Julius & Magnolia Stern, Berlin (sale: Paul Cassirer, Berlin, 22nd May 1916, lot 16)
René A. Hoffer, Switzerland
Sale: Griesebach GmbH, Berlin, 26th May 1995, lot 8
Galerie Klauspeter Westenhoff, Hamburg
Acquired from the above by the present owner on 26th January 1996

Zurich, Züricher Kunsthaus, Max Liebermann, 1923, no. 108
Berlin, Nationalgalerie & Munich, Haus der Kunst, Max Liebermann und seine Zeit, 1979-80, no. 273, illustrated in colour in the catalogue

Bruno Cassirer (ed.), Kunst und Künstler, Berlin, 1910, vol. VIII, p. 539, illustrated p. 538
Erich Hancke, Max Liebermann, sein Leben und seine Werke, Berlin, 1914, p. 537

Executed on buff wove paper, laid down on board. There are a number of small artist's pin holes intermittently along the edges. The sheet is slightly time-stained and there is some light frame-rubbing along the edges. There is a horizontal scratch (approx. 10cm. long) with a minor associated tear to the centre of the extreme upper edge, related to the frame rubbing and not visually distracting. This work is in overall good condition.
"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."

Max Liebermann first visited Holland in 1872 and returned on numerous occasions. Influenced by artists of the Golden Age of Dutch painting, such as Frans Hals, and members of the Barbizon School such as Jean-François Millet, Liebermann studied the open landscape and its people. Similarly to Vincent van Gogh, Liebermann was fascinated with the lives of weavers and peasants performing their everyday chores. Less concerned with their social status, Liebermann focused on composition, colour and light.

Nähende Mädchen in Huyzen was executed circa 1895 and shows seven women outside a Dutch farmhouse occupied with needle work. It appears that Liebermann first painted girls sewing in Hui🐓zen in 1889 and executed at least four associated oil paintings. Four years later Liebermann revisited the theme in a series of three pastels of which the present work is a wonderful example. At this point in his career Liebermann was increasingly influenced by French Impressionism, which resulted in the use of lighter colours and a sketchier technique, rendering his works more gentle and atmospheric.