Water Lily by Margrethe Mather

**Margrethe Mather (1886 – 1952)** ~ Water Lily, 1922. Palladium print. The Lane Collection. From the Exhibition: The Stillness of Things MFA Boston

Dana Steichen colour portraits

Edward Steichen ~ [Dana Steichen draped in shawl], ca. 1920. Cyanotype and palladium print. | src George Eastman museum — **Edward Steichen ~** [Dana Steichen draped in shawl], ca. 1920. Cyanotype and palladium print. | src George Eastman museum

**Edward Steichen ~** Dana Steichen Holding a Sunflower, ca. 1924. Cyanotype and palladium print. | src George Eastman Museum

**Edward Steichen ~** [Dana Steichen draped in shawl], ca. 1920. Cyanotype and experimental process. | src George Eastman Museum

Freeman by Stieglitz, 1921-1922

Alfred Stieglitz :: American stage actress Helen Freeman (1886 – 1960), 1921. Palladium print. | src NGA (The Key Set · National Gallery of Art) — **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 Set online 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]

Alfred Stieglitz :: Helen Freeman, 1921. Palladium print. Alfred Stieglitz Collection · NGA — **Alfred Stieglitz ::** Helen Freeman, 1921. Palladium print. Alfred Stieglitz Collection · NGA

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])

quoted from NGA

Tordis by Antios · 1926

Anton Josef Trčka (Antios) :: Ellinor Tordis in a dance pose, 1926. Palladium print. | src Galerie Kicken Berlin — **Anton Josef Trčka** **(Antios) ::** Ellinor Tordis in Tanzpose | in a dance pose, 1926. Palladium print. | src Galerie Kicken Berlin

Autumn · The Larsen Dancers

**Clarence Hudson White (1871–1925)** ~ Larsen Dancers [11/11], ca. 1923 – 1924. Platinum print. | Princeton University Art Museum

**Clarence Hudson White (1871–1925)** ~ Larsen Dancers [4/11], ca. 1923 – 1924. Platinum print. | Princeton University Art Museum

Clarence Hudson White :: Autumn, the Larsen Dancers, 1924. Palladium print. | src MoMA — **Clarence Hudson White (1871–1925)** ~ Autumn, the Larsen Dancers, 1924. Palladium print. | src MoMA

**Clarence Hudson White (1871–1925)** ~ Larsen Dancers [2/11], ca. 1923 – 1924. Platinum print. | Princeton University Art Museum

Modotti by Weston, 1921

**Edward Henry Weston ::** Head of an Italian Girl (Tina Modotti), 1921. Platinum or palladium print. | src Sotheby’s

This photograph is among the earliest studies Edward Weston made of Tina Modotti, the woman whose face and figure would inspire some of Weston’s best work throughout the 1920s. The photographer regarded the image as an important one at the time, including it in two early exhibitions: in Amsterdam in 1922, and at the Aztec Land Gallery in Mexico City in 1923. This print is one of only three extant examples of this seminal picture of Modotti.

Head of an Italian Girl is from a series of studies and portraits of Modotti that Weston began in Los Angeles in 1921, soon after their love affair began, and would continue in Mexico. At the time this photograph was taken, each was married to someone else: Weston to the former Flora Chandler, the mother of his four children, and Modotti to the poet and textile designer, Roubaix de l’Abrie Richey. Born in Italy, Modotti was a recent arrival in Los Angeles, where she worked variously as an actress in silent films and as a seamstress and clothing designer. In the early 1920s, Weston made his living as a portrait photographer in Glendale, while pursuing his own creative work. The two fell in love shortly after they met, and Weston began photographing Modotti immediately. In April 1921, Weston wrote of Modotti to his friend, the photographer Johan Hagemeyer:

‘Life has been very full for me—perhaps too full for my good—I not only have done some of the best things yet—but have also had an exquisite affair . . . the pictures I believe to be especially good are of one Tina de Richey—a lovely Italian girl’ (The Archive, January 1986, Number 22, ‘The Letters from Tina Modotti to Edward Weston,’ p. 10)

In the present image, the ecstatic expression on Modotti’s face provides some indication of the intensity of their new relationship.

Amy Conger locates only two prints of this image, both in institutional collections: a palladium print originally owned by Johan Hagemeyer and now at the Center for Creative Photography, Tucson [view image below]; and a platinum print at the Baltimore Museum of Art. [quoted from source]