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pho t ogr a ph y auc t ion 112

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19t h c en t u ry p ho t o gr a p h y


4018


4001

fratelli d’ a lessa ndri (1818 – 1893, 1824 – 1889)

4001 (Attributed to). Portraits of noblemen and high-

ranking religous figures of the Papal State in Italy and other Roman figures. Late 1860s. 21 finely handcolored carte-de-visite albumen prints all mounted to one board (37 x 48 cm). 900 € A fine collection of hand-colored cdv portraits of Roman society around the late 1860s showing bishops, cardinals and military staff of the Papal State, as well as peasants and street sellers.

fratelli a lina ri (founded in 1854)

4002^ Calla Aethiopica. Circa 1865. Albumen print. 24,7 x 18,8 cm. Title and photographer’s name in the negative in lower edge. 750 €

4002 5


4003

a m azonia / koch-grünberg expedition 4003 Photographer: Charles Kroehle (1867–1902) and George Huebner (1862 - 1935). Portraits and ethno­ graphic studies of Peru, Brazil and Paraguay. 1903-05. 50 albumen prints. Various sizes, most circa 15,5 x 23 cm, some smaller. Most with photgrapher’s names in the negative in lower right/left corner, mounted to board and bound in half leather album with gilt-stamped title 7. Anthropofagen, Peru, Brasilien, Paraguay on front cover. 9.000 € 6

The two German photographers Charles Kroehle and George Huebner are considered the pioneereing photographers of the Amazon in Peru. From 1888 - 1891 they travelled the Amazon, Ecuador and Bolivia. During those trips some of the first photographs were taken of Indios such as the Campa, Pirus, Shipicos, Cashibos and other ethnic groups of the Peruvian Montana. Provenance: Robert Lebeck Collection


4003 7


4004

a merica n w est 4004 Photographer: William Henry Jackson (1843–

1942), Charles Roscoe Savage (1832–1909) and unknown. Images of geological survey groups, bridges and landscapes in the American West as well as American cities. 1880s - 1892. 17 albumen prints. Each circa 10,5 x 16,5 cm, 11,5 x 19,5 cm and 19 x 23 cm. 8 with photographer’s initials, title and number in the negative in lower corners, each mounted to board (some soiling), a few annotated in English in ink on mount verso. 600 € This very interesting group contains three images by William Henry Jackson: 3619 “A ‘Cow Boy’; 808 “The Royal Gorge” and 1828 “High Bridge in Loop”. Two other images 4625 “Dale Creek Bridge” and 5003 “Canon Diablo Bridge” are by other photographers. A further two images show survey groups, one annotated in ink by the surveyor William Kennedy: “Kennedy’s party surveying Tertiary Area of Texas. Geological survey of Texas September 1892. Near Calvert, Robertson County, Texas. With the best regards of William Kennedy” on mount verso.

8

ot tom a r a nschütz (1846 – 1907)

4005* Cat with mousetrap. 1886. Albumen print. 14,4 x 18,7 cm. Photographer’s name and date and number KZ.14 in the negative lower right/left; photo­ grapher’s stamp on the verso. 500 € 4006* Wolf and kid goat. 1886. Albumen print. 14,4 x

18,7 cm. Photographer’s name and date in the negative lower right; photographer’s stamp on the verso. 500 €

4007 Deer and stag. 1889. Albumen print. 14,7 x 19,5 cm.

Each with photographer’s name, date and location in the negative lower right; photographer’s stamp on the verso. 300 € With: Eduard Uhlenhuth (1853 - 1919). Arranged hunting scene with two dogs. 1880s. Albumen print. 14 x 10,3 cm. Photographer’s blindstamp in lower left, monogram and number 136 in the negative lower right, mounted to card. - Unusual hunting genre scene with two dogs.- Some creases, otherwise in good condition.


4005

4006

4007 9


4008

edoua rd-denis ba ldus (1813 – 1882)

4008* The Louvre; Invaliden Dom, National Assembly, Paris. Late 1850s. 3 albumen prints. 20,7 x 28 cm. Mounted to card (soiled in edges), 2 with photographer’s signature stamp in lower right, each annotated in pencil below the image on the mount. 1.500 € 10


4009

felice beato (1834 – 1909)

4009^ Group of Japanese children. 1867–68. Handcolored albumen print. 26 x 22 cm. Mounted to board (minimal foxing). 1.700 € 11


4010

henri béch a rd

ludw ig belitski

4010 Views of Egypt: ruins, temples of Karnak and landscapes. Mid-1870s. 5 albumen prints. Circa 26,5 x 37,4 cm and 37,4 x 26,5 cm. Each with photographer’s name in lower right corner, as well as numbered and titled in lower left in the negative, mounted to board, annotated in pencil below images on mount, 2 with collector’s label on mount verso. 1.500 €

4011^ Art glassware. Before 1854. Salt print from wet plate negative. 22 x 18 cm. Mounted to original board (some foxing, light soiling in edges), number stamp in upper right corner on the mount. 4.000 €

(active in Egypt, 1870s – 1880s)

Béchard produced some of the most well-composed and endear­ing photographs of Egypt. They are rarer than photos by Sebah, Bonfils, Arnoux and Zangaki, as the studio only worked from the 1870s-1880s, whereas the other studios were still producing work throughout the 1890s. The prints offered here are signed by H.(enri) Béchard but prints signed by Émile Béchard, who might have been his brother or even the same person, also exist. Lit.: Ken Jacobson. Odalisques and Arabesques: Orientalist Photography 1839 - 1925. London 2007, see pp. 210-212.

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(1830 – 1902)

The Prussian baron Alexander von Minutoli (1806-87) often sent his model collection to schools of the applied arts. The objects, however, suffered from this treatment. Thus he commissioned photographic reproductions to circulate instead. In 1853 Minutoli engaged Ludwig Belitski to make photographic reproductions on paper. Belitski was a photographer from Lieg­nitz in Silesia (now Legnica, Poland). He earned international fame from Minutoli’s large commission (seven folio-sized volumes with 663 plates were produced) and won awards in Brussels and Amsterdam in 1855 and 1856.


4011

13


berlin 4012 Views of Berlin. 16 large-format plates in photogravure with printed title below the image, in original canvas portfolio (soiled and traces of use, inner flaps loose). Paul Schuster, Berlin (circa 1900). 400 € This attractive selection shows prominent Berlin locations such as Potsdamer Platz, the Königliches Schloß - interior and exterior views, the Sieges Allee in Tiergarten, the Friedrichsbrücke, the Schlossbrücke and the Dome.

4012

a dolphe braun studio 4013^ The reconstructed corner of the “Castor and Pollux” Temple in Agrigento, Sicily, Italy. 1880s/90s. Large-format carbon print. 66 x 44,7 cm. Distributor’s Campbell Art Co, Elizabeth NJ blindstamp in lower right corner, flush-mounted to board, mounted in corners in mat. 1.500 € 14

4013


4014

british indi a 4014 Photographer: Samuel Bourne (1834–1912) and Colin Murray (1840 - 1884) for Bourne. Views of temples, villages and landscapes in India. 1860s. Circa 28 albumen prints. Various sizes, most circa 24 x 29 cm. Most mounted, some annotated on the verso. 1.200 € The views show the Mausoleum at Sikandra; Qutub Minar; Taj Mahal; the Delhi Fort; Burning Ghat, Benares; Palace of Futtih-

pore Sikri; panorama of Bombay; Cave of Elephanta; Palace of Umbere; Cane bridge over the Teesta; Tower of Victory, Chittore; the Great Gate Futtihpore Sikri and others. Lit.: Joachim K. Bautze/Raffael Dedo Gadebusch. Picturesque Views. Mughal India in Nineteenth-Century Photography, Ostfildern 2008, ill. pp. 85 and 90. Ulrich Pohlmann/Dietmar Siegert (eds.). Samuel Bourne - Sieben Jahre Indien. Munich 2001, ill. pp. 171, 180, 197. Provenance: Günter Heil Collection 15


4015

4016 16


british indi a 4015

Photographer: Bourne & Shepherd, Lala Deen Dayal, Hurrychund Chintamon, A. Claudet, Schwarzschild & Co., Mohan Lal and unknown. Portraits of rulers of India. 1860s - 1870s. 42 cartes-de-visite albumen prints. Some with photographer’s logo/stamp on mount recto/verso. 1.000 € The portraits show the Nainchandji of Bapna, Maharaj Rana Bhagwant Singh of Dholpur, Purohit Omkarnath, Raja Bahadur of Sawantwadi, Raja Shrimant Ganpatrao of Miraj, Nawab Mahabat Khan of Junagarh, Maharaja Jaswantsinghji of Bhavnagar, Ramchandra Rao Gopal of Jamkhandi, Thakur of Rajkot, Maha­ rajadhiraj of Kutch, Turab Ali Khan, Salar Jung I, His Highness Nizam ud-Daula, Maharani Bamba Duleep Singh, Sahib Ananda III Gajapati Raju of Vizianagaram, Maharaja Prithvi Singh of Kishangarh, Begum of Bhopal, Raja Chhatrapati Shivaji V, Raja of Kurku and many others. – With: Detailed list of complete names of photographer’s and sitters. Provenance: Günter Heil Collection

4016 Photographer: Samuel Bourne (1834–1912), Bourne & Shepherd studio (5) and William George Stretton (1836–1899) (1). Views of Calcutta. 1860s – 1890s. 18 albumen prints. Various sizes, circa 23 x 29 cm and smaller. Some with name and number in the negative, some mounted, some annotated in pencil on the verso. 400 €

4017

The Samuel Bourne and Bourne & Shepherd studio photos include no.s 1708, 2481, 2559, 1740 and 1713. Provenance: Günter Heil Collection

4017 Photographer: Samuel Bourne (1834–1912), Bourne & Shepherd studio, Francis Frith (1822–1898) and unknown. Views of Delhi and surroundings. 1860s – 1900. Circa 29 albumen prints. Various sizes, circa 21 x 28 cm and smaller. Some with name and number in the negative, most mounted to board, some annotated in pencil on the verso. 400 € The views include the Iron Pillar at Qutub, the Palace interior of Diwan-i-Khas, street view with Jumma Musjed, old residence in Lucknow, colonnades in Musjed-i-Qutub. Qutub Minar, Humayums Tomb, three views of Kashmir and many more. Provenance: Günter Heil Collection 17


british indi a 4018 Photographer: Lala Deen Dayal (1844–1905).

Selection of various subjects and views of India. 1870s. 22 albumen prints and 8 collotypes. Most circa 27 x 21 cm and smaller. Most mounted and some annotated in pencil mount verso. 750 € The images include: Patal Pani Waterfall, Railway before tunnel, Fatihpur Sikri interior and Temple of Tejpal at Girnar, Lord and Lady Curzon coming down from “Jhoola”, palace at Udaipur (Rajasthan). Provenance: Günter Heil Collection

4019 Photographer: A. De Hone, Jean Baptiste Oscar Mallitte (1829–1905) and unknown. Views of Agra and Taj Mahal. 1870s – 1890s. Circa 62 albumen, collodion and gelatin silver prints. Various sizes, circa 21 x 28 cm and smaller. Most mounted to board, some annotated in pencil on the verso. 400 € Includes nine views of Taj Mahal, as well as views of Darjeeling and Hyderabad. Provenance: Günter Heil Collection

4018

4019 18


4020

british indi a 4020 Photographer: Frederick Fiebig. Esplanade Row from the Maidan, Calcutta. 1851. Salt print from a paper negative. 19,5 x 24,6 cm. 1.500 € The German photographer Frederick Fiebig took photographs of China, Burma and India between 1849 - 1853. The British Library lists 489 of his photographs taken between 1850–1853 in Calcutta and surroundings. The print offered here is not listed and his uncolored salt prints are rare on the art market. Provenance: Günter Heil Collection 19


4021

british indi a 4021 Photographer: Willoughby Wallace Hooper (1837 - 1912). Hunting scenes. 1870s-80s. 7 albumen prints. Circa 19 x 25 cm. All but 1 mounted to board. 600 €

4022 Photographer: Colin Murray for Bourne &

Shepherd and Shepherd & Robertson. Views of Amber. 1870s. 5 albumen prints. Various sizes, most circa 29 x 24 cm. 3 signed Bourne & Shepherd, 1 signed Shepherd & Robertson in the negative, all but 1 mounted to board, 1 annotated in ink on mount. 600 €

4022 20

The views show Amber, Gateway in the Palace leading to the Kanch Mahal, the Diwan Khana (Hall of Audience). Provenance: Günter Heil Collection


4023

4024

british indi a 4023 Photographer: F. S. Oehme. Portraits, village and river scenes around Calcutta. 1870s. 15 albumen prints. Most circa 15 x 20 cm and smaller. Mounted to board and some annotated in pencil on the mount. 600 €

4024 Views of India. Circa 1900. 4 photochromes from photographs by Dr. Kurt Boeck (1855-1933). Circa 22,5 x 16,5 cm and 16,5 x 22,5 cm. Gilt-stamped title, number and logo P.Z. in lower edge. 400 €

Includes an attractive studio portrait of Nautch girls, street scenes, local traditional housing, street sellers, boat builders and picturesque river scenes. Oehme had his studio in Chandernagor near Calcutta. Lit.: “Oehme, French Photographer(s) of Bengal, active late 1870s to 1880s”, Journal of Bengal Art, Vol. 11 & 12, 206-2007, pp. 77-89. Provenance: Günter Heil Collection

Lit.: General-Photochrom-Katalog. Zürich. Verlag Photoglob Co., 1904, pp. 117-118. Provenance: Günter Heil Collection

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4027

british indi a 4025 Publisher: Underwood & Underwood. Views

of the Delhi Durbar of 1903. 18 vintage stereo gelatin silver prints. Each individual image circa 8 x 7,5 cm (entire size: 8 x 15,3 cm). Mounted to original board (slightly warped, some with minor edge wear) with publisher’s logo and title/number printed on the mount. In original box. Underwood & Underwood, New York, 1903. 400 € Provenance: Günter Heil Collection

4025 22

4026 Views of India. Circa 1900. 100 vintage stereo gelatin silver prints. Each individual image circa 8 x 7,5 cm (entire size: 8 x 15,3 cm). Mounted to original board (slightly warped, some with minor edge wear) with publisher’s logo and title/number printed on the mount and mount verso. Underwood & Underwood, New York, 1904. 400 € Provenance: Günter Heil Collection


john burke (1843–1900)

4027 Panoramic view of the Afghan Fort of Dakka.

Circa 1878. Panorama consisting of 4 albumen prints. Circa 21,5 x 113 cm. 1 mounted to board, the other 3 linen backed, and folded at joints, annotated in English in ink on the mount. 500 € Rare panoramic view. – With: John Burke (attributed to). Views of Jamrud Fort and Ali Masjid. 2-part panorama and 5 albumen prints (2 mounted on both sides of board), some annotated in English in ink on mount. 21 x 57 cm and 22 x 28,5 cm. - Some fading, otherwise in good condition.

4026 23


4028

4029

john burke

burm a

4028 Views of Kabul and surroundings during the Second Anglo-Afghan War. 1878 – 1880. 12 albumen prints. Each circa 21 x 28 cm. Mounted to both sides of 1 card (traces of use, some foxing), annotated in English in ink below the image on the mount. 1.200 €

4029 Panorama of Mandalay. 1880s. 2-part pano­ ramic albumen view. 20 x 51,5 cm. 300 €

The images include the Bala Hissar of Kabul, camp at Sherpur, Gurkas in Kabul, Tamerlan Mausoleum from above Deh-Afghan and the Sherpur Cantonment.

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Provenance: Günter Heil Collection


4030

juli a m a rga ret ca meron (1815 – 1879)

4030 Portrait of two women. 1866–70. Albumen

print. 30,5 x 25 cm. Mounted to board (some edge wear, backed tear in upper edge, slightly dusty), Sold by Messrs.Colnaghi 14 Pall Mall East London blindstamp below the image on the mount. 2.500 €

This image is only present as a cropped version in the catalogue raisonné of Cameron’s work, where the woman on the left is substantially cut off. Although not signed or annotated by Came­ ron, the mount bears the Colnaghi blindstamp. Lit.: Julian Cox/Colin Ford. Julia Margaret Cameron. The Complete Photographs. London 2003, ill. p. 277, cat. no. 532 (cropped variant). Provenance: Robert Lebeck Collection 25


4032 4031

a ntonio cav ill a (1867 – 1908)

4031 Portraits of types of Morocco and market scenes in Tangier. 1880s. 7 albumen prints. Each circa 23,5 x 18,5 cm. Mounted to board. 750 € With: Félix Bonfils. Portraits of people of the Ottoman empire. 20 cdv albumen prints mounted together on both sides of board (time-stained). - Some prints faded.

cey lon 4032 Photographer: Alfred W. A. Plâté & Co., Wood-

bury & Page, Wiele & Klein and unknown. Portrait of a Kanji player, other portraits and fruits of Ceylon. 1860s 1900. 11 albumen prints. Each circa 26 x 20 cm. Most mounted to board, annotated in pencil on the verso. 400 € Provenance: Günter Heil Collection

china

4033 26

4033 Photographer: Lai Afong (c. 1859–1941, attri­ buted to). Chinese woman with bound feet. 1880s. Albumen print. 27,5 x 21 cm. Tipped in corners to paper. 250 €


4034

ch a rles clifford (1819 – 1863)

4034 “Fuente de los Tritones”, Madrid. Circa 1859. Albumen print. 40,5 x 31 cm. Mounted to card, photo­ grapher’s blind stamp below image on mount; annotated in pencil on mount verso. 750 € Lit.: L. Fontanella. Clifford en Espana: Un Fotografo en la Corte de Isabel II. Madrid 1999, cat. no 406. 27


giova nni crupi (1859 – 1925)

4035 Selected images of Taormina and surroundings. Circa 1900. 7 albumen prints. Various sizes between circa 23 x 17,5 cm and 11 x 17 cm. Each mounted to board (slightly warped, time-stained in edges). 900 € Giovanni Crupi was the teacher of Wilhelm von Gloeden and the two worked together in Taormina. Various views of Pompei and Palermo by Crupi appear to have been taken at the same time as similar images by von Gloeden, which suggests that the two men travelled together. Gloeden learned about various techniques and papers from Crupi such as the salt print and matte gelatin silver print. The authorship of their work has often been interchanged due to their close collaboration.

tommaso cuccioni or james anderson (1790 – 1864, 1813 – 1877)

4036^ Flooded Piazza Navona, Rome. 1858/circa 1862.

4035

Large-format albumen print. 31 x 40 cm. Mounted to board (time-staining in edges). 1.500 €

As of 1830 Tommaso Cuccioni was active in Rome as a lithographer and publisher of prints and had his studio in the central location of via Condotti which was frequented by many tourists. The invention of photography offered an ideal mode of producing souvenir views. Cuccioni began photographing as of 1852, specializing in large-format views of the ruins in Rome. Not many of these prints remain and the present print is exceptionally large and rare. This is a rare photograph of Piazza Navona and the Bernini Fountain flooded with water. Until 1866, when the festival was suppressed, it was flooded on every Saturday and Sunday in August in elaborate celebrations of the Pamphilj family. Lit.: Wendy Watson, Images of Italy: Photography in the Nineteenth Century, Mount Holyoke College Art Museum), see p.24.

daguerreot y pes 4037 Photographer: C.F. Rochow (active in Hamburg, 1840s). Individual portraits of a man and woman, most likely husband and wife. Circa 1845. 2 daguerreotypes (sixth-plates), with paper mats, each taped behind glass and with photographer’s paper studio label on the verso, in contemporary gilt frames (some wear). 500 € 28


4036

4037

4037 29


daguerreot y pes 4038 Photographer: Johann Eberhard Feilner (1802 – 1869). Portrait of a young man with unusual hairstyle. Circa 1848. Daguerreotype (sixth-plate), with ornate black mat with gilt ornamentation, taped behind glass and in modern frame. 500 € Johann Eberhard Feilner was a lithographer in Cologne until he followed his brother Franz to Bremen who had a printing press there since 1825. Here he married and established himself as of 1832 as a portrait painter and drawing teacher. As of 1844 he founded a studio for daguerreotypes in 1844 and in 1845 already advertised exceptionally large daguerreotypes. For almost two decades Feilner remained the most renowned photographer of the region who was also the first to establish himself permanently in Bremen. After his death in 1869 his son Jean Baptiste Feilner continued the business, establishing branches in Braunschweig, Emden, Oldenburg, Borkum, Bonn, Koblenz, Hannover and Vienna. The Bremen studio continued until 1894.

4038

4039 Photographer: Johann Jacob Burbach (active in Cologne since 1846). Individual portraits of a man and woman, most likely husband and wife. Circa 1850. 2 daguerreotypes (sixth-plates), with black enamellled surrounds with gilt frame line, each taped behind glass and with photographer’s paper studio label on the verso. 500 € Along with Haussmann and Hertting, J.J. Burbach was one of the first professional daguerreotypists in Cologne. In 1846 he opened a “Daguerreotyp-Utensilien-Handlung” and in 1848 he founded his own daguerreotype studio. Lit.: Werner Neite. „Die Photographie in Köln 1839 - 1870“ in: Jahrbuch des Kölnischen Geschichtsvereins, vol. 46, 1975, see p. 111. Ludwig Hoerner, „Die Einführung der Photographie in den Metropolen und in der Provinz (1839-1860), in: Bodo von Dewitz/ Reinhard Matz (eds.). Silber und Salz. Zur Frühzeit der Photographie im deutschen Sprachraum 1839 -1860, Agfa Foto-Histo­ rama, Cologne, 1989, p. 100.

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4039


4040

4040^ Photographer: Bruno-Auguste Braquehais (attributed to). Seated female nude with veil. 1850s. Stereo daguerreotype, hand-tinted. Each image circa 6,5 x 6 cm. In glass enameled mount with modern glass and paper sealing. 8.000 € Braquehais’s early photographs consist primarily of portraits and female nudes, many of which were colored by his wife, Laure. His photographs of the Paris Commune document the event at its height and after its fall and are considered early examples of photojournalism. Art critics have pointed out that many of Braquehais’s photographs of female nudes are full with distracting objects, giving the model the appearance of being isolated. The piece offered here is an amazingly modern nude in which the sitter looks relaxed, natural and free of any excess clutter. A comparable daguerreotype by Braquehais is in the collection of the Museo nationale del Cinema, Turin (Inv. No. F39960). 31


4041

a ndré a dolphe-eugène disderi (1819 – 1889)

4041^ Studio portraits of Madame du Bouzay. Circa

1860. Albumen print, comprising 8 images in carte-devisite size (uncut) on one sheet. 20 x 23 cm. Number 34631 in the negative in mid portion; annotated in pencil on the verso. 750 € An attractive portrait series showing the sitter in various poses.

erotic photogra ph y 4042* Photographer unknown. Album of erotic images (German). 1880s/90s. 23 albumen cartes-deviste prints. Some mounted to card, inserted in cdv window mats (some foxing), bound in burgundy gilt-edged leather album (some rubbed spots) with 2 brasss clasps and edge reinforcements. 750 € This album contains a mix of more creatively arranged nudes with the use of jewelry, backdrops and other objects, as well as more conventional nudes.

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4042


4043

ca rlos feltscher 4043* Views of Buenos Aires. Circa 1875. 8 albumen

prints. Each circa 24 x 36 cm. Mounted to original board (slightly soiled, some foxing, some tears), photographer’s Calle Victoria 95, Buenos-Ayres studio stamp, as well as annotated in ink in Spanish and German below the image on the mount. 1.500 € Interesting views of notable sites of Buenos Aires such as the Banco de la Provincia, Monumento General Manuel Belgrano, Taylor’s Customs House, the water tower on Plaza Lorea, la Bolsa, Recova Vieja on Plaza Mayor, Teatro de la Alegria, and the Alsace beer brewery Emile Bieckert.

4043 33


4044

roger fenton (1819 – 1869)

4044 “Firing for the Queen’s prize. A good beginn­ ing, two centres” (No. 63).1860. Albumen print. 12,5 x 28 cm. Mounted to original board (some repaired tears in edges), title and no. in pencil below the image as well as letterpress with photographer’s name below the image on the mount, with mat. 2.000 € Born in Lancashire, Fenton initially trained as a lawyer and then as an artist before taking up photography in 1852. Over the next ten years, he undertook several extensive journeys with his camera and he was instrumental in founding the Photographic Society of London in 1853. Fenton worked in a variety of genres, producing portraits, still life, architecture, landscape and documentary photographs.

34

Fenton first met Queen Victoria and Prince Albert in January 1854 at an exhibition of the Photographic Society. Shortly afterwards he was asked to go to Buckingham Palace to photograph the royal family. Several commissions followed in 1854 and 1856, including a journey to Balmoral to photograph the royal children and the newly rebuilt castle. Fenton had a highly successful career as a photographer, which included photographing the Crimean War in 1855. However, he retired from photography completely in 1862 and returned to his first profession of law. The image offered here was taken on the occasion of the inaugural meeting of the National Rifle Association in Wimbledon 2 July, 1860. There are not many extant prints of this event, especially a total view as in this print which is rare. Provenance: Robert Lebeck Collection


4045

fra nco-prussi a n wa r 4045 Images of the Franco-Prussian War. 1870.

30 albumen prints. Various sizes, most 24 x 30 cm and smaller. Mounted to board (some traces of use, edges time-stained), most annotated in ink/pencil and some with printed caption labels below the images on the mounts. 750 € This comprehensive collection of photographs shows a large number of destroyed cities, buildings and bridges in north and east France. The locations include Charlesville Mezierz, Sedan Fort, Bazeilles, Straßbourg, St. Clou, Neuilly, Auteuil, Mendon, Chatou, Bourgival, Bois de Brimborion and Rueil.

germ a n milita ry portra it 4046 Photographer unknown. Portrait of a highranking military officer of a small German state. Circa 1850. Salt print, finely colored and highlighted. 22,4 x 17,5 cm. Mounted to board, cut in octagonal shape and with oval frame trim line. 200 €

4046 35


4047

w ilhel m von gloeden (1856 – 1931)

4047 Male nudes and portrait. Circa 1900. 4 albumen prints. Each circa 16,5 x 11,2 cm. Mounted 2 prints to one board. 900 €

4048 Two nude youths; Reclining male nude; Young

nude boy with vase. 1890s - 1900. 3 albumen prints. Between circa 16,5 x 23 cm and 22,5 x 17 cm. 2 with photographer’s copyright/date stamp and each with number 339, 800, 307 in pencil on the verso. 1.200 €

4048 36

Lit.: Wilhelm von Gloeden, Wilhelm von Plüschow, Vincenzo Galdi. Italienische Jünglings-Photographien um 1900, Berlin 1991, ill. p. 23.


4049

w ilhel m von gloeden 4049* Portrait of a young boy. Circa 1900. Large-

format matte gelatin silver print. Circa 39 x 29 cm. Signed and dated Taormina am 2/4 1913 by the photo­ grapher in ink upper left. In original contemporary ornamental wood frame (small piece missing/ repaired). 2.000 € Lit.: Ulrich Pohlmann. Wilhelm von Gloeden - Sehnsucht nach Arkadien. Berlin 1987, compare ill. p. 41 (same model). 37


dr. herm a nn heid (1834 – 1891)

4050 Portrait of young woman. Circa 1885. Albumen

print. 26 x 18,7 cm. Photographer’s name and number in the negative in lower edge, mounted to board (slightly soiled), Kupferstecherschule der k.k. Akademie d. bild. Künste in Wien. Inv. Nr. 130 stamp on mount verso. 600 € Along with Carl Haack, Rudolf Carl Huber and Otto Schmidt, Dr. Hermann Heid produced various images such as architectural studies and genre scenes for artists. As the stamp on the verso of the mount indicates, this exceptional portrait was used by students of the engraving school of the Academy of Arts in Vienna. Lit.: Ulrich Pohlmann/Johann Georg Prinz von Hohenzollern (eds.) Eine neue Kunst? Eine andere Natur! Fotografie und Malerei im 19. Jahrhundert. Munich 2004, ill. p. 64 (variant). Verein zur Erarbeitung der Geschichte der Fotografie in Österreich (ed.). Geschichte der Fotografie in Österreich. Bad Ischl 1983, ill. p. 107 (same model).

4050

john k. hillers a nd unknow n (1843 – 1925)

4051

Yellowstone Falls and Mammoth Hot Springs, “Shinimo Altar from Brink of Marble Canyon of the Colorado River, Arizona”; “Navajo Church near Fort Wingate, New Mexico”. 1870s. 5 albumen prints. Each circa 33 x 25 cm. 2 with photographer’s name (Hillers) and title in the negative in lower corners, each mounted to board (some soiling/ foxing). 1.800 €

4051 38

John K. Hillers began making photographs while exploring the terrain around the Colorado River in 1871. Part of a survey team led by John Wesley Powell, a geologist and ethnologist, Hillers was originally hired as a boatman. He became increasingly interested in the work of the team’s photographer, began acting as his assistant, and by 1872 had become the expedition photo­ grapher. From the 1870s until about 1900, Hillers continued working for Powell, who became the first director of the U.S. Bureau of Ethnology. The emphasis of Hillers’s work gradually shifted from geology and geography to archaeology and ethnology. He spent almost twenty years exploring the Indian Territories, California, the Southwest, and the Southeast, eventually producing a sensitive record of Native Americans and their way of life. The Bureau of Ethnology and Geological Survey publi­ cations reproduced his work, and examples also appeared at numerous international expositions.


4051 39


4052

hong kong 4052* Fragment of a travel album mostly with views of Hong Kong and Canton. 1880s.16 albumen prints. Each circa 22 x 27 cm. Mounted to board (time-stained in edges, some foxing) with thread binding. 2.000Â â‚Ź 40


4054

indonesi a n a rchipel ago 4053 Photographer: Gustav Adolf Riemer (1842 - 1899, attributed to). People of the Indonesian Archipelago. Circa 1870. 4 albumen prints. Each circa 14,5 x 13 cm. Each mounted to board (some foxing). 500 €

ita ly 4054 Photographer unknown. General view of Bologna. Mid-1850s. Salt print, round, diameter 21 cm. 600 €

4053 41


4055

ita ly 4055^ Photographers: Gioacchino Altobelli (1814–

1879), Pompeo Molins (1827 - 1893) and others. Views of Rome and surroundings, Florence, Pisa, Naples and Pompeii, Genua and Monaco. 1860s. 59 large-format albumen prints. Each circa 28 x 38 cm and smaller. Mounted to gilt-edged album boards (slightly warped, some foxing), bound in contemporary leather album (edges rubbed) with gilt-stamped ornamentation on front cover. 4.000 € 42

Between 1861-1865 Molins worked together with Altobelli. Both were trained painters who turned to photography. The presence of multi-figure staffage in many of their photographs points to their background as painters. As Molins’ daughter was married to a Papal supplier, he had good connections to the Papal State. He therefore was permitted to photograph Pope Pius IX, whose portrait is at the beginning of the album. In 1893 Molins’ photo studio, in which John Henry Parker’s negative archive was also stored, was completely destroyed by a fire in Palazzo NegroniCaffarelli. The present album contains stunning views of architecture in Rome and other areas in Italy.


4056

dimitrios konsta ntinou a nd others (active in Greece 1850s/1860s)

4056 Views of the Monument of Philopappos, Silenus figures in the Dyonysos theater, Tower of the Winds and the so-called Little Metropolis. 1870s/80s. 6 albumen prints. Circa 37,5 x 27 cm. 1 signed by the photographer in the negative in lower left corner, other 3 with number in the negative, each mounted to board (slightly soiled), annotated in ink on the mount. 1.500 € The view of the Monument of Philopappos is attributed to Constantin Athanasiou (ill.). Lit.: Dorothea Ritter. Im Lichte des Helios. Griechenland in frühen Photographien aus der Sammlung Siegert. Munich 1999, ill. p. 33. 43


4057

georg koppm a nn (1842 – 1909)

4057 Views of Hamburg. 1871 - 1903. 28 large-format albumen prints. Each circa 26 x 38 cm and 38 x 26 cm. Mounted to original board (soiled and some traces of use), some with photographer’s blindstamp, some with with photographer’s name G. Koppmann & Co., title and date printed below the image on the mount. 1.200 € Georg Koppmann & Co. was one of the foremost photographers of Hamburg urban views in the second half of the 19th century. The views include: Am Stadtdeich I,II + III, Binnenhafen am alten Posthause, Brock vom Osten, Hohebrück am Kehrwieder, Eng­ lische Kirche am Johannisbollwerk, Mührenfleth östlich vom Wasserbaum, Kehrwieder von der Hellenenbrücke, Schaarmarkt Ostseite, Neuer Wandrahm vom kleinen Jungfernstieg, Kleines Fleth vom Sandthorquai, Nikolaikirche, Am Pferdemarkt, Damm­ thorwall, Rathaus Markt I + II, Rathausplatz, Kehrwieder No. 74, Niederbaumbrücke, Altes Fährhaus, Grasbrookhafen and Pferde­ markt Nrn. 24 - 28. Lit.: W. Bokelberg/Will Keller. Hamburg in frühen Photographien, 1848 - 1888: Sammlung Bokelberg. Hamburg.

44

4058 Aerial view of Hamburg from the St. Michae­

lis tower. Circa 1880. Large-format albumen print. 25 x 32 cm. Mounted to original board (soiled and some traces of use), with photographer’s blindstamp below the image on the mount; photographer’s studio label on mount verso. 400 € Lit.: W. Bokelberg/Will Keller. Hamburg in frühen Photographien, 1848 - 1888: Sammlung Bokelberg. Hamburg.

4059 Views of important events in Hamburg. 1884 - 1888. 4 large-format albumen prints. Each circa 26 x 38 cm. Mounted to original board (soiled and some traces of use), some with photographer’s blindstamp below the image on the mount. 900 € These rare and interesting photographs show the laying of the foundation stone of the Neues Rathaus on May 6, 1886, the opening ceremony of the Messbergbrunnen 1887, meeting of former engineers of the Harburg-Hamburger Eisenbahn Oct. 4, 1884. Lit.: W. Bokelberg/Will Keller. Hamburg in frühen Photographien, 1848 - 1888: Sammlung Bokelberg. Hamburg.


4058

4059 45


4060

august kotzsch (1836 – 1910)

4060 Forest in winter. 1870s. Albumen print. 15,8 x 19,5 cm. Number 129 on the verso. 900 € Lit.: Ernst Hirsch/Matthias Griebel/Volkmar Herre (eds.). August Kotzsch. 1836 - 1910. Photograph in Loschwitz bei Dresden. Dresden 1986, ill. p. 198.

46


4061

henri le secq (1818 – 1882)

4061^ “Ruines a Tréves” (Ruins of the Emperor’s baths, Trier). Circa 1851. Salt print from a paper negative. 33 x 23,7 cm. Photographer’s name, title and date (slightly trimmed) in the negative lower right. 3.500 € A very rare print from a series Le Secq took in Trier, Germany close to the end of his photographic career. He stopped photographing in 1856 and devoted the remainder of his life to painting and collecting. Another view by Le Secq from this series of the Emperor’s baths is in the collection of the Bibliothequè des arts decoratífs, Paris.

47


4062

na da r

(Gaspard Félix Tournachon, 1820 –1910)

4062 Portrait of the painter Friédérique Émilie Auguste O’Connell (1823 - 1885). Circa 1855. Salt print from a collodion glass negative. 22 x 15,5 cm. Anno­ tated in pencil on the verso. 4.000 € An enigmatic portrait of the German-born painter Friédérique O’Connell. An image from the same sitting is the more published portrait; the photograph offered here is probably the only known print of this image. Provenance: Robert Lebeck Collection

48


4063

naturselbstdrucke 4063 Plant studies: “Cardobenedicten” (plate 44); “Odermennige” (plate 50) Johannes Hieronymus Kniphof. (1704 - 1763). 2 Naturselbstdrucke (nature prints) on thin laid paper. Each circa 34 x 20,5 cm. From the first edition of “Johannes Hieronymus Kniphof ’s Botanica Originali das ist Lebendig-Officinal-Kräuterbuch ... “, Erfurt, J.M. Funcke, 1733. 900 € Johann Hieronymus Kniphof attended the Ratsgymnasium in Erfurt in 1719/22 and then studied in Jena and Erfurt. In 1737 he became professor of medicine, in 1747 dean of the medical faculty and in 1761 rector of the University of Erfurt. He held this office until his death.

Kniphof is mainly known as a botanist. He created a large herbarium which is considered a classic of nature self-printing. His plant prints attracted a lot of attention. Although Kniphof was not the inventor of this printing technique, he did continue to comprehensively develop it. His main work “Botanica in Originali Pharmaceutica”, a “Living Officinal Herb Book”, was published in 1733. Still today little is known about the then new preparation and printing technique used by Kniphof, as he did not reveal any details about the process. It remains Kniphof ’s secret how, for example, he was able to print round objects such as cabbages, turnips and radishes from the original objects.

49


ni aga ra fa lls 4064 Photographer unknown. Niagara Falls and Mammoth Hot Springs, Yellowstone Park. Circa 1900. 9 albumen prints and 2 photochromes. Each circa 19,5 x 24,5 cm and 24,5 x 19,5 cm. Each mounted to board (some soiling), a few annotated in ink. 500 €

4064

ot tom a n empire 4065 Types of the Ottoman Empire. Circa 1865. 4065 50

30 cdv albumen prints. Mounted to 2 sides of 2 boards. 900 €


gugliel mo plüschow (Wilhelm, 1852 – 1930)

4066 Two young boys; Idyllic scene in landscape. Circa 1900. 2 albumen prints. 16 x 10,9 cm and 16,2 x 22,7 cm. 1 with photographer’s red Roma stamp and number 1388 in blue crayon on the verso, 1 mounted to board. 750 €

potsda m 4067 Photographer unknown. Views of Potsdam including Sanssouci. 1880s/90s. 5 vintage collodion paper prints. Each circa 20,5 x 29,5 cm and 29,5 x 20,5 cm. Mounted to board (some water stains in edges). 600 € An attractive group of picturesque views of Potsdam.

4066

4067 51


friedrich k a rl prinz von preussen (1828 – 1885)

4068* Photographer: Lutze & Witte (attributed to). Portrait of Friedrich Karl von Preußen. Feb. 1857. Salt print (oval), hand-colored. 23,5 x 19,5 cm. Mounted to original board (minimal foxing) with gilt frame line, signed and dated by the sitter in ink below the age on the mount. 750 €

rome 4069 Panoramic view of the Forum Romanum, the Temple of Saturn in the foreground. Late 1860s – early 1870s. 3-part panoramic albumen view. Entire size 67 x 145 cm. Mounted to board. 1.000 €

4068

4069 52


4070

ja mes robertson (1813 – 1888)

4070 Crimean War (1853 - 1856). Interior of the Redan, Sebastopol. 1855. Salt print on thin paper, unmounted. 25,5 x 29,8 cm. 1.000 € The Battle of the Great Redan was a major battle during the Crimean War, fought between British forces against Russia from June 18 to September 8, 1855 as part of the Siege of Sevastopol. The French army successfully stormed the Malakoff entrenchment, whereas a simultaneous British attack on the Great Redan to the south of the Malakoff was averted. Contemporary commentators have suggested that, although the Redan became so important to the Victorians, it was probably not vital to the taking of Sevastopol. 53


4071

4071

russi a 4071* Opulent souvenir album of Russia. 1870s – 1900. 154 albumen prints. Various sizes between 28 x 21 cm and 14 x 10 cm. Some with number in the negative, mounted to gilt-edged album boards (time-stained in edges, some light soiling in edges), most annotated in ink in German below the images on the mount, bound in contemporary full leather album (edges slightly rubbed) with gilt-embossed title Russland on front cover and spine. 6.000 € 54

This extensive album has a large range of images that give a wide view of Russia around the turn of the century. The album is divided into four sections, each divided by a separate title board: St. Petersburg, Moscow, Nishni Nowgorod (including 3 panoramic views) and types and costume studies, particularily of more rural areas. Several photographs are most likely by Joseph Daziaro and several of the photographs in the last section of the album showing types and costumes are most likely by Williiam Carrick and Maksim Dmitrirv. Lit.: David Elliott. Photography in Russia. 1840-1940. Berlin 1992, see pp. 130-131 (comparable images of peasants by Carrick).


4071 55


4072

russi a 4072 Photographer unknown. Visit of Nicholas Alexandrovich, Tsearevich of Russia in Vladivostok. 1891. 4 albumen prints. Each circa 23 x 30 cm. Mounted to board (soiled, some foxing), with decorative borders and title and photographer’s name in Russian, as well as studio logos. 750 € The four images show the old Vladivostok which only developed into an important city after the visit of Nicholas Alexandrovich. One shows the building Triumph Gate, especially built for the Tsearevich’s visit. The other images show a view of the Golden Horn Bay, the old police quarters and part of the Siberian Railway.

56


4073

auguste sa lzm a nn (1824 – 1872)

4073 „Jerusalem, Enceinte du Temple, Porte dorée“. 1854-56. Salt print from paper negative. 32,5 x 23,4 cm. Mounted to original board (some light foxing), photo­ grapher’s credit, title and publisher’s name printed below the image on the mount. Printed by BlanquartEvrard. 1.000 €

“The Golden Gate” is one of the most important gates because of its special meaning for all three religions - Judaism, Christianity and Islam. According to Jewish tradition, the Messiah will enter the city through this gate. According to Christian tradition, Jesus came through this gate on his last visit to Jerusalem, and Muslims believe that this will be the place of judgment. This gate has been sealed for hundreds of years, and it is said that it will open miraculously upon the coming of the Messiah and the resurrection of the dead. 57


4074

4075

4076 58


georg schmidt (1811 – 1867)

4074* Views of Nuremberg: Back view of the choir Lorenzkirche; View of the Burg; Schöner Brunnen and Liebfrauenkirche. 1850s. 3 albumen prints. Each circa 27,5 x 26,5 cm. Mounted to board, 2 annotated in ink in German below the image on the mount. 900 €

4075* Views of Nuremberg: Egidien Platz from the South; Carolinen Straße with Lorenzkirche; Nassauerhaus. 1850s. 3 albumen prints. Circa 26 x 25 cm. Mounted to board, each annotated in ink in German below the image on the mount. 900 €

j. pasca l seba h (1825 – 1886)

4076 Views of Constantinople. Circa 1865. 3 largeformat albumen prints. Each circa 26 x 34 cm. Photo­ grapher’s name and title in lower right/left corner in the negative, mounted to board. 900 € One image shows a panoramic view of the city towards the Bosphorus and the other two show the front and back view of the Sultan Ahmed Moschee.

4077 Portraits of Turkish women. 1870s. 4 albumen

prints. Each circa 13,5 x 10,5 cm. Photographer’s blindstamp in lower left, mounted to overmat. 1.000 €

4077 59


4078

si a m 4078 Photographer unknown. Portrait of King Mongkut (Rama IV) surrounded by presents of Queen Victoria. Circa 1860. Albumen print. 17,2 x 23 cm. Mounted to original board with original gilt-frame line, the sitter’s name annotated in ink below the image on the mount. 600 € There is only one other extant print of this image in the collection of the Tropenmuseum, Amsterdam. Lit.: Joachim K. Bautze. Unseen Siam: Early Photography 1860 - 1910. Bangkok 2016, ill. p. 21, pl. 8.

60


john spiller a nd dr. john percy (1833 – 1921, 1817 – 1889)

4079* The New Mill, near Lynton, North Devon. 1856. Albumen print. 32,3 x 24,5 cm. Mounted to board (slightly soiled, some foxing). 750 € A print of this image is in the collection of the Getty Museum, Los Angeles.

4079

sw itzerl a nd 4080 Photographer: Adolphe Braun, Charnaux

4080

Frères and unknown. Views of Switzerland. 1860s/70s. 3 albumen prints. 32,5 x 25,5 cm and circa 22 x 28 cm. Mounted to original board (soiled, some with light foxing), 2 with photographer’s name on mounts. 400 € 61


4081

w illi a m henry fox ta lbot

ch a rles thurston thompson

4081 “Abbotsford” from Sun Pictures in Scotland. 24 Oct., 1844. Salt print from a calotype negative printed on Whatman paper, watermark J. WhatmanTurkey Mill 1840. 15,3 x 22 cm (18,4 x 23 cm). LA 27 in ink on the verso. 2.500 €

4082 “The Cathedral of Santiago de Compostella in Spain”. 4 text p. and 1 l. “List of Photographs” with 20 albumen prints on plates (some foxing and chips/ tears in edges) between circa 38 x 32 cm and 27 x 21 cm. Folio, original half canvas portfolio (time-stained, edges rubbed, spine with tears, dusty) with gilt-pressed title and printed title on cover. London, Arundel Society for Promoting the Knowledge of Art, 1868. 3.000 €

(1800 – 1877)

This image appeared as plate 3 in Sun Pictures in Scotland. Abbotsford was the home of Sir Walter Scott. Talbot’s hope for commercial exploitation of his invention lay in the widespread distribution of large editions of photographic prints, the principal advantage of negative-positive process over the daguerreotype. In early 1844, in an effort to encourage the mass production of paper photographs, Talbot supported Nicolaas Henneman, his former valet, in the creation of a photographic printing establishment in Reading, a town on the route between London and his home in Lacock. The firm’s initial project was Talbot’s “Pencil of Nature”, the first commercially published book illustrated with photographs. Provenance: Robert Lebeck Collection

62

(1816 – 1868)

Charles Thurston Thompson’s career was based at the South Kensington Museum (now the Victoria and Albert Museum), where he was the superintendent of photography beginning in 1856, as well as the official photographer of the Department of Science and Art. Thompson left behind approximately ten thousand negatives when he died in 1868, however, original prints of his are quite rare. Soon after, the Arundel Society for Promoting the Knowledge of Art published twenty of his photographs taken in 1866 in the volume “The Cathedral of Santiago de Compostella in Spain” as the one offered here. This publication is held by fewer than ten libraries in the United States, as well as a comparable copy in the British Library, London. It is a rare complete copy of this volume and a fine example of earlier architectural photography.


4082 63


4083

unknow n photogra pher 4083^ Facade of Reims Cathedral. 1850s. Salt print from paper negative. 22 x 17,5 cm. Mounted to board (pinholes in corners/edges), annotated in ink below the image on the mount. 1.200Â â‚Ź 64


unknow n photogra pher 4084 Böttingerhaus, Bamberg; View of Bamberg

Cathedral and Bishop’s palace. 1850s. 2 (1 lightly coated, verso and recto) salt prints. Each circa 26 x 25,5 cm. First print annotated in pencil on the verso. 500 €

4084

v ienna, stut tga rt a nd dresden 4085* Early views and portraits of Vienna, Stutt-

gart and Dresden. 1860s. 11 albumen prints. Various sizes circa 12 x 16 cm and several cdv sized portraits. Mounted to board (time-stained in edges, some foxing), annotated in ink in German below the image on the mount. 300 €

4085

Includes portraits of Elizabeth and Franz Joseph of Austria, Emil Devrit and Bohumil Dawison. 65


4086

walter bentley woodbury/ james page (1834 – 1885, studio active 1857 – 1908)

4086 “Atjeh (Aceh) - Eingang in den Kraton” (entrance to the Palace district); Poeloe bras and “Lingga bei Singapore”. 1865 - 1870. 3 albumen prints with rounded corners. Each circa 19 x 24 cm. Each mounted to album page, annotated in German in ink below the images on the mount, 1 with Woodbury & Page, Java in the negative lower right one with number 32 in the negative lower left. 3.000 € 66

After an apprenticeship in Manchester (1849-51) in a patent office, Walter Woodbury went to the Australia gold mines in 1852. After a number of jobs he took up professional photography and emigrated with James Page to Java in 1858, where the photographic firm of Woodbury & Page was founded in Batavia. He returned to England via Singapore, where in January 1863 he advertised his photographhic views for sale at John Little & Co. This early view of Aceh is the only known print of this image and likely unique.


20t h c en t u ry & con t e m p or a ry p ho t o gr a p h y


4212


4087

m á rta aczél (1909 – 1997)

4087 Light study with glasses. 1930s. Vintage largeformat ferrotyped gelatin silver print on heavy paper. 39,3 x 29,2 cm. Photographer‘s Budapest stamp and annotated in ink on the verso. 1.800 € After receiving a degree in art history at Frankfurt/M. University, in 1935 Márta Aczél became a student of József Pécsi. In this period she made most of her advertising works and object photographs. 69


l aure a lbin-guillot (1879 – 1962)

4088^ Brunette and blonde women in profile. 1930s.

Vintage matte gelatin silver print on chamois paper. 38,7 x 24,3 cm. 900 €

4088

l aure a lbin-guillot

4089 70

4089^ Hands with cigarette and roses. 1930s. Vintage ferrotyped gelatin silver print. 30 x 24,2 cm. 900 €


dieter a ppelt (b. 1935)

4090 Untitled. 1984. 2 vintage gelatin silver prints matted together under one mat as a unique work. 54 x 38 cm. Upper print with gold leaf oval applied in upper right, each signed by the photographer in pencil, photographer‘s stamp and edition stamp, therein editioned e.a. and dated on the verso. 1.500 €

4091 Hand from the series „Double Take“. 1985. Vintage gelatin silver print. 25 x 30 cm. Signed and dedicated by the photographer in ink, edition stamp, therein editioned e.a. Nr. 5 and dated 12/87, as well as Kicken Pauseback gallery stamp on the verso. Mounted in mat. 1.200 €

4090

4091 71


72

4092

4093

4094

4095

4096

4097


4098

nobu yoshi a ra ki (b. 1940)

4092 Bondage scene. Circa 2000. Unique polaroid print. 8 x 7,5 cm (10,7 x 8,7 cm). Signed by the photographer in black marker on recto in margin. 800 €

4096 Nude with lowered dress. Circa 2000. Unique polaroid print. 8 x 7,5 cm (10,7 x 8,7 cm). Signed by the photographer in black marker on recto in mar­ gin. 800 €

4093 Nude. Circa 2000. Unique polaroid print. 8 x 7,5 cm (10,7 x 8,7 cm). Signed by the photographer in black marker on recto in margin. 800 €

4097 Nude with dinosaur figures. Circa 2000.

4094 Nude. Circa 2000. Unique polaroid print. 8 x 7,5 cm (10,7 x 8,7 cm). Signed by the photographer in black marker on recto in margin. 800 €

4095 Nude on bed. Circa 2000. Unique polaroid print.

8 x 7,5 cm (10,7 x 8,7 cm). Signed by the photographer in black marker on recto in margin. 800 €

Unique polaroid print. 8 x 7,5 cm (10,7 x 8,7 cm). Signed by the photographer in black marker on recto in margin. 800 €

4098 I mage from the ‚Yuen no Onna‘ series. 2017. Inkjet print on glossy paper. 24,7 x 31 cm (33 x 41,7 cm). Signed and with small self-portrait sketch by the photographer in black marker lower right. 750 € The present image is from Araki‘s „Yuen no Onna“ series (2017) in which he depicted amateur married women instead of professional models as subjects. 73


di a ne a rbus (1923 – 1971)

4099 „ Puerto Rican woman with a beauty mark, NYC“. 1965/printed later by Neil Selkirk. Gelatin silver print on Agfa-paper. 36,5 x 37 cm (50,3 x 40,5 cm). Edition stamp, therein signed, titled and editioned 42/75 by Doon Arbus in ink, copyright stamp and reproduction limitation stamp on the verso. 12.000 € Lit.: Doon Arbus/Elisabeth Sussman. Diane Arbus. Revelations. New York 2003, ill. p. 84.

74


4099

75


4100

a rtists 4100 Photographer: Robert Capa, Robert Doisneau and various photo agencies. Portraits of the artists Pablo Picasso (3), Henri Matisse (2), Le Corbusier (2) and Charles Despiau (4). 1930s - 1960s. 11 ferrotyped gelatin silver press prints. Each circa 24 x 18 cm. Most with agency stamp, some with photographer‘s stamp and typed press text label affixed to the verso. 750 € The photos of Charles Despiau are by Robert Doisneau and two of the photos of Picasso by Robert Capa.

76


4101

a rtist‘s book 4101 Körper „München“ (1995). With an introduction

by Wolfgang Kehr and afterword by Gottfried Eder. 22 l with 18 original gelatin silver prints by students of the Institut für Kunstpädagogik der Ludwig-Maximilians-Universität Munich with illustrated transparent cover l for each photograph. 30 x 38 cm. Original cloth covered boards (corners minimally rubbed) with original photo-illustrated cover and screw binding. Munich 1996. 400 € One of only 30 copies. A very creative and impressive photobook comprising the works of 18 students of the Institut für Kunstpädagogik der Ludwig-Maximillians-Universität Munich of 1995. Each of the black and white prints are covered by an illustrated transparent leaf which creates another image when the two are pressed together.

4101 77


4102

eugène atget (1857 – 1927)

4102 „Com du College Torlet, rue Vilette“. Circa 1900. Albumen print. 22 x 17,6 cm. Annotated by the photographer in pencil on the verso. Matted. 1.200 € 78


4103

eugène atget 4103^ „Rue Asselin“. 1924-25/printed 1930s by Berenice Abbott. Gelatin silver print. 23,3 x 17,2 cm. Reproduction limitation stamp and Eugene Atget Photo­ graphs, Collection Berenice Abbott on the verso. 2.500 € Printed by Berenice Abbott from Atget‘s negative. It is one of the earliest prints of the image made by Abbott. Prints of this image by Abbott are scarce. Lit.: John Szarkowski/Maria Morris Hambourg (eds.). Eugène Atget. 1857 - 1927. Das neue Jahrhundert. Band IV Munich 1985, ill. p. 104, plate 68. 79


4104

shimon at tie (b. 1957)

4104 Image from the ‚The Writing on the Wall‘ series. 1991. Chromogenic print on Kodak Professional paper. 1992. 47 x 60 cm (56 x 68,5 cm). Signed and editioned 4/25 by the photographer in black marker (slightly faded) in lower margin. Mounted to board in corners and framed under glass in wood frame. 800 € The renowned visual artist Shimon Attie‘s work spans photography, video installation and public projects. The „Writing on the Wall“ project was realized in one of Berlin’s former Jewish quarters, the Scheunenviertel, located in the Eastern part of the city, close to the Alexanderplatz“. Attie‘s work has been shown at MoMA, NY, The Corcoran Gallery of Art, Washington, D.C., and the Centre Pompidou, Paris. Lit.: The Writing on the Wall: Projections in Berlin’s Jewish Quarter. Shimon Attie Photographs and Installations, Heidelberg 1993.

rich a rd av edon (1923 – 2004)

4105^ Marilyn Monroe in furs and sequins. 1957. Vintage chromogenic print on Kodak paper. 30 x 23,5 cm. Stamp and annotated in pencil on the verso. 1.800 € This image is from a May 1957 session Richard Avedon did with Monroe for publicity for „The Prince and the Showgirl“. Avedon‘s famous image of a melancholic Marilyn titled, „The Actress“, is from the same sitting.

80

4105


4106

lutz ba rtens 4106 „Blechdosen 1“. 1963. Vintage large-format ferro-

typed gelatin silver print. 52,4 x 49,3 cm. Mounted to board; photographer‘s/copyright stamp, signed, titled and dated by the photographer in pencil on mount verso. 900 € Lutz Bartens was a student of Otto Steinert. This work was made for a class pertaining to object photography.

bauh aus textiles 4107 Photographer unknown. Sewn textile from the Bauhaus Textile Workshop in Weimar. Circa 1925. Vintage gelatin silver print. 17,5 x 11,7 cm. Annotated in pencil/red crayon on the verso. 300 € The textile depicted was sewn by Berti Rosenberg who also was a costume designer for early German films in the 1920s. Lit.: Bauhaus Archiv Berlin. Das andere Bauhaus. Otto Bartning und die Staatliche Bauhochschule Weimar 1926 - 1930. Berlin 1996, ill. p. 156.

4107 81


bauh aus ii 4108 Bauhaus II portfolio. 1921–1933/printed 1984. 10

(complete) gelatin silver prints. Various sizes between 10,2 x 12,9 cm (11,7 x 13,8 cm) and 29,2 x 23,3 cm (35,5 x 27,7 cm). Each print signed and/or stamped by the photographer/estate executor in the margin or on the verso, each print with edition stamp, therein editioned in ink as well as numbered on the verso, published by Galerie Rudolf Kicken, Cologne 1985. All prints matted. 5.000 €

4108 82

The images include Herbert Bayer: „Glasaugen“ circa 1928; Katt Both: „Atikah Zigaretten“ 1930-31; Gerd Balzer „PrellerhausBalkone, Bauhaus Dessau“ 1933; Horacio Coppola: „Egg and String“ 1932; Ellen Auerbach: „Sewing Thread“ circa 1930; Grete Stern: „Glass with Paper“1931; Georg Muche: „Stillife from Glass“ 1921; Eugen Batz: „Net and Wood Fragments“ 1930; Franz Ehr­ lich and Heinz Loew: „Study for light advertising“, 1927-28 and Karl Straub: Photogram 1924/1984. Most printed from the original negative, some from copy negative by Gerd Sander, André Gelpke, Jutta Rößner and Ulrich Görlich.


4108 83


m a x baur (1898 – 1988)

4109 Lilly of the Valley in vase. 1930s. Hand-colored vintage gelatin silver print. 28,3 x 20,7 cm. Mounted along upper edge to card, signed and annotated Stil­ leben im Vorfrühling by the photographer in pencil in lower right on mount. 500 € With: Original negative envelope with contact print (12 x 9 cm) of negative of the present image mounted on cover with photographer‘s archive label and annotations in pencil.

4109

ferenc berko (1916 – 2000)

4110 Bamboo Pylon. Circa 1945. Vintage ferrotyped

gelatin silver print. 21,7 x 16,7 cm. Photographer‘s stamp, 2 agency stamps, collection stamp, date stamp as well as annotated in pencil/crayon on the verso. 900 € 84

4110


4111

4111

berlin 4111 Photographer unknown. Views of buildings in Berlin.1929. 5 vintage gelatin silver prints. Each circa 23 x 17 cm and 17 x 23 cm. 1 print with date in negative lower right. 750 € 4112 Publisher: Kunstanstalt Voremberg, Berlin and

unknown photographer. Berlin interiors, mostly cafes and restaurants.1929 - mid-1930s. 15 vintage gelatin silver prints. Each circa 23 x 17 cm and 17 x 23 cm. Most with publisher‘s name in the negative lower left/right. 500 € A rare group of larger views of Berlin cafes and restaurants, which usually only exist as postcards such as „Dortmunder Union Klause“ and „Bei Mikosch“.

4112 85


berlin 4113 Documentation photos of the reconstruction of bridges and rails for the elevated railway in Berlin. 1929 - 1936. 50 vintage gelatin silver prints on doubleweight paper. Most 17 x 23 cm. Circa 12 with Industrie Aufnahmen Ragotzi stamp, some with annotations in pencil on the verso. 750 € An attractive collection showing the massive building of the Berlin elevated railway and other prominent places such as Jannowitzbrücke, Schlesischer Bahnhof, Westend, Nikolassee, etc.

4113

4113 86


berlin 4114 Photographer unknown. Views of Salamander shoe store and display windows.1929 - mid-1930s. 7 vintage gelatin silver prints. Each circa 23 x 17 cm, 17 x 23 cm and slightly smaller. 750 €

4114

berlin 4115 Photographer: Kappelhöfer and Otto Martens. Views of Berlin after WWII. 1945. 2 vintage gelatin silver prints. Each circa 35,4 x 30 cm and 30 x 40,3 cm. Each with photographer‘s stamp, date stamp and numbers in red crayon/pencil on the verso. Mounted to contemporary mats (soiled, foxing, some nicks in edges), each titled in pencil/ink below the image on the mat, 1 with archive label on mat verso. 400 € 4115

The views show Spittelmarkt and ruins of the Palast Hotel, Potsdamer Platz, Berlin. 87


4116

berlin

berlin

4116 Photographer unknown. Views of Berlin after WWII.1950s - 1960s. 17 vintage gelatin silver press prints. Each circa 24 x 18 cm. 1 with stamp. 400 €

4118 Photographer unknown. Images of Berlin after

The images show ruins with Communist propaganda posters in public places and the border between East and West Berlin.

berlin 1961 4117 Photographer: Horst Siegmann and unknown.

Dramatic scenes during the building of the Berlin Wall. 1961/printed 1960s. 5 ferrotyped gelatin silver prints (press prints). Each circa 17,5 x 23 cm. Some annotated in pencil on the verso. 500 € Interesting selection of dramatic images taken during the building of the Berlin Wall in 1961.

88

wwii. 1945–1957. 26 vintage gelatin silver prints. Each circa 10 x 14 cm. Mounted to album pages in photo corners, bound in full leather album with embossed Berlin city emblem on front cover. 400 € At the beginnig of the album is a portrait of Willy Brandt and Ernst Reuter followed by typical scenes of the rebuilding of Berlin such as Trümmerfrauen at work, reforestation of the city‘s forest areas, street and rail construction and some modern buildings such as the Kongresshalle and Telefunken building.


4117

4118 89


4119

ilse bing

(1899 – 1998)

4119^ „Soupe populaire, Paris“. 1931. Vintage matte gelatin silver print. 27,8 x 35,3 cm. Signed and dated by the photographer in ink upper left; signed, dated and titled by the photographer in pencil on the verso. 2.500 €

90


4120

ilse bing 4120^ Empire State Building at Night, New York. 1936.

Vintage matte gelatin silver print on Agfa-Brovira paper. 19 x 28 cm. Mounted along left edge to album page. 5.000Â â‚Ź True vintage prints on matte paper by Ilse Bing are extremely rare, especially when they are on her own album pages. Lit.: Larisa Dryansky. Ilse Bing: Photography through the Looking Glass. New York 2006, ill. p. 216 91


théodore bl anc and antoine demilly (1891 – 1985, 1892 – 1964)

4121^ Female nude. Early 1940s. Vintage gelatin

silver contact print on chamois paper. 17,7 x 13,2 cm. Photographer‘s stamp on the verso. 750 €

The photographic duo Blanc and Demilly met in Lyon in the early 1880s. In the 1920s they began using small portable Leica and Rolleiflex cameras, enabling them to take outdoor and street images. They also produced still lifes and nudes.

k at t both (1905 – 1985)

4122 Veneers. Circa 1930. Vintage ferrotyped gelatin silver print on Velox paper. 13,1 x 18,1 cm. Hingemounted in mat. 750 €

4121

4122 92


robert bothner (1899 – 1967)

4123 „Rundstrahler, Fernsehturm Stuttgart. 1950s.

Vintage ferrotyped gelatin silver print on Agfa-BroviraRapid paper. 23,5 x 17,5 cm. Annotated in ink by the photographer, as well as photographer‘s Stgt.-Wangen Wasenstr. 4 stamp on the verso. 600 € Robert Bothner was employed as master photographer at the Landesbildstelle Württemberg in Stuttgart from 1927 - 1963. Between 1925 - 1927 he travelled through Italy and France taking photos with his 9 x 12 camera. He also worked in Russia during WWII as a war correspondent for the German air force. His photographs are often marked by technical and compositional perfection and his work was published in „Das Deutsche Lichtbild“ 1936, 1937 and 1957. Provenance: The estate of the photographer.

4123

robert bothner 4124 „Verschneiter Zaun“ (Snowed-in Fence). 1950s. Vintage ferrotyped gelatin silver print. 23,6 x 17,7 cm. Annotated in ink/crayon by the photographer, as well as photographer‘s Stgt.-Wangen Wasenstr. 4 stamp on the verso. 600 € 4124

Provenance: The estate of the photographer. 93


4125

edoua rd boubat

bill bra ndt

4125^ Peasants in Cévennes, southern France. 1962. Vintage ferrotyped gelatin silver print on Agfa paper. 19,9 x 20 cm. Photographer‘s „Realites“ stamp, annotated in ink and archive label on the verso. 750 €

4126^ „Nude with Hat“. 1952-56/printed 1970s. Gelatin silver print. 33,7 x 28,5 cm. Mounted to board (48 x 38 cm, corners bumped, traces of previous mounting on verso), signed by the photographer in felt-tip pen below the image on the mount. 6.000 €

(1923 – 1998)

Édouard Boubat worked as a photo engraver before he began taking photographs in 1946. He sought to make photographs that were a celebration of life. He worked as a freelance photojournalist on contract with the magazine „Réalités“ in the 1950s and 1960s and traveled widely throughout his career. His work is in the collections of numerous museums and institutions around the world.

94

(1904 – 1983)


4126

95


4127

brassa ï

(Gyula Halász, 1899 – 1984)

4127 „Place Vendome“. Circa 1936. Vintage ferrotyped

gelatin silver print. 24 x 17 cm. Photographer‘s 61, rue du Faubrg St. Jacques Paris XIV stamp on the verso. Mounted along upper edge to overmat. 2.500 € 96


4128

h a rry ca ll a h a n (1912 – 1999)

4128* Untitled. Circa 1970. Gelatin silver print. 22,4 x

22,4 cm (30,6 x 27,8 cm). Signed by the photographer in pencil in lower margin, right, mounted along upper edge in mat. 3.000 € Harry Callahan was born in Detroit, Michigan and started photographing in 1938. In 1946, he was appointed by László MoholyNagy to teach photography at the Institute of Design in Chicago. By the time he retired in 1977, he was teaching at the Rhode Island School of Design. His technical method was to go out almost every morning, walk the city he lived in and take nume­ rous pictures. He then spent almost every afternoon making proof prints of that day‘s best negatives. Yet, in spite of all his activity, Callahan, by his own estimates, produced no more than half a dozen final images a year. 97


4129

h a rry ca ll a h a n 4129 Morocco.1981/printed early 1980s. Dye transfer print. 24,5 x 36,5 cm (44,5 x 56 cm). 1.200 €

4130 Ireland. 1979/printed 1980s. Dye transfer print. 24,5 x 36,5 cm (44,5 x 57 cm). 1.200 €

Lit.: Keith F. Davis. Harry Callahan: New Color, Photographs 1978 - 1988. Kansas City 1988, ill. p. 56.

Lit.: Keith F. Davis. Harry Callahan: New Color, Photographs 1978 - 1988. Kansas City 1988, ill. p. 41.

4131 Ireland. 1979/printed 1980s. Dye transfer print. 24,5 x 36,5 cm (44,5 x 57 cm). 1.200 € 98


4130

4131 99


4132

henri ca rtier-bresson (1908 – 2004)

4132 Seagulls. 1970s. Vintage gelatin silver print. 30 x 39,7 cm. Dedicated and signed by the photographer in ink in margin lower right. 2.500 €

100


4133

jewgeni ch a ldej (1916 – 1997)

4133 „Atop the Berlin Reichstag, May 2, 1945“. 1945/ printed later. 3 ferrotyped gelatin silver prints. 30,5 x 24 cm. 2 signed by the photographer and 1 annotated in pencil on the verso. 2.500 € Interesting documents, which Chaldej himself commented on: „Early in the morning on May 2, 1945, I entered it (the Reichstag). I was surrounded by horrendous noise, Russians and Germans were all shouting in horrible confusion ... A pleasant young soldier came up to me. I had a red flag in my hand. He said, ‚Lieutenant, davai, let‘s hurry up and climb onto the roof with the flag‘ ... We started out, but all the stairs were badly damaged. When we finally got up the Reichstag was on fire. ...We found a long

pole. I spent lots of time trying out different compositions. I took one picture from the left, but that wasn‘t any good. I wanted Berlin to be clearly visible in the picture. Then I said, ‚Boys, go and stand over there and raise the flag ... then try over there‘. There were three of them. One was from the Ukraine, the other from Machatshkala in Dagestan and the third was a Russian. ... I shot a whole roll of film, 36 shots“ (cited in Volland/Krimmer, p. 151). In these three shots one can see the action being staged, and the two watches on the wrists of the one soldier have not been retouched out, as they were for most later publications. Lit.: Ernst Volland/Heinz Krimmer (eds.). Von Moskau nach Berlin. Bilder des russischen Fotografen Jewgeni Chaldej. Berlin 1999, ill. p. 67.

101


4134

ja kov ch a lip (1908 – 1980)

4134^ „Soviet maneuver, Baltic Sea“. 1936. Large-

format matte gelatin silver print. 40,2 x 52 cm. Signed, titled and dated by the photographer in pencil, photographer‘s stamp and collection stamp on the verso. 1.200 € 102


4135

china / boxer revolt 4135 German souvenir album from the Boxer Rebel-

lion in China up to WWI in Europe. 1900 - 1918. Circa 132 vintage collodion paper prints and some gelatin silver prints. Most circa 14 x 20 cm, some smaller/ larger. Mounted to album boards (some foxing), usually 4 to 1 board, bound in black lacquer Japanese album (chipped in edges/corners, spine loose) with dragon motif inlay (pieces missing). 1.000Â â‚Ź This German album shows European civilians and military members in their surroundings and baracks in China. Includes seven portraits of pairs of fully dressed and armed international soldiers from France, India, Russia, Japan, England, America and Germany as well as a series showing the terrible violence against the Boxers. Some views of Japan follow and the final album pages show images of the war in Europe 1914-1918. It ends with two large portraits of Hindenburg and Ludendorff in their headquarters.

4135 103


4136

china / sms leipzig 4136 Souvenir album of a marine aboard the gunboat S.M.S. Leipzig. 1906 - 1908. Circa 132 vintage collodion paper prints and some postcards. Most circa 10 x 15 cm, some smaller/larger. Mounted to album boards, usually 4 to 1 board, most with caption in German in ink below image on the mount, bound as leporello in black lacquer Japanese album (chipped in edges/corners) with dragon motif inlay (pieces missing). 1.500 € This album is from the maiden voyage of the S.M.S. Leipzig. It was a so-callled Bremen-class-cruiser, 1 of 7 light cruisers named after German cities, built for the Imperial German navy in 1906. The album begins with exterior and interior views of the ship and crew, Colombo, Singapore, Hong Kong, Batavia, Shanghai, Tsingtau, Amoy, Nanking and other Chinese destinations. There are also views of other ships such as S.M.S. Stettin, S.M.S. Hanno­ ver, S.M.S. Bismarck. Views of Japan are at the end of the album.

104


4137

china 4137 Photographer: Ursula and Elmar Schulze. Views of China. 1978. 29 vintage chromogenic prints on Kodak paper. Each circa 15 x 20 cm. Mounted in photo corners to black card, annotated in white ink in German below the images on the mounts, in black portfolio case. 1.500 € A group of fascinating images taken in China. Together with his wife Ursula, the scientist and photographer Elmar Schulze took a trip to China in 1978. Due to his connections, apart from Peking and Shanghai, they were also able to travel to some rural areas such as the province of Loyang and the Lin region where they visited several people‘s communes, villages and schools. Two years after the end of the Cultural Revolution, regular school education for children was finally possible again. Many photographs in this portfolio are impressive documents of the new schooling situation of the time. 105


václ av chochol a (1923 – 2005)

4138 „Fiakr“ (Coach). 1949. Vintage ferrotyped gela-

tin silver print on Agfa-Brovira paper. 28,8 x 23,2 cm. Signed, titled and dated in pencil on the verso. 750 € Václav Chochola began photographing while still a student and published his first images in 1940. Early on he worked with colleagues such as Karel Ludwig, Zdenek Tmej, Karel Hájek, Kamil Lhoták Frantisek Hudeèek, Jiøí Koláø, Zdenìk Seydl and Frantisek Tichy who together founded the Group 42 during WWII.

w illi a m christenberry (b. 1936)

4139 „5 cents - Demopolis, Alabama“. 1978/printed 1981. Chromogenic print on Kodak paper. 20 x 25,5 cm (28 x 35,5 cm). Signed, titled and dated by the photographer in pen on the verso. 1.200 €

4139 106

4138


4140

w illi a m cl a xton (1927 – 2008)

4140 Marlene Dietrich in her dressing room, Las Vegas. 1955. Vintage gelatin silver print. 25,2 x 20,2 cm. Photographer‘s A.S.M.P. stamp and reproduction limitation stamp on the verso. 1.800 € 107


cologne 4141 Photographer unknown. Views of public space advertising in Cologne. 1904. 11 vintage gelatin silver prints. Each circa 23 x 16 cm, 16 x 23 cm. Each anno­ tated in lower edge in black ink, mounted to board (warped). 500 € The views show advertising of one or more Cologne firms on buildings and squares such as Hohenzollernring, Apostelmarkt, Hohestraße, Hohe Pforte, Friesenplatz etc. One shows adver­ tising presented at a fair.

4141

color ca rbro print 4142 Photographer unknown. Portraits of an actress and actor in costume. 1930s. 2 vintage color carbro prints. 24 x 18 cm. 300 € Color carbro prints are light-stable pigment prints. They are printed using three color negative matrices (red, blue, yellow) in an additive color mixing, resulting in beautiful and strong color images. For a long time it was the only way to produce color paper images. This printing technique is very complex and earlier prints in this process are rare.

108

4142


4143

m a rie cosindas (1923 – 2017)

4143 „Dolls, Boston“. 1966/printed 1980s. Dye transfer print. 25,5 x 20 cm (40 x 34 cm).

1.500 €

In 1966 Marie Cosindas had a solo exhibition of her color photo­ graphs at the Museum of Modern Art in New York, which travelled to the Museum of Fine Arts, Boston, and to the Art Institute of Chicago the following year. The exhibitions brought her considerable recognition, and her work was published throughout the 1960s and 1970s in a diverse range of magazines, from Camera and Aperture to Ladies’ Home Journal and Newsweek. Life featured her work four times between 1968 and 1976. In the 1980s, however, her fame subsided and today her work is often overlooked. 109


4144

a lexis delcroix

deutsch-osta frik a

4144^ „La barbe“. Circa 1935. Vintage ferrotyped gelatin silver print. 38,5 x 28 cm. Sandwich-mounted in mat, signed and titled by the photographer in pencil on the overmat; 2 salon exhibition labels on mat verso. 1.000 €

4145 Souvenir album of Geman East Africa. 1903– 1914. Circa 90 vintage gelatin silver prints. Each circa 13 x 17,5 cm. Mounted in grey album window mats (a few torn), bound in contemporary half linen canvas album (spine missing, edges rubbed, front cover illustration missing) with stamped title Bilder aus Deutsch-Ostafrika (34,5 x 24 cm). 1.200 €

Alexis Delcroix was a Belgian amateur photographer. He was active from the 1930s until the 1950s in Brussels. He was an active member of the APB and he participated in many international exhibitions. His work was also published in Photograms of the Year (1947, 1948, 1949, 1950 and 1951) and The American Annual of Photography 1949 and 1950.

110

A collection of photos showing housing, landscapes, and people in German East Africa. Provenance: From the Family of Walter Dobbertin.


4145

4145 111


4146

ot to dix

(1891 – 1969)

4146 Photographer unknown. Portraits of the artist Otto Dix. 1950s. 4 vintage gelatin silver prints. Each circa 14,3 x 10 cm. 400 €

jew ish refugees 4147 Jewish refugees. 1938-39. 2 vintage gelatin silver press prints. Each circa 22 x 29 cm. Agency stamps, date stamps, annotated and layout marks in blue/black crayon as well as press text labels on the verso. 300 €

4147 112

The images show Jewish children refugees from Vienna and the S.S. Parita beached along the shore of Tel-Aviv with refugees being helped to land.


ca rl a nd a dolf dra nsfeld (1880 – 1941, ? – 1927)

4148 Bahnpostamt Hamburg. Late 1920.s 4 vintage

warm-toned gelatin silver prints. 22,5 x 17 cm (2), 12,5 x 22,8 cm and 21,5 x 24,7 cm. Each with photogra­ pher‘s/copyright stamp on the verso. 300 €

In 1902 Carl Dransfeld and his brother Adolf founded the photo­ graphic studio Gebr. Dransfeld in Berlin, which they moved to Hamburg two years later. Fritz Schumacher‘s commission to photograph his buildings for his book „Staatsbauten“ made the studio famous and it received numerous commissions from Hamburg architects, including Fritz Höger, Hans and Oskar Gerson, and Gustav Oelsner, to document their buildings. The most well-known photograph by Gebr. Dransfeld is of the Chilehaus, Hamburg 1924.

4148

ca rl a nd a dolf dra nsfeld

4149

4149 (Attributed to). Stairwell and exterior views of the DHV Haus, later Brahms Kontorhaus, Hamburg. Late 1920s. 6 vintage warm-toned gelatin silver prints. Each circa 23 x 17,5 cm. 400 € 113


4150

k atherine sophie dreier (1877 – 1952)

4150 Photographer unknown. „Unknown Forces“ (photographic reproduction of the painting by Katherine Sophie Dreier). 1926. Vintage gelatin silver print. 23,8 x 15,3 cm. Annotated in pencil, layout marks in red pencil on the verso. 750 € Katharine Sophie Dreier was an American painter, art collector and patron. Together with Marcel Duchamp and Man Ray she founded the Societé Anonyme Inc. in New York. She was a great promoter of abstract painting and other forms of modern art.

114


4151

jea n drév ille (1906 – 1997)

4151 „Synthèse photo-cinématographique“. 1930s. Vintage bromide gelatin silver print. 28,4 x 35 cm. Mounted to black card, re-mounted to cream card (some foxing and slightly soiled), titled and signed in black ink below the image on the mount, annotated in pencil and crayon/ball-point pen on mount verso. 1.500 € 115


4152

4153 116


4154

bogda n dzi worski (b. 1941)

4152 Children in Lodz. Late 1960s. Vintage ferrotyped

4153 Break at the railway embankment. Late 1960s. Vintage ferrotyped gelatin silver print. 38,2 x 50,2 cm. Photographer‘s stamp on the verso. 600 €

Bogdan Dziworski studied cinematography at the Lodz Film Academy. As a cameraman, director and documentary filmmaker, he has made numerous films and was Dean of the Film Academy in Katowice. From the 1980s onwards, his photographic work became increasingly more known. He has published numerous illustrated books and participated in various exhibition projects. His photographs show a quirky contrast between the enviornment and the carefree nature of the people who live in it. He has a particular eye for children and older people and many of his images have a filmic quality.

Lit.: Bogdan Dziworski. My View. Polish Impressions in Photography. Vienna 1981, ill. unpaginated.

gelatin silver print. 39 x 49,7 cm. Photographer‘s stamp on the verso. 600 €

4154 Children in Lodz. Late 1960s. Vintage ferrotyped gelatin silver print. 23,8 x 18,2 cm. Photographer‘s stamp and annotated in pencil on the verso. 300 € Lit.: Bogdan Dziworski. My View. Polish Impressions in Photography. Vienna 1981, ill. unpaginated. 117


4155

georg eckelt

a lfred eisensta edt

4155 Forest images. 1978. 4 vintage gelatin silver prints. 15,5 x 15,5 cm (30 x 24 cm). 3 signed, 1 also dated by the photographer in pencil below the image in the margin. 750 €

4156 „Young monks walking towards the Ponte Vecchio in Florence, at left the river Arno“. 1935/printed 1960s. Large-format gelatin silver print. 27,6 x 35,6 cm. Signed by the photographer in ink in margin lower right; photographer‘s stamp, titled and dated by the photographer in ink on the verso. 1.800 €

(b. 1932)

Georg Eckelt studied at the Art School in Weißensee. As of 1960 he was employed at the Institute for Applied Arts and as of 1968 he worked freelance. He specialized in object studies but also architectural and advertising photography. These unusual land­scape studies show his diversity as a photographer.

118

(1898 – 1995)

4157 „Young nuns going to Sunday mass in Turin, Italy“. 1930/printed 1960s. Large-format gelatin silver print. 27,6 x 35 cm. Signed by the photographer in ink in margin lower right; photographer‘s stamp, titled and dated by the photographer in ink on the verso. 1.800 €


4156

4157 119


august endell (1871 – 1925)

4158 Photographer unknown. Iron construction for a hall of the Heeres Museum, designed by August Endell (1871–1925). 1918. Vintage matte gelatin silver print on chamois paper. 23 x 17,2 cm. Dr. Adolf Behne stamp and annotated in pencil/red crayon on the verso. 300 € August Endell was a versatile art theorist, designer and architect. His designs were always spectacular and his building projects include the Hofatelier Elvira in Munich, the Hackesche Höfe in Berlin and the hotel at Steinplatz, Berlin, an icon of Jugendstil architecture.

fritz eschen (1900 – 1964)

4159 Berliner Stadtschloß. 1930s/printed 1950s. Ferro­ typed gelatin silver print on Agfa-Brovira paper. 17,7 x 20 cm. Photographer‘s/copyright stamp, address BerlinWilmersdorf, Bundesplatz 1, number stamp and annotated in ink on the verso. 300 €

4158

4159 120


4160

4161

louis faurer (1916 – 2001)

4160* „Theatre Goers, N.Y.C.“. 1947/printed 1990. Gelatin silver print on Agfa paper. 22,5 x 34,3 cm (27,7 x 35,4 cm). Signed, dated, titled, numbered 15/20 and copyrighted by the photographer in black crayon on the verso. 750 €

4161* „ Sutton Place South, New York, N.Y.“. 1949/

printed 1990. Gelatin silver print on Agfa paper. 20 x 28,7 cm (27,7 x 35,5 cm). Signed, dated, copyrighted and editioned 9/20 by the photographer in black crayon on the verso. Matted. 750 € Lit.: Anne Wilkes Tucker. Louis Faurer. Houston 2002, ill. p. 124. 121


fashion 1910 4162 Photographer unknown. Fashion photos. Circa 1910. 7 vintage gelatin silver prints. Circa 26 x 22 cm. Each flush-mounted to board. 300 €

4162

émeric féher (1904 – 1966)

4163 Pavillon d‘Italie, Paris Expo. 1937. Vintage ferro­

typed gelatin silver print. 24,5 x 24 cm (29,2 x 24 cm). Photographer‘s credit stamp, Black Star agency stamp, Made in France stamp and annotated in pencil on the verso. 400 €

4163 122

Lit.: Pierre Borhan. Émeric Féher, Photographe, 1904-1966: Les travaux & les jours. 1984.


4164

a ndreas feininger (1906 – 1999)

4164 (Attributed to). „Badende II, 1917“ (photographic

reproduction of the painting by Lyonel Feininger). 1920s. Vintage gelatin silver print. 18 x 23,8 cm. Titled and dated in ink by Lyonel Feininger and annotated in pencil on the verso. 750 € Andreas Feininger spent his early years in Berlin and Weimar and he first became interested in photography when photographing his father‘s oil paintings.

theo felten (1908 – 1985)

4165 Cologne Karneval. 1952. Vintage ferrotyped

gelatin silver print on Agfa-Brovira paper. 22,8 x 16,5 cm. Photographer‘s/copyright stamp, annotated in pencil/ blue crayon on the verso. 600 €

4165 123


ja rosl av ferá k 4166^ Glass funnels. 1935 -39. Vintage ferrotyped gelatin silver print. 23,8 x 17,7 cm. Annotated in pencil on the verso. 1.000 €

ra iner fichel (1946 – 2010)

4167 Martin Kippenberger, Cafe Vienna.1984/printed

later. Gelatin silver print. 25,5 x 37,5 cm (30,3 x 40,2). Signed, titled and dated by the photographer in pencil and photographer‘s stamp on the verso. 750 €

4166

4167 124


fra nz fiedler (1885 – 1956)

4168 Images from the Portfolio Series: „Narre Tod,

Mein Spielgesell“ (Fool Death, My Playmate). Circa 1922. 2 vintage gelatin silver prints. 21 x 15 cm and 14,5 x 20,5 cm. Double-mounted to original structured card (slightly time-stained in edges). 900 € Franz Fiedler‘s portfolio series „Narre Tod, Mein Spielgesell“ was published circa 1922 and the images were printed in vary­ing quality. Usually prints from this series are very faded with a more brownish tone than the ones offered here.

fil m photogra ph y 4169 Photographer unknown. Upton Sinclair, Charlie

Chaplin and Egon Erwin Kisch on a film set in Hollywood. 1929. Vintage large-format gelatin silver print. 33,5 x 31 cm. Annotated Der Film schaut auf die Film­ schau. Hollywood, Cal. March 15th, 1929 and signed by Egon Erwin Kisch in ink in lower portion. 600 €

4168

4169 125


4170

4170 126


fil m photogra ph y 4170 Leni Riefenstahl (1902–2003) and Rolf Lantin

(active 1930s/50s). Film still portfolio of the film “Tief­ land“. Circa 1944. 34 vintage gelatin silver prints. Each circa 21,5 x 27 cm. Each mounted to Japan and mounted to light green card (some lightly timed-stained in edges), in original wood portfolio (some time-staining) with ties, dedicated, dated and signed by Leni Riefenstahl in ink on front flap. 3.000 € „Tiefland“ (Lowlands) was scripted, directed, acted in, and edited by Leni Riefenstahl. Produced by Leni Riefenstahl and Josef Plesner, it is based on the opera „Tiefland“and the original play „Terra baixa“ by Àngel Guimerà. „Tiefland“ was the last full feature film of Riefenstahl as director and main actress. She began developing the script in 1934, and the movie was shot between 194044. The film, however, was not completed by the end of World War II and not finalized and released until February 11, 1954. Riefenstahl dedicated the present portfolio to Dr. Reinhard Kamitz: Tiefland. Herrn Minister Dr. Kamitz in ergebener Dankbarkeit gewidmet von Leni Riefenstahl, Wien 2. Nov. 1953. After the war Leni Riefenstahl was accused of having recruited 51 extras from the „Zigeunerlager“ Maxglan, who, after they were no longer needed, most of them were murdered in Auschwitz and other camps. In 1982 Nina Gladitz produced a detailed TV documentary about this subject. This documentary was then the subject of a court case in which L. Riefenstahl was defeated.

4170

fil m photogra ph y 4171 Publicity photo of Hildegard Knef. Circa 1958. Vintage gelatin silver print on chamois paper. 23,5 x 17,5 cm. Signed by the photographer (illegible) in white ink upper right corner; photographer‘s stamp on the verso. 300 €

4171 127


h a ns finsler (1891 – 1972)

4172 Selected images. Circa 1928/printed later from the original negatives by Christian Borchert. 3 gelatin silver prints. Each circa 30 x 21,7 cm. 1 annotated in pencil and 2 with Hochschule für industrielle Form­ gestaltung Halle Archiv stamp on the verso. 500 € Lit.: Klaus E. Göltz et al. (eds.). Hans Finsler. Neue Wege der Photographie. Leipzig 1991, ill. 304, 220 (cat. no. 197).

a rno fischer (1927 – 2011)

4173 „Ost-Berlin, Unter den Linden“. 1956/printed later. Gelatin silver print. 23 x 34 cm (26 x 36 cm). Signed, titled and dated by the photographer in pencil on the verso. 900 € Lit.: Elke aus dem Moore (ed.). Arno Fischer. Fotografie (exhibition catalogue). Ostfildern 2009, ill. p. 33.

4172

4173 128


4174

4175

a rno fischer 4174 „New York, Staten Island Ferry“. 1978. Vintage gelatin silver print. 20 x 30 cm. Signed, titled and dated by the photographer in pencil on the verso. 1.200 €

4175 „Silvester, Berlin“. 1989. Vintage gelatin silver

print. 31x 44 cm (37 x 49,5 cm). Signed, titled and dated by the photographer in pencil on the verso. 1.200 €

Lit.: Elke aus dem Moore (ed.). Arno Fischer. Fotografie (exhibition catalogue). Ostfildern 2009, ill. p. 129.

Lit.: Elke aus dem Moore (ed.). Arno Fischer. Fotografie (exhibition catalogue). Ostfildern 2009, ill. p. 61. 129


hubs flöter (1910 – 1974)

4176 Fashion photos. 1964-65. 2 vintage ferrotyped gelatin silver prints on Agfa paper. 40 x 30 cm and 30 x 30 cm. Each with photographer‘s/copyright stamp and magazine stamp on the verso. 400 € Lit.: Stern, Hamburg, 17. Jg 1964, no. 34, p. 42. Stern, Hamburg, 18. Jg 1965, no. 7, p. 73.

fra nco fonta na (b. 1933)

4177 Seascape. 1976. Vintage chromogenic color print

on Kodak paper. 20 x 29,5 cm. Signed and dated by the photographer in black felt-tip pen and photographer‘s label on the verso, mounted to card (minimal foxing) and signed and dated by the photographer in black ink below image on the mount. 900 €

4177 130

4176


a be fra jndlich (b. 1946)

4178 „Cindy Sherman, New York City“. 1987/printed 2010. Chromogenic print on Kodak Professional paper. 38 x 38 cm (50,8 x 40,5 cm). Signed, titled, dated and copyrighted by the photographer in felt-tip pen on the verso. 1.200 € Lit.: Abe Frajndlich. Penelope‘s Hungry Eyes. Munich 2011, cover illustration of dust jacket.

gisèle freund (1908 – 2000)

4179 Colette at 80, shortly before her death in Monte

Carlo. 1954. 2 vintage gelatin silver prints. 20 x 24,8 cm and 23,2 x 20 cm. Photographer‘s copyright stamp, agency stamps and annotated in pencil and crayon on the verso. 600 €

4178

Lit.: Hans Joachim Neyer. Gisèle Freund. Berlin 1990, ill. unpaginated (variants).

4179 131


lee friedl a nder (b. 1934)

4180 Madonna nude, sitting in window; Madonna nude, back view; Madonna nude, reclining in chair. 1979-80/printed 1985. 3 ferrotyped gelatin silver prints. Circa 24,5 x 16 cm (25,7 x 20,2 cm) and 15,8 x 24,5 cm (20,2 x 25,7 cm). Each annotated in red marker and ballpoint pen and with archive USED stamp (1 crossed out), 2 also with layout marks in pencil on the verso. 9.000 € These three images show the young, still unknown Madonna, who did nude modelling at the time. She was referred to the photographer Lee Friedlander, who was looking for nude models, by an artist friend. Six of the nudes resulting from this encounter were later published in Playboy in September 1985. They were also published in the Italian Playboy edition and the prints offered here are from the Italian Playboy archives. Lit.: Playboy. September 1985, Madonna: Part I, „The Lee Friedlander Sessions“, ill. pp. 122 -124.

4180

4180 132


4180 133


4181

lee friedl a nder 4181 Sugar Ray Robinson. Late 1950s/printed 1980s. Dye transfer print. 36,5 x 25 cm (42,5 x 33 cm). 750 € 134


lois ga igg (1905 – 1944)

4182 Photographer: Ingeborg Ratzmann. Portrait of the graphic artist Lois Gaigg in front of one of his posters.1935. Vintage gelatin silver print. 22,5 x 16,5 cm. Mounted along upper edge in contemporary mat (slightly soiled), signed by the photographer in pencil on overmat. 750 € The Austrian artist Lois Gaigg is one of the most well-known poster designers of the 1930s. He made attractive designs for men‘s fashion, ski tourism, North German Lloyd, Bremen and other clients. His work is one of the few examples of Austrian avantgarde and his designs have reached cult status among poster collectors today. This is a rare portrait of him posing in front of one of his poster designs.

4182

m a rtin gerl ach (1879 – 1944)

4183 Vienna: Wiederhofer Hof, Kongressplatz, archi-

4183

tect Dr. Frank; Reumannhof, Margarethengürtel und Brandmayergasse, architect Hubert Gessner. 1925– 1930. 2 vintage gelatin silver prints. 23 x 17 cm and 17,5 x 23,3 cm. Photographer‘s stamp and annotated in pencil/red crayon on the verso. 400 € 135


4184

na n goldin (b. 1953)

4184 „Honeymoon Suite, Nuremberger Eck, Berlin“; „April in the Window, New York City“; „Lynelle in Japanese Restaurant, N.Y.C.“. 1994,1983, 1988/printed 1996. 3 Cibachrome prints. Each circa 27 x 39,2 cm (30,5 x 40,7 cm). Each signed by the photographer in ink on the verso, from an edition by Griffelkunst. 1.000 € Lit.: Nan Goldin. Couples and Loneliness. Edited by Nan Goldin and Taka Kawachi. Kyoto 1998, all illustrated.

136


henry buergel goodw in (1878 – 1931)

4185 Female nude. Circa 1918. Vintage gelatin silver print on strong chamois paper. 38,2 x 25,5 cm (49,5 x 36,7 cm). Photographer‘s monogram blindstamp in lower right in margin. 1.000 € German born, the Swedish photographer Henry B. Goodwin, originally studied Nordic languages and eventually moved to Uppsala, Sweden where he lectured at the university. He had already learned photography in the studio of Nicola Perscheid in Leipzig in 1903. When his academic career did not really progress, he began concentrating more on photography. In 1913 he opened a studio in his apartment in Stockholm and had the first one-man show of camera art in Sweden in 1915. For fifteen years he dominated Swedish photography and achieved the same status that the popular painters of the time had. Perscheid as well as Alvin Langdon Coburn strongly influenced his work and he was one of the prominent pictorialists of the time.

4185

henry buergel goodw in 4186 Female nude combing her hair. 1920s. Vintage matte gelatin silver print. 25 x 26,2 cm. 900 € Lit.: Rolf Söderberg. Henry B. Goodwin. Pictorialist and Portraitist. Stockholm 1987, ill. p. 71. 4186 137


4187

greg gorm a n

bri a n gra h a m

4187 Nude. 1988. Vintage gelatin silver print. 25,2 x 20,5 cm. Photographer‘s copyright stamp and number in pencil on the verso, matted. 750 €

4188 „Set of Candy Mountain, Glou Bay Nova Scotia,

(b. 1949)

(b. 1951)

Robert Frank and Kasuko at Elmore‘s House“. 1986. Gela­ tin silver print. 30 x 40 cm (39,5 x 48,5 cm). Signed, dated and titled by the photographer in ink on the verso. 800 € „Co-created with writer Rudy Wurlitzer, „Candy Mountain“ was Frank‘s most widely distributed and expensive productions, and the cast includes several renowned musicians. The tale follows Julius Book, a would-be musician who embarks on a journey from New York to Nova Scotia in search of the musician‘s Holy Grail: the elusive guitar maker, Elmore Silk. Along the way, Book learns hard life lessons as he faces optimism and hope, as well as failure and disillusionment“. Cited from Robert Frank Film Retrospective program, SFMoMa 2009.

4189* „Coney Island - Sand Storm“. 1985. Gelatin silver

print. 21,9 x 32,8 cm (27,7 x 35,5 cm). Signed, titled and dated by the photographer in pencil and photogra­ pher‘s Night and Day Photographs stamp on the verso. 1.200 € 138


4188

4189 139


thom as grünfeld (b. 1956)

4190* „Portrait of H.G.“ (Girl in profile). 1990s. Dye transfer print. 33 x 19,7 cm (39,7 x 28,7 cm). Signed titled and editioned 13/15 by the photographer in pencil on the verso. 500 €

bedrich grunzw eig (1910 – 2009)

4191 „Reflections“. 1950s. Vintage gelatin silver print.

27,7 x 35,4 cm. Titled by the photographer in ink, 2 photographer‘s P.O. Box 29, Grand Central Sta., New York 17, N.Y. stamps and archive label on the verso. 900 €

4190

4191 140


4192

fra ncis h a a r (1908 – 1997)

4192 Portfolio of images of Japan. 1940s/50s. 24 gela­

tin silver prints. Each circa 24,5 x 24,5 cm (29,7 x 24,5 cm). Each with photographer‘s stamp and number stamp on the verso. In original illustrated canvas (some rubbed spots) portfolio. 900 € Francis Haar, born as Haár Ferenc, was a Hungarian socially oriented photographer. He studied interior design at the Hunga­ rian Royal National School of Arts and Crafts 1924 -1927. The first socially oriented photography exhibition to be held in Hungary was in 1932, which brought Haar his first success. He opened his first photo studio in Budapest in 1934. Some of his

photos were exhibited at the „Paris Exposition Internationale des Arts et Techniques dans la Vie Moderne“ in 1937, and Francis Haar decided to move to Paris where he established himself as a portrait photographer. In 1939 he was invited by Hiroshi Kawazoe to Japan and the International Cultural Society of Japan (Kokusai Bunka Shinkokai) officially arranged his trip. He then opened and operated his photo studio in Tokyo between 1940 and 42. The Haar family was evacuated to Karuizawa in 1943 and they spent 3 years there. He became the photographer of Yank, the Army Weekly magazine of the U.S. occupation forces in Japan. In 1960 the Haars moved to Hawaii where Haar opened a photo studio. He died at the age of 89 in Honolulu. 141


4193

efra im h a berm a nn (b. 1933)

4193 Woman in front of wall; Female nude. 1986. 2 vintage gelatin silver print on Agfa paper. 30,5 x 40,2 cm. Signed and dated by the photographer in pencil in upper right corner; photographer‘s/copyright stamp on the verso. 500 € Born in Berlin, in 1939 Efraim Habermann emigrated with his parents to Israel where he lived until 1957. He then returned to Berlin where he photographed the city‘s architecture and street life. His work is in the collections of the Berlinische Galerie and the National Galerie, Berlin.

heinz h a jek-h a lke (1898 – 1983)

4194 „Weibliche Impression“ (wire montage with moving camera). 1947-50/printed 1978. Gelatin silver print. 34 x 27,4 cm (40,5 x 30,6 cm). Signed and annotated e.a. by the photographer in pencil below the image in the margin. 1.000 €

4194 142

One of Hajek-Halke‘s most dreamlike and suggestive images („Female Impression“), Hajek-Halke used a moving camera to photograph one of his wire sculptures. This image was included in the Werner Kunze Edition „Heinz Hajek-Halke: 12 Reprints aus den Jahren 1927 - 1960“. Lit.: Heinz Hajek-Halke. Form aus Licht und Schatten. Vol. I, Göttingen 2005, ill. p. 177.


4195

h a mburg 4195 Photographer: Hans Rompel, H. Haas, R.F. Schmied, J. Schorer and W. Winkelmann. Views of Hamburg. 1935. 75 vintage gelatin silver prints on AgfaBrovira paper. Each circa 23 x 17 cm. Each mounted along upper edge to card, captioned in pencil below the image on the mount, in original red leather clamshell box with gilt-embossed emblem of Hamburg. 900Â â‚Ź Provenance: Robert Lebeck Collection 143


4196

4197

sh a rok h ata mi

m a nfred h a mm

4196^ Sophia Loren. 1962. Vintage gelatin silver print.

4197 Selected images of factory buildings, Germany.

(1928 – 2017)

20,7 x 29,8cm. Signed by the photographer in ink in margin lower right; photographer‘s stamp, titled and dated by the photographer in ink on the verso. 900 €

144

(b. 1944)

1983, 1987, 1988. 3 vintage gelatin silver prints. 24 x 34,3 cm (30,2 x 40,7 cm). Each signed, titled, numbered and dated by the photographer in pencil on the verso. 900 €


heinrich heidersberger (1906 – 2006)

4198 „Copenhagen, Laederstraede“. 1935/ printed later. Large-format gelatin silver print. 40 x 28 cm. Signed and dated by the photographer in ink on the verso, mounted in mat, signed and numbered 18/50 by the photographer below image on mat. 900 € Lit.: Siegfried Tautz (ed.). Heinrich Heidersberger. 50 Jahre Photographie. Ausstellungs-Katalog Braunschweig 1982, ill. front cover.

4199 „Samenstand des Bockbarts“; „Schneekristall“.

1956/61/ printed later. 2 gelatin silver prints. 18 x 16,5 cm (23 x 16,5 cm). Each with photographer‘s stamp and titled/dated by the photographer in pencil on the verso. 400 € Lit.: Siegfried Tautz (ed.). Heinrich Heidersberger. 50 Jahre Photographie. Ausstellungs Katalog Braunschweig 1982, ill. unpaginated.

4198

4199 145


4200

heinrich heidersberger 4200 „Kleid aus Licht“ (Light Dress). 1949/printed

later. Large-format gelatin silver print. 28 x 37 cm. Signed and dated by the photographer in ink on the verso, mounted in grey mat, signed and numbered 8/50 by the photographer below image on mat. 1.200 € Lit.: Heinrich Heidersberger. Das photographische Werk im Querschnitt. Wolfsburg 1986, ill. unpaginated.

146

m a rta hoepffner (1912 – 2000)

4201 „Hommage à de Falla“ (photogram). 1937. Vin-

tage large-format matte gelatin silver print on chamois paper. 38,7 x 27,5 cm. Signed and dated by the photographer in ink lower right corner; signed by the photo­ grapher in pencil 2 photographer‘s stamps and 1 label as well as annotated in pencil on the verso. 3.500 € Marta Hoepffner was one of the most diverse and experimental female photographers of her time. Between 1929 - 1933 she studied painting, printmaking and photography at the Frankfurt Art School with Willi Baumeister. In 1934 she opened her own studio and was very successful. Later in 1949 she founded her own private photography school in Hofheim am Taunus, incorporating concepts of the Bauhaus and connecting artistic and technical aspects of photography.


4201 147


4202

lew is w. hine (1874 – 1940)

4202 Ten-year-old Mollie Steuben topping beets, near

Sterling, Colorado. Oct. 21, 1915. Vintage warm-toned gelatin silver print. 12,7 x 17,7 cm. Number 4002 in ink and pencil on the verso. 900 € Working as an investigative photographer for the National Child Labor Committee (NCLC), Lewis Hine documented work­ing and living conditions of children in the United States between 1908 and 1924. This photograph shows: „Ten-year-old Mollie Steuben topping beets. Many children of this age put in a full day‘s work, and many begin younger. The work is hard and the children sometimes cut themselves or are „hooked“ by the long tooth on the end of the blade. Mollie and her two sisters, 12 and 14 yrs. old, work from 6 A.M. to 5 P.M., near Sterling“. A print of this image, along with over 5000 other images Hine made for the NCLC, is in the Library of Congress, Washington, D.C.

148

4203


4204

ewa ld hoinkis

horst ja nssen

4203 View from a window, Görlitz. 1927. Vintage gelatin silver print. 8,7 x 6,5 cm. Dated and annotated by the photographer in pencil on the verso, mounted to original cream-colored paper (28 x 21 cm), publication and date typed on mount recto. 750 €

4204 Image from the series „Fixierte Augenblicke“

(1897 – 1960)

This image is from Hoinkis‘ very productive period between 1924 - 1929 in Görlitz, when his work was influenced by more modern concepts in photography with strong allusions to film. Lit.: Ute Eskildsen (concept and text). Ewald Hoinkis. Fotografien 1924-60. Berlin 1988, ill. p. 39. Welt-Magazin, Berlin August, 1927. Provenance: The estate of Ewald Hoinkis.

(1929 – 1995)

(Fixed Moments). 1982. 9 chromogenic prints on Kodak paper. Each circa 30 x 30 cm. Each monogrammed by the artist in black marker in lower right corner; photo studio label on the verso, mounted along upper edge to black board (42 x 42 cm), annotated in pencil on mount verso. 500 € During the fall and winter of 1982 the artist Horst Janssen began seeing the objects, the discarded and forgotten items in and around his studio in a new light. He decided to use a polaroid camera to capture these obscure images. He had chromogenic prints made from the polaroids which were then exhibited at the Museum für Kunst und Gewerbe, Hamburg. Janssen experi­ mented intensively with photography throughout his career and his photographs are an interesting extension of his graphic work. Lit.: Claus Clément (ed.). Horst Janssen. Fixierte Augenblicke. Hamburg 1982, ill. unpaginated. Jürgen Blankenburg/Claus Clément (eds.). Licht und Linie. Horst Janssen und die Fotografie. Hamburg 2003. 149


4205

4206

peter keetm a n (1916 – 2005)

4205 Color abstraction. 1963/printed 2004. Ciba­

chrome print. 42 x 60,2 cm. Signed by the photographer in black marker on the verso. From the portfolio „Farbe und Struktur“ (Color and Structure) 2004, from an edition of 10. 900 € Peter Keetman took this and the following image on a commercial assignment in the late 1960s. As F.C. Gundlach states in the text accompanying the portfolio „Farbe und Struktur“, these images have the same abstraction and stringency of Keetman‘s black and white work. Color becomes a means of stylistic expression and the objects acquire a unique aura.

150

4206 Color bubbles. 1963/printed 2004. Cibachrome print. 42 x 60,2 cm. Signed by the photographer in black marker on the verso. From the portfolio „Farbe und Struktur“ (Color and Structure) 2004, from an edition of 10. 900 €


4207

peter keetm a n 4207 „Abendliche Strasse, Bernau-Prien“ (Evening Street, Bernau-Prien). 1956. Oversized vintage ferro­ typed gelatin silver print on Leonar paper. 50 x 40,5 cm. Signed, titled and dated by the photographer in pencil as well as photographer‘s copyright stamp on the verso. 3.000 € Lit.: F.C. Gundlach (ed.). Peter Keetman. fotoform. Berlin 1988, ill. p. 87. Rolf Sachsse. Peter Keetman. Bewegung und Struktur. Los Ange­ les 1996, ill. p. 103. 151


4208

a ndré kertész (1894 – 1985)

4208^ Children in classroom. 1933. Vintage gelatin silver print. 16,5 x 23,7 cm. Photographer‘s 32 bis, Rue du Contentin, PARIS -XV stamp and annotated in ink on the verso. 3.000 € 152


edmund kesting (1892 – 1970)

4209 Portrait of Gerda Kesting. 1929. Vintage warmtoned gelatin silver print on heavy chamois paper. 25,7 x 22,5 cm. Titled, annotated and dated by the photographer in ink on the verso. 1.200 € Kesting studied art in Dresden, becoming increasingly interested in photography after 1925. He was especially fascinated with experimental techniques such as the double exposure, photograms and negative montages. Provenance: Robert Lebeck Collection

4209

edmund kesting 4210 Reflections (multiple exposure). 1930s. Vintage,

ferrotyped, warm-toned gelatin silver print on heavy chamois paper. 30 x 24 cm. Photographer‘s and reproduction limitation stamp on the verso. 1.200 € 4210

Lit.: Edmund Kesting. Ein Maler sieht durchs Objektiv, Halle 1958, ill. 17 (variant). 153


h a nnes kili a n (1909 – 1999)

4211 Duisburg. 1963. Vintage ferrotyped gelatin silver print on Agfa paper. 30 x 23,5 cm. Photographer‘s/ copyright stamp, estate stamp, negative number in pencil and signed/annotated by Gundel Kilian in pencil on the verso. 1.500 € After attending trade school, Hannes Kilian completed a threeyear photography course in Switzerland. From 1933-1938 he lived in Naples and Paris, returning to Germany in 1938, where he worked as a freelance photojournalist. In 1941, he was recruited as a war photographer. As of 1945, Kilian resumed his work as a freelance photographer supplying photographs to magazines such as Time, Picture Post, Zeit, Stuttgarter Illustrierte, Spiegel, Stern and Vogue. As of the 1960s ballet became one of his main areas of focus. Lit.: Klaus Honnef. Hannes Kilian. Exhibition catalogue. Ostfildern 2009, ill. p. 222. Provenance: From the estate of the photographer.

4211

h a nnes kili a n 4212 Spain. 1965/printed 1980s. Gelatin silver print. 41,7 x 32,1 cm. Photographer‘s Aufnahme Kilian Stutt­ gart stamp, estate stamp, negative number in pencil and signed/annotated by Gundel Kilian in pencil on the verso. 1.500 €

4212 154

Lit.: Klaus Honnef. Hannes Kilian. Exhibition catalogue. Ostfildern 2009, ill. p. 251. Provenance: From the estate of the photographer.


4213

h a nnes kili a n 4213 Empire State Building, New York. 1969. Vintage ferrotyped gelatin silver print on Agfa paper. 30,5 x 23,7 cm. Photographer‘s label, estate stamp and signed and annotated by Gundel Kilian in pencil on the verso. 1.500 ₏ Lit.: Klaus Honnef. Hannes Kilian. Exhibition catalogue. Ostfildern 2009, ill. p. 299. Provenance: From the estate of the photographer. 155


astrid kirchherr (b. 1938)

4214 The Beatles. 1960s/printed later. Gelatin silver print. 23,5 x 27,9 cm. Signed by the photographer in pencil on the verso. 750 €

4214

astrid kirchherr

4215 156

4215 John Lennon. 1962/printed 1990s. Large-format dye transfer print. 57 x 49 cm. 1.200 €


4216

fra ncois koll a r (1904 – 1979)

4216 Young baker making bread. 1940s. Vintage gela­

tin silver print. 23,5 x 28 cm. Photographer‘s/copyright stamp and annotated in pencil on the verso. 400 €

k atja krä mer (b. 1970)

4217 Gas station II, Croatia. 2017. Fine art print on

Hahnemühle Silk Baryta paper. 32 x 23,8 cm (40 x 30 cm). Signed, titled, annotated and editioned 1/3 by the photographer on the verso. 500 € Katja Krämer always had a strong affinity towards photography. After studying architecture, sculpture and drawing she often used photographs as a starting point for her oil paintings, which she began in 2007. As of 2016, she began exhibiting her photographs. The photograph offered here is reminiscent of a hyperrealistic painting.

4217 157


august krey enk a mp (1875 – 1950)

4218 Milan. Circa 1935. Vintage matte gelatin silver print on chamois Agfa-Brovira paper. 39,7 x 29,7 cm. Photographer‘s stamp on the verso. 1.200 €

4218

august krey enk a mp

4219 158

4219 Scala Contarini del Bovolo, Venice. 1937-38. Vintage matte gelatin silver print on chamois AgfaBrovira paper. 23 x 13,5 cm. Photographer‘s stamp on the verso. 600 €


4220

heinrich kühn (1866 – 1944)

4220^ Mother and children in landscape. Circa 1908.

Gum-bichromate and platinum print. 20,5 x 28,5 cm. Flush-mounted to board; annotated in pencil on mount verso, hinge mounted to board. 4.500 € Lit.: Phillip Prodger (ed.). Impressionist Camera: Pictorial Photography in Europe, 1888-1918. London, 2006, ill. p. 134, fig. 78. 159


4221

v incenzo l a era (b. 1966)

4221 „The Little Prince“. 2018. Fine art print on Hahne­

mühle Baryta paper. 90 x 120 cm (113 x 140 cm). Signed, titled, dated and editioned 1/3 by the photographer in pencil and photographer‘s stamp on the verso. 3.500 € Vincenzo Laera began his creative career in the 1980s in the fashion industry of his hometown of Milan. Trained as a hair stylist, he began working as a freelancer for magazines such as Lei and Per Lui early on, and collaborated regularly with South African photographer Koto Bolofo. In the late 1980s, Laera, just 20 years old, became a member of Helmut Newton‘s team. In 1989, he moved to New York City. Up until 2005, Laera collaborated on projects with Newton and photographers like Albert Watson, Irving Penn, Brigitte Lacombe, Deborah Tuberville, Bert Stern, Greg Gorman, and Annie Leibovitz. During this time, Laera began to work on his own photography. In 2006, when he moved

160

to Berlin, he became self-employed as a professional photographer. Laera worked for magazines like Icon, GQ, Spiegel, InStyle or Kaltblut. Laera‘s photography is dedicated to the exploration of the male body, beauty and eros. It reflects the experiences he has made with the icons of fashion photography. His work is also influenced by the black-and-white aesthetic that photographers such as Bruce Weber or Herb Ritts established in the 1980s and 1990s. At the same time, Laera‘s work is determined by the intensive examination of art and cultural history. Raised in a Catholic family, his work references the traditions of Christian iconography, Italian Renaissance and early Baroque art. His experiments with light and shadow emphasize the sculptural aspect of the body and its connection with the architectural surroundings. Many of Laera‘s series oscillate between documentation and staging, control and spontaneity.


4222

v incenzo l a era 4222 „Otto Resting“. 2016/ printed 2018. Fine art print

on Hahnemühle Baryta paper. 90 x 120 cm (113 x 140 cm). Signed, titled, dated and editioned 1/3 by the photographer in pencil and photographer‘s stamp on the verso. 3.500 € 161


4223

lou l a ndauer (1897 – 1991)

4223 Photogram of wild oats. 1936. Vintage gelatin silver print. 24 x 18 cm. Photographer‘s Jerusalem stamp, estate stamp and annotated in red pencil on the verso. 500 € Provenance: From the estate of Lou Landauer. 162


4224

lou l a ndauer 4224 Photograms of flowering broom and other

flowers. 1936. 2 vintage gelatin silver prints. Each circa 18 x 13 cm. Each with estate stamp on the verso. 750Â â‚Ź Provenance: From the estate of Lou Landauer. 163


4225

lou l a ndauer 4225 Photograms of sweet pea and snow drop. 1936. 2 vintage ferrotyped gelatin silver prints. Each circa 17,7 x 12,4 cm. 1 signed, each annotated and dated by the photographer in pencil and with estate stamp, 1 with photographer‘s Jerusalem stamp on the verso. 600 € Provenance: From the estate of Lou Landauer. 164


4226

lou l a ndauer 4226 Surrealistic abstraction (Running emulsion). 1941. Vintage gelatin silver print. 23,8 x 17,9 cm. Annotated and dated by the photographer in pencil and estate stamp on the verso. 600Â â‚Ź Provenance: From the estate of Lou Landauer. 165


4227

dorothea l a nge (1895 – 1965)

4227 „General Strike, San Francisco“. 1934/printed late

1950s - early 1970s. Gelatin silver print. 34,2 x 26,5 cm (35,5 x 27,8 cm). Photographer‘s 1163 Euclid Avenue Berkeley California stamp on the verso. 7.500 € This photograph points to Dorothea Lange‘s strong sense of composition, which prevails throughout her documentary images so that many have become icons of a certain time or movement in American history. Although this was taken in the middle of a strike the police officer appears calm and composed and the people behind him are lined up in an orderly fashion. Lange made this photograph of a labor strike while working with the economist Paul Taylor, who would become her second husband.

166

Taylor was covering the General Strike of 1934 for the social welfare journal Survey Graphic. Lange‘s interest in the plight of laborers during the Great Depression began as she witnessed its evidence from her studio window. She began making photographs of breadlines, labor demonstrations, and strikes like the one seen here. Initially Lange said she did not know what she would do with such images, but she continued with her direct response to what she saw, eventually focusing entirely on documentary photography. Lit.: Robert Coles. Dorothea Lange: Photographs of a Lifetime. New York 1982, ill. p. 47. Therese Thau Heyman, Sandra S. Philips, John Szarkowski. Doro­ thea Lange: American Photographs. San Francisco 1994, ill. pl. 10.


4228

brit ta l auer (b. 1945)

4228 Joseph Beuys in his studio, Düsseldorf. 1984/ printed later. Gelatin silver print on RC paper. 32,9 x 50 cm. Signed, titled and dated by the photographer in black ink on the verso; mounted along upper edge to archival board (upper right corner bumped), signed, dated, numbered 6/10 by the photographer in pencil below the image on the mount; photographer‘s label on mount verso. 750 € 167


4229

4230

robert lebeck

helen lev it t

4229 „Romy Schneider in Berlin“. 1976/printed later. Gelatin silver print. 25,7 x 38,3 cm (30 x 40,2 cm). Signed, titled, dated and editioned 19/30 by the photographer in black ink and photographer‘s stamp on the verso. 1.200 €

4230 New York City street scene with horse-drawn wagon. Circa 1940/printed 1950s. Gelatin silver print. 7,7 x 10,2 cm. Signed by the photographer in pencil on the verso. Hinge-mounted in mat. 1.100 €

(1929 – 2014)

Lit.: Tete Böttger (ed.). Robert Lebeck: Vis-à-vis. Steidl/Arkana, Göttingen 1999, ill. p. 244.

168

(1913 – 2009)


herbert list (1903 – 1975)

4231 Woman in festivity dress, St. Guénolé, Finistère,

Brittany. 1956. Vintage ferrotyped gelatin silver print. 29,2 x 23,2 cm. 2 photographer‘s stamps, estate stamp, as well as annotated and layout marks in pencil on the verso. 1.500 €

4232 Old Fisherman, Cap Finistère, Brittany. 1956. Vintage ferrotyped gelatin silver print. 23,5 x 29,7 cm. 2 photographer‘s stamps, estate stamp, as well as annotated in pencil on the verso. 1.500 €

4231

4232 169


4233

herbert list

peter lufft

4233 Ionic capitals, Eleusis. 1937/printed later. Gela-

4235 Olympic Stadium, Berlin. 1936. Vintage gelatin silver print on chamois paper. 12,5 x 12,7 cm. Photo: Peter Lufft typed on the verso. 600 €

tin silver print. 24 x 30,2 cm. Photographer‘s estate stamp, therein signed, titled and dated by Max Scheler in ink on the verso. 900 € Lit.: Max Scheler/Matthias Harder (eds.). Herbert List. The Monograph. Munich 2000, ill. p. 124-125.

peter lufft (1911 – 1997)

4234 Brick structures. 1930s. Vintage gelatin silver print on chamois paper. 22,4 x 21,2 cm. Contemporary paper label with number 21 taped to verso. 750 € Provenance: Directly from the photographer to the present owner.

The photographer, painter and writer Peter Lufft studied philosophy in Lausanne. In the early 1930s, he purchased a Leica and dedicated himself to photography. After the war, he found employment in the cultural department in Wölfenbüttel and organized and curated various art exhibitions in Braunschweig. In the early 1970s, he founded the gallery „Querschnitt“ in Braunschweig. He retired in the early 1990s in Wolfenbüttel. The artist‘s excellent publications, catalogues and newspaper articles are also notable. Provenance: Directly from the photographer to the present owner.

4236 „Chacheli Markt“ from above, Switzerland. 1930s.

Vintage gelatin silver print on chamois Agfa-Brovira paper. 11,8 x 16,8 cm. Annotated in pencil on the verso. 600 € Provenance: Directly from the photographer to the present owner.

170


4235

4234

4236

171


4237

peter lufft 4237 Wet cobblestones and pavement. 1930s. Vintage

gelatin silver print on chamois paper. 23,5 x 28,8 cm. In original exhibition mat, signed by the photographer lower left on mat, annotated by the photographer in ink and Salon International de Photographie 1937 label on mat verso. 750Â â‚Ź Provenance: Directly from the photographer to the present owner. 172


peter lufft 4238 Rainy day. 1930s. Vintage gelatin silver print on chamois paper. 23,2 x 17,3 cm. 600 € Provenance: Directly from the photographer to the present owner.

4239 Women in costume; Winter scene. 1930s. 2 vin-

tage gelatin silver prints on chamois paper. 12 x 17 cm and 19,6 x 23,7 cm (30 x 23,8 cm). Mounted back to back as a book dummy design. 600 € Provenance: Directly from the photographer to the present owner.

4238

4239 173


k azimir m a lev ich (1879 – 1935)

4240 Photographic reproduction of Kazimir Male­ vich‘s painting and collage „Reservist of the First Division“, 1914. Vintage collodion paper print, printed 1920s. 14,3 x 12 cm. Annotated in pencil on the verso. 1.800 € The original painting depicted in this photograph was exhibited in a special room devoted to 70 of Malevich‘s works at the Große Berliner Kunstausstellung in Berlin in 1927. The paintings in this exhibition suffered a twisted fate, being stored in a cellar for nearly 10 years. Eventually they were taken out of the country and several were sold to the Museum of Modern Art, New York.

felix h. m a n

(Hans Feliix Siegismund Baumann, 1893 – 1985)

4241* Apple harvest in California. 1932/33. Vintage ferrotyped gelatin silver print. 19,7 x 24,5 cm. Anno­ tated in pencil on the verso. 900 €

4240

4241 174


4242

m a n ray

(Emmanuel Rudnitzky, 1890 – 1976)

4242 „Le violin d‘Ingres“ (1924);“Erotique voilée“ (1933) and „Juliet“ (1945). Printed 1991. 3 gelatin silver prints, 1 on Agfa paper. Each circa 27,2 x 20,2 cm (30,2 x 24 cm). Each with Griffelkunst and ADAGP Man Ray Trust stamp on the verso. 1.000 € Lit.: Man Ray. Photographs. London 1982, ill. pp. 17, 69, and 114. 175


4243

sv en m a rqua rdt (b. 1962)

4243 Portraits of people from the GDR subculture

scene. 1980s. 16 vintage gelatin silver prints. Each 14,5 x 10 cm. Each with photographer‘s stamp on the verso. 750 € Sven Marquardt grew up in East Berlin. He started his training as a photographer and cameraman at the DEFA studios. After his first publications in the magazines Sonntag and Das Maga­ zin from 1985-1986, he was the assistant of Rudolf Schäfer. He worked as a fashion photographer until the late 1980s for Sibylle together with Roger Melis and Arno Fischer and became known for documenting the subculture of the GDR. After the reunification of Germany he stopped photographing for a period and became a bouncer at the club Berghain. He has had several exhibitions and continues to photograph today. This small collection of rare vintage photos poetically document the GDR subculture of the 1980s.

176


4244

4245

ol a f m a rtens

w ill mcbride

4244 „Marie, Elke, Friderikke, mein Fensterbrett + Abendhimmel, Halle/S.“. 1994. Gelatin silver print. 34,5 x 49 cm. Signed and dated by the photographer in pencil in margin lower right; signed, titled and dated by the photographer in ink on the verso. 800 €

4245 „My Sixties“, book with original gelatin silver

(b. 1963)

(1931 – 2015)

print „Berlin Riverboat“, 1959/printed 1994, 17,2 x 26 cm (23,5 x 30,2 cm), Signed, titled, dated and numbered by the photographer in pencil on the verso, red linen boards, black-stamped title, 80 p., with numerous illustrations, in original red linen clamshell box (slightly soiled), book signed and numbered 108/110 in black marker, as well as dedicated in pencil on title page. Cologne, Taschen 1994. 500 € 177


w ill mcbride 4246 „Markus Müllejans in Casoli“. 1978/printed 1980s. Gelatin silver print on Agfa paper. 56 x 38,5 cm (60,5 x 46,5 cm). Signed, titled and dated by the photographer in pencil, as well as photographer‘s stamp on the verso. 2.000 €

4246

w ill mcbride 4247 „Oliviero with Ball, Casoli“; „David Heinemann at 15, Munich“. 1978, 1968/printed 2013. 2 gelatin silver prints on Agfa paper. 56 x 38,5 cm (60,5 x 46,5 cm). Each signed, titled and dated by the photographer in pencil on the verso. 1.500 € 4247 178

Lit.: Will McBride. My Sixties. Cologne 1994, ill. p. 80 (David Heinemann at 15, Munich).


a rno ra fa el minkkinen (b. 1945)

4248 „Piimävuori, Finland“. 1996. Gelatin silver print.

36,5 x 46,5 cm (40,5 x 50,5 cm). Signed, titled, dated and editioned 3/25 by the photographer in pencil on the verso. 900 €

Born in Helsinki, Finland, in 1945 Minkkinen emigrated to the United States with his family in 1951. He began taking self-portraits in 1971 while working as an advertising copywriter on Madison Avenue in New York. Studying later with Harry Callahan and Aaron Siskind at Rhode Island School of Design, he earned his Master of Fine Arts degree in photography in 1974. Over the past four decades, Minkkinen has been engaged as a teacher, curator, and writer while continuing to devote his photographic research and energies to the self-portrait: unmanipulated images of the human figure in the natural landscape. Published and exhibited worldwide, Minkkinen’s work can be found in the collections of the Museum of Modern Art in New York, the Museum of Fine Arts, Boston, the Addison Gallery of American Art in Andover, Massachusetts and the Centre Pompidou, Paris. Lit.: Arno Rafel Minkkinen, Saga, The Journey of 35 Years of Photographs, San Francisco 2005.

4248

a rno ra fa el minkkinen 4249 „Hite, Utah“. 1997. Gelatin silver print.35 x 47,5 cm (40,5 x 50,5 cm). Signed, titled, dated and editioned 2/25 by the photographer in pencil on the verso. 900 € Lit.: Arno Rafel Minkkinen, Saga, The Journey of 35 Years of Photographs, San Francisco 2005.

4249 179


4250

leona rd misonne (1870 – 1943)

4250^ Misonne‘s sons photographing landscape. 1928. Vintage mediobrome print on chamois paper. 29 x 39 cm. Annotated by Pierre Misonne (grandson of Léonard) in pencil on the verso. 2.200 € Provenance: The Misonne family. 180


4251

jim moffet t 4251 Still life with insects on book. 1980s/printed 1988. Dye transfer print. 19,5 x 24 cm (28,5 x 33,5 cm). 400 € Jim Moffett was a long time frined and student of Minor White .

nick de morgoli (1916 – 2004)

4252

4252 Slavador Dali fixing his moustache. 1955. Vintage gelatin silver print. 25,7 x 21 cm. Photographer‘s 241 East 46th Street, New York stamp on the verso. 400 € 181


ot to müller eibenstock (1898 – 1986)

4253 Negative print of photogram reworked with colored chalk and tempera. 1925/ printed/reworked circa 1980. Gelatin silver print, colored chalk and tempera. 35 x 23 cm. Monogram in lower right corner; signed by the artist in pencil on the verso, mounted with paper tape to overmat (55 x 40 cm). 750 € Lit.: Brigitta Milde. Otto Müller-Eibenstock. Malerei, Grafik, Textilienentwürfe. Weimar 1998, ill. p. 66.

4254 Photogram reworked with colored chalk and tempera. 1925/ printed/reworked circa 1981. Gelatin silver print, colored chalk and tempera. 24 x 34,5 cm. Monogram in lower right corner; signed, annotated and dated by the artist in pencil on the verso, mounted with paper tape to overmat (40,3 x 55,5 cm). 750 €

4253

4254 182


4255

ga briele nagel (b. 1970)

4255* „Ephemeriden II - kinetics - b#07“. 2016. Fine art print on Hahnemühle paper. 40 x 50 cm (53,8 x 70 cm). Signed, dated and editioned 1/5 + 2 A.P. by the photographer in penicl on the verso. 900 € Gabriele Nagel studied stage design, photography and video in Dresden, Düsseldorf and London. She has received several grants for her projects and has taken part in a variety of exhibitions. Referring to her artistic approach she has stated: „We live surrounded by countless things. These things are ephemeral. They appear for a moment, then disappear again. An open book, a flower, a piece of meat ... My still lifes are inspired by the light, which, at certain times of the year, makes all the objects in my surroundings appear special.“

183


nasa 4256 Photographer: James McDivitt. Astronaut Ed

White floating in space, Gemini 4. June, 1965. 2 vintage chromogenic prints on Kodak paper. 18,8 x 17,8 cm (20,5 x 25,5 cm). Red NASA number S-65-30429 and S-65-30430 in upper margin. 800 €

4256

NASA‘s Project Gemini was designed to test technologies and techniques for the Apollo Program. The two-man Gemini spacecraft was larger and more sophisticated than its Mercury predecessor. The spacecraft was designed by a team of NASA engineers led by Jim Chamberlin, and built by McDonnell Aircraft, in St Louis. There were two uncrewed test flights (1964, 1965) and 10 crewed (March 23, 1965 until November 11-15, 1966) all launched on a Titan II missile. The Gemini flights helped NASA learn to work and live in space, paving the way for the successful Apollo human landings on the Moon. Gemini IV was the mission on which Ed White undertook America‘s first historic space walk. Lit.: Ron Schick and Julia Van Haaften. The View from Space, American Astronaut Photography 1962-1972. 1988. Andrew Chalkin. Space, A History of Space Exploration in Photographs. 2002.

4257 Gemini 7 orbiting the Earth, view of Gemini 6 ;

Gemini 6 + 7 Rendezvous Mission, December 15, 1965. 2 vintage chromogenic prints on Kodak paper. Each circa 20,2 x 25,4 cm. 1 with red NASA number S-6563221 in margin upper left; 1 annotated in pencil on the verso. 750 €

4257

Lit.: Ron Schick and Julia Van Haaften. The View from Space, American Astronaut Photography 1962-1972. 1988, ill. p. 51. Terry Hope. Spacecam, Photographing the Final Frontier from Apollo to Hubble. 2005, ill. p. 67.

4258 Photographer: William Anders. Planet Earth, Apollo 8, December 1968. Vintage chromogenic print on Kodak paper. 20,2 x 25,2 cm. Annotated in ink on the verso. 800 €

4258 184

This image shows the Earth 50,000 miles away on Apollo 8 ‚s return flight and was the first image taken of the whole planet by astronauts. Almost the whole Western Hemisphere of the Earth with South America and Africa is visible. „As I looked out there I could not figure out which way was up. Anyway, who‘s to say which way is up in space.“ W. Anders. Lit.: Ron Schick and Julia Van Haaften. The View from Space. American Astronaut Photography 1962-1972. 1988, ill. p. 96.


4259

nasa 4259 Photographer: William Anders. Earthrise from

Apollo 8. December 24, 1968. Vintage chromogenic print on Kodak paper. 27,8 x 35,5 cm. Repeating A KO­ DAK PAPER watermark on the verso. 1.500 €

The celebrated image of planet Earth rising above the bleached lunar horizon. The crew had completed three lunar orbits before emerging from the far side and witnessing this sight, surely one of the most astounding ever photographed. Anders stated: „I was immediately almost overcome by the thought that here we came all this way to the Moon, and yet the most significant thing we‘re seeing is our own home planet, the Earth.“ The present photo is an especially large and saturated print. Lit.: Ron Schick and Julia Van Haaften. The View from Space. American Astronaut Photography 1962-1972. 1988, ill. p. 98. Andrew Chikin. Space. A History of Space Exploration in Photographs. 2002, ill. p. 83. Beaumont Newhall. Airborne Camera. The World from the Air and Outer Space. 1969, ill. pp. 136-37. 185


4260

4261

4262

4263

nasa 4260 Crater Daedalus on the dark side of the Moon, Apollo 11. July, 1969. Vintage chromogenic print on Kodak paper. 18,2 x 17,9 cm (20,2 x 25,2 cm). Red NASA number AS11-44-6609 in the negative in margin upper left. 800 €

4262 Photographer: Neil Armstrong. Buzz Aldrin standing beside the U.S. flag, Apollo 11. July, 1969. Vintage chromogenic print on Kodak paper. 17,8 x 17,5 cm (20,2 x 25,3 cm). Red NASA number AS11-40-5874 (faded) in margin upper left. 750 €

The astronaut Michael Collins has described the moon from this side as „a hostile place, a scary place.“

Because the moon lacks any atmosphere the flag was stiffened with wire so that it would appear to be fluttering in a breeze. Lit.: Terry Hope. Spacecam, Photographing the Final Frontier from Apollo to Hubble. 2005, ill. p. 22.

4261 Photographer: Neil Armstrong. Edwin „Buzz“ Aldrin with Neil Armstrong and Lunar Module reflected in his gold-plated visor, Apollo 11. 1969. Vintage chromogenic color print on Kodak paper. 18,2 x 17,7 cm (20,2 x 25,3 cm). Red NASA number AS11-40-5903 in the negative in margin upper left. 1.000 € This is the most famous image of Edwin Aldrin (b. 1930) posing on the moon after the Apollo 11 landed. It was taken by Neil Armstrong (b. 1930), whose reflection can be seen in Aldrin‘s visor, during their 2.5 hours on the moon‘s surface. Lit.: Andrew Chaikin. Space, A History of Space Exploration in Photographs. 2002, ill. p. 95.

186

4263 Photographer: Neil Armstrong. Buzz Aldrin on the Moon, Apollo 11, July 1969. 2 chromogenic prints on RC paper/ printed later. Each circa 20,2 x 20,4 cm. Each with A Kodak Paper watermark on the verso. 400 € In the first image Aldrin has just set up the Solar Wind Composition experiment as part of the Early Apollo Scientific Experiments Package (EASEP).


4264

floris m. neusüss (b. 1937)

4264 Flower photograms. 1997. 4 gelatin silver prints on RC paper. Each circa 42 x 29,5 cm. Each monogrammed and dated by the photographer in ink on the verso, in original portfolio with printed text on inside cover, from an edition by Griffelkunst. 750 € For this edition Floris Neusüss made a new image of the same flower on each individual piece of paper, rendering each print unique. 187


emil orlik (1870 – 1932)

4265 The actress Lilian Gish. Circa 1924/25. Vintage

gelatin silver print on Velox paper. 11,8 x 8,8 cm. Matted. 1.500 €

4265

emil orlik 4266 The actress Marlene Dietrich. Circa 1923. Vintage gelatin silver print. 11,9 x 8,8 cm. Matted. 4266 188

1.500 €


olympic w inter ga mes 1936 4267 Photographer: Max Schirner agency (1891–1952,

agency founded in 1924). IV. Olympic Winter Games, Garmisch-Partenkirchen.1936. 7 vintage ferrotyped gelatin silver prints. Each circa 24,5 x 18 cm. Each with photographer‘s agency stamp and typed German press text label on verso. 600 €

4267

oli v i a pa rker (b. 1941)

4268 Surrealistic still life. 1980s. Dye transfer print. 58 x 49 cm. 1.000 €

4268

Olivia Parker is an American photographer whose artworks strongly follow the still life tradition of 17th century painters. The artist uses changing light and various objects to create pieces of incredible simplicity but also images of surreal complexity. By juxtaposing unusual objects and arrays of soft light the still life photographer encourages viewers to continually explore their meaning and discover something different every time they look at them. 189


4269

norm a n pa rkinson (1913 – 1990)

4269 „Hat fashions, the New York skyline from the

roof of the Condé Nast building on Lexington Avenue“. 1949/printed late 1980s. Dye transfer print. 45,5 x 49 cm (54,5 x 58 cm). 3.000 € 190


nicol a perscheid (1864 – 1930)

4270 Self-portrait. 1919. Vintage sepia-toned gelatin silver print. 22,5 x 17 cm. Mounted along upper edge to card, mounted again on thick card, dedicated Seinem treuen Freunde Dr. H. Buergel Goodwin N. Perscheid, Mai 1919 in pencil below the image on the mount. 400 € An impressive self-portrait of the photographer who was known for his theatrical nature. The dedication on the mount is to the German-born Swedish photographer H. Buergel Goodwin who studied with Perscheid in 1903, and the two remained close friends.

4270

rich a rd peter sr. (1895 – 1977)

4271 „Der Nazi-Blockwart“ (Nazi Block Leader), Dres-

den. 1945/printed later from the original negative by Christian Borchert. Gelatin silver print. 28,5 x 23,7 cm. 400 € 4271

Lit.: Richard Peter. Dresden. Eine Kamera klagt an. Ein historisches Dokument. Dresden 1949, illustrated. 191


ra lf peters (b. 1960)

4272 „Schwimmbäder“. 1999. Lambda print on Kodak

Professional paper. 96 x 90 cm. Photographer‘s name, title and Griffelkunst-Edition in lower margin right. 600 €

pa blo / a ndré v illers picasso

4272

4273* „Diurnes. Découpages et Photographies“ portfolio. 30 collotypes. 40 x 30 cm. Each with portfolio number stamp on the verso and most with protective sleeve with title, 18 text pages by Jacques Prévert (time-stained), in original cloth-covered case (edges and spine time-stained) with decorative color design by Picasso. Paris, Berggruen, 1962. 1.500 € Kibbey 1466. Goeppert 115. Most prints in individual folder with printed title, edition 871 of 1000. „Picasso made some cut-outs of heads and silhouettes of men, women and animals. Villers mounted the cut-outs on different photographs - thirty in all - thus varying their effect and quality“ (Goeppert).

4273 192


4274

4275

l a disl av postupa (b. 1929)

4274 „Sklo“ (Glass). 1960/printed 1980s. Matte gelatin silver print. 40 x 30,2 cm. Signed, titled and dated by the photographer in pencil on the verso. 500 €

4275 „Gymnastika“ (Gymnastics). 1963/printed 1980s. Gelatin silver print. 39,7 x 30,5 cm. Signed, titled and dated by the photographer in pencil on the verso. 600 €

Born in 1929, Ladislav Postupa trained as a graphic artist and designer and opened his first photographic studio in early 1960. He was strongly influenced by Breton, Magritte and Teige. His photographic eye transformed found, banal objects or situa­ tions into surreal images charged with magical signs, new meaning and significance. Ladislav Postupa realized and took part in exhibitions in the Czech Republic, Hong Kong, Johannesburg, Barreiro, Lisbon, Edinburgh, Zadar, Wroclaw, Budapest, Bangkok, Tokyo, etc. His work is in the collections of The Museum of Arts and Industry in Prague, the Victoria and Albert Museum in London and others. 193


l a disl av postupa 4276 „Signale“ (Signals); „Touha“ (Wish). 1978, 1981.

2 gelatin silver prints (1 ferrotyped). 40 x 30 cm and 39,2 x 22,5 cm. First print titled, with photographer‘s stamp and various date stamps; second print signed, titled and dated by the photographer in pencil on the verso. 750 €

4277

4277 194


4277

4278

l a disl av postupa 4277 „Elsinor“ (Hamlet Castle). 1981. Gelatin silver print. 35,3 x 29,7 cm. Signed, titled and dated by the photographer in pencil on the verso. 600 €

4278 „Bojácny“ (Fearful). 1969/printed 1980s. Gelatin silver print. 41 x 30,5 cm. Signed, titled and dated by the photographer in pencil on the verso. 500 € 195


4279

pra ntl , w. 4279 Still Lifes. 1981. 2 unique hand-pulled photo­

4281 Photographer: Zoltan Kluger. Reportage of a

press photogra ph y

4282 Photo agencies: Wide World Photos and Asso­

gravures in color with drypoint reworking on strong vellum. Each circa 22,5 x 37,5 cm (39,5 x 48 cm). Each signed, editioned 1/20 and 4/20 as well as dated by the artist in pencil below the image in the margin. 800 €

4280 Photographer/agency: Z. Kluger, Ewald Hoinkis,

Weltrundschau and Keystone. Collection of images showing children playing. 1920s - 1930s. 10 vintage ferrotyped gelatin silver press prints. Most circa 21 x 16 cm. Most with agency stamp and with German typed press text label affixed to the verso. 300 €

children’s play performed by “Sweetie’s Bird Opera”. 1930s. 6 vintage ferrotyped gelatin silver press prints. Most circa 21 x 15,5 cm. Most with agency stamp and with German typed press text label affixed to the verso. 300 €

ciated Press. May Day parade, London and Strikes and street riots in various American cities. 1930s. 11 vintage ferrotyped gelatin silver press prints. Each circa 20 x 15 cm. Most with agency stamp and with German typed press text label affixed to the verso. 300 €

4283 Photo agencies: Z. Kluger-W.v. Szigethy, America

Press View Company, The Globe. Workers and craftsmen practicing various occupations. 1930s. 21 vintage ferrotyped gelatin silver press prints. Most circa 22 x 16,5 cm. Most with agency stamp and with German typed press text label affixed to the verso. 400 € 196


4280

4281

4282

4283 197


press photogra ph y 4284 Photo agencies: Wide World Photos, Keystone

and Associated Press. Various images of automobile accidents and auto related themes. 1930s. 8 vintage ferrotyped gelatin silver press prints. Each circa 16 x 22 cm. Most with agency stamp and with German typed press text label affixed to the verso. 300 €

w illy pritsche (1911 – 1997)

4285 „Schichtwechsel“ (Shift Change). 1957. Vintage

gelatin silver print. 41 x 50 cm. Mounted along upper edge to board, signed, titled and dated by the photographer in pencil below the image on the mount. 750 €

4284

Provenance: From the photographer to the present owner.

4285 198


4286

ca rl a va n de put tel a a r (b. 1967)

4286 Face; Nude. 2004. 2 chromogenic prints on Fuji­

color Crystal Archive and Kodak Professional Endura paper. 24,4 x 29,3 cm (30,2 x 24,4 cm) and 22 x 21 cm (25,5 x 30 cm). Each with photographer’s copyright blindstamp in lower right/left in margin; each signed, dated and annotated H.C. by the photographer in black marker on the verso, mounted along upper edge in mat. 1.500 € 199


v ilém reichm a nn (1908 – 1991)

4287 „Wachposten“ (Guard). 1975/printed 1985. Gela-

tin silver print. 37,7 x 28,2 cm. Signed, annotated and dated by the photographer in pencil on the verso. 600 € Lit.: Zdenek Primus (ed.). Vilém Reichmann. Fotografien. Berlin 1990, ill. p. 101.

m a rc riboud (1923 – 2016)

4288 Japan, Tokyo. 1958. Vintage ferrotyped gelatin

silver print. 16,5 x 25,2 cm. Photographer‘s agency stamp, annotated in pencil/marker and several agency stamps on the verso. 1.200 € Lit.: Christine Arnothy/Marc Riboud. Women of Japan. London 1959, cover illustration (cropped detail) as well as double page in book (unpaginated).

4287

4288 200


m a rc riboud 4289 Japan, Tokyo. 1958. Vintage ferrotyped gelatin

silver print. 16,6 x 25,3 cm. Photographer‘s agency stamp, annotated in pencil/ink and several agency stamps on the verso. 1.000 € Lit.: Christine Arnothy/Marc Riboud. Women of Japan. London 1959, ill. plate 59.

a lbert renger-patzsch (1897 – 1966)

4290* Landscape in Tessin. 1920s. Vintage large-

4289

format warm-toned gelatin silver print on chamois paper. 37 x 27,2 cm. Photographer‘s RENGER-PATZSCH., Wamel Dorf Ober-Soest, JEDE REPRODUKTION VERBO­ TEN stamp and number 21 and title in pencil on the verso. 1.500 €

4290 201


eugene robert richee (1896 – 1972)

4291 Marlene Dietrich (1901 - 1992). 1931. Vintage gelatin silver print. 34,5 x 27 cm.

2.800 €

This image is one of the earliest taken of Marlene Dietrich when she went to Hollywood in 1930. During her first year there, Josef von Sternberg often directed photographic sittings with her. Sternberg‘s meticulous attention to lighting and composition gave these earlier works by Eugene Robert Richee a signature look. Later when Dietrich‘s collaboration with von Sternberg ended, Richee continued to take her portraits which retained the look of the von Sternberg originals.

4291

gerh a rd riebicke (1878 – 1957)

4292 Female nude. Mid-1920s. Vintage gelatin silver

print on doubleweight chamois paper. 17 x 11,8 cm. Photographer‘s stamp on the verso. 500 € 4292 202

Lit.: Galerie Bodo Niemann (ed.). Gerhard Riebicke - Photographien. Berlin 2000, ill. p. 63 (variant).


leni riefensta hl (1902 – 2003)

4293 Group of Massai girls. 1963. Vintage, large-

format, ferrotyped gelatin silver print on Agfa paper. 39,8 x 30,3 cm. Signed by the photographer in pencil and photographer‘s production stamp on the verso. 1.000 €

4294 Young Nubian man. 1963. Vintage, large-format,

ferrotyped gelatin silver print on Agfa paper. 30,5 x 39,5 cm. Photographer‘s production stamp on the verso. 1.000 €

4293

4294 203


4295

4295 204


4296

leni riefensta hl 4295 Nuba Girl; Nuba Man. 1975. 2 dye transfer prints

4296 „Liebestanz“; Untitled. 1975. 2 dye transfer

Lit.: Leni Riefenstahl. Die Nuba. Cologne 2006, illustrated.

Lit.: Leni Riefenstahl. Nuba. Berlin 2002, illustrated. Leni Riefenstahl. Die Nuba. Cologne 2006, illustrated.

2002. Each circa 49 x 59 cm. 1 annotated in pencil on the verso. 2.000 €

prints 2002. Each circa 59,5 x 49 cm. Annotated in pencil on the verso. 1.500 €

205


4297

w illy ronis

a rthur rothstein

4297 Female nude in bed, Gordes. 1971. Vintage ferro­

4298* „View of River Valley, possibly in the Wasatch

(1910 – 2009)

typed gelatin silver print. 18 x 25,3 cm. Photographer‘s Photo Willy Ronis, 11, rue Bargue, 11 and credit limitation stamp as well as negative number in ink on the verso. 1.200 €

(1915 – 1985)

Range“. 1940s/printed 1950s/60s. Gelatin silver print. 24,5 x 33,2 cm (27,9 x 35,2 cm). Signed by the photographer in pencil lower right, below the image in the margin; photographer‘s stamp and number stamp 31 on the verso, hinge-mounted in upper corners in mat. 750 €

4299* „J. Huffman General Store, Grassy Butte,

North Dakota“. 1936/printed later. Gelatin silver print on Agfa paper. 21 x 30,5 cm (27,8 x 35,5 cm). Signed by the photographer in pencil lower right, below the image in the margin; titled and dated on the verso, hinge-mounted in upper corners in mat. 750 € 206


4298

4299 207


4300

4301 208


thom as ruff (b. 1958)

4300 „Nudes bu04 „ (nude with stockings). 2000/

4301 „Nudes ree07 „ (red panties). 2000/printed

Thomas Ruff ‘s oeuvre is exceptionally diverse while still follow­ ing a continuous artistic line. Interested early on in the technical side of photography, Ruff experimented not only with the camera and the lens, but was also interested in various modes of depiction. In his „Nudes“ series, Ruff used pornographic images from the internet and reworked them digitally to create anonymous images in which the pornographic content is still visible yet removed from its original context. Referring to this series, the inside flap of the dustjacket of the book Nudes states: „He gathers from that virtual playground erotic and often pornographic images that he subsequently manipulates on his computer by enlarging, coloring and blurring them. The end result is beautiful yet disturbing artwork from visual material that, for better or worse, is probably more abundant than any other type of image in our world today. In contrast to Ruff ‘s earlier portraits, in which he highlighted every detail of his subject down to the last pore, these photographs have an abstract, often ethereal quality that at first glance belies their erotic content.“ Lit.: Matthias Winzen. Thomas Ruff. Photography 1979 to the Present. New York 2003, ill. p. 238.

Lit.: Matthias Winzen. Thomas Ruff. Photography 1979 to the Present. New York 2003, ill. p. 238.

printed 2001. Iris print on heavy rag paper. 26 x 33 cm (75 x 60 cm). Signed by the photographer and edi­ tioned 42/50 in pencil on the verso. 1.500 €

2001. Iris print on heavy rag paper. 27 x 34 cm (75 x 60 cm). Signed by the photographer and editioned 40/50 in pencil on the verso. 1.500 €

dra homir josef ruzick a (1870 – 1960)

4302 Street scene in old Prague . Early 1920s. 22,5 x 17

cm. Vintage oil pigment print. Annotated in pencil/ crayon on the verso. 900 € Lit.: Christian A. Peterson/Daniela Mrazkova (eds.). The Modern Pictorialism of D.J. Ruzicka. Minneapolis Institute of Arts 1990. 4302 209


4303

gunter sachs (1932 – 2011)

4303 „Mona Lisa“. 1980s/printed 2002. Dye transfer print. 56 x 37,5 cm (58,5 x 49,5 cm).

210

3.000 €


august sa nder (1876 – 1964)

4304 „Kleinbürger“ (Petit bourgeois). 1906/printed

1960s. Gelatin silver print on Argenta paper. 17,3 x 12 cm. Annotated by Gunther Sander in ink on the verso. 750 €

4305 „W e i h n a c h t e n “ ( T h e S a n d e r f a m i l y a t

C h r i s t m a s ) . 1909/printed late 1970s. Gelatin silver print. 12,5 x 17,5 cm. Annotated by Gunther Sander in ink on the verso. 750 €

4304

4305 211


4306

4307

august sa nder 4306 Portrait of a young confirmand. 1910s. Vintage

matte gelatin silver print on carte postale. 13,7 x 8,8 cm. Photographer‘s blindstamp in lower right. 1.200 € Provenance: Wortelkamp Collection

4307 Journeymen; Carpenter. 1911-13/printed 1960s.

2 gelatin silver prints. Each circa 17 x 12 cm. Each annotated by Gunther Sander in ink on the verso. 750 €

212

4308 Portraits of Elisabeth Dissel on the occasion of

her Holy Communion; Group portrait of Elisabeth, Gerhard and Klara Dissel. Circa 1926. 3 vintage, matte sepia-toned gelatin silver prints. 14,5 x 10,5 cm, 13,4 x 9,7 cm (oval) and 10,5 x 13,5 cm. 2 with photographer‘s signature blind stamp in lower left, each mounted in modern archival mat. 3.000 € Fine portraits of the three children of the Dissel family, who lived in Köln-Lindenthal, where August Sander had his studio nearby. Max Dissel, the father of Elisabeth, had helped August Sander find a studio in Lindenthal and the photographer became a friend of the Dissel family. Sander was the obvious choice when they wanted their daughter Elisabeth and her siblings photographed on her Communion day. According to the family‘s memory it was a difficult sitting for the children as Sander was impatient and yelled quite a bit. This explains the more solemn expressions of the children, which Sander likely intended. Provenance: From the photographer, to Max Dissel, by descent of the current owner.


4308

4308

4308 213


4309

august sa nder 4309 „Blick von der Hohen Acht auf die Laarcher

Berge“. 1930s/printed 1975 by Gerd Sander. Gelatin silver print. 21,5 x 28,6 cm. Aug. Sander, Lindenthal blindstamp in lower left corner, mounted on board and matted, Westfälischer Kunstverein e.V. Münster stamp, signed and numbered 34/200 in pencil by Gerd Sander on mount verso. 400 €

ja n saudek (b. 1935)

4310 „Soldier‘s Prey“. 2008. Hand-colored, sepia-toned

gelatin silver print with drying paper around edges. 29,7 x 50,5 cm. Signed by the photographer in ink in lower right in the image, titled in ink and annotated Print Finished December 16, 1908 [sic] in ink on drying paper in lower edge. 900 €

4311 „The Whore“. 2008. Vintage hand-colored, sepia-

toned gelatin silver print with drying paper around edges. 29,7 x 26,3 cm. Signed by the photographer in ink in lower right in the image, titled in gold ink and annotated Print Finished February 3, 1908 [sic] in ink on drying paper in lower edge. 900 € 214


4310

4311 215


rudolf sch ä fer (b. 1952)

4312 „Russische Nacht“. 1988. Large-format gelatin

silver print. 52,5 x 40,5 cm (58,8 x 46,5 cm). Titled and dated by the photographer in pencil and photogra­pher‘s stamp on the verso. 1.200 € Rudolf Schäfer began his studies at the School for Advertising and Design in East Berlin and then trained as a film camera assistant at the GDR television station. Between 1974-1987, he worked as a freelance photographer, concentrating on press, advertising and fashion photography. From 1986 - 1989, he was a master student of Klaus Wittkugel and Ludwig Engelhardt at the Academy of Arts, Berlin. As of 1997 - 2017, he was a professor for photography at Burg Giebichstein Hochschule für Kunst und Design.

fra nz schensky (1871 – 1957)

4313 Helgoland. Circa 1920. Vintage green-toned

carbon print. 29 x 39 cm. Photographer‘s blindstamp in lower right corner, flush-mounted to board. 1.200 € The German photographer Franz Schensky is one of the pioneers of maritime photography in Germany and has a permanent place in its history. The focus of his photographs from the period between 1900 and 1950 are Helgoland with the sea and waves, sailing, destruction and reconstruction, as well as people in Schleswig. Lit.: Evelin Schultheiß. Franz Schenksy. Das alte Helgoland. Worpswede 2000, ill. front cover and p. 31. Franz Schensky: Der Fotograf und das Meer, Wachholtz 2015, ill. p. 23.

4313 216

4312


4314

paul schulz 4314^ „Le grand tournant, soirée d‘hiver“ (The Great

Turn, Winter‘s Eve). 1938. Vintage ferrotyped gelatin silver print. 25 x 32 cm. Sandwich-mounted in mat (some traces of use), signed and titled by the photographer in ink and 3 salon exhibition labels on the verso. 900 €

dieter sch w erdtle (1952 – 2009)

4315 Joseph Beuys with his „Honigpumpe“ at the

Documenta 6. 1977/printed later. Gelatin silver print. 40 x 30,2 cm. Photographer‘s stamp on the verso. 900 €

4315 217


4316

4317

a lfred seil a nd (b. 1952)

4316 „Am Strassenrand, Delaware“. 1983. Chromoge-

nic color print on Kodak paper. 29,2 x 37,2 cm (40 x 49,1 cm). Signed by the photographer in felt-tip pen in margin lower right; signed, titled and dated by the photographer and in felt-tip pen on the verso, mounted in corners to archival board with photographer‘s edition stamp, therein titled in pencil on mount verso. 1.200 €

218

4317 „Küstengebiet - Cannon Beach, Oregon“. 1982.

Chromogenic color print on Kodak paper. 29,5 x 37,5 cm (40 x 49 cm). Signed by the photographer in felt-tip pen in margin lower right; signed, titled and dated by the photographer and print number in felt-tip pen on the verso, mounted in corners to archival board with photographer‘s edition stamp, therein titled in pencil on mount verso. 1.200 €


4318

4319

v it torio sell a (1859 – 1943)

4318 Wedge Peak at Pangperma, Nepal, Himalaya,

negative no. 108. 1899. Vintage large-format, two-tone gelatin silver print. 29,7 x 39,6 cm. Photographer‘s blindstamp lower right corner, printed label with title in lower margin; annotated in pencil/red crayon on the verso. 1.200 €

4319 Kangchenjunga, after snowfall from the north

side of Zemu glacier, negative no. 63. 1899. Vintage large-format gelatin silver print. 29,7 x 39,5 cm. Printed label with title in lower margin. 1.200 € Lit.: Summit. Vittorio Sella. Mountaineer and Photographer. The Years 1879 - 1909. Aperture, New York 1999, ill. p. 76-77 (variant). 219


4320

4321

h a ns m a rtin sewcz (b. 1955)

4320* „Abschlussfeier einer 10. Klasse, Berlin-Trep-

tow“. 1981/printed later. Gelatin silver print. 26,5 x 34,5 cm. Signed, titled and dated by the photographer in pencil, as well as photographer‘s stamp on the verso. 600 €

4321* „ ND-Pressefest, Berlin Friedrichshain“. 1981.

Vintage gelatin silver print. 22 x 29 cm. Signed, titled and dated by the photographer in pencil, as well as photographer‘s stamp on the verso. 600 € 220

4322* „PlanWirtschaftsWerte“. June 30, 1990. 6 chromogenic prints. Each circa 14 x 21 cm, matted together as one unique object, 80 x 64 cm Signed, dated and titled by the photographer in pencil, as well as photo­ grapher‘s stamp on mat verso. 1.500 €

Hans Martin Sewcz made this conecptual work one day before the Deutsche Mark was introduced in the former GDR. He documented the accumulation of goods in a HO market hall (staatliche Handelsorganisation) on the last day before the monetary union, when the items were then completely removed. Lit.: Georg C. Bertsch. SED Schönes Einheitsdesign. Cologne 1990, ill. pp. 46-47.


4322

221


m a rli sh a mir (b. 1919)

4323 Bedouin woman in Sinai. 1950s. Vintage ferro-

typed gelatin silver print. 23,9 x 18 cm. Photographer‘s stamp and annotated in pencil/ink on the verso. 400 € Born in Berlin in 1919 Marli Shamir studied at the art school Contempora Lehrateliers affiliated with the Bauhaus. She emigrated to Palestine via Sweden in 1937 and arrived in Palestine in October 1938. In 1945 she opened her own photographic studio in Jerusalem where she had great success portraying children. One of the main topics of her photography is the land and the abstractions made by light and shadow. In 1951 she received the first prize for landscape photography from Bezalel University. In 1953 she married the diplomat Meir Ahmir and travelled extensively. She has had solo exhibitions at the Israel Museum, Jerusalem and the Grand Palais, Paris as well as group exhibitions at the Centre Pompidou, Paris and the British Museum, London. She lives and still photographs in Jerusalem. Lit.: Klaus Honnef/Frank Weyers. Und sie haben Deutschland verlassen... müssen. Fotografen und ihre Bilder 1928-1997, Bonn 1997, see pp. 448 - 451.

4323

rona ld siemoneit 4324 Mick Jagger on stage. 1986. Vintage gelatin

4324 222

silver print on early RC paper. 40 x 30 cm. Signed and dated by the photographer in ink on the verso. 400 €


4325

raghubir singh (1942 – 1999)

4325 Mourning women, India. Circa 1978/printed

1990s. Dye transfer print. 35,3 x 23,2 cm (42,2 x 33,5 cm). 1.200 € 223


4326

spa rta kusaufsta nd berlin 4326 Spartakusaufstand (Spartacist uprising), Berlin.

January 1919. 57 vintage gelatin silver prints. Most circa 12 x 18 cm. Mounted to album pages and each annotated in ink below the image in German, bound in contemporary canvas album (spine missing, some torn areas). 2.000 € A spectacular documentary or souvenir album, most likely compiled by an unknown member of the government forces during and after the suppression of the Spartacist uprising, with detailed captions below the images. The photographs show soldiers during fighting with heavy weapons, tanks, artillery, machine guns, flame throwers, etc. as well as various barricades

224

in the city and many destroyed streets and houses. One image shows the Weimar National Theater guarded by government troops during the German Federal election (National Versammlung) 1919. Other images show polling points in Berlin and some portraits of German political figures such as Ebert, Scheidemann, Giesberts, David, Preuß and Noske, including a portrait of Colonnel Reinhardt, well known for his brutality during the suppression of the Spartacist uprising. Some photographs are most probably by Willy Römer. Lit.: Berliner Illustrirte Zeitung-Sondernummer „Berliner Sturmtage“ January 1919 (some illustrated). Robert Lebeck/Bodo von Dewitz. Kiosk. Göttingen 2001, see p. 107. Provenance: Robert Lebeck Collection


4326 225


4327

4328 226


4329

4330

a nton sta nkowski (1906 – 1998)

4327 „Zeitprotokoll mit Auto, Zürich“ (Time Log with

Automobile, Zurich). 1929/printed later. Matte gelatin silver print on Agfa paper. 20,5 x 28,6 cm. Titled and annotated in pencil by the photographer on the verso. 400 €

4329 Ants on egg. 1932/printed later. Gelatin silver

print on Agfa paper. 40 x 30,2 cm. Photographer‘s estate stamp on the verso. Matted. 750 €

Lit.: A. Stankowski. Photographien ab 1927. Eine Auswahl von Photographien 1929-1939/1954. Heimerdingen 1979, ill. p. 61.

4328 Packaged nails. 1930/printed later. Gelatin sil-

4330 Nudogramm, Child. Circa 1954/printed later.

ver print on Agfa paper. 30,2 x 40 cm. Photogra­pher‘s estate stamp on the verso. Matted. 750 €

Matte gelatin silver print. 23,3 x 17,3 cm. Signed by the photographer in ballpoint pen and annotated in ink by another hand on the verso. 900 €

Lit.: Ulrike Gauss (ed.). Anton Stankowski. Fotografie. Stuttgart 1991, ill. p. 95.

Lit.: A. Stankowski. Photographien ab 1927. Eine Auswahl von Photographien 1929-1939/1954. Heimerdingen 1979, ill. p. 56. 227


4331

detlev steinberg

ot to steinert

4331 „III. Festival der Freundschaft zwischen der

4332 Woman feeding chickens in ruins in Saarbrüc-

(b. 1944)

Jugend der UdSSR und der DDR in Halle“ (International Sports event, Halle). 1975. Vintage ferrotyped gelatin silver print. 16,5 x 24 cm. Photographer‘s stamp and annotated in pencil on the verso. 750 € From 1976 - 1990 Detlev Steinberg was chief journalist for the magazine Freie Welt and was stationed many years in Moscow. He travelled across the entire Soviet Union, producing many photo reportages. Lit.: Detlev Steinberg. Der sechste Teil der Erde. Bilder aus der Sowjetunion. Berlin 1991.

(1915 – 1978)

ken. Late 1940s. Vintage ferrotyped gelatin silver print on ivory paper. 16,7 x 16,7 cm (18 x 24 cm). Herbert Strässer estate stamp on the verso. 1.500 € Provenance: From the photographer to Herbert Strässer, currently the Herbert Strässer estate.

4333 Homeless children living in ruins in Saarbrüc-

ken. Late 1940s. Vintage ferrotyped gelatin silver print on ivory paper. 17 x 17 cm (18 x 24 cm). Herbert Strässer estate stamp on the verso. 1.500 € This and the following two photgraphs are rare images from Steinert‘s earliest period as a photographer. His keen eye for structure and composition are already evident in these images. Such vintage prints of Steinert‘s early work are rarely on the art market. These images have never been offered before. Provenance: From the photographer to Herbert Strässer, currently the Herbert Strässer estate.

228


4332

4333 229


4334

h a na a nd bohumil stepa n (b. 1934, 1913 – 1985)

4334 Satirical photo collages. 1960s. 3 photo collages

using 19th century cabinet portraits. Circa 16 x 11 cm. 800Â â‚Ź Rare and curious objects, these portrait photo collages were inspired by Dada and Surrealism. By adding decals, paper objects and string to the images the artists gave new meaning and humor to the rather conventional cabinet portraits of the late 19th century.

230


bert stern (1929 – 2013)

4335 „Marilyn Veiled“ (from ‚The Last Sitting‘ for

Vogue). 1962/printed 2012. Fine art print. 48,2 x 32,8 cm. Signed and editioned 20/25 by the photographer in red crayon in lower edge; photographer‘s/copyright stamp, as well as signed, dated and copyrighted by the photographer in red crayon on the verso. 1.500 € This and the following image of Marilyn Monroe are from „The Last Sitting“ taken six weeks before Marilyn Monroe‘s death and partly published in Vogue magazine the same year. – With: Certificate of Authenticity

4335

bert stern 4336 „Marilyn Monroe - That Famous Smile“ (from

‚The Last Sitting‘ for Vogue). 1962/printed 2012. Fine art print. 48,2 x 33 cm. Signed and editioned 19/25 by the photographer in red crayon in lower edge; photo­ grapher‘s/copyright stamp, as well as signed, dated and copyrighted by the photographer in red crayon on the verso. 1.500 € 4336

With: Certificate of Authenticity 231


sash a stone

(Aleksandr Serge Steinsapir 1895 – 1940)

4337

Views of Potsdam. Circa 1927/28. 15 vintage gelatin silver prints. Circa 22 x 17 cm and 18 x 24 cm. Most with 2-3 photographer‘s/copyright stamps, (Paris, Berlin, Brussels), some with typed press text label and annotated in red ink/pencil on the verso. 900 € Some of the images offered here were published in the book „Berlin in Bildern“ edited by Adolf Behne with photographs by Sasha Stone,1929. Lit.: Adolf Behne (ed.). Berlin in Bildern. Vienna 1929.

4337

sash a a nd ca mi stone

(Aleksandr Serge Steinsapir 1895–1940, Wilhelmine Camille Schammelhout 1892–1975)

4338

4338 232

Berlin Rain. 1928-30. Vintage ferrotyped gelatin silver print. Each circa 22,9 x 17 cm. Photogra­ pher‘s/copyright stamps, Kaiserin-Augusta-Strassse 69 and Copyright STONE Bruxelles, rue de Naples on the verso, hine-mounted in mat. 500 €


wolf strache (1910 – 2001)

4339 Reconstruction of the Hohenzollern Bridge,

Cologne. 1948. 1 vintage ferrotyped gelatin silver print on Agfa paper and 12 printed later gelatin silver prints. Each circa 26 x 39 cm (30,5 x 40,5 cm). 1 with photogra­ pher‘s/copyright stamp as well as negative number in pencil on the verso. 1.200 € An impressive series that documents the reconstruction of the Hohenzollern Bridge, Cologne in 1948, nine of which Strache published together with a detailed text in a journalistic magazine of the time (copies of magazine pages included). Lit.: Das Ufer, Offenburg, no. 4, July 1948, (most illustrated). Robert Lebeck/Bodo von Dewitz. Kiosk. Göttingen 2001, see p. 235. Provenance: Robert Lebeck Collection

4339

4339 233


herbert strässer (1930 – 2005)

4340 „Ein Traum in einem Traum“ (A Dream With­

in a Dream). 1950s. Collage with photo cutouts. 69 x 49 cm. Monogrammed by the artist in pencil in lower right corner; estate stamp on the verso. 900 € The title references Edgar Allen Poe‘s poem by the same title which was later also the title of the first track on the Alan Parson‘s Project album „Tales of Mystery and Imagination“ in 1976. Provenance: From the estate of the artist.

4340

herbert strässer 4341

„Railway Rhythm“. 1950s. Collage with photo cutouts. 69 x 43 cm. Monogrammed by the artist in pencil in lower right corner; estate stamp on the verso. 900 € 4341 234

Provenance: From the estate of the artist.


4342

4343

der sturm 4342 Photographer: R./M. Dührkoop and unknown. Portraits of the Sturm artists Heinrich Campendonk, Kurt Heynicke and Rudolf Blümner. Circa 1910-17. 3 collotype postcards. Each circa 13,7 x 8,7 cm. Printed text on the verso. 400 € These rare Sturm artist postcards are from a series printed between 1910 - 1917: Heinrich Campendonk (No. 6), Kurt Heynicke (no. 16) and Rudolf Blümner (no.5).

4343 Photographer unknown. Portraits of the

Sturm artists Alexander Archipenko, August Stramm and Albert Gleizes. Circa 1910-17. 3 halftone postcards. Each circa 13,7 x 8,7 cm. Printed text on the verso. 400 € These rare Sturm artist postcards show Alexander Archipenko (no. 10), August Stramm (no. 1) and Albert Gleizes (no. 8).

235


h a dy sy (b. 1964)

4344 „Eva“. 2001. Archival pigment print on heavy

vellum paper. 64 x 48 cm. Signed, titled, dated and editioned A.P. by the photographer in pencil in lower margin. 400 € As a young student in Beirut, amidst civil war, Hady Sy had to cope with increasing rivalry, violence, hatred and even death. Since the time when he was taken hostage and threatened with execution, he has seen the image of the deadly weapon pointed at his temple and this image has stayed in his mind. Hady Sy has used his talent as an artist to serve a cause, speaking out against murders committed in the name of blind religious fanaticism.

4344

zdenek ta ichm a n 4345 Boats.1950s. Vintage ferrotyped gelatin silver 4345 236

print. 24,6 x 17,7 cm. Photographer‘s stamp on the verso. 500 €


elsa thiem a nn (1910 – 1981)

4346 Abstract study (dead wood). 1930s. Vintage

gelatin silver print on chamois Agfa-Brovira paper. 29,5 x 22 cm. Estate note in pencil on the verso. 1.200 € Between 1929 - 1931 Elsa Thiemann studied at the Bauhaus, Dessau. Among her teachers were Josef Albers, Joost Schmidt and most importantly Walter Peterhans for photography. The New Objectivity movement and the emphasis on advertising photography in the classroom greatly influenced Thiemann. The concern for structure and innovative composition evident in her work, originated here. She also met her future husband, the painter Hans Thiemann, at the Bauhaus in 1930. She returned to Berlin in 1931 and worked as a freelance press photographer until 1960, when she moved to Hamburg with her husband, who was appointed Professor at the Hochschule für Bildende Künste. Provenance: From the estate of the photographer.

4346

elsa thiem a nn 4347 Carneval mask or - sliced onion. 1940s. Vin­

tage ferrotyped gelatin silver print on ivory paper. 16,7 x 17,7 cm. Photographer‘s stamp and annotated by the photographer on the verso. 750 € In the 1930s-40s Elsa Thiemann made detail studies of various everyday objects which were also published in magazines as „Rätselbilder“ (mystery images). This and the following two lots are from that series. Lit.: Elsa Thiemann: Fotografin, Bauhaus und Berlin. Berlin 2004, see p. 67 (image from the same series). Provenance: From the estate of the photographer.

4347 237


4348

elsa thiem a nn 4348 Detail of a pepper. 1940s. Vintage ferrotyped

gelatin silver print on ivory paper. 13 x 18,3 cm. Photo­ grapher‘s stamp and annotated by the photographer in pencil, as well as number on the verso. 750 € Provenance: From the estate of the photographer.

4349 Detail studies of a pineapple and a pine

cone. 1940s. 2 vintage ferrotyped gelatin silver prints on ivory paper. Each circa 18 x 13 cm. Photographer‘s stamp and annotated by the photographer in pencil, as well as number 2014, 2015 in ink on the verso. 900 € Provenance: From the estate of the photographer.

4350 Stairs at Versailles. 1950s. Vintage ferroty-

ped gelatin silver print on Agfa-Brovira paper. 17,4 x 23,5 cm. Photographer‘s stamp and press text label on the verso. 750 € 238


4349

4349

4350 239


third reich 4351

Photographer unknown. Ciechanów the East Polish village during German occupation. 1940–42. 35 vintage gelatin silver prints. Most circa 12 x 17,5 cm. Each mounted along upper edge to grey board, each annotated and dated in pencil below the image on the mount. 1.200 € Before WWII Ciechanów was home to a large Jewish community. During the German occupation in the winter of 1942 a ghetto was created. The present images show the destruction of old Jewish houses and resettlement in the ghetto in 1942. In 1940 only for a short timre could Jewish inhabitants still move about freely. There are market scenes and street life with people wear­ ing a yellow marker on their clothes. Other images show build­ ing activities in the city as a district capitol (renamed Zichenau). The majority of the Jewish population in this community was murdered during WWII.

4351

third reich 4352 Photographer unknown. View of an unknown ghetto entrance in East Poland and Jewish portraits. Circa 1940/42. 5 vintage gelatin silver prints. Most circa 8,5 x 13 cm. 3 mounted to card. 750 €

4351

4352 240


4353

peter thom a nn (b. 1940)

4353

Helmut Schmidt, Bonn. 1969. Vintage gelatin silver print. 26,3 x 40,2 cm. Signed, dated and annotated by the photographer in black crayon/pencil, photogra­ pher‘s stamp and agency stamp on the verso. 600 € Peter Thomann studied reportage photography under Dr. Otto Steinert at the Folkwang School in Essen. As of 1968 he was under contract with Stern magazine. This image shows Helmut Schmidt at the SPD/FDP coalition sitting in Bonn, closing the curtain to the conference room while smoking his signature cigarello.

herbert tobi as (1924 – 1982)

4354 „Valeska Gert“ portfolio. 1952 -1976/printed

1978. 10 gelatin silver prints. Each between 8 x 9,7 cm and 27 x 27 cm (40 x 30 cm). Each signed, titled, dated and editioned by the photographer in pencil below the images in the margin; photographer‘s/copyright stamp on the verso. In original red paper portfolio (slight traces of use) with Edition Werner Kunze label on front cover. From an edition of 45. 500 € 4354

Lit.: Peter Weiermair (ed.). Herbert Tobias. Photographien. Berlin 1985, ill. p. 92 (Valeska Gert in Kampen). 241


4355

trav el a lbum china, ja pa n, usa a nd europe 4355

Souvenir and travel albums of an extensive world trip of Otto Strakosch (1868 - 1942). Circa 1906 – 1909. Over circa 1500 vintage collodion paper, platinum and other prints in 5 albums. Various sizes, most circa 13 x 8,5 cm. Mounted to boards, bound in full red leather albums (edges rubbed, scuffing, some stains, 3 spines damaged), with gilt-stamped title Meine Reise um die Erde and Strakosch‘s name on front covers. 7.500 € Comprehensive suite of five souvenir albums compiled by the family of Otto Strakosch, a member of the wealthy Jewish Viennese family and partner in the Bernard Strakosch & Sohn shoe manufacturing company, founded in 1872. It enjoyed great success until the 1930s. The firm was Aryanzied in 1938 and Otto and his family emigrated to England in early 1939,

242

where he died in 1942. Due to his extensive travelling Strakosch was considered an expert on China and Japan and he gave several lectures on these cultures. The first album includes a map with the complete travel route starting in Vienna via Italy, Suez, Hongkong, China, Japan, America, England, France, and then returning to Vienna. Postcards and menu cards from the SMS Roon, Norddeutscher Lloyd and the Lusitania are loose in one album and the dignified interior design of the Lusitania and some genral views are captured in a suite of large photographs. The following subjects are divided among the five albums: Hongkong, Shanghai, military events, some images of the Boxer Revolt; Tokyo, Nagasaki, Yokohama; oil fields and industy in America, Yosemite Park, Niagara Falls, New York, Liverpool, Windsor, Paris and many others. Includes circa 590 views of China and many views of America with family portraits.


4355 243


4356

unknow n photogra pher 4356 At the races.1930s. Vintage ferrotyped gelatin silver print. 18 x 24 cm.

300 €

rüdiger trautsch (b. 1946)

4357

Robert Mapplethorpe Vernissage, Paris.1978/ printed later. Gelatin silver print. 38 x 25 cm (39,8 x 30). Signed, titled and dated by the photographer in pencil and photographer‘s stamp on the verso. 750 € 244

4357


unknow n photogra pher 4358

View from ship‘s gunwale point. 1930s. Vintage large-format gelatin silver print. 39 x 28,9 cm. Mounted along upper edge to board, signed (illegible) in pencil below the image on the mount. 400 €

ra lly e v incent (b. 1977)

4358a From the series „Ilfracombe“. 2018. Fine art

print on Hahnemühle paper. Circa 20 x 26 cm. Signed, dated and editioned by the photographer in pencil on the verso. 300 €

4358

4358a 245


4359

sergei vasiliev

edwa rd w ebb

4359 Images from the series „Russian Criminal

4360 „The White Witch“, Berlin, Breitscheidplatz.

(b. 1937)

Tattoo Encyclopaedia“. 1991/92. 2 vintage gelatin silver prints. Each circa 29 x 39,3 cm. Each with photogra­ pher‘s stamp and 1 also annotated and dated by the photographer in pencil on the verso. 750 € Lit.: Anja/Andrezej Klamt (eds.) Sergei Vasiliev. Zone. Berlin 1994, ill. p. 65 (variant).

(b. 1963)

1991. Large-format matte gelatin silver print. 40,3 x 40 cm. Titled, annotated, numbered 1/3 and dated by the photographer in pencil on the verso. 750 € Edward Webb, born in Colorado in 1963, began studying and practicing photography in Berlin after completing a tour of duty with the US Army there, first with Central Texas College (AA Photography), then with the University of Maryland (BA Art History). He lived in Berlin from 1984 to 1999, after which he moved to New Mexico, where he still resides. His main focus during the Berlin period was 35mm and 120 street photography; in New Mexico he has been concentrating on portraits and landscapes with large-format (4 x 5 to 16 x 20) cameras and vintage lenses with qualities selected specifically for individual projects. His exceptional craftsmanship is reflected in the various series he has produced using wet-plate negatives (portraits) and albumen, cyanotype and salted prints (landscapes), in addition to conventional emulsions and papers.

4361

„The Shovel“. 2015. Large-format matte gelatin silver print from a wet plate glass negative. 50,5 x 40,5 cm. Titled, annotated, numbered 1/3 and dated by the photographer in pencil on the verso. 900 € 246


4360

4361 247


4362

w eegee

(Arthur Fellig, 1899 – 1968)

4362 „Lovers“. 1940s/printed circa 1980 by Sid

Kaplan. Gelatin silver print. 29 x 38,5 cm (30,2 x 40,5 cm). Photographer‘s 451 W 47 Street, New York, N.Y. 10036 stamp on the verso. 900 € Lit.: Weegee‘s New York. Reportagen eines legendären Photographen 1935-1960. Munich 2000, ill. p. 48.

248


w eegee 4363 „At Sammy‘s in the Bowery“. Circa 1944/

printed circa 1980 by Sid Kaplan. Gelatin silver print. 38,5 x 29 cm (40,5 x 30,3 cm). Photographer‘s 451 W 47 Street, New York, N.Y. 10036 stamp on the verso. 900 € Lit.: Weegee‘s New York. Reportagen eines legendären Photographen 1935-1960. Munich 2000, ill. p. 258.

4363

w eegee 4364 Salvador Dali. 1940s/printed circa 1980 by

Sid Kaplan. Gelatin silver print. 38,7 x 26,4 cm (40,5 x 30,3 cm). Photographer‘s 451 W 47 Street, New York, N.Y. 10036 stamp on the verso. 900 € 4364

Lit.: Weegee‘s New York. Reportagen eines legendären Photographen 1935-1960. Munich 2000, ill. p. 325. 249


4365

kurt w endl a ndt (1917 – 1998)

4365 „Reflexe“ (Lichtgraphik). 1960. Unique large-

format vintage gelatin silver print. 30 x 44,5 cm. Mounted grey board, signed, titled and dated by the photographer in pencil below the image on the mount. 1.500 € The German painter, printmaker, photographer, author and illustrator Kurt Wendlandt was among one of the most creative artists of postwar West Germany. Since his studies at the State Academy of the Arts 1937-43, his artistic development was continuously interrupted, also due to a war injury. After the war he finally was able to work again and he began experimenting with many transparent materials; in 1958 he produced his first Lichtgraphiken. Heinz Hajek-Halke was a close friend and both artitsts were part of the avantgarde „Lichtgraphik“ scene of Berlin in the 1960s. Because Wendlandt neglected his commercial promotion, his photographs are hardly known. Nevertheless his light graphics and other works can be found in many museums and collections today. Provenance: The estate of Kurt Wendlandt

250


4366 „Studie zur Apokalypse“ (Lichtgraphik/sola-

risation). 1960s. Unique large-format vintage gelatin silver print. 48 x 35,5 cm. Mounted along upper edge to cream board, signed and titled by the photographer in pencil below the image on the mount. 1.500 € Provenance: The estate of Kurt Wendlandt

4366

4367 „Zwei Formen“ (Lichtgraphik). 1959. Unique

large-format vintage gelatin silver print. 48 x 31 cm. Signed and dated by the photographer in pencil upper right; signed and titled in pencil on the verso. 1.200 € 4367

Provenance: The estate of Kurt Wendlandt 251


hed w iesner (1919 – 2004)

4368 Ropes from ship. 1930s. Vintage ferrotyped

gelatin silver print. 23 x 17,3 cm. Photographer‘s stamp, address Bremen and Weser-Kurier stamp on the verso. 600 € Hed Wiesner was the second wife of the photographer Hans Saebens. She worked together with him on several books and was known for her portraits of working people.

4368

ga rry w inogra nd (1928 – 1984)

4369* Image from the series „Women are Better Than

Men. Not Only Have They Survived, They Do Prevail“. 1982. Gelatin silver print. 22,5 x 33,8 cm (27,9 x 33,8 cm). Signed by the photographer in pencil on the verso. One of an edition of 75, from the portfolio of the same title, D.E.P. Editions Inc. New York 1982. Matted. 1.200 €

4370* Image from the series „Women are Better Than

Men. Not Only Have They Survived, They Do Prevail“. 1982. Gelatin silver print. 22,5 x 33,8 cm (27,9 x 33,8 cm). Signed by the photographer in pencil on the verso. One of an edition of 75, from the portfolio of the same title, D.E.P. Editions Inc. New York 1982. Matted. 1.200 € 252


4369

4370 253


kl aus w it tkugel (1910 – 1985)

4371

Abstract composition. Circa 1927/printed 1980s. Gelatin silver print. 29,8 x 24,1 cm. Signed, dated and dedicated by the artist in ink in lower margin; annotated in pencil on the verso. 600 € Klaus Wittkugel was one of the most well-known commerical and poster artists in the GDR and was a professor at the Art Academy in Weissensee. Lit.: Erhard Frommhold. Klaus Wittkugel. Dresden 1979, ill. p. 39.

4372

Boats in the harbor, Vitte 4. 1948/printed later. Large-format gelatin silver print (enlargement). 40,5 x 40,5 cm (47 x 45 cm). Signed and annotated by the photographer in pencil on the verso. 500 €

4372 254

4371


reinh a rt wolf (1930 – 1988)

4373 The painter and sculptor Alberto Giacometti

(1901 - 1966) in his Paris studio. Circa 1954. Vintage ferrotyped gelatin silver print. 22,5 x 22,9 cm. Photographer‘s estate stamp on the verso. 750 €

4374 The artist Hans Arp (1886 - 1966) in his studio.

1960 - 1965. Vintage ferrotyped gelatin silver print on Agfa-Brovira paper. 23,8 x 26 cm. Photographer‘s estate stamp on the verso. 500 €

4373

4374 255


4375

reinh a rt wolf 4375 Romy Schneider. 1972. Chromogenic print. 38 x

38 cm. Titled and editioned 1/2 and photographer‘s estate stamp on the verso. 750 € 256


4376

4376 Flatiron Building, New York. 1979/printed 1995. Dye transfer print. 57,2 x 48,8 cm.

1.000Â â‚Ź

Lit.: Reinhart Wolf. New York. Hamburg 1980. ill. unpaginated. 257


dr. paul wolff (1887 – 1951)

4377^ Couple in the rain. 1934. Vintage ferrotyped

gelatin silver print. 23,8 x 17,7 cm. Photographer‘s stamp with negative number in pencil, date stamp and annotated in pencil on the verso. 750 € Dr. Paul Wolff began photographing with a Leica camera in 1926 and soon became known as „Master of the Leica“. In 1927 he founded the photography studio „Dr. Paul Wolff & Tritschler“ with Alfred Tritschler. In 1929 he also took part in the seminal Film und Foto exhibition in Stuttgart and his early work shows the New Vision aesthetic in photography.

ulrich w üst (b. 1949)

4378 Untitled. 1980s.Vintage gelatin silver print.

14,5 x 21,8 cm (24 x 30 cm). Photographer‘s stamp on the verso. 600 €

4377

4378 258


4378

world wa r ii 4379 Photo agencies: Atlantic and PK (Propaganda-

kompanie) photos. Events before and during WWII. 1936-43. 11 vintage ferrotyped gelatin silver press prints, some on Agfa-Brovira paper. Circa 18 x 24 cm, 17,5 x 12,8 cm and 1 smaller. Some with agency stamp and typed German press text label affixed to the verso. 400 € The PK photos show typical war events, mostly on the eastern front, such as the capture of Russian soldiers, a prison camp, the crossing of a river and other situations.

x-ray photogra ph y 4380 X-rays of WWI injuries. Circa 1915. 4 vintage

collodion paper prints. 20 x 14,5 cm and 21,5 x 16,5 cm. 3 annotated in ink in German with injury descriptions and number on the verso. 300 €

4380 259


wa lter za dek (1900 – 1992)

4381 Workers; Girl with flag, Galilee. 1934. 2 vintage

ferrotyped gelatin silver prints on Leonar paper. Each circa 18 x 13 cm. Both with photographer‘s/copyright stamp and number in pencil on the verso. 400 € Born in Berlin, the photojournalist Walter Zadek emigrated to Israel in 1933 where he founded the Association of Professional Photographers in Palestine in 1939.

4381

wa lter za dek 4382 Elijahu Baleila, mountain Jew from Caucasus

and founder of the El Roy (close-up). 1937. Vintage gelatin silver print. 24 x 17,8 cm. Typed press text label on the verso. 400 € 4382 260

Lit.: Hanno Loewy (ed.). Walter Zadek. Kein Utopia...Berlin 1986, ill. p. 97 (whole image).


4383

george zimbel (b. 1929)

4383^ „At the Bar, Bourbon Street, New Orleans“.

1955/printed 1980s. Matte gelatin silver print. 30,7 x 46 cm (40 x 50,5). Signed, titled and dated by the photographer in pencil in lower margin; photographer‘s stamp, titled and dated by the photographer in ink on the verso. 1.000 € 261


4384

günter zint (b. 1941)

4384 The Jimi Hendrix Experience in Hamburg. 1967/

printed 1997. Ferrotyped gelatin silver print. 34 x 27,3 cm (40 x 30 cm). Photographer‘s blindstamp in lower left, signed and dated by Noel Redding in ink below the image in the margin. 500 € The Jimi Hendrix Experience was an English-American rock band which was formed in Westminster, London in October, 1966. Composed of the singer, songwriter, and guitarist Jimi Hendrix, bassist and backing vocalist Noel Redding, and drummer Mitch Mitchell, the band was active until June 1969. In this time the group released three successful studio albums. After Redding left the band, Hendrix and Mitchell stayed together through other projects.

262


index A Aczél, Márta 4087 Albin-Guillot, Laure 4088-89 Alessandri, Fratelli d’ 4001 Alinari, Fratelli 4002 Amazonia/Koch-Grünberg Exped. 4003 American West 4004 Anschütz, Ottomar 4005-07 Appelt, Dieter 4090-91 Araki, Nobuyoshi 4092-98 Arbus, Diane 4099 Artists 4100 Artist’s Book 4101 Atget, Eugène 4102-03 Attie, Shimon 4104 Avedon, Richard 4105 B Baldus, Edouard-Denis 4008 Bartens, Lutz 4106 Bauhaus II 4108 Bauhaus Textiles 4107 Baur, Max 4109 Beato, Felice 4009 Béchard, Henri 4010 Belitski, Ludwig 4011 Berko, Ferenc 4110 Berlin 4012, 4111-17 Berlin 1961 4118 Bing, Ilse 4119-20 Blanc, Théodore, Antoine Demilly 4121 Both, Katt 4122 Bothner, Robert 4123-24 Boubat, Edouard 4125 Brandt, Bill 4126 Brassai 4127 Braun Studio, Adolphe 4013 British India 4014-26 Burke, John 4027-28 Burma 4029 C Callahan, Harry 4128-31 Cameron, Julia Margaret 4030 Cartier-Bresson, Henri 4132 Cavilla, Antonio 4031 Ceylon 4032 Chaldej, Jewgeni 4133 Chalip, Jakov 4134 China 4033, 4137 China / Boxer Revolt 4135 China / SMS Leipzig 4136 Chochola, Vaclav 4138 Christenberry, William 4139 Claxton, William 4140 Clifford, Charles 4034

Cologne 4141 Color carbro print 4142 Cosindas, Marie 4143 Crupi, Giovanni 4035 Cuccioni, Tommaso or J. Anderson 4036 D Daguerreotypes 4037-40 Delcroix, Alexis 4144 Deutsch-Ostafrika 4145 Disderi, André Adolphe-Eugéne 4041 Displaced Persons 4147 Dix, Otto 4146 Dransfeld, Carl and Adolf 4148-49 Dreier, Katherine Sophie 4150 Dréville, Jean 4151 Dziworski, Bogdan 4152-54 E Eckelt, Georg 4155 Eisenstaedt, Alfred 4156-57 Endell, August 4158 Erotic Photography 4042 Eschen, Fritz 4159 F Fashion 1910 4162 Faurer, Louis 4160-61 Féher, Èmeric 4163 Feininger, Andreas 4164 Felten, Theo 4165 Feltscher, Carlos 4043 Fenton, Roger 4044 Ferák, Jaroslav 4166 Fichel, Rainer 4167 Fiedler, Franz 4168 Film Photography 4169-71 Finsler, Hans 4172 Fischer, Arno 4173-75 Flöter, Hubs 4176 Fontana, Franco 4177 Frajndlich, Abe 4178 Franco-Prussian War 4045 Freund, Gisèle 4179 Friedlander, Lee 4180-81 G Gaigg, Lois 4182 Gerlach, Martin 4183 German Military Portrait 4046 Gloeden, Wilhelm von 4047-49 Goldin, Nan 4184 Goodwin, Henry Buergel 4185-86 Gorman, Greg 4187 Graham, Brian 4188-89

Grünfeld, Thomas 4190 Grunzweig, Bedrich 4191 H Haar, Francis 4192 Habermann, Efraim 4193 Hajek-Halke, Heinz 4194 Hamburg 4195 Hamm, Manfred 4197 Hatami, Sharok 4196 Heid, Dr. Hermann 4050 Heidersberger, Heinrich 4198-4200 Hillers, John K. and unknown 4051 Hine, Lewis W. 4202 Hoepffner, Marta 4201 Hoinkis, Ewald 4203 Hong Kong 4052 IJ Indonesian Archipelago 4053 Italy 4054-55 Janssen, Horst 4204 K Keetman, Peter 4205-07 Kertész, André 4208 Kesting, Edmund 4209-10 Kilian, Hannes 4211-13 Kirchherr, Astrid 4214-15 Kollar, Francois 4216 Konstantinou, Dimitrios and Others 4056 Koppmann, Georg 4057-59 Kotzsch, August 4060 Krämer, Katja 4217 Kreyenkamp, August 4218-19 Kühn, Heinrich 4220 L Laera, Vincenzo 4221-22 Landauer, Lou 4223-26 Lange, Dorothea 4227 Lauer, Britta 4228 Le Secq, Henri 4061 Lebeck, Robert 4229 Levitt, Helen 4230 List, Herbert 4231-33 Lufft, Peter 4234-39 M Malevich, Kazimir 4240 Man, Felix H. 4241 Man Ray 4242 Marquardt, Sven 4243 Martens, Olaf 4244 McBride, Will 4245-47

263


Minkkinen, Arno Rafael 4248-49 Misonne, Leonard 4250 Moffett, Jim 4251 Morgoli, Nick de 4252 Müller Eibenstock, Otto 4253-54 N Nadar 4062 Nagel, Gabriele 4255 NASA 4256-63 Naturselbstdrucke 4063 Neusüss, Floris M. 4264 Niagara Falls 4064 O Olympic Winter Games 1936 4267 Orlik, Emil 4265-66 Ottoman Empire 4065 P Parker, Olivia 4268 Parkinson, Norman 4269 Perscheid, Nicola 4270 Peter Sr., Richard 4271 Peters, Ralf 4272 Picasso, Pablo / André Villers 4273 Plüschow, Guglielmo 4066 Postupa, Ladislav 4274-78 Potsdam 4067 Prantl 4279 Press Photography 4280-84 Preußen, Friedrich Karl Prinz von 4068 Pritsche, Willy 4285 Puttelaar, Carla van de 4286 R Reichmann, Villem 4287 Renger-Patzsch, Albert 4290 Riboud, Marc 4288-89 Richee, Eugene Robert 4291

264

Riebicke, Gerhard 4292 Riefenstahl, Leni 4293-96 Robertson, James 4070 Rome 4069 Ronis, Willy 4297 Rothstein, Arthur 4298-99 Ruff, Thomas 4300-01 Russia 4071-72 Ruzicka, Drahomir Josef 4302 S Sachs, Gunter 4303 Salzmann, Auguste 4073 Sander, August 4304-09 Saudek, Jan 4310-11 Schäfer, Rudolf 4312 Schensky, Franz 4313 Schmidt, Georg 4074-75 Schulz, Paul 4314 Schwerdtle, Dieter 4315 Sebah, J. Pascal 4076-77 Seiland, Alfred 4316-17 Sella, Vittorio 4318-19 Sewcz, Hans Martin 4320-22 Shamir, Marli 4323 Siam 4078 Siemoneit, Ronald 4324 Singh, Raghubir 4325 Spartakusaufstand Berlin 4326 Spiller, John and Dr. John Percy 4079 Stankowski, Anton 4327-30 Steinberg, Detlev 4331 Steinert, Otto 4332-33 Stepan, Hana and Bohumil 4334 Stern, Bert 4335-36 Stone, Sasha 4337 Stone, Sasha and Cami 4338 Strache, Wolf 4339 Strässer, Herbert 4340-41

Sturm, Der 4342-43 Switzerland 4080 Sy, Hady 4344 T Taichman, Zdenek 4345 Talbot, William Henry Fox 4081 Thiemann, Elsa 4346-50 Third Reich 4351-52 Thomann, Peter 4353 Thompson, Charles Thurston 4082 Tobias, Herbert 4354 Trautsch, Rüdiger 4355 Travel Album China, Japan, USA and Europe 4356 UVW Unknown Photographer 4083-84, 4357-58 Vasiliev, Sergei 4359 Vienna, Stuttgart and Dresden 4085 Vincent, Rallye 4358,1 Webb, Edward 4360-61 Weegee 4362-64 Wendlandt, Kurt 4365-67 Wiesner, Hed 4368 Winogrand, Garry 4369-70 Wittkugel, Klaus 4371-72 Wolf, Reinhart 4373-76 Wolff, Dr. Paul 4377 Woodbury, Walter B./James Page 4086 World War II 4378 Wüst, Ulrich 4379 XZ X-ray Photography 4380 Zadek, Walter 4381-82 Zimbel, George 4383 Zint, Günter 4384


consigners 1 : 4050, 4070, 4086, 4150, 4164 , 4357. 2 : 4128, 4160, 4161, 4189, 4190, 4 2 41, 4 298, 4 299, 4369, 4370. 3 : 4 218. 4 : 4 227. 5 : 4 264 . 6 : 433 4 . 7: 4003 , 4010, 4027, 4028, 4030, 4031, 4033 , 403 4 , 4037, 4038, 404 4 , 4045 , 405 4 , 4056, 4057, 4058, 4059, 4062, 4065 , 4072, 4073 , 4076, 407 7, 4078, 4080, 4081, 4084 , 4102, 4158, 4162, 4176, 4183 , 4195 , 4 209, 4 219, 4 270, 4326, 4339. 8 : 404 2, 4 290. 9 : 4362, 4363 , 4364 . 10 : 4172, 4 27 1, 4 285 , 4 287, 4359. 11 : 4140, 4 291. 12 : 4104 . 13 : 4129, 4130, 4131. 14 : 4353 . 15 : 4101, 4107, 4151, 4168, 4 2 40, 4 252, 4 253 , 4 25 4 , 4 286. 16 : 4106, 4 293 , 4 294 . 17: 4123 , 412 4 . 18 : 4320, 4321, 4322. 19 : 4005 , 4006, 4008, 4068, 407 1, 4074 , 4075 , 4079. 20 : 4002, 4009, 4011, 4013 , 4036, 4040, 4041, 4055 , 4061, 4083 , 4088, 4089, 4103 , 4105 , 4119, 4120, 4121, 4125 , 4126, 413 4 , 414 4 , 4166, 4196, 4 208, 4 220, 4 250, 4314 , 437 7, 4383 . 21 : 4173 , 4174 , 4175 , 4198, 4199, 4 200, 4 23 4 , 4 235 , 4 236, 4 237, 4 238, 4 239, 4328, 4329. 22 : 4185 , 4186. 23 : 4304 , 4305 , 4307. 2 4 : 4155 , 437 1, 4378. 25 : 4136. 26 : 4184 , 4 205 , 4 206, 4 207, 4 2 4 2, 4 2 4 4 . 27: 4373 , 4374 , 4375 . 28 : 4043 . 29 : 4049, 4052, 4085 . 30 : 4192. 31 : 4 230, 4 279. 32 : 4 272. 33 : 4133 . 3 4 : 4147, 4 292, 4323 , 4351, 4352, 4381, 4382. 35 : 4318, 4319. 36 : 4035 , 4331. 37: 43 4 4 . 38 : 4 273 . 39 : 4115 . 40 : 4 274 , 4 297, 43 45 . 41 : 4 231, 4 232. 4 2 : 4355 . 43 : 4 221, 4 222. 4 4 : 4046, 4082, 414 2. 45 : 43 46, 43 47, 43 48, 43 49, 4350. 46 : 4007, 4060, 4146. 47: 4 256, 4 257, 4 258, 4 259, 4 260, 4 261, 4 262, 4 263 . 48 : 4117. 49 : 4332, 4333 , 43 40, 43 41. 50 : 4001, 4004 , 4051, 4064 , 417 1, 4379. 51 : 4193 , 4 2 48, 4 2 49. 52 : 4365 , 4366, 4367. 53 : 4 211, 4 212, 4 213 . 5 4 : 4368. 55 : 4063 , 4066. 56 : 4194 . 57: 4014 , 4015 , 4016, 4017, 4018, 4019, 4020, 4021, 4022, 4023 , 402 4 , 4025 , 4026, 4029, 4032. 58 : 4122, 4139, 4338. 59 : 4306. 60 : 4 265 , 4 266. 61 : 4048, 43 4 2, 43 43 . 62 : 4 204 . 63 : 4 223 , 4 22 4 , 4 225 , 4 226. 64 : 4143 , 4181, 4 215 , 4 251, 4 268, 4 269, 4 295 , 4 296, 4303 , 4325 , 4376. 65 : 4 217. 66 : 4100. 67: 4137. 68 : 4 280, 4 281, 4 282, 4 283 , 4 284 . 69 : 4098. 70 : 4092, 4093 , 4094 , 4095 , 4096, 4097, 4180. 7 1 : 4 2 43 . 72 : 4 255 . 73 : 4087, 4110, 4 201, 4 210, 4302. 74 : 4127, 4132, 4138, 4156, 4157, 4187. 75 : 4145 , 4309, 4313 , 4358. 76 : 4108. 7 7: 4152, 4153 , 415 4 . 78 : 4167, 4 214 , 4 229, 4 233 , 4315 , 4356. 79 : 4090, 4091. 80 : 4053 . 81 : 4163 , 4 216, 4312, 4327, 4330, 4372. 82 : 4191. 83 : 4188, 4 202, 4 203 . 84 : 4 275 , 4 276, 4 27 7, 4 278. 85 : 4012. 86 : 4169, 4310, 4311. 87: 417 7. 88 : 4099. 89 : 4069. 90 : 435 4 . 91 : 4047, 4170, 4316, 4317. 92 : 4182. 93 : 4067, 4337. 94 : 4 2 45 , 4 2 46, 4 2 47. 95 : 4039, 4308. 96 : 4178, 4179, 4 228. 97: 4109. 98 : 4197. 99 : 4118. 100 : 4165 , 4 288, 4 289. 101 : 4148, 4149. 102 : 4135 . 103 : 4 267, 4380. 104 : 4111, 4112, 4113 , 4114 , 4116, 4141, 4159. 105 : 4300, 4301, 4335 , 4336. 106 : 432 4 , 4384 . 107: 4360, 4361. 108 : 4358a.

265


technical terms

fachbegriffe

albumen print Albuminabzug annotated / by another hand bezeichnet / von fremder Hand attached / mounted befestigt / montiert ball-point pen Kugelschreiber blindstamp Prägestempel card / cardboard Karton / Untersatzkarton collotype print Lichtdruck colored koloriert contact print Kontaktabzug corner Ecke crayon Farbstift dated datiert edge Kante edition Auflage felt-tip pen Filzstift ferrotyped hochglänzend framed gerahmt gelatin silver print Gelatinesilberabzug illustration / plate Abbildung ink Tinte inscribed / notations beschriftet label Etikett / Aufkleber left / right margin linker / rechter Rand mat / matted Passepartout / unter Passepartout mounted aufgezogen, aufgewalzt numbered / editioned nummeriert original studio cardboard mount Original-Atelierkarton pencil Bleistift photographer’s stamp Photographenstempel photogravure Photogravüre platinum print Platinabzug printed later späterer Abzug salt print Salzpapierabzug signed signiert stamp / stamped Stempel / gestempelt tipped to mount auf die Unterlage geheftet titled betitelt toned getont upper / lower margin oberer / unterer Rand

266


condition

zustand

abrasion, traces of Schleifspuren buckling gewellt bumped bestoßen crease / light crease mark Knick / Knickspur damaged lädiert edge wear Gebrauchsspuren entlang der Kanten faded ausgeblichen foxing stockfleckig glue, traces of Klebstoffreste handling crease Druckstellen / Gebrauchsspuren layout marks Layoutmarkierungen oxidation mirroring Aussilberung pen mark Stiftspur pinholes Nadellöcher retouched spot Retusche (punktuell) rubbed berieben scratch Kratzer scuff-marks leichte Schleifspuren slightly soiled angestaubt smudge Schmierfleck soiled unfrisch / angeschmutzt spot / mark Fleck tear / small tear Riß, kleiner Einriß traces of previous mounting Montierungsreste traces of use Gebrauchsspuren

267


V ER ST EIGERU NG S - BEDI NGU NGEN 1. Die Nicolaas Teeuwisse-Tilman Bassenge Foto-Auktio­nen GbR, nachfolgend Versteigerer genannt, versteigert als Kommissionärin im eigenen Namen und für Rechnung ihrer Auftraggeber (Kommittenten), die unbenanntbleiben. Die Versteigerung ist freiwillig und öffentlich im Sinne des § 383 III BGB. 2. Der Versteigerer behält sich das Recht vor, Nummern des Kataloges zu vereinen, zu trennen, außerhalb der Reihenfolge anzubieten oder zurückzuziehen. 3. Sämtliche zur Versteigerung kommenden Gegenstände können vor der Ver­steigerung besichtigt und geprüft werden. Die Sachen sind gebraucht. Erhaltungszustände der einzelnen angebotenen Arbeiten bleiben im Katalog in der Regel unerwähnt. Die Katalogbeschreibungen sind keine Garantien im Rechtssinne und keine vertraglich vereinbarten Beschaffenheitsangaben. Gleiches gilt für individuell angeforderte Zustandsberichte. Sie bringen nur die subjektive Einschätzung des Versteigerers zum Ausdruck und dienen lediglich der unverbindlichen Orientierung. Alle Gegenstände werden in dem Erhaltungszustand veräußert, in dem sie sich bei Erteilung des Zuschlages befinden. Soweit nicht in der Katalogbeschreibung explizit erwähnt, sind Rahmungen nicht bindender Bestandteil des Angebots. Der Käufer kann den Versteigerer nicht wegen Sachmängeln in Anspruch nehmen, wenn dieser seine Sorgfaltspflichten erfüllt hat. Der Versteigerer verpflichtet sich jedoch, wegen rechtzeitig vorgetragener, begründeter Mängelrügen innerhalb der Verjährungsfrist von 12 Monaten ab dem Zeitpunkt des Zuschlags seine Ansprüche gegenüber dem Einlieferer (Auftraggeber) geltend zu machen. Im Falle erfolgreicher Inanspruchnahme des Einlieferers erstattet der Versteigerer dem Erwerber den Kaufpreis samt Aufgeld. Die Haftung des Versteigerers auf Schadensersatz für Vermögensschäden – gleich aus welchem Grund – ist ausgeschlossen, es sei denn, dem Versteigerer fiele Vorsatz oder grobe Fahrlässigkeit zur Last. Die Haftung bei Verletzung von Leben, Körper und Gesundheit bleibt unberührt. 4. Der Zuschlag erfolgt nach dreimaligem Aufruf an den Höchst­ bieten­den. Der Versteigerer kann den Zuschlag verweigern oder unter Vor­behalt erteilen. Wenn mehrere Personen dasselbe Gebot abgeben und nach dreimaligem Aufruf kein höheres Gebot erfolgt, entscheidet das Los. Der Versteigerer kann den Zuschlag zurücknehmen und die Sachen erneut ausbieten, wenn irrtümlich ein rechtzeitig abgegebenes höheres Gebot übersehen worden ist oder wenn der Höchst­bietende sein Gebot nicht gelten lassen will oder sonst Zweifel über den Zuschlag bestehen. 5. Im Falle eines schriftlichen Gebotes beauftragt der Interessent den Versteigerer für ihn während der Versteigerung Gebote abzugeben. In schriftlichen Aufträgen ist bei Differenzen zwischen Nummer und Kennwort das Kennwort maßgebend. 6. Telefonische Gebote und Online-Direkt-Gebote über das Internet bedürfen der vorherigen Anmeldung beim Versteigerer und dessen Zustimmung. Für die Bearbeitung übernimmt der

Versteigerer jedoch keine Gewähr. Telefonische und OnlineGebote werden nur akzeptiert, wenn der Bieter bereit ist, den ihm zuvor mitgeteilten Mindestpreis des jeweiligen Loses zu bieten. Auch bei Nichtzustandekommen einer Verbindung gilt, dass für den Auktionator dieses Gebot in Höhe des Mindestpreises verbindlich ist. Für das Zustandekommen einer entsprechenden Telefon- oder Onlineverbindung übernimmt der Versteigerer keine Gewähr. Das Widerrufs- und Rückgaberecht bei Fernabsatzverträgen findet auf solche Gebote keine Anwendung (§ 312d Abs. 4 Nr. 5 BGB). 7. Mit der Erteilung des Zuschlages geht die Gefahr für nicht zu vertretende Verluste und Beschädigung auf den Ersteigerer über. Das Eigentum an den ersteigerten Sachen geht erst mit vollstän­ digem Zahlungseingang an den Erwerber über. 8. Auf den Zuschlagspreis ist ein Aufgeld von 28% zu entrichten, in dem die Umsatzsteuer ohne separaten Ausweis enthalten ist (Differenzbesteuerung) oder ein Aufgeld von 23% auf den Zuschlag zzgl. der USt von z.Zt. 19% (Regelbesteuerung), bei Büchern beträgt die Umsatzsteuer 7% (Regelbesteuerung).Die im Katalog mit einem * gekennzeichneten Objekte unterliegen in jedem Fall der Regelbesteuerung (Aufgeld von 23% auf den Zuschlag zzgl. der USt von z.Zt. 19%). Bei den im Katalog mit einem ^ gekennzeichneten Objekten ist Einfuhrumsatzsteuer angefallen. In diesen Fällen wird zusätzlich zu einem Aufgeld von 25% (Differenzbesteuerung) die verauslagte Einfuhrumsatzsteuer in Höhe von z.Zt. 7% auf den Zuschlag erhoben. Für bundesdeutsche Kunsthändler und Antiquare, die zum Vor­s teuer­abzug berechtigt sind, kann die Gesamt­rech­nung auf Wunsch, wie bisher nach der Regelbesteuerung ausgestellt werden. Von der Umsatzsteuer befreit sind Ausfuhrlieferungen in Dritt­ länder (außerhalb der EU) und – bei Angabe ihrer USt.-Identi­ fikations-Nr. bei Auftragserteilung als Nachweis der Berechtigung zum Bezug steuerfreier innergemeinschaftlicher Lieferungen – auch an Unternehmen in anderen EU-Mitgliedsstaaten, unter der Voraussetzung, dass sie für gewerblichen Gebrauch einkaufen. Eine Korrektur nach Rechnungsstellung ist nicht möglich. Alle anderen Käufe aus EU-Ländern unterliegen der Umsatzsteuer. Ausländischen Käufern außerhalb der Europäischen Union wird die Umsatzsteuer erstattet, wenn binnen 4 Wochen nach der Auktion der deutsche zollamtliche Ausfuhrnachweis und der zollamt­ liche Einfuhrnachweis des entsprechenden Importlandes erbracht werden. Bei Versand durch uns gilt der Ausfuhrnachweis als gegeben. Bei Online-Live-Geboten über externe Internetplattformen erhöht sich das Aufgeld um die dort anfallende Transaktions­gebühr. Wäh­rend oder unmittelbar nach der Auktion ausgestellte Rech­ nun­­gen bedür­fen einer beson­de­ren Nachprüfung und eventueller Berichtigung; Irrtum vor­behalten. 9. Die Auslieferung der ersteigerten Stücke erfolgt in unseren Ge­ schäftsräumen gegen Bezahlung. Kreditkarten (Mastercard, VISA, American Express), Schecks sowie andere unbare Zahlungen werden nur erfüllungshalber angenommen. Bankspesen/


Transaktionsge­bühren bzw. Kursverluste können zu Lasten des Käufers gehen. Die Auf­ bewahrung erfolgt auf Rechnung und Gefahr des Käufers. Der Versand wird gegen Vorabrechnung des Rechnungsbetrages ausgeführt. Die Versandspesen sowie die Kosten für Versicherung gegen Verlust und Beschä­digung gehen zu Lasten des Käufers. Übersteigen die tatsäch­lichen Versandkosten die vorab berechnete Pauschale, so wird die Differenz dem Käufer nachträglich in Rechnung gestellt. 10. Bei der Ausfuhr von Kulturgütern aus dem Gemeinschaftsgebiet der EG ist gem. der EG-Verordnung Nr. 116/2009 abhängig von Kategorie und Wert des Objekts ggf. eine Ausfuhrgenehmigung erforderlich. Aus Gründen des Artenschutzes können Objekte aus bestimmten, geschützten Materialien (u.a. Elfenbein, Schildpatt, Perlmutt und einige Korallenarten) besonderen Im- und Export­beschränkungen unterliegen. Zum Zwecke des Exports (insbesondere außerhalb der Europäischen Union) kann hierfür eine spezielle Ausfuhrgenehmigung gemäß der Verordnung (EG) Nr. 338/97 erforderlich sein. Entsprechende Ausfuhrgenehmigungen können nur unter strengen Bedingungen erteilt und ggf. auch gar nicht erlangt werden, auch kann der Import dieser Gegenstände in manche Staaten ein­geschränkt oder untersagt sein. Der Käufer ist selbst dafür verantwortlich, sich über etwaige Im- und Exportbeschränkungen zu informieren. Export und Import entsprechender Objekte erfolgen allein auf Rechnung und Gefahr des Käufers. 11. Der Zuschlag verpflichtet zur Abnahme. Der Kaufpreis ist mit dem Zuschlag fällig. Der Versteigerer ist berechtigt, falls nicht innerhalb von zwei Wochen nach der Versteigerung Zahlung geleistet ist, den durch den Zuschlag zustande gekommenen Kaufvertrag ohne weitere Fristsetzung zu annullieren, Verzugszinsen in banküblicher Höhe – mindestens jedoch 1 % auf den Bruttopreis je angebrochenen Monat – zu berechnen und von dem Ersteigerer

wegen Nichterfüllung Schadenersatz zu verlangen. Der Schadenersatz kann in diesem Falle auch so berechnet werden, dass die Sache in einer neuen Auktion nochmals versteigert wird und der säumige Käufer für einen Minder­erlös gegenüber der vorangegangenen Versteigerung einschließlich der Gebühren des Auktionshauses aufzukommen hat. Zu einem Gebot wird er nicht zugelassen, auf einen etwaigen Mehrerlös hat er keinen Anspruch. 12. Erfüllungsort und Gerichtsstand im vollkaufmännischen Verkehr ist Berlin. Es gilt ausschließlich deutsches Recht. Das UNAbkommen über Verträge des internationalen Warenkaufs (CISG) findet keine Anwendung. 13. Die im Katalog aufgeführten Preise sind Schätzpreise, keine Limite. 14. Der Nachverkauf ist Teil der Versteigerung, bei der der Interessent entweder telefonisch oder schriftlich (im Sinne der Ziffern 5 und 6) den Auftrag zur Gebotsabgabe mit einem bestimmten Betrag erteilt. 15. Die Abgabe eines Gebotes in jeglicher Form bedeutet die Anerkennung dieser Versteigerungsbedingungen. Der Versteigerer nimmt Gebote nur aufgrund der vorstehenden Versteigerungs­ bedingungen entgegen und erteilt dementsprechend Zuschläge. Kommissionäre haften für die Käufe ihrer Auftraggeber. 16. Sollte eine der vorstehenden Bestimmungen ganz oder teilweise unwirksam sein, so bleibt die Gültigkeit der übrigen davon unberührt. David Bassenge Geschäftsführer Stand: November 2018

Eindeutig identifizierbare Werke mit einem Schätzpreis von mind. 2500 Euro werden vor der Auktion mit dem Art Loss Register abgeglichen.


CON DI T IONS OF SA L E 1. Nicolaas Teeuwisse-Tilman Bassenge Foto-Auktio­nen GbR, subsequently called “the auctioneer” carries on business as commissionagent in its own name on behalf of its voluntary con­signors. This auction sale is a public one in the sense of § 383 III BGB. 2. The auctioneer reserves the right to combine, to split, to change or to withdraw lots before the actual final sale. 3. All objects put up for auction can be viewed and examined prior to the sale at the times made known in the catalogue. The items are used and sold as is. As long as not explicitly mentioned in the catalogue description, framing is not an inherent part of the offer. As a rule, the condition of the individual work is not given in the catalogue. Catalogue descriptions are made with as much care as possible, but the descriptions do not fall under the statutory paragraph for guaranteed legal characteristics. The same applies for individually requested condition reports. These also offer no legal guarantee and only represent the subjective assessment of the auctioneer while serv­ing as a non-binding orientation. The liability for damage to life, body or health shall remain unaffected. In case of a justified claim, however, he will accept the responsibility to make a claim for restitution on behalf of the buyer against the consignor within a period of 12 months, running from the fall of the hammer. In the event of a successful claim the auctioneer will refund the hammerprice plus premium. 4. The highest bidder acknowledged by the auctioneer shall be deemed the buyer. In case of identical bids the buyer will be deter­ mined by drawing lots. In the event of a dispute the auctioneer has the absolute discretion to reoffer and resell the lot in dispute. He may also knock down lots conditionally. 5. In the case of a written bid the bidder commissions the auctioneer to place bids on his behalf during the auction. In cases where there is a discrepancy between number and title in a written bid the title shall prevail. 6. Telephone and direct online bidding via the internet must be approved in advance by the auctioneer. The auctioneer cannot be held liable for faulty connections or transmission failure. In such a case the bidder agrees to bid the reserve price of the corresponding lot. For such bidding the regulations of long distance contracts do not apply (Fernabsatzverträge) [cf § 312d IV,5 BGB]. 7. On the fall of the auctioneer’s hammer title to the offered lot will pass to the acknowledged bidder. The successful buyer is obliged to accept and pay for the lot. Ownership only passes to the buyer when full payment has been received. The buyer, however, immediately assumes all risks when the goods are knocked down to him.

8. A premium of 28% of the hammer price will be levied in which the VAT is included (marginal tax scheme) or a premium of 23% of the hammer price plus the VAT of 19% of the invoice sum will be levied [books: 7%] (regular tax scheme). Buyers from countries of the European Union are subject to German VAT. Items marked with an * are subject to the regular tax scheme (premium of 23% of the hammer price plus the current VAT of 19%). Items marked with an ^ are subject to import duty. In these cases in addition to a premium of 25% (marginal tax scheme), the charged import tax of currently 7% will be added to the hammer price. Exempted from these rules are only dealers from EU-countries, who are entitled, under their notification of their VAT ID-Number, to buy on the basis of VAT-free delivery within the European Union. Notification of VAT ID-Numbers must be given to the auctioneer before the sale. For buyers from non EU-countries a premium of 23% will be levied. VAT will be exempted or refunded on production of evidence of exportation within 4 weeks of the auction, or, if appropriate, importation to another country. This is taken as given when the dispatch is effected by us. Live bidding through external online platforms entails a transaction fee stipulated by the platform and will be added to the premium. Due to the work overload of the accounting department during auctions, invoices generated during or directly after an auction require careful revision and possible correction; errors excepted. 9. Auction lots will, without exception, only be handed over after pay­ment has been made. Credit cards (VISA, Mastercard, American Express), checks and any other form of non-cash payment are accepted only on account of performance. Exchange rate risk and bank charges may be applicable. Storage and dispatch are at the expense and risk of the buyer. If the shipping costs exceed the lump sum on the invoice the outstanding amount will be billed separately. 10. According to regulation (EC) No. 116/2009, an export license is necessary when exporting cultural goods out of European Community territory, depending on the type or value of the object in question. 
For the purposes of wildlife conservation, it is necessary to obtain an export license according to regulation (EC) No. 338/97 when exporting objects made from certain protected materials (incl. ivory, tortoiseshell, mother-of-pearl and certain corals) out of the territory of the European Community. Export licenses for objects made of protected materials are only granted under strict conditions or may not be granted at all. The import of such objects may be restricted or prohibited by certain countries. It is the buyer’s responsibility to inform himself, whether an object is subject to such restrictions. Export and import of such objects are at the expense and risk of the buyer.


11. The buyer is liable for acceptance of the goods and for payment. The purchase price shall be due for payment upon the lot being knocked down to the buyer. In case of a delayed payment (two weeks after the sale) the purchaser will be held responsible for all resultant damages, in particular interest and exchange losses. In case of payment default the auctioneer will charge interest on the outstanding amount at a rate of 1% to the gross price per month or part of month. In such an event the auctioneer reserves the right to annul the purchase contract without further notice, and to claim damages from the buyer for non-fulfilment, accordingly he can reauction the goods at the buyer’s expense. In this case the buyer is liable for any loss incurred, the buyer shall have no claim if a higher price has been achieved. He will not be permitted to bid. 12. The place of fulfillment and jurisdiction is Berlin. German law applies exclusively; the UN-Treaty (CISG) is explicitly excluded. 13. The prices quoted after each lot are estimates, not reserves.

14. The after-sales is part of the auction in which the bidder places either by tele­phone or in written form (as stated in number 5 and 6) the order to bid a set amount. 15. By making a bid, either verbally in the auction, by telephone, written by letter, by fax, or through the internet the bidder confirms that he has taken notice of these terms of sale by auction and accepts them. Agents who act on behalf of a third party are jointly and separately liable for the fulfillment of contract on behalf of their principals. 16. Should one or the other of the above terms of sale become wholly or partly ineffective, the validity of the remainder is not affected. In the event of a dispute the German version of the above conditions of sale is valid. David Bassenge As of November 2018


ja c qu e s s c h u m a c h e r . Die neue Olympus. Dye transfer print. 1989.

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