Spring Seeley, George  (American, 1880-1955)

This high-key platinum print by George Seeley provides an excellent comparison to the photogravure of the same image in Camera Work IX (1910). Side by side, they are surprisingly similar allowing a glimpse at the parity Stieglitz was able to achieve. Here we can see first hand how Stieglitz could comfortably claim about Camera Wok photogravures…"In many instances these "reproductions" can be considered actual prints, having been made by the original negatives and printed in the spirit of the original picture and retaining all its quality." (Camera Work XII)

Compare to: https://photogravure.com/collection/spring-7/?artist=Seeley%252C%2520George&period=All&cw=All&portfolio=All&atelier=All&medium=All&keywords=&searchPage=1

A review in the February 25, 1910 issue of The British Journal of Photography discusses the ten photogravure plates by Seeley included with Camera Work 29, and singles out this spring study with female model at the critique’s conclusion: "Of the plates, the ten photogravures after photographs, by George H. Seeley, are remarkably rich examples of that idle sort of decorative toying with photography which “Camera Work" has always fostered. Mr. Seeley’s technical powers are very considerable. He is master enough to take great liberties with focussing, and does so with impunity; but the greatest enthusiast in art for art’s sake must admit that the subject-matter of Mr. Seeley’s work is trivial and tiresome. "Girl with Bowl” is well designed and of exquisite quality. “Autumn" introduces a tambourine and bulrushes, with an inexplicable pose of the model. “The White Screen" shows the lady out of doors, dappled with the shadow from a tree. This is a charming study in tones. Next follow two subjects introducing an artist’s palette—the first ridiculous and the next mystifying. Then comes a male nude of no attractions. “White Trees" and “Spring,” by their lightness and delicacy of tones, and the beauty of their suggestion, are, in our opinion, the best pictures of all. In the last two, the photographer’s title resources give out, and he contents himself with calling them No. 347 and No. 356. They do not suffer thereby. No. 356 is truly decorative, and shows us that Mr. Seeley has imbibed good ideas from the classics in painting." From: PhotoSeed Archive

References

Stieglitz, Alfred Camera Work, 1906 An Announcement, Camera Work XII, 1905 (insert)