About

I organized my very first exhibition of Lyonel Feininger’s works in 1957, at the age of 14. The show opened at the Institut Montana Zugerberg, a boarding school above the town of Zug, Switzerland. It was comprised of small copies of the artist’s works clipped from magazines and catalogues, and it was hung not in a gallery but on the walls around my dormitory bed. Visitors were limited to my roommate and myself. It was a modest show, and seems hardly worth mentioning, except that my passion for Feininger’s art has grown ever since—indeed, it came to influence much of the next decades of my life and career.

Ten years later, I started work at the Marlborough-Gerson Gallery in New York. I often stayed later than my colleagues, not because I was unusually ambitious but because I played the violin and the gallery’s acoustics were rewarding. One evening in April 1968, my boss, Francis K. Lloyd, called me into his office. He had exciting news: the gallery had just made an agreement to represent the estate of Lyonel Feininger. He also believed that since I was fluent in German I would be the best suited of the staff to take charge of the estate. Needless to say, I was overjoyed to be asked to represent the work of a major Bauhaus artist who I had deeply admired since my school years in Switzerland.

My first task was to organize an exhibition. Hoping to piece together a more complete picture of Feininger and his work, I began to meet regularly with his widow, Julia. Speaking to me with great tenderness and conviction about her late husband (her beloved “Papileo”), Julia always used English. This initially struck me as odd, since German was our shared native language. I realized, however, that this was the careful decision of a wife who had always been deeply invested in her husband’s legacy. Early in their relationship, in fact, she had given up her own artistic career to focus entirely on his, becoming his confidante, critic, and agent. Julia’s deliberate use of English in our conversations clearly imparted to me that despite having spent almost 50 years of his life in Germany, Feininger was to be remembered not as a German artist but as an American one.

My first official Feininger exhibition opened almost exactly one year after that memorable evening of violin practice. The Marlborough-Gerson Gallery, with its interior designed by Marcel Breuer, was the perfect space for such a show. The art historian Peter Selz, who had met Feininger in the early 1950s, wrote a stunning essay for the event, titled “Lyonel Feininger: Precision and Fantasy.” To this day the exhibition remains one of the most comprehensive of the artist’s work (fig. 1).

Over the next two years, I continued to organize smaller Feininger exhibitions at the Marlborough galleries in London and Rome. During that time, I connected with Feininger’s three sons: Andreas, Laurence, and Theodore Lux (T. Lux). Andreas, the eldest, was a photographer who had worked for Life magazine. I was fortunate to form friendships with him and his wife, Gertrude (known informally as Wysse). Andreas would occasionally invite me to spend the weekend at their country house in New Milford, Connecticut, where we would go for long walks in the woods, talking about his father and about Andreas’s own work. He would often stop mid-conversation to point to a particularly beautiful leaf or a remarkable stone on the path and ask, “Look, did you see that?” Of course, I had not. In many ways my friendship with Andreas taught me how to see and to walk in nature with my eyes wide open.

Laurence, Feininger’s middle son, had become a Catholic priest and lived in Trento, Italy. He was also a musicologist who made considerable academic contributions to the field of Catholic liturgical music. Because he lived so far away, I regret that I saw much less of him than I would have liked. He died tragically in a car accident in early 1976.

T. Lux taught art at Harvard. As a teenager he had proved a skilled photographer of daily life at the Bauhaus. He then became a painter in his own right, initially working in the styles of Neue Sachlichkeit (New Objectivity) and magic realism. After teaching geometric design at Harvard, he came to perfect a remarkable stencil technique. My wife and I are fortunate to have been able to acquire a small collection of his work over the years. As I grew to know T. Lux, I noticed a certain affinity between him and his father, perhaps due to their shared interest in art making. During our conversations, T. Lux became my teacher and mentor. He always imparted to me a sensitive and expert understanding of his father’s life and work.

In 1971, I left the Marlborough Gallery and moved to London. The following year, I opened my own gallery there, Achim Moeller Ltd., at 8 Grosvenor Street, Mayfair. I remained in touch with the Feininger family while I was in London and continued to include the artist’s work in exhibitions. My friend Florens Deuchler (then the director of the Medieval Department at The Metropolitan Museum of Art), who I had introduced to Feininger’s work, wrote essays for several of the shows, including Lyonel Feininger: Visions of City and Sea (1975), to which T. Lux also contributed. This particular exhibition, realized with the help of the Paris dealer Heinz Berggruen, commemorated the recent death of the art historian Hans Hess, who had written an important monograph on Feininger in 1959.

In the early 1980s, I received a phone call from the lawyer for the Feininger estate, who asked if I would consider becoming its representative. After about 12 years of promoting the artist in my gallery work, I felt significantly complimented to be approached about this role. I had become much more deeply involved with Feininger’s work, and had begun to see how underappreciated he was compared to some of the other Bauhaus artists. When I accepted the role of representative, I felt a keen sense of duty to be more than just an art dealer. I also wanted to make a positive impact on Feininger scholarship.

In 1984, I moved back to New York and opened my new gallery, Achim Moeller Fine Art Ltd., at 52 East 76th Street in Manhattan. Rereading Hess’s 1959 monograph, I began to envision what my impact could be. The back pages of Hess’s book were devoted to a collection of small black-and-white photographs of Feininger’s paintings compiled by Julia. For many years, these pages had served as the only reference to his paintings. Accompanying the images were short written entries, which I realized were mostly out-of-date or even occasionally incorrect. This inspired me, providing me with the ideal starting point to create a new archive of Feininger’s complete works and to publish a definitive catalogue raisonné of the artist’s paintings. This has been the mission of The Lyonel Feininger Project LLC, which I launched in 1987. In connection with the Project, I took charge of authenticating Feininger’s works for auction houses, galleries, and collectors, and began assisting museums in their research, tasks previously performed by T. Lux. Today, authentication remains a central activity of the Project, and it both relies upon and informs our expansive archive.

In 2018, we culminated 30 years of work when we published Lyonel Feininger: The Catalogue Raisonné of Paintings (fig. 2). Over the course of its creation, I have been fortunate to have assistants who made this accomplishment possible. I am particularly grateful to Stefan Hauser, who worked on the catalogue raisonné for almost three years, and to Sebastian Ehlert, who started 10 years ago as an intern and rose to become the project’s manager. I believe that Sebastian probably knows as much as anyone today about Feininger and his work.

I also maintain frequent contact with Feininger’s grandchildren Tomas, Conrad, Lucas, and Charles. I feel very grateful to be working with the next generation to further their grandfather’s work and would like to thank them for their support.

The catalogue raisonné is a work in progress. Although it focuses mainly on Feininger’s paintings, over the years I have also collected and archived information on his works in other mediums. Sebastian and I, together with other staff members, will therefore continue to add to the catalogue, which will grow to encompass these other works. Online publication allows the catalogue to be constantly updated, reflecting the fact that scholarship on Feininger is alive and growing.

It is with considerable satisfaction that I can make my lifetime passion for Feininger bear fruit in this way. Over the course of The Lyonel Feininger Project, I have amassed what may be the largest private archive of his work. More importantly, however, the catalogue raisonné promises to raise awareness of the artist and to solidify his rightful place in art history. I am certain that this will benefit Feininger’s legacy, his market, and future scholars.

Prof. Dr. Winfried Bullinger

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Joachim Fels

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Conrad Feininger

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Dr. Ulrich Luckhardt

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Julia Wirtz

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The gathering and archiving of information on Feininger’s life and work is the main mission of THE LYONEL FEININGER PROJECT.  All information on the artist and his works is being inventoried and catalogued.  At the moment, THE LYONEL FEININGER PROJECT is focused on compiling the Catalogue Raisonné of Paintings by Lyonel Feininger.  Provenance, exhibition and bibliographic information on more than 600 Feininger paintings are being researched and processed.  In 2018, the first part of Lyonel Feininger: The Catalogue Raisonné of Paintings by Achim Moeller was released and made available online at feiningerproject.org.  It includes details of paintings created from 1907 to 1918, as well as a chronology and lists of literature and exhibitions pertaining to Lyonel Feininger: The Catalogue Raisonné of Paintings is updated on a regular basis. Due to Achim Moeller’s many years of scholarly study, analysis and compilation of Lyonel Feininger’s work, the Feininger family agreed to forego copyright claims for the Catalogue Raisonné of Paintings.

THE LYONEL FEININGER PROJECT is the foremost address in the world for authenticating Lyonel Feininger’s works. For all Feininger works traded on the art market, it is a fundamental requirement that Achim Moeller issues his expert opinion as to the authenticity of the work and that it is registered in the archive of THE LYONEL FEININGER PROJECT.  Since coming into existence, THE LYONEL FEININGER PROJECT has issued over 1650 certificates of authenticity, each receiving an individual certification number.  Beside its extensive collection of expertise and related material, the archive of THE LYONEL FEININGER PROJECT holds additional pertinent information on individual works which provides collectors, galleries, and auction houses with a maximum level of certainty when trading Feininger’s works and offers scholars a sound basis for research.  A comprehensive collection of expert opinions and information on non-authentic works is also part of THE LYONEL FEININGER PROJECT archive.  THE LYONEL FEININGER PROJECT strives to remove all forgeries of Feininger’s art from the channels of commerce.  To this end, it regularly cooperates with domestic and foreign law enforcement agencies, such as the Federal Bureau of Investigation, the German Federal Criminal Police, and the Swiss Cantonal Police.

The comprehensive archive of THE LYONEL FEININGER PROJECT and Achim Moeller’s expert knowledge are frequently in demand during exhibition preparations showing Feininger’s works.  Over the years, THE LYONEL FEININGER PROJECT has assisted in varied and diverse projects conducting scholarly research into Feininger’s life and work as well as by helping to facilitate loans.  One of these projects included the exhibition Lyonel Feininger: At the Edge of the World at the Whitney Museum of American Art (2011) and the Montreal Museum of Fine Arts (2012).  Other larger projects supported by THE LYONEL FEININGER PROJECT in the past have included the important retrospectivesLyonel Feininger: From Gelmeroda to Manhattan at the Neue Nationalgalerie, Berlin (1998), Feininger: Early Works and Friends at the Von der Heydt-Museum, Wuppertal (2006) and the Lyonel Feininger: Retrospective in Japan shown, inter alia, at the Yokosuka Museum of Art, Yokosuka (2008–2009).  More recently THE LYONEL FEININGER PROJECT helped with the exhibitions Satire – Irony – Grotesque: Klee, Kubin, Daumier, Ensor, Feininger (2013) at the Zentrum Paul Klee in Bern, Switzerland, Becoming a Bauhaus Artist: Lyonel Feininger and his Woodcuts (2014) at the Lyonel-Feininger-Galerie in Quedlinburg, Germany, Pioniere des Comic: Eine andere Avantgarde (2016) at the Schirn Kunsthalle, Frankfurt am Main, Germany, Lyonel Feininger – Rügen, Ribnitz, Usedom. Reisen an die Ostsee von 1892 bis 1913 (2016) at the Kunstmuseum Ahrenshoop, Germany, Lyonel Feininger (1871-1956) (2017) at the Fundación Juan March, Madrid, Spain, and Lyonel Feininger: A vele spiegate / Lyonel Feininger: Auf großer Fahrt (2019) at the Museo Castello San Materno Ascona, Ascona, Switzerland.

In addition, THE LYONEL FEININGER PROJECT does scholarly research into individual aspects of the artist’s life and work.  As early as 1991, the extensive correspondence between Lyonel Feininger and his friend Mark Tobey (1880–1976) was published.  A revised new edition edited by Achim Moeller was reprinted by Hatje Cantz in 2006 and released as an e-book in 2015.  In 1992, Feininger’s important sojourns in Paris between 1892 and 1911 were documented in co-operation with the Germanisches Nationalmuseum in Nuremberg and in 2009, an insight into Feininger’s style-altering stays in the Harz Mountains during 1917 and 1918 was given in co-operation with the Lyonel-Feininger-Galerie in Quedlinburg for the first time. In 2016 THE LYONEL FEININGER PROJECT published in conjunction with the Kunstverein Ribnitz-Damgarten the book Lyonel Feininger in Ribnitz und Damgarten about Feininger’s important stays in Ribnitz and Damgarten on the Baltic Sea.

As early as 1968, Achim Moeller became professionally involved with Lyonel Feininger’s life and work.  As Director and Vice President of Marlborough-Gerson Gallery in New York, he was in charge of 20th century European art and in this connection also represented the estate of Lyonel Feininger.  Achim Moeller frequently visited Feininger’s widow Julia (1880–1970).  In 1969, he curated a solo exhibition at Marlborough-Gerson that included more than 80 Feininger paintings alone.  To this day, this has been the most important gallery exhibition of Lyonel Feininger.

Achim Moeller’s fascination and passion for this outstanding artist did not cease when he opened his own London gallery in 1972.  Feininger’s works have been shown in numerous group and solo exhibitions, including Lyonel Feininger: Visions of City and Sea: A Tribute to the late Hans Hess –– author of the first monograph on Lyonel Feininger.  Achim Moeller continued this tradition after his gallery moved to New York in 1984.  A retrospective of drawings and watercolors in 1985 was followed by several solo exhibitions.  Among these were shows on his figurative drawings (1990), honoring Feininger’s friendship with Mark Tobey (1991, in conjunction with the publication of the correspondence between the two artists; published 2006 in a revised edition by Hatje Cantz and in 2015 as an e-book), his windmills (1993), in celebration of Feininger’s 125th birthday (1996), his Gelmeroda works (2000), rare prints from the artist’s private collection (2007), and most recently about his early drawings from 1890 to 1906 (2015) and his woodcut related drawings, figurative drawings, and toys (2019).

Between 2009 and 2014 Moeller Fine Art in Berlin also dedicated several of its exhibitions to the artist among which was its inaugural exhibition in 2009 about Feininger’s comic strips, fairytale drawings, wooden toy figures and buildings. Others included Feininger in the Harz (2009) held in conjunction with the Lyonel-Feininger-Galerie, Quedlinburg, Lyonel Feininger: Drawings and Watercolors from the Julia Feininger Estate (2011), Lyonel Feininger: Dawn of a New Day –– Murals for the 1939/40 New York World’s Fair” (2012) and Father and Son: Lyonel and T. Lux Feininger that moved previously unseen aspects of Feininger’s oeuvre onto center stage in the public eye.

For over three decades now, Achim Moeller has been supervising the estates and trusts of the Feininger family always keeping in close correspondence with the family members, including Feininger’s sons Andreas (1906–1999), Laurence (1909–1976), and T. Lux (1910–2011).

In order to make a scholarly contribution to the research into Lyonel Feininger’s life and work beyond his gallery activities, Achim Moeller founded the LYONEL FEININGER PROJECT in the mid-1980s.  Over the years, he has established the most important private archive on Feininger.  Apart from a great number of publications about the artist and archival material on the entire spectrum of his oeuvre, precious original letters from Lyonel Feininger and other artists, such as Paul Klee, Karl Schmidt-Rottluff and Emil Nolde are part of the archive’s inventory.  The archive also contains a collection of his original newspaper cartoon prints produced at the turn of the 20th century and rare photographs, including portrait shots of Feininger from the 1890s.  To do justice to the great interest in Feininger’s work in his native, the U.S., as well as in his adopted country, Germany, Achim Moeller established next to the LYONEL FEININGER PROJECT’S New York office bureaus in Berlin in 2012. In 2018, the first part of Lyonel Feininger: The Catalogue Raisonné of Paintings by Achim Moeller was released and made available online at feiningerproject.org.  It includes details of paintings created from 1907 to 1918, as well as a chronology and lists of literature and exhibitions pertaining to the artist. Lyonel Feininger: The Catalogue Raisonné of Paintings is updated on a regular basis.

Lyonel Feininger: La ville et la mer

À l‘occasion du 150e anniversaire de l‘artiste

Musée Jenisch, Vevey, Switzerland

October 15, 2021 – January 9, 2022

Past (Selected)

2019   

New York, Moeller Fine Art, The Enchanted World of Lyonel Feininger, November 7, 2019–January 26, 2020.

2019   

Apolda, Kunsthaus Apolda Avantgarde, Traumstadt: Lyonel Feininger und seine Dörfer, September 15–December 12, 2019.

2019   

Ascona, Switzerland, Museo Castello San Materno Ascona, Lyonel Feininger: A vele spiegate / Lyonel Feininger: Auf großer Fahrt, May 26–September 29, 2019.

2017   

Madrid, Fundación Juan March, Lyonel Feininger (1871-1956), February 17–May 28, 2017.

2016   

Ahrenshoop, Kunstmuseum Ahrenshoop, Lyonel Feininger – Rügen, Ribnitz, Usedom. Reisen an die Ostsee von 1892 bis 1913, March 19–July 17, 2016.

2016   

Frankfurt am Main, Schirn Kunsthalle, Pioniere des Comic: Eine andere Avantgarde, June 23–September 18, 2016.

2016   

Düsseldorf, Museum Kunstpalast, Lyonel Feininger: Zwischen den Welten, November 11, 2016–January 22, 2017, traveled to: Waiblingen, Galerie Stihl Waiblingen, February 18–May 14, 2017.

2016   

Halle (Saale), Kunstmuseum Moritzburg, Lyonel Feininger: Paris 1912. Die Rückkehr eines verlorenen Gemäldes, October 24, 2016–January 29, 2017.

2015   

Ingelheim am Rhein, Altes Rathaus, Lyonel Feininger / Alfred Kubin: Eine Künstlerfreundschaft, May 24–August 2, 2015, traveled to: Vienna: Albertina, September 4, 2015–January 10, 2016.

2015   

Le Havre, Musée d’art moderne André Malraux, Lyonel Feininger: L’arpenteur du monde. Regard de collectionneur, April 18–August 31, 2015.

2015   

New York, Moeller Fine Art, Lyonel Feininger: The Early Years, 1890-1906, March 30–June 26, 2015 (extended until July 17, 2015).

2014   

Bern, Zentrum Paul Klee, Satire – Ironie – Groteske: Daumier, Ensor, Feininger, Klee, Kubin, June 6–October 6, 2014.

2013   

Quedlinburg, Lyonel-Feininger-Galerie, Auf dem Weg zum Bauhaus-Künstler: Lyonel Feininger. Holzschnitte (Becoming a Bauhaus Artist: Lyonel Feininger. Woodcuts), September 6, 2013–January 6, 2014, traveled to: Emden, Kunsthalle Emden, January 25–April 11, 2014.

2011   

New York, Whitney Museum of American Art, Lyonel Feininger: At the Edge of the World, June 30–October 16, 2011, traveled to: Montreal Museum of Fine Arts, Lyonel Feininger: From Manhattan to the Bauhaus, January 20–May 13, 2012.

2009   

Halle (Saale), Stiftung Moritzburg, Kunstmuseum des Landes Sachsen-Anhalt, Germany, Lyonel Feininger: Zurück in Amerika. 1937–1965, May 16–August 30, 2009.

2008   

Yokosuka, Yokosuka Museum of Art, Lyonel Feininger: Retrospective in Japan, August 2–October 5, 2008, traveled to: Higashisakura, Aichi Prefectural Museum of Art, October 17–December 23, 2008; Sendai, Miyagi Museum of Art, January 10–March 1, 2009.

2006   

Chemnitz, Kunstsammlungen Chemnitz, Lyonel Feininger. Zeichnung, Aquarell, Druckgrafik:

Sammlung Loebermann, December 12, 2006–February 18, 2007.

2006   

Wuppertal, Von der Heydt-Museum, Feininger: Frühe Werke und Freunde, September 17–November 19, 2006.

1998   

Berlin, Neue Nationalgalerie, Staatliche Museen zu Berlin, Lyonel Feininger: Von Gelmeroda nach Manhattan, July 3–October 11, 1998.

1991   

Halle (Saale), Staatliche Galerie Moritzburg Halle [Stiftung Moritzburg, Kunstmuseum des Landes Sachsen-Anhalt], Lyonel Feininger: Die Halle-Bilder, August 29–November 3, 1991.

1985   

New York, Acquavella Galleries, Exhibition Lyonel Feininger, October 15–November 20, 1985.

1973   

Munich, Haus der Kunst München, Lyonel Feininger 1871–1956, March 24–May 13, 1973, traveled to: Zurich, Kunsthaus Zürich, May 25–July 22, 1973.

1969   

New York, Marlborough-Gerson Gallery, Lyonel Feininger, April–May 1969.

1967   

New York, The Museum of Modern Art, Lyonel Feininger: The Ruin by the Sea, August 1–September 24, 1967, traveling exhibition.

1966   

Pasadena, Pasadena Art Museum, Lyonel Feininger 1871–1956: A Memorial Exhibition, April 26–May 29, 1966.

1964   

Berlin, Amerika Haus Berlin, Lyonel Feininger: Werke aus dem Nachlass, September 29–October 28, 1964.

1964   

Detroit, Detroit Institute of Arts, Lyonel Feininger: The Formative Years, September 8–27, 1964.

1962   

Louisville, J.B. Speed Art Museum, The Intimate World of Lyonel Feininger, New York, July 7–30, 1962, traveling exhibition of The Museum of Modern Art.

1959   

San Francisco, San Francisco Museum of Art, Lyonel Feininger: Memorial Exhibition 1959–1961, organized by the Cleveland Museum of Art, November 6–December 6, 1959.

1954   

Munich, Bayerische Akademie der Schönen Künste, Lyonel Feininger, September 3–October 5, 1954, traveled to: Hannover, Kestner-Gesellschaft, October 17– November 21, 1954.

1949   

Boston, The Institute of Contemporary Art, Jacques Villon, Lyonel Feininger, October 7–November 20, 1949, traveled to: Washington, DC, The Phillips Gallery, December 11, 1949–January 10, 1950; Wilmington, Delaware Art Center, March, 5–26,  1950; Houston, Contemporary Arts Association Houston, April 14– May 7, 1950.

1945   

Poughkeepsie, Vassar College Art Gallery, Lyonel Feininger, traveling exhibition of The Museum of Modern Art, February 14–March 15, 1945.

1944   

New York, The Museum of Modern Art, Lyonel Feininger, Marsden Hartley, October 24, 1944–January 14, 1945.

1942   

New York, The Metropolitan Museum of Art, Artists for Victory.  An Exhibition of Contemporary American Art: Paintings, Sculptures, Prints, December 7, 1942–February 22, 1943.

1938   

New York, The Museum of Modern, Art Bauhaus 1919–1928, December 7, 1938–January 30, 1939.

1937   

Oakland, CA, Mills College Art Gallery, 2nd Feininger Exhibition: 35 New Paintings, 130 Drawings and Prints by Lyonel Feininger, travelling exhibition, June 27–August 7, 1937.

1936   

Oakland, Mills College Art Gallery, Exhibition Lyonel Feininger, travelling exhibition, June 22–August 1, 1936.

1931   

Berlin, National-Galerie, Kronprinzenpalais, Lyonel Feininger, September 19, 1931–End of January, 1932.

1929   

New York, The Museum of Modern Art, Paintings by Nineteen Living Americans, December 13, 1929–January 12, 1930.

1929   

Basel, Kunsthalle Basel, Bauhaus Dessau: J. Albers, L. Feininger, W. Kandinsky, P. Klee, O. Schlemmer, April 20–May 9, 1929.

1929   

Breslau, Schlesisches Museum der Bildenden Künste, Lyonel Feininger, Erich Heckel: Gemälde, Aquarelle, Zeichnungen. Ewald Mataré: Plastik, January 20–February, 1929.

1929   

Prague, Kunstverein für Böhmen, Sonderausstellung: Lyonel Feininger, December 28, 1929–January 19, 1930.

1926   

Berlin, National-Galerie, Ausstellung von Gemälden jüngerer Künstler aus Deutschland, England, Frankreich und den Vereinigten Staaten, four-nation exhibition, June–August 1926.

1925   

New York, The Daniel Gallery, The Blue Four: Feininger, Kandinsky, Jawlensky, Paul Klee, February 20–March 10, 1925.

1919   

Hannover, Kestner-Gesellschaft, Paul Klee, Lyonel Feininger: Gemälde, Graphik. XXIX. Sonder-Ausstellung, November 30, 1919–January 1, 1920.

1917   

Zürich, Galerie Dada, Ausstellung von Graphik, Broderie, Relief, May 4–29, 1917.

1917   

Berlin, Galerie Der Sturm, Fünfundfünfzigste Ausstellung: Lyonel Feininger. Gemälde und Aquarelle. Zeichnungen, September 1917.

1913   

Berlin, Galerie Der Sturm, Erster Deutscher Herbstsalon, September 20–December 1, 1913.

1911   

Paris, Société des Artistes Indépendants, Salon des Indépendants, Quai d'Orsay, 27ème Exposition de la Société des Artistes Indépendants, April 21–June 13, 1911.

1888   

Hamburg, Allgemeine Gewerbeschule, Schul- und Museumsgebäude am Steintorplatz, Osterausstellung, March 30–April 2, 1888.

Publications

Moeller, Achim, ed. Years of Friendship, 1944-1956. The Correspondence of Lyonel Feininger and Mark Tobey. Ostfildern-Ruit: Hatje Cantz, 2006.