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Alfred Stieglitz

Currency:USD Category:Collectibles / Autographs Start Price:NA Estimated At:20,000.00 - 30,000.00 USD
Alfred Stieglitz

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Auction Date:2018 Apr 11 @ 18:00 (UTC-5 : EST/CDT)
Location:236 Commercial St., Suite 100, Boston, Massachusetts, 02109, United States
ALS - Autograph Letter Signed
ANS - Autograph Note Signed
AQS - Autograph Quotation Signed
AMQS - Autograph Musical Quotation Signed
DS - Document Signed
FDC - First Day Cover
Inscribed - “Personalized”
ISP - Inscribed Signed Photograph
LS - Letter Signed
SP - Signed Photograph
TLS - Typed Letter Signed
Photographer and modern art promoter (1864–1946), husband of Georgia O'Keeffe, who was instrumental over his fifty-year career in making photography an accepted art form. An incredible archive of over 50 letters from Alfred Stieglitz to noted writer and critic Lewis Mumford, consisting almost entirely of ALSs, most signed "Stieglitz," dating from 1925 to 1946, comprising over 100 pages. Throughout the letters, Stieglitz frequently discusses his wife Georgia O'Keeffe; touches upon his famous journal Camera Work; discusses goings-on at his galleries, the Intimate Gallery ("the Room," open from 1925 to 1929) and An American Place ("the Place," open from 1929 until his death in 1946); and constantly compliments Mumford on his work. In overall fine condition, with occasional edge tears, light toning, and general handling wear; one of the earliest letters has some paper loss to its lower edge, not affecting any of the text or signature condition. A more comprehensive listing of individual letters is available online at RRAuction.com.

Introduced by mutual friend Paul Rosenfeld in 1924, Stieglitz and Mumford forged a lasting friendship and exchanged frequent correspondence over the next two decades. In the book Mumford on Modern Art in the 1930s, Robert Mumford writes that Stieglitz encouraged Lewis Mumford to 'expand his outlook on modernism and the role that American artists were to play in its evolution.' This archive of Stieglitz's letters offers profound insight into both his life and Georgia O'Keeffe's, and represents a remarkable correspondence between influential figures in the modernist movement.

Some highlights from the letters:

September 10, 1925: "I do not remember exactly what O’Keeffes I sent you—but I’m sending you under separate cover a few more prints which were recently ‘salvaged.’ May be you’d prefer one of those. You’ll have to make your own selection.—It is difficult to say which are the ‘important’ O’Keeffes—particularly when translated into black & white. As for my own photographs I feel that they would miscarry in reproduction unless there were quite a few."

March 3, 1927: “You have certainly taken our breath away…It’s a magnificent essay. Clear and new. You have touched something that has not before been said not only of Georgia but of America. It is an invaluable contribution. The title in itself is a master stroke. Brilliant.”

July 7, 1928: "I finally am going to let the Metropolitan Museum have about 20 prints as a starter.—The Museum has been after me for years.—So Photography is to be recognized—the doors opened—by the august body…My eyes have been on a rampage too—so I have done no reading. Several books are due—a Joyce—a Lawrence amongst them.—Do you know quite a bit of pressure has been brought to bear upon me to give Lawrence a show in The Room. He has done a lot of painting."

August 28, 1929: "When I came up here I burnt up tons of stuff—photographs & books & magazines. It was a wonder I didn’t burn up the house!—The cameras came near going. Seven weeks of packing in The Room! Good stuff buried alive—& so much useless stuff in storage—eating up money which might feed hungry mouths. This country ever in my mind. The artists. Their stupidity. Even those close to me."

October 25, 1929: "O’Keeffe is in great shape & has painted several things—one I believe a very grand affair in yellow & red—autumn leaves. And another very fine one—a tree in New Mexico—a white tree."

July 10, 1933: "Four years ago the complete set of Camera Work I had had up here for years I offered to the Evening Star. It was a wonderful sight to watch the volumes burn. As you know books burn slowly…What a continuous heartache Camera Work represented & what blood was spilled over each issue fighting printers & fighting engravers—fighting paper dealers & paper manufacturers—fighting ink manufacturers & binders—fighting those who did the packing—fighting the post office—every step I controlled personally."

April 22, 1935: "Good, very good, that you intend writing about the ‘American Section’ at the Metropolitan. It’s a real disgrace—It’s ungodly. Even worse than the Whitney. And that is a mouthful."

August 10, 1935: "The University of Minnesota has gotten its O’Keeffe!…There has been no wire pulling—no politics—no game of any kind.—Quite an extraordinary experience from every angle. A very beautiful one—and a very significant one—I think I told you about Lloyd Wright’s advising them to start with the right thing—an O’Keeffe. They had had in mind—Benton, Curry or Grant Wood!!"

October 15, 1935: "Camera Work has gone off to you in 4 packages by parcel post…As for the missing Plates they were not torn out of the books but were never put into those copies. You see many of the gravures were tipped in my hand (by me) after the numbers had been printed & bound. And I only completed the number of copies as were subscribed for."

March 30, 1938: "I have been having a very grand time reading every word of ‘The Culture of Cities.’ What a book. How alive. What a picture. Series of endless yet complete pictures. I do want you to know what a wonderful treat you have prepared for me. You have produced a masterpiece.”

February 5, 1939: "The Place keeps me madly busy.—O’Keeffe shows always do."

December 31, 1939: "How good too of you to remember that to-morrow is my birthday. I believe it is rather indecent for one to tarry so long.—Really I believe that…Overstaying one’s time doesn’t seem quite right from an aesthetic point of view.—That is from the point of view of the beautiful."

March 30, 1943: "The Dove show was grand. So was the Marin. The O’Keeffe is now up. It is very lovely. Severe & lovely.—The Place is visited by but few. It has a tomblike feeling to me."

February 25, 1944: "Too bad you can’t see the new O’Keeffes. They are an extraordinary lot. A new note. Very uplifting.—A new world—So it is felt by nearly all who come. And so far about 2000 have come."

May 16, 1946: "If you can find a moment drop in at the Museum of Modern Art & see the O’Keeffes. I think it would be a revelation to you the feel of it all. Sweeney has done a grand job.—I have had nothing to do with it. The Place is very quiet—a tomblike stillness much of the time."




A complete listing of the letters:

ALS signed “Stieglitz,” two pages, September 10, 1925, in part: “I do not remember exactly what O’Keeffes I sent you—but I’m sending you under separate cover a few more prints which were recently ‘salvaged.’ May be you’d prefer one of those. You’ll have to make your own selection.—It is difficult to say which are the ‘important’ O’Keeffes—particularly when translated into black & white. As for my own photographs I feel that they would miscarry in reproduction unless there were quite a few. May be I’m mistaken. But that’s my feeling—based on experience. Of course I am delighted that you feel about our ‘work’ as you do & that we are to be mentioned in your article in ‘Form’—I am glad you let your friends on the other side understand that America aesthetically is not entirely non-productive. I know the Germans’ attitude—& not only the Germans’— but the others’ of Europe…O’Keeffe & I are working at last. It has been a queer summer—not as productive as most other summers. There has been so much illness. The Fall is usually ‘our’ time—so we are hoping.”

ALS signed “Alfred Stieglitz,” one page both sides, November 9, 1925, in part: “I have just had Rosenfeld read your Criticism of ‘Emotion in Art’ aloud to O’Keeffe & me. I had read it yesterday.—It is splendidly clear & apropos. I wish all those supposedly interested in pictures in this Land of Ours could have a chance to read this simple statement.—Did you ever get the photographs of O’Keeffe’s I sent you a few weeks ago?”

ALS signed “Alfred Stieglitz,” one page, December 2, 1926, in part: “The Marins become more wonderful every day. Too wonderful to believe that they really exist.—I can’t tell you what a privilege it is to live with them as I do.—And during some hours when they & I are alone together I have taken up your book ‘The Golden Day’—& read. I have read it twice. It is very beautiful.”

TLS signed “Alfred Stieglitz,” one page, March 3, 1927, in part: “You have certainly taken our breath away. Not only mine but Georgia’s and the men’s. There is but one voice about what you’ve done. It’s a magnificent essay. Clear and new. You have touched something that has not before been said not only of Georgia but of America. It is an invaluable contribution. The title in itself is a master stroke. Brilliant.”

Typed copy of a letter sent to Georgia O’Keeffe, one page, March 22, 1927, with an autograph note at the bottom, signed “Stieglitz,” in part: “This is a copy of a letter O’Keeffe received from J. B. Kerfoot. You know who he is—For years he was Literary Critic on ‘Life’ (when it was relatively alive.)”

TLS signed “Alfred Stieglitz,” one page, April 27, 1927, in part: “I am thinking of publishing a book containing about 20 reproductions of O’Keeffe’s paintings and a reprint of three of four articles which have appeared about her in the press. I wonder would you mind my reprinting yours and if so whether you would let me have corrections as I’d like to print the article as it was written.”

ALS signed “Stieglitz,” two pages both sides, September 13, 1927, in part: “I have been wanting to send you, the Lady, & the child O’Keeffe’s & my greetings for weeks. But somehow the weeks have slipped away…O’Keefe read your article on her the other day again. And said: ‘It’s very, very beautiful.’—She hasn’t been well. Had to be in Mt. Sinai a couple of weeks & is now only gradually getting back to work. So the summer has not been as productive as past summers as far as she is concerned. But still there is something to show. And I too have done relatively little.—So much illness near me—& I always physically tortured in one way or another.”

ALS signed “Stieglitz,” two pages both sides, July 7, 1928, in part: “It’s good to hear you are deep in & full of Melville. I am looking forward to the book altho’ at my age, & in my condition it is not ‘wise’ to look forward—I have been much harassed by a battery of ailments—nothing very serious—but just trying—very trying. Disconcerting. I had hoped all spring to have the summer for my ‘own’ work—photography. But there are four weeks gone & the cameras stilled pack. Still a few old (?) prints have been mounted—completed.—I finally am going to let the Metropolitan Museum have about 20 prints as a starter.—The Museum has been after me for years.—So Photography is to be recognized—the doors opened—by the august body…My eyes have been on a rampage too—so I have done no reading. Several books are due—a Joyce—a Lawrence amongst them.—Do you know quite a bit of pressure has been brought to bear upon me to give Lawrence a show in The Room. He has done a lot of painting. But the paintings are large & the 1928–1929 ‘season’ is filled up…Lawrence seems to be in need of money. He is ill.—Illness & money…O’Keeffe is feeling fine. She has painted a bit but has been primarily with plumbers—& painters & carpenters—& cleaning house—All quite a job.”

ALS signed “Stieglitz,” three pages, October 17, 1928, in part: “Melville completed. Great good news.—I know a rare treat is in store for many of us…The Room is the goal—I must have another whack at it…Georgia has been under a great strain—naturally—She’s ever frail as it is.—She has painted some—not so many large canvasses—but very fine ones.—I have nothing concrete to show.”

ALS signed “Stieglitz,” one page, March 10, 1929, in part: “The Book came a few days ago. And I have been having an extraordinarily wonderful time reading it. The Fates have been kind…Georgia’s paintings never looked quite so beautiful—Your spirit & hers—your craftsmanship & hers—they fit so perfectly…The book is sold, beautiful, and well printed.”

ALS signed “S.,” one page, March 17, 1929, in part: “I have finished Melville—I usually read very fast—somehow I preferred to read this book very slowly. It's truly a grand & beautiful gift you have given the world…The O’Keeffes come down this evening—The last few days have been the most incredible in my life—‘miracle’ upon ‘miracle’ coming to pass—There is truly a real America—I know it more surely than ever. Your work is one of those proofs.”

ALS signed “Stieglitz,” five pages on three sheets, August 28, 1929, in part: “The summer was a fiendish one—The Room gone—O’Keeffe gone—I alone in Lake George the first time in 54 years!…O’Keeffe came back three days ago looking good in wonderful shape. Very beautiful all the way thru…When I came up here I burnt up tons of stuff—photographs & books & magazines. It was a wonder I didn’t burn up the house!—The cameras came near going. Seven weeks of packing in The Room! Good stuff buried alive—& so much useless stuff in storage—eating up money which might feed hungry mouths. This country ever in my mind. The artists. Their stupidity. Even those close to me. I finally took to flying—flew to New York—That seemed to do something for me. I am flying ‘mad’—To be alone near the sky—a pilot outside I alone in a cabin—a pity I’m not a moneyed man.”

ALS signed “Stieglitz,” three pages on two sheets, October 25, 1929, in part: “Georgia & I expect to return to town in two weeks. As soon as possible thereafter I’ll be glad to let you see a batch of ‘Equivalents.’ There are a great many you never saw…Naturally I’m delighted to know that you are going to work over your various papers on art…There is so much trash being published on art that something really ‘felt’ & not just written is badly needed. By ‘felt’ I mean, as you know, actually experienced. The actual form for such a book would be philosophical. Of course you won’t know what it is going to be until you get at it…O’Keeffe is in great shape & has painted several things—one I believe a very grand affair in yellow & red—autumn leaves. And another very fine one—a tree in New Mexico—a white tree.”

ALS signed “Stieglitz,” two pages both sides, October 1, 1930, in part: “I had two great treats this day—a letter from Seligmann telling me Santayana had written him most generously about his ‘Fire-Bird’—I wonder did you ever see the little volume. And your article in the N. R. Oct. 1—the fine appreciation of Kennerley…I’m amused to see myself referred to in connection with art dealers…Georgia is fine. And will have some real things to show.”

ALS signed “Stieglitz,” two pages, October 11, 1931, in part: “I arrived at the Shelton on Wednesday evening Georgia having motored me down from Lake George…I was told there was a package awaiting me…On opening the wrapper I found a copy of ‘The Brown Decades’—a beautiful greeting…I read Georgia from your book now & then…She liked what you wrote about her & about me…You have said some things about me no one else has said. Significant things.—Naturally I’m pleased to be in such good company—And Georgia too. What you have said about her is true.”

ALS signed “Stieglitz,” two pages, April 28, 1932, in part: “You have become a European by this time—and here we are struggling along in an American Place! One of the Berlin Museum Directors was here a few days ago quite drunk with what he saw in the Place.—He is coming again…I wonder what Berlin looks like—my old home!—1882–1890—The finest years of my life were spent there.”

ALS signed “Stieglitz,” one page, January 24, 1933, in part: “Your O’Keeffe she enjoyed. So did I. The Emily Dickinson parallel particularly. Her show is creating an intense impression. More than ever she is a real force—I wish she would show signs of getting well again. It will be a very long pull at best. The irony of it all is ghastly.”

ALS signed “Stieglitz,” two pages both sides, July 10, 1933, in part: “Four years ago the complete set of Camera Work I had had up here for years I offered to the Evening Star. It was a wonderful sight to watch the volumes burn. As you know books burn slowly…What a continuous heartache Camera Work represented & what blood was spilled over each issue fighting printers & fighting engravers—fighting paper dealers & paper manufacturers—fighting ink manufacturers & binders—fighting those who did the packing—fighting the post office—every step I controlled personally—as I sat there & realized what passion it all represented—I had to smile at myself.—Ye gods what won’t passion do.”

ALS signed “Stieglitz,” three pages, September 14, 1933, in part: “I had laid your slip of paper with the missing numbers of Camera Work on my desk—& when I went to town imagined I had taken it with me. And when I got to Camera Work I found I had left the memorandum in Lake George. Freud might say I didn’t want to send you Camera Work. The fact is I much do. So Freud is not infallible.”

ALS signed “Stieglitz,” one page both sides, November 20, 1933, in part: “Of course I saw the New Yorker. The Hopper-Marin ‘piece’ was very fine…The Marin show averages about 100 visitors a day.—Mostly intelligent ones. No not mostly, many would be more exact!”

ALS signed “Stieglitz,” two pages, December 29, 1933, in part: “As you know I rarely leave the Place during the day but I had something peremptory to attend to & missed you by the fraction of a minute…I was at the Lake for 2 days to see O’Keeffe.—She is finally coming back to life…Whether she’ll paint or not in the near future I don’t know. That will cone in time I suppose.”

ALS signed “Stieglitz,” one page, February 20, 1934, in part: “Once more congratulations—That last contribution of yours in the New Yorker is without doubt what I call real Mumford—real meaning top notch of one piece. What you wrote about Burchfield is the best thing as yet written about him.”

ALS signed “Stieglitz,” one page, April 26, 1934, in part: “I am deeply engrossed in your book. A copy arrived day before yesterday & I immediately got busy—It is fascinating reading. It is certainly a masterpiece beautifully done.”

ALS signed “Stieglitz,” one page, May 10, 1934, in part: “Twenty more issues of Camera Work are ready to be sent to you…Some are incomplete as far as plates are concerned. But all in all they are a worth while lot.”

ALS signed “Stieglitz,” two pages, May 17, 1934, in part: “Many thanks for your letter. I felt as you did about the reviews. Still I’m glad your book got the send-off it did. As for Cravens let it do its darndest. It isn’t as vulgar as the Modern Museum performance re-Whistler’s Mother. That man Goodyear!”

ALS signed “Stieglitz,” one page both sides, September 30, 1934, in part: “Did Dorothy let you know what Van Doren wrote me? Get her to do so. Or I’d better give it to you here:…’Dear Mr. Stieglitz: I must tell you how much I have enjoyed what the editors call a collective portrait of you but what is quite as truly a unified portrait of the generation which has been, and continues to be, so deeply indebted to you. The book at once clarifies & elevates the whole issue of art in America’…I have never met Van Doren. At least not to my knowledge. What naturally interests me most is his saying ‘The book at once clarifies & elevates the whole issue of art in America.’ And to me Art & Life are inseparable.”

TLS signed “Alfred Stieglitz,” one page, October 19, 1934, in part: “Of course I found Van Doren’s letter shortly after you left. I’m getting as badly messed up as nearly everybody I know has been messed up for years in this country. It’s our great disease—I’ve fought it for years, having seen what it must result in, and finally got it myself. It gives me the creeps.”

ALS signed “Stieglitz,” one page, December 21, 1934, in part: “Naturally what you wrote about me in the New Yorker moved me considerably. It’s something no one has ever said that directly & so convincingly. When the holidays are over I’d like you to come to the Place & we’ll see if we can’t find some framed photograph which might look like something in your home.”

ALS signed “Stieglitz,” two pages, April 22, 1935, in part: “Of course I read your Bryson B criticism.—It was swell. And I was glad some one at last wrote honestly & truly about him as a painter. Some day I’ll tell you some Burroughs stories…And good, very good, that you intend writing about the ‘American Section’ at the Metropolitan. It’s a real disgrace—It’s ungodly. Even worse than the Whitney. And that is a mouthful.”

ALS signed “Stieglitz,” four pages, August 10, 1935, in part: “Fortunately Georgia is much better…On July 22d she left for New Mexico. It’s her passion—that country…A bit of news. The University of Minnesota has gotten its O’Keeffe!—It is the starting point of an experiment to be made there. A Marin is to follow. There has been no wire pulling—no politics—no game of any kind.—Quite an extraordinary experience from every angle. A very beautiful one—and a very significant one—I think I told you about Lloyd Wright’s advising them to start with the right thing—an O’Keeffe. They had had in mind—Benton, Curry or Grant Wood!!”

ALS signed “Stieglitz,” one page both sides, October 10, 1935, in part: “Finally I have a lot of numbers of Camera Work to send you. Where do you wish them sent—No. 12 & the Steichen Supplement are missing. Otherwise all are ready…May be some day I’ll be able to make up the ‘missings.’”

ALS signed “Stieglitz,” three pages on two sheets, October 15, 1935, in part: “Camera Work has gone off to you in 4 packages by parcel post…As for the missing Plates they were not torn out of the books but were never put into those copies. You see many of the gravures were tipped in my hand (by me) after the numbers had been printed & bound. And I only completed the number of copies as were subscribed for. The edition was always 1000 copies except 49–50—that was 350. When I destroyed about 10000 copies of Camera Work—they were smothering me—I destroyed virtually all the Plates that had not been used. That’s why I can’t complete your incomplete copies.”

ALS signed “Stieglitz,” one page, December 29, 1935, in part: “This to notify you that there will be an Exhibition of Recent Paintings by Georgia O’Keeffe opening Jan. 4 & lasting till Feb 27…I’ll mail you an advance catalogue to-morrow.”

ALS signed “Stieglitz,” one page, May 9, 1936, in part: “That dove piece was swell. I have been wanting to say it to you…Of course I’m busy on the Marin Show for the Museum of Modern Art to be held next October. I want to make it a real affair—historic. Some job. There is material aplenty right here in this place.”

ALS signed “Stieglitz,” one page both sides, February 14, 1937, in part: “You had slipped away when I looked for you. I was sorry that those people came at the time they did for I would have preferred to be with you. So you are quitting the New Yorker. A gain for you but a loss to every one else.”

ALS signed “Stieglitz,” three pages, March 5, 1937, in part: “As for your giving up the New Yorker job I fully understand but I think with horrors of your successor whoever he may be. O’Keeffe is on the mend but it is a slow week. She understands your not writing about her show. I showed her your letter—of course I have received quite a few inquiries asking why nothing has appeared in the New Yorker, ‘didn’t Mumford like the show,’ etc., etc.—It is good to know that your book is growing.”

ALS signed “Stieglitz,” two pages, October 9, 1937, in part: “So the book is virtually completed.—Good. Splendid. I’m sure it’s a grand piece of work—and may be I’ll live long enough to see a copy of it…O’Keeffe is still in the Southwest. My heart has not permitted me to do any photography so this year I have come back empty-handed…Still I’m well in a sense & hope to keep on the job at the Place.—It becomes more & more difficult to solve the constant problems presenting themselves. Chiefly the problem of keeping the Place alive in spirit—true to the tradition I have established.”

ALS signed “Stieglitz,” one page, March 27, 1938, in part: “The book has come & I began reading at once. It’s a grand affair—you have outdone yourself—and how perfect the illustrations. How beautifully put together & splendidly printed.”

ALS signed “Stieglitz,” one page, March 30, 1938, in part: “I have been having a very grand time reading every word of ‘The Culture of Cities.’ What a book. How alive. What a picture. Series of endless yet complete pictures. I do want you to know what a wonderful treat you have prepared for me. You have produced a masterpiece.”

ALS signed “Stieglitz,” one page, February 5, 1939, in part: “A copy of ‘Man Must Act’ has come. Many thanks for it & your kind inscription. I look forward to reading the book at the first opening I have. The Place keeps me madly busy.—O’Keeffe shows always do.—She is on the Pacific bound for Honolulu!”

ALS signed “Stieglitz,” two pages, December 31, 1939, in part: “How good of you to remind me that I mean something very real to you & in times like these—How good too of you to remember that to-morrow is my birthday. I believe it is rather indecent for one to tarry so long.—Really I believe that. You know I always claimed every man with any sense of decency would shuffle along at 65! I still feel that way. Overstaying one’s time doesn’t seem quite right from an aesthetic point of view.—That is from the point of view of the beautiful.”

ALS signed “Stieglitz,” one page, March 21, 1940, in part: “I’m sorry I was asleep when you were here.—I have often wondered how you were faring.—I hope all is running your way & that you & your family are well.”

TLS signed “Stieglitz,” one page, March 25, 1940, in part: “Your letter is certainly a beautiful beginning of the week. I read it to O’Keeffe over the ’phone and she was as delighted with what you wrote about her pictures as I was. I am so close to her work and to her that it is not always easy to feel sure that one is not under personal bias…I know I am such a severe critic of myself that I believe I have acquired the ability to see dispassionately what is in front of me. But one always wonders about oneself. Self discipline never ceases. And living with the worker Marin, O’Keeffe, and Dove, is both life-giving and self-disciplining. There is an integrity of 100% in these three people and I come close to that myself. And so does the Place. I am delighted your book possesses you…I have always held, that it is for the last forty years, that I believed we were duplicating Rome, believing ourselves to be following the path of Greece.”

ALS signed “Stieglitz,” two pages, September 11, 1940, in part: “The book came a couple of days ago. I have read it twice from cover to cover. And both times it held my breathless attention. Every word of it. I could feel the white heat in which every word was written…I do hope the book will help awaken Americans to the more than stern reality confronting them.—There is nothing in the book that sidesteps anything. And everything is put into simplest form which is still all inclusive.”

ALS signed “Stieglitz,” two pages, January 8, 1941, in part: “On New Year’s Eve I happened to look at a few pages of your recent book. I was alone—I had read those pages when in Lake George at the time you send me the book—Those pages made a deep impression on me then. They made a much deeper one on rereading on New Year’s Eve.”

ALS signed “Stieglitz,” one page, February 16, 1942, in part: “I just ran across your more than beautiful birthday thought of me & I wonder did I ever acknowledge its receipt. I fear not. And I am ashamed…Thank you Mumford—Your thought of me made me very happy.—I hope you & yours are well.—These are terrific times for all.”

ALS signed “Stieglitz,” one page, July 10, 1942, in part: “It was very good to hear from you.—To know at work writing that volume…You are often in my thoughts.”

ALS signed “Stieglitz,” three pages, March 30, 1943, in part: “Your more than kind letter came on January 1st! Of course I was very glad to have it…and here 3 months have slipped by & I haven’t written. Horrible. I offer no excuses. It is not neglect. As a matter of fact every morning I’d say to myself: to-day I must write to Mumford,—Yes every day—that. And yet 3 whole months have slipped by & not a line written.—I lie here in the Place. I lie at home.—The Dove show was grand. So was the Marin. The O’Keeffe is now up. It is very lovely. Severe & lovely.—The Place is visited by but few. It has a tomblike feeling to me. As if all were peace in the world!—A queer feeling when perfectly aware of what is going on which is all but peaceful.”

ALS signed “Stieglitz,” two pages, February 25, 1944, in part: “It is so good of you to have sent me a rough proof of the illustrations for your coming book…My photograph seems to function.—I’m glad to see how you have used it…Too bad you can’t see the new O’Keeffes. They are an extraordinary lot. A new note. Very uplifting.—A new world—So it is felt by nearly all who come. And so far about 2000 have come.”

ALS signed “Stieglitz,” three pages, May 3, 1944, in part: “I have been reading your latest—I can’t begin to give you any idea what joy I have found in its pages. Joy & real illumination…The Place is still like a sepulchre. The Doves are a profound lot. Of to-day so ahead of the ‘times.’—They are ignored. Still a few rare folks, mostly foreigners, do see them. So they dwell not only in my imagination. What a trio: Dove, O’Keeffe, Marin. And you.—I think of you living here.”

ALS signed “Stieglitz,” two pages, May 5, 1944, in part: “I have been taking up your volume on & off during the days. And the more I delve in it the more it glows with life for me. It’s a great contribution you have given us…Once more I am to thank you for the stimulation & beauty you have brought me in the form of your most recent offspring.”

ALS signed “Stieglitz,” three pages, December 29, 1944, in part: “I have your letter.—Your son.—Yes he is here, as he is with you.—Those are not words.—That is the reality. For me at least.—And when I say me & say you—ever there is the Mother.—And ever the Glory of Life—in all its manifestations. I look forward to the proofs you say are to come.”

ALS signed “Stieglitz,” three pages, May 2, 1945, in part: “It was good to see you. To hear you.—Good to see what the O’Keeffes gave you.—And after you had left I opened the book but was too ill to read. I was glad to have the volume.—As soon as I felt a bit better—some days later I began reading. I have read the book twice. It is a solid contribution.”

ALS signed “Stieglitz,” three pages, May 16, 1946, in part: “It was very good to have had your letter…How often I think of you. Look into the pages of your books here and always enjoy what I find…And you are flying to England—I wonder what your experiences will be. Much sadness. Much strength.—How much hope. That queer word these times. If you can find a moment drop in at the Museum of Modern Art & see the O’Keeffes. I think it would be a revelation to you the feel of it all. Sweeney has done a grand job.—I have had nothing to do with it. The Place is very quiet—a tomblike stillness much of the time.”