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On ribbed chamois Japan laid paper. Printed in black, red, light and dark green, ochre, orange and yellow. One of approx. 27 prints by the artist known to date. With the estate stamp with the inscription ‘H Da/Bf9X’ in ink on the verso.
New catalogue raisonné: Gercken 1728 V.
Earlier catalogues raisonnés: No longer with Schiefler.
Further copies in the following collections: Städel Museum Frankfurt am Main; Kestner-Museum Hannover; Kunsthalle Karlsruhe; Museum of Modern Art New York; Museum Abteiberg Mönchengladbach; Kirchner Museum Davos; Wilhelm Hack-Museum Ludwigshafen; Sprengel Museum Hannover; LWL Museum für Kunst und Kultur Münster; Staatsgalerie Stuttgart, Sammlung Max Fischer; Kunstmuseum Chur.
Cf. the paintings of the same title and of the same and the following year (Gordon 970 private collection, 971 Wilhelm Hack-Museum Ludwigshafen) as well as numerous watercolours and drawings. Kirchner’s visual experience was as follows: Again and again in Davos – as previously at the Moritzburg ponds and on Fehmarn – he staged bathing scenes with a number of nudes in the bachobels (valleys) and forests of Davos during the summer months. Here is one such scene in the forest, two seated and one reclining nude, partly in direct sunlight, partly not. Here he takes up the well-known ‘sunspots’ from the early days of ‘Brücke’. One of the artist’s most important colour woodcuts from a very important group of works in the ‘New Style’ of the late 1920s and early 1930s.
