Elisabeth-Ufer (Berlin). 1913/14.
Woodcut.
Gercken 642. Dube H 197. Schiefler 224. Inscribed in lower margin by a hand other than that of the artist. One of five known copies. On copper plate printing paper. 20.5 x 23.1 cm (8 x 9 in). Sheet: 52,2 x 39 cm (20,6 x 15,4 in).
[CH].
• Hand-printed by the artist
• Two of the five known copies are museum-owned: one is at the National Gallery of Art, Washington, DC and one at the Portland Museum of Art, Portland/Oregon.
• The same year the artist made the drypoint etching of the same name (Gercken 641) with a similar composition, as well as the very similar painting "Rotes Elisabethufer, Berlin" (Pinakothek der Moderne, Munich, Gordon 275).
• Typical method: Kirchner often conceived a certain motif in the woodcut, his preferred technique, and then revisited the motif in a painting.

PROVENANCE: Hermann Gerlinger Collection, Würzburg (with the collector's stamp, Lugt 6032).

EXHIBITION: Schleswig-Holsteinisches Landesmuseum, Schloss Gottorf, Schleswig (permanent loan from the Hermann Gerlinger Collection, 1995-2001).
Kunstmuseum Moritzburg, Halle an der Saale (permanent loan from the Hermann Gerlinger Collection, 2001-2017).
Buchheim Museum, Bernried (permanent loan from the Hermann Gerlinger Collection, 2017-2022).

LITERATURE: Heinz Spielmann (ed.), Die Maler der Brücke. Sammlung Hermann Gerlinger, Stuttgart 1995, p. 156, SHG no. 154 (with illu.).
Hermann Gerlinger, Katja Schneider (eds.), Die Maler der Brücke. Inventory catalog Hermann Gerlinger Collection, Halle (Saale) 2005, p. 336, SHG no. 531 (with illu.).
Günther Gercken, Ernst Ludwig Kirchner. Kritisches Werkverzeichnis der Druckgraphik, vol. 3 (543-847, 1912-1916), Bern 2015, p. 114, cat. no. 642 (with illu., p. 115).

"We used to conceive many works from memory, from woodcut over etching to painting."
Kirchner to Luise Schiefler, July 29, 1937, in: Wolfgang Henze (ed.), Ernst Ludwig Kirchner - Gustav Schiefler, Briefwechsel 1910-1935/1938, Stuttgart 1993, no. 626.