Laura Gilpin (1891–1979) :: Narcissus, 1926; platinum print, mounted on card signed and dated in pencil. | src Christie’sLaura Gilpin (American, 1891-1979) :: Narcisus, 1928. Platinum print. | src BonhamsLaura Gilpin (1891-1979) :: Narcissus; 1928. Platinum print. | src Amon Carter Museum of American Art
On verso of the Amon Carter Museum version (above this), there are a list of exhibitions and awards : Print, Verso: u.l. to c.r. in ink: Narcissus \ 1926 [sic] \ Exhibited \ Brooklyn Institute of Arts & Sciences \ Oct. 1922 [sic] \ Photographic Society of Philadelphia \ Chicago Camera Club. 1929 (Feb) \ Omaha Camera Club \ Photo Pictorialists of Milwauke [sic] 1929 \ California Camera Club May 1929 \ Camera Club of New York. Dec 1-15 1928 \ Hon. Mention 8th Annual Competition American Photography
Also, this additional information: u.c. on paper label: [printed]: A PHOTOGRAPH BY \ LAURA GILPIN \ SANTA FE, NEW MEXICO \ [typed]: A PLATINUM PRINT \ NARCISSUS \ 1928
Antonin Personnaz :: Le peintre Armand Guillaumin peignant “Baigneurs à Crozant” vers 1907. Plaque Autochrome. | src ODLPLa Vie en Couleurs : Antonin Personnaz, Photographe Impressionniste – Courtesy RMM Rouen Normandie / Musée des Beaux-Arts / ODLPAntonin Personnaz :: [Rivière, femme peintre sur le motif], entre 1907 et 1936. Plaque de verre AutochromeAntonin Personnaz :: La vie en couleurs – Antonin Personnaz, photographe impressionnisteAntonin Personnaz :: Effet de soleil dans les arbres. Inondations. Hiver, 1907-1914. Autochrome. | Société française de photographieAntonin Personnaz :: [Chemin, forêt, inondation], entre 1907 et 1936. Plaque de verre autochrome.Antonin Personnaz :: [Forêt, neige], entre 1907 et 1936. Plaque de verre autochrome.Antonin Personnaz :: [Forêt, inondation, neige], entre 1907 et 1936. Plaque de verre autochrome.Antonin Personnaz :: [Chemin, forêt, feuilles mortes], entre 1907 et 1936. Plaque de verre autochrome.Antonin Personnaz :: [Chemin, champs inondés ou étendues d’eau, hiver, crépuscule?], entre 1907 et 1936. Plaque de verre autochrome.Antonin Personnaz :: [Paysage: pêcheur en bord de rivière], entre 1907 et 1936. Plaque de verre autochrome.Antonin Personnaz :: [Chemin, champs de blé, mur, petite construction], entre 1907 et 1914. Plaque de verre Autochrome.
Invented by the Lumière Brothers, Autochrome was the first color photographic process to be marketed. As soon as it was put on the market in 1907, it was an immediate success with amateur and professional photographers. This is the photographic medium used by Albert Kahn for his Archives de la planète, the world’s first global report in color. Among the early adopters stands out a singular personality. Antonin Personnaz (1854-1936) is indeed one of the most important collectors of Impressionism, and is one of the great benefactors of national museums. His 1937 bequest includes 142 first-rate works (Pissarro, Guillaumin, Sisley, Degas, Renoir, Toulouse-Lautrec, etc.), including Monet’s famous Pont d’Argenteuil, which are today among the masterpieces presented at the Musée d’Orsay and at the Musée Bonnat-Helleu. Less well known is his status as an active member of the French Photography Society (from 1896) and of the Society of Excursions for Photography Amateurs (from 1900). As such, he is at the origin of a distinction awarded to the Lumière Brothers for the invention of the autochrome plate, whose grainy and pointillist rendering seems to him to join the research of Impressionist painters, and whose aesthetic qualities he ardently defends. From 1907, Antonin Personnaz assiduously practiced autochromy himself and produced more than a thousand plates, which his widow donated to the Société française de photographie. Despite its interest in the history of Impressionism, this collection has been little studied and shown. However, because of its proximity to artists, Personnaz’s photographic work is of exceptional interest.
In fact, there are not only direct testimonies from painters working on the motif, but also many views whose kinship with the most famous impressionist landscapes is obvious. Views of rivers, countryside, snowy landscapes, peasant scenes, women with umbrellas, flowering apple trees, poppies, all the Impressionist vocabulary can be found there. It seems that Personnaz looks at sites chosen by painters and, by photographing them, mirrored a sort of collection of personal Impressionist images. This unique exhibition, produced in partnership with the Société française de photographie, will be the very first study and publication devoted to Antonin Personnaz. It will present a corpus of images that recreate the pictorialist imagination of the author, with a striking realism for today’s visitor.
A unique exhibition produced in partnership with the Société française de photographie | src ODLP
Alfred Stieglitz :: American stage actress Helen Freeman (1886 – 1960), 1921. Palladium print. | src NGA (The Key Set · National Gallery of Art)
Alfred Stieglitz Key Set
In 1949, Georgia O’Keeffe and the Alfred Stieglitz Estate donated 1,311 photographs by Alfred Stieglitz to the National Gallery of Art and placed on deposit an additional collection of 331 portraits of O’Keeffe, which were later given to the Gallery in 1980. This collection, known as the Key Set, is an unparalleled selection of Stieglitz’s photographs, containing at least one print of every mounted photograph in his possession at the time of his death. It remains one of the most important photographic collections in existence. Carefully selected by O’Keeffe to include the finest examples, the Key Set traces the evolution of Stieglitz’s work, from its inception in the 1880s to its rich maturation in the 1930s, and thoroughly documents all aspects of his decisive contribution to the art of photography.
Previously available only in print, the Alfred Stieglitz Key Setonline Edition represents the definitive publication on the artist’s work. Incorporating updated scholarship, including recent conservation findings, as well as overviews of the major periods in his art, robust search functionality, and advanced image viewing and comparison tools, the Online Edition opens up new avenues for researching—and being inspired by—Stieglitz’s work.
Explore highlights of the Key Set, browse by subject or person, or search the Key Set to view all Key Set photographs and filter results by Key Set number, negative date, photographic process, or other criteria. [permalink]
A dancer, actress, and writer, Helen Freeman (Corle) probably met Stieglitz and O’Keeffe in the early 1920s through her friendship with Mitchell Kennerley, owner of the Anderson Galleries.
The photographs and Key Set numbers 711-716 were made on at least two separate occasions between late November 1921 and Fall 1922.
“My Dear Miss. Freeman: The exposures have been developed. And there are proofs.—I have been thinking them over.—Some I feel are acceptable.—At least as a beginning. Early next week, should you find time, I’ll make another series.—And when you come, you’ll see the proofs” (Stieglitz to Helen Freeman, 1 December 1921 [Sotheby’s, auction catalogue, 17 April 1991, lot 123A])
A dancer, actress, and writer, Helen Freeman (Corle) probably met Stieglitz and O’Keeffe in the early 1920s through her friendship with Mitchell Kennerley, owner of the Anderson Galleries.
The photographs and Key Set numbers 711-716 were made on at least two separate occasions between late November 1921 and Fall 1922.
“My Dear Miss. Freeman: The exposures have been developed. And there are proofs.—I have been thinking them over.—Some I feel are acceptable.—At least as a beginning. Early next week, should you find time, I’ll make another series.—And when you come, you’ll see the proofs” (Stieglitz to Helen Freeman, 1 December 1921 [Sotheby’s, auction catalogue, 17 April 1991, lot 123A])
Alfred Stieglitz :: American stage actress Helen Freeman (1886 – 1960), 1921. Palladium print. | src NGA (The Key Set · National Gallery of Art)
Alfred Stieglitz Key Set
In 1949, Georgia O’Keeffe and the Alfred Stieglitz Estate donated 1,311 photographs by Alfred Stieglitz to the National Gallery of Art and placed on deposit an additional collection of 331 portraits of O’Keeffe, which were later given to the Gallery in 1980. This collection, known as the Key Set, is an unparalleled selection of Stieglitz’s photographs, containing at least one print of every mounted photograph in his possession at the time of his death. It remains one of the most important photographic collections in existence. Carefully selected by O’Keeffe to include the finest examples, the Key Set traces the evolution of Stieglitz’s work, from its inception in the 1880s to its rich maturation in the 1930s, and thoroughly documents all aspects of his decisive contribution to the art of photography.
Previously available only in print, the Alfred Stieglitz Key Setonline Edition represents the definitive publication on the artist’s work. Incorporating updated scholarship, including recent conservation findings, as well as overviews of the major periods in his art, robust search functionality, and advanced image viewing and comparison tools, the Online Edition opens up new avenues for researching—and being inspired by—Stieglitz’s work.
Explore highlights of the Key Set, browse by subject or person, or search the Key Set to view all Key Set photographs and filter results by Key Set number, negative date, photographic process, or other criteria. [permalink]
Charles Augustin Lhermitte :: Deux jeunes femmes dans un pré, vers 1912, Aristotype | src Musée d’OrsayCharles Augustin Lhermitte :: Jeune femme au bord d’un fleuve, vers 1912, Aristotype. | src Musée d’OrsayCharles Augustin Lhermitte :: Paysage fluvial avec jeune femme dans une barque, vers 1912 Aristotype. | Musée d’OrsayCharles Augustin Lhermitte :: Trois jeunes femmes au bord d’une rivière, vers 1912 Aristotype. | Musée d’OrsayCharles Augustin Lhermitte :: Jeune femme posant en pied au bord d’une rivière, vers 1912 Aristotype. | Musée d’Orsay
Anne W. Brigman :: The Wondrous Globe. Camera Work: A Photographic Quarterly — 1912 (Heft 38). Photogravure.Anne W. Brigman :: The Wondrous Globe. Camera Work: A Photographic Quarterly — 1912 (Heft 38). Photogravure. | src Universitätsbibliothek Heidelberg
Paul B. Haviland :: Florence Peterson allongée, en kimono à fleurs, entre 1909 et 1910, Cyanotype. | src Musée d’OrsayPaul B. Haviland :: Florence Peterson allongée, en kimono à fleurs, entre 1909 et 1910, Cyanotype. | src Musée d’OrsayPaul B. Haviland :: Florence Peterson en kimono, entre 1909 et 1910, Cyanotype. | src Musée d’Orsay
Paul Haviland :: Florence Peterson debout, avec un parapluie, New York, entre 1909 et 1910, Autochrome. | src Musée d’OrsayPaul Haviland :: Florence Peterson debout, avec un parapluie, entre 1909 et 1910, Autochrome. | src Musée d’OrsayPaul Haviland :: Florence Peterson debout, avec un parapluie, entre 1909 et 1910, Autochrome. | src Musée d’OrsayPaul Haviland :: Florence Peterson debout, avec un parapluie, entre 1909 et 1910, Autochrome. | src Musée d’Orsay
Paul Haviland, while working in New York as a representative for his father’s porcelain factory, explored the arts. His interest in writing and photography eventually led him to the Little Galleries of the Photo-Secession, where Alfred Stieglitz and his circle of photographers strove to have the medium recognized as a fine art. In 1910 Haviland was made associate editor of Stieglitz’s publication Camera Work.
Haviland’s Portrait of a Man [SAAM, 1994.91.65], made about the same time he met Stieglitz (ca. 1908), is an impressionistic study rather than a conventional likeness. Although Haviland continued making portraits upon returning to France after World war I, they lacked the engaging inventiveness of his work in New York. [quoted from Smithsonian American Art Museum : SAAM]
Arnold Genthe :: Percy MacKaye as Alwyn, the poet, a character in Percy MacKaye’s play Sanctuary: A Bird Masque, in rehearsal for first performance at the Meriden Bird Club sanctuary dedication in New Hampshire, September 1913. Autochrome. | src Library of CongressArnold Genthe :: Percy MacKaye as Alwyn, the poet in Sanctuary, 1913. Autochrome. (DETAIL)
![Print, Verso:
u.l. to c.r. in ink: Narcissus \ 1926 [sic] \ Exhibited \ Brooklyn Institute of Arts & Sciences \ Oct. 1922 [sic] \ Photographic Society of Philadelphia \ Chicago Camera Club. 1929 (Feb) \ Omaha Camera Club \ Photo Pictorialists of Milwauke [sic] 1929 \ California Camera Club May 1929 \ Camera Club of New York. Dec 1-15 1928 \ Hon. Mention 8th Annual Competition American Photography](https://unregardoblique.com/wp-content/uploads/2023/04/laura-gilpin-1891-1979-narcisus-1928-amon-carter.jpg)
un regard oblique 