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 Work 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. [1]

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 XXIX, and singles out this spring study with female model at the critique’s conclusion…‘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.