flush-mounted, 1932

Gift of Mr. and Mrs. Carl Zigrosser, 1968

Therese Mulligan, ed., The Photography of Alfred Stieglitz, Georgia O’Keeffe’s Enduring Legacy (George Eastman House, 2000), p. 115

This lovely, early print is on paper with an egg-shell texture and surface sheen. It is essentially in excellent condition. Upon very close examination in raking light, a few tiny deposits of original retouching are visible in the sitter's cheek and near the right edge. This print has been trimmed to the image, and there is minor rubbing along the edges. The print is flush-mounted to thin, rigid board. Yellowed adhesive remains on the reverse of the mount suggest that it was previously affixed to a secondary mount. There are a few stray graphite marks on the reverse of the mount.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

This study comes from a series of arresting portraits of Norman made by Alfred Stieglitz in the early 1930s.  The two first met in New York, at Stieglitz’s Intimate Gallery, in 1926; Norman, only twenty-two at the time, quickly became Georgia O’Keeffe’s rival for Stieglitz’s affections. 

A print of this image is not included in the nearly definitive key set of Stieglitz images at the National Gallery of Art🙈, Washington, D. C.  Norman herself, howeveཧr, donated another print of this image to the George Eastman House in Rochester, New York, in 1968.