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Hannah Höch (1889-1978)
Artist's Resale Right ("Droit de Suite"). Artist's… Read more PROPERTY FROM A PRIVATE GERMAN COLLECTION
Hannah Höch (1889-1978)

Selbstbildnis mit Katze Ninn

Details
Hannah Höch (1889-1978)
Selbstbildnis mit Katze Ninn
signed with the initials 'H.H.' (lower right)
oil on canvas
19 7/8 x 14 1/2 in. (50.5 x 36.8 cm.)
Painted in 1928
Provenance
Hannah Höch, Berlin.
Acquired from the above by the family of the present owners.
Literature
E. Maurer, Hannah Hoch, Jenseits fester Grenzen: Das malerische Werk bis 1945, Berlin, 1995, no. 37, pp. 104 & 240 (illustrated p. 240).
Exhibited
Schopfheim, Museum der Stadt, Hannah Ho¨ch: zum 10. Todestag, Zeichnungen, Aquarelle, Collagen, Gema¨lde, April - June 1988 (illustrated n.p.).
Gotha, Schloss Friedenstein, Hannah Ho¨ch: Gotha 1889-1978 Berlin, August - November 1993, no. 106, p. 189 (illustrated p. 161).
Tübingen, Kulturhalle, Hannah Ho¨ch: Werden und Vergehen. Natur und Mensch, February - March 2012, no. 93, p. 100 (illustrated).
Hamburg, Galerie St. Gertrude, Hannah Höch: Auf der Suche nach der versteckten Schönheit, April - June 2017.
Special Notice

Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent.

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Keith Gill
Keith Gill Head of Evening Sale

Lot Essay

Painted in 1928, Hannah Höch’s Selbstbildnis mit Katze Ninn is one of a small group of self-portraits created by the artist during the final years of the 1920s, each of which reflect her inner state of mind as she sought to define her identity during a period of intense self-questioning and reflection. At the time the painting was begun, Höch had been living in the Netherlands for almost two years, having abandoned her life in Berlin in order to be with her lover Til (Mathilde) Brugman, an acclaimed poet and writer involved with the De Stijl group. This lesbian relationship was a first for Höch, but one which she believed offered her access to new depths of emotion and feeling. After the whirlwind, intense nature of the beginning of their relationship, Höch and Brugman settled into a content life together in The Hague, living in an apartment designed by the De Stijl architect Vilmos Hulzár, with furniture by Gerrit Rietveld. During this period, Höch actively pursued gallery exhibitions and sales in the Netherlands, showing watercolours, paintings and photomontages in several important exhibitions, as she sought to increase her public profile in her new home. By 1928, these major developments in both her personal and professional life had driven Höch to turn her gaze inwards, as she sought to examine and redefine her identity through her paintings.

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