14
Andreas FeiningerThe photojournalist (Dennis Stock)
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Andreas Feininger
The photojournalist (Dennis Stock)
Gelatinesilberabzug 1988. 24 x 19,3 cm (25,3 x 20,3 cm). Rückseitig mit Bleistift signiert, mit Editionsstempel, darin mit Bleistift nummeriert, von fremder Hand bezeichnet sowie mit dem "Skrein Photo Collection"-Sammlungs- und -Nummernstempel. Exemplar A.P. 3/10 neben einer Auflage von 50 Exemplaren. - Unter Passepartout und Glas gerahmt.
Provenienz
Lempertz-Auktion, 30. Mai 2011, Lot 144; Skrein Photo Collection, St. Gilgen
Ausstellungen
Hamburg 2014/15 (Deichtorhallen), Berlin 2015 (C/O Berlin), Wien 2015/16 (Fotomuseum Westlicht/Ostlicht) u.a., Augen auf! 100 Jahre Leica Fotografie
Literatur
Peter Weiermair (Hg.), 100 Jahre - 100 Bilder. Eine Geschichte der Fotografie, Zürich 1995, S. 126 mit Abb.; Brigitte Govignon (Hg.), Kleine Enzyklopädie der Fotografie, München 2005, S. 231 mit Abb.; Thomas Buchsteiner/Ursula Zeller (Hg.), Andreas Feininger. That’s Photography. Ein Fotografenleben. 1906-1999, Ausst.kat. Zeppelin-Museum Friedrichshafen, Stuttgart 2010, S. 140 mit Abb. (Variante); Hans Michael Koetzle (Hg.), Augen auf! 100 Jahre Leica Fotografie, Ausst.kat. Deichtorhallen, Hamburg u.a., Heidelberg 2014, S. 2 mit Abb. (dieser Abzug); Nathalie Herschdorfer (Hg.), The Thames & Hudson Dictionary of Photography, London 2015, S. 155 mit Abb.
Es gibt im Werk von Andreas Feininger nur sehr wenige Portraits. Vielmehr sind es die Themenwelt der Großstadt und die Natur, die ihn als Photograph interessierten und beruflich beschäftigten. Über zwei Jahrzehnte war er für das Magazin Life als Bildjournalist tätig. Dennoch ist es dieses Portrait, The Photojournalist, das als persönliches Meisterwerk Feiningers und als das Photographenportrait des 20. Jahrhunderts schlechthin gilt, betrachtet man die Bildauswahl in zahlreichen Lexika und Standardwerken zur Photographie des Zwanzigsten Jahrhunderts.
Die Aufnahme Feiningers entstand im Zusammenhang mit einer Gruppe von Aufnahmen, die Vertreter verschiedener Berufsgruppen zeigen, meist frontal und in Nahsicht aufgenommen und mit berufstypischen Attributen versehen. Die meisten dieser anonymisierten Portraits sind Studioaufnahmen. Das jeweilige Instrument wird dabei zum Bestandteil des Gesichtes und verdeckt den Blick auf die Augen wie eine Maske oder eine Verkleidung: Es gibt den Arzt mit seiner Stirnlampe, den Piloten mit Atemmaske, den Rennfahrer mit seinem Helm, den Fechter mit seinem Visier etc. Auch ein Selbstportrait von Feininger, das den Photographen selbst hinter einer großen Lupe zeigt, findet sich unten den Aufnahmen. Und es gibt eben jenen Photojournalisten, der durch seine ins Hochformat gedrehte Leica schaut. Die dargestellte Person - es ist der zwanzig Jahre jüngere Kollege Dennis Stock - zeichnet sich als dunkle Silhouette scherenschnittartig vor dem Hintergrund ab. Nur der präzise Kreis eines Spotlichts beleuchtet gleißend die mittlere Gesichtspartie, in der die Leica - feinmechanisches Präzisionsgerät, Statussymbol und damals wichtigstes Berufsrequisit des Photojournalisten - Auge und Nase des Dargestellten bedeckt. Das Objektiv und der aufgesteckte Entfernungsmesser bedecken nicht nur die Augen, sie ersetzten sie förmlich, wie bei einer futuristischen Plastik.
Dass diese Aufnahme zum Photographenportrait des 20. Jahrhunderts schlechthin wurde, erklärt sich durch die Suggestivkraft, die von ihr ausgeht. Die Aufnahme ist Sinnbild für Zukunftsoptimismus und Technikbegeisterung und überhöht gleichzeitig den Berufsstand des Bildjournalisten zur objektiven, rein dokumentierenden und damit unbestechlichen Instanz.
Andreas Feininger
The photojournalist (Dennis Stock)
Gelatin silver print, printed 1988. 24 x 19.3 cm (25.3 x 20.3 cm). Signed in pencil, edition stamp, therein editioned in pencil, annotated in an unknown hand in pencil as well as two "Skrein Photo Collection" stamps on the verso. A.P. 3/10 aside from an editon of 50. - Matted and framed.
Provenance
Lempertz sale, May 30, 2011, lot 144; Skrein Photo Collection, St. Gilgen
Exhibitions
Hamburg 2014/15 (Deichtorhallen), Berlin 2015 (C/O Berlin), Wien 2015/16 (Fotomuseum Westlicht/Ostlicht) i.a., Augen auf! 100 Jahre Leica Fotografie / Eyes wide open! 100 Years of Leica Photography
Literature
Peter Weiermair (ed.), 100 Jahre 100 Bilder. Eine Geschichte der Fotografie, Zurich 1995, ill. p. 126; Brigitte Govignon (ed.), Kleine Enzyklopädie der Fotografie, Munich 2005, ill. p. 231; Thomas Buchsteiner/Ursula Zeller (ed.), Andreas Feininger. That’s Photography. Ein Fotografenleben. 1906-1999, exhib.cat. Zeppelin-Museum Friedrichshafen, Stuttgart 2010, ill. p. 140 (variant); Hans Michael Koetzle (ed.), Augen auf! 100 Jahre Leica Fotografie, Ausst.kat. Deichtorhallen, Hamburg i.a., Heidelberg 2014, ill. p. 2 (this print); Nathalie Herschdorfer (ed.), The Thames & Hudson Dictionary of Photography, London 2015, ill. p. 155
There are only very few portraits in Andreas Feininger's œuvre. In fact, it is the themes of the metropolis and of nature that interested him as a photographer and occupied him professionally. He worked for the Life magazine as a photojournalist for over two decades. Nontheless, it is this portrait, The Photojournalist, which is regarded as Feininger's masterpiece and as THE photographer's portrait of the 20th century, considering the choice of images in numerous compilations and standard works on twentieth century photography.
The picture was taken in connection with a group of pictures showing representatives of different professional groups, mostly taken frontally and in close-up and provided with typical occupational attributes. Most of the anonymous portraits are studio shots. The respective instrument becomes part of the face and covers the view of the eyes like a mask or a disguise: there is a doctor and his headlamp, a pilot and his mouthguard, a racing driver and his helmet, the fencer and his visor. A self-portrait of Feininger, showing the artist sitting behind a large magnifying glass, is also among these pictures. And there is the very photojournalist who looks through his Leica camera turned to the position of portrait format. The depicted person - his twenty-year younger colleague Dennis Stock - stands out from the background as a dark silhouette as if cut-out. Only the precise circle of a spotlight shines brightly in the central area of the face, where the Leica camera - a precision mechanical device, status symbol, and the most important professional requisite of the photojournalist at the time - replaces the eye and nose of the person portrayed. The lens and the attached rangefinder not only cover the eyes, they literally replace them, similar to a futuristic sculpture.
The fact that the picture became the photographer portrait of the 20th century is explained by the suggestive energy it emanates. The picture is a symbol of optimism for the future and enthusiasm for technology and at the same time exaggerates the profession of photojournalists into an objective, purely documentary and thus incorruptible authority.
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19.00 % VAT on buyer's premium and other charges; not indicated and not reclaimable; VAT margin scheme
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Andreas Feininger
The photojournalist (Dennis Stock)
Gelatinesilberabzug 1988. 24 x 19,3 cm (25,3 x 20,3 cm). Rückseitig mit Bleistift signiert, mit Editionsstempel, darin mit Bleistift nummeriert, von fremder Hand bezeichnet sowie mit dem "Skrein Photo Collection"-Sammlungs- und -Nummernstempel. Exemplar A.P. 3/10 neben einer Auflage von 50 Exemplaren. - Unter Passepartout und Glas gerahmt.
Provenienz
Lempertz-Auktion, 30. Mai 2011, Lot 144; Skrein Photo Collection, St. Gilgen
Ausstellungen
Hamburg 2014/15 (Deichtorhallen), Berlin 2015 (C/O Berlin), Wien 2015/16 (Fotomuseum Westlicht/Ostlicht) u.a., Augen auf! 100 Jahre Leica Fotografie
Literatur
Peter Weiermair (Hg.), 100 Jahre - 100 Bilder. Eine Geschichte der Fotografie, Zürich 1995, S. 126 mit Abb.; Brigitte Govignon (Hg.), Kleine Enzyklopädie der Fotografie, München 2005, S. 231 mit Abb.; Thomas Buchsteiner/Ursula Zeller (Hg.), Andreas Feininger. That’s Photography. Ein Fotografenleben. 1906-1999, Ausst.kat. Zeppelin-Museum Friedrichshafen, Stuttgart 2010, S. 140 mit Abb. (Variante); Hans Michael Koetzle (Hg.), Augen auf! 100 Jahre Leica Fotografie, Ausst.kat. Deichtorhallen, Hamburg u.a., Heidelberg 2014, S. 2 mit Abb. (dieser Abzug); Nathalie Herschdorfer (Hg.), The Thames & Hudson Dictionary of Photography, London 2015, S. 155 mit Abb.
Es gibt im Werk von Andreas Feininger nur sehr wenige Portraits. Vielmehr sind es die Themenwelt der Großstadt und die Natur, die ihn als Photograph interessierten und beruflich beschäftigten. Über zwei Jahrzehnte war er für das Magazin Life als Bildjournalist tätig. Dennoch ist es dieses Portrait, The Photojournalist, das als persönliches Meisterwerk Feiningers und als das Photographenportrait des 20. Jahrhunderts schlechthin gilt, betrachtet man die Bildauswahl in zahlreichen Lexika und Standardwerken zur Photographie des Zwanzigsten Jahrhunderts.
Die Aufnahme Feiningers entstand im Zusammenhang mit einer Gruppe von Aufnahmen, die Vertreter verschiedener Berufsgruppen zeigen, meist frontal und in Nahsicht aufgenommen und mit berufstypischen Attributen versehen. Die meisten dieser anonymisierten Portraits sind Studioaufnahmen. Das jeweilige Instrument wird dabei zum Bestandteil des Gesichtes und verdeckt den Blick auf die Augen wie eine Maske oder eine Verkleidung: Es gibt den Arzt mit seiner Stirnlampe, den Piloten mit Atemmaske, den Rennfahrer mit seinem Helm, den Fechter mit seinem Visier etc. Auch ein Selbstportrait von Feininger, das den Photographen selbst hinter einer großen Lupe zeigt, findet sich unten den Aufnahmen. Und es gibt eben jenen Photojournalisten, der durch seine ins Hochformat gedrehte Leica schaut. Die dargestellte Person - es ist der zwanzig Jahre jüngere Kollege Dennis Stock - zeichnet sich als dunkle Silhouette scherenschnittartig vor dem Hintergrund ab. Nur der präzise Kreis eines Spotlichts beleuchtet gleißend die mittlere Gesichtspartie, in der die Leica - feinmechanisches Präzisionsgerät, Statussymbol und damals wichtigstes Berufsrequisit des Photojournalisten - Auge und Nase des Dargestellten bedeckt. Das Objektiv und der aufgesteckte Entfernungsmesser bedecken nicht nur die Augen, sie ersetzten sie förmlich, wie bei einer futuristischen Plastik.
Dass diese Aufnahme zum Photographenportrait des 20. Jahrhunderts schlechthin wurde, erklärt sich durch die Suggestivkraft, die von ihr ausgeht. Die Aufnahme ist Sinnbild für Zukunftsoptimismus und Technikbegeisterung und überhöht gleichzeitig den Berufsstand des Bildjournalisten zur objektiven, rein dokumentierenden und damit unbestechlichen Instanz.
Andreas Feininger
The photojournalist (Dennis Stock)
Gelatin silver print, printed 1988. 24 x 19.3 cm (25.3 x 20.3 cm). Signed in pencil, edition stamp, therein editioned in pencil, annotated in an unknown hand in pencil as well as two "Skrein Photo Collection" stamps on the verso. A.P. 3/10 aside from an editon of 50. - Matted and framed.
Provenance
Lempertz sale, May 30, 2011, lot 144; Skrein Photo Collection, St. Gilgen
Exhibitions
Hamburg 2014/15 (Deichtorhallen), Berlin 2015 (C/O Berlin), Wien 2015/16 (Fotomuseum Westlicht/Ostlicht) i.a., Augen auf! 100 Jahre Leica Fotografie / Eyes wide open! 100 Years of Leica Photography
Literature
Peter Weiermair (ed.), 100 Jahre 100 Bilder. Eine Geschichte der Fotografie, Zurich 1995, ill. p. 126; Brigitte Govignon (ed.), Kleine Enzyklopädie der Fotografie, Munich 2005, ill. p. 231; Thomas Buchsteiner/Ursula Zeller (ed.), Andreas Feininger. That’s Photography. Ein Fotografenleben. 1906-1999, exhib.cat. Zeppelin-Museum Friedrichshafen, Stuttgart 2010, ill. p. 140 (variant); Hans Michael Koetzle (ed.), Augen auf! 100 Jahre Leica Fotografie, Ausst.kat. Deichtorhallen, Hamburg i.a., Heidelberg 2014, ill. p. 2 (this print); Nathalie Herschdorfer (ed.), The Thames & Hudson Dictionary of Photography, London 2015, ill. p. 155
There are only very few portraits in Andreas Feininger's œuvre. In fact, it is the themes of the metropolis and of nature that interested him as a photographer and occupied him professionally. He worked for the Life magazine as a photojournalist for over two decades. Nontheless, it is this portrait, The Photojournalist, which is regarded as Feininger's masterpiece and as THE photographer's portrait of the 20th century, considering the choice of images in numerous compilations and standard works on twentieth century photography.
The picture was taken in connection with a group of pictures showing representatives of different professional groups, mostly taken frontally and in close-up and provided with typical occupational attributes. Most of the anonymous portraits are studio shots. The respective instrument becomes part of the face and covers the view of the eyes like a mask or a disguise: there is a doctor and his headlamp, a pilot and his mouthguard, a racing driver and his helmet, the fencer and his visor. A self-portrait of Feininger, showing the artist sitting behind a large magnifying glass, is also among these pictures. And there is the very photojournalist who looks through his Leica camera turned to the position of portrait format. The depicted person - his twenty-year younger colleague Dennis Stock - stands out from the background as a dark silhouette as if cut-out. Only the precise circle of a spotlight shines brightly in the central area of the face, where the Leica camera - a precision mechanical device, status symbol, and the most important professional requisite of the photojournalist at the time - replaces the eye and nose of the person portrayed. The lens and the attached rangefinder not only cover the eyes, they literally replace them, similar to a futuristic sculpture.
The fact that the picture became the photographer portrait of the 20th century is explained by the suggestive energy it emanates. The picture is a symbol of optimism for the future and enthusiasm for technology and at the same time exaggerates the profession of photojournalists into an objective, purely documentary and thus incorruptible authority.
- - -
24.00 % buyer's premium on the hammer price
19.00 % VAT on buyer's premium and other charges; not indicated and not reclaimable; VAT margin scheme
30 Years of Photography at Lempertz - 30 Photographic Masterpieces / Photography
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19.00 % VAT on buyer's premium and other charges; not indicated and not reclaimable; VAT margin scheme
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7.00 % pre-paid importation VAT on the hammer price, only reclaimable in case of export to a country outside the EU
19.00 % VAT on buyer's premium and other charges; not indicated and not reclaimable; VAT margin scheme
19.00 % VAT on the hammer price
24.00 % buyer's premium on the hammer price
19.00 % VAT on buyer's premium
AGB
Conditions of Sale
1. The art auction house, Kunsthaus Lempertz (henceforth referred to as Lempertz), conducts public auctions in terms of § 383 paragraph 3 sentence 1 of the Civil Code as commissioning agent on behalf of the accounts of submitters, who remain -anonymous. With regard to its auctioneering terms and conditions drawn up in other languages, the German version remains the official one.
2. The auctioneer reserves the right to divide or combine any catalogue lots or, if it has special reason to do so, to offer any lot for sale in an order different from that given in the catalogue or to withdraw any lot from the sale.
3. All lots put up for sale may be viewed and inspected prior to the auction. The catalogue specifications and related specifications appearing on the internet, which have both been compiled in good conscience, do not form part of the contractually agreed to conditions. These specifications have been derived from the status of the information available at the time of compiling the catalogue. They do not serve as a guarantee in legal terms and their purpose is purely in the information they provide. The same applies to any reports on an item’s condition or any other information, either in oral or written form. Certificates or certifications from artists, their estates or experts relevant to each case only form a contractual part of the agreement if they are specifically mentioned in the catalogue text. The state of the item is generally not mentioned in the catalogue. Likewise missing specifications do not constitute an agreement on quality. All items are used goods.
The gold content of objects without fineness stamps are ascertained using an acid test. The size and quality of gemstones are ascertained within the settings, unless mentioned otherwise. Assessments of the clarity and colour of gemstones are subject to the subjective perception. Minor divergences from the values provided do not represent deficiencies. References to gemmological certifications are used purely for informational purposes, and do not provide a guarantee. The watches listed have been opened to be catalogued, but we cannot guarantee for their accuracy and function.
4. Warranty claims are excluded. In the event of variances from the catalogue -descriptions, which result in negation or substantial diminution of value or suitability, and which are reported with due justification within one year after handover, Lempertz nevertheless undertakes to pursue its rights against the seller through the courts; in the event of a successful claim against the seller, Lempertz will reimburse the buyer only the total purchase price paid. Over and above this, Lempertz undertakes to reimburse its commission within a given period of two years after the date of the sale if the object in question proves not to be authentic.
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Henrik Hanstein, sworn public auctioneer
Takuro Ito, Auctioneer
