Front / Recto

  • Title Untitled
  • Negative Date c. 1928
  • Print Date c. 1928–34
  • Medium Gelatin silver print
  • Dimensions Image 8 7/16 × 6 5/8" (21.4 × 16.8 cm)
  • Place Taken Berlin
  • Credit Line Thomas Walther Collection. Gift of James N. Rosenberg, by exchange
  • MoMA Accession Number 1918.2001

Back / Verso

  • Mount Type No mount
  • Marks and Inscriptions Stamped in black ink on sheet verso, top center: Yva/Photographie/Berlin-Charl. 2, Bleibtreustr. 17/Tel.: J 1 Bismarck 4843/Jede Reproduktion dieses Bildes/muß den Vermerk, phot. Yva. Berlin-Charl. 2,/tragen. (Urhebersch.-Ges. 1907) Belegexemplar und/Honorar an/Yva, Berlin-Charl. 2, Bleibtreustr. 17/J 1 Bismarck 4843 – Postscheckkonto Berlin 1502 16.
  • Provenance The artist. The estate of Friedl Dicker-Brandeis (1898–1944) ;[1] purchased by Egidio Marzona, Berlin/Bielefeld, 1975 [1]. Sold through Auktionshaus Schneider-Henn, Munich (lot 4257), to Elmar F. Heddergott, Berlin, June 14, 1997 [2]; sold through Bassenge Auktionshaus, Berlin (sale 71, lot 4963), to Thomas Walther, April 25, 1998 [3]; purchased by The Museum of Modern Art, New York, 2001.
    [1] Friedl Dicker-Brandeis was an artist who studied and taught at the Weimar Bauhaus.
    [1] Egidio Marzona, conversation with Simon Bieling, Berlin, August 2005.
    [2] Jennifer Augustyniak (Bassenge Photoauktionen GbR), e-mail to Bieling, April 11, 2005; Augustyniak, e-mail to Audrey Sands, October 9, 2013; and Elmar F. Heddergott, telephone conversation with Bieling, June 24, 2005.
    [3] Augustyniak, e-mail to Sands.

Surface

  • Surface Sheen Semireflective
  • Techniques Retouching (additive)
  • PTM
    Detail 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
  • Weight Double weight
  • Thickness (mm) 0.29
  • UV Fluorescence Recto negative
    Verso negative
  • Fiber Analysis Softwood bleached sulfite 99%
    Hardwood bleached sulfite 1%
  • Material Techniques Developing-out 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: P, S, K, Ca, 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, P, S, K, Ca, Ag, Ba
    Areas examined: Recto (Dmax: black; Dmin: green), Verso or Mount (blue), Background (red)
    Elements identified: Fe, Zn, Sr, Ag

In Context

Related Images

Yva (Else Simon-Neulander). Amor Skin, Berlin. ca. 1927/28 © Jüdisches Museum Berlin

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