Fishermen on the Canal, 1908 is a remarkable oversized gum-bichromate work that epitomizes the early 20th-century Pictorialist photography movement, with its emphasis on both the serenity of the natural world and the quiet labor of the scene’s human subjects. The photograph depicts two fishermen in a small boat, the surrounding watery Venetian landscape reflected all around them.

Kühn’s careful composition and mastery of light creates a peaceful scene, elevating an ordinary moment into a timeless, dreamlike portrayal of the honor of simple labor and daily life. The soft focus and subtle tonal variations that are typical of Pictorialist imagery lend the image a sense of quietude, inviting the viewer to reflect on both the scene and the people within it.

Heinrich Kühn, born in Germany in the middle of the 19^th century, had originally turned to photography to assist with his study in the sciences. He eventually abandoned science in favor of art, while still dedicating much of his life to the technical development of photography. He was the first to exhibit gum bichromate prints in Germany and developed a custom soft-focus lens that continued to be sold until around 1990.

Around 1904, Kühn formed friendships with American Pictorialist photographers Alfred Stieglitz, Frank Eugene and Edward Steichen. These relationships helped strengthen the bond between the American and European photography communities for several years. However, the two groups eventually separated over differing views on the future of photographic art.

One of the main appeals of the gum-bichromate process is the versatility of paper surfaces it can be applied to. Many photographers of the era chose to utilize rough, toothy watercolor papers for their imagery, which gave the photographic prints a texture and softness that was decidedly different. This was in stark contrast to the more traditional albumin or gelatin silver papers available which produced sharp, highly detailed images.

Kuhn is known for perfecting this process which you can see in the present lot. The Pictoralists drew inspiration from the impressionists, and there is a strong connection between Kuhn’s work and Renoir’s The Skiff (La Yole) 1875.

The potential of his art was not fully recognized during his lifetime, but there has been an increase recently in the number of shows and interest in the Pictorialist movement and in Kuhn’s work. His work is represented in many institutional collections, including Eastman House Rochester, Metropolitan Museum of Art, Museum of Modern Art, Museum of Fine Arts, Kupferstich-Kabinett, Hanmburgische Lichtbildstelle, Museum of Fine Arts and Musée d'Orsay. Appearing in Camera Work in 1911 as a half-tone print; only one other large-format gum-bichromate print of this image is known to exist.