 5
Apr. 1901, 33:283.
Charles H. Caffin, Photography as a Vine Art (1901;
reprint ed., Hastings-on-Hudson, N.Y.: Morgan &Morgan, 1971 ), p. 95.
12.
IS-
M-
16.
17-
18.
19-
20.
21.
22.
23-
2425-
Eduard Steichen, "The American School," Camera Notes,
6:1:22.
Stieglitz, loc. cit.
"Our Illustrations," Camera Work, Oct. 1903, 4:25.
Robert Demachy, in "Monsieur Demachy and English
Photographic Art," Camera Work, Apr. 1907, 18:44.
George Bernard Shaw, in ibid., p. 45.
Frederick H. Evans, in ibid., p. 46.
John Francis Strauss, "The 'Photo-Secession' at the Arts
Club," Camera Notes, 6: i : 34.
"The Pictures in this Number," Camera Work, Jan.
1903, I -.6^.
"Our Illustrations," Camera Work, June 1917, 49/50:36.
Dorothy Norman, "From the Writings and Conversa-
tions of Alfred Stieglitz," Twice A Year, Fall-Winter
1938,1:98.
"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.
Quoted in Bayley, pp. 26-27.
Paul Strand, "Photography," Camera Work, June 1917,
49/50:3-
Introduction xt
BIBLIOGRAPHY
Anderson, Paul L. Pictorial Photography: Its Principles and
Practice. Philadelphia: J. B. Lippincott, 1917.
Borcoman, James. An Inquiry into the Aesthetics of Photog-
raphy. Toronto; Society for Art Publications, 1975.
Bry, Doris. Alfred Stieglitz: Photographer. Boston: Museum
of Fine Arts, 1965.
Caffin, Charles H. Photography as a Fine Art. 1901. Reprint.
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1972.
Dijkstra, Bram. The Hieroglyphics of a New Speech: Cub-
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Bibliography
NOTE ON THE CONTENTSAND GLOSSARY OF TERMS
This book is, in essence, made up of four indexes. Thefirst (pp. 1-140) is a complete, illustrated chronological
inventory of all photographs and other illustrations ap-
pearing in Camera Work, advertisements excepted. Thesecpnd index (pp. 141-146) lists the illustrations alpha-
betically by artist, the third (pp. 147-153) by title, and
the fourth (pp. 155-157), which applies to portraits only,
by the name of the sitter.
The first index is the most complete. It lists for each
illustration the artist's name exactly as it appeared with
the picture; the title, if any was given; the month, vol-
ume and page of the issue (including the actual publica-
tion month in the case of delayed issues ) ; the photo-
graphic process ( both the printing method used in CameraWork and, where applicable, the process used in the
original print) ; and the dimensions of the illustration as
it appeared in the magazine. The artist and title indexes
suppress the extra bibliographical information about the
dates, the process and the dimensions; the artist index
however, attempts to give more complete forms of names.
The sitter index lists only the full name of the sitter, as
determined by the editor, and the page location.
Camera Work usually grouped its illustrations into
sections that stood apart from the text portions of the
magazine, and Roman numbers were frequently assigned
to the pictures in each group. These numbers have been
retained in these indexes as integral parts of the titles,
primarily to help distinguish different photographs with
the same name.
Camera Work pagination has been determined from
the original issues and not from the Kraus reprint edition
found in most libraries. The abbreviation "SS" denotes
the special, unnumbered Steichen Supplement (Apr.
1906) and "SN" refers to a "Special Number." It should
also be noted that no illustrations appeared in number 47(July 1914, published Jan. 1915).
Throughout each index, material in parentheses repre-
sents alternate spellings or other discrepancies that ap-
peared in Camera Work from time to time; bracketed
material represents this editor's additions, such as the
identification of an illustration with no title or the presen-
tation of a more complete form of an artist's name.
GLOSSARY OFPHOTOGRAPHIC PROCESSES
In the main chronological index (pp. 1-140) the photo-
graphic processes related to each photograph are listed.
Where one process only is given, this is the method of
reproduction used to produce the print published in Cam-era Work; where two are listed, the second is this Camera
Work process and the first is the process used to make the
original print which Camera Work reproduced from. In
this glossary the entries are thus arranged with printing
processes grouped at the beginning and reproduction
processes nearer to the end.
CARBON PROCESSIn this process unsensitized paper was coated with
either gelatin containing carbon black or pigment color or
with commercially made carbon tissue. The paper was
then sensitized in a bichromate bath and allowed to dry.
During contact printing in daylight, areas of the carbon
tissue hardened in proportion to the amount of light the
negative permitted. After exposure the print was devel-
oped in water, washing away those areas of carbon not
hardened by the light.
The top of the carbon tissue formed a tough "skin"
during exposure so that the underside next to the paper
was still soluble. Because of this property, the carbon
tissue had to be transferred to another sheet of paper; this
differentiated the carbon process from other light-hardened
emulsions. The transferred image was reversed left to
right and could be transferred a second time onto a third
piece of paper ( the double transfer was also known as an
autotype )
.
GUMThis popular process is most often associated with the
Europeans Robert Demachy and Heinrich Kiihn but was
XV
also widely used in this country at the turn of the
century.
Paper was coated with a sensitized gum arabic and
allowed to dry in a dark room. As in the carbon process,
the photograph was contact-printed, developed in water
and dried. However, in the gum process the photographer
had the option of adding layers of other color by recoating
the paper and proceeding as in the first layer.
Because the paper was hand-coated, areas of the nega-
tive could simply be left out by not applying gum to that
portion of the paper. Manipulation of the surface could
also be accomplished during development by rubbing or
brushing the soft emulsion.
OZOTYPEThe ozotype process was similar to both carbon and
gum processes because unsensitized paper could be coated
with either gum or a commercially made sensitized gela-
tin. Also as with carbon and gum, the gelatin or gumemulsion hardened with exposure to light and the soluble
portions were washed away during development.
A pigment plaster (paper coated with pigment gelatin)
was soaked in acid and applied to the image surface. Thecolor of the plaster was picked up by the surface of the
original print and the paper backing on the plaster was
pulled away. While the photograph was still damp the
surface could be manipulated with a soft brush. No trans-
fer of image was required.
PLATINUM/PLATINOTYPEThese 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
photographers of the time bought ready-made platinum
paper, which was then available.
The paper, much admired for its permanency and wide
range of tones, was contact-printed until the image was
lightly visible ("printed out") and then developed to the
desired intensity.
GLYCERINE/GLYCERINE PLATINOTYPEA glycerine print was a manipulated platinum print. A
combination of glycerine and developer was brushed on
desired areas of a normally developed platinotype to alter
the appearance of the print.
orange, green and blue-violet were dusted over a piece of
glass which had been coated with adhesive varnish to
form a single layer. The grains were then crushed against
the glass to form a mosaic pattern. Any remaining open-
ings between grains were filled with finely 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.
Because the plate was placed in the camera with the
glass side toward the lens, the light passed through the
dyed starch grains, which served as selective, microscopic
color filters, before it reached the color-sensitive emul-
sion. Thus, when red light reflected of? an apple, it passed
through only the red-orange starch grains and exposed
only that section of the emulsion. After the plate was
developed, a pattern of exposed red-orange, green and
blue-violet points emerged. These were so miniscule that
when the plate was held up to the light, a positive color
picture could be seen.
PHOTOGRAVUREIn 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-
pending on the thickness of the carbon. The depth of the
etched area determined the relative darkness of the
printed image when the desired printing paper was pressed
against the cleaned and inked intaglio plate.
DUOGRAVUREAn image made by double printing on a gravure press,
duogravure was used to deepen tones or to add color.
COLLOTYPECollotype was an ink printing process in which a glass
printing plate was coated with bichromated gelatin that
reticulated during the drying process. The plate was con-
tact-printed with a negative and then washed, leaving a
positive image formed by the light-hardened gelatin.
A dilution of glycerine and water was then applied to
the surface and absorbed into the areas of less hardened
gelatin. As in lithographic printing, the ink was repelled
from those areas where water had been absorbed, leaving
a positive ink image on the hardened gelatin.
AUTOCHROMEPerfected during the years 1904-1907 by the Lumiere
brothers, the autochrome was the first commercially suc-
cessful color transparency. Grains of starch dyed red-
HALFTONEA commercial reproduction process that prepared a
continuous tone image for printing by a process of reduc-
ing the image to a dot pattern. The dots varied in size,
xvi Note on the Contents
the largest carrying more ink and therefore printing the DUOTONEdarkest areas, the middle sizes printing the half or middle By using a double printing on a halftone press from the
tones and the smallest printing highlights. same monochrome original, duotone achieved a two-color
A high-contrast negative was made of the desired effect,
photograph by placing the grated screen between the film
and the photograph. This caused the screen to be super- MEZZOTINT PHOTOGRAVUREimposed onto the original image. The halftone image was In this process a special screen pattern was used to pro-
transferred to a treated printing plate used for offset duce a screened image on a gravure press for a hand-
reproduction, 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: ///.
Blessed Art Thou Among Women, by Gertrude 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 Stieglitz. Jan. 1903,
1:47. Original negative; photogravure. 15.6 x 21.3 cm. UPPERRIGHT: A Study in Natural History, by A. Radclyffe Dugmore.
Jan. 1903, 1:55. Original negative; photogravure. 11.2 x 17.2
cm. LOWER LEFT: /. Rodin, by Eduard J. Steichen. Apr. 1903,
2:5. Gum; photogravure. 21. i x 16.0 cm. LOWER right: //. ThePool, 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,
2:9. Gum, photogravure. 21.3 x 16.1 cm. upper right; IV.
Dawn-flowers, by EduardJ. Steichen. Apr. 1903, 2:11. Original
negative; photogravure. 14.8 x 19.5 cm. LOWER left: V.
(1903)
Bartbolotne, by Eduard J. Steichen. Apr. 1903, 2:13. Original
negative; photogravure. 20.8 x 15.1 cm. LOWER RIGHT: VI.
Dolor, by Eduard J. Steichen. Apr. 1903, 2:15. Original nega-
tive; photogravure. 19.2 x 14.8 cm.
UPPER LEFT: VII. Lenbach, by Eduard J.Steichen. Apr. 1903,
2:17. Gum; photogravure. 20.3 x 15.8 cm. UPPER RIGHT: VIll.
Besnard, by EduardJ.
Sreichen. Apr. 1903, 2:20. Gum; half-
tone. 17.4 X 13. 1 cm. LOWER left: IX. Portrait, by Eduard J.
Steichen. Apr. 1903, 2:37. Gum; halftone. 16.8 x 13. i cm.
LOWER RIGHT: X. Nude with Cat, by Eduard J.Steichen. Apr.
1903, 2:39. Gum; halftone, ii.o x 13.7 cm.
{1903^
UPPER LEFT: XL Judgment of Paris—A Landscape Arrange-
ment, by Eduard J. 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; pho-
togravure. 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. UPPERRIGHT: V. Ring Toss, by Clarence H. White. July 1903, 3:14.
Gum; color halftone. 17.5 x 13,7 cm. LOWER LEFT: The Break-
fast in Bed, by Mary Cassatt. July 1903, 3:19. Halftone. 9.2 x
1 1.2 cm. LOWER RIGHT: The Old Basin of Dunkirk, by E.
Boudin. July 1903, 3:19. Halftone. 7.7 x 11.3 cm.
(1903}
UPPER LEFT: The Admiral's Wife, by Rembrandt. July 1903,
3:29. Halftone. 15.8 x 12.6 cm. upper right: Untitled [silhou-
ette photograph], by Ward Muir. July 1903, 3:35. Halftone.
1 1.4 X 8.5 cm. LOWER LEFT: Untitled [silhouette photograph],
8 (1903)
by Ward Muir. July 1903, 3:37. Halftone. 6.4 x 8.6 cm. LOWERRIGHT: /. 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. UPPER RIGHT: ///. The
Street—Design 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
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.
10 (1903)
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 E. Becher. Oct. 1903, 4:51. Gum; colored half-
tone. 17.0 X 12.9 cm. LOWER RIGHT: /. hi Brittany, by Robert
Demachy. Jan. 1904, 5:5. Gum; photogravure. 13.1 x 20.1 cm.
(igo^/igo4) 11
UPPER LEFT; //. Street in Mentone, by Robert Demachy. Jan.
1904, 5:7. Gum; photogravure. 16.3 x 12.7 cm. 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
72 (ig04}
Demachy. 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.
??r.
t*^
'*. y
UPPER LEFT: VI. Strtiggle,hY Robert Demachy. Jan. 1904, 5:16.
Gum; halftone. 19.4 x 12. i cm. UPPER RIGHT; /. '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
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. LOWER LEFT: IV. Mother and Child—
14 (1904)
A Study, by Alvin Langdon Coburn. Apr. 1904, 6:11. Photo-
gravure. 18.0 X 14.6 cm. LOWER RIGHT: V. The Bridge—Ipswich,
by Alvin Langdon Coburn. Apr. 1904, 6:13. Photogravure.
19.2 X 14.9 cm.
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: //. Storm Light, by Will A. Cadby.
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.
(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 LEFT:
/. Behind the Scenes, by Robert Demachy. July 1904, 7:29.
Gum; halftone. 19.2 x 9.5 cm. lower right: //. Speed, by
Robert Demachy. July 1904, 7:31. Gum; halftone. 12.4 x 17.9 cm.
(1904) 17
UPPER LEFT: /. Sadakichi Hartmann, by Eduard J. Steichen.
July 1904, 7:49. Gum; halftone. 11.9 x 15. i cm. upper right:
//. The Perry, Concarneau, by Mary Devens. July 1904, 7:51.
Ozotype; halftone. 12.2 x 15.5 cm. lower left: /, A Franciscan,
18 (1904)
Venice, by J. Craig Annan. Oct. 1904, 8:5. Photogravure.
19.6 X 13.8 cm. LOWER RIGHT: //. On a Dutch Shore, by J.Craig
Annan. Oct. 1904, 8:7. Photogravure. 15.0 x 23.0 cm.
UPPER LEFT: ///. Frau Mathasius, byJ.
Craig Annan. Oct. 1904,
8:9. Photogravure. 20.6 x 15.5 cm. UPPER RIGHT: IV. Prof.
John Young, of Glasgow University, by J. Craig Annan. Oct.
1904, 8: 11. Photogravure. 19.8 x 15.3 cm. LOWER LEFT: V. The
Riva 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.
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: Un-
titled [silhouette of Stieglitz], by J. B. Kerfoot. Oct. 1904, 8:29.
Letterpress. 5.2 x 3.2 cm. (approx.). LOWER LEFT: Untitled
20 (1904)
[silhouette of Steichen], by J. B. Kerfoot. Oct. 1904, 8:30. Let-
terpress. 4.5 X 2.8 cm. (approx.). lower right: Untitled [sil-
houette of Coburn], by J. B. Kerfoot. Oct. 1904, 8:30. Lettet-
press. 5.5 X 3.8 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.
Photogravure. 21.0 x 16.2 cm. lower right: In Sure and Cer-
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. Jan. 1905,
9:5. Original negative; photogravure. 20.5 x 15.6 cm. UPPERRIGHT: //. 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,"
by Clarence H. White. Jan. 1905, 9:9. Original negative; photo-
gravure. 19.6 X 13.9 cm. LOWER RIGHT: IV. Boy with Camera
Work, by Clarence H. White. Jan. 1905, 9:11. Original negative;
photogravure. 19.2 x 14.5 cm.
22 (1905)
JoJin W Beaftij Jr. •/iissister Kfiifienne.
Eluobeth • — -AnnoDofii l,9°5 '
"
UPPER LEFT: V. The Beatty Children, by Clarence H. White.
Jan. 1905, 9:13. Original negative; photogravure. 21.4 x 14.3
cm. UPPER RIGHT: VI. Portrait of Clarence H. White, by Eduard
J. Steichen. Jan. 1905, 9:15. Original negative; photogravure.
21.3 X 16. 1 cm. LOWER LEFT: /. Head of a Young Girl, by Eva
Watson-Schiitze. Jan. 1905, 9:29. Original negative; photogra-
vure. 19.8 X 13.6 cm. LOWER RIGHT: //. Portrait Study, by Eva
Watson-Schiitze. Jan. 1905, 9:31. Original negative; photogra-
vure. 21.0 X 16.3 cm.
(190s) 23
UPPER LEFT: ///. The Rose, by Eva Watson-Schiitze. Jan. 1905,
9:33. Gum; halftone. 21.3 x 7.9 cm. UPPER RIGHT: 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; pho-
togravure. 22.3 X 17.2 cm. LOWER RIGHT: //. The Picture-book,
by Gertrude Kasebier. Apr. 1905, 10:7. Original negative; pho-
togravure. 21.2 X 16.5 cm.
&^:^ii._jMP
UPPER LEFT; ///. Portrait—Mrs. Philip Lydig, by Gertrude
Kasebier. Apr. 1905, 10:9. Original negative; photogravure.
20.3 X 14.7 cm. UPPER RIGHT: IV. Happy Days, by Gertrude
Kasebier. Apr. 1905, 10:11. Original negative; photogravure.
20.5 X 16.5 cm. LOWER LEFT: V. My Neighbors, by Gertrude
Kasebier. Apr. 1905, 10:13. Original negative; photogravure.
21.4 X 16.6 cm. LOWER RIGHT: VI. Pastoral, by Gertrude
Kasebier. Apr. 1905, 10:15. Original negative; photogravure.
21. 1 X 16.6 cm.
(1905) 25
'^^i,. /
UPPER LEFT: Untitled, by Outamaro. Apr. 1905, 10:29. Half-
tone. 18.7 X 1 1.9 cm. UPPER RIGHT: In the Garden, by ThomasW. Dewing. Apr. 1905, 10:31. Halftone. 7.3 x 13.0 cm. LOWER
26 (190s)
LEFT: Spring, by Botticelli. Apr. 1905, 10:31. Halftone. 8.3 x
12.9 cm. LOWER RIGHT: /. A Coryphee, by C. Yarnall Abbott.
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-
togravure. 29.1 X 2 I.I cm. LOWER LEFT: /. Dr. Munro [Monro],
by David Octavius Hill [and Robert Adamson]. July 1905,
11:5. Original negative; photogravure. 20.8 x 15.5 cm. LOWER
RIGHT: //. Mrs. Rigby, by David Octavius Hill [and Robert
Adamson}. July 1905, 11:7. Original negative; photogravure.
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; photo-
gravure. 19.9 X 14.7 cm. UPPER RIGHT: IV. John Gibson Lock-
hart, by David Octavius Hill [and Robert Adamson]. July 1905,
11: II. Modern reprint; halftone. 18.7 x 13.9 cm. LOWER LEFT:
V. "Christopher North" (Professor Wilson), by David Octavius
Hill [and Robert Adamson]. July 1905, 11:13. Modern reprint;
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.
28 (1905)
UPPER LEFT: 7. Rodin—Le Penseiir, by Eduard J.Steichen. July
1905, 11:35. Gum; halftone. 14.6 x 18.3 cm. UPPER RIGHT:
II. Portrait of a Young Man, by Eduard J. Steichen. July 1905,
11:37. Gum; halftone. 12.0 x 14.6 cm. LOWER LEFT: ///.
L'Effort, by Robert Demachy. July 1905, 11:39. Gum; halftone.
20.5 X 15.0 cm. LOWER RIGHT: I. Rain from the Hills, by A.
Horsley Hinton. July 1905, 11:53. Platinotype; photogravure.
19.7 X 14.6 cm.
f/905; 29
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A
4
'I
UPPER LEFT: //. Beyond, by A. Horsley Hinton. July 1905,
11:55. Platinotype; photogravure. 14.2 x 18.7 cm. UPPER RIGHT:
/. Horses (11)04), by Alfred Stieglitz. Oct. 1905, 12:5. Original
negative; photogravure. 22.8 x 18.2 cm. LOWER LEFT: //. Win-
ter—Fifth Avenue (1892), by Alfred Stieglitz. Oct. 1905, 12:7.
Original negative; photogravure. 21.7 x 15.2 cm. LOWER RIGHT:
///. Going to the Start (1904), by Alfred Stieglitz. Oct. 1905,
12:9. Original negative; photogravure. 21.2 x 18.9 cm.
30 (1905)
UPPER LEFT: IV. Spring (1901), by Alfred Stieglitz. Oct. 1905,
12:11. Original negative; photogravure. 15.7 x 12.5 cm. UPPERRIGHT: V. Nearing Land (1904), by Alfred Stieglitz. Oct. 1905,
12:13. Original negative; photogravure. 21.4 x 17.3 cm. 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
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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. 1905, 12:21. Carbon; halftone. 20.4 x 12.6 cm. LOWER
32 (1905)
LEFT: X. September (1899), by Alfred Stieglitz. Oct. 1905,
12:23. Gum; halftone. 15.8 x 11.4 cm. LOWER RIGHT: Untitled,
unidentified. Oct. 1905, 12:31. Halftone. 21.0 x ii.o cm.
UPPER LEFT; Untitled [Prince Felipe Prospero], by Velasquez.
Oct. 1905, 12:39. Halftone. 15. i x 11.8 cm. upper right: /.
Marcella, by F. Benedict Herzog. Oct. 1905, 12:53. Original
negative; photogravure. 20.3 x 17. i cm. LOWER LEFT: //. Angela,
34 (1905)
by F. Benedict Herzog. Oct. 1905, 12:55. Original negative; pho-
togravure. 20.8 X 17.0 cm. LOWER RIGHT: ///. The Tale of
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,
13:5. Photogravure. 23.8 x 12.7 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
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. 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.
^6 (1906)
WaKr-'^\jHi^t;^.
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.
i
cm. LOWER LEFT: ///. Lilac Buds: Mrs. S., by Eduard J.Steichen.
38 (1906)
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
cm. 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 Flatiron—Evening, by Eduard J. Steichen. Apr. 1906,
14:31. Three-color halftone. 21.1 x 16.5 cm.
(igo6) 39
UPPER LEFT: The Little Galleries of the Photo-Secession, by
Alfred Stieglitz. Apr. 1906, 14:42. Halftone. 7.3 x 12.3 cm.
UPPER RIGHT: The Little Galleries of the Photo-Secession, by
Alfred Stieglitz. Apr. 1906, 14:42. Halftone. 7.4 x 12.3 cm.
40 (1906)
LOWER LEFT: The Little Galleries of the Photo-Secession, by
Alfred Stieglitz. Apr. 1906, 14:43. Halftone. 7.9 x 8.3 cm.
LOWER RIGHT: The Little Galleries of the Photo-Secession, by
Alfred Stieglitz. Apr. 1906, 14:43. Halftone. 7.4 x 10.5 cm.
UPPER LEFT: IX. Mother and Child—Sunlight, by Eduard J.
Steichen. Apr. 1906, 14:53. Original negative; photogravure.
12.7 X 15.7 cm. UPPER RIGHT: X. Cover Design, by Eduard J.
Steichen. Apr. 1906, 14:55. Colored halftone. 20.1 x 13.3 cm.
LOWER LEFT: /. Maeterlinck, by EduardJ.
Steichen. Apr. 1906,
SS:7. Halftone. 21.4 x 16.2 cm. lower right: //. /. Pierpont
Morgan, Esq., by EduardJ.
Steichen. Apr. 1906, SS:9. Original
negative; photogravure. 20.6 x 15.5 cm.
iigo6) 41
UPPER LEFT: ///. Duse, by Eduard J.Steichen. Apr. 1906, SS: 11.
Original negative; photogravure. 21.5 x 16.3 cm. UPPER RIGHT:
IV. Portraits—Evening, by Eduard J. Steichen. Apr. 1906, 88:13.
Original negative; photogravure. 18.6 x 17.1 cm. LOWER LEFT:
42 (1906)
V. Wm. M. Chase, by EduardJ.
8teichen. Apr. 1906, 88:15.
Original negative; photogravure. 20.7 x 16.5 cm. LOWER RIGHT:
VI. La Cigale, by EduardJ.
Steichen. Apr. 1906, S8: 17. Original
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. 1906,
88:29. Two-color halftone. 16.1 x 17.7 cm. LOWER LEFT: X/7/.
44 (1906)
Profile, by Eduard J. 8teichen. Apr. 1906, 88:31. Halftone.
20.1 X 16. 1 cm. LOWER RIGHT: XIV. SoUtude, by Eduard J.
8teichen. Apr. 1906, 88:33. Original negative; photogravure.
12. 1 X 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
RIGHT: XVI. Road into the Valley—Moonrise, by Eduard J.
8teichen. Apr. 1906, 88:37. Hand-toned photogravure. 16.3 x
20.6 cm. LOWER LEFT: /. Wter's Close—Edinburgh, by Alvin
Langdon Coburn. July 1906, 15:5. Original negative; photo-
gravure. 20.2 X 16.0 cm. LOWER RIGHT: //. The Bridge—Sun-
light, by Alvin Langdon Coburn. July 1906, 15:7. Original nega-
tive; photogravure. 19.6 x 15.8 cm.
(1906) 4S
w^
UPPER LEFT: ///. After the Blizzard, by Alvin Langdon Coburn.
July 1906, 15:9. Original negative; photogravure. 16.2 x 21.0
cm. UPPER RIGHT: IV. Decorative Study, by Alvin Langdon
Coburn. July 1906, 15:11. Original negative; photogravure.
20.0 X 16.2 cm. LOWER LEFT: V. The Bridge—London, by Alvin
Langdon Coburn. July 1906, 15:13. Original negative; photogra-
vure. 20.3 X 16. 1 cm. LOWER RIGHT: VJ. Portrait of Alvin
Langdon Coburn, by George Bernard Shaw. July 1906, 15:15.
Original negative; photogravure. 21.2 x 16.1 cm.
46 (1906)
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 Title, by George H. Seeley. July 1906, 15:39. Photogra-
vure. 15.2 X 19.2 cm. LOWER RIGHT: /. Toucques Valley, by
Robert Demachy. Oct. 1906, 16:5. Gum; photogravure. 15.5 x
20.4 cm.
(1906} 47
UPPER LEFT: //. A Model, by Robert Demachy. Oct. 1906, 16:7.
Gum; photogravure. 17.4 x 15.0 cm. UPPER RIGHT: ///. Por-
trait—Mile. D., by Robert Demachy. Oct. 1906, 16:9. Gum;halftone. 20.6 x 15.2 cm. LOWER LEFT: IV. Street in Lisieux, by
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: VI. Study, by Robert Demachy. Oct. 1906, 16:15.
Gum; halftone. 20.9 x 15. i cm. 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; halftone. 21. i x 15.7 cm. LOWER RIGHT; Nude—Against
the Light, by C. Puyo. Oct. 1906, 16:29. Gum; halftone. 21. i x
14.5 cm.
(igo6) 4g
UPPER LEFT: IV. The Seine at Clichy, by Robert Demachy. Oct.
1906, 16:31. Gum; halftone. 20.3 x 15.0 cm. UPPER RIGHT: 7.
Study, by Renee Le Begue. Oct. 1906, 16:41. Gum; photogra-vure. 21.7 X 11.5 cm. LOWER LEFT: //. Study, by Renee Le
$0 (igoS/igoy)
Begue. Oct. 1906, 16:43. Gum; halftone. 22.5 x 14.8 cm.
LOWER RIGHT: /. 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. UPPER
RIGHT: ///. Portrait—Miss De C, 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.
Jan. 1907, 17:27. Original negative; photogravure. 10.4 x 26.5
cm. LOWER RIGHT: /. In the Circus, by Harry C. Rubincam. Jan.
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. UPPERRIGHT: Progress in Photo-Portraiture. 1. Portrait of Mr. Wots-
name 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. II. Portrait of the same gentleman
taken to-day, by J. Montgomery Flagg. Jan. 1907, 17:47. Two-
color halftone. 17.3 x 15.5 cm. LOWER right: /. The Onion
Field—18^0, by George Davison. Apr. 1907, 18:5. Photogra-
vure. 15.4 X 20.4 cm.
(1907) 53
UPPER LEFT: //. In a Village 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.
Wyvenhoe on the Colne in Essex, by George Davison. Apr.
1907, 18:11. Photogravure. 7.2 x 16.7 cm. LOWER RIGHT: V.
The Long Arm, by George Davison. Apr. 1907, 18:13. Photo-
gravure. 1 1.4 X 16.3 cm.
54 (1907)
UPPER LEFT: VI. Berkshire Teams and Teamsters, by GeorgeDavison. Apr. 1907, 18:15. Photogravure. 10.8 x 16.8 cm.
UPPER RIGHT: /. Mrs. Julia 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.
Original negative; photogravure. 20.6 x 16.4 cm. LOWER RIGHT:
/. The Spider, by William B. Dyer. Apr. 1907, 18:53. Gum;photogravure. 22.1 x 11.9 cm.
(1907) 55
II^V'
UPPER LEFT: IV. Janet Burnet, by J.Craig Annan. July 1907,
19:11. Photogravure. 20.3 x 16.6 cm. UPPER RIGHT: V. Plough-
ing Team, by J. Craig Annan. July 1907, 19:13. Photogravure.
9.1 X 23.6 cm. LOWER LEFT: /. Pastoral—Moonlight, by Eduard
J. Steichen. July 1907, 19:35. Hand-toned photogravure. 15.6 x
19.8 cm. LOWER RIGHT: /. The Firefly, by George H. Seeley.
Oct. 1907, 20:5. Original negative; photogravure. 20.1 x 15.6 cm.
(1907) 57
UPPER LEFT: //. The Black Bowl, by George H. Seeley. Oct.
1907, 20:7. Original negative; photogravure. 20.5 x 15.4 cm.
UPPER RIGHT; ///. Blotches of Sunlight and Spots of Ink, by
George H. Seeley. Oct. 1907, 20:9. Original negative; photogra-
vure. 20.6 X 15.5 cm. LOWER LEFT: IV. The Burning of Rome,
by George H. Seeley. Oct. 1907, 20:11. Original negative; photo-
gravure. 19.7 X 15.7 cm. LOWER RIGHT: V. Girl with Dog, by
George H. Seeley. Oct. 1907, 20:13. Original negative; photo-
gravure. 19.7 X 15.4 cm.
58 (1907)
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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; photo-
gravure. 18.4 X 12.8 cm. LOWER LEFT: //. Snapshot—From my
Window, Berlin, by Alfred Stieglitz. Oct. 1907, 20:43. Original
negative; photogravure. 21.0 x 17. i cm. LOWER RIGHT: ///.
Snapshot—In the New York Central Yards, by Alfred Stieglitz.
Oct. 1907, 20:45. Original negative; photogravure. 19.2 x 15.6
cm.
(1907) 59
UPPER LEFT: IV. Nude, by W. W. Renwick. Oct. 1907, 20:47.
Original negative; photogravure. 7.3 x 19.3 cm. UPPER RIGHT:
/. El Toros, by Alvin Langdon Coburn. Jan. 1908, 21:5. Gumplatinotype; photogravure. 23.8 x 12.8 cm. LOWER LEFT; //.
Road to Algeciras, by Alvin Langdon Coburn. Jan. 1908, 21:7.
Gum platinotype; photogravure. 19.6 x 17.5 cm. LOWER RIGHT:
///. The Duck Pond, by Alvin Langdon Coburn. Jan. 1908,
21:9. Gum platinotype; photogravure. 18.8 x 14.5 cm.
60 (igoj/igo8)
UPPER LEFT: IV. Rodin, by Alvin Langdon Coburn. Jan. 1908,
21:11, Gum platinotype; photogravure. 20.1 x 15.8 cm. UPPERRIGHT: V. Bernard Shaw, lay Alvin Langdon Coburn. Jan. 1908,
21:13. Gum platinotype; photogravure. 20.9 x 16.4 cm. LOWERLEFT: VI. Alfred Stieglitz, Esq., by Alvin Langdon Coburn. Jan.
1908, 21:15. Gum platinotype; photogravure. 15.7 cm. diam.
LOWER RIGHT: VII. The Bridge, Venice, by Alvin Langdon
Coburn. Jan. 1908, 21:33. Gum platinotype; halftone. 21.1 x
16.9 cm.
(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. Apr. 1908, 22:7. Autochrome; four-color halftone.
19.7 X 14.4 cm. LOWER LEFT: //. On the House-boat—"The
Log Cabin," by Eduard J. Steichen. Apr. 1908, 22:9. Auto-
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.
(1908) 63
UPPER LEFT: /. Portrait—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)
23:21. Original negative; photogravure. 20.6 x 15.2 cm. LOWERRIGHT: 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.
15. 1 X 18.8 cm. LOWER LEFT: VII. Portrait—Master Tom, by
Clarence H. White. July 1908, 23:29. Original negative; photo-
gravure. 20.9 X 15.6 cm. LOWER RIGHT: VIII. Boys Wrestling,
by Clarence H. White. July 1908, 23:31. Original negative; pho-
togravure. 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. LOWERLEFT: \7. Entrance to the Garden, by Clarence H. White. July
1908, 23:37. Original negative; photogravure. 20.4 x 15.3 cm.
LOWER RIGHT: Xll. Portrait—Mrs. Clarence H. White, by
Clarence H. White. July 1908, 23:39. Original negative; photo-
gravure. 20.7 X 15.4 cm.
66 (1908)
UPPER LEFT: XIII. 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.
July 1908, 23:43. Original negative; photogravure. 19.7 x 15.7
cm. LOWER LEFT: XV. Portrait—Mrs. Harrington Mann, by
Clarence H. White. July 1908, 23:45. Original negative; photo-
gravure. 19.9 X 15.0 cm. LOWER RIGHT: XVI. Girl with Rose, by
Clarence H. White. July 1908, 23:47. Original negative; photo-
gravure. 19.5 X 14.5 cm.
(1908) 67
i mUPPER LEFT: /. Still Life, by Baron A. De Meyer. Oct. 1908,
24:5. Platinotype; photogravure. 21.2 x 15.2 cm. UPPER RIGHT:
//. Still Life, by Baron A. De Meyer. Oct. 1908, 24:7. Platino-
type; photogravure. 16.2 x 22.2 cm. LOWER LEFT: ///. Still Life,
68 (1908)
by Baron A. De Meyer. Oct. 1908, 24:9. Platinotype; photogra-
vure. 21.9 X 16.4 cm. LOWER RIGHT: IV. Still Life, by Baron A.
De Meyer. Oct. 1908, 24:11. Platinotype; photogravure. 19. i x
15.5 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 Meyer.
Oct. 1908, 24:33. Platinotype; photogravure. 20.6 x 14.9 cm.
LOWER RIGHT: VIII. Over the House-Tops—New York, by
William E. Wilmerding. Oct. 1908, 24:35. Original negative;
photogravure. 15.1 x 19.0 cm.
(1908) 6g
UPPER LEFT: IX. The Letter, by Guido Rey. Oct. 1908, 24:41.
Photogravure. 20.1 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.
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,
25:9. Photogravure. 15.6 x 21.2 cm. UPPER RIGHT: IV. TheSource, by Annie W. Brigman. Jan. 1909, 25:11. Original
negative; photogravure. 23.6 x 13.8 cm. LOWER LEFT: V. The
Bubble, by Annie W. Brigman. Jan. 1909, 25: 13. Original nega-
tive; photogravure. 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.
(7909; 7/
UPPER LEFT: //. Sentinels, by C. Yarnall Abbott. Jan. 1909,
25:27. Original negative; photogravure. 12.3 x 15.5 cm. UPPER
RIGHT: /. Mr. Alfred Stieglitz, by Frank Eugene. Jan. 1909,
25:41. Original negative; photogravure. 16.3 x ii.i cm. LOWER
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.
72 (iQog)
UPPER LEFT: //. Dawn, by Alice Boughton. Apr. 1909, 26:7.
Photogravure. 19.4 x 15.3 cm. UPPER RIGHT: ///. Sand and Wild
Roses, by Alice Boughton. Apr. 1909, 26:9. Photogravure.
20.9 X 15.5 cm. LOWER LEFT: IV. Nature, by Alice Boughton.
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
Alfred Stieglitz. July 1909, 27:33. Original negative; photogra-
vure. 20.4 X 15.8 cm. UPPER RIGHT: //. Experiment 28, by
Clarence H. White and Alfred Stieglitz. July 1909, 27:35. Origi-
nal negative; photogravure. 20.5 x 15.8 cm. LOWER LEFT: ///.
76 (igog)
Miss Mabel C, by Clarence H. White and Alfred Stieglitz. July
1909, 27:37. Original negative; photogravure. 22.5 x 15.7 cm.
LOWER RIGHT: IV. Torso, by Clarence H. White and Alfred
Stieglitz. July 1909, 27:39. Original negative; photogravure.
21.4 X 16.2 cm.
UPPER LEFT: V. Mrs. Rigby, by David Octavius Hill [and
Robert Adamson}. Oct. 1909, 28:13. Original negative; photo-
gravure. 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. 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.
78 (1909)
UPPER LEFT: //. Ponte 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
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. LOWER RIGHT:
//. Autumn, by George H. Seeley. Jan. 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. LOWER
LEFT: V. Conspiracy, by George H. Seeley. Jan. 1910, 29:13
Original negative; photogravure. 15.4 x 19.2 cm. LOWER RIGHT:
VI. Nude—The Pool, by George H. Seeley. Jan. 1910, 29:15
Original negative; photogravure. 20.1 x 15.9 cm.
80 (1910)
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 Casseres, by Marius De Zayas. Jan. 1910, 29:41.
Photogravure. 20.2 x 15.9 cm. LOWER RIGHT: //. MadameHanako, by Marius De 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. UPPER
RIGHT: //. Princess Rupprecht and Her Children, by Frank
Eugene. Apr. 1910, 30:7. Original negative; photogravure.
17.5 X 12.0 cm. LOWER LEFT: ///, Rebecca, by Frank Eugene.
Apr. 1910, 30:9. Original negative; photogravure. 17. i x 12. i cm.
LOWER RIGHT: IV. Master Prank Jefferson, by Frank Eugene.
Apr. 1910, 30:11. Original negative; photogravure. 17.3 x 12.5
(1910) 83
B^^
UPPER LEFT: IX. Minuet, by Frank Eugene. Apr. 19 lo, 30:59.
Original negative; photogravure. 12.5 x 17.5 cm. UPPER RIGHT:
X. Brigitta, by Frank Eugene. Apr. 191 o, 30:61. Original nega-
tive; photogravure. 11.8 x 16.8 cm. LOWER LEFT: /. H.R.H.
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: ///. Prof. Adolf Hengeler, by Frank Eugene. July
1910, 31:9. Original negative; photogravure. 17.0 x 12.2 cm.
UPPER RIGHT: IV. Prof. Franz v. Stuck, by Frank Eugene. July
1910, 31:11. Original negative; photogravure. 17.0 x 12.0 cm.
86 (1910)
LOWER LEFT: V. Willi Geiger, by Frank Eugene. July 1910,
31:13. Original negative; photogravure. 17.6 x 12.7 cm. LOWERRIGHT: VI. Prof. Adolf v. Seitz, by Frank Eugene. July 1910,
31:15. Original negative; photogravure. 16.2 x 12. i cm.
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; photogra-
vure. 17.0 X 12.4 cm. LOWER LEFT: IX. Kiniono—Erl. v. S., by
Frank Eugene. July 1910, 31:37. Original negative; photogra-
vure. 17.3 X 12.4 cm. LOWER RIGHT: X. Prau Ludwig von
Hohlwein, by Frank Eugene. July 1910, 31:39. Original nega-
tive; photogravure. 12.3 x 17.6 cm.
(igio) 87
UPPER LEFT: XI. Nude—A Child, by Frank Eugene. July 1910,
31:57. Original negative; photogravure. 17.2 x 12.0 cm. UPPER
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 1910, 31:61.
Original negative; photogravure. 12.0 x 16.8 cm. LOWER RIGHT:
XIV. Direktor F. 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. UPPERRIGHT: //. Man Sketching, by J. Craig Annan. Oct. 1910, 32:7.
Original negative; photogravure. 21.0 x 16.0 cm. LOWER LEFT:
///. Harlech Castle, by J. Craig Annan. Oct. 1910, 32:9. Original
negative; photogravure. 21.5 x 15.1 cm. LOWER RIGHT: IV.
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. lower left:
90 (igio)
II. 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.
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; photo-
gravure. 19.3 X 13.7 cm.
(igio/ igii) 9/
UPPER LEFT: IV. Harbour of Hamburg, by Heinrich Kuehn.
Jan. 191 1, 33:11. 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
14. 1 cm. LOWER RIGHT: VII. Portrait—The Mirror, by Heinrich
Kuehn. Jan. 191 1, 33:17. Gum; photogravure. 18.4 x 14.3 cm.
UPPER LEFT: VIII. Landscape, by Heinrich Kuehn. Jan. 191 1,
33:37. Gum; mezzotint photogravure. 12.2 x 15.6 cm. UPPERRIGHT: IX. On the Dunes, by Heinrich Kuehn. Jan. 191 1,
33:39. Gum; 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: XII. Venice, by Heinrich Kuehn. Jan. 191 1, 33:53.Gum; 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)
Sailing Boats, by Heinrich Kuehn. Jan. 1911, 33:57. Gum; du-
plex halftone. 20.3 x 14.3 cm. LOWER RIGHT: XV. Landscape, by
Heinrich Kuehn. Jan. 1911, 33: 59. Gum; duplex halftone. 19.3 x
14.6 cm.
UPPER LEFT: /. M. Auguste Rodin, by Eduard J. Steichen. Apr./
July 191 1, 34/35:5. Original negative; photogravure. 23.9 x
16.5 cm. UPPER RIGHT: //. Balzac—The Open Sky, by Eduard
J. Steichen. Apr. /July 1911, 34/35:7. Original negative; photo-
gravure. 20.3 X 15.6 cm. LOWER LEFT: ///. Balzac—Towards the
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. upperRIGHT: //. Photogravure of Drawing, by Auguste Rodin. Apr./
July 191 1, 34/35:27. Photogravure. 19.4 x 15.7 cm. LOWER
g6 (1911)
LEFT: ///. Cambodian Dancer, by Auguste Rodin. Apr./July
1911, 34/35:37. Colored collotype. 24.1 x 18.4 cm. lowerRIGHT: IV. Drawing, by Auguste Rodin. Apr./July 191 1, 34/
35:39. Colored collotype. 26.8 x 18.5 cm.
^/,VX. V
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
Series), by Auguste Rodin. Apr./July 1911, 34/35:57- Colored
collotype. 28.8 X 18.6 cm. LOWER RIGHT: Vlll. Drawing (Sun
Series), by Auguste Rodin. Apr./July 191 1, 34/35:59- Colored
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. Origi-
nal negative; photogravure. 22.1 x 16.7 cm. LOWER LEFT: //. The
98 (1911)
City Across the River ('7970), by Alfred Stieglitz. Oct. 191 1. 36:7.
Original negative; photogravure. 19.9 x 15.8 cm. LOWER RIGHT:
///. The Ferry Boat (igjo), by Alfred Stieglitz. Oct. 191 1, 36:9.
Original negative; photogravure. 20.8 x 16.1 cm.
UPPER LEFT: IV. The Mauretania (1910), by Alfred Stieglitz.
Oct. 191 1, 36:11. Original negative; photogravure. 20.8 x 16.2cnri. UPPER RIGHT: V. Lower Manhattan (1910), by AlfredSneghtz. Oct. 191 1, 36:13, Original negative; photogravure.15-9 X 19.7 cm. LOWER LEFT: VI. Old and New New York
(1910), by Alfred Stieglitz. Oct. 191 1, 36:15. Original negative;photogravure. 20.2 x 15.7 cm. lower right: VII. The Aero-plane (1910), by Alfred Stieglitz. Oct. 191 1, 36:25. Originalnegative; photogravure. 14.3 x 17.4 cm.
(1911) 99
UPPER LEFT: VIII. A Dirigible (1910), by Alfred Stieglitz.
Oct. 191 1, 36:27. Original negative; photogravure. 17.7 x 17.9
cm. UPPER RIGHT: IX. The Steerage (190J), by Alfred Stieglitz.
Oct. 191 1, 36:37. Original negative; photogravure. 19.6 x 15.7
cm. LOWER LEFT: X. Excavating—New York (1911), by Alfred
Stieglitz. Oct. 191 1, 36:39. Original negative; photogravure.
12.6 X 15.6 cm. LOWER RIGHT: XI. The Swimming Lesson
(1906), by Alfred Stieglitz. Oct. 191 1, 36:41. Original negative;
photogravure. 14.7 x 22.9 cm.
100 (igii)
UPPER LEFT: XII. The Pool—Deal (1910), by Alfred Stieglitz.
Oct. 1911, 36:43. Original negative; photogravure. 12.5 x 15.7
cm. UPPER RIGHT: XIII. The Hand of Man (1902), by Alfred
Stieglitz. Oct. 191 1, 36:57. Original negative; photogravure.
15.8 X 21.4 cm. LOWER LEFT: XIV. In the New York Central
Yards (1903), by Alfred Stieglitz. Oct. 191 1, 36:59. Original
negative; photogravure. 19.3 x 15.8 cm. LOWER right: XV.The Terminal (1892), by Alfred Stieglitz. Oct. 191 1, 36:61.
Original negative; photogravure. 12.0 x 15.8 cm.
(1911) 101
UPPER LEFT: XVI. Spring Showers, New York (1900), by
Alfred Stieglitz. Oct. 191 1, 36:63. Original negative; photogra-
vure. 22.9 X 9.1 cm. UPPER RIGHT: /. Drawing, by Pablo Picasso.
Oct. 191 1, 36:71. Halftone. 27.9 x 17.2 cm. LOWER LEFT: /.
Principal Haldane, by David Octavius Hill [and Robert Adam-
102 (1^11/ igi2)
son]. Jan. 1912, 37:5. Original negative; photogravure. 21.5 x
15.9 cm. LOWER RIGHT: //. The Marquis of Northampton, by
David Octavius Hill [and Robert Adamson]. Jan. 1912, 37:7.
Original negative; photogravure. lo.o x 14.9 cm.
UPPER LEFT; ///. 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
Robert Adamson}. Jan. 1912, 37:11. Original negative; photo-
gravure. 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; photo-
gravure. 20.8 X 15.7 cm.
(igi2} 103
UPPER LEFT: VII. Lady in Flowered Dress, by David Octavius
Hill [and Robert Adamson]. Jan. 19 12, 37:31. Original nega-
tive; photogravure. 20.6 x 15.7 cm. UPPER RIGHT: VIII, Girl
in Strati' Hat, by David Octavius Hill [and Robert Adamson].
Jan. 1912, 37:33. Original negative; photogravure. 21.5 x 15.9
104 (1912)
cm. LOWER LEFT: IX. Mr. Rintoid, Editor "Spectator," by David
Octavius Hill [and Robert Adamson]. Jan. 1912, 37:35. Origi-
nal negative; photogravure. 20.3 x 14.9 cm. LOWER RIGHT: /.
The Cleft of the Rock, by Annie W. Brigman. Apr. 191 2, 38:5.
Original negative; photogravure. 23.8 x 12.9 cm.
UPPER LEFT; //. Daivn, by Annie W. Brigman. Apr. 1912,
38:7. Original negative; photogravure. 10.5 x 24.3 cm. UPPER
RIGHT; ///. Finis, by Annie W. Brigman. Apr. 191 2, 38:9.
Original negative; photogravure. 13.5 x 23.9 cm. LOWER LEFT;
IV. The Wondrous Globe, by Annie W. Brigman. Apr. 191 2,
38; 1 1. Original negative; photogravure. 12.1 x 19.9 cm. LOWERRIGHT; V. The Pool, by Annie W. Brigman, Apr. 1912, 38; 13.
Original negative; photogravure. 23.6 x 12.4 cm.
(igi2) 105
UPPER LEFT; /. Ducks, Lake Como, by Karl F. Struss. Apr. 1912,
38:25. Original negative; photogravure. 17.7 x 15.8 cm. UPPER
RIGHT: //. Sufiday Morning Chester, Nova Scotia, by Karl F.
Struss. Apr. 1912, 38:27. Original negative; photogravure.
19.6 X 16.2 cm. LOWER LEFT: ///. The Outlook, Villa Carlotta,
106 (igi2)
by Karl F. Struss. Apr. 191 2, 38:29. Original negative; photo-
gravure. 19.4 X 15.9 cm. LOWER RIGHT; IV. On the East River,
Neiv York, by Karl F. Struss. Apr. 1912, 38:31. Original nega-
tive; photogravure. 19.9 x 16.0 cm.
UPPER LEFT: V. Capri, by Karl F. Struss. Apr. 1912, 38:49.
Original negative; photogravure. 19.8 x 16.0 cm. UPPER RIGHT:
VI. The Landing Place, Villa Carlotta, by Karl F. Struss. Apr.
1912, 38:51. Original negative; photogravure. 21.6 x 15.9 cm.
LOWER LEFT: VIL Over the House Tops, Missen, by Karl F.
Struss. Apr. 1912, 38:53. Original negative; photogravure.
23.0 X 12.5 cm. LOWER RIGHT: Vlll. The Cliffs, Sorrento, by
Karl F. Struss. Apr. 1912, 38:55. Original negative; photogra-
vure. 20.8 X 15.7 cm.
(igi2) lo-j
UPPER LEFT: /. The Spanish Shawl, by Paul B. Haviland. July
191 2, 39:5. Original negative; photogravure. 22.2 x 15.9 cm.
UPPER RIGHT: //. The Japanese Lantern, by Paul B. Haviland.
July 1912, 39:7. Original negative; photogravure. 20.6 x 15.7
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
2
39:11. Original negative; photogravure. 21.0 x 16.0 cm.
108 (1912)
n.~ei.-<w," trtui^^-'M. .iMmi a*jtaKit
UPPER LEFT: V. Mr. Christian Brinton, by Paul B. Haviland.
July 1912, 39:13. Original negative; photogravure. 20.8 x 16.0
cm. UPPER RIGHT: VI. Passing Steamer, by Paul B. Haviland.
July 1912, 39:15. Original negative; photogravure. 16.7 x 17.6
cm. LOWER LEFT: /. In the Tirol—No. 13, by John Marin.
July 1912, 39:27. Three-color halftone. 14.3 x 17.4 cm. LOWERRIGHT: //. In the Tirol—No. 23, by John Marin. July 1912,
39:29. Three-color halftone. 14.2 x 17.3 cm.
(igii) log
UPPER LEFT: /. Totote, by Manolo. July 1912, 39:41. Halftone.
24.6 X 19.5 cm. UPPER RIGHT: //. Reproduction of a Drawing,
Manolo. July 1912, 39:43. Mezzotint photogravure. 19.7 x 15.6
cm. LOWER LEFT: /. Portrait Group, by H. Mortimer Lamb.
July 1912, 39:53. Original negative; photogravure. 20.0 x 15.8
cm. LOWER RIGHT: //. L'Accoucheur d'ldees, by M. De Zayas.
July 191 2, 39:55. Photogravure. 22.1 x 16.0 cm.
1 10 (1912)
UPPER LEFT: Untitled [Blue Nude—Souvenir de Biskra], by
Henri Matisse. Aug. 1912, SNiy. Halftone. 15.1 x 23.2 cm.
UPPER RIGHT: The Joy of Life, by Henri Matisse. Aug. 1912,
SN:9. Halftone. 15.2 x 21.0 cm. LOWER LEFT: Untitled [Bathers
with a Turtle], by Henri Matisse. Aug. 1912, SN:ii. Halftone.
1 5.1 X 18.7 cm. LOWER RIGHT: Untitled [Still Life in Venetian
Red], hy Henri Matisse. Aug. 1912, SN: 13. Halftone. 15.0 x 18.1
cm.
(igi2) III
UPPER LEFT: Untitled, by Pablo Picasso. Aug. 1912, SN:33.
Halftone. 19.3 x 15.0 cm. UPPER RIGHT: Spanish Village, by
Pablo Picasso. Aug. 1912, SN:35. Halftone. 16.8 x 14.0 cm.
LOWER LEFT: Portrait, M. Kahnweiler, by Pablo Picasso. Aug.
1912, SN:37. Halftone. 21.5 x 15.5 cm. LOWER RIGHT: Drawing,
by Pablo Picasso. Aug. 1912, SN:39. Halftone. 27.8 x 17.2 cm.
(1912) 113
UPPER LEFT: Sculpture, by Pablo Picasso. Aug. 1912, SN:4i.
Halftone. 19.5 x 15.1 cm. upper right; Sculpture, by Pablo
Picasso. Aug. 1912, SN:43. Halftone. 18.1 x 15. i cm. lower
LEFT: /. The Cup, by Ad. De Meyer. Oct. 19 12, 40:5. Original
negative; photogravure. 21.4 x 16.3 cm. LOWER RIGHT: //. The
Silver Cap, by Ad. De Meyer. Oct. 1912, 40:7. Original nega-
tive; photogravure. 23.8 x 13.7 cm.
114 (igi2)
UPPER LEFT: ///. Marchesa Casati, by Ad. De Meyer. Oct. 1912,
40:9. Original negative; photogravure. 21.7 x 16.2 cm. UPPER
RIGHT: IV. Miss }. Ranken, by Ad. De Meyer. Oct. 1912, 40:11.
Original negative; photogravure. 19.6 x 15.0 cm. LOWER LEFT:
V. The Nymphenburg Figure, by Ad. De Meyer. Oct. 1912,
40:13. Original negative; photogravure. 21.8 x 16.2 cm. LOWER
RIGHT: VI. Teddie, by Ad. De Meyer. Oct. 1912, 40:15. Origi-
nal negative; photogravure. 22.0 x 10.5 cm.
(1912) 115
UPPER LEFT: VU. A'ida, a Maid of Tangier, by Ad. De Meyer.
Oct. 1912, 40:29. Original negative; photogravure. 22.4 x 16.3
cm. UPPER RIGHT: Vlll. From the Shores of the Bosphorus, by
Ad. De Meyer. Oct. 1912, 40:31. Original negative; photogra-
vure. 23.8 X 15.7 cm. LOWER LEFT: IX. A Street in China, by
Ad, De Meyer. Oct. 1912,40:33. Original negative; photogravure.
24.2 X 15.7 cm. LOWER RIGHT: X. Windows on the Bosphorus,
by Ad. De Meyer. Oct. 1912, 40:35. Original negative; photo-
gravure. 15.8 X 22.4 cm.
116 (igi2)
UPPER LEFT: XI. Mrs. Wiggins of Belgrave Square, by Ad. DeMeyer. Oct. 1912, 40:45. Original negative; photogravure. 21.8 x
16.2 cm. UPPER RIGHT: X7/. The Balloon Man, by Ad. DeMeyer. Oct. 1912, 40:47. Original negative; photogravure. 21.8
X 16.7 cm. LOWER LEFT: Xlll. Glass and Shadows, by Ad. De
Meyer. Oct. 1912, 40:49. Original negative; photogravure. 22.1
X 16.5 cm. LOWER RIGHT: XIV. The Fountain of Saturn, Ver-
sailles, by Ad. De Meyer. Oct. 19 12, 40:51. Original negative;
photogravure. 21:5 x 16.0 cm.
(1912) 117
UPPER LEFT: /. Carlyle, by Julia Margaret Cameron. Jan. 191 3,
41:5. Original negative; photogravure. 21.5 x 15.7 cm. UPPER
RIGHT: //. Carlyle, by Julia Margaret Cameron. Jan. 1913, 41:7-
Original negative; photogravure. 19.7 x 15.5 cm. LOWER LEFT:
118 (ig'S)
III. Herschel by Julia Margaret Cameron. Jan. 1913, .41:9.
Original negative; photogravure. 21.3 x 15.6 cm. LOWER RIGHT:
IV. Joachim, by Julia Margaret Cameron. Jan. 191 3, 41:11.
Original negative; photogravure. 20.3 x 15.4 cm.
UPPER LEFT: V. Ellen Terry, at the age of sixteen, by Julia
Margaret Cameron. Jan. 1913, 41:13. Original negative; photo-
gravure. 15.5 cm. diam. UPPER RIGHT: /. A Snapshot; Paris
(1911), by Alfred Stieglitz. Jan. 1913, 41:33- Original negative;
photogravure. 13.6 x 17.3 cm. LOWER LEFT: //. A Snapshot;
Paris (igii), by Alfred Stieglitz. Jan. 1913, 41:35- Original
negative; photogravure. 13.6 x 16.8 cm. LOWER LEFT: ///. The
Asphalt Paper; New York (i8c)2), by Alfred Stieglitz. Jan.
1913, 41:37. Original negative; photogravure. 14.0 x 17.6 cm.
(igi^) 119
UPPER LEFT: IV. Portrait—S. R. (1904K by Alfred Stieglitz. Jan.
1913, 41:39. Original negative; photogravure. 20.6 x 14.0 cm.
UPPER RIGHT: /. Vitality—Yvetle Guilbert, by Eduard J.
Steichen. Apr./July 1913, 42/43:5 [pub. Nov. 1913]. Original
negative; photogravure. 23.9 x 16.6 cm. LOWER LEFT: //. Isadora
Duncan, by Eduard J.Steichen. Apr./July 1913, 42/43:7 tP^b.
Nov. 1913}. Original negative; photogravure. 16.6 x 20.4 cm.
LOWER RIGHT: ///. Cyclamen—Mrs. Philip Lydig, by Eduard
J.Steichen. Apr./July 1913, 42/43:9 Cpub. Nov. 1913]. Origi-
nal negative; photogravure. 19.1 x 14.8 cm.
120 (1913)
UPPER LEFT: IV. Mary Learns to Walk, by Eduard J. Steichen.
Apr./July 1913, 42/43:11 [pub. Nov. 1913}. Original negative;
photogravure. 20.8 x 16.0 cm. UPPER RIGHT: V. Anatole Prance,
by Eduard J. Steichen. Apr./July 1913, 42/43:29 [pub. Nov.
191 3}. Original negative; photogravure. 20.4 x 15.9 cm. lowerLEFT: VI. Henri Matisse, by Eduard J. Steichen. Apr./July
1913, 42/43:31 [pub. Nov. 1913]. Original negative; photo-
gravure. 21.7 X 17.1 cm. LOWER RIGHT: VII. The Man that
resembles Erasmus, by Eduard J. Steichen. Apr./July 1913,
42/43:33 [pub. Nov. 1913}. Original negative; photogravure.
16.8 X 16.2 cm.
(1913^ 121
UPPER LEFT: VIII. Henry M". Taft [William Howard Taft], by
Eduard J. Steichen. Apr./July 1913,42/43:35 [pub. Nov. 1913}.
Original negative; photogravure. 18.9 x 13. i cm. UPPER RIGHT:
IX. E. Gordon Craig, by Eduard J. Steichen. Apr./July 191 3,
42/43:37 [pub. Nov. 1913}. Original negative; photogravure.
19.9 X 16.0 cm. LOWER LEFT: X. The Photographers' Best
Model—G. Bernard Shaw, by Eduard J.Steichen. Apr./July
1913,42/43:39 [pub. Nov. 1913}. Original negative; photogra-
vure. 20.1 X 16.2 cm. LOWER RIGHT: X7. Steeplechase Day,
Paris; After the Races, by Eduard J.Steichen. Apr./July 1913,
42/43:57 [pub. Nov. 1913]. Gum; duogravure. 16.9 x 15.7 cm.
722 (79/5)
UPPER LEFT: X7/. Steeplechase Day, Paris; Grand Stand, by
Eduard J. Steichen. Apr./July 1913, 42/43:59 [pub. Nov.
1913]. Gum; duogravure. 15.6 x 19.9 cm. UPPER RIGHT: X77/.
Nocturne—Orangerie Staircase, Versailles, by EduardJ.
Steichen.
Apr./July 1913, 42/43:61 [pub. Nov. 1913]. Gum; duogravure.
15.9 X 20.8 cm. LOWER LEFT: XIV. Late Afternoon—Venice, by
Eduard J. Steichen. Apr./July 1913, 42/43:63 [pub. Nov. 1913].
Gum; duogravure. 15.5 x 18.6 cm. lower RIGHT: XV. Nocturne
—Hydrangea Terrace, Chateaux Ledoux, by Eduard J. Steichen.
Apr./July 1913, 42/43:85 [pub. Nov. 1913}. Three-color half-
tone. 15.0 X 15.6 cm.
(1913) 123
^^^H
UPPER LEFT: III. Still-Life, by Cezanne. June 1913, SN:45. Half-
tone. 15.4 X 18.9 cm. UPPER RIGHT: IV. Landscape, by Van
Gogh. June 1913, SN:47. Halftone. 19.2 x 15.4 cm. LOWERLEFT: V. Portrait—Gertrude Stein, by Picasso. June 1913,
SN:49. Halftone. 17.5 x 14.2 cm. LOWER right: VL Womanivith Mandolin, by Picasso. June 1913, SN:5i. Halftone. 20.6 x
14.9 cm.
{191^) I2S
-C"'
UPPER LEFT: VII. Drawing, by Picasso. June 1913, SN:53.Halftone. 17.2 x 27.8 cm, upper RIGHT; VIII. Star-Dancer on
Board a Transatlantic Steamer, by Picabia. June 191 3, SNijj.Halftone. 21.0 x 15.3 cm. lower left: /. Venice, by Eduard J.
126 (1913)
Steichen. Oct. 1913, 44:5 [pub. Mar. 1914]. Original negative;
photogravure. 16.5 x 19.9 cm. LOWER RIGHT: //. Two Towers—New York, by Alfred Stieglitz. Oct. 1913, 44:7 [pub. Mar.
1914]. Original negative; photogravure. 19.5 x 15.9 cm.
^
\
/
v* J*"*"
V
^r»
- /•
ii.
y
UPPER LEFT: ///. Dryads, by Annie W. Brigman. Oct. 1913, CA/W, by A. Walkowitz. Oa. 1913, 44:31 tpub. Mar. 1914].
44:9 [pub. Mar. 1914]. Photogravure. 15.7 x 20.3 cm. UPPER Collotype. 24.6 x 15.6 cm. lower right: ///. Kiss, by A.
RIGHT: /. M«x«V, by A. Walkowitz. Oct. 1913, 44:29 [pub. Mar. Walkowitz. Oct. 1913, 44:33 [pub. Mar. 1914]- Collotype.
1914}. Collotype. 25.8 X 15.5 cm. LOWER LEFT: //. Mother and 23.5 x 15.9 cm.
f/p/jj 727
r^^fer-^''™^
I
UPPER LEFT: IV- Portrait, by A. Walkowitz. Oct. 1913, 44:35[pub. Mar. 1914]. Collotype. 20.1 x 15.6 cm. upper right: V.
Sigh, by A. Walkowitz. Oct. 1913, 44:47 [pub. Mar. 1914]. Col-
lotype. 22.2 X 13. 1 cm. LOWER LEFT: VI. From Life to Life,
128 (1913)
No. I, by A. Walkowitz. Oct. 1913, 44:49 [pub. Mar. 1914]. Col-
lotype. 23.1 X 15.5 cm. LOWER RIGHT: VII. From Life to Life,
No. II, by A. Walkowitz. Oct. 1913, 44:51 [pub. Mar. 1914].
Collotype. 23.2 X 15.5 cm.
'A
UPPER LEFT: /. A Blind Musician—Granada, by J. Craig Annan,
Jan. 19 14, 45:5 [pub. June 191 4}. Photogravure. 20.1 x 11.9 cm.
UPPER RIGHT: //. A Gitana—Granada, by J. Craig Annan. Jan.
1914, 45:7 [pub. June 1914}. Photogravure. 19.4 x 13.6 cm.
LOWER LEFT: ///. A Carpenter's Shop—Toledo, by J. Craig
Annan. Jan. 1914, 45:9 [pub. June 1914]. Photogravure. 14.5 x
18.0 cm. LOWER RIGHT: IV. Group on a Hill Road—Granada,
by J. Craig Annan. Jan. 19 14, 45:11 [pub. June 19 14}. Photo-
gravure. 1 1.3 X 18.0 cm.
(1914) 129
UPPER LEFT: V. Bridge of St. Martin—Toledo, by J. Craig
Annan. Jan. 1914, 45:29 [pub. June 1914]. Photogravure.
12.7 X 18.0 cm. UPPER RIGHT: VI. Old Church—Burgos, by
J. Craig Annan. Jan. 1914, 45:31 [pub. June 1914]. Photogra-
vure. 1 8. 1 X 14.7 cm. LOWER LEFT: VU. A Square—Ronda, by
1^0 {i9H)
J. Craig Annan. Jan. 1914, 45:33 [pub. June 1914]. Photogra-
vure. 13.6 X 18.8 cm. LOWER RIGHT: Vlll. A Gateway—Segovia,
by J. Craig Annan. Jan. 1914, 45:35 [pub. June 1914]. Photo-
gravure. 14.4 X 1 5.1 cm.
UPPER LEFT: //. John Marin and Alfred Stieglitz, by Marius
De 2^yas. Apr. 1914, 46:27 [pub. Oct. 1914]. Photogravure.
16.5 X 22.0 cm. UPPER RIGHT: ///. Charles Darnton, by Marius
De Zayas. Apr. 191 4, 46:29 [pub. Oct. 1914]. Photogravure.
21.9 X 16.6 cm. LOWER LEFT: IV. Dr. A. A. Berg, by Marius
De Zayas. Apr. 1914, 46:31 [pub. Oct. 19 14}. Photogravure.
22.4 X 16.5 cm. LOWER RIGHT: V. Alfred Stieglitz, by Marius
De Zayas. Apr. 1914, 46:37 [pub. Oct. 1914]. Photogravure.
23.4 X 17.7 cm.
132 (19H)
UPPER LEFT: VI. Mrs. Eugene Meyer, Jr., by Marius De Zayas.Apr. 1914, 46:39 [pub. Oct. 1914}. Photogravure. 24.3 x 18.0
cm. UPPER RIGHT: Vll. Two Friends, by Marius De Zayas.Apr. 1914, 46:41 [pub. Oct. 1914]. Photogravure. 17.6 x 23.4cm. LOWER LEFT: Vlll. Theodore Roosevelt, by Marius De
Zayas. Apr. 1914, 46:43 [pub. Oct. 1914}. Photogravure. 23.3 x
17.5 cm. LOWER RIGHT: IX. Paul B. Haviland, by Marius DeZayas. Apr. 1914, 46:45 [pub. Oct. 1914]. Photogravure. 23.4 x
17.5 cm.
(igi4) 133
UPPER LEFT: X. Francis Picabia, by Marius De Zayas. Apr.
1914, 46:47 [pub. Oct. 1914]. Photogravure. 23.9 x 18.0 cm.
UPPER RIGHT: /. The Cat, by Frank Eugene. Oct. 1916, 48:5.
Photogravure. 22.1 x 17.2 cm. LOWER LEFT: /. New York, by
1^4 (igi4/igi6)
Paul Strand. Oct. 1916, 48:25. Original negative; photogravure.
1 3. 1 X 1 6. 1 cm. LOWER RIGHT: //, Telegraph Poles, by Paul
Strand. Oct. 1916, 48:27. Original negative; photogravure.
20.0 X 13.6 cm.
if 4 ^f #
UPPER LEFT: ///. Neu' York, by Paul Strand. Oct. 1916, 48:29.
Original negative; photogravure. 12.4 x 16.5 cm. UPPER RIGHT:
IV. New York, by Paul Strand. Oct. 1916, 48:31. Original nega-
tive; photogravure. 13.0 x 16.9 cm. LOWER LEFT: V. New York,
by Paul Strand. Oct. 1916, 48:33. Photogravure. 13.8 x 16.6 cm.
LOWER RIGHT: VI. New York, by Paul Strand. Oct. 19 16,
48:35. Original negative; photogravure. 21.7 x 10.7 cm.
(1916) ns
UPPER LEFT: 7. Winter, by Arthur Allen Lewis. Oct. 1916,
48:49. Photogravure. 21.7 x 16.6 cm. upper right: //. A Por-
trait, by Francis Bruguiere. Oct. 1916, 48:51. Photogravure.
16.6 X 1 1.6 cm. LOWER LEFT: /. Negro Art Exhibition, Novem-
136 (1916)
ber, IS)I4, by Alfred Stieglitz. Oct. 1916, 48:66. Halftone. 10.5 x
13.9 cm. LOWER RIGHT: //. Brancusi Sculpture, March 1914, by
Alfred Stieglitz. Oct. 1916, 48:66. Halftone. lo.o x 13.9 cm.
UPPER LEFT: 777. German and Viennese Photography, March,
1906, by Alfred Stieglitz. Oct. 1916, 48:67. Halftone. 9.7 x 14.6
cm. UPPER RIGHT: IV. Detail: Picasso—Braque Exhibition, Jan-
uary, 191^, by Alfred Stieglitz. Oct. 1916, 48:67. Halftone.
10.9 X 14.0 cm. LOWER LEFT: V. Nadelman Exhibition—
2
Rooms, December, 1915, by Alfred Stieglitz. Oct. 1916, 48:68.
Halftone. 10.2 x 13.9 cm. LOWER RIGHT: VI. Nadelman Exhibi-
tion—2 Rooms, December, 1915, by Alfred Stieglitz. Oct. 1916,
48:68. Halftone. 10.8 x 13.9 cm.
(igi6) 137
1
' THE .
UPPER LEFT: IX. Photograph, by Paul Strand. June 1917, 49/50:25. Photogravure. 17.0 x 22.0 cm, UPPER RIGHT: X. Photo-
graph, by Paul Strand. June 1917, 49/50:27. Photogravure.
24.2 X 16.2 cm. LOWER LEFT: XI. Photograph, by Paul Strand. '
June 1917, 49/50:29. Photogravure. 23.1 x 16.9 cm.
140 (1917)
INDEX OF ARTISTS
WORKS WITHOUT ARTIST CREDIT. Two illustrations
appeared in Camera Work which neither received an artist
credit in Camera Work nor are attributed to an artist by the
editor of this volume. These appear in the chronological
index at Oct. 1905, 12:31 and 12:33.
Abbott, C. Yarnall
/. Coryphee, A. Apr, 1905, 10:45
//. Illustration for "Madame Butterfly." Apr. 1905, 10:47
//. Sentinels. Jan. 1909, 25:27
Adamson, Prescott
7. 'Midst Steam and Smoke. Jan. 1904, 5 : 37
Adamson, Robert
See Hill, David Octavius
Annan, J. Craig
/. Blind Musician—Granada, A. Jan. 1914, 45 :
5
IV. Bolney Backwater. Oct. 1910, 32: 11
V. Bridge of St. Martin—Toledo. Jan. 1914, 45: 29III. Carpenter's Shop—Toledo, A. Jan. 1914, 45:9VI. Dark Mountains, The. Oct. 1904, 8:15
/. East & West. Oct. 19 10, 32:5
//. Etching Printer—William Strang, Esq., A. R. A., The.
July 1907, 19:7
/. Ex Lihris. Apr. 1909, 26:29
/. Franciscan, Venice, A. Oct. 1904, 8:5
///. Prau Mathasius. Oct. 1904, 8:9
VIII. Gateway—Segovia, A. Jan. 1914, 45:35//. Gitana—Granada, A. Jan. 1914, 45:7
IV . Group on a Hill Road—Granada. Jan. 1914, 45 : 1
1
///. Harlech Castle. Oct. 1910, 32:9.
IV. Janet Burnet. July 1907, 19: 11
77. Man Sketching. Oct. 1910, 32:7
VI. Old Church—Burgos. Jan. 1914, 45 : 31
77. On a Dutch Shore. Oct. 1904, 8:7
V. Ploughing Team. July 1907, 19:13
777. Portrait of Mrs. C. July 1907, 19:9
IV. Prof. John Young, of Glasgow University. Oct. 1904,
8:11
V . Riva Schiavoni, Venice, The. Oct. 1904, 8:13
VU. Square—Ronda,A. Jan. 1914,45:337. Stirling Castle. July 1907, 19:5
V. White House, The. Oct. 1910, 32:13
Bane, E. M.
Untitled. Apr. 1905, 10:53
Becher, Arthur E.
77. Moonlight. Oct. 1903, 4:51
Botticelli, [Sandro]
Untitled [Primavera: detail]. Oct. 1905, 12:35
Spring. Apr. 1905, 10:31
Boudin, E.
Old Basin of Dunkirk, The. July 1903, 3: 19
Boughton, Alice
7. Danish Girl. Apr. 1909, 26:5
77. Dawn. Apr. 1909, 26:7
IV. Nature. Apr. 1909, 26: 11
V. Nude. Apr. 1909, 26: 13
777. Sand and Wild Roses. Apr. 1909, 26:9
VI. Seasons, The. Apr. 1909, 26: 1
5
Brigman, Annie W.777. Brook, The. Jan. 1909, 25:9
V. Bubble, The. Jan. 1 909, 25:13
7. Cleft of the Rock, The. Apr. 1912, 38:
5
77. Dawn. Apr. 1912, 38:7
777. Dryads. Oct. 19 13, 44:977. Dying Cedar, The. Jan. 1909, 25:7
777. Finis. Apr. 191 2, 38:9
V. Pool, The. Apr. 191 2, 38: 137. Soul of the Blasted Pine. Jan. 1909, 25:5
IV. Source, The. Jan. 1909, 25:11
IV. Wondrous Globe, The. Apr. 1912, 38:11
Bruguiere, Francis
77. Portrait, A. Oct. 19 16, 48:51
Cadby, Will A.
77. Storm Light. Apr. 1904, 6:31
7. Under the Pines. Apr. 1904, 6:29
Cameron, Julia Margaret
7. Carlyle. Jan. 191 3, 41:5
77. Carlyle. Jan. 191 3, 41:7
V. Ellen Terry, at the age of sixteen. Jan. 191 3, 41
:
777. Herschel. Jan. 1913, 41 :9
IV. Joachim. Jan. 191 3, 41:11
Cassatt, Mary
Breakfast in Bed, The. July 1903, 3: 19
Cezanne, [Paul]
77. Nudes. June 1913, SN:437. Portrait. June 1913, SN:4i
777. Still-Life. June 1913, SN:45Coburn, Alvin Langdon
777. After the Blizzard. July 1906, 15:9
VL Alfred Stieglitz, Esq. Jan. 1908, 21:15
V. Bernard Shaw. Jan. 1908, 21:13
V. Bridge—Ipswich, The. Apr. 1904, 6:13
V. Bridge—London, The. July 1906, 15:13
13
141
77. Bridge—Sunlight, The. July 1906, 15:7
VII. Bridge, Venice, The. Jan. 1908, 21:33
IV. Decorative Study. July 1906, 15:11
777. Dragon, The. Apr. 1904, 6:9
777. Duck Pond, The. Jan. 1908, 21:9
X77. Fountain at Trevi, The. Jan. 1908, 21 :43
7. Gables. Apr. 1904, 6:5
VI. House on the Hill. Apr. 1904, 6:16
IV. Mother and Child—A Study. Apr. 1904, 6:11
7X. New York. Jan. 1908, is.-.y]
VIII. Notre Dame. Jan. 1908, 21 :35
7. On the Embankment. Oct. 1909, 28:5577. Portrait Study, A. Apr. 1904, 6:7
77. Road to Algeciras. Jan. 1908, 21:7
IV. Rodin. Jan. 1908, 21:11
X. Rudder, The. Jan. 1908, 21 : 39X7. Spider-webs. Jan. 1908, 21:41
Study—Miss R. Oct. 1904, 8:337. Toros, El. Jan. 1908, 21:5
7. Wier's Close—Edinburgh. July 1906, 15:5
IV. Winter Shadows. July 1903, 3:49Craig, Gordon
7. Ninth Movement. Oct. 1910, 32:37Davison, George
VI. Berkshire Teams and Teamsters. Apr. 1907, 18:15
77. Harlech Castle. Apr. 1909, 26:31
7. Houses Near Aix-les-Bains. Oct. 1909, 28:29
77. In a Village under the South Downs. Apr. 1907, 18:7
V. Long Arm, The. Apr. 1907, 18:13
7. Onion Field—1890, The. Apr. 1907, 18:5
777. Thames Locker, A. Apr. 1907, 18:9
IV. Wyvenhoe on the Colne in Essex. Apr. 1907, 18: 1
1
de Chavannes, [Pierre Cecile] Puvis
Hiver, U. Jan. 1903, 1:31
Demachy, Robert
7. Behind the Scenes. July 1904, 7:29V. Behind the Scenes. Oct. 1906, 16: 13V. Contrasts. Jan. 1904, 5:13
777. Effort, L'. July 1905, 1 1 : 397. In Brittany. Jan. 1 904, 5
:
5
77. Model, A. Oct. 1906, 16:7
IV. On the Lake. Jan. 1904, 5:11
777. Portrait—Mile. D. Oct. 1906, 16:9
IV. Seine at Clichy, The. Oct. 1906, 16:31
777. Severity. Jan. 1904, 5:9
77. Speed. July 1904, 7:31
IV. Street in Lisieux. Oct. 1906, 16: n77. Street in Mentone. Jan. 1904, 5:7VI. Struggle. Jan. 1904, 5: 16
VI. Study. Oct.. 1906, 16: 157. Toucques Valley. Oct. 1906, 16:5
De Meyer, Baron A [dolf} ( Ad. De Meyer
)
VII. Aida, a Maid of Tangier. Oct. 19 12, 40:29X77. Balloon Man, The. Oct. 1912, 40:477. Cup, The. Oct. 191 2, 40:5XIV. Fountain of Saturn, Versailles, The. Oct. 191 2, 40: 51
VIII. From the Shores of the Bosphorus. Oct. 1912, 40:31X/77. Glass and Shadows. Oct. 191 2, 40:49VI. Guitar Player of Seville. Oct. 1908, 24: 31
777. Marchesa Casati. Oct. 1912, 40:9
IV. Miss J. Ranken. Oct. 1912, 40: 1
1
V. Mrs. Brown Potter. Oct. 1908, 24:29
X7. Mrs. Wiggins of Belgrave Square. Oct. 1912, 40:45
V. Nymphenburg Figure, The. Oct. 1912, 40: 13
77. Silver Cap, The. Oct. 1912, 40:7
7. Still Life. Oct. 1908, 24:5
77. Still Life. Oct. 1908, 24:7
777. Still Life. Oct. 1908, 24:9
IV. Still Life. Oct. 1908, 24: 1
1
7X. Street in China, A. Oct. 191 2, 40: 33VII. Study of a Gitana. Oct. 1908, 24:33
VI. Teddie. Oct. 191 2, 40: 15
X. Windows on the Bosphorus. Oct. 1912, 40:35
Devens, Mary77. Ferry, Concarneau, The. July 1904, 7:51
Dewing, Thomas W.In the Garden. Apr. 1905, 10:31
De Zayas, Marius ( M. De Zayas
)
77. Accoucheur d'Idees, U. July 1912, 39; 55
V. Alfred Stieglitz. Apr. 1914, 46:37
7. Benjamin De Casseres. Jan. 1910, 29:41
777. Charles Darnton. Apr. 1914, 46:29
IV. Dr. A. A. Berg. Apr. 1914, 46:31
X. Francis Picabia. Apr. 1914, 46:47
77. John Marin and Alfred Stieglitz. Apr. 1914, 46: 27
77. Madame Hanako. Jan. 1910, 29:43
IV. Mrs. Brown Potter. Jan. 1910, 29:47
VI. Mrs. Eugene Meyer, Jr. Apr. 1914, 46:39
7X. Paul B. Haviland. Apr. 19 14, 46:45
7. Rodin and Eduard J. Steichen. Apr. 1914, 46:25
777. Ruth St. Denis. Jan. 1910, 29:45
F777. Theodore Roosevelt. Apr. 1914, 46:43VII. Two Friends. Apr. 19 14, 46:41
Dugmore, A. Radclyffe
77. Fish. Jan. 1907, 17:39
Study in Natural History, A. Jan. 1903, 1:55
Dyer, William B.
77. Allegro, L'. Apr. 1907, 18:55
7. Spider, The. Apr. 1907, 18:53
Eugene, Frank
7. Adam and Eve. Apr. 1910, 30:
5
X. Brigitta. Apr. 15)10, 30:61
7. Cat, The. Oct. 1916,48:5
77. Cigale, La. Jan. 1904, 5:39'
XIV. Direktor F. Goetz. July 1910, 31 :63
VII. Dr. Emanuel Lasker and His Brother. July 191 o,
31:19
VIII. Dr. Georg Hirth. July 1910, 31:17
X. Frau Ludivig von Hohlwein. July 1910, 31:39
77. Fritz v. Uhde. July 1910, 31 :7
7. H. R. H. Rupprecht, Prince of Bavaria. July 1910, 31:
5
F777. Horse. Apr. 1910, 30:31
X77. "Hortensia." July 1 9 10, 31 : 59
7X. Kimono—Frl. v. S. July 1910, 31 : 37
77. Lady of Charlotte. Jan. 1909, 25:43
VII. Man In Armor. Apr. 1910, 30:29
IV. Master Frank Jefferson. Apr. 1910, 30: 1
1
7X. Minuet. Apr. 1910, 30:59
VI. Mosaic. Apr. 1910, 30:15
7. Mr. Alfred Stieglitz. Jan. 1909, 25:41
142 Index of Artists
XI. Nude—A Child. July 1910, 31 : 57XIII. Nude—A Study. July 1 9 10, 31 : 61
//. Princess Rupprecht and Her Children. Apr. 1910, 30:7
///. Prof. Adolf Hengeler. July 1910, 31:9
VI. Prof. Adolf V. Seitz. July 19 10, 31: 15
IV. Prof. Franz v. Stuck. July 1910, 31:11
///. Rebecca. Apr. 1910, 30:9
V. Sir Henry Irving. Apr. 19 10, 30: 13
V. Willi Geiger. July 191 o, 31:13
Evans, Frederick H.
VI. Ely Cathedral: A Grotesque. Oct. 1903, 4:31
//. Ely Cathedral: Across Nave and Octagon. Oct. 1903,
4:7
/. Ely Cathedral: A Memory of the Normans. Oct. 1903,
4:5
///. Height and Light in Bourges Cathedral. Oct. 1903, 4:9
In Sure and Certain Hope. Oct. 1904, 8:47
IV. York Minster: "In Sure and Certain Hope." Oct. 1903,
4:12
V. York Minster: Into the North Transept. Oct. 1903, 4:29
Flagg, J. MontgomeryProgress in Photo-Portraiture. I. Portrait of Mr. Wotsname
taken several years ago. Jan. 1907, 17:46
Progress in Photo-Portraiture. II. Portrait of the same
gentleman taken to-day. Jan. 1907, 17:47
French, Herbert G.
//. Egyptian Princess. July 1909, 27:7
IV. Illustration, No. 18. July 1909, 27: 11
V. Illustration, No. 22. July 1909, 27: 13///. Iris. July 1909, 27:9
/. Winged Victory. July 1909, 27:5
Giotto [di Bondone]
Untitled [St. Francis Preaches to the Birds]. Oct. 1905,
12:37
Untitled [Death of St. Francis]. Oct. 1905, 12:33
Haviland, Paul B.
//. Japanese Lantern, The. July 191 2, 39:7
///. Miss Doris Keane. July 19 12, 39:9
V. Mr. Christian Brinton. July 1912, 39: 13
/. New York at Night. Apr. 19 14, 46:5
//. New York at Night. Apr. 1 914, 46:7
VI. Passing Steamer. July 1912, 39: 15
/. Portrait—Miss G. G. Oct. 1909, 28:41
/. Spanish Shawl, The. July 191 2, 39:
5
IV. Totote. July 1912,39:11
Henneberg, Hugo///. Pomeranian Motif. Jan. 1906, 13:9
/. Villa Falconieri. Jan. 1906, 13:5
//. Villa Torlonia. Jan. 1906, 13:7
Herzog, F. Benedict
II. Angela. Oct. 1905, 12:55
/. Banks of Lethe, The. Jan. 1907, 17:25
7. Marcella. Oct. 1905, 12:53
III. Tale of Isolde, The. Oct. 1905, 12:57
//. Twixt the Cup and the Lip. Jan. 1907, 17:27
Hill, David Octavius [and Adamson, Robert]
77. The Bird-Cage. Oct. 1909, 28:7
V. "Christopher North" (Professor Wilson). July 1905,
11:13
7. Dr. Munro [Monro]. July 1905, 11:5
F777. Girl in Straw Hat. Jan. 1912, 37:33777. Handyside Ritchie and Wm. Henning. Jan. 1912, 37:9
IV. John Gibson Lockhart. July 1905, 11: 11
VI. Lady in Black. Jan. 191 2, 37:29
VII. Lady in Flou'ered Dress. Jan. 1912, 37:31
777. Lady Ruthven. Apr. 1905, 11:9
77. Marquis of Northampton, The. Jan. 19 12, 37:7
7. Minnoiv Pool, The. Oct. 1909, 28:5
7X, Mr. Rinloul, Editor "Spectator." Jan. 1912, 37:35
V. Mrs. Anna Brownell Jameson. Jan. 1912, 37: 13
VI. Mrs. Jameson. July 1905, 11:15
77. Mrs. Rigby. July 1905, 11:7
V. Mrs. Rigby. Oct. 1909, 28: 13
VI. Newhaven Fisheries. Oct. 1909, 28:15
777. Portraits—A Group. Oct. 1909, 28:9
IV. Portrait—The Gown and the Casket. Oct. 1909, 28: 1
1
7. Principal Haldane. Jan. 1912, 37:5
IV. Sir Francis Grant, P. R. A. Jan. 1912, 37: 11
Hinton, A. Horsley
77. Beyond. July 1905, 11:55
7. Rain from the Hills. July 1905, 11:53
Hofmeister, Theodor and Oscar
IV. Churchgoers, The. July 1904, 7:11
77. Dachau. July 1904, 7:7
III. Meadow-brook. July 1904, 7:9
1^7. Sea Calm. July 1904, 7:16
7. Solitary Horseman, The. July 1904, 7:5
V. Village Corner, A. July 1904, 7:13
Kasebier, Gertrude [S.]
7/7. Blessed Art Thou Among Women. Jan. 1903, 1:9
7. Dorothy. Jan. 1903, 1:5
IV. Happy Days. Apr. 1905, 10: 11
77. Manger, The. Jan. 1903, 1:7
V. My Neighbors. Apr. 1905, 10: 13
VI. Pastoral. Apr. 1905, 10:15
77. Picture-book, The. Apr. 1905, 10:7
7. Portrait—Miss Minnie Ashley. Apr. 1905, 10:5
IV. Portrait (Miss N.). Jan. 1903, i:ii
777. Portrait—Mrs. Philip Lydig. Apr. 1905, 10:9
V. Red Man, The. Jan. 1903, 1:14
Serbonne. Jin. 1903, 1:27
Keiley, Joseph T.
VI. Bit of Paris, A. Jan. 1907, 17:15
IV. Garden of Dreams, A. Jan. 1907, 17: 1
1
77. Last Hour, The. July 1903, 3:45
77. Last Hour, The. Jan. 1907, 17:7
7. Lenore. Jan. 1907, 17:5
777. Portrait—Miss De C. Jan. 1907, 17:9
V. Spring. Jan. 1907, 17: 13
Kerfoot,J. B.
Untitled [inkblot]. Oct. 1904,8:29
Untitled [silhouette of Coburn]. Oct. 1904, 8: 30
Untitled [silhouette of Coburn]. Oct. 1904, 8:31
Untitled [silhouette of Kasebier]. Oct. 1904,8:31
Untitled [silhouette of Steichen]. Oct. 1904,8:30
Untitled [silhouette of Stieglitz]. Oct. 1904,8:29
Kernochan, Marshall R.
77. Ponte Vecchio—Florence. Oct. 1909, 28:43
Kiihn (Kuehn) , Heinrich
V. Gtrl with Mirror. Jan. 1906, 13:15
Index of Artists 14^
IV. Harbour of Hamburg. Jan. 1911,33:11
VIII. Landscape. Jan. 191 1, 33:37XV. Landscape. Jan. 191 1, 33:59XIII. Lotte and Her Nurse. Jan. 1911, 33:55IX. On the Dunes. Jan. 191 1, 33:3977. On the Shore. Jan. 191 1, 33:7
V. Portrait. Jan. 1911, 33:13
VI. Portrait. ]a.n. 1911,33:157. Portrait—Meine Mutter. Jan. 191 1, 33:5F77. Portrait—The Mirror. Jan. 1911, 33:17
IV. Roman Campagna. Jan. 1906, 13:13
XIV. Sailing Boats. Jan. 191 1, 33:57X. Study. ]a.n. 1911,33:41
VI. Study in Sunlight, A. Jan. 1906, 13: 17X77. Venice. Jan. 1911, 33:53F77. Washerwoman on the Dunes. Jan, 1906, 13:19
777. Windblown. Jan. 19 11, 33:9X7. Winter Landscape. ]dLn. 1911,33:43
Lamb, H. Mortimer
7. Portrait Group. July 1912, 39:53Le Begue, Renee
7. Study. Oct. 1906, 16:41
77. Study. Oct. 1906, 16:43
Lewis, Arthur Allen
7. Winter. Oct. 19 16, 48:49Manolo
77. Reproduction of a Drawing. July 1912, 39:437. Totote. July 1912, 39:41
Marin, John
7. In the Tirol—No. i^. July 1912, 39:2777. In the Tirol—No. 2^. July 1912, 39:29
Matisse, Henri
Untitled {Bathers with a Turtle"]. Aug. 1912, SN: 11
Untitled {Blue Nude—Souvenir de Biskra]. Aug. 1912,
SN:7Hair-Dressing. Aug. 1912, SN: 15
}oy of Life, The. Aug. 19 12, SN:97. Photogravure of Drawing. Oct. 1910, 32:2977. Photogravure of Drawing. Oct. 1910, 32:31
Sculpture. Aug. 191 2, SN: 17
Sculpture. Aug. 191 2, SN: 19
Untitled {Still Life in Venetian Red]. Aug. 1912, SN: 13
Muir, WardUntitled [silhouette photograph]. July 1903, 3:35Untitled [silhouette photograph]. July 1903, 3:37
Outamaro
Untitled. Apr. 1905, 10:29
Picabia, [Francis]
F777. Star-Dancer on Board a Transatlantic Steamer. JuneI9I3,SN:55
Picasso, Pablo
7. Drawing. Oct. 191 1, 36:71
Drawing. Aug. I9I2,SN:39^77. Drawing. June 191 3, SN:53V. Portrait—Gertrude Stein. June 191 3, SN:49Portrait, M. Kahnweiler. Aug. 1912, SN:37Sculpture. Aug. 191 2, SN:4iSculpture. Aug. 1912, SN:43Spanish Village. Aug. 1912, SN:35Untitled. Aug. 1912, SN:33
Wandering Acrobats, The. Aug. 1912, SN:3iVI. Woman with Mandolin. June 1913, SN:5i
Post, W. B.
Wintry Weather. Apr. 1904, 6:43
Pratt, Frederick H.
777. Landscape. Apr. 1914, 46:9Puyo, [Emile Joachim] C[onstant]
7. Montniartre. Oct. 1906, 16:25
777. Nude—Against the Light. Oct. 1906, 16:29
77. Straw Hat, The. Oct. 1906, 16:27
Rembrandt [van Rijn]
Admiral's Wife, The. July 1903, 3:29
Renwick, W. W.IV. Nude. Oct. 1907, 20:47
Rey, Guide
X. Flemish Interior, A. Oct. 1908, 24:43
7X. Letter, The. Oct. 1908, 24:41
Rodin, Auguste
777. Cambodian Dancer. Apr./July 1911, 34/35:37IV. Drawing. Apr./July 1911, 34/35:39V. Drawing. Apr./July 1911, 34/35:41VI. Drawing. Apr./July 1911, 34/35:437X. Drawing. Apr./July 191 1, 34/35:61VII. Drawing (Sun Series). Apr./July 191 1, 34/35:57F777. Drawing (Sun Series). Apr./July 191 1, 34/35:597. Photogravure of Drawing. Apr./July 1911, 34/35:2577. Photogravure of Drawing. Apr./July 191 1, 34/35:27
Rubincam, Harry C.
7, In the Circus. Jan. 1907, 17:37Sears, Sarah C.
77. Mary. Apr. 1907, 18:35
7. Mrs. ]ulia Ward Howe. Apr. 1907, 18:33
Seeley, George H.
IV. Artist, The. Jan. 1910, 29: 1
1
77. Autumn. Jan. 19 10, 29:7
77. Black Bowl, The. Oct. 1907, 20:7
777. Blotches of Sunlight and Spots of Ink. Oct. 1907, 20:9
IV. Burning of Rome, The. Oct. 1907, 20: 11
V. Conspiracy. Jan. 1910, 29: 13
7. Firefly, The. Oct. 1907, 20:
5
7. Girl with Bowl. Jan. 19 10, 29:
5
V. Girl with Dog. Oct. 1907, 20: 13X. No. 3^6. Jan. 1910, 29:597X. No. 34J. Jan. 1910, 29: 577. No Title. July 1906, 15:37
77. No Title. July 1906, 15:39
VI. Nude—The Pool. Jan. 1910, 29:15
VIII. Spring. Jan. 19 10, 29:27
VI. White Landscape, The. Oct. 1907, 20: 15777. White Screen, The. Jan. 1910, 29:9
F77. White Trees. Jan. 19 10, 29:25
Shaw, George Bernard
VI. Portrait of Alvin Langdon Coburn. July 1906, 15:15
Spencer, Ema7. Girl with Parasol. Jan. 1909, 25:25
Steichen, Eduard J.
V . Anatole France. Apr./July 1913, 42/43:29XVI. Autumnal Afternoon—The Poplars, Voulangis.
Apr./July 1913,42/43:8777. Balzac—The Open Sky. Apr./July 191 1, 34/35:7
144 Index of Artists
IV. Balzac—The Silhouette, 4 a. m. Apr. /July 191 1, 34/
35:11
///. Balzac—Towards the Light, Midnight. Apr./July 191 1,
34/35:9V. Bartholome. Apr. 1903, 2:13
VIII. Besnard. Apr. 1903, 2:20
XI. Big White Cloud, The. Apr. 1906, 88:27
VII. Brass Bowl, The. Apr. 1906, 14:29
VI. Cigale, La. Apr. 1906, SS: 17
X. Cover Design. Apr. 1906, 14:55
///. Cyclamen—Mrs. Philip Lydig. Apr. /July 1913, 42/
43:9IV. Dawn-flowers. Apr. 1903, 2:11
VI. Dolor. Apr. 1903, 2:15
///. Duse. Apr. 1906, SS: 1
1
IX. E. Gordon Craig. Apr. /July 19 13, 42/43:37/. Experiment in Three-color Photography. July 1906,
15:31
VIII. Flatiron—Evening, The. Apr. 1906, 14:31
7. G. Bernard Shaw. Apr. 1908, 22:7
/. George Fredrick Watts. Apr. 1906, 14:5
VI. Henri Matisse. Apr. /July 1913, 42/43:31VIII. Henry W. Taft [William Howard Taft}. Apr. /July
1913.42/43:35VII. In Memoriam. Apr. 1906, SS: 19
U. Isadora Duncan. Apr./July 1913,42/43:7//. /. Pierpont Morgan, Esq. Apr. 1906, 88:9
XI. Judg?rient of Paris—A Landscape Arrangement . Apr.
1903,2:41
XII. Landscape in Two Colors. Apr. 1906, 88:29
XIV. Late Afternoon—Venice. Apr./July 1913, 42/43:63VII. Lenbach. Apr. 1903, 2:17
///. Lilac Buds: Mrs. S. Apr. 1906, 14:9
VI. Little Model, The. Apr. 1906, 14: 15
V. Little Round Mirror, The. Apr. 1906, 14: 13
XVII. Lotus Screen: S. S. S., The. Apr. /July 191 3, 42/
43:89I. Maeterlinck. Apr. 1906, 88:7
VII. Man that resembles Erasmus, The. Apr./July 191 3,
42/43:33IV. Mary Learns to Walk. Apr./July 1913, 42/43: 1
1
I. M. Auguste Rodin. Apr./July 1911, 34/35:5VIII. Model and the Mask, The. Apr. 1906, 88:21
IV. Moonlight: The Pond. Apr. 1906, 14: 1
1
IX. Mother and Child—Sunlight. Apr. 1906, 14:53
XV. Nocturne—Hydrangea Terrace, Chateaux Ledoux.
Apr./July 1913,42/43:85XIII. Nocturne—Orangerie Staircase, Versailles. Apr./
July 1913.42/43:61X. Nude with Cat. Apr. 1903, 2:39
//. On the House-boat—"The Log Cabin." Apr. 1908, 22:9
/. Pastoral—Moonlight. July 1907, 19:35
X. Photographers' Best Model—G. Bernard Shaw, The.
Apr./July 1913,42/43:39II. Pool. The. Apr. 1903, 2:7
IX. Portrait. Apr. 1903, 2:37///. Portrait—Lady H. Apr. 1908, 22:11
//. Portrait of a Young Mati. July 1905, 1 1 : 37VI. Portrait of Clarence H. White. Jan. 1905, 9: 15IV. Portraits—Evening. Apr. 1906, 88: 13
XV. Poster Lady. Apr. 1906, 88: 35
XIII. Profile. Apr. 1906, 88:31
XVI. Road into the Valley—Moonrise. Apr. 1906: 88:37
/. Rodin. Apr. 1903, 2:5
/. Rodin—Le Penseur. July 1905, 11:35
X. Rodin—Le Penseur. Apr. 1906, 88:25
/. Sadakichi Hartmann. July 1904, 7:49///. Self-portrait. Apr. 1903, 2:9
XIV. Solitude. Apr. 1906, 88:33
XI. Steeplechase Day, Paris: After the Races. Apr./July
1913,42/43:57XII. Steeplechase Day, Paris: Grand Stand. Apr./July
1913,42/43:59/. Venice. Oct. 191 3, 44:5
/. Vitality—Yvette Guilbert. Apr./July 1913, 42/43:5IX. White Lady, The. Apr. 1906, 88:23
//. William M. Chase. Apr. 1906, 14:7
V. Wm. M. Chase. Apr. 1906, 88: 15
Stieglitz, Alfred
VII. Aeroplane (i<)io),The.Oa.. 191 1, 36:25
///. Asphalt Paver; New York (i8c)2), The. Jan. 1913,
41:37//. Brancusi Sculpture, March, 1914. Oct. 1916, 48:66
//. City Across the River (1910), The. Oct. 1911, 36:7
/. City of Ambition ( igio), The. Ocz. 1911, 36:5
IV. Detail: Picasso—Braque Exhibition, January, 1915-
Oct. 1916, 48:67
VIII. Dirigible (1910), A. Oct. 191 1, 36:27
X. Excavating—New York (1911). Oct. 1911, 36:39
///. Ferry Boat (ic)io),The. Oct. 191 1, 36:9
7. "Flat-iron," The. Oct. 1903, 4:49
777. German and Viennese Photography, March, 1906. Oct.
1916, 48:67
777. Going to the Start (1904). Oct. 1905, 12:9
7X. Gossip—Katwyk (1894). Oct. 1905, 12:21
Hand of Man, The. Jan. 1903, i :47
XIII. Hand of Man (1902), The. Oct. 1911,36:57
7. Horses (1904). Oct. 1905, 12:5
X7F. In the New York Central Yards (1903). Oct. 191 1,
36:59
VI. Katherine (1905). Oct. 1905, 12:15
Little Galleries of the Photo-Secession, The. Apr. 1906,
14:42
Little Galleries of the Photo-Secession, The. Apr. 1906,
14:42
Little Galleries of the Photo-Secession, The. Apr. 1906,
14:43
Little Galleries of the Photo-Secession, The. Apr. 1906,
14:43
V. Lower Manhattan (1910). Oct. 191 1, 36:13
IV. Mauretania (1910), The. Oct. 1911, 36: 11
F77. Miss S. R. (1904). Oct. 1905, 12:17
V. Nadelman Exhibition—2 Rooms, December, 1913. Oct.
1916,48:68
VI. Nadehnan Exhibition—2 Rooms, December 1915. Oa.
1916,48:68
V. Nearing Land (1904). Oct. 1905, 12:13
7. Negro Art Exhibition, November, 1914. Oct. 1916,
48:66
VI. Old and New New York (1910). Oct. 1911, 36:15
Index of Artists 14^
VIH. Ploughing (1^04). Oct. 1905, 12: 19XII. Pool—Deal ('1910), The. Oct. 191 1, 36:43IV. Portrait—5'. R. (1^04). Jan. 1913, 41 :39X. September (iS^cj). Oct. 1905, 12:23
//. Snapshot—From my Window, Berlin. Oct. 1907, 20:43/. Snapshot—Fro?n my Window, New York. Oct. 1907,
20:41
///. Snapshot—In the New York Central Yards. Oct. 1907,
20:45
I. Snapshot: Paris (igii), A.]2.n. 1913,41:33//. Sfiapshot; Paris {i^iij, A. Jan. 1913, 41 :35IV. Spring (i^oi). Oct. 1905, 12:11
XVI. Spring Showers, New York ('1900). Oct. 191 1, 36:637X. Steerage (ic)oj), The. Oct. 191 1, 36:37///. Street—Design for a Poster, The. July 1903, 3:47XL Swimming Lesson (1^06), The. Oct. 191 1, 36:41
XV. Terminal (1892), The. Oct. 191 1, 36:61
//. Two Towers—New York. Oct. i()i^, ^i\:-j
II. Winter—Fijth Avenue (1892). Oct. 1905, 12:7
StieglitE, Alfred (and White, Clarence H.)
7. Experiynent 27. July 1909, 27:3377. Experiment 28. July 1909, 27:35777. Miss Mabel C. July 1909, 27:37IV. Torso. July 1909, 27:39
Strand, Paul
7, New York. Oct. 1916, 48:25777. Neiv York. Oct. 19 16, 48:29IV. New York. Oct. 1916,48:31
V.New York. Oct. 19 16, 48:33VI. New York. Oct. 19 16, 48:357X. Photograph. June 1917, 49/50:25X. Photograph. June 1917, 49/50:27X7. Photograph. June 1917, 49/50:297. Photograph—New York. June 1917, 49/50:977. Photograph—Neiv York. June 1917, 49/50:11777. Photograph—Neui York. June 1917, 49/50: 13IV. Photograph—New York. June 1917, 49/50: 15V. Photograph—New York. June 1917, 49/50: 17VI. Photograph—New York. June 1917, 49/50: 19VII. Photograph—New York. June 1917, 49/50:21VIII. Photograph—New York. June 1917, 49/50:2377. Telegraph Poles. Oct. 1916, 48:27
Strauss, John Francis
7, Bridge, The. July 1903, 3:43Struss, Karl F.
V. Capri. Apr. 191 2, 38:49F777. Cliffs, Sorrento, The. Apr. 191 2, 38:557. Ducks, Lake Como. Apr. 1912, 38:25
VI. Landing Place, Villa Carlotta, The. Apr. 191 2, 38:51IV. On the East River, New York. Apr. 1912, 38:31777. Outlook, Villa Carlotta, The. Apr. 1912, 38:29F77. Over the House Tops, Missen. Apr. 1912, 38:5377. Sunday Morning Chester, Nova Scotia. Apr. 191 2, 38:27
Tryon, D. W.Landscape. Jan. 1903, 1:31
Van Gogh, [Vincent]
IV. Landscape. June 19 13, SN:47
Velasquez [Diego Rodriguez de Silva y Velasquez]
Untitled [Prince Felipe Prospero]. Oct. 1905, 12:39
Walkowitz, A[braham]
VI. From Life to Life, No. I. Oct. 1913, 44:49VII. From Life to Life, No. II. Oct. 191 3, 44: 51
777. Kiss, The. Oct. 1913, 44:3577. Mother and Child. Oct. 19 13, 44: 31
7. Music. Oct. 191 3, 44:29IV. Portrait. Oct. 191 3, 44:33V. Sigh. Oct. 191 3, 44:47
Watson-Schiitze, Eva
7. Head of a Young Girl. Jan. 1905, 9:2977, Portrait Study. Jan. 1905, 9:31
777. Rose, The. Jan. 1905, 9:33IV. Storm. Jan. 1905, 9:35
Watzek, Hans7X. Mountain Landscape. Jan. 1906, 13:33
VIII. Poplars and Clouds. Jan. 1906, 13:31
X77. Sheep. Jan. 1906, 13:39
X. Village Corner, A. Jan. 1906, 13:35
X7. White Sail, The. Jan. 1906, 13:37White, Clarence H.
7. Alvin Langdon Coburn and His Mother. Oct. 1910,
32:45
III. Arbor, The. July 1908, 23:21
V. Beatty Children, The. Jan. 1905, 9:13
V. Boys Going to School. July 1908, 23:25
IV. Boy with Camera Work. Jan. 1905, 9:11
X7F. Boy with Wagon. July 1908, 23:43
F777. Boys Wrestling. July 1908, 23:31
X777. Drops of Rain. July 1908, 23:41
XI. Entrance to the Garden. July 1908, 23: 37XF7. Girl with Rose. July 1908, 23:4777. Illustration to "Beneath the Wrinkle." Jan. 1905, 9:7777. Illustration to "Eben Holden." ]\x\y 1903, 3:11
777. Illustration to "Eben Holden." Jan. 1905, 9:9
7F. Lady in Black with Statuette. July 1908, 23:23
VI. Landscape—Winter. July 1908, 23:27
7. Letitia Felix. July 1903, 3:7
77. Morning. July 1908, 23: 19
X. Nude. July 1908, 23:35
7. Orchard, The. Jan. 1905, 9:5
7X. Pipes of Pan, The. July 1908, 23:33
F77, Portrait—Master Tom. July 1908, 23:29'
7. Portrait—Miss Mary Everett. July 1908, 23: 17X77. Portrait—Mrs. Clarence 77. White. July 1908, 23:39
XV. Portrait—Mrs. Harrington Mann. July 1908, 23:45
V. Ring Toss. July 1903, 3: 1477. Telegraph Poles. July 1903, 3:9
IV. Winter Landscape. July 1903, 3:13
White, Clarence H. (and Stieglitz, Alfred)
7. Experiment 27. July 1909, 27:33
77. Experiment 28. July 1909, 27:35
777. Miss Mabel C. July 1909, 27: 37IV. Torso. July 1909, 27:39
Wilmerding, William E.
F777. Oier the House-Tops—Netv York. Oct. 1908, 24:35
146 Index of A rtists
INDEX OF TITLES
UNTITLED WORKS. A number of illustrations appeared
in Camera Work without titles. Complete information about
them may be found in the chronological index at the follow-
ing locations: July 1903, 3:35, 3:37; Oct. 1904, 8:29 (two
illustrations), 8:30 (two illustrations), 8:31 (two illustra-
tions); Apr. 1905, 10:29, 10:53; Oct. 1905, 12:31, 12:33
(two illustrations), 12:35, 12:37, 12:39; Aug. 1912, SN:7,
SN:ii,SN:i3,SN:33.
//. Accouchetir d'ldees, L (M. De Zayas). July 1912, 39:55.
/. Adam and Eve (Frank Eugene). Apr. 1910, 30:5.
Admiral'i Wife, The (Rembrandt). July 1903, 3:29.
VII. Aeroplane (1910), The (Alfred Stieglitz). Oct. 191 1,
36:25.
///. After the Blizzard ( Alvin Langdon Coburn). July 1906,
15:9.
VII. Aida, a Maid of Tangier (Ad. De Meyer). Oct. 191 2,
40:29.
VI. Alfred Stieglitz, Esq. ( Alvin Langdon Coburn ) . Jan. 1908,
21:15.
V. Alfred Stieglitz (Marius De Zayas). Apr. 1914, 46:37.
//. Allegro, L (William B. Dyer). Apr. 1907, 18:55.
/. Alvin Langdon Coburn and His Mother (Clarence H.
White). Oct. 1910, 32:45.
V. Anatole France ( Eduard J. Steichen). Apr. /July 1913,
42/43:29.
77. Angela (F. Benedict Herzog). Oct. 1905, 12:55.
777. Arbor, The (Clarence H. White). July 1908, 23:21.
IV. Artist, The (George H. Seeley ). Jan. 1910, 29:11.
777. Asphalt Paver: Neiv York (1892), The (Alfred Stieglitz).
Jan. 1913,41:37.
77. Autumn (George H. Seeley) . Jan. 1910, 29:7.
XVI. Autumnal Afternoon—The Poplars, Voulangis ( Eduard
J.Steichen). Apr. /July 1913,42/43:87.
X77. Balloon Man, The (Ad. De Meyer). Oct. 1912, 40:47.
77. Balzac—The Open Sky (EduardJ.
Steichen). Apr. /July
1911,34/35:7-IV. Balzac—The Silhouette, 4 a. m. (Eduard J. Steichen).
Apr./July 1911,34/35:11.
777. Balzac—Towards the Light, Midnight (Eduard J.
Steichen). Apr./July 191 1, 34/35:9-7. Banks of Lethe, The (F. Benedict Herzog). Jan. 1907,
17:25.
V. Bartholome (EduardJ.
Steichen). Apr. 1903, 2:13.
V. Beatty Children, The (Clarence H. White). Jan. 1905,
9:13.
7. Behind the Scenes ( Robett Demachy ) . July 1904, 7 : 29.
V. Behind the Scenes (Robert Demachy). Oct. 1906, 16:13.
7. Benjamin De Casseres (Marius De Zayas). Jan. 1910,
29:41.
VI. Berkshire Teams and Teamsters ( George Davison ) . Apr.
1907, 18:15.
V. Bernard Shau- (Alvin Langdon Coburn) . Jan. 1908, 21:13.
F777. Besfiard (Eduard J.Steichen). Apr. 1903, 2:20.
77. Beyond (A. Horsley Hinton). July 1905, 11:55.
X7. Big White Cloud, The (EduardJ.
Steichen). Apr. 1906,
SS:27.
77. Bird-Cage, The (David Octavius Hill [and Robert
Adamson} ) . Oct. 1909, 28:7.
VI. Bit of Paris, A (Joseph T. Keiley). Jan. 1907, 17:15.
77. Black Bowl, The (George H. Seeley). Oct. 1907, 20:7.
777. Blessed Art Thou Among Women (Gertrude Kasebier).
Jan. 1903,1:9.
7. Blind Musician—Granada, A (J. Craig Annan). Jan. 1914,
45:5-
777. Blotches of Sunlight and Spots of Ink (George H.
Seeley). Oct. 1907, 20:9.
IV. Bolney Backwater (J. Craig Annan). Oct. 1910, 32:11.
V. Boys Going to School (Clarence H. White). July 1908,
23:25.
F777. Boys Wrestling (Clarence H. White). July 1908,
23:31.
IV. Boy with Camera Work (Clarence H. White). Jan. 1905,
9:11.
XIV. Boy with Wagon (Clarence H. White). July 1908,
23:43.
77. Brancusi Sculpture, March, 1C114 (Alfred Stieglitz). Oct.
1916, 48:66.
777. Brass Bowl, The (Eduard J.Steichen). Apr. 1906, 14:29.
Breakfast in Bed, The (Mary Cassatt). July 1903, 3:19.
7. Bridge, The (John Francis Strauss). July 1903, 3:43.
V. Bridge—Ipswich, The (Alvin Langdon Cobiun). Apr.
1904, 6:13.
V. Bridge—London, The (Alvin Langdon Coburn). July
1906, 15:13.
V. Bridge of St. Martin—Toledo (J. Craig Annan). Jan.
1914,45:29.
77. Bridge—Sunlight, The (Alvin Langdon Coburn). July
1906, 15:7.
VII. Bridge, Venice, The (Alvin Langdon Coburn). Jan.
1908, 21:33.
X. Brigitta (Frank Eugene). Apr. 1910, 30:61.
777. Brook, The (Annie W. Brigman). Jan. 1909, 25:9.
V. Bubble, The (Annie W. Brigman). Jan. 1909, 25:13.
147
IV. Burning of Rome, The (George H. Seeley). Oct. 1907,20:11.
///. Cambodian Dancer (Auguste Rodin). Apr./July 191 1,
34/35:37-V. Capri (Karl F. Struss). Apr. 1912, 38:49.
/. Carlyle (Julia Margaret Cameron). Jan. 1913, 41:5.
//. Carlyle (Julia Margaret Cameron). Jan. 1913, 41:7.
///. Carpenter's Shop—Toledo, A (J. Craig Annan). Jan.
1914.45:9-
/. Cat, The (Frank Eugene). Oct. 1916, 48:5.
///. Charles Darnton (Marius De Zayas). Apr. 19 14, 46:29.
V. "Christopher North" (Professor Wilson) (David Octavius
Hill [and Robert Adamson}). July 1905, 11:13.
IV. Churchgoers, The (Theodor and Oscar Hofmeister). July
1904, 7:11.
//. Cigale, La (Frank Eugene). Jan. 1904, 5:39.
VI. Cigale, La (EduardJ. Steichen) . Apr. 1906, SS: 17.
//. City Across the River (1910), The (Alfred Stieglitz).
Oct. 191 1, 36:7.
/. City of Ambition (1910), The (Alfred Stieglitz). Oct.
1911,36:5.
/. Cleft of the Rock, The (Annie W. Brigman). Apr. 191 2,
38:5.
VIU. Cliffs, Sorrento, The (Karl F. Struss) . Apr. 1912, 38:55.V. Conspiracy (George H. Seeley). Jan. 1910, 29: 13.
V. Contrasts (Robert Demachy). Jan. 1904, 5:13.
I. Coryphee, A (C. Yarnall Abbott). Apr. 1905, 10:45.
X. Cover Design (EduardJ. Steichen). Apr. 1906, 14:55.
/. Cup, The (Ad. De Meyer). Oct. 1912, 40:5.
///. Cyclamen—Mrs. Philip Lydig (Eduard J. Steichen).
Apr./July 1913,42/43:9.//. Dachau (Theodor and Oscar Hofmeister). July 1904, 7:7.
/. Danish Girl (Alice Boughton). Apr. 1909, 26:5.
VL Dark Mountains, The (J. Craig Annan). Oct. 1904, 8:15.
//. Dawn (Alice Boughton) . Apr. 1909, 26:7.
//. Dawn (Annie W. Brigman). Apr. 1912, 38:7.
IV. Dawn-flowers (EduardJ. Steichen). Apr. 1903, 2:11.
IV. Decorative Study (Alvin Langdon Coburn). July 1906,
15:11.
IF. Detail: Picasso—Braque Exhibition, ]anuary, 1915(Alfred Stieglitz). Oct. 1916,48:67.
XIV. Direktor F. Goetz (Frank Eugene). July 1910, 31:63.
VIII. Dirigible (1910), A (Alfred Stieglitz). Oct. 191 1,
36:27.
VI. Dolor (Eduard J. Steichen). Apr. 1903, 2:15.
/. Dorothy (Gertrude Kasebier). Jan. 1903, 1:5.
IV. Dr. A. A. Berg (Marius De Zayas), Apr. 1914, 46:31.
///. Dragon, The (Alvin Langdon Coburn). Apr. 1904, 6:9.
/. Drawing ( Pablo Picasso ) . Oct. 1 9 1 1 , 36 :7 1
.
Drawing (Pablo Picasso). Aug. 191 2, SN: 39.
VII. Drawing (Picasso). June 191 3, SN:53.
IV. Drawing (Auguste Rodin), Apr./July 1911, 34/35:39.V. Drawing (Auguste Rodin). Apr./July 1911, 34/35:41.VI. Drawing (Auguste Rodin). Apr./July 1911, 34/35:43.IX. Drawing (Auguste Rodin). Apr./July 1911, 34/35:61.VII. Drawing (Sun Series) (Auguste Rodin). Apr./July
1911,34/35:57-
VIII. Drawing (Sun Series) (Auguste Rodin) Apr./July
1911,34/35:59-
VII. Dr. Emanuel Lasker and His Brother ( Frank Eugene )
.
July 1910, 31: 19.
VIII. Dr. Georg Hirth (Frank Eugene). July 191 o, 31:17.
/. Dr. Munro [Monro] (David Octavius Hill [and Robert
Adamson] ) . July 1905, 11:5.
XIII. Drops of Rain (Clarence H. White). July 1908, 23:41.
///. Dryads (Annie W. Brigman). Oct. 1913,44:9.
///. Duck Pond, The (Alvin Langdon Coburn). Jan. 1908,
21:9.
/. Ducks, Lake Como (Karl F, Struss). Apr, 1912, 38:25.
///. Duse (Eduard J. Steichen) . Apr. 1906, SS: 11.
//. Dying Cedar, The (Annie W. Brigman). Jan. 1909, 25:7.
/. East & West (J. Craig Annan). Oct. 1910, 32:5.
///. Effort, L' (Robert Demachy). July 1905, 11:39.
7X. E. Gordon Craig (Eduard J.Steichen), Apr./July 1913,
42/43:37.//. Egyptian Princess (Herbert G. French). July 1909, 27:7.
V. Ellen Terry, at the age of sixteen (Julia Margaret
Cameron). Jan. 1913, 41:13.
//. Ely Cathedral: Across Nave and Octagon (Frederick H.
Evans). Oct. 1903,4:7,
VI. Ely Cathedral: A Grotesque (Frederick H, Evans). Oct.
1903,4:31.
/. Ely Cathedral: A Memory of the Normans (Frederick H.
Evans) . Oct. 1903, 4:5.
XL Entrance to the Garden (Clarence H. White). July 1908,
23:37-
//. Etching Printer—William Strang, Esq., A. R. A., The (J.
Craig Annan). July 1907, 19:7.
X. Excavating—New York (1911) (Alfred Stieglitz) Oct.
1911,36:39.
/. Ex Libris (J. Craig Annan) Apr. 1909, 26:29.
/. Experiment in Three-color Photography (Eduard J.
Steichen ). July 1906, 15:31.
7. Experiment 27 (Clarence H. White and Alfred Stieglitz).
July 1909,27:33.
//. Experiment 28 (Clarence H. White and Alfred Stieglitz).
July 1909,27:35.
///. Ferry Boat (1910), The (Alfred Stieglitz). Oct. 1911,
36:9,
//. Ferry, Concarneau, The (Mary Devens). July 1904, 7:51.
777. Finis (Annie W. Brigman) . Apr. 1912, 38:9.
7, Firefly, The (George H, Seeley). Oct. 1907, 20:5.
77. Fish (A. Radclyffe Dugmore). Jan. 1907, 17:39.
7. "Flat-iron," The (Alfred Stieglitz), Oct. 1903, 4:49.
F777. Flatiron—Evening, The (Eduard J. Steichen). Apr.
1906, 14:31.
X. Flemish Interior, A (Guido Rey). Oct. 1908, 24:43.
X77. Fountain at Trevi, The (Alvin Langdon Coburn). Jan.
1908,21:43.
X7F. Fountain of Saturn, Versailles, The (Ad. De Meyer).
Oct, 1912,40:51,
7. Franciscan, Venice, A (J. Craig Annan), Oct, 1904, 8:5.
X. Francis Picabia (Marius De Zayas). Apr. 1914, 46:47.
X. Frau Ludwig von Hohlwein (Frank Eugene). July 1910,
31:39.
7/7. Frau Mathasius (J, Craig Annan), Oct, 1904, 8:9.
77. Fritz v. Uhde (Frank Eugene). July 1910, 31:7.
F7. From Life to Life, No. I (A. Walkowitz). Oct. 191 3,
44:49-
148 Index of Titles
VII. From Life to Life, No. II (A. Walkowitz). Oct. 1913,
44:51.
VIII. From the Shores of the Bosphorus (Ad. De Meyer).
Oct. 1912, 40:31.
7. Gables ( Alvin Langdon Coburn ) . Apr. 1904, 6:5.
IV. Garden of Dreams, A (Joseph T. Keiley). Jan. 1907,
17:11.
VIII. Gateway—Segovia, A (J. Craig Annan). Jan. 1914,
45:35-
7. G. Bernard Shaw (Eduard J.Steichen). Apr. 1908, 22:7.
7. George Fredrick Watts (EduardJ.
Steichen) Apr. 1906,
14:5.
777. German and Viennese Photography, March, 1906 (Alfred
Stieglitz) . Oct. 1916, 48:67.
VIII. Girl in Straw Hat (David Octavius Hill [and Robert
Adamson] ) . Jan. 1912,37:33.
7. Girl with Bowl (George H. Seeley) . Jan. 1910, 29:5.
V. Girl with Dog (George H. Seeley). Oct. 1907, 20:13.
V. Girl with Mirror (Heinrich Kiihn). Jan. 1906, 13:15.
7. Girl with Parasol (Ema Spencer). Jan. 1909, 25:25.
XVI. Girl with Rose (Clarence H. White). July 1908, 23:47
77. Gitana—Granada, A (J. Craig Annan). Jan. 1914, 45:7.
X777. Glass and Shadows (Ad. De Meyer). Oct. 1912, 40:49.
777. Going to the Start (1904) (Alfred Stieglitz). Oct. 1905,
12:9.
IX. Gossip—Katwyk (1894) (Alfred Stieglitz). Oct. 1905,
12:21.
IV. Group on a Hill Road—Granada (J. Craig Annan). Jan.
1914,45:11.
VI. Guitar Player of Seville (Baron A. De Meyer). Oa.
1908,24:31.
Hair-Dressing (Henri Matisse). Aug. 1912, SN:i5Hand of Man, The (Alfred Stieglitz). Jan. 1903, 1:47.
X777. Hand of Man (1902), The (Alfred Stieglitz). Oct.
1911,36:57.
777. Handyside Ritchie and Wm. Henning (David Octavius
Hill [and Robert Adamson}). Jan. 1912, 37:9.
IV. Happy Days (Gertrude Kasebier). Apr. 1905, 10:11.
IV. Harbour of Hamburg (Heinrich Kuehn). Jan. 1911,
33:11.
777. Harlech Castle (J. Craig Annan). Oct. 1910, 32:9.
77, Harlech Castle (George Davison). Apr. 1909, 26:31.
7. Head of a Young Girl (Eva Watson-Schiitze) . Jan. 1905,
9:29.
777. Height and Light in Bourges Cathedral (Frederick H.
Evans). Oct. 1903,4:9.
VI. Henri Matisse (Eduard J. Steichen). Apr./July 1913,
42/43:31-
7777. Henry W. Taft [William Howard Taft] (Eduard J.
Steichen). Apr./July 1913, 42/43:35.
777. Herschel (Julia Margaret Cameron). Jan. 1913, 41:9.
Hiver, L' (Puvis de Chavannes). Jan. 1903, 1:31.
7777. Horse (Frank Eugene). Apr. 1910, 30:31.
7. Horses (1904) (Alfred Stieglitz). Oct. 1905, 12:5.
X77. "Hortensia" (Frank Eugene). July 1910, 31:59.
VI. House on the Hill (Alvin Langdon Coburn). Apr. 1904,
6:16.
7. Houses Near Aix-les-Bains (George Davison). Oct. 1909,
28:29.
7. 77. R. H. Rupprecht, Prince of Bavaria (Frank Eugene).
July 1910,31:5.
77. Illustration for "Madame Butterfly" (C. Yarnall Abbott).
Apr. 1905, 10:47.
IV. Illustration, No. 18 (Herbert G. French). July 1909,
27:11.
V. Illustration, No. 22 (Herbert G. French). July 1909,
27:13.
77. Illustration to "Beneath the Wrinkle" (Clarence H.
White). Jan. 1905, 9:7.
777. Illustration to "Eben Holden" (Clarence H. White).
July 1903,3:11.
777. Illustration to "Eben Holden" (Clarence H. White).
Jan. 1905, 9:9.
77. In a Village under the South Downs (George Davison).
Apr. 1907, 18:7.
7. In Brittany ( Robert Demachy ) . Jan. 1904, 5:
5.
VII. In Memoriam (Eduard J. Steichen). Apr. 1906, SS:i9.
In Sure and Certain Hope (Frederick H. Evans). Oct. 1904,
8:47.
/. In the Circus (Harry C. Rubincam). Jan. 1907, 17:37.
In the Garden (Thomas W. Dewing). Apr. 1905, 10:31.
X7F. In the New York Central Yards (1903) (Alfred
Stieglitz). Oct. 191 1, 36:59.
7. In the Tirol—No. 13 (John Marin). July 1912, 39:27.
77. In the Tirol—No. 23 (John Marin). July 1912, 39:29.
777. Iris (Herbert G. French). July 1909, 27:9.
77. Isadora Duncan (Eduard J.Steichen). Apr./July 1913,
42/43:7-
IV. Janet Burnet (J. Craig Annan). July 1907, 19:11.
77. Japanese Lantern, The (Paul B. Haviland). July 1912,
39:7-
IV. Joachim (Julia Margaret Cameron). Jan. 1913, 41:11.
IV. John Gibson Lockhart (David Octavius Hill [and Robert
Adamson] ) . July 1 905, 1 1 : 1 1
.
77. John Marin and Alfred Stieglitz (Marius De Zayas). Apr.
1914,46:27.
Joy of Life, The (Henri Matisse). Aug. I9I2,SN:9.
77. J. Pierpont Morgan, Esq. (Eduard J.Steichen). Apr.
1906, SS:9.
X7. Judgment of Paris—A Landscape Arrangement (Eduard
J. Steichen ) . Apr. 1 903, 2:41.
VI. Katherine {190^} (Alfred Stieglitz). Oct. 1905, 12:15.
7X. Kimono—Frl. v. S. (Frank Eugene). July 1910, 31:37.
777. Kiss. The (A. Walkowitz). Oct. 191 3, 44:35-
VI. Lady in Black (David Octavius Hill [and Robert Adam-
son] ). Jan. 1912, 37:29.
IV. Lady in Black with Statuette (Clarence H. White). July
1908, 23:23.
F77. Lady in Flowered Dress (David Octavius Hill [and
Robert Adamson]). Jan. 191 2, 37:31.
77. Lady of Charlotte (Frank Eugene). Jan. 1909, 25:43.
777. Lady Ruthven (David Octavius Hill [and Robert Adam-
son]). Apr. 1905, 11:9.
F7. Landing Place, Villa Carlotta. The (Karl F. Struss). Apr.
1912, 38:51.
7777. Landscape (Heinrich Kuehn). Jan. 1911, 33:37.
XV. Landscape (Heinrich Kuehn). Jan. 191 1, 33:59-
777. Landscape (Frederick H. Pratt). Apr. 1914, 46:9.
Landscape (D. W. Tryon). Jan. 1903, 1:31.
Index of Titles 149
IV. Landscape (Van Gogh). June 1913, SN:47.
XII. Laitdscape iti Two Colors ( Eduard J.Steichen ) . Apr.
1906, 88:29.
VI. Landscape— Winter (Clarence H. White). July 1908,
23:27.
77. Last Hour, The(Joseph T. Keiley ) . July 1903, 3:45.
77. Last Hour, The (Joseph T. Keiley). Jan. 1907, 17:7.
XIV. Late Afternoon—Venice (Eduard J. 8teichen). Apr./
July 1913,42/43:63.
K77. Lenbach (Eduard J. Steichen) . Apr. 1903, 2:17.
7. Lenore (Joseph T. Keiley). Jan. 1907, 17:5.
7. Letitia Felix (Clarence H. White). July 1903, 3:7.
7X. Letter, The (Guido Rey). Oct. 1908, 24:41.
777. Lilac Buds: Mrs. S. (Eduard J. Steichen). Apr. 1906, 14:9.
Little Galleries of the Photo-Secession, The (Alfred Stieglitz).
Apr. 1906, 14:42.
Little Galleries of the Photo-Secession, The (Alfred Stieglitz).
Apr. 1906, 14:42.
Little Galleries of the Photo-Secession, The (Alfred Stieglitz).
Apr. 1906, 14:43.
Little Galleries of the Photo-Secession, The (Alfred Stieglitz).
Apr. 1906, 14:43.
VI. Little Model, The ( EduardJ.
Steichen ) . Apr. 1906, 14: 1 5.
V. Little Round Mirror, The ( Eduard J. Steichen) . Apr. 1906,
14:13.
V. Long Arm, The (George Davison). Apr. 1907, 18:13.
X777. Lotte and Her Nurse (Heinrich Kuehn). Jan. 191 1,
33:55-
XVII. Lotus Screen: S. S. S., The ( EduardJ.
Steichen ) . Apr./
July 1913,42/43:89.V. Lower Manhattan (1910J (Alfred Stieglitz). Oct. 191 1,
36:13.
77. Madame Hanako (Marius De Zayas). Jan. 1910, 29:43.
7. Maeterlinck (EduardJ.
Steichen). Apr. 1906, 88:7.
77. Manger, The (Gertrude Kasebier) . Jan. 1903, 1:7.
F77. Man In Armor (Frank Eugene). Apr. 1910, 30:29.
77. Man Sketching (J. Craig Annan). Oct. 1910, 32:7.
VII. Man that resembles Eras??ius, The (Eduard J. Steichen)
Apr./July 1913,42/43:33.7. Marcella (F. Benedict Herzog). Oct. 1905, 12:53.
777. Marchesa Casati (Ad. De Meyer). Oct. 191 2, 40:9.
77. Marquis of Northampton, The ( David Octavius Hill [and
Robert Adamson]). Jan. 1912, 37:7.
7. M. Auguste Rodin (EduardJ.
Steichen). Apr./July 191 1,
34/35:5-
77. Mary (Sarah C. Sears). Apr. 1907, 18:35.
IV. Mary Learns to Walk (EduardJ. Steichen). Apr./July
1913,42/43:11.IV. Master Frank Jefferson (Frank Eugene). Apr. 1910,
30:11.
IV. Mauretania (1910). The (Alfred Stieglitz). Oct. 191 1,
36:11.
777. Meadow-brook (Theodor and Oscar Hofmeister). July
1904,7:9.
7. 'Midst Steam and Smoke (Prescott Adamson). Jan. 1904,
5:37-
7. Minnow Pool, The (David Octavius Hill [and Robert
Adamson] ). Oct. 1909, 28:5.
7X. Minuet (Frank Eugene). Apr. 1910, 30:59.
777. Miss Doris Keane (Paul B. Haviland). July 1912, 39:9.
IV. Miss J. Ranken (Ad. De Meyer). Oct. 1912, 40:11.
777. Aim Mabel C. (Clarence H. White and Alfred Stieglitz).
July 1909,27:37.
VII. Miss S.R. (1904) (Alfred Stieglitz). Oct. 1905, 12:17.
77. Model, A (Robert Demachy). Oct. 1906, 16:7.
F777. Model and the Mask, The (Eduard J. Steichen). Apr.
1906, SS:2i.
7. Montmartre (C. Puyo). Oct. 1906, 16:25.
77. Moonlight (Arthur E. Becher). Oct. 1903, 4:51-
IV. Moonlight: The Pond (Eduard J.Steichen). Apr. 1906,
14:11.
77. Morning (Clarence H. White). July 1908, 23:19.
VI. Mosaic (Frank Eugene). Apr. 19 10, 30:15.
77. Mother and Child (A. Walkowitz). Oct. 1913, 44:31.
IV. Mother and Child—A Study (Alvin Langdon Coburn).
Apr. 1904,6:11.
7X. Mother and Child—Sunlight ( Eduard J.Steichen ) . Apr.
1906,14:53.
7X. Mountain Landscape (Hans Watzek). Jan. 1906, 13:33.
7. Mr. Alfred Stieglitz (Frank Eugene). Jan. 1909, 25:41.
V. Mr. Christian Brinton (Paul B. Haviland). July 1912,
39:13.
7X. Mr. Rintoul, Editor "Spectator" (David Octavius Hill
[and Robert Adamson]). Jan. 1912, 37:35.
V. Mrs. Anna Brownell Jameson (David Octavius Hill [and
Robert Adamson]). Jan. 1912, 37:13.
V. Mrs. Brown Potter (Baron A. De Meyer). Oct. 1908,
24:29.
IV. Mrs. Brown Potter (Marius De Zayas). Jan. 1910, 29:47.
VI. Mrs. Eugene Meyer, Jr. (Marius De Zayas). Apr. 19 14,
46:39.
VI. Mrs. Jameson (David Octavius Hill [and Robert Adam-
son] ). July 1905, 11:15.
7. Mrs. Julia Ward Howe (Sarah C. Sears) . Apr. 1907, 18:33.
77. Mrs. Rigby (David Octavius Hill [and Robert Adam-
son] ). July 1905, 11:7.
V. Mrs. Rigby (David Octavius Hill [and Robert Adam-
son] ). Oct. 1909, 28:13.
X7. Mrs. Wiggins of Belgrave Square (Ad. De Meyer). Oct.
1912,40:45.
7. Music (A. Walkowitz). Oct. 191 3, 44:29.
V. My Neighbors (Gertrude Kasebier). Apr. 1905, 10:13.
V. Nadelman Exhibition—2 Rooms, December, 191^ (Alfred
Stieglitz). Oct. 1916,48:68.
VI. Nadelman Exhibition—2 Rooms, December, 1915
( Alfred Stieglitz) . Oct. 1916, 48:68.
IV. Nature (Alice Boughton). Apr. 1909, 26:11.
V. Nearing Land (1904) (Alfred Stieglitz). Oct. 1905, 12:13.
7. Negro Art Exhibition, November, 191 4 (Alfred Stieg-
litz). Oct. 1916,48:66.
VI. Newhai'en Fisheries (E)avid Octavius Hill [and Robert
Adamson]). Oct. 1909, 28:15.
7X. New York (Alvin Langdon Coburn). Jan. 1908, 21:37.
7. New York (Paul Strand). Oct. 1916, 48:25.
7/7. New York (Paul Strand). Oct. 1916, 48:29.
IV. New York (Paul Strand). Oa. 1916, 48:31.
V. New York (Paul Strand). Oct. 1916, 48:33.
VI. New York (Paul Strand). Oct. 1916, 48:35.
7. New York at Night (Paul B. Haviland). Apr. 1914, 46:5.
77. New York at Night (Paul B. Haviland). Apr. 1914, 46:7.
150 Index of Titles
/. Ninth Movement (Gordon Craig). Oct. 1910, 32:37.
XV. Nocturne—Hydrangea Terrace, Chateaux Ledoux
(Eduard J.Steichen). Apr./July 1913, 42/43:85.
XIU. Nocturne—Orangerie Staircase, Versailles (Eduard J.
Steichen). Apr./July 1913, 42/43:61.
X. No. 3j6 (George H. Seeley). Jan. 1910, 29:59.
IX. No. 347 (George H. Seeley). Jan. 1910, 29:57.
/. No Title (George H. Seeley;. July 1906, 15:37.
//. No Title (George H. Seeley). July 1906, 15:39.
Vlll. Notre Dame (Alvin Langdon Coburn). Jan. 1908,
21:35.
V. Nude (Alice Boughton). Apr. 1909, 26:13.
IV. Nude (W. W. Renwick). Oct. 1907, 20:47.
X. Nude (Clarence H. White). July 1908, 23:35.
XI. Nude—A Child (Frank Eugene). July 1910, 31:57.
///. Nude—Against the Light (C. Puyo). Oct. 1906, 16:29.
Xlll. Nude—A Study (Frank Eugene). July 1910, 31:61.
//. Nudes (Cezanne). June 1913, SN:43.
VI. Nude—The Pool (George H. Seeley). Jan. 1910, 29:15.
X. Nude with Cat (Eduard J. Steichen). Apr. 1903, 2:39.
V. Nyrnphenburg Figure, The (Ad. De Meyer). Oct. 191 2,
40:13.
VI. Old and New New York (1910) (Alfred Stieglitz). Oct.
1911, 36: 15.
Old Bastn of Dunkirk, The ( E. Boudin ) . July 1903, 3:19.
VI. Old Church—Burgos(J. Craig Annan). Jan. 1914, 45:31.
//. On a Dutch Shore (J. Craig Annan). Oct. 1904, 8:7.
/. Onion Field—1890, The (George Davison). Apr. 1907,
18:5.
( IX. On the Dunes (Heinrich Kuehn). Jan. 191 1, 33:39.
IV. On the East River, New York (Karl F. Struss). Apr.
1912, 38:31.
7. On the Embankment (Alvin Langdon Coburn). Oct. 1909,
28:55.
II. On the House-boat—"The Log Cabin" ( Eduard J.
Steichen ) . Apr. 1 908, 22:9.
IV. On the Lake (Robert Demachy). Jan. 1904, 5:11.
//. On the Shore (Heinrich Kuehn). Jan. 191 1, 33:7.
I. Orchard, The (Clarence H. White). Jan. 1905, 9:5.
///. Outlook, Villa Carlotta, The (Karl F. Struss). Apr. 191 2,
38:29.
VII. Over the House Tops, Missen ( Karl F. Struss ) . Apr.
1912,38:53.
VIII. Over the House-Tops—New York (William E.
Wilmerding). Oa. 1908,24:35.
VI. Passing Steamer (Paul B. Haviland). July 1912, 39:15.
VI. Pastoral ( Gertrude Kiisebier ) . Apr. 1905, 10:15.
/. Pastoral—Moonlight (Eduard J. Steichen). July 1907,
19:35.
7X. Paul B. Haviland (Marius De Zayas). Apr. 1914, 46:45.
IX. Photograph (Paul Strand). June 1917, 49/50:25.
X. Photograph (Paul Strand). June 1917, 49/50:27.
XI. Photograph (Paul Strand). June 1917, 49/50:29.
X. Photographers' Best Model—G. Bernard Shaw, The
(Eduard J. Steichen). Apr./July 1913, 42/43:39.
/. Photograph—New York (Paul Strand). June 1917, 49/
50:9.
II. Photograph—New York (Paul Strand). June 1917, 49/50:11.
///. Photograph—New York (Paul Strand). June 1917, 49/50:13.
IV. Photograph—New York (Paul Strand). June 1917, 49/50:15.
V. Photograph—New York (Paul Strand). June 1917, 49/50:17.
VI. Photograph—New York (Paul Strand). June 1917, 49/50:19.
VII. Photograph—New York (Paul Strand). June 19 17, 49/50:21.
VIII. Photograph—New York (Paul Strand). June 1917,
49/50:23.
7. Photogravure of Drawing (Henri Matisse). Oct. 1910,
32:29.
77. Photogravure of Drawing (Henri Matisse). Oct. 1910,
32:31.
7. Photogravure of Drawing (Auguste Rodin). Apr./July
i9ii> 34/35:25.
77. Photogravure of Drawing (Auguste Rodin). Apr./July
1911,34 '35:27-
77. Picture-book, The (Gertrude Kasebier). Apr. 1905, 10:7.
7X. Pipes of Pan, The (Clarence H. White). July 1908,
23:33.
V. Ploughing Team (J. Craig Annan). July 1907, 19:13.
F777. Ploughing (1904) (Alfred Stieglitz). Oct. 1905, 12:19.
777. Pomeranian Motif (Hugo Henneberg). Jan. 1906, 13:9.
77. Ponte Vecchio—Florence (Marshall R. Kernochan). Oct.
1909, 28:43.
V. Pool, The (Annie W. Brigman). Apr. 1912, 38:13.
77, Pool, The (Eduard J.Steichen). Apr. 1903, 2:7.
X77. Pool—Deal (1910I, The (Alfred Stieglitz). Oct. 1911,
36:43.
F777. Poplars and Clouds (Hans Watzek). Jan. 1906, 13:31.
77. Portrait, A ( Francis Bruguiere ) . Oct. 1 9 1 6, 48 :
5 1
.
7. Portrait (Cezanne). July 1913, SN:4i.
V. Portrait (Heinrich Kuehn). Jan. 191 1, 33:13.
VI. Portrait (Heinrich Kuehn). Jan, 1911, 33:15.
7X. Portrait (Eduard J.Steichen). Apr. 1903, 2:37.
IV. Portrait (A. Walkowitz). Oct. 1913, 44:33.
V. Portrait—Gertrude Stein (Picasso). June 191 3, SN:49.
7. Portrait Group (H. Mortimer Lamb). July 1912, 39:53.
777. Portrait—Lady H. (Eduard J.Steichen). Apr. 1908,
22:11.
F77. Portrait—Master Torn (Clarence H. White). July 1908,
23:29.
7. Portrait—Meine Mutter (Heinrich Kuehn). Jan. 191 1,
33:5-
Portrait, M. Kahnweiler (Pablo Picasso). Aug. 1912, SN:37.
777. Portrait—Miss De C. (Joseph T. Keiley). Jan. 1907,
17:9.
7. Portrait—Miss G. G. (Paul B. Haviland). Oct. 1909,
28:41.
7. Portrait—Miss Mary Everett (Clarence H. White). July
1908, 23: 17.
7. Portrait—Miss Minnie Ashley (Gertrude Kasebier). Apr.
1905, 10:5.
IV. Portrait (Miss N.) (Gertrude Kasebier) Jan. 1903, i:ii.
777. Portrait—Mile. D. (Robert Demachy). Oct. 1906, 16:9.
X77. Portrait—Mrs. Clarence H. White (Clarence H. White).
July 1908,23:39.
Index of Titles i^i
XV. Portrait—Mrs. Harrington Mann (Clarence H. White).
July 1908,23:45.
///. Portrait—Mrs. Philip Lydig (Gertrude Kasebier). Apr.
1905, 10:9.
VI. Portrait of Alvin Langdon Coburn (George Bernard
Shaw). July 1906, 15:15.
//. Portrait of a Young Man (Eduard J. Steichen). July 1905,
11:37.
VI. Portrait of Clarence H. White (Eduard J. Steichen).
Jan. 1905, 9:15.
///. Portrait of Mrs. C. (J. Craig Annan). July 1907, 19:9.
IV. Portrait—S. R. (1904) (Alfred Stieglitz) Jan. 1913,
41:39.
///. Portraits—A Group (David Octavius Hill [and Robert
Adamson] ). Oct. 1909, 28:9.
IV. Portraits—Evening (Eduard J. Steichen). Apr. 1906,
SS:i3.
//. Portrait Study, A (Alvin Langdon Coburn). Apr. 1904,
6:7.
77. Portrait Study (Eva Watson-Schiitze ) . Jan. 1905, 9:31.
IV. Portrait—The Gown and the Casket (David Octavius
Hill [and Robert Adamson}). Oct. 1909, 28:11.
VII. Portrait—The Mirror (Heinrich Kuehn). Jan. 191 1,
33:17.
XV. Poster Lady (Eduard J. Steichen). Apr. 1906, SS:35.
77. Princess Rupprecht and Her Children (Frank Eugene).
Apr. 1910, 30:7.
7. Principal Haldane (David Octavius Hill [and Robert
Adamson}). Jan. 191 2, 37:5.
777. Prof. Adolf Hengeler (Frank Eugene). July 1910, 31:9.
VI. Prof. Adolf V. Seitz (Frank Eugene). July 191 o, 31:15.
IV. Prof. Franz V. Stuck (Frank Eugene). July 1910, 31:11.
X777. Profile (EduardJ. Steichen ). Apr. 1906, SS:3i.
IV. Prof. John Young, of Glasgow University (J. Craig
Annan ) . Oct. 1 904, 8:11.
Progress in Photo-Portraiture. I. Portrait of Mr. Wotsnametaken several years ago (J. Montgomery Flagg). Jan. 1907,
17:46.
Progress in Photo-Portraiture. II. Portrait of the same gentle-
tnan taken today (J. Montgomery Flagg). Jan. 1907, 17:47.7. Rain from the Hills (A. Horsley Hinton). July 1905,
11:53.
777. Rebecca (Frank Eugene). Apr. 1910, 30:9.
V. Red Man, The (Gertrude Kasebier). Jan. 1903, 1:14.
77. Reproduction of a Drawing (Manolo). July 1912, 39:43.V. Ring Toss (Clarence H. White). July 1903, 3:14.
V. Riva Schiavoni, Venice. The (J. Craig Annan). Oct. 1904,
8:13.
XVI. Road into the Valley—Moonrise (EduardJ. Steichen).
Apr. 1906,88:37.
77. Road to Algeciras (Alvin Langdon Coburn). Jan. 1908,
21:7.
7. Rodin (Eduard J. Steichen). Apr. 1903, 2:5.
IV. Rodin (Alvin Langdon Coburn). Jan. 1908, 21:11.
7. Rodin and Eduard ]. Steichen (Marius De Zayas) Apr.
1914,46:25.
7. Rodin—Le Penseur (EduardJ. Steichen). July 1905,
11:35.
X. Rodin—Le Penseur (EduardJ. Steichen). Apr. 1906,
SS:25.
IV. Roman Campagna (Heinrich Kiihn). Jan. 1906, 13:13.
777. Rose, The (Eva Watson-Schiitze). Jan. 1905, 9:33.
X. Rudder, The (Alvin Langdon Coburn). Jan. 1908, 21:39.
777. Ruth St. Denis (Marius De Zayas). Jan. 1910, 29:45.
7. Sadakichi Hartmann (Eduard J. Steichen). July 1904,
7:49-
XIV. Sailing Boats (Heinrich Kuehn). Jan. 191 1, 33:57.
77/, Sand and Wild Roses (Alice Boughton). Apr. 1909,
26:9.
Sculpture (Henri Matisse). Aug. 1912, SN: 17.
Sculpture (Henri Matisse). Aug. i9i2,SN:i9.
Sculpture (Pablo Picasso). Aug. 1912, SN:4i.
Sculpture (Pablo Picasso). Aug. 1912, SN:43.
VI. Sea Calm (Theodor and Oscar Hofmeister). July 1904,
7:16.
VI. Seasons, The (Alice Boughton). Apr. 1909, 26:15.
IV. Seine at Clichy, The (Robert Demachy). Oct. 1906,
16:31.
777. Self-portrait (Eduard J. Steichen). Apr. 1903, 2:9.
77. Sentinels (C. Yarnall Abbott). Jan. 1909, 25:27.
X. September (1899} (Alfred Stieglitz). Oct. 1905, 12:23.
Serbonne (Gertrude Kasebier). Jan. 1903, 1:27.
777. Severity (Robert Demachy). Jan. 1904, 5:9.
X77. Sheep (Hans Watzek). Jan. 1906, 13:39.
V. Sigh (A. Walkowitz). Oct. 191 3, 44:47-
77, Silver Cap, The (Ad. De Meyer) . Oct. 1912, 40:7.
IV. Sir Francis Grant, P. R. A. (David Octavius Hill [and
Robert Adamson}). Jan. 1912, 37:11.
V. Sir Henry Irving (Frank Eugene). Apr. 19 10, 30:13.
77. Snapshot—From my Window, Berlin (Alfred Stieglitz).
Oct. 1907, 20:43.
7. Snapshot—From my Window, New York (Alfred Stieg-
litz). Oct. 1907, 20:41.
777. Snapshot—In the New York Central Yards (Alfred
Stieglitz). Oct. 1907, 20:45.
7. Snapshot: Paris (1911), A (Alfred Stieglitz). Jan. 1913.
41:33.
77. Snapshot; Paris (1911), A (Alfred Stieglitz). Jan. 1913,
41:35-
7. Solitary Horseman, The ( Theodor and Oscar Hofmeister )
.
July 1904,7:5.
XIV. Solitude ( Eduard J.Steichen) , Apr. 1906, SS: 33.
7. Soul of the Blasted Pine (Annie W. Brigman). Jan. 1909,
25:5.
IV. Source, The (Annie W. Brigman). Jan. 1909, 25:11.
7. Spanish Shawl, The (Paul B. Haviland). July 191 2, 39:5.
Spanish Village ( Pablo Picasso ) . Aug. 191 2, SN: 35.
77. Speed (Robert Demachy). July 1904, 7:31.
7. Spider, The (William B. Dyer). Apr. 1907, 18:53.
X7. Spider-webs (Alvin Langdon Coburn). Jan. 1908, 21:41.
Spring (Botticelli). Apr. 1905, 10:31.
V. Spring (Joseph T. Keiley). Jan. 1907, 17:13.
F777. Spring. (George H. Seeley). Jan. 1910, 29:27.
XVI. Spring Showers, New York (1900) (Alfred Stieglitz).
Oct. 1911, 36:63.
IV. Spring (ic)oi} (Alfred Stieglitz). Oct. 1905, 12:11.
VII. Square—Ronda, A (J. Craig Annan). Jan. 1914, 45:33.
F777. Star-Dancer on Board a Transatlantic Steamer
(Picabia). June 1913, SN:55.
152 Index of Titles
XI. Steeplechase Day, Paris: After the Races (Eduard J.
Steichen). Apr./July 1913, 42/43:57.
XU. Steeplechase Day, Paris; Grand Stand (Eduard J.
Steichen). Apr./July 1913, 42/43:59.IX. Steerage (i^oy). The (Alfred Stieglitz). Oct. 191 1,
36:37.
///. Still-Life (Cezanne). June 1913, SN:45.
/. Still Life ( Baron A. De Meyer ) . Oct. 1908, 24: 5.
77. Still Life (Baron A. De Meyer). Oct. 1908, 24:7.
77/. Still Life ( Baron A. De Meyer) . Oct. 1908, 24:9.
IV. Still Life ( Baron A. De Meyer ) . Oct. 1908, 24: 1 1.
7. Stirling Castle (J. Craig Annan). July 1907, 19:5.
i IV. Storm (Eva Watson-Schiitze ) . Jan. 1905, 9:35.
I
77. Storm Light (Will A. Cadby). Apr. 1904, 6:31.
j77. Straw Hat, The (C. Puyo). Oct. 1906, 16:27.
j777. Street—Design for a Poster, The ( Alfred Stieglitz ) . July
I1903- 3:47-
IX. Street in China, A (Ad. De Meyer). Oct. 1912, 40:33.
IV. Street in Lisieux ( Robert Demachy ) . Oct. 1906, 16:11.
! 77. Street in Mentone (Robert Demachy). Jan. 1904, 5:7.
VI. Struggle (Robert Demachy). Jan. 1904, 5:16.
VI. Study (Robert Demachy). Oct. 1906, 16:15.
X. Study (Heinrich Kuehn). Jan. 1911, 33:41.
7. Study (Renee Le Begue). Oct. 1906, 16:41.
77. Study (Renee Le Begue). Oct. 1906, 16:43.
Study in Natural History, A (A. Radclyffe Dugmore). Jan.
1903,1:55.
VI. Study in Sunlight, A (Heinrich Kijhn) , Jan. 1906,13:17.
Study—Miss R. (Alvin Langdon Coburn). Oct. 1904, 8:33.
VII. Study of a Gitana (Baron A. De Meyer). Oct. 1908,
24:33.
77. Sunday Morning Chester, Nova Scotia ( Karl F. Struss )
.
Apr. 1912, 38:27.
XL Swimming Lesson (1906), The (Alfred Stieglitz). Oct.
1911,36:41.
777. Tale of Isolde, The (F. Benedict Herzog). Oct. 1905,
12:57.
VI. Teddie (Ad. De Meyer). Oct. 1912, 40:15.
77. Telegraph Poles (Paul Strand). Oct. 1916, 48:27.
77. Telegraph Poles (Clarence H. White). July 1903, 3:9.
XV. Terminal (1892), The (Alfred Stieglitz). Oct. 191 1,
36:61.
777. Thames Locker, A (George Davison). Apr. 1907, 18:9.
VIII. Theodore Roosevelt (Marius De Zayas). Apr. 1914,
46:43.
7. Toros, El. (Alvin Langdon Coburn). Jan. 1908, 21:5.
IV. Torso (Clarence H. White and Alfred Stieglitz). July
1909,27:39.
IV. Totote (Paul B. Haviland). July 191 2, 39:11.
7. Totote (Manolo). July 1912, 39:41.
7. Toucques Valley (Robert Demachy). Oct. 1906, 16:5.
77. 'Twixt the Cup and the Lip (F. Benedict Herzog). Jan.
1907, 17:27.
VII. Two Friends (Marius De Zayas). Apr. 1914, 46:41.
77. Two Towers—New York (Alfred Stieglitz). Oct. 1913,
44;7-
7. Under the Pines ( Will A. Cadby ) . Apr. 1904, 6: 29.
X77. Venice (Heinrich Kuehn). Jan. 191 1, 33:53.
7. Venice (Eduard J.Steichen). Oct. 1913, 44:5.
7. Villa Falconieri (Hugo Henneberg). Jan. 1906, 13:5.
V. Village Corner, A (Theodor and Oscar Hofmeister). July
1904,7:13.
X. Village Corner, A (Hans Watzek). Jan. 1906, 13:35.
77. Villa Torlonia (Hugo Henneberg). Jan. 1906, 13:7.
7. Vitality—Yvette Guilbert (Eduard J.Steichen). Apr./
July 1913,42/43:5.Wandering Acrobats, The (Pablo Picasso). Aug. 1912,
SN:3i.
K77. Washerwoman on the Dunes (Heinrich Kiihn). Jan.
1906, 13:19.
V. White House, The (J. Craig Annan). Oa. 1910, 32:13-
7X. White Lady, The ( Eduard J.Steichen) . Apr. 1906, SS:23.
VI. White Landscape, The (George H. Seeley). Oct. 1907,
20:15.
X7. White Sail, The (Hans Watzek). Jan. 1906, 13:37.
7/7. White Screen, The (George H. Seeley). Jan. 1910, 29:9.
VII. White Trees (George H. Seeley). Jan. 1910, 29:25.
7. Wier's Close—Edinburgh (Alvin Langdon Coburn). July
1906, 15:5.
77. William M. Chase (Eduard J.Steichen). Apr. 1906, 14:7.
V. Willi Geiger (Frank Eugene). July 1910, 31:13-
777. Windblown (Heinrich Kuehn). Jan. 191 1, 33:9.
X. Windows on the Bosphorus (Ad. De Meyer). Oct. 1912,
40:35.
/. Winged Victory (Herbert G. French). July 1909, 27:5.
/. Winter (Arthur Allen Lewis). Oct. 1916, 48:49.
77. Winter—Fifth Avenue (1892) (Alfred Stieglitz). Oct.
1905, 12:7.
X7. Winter Landscape (Heinrich Kuehn). Jan. 1911, 33:43.
IV. Winter Landscape (Clarence H. White). July 1903, 3:13.
IV. Winter Shadows (Alvin Langdon Coburn). July 1903,
3:49-
Wintry Weather (W. B. Post). Apr. 1904,6:43.
V. Wm. M. Chase (Eduard J.Steichen) . Apr. 1906, SS: 15.
VL Woman with Mandolin ( Picasso ). June i9i3,SN:5i.
IV. Wondrous Globe. The (Annie W. Brigman). Apr. 1912,
38:11.
IV. Wyvenhoe on the Colne in Essex (George Davison).
Apr. 1907, 18:11.
IV. York Minster: "In Sure and Certain Hope" (Frederick
H. Evans). Oct. 1903, 4:12.
V. York Minster: Into the North Transept (Frederick H.
Evans). Oct. 1903,4:29.
Index of Titles 1^3
INDEX OF SITTERS
Ashley, (Miss) Minnie
Apr. 1905, 10:5
Balzac, Honore de
Apr/July 1911,34/35:7
Apr./July 1911,34/35:9Apr./July 1911,34/35:11
Bartholome, Paul Albert
Apr. 1903, 2:13
Beatty, John W., Jr.
Jan. 1905,9:13Beatty, Katherine Elizabeth
Jan. 1905, 9:13
Berg, (Dr.) A. A.
Apr. 1914,46:31
Besnard, Paul Albert
Apr. 1903, 2:20
Brinton, Christian
July 1912,39:13
Burnet, Janet
July 1907, 19:11
Carlyle, Thomas
Jan. 1913,41:5
Jan. 1913,41:7Casati, ( Marchesa ) Luisa Amon
Oct. 1912,40:9Chase, William Merritt
Apr. 1906, 14:7
Apr. 1906, SS:i5
Coburn, Alvin Langdon
Oct. 1904, 8:30
Oct. 1904, 8:31
July 1906, 15:15
Oct. 1910, 32:45
Coburn, Fannie E.
Oct. 1910, 32:45Compton, Spencer Joshua Alwyne, Marquis of Northampton
Jan. 1912,37:7
Craig, Edward Gordon
Apr./July 1913,42/43:37
Darnton, Charles
Apr. 1914, 46:29
De Casseres, Benjamin
Jan. 1910, 29:41
Duncan, Isadora
Apr./July 1913,42/43:7
Duse, Eleonora
Apr. 1906, SS:ii
Everett, Mary
July 1908, 23:17
Felix, Letitia
July 1903, 3:7
France, Anatole
Apr./July 1913,42/43:29Francis of Assisi, Saint
Oct. 1905, 12:33
Oct. 1905, 12:37
Geiger, Willi
July 1910,31:13
Goetz, F.
July 1910, 31:63
Grant, Sir Francis
Jan. 1912, 37:11
Guilbert, Yvette
Apr./July 1913,42/43:5
Haldane, Robert
Jan. 1912,37:5
Hanako, MadameJan. 1910, 29:43
Hartmann, Sadakichi
July 1904,7:49Haviland, Paul B.
Apr. 1914, 46:45
Hengeler, (Prof.) Adolf
July 1910,31:9
Henning, William
Jan. 1912,37:9
Herschel, (Sir) John
Jan. 1913,41:9Hirth, (Dr.) Georg
July 1910, 31: 17
Hohlwein, Frau Ludwig von
July 1910,31:39
Howe, Julia WardApr. 1907, 18:33
Irving, Sir Henry
Apr. 1910, 30:13
Jameson, Anna Brownell
July 1905, 11:15
Jan. 1912,37:13
155
Jefferson, Frank
Apr. 1910, 30:11
Joachim, Joseph
Jan. 1913, 41:11
Kahnweiler, Daniel-HenryAug. I9I2,SN:37
Kasebier, Gertrude S.
Oct. 1904, 8:31
Keane, Doris
July 1912,39:9Kiihn, Fr. ( mother of Heinrich Kuhn
)
Jan. 1911,33:5
Lasker, Berthold
July 1910,31:19Lasker, Emanuel
July 1910, 31:19Lenbach, Franz von
Apr. 1903,2:17Lockhart, John Gibson
July 1905, 11: II
Lydig, Mrs. Philip
Apr. 1905, 10:9
Apr./July 1913,42/43:9
Maeterlinck, (Count) MauriceApr. 1906, SS:7
Mann, Mrs. Harrington
July 1908, 23:45Marin, John
Apr. 1914,46:27Mathasius, Frau
Oct. 1904, 8:9
Matisse, Henri
Apr./July 1913,42/43:31Meyer, Mrs. Eugene, Jr.
Apr. 1914,46:39Monro, (Dr.) Alexander Tertius
July 1905, 11:5
Morgan, John Pierpont
Apr. 1906,55:9
North, Christopher
See Wilson, John
Rintoul, Robert Steven
Jan. 1912,37:35Ritchie, Handyside
Jan. 1912, 37:9Rodin, Auguste
Apr. 1903,2:5
July 1905, 11:35
Apr. 1906, 58:25
Jan. 1908, 21:11
Apr./July 1911,34/35:5Apr. 1914,46:27
Roosevelt, Theodore
Apr. 1914, 46:43Rupprecht, Marie Luitpold Ferdinand, Crown Prince of
Bavaria
Apr. 1910, 30:7
Rupprecht, Princess ( and family
)
July 1910, 31:5
Ruthven, (Lady) MaryApr. 1905, 11:9
5t. Denis, Ruth
Jan. 1910, 29:45Seitz, Adolf von
July 1910, 31 :i5
Shaw, George Bernard
Jan. 1908, 21:13
Apr. 1908, 22:7
Apr./July 1913,42/43:39Steichen, Eduard J.
Apr. 1903, 2:9
Oct. 1904, 8:30
Apr. 1914, 46:25Stein, Gertrude
Junei9i3, SN:49Stieglitz, Alfred
Oct. 1904, 8:29
Jan. 1908, 21:15
Jan. 1909, 25:41
Apr. 1914,46:27Apr. 1914,46:37
Strang, William
July 1907, 19:7
Stuck, Franz von
July 1910, 31:11
Picabia, Francis
Apr. 1914, 46:47Potter, Mrs. Brown
Oct. 1908, 24:29
Jan. 1910,29:47Prospero, (Prince) Felipe
Oct. 1905, 12:39
Ranken, (Miss)J.
Oct. 1912, 40:11
Rigby, Anne Palgrave
July 1905, 11:7
Oct. 1909, 28:13
Taft, William HowardApr./July 1913,42/43:35
Terry, Ellen Alicia
Jan. 1913,41:13
Totote
July 1912,39:11
July 1912,39:41
Uhde, Fritz Karl Hermann von
July 1910,31:7
Watts, George Fredrick
Apr. 1906, 14:5
136 Index of Sitters
White, Clarence H. Wilson, John ( "Christopher North"
)
Jan. 1905, 9:15 July 1905, 11; 13
White, Jane Felix
July 1908, 23:39
Wiggins, Mrs. Young, ( Prof. ) John
Oct. 1912, 40:45 Oct. 1904, 8:11
Index of Sitters i^j
(continuedfrom front flap)
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CAMERAWORKA PICTORIAL GUIDE
With Reproductions of
All 559 Illustrations & Plates, Fully Indexed
Edited by Marianne Fulton Margolis
Only examples of such work as gives evidence of individuality and artistic worth,
regardless of school, or contains some exceptional feature of technical merit, or
such as exemplifies some treatment worthy of consideration, will find recognition
in these pages.
Alfred Stieglitz kept the promise he made in the first issue of Camera Work.
The fifty numbers of this famous and lavisiily iUustrated periodical, which he
edited and published between the years 1903 and 1917, contained some of the
finest examples of photograpliy and modernist art. The magazine chronicled
the introduction of modern Emopean art into America, publishing plates of
Rodin's and Matisse's drawings, for example, three years before the Armoryshow. Camera Work was a major force in the fight to have piiotography accepted
as a medium of artistic expression. It del)ated not only the question of whatin photography could be admissible as art, but discussed theories of modernart in general. Shaw wrote for it; it had the first published piece by GertrudeStein. Paul Strand, the noted photographer, reflected the opinion of many whenhe said that "the whole development of photography has been given to the
world through Camera Work."
This volume reproduces chronologically all the photographs and other illustra-
tions (except for advertisements) that ever appeared in Camera Work. Hereare some of the finest and l)est-known works by American and European artists
and photographers—numerous photos by Echiard Steichen, ,\lfred Stieglitz, Paul
Strand, Alvin Langdon Coburn, Clarence White, Robert Demachy, FrankEugene, Jidia Margaret Cameron, Gertrude Kiisebier, Heinrich Kiihn, andmany others; paintings, drawings and sculpture by Van Gogh, C^czanne, MaryCassatt, Picasso, Matisse, John Marin, Rodin, Brancusi, and Nadelman, to
name just a famous few.
Marianne Margolis has written an extensive historical introduction about
Stieglitz and the magazine, and prepared three complete indexes of the pictures
by title, artist and sitter. Painstakingly acciuate and complete. Camera Workis an indispensable reference work for libraries, museiuns, pictiue collectors
and dealers, and an important I)ook lor the art student and general reader
who wish to survey an ouisiauding period in tlie history of photography andart.
NatoulGallayofiirt
46-1-2185Original Dover (1978) puiilication published in cooperation with tl
tional Museum of Photogiapliy at George P^astman House, Rochester
trations. Introduction, Ijibliography, glossary of photographic term;
index of artists, index of titles, and index of sitters iiy Marianne
xvii -j- 137pp. Bs/g x 11 14. Paperbound. $9.95
ISBN 0-486-23591-2 $9.95 in U.S.A.
Recommended