T. Lux Feininger (Berlin 1910 - 2011 Cambridge) Ships in the Baltic. Aquarell u. Kohle auf Hahnemühle Bütten. 1936. Verso signiert, datiert (21st March 1936), betitelt u. mit Widmung vom 18. April 1936 versehen. Die Ecken mit Löchlein von Reißzwecken. Der rechte Blattrand mit zwei winzigen Einrissen.
T. Lux Feininger (Berlin 1910 - 2011 Cambridge) Last Port. Öl auf Leinwand. 1940. Signiert. Verso in Versalien signiert, datiert u. betitelt. Im Online-Werkverzeichnis von Witteveen und Schäfer abgebildet. - Nicht bei Luckardt - Provenienz: 1940 Sammlung Julien Levy, New York; Galerie Tony Subal, Wien, dort 2007 von der Vorbesitzerin erworben (Zertifikat in Kopie beigegeben). - Ausgestellt in: Americans 1943. Realists and Magic Realists. New York, Museum of Modern Art, 1943, Katalog-Nr. 183 (der Keilrahmen verso mit Ausstellungsetikett); 139th Annual Exhibition of Painting and Sculpture. Philadelphia, Pennsylvania Academy of Art, 1944, Katalog-Nr. 161 (der Keilrahmen verso mit Ausstellungsetikett) sowie ausgestellt und abgebildet in: Hommage à Julien Levy. Oeuvres provenant de la collection Julien et Jean Levy. Paris, Tajan, 2004, Katalog-Nr. 117, S. 139. - Stellenweise leichtes Craquelé. Vereinzelte kleine Retuschen.
Theodore Lux Feininger 1910–2011 Das Ateliergebäude des Bauhauses, Blick nach oben. Silbergelatineabzug rückseitig Stempel FOTO LUX FEININGER. 11 x 8,2 cm
Signed 'T. LUX. F' lower left in blue (stencil script), inscribed ''WiRTUE" WRASSLING "W"ICE' above in the image. Signed and dated 'T. LUX F. 1984' (stencil script) verso.
About Face: The David and Gail Mixer Collection of Photographs T. Lux Feininger 1910 - 2011 Clemens Röseler as the Banjo Player in the Bauhaus Band gelatin silver print, signed in ink and with a circular label, with '7' in ink, and notations in ink and red china marker on the reverse, framed image: 4 by 3 in. (10.2 by 7.6 cm.) frame: 14 by 12¼ in. (35.6 by 31.1 cm.) Executed in 1927-28.
About Face: The David and Gail Mixer Collection of Photographs T. Lux Feininger 1910 - 2011 Xanti Schawinsky Standing on a Bauhaus Colleague gelatin silver print, signed in ink, circular label, with '63' in ink, and stray red china marker notations on the reverse, a Jane Corkin Gallery label on the reverse of the mat, framed, a Galerie de France, Paris, label on the reverse image: 4⅜ by 3¼ in. (11.1 by 8.3 cm.) frame: 20 by 16 in. (50.8 by 40.6 cm.) Executed in 1930.
Signed 'LUX' in white lower left. Inscribed "Th. Lux: Outward Bound" to stretcher by an unknown hand. This view of massive sailing ships in full sail reveals the passion of the fervent ship painter T. Lux Feininger. Using an extreme horizontal format, he has created a panorama that reflects the breadth of the sea and impressively brings out the spatial depth of the ranked formation of ships. With these magnificent tall ships he payed homage to a bygone maritime epoch, whose last representatives could still occasionally be seen in the early 1930s. This work, which was created in the Pomeranian village of Mrzeżyno in 1932, was of special significance for the artist, because it led to his first success in the US, before he had even moved there. “I painted until the final minute of our stay, and one of the paintings from this period, the “Outward Bound Fleet (Auslaufende Flotte)”, proved to be my entry ticket for the “International Carnegie Exhibition” of 1932.” (T. Lux Feininger, Zwei Welten, p. 119). Ultimately, it was shown not in 1932, but at the Carnegie International of the following year, where it was hung prominently next to paintings by artists such as Hermann Max Pechstein, Georg Schrimpf and Erich Heckel.
T. Lux Feininger (Berlin 1910 - 2011 Cambridge) Blowy Morning Long Island Sound 1921. Öl auf Leinwand. 1939. 43 x 73 cm. Gerahmt. Signiert. Verso in Versalien signiert, datiert u. betitelt. Nicht mehr bei Luckhardt - Im Online-Werkverzeichnis von Witteveen und Schäfer abgebildet. - Provenienz: Ehemals Sammlung Alfred W. Paine, New York. - Ausgestellt in: Vater und Sohn. Lyonel und T. Lux Feininger. Berlin, Moeller Fine Art, 2013, Katalog-Nr. 14 (die Rahmenrückwand mit dem Ausstellungsetikett). - Vereinzelte winzige Retuschen und leichte Haarrisse. Die untere linke Ecke mit einer leichten Kratzspur.
T. Lux Feininger (Berlin 1910 - 2011 Cambridge) Fishermen's Regatta. Öl auf Leinwand. 1934. 27 x 46,2 cm. Gerahmt. Recto u. verso in Versalien signiert. Die Rahmenrückwand mit einem Etikett der Galerie Gmurzynska & Co., Zug. Luckhardt 76 - Im Online-Werkverzeichnis von Witteveen und Schäfer abgebildet. - Randretuschen sowie die Bildränder mit vereinzelten winzigen Löchlein.
Theodore Lux Feininger 1910–2011 Das Ateliergebäude des Bauhauses, Blick nach oben. Auf den Balkons Werner Jackson, Margot Loewe, Marcel Breuer Silbergelatineabzug, Original 11,6 x 8,5 cm
Signed 'T. LUX. F' in blue lower left (stencil script), inscribed ''WiRTUE" WRASSLING "W"ICE' above in the image. Signed and dated 'T. LUX F. 1984' (stencil script) verso.
Signed 'LUX' in white lower left. Inscribed "Th. Lux: Outward Bound" to stretcher from an unknown hand. This view of massive sailing ships in full sail reveals the passion with which the fervent ship painter T. Lux Feininger dedicated himself to his subject matter. Using an extreme horizontal format, he has created a panorama that reflects the breadth of the sea and impressively brings out the spatial depth of the ranked formation of ships. With these magnificent tall ships he payed homage to a bygone maritime epoch, whose last representatives could still occasionally be seen in the early 1930s. Thus, in his memoirs, he describes a stay in the town of Quimper in Brittany in 1931: “I saw with my own eyes a few of the last commercial square-rig ships still in use, topsail schooners built in the Breton manner; we saw as many as three of them on the quay of Douarnenez, where they were unloading timber. It was amazing how many sailing boats (cutters and luggers) were still there” (cited in: T. Lux Feininger, Zwei Welten, op. cit., p. 116). This work, which was created in the Pomeranian village of Mrzeżyno in 1932, was of special significance for the artist, because it led to his first success in the US, before he had even moved there. “I painted until the final minute of our stay, and one of the paintings from this period, the “Outward Bound Fleet (Auslaufende Flotte)”, proved to be my entry ticket for the “International Carnegie Exhibition” of 1932.” (op. cit., p. 119). Ultimately, it was shown not in 1932, but at the Carnegie International of the following year, where it was hung prominently next to paintings by artists such as Hermann Max Pechstein, Georg Schrimpf and Erich Heckel.
T. Lux Feininger (1910-2011) Wire Costume by Oskar Schlemmer for the Metal Party, c. 1928 signed and titled in ink and pencil (verso) image: 3 3/4 x 4 7/8 in. (9.5 x 12.3 cm.) ‌sheet: 4 x 5 in. (10.1 x 12.7 cm.)
Dated, titled and detailed notes on the image by Xanti Schawinsky in ink, annotated in an unknown hand in pencil as well as paper label, thereon numbered in an unknown hand in ink, on the verso.
T. Lux Feininger (Berlin 1910 - 2011 Cambridge) A reminiscence. Aquarell u. schwarze Kreide auf Bütten. 1937. 28,5 x 46,3 cm, unter Passepartout. Signiert (Theodore Lux), datiert (26th of April 1937) u. betitelt. Im Online-Werkverzeichnis abgebildet. - Die linke obere Ecke professionell restauriert sowie stellenweise minimal stockfleckig. Schaetzpreis €1500
T. Lux Feininger (Berlin 1910 - 2011 Cambridge) Sloop in front of Brigantines at anchor (Harbor). Aquarell u. Farbkreiden auf Bütten. 1931. 33 × 48,2 cm, unter Passepartout. Signiert (Th. Lux). Verso unleserlich betitelt. Im Online-Werkverzeichnis abgebildet. - Das Papier professionell restauriert. Die linke obere Ecke mit Läsuren. Schaetzpreis €1200
Inscribed in ink by Xanti Schawinski "Photo Lux Feininger" and stamp "xanti schawinsky" on the verso. The photograph, which shows Ernst Egeler (saxophone) and Clemens Röseler (trombone) on the roof of the Bauhaus, shot from below, was used for an advertising card for the Bauhaus band and was accompanied by the following text: "wie sie sehen: wir überleben alle stürme. wir spielen unsere musik, einen hei - in - die - knochenfahrenden rythmus! [sic!] der schlägt ein! sie müssen uns hören - sie denken an uns! für ihre feste die bauhauskapelle" ("as you can see: we survive all storms. we play our music, an infectious rhythm. that hits! you must hear us - you'll think of us! the bauhauskapelle for your festivities"). (cf. Jeannine Fiedler (ed.), op. cit. p. 225)
Inscribed 'photo Lux Feininger' and indication of the sitters by Xanti Schawinsky in ink, 'xanti schawinsky' stamp as well as numbered in an unknown hand in pencil on the verso. The photograph shows Oskar Schlemmer with three members of the Bauhaus band and their instruments on the roof of the Bauhaus building in Dessau: Clemens Röseler (banjo), Werner Jackson (clarinet) and Xanti Schawinsky (saxophone). Music, dance and festivities played a central role in the social life of the Bauhaus whilst the Bauhaus band simultaneously made a significant contribution to the external impact and popularity of the Bauhaus itself. Its members travelled throughout Germany to play at balls and festivals and to set the mood with their cool arrangements of American jazz and Eastern European popular music.
T. Lux Feininger (Berlin 1910 - 2011 Cambridge) Angeln vor Sandy Hook. Feder in Tusche u. Farbkreiden auf Papier, auf Karton montiert. 1929. 21,5 x 27,4 cm, im Passepartout freigestellt. Unter Glas gerahmt. Signiert (Lux) u. auf dem Unterlagekarton betitelt. Ausgestellt und abgebildet in: Welten-Segler. T. Lux Feininger zum 100. Geburtstag. Kunsthalle zu Kiel u.a., 2010, S. 43. Schaetzpreis €1000
T. Lux Feininger (Berlin 1910 - 2011 Cambridge) o.T. (Viermast Schoner). Öl auf Leinwand. 1931. 48,6 x 66 cm. Gerahmt. Signiert (LUX). Luckhardt 32 - Ausgestellt und abgebildet in: Welten-Segler. T. Lux Feininger zum 100. Geburtstag. Kunsthalle zu Kiel u.a., 2010, S. 67. - T. Lux Feininger, jüngster Sohn des Malers Lyonel Feininger, begann 1926 sein eigenes Studium am Bauhaus in Dessau, wo er Unterricht bei Josef Albers, László Moholy-Nagy, Paul Klee, Wassily Kandinsky und Oskar Schlemmer nahm und sich der Fotografie zuwandte. Seine dort entstandenen Fotografien prägen noch heute nachhaltig das Bild des Lebens am Bauhaus zu dieser Zeit. 1929 begann sich Feininger der Malerei zu widmen, einer Berufung mehr als einem gewählten Beruf, wie er es beschrieb, und begann vornehmlich Seestücke und Marinebildnisse zu malen. Diese motivische Ausrichtung ist durch eine frühe Liebe zum Modellbauen zu erklären, die er mit seinem Vater teilte, ebenso jedoch durch Bezüge zur Literatur, wie etwa zu Werken von Captain Frederick Marryat, Joseph Conrad, R. L. Stevenson, William McFee und Sherwood Anderson, deren Texte ihn wiederholt inspirierten. Seine Gesamtkompositionen entsprangen stets seiner Fantasie, mal inspiriert von Literatur, mal von realen Orten oder Schiffen, jedoch stets in seiner eigenen stilisierten Fasson. - Vereinzelte kleinere Retuschen. Schaetzpreis €12000
Photographer's and owner's stamps on the verso. The new Bauhaus building erected by Walter Gropius in 1926 belongs to the most popular motifs of German architectural photography of the 1920s. In contrast to other photographers, Feininger was not concerned with the depiction of the clear building structure of the architectural icon in this shot. With his plunging lines and the multiple reflections of the studio building opposite in the glass “curtain wall” façade of the workshop wing, he created a complex conundrum. Introduction "From the Bauhaus to Black Mountain College - Photography from a Swiss Private Collection" see lot 631
Signed in ink and owner's stamp on the verso. The so-called 'Bauhaus-Kapelle” was brought to life by Andreas (Andor) Weininger and Heinrich Koch in 1923/24, with Xanti Schawinsky joining as saxophonist in 1925. The repertoire ranged from new interpretations of Eastern European folk music to adaptions of contemporary avant-garde music, American jazz, and popular dance music. The spirited performances of the Bauhaus band were an integral part of all celebrations at the Bauhaus, and they also gave guest performances in other cities which contributed to the popularity of the Bauhaus (cf. Andi Schoon, Die Ordnung der Klänge. Das Wechselspiel der Künste vom Bauhaus zum Black Mountain College, Wetzlar 2005, p. 53ff.). The photograph shows the trio Ernst Egeler (trumpet), Clemens Röseler (trombone) and Xanti Schawinsky (saxophone) on the roof of the Bauhaus building. The dynamic view from below and the pictorial diagonal formed by the trombone correspond to the unconventional view propagated in the 'New Vision' and at the same time reinforces the character of the subject, that of modern jazz music. Introduction "From the Bauhaus to Black Mountain College - Photography from a Swiss Private Collection" see lot 631
Photographer's, agency and owner's stamps as well as inscribed by Xanti Schawinsky in pencil and ballpoint pen on the verso. “When I was admitted to the stage workshop after completing the first semester, the preliminary course, I was the happiest of all the students [...] I was particularly fond of making masks, and, after carrying out collectively planned designs, I moved to giving shape to my own creations.” (T. Lux Feininger, Das Bauhaus und ich (1947), unpublished manuscript, cf. www.kunst-archive.net/de/wvz/t_lux_feininger/texts ). Feininger's fascination for the art of mask carving, especially in the tradition of Japanese No masks, is manifested in this photograph in which he lends a darkly mysterious vividness to two masks in frontal and profile view by means of a light bulb placed behind them. From the Bauhaus to Black Mountain College - Photography from a Swiss Private Collection The following photographs offered for sale by the Bauhaus artists Xanti Schawinsky, Umbo (Otto Umbehr), Lucia Moholy, T. Lux Feininger and Josef Albers (lots 631-644) are from a Swiss private collection. They were acquired by the consignor in the early 1980s from the estate of Xanti Schawinsky whom he had the pleasure of knowing. As a Swiss artist with Jewish-Polish roots who studied at the Bauhaus before working as a graphic artist in Germany and Italy and moving to the USA in 1936, Schawinsky had been commuting between the USA and Europe since the 1960s. The busy artist built himself a studio in Oggebbio on the Italian side of Lake Maggiore, where he spent his time organising his work, documenting his time at the Bauhaus, writing his memoirs and preparing exhibitions, including his last exhibition in 1979 in the Galleria Flaviana in Locarno, during the preparation of which he and the consignor met. His encounter with Xanti Schawinsky, the ideal embodiment of the universal artist in the sense of the Bauhaus, made a lasting impression on our collector, himself an artist and photographer, and led to further intense study of Schawinsky's work. A friendly connection developed between the collector and the artist as well as his family which lasted beyond Schawinsky's death in 1980. As consulting intermediary between Galleria Flaviana and the estate, consisting of Schawinsky's first wife Irene, their son Ben and his second wife Gisela, he was able to gain insight into the artist's extensive and diverse oeuvre while viewing works in New York, Sheffield/Massachusetts and Oggebbio. As photography did not yet occupy a role on the art market at that time, little attention was paid to it. Nevertheless, or precisely because of this, the artist's photographic work from the 1920s to 1940s, which had hardly been discovered, let alone researched at that time, exerted a special fascination on the young collector. Xanti Schawinsky was, as described by Eckard Neumann, the prototype of the “Ur-Bauhäusler”: “An artistic personality who in his œuvre has achieved the universality that the Bauhaus set itself as its highest aim. A creative temperament which in a spontaneous show of enthusiasm, idealism and dynamism, consistently disregarded any vestige of the past and with the stormy passion of youth turned exclusively to the new, to the human, to the New Society and the New Art with its multiform, untested and speculative media and modes of expression. […] Photography became for him only one tool for free and applied creativity. However, Schawinsky drew no distinction between these two sectors. He used photography as an experimental extension of his technical and creative means of expression, rather like John Heartfield when he said 'I paint with photos'.” (quoted from: Eckhard Neumann, Einleitung, in: Eckhard Neumann/Ronald Schmid (ed.), Xanti Schawinsky. Foto, Bern 1989, p. 12) To commit to one medium would not have been in keeping with Schawinsky's artistic self-image, but photography nevertheless played a key role in his work and he repeatedly returned to it. While his primary interest during his time at the Bauhaus and at Black Mountain College where he taught until 1938 was the theatre class, using photography primarily for the documentation of ephemeral events, he would later, particularly in the 1940s, turn to experimental photography in the sense of a free, artistic medium for the creation of abstract compositions. However, the present group does not only represent Schawinsky's artistic-photographic work, it also contains significant works by other photographers in his circle which were created in the late 1920s at the Bauhaus itself or in connection with its activities, in particular the Bauhaus stage. Artistic collaboration and the exchange of works were central themes at the Bauhaus, and photography took on an important function, featuring in all areas: as architecture, object and stage photography, it served to document and thus simultaneously to disseminate collective artistic achievements and ideas. At the same time, however, the camera was a constant companion in everyday life at Bauhaus celebrations and other activities. The resulting photographs, some of them in the style of snapshots, reflect the leisure activities at the Bauhaus and give an impression of he Bauhäusler's attitude to life. Under the influence of László Moholy-Nagy, protagonist of the “New Vision”, and the unity of art and technique postulated by him, a veritable “photo boom” (Jeannine Fiedler) was initiated at the Bauhaus in the second half of the 1920s. In addition to T. Lux Feininger and Umbo - who remained closely connected to the Bauhaus even after his departure - key players included Moholy-Nagy's wife Lucia Moholy, who is today considered the most important documentarian of the school's activities. Vintage prints by Umbo in particular are extremely rare today, as his studio and thus a large part of his photographic output from the pre-war years was lost in the bombing during the Second World War. Many of the vintage prints offered here have been shown in international exhibitions of the Bauhaus. In this respect, the group offered here contains important evidence of the Bauhaus history and its continuation in the USA.
T. Lux Feininger (Berlin 1910 - 2011 Cambridge) Im Passat (Schoner vor dem Wind). Öl auf Leinwand. 1930. 47,2 x 67,3 cm. Gerahmt. Signiert. Verso signiert (Th. Lux) u. betitelt. Luckhardt 13 - Ausgestellt in: Theodore Lux Feininger. Erfurt, Kunstverein, 1931/32 sowie ausgestellt und abgebildet in: Welten-Segler. T. Lux Feininger zum 100. Geburtstag. Kunsthalle zu Kiel u.a., 2010, S. 55. - T. Lux Feininger studierte am Bauhaus in Dessau bei Josef Albers, Wassily Kandinsky, Paul Klee, Laszlo Moholy-Nagy und Oskar Schlemmer. Um 1926 begann er sich intensiv mit der Fotografie auseinanderzusetzen; zahlreiche künstlerische Aufnahmen von Bauhäuslern und Zeitgenossen entstanden, ab 1927 wurde Feininger bereits von der Berliner Fotoagentur DEPHOT vertreten und das Museum of Modern Art, New York, erwarb seine Werke. Obgleich einer breiten Öffentlichkeit eher als Fotograf bekannt, begann sein malerisches Oeuvre bereits während des Studiums um 1929. - Wie schon sein Vater hatte auch T. Lux eine ausgeprägte Vorliebe für Schiffe, die er eigenständig und stilisiert, gerne in dramatischer Beleuchtung, unter vollen Segeln und in stürmischer See darstellte: Trotz der Bewegung von Wellen und Wolken strahlen die Bilder meist Ruhe und Festigkeit aus. Nachweislich kannte der Künstler einzelne Schiffe und Orte, aber die Situationen und Kompositionen entsprangen seiner Fantasie, wobei Feininger gerne Historisches mit Realem kombinierte. - Unser Gemälde "Im Passat" zählt zu den frühesten malerischen Werken des Künstlers am Bauhaus. Es zeigt einen Schoner unter vollen Segeln vor dem Wind in hoher Dünung. Noch sind alle Segel gesetzt und "Lux" reitet mit voller Geschwindigkeit über die Wellen. Aber die weiße Gischt prophezeit bereits den aufkommenden Sturm und die flatternden und knatternden Vorsegel könnten Vorboten einer notwendigen Reffung sein. - 1932 absolvierte Feininger am Bauhaus seinen Studienabschluss und erhielt im Kunstverein Erfurt eine erste Einzelausstellung für sein malerisches Werk. Anschließend lebte er lange Jahre in Paris sowie kurz in Berlin, wo ihm die Galerie Karl Nierendorf eine Einzelausstellung widmete. Doch die zunehmenden politischen Veränderungen ließen Feininger 1936 Deutschland verlassen und endgültig nach New York emigrieren. - Vereinzelte kleine Retuschen. Schaetzpreis €15000
Signed 'T. LUX' in black lower right as well as verso signed and dated 'T. LUX F. MAY 23 FIN. OCT. 94 25th anniversary in this house 1988 "Studio Scraps I"'.
Signed 'T. Lux F.' in brown lower right as well as verso signed, dated, titled, and dedicated 'T. Lux Feininger 1974 Cubist Picture (dedicated to Juan Gris)'.
Signed 'LUX' upper right and verso signed, dated, and titled 'Painted by Theodore Lux Feininger 1932 - Painted by Theodore Lux Feininger 1932 French English American Belgian Ships'.
THEODORE LUX FEININGER (1910-2011), attributed. "Aufführung Bauhaus Dessau", 1928. Gelatin silver print. Vintage. Mounted under passepartout. 29.8 x 23.7 cm. Verso inscribed "Phot. Lux Feininger", stamped year. Literature: - Hans M. Wingler. Das Bauhaus. Cologne, 1975 (slightly differing ill. p. 455). Provenance: - Former collection of Roman Clemens (1910-1992, Bauhaus student, stage designer and designer). - Swiss private collection. --------------- THEODORE LUX FEININGER (1910-2011), zugeschrieben. "Aufführung Bauhaus Dessau", 1928. Silbergelatine-Abzug. Vintage. Unter Passepartout montiert. 29,8 x 23,7 cm. Verso bezeichnet "Phot. Lux Feininger", Jahreszahl gestempelt. Literatur: - Hans M. Wingler. Das Bauhaus. Köln, 1975 (leicht abweichende Abb. S. 455). Provenienz: - Ehemals Sammlung Roman Clemens (1910-1992, Bauhaus Schüler, Bühnenbildner und Gestalter. - Schweizer Privatbesitz. Theodore Lux (Lukas) Feininger war der jüngste Sohn des bekannten Malers Lyonel Feininger (1871-1956). Feininger studierte am Bauhaus in Dessau, wo er an der Versuchbühne mitarbeitete. Ab 1930 widmete er sich ebenso der Malerei. Die vorliegenden Aufnahme dokumentiert den Sketch "Olga-Olga" auf der Bauhaus Bühne in Dessau. Gemäss der rückseitigen Legende sind auf der Aufnahme dargestellt: Oskar Schlemmer, Manda v. Kreibig und Xanti Schawinsky. Im Bauhaus-Archiv Berlin ist ein späterer Abzug der 80er-Jahre bekannt (Inv.nr.: Id 111524). Das Archiv ist sich aber bei der Zuschreibung nicht sicher. Das Original-Negativ der Aufnahme gilt als verschollen.
T. LUX FEININGER (american 1910-2011)/span "SUNDAY" (TUGBOATS IN THE EAST RIVER, NEW YORK) Signed 'Lux' upper right; also inscribed with artist, title, and dated '1946' verso, oil on canvas 24 x 28 in. (61 x 71.1cm) provenance: /spanPrivate Collection, Connecticut.
T. LUX FEININGER (american 1910-2011)/span "THE BOSTON BOAT" Signed 'TH. LUX', inscribed with title, and dated '1940' verso, oil on canvas 20 1/4 x 30 1/8 in. (51.4 x 76.5cm) provenance: /spanPrivate Collection, Connecticut.
T. Lux Feininger (German/American, 1910-2011) Traffic in New York, c. 1946-1947. Signed "T. Lux Feininger" in pencil on the verso l.c. Glossy gelatin silver print, image/sheet size 10 1/8 x 7 15/16 in. (25.8 x 20.1 cm), matted, unframed. Condition: Emulsion losses and wear at corners, scattered handling crimps and spot toning.
