Front / Recto

  • Title Bauhaus: View from the Workshops Building onto the Studio Building (Bauhaus: Blick aus dem Werkstättengebäude auf das Atelierhaus)
  • Negative Date 1929–33
  • Print Date 1929–36
  • Medium Gelatin silver print
  • Dimensions Image 5 3/16 × 6 3/4" (13.2 × 17.1 cm)
  • Place Taken Dessau
  • Credit Line Thomas Walther Collection. Gift of Leon Levinstein, by exchange
  • MoMA Accession Number 1701.2001

Back / Verso

  • Mount Type No mount
  • Marks and Inscriptions Inscribed in blue ink on sheet verso, top right: 2v, [illegible]. Inscribed in black ink on sheet verso, top: bauhaus blick aus dem Werkstätten gebäude/auf das atelierhaus. Inscribed in pencil on sheet verso, top left: 4078. Signed in black ink on sheet verso, top center: foto: irene hoffmann. Inscribed in pencil on tape across sheet verso, center: 104 × 63 mm Retusche/der Po [remainder of text is missing]. Inscribed in pencil on sheet verso, center right: 60 [circled] and 56 [with square outline] and 6 [circled]. Inscribed in pencil on sheet verso, right: BF 4/Abb. 2. Inscribed in pencil on sheet verso, bottom left: F 12546 and A733/16. Inscribed in pencil on sheet verso, bottom right: Vorlage Sigrist/S.117.
  • Provenance The artist; sold through Kunsthaus Lempertz, Cologne (sale 733, lot 16), to Thomas Walther, November 9, 1996 [1]; purchased by The Museum of Modern Art, New York, 2001.
    [1] MacGill/Walther 2001(3), p. 9; and Kunsthaus Lempertz invoice, November 9, 1996.

Surface

  • Surface Sheen Glossy
  • Techniques Retouching (additive)
    Contact print
    Retouching (reductive)
    Overlay
  • PTM
    View of the recto of the artwork made using reflectance transformation imaging (RTI) software, which exaggerates subtle surface details and renders the features of the artwork plainly visible. Department of Conservation, MoMA
  • Micro-raking
    Raking-light close-up image, as shot. Area of detail is 6.7 x 6.7 mm. Department of Conservation, MoMA
    Raking-light close-up image, processed. Processing included removal of color, equalization of the histogram, and sharpening, all designed to enhance visual comparison. Department of Conservation, MoMA

Paper Material

  • Format Unknown
  • UV Fluorescence Recto no data
    Verso negative
  • Fiber Analysis Softwood bleached sulfite 82%
    Hardwood bleached sulfite 3%
    Rag 13%
    Bast 3%
  • Material Techniques Developing-out paper
    Baryta-less paper
  • XRF

    This work was determined to be a gelatin silver print via X-ray fluorescence (XRF) spectrometry.

    The following elements have been positively identified in the work, through XRF readings taken from its recto and verso (or from the mount, where the verso was not accessible):

    • Recto: S, Cl, K, Ca, Cr, Zn, Sr, Ag, Ba
    • Verso: Al, Si, S, K, Ca, Fe, Zn, Sr, Ba

    The graphs below show XRF spectra for three areas on the print: two of the recto—from areas of maximum and minimum image density (Dmax and Dmin)—and one of the verso or mount. The background spectrum represents the contribution of the XRF instrument itself. The first graph shows elements identified through the presence of their characteristic peaks in the lower energy range (0 to 8 keV). The second graph shows elements identified through the presence of their characteristic peaks in the higher energy range (8 to 40 keV).

    Areas examined: Recto (Dmax: black; Dmin: green), Verso or Mount (blue), Background (red)
    Elements identified: Al, Si, S, Cl, K, Ca, Cr, Ag, Ba
    Areas examined: Recto (Dmax: black; Dmin: green), Verso or Mount (blue), Background (red)
    Elements identified: Fe, Zn, Sr, Ag

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