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    Sale 2466 | Lot 118
    Estimate: $10,000 - $15,000
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      Additional Images
    • Sale 2466 Lot 118

      ALFRED STIEGLITZ (1865-1946) & DOROTHY NORMAN (1905-1997)
      Dorothy Norman. Silver print, the image measuring 4 1/4x3 1/4 inches (10.8x8.3 cm.), with Norman's notation "DN by AS" and the numeric notation 258, in pencil, on verso. Circa 1931.

      WITH--Dorothy Norman. Cloud study in the manner of Alfred Stieglitz's Equivalent series. Silver print, the image measuring 3 7/8x2 7/8 inches (9.9x7.4 cm.), the print flush mounted and on a secondary mount measuring 10 1/2x7 1/2 inches (26.7x19.1 cm.), with Stieglitz's notation "YES YES," in pencil, on mount verso. Circa 1931

      AND--Dorothy Norman. Three variant images of the Statue of King Mycerinus at the Museum of Fine Arts, Boston * Portrait of Stieglitz * A study of Stieglitz's hands. Silver prints, each of the images measuring approximately 4x2 3/4 inches (10x7 cm.), each mounted to various sizes; the museum studies with Stieglitz's notations "ILY [I Love You]" (graphically applied numerous times), "Perfect," and "Wonderful," in pencil, on mounts recto and verso; the studies of Stieglitz with Norman's signature, in ink, and her hand stamp, on mounts verso. 1931

      Estimate $10,000 - 15,000

      Also with an uncredited posthumous print of Stieglitz and Norman with Marsden Hartley at An American Place.

      AND--Intimate Visions * Beyond a Portrait. Together, 2 volumes. 8vo and 4to, cloth; dust jackets. Vp, vd.

      This select archive, originally from the Estate of Dorothy Norman, pertains to Norman's work as a photographer and her love affair with Stieglitz, whom she met in 1927. The charismatic Stieglitz encouraged Norman's artistic ambitions and introduced her to leading lights of his artistic orb. She, newly married and newly moved to NYC, rekindled his belief in himself and facilitated the transition to his final gallery, An American Place. It was, perhaps, inevitable that they would fall in love. Norman made photographs throughout the 1930s, and Stieglitz continued to critique her work, neatly writing a positive assessment and ILY (I Love You) innumerable times.



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