Alvin L. Coburn (1882–1966) :: ‘Toodles (Elsie Thomas)’, ca. 1908. Gelatin silver print, printed in the 1980s | Ostlicht Auktion 2023
Coburn was given his first camera at the age of eight and was introduced to photography by his cousin Fred Holland Day. As early as 1902 he became a member of the New York Photo-Secession initiated by Alfred Stieglitz, and two years later his first pictures appeared in Stieglitz’s magazine “Camera Work”. A vintage print of this beautiful motif is hold at The Museum of Fine Arts, Houston (MFAH), there titled and dated. Coburn also made autochromes of the same model, showing the red colour of her kimono.
Alvin Langdon Coburn (1882–1966) :: ‘Toodles (Elsie Thomas)’, ca. 1908 | Ostlicht Auktion 2023Alvin Langdon Coburn :: Elsie Thomas in an Eastern costume sitting on a hammock, ca.1908. AutochromeAlvin Langdon Coburn :: Elsie Thomas in a red an Eastern costume with sunflower, ca.1908. Autochrome LumièreAlvin Langdon Coburn :: Elsie Thomas (‘Toodles’) in an Eastern costume, ca.1908Alvin Langdon Coburn :: Elsie Thomas wearing an Eastern costume, ca.1908
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]
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
William Edward Dassonville (1879-1957) :: Blossoms, early 20th century | src liveauctioneers
Flower blossoms photographed by William Dassonville; very different from his usual landscape repertoire.
William Edward Dassonville (1879-1957) :: Blossoms, early 20th century | src liveauctioneersWilliam Edward Dassonville (1879-1957) :: Blossoms, early 20th century | src liveauctioneersWilliam Edward Dassonville (1879-1957) :: Blossoms, early 20th century | src liveauctioneers
William E. Dassonville was a California photographer primarily known for his landscapes. He was an associate of Ansel Adams and worked with William Keith, George Stirling, Maynard Dixon, and John Miur. Born in Sacramento, CA, he acted as secretary of the California Camera Club and contributed to Camera Craft. He also invented a velvety surfaced printing paper that he later manufactured commercially (REF: Getty). His chemistry was heralded by Ansel Adams and Imogen Cunningham, and he exhibited alongside Alfred Stieglitz, Clarence White, and Gertrude Kasebier (REF: icp org) | src liveauctioneers
Alfred Stieglitz :: Kitty Stieglitz, 1915-1916. Autochrome. Alfred Stieglitz Collection. | src National Gallery of ArtAlfred Stieglitz :: Kitty Stieglitz, 1915-1916. Autochrome. Alfred Stieglitz Collection. | src National Gallery of Art (DETAIL)Alfred Stieglitz (1864 – 1946) :: Untitled [Kitty Stieglitz], 1907; Autochrome. | src The J. Paul Getty museum Alfred Stieglitz made this portrait of his eight-year-old daughter Katherine (Kitty) while on vacation in Europe. Kitty sits on a park bench, clutching a bouquet of vibrant purple blossoms in one hand and holding a butterfly net in the other. (quoted from source)
![camera_work1905_12_0087 [F. [Felix] Benedict Herzog, pl. II. Angela, photogravure](https://live.staticflickr.com/65535/52789073200_19514a3e09_o.jpg)
un regard oblique 