August Sander (1876-1964)

Vintage silver print, with the photographer's studio blindstamp at lower left of the image.

From the family of Dr. Fritz Husten.

Considerable original marks of retouching around the head of the sitter. A series of three or four indentations in the area of the sitter's right shoulder. A wider area of lightly applied pressure in the lower right of the print encloses an area of mildly affected emulsion, suggestive of damage by moisture on a very slight scale. In addition, an area of retouching immediately above the photographer's blindstamp in the lower left corner runs some 2.5cm in from the print edge. Notwithstanding the foregoing, the presentation of this print is superb and the listed defects apparent only under close scrutiny.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

This photograph of Emma Causemann was made in Sander's studio in Cologne in 1928, presumably on the same day as the portrait of Fritz and Mathilde Husten, her daughter (lot 75).  Emma Causemann's portrait reflects the strict formal aesthetics of Sander's Menschen des 20. Jahrhunderts.  Sander first made his idea public in November 1929 as 'Antlitz der Zeit' (Face of our Time).  Sander's selection for the studies in his conceptual work was based on his own contacts.  The 'objective' austerity that caracterises this picture of the older woman is typical of the portraits he included in his so-called 'Stamm-Mappe' (Collection of Types).

Kurt Tucholsky put it like this in 1930: "Sander has not photographed people but types.  People who represent their class, their group, their caste in such a way that the individual can be considered as the group... What Sander has done there is work at its best." (Die Weltbühne, no 13, 25 March 1930).
The negative to this print is not known to survive.