Tag: Heinrich Kühn, Heinrich Kuehn, Heinrich Kuhn

Nude in the morning sunlight, ca. 1920

Heinrich Kühn :: Nude in the morning sunlight, ca. 1920. Multiple oil transfer print on heavy Japan paper, printed probably 1940s. | src Lempertz

Lotte and Mary by Heinrich Kühn

Heinrich Kühn :: Lotte and Her Nurse, duplex half tone reproduction, published in Camera Work n• XXXIII, 1911. | src Fostinum
Heinrich Kühn :: Mary Warner und Lotte Kühn, um 1911. Japanpapier. Edeldruckverfahren (Gummigravüre); signiert: recto o.: in Braun: “HEINRICH / KUEHN”; beschriftet: verso u.: in Blei: “Miß [sic] Mary + Lotte Kühn. | src MK&G ~ Museum für Kunst und Gewerbe

Heinrich Kühn :: Portrait of the Artist’s Son, Walter, ca. 1905 / source

Heinrich Kühn was one of the most influential amateur photographers in Vienna. Careful attention is paid to the repetition of circular shapes – Walter’s glasses, hat, coat buttons – that punctuate the broader expanses of dark or light earth-toned patches of colour. The tone in the photograph is the result of a complex printing process in which pigment was adhered to the surface of the paper through exposure to light. Courtesy Kicken Berlin Gallery and The Guardian.

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Abend in der Lagune

Heinrich Kühn :: Abend in der Lagune | Evening In The Lagoon, 1895. Photogravure. | src photoseed
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Heinrich Kühn :: Impressionist photographs, circa 1900′s-1910′s.

Kühn with Franz Staeble developed a new lens known as Kuhn Anachromat, which from 1928 to 1990 was issued under the name of Rodenstock lenses Imagon. The aim was to produce a soft scattering pattern, with the effect of artistic blur, similar in style to the paintings of the Impressionists. / src: franz.blogspot.com

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