In his correspondence to Gustav Schiefler regarding the catalogue raisonnée of his prints, Kirchner recalled 'Weiße Villa in Hamburg-Blankenese' in a letter dated 17 March 1927. He no longer owned an impression of it and had no other record of it apart from his memory, which allowed him - 17 years later! - to make a very accurate, small drawing of it in black ink and watercolor. On the basis of this letter with the drawing (now at the Staats- und Universitätsbibliothek Hamburg), Schiefler was able to include 'Weiße Villa in Hamburg-Blankenese' in the addendum to the second volume (1931) of his catalogue raisonnée of Kirchner's prints.
In the summer of 1910, Kirchner had visited Martha and Paul Rauert in Hamburg, who were amongst his earliest and most faithful collectors and supporters. The print was inspired by a view from a window of their house, overlooking the neighboring villa and park. In the letter to Schiefler, Kirchner described the atmosphere in a few words: "Das Blatt wirkt trotz seiner Einfachheit so sonnig klar wie ein leuchtender Sommertag." ('Despite its simplicity, the print is sunny and clear as a bright summer's day.') It is indeed a work of remarkable clarity and simplicity, composed only of a few sketchy black lines, a luminous green for the abundant vegetation of the park and an intense blue for the sky above. The green is printed subsequently and on top of the black, thus softening the lines defining the plants. The rectangle of the house itself is mostly left blank, with only a few lines suggesting the outlines, the windows and a small gable. The house shines brightly against the green of the garden and the blue of the sky, as indeed the whitewashed, patrician houses of Hamburg do in the clear northern light of that city. Despite its quiet, static subject, the print has a fluidity and lightness of touch so characteristic of Kirchner's finest color lithographs. It is, as Günther Gercken found, one of his most poetic prints. (Farbige Druckgraphik, p. 40)
As with all his mature color lithographs, 'Weiße Villa in Hamburg-Blankenese' was printed from one stone only, by applying the design for each color individually, printing it, and then removing it from the stone: first blue, then black and finally green. No corrections or later printings are possible, as with each additional color, the previous element of the composition is erased.
The present impression from the Neuerburg collection, one of the most important and extensive private collections of late 19th and early 20th century prints ever assembled, offers the opportunity to acquire one of the rarest, great color prints by the artist. Although Kirchner himself recalled having printed three impressions, only two, the present one and another in an anonymous private collection, are known today.