Signed, Dorothy Norman, "stieglitz And Steichen", Silver Gelatin Photograph,1946

Signed, Dorothy Norman,

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Signed, Dorothy Norman, "stieglitz And Steichen", Silver Gelatin Photograph,1946:

Dorothy Norman

American, 1905 ~ 1997

SIGNED - Silver Gelatin Photograph

“An American Place”

Dorothy Norman

Noted by Artist, in pencil, on verso of mount

Stieglitz & Steichen

An American Place


early print

Stamped, on verso:



Other notations, inpencil, as seen in pictures provided

Photograph – 2 ½” x 3½”

Mounted on Board - 11”x 14”

Matted - 11” x 14”

Opening to print – 3” x4 ¼”

Hinged by Linen Tape

Last photograph taken of the two, Stieglitz died in the Summer of 1946 of a stroke.

Dorothy Norman, photographer, writer, editor, arts patron and advocatefor social change.

In 1925she married Edward A. Norman, the son of an early Sears& Roebuck entrepreneur. They lived in New YorkCity, where Mrs. Norman immersed herself insocial-activism groups: as a researcher for the American Civil Liberties Union; with PlannedParenthood, the NationalUrban League, and the GroupTheatre. In the meantime, they had two childrentogether, Andrew and Nancy.

Her life was motivated by "a desire toadvance both art and action". She actively cultivated an interest inpeople who were involved with either the artistic arena or efforts atincreasing social equity. In this role she became acquainted with photographer Alfred Stieglitz,who was already a towering influence in the youthful field of art photographywhen they met in 1927. Although both were married at that time—Stieglitz wasmarried to modern artist Georgia O'Keeffe—Stieglitzbecame her mentor, her friend, and then her lover. The relationship continueduntil his death in 1946. Her marriage to Edward Norman ended in divorce in1951.

Norman never worked as a professional photographer, instead capturingimages of friends, loved ones and prominent figures in the arts and inpolitics. She also photographed special sites, special trees, special harbors,special churches and buildings.

She detailed the interior of AnAmerican Place, Stieglitz's last gallery. She created an extended portrait study of Stieglitz (he returned thefavor by creating a similar study of Norman).

Norman's photographic work is noted for its clarity of vision, masterfulmix of light and shading, and professional-quality printing techniques.

In 1900, Stieglitz was introduced to a newphotographer, Edward Steichen, at the First Chicago Photographic Salon.Steichen, originally a painter, he brought many of his artistic instincts tophotography. The two became good friends and colleagues. On November 25, 1905, the Little Galleries of the Photo-Secession"opened on Fifth Avenue with one hundred prints by thirty-nine photographers. Edward Steichen had recommended and encourage Stieglitz to leaseout three rooms across from Steichen's apartment that the pair felt would beperfect to exhibit photography. The gallery became an instant success, withalmost fifteen thousand visitors during its first season and, more importantly,print sales that totaled nearly $2,800. Work by his friend Steichenaccounted for more than half of those sales.

Steichen partnershipwith Stieglitz

Clarence H. White thought Steichen andStieglitz should meet. White produced anintroduction letter for Steichen and Steichen met Alfred Stieglitz in NewYork City in 1900. In that firstmeeting, Stieglitz expressed praise for Steichen's background in painting andbought three of Steichen's photographic prints.

In 1902, when Stieglitz was formulating whatwould become Camera Work,he asked Steichen to design the logo forthe magazine with a custom typeface.Steichen was the most frequently shown photographer in the journal.

In 1904, Steichen began experimenting withcolor photography. He was one of the first people in the United States to usethe AutochromeLumière process. In 1905, Stieglitz and Steichen created the Little Galleries of the Photo-Secession, whicheventually became known as 291 after its address. Itpresented some of the first American exhibitions of Henri Matisse, Auguste Rodin, Paul Cézanne, Pablo Picasso, and ConstantinBrâncuși.

Edward Jean Steichen (March 27, 1879 – March 25, 1973) was a Luxembourgish American photographer, painter, and art gallery and museum curator.

Steichen was the most frequently shown photographer in Alfred Stieglitz' groundbreaking magazine Camera Work during its run from 1903 to 1917. TogetherStieglitz and Steichen opened the Little Galleries of the Photo-Secession,which eventually became known as 291 after its address.

His photos of gowns for the magazine Art et Décorationin 1911 are regarded as the first modern fashion photographs everpublished. From 1923 to 1938, Steichen was a photographer for the Condé Nast magazines Vogue and Vanity Fairwhile also working for many advertising agencies including J. Walter Thompson. Duringthese years, Steichen was regarded as the best known and highest paidphotographer in the world. In 1944, he directed the war documentary The Fighting Lady, which won the 1945 Academy Award for Best Documentary.

From 1947 to 1961, Steichen served as Director of theDepartment of Photography at New York's Museum of Modern Art.While at MoMA, he curated and assembled the exhibit The Family of Man, which was seen by nine million people.

Serving in the US Army inWorld War I (and the US Navy inthe Second World War), Steichen commandedsignificant units contributing to military photography. After World War I,during which he commanded the photographic division of the AmericanExpeditionary Forces, he reverted to straightphotography, gradually moving into fashion photography.Steichen's 1928 photo of actress Greta Garbo is recognized as one of thedefinitive portraits of Garbo.

1929–1946,Room 1710, 509 Madison Avenue, New York, NY

At his last gallery, AnAmerican Place, Stieglitz welcomed a stream of visitors who wanted to meet aliving legend of the New York art scene. The gallery also became a mecca foryoung artists; photographer Ansel Adams wrote that “The Place, and all that goeson within it is like coming across a deep pool of clear water in the desert. .. . Whoever drinks from this pool will never be thirsty.”

The gallery was on theseventeenth floor of a newly constructed skyscraper on Madison Avenue, and itwas relatively spacious—six rooms, three for exhibition and three for storage,all painted a light, pearl gray—compared with Stieglitz’s previous galleries.Stieglitz posted the gallery’s austere mission on a card in the space:

No formal press views

No cocktail parties

No special invitations

No advertising

No institutions

No isms

No theories

No game being played

Nothing asked of anyone whocomes

No anything on the walls exceptwhat you see there

The doors of An American Place are ever open to all.

Signed, Dorothy Norman, "stieglitz And Steichen", Silver Gelatin Photograph,1946:

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