German watercolors, drawings and prints: A midcentury review
German watercolors, drawings and prints: A midcentury review is the title of a traveling exhibition that was shown by the federal government in selected cities in the USA in 1956 .
Preparation and scope
The cultural department of the Foreign Office was the initiator of the exhibition . As part of the foreign cultural policy , the tour was of the Federal Republic of Germany financed ( sponsored by the Federal Republic of Germany ) and the American Federation of Arts , under its Director Thomas Messer organized locally.
The exhibition showed 112 works from the period from 1905 to 1955. The year 1905 was chosen as the beginning of the expressionist artist group Die Brücke . In fact, the oldest piece, a preliminary study by Käthe Kollwitz for her etching Woman with Dead Child , was from 1903. The focus was on the works of Expressionism and showed art that had been slandered and persecuted by the National Socialists as Degenerate Art . The exhibition is thus part of a development since 1945, that of the Munich exhibition Der Blaue Reiter. Munich and the art of the 20th century found their first, much acclaimed expression in 1949 and which Julia Voss characterized in the FAZ 2013 as the continuation of politics with the means of art : It was the founding year of the Federal Republic; the previously ostracized modernity rose from now on to statecraft.
The impetus for the project came in the early 1950s from the cultural department of the Federal Foreign Office and from the Karlsruhe museum director and co-founder of the documenta Kurt Martin . The selection was made by Leonie Reygers , the founding director of the Museum am Ostwall . The selection was based on a high standard of work quality and the general rank of the artist. With its focus on works on paper, on watercolors and graphics , the selection created an intimate glimpse that, according to Anton Henze in his preview, will become an experience for the German viewer and a counterpart to the documenta (first held in 1955) let.
The works on display were on loan, most of them from private collections . The lenders were
- Museum am Ostwall , Dortmund
- Günther Franke Gallery, Munich
- Hildebrand Gurlitt , Düsseldorf
- CA Isermeyer, Hamburg
- Hermann Blumenthal's estate ( Blumenthal legacy )
- Leopold Hoesch Museum, Düren
- Wallraf-Richartz-Museum ( Josef Haubrich Collection ), Cologne
- L. Pretzell, Celle
- J. Schürer, Mülheim
- Art museums Krefeld
- Hella Nebelung Gallery, Düsseldorf
- Kunsthalle Bremen
- Gallery Alex Vömel, Düsseldorf
- Gallery Springer , Berlin
- State Collection of Graphics, Munich
- Germanisches Nationalmuseum , Nuremberg
- Ludwig Grote , Nuremberg
- State Art Collection, Karlsruhe
- Art collections of the city of Düsseldorf
- Private collection, Cologne
- Wolfgang Macke, Bonn
- Modern gallery Otto Stangl , Munich
- Municipal Museum , Wuppertal
- Rudolf Hoffmann Gallery, Hamburg
- Hans Lühdorf, Düsseldorf
- Witten private collection
- Anton Henze , Greven
- Günter Peill, Düren
- Helene Rohlfs, Hiddesen
- Do Schlemmer, Stuttgart
- Albert Schulze-Vellinghausen , Dorsten
Implementation and reception
The exhibition started on May 28, 1956 in New York , where it was shown in the Grace Borgenicht Gallery on 57th Street and the Weyhe Gallery on Lexington Avenue . In October she was at the Busch-Reisinger Museum at Harvard University in Cambridge (Massachusetts) . In San Francisco it was exhibited at the MH de Young Memorial Museum in. The critic of the Harvard newspaper The Harvard Crimson , Lowell J. Rubin, welcomed the exhibition as a good insight into the checkered ( fluorescent ) history of German art in the 20th century. He pointed out that, in his opinion, there was a strong difference in quality between the early works and the following generation: A more blatant contrast could hardly be conceived than that between German art between 1905–1935 and the later period from 1935–1955. There are examples of the photographic realism that was the order of the day during the Nazi regime so that this era appears as a large blank. But its dryness in the way of artistic ideas is shown by what came after. Contemporary German art seems to be well behind literature in recovering from the war. There is almost no evidence of the originality that influenced the whole of western art in the early part of the century. What we see are derivative paintings.
Catalog
The catalog was entitled German watercolors, drawings and prints [1905-1955]. A midcentury review, with loans from German museums and galleries and from the collection Dr. H. Gurlitt . In her introduction to the catalog, Leonie Reygers gives short introductions to the Brücke , the Blauer Reiter and the Bauhaus painters . The aim of the exhibition is to introduce American art lovers to German art of our century, and we hope to make new friends for it in the USA. At least sales were not excluded.
The catalog was illustrated with 36 good quality black-and-white illustrations for the time. It was produced in the Busche print shop in Dortmund. The catalog is arranged alphabetically by artist. Each catalog entry names the title and year of the work of art, technology and dimensions, details of whether or not signed, and the lender. No information about the provenance beyond the lender at the time is given.
List of loans
number | Artist | title | year | Dimensions | material | Lender | Remarks | Illustration | |
---|---|---|---|---|---|---|---|---|---|
1 | Ernst Barlach | The Seventh Day | 1920,1931 | 44 x 53.8 cm | Charcoal drawing | Bremen, Ernst Barlach Society | Study for the last plate of the woodcut series The Changes of God | ||
2 | Ernst Barlach | The Forsaken Ones | 1930 (approx.) | 31 × 43 cm | lithograph | Bremen, Ernst Barlach Society | |||
3 | Ernst Barlach | Daybreak | 1932 | 31.5 × 43 cm | lithograph | Bremen, Ernst Barlach Society | to Faust II, 1 | ||
4th | Willi Baumeister | Preliminary Study for 'Eidos' | 1936 | 49.7 x 40.7 cm | Pencil drawing | Munich, Kliehm Art Cabinet | |||
5 | Willi Baumeister | Abstract composition | 1942 | 39 × 58.7 cm | Color drawing ( color drawing ) | Cologne, Wallraf-Richartz-Museum | |||
6th | Willi Baumeister | Cosmic gesture | 1952 | 54.5 × 65 cm | screen printing | Dortmund, Museum am Ostwall | |||
7th | Willi Baumeister | Fist motif | 1953 | 44.6 × 59.5 cm | screen printing | Dortmund, Museum am Ostwall | from the Montaru series | ||
8th | Max Beckmann | The Koenigin Bar with Self Portrait | 1920 | 31.7 x 25.5 cm | etching | Dortmund, Museum am Ostwall | |||
9 | Max Beckmann | Self portrait | 1922 | 53 x 41.7 cm | Woodcut | Dortmund, Museum am Ostwall | |||
10 | Max Beckmann | swimming pool | no year | 43 x 28.6 cm | etching | Dortmund, Museum am Ostwall | |||
11 | Max Beckmann | Rowers | 1928 | 55.8 × 73 cm | (black) chalk drawing | Munich, Günther Franke Gallery | today in the Deutsche Bank Collection | Fig. | |
12 | Max Beckmann | Lion Tamer | 1930 | 90 × 60 cm | Mixed media ( mixed technique ) | Düsseldorf, Hildebrand Gurlitt | Auctioned by Cornelius Gurlitt in 2011 at the Lempertz auction house for EUR 864,000. | (Fig.) | |
13 | Max Beckmann | Zandvoort | 1934 | 49.8 x 64.7 cm | watercolor | Düsseldorf, Hildebrand Gurlitt | 2013 StA Augsburg (StA) | ||
14a | Hermann Blumenthal | Two Youths | 1933 | 19.6 × 15 cm | etching | Hamburg, Christian Adolf Isermeyer | |||
14b | Hermann Blumenthal | Two Youths | 1933 | 19.5 x 14.7 cm | etching | (Estate Blumenthal legacy Blumenthal ) | |||
15th | Otto Dix | lady | 1922 | 35 × 28 cm | etching | Düren, Leopold Hoesch Museum | II. State | ||
16 | Otto Dix | Window | 1923 | 40 × 30 cm | watercolor | Cologne, Wallraf-Richartz-Museum ( Haubrich collection ) | |||
17th | Max Ernst | Imaginary Composition | 1951 (before) | 13 × 18 cm | etching | Düren, Leopold Hoesch Museum | |||
18th | Max Ernst | phantom | 1954 (approx.) | 49 × 36 cm | Color lithograph | Celle, Lothar Pretzell | |||
19th | Lyonel Feininger | West Deep III | 1932 | 30 x 47.3 cm | watercolor | Mülheim, J. Schürer | 2012 at Ketterer from private North-Rhine Westphalia collection sold for 82,960 EUR | Fig. | |
20th | Lyonel Feininger | Fishing Boat at Swinoujscie | 1934 | 30.2 x 46.4 cm | watercolor | Mülheim, J. Schürer | Swinemünde fishing cutter , auctioned in 2004 at Ketterer from a private collection in North Rhine-Westphalia for EUR 24,570 | Fig. | |
21st | Lyonel Feininger | Vision of a Vessel | 1935 | 30.5 × 41 cm | watercolor | Krefeld, Krefeld Art Museums | |||
22nd | Werner Gilles | Still life | 1948 | 32.5 × 48 cm | Oil painting on paper | Düsseldorf, Hella Nebelung Gallery | 2006 auctioned at Villa Grisebach for 11,500 EUR (auction 135, lot 320) | Fig. | |
23 | Werner Gilles | Lament for the Head of Orpheus | 1950 | 35 x 49.5 cm | Oil on paper | Bremen, Kunsthalle Bremen | |||
24 | Werner Gilles | Venit Mors | 1950 | 62.2 x 48.3 cm | Watercolor and tempera | Düsseldorf, Galerie Alex Vömel | |||
25th | George grosz | Street scene | no year | 42 × 30 cm | watercolor | Cologne, Wallraf-Richartz-Museum ( Haubrich collection ) | |||
26th | George grosz | Tartarin Follows | no year | 48.4 x 32.7 cm | ink | Cologne, Wallraf-Richartz-Museum ( Haubrich collection ) | |||
27 | Karl Hartung | Composition | 1952 (approx.) | 43.3 x 61.2 cm | Chalk drawing | Hamburg, Christian Adolf Isermeyer | |||
28 | Karl Hartung | Composition | 1952 (approx.) | 61.2 x 43.3 cm | Chalk drawing | Dortmund, Museum am Ostwall | |||
29 | Erich Heckel | The Man | 1913 | 43 × 21.5 cm | Woodcut | Düsseldorf, Hildebrand Gurlitt | |||
30th | Erich Heckel | In Ostend | 1915 | 36.5 × 27 cm, 36 × 29.6 cm, 36 × 27.3 cm | Woodcut , hand-colored | Düsseldorf, Hildebrand Gurlitt | triptych | ||
31 | Erich Heckel | Mountain Landscape | 1922 | 43.5 x 34.8 cm | watercolor | Cologne, Wallraf-Richartz-Museum ( Haubrich collection ) | |||
32 | Bernhard Heiliger | Two Crouching Nude Women | 1948 | 42.5 × 58.6 cm | Chalk drawing | Hamburg, Christian Adolf Isermeyer | |||
33 | Bernhard Heiliger | Seated Man | 1948 | 60.7 x 41.7 cm | graphite | Hamburg, Christian Adolf Isermeyer | |||
34 | Bernhard Heiliger | Lying figures | 1950 | 48.2 x 73.3 cm | Graphite and pastel | Berlin, Springer Gallery | |||
35 | Karl Hofer | Two Women Friends | 1923 | 45 × 57.2 cm | Chalk drawing | Munich, State Collection of Graphic Art, Munich | |||
36 | Karl Hofer | Nude | 1924 | 61.5 × 47.5 cm | Chalk drawing | Mülheim, J. Schürer | |||
37 | Wassily Kandinsky | Sketch for 'Bright Pictures' | 1913 | 25.8 x 34.6 cm | watercolor | Nuremberg, Germanic National Museum | |||
38 | Wassily Kandinsky | Conclusion | 1924 | 33.6 x 48.5 cm | watercolor | Düsseldorf, Hildebrand Gurlitt | |||
39 | Wassily Kandinsky | Weighted suspension | 1924 | 48.5 x 33.6 cm | watercolor | Düsseldorf, Hildebrand Gurlitt | |||
40 | Wassily Kandinsky | Obstinate Brown | 1925 | 47.7 x 31.7 cm | watercolor | Nuremberg, Ludwig Grote | Stubborn Brown , auctioned at Sotheby’s on June 26, 2008, Lot 198, for £ 313,250 | Fig. | |
41 | Ernst Ludwig Kirchner | Circus rider | 1913 | 67 × 51 cm | Brush drawing | Düsseldorf, Hildebrand Gurlitt | |||
42 | Ernst Ludwig Kirchner | Women Performers in Blue | 1914 | 67 × 50.5 cm | Pastel drawing | Mülheim, J. Schürer | Blue Artists , privately owned in 2003 | ||
43 | Ernst Ludwig Kirchner | Portrait of Ludwig Schames | 1917 | 56.5 x 27.7 cm | Woodcut | Düsseldorf, Hildebrand Gurlitt | |||
44 | Ernst Ludwig Kirchner | Woman in the night | 1918 | 59 × 36 cm | Woodcut , colored | Düsseldorf, Hildebrand Gurlitt | |||
45 | Ernst Ludwig Kirchner | Mountain Firs | 1921 | 59.5 × 33.5 cm | Color woodcut | Düsseldorf, Hildebrand Gurlitt | |||
46 | Ernst Ludwig Kirchner | Swiss peasants | 1921 | 50 × 38 cm | watercolor | Cologne, Wallraf-Richartz-Museum ( Haubrich collection ) | |||
47 | Ernst Ludwig Kirchner | Nudes in the Woods | 1935 (approx.) | 35.2 x 49.5 cm | Color woodcut | Karlsruhe, State Art Gallery Karlsruhe | |||
48 | Paul Klee | Greek and Barbarians | 1920 | 38.8 x 27 cm | Mixed media ( mixed technique ) | Düsseldorf, Hildebrand Gurlitt | |||
49 | Paul Klee | The buid of a smile | 1921 | 36 × 25 cm | Monotype with watercolor | Düsseldorf, art collections of the city of Düsseldorf | The Bud of the Smile , Inv. No. K 1949-90 | ||
50 | Oskar Kokoschka | Portrait of Else Heims | 1920 (approx.) | 64 × 45 cm | Chalk drawing | Cologne, Wallraf-Richartz-Museum ( Haubrich collection ) | |||
51 | Oskar Kokoschka | Girl | 1920 (approx.) | 81.5 × 58 cm | lithograph | Düsseldorf, Hildebrand Gurlitt | |||
52 | Oskar Kokoschka | Girl standing | 1930 (approx.) | 68 × 50 cm | watercolor | Mülheim, J. Schürer | |||
53 | Käthe Kollwitz | Woman with Dead Child | 1903 | 40.8 x 48 cm | Chalk drawing | Cologne, private collection | Study for the etching of the same name | ||
54 | Käthe Kollwitz | Battlefied | 1907 | 48.8 x 40.7 cm | Chalk drawing | Cologne, private collection | Preparatory drawing for plate VI of the Peasant War series | ||
55 | Käthe Kollwitz | Self portrait | 1923 | 36 × 29.5 cm | Chalk drawing | Cologne, private collection | |||
56 | Wilhelm Lehmbruck | Nude | 1912 | 75.5 x 53.1 cm | watercolor | Düsseldorf, art collections of the city of Düsseldorf | = Standing nude from behind, K 1952-203 | ||
57 | Wilhelm Lehmbruck | Great Resurrection | 1913 | 39.2 x 29.7 cm | etching | Munich, State Collection of Graphic Art, Munich | |||
58 | Wilhelm Lehmbruck | Inondation | 1914 | 39.5 × 29.5 cm | etching | Munich, State Collection of Graphic Art, Munich | |||
59 | August Macke | Garden Café | 1912 | 44.7 x 50 cm | Colored ink | Hamburg, CA Isermeyer | |||
60 | August Macke | Lady in Coach | 1913 | 45 × 50 cm | watercolor | Düsseldorf, Hildebrand Gurlitt | |||
61 | August Macke | Bright House (Tunis) | 1914 | 26.6 x 20.8 cm | watercolor | Bonn, Wolfgang Macke | 2nd version of The Bright House (Bern) | Fig. | |
62 | August Macke | Terrace of a Country House in Sr. Germanin (Tunis) | 1914 | 22.7 x 28.7 | watercolor | Bonn, Wolfgang Macke | today Münster, Westphalian State Museum | ||
63 | August Macke | With the Parrots | 1914 | 29.5 x 35 cm | Chalk drawing | Dortmund, Museum am Ostwall | With the parrots | Fig. | |
64a | Franz Marc | Three Horses in front of Fir Trees | 1911 | 17 × 21 cm | graphite | Munich, Modern Gallery Otto Stangl | from a sketchbook | ||
64b | Franz Marc | Landscape with Two Horses | 1912 | 10.5 x 17 cm | graphite | Munich, Modern Gallery Otto Stangl | from a sketchbook | ||
65 | Franz Marc | Large horse | 1913 (approx.) | 45.8 x 38 cm | watercolor | Düsseldorf, Hildebrand Gurlitt | |||
66 | Franz Marc | Two horses | 1913 (approx.) | 23 x 29.5 cm | Tempera on brown paper | Düsseldorf, Hildebrand Gurlitt | |||
67 | Franz Marc | Story of Creation I | 1914 | 24 × 20 cm | Woodcut | Wuppertal, Municipal Museum | |||
68 | Franz Marc | Story of Creation II | 1914 | 24 x 20.2 cm | Woodcut | Düsseldorf, Galerie Alex Vömel | |||
69 | Gerhard Marcks | Goat stove | 1922 | 21 x 30.5 cm | Woodcut | Hamburg, Rudolf Hoffmann Gallery | |||
70 | Gerhard Marcks | Studies of Models for the Sculpture 'The Prophetess' | 1927 | 47 × 28 cm | Pencil drawing | Hamburg, Rudolf Hoffmann Gallery | |||
71 | Gerhard Marcks | Charon | 1946 | 22 × 35 cm | Woodcut | Hamburg, Rudolf Hoffmann Gallery | |||
72 | Ewald Mataré | Nocturnal Meadow | 1932 (approx.) | 19.2 x 44.5 cm | Woodcut | Düsseldorf, Hans Lühdorf | |||
73 | Ewald Mataré | Lying Horse | 1950 (approx.) | 40.2 x 41 cm | Color woodcut | Witten, private collection | |||
74 | Georg Meistermann | Fire Dove | 1953 | 35 x 43.2 cm | Color lithography | Greven, A. Henze | |||
75 | Paula Modersohn-Becker | Child in the cradle | 1903/04 (approx.) | 25.6 x 28.2 cm | Charcoal drawing | Bremen, Kunsthalle Bremen | |||
76 | Paula Modersohn-Becker | Old Peasant Woman with Glass Bottle | 1906 (approx.) | 27.2 x 35 cm | Charcoal drawing | Bremen, Kunsthalle Bremen | |||
77 | Paula Modersohn-Becker | Mother and Child | 1906 | 22.9 x 31.2 cm | Charcoal drawing | Bremen, Kunsthalle Bremen | |||
78 | Otto Mueller | At the waterside | no year | 50 × 67.5 com | Watercolor and crayon | Düsseldorf, Hildebrand Gurlitt | |||
79 | Otto Mueller | Two girls | 1920 (approx.) | 43.5 × 34 cm | lithograph | Mülheim, J. Schürer | |||
80 | Otto Mueller | Dune Landscape | 1921 (approx.) | 30 × 41.5 cm | lithograph | Mülheim, J. Schürer | |||
81 | Otto Mueller | Gypsy woman with Child on Arm | 1927 | 68.5 × 50 cm | Color lithography | Mülheim, J. Schürer | from the gypsy folder | ||
82 | Ernst Wilhelm Nay | Wedding of Aenor | 1944 | 23.7 x 30 cm | tempera | Düren, Günther Peill | |||
83 | Ernst Wilhelm Nay | In the garden | 1947 | 25.2 x 12.3 cm | tempera | Düren, Günther Peill | |||
84 | Ernst Wilhelm Nay | Three graces | 1948 | 28 × 38 cm | tempera | Bremen, Kunsthalle Bremen | |||
85 | Rolf Nesch | Sebastian | 1940 | 60 x 43.3 cm | Color metal print | Dortmund, Museum am Ostwall | |||
86 | Rolf Nesch | Cock | 1955 | 59.5 × 43.5 cm | Color metal print | Berlin, Springer Gallery | |||
87 | Emil Nolde | Discussion | 1913 | 79.7 × 58 cm | Lithograph , hand-colored | Düsseldorf, Hildebrand Gurlitt | Sample pressure ( preliminary print ) | ||
88 | Emil Nolde | Young Danish Woman | 1913 | 68.5 x 56.8 cm | Color lithography | Düsseldorf, Hildebrand Gurlitt | |||
89 | Emil Nolde | Dancer | 1913 | 54.3 x 68.7 cm | Color lithography | Düsseldorf, Hildebrand Gurlitt | |||
90 | Emil Nolde | Young couple | 1913 | 61.7 × 50.5 cm | Color lithography | Düsseldorf, Hildebrand Gurlitt | |||
91 | Emil Nolde | Head of a South Sea Islander | 1913/14 (approx.) | 50.3 × 36 cm | watercolor | Cologne, Wallraf-Richartz-Museum | |||
92 | Emil Nolde | Sunflowers and red blossoms | 1920/25 (approx.) | 45.5 x 34.9 cm | watercolor | Düsseldorf, Galerie Alex Vömel | |||
93 | Emil Nolde | Landscape in Jutland | 1920/25 (approx.) | 34 x 47.7 cm | watercolor | Düsseldorf, Hildebrand Gurlitt | |||
94 | Max Pechstein | Fishermen in the surf | 1920 | 51 x 74.7 cm | watercolor | Cologne, Wallraf-Richartz-Museum ( Haubrich collection ) | |||
95 | Christian Rohlfs | Return of the Prodigal Son | 1916 | 50 × 36.5 cm | Color woodcut | Mülheim, J. Schürer | |||
96 | Christian Rohlfs | Cathedral and Severi Church in Erfurt | 1924 | 51.3 x 72 cm | Tempera on paper | Hiddesen, Helene Rohlfs | |||
97 | Christian Rohlfs | Still life | 1926 | 51.5 x 70.7 cm | Tempera on paper | Hiddesen, Helene Rohlfs | |||
98 | Christian Rohlfs | Calla | 1937 | 78.5 × 58 cm | Tempera on paper | Dortmund, Museum am Ostwall | |||
99 | Oskar Schlemmer | Dancer | 1923 | 60.5 × 39 cm | lithograph | Stuttgart, Tut Schlemmer | |||
100 | Oskar Schlemmer | Between the Pillars | 1928 | 55.7 x 43 cm | watercolor | Stuttgart, Tut Schlemmer | |||
101 | Oskar Schlemmer | Two women | 1931 (approx.) | 55 × 37.5 cm | watercolor | Düsseldorf, Hildebrand Gurlitt | |||
102 | Karl Schmidt-Rottluff | Journey of the Disciples to Emmaus | 1918 | 39.6 × 50 cm | Woodcut | Düren, Günther Peill | |||
103 | Karl Schmidt-Rottluff | Christ and Judas | 1918 | 39.5 × 50 cm | Woodcut | Düsseldorf, Hildebrand Gurlitt | |||
104 | Karl Schmidt-Rottluff | Turf Pond | 1927 | 50 × 68.5 cm | watercolor | Krefeld, Krefeld Art Museums | Peat pond | ||
105 | Karl Schmidt-Rottluff | Ponte Nomentano | 1930 | 56.7 x 75.8 cm | watercolor | Wuppertal, Von der Heydt Museum | |||
106 | Karl Schmidt-Rottluff | Village in Ticino | 1930 (approx.) | 56.5 × 78 cm | watercolor | Düsseldorf, Hildebrand Gurlitt | |||
107 | Hans Uhlmann | Composition | 1949 | 49 × 68.5 cm | watercolor | Hamburg, CA Isermeyer | |||
108 | Theodor Werner | Composition 39/55 | 1955 | 47.6 x 66.3 cm | Mixed media | Berlin, Springer Gallery | |||
109 | Fritz Winter | Composition | 1949 | 17.2 x 21.8 cm | tempera | Munich, Modern Gallery Otto Stangl | |||
110 | Fritz Winter | Composition | 1949 | 21.7 x 17.2 cm | Crayon | Munich, Modern Gallery Otto Stangl | |||
111 | Fritz Winter | Composition | 1950 | 48.5 × 62.5 cm | Oil on paper | Dorsten, Albert Schulze-Vellinghausen |
See also
literature
- German watercolors, drawings and prints [1905-1955]. A midcentury review, with loans from German museums and galleries and from the collection Dr. H. Gurlitt. American Federation of Arts, New York 1956 ( digitized , Hathi Trust)
- Anton Henze : German art for America. In: The work of art . 9 (1955) 4, pp. 54f.
Web links
Individual evidence
- ↑ Julia Voss: Raubkunst: Ablasshandel mit der Moderne , FAZ from November 27, 2013, accessed on November 27, 2013
- ↑ So the acknowledgments in the catalog
- ↑ a b c Henze (lit.)
- ^ [1] New York Times, May 27, 1956, accessed November 22, 2013.
- ^ A b German Mid-Century Review At Busch Reisinger , article in Harvard Crimson of October 16, 1956, accessed on November 17, 2013.
- ↑ ... may acquaint American art lovers with German art of our century and, we hope, find new friends for it in USA.
- ^ Max Beckmann , Lempertz.com, accessed November 4, 2013.
- ↑ Sale: 392 / Modern Art, June 09. 2012, Lot: 72 Feininger, Lyonel West Deep III, 1932
- ↑ Auction: 290 / Bauhaus on May 14, 2004 Lot: 377 Feininger, Lyonel Swinemünder Fischkutter, 1934
- ↑ Lot 198