Wilhelm Schön, Sosnowiec, Poland & Germany
Private Collection, Frankfurt
Acquired from the above by the father of the present owner in 2002

Hans Hess, Lyonel Feininger, New York, 1961, no. 206, illustrated p. 267

The canvas is unlined and there is no evidence of retouching under ultra-violet light. There is a small patch on the reverse of the canvas, which appears to be contemporary with the work and does not correspond to any visible restoration on the front. This work is in very good original condition. Colours: Overall fairly accurate in the catalogue illustration.
"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."

During his Bauhaus years, Feininger executed a number of paintings depicting churches from towns and villages around Weimer in central Germany, such as Gelmeroda, Possendorf and Vollersroda. His fascination with the area dates from his earlier visits – he had already explored this region during his travels in 1906. It was during that visit that Feininger executed his first sketches of the church of the nearby village of Gelmeroda, which would be a recurrent motif in his work of the following decades. Throughout his career, architecture was one of the central motifs in Feininger's œuvre, and here he depicted a row of houses lining a village street, dominated by the church tower. The treatment of the houses and the pronounced linearity🌸 of the composition reflect not only Feininger's own training as a graphic artist, but also the important influence of Cubism. Fascinated by the Cubists' technique of breaking up form, Feininger adapted their geometrical style while retaining the use of bright colours characteristic of his own early work.