Leo Putz

Acquired by the father of the present owner

The canvas has not been lined. As visible in the catalogue illustration there is an intermittent thin line of surface abrasion parallel to the left framing edge towards the top, and some scattered light scuffs in the hull of the boat in the lower right. Under ultra-violet light a minor spot of retouching is visible in the water in the upper-right quadrant, which fluoresces green. This painting is otherwise in good condition. The colours are somewhat subtler and more luminous in reality than in the catalogue illustration, and the figure less pink. Presented in a decorative gilt frame.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Painted in 1912 the present work compares with another smaller version of the same subject on the lake of Hartmannsberg castle in the collection of the Stadtmuseum, Munich (see Helmut Putz, Leo Putz 1869-1940, Werkverzeichnis in zwei Bänden, Wolnzach, 1994, no. 486, p. 664, illustrated). The pose of the model and the setting of the composition also relate to Die Ausfahrt of 1909 which shows a clothed model (Helmut Putz, no. 411, p. 655).

From 1909 until 1914, Putz spent the summer months at Hartmannsberg Castle in the Bavarian Chiemgau region. Some of his best impressionist work was produced during this period including the two series known as The Bathers and The Rowingboat, to which the present work belongs. Also known as the 'Hartmannsberger pictures', these paintings of female nudes in sunlit lake settings capture to optimum effect the light of plein-air-painting for which Putz became famous.

In 1866 at the age of sixteen, Putz moved to Munich to take his first drawing lessons under his stepbrother, Robert Poetzelberger before studying at the Munich Academy of Fine Arts under Gabriel von Hackl. He then studied fine art at the Académie Julian in Paris under Bouguereau and Benjamin-Constant.  Upon his return to Munich in 1897 he opened his first studio and became a member of the Munich Secession. From 1901, inspired by the work of Wilhelm Trübner, Putz started working in a more impressionistic style.  He was awarded a professorship at the Munich Academy in 1909, and his first monograph was published.