T. Lux Feininger

Methods

Documentation of the method and organisation of the Catalogue Raisonné.

This online-catalogue presents the first complete publication of the Catalogue Raisonné of the oeuvre by Theodore Lukas “Lux” Feininger and it documents the current stage of work.

Catalogue Raisonné numbers have not yet been allocated in this version.
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.

Sources

The groundwork of the catalogue raisonné of the oeuvre by T. Lux Feininger are four lists kept and entitled by the artist himself,
– for the paintings: „Catalog of Paintings“ [CoP] and the „List of Sold Works“[L],
– for his early photography: "Inventory of BAUHAUS-related photographs/ Inventar der Photographien aus der BAUHAUSzeit" [IBP], 1980, List of Photographs [LoP], 1983, [211] [214] among others, and
– for sculptures and objects: "Three-Dim. Section/ Three-dimensional Works" [TD] [212].
Comprehensive sources are provided by a collection of photographs of the artist's work, all inscribed by the artist. And the large photo-documentation by Conrad R. Feininger of all the paintings, drawings and sculptures left in the estate. All records were kindly made accessible by the estate.

The documentation of the early photographs of T.Lux Feininger was kindly supported by the museum Bauhaus Archiv / Museum für Gestaltung, Berlin, collections catalogue and images free for publication.
Included in the catalogue raisonné are only those photographies which TLF has listed, et al. whilst preparing for the exhibitions of his photographic Oeuvre at the Prakapas Gallery New York in 1980, 1983 (and 1985).

The catalogue raisonné of paintings by Dr. Ulrich Luckhardt was also taken into consideration, it covers the period up to 1936, the departure for America; it is founded on the Catalog of Paintings and was published in the catalogue for the jubilee exhibition “Welten-Segler [World-Sailer], T. Lux Feininger zum 100. Geburtstag, Werke 1929-1942”, Cologne 2010.
The biography that was compiled for the above publication is the basis for the biography ("Vita") of the artist in this online-catalogue raisonné; various additions were made. We thank Dr. Ulrich Luckhardt for his kind permission.

Other sources were found in exhibition lists and catalogues, newspaper articles etc., listed under „Literature“, and also in the stock book (Lagerbuch) of the Nierendorf Gallery, Berlin.

There was only limited access to the original works for measuring and making photos. Numerous collectors, museums, public and private collections have offered photos and information about the works in their possession, or gave access to the works. We are grateful to all.

Modus/Usage of the website

The catalogue raisonné documents all works created by T. Lux Feininger: Paintings, original works on paper (Drawings), Photography, Graphics, Sculpture and Studies.

The user has a choice among various sorting- und viewing options.

When you enter the ARTWORKS page it shows the basic setting ONLY HIGHLIGHTS, a selection of works by the artist.
To change this view go to ONLY HIGHLIGHTS; a dropdown menu opens and click on ALL WORKS. This menu includes DESTROYED (works) and BOOKMARKS (your personal list).
This sorting can be shown BY MEDIA or BY TITLE or BY DATING, click on the next dropdown menu.
The display can be viewed as LIST or GRID, three picture sizes are possible.

On top of this, there are filters for specifiying by MEDIA and THEMES (left side of the page), this enables a more detailed research.

On the page ARTWORKS, 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 a numerical- or letter sequence.

The works are, wherever possible, chronologically listed by date of origin. When a definite attribution is not possible, the estimated year of origin is preceded by “around”.
In such a case a search shows all the works that are in and around the year that is being looked at.
Works that have not (yet) been allocated are listed “n.y.”, no year.

When it is visible that the artist has essentially reworked a painting at a later stage, the dating of this work has been sorted in the later year. If however, photos or other documents show that the reworking has not significantly changed the style or character of the painting, it is sorted in the earlier year noted by the artist.

The works destroyed by the artist himself, known at this stage, have been included in the catalogue raisonné and have been sorted in the yearly timeline (see below).

The chronological rating within a year has not yet been made.
Catalogue raisonné numbers have not yet been allocated.

The catalogue raisonné is bilingual, German and English-American.
The work titles have been translated (see below).

All known titles additional to the work title are published (see below).

Chronological grading ot the destroyed works by the artist

The works destroyed by the artist himself as well as those he overpainted - known at this stage - have been included in the Catalogue Raisonné and have been sorted in the yearly timeline.

The grading and placing was possible since these works were listed and titled in the Catalog of Paintings [CoP] and the artist left thorough photo documentation of those works that he himself destroyed, resp. completely overpainted.

The equal grading with the existing works was encouraged by the handwritten notes often found on the backside of the photos “foolishly destroyed”.
And it is also backed by statements the artist made, in private conversations and also in his autobiography: “…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 four or five of those victims I regret having destroyed, and the foremost of them is the last picture I did in Bennett Street before moving out – a self portrait. (T. Lux Feininger, „My Life and Painting“, English manuscript).

And finally, after assessing the photo documentation it can be stated that the works destroyed by the artist, a rather large amount, are of a consistently high level.

Conclusion: The carefully kept documentation by the artist about the works destroyed, his explicit doubt regarding his decisions and the verifiable high level of the quality of the works are three solid arguments to include and grade the works destroyed by the artist in the chronological rating of the work.

Also given the rather large number of works destroyed, the inclusion of these works in the listing closes some gaps and shows the progression and growth in the painting oeuvre.

Title, work description and signature

PAINTINGS, DRAWINGS

The original titles are as marked on the front or the rear of the work.
When no title is given on the painting, the title follows the entry in the Catalog of Paintings, CoP [201] [202]. For his drawings the artist did not provide catalogues nor lists.

Other titles by which a work is or may have been known or listed are also recorded. They either originate from documents by the artist or from publications in exhibition catalogues or reviews or other public documents.
Untitled drawings have been given descriptive titles by the estate or the editors.

All other titles are mentioned in round brackets after the original title. The sources of the other titles are not mentioned.

All titles are translated (see below).

All artist descriptions on the work – signature, date, title etc. – are cited verbatim (Inscr.:…). The placement of these descriptions is accordingly noted; the layout of the various words and numerals, as well as the style and manner are disregarded.

All descriptions are by the artist, when not, the exception is noted.


PHOTOGRAPHIE

Titles are as given by the artist in his lists prepared for the exhibitions in 1980 and 1983, some in English and German, some in English only [211] [214]. And as marked on the back of the photo.

Other titles by which a work is or may have been known or listed are also recorded. They either originate from documents by the artist, or publications in exhibition catalogues or reviews or other public documents, or from collection catalogues, often with descriptive titles.

All other titles are mentioned in round brackets. The sources of the other titles are not mentioned.

Titles are not translated.

All artist descriptions on the work – signature, date, title etc. – are cited verbatim (Inscr.:…). The placement of these descriptions on the print is noted accordingly; the layout of the various words and numerals, as well as the style and manner are disregarded.

All descriptions are by the artist, when not, the exception is noted.


SCULPTURES

The original titles are as marked on the work. When no title is given on the work, the title follows the entry of the artist's list: Three-Dim. Section/ Three-dimensional Works [212].

Usually the artist did not name his sculptures ("toys").
However, the sons of the artist remember the works from their childhood and named them accordingly. These titles are mentioned in the Catalogue Raisonné.

Additional titles are mentioned in round brackets; the sources of additional titles are not mentioned.

Titles are not translated.

All artist descriptions on the work – signature, date, title etc. – are cited verbatim (Inscr.:…). The placement of these descriptions is accordingly noted; the layout of the various words and numerals, as well as the style and manner are disregarded.

All descriptions are by the artist, when not, the exception is noted.

Title translation and bilingualism

The catalogue raisonné is bilingual, German and English-American.
All work titles have been translated, except for the works destroyed by the artist.

The catalogue raisonné follows the practice of the catalogues of German exhibitions, the titles were translated in these publications.

The decision to translate the titles is mainly owned to the method of working by the artist, who freely switched between both languages.
Founded in his biography, born and raised in Berlin, son of a German and an American, and migrating to America at the age of 27, he titles his early work mostly in German, later in English; and at a later stage renaming some of the German titles in English.
This explains some of the various titles for one and the same painting. Other explanations for the various titles are different names in exhibition and sales catalogues or reviews.

The various titles used by the artist or in publications are noted in round brackets (…) following the original title.

T. Lux Feininger also titled some of his works in French or used encoded word and letter games. In both cases these titles have been translated resp. communicated.

All translations are discernible. Descriptions that are not marked (also those in round brackets) are by the artist resp. used by the source in the respective language, therefore they are not translated.

The translated titles, quotations or texts are marked with an asterisk*. All titles, except for those of the works destroyed by the artist, and comments have, wherever possible, been translated.

Explanatory translations or intelligibility translations are marked in square brackets. This applies for instance to the French titles and the word and letter games that have been analogously translated in English resp. German.

Since some of the titles by T. Lux Feininger were given in German, English or French or multilingual, not all entries are marked with an asterisk.

Quotations from the autobiography by T. Lux Feininger “Zwei Welten” [205] were taken from there and are not translated. The corresponding quotations in English are taken from the original manuscript and are also not translated.

Entries in square brackets […] always mark notations by the editors.

Explanations and statements about the work

The place of origin of a painting is taken from the list kept by the artist, the Catalog of Paintings.

When explanations or statements from the artist about a painting exist - also when they are handed down by a third party – they are given as background information with the work;
included are explanations about the motives, about the creation, memories etc.

Quotations from the autobiography by T. Lux Feininger “Zwei Welten” [205] were taken from there and are not translated. The corresponding quotations in English are taken from the original manuscript and are also not translated.

When relevant to the work, reference is given to important documents, remarks about possible problems with the date or attribution, background information about scenes and people presented and possible peculiarities in the technique.

The sources of these references are marked as Annotation in square brackets [200]. For the explanation of the annotations, see below.

Technique, picture carrier, measurements

The technique information is followed by the picture carrier information.

The measurements are given in inches, height x width. Measurements from the outer corners of the stretcher frame.

All accessible works were measured. In numerous cases this was not possible, the measurements are then taken from the sources, or marked „size not known“.

PHOTOGRAPHY: The quality/sort and measurements of a negative or diapositive is only expressly mentioned, when this information is known or credibly assured by the owner. The quality/sort of a print known is only expressly mentioned, when its quality (vintage, later (lifetime-)print, posthume print, reproduction) is known or credibly assured by the owner. Is this information not given in the catalogue raisonné the quality/sort of the print could not be verified by the editors.

The editors only included those photographies in the catalogue raisonné, that TLF has listed, et al. whilst preparing for the exhibitions of his photographic Oeuvre at the Prakapas Gallery New York in 1980, 1983 (and 1985). Other photographies by the artist which were found in the estate (et al.) but not listed by TLF were not considered part of the artistic work.

GRAPHICS: The artist worked only on linocuts [Conrad Feininger]; in the familiy the prints were talked about as being "woodcuts". Therefore in some literature his handprints are erroneously called woodcuts.

Dating

The information about the date of origin of a work is determined by the year. It corresponds with the information given by the artist on the work itself or in his notes.

If the artist specified the dating with a day or month, this information is quoted in the category Inscr.

When two consecutive years are noted and it can be assumed that the artist worked at the turn of the year, the work is dated at the start of the later year.

When the artist noted diverging years and it can be concluded that the painting has been reworked in major parts, the work is dated and sorted in the later year.
However when photos or other documentation by the artist show that the painting was not essentially changed in style or character, the work is dated and sorted in the earlier year noted by the artist.

When the artist did not date the work it has been stylistically sorted and marked with the term ca.

When in the present literature a work is listed with a different date or an awarded date is dubious or difficult, it is marked with the work concerned.

Within the work groups the works are chronologically sorted according to their origin.

PHOTOGRAPHY: The information about the date of origin of a photography is as given by the artist in his oeuvre-lists prepared for the exhibitions in 1980 and 1983 [211] [214], in further notes by the artist and as marked on the back of the photo-print. Years and notes made on the back of the print are mentioned following "Inscr.: ...".
When the artist did not date the photography it has been stylistically sorted and marked with the term ca. or around. Dates may deviate, notably if the year is given by the owner of the print.

Whereabouts and provenance

„Whereabouts“ notes the owner or the location of the work known at this stage by the editors. Private collectors are marked in the online version as “private collection”. When the work is owned by a public collection, the requested name is noted.

When the current owner or the location could not be identified, or the owner has not reconfirmed the location, the work has been marked “Whereabouts not known“.

This information corresponds with current stage at the editorial deadline.

Photography: Prints without mentioning the whereabouts are in a private collection.

Provenances are not mentioned in the online version of the catalogue raisonné..

Exhibitions

The list of exhibitions was checked, complemented and re-issued, using the sources known. When available the list shows the year, city, place and exhibition title as well as the catalogue numbers of the works exhibited. The complete bibliographical information is listed under exhibitions.

Literature

The literature index was checked, complemented and re-issued, using the sources known. It shows the publications about works of the artist or the artist in books, catalogues, exhibition lists, newspapers, magazines, periodicals etc.

When available it shows the author or publisher, place and year of publication with an information about the page and/or the illustration of the work. The complete bibliographical index is listed under Literature.

Collections

The collection list shows the public collections that hold works by T. Lux Feininger and who agreed to the publication of their names. Private collections are not mentioned in the online catalogue raisonné.

Illustrations and photo credits

It is attempted to present high quality images of the works. In some cases this was not possible since 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 photos, color slides or amateur photos were used as illustration and although these were processed the quality remains largely insufficient. This has been accepted since it seemed more important to show the body of work as complete as possible.

In some cases no photo documentation about a particular work was passed on and so the illustration of the work was not possible. Therefore the photo plane remains empty.

The copyright under impressum gives information about the copyright and the source of the images. Copyright of all works by T.Lux Feininger: Estate of T. Lux Feininger, USA.

The photographs of the artworks shown are from different sources and by various photographers. The abbreviation shown next to the image refers to its source or photographer:

A22: Archiv T. Lux Feininger, Cambridge MA/USA
AM: Achim Moeller/Moeller Fine Art, USA
BA: Foto Bartsch Berlin, D
BW: Bradford Watkins, USA
Bz: Tom Brazelton, USA
CF: Conrad R. Feininger, USA
CM: Carnegie Art Museum, USA
DCF: Danilo Curti Feininger, I
DrMoellers: Dr. Doris Moellers Kunstkontor, D
FE: Freeman’s Philadelphia, USA
Galerie Berinson: Galerie Berinson, Berlin
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
JL: Jan Lodal, USA
JN: John Nye, USA
KL: Kevin Loader
Koller AG: Koller Auctions AG, Zurich, Geneva
Kr: Hermann Krause, D
LS: Linda Schroeder, USA
MA-Sc: Siegfried B Schäfer (extern), D
MB: Museum Moritzburg Halle, D
MFA Houston: The Museum of Fine Arts, Houston
MN: Molly Nye, USA
MP: Martina Pipprich, D
Mo: Camilla Modéer, USA
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
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 sign explanation

Abb./ ill.: Abbildung / illustration
Bez.: Bezeichnung, bezeichnet
BRM: Busch Reisinger [Germanic] Museum; today: Harvard Art Museums
ca.: circa / circa
cf.: compare / vergleiche
CoP: [201] Catalog of Paintings; Quelle /source: T. Lux Feininger
Eng.: engine, locomotive / Lokomotive, Zugmaschine
err.: erroneously / irrtümlich
et al.: et alii, et aliae, et alia / among others, etc. / u.a., und andere, unter anderem
etc.: et cetera / and so on / und so weiter
ff.: folgend / following
foll.: following / folgend
HA: Harvard Art Museums, Cambridge, Mass.
hic: hier / here
i. e.: id est / that is to say / das heißt
IBP: [211] "Inventory of BAUHAUS-related photographs/ Inventar der Photographien aus der BAUHAUSzeit", 1980; Quelle /source: T. Lux Feininger
in: inches / Zoll
ill.: illustration / Abbildung
irrt.: irrtümlich / erroneously
Inscr.: Insciption, inscribed by the Artist
L: [202] List of sold works; Quelle/source: T. Lux Feininger
LoP: [214] List of Photographs, April 9, 1983. Photos assigned to the Prakapas Gallery New York [...] for an exhibition to be held approx. June 17, 1983 [by TLF]
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
o. J.: ohne Jahr / no year
o. T. : ohne Titel / no title
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: [212] Three-Dim. Section/ Three-dimensional Works; Quelle /source: T. Lux Feininger
TLF: Theodore Lukas „Lux“ Feininger
u. a.: unter anderem, unter anderen / among other things
u. ä.: und ähnliche / and other similar (objects)
verso: Bildrückseite / the back side, reverse of a picture
vgl.: vergleiche / compare
v. l. n. r.: von links nach rechts / from left to right
wg.: wegen / due to, because of

* 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.

Annotation and sources

An annotation number in the 200 range refers to a source
An annotation number in the 400 range refers to an exhibition

[…] Remarks are shown in square brackets [201]. 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.

* Asterisk (Star) marks a translation

201 Catalog of Paintings, List of works by the artist

202 List of Sold Works, List of sold works by the artist

203 Notation by the artist on a photo or a document

204 Quote from a letter by the artist to collectors, museum etc.

205 Quote from the autobiography: T. Lux Feininger, „Zwei Welten“, 2. Auflage, Halle 2011, translation Florian Bergmeier. The englische Version quotes from the original manuscript „My Life and Paintings; A Memoir“ (typewriter, no page numbers)

206 Memo of conversations with T. Lux Feininger, various sources

207 Quote from editor correspondance with collectors, museums, galleries etc.

208 Ulrich Luckhardt, „Werkverzeichnis der Gemälde von 1929 bis 1936“, [catalogue raisonné paintings from 1929 up to 1936] in the catalogue for the jubilee exhibition „Welten-Segler – T. Lux Feininger, the centenary birthday”, Cologne 2010, p. 128ff.

209 Transcripts from collectors and the like and other documentation; not verified

210 Quote from reviews and articles from articles, newspapers, magazines, periodicals, catalogues, exhibition lists etc.

211 Inventory of BAUHAUS-related photographs/ Inventar der Photographien aus der BAUHAUSzeit, List of photographies by the artist [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 measurements of the prints (incl. 'Appendix' and 'Supplement' this list is 17 pages strong and contains 202 positions) [Bhs].
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.'

212 Three-Dim. Section/ Three-dimensional Works, List of sculptures by the artist

213 T. Lux Feininger: Die Bauhauskapelle. Ein Beitrag zur Geschichte des Bauhauses., April 1987, Cambridge, MA (Essay, unpoblished; Typoscript, 7 pages, copy with Bauhaus-Archiv, Berlin, Inv.nr.: 10018/1-7, ccan: Bauhaus-Archiv Berlin 2016, copyright: The Feininger Estate, Westport/MA

214 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'.

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."


401 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.

402 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.

Catalogue Raisonné numbering

Catalogue Raisonné numbers have not yet been allocated.

The following organisation is intended:

Work groups are set apart in a tenthousand-code
10.iii - Painting
20.iii – Drawing – Original works on paper (drawings, watercolor, gouache…)
30.iii – Photografie
40.iii - Print
50.iii - Sculpture

The respective works in the work group obtain an ascending number corresponding to the date of origin in a chronological order.

The destroyed works will get an „x“ added to the numer. The destroyed works by the artist, such as are known to the editors, will be sorted in the appropriate work group in a chronological order.

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