Alfred Stieglitz

flush-mounted, mounted again to a larger card, signed and inscribed 'Equivalent 77 - 1929 / For Ann Straus / Alfred Stieglitz / Oct. 25, 1940' in pencil on the reverse, 1926

The photographer to his grandniece, Ann Straus, 1940

Doris Bry, New York, 1994

Greenough 1172

Waldo Frank, et al., America & Alfred Stieglitz (New York, 1934), pl. 30a

Doris Bry, Alfred Stieglitz: Photographer (Boston: Museum of Fine Arts, 1965), pl. 53

Dorothy Norman, Alfred Stieglitz: An American Seer (New York, 1973), pl. XLI

Therese Mulligan, ed., The Photography of Alfred Stieglitz: Georgia O’Keeffe’s Enduring Legacy (George Eastman House, 2000), fig. 149

Pierre Apraxine and Lee Marks, Photographs from the Collection of the Gilman Paper Company (White Oak Press, 1985), pl. 158

This early, glossy print, appropriately warm in the highlights, is flush-mounted and mounted again. When the print is examined closely in high raking light, tiny deposits of the photographer's original retouching are visible. Faint silvering is also visible in raking light. There is minuscule chipping and wear at the print's edges. As is typical with Stieglitz's Equivalents, this print is flush-mounted onto a sheet of thin board. After flush-mounting, Stieglitz typically mounted his Equivalents again to a larger sheet of similar board, as is the case here. The mount is pulling away slightly from the secondary mount. There is very minor soiling and a few tiny light-rust-colored areas on the secondary mount. On the reverse of the mount, the following is written by Stieglitz in pencil: 'Equivalent 77 - 1929 / For Ann Straus / Alfred Stieglitz / Oct. 25, 1940.' There are rice paper hinge remnants along the upper edge on the reverse of the mount. Sarah Greenough, in 'Alfred Stieglitz: The Key Set,' locates prints of this image in the following collections: the National Gallery of Art, Washington, D. C.; The Art Institute of Chicago; Beinecke Rare Book and Manuscript Library, Yale University; Carl Van Vechten Gallery, Fisk University, Nashville; George Eastman House, International Museum of Photography and Film, Rochester; Library of Congress, Washington, D. C.; Museum of Fine Arts, Boston; The Metropolitan Museum of Art, New York; The Museum of Modern Art, New York; National Museum of Modern Art, Tokyo; Philadelphia Museum of Art; The Phillips Collection, Washington, D. C.; the San Francisco Museum of Modern Art; The J. Paul Getty Museum, Los Angeles; Kemper Museum of Contemporary Art, Kansas City; Saint Louis Art Museum; Victoria & Albert Museum, London; and 3 in private collections.
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