Anderson Galleries. First exhibition of photography of Alfred Stieglitz. Last page w/caption, Feb. 1921

There are enough similarities between the lantern slide presentation reviewed in the New York Times "Art Notes" for January 11, 1896, and the one documented here (with "Jan. 15" written by hand above the printed year), to conclude that the latter, if not at the same venue, was similarly received as being "in every way a success." The 1896 lantern slide presentation is the earliest exhibition of Stieglitz's work documented in this subseries with a photostat of the checklist citing the 140 works shown. Like the show reviewed, the documented one includes "American and foreign subjects...pictures of Venice...and familiar scenes nearer home," which were no doubt "all thoroughly appreciated." Other early exhibitions documented here include two by The Camera Club, New York, as well as the 1902 pictorial photography exhibition at the National Art Club arranged by Stieglitz and his "Photo-Secession" group. As this subseries has no documentation of Stieglitz's shows held at his first gallery at 291 Fifth Avenue, announcements and checklists pick up again in 1921 when Stieglitz borrowed rooms at the Anderson Galleries on Park Avenue. Shows documented there include the 1925 "Seven Americans: Marin, O'Keeffe, Demuth, Dove, Harley, Strand, Stieglitz--Paintings, Photographs." This was the first time Stieglitz showed these artists together. There is literature for only two of the exhibitions staged at The Intimate Gallery, which is the name Stieglitz gave to the small room he then rented at the Anderson Galleries from 1925 to 1929. Most of the announcements and checklists pertain to An American Place, the gallery Norman encouraged Stieglitz to open in 1929. It was located at 509 Madison Avenue, on the seventeenth floor. Compared to the list of exhibitions printed in the appendix to Norman's "American Seer," there is an announcement or checklist for all but six of the 75 exhibitions staged there starting in the fall of 1929 until Stieglitz's death in 1946. The half a dozen lacking documentation were all group shows.