PHOTOGRAPHY.

TELEGRAMS,
Cyclist, London.
Photography, Coventry.

TELEPHONE,

Editorial, 1201, Holborn.
Publishing, 1731, Holborn.
Works, 10, Coventry.

3, St. Bride Street
London, E.C.

September 4th 1903.

A.Steiglitz Esq.,

1111 Madison Avenue,
New York, U.S.A.

Dear Steiglitz,

Many thanks for yours of the 14th alt., I am very sorry indeed that you are not to be represented at the Loan Collection particularly as it is intended strictly as a representative and not a competitive show. The agitation on this side against it is a miserable intrigue and the Linked Ring are to my knowledge very far from unanimous on the subject, and many members are disgusted at the collective attitude assumed.

As far as what you say with regard to the pretentions of the Royal, I can only say that if everybody adopted your attitude and declined to countenance it on the ground it would render permanent the present condition of things which we should all like to see purely temporary.

With kind regards, I am,

Yours sincerely,

PHOTOGRAPHY

TELEPHONE,
Editorial, 1201, Holborn.
Publishing, 1751, Holborn.
Works, 10, Coventry.

3 St. Bride St
London, E.C.

September 9th 1903.

A. Steiglitz Esq.,

1111 Maddison Avenue,
New York, U.S.A.

Dear Steiglitz,

I was very glad to receive yours of the 28th ult., although I was sorry to learn that you were not well again. As you say in your letter, your previous one which crossed mine gave me the information about your own intentions for which I asked.

With reference to our proposal I cannot help thinking that you have misunderstood it altogether. It is not intended in any way as a kind of advertising scheme, and I really think that I form quite a correct view of the earnestness of the American worker.

What my proposal comes to is this. We are not such travellers on this side as you are over there, and of the thousands interested in pictorial photography hardly one par cent. sees the exhibitions Now, what I want to do is to reproduce the leading pictures at the exhibitions as faithfully as I possibly can for the benefit of those who cannot see the exhibitions. If they had been fortunate enough to go to the exhibitions they would be able to purchase copies of those exhibits that were for sale, and in like manner when we reproduce any exhibits that are for sale I want in some part

PHOTOGRAPHY.

TELEPHONE.

Editorial, 1201, Holborn.
Publishing, 1731, Holborn.
Works. 10, Coventry.

3, St Bride St
London, E.C.

March 21st 1904.

A. Steiglitz Esq.,

Dear Steiglitz,

Thanks for your letter. I am very glad to hear that you are going to Paris which means of course London also, and am looking forward to seeing you again in the near future. I was also glad you liked the reproductions. Of course no one is better able to make allowances for the exigencies of printing than yourself.

I hope Camera Work is going as it deserves to go, that is higher and higher. I thought the last number was beautiful, and have got a little paragraph in this weeks "Photography" about it. They say over here "Why can't we have such a publication in England" to which my reply is that we have not got a Steiglitz.

With kind regards, I am,

Editor.

PHOTOGRAPHY.

THE JOURNAL OF
The Amateur The Profession and The Trade.

3, St. Bride St.
London, E.C.

May 27th 1904.

A.Stieglitz Esq.,
162 Leonard Street,
New York, U.S.A.

Dear Stieglitz.

Your letter of March 19th has not been answered before because I have been away holiday making but I was very much obliged to you for sending me on a copy of the "Photographer" containing the remarkable interview with Hinton. Frankly it is inherently truthful and positively photographic. All that lying rubbish about Yorkshire and Lancashire is just the kind of stuff he would say if he thought he was not going to be found out and contradicted. I am writing this to you in America although I understand that you will have sailed before I post it. I hope the letter will be forwarded and hope that if you come to England you will let me know in good time. There are one or two men here I should very much like you to meet.

With kind regards, I am,

PHOTOGRAPHY.

THE JOURNAL OF
The Amateur, The Profession and The Trade.

TELEPHONE,

3, St. Bride St.
London, E.C.

May 31st 1904.

A.Stieglitz Esq.,
Hotel Bristol,
Berlin, Germany.

Dear Stieglitz,

Your postcard to hand. I am sending you the current and three
preceeding issues of "Photography in case you should have missed any.
I hope you had a very pleasant crossing. I have been mightily amused
over the two interviews with Hinton which have appeared in the Photo-
grapher; also with Keiley's very frank letter as to the impression
which that young gentleman made upon the other side of the Atlantic.
It is well not to judge the Linked Ring as a whole from this one sam-
ple of it, but at the same time it may be remembered that Hinton does
pretty much as he likes with the Links, and the Ring has been diver-
ted altogether from its original project of furthering pictorial pho-
tography into a scheme for increasing the influence of the Editor of
the "Amateur Photographer", and smiting the Royal Photographic Society
(which blackballed him when he put up for membership.) I hope to hear
from you before long and I hope particularly that you are coming to
London and will give me due notice.

With kind regards, I am,

Yours sincerely,

Editor.

PHOTOGRAPHY.

TELEGRAMS,
Cyclist, London.
Photography, Coventry.
TELEPHONE,
London 1201, Halborn.
" 1731, Halborn.
Coventry, 10.

Editorial Department

20, Tudor Street,
London,
E.C.

November 26th 1904.

A.Stieglitz Esq.,

1111 Madison Avenue,
New York, N.Y.

Dear Stieglitz,

Thanks for your card. I am very glad to learn that there
is an improvement in you after your trip. What hard lines it was.
There is nothing said here so far about the "International" except
what you already know. I have had much pleasure in nominating you
for the R.P.S. and I asked Mummery to second you, as I thought you
would sooner have him than another. He expressed himself delighted,
and you will come up for election in Jan. Have you seen Snowden
Ward's absurd suggestion in Photograms of the Year? Demachy
yourself and Hinton to be Hon.Fellows! As far as Demachy and your-
self are concerned, I know for a fact that your names were considered
years ago, and it was expressed then that they would very much like
to see the list of Honorary Fellows strengthened by such an addition,
but it was said, and I felt the force of it myself, that it would
look like a bid for the support of the foreign Links, and that was
a thing the R.P.S. could not do. However it may come up again,
but A.H.H. will certainly not be considered, although Ward may be
fool enough to bring his name up.

Remember me to Keiley, Steichen, as well as to Mrs Kasebier,
who I hope will forgive our hard words in the criticism this year.

PHOTOGRAPHY.

TELEGRAMS.

TELEPHONE.

London, 1201, Holborn.
" 1731, Holborn.
Coventry, 10.

Editorial Department

December 21st 1904.

A.Stieglitz Esq.,

162 Leonard Street,

New York, U.S.A.

Dear Stieglitz,

Thanks for yours of the 11th inst. You will come up for election in January. I can quite understand how hard worked you must have been lately in getting out the very beautiful number of "Camera Work", I think the best you have had.

I had a leaderette written on the subject of the picture frame shop where the New York Salon is being held but in view of the fact that Hinton had already denounced it I thought it better to say nothing more. I heard all sorts of accounts of the Show, but reading between the lines can form I think a pretty good idea of what it is like; Hamlet with the part of Hamlet omitted. I hope you will get your 5,000 dollars. You ought to in a country where public spirit, in this respect, seems very much in advance of what it is over here. It would be impossible to raise such a sum in London for such an object, but we always look upon the U.S.A. as a land where, if the dollar is God, there is at least every chance for Polytheists.

I have given Todd a knock on the head this week and I think should settle that gentleman for a little while.

PHOTOGRAPHY.

TELEGRAMS.

TELEPHONE.

London. 1201, Holborn.
" 1731, Holborn.
Coventry. 10,

(3.)

Editorial Department

20, Tudor Street,

London,
E.C.

-mittee which consists of business men, abandons the old methods of the Society's Exhibition absolutely. It is proposed that the pictorial section shall play a very much larger part in the Exhibition in view, and if not this year next year, the trade and professional element shall be got rid of entirely. The idea is to have a Committee to invite work, and to consider any work that may be sent to it without invitation. The composition of the Committee as at present proposed is two acknowledged pictorial men from the R.P.S., it will ask yourself, Mr Demachy and Herr Kuhn to act with it, and will invite the Linked Ring to nominate two members also. The invitations will go out in the names of the entire Committee, and all those of the Committee that can be present will consider the work sent in without invitation. At the same time it is proposed that the foreign members of the Committee should have practically a free hand in their respective countries. You will see how wide-reaching a scheme this is, and you can imagine the difficulty there has been to bring it any where near the range of practical politics. I believe however, that as it stands at present, subject to the consent of those gentlemen whose names have been mentioned

PHOTOGRAPHY.

TELEGRAMS.

Cyclist, London.

Photography, Coventry.

TELEPHONE.

London, 1201, Holborn.

1731, Holborn.

Coventry, 10.

(5.)

20, Tudor Street,

London,

E.C.

Editorial Department.

only projects, although we have got a strong select Committee which I think will be able to force through anything once officially decided to be desirable. I really believe that at last we have got an opportunity with the old show which should be cultivated for all that it is worth.

It is a shame to bother you with such a long letter but I do want to know what your views are, how far we can count upon your co-operation, what you think our chance is of securing the co-operation of the L.R. as a body. I exclude perhaps a couple of the *reconcilables*, but not more. Please keep this strictly to yourself as it is of course desirable that nothing should be known of what is doing until it is done.

With kind regards,

I am,

PHOTOGRAPHY.

TELEPHONE.
London, 1201, Holborn.
" 1751, Holborn.
Coventry, 10,

Editorial Department

November 2nd., 1905.

A. Stieglitz Esq.,

1111, Madison Avenue,
New York, U.S.A.

Dear Stieglitz,

Many thanks for the packet of prints which came safely to hand, and for which I am very much obliged.

I am glad you have had occasion to speak out to the friends of "Photography" over here, and only wonder whether it will do any good or not.

I will see Coburn about reproducing his picture from which to make the block.

I went down to Newmarket the other day on the car and saw the Cesarewitch; it was nothing much of a race, but it was the first time I had seen Newmarket. If you come over to England again in the near future, you really must go there with me, as I have seen nothing like it anywhere else, the racing being more serious and less of a spectacle there than I ever imagined it would be.

I am afraid I have no news; the Exhibitions have shut, and the R.P.S. has done remarkably well in the point of attendance. What the Salon did, I cannot hear, but there are rumours that the Exhibition has been a costly one this year; however, I hope it will not hurt them.

PHOTOGRAPHY.

TELEPHONE,
1731, Holborn.
10, Coventry.

2nd October, 1907.

Alfred Stieglitz Esq.,

1111, Madison Avenue,

New York, U.S.A.

Dear Stieglitz,

I enclose you Hinton's latest effusion in "The Telegraph" not that it is important, but because I like to keep you posted up to date. I hope you had a pleasant voyage. I am also sending you under separate cover my latest effort, which is selling like hot cakes in this country at present. It is only published to-day, and we have not got our circulars out yet, but already we have sold two thousand.

Yours in haste,

P.S.

PHOTOGRAPHY
AND
FOCUS

TELEGRAMS,
Cyclist, London.

TELEPHONE.

5610, Halborn.

5611, Halborn.

Editorial Department

27th September, 1910.

Dear Stieglitz,

Just a line in answer to your letter to hand this
morning, to say that I am publishing your letter, but that in
view of the stringency of the libel law over here, I have had
to cut out three or four sentences. I do envy a country where
an Editor is allowed to speak his mind; here we have to resort
to the meanest subterfuges.

I also enclose you a copy of a letter which was sent
a week ago to Mortimer; I think the document will amuse you.
We are now awaiting events.

Excuse typewriting but I am up to my eyes just for
the moment.

With kind regards,

I am,

43.

Did you hear that Benidict Herzog died? the other day? Here was a man of intelligence of tremendous energy, and some real ability. But his bombastic conceit and readiness to swallow flattery from sendu and third class authorities in the paint and photographic world kept him from achieving anything of lasting value.

The Titanic disaster is still in everybody's blood. It certainly was a frightful affair and I claim that in the last analysis there is no one to blame but the people themselves. The American madness for speed and luxury is bound to bring on even greater catastrophes in due time.

What I miss just at present most of all is a good horse race. It would be the best tonic in my present condition. I was delighted when the cable brought the news that Jerry M. had won the National. I had seen him win in Paris. It is always find to see anything or anyone genuine merit in front at the cycological moment.

Goburn is still in California and I have no idea when he expects to return either to New York of London. Steichen is in the neighborhood of Paris working hard at some decorations which he is doing for a prominent banker here in New York. Eugene is succeeding famously in Munich; Kuehn is very ill. Mrs. Kaserbur has degenerated into a regular commercial factory: White is busy with his pupils. He has not developed intellectually and so his work cannot develop. His old work is still his best, but that was mighty find. Otherwise there is no news.

With the very best wishes, as ever,

Your old

National. I have a weak spot for such racing patrons as his owner. I have a weak spot for all those in any branch of life who go in for the very best. I am really aching to see a good race. They talk of opening the tracks here again. I am curious to see what the result will be. There is so little real feeling for anything except hypocrisy in the American make-up that there is a lack of pleasure in contemplating the future of racing in this country even if another star is made.

I have made no plans for the summer as yet, but one thing is certain, and that is that there is no Europe for me this year. If I were not so terribly short of cash I really would come over, for I really have the desire to go abroad. There would be much for me to study and to do, much of importance. Special news there is none. I wonder if I wrote you that Steichen had been over here for three weeks during the month of March. He is the same old fellow and is maturing fast. He is certainly the real article as a man, and big from every point of view.

Hoping that you are getting some fun out of life, with kindest regards,
as always,

Yours old friend,

[AS]

Bayley

-3-

[12/11/13]

I am going to be fifty. Think of it. It will be thirty years that I have been in harness trying to give photography, the idea photography, its place. It has taken thirty years to do this work. The work is really done, even though very few people can see it and understand it. They are still too near to it. As I look back and think about it all, I know that if I had given those thirty years to either politics or business, and should have devoted the same enthusiasm and the same love to any of these, I would have been a real big apparent factor in the world today. But I do not regret having done exactly what I have. On the contrary I am rather glad of it for I somehow feel that there is no one else who would have taken the trouble; while in most other walks of life there are always an abundant supply of candidates. Of course back of this so-called "Photographic Fight" of mine, there is something much bigger than appears on the surface of things, just as "Camera Work" meant always more than just photographs, photographers, or photography to me. But more of that some other time.

Greetings!

Your old friend,

[AS]

Photography
and FOCUS

TELEGRAMS
Cyclist. Fleet. London

TELEPHONE

2848 City. 5 lines
10. Coventry. 5 lines

Editorial Department

Ref. Ph.E./F.C.
(21).

15th April, 1914.

A. Stieglitz, Esq.,
1111, Madison Avenue,
NEW YORK CITY, U.S.A.

Dear Stieglitz,

Just a line to say that I am sending you herewith a copy of the latest edition of "THE COMPLETE PHOTOGRAPHER", in which you have always taken such a kindly interest.

I am sorry to say that Methuen's have made a hash of the illustrations this time. I should have taken it up sharply with them, but their Managing Director is away ill and so I feel that I can only hold my tongue.

of portraits of the men of "291" and I am continuing this work. I am not easily
satisfied with the results and so I do the things over and over again. That
means that progress is very slow. But when I am satisfied I generally have some-
thing which is really worth while. Possibly some day I will publish the series
in "Camera Work". I don't know. I'd want the gravures made by Bruckner, and
that means that I could not have them done until I went to Munich myself. I
don't want to risk sending the negatives.

I see by this morning's papers that The Tetrarch is scratched for the Derby.
I felt all along that this would occur, but I had hoped it wouldn't. I hate to
see an unusually good horse break down before he has been given a fair chance.
I also see that Maher may be back in the saddle again sometime in the summer.
I hope the roster is true. I love real achievement of any kind.

I met Bedding on the car the other morning and we had a long talk. He
seems to be getting along allright, if appearances don't decieve.

With kindest regards,

Your old,

COPY.

LAKE GEORGE.

October 9 - 1919.

Dear Bayley,

For months an enbelope addressed to you has been
before me on my table - The summer has gone by - I hardly know
how or whereto. The weather has been very unreasonable, so
that for the most time there was really no summer - Since July
1st I'm up here. The thought of retuning to New York rather
nauseates. But unfortunately there are many "things"

waiting for me - mostly my own private affairs which are in a
sorry mess. Attending to other peoples' conscientiously
for years to the neglect of my own is the cause. But I must
save the pieces - if there are any to save -.

It is curious to think that I have about 500 - 600 photographs
to go through - the collection of Steichens, Whites, Eugenius,
Days, Puyos, Demachys, Krehns, Hennebergs, Watzels, Le Begues,
Brigman, Kasebiers, Coburns, Seeleys, Hofmeisters, Keileys,
Annans, Evans, etc., etc., It would make interesting history
to write up, how I came by all these famous masterpieces. - They

PRESERVATION PHOTOCOPY: ORIGINAL MATERIAL RESTRICTED

cost a fortune in actual cash outlay direct - not to count the
cost otherwise.

My collection is undoubtedly unique - I looked it over
last spring and some of the work does look "queer" these days-
prints that were famous!

For some reason or other my copies of "Photography"
seem to have been held in New York. A couple of weeks ago
some numbers suddenly arrived. Our post-office officials are
a peculiar lot these days - one never quite knows if one re-
ceives one's mail or not. There are new rules constantly -
so local authorities tell me in reply to any complaint. Ever
and ever new rules. The U.S. likes novelty - so has many new
laws - new regulations - new orders - most of which are soon
forgotten if ever obeyed.

I chuckled to myself as I opened "Photography" and
read some letters re "Straight Photography - Ward Muir" - I
have not seen the original Muir Hornet's nest, but from the
letters in that number and sequent ones, and knowing Muir's ideas
and attitude, it is not difficult to know what its character was.

I'm delighted Muir has struck a blow. It is high
time that the stupidity and sham in Pictorial Photography be
struck a solar plexus blow. The rot that is produced in the
name of ART ( and still more under the name of Photography) is
appalling. At one time Gurn & Co., diffused lenses, (ultra)
glycerining and oiling, etc., were of experimental interest -
and value to the development of expression by means of photo-
graphic processes -

Steichen, Demaßchy, Eugene, the Viennese, did honest work
for the development of photographic pictorial expression. But
from the aesthetic point of view - that is from the living art
value point of view - most of the prints done by those workers
have a greater historic value than art value. Whatever
potential life some of them may have is there in spite of the
misapplied means. The prints are neither painting (or its
equivalents) nor photographs. The one is always conscious of
the clash between processes of expression. The effect be-
comes more and more disagreeable - finally resulting in a
great irritation. This the more in proportion to the respect

one has for painting and for photography. As a rule the "hand" (manipulation) is introduced because right photographing is a difficult thing to accomplish. That is if an emotion - a feeling generated by, born of, intense experience - is to be put into form by photographic means - that is in photography. In short, to make the medium do what one feels, To be able to do that one must actually feel something intellectually, in part at least, - and the metier, photography in this case, must have become an inherent part of oneself.

In order to master the metier one must practice and practice and practice *Photographing* - mot painting, retouching - as the Master Violinist or Pianist - is ever working and working with his instrument so that it may respond to his every emotional and intellectual pulsation musically as per violen - or per piano - but never in mixture of the two. If any one tried that, it would not be music, but a stunt - Vaudevillian.

I have been printing some more up here. Paper from London - Platinum and palladium. I'm at my wit's end - my negatives are perfect - that is, are as I want them - all straight

sharp, untouched - very sharp - so get a print - straight -
which responds to what I want it, is the rub. Everything in
the print must be right - surface, color - values - depth-
what that means few photographers realise - Nearly right is
child's play - But I try and try and try until I get what I want -
no manipulation - Straight. It is impossible to work out any
method to produce right results mechanically. It is not a
question of photo - meters - thermometers - measured light - all
these help if one will - but what I'm after depends upon other
factors.

I have made the test - scientifically - to show my last
year's work to every class of intelligent human - and to a few
others too - all the prints are A.I. - I reject all others - but
what I'm after is the A.I. I. from each negative. When I get
that as I sometimes do, the print lives - it is ART. It
satisfies aesthetic requirements -

I wish I could come to London and throw a bomb into
the whole photographic community. It needs it as badly as it
needs it here. Really needs it everywhere - Photographers are

too easily satisfied - and are mentally a slovenly lot.

Nearly all photographers, as well as so many painters, are trivial picture-makers - not a trace of life. Just a bad rehash, over and over again.

The photographic crowd lives in a timer and timer world - is it a world at all? - The test of a photograph's value as expression, is to hang it or place it beside the best of the Old Masters - the best of the Chinese - or Egyptians - or Greek - or the primitive savage Art; - if it continue to live it is worth while - has its own life - Otherwise - Well, I don't want to discourage anyone. Photography is all right - it's the Photographers that have given it a black eye.

Claims of Art wont do - Let the photographer make a perfect photograph - and if he happens to be a lover of perfection and a seer, why the resulting photograph will be straight - and beautiful - a true photograph.

I wonder whether I wrote you that Steichen is back - Major - The same Steichen - somewhat wiser - maturer. He is still in service - has a peck of troubles. Can't paint until they are

straightened out.

One of the first things he said when he came back -
when we talked photohraphy - and he told me what his conclusions
were about photography (they were identical with mine) - was
that for him gaslight papers were good enough in the future.

I proceeded to show him some of my results - the
finest were already in storage - He looked and was very silent -
Several times there was inaudible "When" - I guess he'll soon
photograph again.

If you see Muir and you care to let him see this letter -

I have heard that Goetz (American) Director of
Bruckmann's (Munich) was called to Leipzig (Academy of the Fine
Arts - Graphic Art Section) and has been made Professor of the
"Art of Photographic Reproduction Processes". Engine continues
his work there as Professor of Pictorial Photography. He is
a great teacher - Goetz is unique in his experience - knowledge -
and scrupulous integrity.

I had a fine letter from Annan - He is always a Man.

THE AMATEUR
PHOTOGRAPHER
& PHOTOGRAPHY

Proprietors: ILIFFE & SONS LTD.

REF. AP/VG.2.

TELEGRAMS:
Cyclist, Fleet, London

TELEPHONE:
2847 City (13 lines)

Dorset House,
Tudor Street,
London, E.C.4

9th August, 1923.

Alfred Stieglitz, Esq.,
Lake George,
New York, U.S.A.
Dear Stieglitz,

This is not a private letter, and I
hope to write you from home very shortly. The copies of
"Camera Work" came safely to hand and I feel very grateful
indeed for such a considerable help towards getting a
complete set.

What I am writing about at the present
moment, however, is this. Ward Muir sent me your last
letter to him in which there was very much about your
cloud photographs. We both think that there would be a
good many on this side of the Atlantic who would very
much appreciate the opportunity of reading what you wrote.
I have had typed out what I would suggest printing and I
enclose you a copy, which there is no necessity to return
unless you care to do so. Would you let me print this ?
It would certainly assist us in our endeavour to make
photographers here realise just what you stand for.

ENC.

REF. RCB/VL. 8.

30th November, 1923.

Alfred Stieglitz, Esq.,
60 East 65th Street,
New York City, N.Y., U.S.A.
Dear Stieglitz,

Just a line to acknowledge the receipt of
your letter from Lake George of November 15th. I wrote
you at some length last week from Essendon, and this is
to say what I meant to say in the letter, that of course
all I told you in it must be kept absolutely quiet until
the middle of January.

It is all regarded here as super-confidential,
and we none of us refer to what is happening until it has
happened.