The Terminal
1893, printed 1895
Artist, American, 1864 - 1946

Artwork overview
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Medium
carbon print
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Credit Line
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Dimensions
sheet (trimmed to image): 19.6 x 30 cm (7 11/16 x 11 13/16 in.)
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Accession
1949.3.73
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Stieglitz Estate Number
128C
Part of Stieglitz Key Set Online Edition
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Key Set Number
92

Alfred Stieglitz
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Artwork history & notes
Provenance
Georgia O'Keeffe; gift to NGA, 1949.
Associated Names
Exhibition History
1992
Stieglitz in the Darkroom, National Gallery of Art, Washington, DC, October 4, 1992–February 14, 1993
2002
Alfred Stieglitz: Known and Unknown, National Gallery of Art, Washington, DC, June 2–September 2, 2002; The Museum of Fine Arts, Houston, October 6, 2002–January 5, 2003
2004
Alfred Stieglitz and His Circle: 1905–1930, Musée d'Orsay, Paris; Museo Nacional Centro de Arte Reina Sofía, Madrid, 2004–2005
2009
In the Darkroom: Photographic Processes Before the Digital Age, National Gallery of Art, Washington, DC, 2009–2010
Bibliography
2002
Greenough, Sarah. Alfred Stieglitz: The Key Set: The Alfred Stieglitz Collection of Photographs. Washington, 2002: vol. 1, cat. 92.
Inscriptions
by Alfred Stieglitz, on mount, lower right verso, in graphite: The Terminal—1892 / N Y / original 4 x 5 / Carbon Print (enlarged / negative / 1895)
by later hand, on mount, lower left verso, in graphite: 128 C
Wikidata ID
Q64034670
Scholarly Remarks and Key Set Data
Remarks
In 1938 Stieglitz told Dorothy Norman that The Terminal was made the day after Winter, Fifth Avenue: “The next day I walked the streets, and found myself before the old Post Office. The Third Avenue street railway system and the Madison Avenue car system had their terminals there. Naturally there was snow on the ground. A driver in a rubber coat was watering his steaming horses” (“From the Writings and Conversations of Alfred Stieglitz,” Twice a Year 1 [Fall–Winter 1938], 97).
The building in the background is Astor House, a storied New York hotel that was at the corner of Broadway and Vesey Street (across the street from the old Post Office).
Other Collections
A print corresponding with this photograph can also be found in the following collection(s):
Private collection [lantern slide] (inscribed: 23 / The Terminus)
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:
1894, London, R.P.S. (no. 421, as The Terminus)
1897, New York, Knickerbocker (as The Terminus, lantern slide)
1897, London, R.P.S. (no. 440, as The Terminus, lantern slide)
1910, Buffalo (no. 420, as The Terminus, 1892, carbon)
1913, New York (no. 2, as The Terminus, New York, 1892)
1915, New York (as The Terminal, Winter)
1918, New York (no. 3, as The Terminal, N.Y., 1892, photogravure)
1921, New York (no. 5, as The Terminal, New York, 1892)
1924, New York (no. 56, as The Terminal, New York, 1892)
1932, New York (no. 31, as The Terminal, 1892)
1937, New York, MoMA (no. 332, as The Terminal, 1892, photogravure from Camera Work)
1944, Philadelphia (no. 8, as The Terminal—Winter, 1892, photogravure)
Lifetime Publications
A reproduction of this work appeared in the following publication(s) during Alfred Stieglitz’s lifetime:
Camera Work 36 (October 1911): pl. 15 (ill., The Terminal, 1892)
Waldo Frank et al., America & Alfred Stieglitz (New York, 1934): pl. 25a (ill., The Terminal, N.Y., 1902)
Robert W. Marks, “Man with a Cause,” Coronet 4 (September 1938): 163 (ill., The Terminal, 1892)
Twice a Year 1 (Fall–Winter 1938): 98 (ill., Car-horses: New York, 1892)
Robert W. Marks, “Stieglitz—Patriarch of Photography,” Popular Photography 6 (April 1940): 20 (ill., The Terminal, 1892)
Jerome Mellquist, The Emergence of an American Art (New York, 1942), opp. 96 (ill., The Terminal, New York, 1892)
“Speaking of Pictures . . . These are by one of Photography’s Pioneers,” Life 14:14 (5 April 1943): 6 (ill., The Terminal, 1892)