Alfred Stieglitz, Georgia O’Keeffe, Juan Hamilton: Passage 

ALFRED STIEGLITZ 1864 - 1946 GRASSES flush-mounted, mounted again to larger card, in the original white metal frame gelatin silver print 6 by 9 inches (15.2 by 22.9 cm) Executed in 1933.

grasses

AFTER AUGUSTE RODIN 1840 - 1917 SELECTED COLLOTYPES FOR 'CAMERA WORK' NOS. 34/35 a group of 17 collotypes printed by Bruckmann Verlag, Munich, accompanied by two paper wrappers: one signed Alfred Stieglitz 291 and annotated in pencil Set of Hand Pulled Proofs / Rodin Drawings / for Camera Work - no's 33/34 [sic]. / Reproduced at Bruckmann Verlag, / Munich and The only other complete set / of these proofs I gave to Steichen; the other wrapper annotated in pencil by Stieglitz Hand Pulled Proofs / Rodin Drawings / for Camera Work 33/34 [sic]. / Property of G. O'Keeffe and written in another hand, possibly that of Georgia O'Keeffe, in pencil OK collographic proofs printed in colors on 17 sheets of laid paper, some with double-sided images and one proof trimmed and mounted to card Each sheet: 16 ½ by 10 ¾ inches or the reverse (41.9 by 27.3 cm or the reverse) Executed in 1911.

after auguste rodin | selected collotypes for 'camera work' nos. 34/35

GEORGIA O'KEEFFE O'KEEFFE'S PERSONAL FILE SET OF GALLERY CATALOGUES AND OTHER PUBLICATIONS FROM EXHIBITIONS AT 291, THE ANDERSON GALLERIES, THE INTIMATE GALLERY, AN AMERICAN PLACE, AND ELSEWHERE, 1917–1958 More than 100 catalogues, exhibition listings, printed announcements, and other ephemera, mostly printed with some typescript, a few items unrelated to exhibitions (a few items present in duplicate). Housed in a black cloth document box. Spanning more than forty years, the present collection includes publications from group exhibitions as well as O'Keeffe's solo exhibitions. The earliest item, still accompanied by its original envelope, is an announcement of "An Exhibition of the Recent Work,—Oils, Water-Colors, Charcoal Drawings, Sculpture,—by Georgia O'Keeffe, of Canyon, Texas," held at the Gallery of the Photo-Secession/291, 1917. In the introduction that she wrote for the brochure "Alfred Stieglitz Presents One Hundred Pictures … by Georgia O'Keeffe, American," held at the Anderson Galleries, 1923, O'Keeffe states, "I grew up pretty much as everybody else grows up and one day seven years ago found myself saying to myself—I can't live where I want to—I can't go were I want to—I can't do what I want to—I can't even say what I want to. … I decided I was a very stupid fool not to at least paint as I wanted to and say what I wanted to when I painted as that seemed to be the only thing I could do that didn't concern anybody but myself—that was nobody's business but my own.—So these paintings happened and many others that are not here.—I found I could say things with color and shapes that I could say in no other way—things I had no words for." Fourteen years later, the catalogue for An American Place's "Georgia O'Keeffe: Catalogue of the 14th Annual Exhibition of Paintings, with some recent O'Keeffe letters," prints the insightful texts of eight letters O'Keeffe had written from Ghost Ranch to Stieglitz during the summer of 1937. The most significant pieces not related to an exhibition are an invitation to, and the program for, the exercises conferring on O'Keeffe the degree of Doctor of Fine Arts, College of William and Mary, 1938. PROVENANCE: Georgia O’Keeffe, Abiquiu, New Mexico By descent to the present owner

collection of o'keeffe gallery catalogues, 1917–1958

Modern America: The Wolf Family Collection

Alfred Stieglitz 1864 - 1946 The Hand of Man ﻿ large-format photogravure on Japan laid paper, signed, titled, and dated in pencil in the margin, 1902, printed in 1910 9⅝ x 12⅝ in. (24.4 x 32.1 cm.)

the hand of man

ALFRED STIEGLITZ STIEGLITZ'S PERSONAL FILE SET OF GALLERY CATALOGUES AND OTHER PUBLICATIONS FROM EXHIBITIONS AT THE ANDERSON GALLERY, THE INTIMATE GALLERY, AND AN AMERICAN PLACE, 1923–1946, MANY ANNOTATED BY HIM WITH TITLES, PRICES, AND OTHER INFORMATION More than 400 catalogues, exhibition listings, cards, printed announcements, occasional publications, and other ephemera, both printed and typescript (some items present in duplicate or multiple copies). Housed in file folders within a black and white board document box. The artists represented in this remarkable collection of fugitive publications include, in addition to Stieglitz and O'Keeffe, Arthur Dove, John Marin, Eliot Porter, Marsden Hartley, Charles Demuth, Ansel Adams, Francis Picabia, Robert C. Walker, Gaston Lachaise, Oscar Bluemner, Peggy Bacon, Paul Strand, George Grosz, and S. MacDonald Wright. Among many other notable items, the collection includes an autograph document by Stieglitz, headed "O'Keeffe Account," ca. January 1932, recording, among other prices, "Kennerley owes O'Keeffe Yellow Leaves & Daisy $12000.00"; an autograph listing by Stieglitz, with prices, of John Marin's first exhibition at 291; and a typescript listing of "Recent Work of John Marin in Oil and Watercolor at An American Place," 1934, annotated by Stieglitz with prices in red. Perhaps the most significant catalogue is "Alfred Stieglitz presents Seven Americans, 159 Paintings, Photographs & Things Recent & Never Before Publicly Shown by Arthur G. Dove, Marsden Hartley, John Marin, Charles Demuth, Paul Strand, Georgia O'Keeffe, Alfred Stigelitz" (Anderson Galleries, 9–18 March 1925), with texts by Stieglitz, Dove, Sherwood Anderson, and Arnold Rönnebeck, annotated throughout by Stieglitz with prices and marked on the front cover by him "Price List. Please Do not take way." PROVENANCE: Alfred Stieglitz, New York Georgia O’Keeffe, Abiquiu, New Mexico, 1946 (by descent) By descent to the present owner

collection of stieglitz gallery catalogues for an intimate gallery and an intimate place, 1923–1946

JOHN MARIN 1870 - 1953 STONINGTON WHARF, NO. 1 (RED AND BLUE, MAINE) signed Marin and dated 23 (lower right); also titled No. 1 Wharf/Stonington (on the reverse) watercolor and charcoal on paper in an artist's painted frame 14 ⅛ by 17 ¾ inches (35.9 by 45.1 cm) frame: 16 ⅝ by 20 ¾ inches (42.2 by 52.7 cm)

john marin | stonington wharf, no. 1 (red and blue, maine)

GEORGIA O'KEEFFE'S PIGMENTS A COLLECTION OF 20 JARS OF PIGMENT LABELLED AND USED BY GEORGIA O'KEEFFE 20 glass jars with black screw-top lids (each 2 in. high, 2 1/4 in. diameter), containing varying amounts of pigment (from nearly full to a quarter full), each affixed with an adhesive label with the color of the pigment written in O'Keeffe's hand. The colors in these jars include Burnt Sienna (Newman and Milano), Purple Madder, Rose Madder, Terra d'Ombra, Earth Red, Yellow Ochre, Gambage, Chrome Green, Cobalt, Cobalt Blue, Blue Black, Indigo, Zinc White, and Terra Verde (several varieties). O’Keeffe stored this set of pigments in a sturdy wooden crate that was sent to her containing an unsolicited gift. Please note that some of the pigments may potentially be toxic, based on the possible presence of mercury and chromium. PROVENANCE: Georgia O’Keeffe, Abiquiu, New Mexico By descent to the present owner

a collection of 20 jars labelled and used by georgia o'keeffe

PHILIPPE HALSMAN 1906 - 1979 GEORGIA O'KEEFFE mounted, credited Photograph by Halsman, signed Georgia O'Keeffe, and annotated Kindly return to Georgia O'Keeffe - Room 1710. 509 Madison by O'Keeffe in pencil on the mount, and with a Return to Times stamp and annotation in ink on the reverse gelatin silver print 12 by 9 ⅝ inches (30.5 by 24.4 cm) Executed in 1948.

georgia o'keeffe

GEORGIA O'KEEFFE AUTOGRAPH MANUSCRIPT, TITLED IN ANOTHER HAND "GIRARDS — MOROCCO" 2 1/2 pages on La Mamounia Hotel, Marrakech, "blanchisserie" forms (17 1/8 x 8 3/4 in.), [Marrakech, Morocco, ca. 1974], titled in another hand "Girards — Morocco" on accompanying manila file folder; old folds, one or two minor closed marginal splits, holes to one corner where previously stapled. Typed transcription of text included. Georgia O'Keeffe on preparing for a trip to Morocco with her longtime friends. "The Girards said they were going to Morocco for a month — did I want to go with them?" O'Keeffe had been friends with architect Alexander Girard, and his wife, Susan, for a number of years. Having never been before, O'Keeffe longed to see Morocco, and asked Juan Hamilton, whom she had met a few months earlier, to accompany her. "As I don't see very well any more and Juan is my eyes he was going along to help me get around so I wouldn't always be depending on Susan and Sandro...also, he's young with plans in his head and I thought the trip would add to his life in one way or another." Together the quartet travelled some 3,000 miles within Morocco, from Casablanca to Fez, and through the Atlas Mountains. Later, Hamilton remarked that what O'Keeffe enjoyed most about Morocco "was walking in the countryside, not really being around towns and people." Presumably unpublished. PROVENANCE: The artist By descent to the present owner

autograph manuscript, titled in another hand "girards — morocco"

JUAN HAMILTON b. 1945 UNTITLED (RED FORM) inscribed JUAN/11-22-86/© and numbered /7 (beneath the base) lacquered bronze height: 22 inches (55.9 cm)

untitled (red form)

JOHN MARIN 1870 - 1953 DEER ISLAND, MAINE (FROM ON A LEDGE) signed Marin and dated 24 (lower right); titled Deer Isle Maine/From on a ledge and dated again (on the reverse); also titled and dated again (on the reverse of the support) watercolor, charcoal and pencil on paper 14 ½ by 17 ¾ inches (36.8 by 45.9 cm)

john marin | deer island, maine (from on a ledge)

GEORGIA O'KEEFFE 1887 - 1986 UNTITLED (GHOST RANCH PATIO) pencil on tan paper 23 ⅞ by 17 ⅞ inches (60.6 by 45.4 cm) Executed circa 1940.

untitled (ghost ranch patio)

GEORGIA O'KEEFFE 1887 - 1986 UNTITLED (CLAY POT) lacquered stoneware height: 11 ½ inches (29.2 cm); diameter: 13 ¼ inches (34.9 cm) Modeled circa 1980.

untitled (clay pot)

JUAN HAMILTON b. 1945 PIEDRA I inscribed JUAN/10-1-88/© PIEDRA/I and numbered /10 (beneath the base) bronze height: 7 ½ inches (19.1 cm)

piedra i

Classic Photographs

ALFRED STIEGLITZ 1864-1946 THE STEERAGE large-format photogravure on tissue, signed, titled, and dated in pencil in the margin, mounted to board, signed, titled and dated in pencil and stamped 'Permission An American Place. Kindly return photo. Keep clean' on the underside of the original overmat, framed, a Pace/MacGill Gallery label on the reverse, 1907, printed in or before 1915 image: 13⅛ by 10½ in. (33.3 by 26.6 cm.) framed: 18⅜ by 15⅜ in. (46.7 by 39.1 cm.)

alfred stieglitz | the steerage

ALFRED STIEGLITZ A COLLECTION OF CHECKS, EACH SIGNED BY ALFRED STIEGLITZ AND ENDORSED BY THE RECIPIENT, NEW YORK, 21 FEBRUARY 1944–9 FEBRUARY 1946 10 printed checks, Madison Avenue Office of the Guaranty Trust Company of New York (each: 2 ¾ x 6 ½ inches), accomplished in Stieglitz's hand, with assorted perforations, stamps, and annotations. Autograph endorsements except where noted, recipients include: The Art Institute of Chicago (stamped endorsement), John Marin (3), Andrew Droth, Dorothy Norman, Emmeline Stieglitz ("for Kitty"), E. Weyhe (stamped endorsement), Arthur Dove, and Harry N. Abrams. In the later years of his life, Stieglitz was the devoted proprietor of his gallery An American Place, where he continued to exhibit American Modernist artists such as O'Keeffe, Arthur Dove, and John Marin. The present lot appears to relate primarily to his profession dealings, with significant sums being paid out to artists, publishers, and institutions alike. PROVENANCE: The artist Georgia O’Keeffe, Abiquiu, New Mexico, 1946 (by descent) By descent to the present owner

alfred stieglitz | 10 checks, each signed by alfred stieglitz and endorsed by the varying recipients, new york, 1944–1946

HENWAR RODAKIEWICZ 1903 - 1976 STEEPLE flush-mounted, mounted again to larger card, in the original white metal frame, annotated By Henwar Rodakiewicz - Collection: Georgia O'Keeffe (An American Place) 509 Madison Ave. (Rm 1710) in Alfred Stieglitz's hand in ink, and a The Museum of Modern Art Loan label, with 40.5017 o'Keefe [sic] typed, on the reverse gelatin silver print 3 ⅞ by 2 ⅜ inches (9.8 by 6 cm) Executed circa 1930.

steeple

Photographs from the Ginny Williams Collection

ANSEL ADAMS 1902-1984 ALFRED STIEGLITZ AND PAINTING BY GEORGIA O'KEEFFE, AN AMERICAN PLACE, NEW YORK CITY gelatin silver print, mounted to Hi-Art illustration board, signed in ink on the mount, the photographer's Carmel studio stamps (BMFA 7 and 8), titled 'Alfred Stieglitz' and dated in ink, on the reverse, 1939, probably printed between 1963 and 1970 (400 Photographs, p. 249) 13¼ by 9⅜ in. (33.7 by 23.8 cm.)

ansel adams | alfred stieglitz and painting by georgia o'keeffe, an american place, new york city

GEORGIA O'KEEFFE 1887 - 1986 UNTITLED (ABSTRACTION) ink on paper 11 by 8 ½ inches (27.9 by 21.6 cm) Executed in 1976.

untitled (abstraction)

Photographs

Alfred Stieglitz 1864 - 1946 Agnes Stieglitz Sewing gelatin silver print, mounted to board with gold-leaf edges, framed, circa 1890 image: 8 ½ by 5 in. (21.6 by 12.7 cm.) frame: 17 ½ by 14 in. (44.5 by 35.6 cm.)

agnes stieglitz sewing

GEORGIA O'KEEFFE 1887 - 1986 A LONG LEAF (FROM MY SKETCH BOOK) signed Georgia O'Keeffe- (on the backing board) pencil on paper laid down on card 9 by 6 inches (22.9 by 15.2 cm) Executed circa 1940.

a long leaf (from my sketch book)

GEORGIA O'KEEFFE 1887 - 1986 UNTITLED (CLAY POT) lacquered stoneware height: 8 inches (20.3 cm); diameter: 14 inches (35.6 cm) Modeled circa 1980.

GEORGIA O'KEEFFE 1887 - 1986 UNTITLED (PATIO DOOR) pencil on paper 17 by 14 inches (43.1 by 35.6 cm) Executed circa 1946.

untitled (patio door)

GEORGIA O'KEEFFE A FINE COLLECTION OF MANUSCRIPTS AND TRANSCRIPTS RELATING TO GHOST RANCH, THE HOUSE IN ABIQUIU AND OTHER RESIDENCES. Together, 3 manuscripts as described below, [Abiquiu, New Mexico (?), mid-1970s–early 1980's]. Georgia O'Keeffe's reminiscences of the remarkable homes and studios she created for herself. In these vivid writings, O'Keeffe relates her houses to her artistic vision. In "House," she writes, "Everyone seems to want a house — a home — or a place of their very own …. I wanted a place of my own particularly because I wanted to keep the many things that had to do with my work together. Most of my possessions were of very little or no value to anyone but myself but to me they were important — canvases, brushes, canvas to prepare more canvases — and all sorts of tools that I needed — different kinds of saws, planes, knives, different kinds of screw drivers. "When I went to the city in the fall I put my best saw in my bed so no one else would use it." Writing of her early days at the Ghost Ranch, she says, "When I first saw the Ghost Ranch, the road went along the high hills above the spectacular part of it. A wide red valley with a long row of high red and yellow cliffs with red hills below them reaching far — this was my world immediately — big and wide — with no one living in it. "In time, it became a dude ranch — and I came in the summers to paint. Later, it was bought by Arthur Pack, and I began living in the first house he had built. For me it was good because I like a quiet place by myself to work. When the Presbyterians moved in, the best thing they did for me was not to tell anyone where I lived. "I started painting the purple hills immediately — the country looked like something already painted with its dry colorful cliffs — hills — and sparse trees." The collection includes: Autograph manuscript titled "House," 51 pp, mostly ruled yellow foolscap. Transcriptions with corrections and additions in several hands, including O'Keeffe's — Autograph manuscript "Necklace," 7 pp, ruled yellow foolscap (2 pp are portions of sheets of foolscap). Transcriptions with corrections in another hand — Autograph manuscript titled "Ghost Ranch," 9 pp, ruled yellow foolscap. Transcriptions with corrections and additions in several hands, including O'Keeffe's. Presumably unpublished. PROVENANCE: The artist By descent to the present owner

autograph manuscripts with transcripts of various houses and homes including ghost ranch

MARSDEN HARTLEY 1877 - 1943 FLOWERS IN A VASE oil on glass 7 ⅞ by 7 ½ inches (20 by 19.1 cm) Painted in 1917. This painting will be included by Gail R. Scott in the forthcoming Marsden Hartley Legacy Project: The Complete Paintings and Works on Paper, Bates College Museum of Art, Lewiston, Maine.

marsden hartley | flowers in a vase

GEORGIA O'KEEFFE 1887 - 1986 UNTITLED (GHOST RANCH CLIFF) pencil on tan paper 17 ⅞ by 23 ⅞ inches (45.4 by 60.6 cm) Executed circa 1943.

untitled (ghost ranch cliff)

GEORGIA O'KEEFFE AUTOGRAPH MANUSCRIPT, TITLED IN ANOTHER HAND "ABSTRACT PAINTINGS" 12 pages on ruled white or yellow foolscap (13 1/8 x 8 5/8 in.). [Abiquiu, New Mexico (?), mid-1970s], titled in another hand on accompanying manila file folder; horizontal folds usually 2 in. from lower edge, a few pages made from portions of two sheets taped together. Typed and manuscript transcriptions included. O'Keeffe on abstraction in her art: "In looking through my work there are many abstractions, but in thinking about it and worrying about it, I cannot find a satisfactory definition for the word. (I think the dictionary is hopeless.)" In these notes, O'Keeffe also relates an early experience at Teacher's College, Columbia University. She heard music coming from a studio classroom and discovered that the teacher was having the students paint while listening to "The Song of the Volga Boatmen". "I saw that the teachers had the class drawing and painting lessons from the sound of the music. I was much interested in the idea of making a drawing or painting from the meaning of music.…It was all a new idea to me." Presumably unpublished. PROVENANCE: The artist By descent to the present owner

autograph manuscript, titled in another hand "abstract paintings"

VARIOUS PHOTOGRAPHERS SELECTED IMAGES a group of 37 photogravures and one halftone from 'Camera Work' and 'Picturesque Bits of New York and Other Studies,' including The Steerage, The Hand of Man, and The City of Ambition by Alfred Stieglitz, The Manger by Gertrude Käsebier, and Mr. Alfred Stieglitz by Frank Eugene The plates various sizes Executed between 1894 and 1916.

various photographers | selected images

GEORGIA O'KEEFFE 1887 - 1986 UNTITLED (CLAY POT AND STAND) stand, inscribed G.oK - 83 (beneath the base) pot, inscribed G OK - 83 (beneath the base) stoneware stand, height: 3 inches (7.6 cm); diameter: 10 ⅝ inches (27 cm) pot, height: 13 ¼ inches (33.7 cm); diameter: 7 ½ inches (19.1 cm)

untitled (clay pot and stand)

GEORGIA O'KEEFFE 1887 - 1986 UNTITLED (BLACK PLACE) pencil on paper 10 ¼ by 7 ¾ inches (26 by 19.7 cm) Executed circa 1944-45.

untitled (black place)

GEORGIA O'KEEFFE 1887 - 1986 UNTITLED (SACSAYHUAMAN) pencil on paper 7 by 4 ⅝ inches (17.8 by 11.7 cm) Executed in 1956.

untitled (sacsayhuaman)

Arcade Sale | New York

Alfred Stieglitz, Editor 1864 - 1946 Photo-Secession: A Collection of American Pictorial Photographs (Pittsburgh: The Camera Club of Pittsburgh, 1904), a catalogue of the Carnegie Institute exhibition, illustrated with 7 photogravures on tissue after photographs by Alfred Stieglitz ('The Hand of Man'), Edward Steichen ('Rodin'), Gertrude Käsebier ('The Manger'), Clarence White, Alvin Langdon Coburn, Prescott Adamson, and Joseph T. Keiley. Tall 4to, partially uncut, gilt-lettered pictorial wrappers with design by Steichen The plates various sizes to 8½ by 6¾ in. (21.6 by 17.1 cm.)

View 1 of Lot 91: Photo-Secession: A Collection of American Pictorial Photographs

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