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PDF Catalogue 2021 TH 6 1 pril A , ienna V 1 23. OSTLICHT PHOTO AUCTION 23RD OSTLICHTPHOTO AUCTION Freitag, 16. April 2021, 17 Uhr (MESZ) Friday, April 16TH 2021, 5 pm (CEST) VORBESICHTIGUNG/VIEWING ab Dienstag, 6. April nach persönlicher Vereinbarung: [email protected] from Tuesday, April 6th only by appointment: [email protected] Tel.: +43 1 996 20 66 17 UPDATED BUYER’S PREMIUM The total purchase price for all lots consists of the hammer price plus the premium of 26 % (incl. the reduced VAT of 5 % only) for lots remaining in the EU. For lots that are exported to third countries or purchased with a valid VAT number the premium is 20 %. For general enquiries about this auction, email LOT 149 should be addressed to [email protected] 2 FEATURED LOTS 1 HEINRICH KÜHN (1866 – 1944) ‘Nude Study’, Tyrol 1907 Gum pigment print, Vintage 30,4 × 24,7 cm (12 × 9.7 in) Registration marks by the photographer on the reverse LITERATURE Heinrich Kühn (1866 – 1944), Innsbruck 1978, p. 77; Heinrich Kühn, Die vollkommene Fotografie, Albertina Vienna 2010, p. 134. (Nude study Mary Warner). € 18.000 / € 30.000 – 40.000 Die 1907 entstandene Aktstudie zeigt Heinrich Kühns Muse Mary Warner. Die Wiedergabe der zarten Lichtreflexe im langen Haar, sowie der sorgfältig gesetzte Kontrast zwischen der hell schimmernden Haut und dem dunklen Hintergrund bezeugen Kühns künstlerische Meister- schaft. Mary Warner, welche Kühn selbst als das „geduldigste Modell“ bezeichnete, arbeitete ab 1904 als Kindermädchen für die Kühns und posierte oft stundenlang für die minutiös vorbereiteten Arran- gements, die alle darauf zielten „die delikatesten Feinheiten des Lichtspiels mit fast unübertrefflicher Vornehmheit und überzeugender Wahrheit zu schildern“, wie Kühn es beschrieb. Von 1896 bis etwa 1910 beschäftigte sich Kühn mit der Technik des Gummidrucks. Diese Technik beruht auf licht- empfindlichen Schichten aus einer Mischung von in Wasser gelöstem Gummiarabikum, Pigmenten und Bichromat. Der vorliegende Gummidruck befindet sich in exzellentem Zustand und kommt aus einer Wiener Privatsammlung. The nude study was taken in 1907 and shows Heinrich Kühn’s muse Mary Warner. The rendition of soft reflections of light within single strands of hair and the carefully set contrast between brightly shimmering skin and dark background, testify Kühn’s immense set of artistic skill. From 1904 Mary Warner worked as a nanny for the Kühn family. Often she posed for hours at a time for Kühn’s meticulously arranged photographs. Kühn described her as ‘the most patient model’. The photo session’s purpose was always to depict ‘the most delicate subtleties of interplay of light with unsurpassable refinement and convincing truth’, as Kühn described himself. From 1896 till 1910 Kühn experimented with the process of rubber printing. This technique is based on a light sensitive coating made from a mixture of water dissolved gum arabic, pigment and bichromate. The present gum print is in very good condition and comes from a Viennese private collection. 4 5 7 Germaine Krulls Jahre in Berlin zwischen 1922 und 1925 waren in vielerlei Hinsicht RUDOLF KOPPITZ ein Neubeginn. Unter anderem wendete sie sich vermehrt der Aktfotografie zu, welche stark vom (1884 – 1936) experimentellen Theater, Oper und Modernen Tanz inspiriert war. Auch ihre jüngere Schwester Hedy Pfundmayr, c. 1920 Berthe wurde zu einem ihrer Modelle. Die bekannteste Serie von Aktaufnahmen entstand im Jahr Vintage silver print 1923, als Berthe ihre große Schwester in Berlin besuchte. Die damals fast 18-Jährige hatte Tanz- 22,9 × 10,6 cm (9 × 4.2 in) unterricht genommen und ließ sich von Krull in manierierten Posen ablichten. Die Konzeption der Photographer‘s studio stamp, his “Prof. Rudolf Koppitz, Photo-Werkstätte, Serie folgt der Tradition deutscher Aktfotografie des frühen 20. Jahrhunderts, wird jedoch durch Wien, V. Zeinlhoferg. 8” stamp on den Einsatz von Requisiten, wie der Fratzenmaske und orientalischen Tüchern, aufgelockert. Krull the reverse, handwritten notations in zeigt Berthe in teils dramatischen Anbetungsposen und treibt diese so ins Extreme. an unidentified hand in pencil on the Germaine Krull’s time in Berlin, from 1922 to 1925, in many ways depicts new reverse beginnings. Krull started to dedicate part of her artistic practice towards the exploration of nudes, € 1.800 / € 3.000 – 4.000 which were inspired by experimental theatre, opera and contemporary dance. Amongst Krull’s models was also her younger sister Berthe. The most famous series of nudes, from 1923, developed when Berthe visited her sister in Berlin. Berthe, at that time was nearly eighteen years old and had taken dancing lessons. She uses her learnt skills in the mannered poses she stages for Krull. The concept of the series follows the German tradition of early 20TH Century nude photography, but Krull’s use of props, like the mask or the oriental fabric, loosens the traditional formal structures. Krull depicts Berthe in dramatic poses of worship and exaggerates these to the extreme. 8 9 RUDOLF KOPPITZ GERMAINE KRULL (1884 – 1936) (1897 – 1985) ‘Bewegungsstudie’ (Movement ‘Dance Study with Mask II’, Study), 1925 Berlin 1923 Half tone print, beautifully warm Vintage silver print toned, printed c. 1928, signed in the 13,1 × 8,6 cm (5.2 × 3.4 in) original negative Annotated in an unidentified hand in 23,4 × 17,6 cm (9.2 × 6.9 in) pencil on the reverse, blacklight tested, “Bewegungs Studie by Rudolf Koppitz from the series „Spuk“ with the dancer from the Royal Photographic Society Berthe Krull, sister of Germaine Krull Collection” printed on the reverse PROVENANCE Private Collection, LITERATURE Monika Faber (ed.), through Galerie Johannes Faber, Vienna Rudolf Koppitz. 1884 – 1936, Vienna LITERATURE Michel Frizot (ed.), 1995, cover and p. 83; Monika Faber Germaine Krull, Ostifldern 2015, p. 32; (ed.), Rudolf Koppitz. Photogenie, Kim Sichel (ed.), Avantgarde als Vienna 2013, p. 133. Abenteuer. Leben und Werk der Photographin Germaine Krull, Essen € 3.800 / € 7.000 – 9.000 1991, p. 53. € 2.400 / € 4.000 – 5.000 6 7 12 15 RUDOLF KOPPITZ LOTHAR RÜBELT (1884 – 1936) (1901 – 1990) ‘Mädchen mit Springschnur’ Diver Dorothy Poynton-Hill, (Girl with a jump rope), c. Olympic gold medalist in 1930 artistic jumping, 1936 Vintage silver print Vintage silver print 18,6 × 17,3 cm (7.3 × 6.8 in)Photogra- 23 × 17 cm (9.1 × 6.7 in) pher‘s studio stamp and hand­­written Photographer‘s copyright stamp and notations in pencil on the reverse Rübelt‘s handwritten notation reading PROVENANCE Private Collection »Probebild mit 20 cm, Sportsucher aus Vienna; through Family Estate der Hand, auf 6 m«, »Kunstspringen Koppitz der Siegerin« on the reverse LITERATURE Monika Faber (ed.) LITERATURE Lothar Rübelt, Rudolf Koppitz Photogenie, Vienna Das Geheimnis des Moments, Vienna 2013, p. 168 (same series, here dated 1985, plate 12; Otto Hochreiter / „before 1936“). Timm Starl (ed.), Geschichte der Fotografie in Österreich, Bad Ischl € 1.600 / € 3.000 – 3.500 1983, p. 364; Walter Koschatzky, Die Kunst der Photographie, Salzburg 1984, p. 192 – 193; Uwe Schögl (ed.), Im Blickpunkt. Die Fotosammlung der Österreichischen Nationalbibliothek, Innsbruck 2002, p. 226. € 3.000 / € 5.000 – 6.000 13 STUDIO MANASSÉ (1922 – 1938) / OLGA WLASSICS (1896 – 1969) The dancer Maria Salvoty, c. 1927 Vintage silver print 21,7 × 14,6 cm (8.5 × 5.7 in)Photogra- pher‘s studio stamp in the negative lower right and several press stamps on the reverse LITERATURE Monika Faber: Die Frau, wie Du sie willst. Glamour, Kult und korrigierte Körper. Atelier Manassé 1922 – 1938. Vienna, p.97 € 1.200 / € 2.000 – 2.400 8 9 17 TRUDE FLEISCHMANN (1895 – 1990) The dancer Tilly Losch, Vienna 1927/28 Vintage silver print 23 × 11 cm (9.1 × 4.3 in) Photographer‘s blindstamp in the image lower left, her studio stamp and reproduction stamp on the reverse, press label with typographic description on the reverse (“Tilly Losch heiratet Dollarmillionär”) LITERATURE Anton Holzer / Frauke Kreutler (eds.), Trude Fleischmann, Der selbstbewusste Blick, Vienna 2011, p. 82. € 1.600 / € 3.000 – 4.000 20 FRANTISEK DRTIKOL (1883 – 1961) Female Portrait, c. 1910 – 1914 18 Vintage silver print YVA (1900 – 1942) 28,2 × 22,4 cm (11.1 × 8.8 in) Photographer‘s “Copryright Drti- Cilly Aussem wearing a Juvena kol-Prague” blind stamp in the image bathing suit, Berlin c. 1930 lower right, several handwritten Vintage silver print annotations in pencil on the reverse 22,8 × 17,6 cm (9 × 6.9 in) LITERATURE Anna Fárová /Stanislav Photographer‘s copyright stamp, Doležal (eds), František Drtikol, agency label and several handwritten Pracouní kniha fotografií, Prague 2006, notations in an unidentified hand in p. 23 (images of the same model, most pencil on the reverse likely the same series). € 600 / € 1.000 – 1.200 € 6.000 / € 10.000 – 12.000 10 11 23 26 RUTH BERNHARD FRANCO FONTANA (1905 – 2006) (* 1933) ‘Embryo’, 1934 ‘Fragment’, 1982 Gelatin silver print, printed in the 1980s, Cibachrome, Vintage mounted on the original cardboard 33,8 × 22,2 cm (13.3 × 8.7 in) 18,6 × 22,3 cm (7.3 × 8.8 in) Signed, titled and numbered by the Signed by the photographer in pencil photographer in ink in the margin, on the mount lower right, signed and edition no. 5/50 titled by her in pencil on the reverse, her copyright stamp also on the reverse € 1.200 / € 2.000 – 2.400 € 1.800 / € 3.000 – 3.500 24 RUTH BERNHARD (1905 – 2006) ‘In the Box-vertical’, 1962 Gelatin silver print, printed in the 1980s, mounted on the original cardboard 34,5 × 20,3 cm (13.6 × 8 in) Signed by the photographer in pencil on the mount lower right, signed and 27 titled by her in pencil on the reverse, her copyright stamp also on the reverse LEONARD FREED (1929 – 2006) € 1.800 / € 3.000 – 3.500 Nude Study, 2002 Vintage silver print 22,5 × 15,3 cm (8.9 × 6 in) Photographer‘s stamp and handwritten neg.
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