Front / Recto

  • Title Reflection: the Weaving Workshop in the Ball (Spiegelung: die Webereiwerkstatt in der Kugel)
  • Negative Date 1921
  • Print Date 1921–25
  • Medium Gelatin silver print
  • Dimensions Image 6 1/4 × 4 11/16" (15.9 × 11.9 cm)
  • Place Taken Weimar
  • Credit Line Thomas Walther Collection. Gift of Thomas Walther
  • MoMA Accession Number 1795.2001
  • Copyright © Bauhaus-Archiv Berlin

Back / Verso

  • Mount Type No mount
  • Marks and Inscriptions Inscribed in pencil on sheet verso, top center: 105/237.
  • Provenance The artist, Lindau, Germany [1]; purchased by Egidio Marzona, Berlin/Bielefeld, 1975–76 [2]; purchased by Galerie Rudolf Kicken, Cologne, c. 1980 [3]; purchased by Thomas Walther; given to The Museum of Modern Art, New York, 2001.
    [1] Egidio Marzona, conversation with Thomas Walther, Berlin, April 2014.
    [2] Ibid.; and Rudolf Kicken, conversation with Simon Bieling, Kicken Berlin, February 17, 2004. Kicken purchased this print from Marzona in a group of several prints.
    [3] Marzona, conversation with Walther; Kicken, conversation with Bieling; and MacGill/Walther 2001(4), p. 10.

Surface

  • Surface Sheen Matte
  • Techniques Contact print
  • 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 Metric
  • Weight Double weight
  • Thickness (mm) 0.26
  • UV Fluorescence Recto negative
    Verso negative
  • Fiber Analysis Softwood bleached sulfite
    Softwood bleached sulfite 26%
    Rag 37%
    Bast 7%
    Grass 30%
  • 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: Al, Si, S, K, Ca, Fe, Zn, Ag, Ba
    • Verso: Al, Si, S, K, Ca, Fe, Zn, 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, Ag, K, Ca, Ba
    Areas examined: Recto (Dmax: black; Dmin: green), Verso or Mount (blue), Background (red)
    Elements identified: Fe, Zn, Ag

In Context

Related Images

Georg Muche. On the Table from Masters’ Portfolio of the Staatliches Bauhaus. 1923. Etching from a portfolio of three lithographs, three woodcuts, and two etchings. Plate: 5 13/16 x 5 13/16" (14.8 x 14.8 cm); sheet: 7 13/16 x 7 15/16" (19.8 x 20.2 cm). The Museum of Modern Art, New York. Larry Aldrich Fund. © Bauhaus Archiv Berlin

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