T. Lux Feininger

Method

Documentation of the method, modes and standards for the creation of the catalog raisonné.

This online catalog presents the first complete publication of the Catalog Raisonné of the artistic oeuvre of Theodore Lucas “Lux” Feininger and documents the current stage of work.

Catalog raisonné numbers have not yet been allocated.
The catalogue information is bilingual in German and English (American).

Owners and collectors of works by the artist are kindly requested to review, confirm and correct the published data. And to register works by T. Lux Feininger for the catalogue raisonné.

(c) Copyright by the authors, Siegfried B. Schäfer and Cecilia A. M. Witteveen, Düsseldorf, Germany, mail@kunst-archive.net.

Modus Operandi, Using the Website

This catalog raisonné is published online on the platform www.Kunst-Archive.net and documents all works of art created by T. Lux Feininger: Painting, Photography, Drawing (original works on paper), Sculpture/Objects and Studies (drawing).

It is divided into several chapters. These begin with the artist's biography, which is displayed first: VITA, followed by WORKS, EXHIBITIONS, LITERATURE, COLLECTIONS, TEXTS, METHOD.
All chapters can be searched in via the „Search…“-field at the upper left of the page by entering sequences of numbers and letters.
The home button [Logo] takes you back to the homepage.

The chapter ARTWORKS lists all works created by T.Lux Feininger in various media: Painting, Photography, Drawing, Graphics, Sculpture and Studies (drawing).

In the chapter ARTWORKS, the user can choose from numerous display and sorting options:
The default basic setting shows “Highlights only” and therefore only a small selection of the artits’s works. Click “All Works” and get access to the full inventory.
Under ARTWORKS, you also access your own „Bookmarks“ and works “Destroyed”.

The sequence can be displayed by TITLE, DATING or MEDIA.
The display options are LIST or GRID, with three image sizes.
Choose “Works per page: 25 – 50 – 100”.

In the “Search…”-field in the upper left corner, next to the website logo, you can search for a year or a title by entering an alphanumerical string.

If MEDIA is selected, the works are sorted within their media-group. Within the respective medium, the works are displayed in title-numerological order, followed by title-alphabetical order.

If DATING is selected, all works of all media are displayed in chronological order of their years of origin. Within the years, the works are sorted in title-numerological order, followed by title-alphabetical order.

Filters have also been set up for targeted searches, which can be used to narrow down the selection of works under MEDIA and THEMES.
MEDIA offers the choice of “All Media” or of just a single medium („Paintings“ or „Drawings“ or „Photography“ etc.).
THEMES are assigned to each artwork and can be used to further specify the selection; here it is possible to combine several themes simultaneously!

In the overview of the artworks, an “(i)” appears in the yellow circle at the bottom right of the illustration if further information, quotations etc. or “Related artworks” are shown in this work of art.

On the page of each work-entry, the entries linked to the work in the public collection, exhibitions and literature are indicated and can be called up with a click.

In the EXHIBITIONS chapter, the entries are linked to the respective "Works" and "Literature" and can be accessed by clicking on the corresponding number.
In the LITERATURE section, the entries are linked to respective “Works” and “Exhibitions” and can be accessed by clicking on the corresponding number.
In the COLLECTIONS section, the entries are linked to “Works” and can be accessed by clicking on the number.
The sorting on these pages can be displayed in ascending or descending order by clicking on the respective column titles.

By default, the work titles are sorted by medium in alphabetical order.
All works are assigned to their year of creation or year of completion or a year range respectively. Title and year can be queried via the „Search…“-field, a chronological sorting can be displayed via DATING.

Artworks destroyed by the artist himself, of which knowledge has been obtained, are included in the Catalogue Raisonné and are classified and displayed in chronological order [when selecting: ARTWORKS: All works - All Media - All themes]. Under ARTWORKS: Destroyed only destoyed works are displayed.

An evaluation of the chronological or thematic sequence within a year has not yet been undertaken.
Catalog raisonné numbers have not yet been assigned.


PHOTOGRAPHY: Further explanations with regard to the Oeuvre of Photography by T. Lux Feininger are provided in a separate chapter under METHOD. The technical peculiarities and the accessibiliy of sources demand for a more complex specification of the modus operandi for editing and cataloguing this photographic artwork; see METHOD, Photography.


The planning of the Catalogue Raisonné for the Oeuvre by T. Lux Feininger was begun in 2011, the editorial process and the installation of the datebase driven website were started in 2014. Copyright by the editors, Siegfried B. Schäfer and Cecilia A. M. Witteveen, for www.Art-Archives.net/ Kunst-Archive.net, Düsseldorf, Germany.

Sources

Editorial work on the cataloge raisonné began in 2011. The Catalogue Raisonné for the oeuvre by T. Lux Feininger was initially based on lists of works kept by the artist himself and titled accordingly, as well as data sets compiled by his estate, as follows:
- for the paintings: "Catalog of Paintings" [CoP] and "List of Sold Works" [L or LoS],
- for the early photography of the Bauhaus period: "Inventory of BAUHAUS-related photographs/ Inventar der Photographien aus der BAUHAUSzeit" [IBP], 1980, List of Photographs, 1983 [LoP], which the artist compiled in preparation for his exhibitions at the Prakapas Gallery, New York,
- for the original works on paper, watercolors and drawings: Data compilation of Drawings/Datenkonvolut der Zeichungen des Künstlers im Nachlass [DD], compiled by Conrad Feininger 2011, consisting of 27 folders with various XLS, PDF, and JPG image files,
- for the original prints: "Print Collection" [PC], a handwritten one-page list by the artist with 31 consecutively numbered items and 10 additional items; the most recent entry refers to a print from 1993, as well as "Discovered Woodcuts", a data volume of the artist's original prints in his estate, compiled by Conrad Feininger in 2011, consisting of an XLS list of 71 items and JPG image files,
- for the sculptures and objects: "Three-Dim. Section/ Three-dimensional Works" [TD].
Another source is a large bundle of photographs of the artist‘s works labeled by the artist.
And finally, the photographic documentation of all the paintings, drawings and sculptures in the artist’s estate after his death in 2011, compiled by Conrad R. Feininger.
All documents were kindly made available by the Estate of T. Lux Feininger and his heirs.

The list of the artist's paintings from 1929 to 1936 compiled by Dr. Ulrich Luckhardt was taken into account; it is based on the Catalog of Paintings [CoP] and appeared in the catalog for the anniversary exhibition Welten-Segler, T. Lux Feininger zum 100. Geburtstag, Cologne 2010. We would like to thank Dr. Ulrich Luckhardt for his kind permission.
The inventory catalog of the Bauhaus Archive / Museum für Gestaltung, Berlin, is an important source for the documentation of T. Lux Feininger's photographic work. We would like to thank the Bauhaus Archive / Museum für Gestaltung, Berlin, for providing the documents and images free of charge for publication in the catalogue raisonné and for their kind support. Further information on the photographic oeuvre can be found in a separate chapter, see METHOD, Photography.

Further sources include information and documents from private and public collections, archives of auction houses, especially in Germany and the USA, exhibition lists, exhibition catalogs, book and press publications as well as the stock book of Galerie Nierendorf, Berlin, 1935-1937.

The Estate of T.Lux Feininger and numerous owners - museums, public and private collections, galleries and auction houses - have kindly provided the editors with personal access and/or photographs and documentation of works in their possession.

It was not possible to inspect, measure and photograph all of the artist's original works.

Chronological Classification of Works Destroyed by the Artist

Works destroyed by the artist himself and works overpainted by him, of which knowledge has been obtained, are included in the Catalogue Raisonné and sorted in chronological order.
Accordingly, discarded paintings that are mentioned in the artists' lists and that have been preserved as reverses of other paintings have been illustrated and included as individual works in the Catalogue Raisonné.

It was possible to assign and classify those works because they are listed with their titles in the Catalog of Paintings [CoP], and because the artist also left behind careful photographic documentation of works that he himself had destroyed or completely painted over.

The equivalent classification in the chronology of works was encouraged by the artist's own meticulous documentation of works destroyed by his own hand, his regrets about his decisions ("foolishly destroyed") and the often high quality of these works; in the manuscript for his autobiography T. Lux Feiniger wrote: “The bottom of misery is reached in waking up to the hideous fact that one has, with one’s own hands and of one’s supposedly free will, destroyed a work worth having and cherishing. Only temporary madness can account for such acts. I have, in my life, painted over, or otherwise “discontinued”, many dozens of my unsuccessful canvasses; some of those victims I regret having destroyed“ (My Life and Paintings - A Memoir, English manuscript [105]).

In consideration of the substantial number of works destroyed by the artist himself, their incorporation into the Catalogue Raisonné closes gaps and make it more tangible to experience the development of the painter's oeuvre in its entirety.

Only the few works destroyed by the artist, which he mentions exclusively in the Catalog of Paintings [CoP] and for which there is no reference elsewhere, were not included in the Catalogue Raisonné.

Title, Signature and Inscriptions

Translation and bilingualism: The Catalogue Raisonné is kept bilingually in German and American English.

Work titles - which the artist has given in German, English or French - are not translated; if the artist has given a German and an English title, the German title is mentioned in the German-language entry and the English title in the English-language entry.

Notes by the editors as well as explanatory translations or transfers to aid understanding are placed in square brackets [...]. The latter applies, for example, to French picture titles or to word and letter games that have been translated into English or German.

All translations by the editors are marked with a final asterisk [*]. Designations and quotations without markings have been given by the artist or the corresponding source in the respective language and have therefore not been translated by the editors. Text quotations from the autobiography of T. Lux Feininger, published in German, „Zwei Welten“ [105], [205], [305] are taken from the translation by Florian Bergmeier for Mitteldeutscher Verlag, and are not considered translated. The corresponding quotation in English is taken from the original manuscript, „My Life and Paintings - A Memoir [105], and has therefore not been translated.

PAINTINGS

Title-giving are firstly designations on the front or back of a work. If there is no title on the painting, the artist's entries in the Catalog of Paintings [CoP] and List of Sold Works [L/LoS] apply.
Varying titles in these artist lists and also other titles under which a work was mentioned in relevant literature are listed accordingly with the source indicated, after the reference to the designations on the work.

All of the artist's inscriptions on the work - signature, date, title, etc. - are cited in their original wording after “Inscr." The placement of these inscriptions on the recto is named accordingly; when they are on the verso of the work, this is mentioned as such; the positioning of the word and number sequences as well as the style and manner are not taken into account.
If no title has survived for a work entry, a short descriptive title has been given by the editors, following the designation “Unknown.”

If no restrictions are made, the inscriptions and designations are made by the artist.
If more than one person is depicted, their names are given from left to right according to the illustration.
Labels and inscriptions by another hand on the verso of the work are not mentioned.

DRAWINGS

Title-giving are firstly designations on the front or back of a work. Untitled drawings were given descriptive titles by the artist's estate or by the editors.
All of the artist's inscriptions on the work - signature, date, title, etc. - are cited in their original wording after “Inscr." The placement of these inscriptions on the recto is named accordingly; when they are on the verso of the work, this is mentioned as such; the positioning of the word and number sequences as well as the style and manner are not taken into account.
If no restrictions are made, the inscriptions and designations are made by the artist.
If more than one person is depicted, their names are given from left to right according to the illustration.

Labels and inscriptions by another hand on the verso of the work are not mentioned.

PHOTOGRAPHS

The work titles of the photographs were assigned by the editors with reference to the respective situation of the motif, the names of the persons depicted and taking into account the artist's notes and designations already published in the literature.
Preference is given to the titles given by the artist in his lists for the exhibition preparations in 1980 and 1983, some of which are given in German and English [IBP and LoP].

All of the artist's inscriptions on the work - signature, date, title, etc. - are cited in their original wording after “Inscr." The placement of these inscriptions on the print is named accordingly; the positioning of the word and number sequences as well as the style and manner are not taken into account.

If no restrictions are made, the inscriptions and designations are made by the artist.
If the names of more than one person are mentioned in the title, the names are given from left to right according to the illustration.
Further explanations regarding the photographic oeuvre are given in a separate chapter, see METHOD, Photography.

SCULPTURES, OBJECTS

Title-giving are firstly the entries in the list compiled by the artist: Three-Dim. Section/ Three-dimensional Works [TD].
Generally, the artist did not title his objects and sculptures (also referred to as Toys). However, the artist's sons knew the respective works from their youth and named them after the passed-down titles. Accordingly, these titles have been adopted in the Catalogue Raisonné.
The sources of the respective titles remain unmentioned.

All of the artist's inscriptions on the work are cited in their original wording after “Inscr." The positioning of the word and number sequences as well as the style and manner are not taken into account.
If no restrictions are made, all inscriptions are made by the artist.

Statements and Explanations about the Work

Explanations and statements by the artist or other authors on a specific work are sometimes given as background information; this includes explanations of motifs, events, circumstances of the creative process, memories, etc.

Likewise, references to documents, comments on possible dating or attribution problems, background information on subjects and persons depicted and possible special features of the technique can also be given.

Quotations appear in italics and are followed by a source reference (see Annotations and References); entries in square brackets indicate comments by the editor.

Further explanations regarding the photographic oeuvre are given in a separate chapter, see METHOD, Photography.

Technique, Material and Measurement

All accessible works were examined, measured and photographed. If this was not possible, measurements are based on those given in the sources or those provided by the owner; estimated measurements are preceded by “approx.”, unknown sizes are indicated as such.

PAINTINGS

The information on the painting media precedes the information on the image carrier.
The sizes are given in centimeters or inches, height before width, measured from the outer corners of the stretcher frame or the edges of the painting panel.
Unknown sizes - especially those of destroyed works - could sometimes be determined from photographs showing the work with other objects in relation to them; these are marked as approximate dimensions, preceded by “approx.”

DRAWINGS

The information on the drawing technique precedes the information on the image carrier.
The sizes are given in centimeters or inches, height before width. They are measured from the edges of the sheet.

GRAPHICS

The information on the technique precedes the information on the image carrier.
The sizes for graphics are given in centimeters or inches, height before width. The dimensions of the margins of the image (printing plate, printing block) are given.
After World War II, in the USA as of 1946, the artist - according to Conrad and Charles Feininger - cut only in linoleum plates; as his hand prints were referred to in the family as “woodcuts”, the literature occasionally uses the incorrect technical term of woodcut instead of the correct one: linocut.
All prints are small edition handprints made by the artist.

PHOTOGRAPHS

The sizes for photographs - negatives, slides and prints - are given in millimeters, height before width. In the case of negatives and slides, the glass or film strip dimensions are given; in the case of prints, the paper dimensions (not those of the image) are given.
Further explanations of the photographic oeuvre are provided in a separate chapter, see METHOD, Photography.

SCULPTURES, OBJECTS

The information on the material precedes the information on the technique.
The sizes of the sculptures are given in centimeters or inches, height before width before depth. The dimension of the respective longest extension of the object is given.

Dating and Place

The date of origin of a work of art is determined by the year. It primarily corresponds to the information provided by the artist on the work - even if this year may have been given at a later date - or alternatively it refers to the artist's notes. Only if the artist himself specifies the year by giving further details such as day and month are these added to the year or cited after the term “Inscr."

If two years are given, suggesting that the artist's work spanned several years, the work is included in the later year.

Years given by the artist in the Catalog of Paintings [CoP] and in List of Sold Works [L or LoS], which may well be contradictory, are listed with their source following the reference to the inscriptions on the work.

Works that are undated or contradictorily dated by the artist, have been placed in chronological order, taking into account the source and/or stylistic criteria.

If a work is dated differently in literature or on exhibition lists or catalogs, this is mentioned in square brackets in the literature or exhibition entry for the work in question.

The date of origin of a photograph is the date when it was taken; the dating of the prints is not taken into account. Photographs with no indication by the artist of the year and no definable reference to an event are classified stylistically and dated with a year range. Further explanations of the photographic oeuvre are provided in a separate chapter, see METHOD, Photography.

The place where a work was created is derived from the artist's biography, sometimes based on the artist's notes. The places of creation of paintings are taken from the artist's Catalog of Paintings [CoP] and List of Sold Works [L or LOS], among others.

Whereabouts and Provenance

Private owners are not mentioned by their names. Public collections are listed with their present name and with a hyperlink to their website in the COLLECTIONS chapter of the online Catalogue Raisonné; the artworks owned are linked accordingly and can be accessed as a group.

PAINTINGS

The ownership reference to the present whereabouts of the painting precedes the provenance.
Private owners are named anonymously as “Private collection” with their country of residence. Public collections are mentioned by name. If the owner could not be identified beyond doubt or if confirmation of the owner is lacking, the whereabouts of the work are documented as “ Whereabouts not known”.

The Provenance entry first mentions the year and type of the first change of ownership of the respective work, and if known, followed by further changes of ownership. Sources here include the Catalog of Paintings [CoP] and List of Sold Works [LoS] kept by the artist, the inventory book of Galerie Nierendorf, Berlin [LN] or information from the Estate of T. Lux Feininger, among others.

DRAWINGS, SCULPTURES

In the entry for the respective artwork, the name of the public collection is noted following the information on the inscriptions on the artwork.
Provenances are not mentioned.

PHOTOGRAPHS

In the case of photography, the motif of origin as it exists as a negative is defined as the Artwork. Prints of these are listed and described in the work entry under “Prints known:”. The owner of the respective print precedes its description.

Private persons are anonymized as “Private collection”. If the owner could not be identified beyond doubt, the whereabouts of the print remain not known (NN).

Further explanations of the photographic oeuvre are provided in a separate chapter, see METHOD, Photography.

GRAPHICS

In the case of original prints, the motif of origin as it is laid out on the printing plate or woodblock is defined as the Artwork. Prints from this plate or block are listed and described in the work entry under “Prints known:”. The owner of the respective print precedes its description.

Prints without reference to the owner are either in a private collection or their whereabouts are unknown.


Requests for addresses of holders of works – if known – will be forwarded by the editors to the respective holder.

Photography

MODUS OPERANDI PHOTOGRAPHY

The technical specifics of the analog photography in general and the artist’s handling of photographic techniques in particular require a different process for the compilation of the Catalogue Raisonné of T. Lux Feininger's photographic Oeuvre.


The form of analog photography comprises two different creative processes that are to be united in the Catalogue Raisonné: Image setting (framing) and image editing.

The setting of the image via the camera’s viewfinder followed by the exposure of the negative in the camera by pressing the shutter release of the camera – the first creative process. The negative shows the full image motif framed in the camera's viewfinder – as it was set by the arist.
The negative is always the template for the varied image processing that follows in the darkroom; in the dark photo lab, the image editing takes place – the second creative process. By exposing and developing the photographic paper all individual prints and duplicates are made.
No matter what results the processing process produces, the image motif frozen in the negative is always the template for the exposed photographic paper: the photograph.

Taking these considerations into account, the Catalogue Raisonné of the photographic Oeuvre defines only the unique original image motif – as frozen in the negative - as a “Work”. And all prints based on this template are subsumed under this work entry. (This distinguishes the catalogue raisonné from the collection catalogue, in which the photographic prints—usually by different artists—are listed as unique works of the inventory.)



T. Lux Feininger's photographic Oeuvre consists exclusively of analog black-and-white photographs in the form of negatives and paper prints (exception: one single known autochrome glass diapositive).

In the Catalogue Raisonné the motif framed by the artist in the camera's viewfinder is defined as Work. This image motif is documented by the negative.
Different prints may have been made from this negative at different times, by the artist and/or other persons, with different framing, in different techniques, on different image carriers and sizes.

Photographs by the artist for which original negatives can no longer be found are also listed as works in the Catalogue Raisonné (Negative untraceable), provided that either (a) a repro negative produced by the artist is available, or (b) that one or more prints are known, or (c) that the existence of such prints is documented. If no negative is known, it remains uncertain whether the image of the print corresponds to the complete, uncropped picture motif of the negative.

Accordingly, in the Catalogue Raisonné, the original motif alone constitutes the entry as a Work.
Information on theNegative is given under the entry of each respective work. In addition, all of the prints, which are known to the editors, are listed, described, and illustrated underPrints known or Copy prints known.
Prints from the original negative are numbered with Arabic numerals, reproductions with Roman numerals. This numbering is repeated under the respective illustrations.

Occasionally subject-related explanations by the editor, quotes and/or explanations by the artist or other authors are added to the work entry.
Related artworks from the artist's Oeuvre are listed, as well asExhibitionsin which the work was shown, andLiteraturein which it was published.

These informations are linked to the work, and could be accessed with a mouse click.

ILLUSTRATIONS

If available, illustrations are added with the negative of each work. Known prints are presented recto and verso. For better visibility, the main view is usually a processed monochrome image with the caption, Repro: MAIN.

If a work is known mainly by a cropped section of the full image motif of the negative, in the main view of the work both, the photo showing the detail, and the full image of the negative, are illustrated [see: “La Voile”, “Still Life with Mask by T. Lux Feininger ...”]. The same applies to prints which were made in right-reading direction as well as reversed [cf. “Staircase Wit (l’esprit d’escalier) III”].

The numbering of the illustrations corresponds with the entries under Prints known: or Copy prints known: respectively. Images of negatives do not carry an item number and are labeledRepro: Negative.

The rights holder of the illustrated image file is named after the item number under the illustration (e.g. "Repro: 1. Metropolitan Museum of Art“). The key to the abbreviation can be found atMethod, Illustrations and Photo credits.

Copyright for all works: The Estate of T. Lux Feininger, USA.

DOCUMENTATION, TECHNIQUE, DIMENSIONS

In each work entry, where known, descriptions of the Negative are given, listing material, dimensions (height before width in millimeters), and whereabouts. The same applies to repro negatives and diapositives.

Prints of a work on photographic paper are described in detail, listing whereabouts, technique, paper size (height before width in millimeters), inscriptions etc. Prints from the original negative or diapositive are documented as well as reproductions (copy prints). Prints from the original negative are numbered with Arabic numerals, reproductions with Roman numerals.

Prints made from the original negative can be “early prints” (so-called Vintages, made close to the date of the exposure by the artist), or “later prints” made by the artist or by a third party. Also included in the Catalogue Raisonné are “late prints” from the original negative, made by the artist himself or by a third party, during the artist's lifetime or posthumously. And because in some cases only copy prints (reproductions of photographs by the artist) are known, these are also mentioned in the Catalogue Raisonné to ensure completeness.

SOURCES, PROVENANCE

All negatives and prints known of a work at the time of the creation of the Catalogue Raisonné are assigned to the work entry.

The source reference for the negative follows the technical information. If owned by a public collection, the name of the institution is included in the listing. If there is no mention of a public collection, the negative is with a private collection.

For prints, the source reference is followed by the technical information. If owned by a public collection, the name of the institution is included in the listing. Private owners are anonymized asPrivate collection.

If a work is listed for which neither a negative nor a print is known, the source is named. The existence of the work can, for example, be traced back to the illustration in a publication. Or it is mentioned in a listing of works or other records by the artist. In the latter case, the work is listed without an illustration.

SOURCES FOR THE PHOTOGRAPHIC OEUVRE

Negatives

T. Lux Feininger used different camera models with different negative formats.

– The negatives of T. Lux Feininger's early photographs (1925-1936), which were first glass negatives and later film negatives, are largely untraceable. Only few are in private or museum collections.

– The film negatives of the photographs, which were mainly taken in New York after the artist’s arrival in the United States and until he joined the United States Army (1936-1942), were largely family-owned and could be documented.

– The latter also applies to the negatives of T. Lux Feininger’s artistic and experimental photography (1945-1958), which he resumed in New York after the Second World War.

In the early 1980s, the artist produced numerous copy negatives (repro negatives) from early prints in his possession, which were intended for sale. Nearly all of these copy negatives, all numbered by the artist, could be documentated with the respective work entry in the Catalogue Raisonné.

Prints on paper

Throughout his artistic life, T. Lux Feininger had access to darkrooms, in which he exposed his prints himself. In Weimar and Dessau, these were initially his father's darkrooms, and the Bauhaus photo lab in Dessau. Darkened bathrooms were later converted into makeshift photo labs.
The artist only made single prints or small runs for his teachers, fellow students, for family members and friends, or for the photo agency “Dephot”.

At no time did T. Lux Feininger print or have printed higher editions or series from a negative.

Only a few prints are known to have been made by photo studios at the artist's request, most dating after 1945.

– Prints on photographic paper from the period of study at the Bauhaus in Dessau were neither cataloged nor exhibited as a group of works at the time they were made. Today only individual prints are in private or museum collections—either as vintage prints, later prints, or reproductions.

– In 1980, T. Lux Feininger documented his early photographic Oeuvre of the 1920s and 1930s for the first time. He selected a collection of 202 original prints for his first show of photographs at the Prakapas-Gallery, New York, 1980 [see annotation 211: Inventory of BAUHAUS-related photographs].
This list of 202 prints that were physically available in 1980 and which the artist measured and described, is the source for the Catalogue Raisonné for photographs of the years 1925-1936. Only very few of these prints the artist explicitly did not refer to as “vintage”, and all as made on silver gelatin paper.

The 202 photographs were available to the artist as mostly single prints from an early, often lost, glass plate negative. From most of these early prints the artist either made or had made copy negatives (repro negatives), and documented this accordingly.

– In preparation for his second exhibition of photographs at the Prakapas Gallery, New York, in 1983, T. Lux Feininger put together a new collection of 97 vintage prints on silver gelatin paper. For this occasion, he compiled a list of works that documented his later photographic Oeuvre of the 1930s and 1940s [see note 214: Invoice, List of Photographs by T. Lux Feininger].
This list of 97 prints that were physically available in 1983 and which the artist measured and described, is the source for the Catalogue Raisonné for photographs of the years 1937-1950.

Other sources

Other sources for entries in the Catalogue Raisonné are numerous private and public collections, the Estate of T. Lux Feininger, as well as the relevant literature.

Often extensive collections of musems and galleries were accessible. In particular those of the Bauhaus Archive Berlin, the Bauhaus Foundations Dessau and Weimar, the Photographic Collection in the Folkwang Museum Essen, the Moritzburg Art Museum Foundation of the State of Saxony-Anhalt in Halle/S., the Harvard Museums in Cambridge/MA, the Getty Museum and Getty Research Institut and the LACMA in Los Angeles, the Museum of Modern Art (MoMA) and the Metropolitan Musuem (MET) in New York, the MFA Houston, the SFMOMA San Francisco, the Stedelijk Museum Amsterdam as well as the gallery collections of Berinson and Kicken in Berlin, and others.

ATTRIBUTIONS

The authorship of T. Lux Feininger can be established for all photographs collected in the Catalogue Raisonné. Doubtful attributions are marked in the title as [Authorship uncertain] and explained subsequently.

TITLES

The editors assigned work titles to each photograph. These titles refer to the respective situation of the motif, name the persons depicted and take into account notes and inscriptions of the artist as well as titles already published in the literature.

Only in a few cases the artist assigned titles to his photographs that go beyond the description of the subject matter, or the photographic technique. Photographs that he submitted to the German photographic agency “Dephot” received titles from the agency. These titles were changed as needed. Insofar as such specifications are of a binding nature, the title refers to them.

The titles chosen by curators and archivists of public collections for the photographs in their collections follow their respective requirements, often include references to the occasion and situation, and identify the people in the image. Authors and editors of publications often assign their own titles for the photographs in reference to their context. With the publication of the titles chosen here, later recognition is possible, which the editors of the Catalogue Raisonné have taken into account accordingly.

Furthermore, some group titles were created, if timing, occasion, subject or theme of the photographs suggested a compilation of such groups [see e.g. annotation 209, “Figure in Space“].

DATING

The dates of the creation of the photographs given by the artist himself, in literature, or in indexes of collections and archives, are often vague and only indicate time periods. As far as possible, the dates were verified and compared according to travel dates, event dates and other life events. Nevertheless, in numerous cases precise dating was not possible and requires further examination.

The determination of the time of a print made from the original negative (distinction between "vintage", "later/late print", "posthumous print") is not made in the Catalogue Raisonné.
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TERMS OF ANALOG PHOTOGRAPHY

The Negative is the image carrier of the motif exposed in the camera. It is always unique. After a chemical development process, it is the template for the exposure on photographic paper which constitutes the print.

The Print represents the photography, the photo. A print consists of photographic paper exposed and developed in the darkroom, using the negative. Papers used can be silver gelatin paper as well as other kinds of photographic paper.

Early prints that were made by the artist himself shortly after he has taken the photograph, are referred to as “vintage prints” (vintages).
"Later prints" were exposed and developed by the artist sometime after the original negative was exposed.
"Late prints" were exposed even later, not necessarily by the artist himself.
“Posthumous prints” were made from the original negative by third parties after the artist's death.

A Copy print or Reproduction is a print from a negative made of an original print. It is a photograph of a photograph. The reproduction was not exposed from the original negative. Instead, it shows the image of an earlier print. A vintage, a later or late print, may have served as a template for the reproduction.



© Art-Archives.net, 17 February 2021

Exhibitions

Each work entry under “Exhibitions” contains a brief reference to exhibition participations for this work, stating place or catalog number. Information differing from the work entry - year of creation, dimensions, title - is mentioned in square brackets after the exhibition reference.

A double-click on the reference leads to the complete exhibition information in the EXHIBITIONS chapter.

Both individual and group exhibitions are listed in the exhibition directory.
The exhibition title, duration, city, exhibition venue and organizer are listed for each exhibition.

The exhibition directory is arranged chronologically according to the year in which the respective exhibition began.
The sorting can be displayed in ascending or descending order by clicking on the respective column titles. The search field can be used to search by year, location, title or organizer.

The exhibited works are linked to the exhibition; they can be called up as a group by clicking on the number in the “Artworks” column at the end of the line.
Publications referring to the exhibition are linked and can also be called up with a click on the number in the “Literature” column.

Literature

Each work entry is followed by a brief reference to publications for this work under “Literature” in chronological order, with page reference and/or illustration number. Information differing from the work entry - year of creation, image dimensions, title - is mentioned in square brackets after the literature reference.

A double-click on the reference leads to the complete bibliographical information in the LITERATURE chapter.

The bibliography refers to publications on artworks and the artist in any kind of literature, in books, catalogs, newspapers, journals, magazines, etc. Each entry is accompanied by the author(s) and/or publisher(s), title, place and year of publication, as well as the ISBN number and type of publication.
The bibliography is sorted chronologically according to the year of publication.

The sorting can be displayed in ascending or descending order by clicking on the respective column titles. The search field can be used to search by year, place, title or author etc.

The published works are linked to the literature entry; they can be called up as a group by clicking on the number in the “Artworks” column at the end of the line.
Exhibitions referring to the publication are linked and can also be called up with a click on the number in the “Exhibitions” column.

Collections

The COLLECTIONS directory records the public collections that hold works by T. Lux Feininger. Private collections are not included.

Artworks owned by the collection are linked; they can be called up as a group by clicking on the number for “Artworks” at the end of the line.

The collection index is sorted alphabetically according to the location of the collection. The sorting can be displayed in ascending or descending order by clicking on the respective column titles. The search field can be used to search by name or location.
Next to the title of the collection on the right is a hyperlink to the website of the respective collection, which can be accessed directly.

The works in the collection are linked to the respective collection; they can be called up as a group by clicking on the number in the “Artworks” column at the end of the line.

In the Paintings and Drawings sections of each work entry, the name of the public collection as the owner precedes the information on the provenance. For works of photography and graphic art, the owners and public collections are named with the respective entry of their print.

Illustrations and Photo credits

Illustrations are based on the highest quality images available.

In some cases, this was not possible since the artwork was not accessible or the appropriate reproduction document was not available or the document at hand could not be matched to the original. In various cases old black and white photographs, color slides or amateur photos were used as illustration and although these were processed the quality remains largely insufficient. This is acceptable since it is important to present the body of work as complete as possible.

In few cases, no photo documentation about a particular work was available. Therefore, an illustration of the work was not possible, and the photo frame of the listing remains empty.

Copyright of all works by T.Lux Feininger: The Estate of T. Lux Feininger, USA.

See IMPRINT for further information.

The images shown are from various sources and by various photographers.
Photo credits are given under each image; usually in abbreviated form.

Photo credits - Abbreviations with their full text:

A22: Archiv T. Lux Feininger, Cambridge MA/USA
Albers Foundation (JAAF): The Anni and Josef Albers Foundation, Bethany CT, USA
AM: Achim Moeller/Moeller Fine Art, USA
art-archives: www.Art-Archives.net, www.Kunst-Archive.net, Duesseldorf, D
Artcurial BBW: Artcurial Beurret Bailly Widmer, Basel, CH
BA: Foto Bartsch Berlin, D
BW: Bradford Watkins, USA
Bz: Tom Brazelton, USA
CCP: Center for Creative Photography, Tucson, Arizona, USA
CF: Conrad R. Feininger, USA
CM: Carnegie Art Museum, USA
Cottone: Cottone Auctions, Geneseo and Buffalo NY, USA
DCF: Danilo Curti Feininger, I
DrMoellers: Dr. Doris Moellers Kunstkontor, D
FE: Freeman’s Philadelphia, USA
Freese: B. Freese, D
Galerie Berinson: Galerie Berinson, Berlin, D
GB: Gerd Bruhn, D
GE: Gallandi (via GB), D
GR: Grisebach GmbH Berlin, D
HA: Harvard Art Museums, USA
Hi: Ulrich Hiesinger, USA
HS: Horst Schomburg, D
JAAF: The Anni and Josef Albers Foundation, Bethany CT, USA
JL: Jan Lodal, USA
JN: John Nye, USA
Kendzia: Auktionshaus Kendzia, Hamburg, D
KL: Kevin Loader, USA
Koller AG: Koller Auctions AG, Zurich, Geneva, CH
Kr: Hermann Krause, D
Lempertz: Kunsthaus Lempertz KG, Cologne, D
Lempertz/Fuis: Kunsthaus Lempertz, Sascha Fuis Photographie, Cologne, D
LS: Linda Schroeder, USA
MACM: Musée d’art contemporain de Montréal, Montreal, CDN
MA-Sc: Siegfried B Schäfer (extern), D
MAIN: Mainview based on an edited image of a print or negative.
MB: Museum Moritzburg Halle, D
MFA Houston: The Museum of Fine Arts, Houston, USA
MN: Molly Nye, USA
MP: Martina Pipprich, D
Mo: Camilla Modéer, USA
Moeller Fine Art: Moeller Fine Art Projects, New York, USA. Berlin D
Nierendorf: Galerie Nierendorf Berlin, D
NN: nomen nescio, Name unbekannt
RC: Renata E. Cathou, Lexington, USA
RE: Foto Rockmann Erfurt, D
RK: Foto-Renard Kiel, D
SC: Siegfried B Schäfer, D
SFMOMA: San Francisco Museum of Modern Art, USA
SG: Stiftung Schleswig-Hosteinische Landesmuseen Schloss Gottorf, D
SJ: Susanne Jonas, USA
SKD-AdA: Archiv der Avantgarden, Staatliche Kunstsammlungen Dresden, Dresden, D
SKD Dresden: Kupferstich-Kabinett, Staatliche Kunstsammlungen Dresden, Dresden, D
Skinner: Skinner Inc. Auctions, Boston, USA
Sothebys: Photograph Courtesy of Sotheby's, Inc. (c)
SW: Waseem Sheikh, USA
We: Jakob Wedemeyer, D
WS: Verlag H. Krause Kunsthandel (Weltensegler), D

Abbreviations and Keys

Abb./ ill.: Abbildung / illustration
a.k.a.: also known as / auch genannt, auch bezeichnet als
Bd.: Band
Bez.: Bezeichnung, bezeichnet
BRM: Busch Reisinger [Germanic] Museum; heute: Harvard Art Museums
ca.: circa / circa
cf.: compare / vergleiche
CoP: Catalog of Paintings; Quelle /source: T. Lux Feininger [101]
DD: Data compilation of Drawings/Datenkonvolut der Zeichungen [301], Estate of T. Lux Feininger, 2011
d.h.: das heißt/ viz. / i.e. [id est] / that is to say
DW: Discovered Woodcuts. Datenkonvolut der Grafiken, Estate of T. Lux Feininger, 2011 [402]
ed.: Editor(s)
e. g.: for example / for instance / z.B. / zum Beispiel
Eng.: engine, locomotive / Lokomotive, Zugmaschine
err.: erroneously / irrtümlich
et al.: et alii, et aliae, et alia / u.a., und andere, unter anderem / among others, etc.
etc.: et cetera / und so weiter / and so on
ff.: folgend / following
foll.: following / folgend
HA: Harvard Art Museums, Cambridge, Mass.
Hg.: Herausgeber
Hg./ed.: Herausgeber / editor(s)
hic: hier / here
Hrsg.: Herausgeber
i. a.: inter alia / among other things / u.a. / unter anderem/n
i. e.: id est / das heißt / that is to say
IBP: "Inventory of BAUHAUS-related photographs/ Inventar der Photographien aus der BAUHAUSzeit", 1980; Quelle /source: T. Lux Feininger [201]
in: inches / Zoll
ill.: illustration / Abbildung
irrt.: irrtümlich / erroneously
Inscr.: Insciption, inscribed by the Artist
L: List of sold works; Quelle/source: T. Lux Feininger (auch: LoS) [102]
LN: Lagerbuch Galerie Nierendorf, Berlin, 1935-1937 [107]
LoP: List of Photographs, April 9, 1983. Foto-Liste von TLF, für eine geplante Ausstellung in der Prakapas Gallery New York Juni 1983 [202]
LoS: List of sold works; Quelle/source: T. Lux Feininger (auch: L) [102]
l. t. r.: left to right / von links nach rechts
M./m.: Mast eines Schiffes [im Bildtitel] / mast of a ship (in work title)
mm: Millimeter / millimeter
n. y.: no year / ohne Jahr
ODMP: Overall Desription of the T. Lux Feininger Collection of Marine Photographs, um 1987 [113], [213], [306]
o. J.: ohne Jahr / no year
o. T. : ohne Titel / no title
PC: Print Collection [401]. Artist's list of his graphic prints/Künstlerliste der Grafiken, 1993
publ.: Publisher / Verlag
recto: vorn, Bildvorderseite / front side of the picture
R.R.: Rail Road (company) / Eisenbahn(gesellschaft)
S/p: Seite / page
Schr.: Schoner (im Bildtitel)
schr.: schooner [work title]
TD: Three-Dim. Section/ Three-dimensional Works; Quelle /source: T. Lux Feininger [501]
TLF: Theodore Lucas „Lux“ Feininger
u. a.: unter anderem, unter anderen / i. a. / inter alia /among other things
u. ä.: und ähnliche / and other similar (objects)
verso: Bildrückseite / the back side, reverse of a picture
vgl.: vergleiche / compare
viz.: i.e. [id est] / that is to say /d.h. / das heißt
v. l. n. r.: von links nach rechts / from left to right
Vol./vol.: Volume
wg.: wegen / due to, because of
z. B.: zum Beispiel / e.g. / for example / for instance


* Asterisk (Star) marks a translation (title resp. text).
All titles – except the works destroyed by the artist – and comments were, when possible, translated in English resp. German. (When the artist used various and sometimes multilingual titles, the work shows multilingual titles that are not translated and therefore are not marked with an asterisk).

[…] French titles and word games are – in the sense of an explanation – translated into English or German and marked with square brackets.

[…] Remarks are shown in square brackets [101]. The number refers to the corresponding entry under Annotation and sources (see below).
Differing from this in the VITA of the artist references to sources of quotes are shown in round brackets (...), for optical reasons.

Annotations and References

An annotation digit in the number range 100 refers to works of painting.
An annotation digit in the number block 200 refers to works of photography.
An annotation digit in the number block 300 refers to drawings.
An annotation digit in number block 400 refers to works of original graphic art.
An annotation digit in the number block 500 refers to sculpture and objects.

[...] Annotations are displayed in square brackets [101]. The number refers to the corresponding entry under Annotations and References.
[...] Entries in square brackets always indicate notes by the editor.

* Asterisks (asterisks) indicate the translation of the preceding text. An annotation number in the 200 range refers to a source.



101 Catalog of Paintings, CoP: List of the artist's works, begun in the 1960s, continued until 2009, 61 numbered pages. The paintings are listed chronologically by year, mostly with titles, dimensions and brief notes.

102 List of Sold Works, L or LoS: List of paintings and watercolors sold, given or traded, started in the 1980s, continued until 2008, 31 numbered pages. The entries are numbered from 1 - 403, mostly listing title, year, place of origin, recipient, short notes.

103 Notation by the artist on a photo or a document, with reference to the respective source. The source "Vol." refers to the eight albums of drawings, photographs, collages and texts compiled by T. Lux Feininger in the early 2000s, each with a detailed table of contents (Vol. I - VIII).

104 Quotation from a conversation or correspondence between T. Lux Feininger and collectors, curators, etc., with reference to the respective source. If two dates are given, the earlier one refers to Feininger's statement, the later one to the communication to the editors.

105 Quote from the autobiography: T. Lux Feininger: Zwei Welten, 2nd edition, Halle 2011, translated from the English by Florian Bergmeier. The English version quotes from the original manuscript: My Life and Paintings; A Memoir (typescript, no page number), transcribed for digital reading by Cecilia A. M. Witteveen.

106 Status report on the handover protocol dated 30.11.1990 of the Lyonel Feininger Gallery, GDR-4300 Quedlingburg, concerning the restitution of the T. Lux Feininger paintings (from the formerly custody of Mr. Hermann Klumpp).

107 Galerie Nierendorf, Berlin, Lagerbuch Ölgemälde, Aquarelle, Zeichnungen [Stock Legder Paintings, Watercolours, Drawings*], 1935-1937 (pages 203-236, Nrs. 318-2116); with entries of commissioned paintings and watercolors by T. Lux Feininger, among others. Galerie Nierendorf, Hardenbergstraße 19, 10623 Berlin, https://nierendorf.com. - Here, some of T. Lux Feininger's works are listed with deviating titles.

108 Ulrich Luckhardt: Werkverzeichnis der Gemälde von 1929 bis 1936, [catalogue raisonné of paintings from 1929 to 1936] in the catalog for the jubilee-exhibition Welten-Segler – T. Lux Feininger, the Centenary Birthday, Cologne 2010, p. 128ff. - Here, some of T. Lux Feininger's works are listed with deviating titles.

109 Wolfgang Büche (Hg.): T. Lux Feininger. Von Dessau nach Amerika. Der Weg eines Bauhäuslers [From Dessau to America. The path of a Bauhäusler*], Halle (Saale), 1998. Catalog for the exhibitions in the Staatliche Galerie Moritzburg Halle, Landeskunstmuseum Sachsen-Anhalt, April 5 - June 14, 1988, and in the Altona Museum of Stiftung Historische Museen Hamburg-Altonaer Museum Museum, October 21, 1998 - February 7, 1999. - Here, some of T. Lux Feininger's works are listed with deviating titles and deviating years of execution.

110 Pittsburgh, Carnegie International Exhibition (1932-1942); Pittsburgh, Carnegie Institute, Painting in the United States (1943-1948): In the notes of the artist he received an invitation to exhibit his works in the Carnegie International Exhibition in Pittsburgh in 1932, this was yearly repeated up to 1942 (see also the catalogue Welten-Segler, Biography, compiled by Dr. U. Luckhardt, 2010, p. 124).

The Carnegie Museum of Art, Mrs. Jessica Ruse (eMail October 11, 2013), cannot confirm the participation in the exhibitons in he years 1932, 1937, 1938, 1940, 1947, 1948: “I could not find any record of T. Lux entering work in the exhibitions for the other years you mention – not in the exhibition catalogues nor in the archives.”

However there are photos for the years 1947 and 1948 in the artist archive depicting the exhibition rooms: showing in 1947 the painting „Excursion Steamer, 42nd Street, New York“ (ca. 1940) and in 1948 the painting „The Elysian Fields“ (1946). In 1937 there is an exhibition photo with the painting „Clipper Schooner“ 1937, that was dated on the reverse by T. Lux Feininger, the indexcard from Carnegie Int. lists this painting in 1939, the editors marked this paiting in the exhibition list in 1937.

111 Solo exhibition in 1935, organised by Karl Nierendorf, shown in the Nierendorf Gallery, Berlin. Subsequently the exhibition works are given by Karl and Josef Nierendorf to the Commeter Gallery in Hamburg, they are shown there in 1935/36.

112 Handwritten text by T. Lux Feininger on his painterly oeuvre of the postwar years in New York, 1946-1953, entitled: My Second Period, not dated, c. 2005 (cf. VITA 1952).

113 List of photographs and ephemera intended for posthumous donation to the Marine Museum prepared by the artist and reviewed ("checked for accuracy") on August 11, 2004: Catalogue of the T. LUX FEININGER COLLECTION of MARINE PHOTOGRAPHS. Section I - Published documents. A. Picture Postcards, B. Scrapbooks. Section II - Unpublished documents. A. Old Photographs (made by others not known to me), B. Photographs made by me or by others known to me, 1. Originals (the camera was pointed at the object portrayed), 2. Reproductions (the camera was pointed at another document). This bundle also includes also the explanatory text: Overall Desription of the T. Lux Feininger Collection of Marine Photographs, around 1987(ODMP).

114 The attribution of the image to this work entry requires verification. It was not specified by the artist, but made by the editors.
The basis for the list of works by T. Lux Feininger includes his work lists on the one hand and photographs labeled by the artist with the work name on the other. Not all entries in these lists of works could be assigned to illustrations titled by the artist. And not all unlabeled images of his works could be assigned to work entries. In some cases, however, notes by the artist or measurements, among other things, provide clues that justify a presumption of attribution. Such attributions were made by the editors. And they are provided with this note because, although the attribution is probable, it does not originate from the artist or is otherwise proven beyond doubt, and ultimately requires confirmation or verification by other sources.


PHOTOGRAPHY

201 Inventory of BAUHAUS-related photographs/ Inventar der Photographien aus der BAUHAUSzeit, List of photographies by the artist [around 1980], executed by TLF in preparation for the exhibition in the Prakapas Gallery, with titles (Pos. 1-178 in German and English, Pos. 179-202 in English only), with indication of the dimensions of the prints; incl. 'Appendix' and 'Supplement (Invoice in two parts, sent June 24, 1980)' this list is 17 pages strong and contains 202 positions [Bhs-Inv.].
(In subsequent correspondence with Prakapas Gallery, the latter confirms receipt of 6 additional "vintage photographs" on consignment in a letter dated March 17, 1981, three of which are included in the Bhs-Inv. list (Nos. 68, 72, 81) and three of which are not. On a letter from his brother Andreas dated 14.1.1981, T. Lux Feininger furthermore notes the delivery on 16 March 1981 of six additional prints to Prakapas without mentioning Bhs-Inv. list numbers. - This bundle is supplemented by a Prakapas exhibition price list with 116 items and correspondence and notes on the settlement from sales).

Accompanying this list TLF prepares two further lists. The first handwritten list contains information about the copy negatives, marked as follows, mark A: 'copy neg. exists and is numbered'; mark B: copy neg. made by Mr. Boalin. The second list is a copy of the 'Inventory of BAUHAUS-related photographs/ Inventar der Photographien aus der BAUHAUSzeit' with information about the copy negatives and works sold, named 'master copy' handwritten in green; mark C: 'signifies that a copy negative exists and in numbered in accoradance with this list'.; mark D: 'signifies print was returned Oct. 1983'; mark E: 'Blue dot signifies: sold Nov. 1980 to E. Prakapas, N.Y.'; mark F: 'Green dot signifies: Sold in the show [Ausstellung Prakapas Gallery 1980]'; mark G: 'Double dot [green] signifies: Sold on approval.'

202 List of works by the artist enumerating 97 photographs to be consigned to the Prakapas exhibition of 1983 [LoP]: Invoice/List of Photographs by T. Lux Feininger, 22 March 1983 (Pos. 1.-50.) and Invoice/Supplementary List of Photographs by T. Lux Feininger, April 9, 1983 (Pos. 51.-97.) [LoP]. Photos assigned to the Prakapas Gallery New York [...] for an exhibition to be held approx. June 17, 1983; these lists are 4 pages strong and contain 97 positions. The photos are titled in English, the measurements in inches and are dated. The note: "(Note: only the numbers on the red labels are valid)", refers to the round red label on the reverse of the photos, marked with the handwritten position number.
Accompanying this list TLF prepares a further list. This is a copy of the 'Invoice/List of Photographs...' with handwritten notes in black referring to the returns, named 'Mastersheet' handwritten in red; mark: 'returned Oct. 1983'.

203 Notation by the artist on a photo or a document, with reference to the respective source. The source "Vol." refers to the eight albums of drawings, photographs, collages and texts compiled by T. Lux Feininger in the early 2000s, each with a detailed table of contents (Vol. I - VIII).

204 Quotation from a conversation or correspondence between T. Lux Feininger and collectors, curators, etc., with reference to the respective source. If two dates are given, the earlier one refers to Feininger's statement, the later one to the communication to the editors.

205 Quote from the autobiography: T. Lux Feininger: Zwei Welten, 2nd edition, Halle 2011, translated from the English by Florian Bergmeier. The English version quotes from the original manuscript: My Life and Paintings; A Memoir (typescript, no page number), transcribed for digital reading by Cecilia A. M. Witteveen.

206 Smithsonian Archives of American Art, Washington D.C., Oral history Interview with T. Lux Feininger, 1987, May 19-1988 March 17, by Robert Brown. The oral history transcript is the result of a tape-recorded interview with Lux Feininger on May 19, 1987 to March 17, 1988. The interview took place in Cambridge, MA, and was conducted by Robert Brown for the Archives of American Art, Smithsonian Institution. www.aaa.si.edu/askus (2017).

207 Quotation mutatis mutandis from the manuscript by T.Lux Feininger, Cambridge, April 1978, typewriter, 4 pages: Aus meiner Frühzeit (From my early days*). Published in Ute Eskildsen, Jan-Christopher Horak (ed.): Film und Foto der zwanziger Jahre, Stuttgart 1979, ISBN 3775701419.

208 Bauhaus-Archiv Berlin: Jeannine Fiedler & T. Lux Feininger, the complete Interview, 1988, transcription at Bauhaus-Archiv, Berlin; quoted from: Staroste, Ulrike: Der Sprung über das Bauhaus - Das photographische Werk von T. Lux Feininger, Masterarbeit, TU Berlin, 2021.

209 Dirk Scheper: Oskar Schlemmer - Das Triadische Ballett und die Bauhausbühne, Berlin 1988
[The titles chosen for photographies that T. Lux Feininger made from scenes of the bauhaus stage correspond to those given by Dirk Scheper (Oskar Schlemmer - Das Triadische Ballett und die Bauhausbühne, Berlin 1988) and Oskar Schlemmer in his essay in bauhaus3, 1927 (based on the speech, delivered March 16, 1927 [219]) respectively. By way of derogation all the titles of photographies of the many different scenes of the performance on March 16, 1927, 'Demonstrations of the Elements of Staging'* (Scheper, chapter 5.3. Demonstration der Bühnenelemente, S. 141 ff.) were given the generic term "Figur im Raum... / Figure in Space... This term - or collective title - stems from the statement Schlemmer gives in bauhaus3, 1927: "the art of staging is an art of space. ... part of the space is the form, the form of the planes, the plastic forms; integral part of the form is the color and the light ... all this [is] the base for the entire action on stage as it is embodied by man...! we will perceive the appearance of the human figure as a sensation and we will recognise that she is a 'being bewitched by space'. ... the environment that produced the procenium ... can be called the origin of all theatrical playing." - Nevertheless the choice of a short collective title avoids as well a term that cannot clearly be defined ('Bühenelemente/elements of staging') as a long detailed description.]

[Furthermore, the dating of the photographs was assigned to the year of the first time the very ‘dance’ had been publicly performed. However, in most of the cases the photographs picture posed scenes and were taken at the occasion of a separate photo-shooting, either before or after the premiere. – For 21 photographs of his dance-scenes T. Lux Feininger notes in his 'Inventory of Bauhaus-related Photographs' (211): “… were taken under Oskar Schlemmer's direction". – Of course, these photo shootings took place shortly prior or after the premiere, since costumes and props had to be ready first and photos for documentation and publicity would have been needed right after the show.]

210 Bauhaus jounal: bauhaus3, 1927: bühne - aus einem vortrag von oskar schlemmer mit demonstrationen auf der bühne vor dem kreis der freunde des bauhauses am 16. märz 1927, S. 1-4. - cf.: bauhaus journal 1926-1931. facsimile edition, Lars Müller Publishers in collaboration with Bauhaus Archiv / Museum für Gestaltung, Zürich/Berlin 2019, ISBN 3037785888.
[The titles chosen for photographies that T. Lux Feininger made from scenes of the bauhaus stage correspond to those given by Oskar Schlemmer in his essay (based on the speech, March 16, 1927) and Dirk Scheper (Oskar Schlemmer - Das Triadische Ballett und die Bauhausbühne, Berlin 1988, [209]) respectively. By way of derogation all the titles of photographies of the many different scenes of the performance on March 16, 1927, 'Demonstrations of the Elements of Staging'* (Scheper, chapter 5.3. Demonstration der Bühnenelemente, S. 141 ff.) were given the generic term "Figur im Raum... / Figure in Space... This term - or collective title - stems from the statement Schlemmer gives in bauhaus3, 1927: "the art of staging is an art of space. ... part of the space is the form, the form of the planes, the plastic forms; integral part of the form is the color and the light ... all this [is] the base for the entire action on stage as it is embodied by man...! we will perceive the appearance of the human figure as a sensation and we will recognise that she is a 'being bewitched by space'. ... the environment that produced the procenium ... can be called the origin of all theatrical playing." - Nevertheless the choice of a short collective title avoids as well a term that cannot clearly be defined ('Bühenelemente/elements of staging') as a long detailed description.]

211 Manuscript by T. Lux Feininger entitled: Brothers., about his juvenile relationships with Laurence and especially Andreas, 5 pages, typed, undated, c. 1991.

212 Handwritten text by T. Lux Feininger on his painterly oeuvre of the postwar years in New York, 1946-1953, entitled: My Second Period, not dated, c. 2005 (cf. VITA 1952).

213 List of photographs and ephemera intended for posthumous donation to the Marine Museum prepared by the artist and reviewed ("checked for accuracy") on August 11, 2004: Catalogue of the T. LUX FEININGER COLLECTION of MARINE PHOTOGRAPHS. Section I - Published documents. A. Picture Postcards, B. Scrapbooks. Section II - Unpublished documents. A. Old Photographs (made by others not known to me), B. Photographs made by me or by others known to me, 1. Originals (the camera was pointed at the object portrayed), 2. Reproductions (the camera was pointed at another document). This bundle also includes also the explanatory text: Overall Desription of the T. Lux Feininger Collection of Marine Photographs, around 1987(ODMP).

214 Photographic Collection, Museum Folkwang Essen, Archive. Documents for the exhibition: "T. Lux Feininger, Fotografien 1927-1950", Museum Folkwang, 15.3.-20.4.1981. These are explanatory notes prepared by T. Lux Feininger in 1980 for the photographs selected for the exhibition at the Museum Folkwang Essen: 55 photocopies of his photographs with explanatory notes on the reverse. And 28 35mm-format slides of photographs (not in the Folkwang collection), some with explanations in the image and/or on the slide frame.

215 Transcript of notes: In 1990 The Paul Getty Museum, Santa Monica/Calif., asks T. Lux Feininger to identify the authorship of 49 photographies attributet to the artist in its collection (letter of April 16, 1990 by Weston Naef/ Judith Keller). The answering letter from April 28, 1990 includes an extensive four page "Transcript of notes on xerox copies". Here the artist classifies each photo in question as "by me" or "or not by me", sometimes "authorship uncertain" ["I ... am also making a type-written transcript of my scrawls for better legibility. Authorship of the images is indicated, beyond "yes" and "no", by positive other identification where it was possible, and a fourth category states that "authorship is uncertain" by which I mean that it is just possible that I may have taken the picture but had forgotten it."]. Furthermore TLF identifies the persons represented, the year of origin et al.

216 Typoscript of the letter of TLF in German language addressed to Christian Bouqueret, Paris, dated 26 July 1983. Bouqueret is autor of "bauhaus Photographie, Arles 1983. TLF answers to a letter of the author making corrections: "Wie gewünscht, erlaube ich mir einige kleine Anmerkungen zum Bildteil. Das Bild auf Seite 7 ist [seiten]verkehrt gedruckt... Obgleich ich nur einen Meter vom Aufnahmeort entfert war, ist dieses Bild nicht von mir, wenn es auch dem meinigen sehr ähnelt. ... Die Bilder auf Seite 11 und Nummern 3 und 11 sind auch nicht von mir. > Die Nummern 17, 18, 19 und 20 sind von einem Vorkursgenossen von 1926 namens Vollhardt in einem Lachkabinett aufgenommen... Nummer 23 ist auch nicht von mir. Die Nummern 58 und 59 dagegen sind von mir und wurden im Auftrag von Joost Schmidt und Franz Ehrlich aufgenommen. ... Nummer 65 ist auch von mir und darf als eins meiner bekanntensten Fotos angesehen werden. Oskar Schlemmer, als ich ihm mit großem Stolz dieses Bild verehrte, war très ému. "Ha - N A ! Seh' ich s o aus?!" N.B. Wenn auf einer Photographie der Stempel "Feiningerfoto" erscheint, handelt es sich immer um Andreas Feininger. Ich danke ... für die beigelgten, kleinen Photokopien. Das Bild, in welchem Ernst Egeler (mit banjo, welches er nicht spielen konnte) einen wilden "Charleston" aufführt, ist zwar mit meiner Kamera, aber nicht von mir exponiert. Dies wäre auch schwierig gewesen, da ich auf der Mauer sitzend die Klarinette blasend (die ich aber zu spielen verstand) dargestellt bin. Die Dunkelkammer-Arbeit, ist von meiner Hand."

217 Letter by T. Lux Feininger of 10th April 1988, to: Ms. C. O’Sullivan, Boston, MA.
Ref. to a "letter of April 7th with the enclosures of xerox copies of memorabilia from the Gropius House. […]
As to traditions of Gropius‘ birthday at the Bauhaus, there is, if not a birthday, a mementous occasion very vivid in my memory, when Gropius was about to leave the directorship of the Bauhaus in 1928: A commemorative album was collected and must be preserved (it may have been assembled by Ernst Kallai, that is, if he had already joined the Bauhaus); on this occasion, all the workshops prepared a page for inclusion in the album.
I was asked to take group photographs of the Wandmalerei, the Druckerei and the Weberei; I also took several pictures of a group of „alte Bauhäusler“ (who had begun life at the school in Weimar and had come along to Dessau) at their requst: This group consisted of Herbert Bayer, Marcel Breuer [sic: Werner Jackson], Josef Albers, Heinrich Koch, Andor Weininger, Clemens Röseler and Alexander Schawinsky. – Gropius leaving the Bauhaus was very vividly felt.
The [other] group photograph which you sent me, was taken by me with flashlight, and again I had totally forgotten its existence. The year could be 1928 (certainly in Dessau). […]"

218 The attribution of this photograph requires clear verification. It was not specified by the artist through inscription or other notes, nor is the negative in the estate and is considered missing. The attribution to the Oeuvre by T. Lux Feininger was made by the editors on the basis of a style-critical analysis and the evaluation of provenance and source situation.

219 This photograph originates from the estate of T. Lux Feininger, but its attribution requires unequivocal verification. This attribution was made by the editors on the basis of a style-critical analysis, but this motif could also have been seen and photographed by Andreas Feininger or by Lyonel Feininger at that time.


DRAWING

301 Data Compilation of Drawings by the artist in the estate [DZ], compiled by Conrad Feininger, The Estate of T. Lux Feininger, in 2011, consisting of 27 folders with various XLS, PDF and JPG image files.

302 Dirk Scheper: Oskar Schlemmer - Das Triadische Ballett und die Bauhausbühne, Berlin 1988, Schriftreihe der Akademie der Künste, volume 20, ISBN 3-88331-955-4

303 Notation by the artist on a photo or a document, with reference to the respective source. The source "Vol." refers to the eight albums of drawings, photographs, collages and texts compiled by T. Lux Feininger in the early 2000s, each with a detailed table of contents (Vol. I - VIII).

304 Quotation from a conversation or correspondence between T. Lux Feininger and collectors, curators, etc., with reference to the respective source. If two dates are given, the earlier one refers to Feininger's statement, the later one to the communication to the editors.

305 Quote from the autobiography: T. Lux Feininger: Zwei Welten, 2nd edition, Halle 2011, translated from the English by Florian Bergmeier. The English version quotes from the original manuscript: My Life and Paintings; A Memoir (typescript, no page number), transcribed for digital reading by Cecilia A. M. Witteveen.

306 List of photographs and ephemera intended for posthumous donation to the Marine Museum prepared by the artist and reviewed ("checked for accuracy") on August 11, 2004: Catalogue of the T. LUX FEININGER COLLECTION of MARINE PHOTOGRAPHS. Section I - Published documents. A. Picture Postcards, B. Scrapbooks. Section II - Unpublished documents. A. Old Photographs (made by others not known to me), B. Photographs made by me or by others known to me, 1. Originals (the camera was pointed at the object portrayed), 2. Reproductions (the camera was pointed at another document). This bundle also includes also the explanatory text: Overall Desription of the T. Lux Feininger Collection of Marine Photographs, around 1987(ODMP).


GRAPHIC WORKS

401 Print Collection [PC]. Handwritten one-page list by the artist; 31 numbered and 10 further items, the most recent entry concerns a graphic from 1993.

402 Discovered Woodcuts [DW]. Data compilation of the artist's original lino-prints in his estate, compiled by Conrad Feininger, The Estate of T. Lux Feininger, in 2011, consisting of an XLS list of 71 items and JPG image files.


SCULPTURE/OBJECT

501 Three-Dim. Section/ Three-dimensional Works [TD], artist’s list of sculptures and objects by T. Lux Feininger, not dated.

502 Quotation from a conversation or correspondence between T. Lux Feininger and collectors, curators, etc., with reference to the respective source. If two dates are given, the earlier one refers to Feininger's statement, the later one to the communication to the editors.

503 Notation by the artist on a photo or a document, with reference to the respective source. The source "Vol." refers to the eight albums of drawings, photographs, collages and texts compiled by T. Lux Feininger in the early 2000s, each with a detailed table of contents (Vol. I - VIII).

504 Quotation mutatis mutandis from the manuscript by T.Lux Feininger, Cambridge, April 1978: Aus meiner Frühzeit (From my early days*). Published in Ute Eskildsen, Jan-Christopher Horak (ed.): Film und Foto der zwanziger Jahre, Stuttgart 1979, ISBN 3775701419.


EDITOR

600 Editor's notes, internal marker

Catalogue Raisonné numbering

Catalogue raisonné numbers have not yet been allocated.

The following organization is intended:

Works are categorized by their medium with a leading order number
1.iii Painting
2.iiii Photography
3.iiii Drawing - original works on paper (drawings, watercolors)
4.iii Printmaking
5.iii Sculpture/Objets

The respective works are numbered in ascending order within their group according to their chronological date of creation.
Works of painting destroyed by the artist are arranged in chronological order in the catalog raisonné.

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