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Sarah Greenough, “Alfred Stieglitz/The Landing of the Boats/1894,” Alfred Stieglitz Key Set, NGA Online Editions, https://purl.org/nga/collection/artobject/35360 (accessed November 12, 2019).

 

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Key Set Entry

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Remarks

“The way these boats are landed on their return is not the least interesting of the many novelties which Katwyk presents to the observer. The strand is constantly paroled [sic] and watchful eyes scan the sea. We observed one man for two long days with spyglass to his eye, standing motionless, trying to pick out on the horizon one particular sail. Who knows what that weary vigil meant to him, but no change of expression told the tale. A sail came in sight, the watcher withdrew to his home—no smile, no expression of relief—that watch was to him, no doubt, one of many. The boats approach; it is high tide; brave men on horseback rush through the surf, far out till only the head of the horse remains out of water. The rider returns with the anchor-rope; he plants the anchor deep in the sand; then strong arms warp the boat as high up on the beach as they can, the tide recedes, and our vessel, with its load of men and fish, lies high and dry. The next tide floats her and she leaves again. So day after day, one unending monotony. The whole village is out of doors to greet the coming fleet, but the men in one group, the women in another—always separate, always serious and silent” (Stieglitz with Louis H. Schubart, “Two Artists’ Haunts,” The Photographic Times 26 [January 1895], 11–12).

This photograph won second prize in The American Amateur Photographer competition in 1895, as Coming Boats.

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:

1895, London, R.P.S. (no. 274, as The Landing of the Boats)
1898, New York, Camera Club (no. 18, as Landing of the Boats)
1899, New York (no. 48, as Landing of the Boats, 1894–1899, carbon enlargement)
1899, London (no. 222, as Landing of the Boats)
1900, New York (no. 100, as Landing of the Boats)
1900, Philadelphia (no. 168, as The Landing of the Boats)
1904, Pittsburgh (no. 230, as The Incoming Boats)
1904, Bradford (no. 204, as The Landing of the Boats)
1909, Dresden (no. 175, as Landing of the Boats)
1910, Buffalo (no. 425, as Landing of the Boats, Katwyk, 1894, carbon)
1913, New York (no. 5, as Landing of the Boats, 1894)
1944, Philadelphia (no. 9, as Landing of the Boats, 1894, carbon)

Lifetime Publications

A reproduction of this work appeared in the following publication(s) during Alfred Stieglitz’s lifetime:

Alfred Stieglitz and Louis H. Schubart, “Two Artists’ Haunts,” The Photographic Times 26 (January 1895): 12 (ill., Katwyk—Arrival of the Boats)

George Davison, “American Amateur Photographer Special Prize Competition, 1894,” The American Amateur Photographer 7:2 (February 1895): 55 (ill., Coming Boats by “Progressive”)

Sadakichi Hartmann, “Mr. Stieglitz’s Exit,” The Amateur Photographer 32 (13 July 1900): 32 (ill., The Morning Boats)

Camera Notes 4:2 (October 1900): opp. 104 (ill., Landing of the Boats)

[Sadakichi] Hartmann, “Alfred Stieglitz,” Photographische Rundschau 14:12 (1900): 240 (ill., The Incoming Boats, image reversed)

Inscription

by Alfred Stieglitz, lower right, in graphite: S

Provenance

Georgia O'Keeffe; gift to NGA, 1949.

Associated Names
O'Keeffe, Georgia
Bibliography
1947
Engelhard, Georgia. "Alfred Stieglitz: 'Father of Modern Photography.'" The Camera 69 (June 1947): 51.
2002
Greenough, Sarah. Alfred Stieglitz: The Key Set: The Alfred Stieglitz Collection of Photographs. Washington, 2002: vol. 1, cat. 225.
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