DOCSLIB.ORG

Gertrude Kasebier: Her Photographic Career, 1894-1929

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Gertrude Kasebier: Her Photographic Career, 1894-1929 City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 1985 Gertrude Kasebier: Her Photographic Career, 1894-1929 Barbara L. Michaels Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1848 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] INFORMATION TO USERS The most advanced technology has been used to photo­ graph and reproduce this manuscript from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are re­ produced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. These are also available as one exposure on a standard 35mm slide or as a 17" x 23" black and white photographic print for an additional charge. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. University Microfilms International A Bell & Howell Information Company 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 313/761-4700 800/521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Order Number 9000664 Gertrude Kasebier: Her photographic career, 1894—1929 Michaels, Barbara L., Ph.D. City University of New York, 1985 Copyright ©1985 by Michaels, Barbara L. All rights reserved. UMI 300 N. Zeeb R4 Ann Arbor, MI 48106 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. GERTRUDE KASEBIER: HER PHOTOGRAPHIC CAREER 1894-1929 by BARBARA L. MICHAELS A dissertation submitted to the Graduate Faculty in Art History in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York. 1985 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. COPYRIGHT BY BARBARA L. MICHAELS 1985 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. This manuscript has been read and accepted for the Graduate Faculty in Art History in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. [signature] S’/ill^ date Chairman of Examining Committee [signature] date ’ Executive Officer [signature] [signature] [signature] Supervisory Committee The City University of New York Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. FOREWORD & ACKNOWLEDGMENTS As a subject, Gertrude Kasebier has played hide and seek. Some aspects of her life and work are amply documented, others are elusive. Just as Kasebier tried to avoid portrait­ ists, she seems to have wished to evade the historian. Although she and her family saved her most valued photo­ graphs and negatives, and placed them in public collections, Kasebier destroyed her studio records and almost all nega­ tives. She kept some mementoes— letters, autographs, and articles about friends and about herself (now in the New York Public Library), but these alone could not tell her story. That comes largely from interviews (especially with her daughter, Hermine Turner, and her granddaughter, Mina Turner), from letters in the Alfred Stieglitz Archive in the Beinecke Rare Book and Manuscript Library at Yale University, and from letters at the Norwood Historical Society, Norwood, Mass­ achusetts, the former home of her photographic colleague, F. Holland Day, as well as from letters she sent to Laura Gilpin, now in the Amon Carter Museurn, Fort Worth, Texas. A hunch led me to find the letters and photographs in the Musee Rodin, Paris, in 1978, soon after that important archive had been opened to the public. Much important infor­ mation also came from contemporary articles, many of which were to be found only by searching through photographic periodicals, because few early twentieth century articles on Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. V photography are catalogued in readers' guides. I can only regret that Mina Turner did not live to see this study completed. Despite debilitating illnesses, she devoted a great deal of time and effort to interviews, and generously opened her Kasebier memorabilia to me. As a one-time photographer, she recognized her grandmother's accomplishments, without ever indulging in ancestor-worship. Her delicious sense of humor and throaty voice brought descriptions of her grandmother to life. I am grateful, too, that Hermine Turner, in her nineties, could recount vivid recollections of her mother's life, work and friends, from the 1890's onward. Interviews with Kate Steichen and James S. Morcom, Mina's contemporaries who knew Kasebier well, also helped me to envision the photographer. Other Kasebier descendants— Mason E. Turner, Jr., Patricia Costello and Myke Cannon— have been generous in putting photographs and family records at my disposal. Of Kasebier's friends and acquaintances who responded to my queries, I am especially grateful to the photographers Imogen Cunningham, Laura Gilpin, Ralph Steiner, Paul Strand and Karl Struss, as well as to Knox Burger, Nina Vitale Cohen, Henry Blanchford, Phyllis Fenner and Wallace Putnam. Other useful information also came from the following people, whose relatives had sat for Kasebier-: Sarah Brandegee Brodie, Michael Burlingham, Henry Clifton, Jr., Evan Evans, Barbara Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. vi Ivins, Mrs. John McAndrew, and J. Riis Owre. Interviews with Flora Stieglitz Straus and Mrs. Clarence H. White, Jr. helped to augment my understanding of Kasebier's circle of colleagues. Mrs. Phyllis Hamilton, who knew Kasebier, Tom Cotton and Mies Hora, who owned her photographs, also deserve my thanks. So does the late Robert Ratner, lawyer for the Kasebier- Turner estate, his successor, Lawrence Friedman, and Mrs. Robert Ratner. The assistance of many people at various institutions has been indispensible. I am most indebted to the staff of the Museum of Modern Art's Photography Department: to John Szarkowski for his interest in this project while I was on the Department's staff and since, as well as to Susan Kis- maric, John Pultz, Peter Galassi, Catherine Evans and Sarah McNear, who made the Museum's fine, extensive collection of Kasebiers available to me, often on short notice and despite inconveniences during the Museum's renovation. The Museum's Steichen Archive has been a valuable resource, whose helpful­ ness was enhanced by the assistance of its devoted guardian, Grace M. Mayer. Helene Pinet of the Musee Rodin; Paris, Weston Naef, then of the Metropolitan Museum of Art, New York; Robert Sobieszek of the International Museum of Photography at George Eastman House, Rochester, N.Y.; Valerie Lloyd of the Royal Photographic Society (then in London, now in Bath), England; David Haberstick of the Smithsonian Institution; Jerald Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. vii Maddox, Anne Peterson and Jerry L. Kearns at the Library of Congress; Sidney Starr Keaveney at Pratt Institute Library, Brooklyn, N.Y.; Mary Dean and William A. Gifford at the Norwood Historical Society; Donald Gallup, David E. Schoon­ over and others at the Beinecke■Rare Book and Manuscript Library, Yale University, New Haven, all helped to make their holdings accessible to me. Anne Horton and Beth Gates-Warren of Sotheby Parke Bemet, Elizabeth Pollock at the Philadelphia Museum of Art, and Richard Hill at the New York Public Library have been particularly helpful, as were Barbara LaSalle and Barbara Head Millstein of the Brooklyn Museum. Walter Muir Whitehill, Catherine Nicholson, Theresa D. Cederholm and Helen Sevagian of the Boston Public Library responded helpfully to questions Information and assistance were also provided by James Enyeart, William Innes Homer, Estelle Jussim, Patricia Eichen baum Karetzky, Joy Kestenbaum, Mr. and Mrs. Jacques LeMair, Phoebe Lloyd, Dorothy Norman, Anita Ventura Mozley, Lloyd Ostendorf, Toby Quitslund, Geraldine
Load more

Recommended publications
  • The Street—Design for a Poster
    National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Alfred Stieglitz Key Set Alfred Stieglitz (editor/publisher) after Various Artists Alfred Stieglitz American, 1864 - 1946 The Street—Design for a Poster 1900/1901, printed 1903 photogravure image: 17.6 × 13.2 cm (6 15/16 × 5 3/16 in.) Alfred Stieglitz Collection 1949.3.1270.34 Key Set Number 266 Image courtesy of the Philadelphia Museum of Art KEY SET ENTRY Related Key Set Photographs The Street—Design for a Poster 1 © National Gallery of Art, Washington National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Alfred Stieglitz Key Set Alfred Stieglitz Alfred Stieglitz The Street, Fifth Avenue Fifth Avenue—30th Street 1900/1901, printed 1903/1904 1900/1901, printed 1929/1937 photogravure gelatin silver print Key Set Number 267 Key Set Number 268 same negative same negative Remarks The date is based on stylistic similarities to Spring Showers—The Street Cleaner (Key Set number 269) and Spring Showers—The Coach (Camera Notes 5:3 [January 1902], pl. A). This photograph was made at Fifth Avenue and 30th Street with a Bausch & Lomb Extra Rapid Universal lens, and won a grand prize of $300 in the 1903 “Bausch & Lomb Quarter-Century Competition”(see Camera Work 5 [January 1904], 53; and The American Amateur Photographer 16 [February 1904], 92). Lifetime Exhibitions A print from the same negative—perhaps a photograph from the Gallery’s collection—appeared in the following exhibition(s) during Alfred Stieglitz’s lifetime: 1903, Hamburg (no. 424, as The Street, photogravure) 1903, San Francisco (no. 34a, as The Street—Winter) 1904, Washington (no.
    [Show full text]
  • Aauw Fall2015 Bulletin Final For
    AAUWCOLORADObulletin fall 2015 Fall Leadership Conference-- Focusing On the Strategic Plan Our Fall Leadership Conference will be held August 28-29 at Lion Square Lodge in Vail, Colorado. Lion Square Lodge is located in the Lionshead area of Vail. The group rates are available for up to 2 days prior and 2 days after our conference subject to availability. The Fall Conference is a time for state and branch offi cers to meet and work together. The conference is open to any member, but branches should be sure to have their offi cers attend and participate. This is your opportunity to help us as we work toward the achieve- ment of the state strategic plan. This year’s conference will focus on areas identifi ed in the strategic plan. We have also utilized input received from Branch Presidents on a survey conducted this spring where the greatest need identifi ed was Mission Based Pro- gramming. We will be incorporating the topic of Mission Based Programing during the conference. Branch Program and Branch Membership Chairs should also attend to gain this important information. There will be a time for Branch Presidents/Administrators who arrive on Friday afternoon to meet together. This will be an opportunity to get acquainted with your peers and share successes and provide input to the state offi cers on what support you need. The state board will also be meeting on Saturday. Lion Square Lodge Lounge Area The tentative schedule, hotel information and registration are on pages 2-3 of this Bulletin. IN THIS ISSUE: FALL LEADERSHIP CONFERENCE...1-3, PRESIDENT’S MESSAGE...4, PUBLIC POLICY...4 LEGISLATIVE WRAPUP...5-6, WOMEN’S HALL OF FAME BOOKLIST...7-8 WOMEN POWERING CHANGE...9, BRANCHES...10 MEMBERSHIP MATTERS...11, MCCLURE GRANT APPLICATION...12 AAUW Colorado 2015 Leadership Conference Lions Square Lodge, Vail, CO All meetings will be held in the Gore Creek & Columbine Rooms (Tentative Schedule) Friday, August 28 2:00 – 3:30 p.m.
    [Show full text]
  • Clara E. Sipprell Papers
    Clara E. Sipprell Papers An inventory of her papers at Syracuse University Finding aid created by: - Date: unknown Revision history: Jan 1984 additions, revised (ASD) 14 Oct 2006 converted to EAD (AMCon) Feb 2009 updated, reorganized (BMG) May 2009 updated 87-101 (MRC) 21 Sep 2017 updated after negative integration (SM) 9 May 2019 added unidentified and "House in Thetford, Vermont" (KD) extensively updated following NEDCC rehousing; Christensen 14 May 2021 correspondence added (MRC) Overview of the Collection Creator: Sipprell, Clara E. (Clara Estelle), 1885-1975. Title: Clara E. Sipprell Papers Dates: 1915-1970 Quantity: 93 linear ft. Abstract: Papers of the American photographer. Original photographs, arranged as character studies, landscapes, portraits, and still life studies. Correspondence (1929-1970), clippings, interviews, photographs of her. Portraits of Louis Adamic, Svetlana Allilueva, Van Wyck Brooks, Pearl S. Buck, Rudolf Bultmann, Charles E. Burchfield, Fyodor Chaliapin, Ralph Adams Cram, W.E.B. Du Bois, Albert Einstein, Dorothy Canfield Fisher, Ralph E. Flanders, Michel Fokine, Robert Frost, Eva Hansl, Roy Harris, Granville Hicks, Malvina Hoffman, Langston Hughes, Robinson Jeffers, Louis Krasner, Serge Koussevitzky, Luigi Lucioni, Emil Ludwig, Edwin Markham, Isamu Noguchi, Maxfield Parrish, Sergei Rachmaninoff, Eleanor Roosevelt, Dane Rudhyar, Ruth St. Denis, Otis Skinner, Ida Tarbell, Howard Thurman, Ridgely Torrence, Hendrik Van Loon, and others Language: English Repository: Special Collections Research Center, Syracuse University Libraries 222 Waverly Avenue Syracuse, NY 13244-2010 http://scrc.syr.edu Biographical History Clara E. Sipprell (1885-1975) was a Canadian-American photographer known for her landscapes and portraits of famous actors, artists, writers and scientists. Sipprell was born in Ontario, Canada, a posthumous child with five brothers.
    [Show full text]
  • Yeats at Petitpas' 1910/C
    National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS American Paintings, 1900–1945 John Sloan American, 1871 - 1951 Yeats at Petitpas' 1910/c. 1914 oil on canvas overall: 66.2 × 81.28 cm (26 1/16 × 32 in.) framed: 80.96 × 96.36 × 6.51 cm (31 7/8 × 37 15/16 × 2 9/16 in.) Inscription: lower right: John Sloan Corcoran Collection (Museum Purchase, Gallery Fund) 2014.136.54 ENTRY In August 1910 the realist painter John Sloan began this group portrait of regulars at Petitpas’, a French restaurant and boardinghouse in the Chelsea district of Manhattan. The work joined other Ashcan school artists’ depictions of casual dining experiences in urban eateries that focused on portraiture and narrative, such as At Mouquin’s by William Glackens (American, 1870 - 1938) [fig. 1]. [1] The Ashcan school, informally led by Robert Henri (American, 1865 - 1929), generally focused on the everyday life of the working classes rather than idealized views of the city. George Luks (American, 1866 - 1933) and George Bellows (American, 1882 - 1925) completed a watercolor and a print, respectively, featuring Petitpas’ as well [fig. 2], but Sloan’s large image in oil is the most ambitious of the three. [2] The scene takes place in the enclosed backyard of the restaurant, where the dining room was located in the hot summer months. The party gathers around a table placed under an awning decorated with a French flag. [3] At the head sits John Butler Yeats, smoking and sketching. Yeats, the Irish portrait painter and father of the poet William Butler Yeats, lived at Petitpas’ from 1909 until his death in 1922.
    [Show full text]
  • Direct PDF Link for Archiving
    Kurt E. Rahmlow “The admiration one feels for something strange and uncanny”: Impressionism, Symbolism, and Edward Steichen’s Submissions to the 1905 London Photographic Salon Nineteenth-Century Art Worldwide 15, no. 1 (Spring 2016) Citation: Kurt E. Rahmlow, “‘The admiration one feels for something strange and uncanny’: Impressionism, Symbolism, and Edward Steichen’s Submissions to the 1905 London Photographic Salon,” Nineteenth-Century Art Worldwide 15, no. 1 (Spring 2016), http://www. 19thc-artworldwide.org/spring16/rahmlow-on-impressionism-symbolism-steichen-1905- london-photographic-salon. Published by: Association of Historians of Nineteenth-Century Art. Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. Rahmlow: Impressionism, Symbolism, and Edward Steichen’s Submissions to the 1905 London Photographic Salon Nineteenth-Century Art Worldwide 15, no. 1 (Spring 2016) “The admiration one feels for something strange and uncanny”: Impressionism, Symbolism, and Edward Steichen’s Submissions to the 1905 London Photographic Salon by Kurt E. Rahmlow In August 1904, Alfred Horsley Hinton (1863–1908), editor of the British periodical Amateur Photographer and a founding member of the London-based art photography club the Brotherhood of the Linked Ring (hereafter Linked Ring), wrote to Alfred Stieglitz (1864–1946) to critique recent photographs by Edward Steichen (1879–1973). In the note, Hinton remarks, I admire Steichen’s work for myself but it is the admiration one feels for something strange and uncanny—I can’t think that such work is healthy or would in this country have a beneficial influence. Many, nay most, of his things were very well exhibited to his fellow artists in his studio.
    [Show full text]
  • Information to Users
    Alfred Stieglitz and the opponents of Photo-Secessionism Item Type text; Thesis-Reproduction (electronic) Authors Zimlich, Leon Edwin, Jr., 1955- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 10/10/2021 21:07:09 Link to Item http://hdl.handle.net/10150/291519 INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy.
    [Show full text]
  • Before Zen: the Nothing of American Dada
    Before Zen The Nothing of American Dada Jacquelynn Baas One of the challenges confronting our modern era has been how to re- solve the subject-object dichotomy proposed by Descartes and refined by Newton—the belief that reality consists of matter and motion, and that all questions can be answered by means of the scientific method of objective observation and measurement. This egocentric perspective has been cast into doubt by evidence from quantum mechanics that matter and motion are interdependent forms of energy and that the observer is always in an experiential relationship with the observed.1 To understand ourselves as in- terconnected beings who experience time and space rather than being sub- ject to them takes a radical shift of perspective, and artists have been at the leading edge of this exploration. From Marcel Duchamp and Dada to John Cage and Fluxus, to William T. Wiley and his West Coast colleagues, to the recent international explosion of participatory artwork, artists have been trying to get us to change how we see. Nor should it be surprising that in our global era Asian perspectives regarding the nature of reality have been a crucial factor in effecting this shift.2 The 2009 Guggenheim exhibition The Third Mind emphasized the im- portance of Asian philosophical and spiritual texts in the development of American modernism.3 Zen Buddhism especially was of great interest to artists and writers in the United States following World War II. The histo- ries of modernism traced by the exhibition reflected the well-documented influence of Zen, but did not include another, earlier link—that of Daoism and American Dada.
    [Show full text]
  • Eighth Annual Exhibition of Miniatures Catalogue
    EIGHTH ANNUAL EXHIBITION OF MINIATURES CATALOGUE THE PENNSYLVANIA ACADEMY OF THE FINE ARTS MDCCCCIX THE PENNSYL VANIA ACADEMY OF THE FINE ARTS FOUNDED 1805 THE PENNSYLVANIA SOCIETY OF MINIATURE PAINTERS CATALOGUE OF THE EIGHTH ANNUAL EXHIBITION OF MINIATURES, NOVEMBER 8 TO DECEMBER 19, 1909 PHILADELPHIA MCMIX MANAGEMENT OF THE PENNSYL VANIA ACADEMY OF THE FINE ARTS PRESIDENT, JOHN FREDERICK LEWIS. VICE· PRESIDENT I CLEMENT B. NEWBOLD. HONORARY VICE-PRESIDENTS, JOH N H. CONVERSE, E. BURGESS WARREN. DIRECTORS, THEOPHILUS P. CHANDLER, ALFRED C . HARRISON, HERBERT M. HOWE, M.D., CLARENCE C. ZANTZINGER, GEORGE H. McFADDEN, GEORGE D. WIDENER, CLEMENT B. NEWBOLD, T. DE 'WITT CUYLER, EDWARD T. STOTESBURY, ARTHUR H. LEA, THEODORE N. ELY, CHARLEMAGNE TOWER, FRANK H. CAVEN. TREASURER, ~ GEORGE H. McFADDEN. SECRETARY AND MANAGER, JOHN E. D. TRASK. ASSISTANT TO SECRETARY AND TREASURER, HARRY P. RHOADS. CURATOR OF SCHOOLS, CHARLES F. RAMSEY. SOLICITOR, JOHN G, JOHNSON. COMMITTEE ON EXHIBITIONS, CLEMENT B. NEWBOLD, CHAIRMAN, GEORGE H. McFADDEN, ALFRED C. HARRISON, EDWARD T. STOTESBURY, THEODORE N. ELY, CHARLEMAGNE TOWER. 2 @ff(cers ant> members of tl)e lDennsog{\?anta Soctet\? of miniature lDainters PRESIDENT EMILY DRAYTON TAYLOR VICE· PRESIDENT LUDWIG E. FABER SECRETARY A. MARGARETTA ARCHA~IBAULT TREASURER SARAH YOCUM McFADDEN EXECUTIVE COMMITTEE ELLEN WETHERALD AHRENS AMY OTIS REBECCA PEALE PATTERSON MEMBERS ELLEN WETHERALD AHRENS REBECCA BURD PEALE PATTERSON A. MARGARETTA ARCHAMBAULT EVELYN PURDIE ALICE BECKINGTON EDNA F. HUESTIS SIMPSON ELLA SHEPARD BUSH Lucy MAY STANTON SALLY CROSS MARIA JUDSON STREAN HERMAN DEIGENDESCH MARY H. TANNAHILL EULABEE DIX EMILY DRAYTON TAYLOR LUDWIG E. FABER HELEN M. TURNER JEAN WILLIAMS LUCAS MABEL R.
    [Show full text]
  • Some Pioneer Families of Wisconsin
    .. .... -. ,. .. ,. ......i ......- -- SOME PIONEER FAMILIES OF WISCONSIN - An Index - edited by Betty Patterson A Bicentennial Project of the Wisconsin State Genealogical Society, Inc. Madison, Wisconsin 1977 Copyright@1977, Wisconsin State Genealogical Society, Inc. Library of Congress Cata log Card No.: 77-11739 PUBLISHED BY THE WISCONSIN STATE c;:+ICAL SOCIETY INC. PRINTED IN THE UNITED STATES OF AMERICA BY .•.• tht: PRINl'shop OF DIXON, ILLINOIS ' ' This little book is dedicated to those who have sensed the thrill of unraveling their family mystery stories and the quiet satisfaction that comes from traveling vicariously with generations of grandparents long unknown. It is hoped that, at least in Wisconsin, it may make their searching a little easier. ERRATA II p. 2, Line 31 should read: "Spelling was an imprecise art in times past, Line 38 should read: 11 Jorndt, while the other (Fern Smith, #1815 .... 11 p. 126, Lines 70, 71, & 72, the spouses in column 4 should be Ann Eliza Taylor, George J. Beach, and Edward L. Myers. Background of the Pioneer and Century Certificate Project Even before the impetus of the Bicentennial year and the appearance of Alex Haley's Roots, more and more people were becoming interested in genealogy. Fifty years ago, the word was apt to mean an exercise aimed at qualifying for membership in an exclusive society. Today, its meaning has broadened to acconnnodate an increased awareness of the value of family and national heritages. Realization has come, too, that in a time of great social change, the knowledge of these--placing the individual, as it were, in a context--can stabilize and illuminate the sense of self.
    [Show full text]
  • Century British Photography and the Case of Walter Benington by Robert William Crow
    Reputations made and lost: the writing of histories of early twentieth- century British photography and the case of Walter Benington by Robert William Crow A thesis submitted to the University of Gloucestershire in accordance with the requirements of the degree of Doctor of Philosophy in the Faculty of Arts and Technology January 2015 Abstract Walter Benington (1872-1936) was a major British photographer, a member of the Linked Ring and a colleague of international figures such as F H Evans, Alfred Stieglitz, Edward Steichen and Alvin Langdon Coburn. He was also a noted portrait photographer whose sitters included Albert Einstein, Dame Ellen Terry, Sir Arthur Conan Doyle and many others. He is, however, rarely noted in current histories of photography. Beaumont Newhall’s 1937 exhibition Photography 1839-1937 at the Museum of Modern Art in New York is regarded by many respected critics as one of the foundation-stones of the writing of the history of photography. To establish photography as modern art, Newhall believed it was necessary to create a direct link between the master-works of the earliest photographers and the photographic work of his modernist contemporaries in the USA. He argued that any work which demonstrated intervention by the photographer such as the use of soft-focus lenses was a deviation from the direct path of photographic progress and must therefore be eliminated from the history of photography. A consequence of this was that he rejected much British photography as being “unphotographic” and dangerously irrelevant. Newhall’s writings inspired many other historians and have helped to perpetuate the neglect of an important period of British photography.
    [Show full text]
  • June 3, 2013 to Whom It May Concern, We Support
    June 3, 2013 To whom it may concern, We support having The Bancroft Building at 3-7 West 29th Street, New York, New York, 10001, evaluated by the Landmarks Commission. This particular building housed the Camera Club of New York, which exhibited many of the most famous photographers of the turn of the century. As The Director of this 125+ year organization I can tell you this was a very important time for the Club and for the history of the arts in NYC. Alfred Stieglitz, considered by many to be the father of American photography, was an early member, and his groundbreaking publication, Camera Notes, documented the Club’s activities while advocating for the inclusion of photography in the catalog of fine arts. Best, John Stanley CCNY Director The Camera Club of New York (CCNY) 336 West 37th Street, Suite #206 New York, NY 10018 212-260-9927 The Camera Club of New York at 3‐9 West 29th Street, 1898‐1903 The Camera Club of New York, during the time of its residency at 3‐7 West 29th St. (1898‐1903), was recognized as the leading photographic organization of its day in the United States. Combined in 1897 from two other camera clubs, the newly named Camera Club of New York constructed a state of the art facility on the 8th floor and a portrait studio on the roof. The Club had about 335 members at that time. The Camera Club at the turn of the 19th century was a combination of social club and scientific and artistic meeting place.
    [Show full text]
  • The Original Copy: Photography of Sculpture, 1839 to Today
    The Original Copy: Photography of Sculpture, 1839 to Today The Museum of Modern Art, New York August 01, 2010-November 01, 2010 6th Floor, Special Exhibitions, North Kunsthaus Zürich February 25, 2011-May 15, 2011 Sculpture in the Age of Photography 1. WILLIAM HENRY FOX TALBOT (British, 1800-1877) Bust of Patroclus Before February 7, 1846 Salt print from a calotype negative 7 x 6 5/16" on 8 7/8 x 7 5/16" paper (17.8 x 16 cm on 22.5 x 18.6 cm paper) The J. Paul Getty Museum, Los Angeles, California, 84.XP.921.2 2. ADOLPHE BILORDEAUX (French, 1807-1875) Plaster Hand 1864 Albumen silver print 12 1/16 x 9 3/8" (30.7 x 23.8 cm) Bibliothèque nationale de France, Paris 3. LORRAINE O'GRADY (American, born 1934) Sister IV, L: Devonia's Sister, Lorraine; R: Nefertiti's Sister, Mutnedjmet from Miscegenated Family Album 1980/94 Silver dye bleach print 26 x 37" (66 x 94 cm) Courtesy the artist and Alexander Gray Associates, New York 4. CHARLES NÈGRE (French, 1820-1880) The Mystery of Death, Medallion by Auguste Préault November 1858 Photogravure 10 1/2 x 10 1/2" (26.6 x 26.7 cm) National Gallery of Canada, Ottawa Purchased 1968 The Original Copy: Photography of Sculpture, 1839 to Today - Exhibition Checklist Page 1 of 73 5. KEN DOMON (Japanese, 1909-1990) Right Hand of the Sitting Image of Buddha Shakyamuni in the Hall of Miroku, Muro-Ji, Nara 1942-43 Gelatin silver print 12 7/8 x 9 1/2" (32.7 x 24.2 cm) The Museum of Modern Art, New York.
    [Show full text]