Details
ALBERT RENGER PATZSCH (1897–1996)
Mary Wigman's "Der Weg", 1932
gelatin silver print
stamped with artist's studio information and reproduction credit and annotated '93' in pencil (verso); credited, titled and dated on affixed exhibition labels (frame backing board)
image/sheet: 614 x 878 in. (15. 9 x 22.5 cm.)
Provenance
Swann Galleries, New York, October 29, 1987, lot 372;
Janet Borden, New York;
acquired from the above by the present owner, 1987.
Literature
W.M. Hunt, The Unseen Eye: Photographs from the Unconscious, Aperture, New York, 2011, p. 28-29.
Exhibited
Lausanne, Musée de l'Élysée; Amsterdam, FOAM Fotogafiemuseum, Sans Regard or No Eyes: Photographs from W.M. Hunt / Collection Dancing Bear, 2006-2007.
Ocala, Appelton Museum of Fine Arts, The Unseen Eye: Photography from the Collection of W.M. Hunt, November 7, 2010–January 2, 2011.
Rochester, George Eastman House, The Unseen Eye: Photographs from the W.M. Hunt Collection, October 1, 2011–February 19, 2012.
Brought to you by

Lot Essay

'The collection is based, in part, on pleasure. Sam Wagstaff, an eminent collector, said ‘the pleasure of seeing is like watching people dancing through an open window. They seem a little mad at first, until you realize they hear the song that you are watching.’
Photography is revelatory, both as revelation and as something to revel in. It is unique as an art form. Anyone over the age of ten, at least in the Western world, has seen and considered thousands of images, tens of thousands or more. We make them. We take them. At some point we know the good ones from the bad ones. It may not be so easy to articulate it, but we do know the difference. We don’t necessarily know that about the other arts: painting or dance, theatre or sculpture. With photographs we have our own individual taste and visual sophistication from early on; we recognize the successful images and pass on the bad ones. We see them everywhere: newspapers, magazines, television, billboards; they surround us our entire lives.
The line of shrouded dancers in the Albert Renger-Patzsch is captured like a mysterious wave that is ominous, unsettling and somewhat silly. But it flows and even looks like a piece of music, lyrically curling in an intoxicating way that is sinuous and sensuous. Renger-Patzsch was the progenitor of contemporary German photography.' – W.M. Hunt

Related Articles

Sorry, we are unable to display this content. Please check your connection.

More from
The Unseen Eye: Photographs from the W.M. Hunt Collection
Place your bid Condition report

A Christie's specialist may contact you to discuss this lot or to notify you if the condition changes prior to the sale.

I confirm that I have read this Important Notice regarding Condition Reports and agree to its terms. View Condition Report