14
Heinrich KühnOhne Titel (Wäscherinnen in der Düne, Katwijk)Kombinationsgummidruck auf strukturiertem
In Photography
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Heinrich Kühn
Ohne Titel (Wäscherinnen in der Düne, Katwijk)
Kombinationsgummidruck auf strukturiertem Aquarellpapier 1901. 47 x 71,2 cm. Unten rechts mit Tusche signiert. - Entlang der Kanten leicht unregelmäßig beschnitten.
1896 präsentierte Heinrich Kühn seine ersten Gummidrucke auf der „Internationalen Ausstellung für Amateur-Photographie“ in Berlin, in den Folgejahren war es dieses Verfahren, mit dem er internationale Berühmtheit erlangte. Seine hier zum Aufruf kommenden, vier großformatigen Kombinationsgummidrucke, jeweils ausgeführt in unterschiedlichen farblichen Nuancen, datieren sämtlich in jene Zeit um 1900, als Kühn sich auf dem Höhepunkt seiner Karriere befand, und sie belegen auf eindrucksvolle Weise seine vollkommene Beherrschung dieses aufwendigen Edeldruckverfahrens, zu dessen Entwicklung und Verbesserung er maßgeblich beigetragen hatte.
Unübersehbar ist die Nähe der von Kühns Wäscherinnen in der Düne zu Max Liebermanns ein Jahrzehnt zuvor ebenfalls in Holland entstandenem Gemälde Die Netzflickerinnen, das früh als eines der Hauptwerke des Malers galt. Beide zeigen im Freien arbeitende, in typische Landestracht gekleidete Frauen. Die motivgegebene Ähnlichkeit setzt sich auf stilistischer Ebene durch die „malerische“ Wirkung des Gummidrucks fort, einer Technik, bei der die detailgetreue Wiedergabe des Bildmotivs zugunsten einer atmosphärischen, impressionistisch anmutenden Darstellung in den Hintergrund tritt.
Gemeinsam mit seinen Photographenkollegen Hugo Henneberg und Hans Watzek bereiste Kühn gezielt jene Gegenden, die auch von den zeitgenössischen Malern frequentiert wurden. Neben Katwijk und Rotterdam [Lot 15] in den Niederlanden zählte Norditalien zu seinen wiederholt aufgesuchten Reisezielen, u.a. hielt er sich mehrfach am Gardasee auf, wo möglicherweise die Aufnahme der Küstenlandschaft mit dramatisch bewegter Gischt entstand [Lot 16]. Die pastorale Szene Heimtrieb [Lot 17] könnte er, dies legt eine ähnliche, im Fotomuseum im Münchner Stadtmuseum verwahrte Aufnahme Kühns nahe, bei Dachau aufgenommen haben, einem der Zentren der deutschen Freiluftmalerei im späten 19. Jahrhundert.
Alle vier hier vorliegenden Gummidrucke waren ursprünglich Teil der umfassenden Sammlung mit Photographien Heinrich Kühns aus süddeutschem Privatbesitz, die Lempertz im Herbst 2017 versteigert hat.
Alle vier hier vorliegenden Gummidrucke (Lot 14-17) waren ursprünglich Teil der umfassenden Sammlung mit Photographien Heinrich Kühns aus süddeutschem Privatbesitz, die Lempertz im Herbst 2017 versteigert hat.
Wir danken Monika Faber, Photoinstitut Bonartes, Wien, und Astrid Mahler, Albertina Wien, sowie Ulrich Pohlmann, Fotomuseum im Münchner Stadtmuseum, für freundliche Hinweise.
Heinrich Kühn
Untitled (Wäscherinnen in der Düne, Katwijk)
Combination gum dichromate print on textured water colour paper, printed 1901. 47 x 71.2 cm. Signed in ink lower right. - Along the edges slightly irregularly trimmed.
We would like to thank Monika Faber, Photoinstitut Bonartes, Wien, and Astrid Mahler, Albertina Wien, as well as Ulrich Pohlmann, Fotomuseum im Münchner Stadtmuseum, for kind information.
In 1896, Heinrich Kühn presented his first gum bichromates during the 'International Exhibition of Amateur Photography' in Berlin; in the following years, it was this procedure that brought him international renown. His four large-scale combination gum bichromates on offer here, each realised in different colour nuances, are all dated around 1900 when Kühn was at the height of his career, and they impressively demonstrate his complete mastery of this elaborate high grade printing process, to the development and improvement of which he had contributed significantly.
The similarities of Kühn's 'Wäscherinnen in der Düne' to Max Liebermann's painting 'Die Netzflickerinnen', also painted in Holland a decade previously and which, early on, was considered to be one of the painter's major works, are unmistakable. Both show women working outdoors, dressed in typical national costumes. The similarity of the motifs is continued on a stylistic level by the “painterly” effect of the gum bichromate, a technique in which the detailed reproduction of the motif recedes into the background in favour of an atmospheric, impressionistic representation.
Together with his fellow photographers Hugo Henneberg and Hans Watzek, Kühn specifically travelled to those areas that were also frequented by contemporary painters. In addition to Katwijk and Rotterdam [lot 15] in the Netherlands, Northern Italy was one of his repeatedly visited destinations - he also stayed at Lake Garda, among other places, several times - where possibly the lakeside landscape with dramatically dashing spray was photographed [lot 16]. The pastoral scene Heimtrieb [lot 17] could have been taken near Dachau, one of the centres of German open-air painting in the late 19th century; a similar photograph by Kühn, kept at the Fotomuseum in Munich's Stadtmuseum, suggests this.
All four present gum bichromates (lots 14-17) were originally part of the comprehensive collection of photographs by Heinrich Kühn from private collections in Southern Germany, which Lempertz auctioned in autumn 2017.
Ohne Titel (Wäscherinnen in der Düne, Katwijk)
Kombinationsgummidruck auf strukturiertem Aquarellpapier 1901. 47 x 71,2 cm. Unten rechts mit Tusche signiert. - Entlang der Kanten leicht unregelmäßig beschnitten.
1896 präsentierte Heinrich Kühn seine ersten Gummidrucke auf der „Internationalen Ausstellung für Amateur-Photographie“ in Berlin, in den Folgejahren war es dieses Verfahren, mit dem er internationale Berühmtheit erlangte. Seine hier zum Aufruf kommenden, vier großformatigen Kombinationsgummidrucke, jeweils ausgeführt in unterschiedlichen farblichen Nuancen, datieren sämtlich in jene Zeit um 1900, als Kühn sich auf dem Höhepunkt seiner Karriere befand, und sie belegen auf eindrucksvolle Weise seine vollkommene Beherrschung dieses aufwendigen Edeldruckverfahrens, zu dessen Entwicklung und Verbesserung er maßgeblich beigetragen hatte.
Unübersehbar ist die Nähe der von Kühns Wäscherinnen in der Düne zu Max Liebermanns ein Jahrzehnt zuvor ebenfalls in Holland entstandenem Gemälde Die Netzflickerinnen, das früh als eines der Hauptwerke des Malers galt. Beide zeigen im Freien arbeitende, in typische Landestracht gekleidete Frauen. Die motivgegebene Ähnlichkeit setzt sich auf stilistischer Ebene durch die „malerische“ Wirkung des Gummidrucks fort, einer Technik, bei der die detailgetreue Wiedergabe des Bildmotivs zugunsten einer atmosphärischen, impressionistisch anmutenden Darstellung in den Hintergrund tritt.
Gemeinsam mit seinen Photographenkollegen Hugo Henneberg und Hans Watzek bereiste Kühn gezielt jene Gegenden, die auch von den zeitgenössischen Malern frequentiert wurden. Neben Katwijk und Rotterdam [Lot 15] in den Niederlanden zählte Norditalien zu seinen wiederholt aufgesuchten Reisezielen, u.a. hielt er sich mehrfach am Gardasee auf, wo möglicherweise die Aufnahme der Küstenlandschaft mit dramatisch bewegter Gischt entstand [Lot 16]. Die pastorale Szene Heimtrieb [Lot 17] könnte er, dies legt eine ähnliche, im Fotomuseum im Münchner Stadtmuseum verwahrte Aufnahme Kühns nahe, bei Dachau aufgenommen haben, einem der Zentren der deutschen Freiluftmalerei im späten 19. Jahrhundert.
Alle vier hier vorliegenden Gummidrucke waren ursprünglich Teil der umfassenden Sammlung mit Photographien Heinrich Kühns aus süddeutschem Privatbesitz, die Lempertz im Herbst 2017 versteigert hat.
Alle vier hier vorliegenden Gummidrucke (Lot 14-17) waren ursprünglich Teil der umfassenden Sammlung mit Photographien Heinrich Kühns aus süddeutschem Privatbesitz, die Lempertz im Herbst 2017 versteigert hat.
Wir danken Monika Faber, Photoinstitut Bonartes, Wien, und Astrid Mahler, Albertina Wien, sowie Ulrich Pohlmann, Fotomuseum im Münchner Stadtmuseum, für freundliche Hinweise.
Heinrich Kühn
Untitled (Wäscherinnen in der Düne, Katwijk)
Combination gum dichromate print on textured water colour paper, printed 1901. 47 x 71.2 cm. Signed in ink lower right. - Along the edges slightly irregularly trimmed.
We would like to thank Monika Faber, Photoinstitut Bonartes, Wien, and Astrid Mahler, Albertina Wien, as well as Ulrich Pohlmann, Fotomuseum im Münchner Stadtmuseum, for kind information.
In 1896, Heinrich Kühn presented his first gum bichromates during the 'International Exhibition of Amateur Photography' in Berlin; in the following years, it was this procedure that brought him international renown. His four large-scale combination gum bichromates on offer here, each realised in different colour nuances, are all dated around 1900 when Kühn was at the height of his career, and they impressively demonstrate his complete mastery of this elaborate high grade printing process, to the development and improvement of which he had contributed significantly.
The similarities of Kühn's 'Wäscherinnen in der Düne' to Max Liebermann's painting 'Die Netzflickerinnen', also painted in Holland a decade previously and which, early on, was considered to be one of the painter's major works, are unmistakable. Both show women working outdoors, dressed in typical national costumes. The similarity of the motifs is continued on a stylistic level by the “painterly” effect of the gum bichromate, a technique in which the detailed reproduction of the motif recedes into the background in favour of an atmospheric, impressionistic representation.
Together with his fellow photographers Hugo Henneberg and Hans Watzek, Kühn specifically travelled to those areas that were also frequented by contemporary painters. In addition to Katwijk and Rotterdam [lot 15] in the Netherlands, Northern Italy was one of his repeatedly visited destinations - he also stayed at Lake Garda, among other places, several times - where possibly the lakeside landscape with dramatically dashing spray was photographed [lot 16]. The pastoral scene Heimtrieb [lot 17] could have been taken near Dachau, one of the centres of German open-air painting in the late 19th century; a similar photograph by Kühn, kept at the Fotomuseum in Munich's Stadtmuseum, suggests this.
All four present gum bichromates (lots 14-17) were originally part of the comprehensive collection of photographs by Heinrich Kühn from private collections in Southern Germany, which Lempertz auctioned in autumn 2017.
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Heinrich Kühn
Ohne Titel (Wäscherinnen in der Düne, Katwijk)
Kombinationsgummidruck auf strukturiertem Aquarellpapier 1901. 47 x 71,2 cm. Unten rechts mit Tusche signiert. - Entlang der Kanten leicht unregelmäßig beschnitten.
1896 präsentierte Heinrich Kühn seine ersten Gummidrucke auf der „Internationalen Ausstellung für Amateur-Photographie“ in Berlin, in den Folgejahren war es dieses Verfahren, mit dem er internationale Berühmtheit erlangte. Seine hier zum Aufruf kommenden, vier großformatigen Kombinationsgummidrucke, jeweils ausgeführt in unterschiedlichen farblichen Nuancen, datieren sämtlich in jene Zeit um 1900, als Kühn sich auf dem Höhepunkt seiner Karriere befand, und sie belegen auf eindrucksvolle Weise seine vollkommene Beherrschung dieses aufwendigen Edeldruckverfahrens, zu dessen Entwicklung und Verbesserung er maßgeblich beigetragen hatte.
Unübersehbar ist die Nähe der von Kühns Wäscherinnen in der Düne zu Max Liebermanns ein Jahrzehnt zuvor ebenfalls in Holland entstandenem Gemälde Die Netzflickerinnen, das früh als eines der Hauptwerke des Malers galt. Beide zeigen im Freien arbeitende, in typische Landestracht gekleidete Frauen. Die motivgegebene Ähnlichkeit setzt sich auf stilistischer Ebene durch die „malerische“ Wirkung des Gummidrucks fort, einer Technik, bei der die detailgetreue Wiedergabe des Bildmotivs zugunsten einer atmosphärischen, impressionistisch anmutenden Darstellung in den Hintergrund tritt.
Gemeinsam mit seinen Photographenkollegen Hugo Henneberg und Hans Watzek bereiste Kühn gezielt jene Gegenden, die auch von den zeitgenössischen Malern frequentiert wurden. Neben Katwijk und Rotterdam [Lot 15] in den Niederlanden zählte Norditalien zu seinen wiederholt aufgesuchten Reisezielen, u.a. hielt er sich mehrfach am Gardasee auf, wo möglicherweise die Aufnahme der Küstenlandschaft mit dramatisch bewegter Gischt entstand [Lot 16]. Die pastorale Szene Heimtrieb [Lot 17] könnte er, dies legt eine ähnliche, im Fotomuseum im Münchner Stadtmuseum verwahrte Aufnahme Kühns nahe, bei Dachau aufgenommen haben, einem der Zentren der deutschen Freiluftmalerei im späten 19. Jahrhundert.
Alle vier hier vorliegenden Gummidrucke waren ursprünglich Teil der umfassenden Sammlung mit Photographien Heinrich Kühns aus süddeutschem Privatbesitz, die Lempertz im Herbst 2017 versteigert hat.
Alle vier hier vorliegenden Gummidrucke (Lot 14-17) waren ursprünglich Teil der umfassenden Sammlung mit Photographien Heinrich Kühns aus süddeutschem Privatbesitz, die Lempertz im Herbst 2017 versteigert hat.
Wir danken Monika Faber, Photoinstitut Bonartes, Wien, und Astrid Mahler, Albertina Wien, sowie Ulrich Pohlmann, Fotomuseum im Münchner Stadtmuseum, für freundliche Hinweise.
Heinrich Kühn
Untitled (Wäscherinnen in der Düne, Katwijk)
Combination gum dichromate print on textured water colour paper, printed 1901. 47 x 71.2 cm. Signed in ink lower right. - Along the edges slightly irregularly trimmed.
We would like to thank Monika Faber, Photoinstitut Bonartes, Wien, and Astrid Mahler, Albertina Wien, as well as Ulrich Pohlmann, Fotomuseum im Münchner Stadtmuseum, for kind information.
In 1896, Heinrich Kühn presented his first gum bichromates during the 'International Exhibition of Amateur Photography' in Berlin; in the following years, it was this procedure that brought him international renown. His four large-scale combination gum bichromates on offer here, each realised in different colour nuances, are all dated around 1900 when Kühn was at the height of his career, and they impressively demonstrate his complete mastery of this elaborate high grade printing process, to the development and improvement of which he had contributed significantly.
The similarities of Kühn's 'Wäscherinnen in der Düne' to Max Liebermann's painting 'Die Netzflickerinnen', also painted in Holland a decade previously and which, early on, was considered to be one of the painter's major works, are unmistakable. Both show women working outdoors, dressed in typical national costumes. The similarity of the motifs is continued on a stylistic level by the “painterly” effect of the gum bichromate, a technique in which the detailed reproduction of the motif recedes into the background in favour of an atmospheric, impressionistic representation.
Together with his fellow photographers Hugo Henneberg and Hans Watzek, Kühn specifically travelled to those areas that were also frequented by contemporary painters. In addition to Katwijk and Rotterdam [lot 15] in the Netherlands, Northern Italy was one of his repeatedly visited destinations - he also stayed at Lake Garda, among other places, several times - where possibly the lakeside landscape with dramatically dashing spray was photographed [lot 16]. The pastoral scene Heimtrieb [lot 17] could have been taken near Dachau, one of the centres of German open-air painting in the late 19th century; a similar photograph by Kühn, kept at the Fotomuseum in Munich's Stadtmuseum, suggests this.
All four present gum bichromates (lots 14-17) were originally part of the comprehensive collection of photographs by Heinrich Kühn from private collections in Southern Germany, which Lempertz auctioned in autumn 2017.
Ohne Titel (Wäscherinnen in der Düne, Katwijk)
Kombinationsgummidruck auf strukturiertem Aquarellpapier 1901. 47 x 71,2 cm. Unten rechts mit Tusche signiert. - Entlang der Kanten leicht unregelmäßig beschnitten.
1896 präsentierte Heinrich Kühn seine ersten Gummidrucke auf der „Internationalen Ausstellung für Amateur-Photographie“ in Berlin, in den Folgejahren war es dieses Verfahren, mit dem er internationale Berühmtheit erlangte. Seine hier zum Aufruf kommenden, vier großformatigen Kombinationsgummidrucke, jeweils ausgeführt in unterschiedlichen farblichen Nuancen, datieren sämtlich in jene Zeit um 1900, als Kühn sich auf dem Höhepunkt seiner Karriere befand, und sie belegen auf eindrucksvolle Weise seine vollkommene Beherrschung dieses aufwendigen Edeldruckverfahrens, zu dessen Entwicklung und Verbesserung er maßgeblich beigetragen hatte.
Unübersehbar ist die Nähe der von Kühns Wäscherinnen in der Düne zu Max Liebermanns ein Jahrzehnt zuvor ebenfalls in Holland entstandenem Gemälde Die Netzflickerinnen, das früh als eines der Hauptwerke des Malers galt. Beide zeigen im Freien arbeitende, in typische Landestracht gekleidete Frauen. Die motivgegebene Ähnlichkeit setzt sich auf stilistischer Ebene durch die „malerische“ Wirkung des Gummidrucks fort, einer Technik, bei der die detailgetreue Wiedergabe des Bildmotivs zugunsten einer atmosphärischen, impressionistisch anmutenden Darstellung in den Hintergrund tritt.
Gemeinsam mit seinen Photographenkollegen Hugo Henneberg und Hans Watzek bereiste Kühn gezielt jene Gegenden, die auch von den zeitgenössischen Malern frequentiert wurden. Neben Katwijk und Rotterdam [Lot 15] in den Niederlanden zählte Norditalien zu seinen wiederholt aufgesuchten Reisezielen, u.a. hielt er sich mehrfach am Gardasee auf, wo möglicherweise die Aufnahme der Küstenlandschaft mit dramatisch bewegter Gischt entstand [Lot 16]. Die pastorale Szene Heimtrieb [Lot 17] könnte er, dies legt eine ähnliche, im Fotomuseum im Münchner Stadtmuseum verwahrte Aufnahme Kühns nahe, bei Dachau aufgenommen haben, einem der Zentren der deutschen Freiluftmalerei im späten 19. Jahrhundert.
Alle vier hier vorliegenden Gummidrucke waren ursprünglich Teil der umfassenden Sammlung mit Photographien Heinrich Kühns aus süddeutschem Privatbesitz, die Lempertz im Herbst 2017 versteigert hat.
Alle vier hier vorliegenden Gummidrucke (Lot 14-17) waren ursprünglich Teil der umfassenden Sammlung mit Photographien Heinrich Kühns aus süddeutschem Privatbesitz, die Lempertz im Herbst 2017 versteigert hat.
Wir danken Monika Faber, Photoinstitut Bonartes, Wien, und Astrid Mahler, Albertina Wien, sowie Ulrich Pohlmann, Fotomuseum im Münchner Stadtmuseum, für freundliche Hinweise.
Heinrich Kühn
Untitled (Wäscherinnen in der Düne, Katwijk)
Combination gum dichromate print on textured water colour paper, printed 1901. 47 x 71.2 cm. Signed in ink lower right. - Along the edges slightly irregularly trimmed.
We would like to thank Monika Faber, Photoinstitut Bonartes, Wien, and Astrid Mahler, Albertina Wien, as well as Ulrich Pohlmann, Fotomuseum im Münchner Stadtmuseum, for kind information.
In 1896, Heinrich Kühn presented his first gum bichromates during the 'International Exhibition of Amateur Photography' in Berlin; in the following years, it was this procedure that brought him international renown. His four large-scale combination gum bichromates on offer here, each realised in different colour nuances, are all dated around 1900 when Kühn was at the height of his career, and they impressively demonstrate his complete mastery of this elaborate high grade printing process, to the development and improvement of which he had contributed significantly.
The similarities of Kühn's 'Wäscherinnen in der Düne' to Max Liebermann's painting 'Die Netzflickerinnen', also painted in Holland a decade previously and which, early on, was considered to be one of the painter's major works, are unmistakable. Both show women working outdoors, dressed in typical national costumes. The similarity of the motifs is continued on a stylistic level by the “painterly” effect of the gum bichromate, a technique in which the detailed reproduction of the motif recedes into the background in favour of an atmospheric, impressionistic representation.
Together with his fellow photographers Hugo Henneberg and Hans Watzek, Kühn specifically travelled to those areas that were also frequented by contemporary painters. In addition to Katwijk and Rotterdam [lot 15] in the Netherlands, Northern Italy was one of his repeatedly visited destinations - he also stayed at Lake Garda, among other places, several times - where possibly the lakeside landscape with dramatically dashing spray was photographed [lot 16]. The pastoral scene Heimtrieb [lot 17] could have been taken near Dachau, one of the centres of German open-air painting in the late 19th century; a similar photograph by Kühn, kept at the Fotomuseum in Munich's Stadtmuseum, suggests this.
All four present gum bichromates (lots 14-17) were originally part of the comprehensive collection of photographs by Heinrich Kühn from private collections in Southern Germany, which Lempertz auctioned in autumn 2017.
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10. Successful bidders attending the auction in person shall forthwith upon the purchase pay to Lempertz the final price (hammer price plus premium and VAT) in Euro. Payments by foreign buyers who have bid in writing or by proxy shall also be due forthwith upon the purchase, but will not be deemed to have been delayed if received within ten days of the invoice date. Bank transfers are to be exclusively in Euros. The request for an alteration of an auction invoice to a person other than the bidder has to be made immediately after the auction. Lempertz however also reserves the right to refuse such a request if it is deemed appropriate.
11. In the case of payment default, Lempertz will charge interest on the outstanding amount at a rate of 1 % of the gross price per month or part month. If the buyer defaults in payment, Lempertz may at its discretion insist on performance of the purchase contract or, after allowing a period of grace, claim damages for non-performance. In the latter case, Lempertz may determine the amount of the damages by putting the lot or lots up for auction again, in which case the defaulting buyer will bear the amount of any reduction in the proceeds compared with the earlier auction, plus the cost of resale, including the premium.
12. Buyers must take charge of their purchases immediately after the auction. Once a lot has been sold, the auctioneer is liable only for wilful intent or gross negligence. Lots will not, however, be surrendered to buyers until full payment has been received. Without exception, shipment will be at the expense and risk of the buyer. Purchases which are not collected within four weeks after the auction may be stored and insured by Lempertz on behalf of the buyer and at its expense in the premises of a freight agent. If Lempertz stores such items itself, it will charge 1 % of the hammer price for insurance and storage costs.
13. As far as this can be agreed, the place of performance and jurisdiction is Cologne. German law applies; the provisions of the United Nations Convention on Contracts for the International Sale of Goods, CISG are not applicable. Should any provision herein be wholly or partially ineffective, this will not affect the validity of the remaining provisions.
Henrik Hanstein, sworn public auctioneer
Takuro Ito, Auctioneer
