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pho t ogr a ph y auc t ion 114

Erdener Str. 5a, 14193 Berlin, Germany

dec e m ber 4 , 2019  15.00

p r e v i e w / v o r be si c h ti g un g :

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c o n t a c t / k o n t a k t :

b a s s e n g e p h o to a uk ti o n e n g b r Online catalogues: www.bassenge.com

as well as by appointment / sowie nach vereinbarung

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ex pe r te n | s p e c i a l i st s Geschäftsführung | Management

David Bassenge

+49 (0)30-893 80 29-17

david@bassenge.com Kunstabteilung | Art Department Leitung 15.–19. Jahrhundert Dr. Ruth Baljöhr +49 (0)30-893 80 29-22 Head of Department 15th to 19th Century r.baljoehr@bassenge.com Graphik und Handzeichnungen des David Bassenge +49 (0)30-893 80 29-17 15.–19. Jahrhunderts, Gemälde david@bassenge.com Prints and Drawings 15th to 19th Century, Paintings Lea Kellhuber +49 (0)30-893 80 29-20 l.kellhuber@bassenge.com Nadine Keul +49 (0)30-893 80 29-21 n.keul@bassenge.com Harald Weinhold +49 (0)30-893 80 29-13 h.weinhold@bassenge.com Leitung Moderne und Zeitgenössische Kunst Klaus Spermann +49 (0)30-88 91 07-91 Head of Department 20th Century Art and Contemporary k.spermann@bassenge.com Simone Herrmann +49 (0)30-88 91 07-93 s.herrmann@bassenge.com Katharina Fünfgeld +49 (0)30-88 91 07-94 k.fuenfgeld@bassenge.com Sandra Espig +49 (0)30-88 91 07-90 s.espig@bassenge.com Gabriella Rochberg +49 (0)30-88 91 07-91 g.rochberg@bassenge.com Berater | Consultant Jörg Maaß +49 (0)170 - 486 90 64 j.maass@bassenge.com Photographie | Photography Leitung | Head of Department Jennifer Augustyniak +49 (0)30-21 99 72 77 jennifer@bassenge.com Elmar F. Heddergott +49 (0)30-21 99 72 77 e.heddergott@bassenge.com Buchabteilung, Autographen | Books, Autographs Leitung | Head of Department Dr. Markus Brandis +49 (0)30-893 80 29-27 m.brandis@bassenge.com Harald Damaschke +49 (0)30-893 80 29-24 h.damaschke@bassenge.com Dr. Cosima Kristahn +49 (0)30-893 80 29-48 c.kristahn@bassenge.com Stephan Schurr +49 (0)30-893 80 29-15 s.schurr@bassenge.com Autographen | Autographs Dr. Rainer Theobald +49 (0)30-4 06 17 42 r.theobald@bassenge.com Logistik Management | Logistics Ralph Schulz +49 (0)30-893 80 29-16 r.schulz@bassenge.com Sekretariat | Office Anja Breitenbach +49 (0)30-893 80 29-12 a.breitenbach@bassenge.com Ellen Rusczyk +49 (0)30-893 80 29-33 e.rusczyk@bassenge.com Repräsentanzen | Representatives Rheinland Dr. Mayme Francis Neher +49 (0)175 - 204 63 23 info@mayme-neher.de Dänemark Peter Titelbech + 45 (0)2383 - 2448 p.titelbech@bassenge.com Italien Dr. Chiara Erika Marzi + 39 333 9924 868 c.marzi@bassenge.com


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


4052 4028


4001

4002

a lpine l a ndsca pes 4001 Photographer: Gebr. Wehrli, Leopold Haiding and others. Alpine views including many glaciers. 1880s/90s. 27 vintage gelatin silver, albumen and collodion paper prints and collotypes. Most circa 21 x 27 and some smaller. Some with title, number and photographer’s name/stamp in lower edge/corners. 500 €

4002 Photographer unknown. Views of the Tyrol and

Austrian Alps and cities such as Salzburg, Graz and others. Circa 1886. 25 albumen prints. Various sizes circa 21 x 26 cm and larger. Each mounted to board, in canvas portfolio (traces of use) with gilt-stamped title Tirol 1886. 300 €

Includes two smaller panoramas from the Schaubach-Hütte and Braunwald panorama from Kneugrat, views of Zell am See, the Madatscher Glacier, Roseg Glacier, Fex Glacier, Chamonix, Bernina Hospiz, Moserboden and Ferleiten. 5


4003

ot tom a r a nschütz (1846–1907)

4003 Calvary horses with riders, Graditz. 1883. 3 albu-

men prints. Each circa 20 x 26 cm. Each with photo­ grapher’s blindstamp with year in lower right, mounted to board (47 x 54 cm, slightly soiled, slight traces of use) with photographer’s name and annotated in pencil Gestüt Graditz below the image on the mount. 2.000 € 6


4004

4005

a merica n w est

berlin

4004 Photographer: Erwin Baer, W.H. Lawrence,

4005* Photographer unknown. Views of Berlin. 1850s-60s. 24 albumen stereo views. Mounted to original yellow boards (slightly soiled, corners bumped), printed labels with titles on mount verso. 300 €

Haupt, Buchman & Heartwell. Views of Prescott, Arizona; Butte, Montana and Colorado. 1880s. 4 albumen prints on cabinet cards. Each circa 10,5 x 17,5 cm. 1 with title in the negative in lower edge, each mounted to original studio cabinet board (slight traces of use), annotated in ink on mounts. 400 €

Very early views of Berlin showing the castle under renovation and the foundation of the Schiller Denkmal prior to the placement of the statue. 7


4006

bisson frères

(Louis Auguste & August Rosalie 1814–1876, 1826–1900)

4006 Cloth Hall, Ypres. Circa 1857. Large-format albumen print. 33 x 44 cm (mount 55 x 72 cm). Mounted to thick vellum (traces of use in edges, soiled, foxing), photographer’s signature stamp below image in lower right on the mount (faded) and Heinr. Schrag Buch- und Kunsthandlung Nürnberg blindstamp in upper right corner on the mount. 1.200 € Lit.: Die Brüder Bisson. Aufstieg und Fall eines Fotografenunternehmens im 19. Jahrhundert. Munich 1999. ill, p. 146.

8


4007

bisson frères 4007 Town Hall and Square, Audenade. Circa 1858.

Large-format albumen print. 31 x 44 cm (mount 55 x 72 cm). Mounted to thick vellum (traces of use in edges, soiled, foxing), photographer’s signature stamp below image in lower right on the mount (faded) and Heinr. Schrag Buch- und Kunsthandlung Nürnberg blindstamp in upper right corner on the mount. 1.200 € Lit.: Die Brüder Bisson. Aufstieg und Fall eines Fotografenunternehmens im 19. Jahrhundert. Munich 1999. ill, p. 145. 9


4008

bisson frères 4008 Belfry of Bruges. Circa 1858. Large-format albu-

men print. 54,5 x 34,5 cm (mount 72 x 55 cm). Mounted to thick vellum (traces of use in edges, soiled, foxing), photographer’s signature stamp below image in lower right on the mount (faded) and Heinr. Schrag Buchund Kunsthandlung Nürnberg blindstamp in upper right corner on the mount. 1.200 € Lit.: Die Brüder Bisson. Aufstieg und Fall eines Fotografenunternehmens im 19. Jahrhundert. Munich 1999. ill, p. 143.

10


bisson frères 4009 Angoulême Cathedral. Circa 1865. Large-format albumen print. 43 x 33 cm (mount 72 x 55 cm). Mounted to thick vellum (traces of use in edges, soiled, foxing), photographer’s signature stamp below image in lower right on the mount (faded) and Heinr. Schrag Buch- und Kunsthandlung Nürnberg blindstamp in upper right corner on the mount. 1.200 €

4010* View of the Louvre over the Seine;View of

Pont Neuf. Mid-1850s. 2 salt prints. 24 x 37 cm and 20,5 x 36,5. Each flush-mounted to card and mounted to board. 900 €

4009

4010 11


4011

joh a nnes bra hms (1833–1897)

4011* Photographer: Carl Anton Schulz (1831-1884,

studio continued by sons). Early portrait of Johannes Brahms. 1862/ printed 1897. Platinum print. 23 x 16,5 cm. Signed and dated 97 by the photographer’s studio in pencil in lower right, flush-mounted to board. 750 € This image is based on a print of 1862. Other images from this sitting are only known as smaller cartes-de-visites.

12


a dolphe braun (1812–1877)

4012* Irises. 1850s. Varnished albumen print with rounded corners. 43 x 38 cm. Mounted to card. 750 €

4012

a dolphe braun 4013* Papavers. 1850s. Varnished albumen print with rounded corners. 43 x 38 cm. Mounted to card. 750 €

4013 13


4014

a dolphe braun & cie 4014 View of Rome with Villa Farnesina and gardens

in forefront. 1890s. Vintage large-format carbon print. 27,5 x 47,3 cm. Mounted to board (soiled, traces of use), annotated in pencil below the image on the mount; 2 Spemann Stuttgart archive stamps and annotated in pencil on mount verso. 500Â â‚Ź

14


4015

british l a ndsca pes 4015 Photographer: Francis Frith (1822-1898), James Valentine (1815-1880), Vaughan, Wilson and others. Views of landscapes, villages, cloisters, castles and monuments in England. 1860s-70s. Circa 170 albumen prints. Each circa 20 x 26 cm and smaller. Mounted to thin album pages (buckled), annotated in pencil/ink below the images on mount, bound in red half leather album (edges worn, rubbed, spine cracked). 400Â â‚Ź The album contains many attractive images by amateur photographers, several are also by known photographers. 15


china 4016* Private souvenir album of a high ranking

officer of the German community in China. Circa 1908. Circa 330 vintage collodion paper prints (some gelatin silver prints). Various sizes, most 12 x 16 cm, some larger/smaller. Mounted to album boards, some annotated in German in pencil on mounts, bound in half canvas album (edges slightly rubbed). 4.000Â â‚Ź

4016 16

A very comprehensive album beginning with group portaits of high ranking members of the Chinese upper class, the Empress Dowager Cixi, Zaifeng, Prince Chun with entourage. Also includes views of Beijing, various Chinese landscapes, temples, palaces, gateways, monuments and artworks, monks, Mandarines, views of the Chinese Wall, military activities and European soldiers and officers as well as market scenes. Two newspaper clippings document the burial ceremony of the Guangxu Emperor of China in 1908. The album was likely compiled some years after the Boxer Uprising.


4016 17


4017

a ntoine cl audet (1798–1867)

4017 Portrait of an English gentleman. 1850s. Salt

print hand-painted by Jean-Louis Wensel (1825-1899). Circa 25 x 20 cm. Photographer’s name and painter’s name painted in lower right/left corner, in original gilt/plaster frame (some cracks) in glazed wooden frame (some cracks, 42 x 37 cm). 3.000 €

The French born photographer Antoine Claudet became one of the earliest pioneers of English photography. Since moving to London in 1827, he was in contact with many important scientists and became a member of the prestigious Royal Society. He opened his first daguerreotype studio at the Royal Gallery of Practical Science in June 1841. He photographed important figures

18

of English society such as Prince Albert of Saxony Coburg Gotha, Charles Dickens, William Henry Fox Talbot and many others. He was also present at the meeting of the Royal Society on June 10, 1841 during the announcement of Talbot’s calotype process. Claudet was immediately interested in Talbot’s invention and negotiated a license with him. New developments in the field of photography were his interest. He remained in contact with Talbot until his death in 1867. The extensive correspondence between Claudet and Talbot is largely preserved and contains rare and important documents in the history of photography. The rare and richly overpainted photograph offered here is based on a salted paper print from a glass plate negative from 1866/67. It is most probably one of only three known images in this technique, and in this larger size with ornate frame.


4018

daguerreot y pes 4018* Photographer unknown. Portrait of two ele-

gantly dressed men. 1850s. Daguerreotype (half plate), with original metal surround, mounted behind glass with metal frame. 2.000Â â‚Ź This daguerreotype is extremely unusual in several respects. German portrait daguerreotypes in this size (half plate) are extremely rare. It is also a beautiful document of the friendship of two wealthy gentlemen in a relaxed sitting pose with crossed legs, each wearing a golden ring and golden cufflinks. A great photographer was likely the maker of this photograph. 19


4019

daguerreot y pes 4019* Reclining semi-nude woman. 1850s. Stereo daguerreotype, hand-tinted. Each image circa 6,5 x 5,5 cm. Sealed behind glass (paper sealing worn). 1.500 €

joseph dazi a ro (1831–1892)

4020 20

4020 (Attributed to). View of St. Basil’s Cathedral, Moscow. 1880s. Hand-colored, large-format albumen print. 45,5 x 36,5 cm. Mounted to card (some spots, time-stained in edges, traces of use). 500 €


4021

louis-jea n delton (1807–1891)

4021 Prize-winning horses of the World’s Fair, Paris

1867 and the Exposition Hippique Francaise 1866.1866/7. 3 albumen prints. Each circa 15,5 x 21 cm. Each mounted to original board (slightly soiled, slight wear), with photographer’s blindstamp below the image on the mount. 500 € In 1861 Louis-Jean Delton established himself as an equestrian photographer in Paris under the name Delton J. & Cie. He also photographed a range of individuals, from clowns to European royalty, but it was his images of animals that gained him renown. Around 1886 Delton dropped the “& Cie” from his trade name and began to produce albums of animal photographs. From 1889 until 1894, he published a newspaper in which he reproduced many of his own images of horse-racing. Prints of these images are in the collection of the John Paul Getty Museum, Los Angeles. 21


4022

herm a nn emden (1815–1875)

4022 „Der Dom zu Mainz und seine bedeutendsten

Denkmäler in 36 Original-Photographien“. 35 x 27,5 cm. 23 p. and 36 salt prints on plates, various sizes between circa 15 x 12 cm, 20 x 20 cm, 23 x 16 cm and 18 x 8 cm. Bound in modern half-leather album (owner name J. Voltmer in pencil on front flyleaf). Mainz, Verlag von Victor v. Zabern, 1858. 1.500 € 22

At the start of his career Hermann Emden made engravings, drawings and lithographs. After being denied permission to establish his own business, he worked in a photography studio with Hermann Henning and as of 1852 had one of the first photo studios in Frankfurt am Main. He kept his main studio in Frankfurt and travelled to nearby cities, taking portraits and photos of events. His studio remained active until 1872. Lit.: Ulrich Pohlmann/Dietmar Siegert (eds.). Zwischen Biedermeier und Gründerzeit. Deutschland in frühen Photographien 1840-1890 aus der Sammlung Siegert. Munich 2012. ill. pp. 262-263.


4023

4024

erotic photogra ph y 4023* Photographer unknown. Album of erotic images. 1860s-1900. 40 albumen prints. Most circa 12 x 7 cm. Most with number in the negative in lower right/left corner, mounted to colored album pages, bound in leather album. 900 €

4024 Photographer unknown. Selection of female

nudes. 1890s. 23 albumen prints. Most circa 17 x 9 cm. Most with number in the negative in lower left/right corner. 900 €

Many images are academic nude studies, several are more risqué. There is also one pornographic image. 23


4025

4026 24


4027

europea n folk costumes 4025 European folk costumes. 1860s. 104 finely

hand-colored carte-de-visite albumen prints, inserted in gilt-edged window mat album boards, each annotated in ink on mount, bound in leather album (traces of use) with brass plaque with monogram. 400 € A comprehensive collection of often finely hand-colored cdv portraits showing people in various European folk costumes. The countries include Norway, Sweden, Denmark, the Netherlands, various German regions (Saxony, the Black Forest, Bavaria, Hanover, Kassel, Spreewald, Tyrol) and Italy (Venice, Rome, Naples and Sorrent).

An attractive collection of portraits showing European royalty and political figures (English, French, German, Austrian) including popular portraits of Wilhelm I and Empress Augusta, Friedrich III and Crown Princess Victoria, Crown Prince Wilhelm and Augusta Victoria, Emperor and Empress of Russia (Alexander), Franz Joseph of Austria, Empress Eugenie de Montijo, Humbert of Italy, Queen Victoria, Crown Prince Friedrich and Victoria, Leopold of Belgium, Queen of Sweden, Ludwig II of Bavaria, King of Naples, Ferdinand Lasalle, Otto von Bismarck, Leo von Caprivi, Léon Gambetta, Patrice de Mac Mahon (some reproductions of painted portraits).

europea n roya lt y a nd politici a ns

fribourg

4026 Portraits of European royalty and politicians.

4027* Photographer unknown. Large two-part panorama of Fribourg, Switzerland. 1860s. 2 albumen prints. Each circa 31 x 43 cm. 900 €

1860s-1870s. 26 cartes-de-visite albumen (1 salt print) portraits. Most studio mounts with photographer’s name below the image on mount recto and/or on mount verso, inserted in album page windows, bound in embossed ornamental leather album with brass clasp. 300 €

25


4028

ghent 4028 Selected views of Ghent, Innsbruck and

Aachen. 1870s. 2 albumen prints and 1 collotype. Circa 25 x 34 cm and smaller. All but 1 mounted to board (slightly soiled and with foxing). 250 €

w ilhel m von gloeden (1856–1931)

4029 Nude youth on beach. Circa 1900. Albumen

print. 22,2 x 16,8 cm. Number 485 in blue crayon on the verso. 1.000 € With: Wilhelm von Gloeden in his garden with models and his dog Nedda. Circa 1912. Vintage matte gelatin silver print. 45 x 35 cm. Photographer’s stamp and number 2619 in pencil on the verso. - Stronger fading in edges, some nicks in edges.

26

4029


w ilhel m von gloeden 4030 Portraits of women and girls from Sicily. Circa

1900. 5 albumen prints. Each circa 17 x 12 cm. 1 with photographer’s stamp, 4 with number 255, 363, 142,355 in pencil on the verso, 1 mounted to board. 900 €

4030

w ilhel m von gloeden 4031 Two young nude boys in doorway. Circa 1900.

Albumen print. 22 x 16,5 cm. Mounted to board (slightly warped). Framed under glass in decorative frame (missing piece in lower right corner). 900 € 4031 27


4032

4033

fra nz h a nfsta engl (1804–1877)

4032 Alte Pinakothek, Munich. 1852/53. Salt print.

21 x 28,5 cm. Mounted to board and annotated in ink below the image on the mount. 1.200 €

This photograph was taken in 1852 or early 1853, prior to the opening of the newly built Pinakothek, as one can easily see in this image. During the World’s Fair (1851/52) at the Crystal Palace in London, Frederick Scott Archer (1813-1857) showed his new invention, the wet plate collodion process. Franz Hanfstaengl was one of the great German photographers who immediately experimented with it and produced good results, as this photograph shows. Because Scott Archer did not patent his invention, his process was immediately able to spread worldwide and was enthusiastically received by photographers.

28

4033 “Glyptothek” and “Basilica” (St. Boniface’s Ab-

bey), Munich. 1852/53. 2 salt prints. Each circa 21 x 28,5 cm. Each mounted to board and annotated in ink below the image on the mount. 900 €


4034

ferdina nd küss (1800 –1886)

4034* Still life with flowers and various objects.

1860s. Albumen print with rounded corners. Circa 34 x 26,2 cm. Mounted to original board (soiled, traces of use in edges), photographer’s blindstamp below image on the mount. 1.200 € Born in Vienna, Ferdinand Küss was a successful painter known for his artfully composed still lifes. He later turned to photo­ graphy and founded his first studio in Vienna in 1859. The still life offered here shows a strong painterly composition and most likely served as a model for a painting. Lit.: Otto Hochreiter/Timm Starl (eds.) Geschichte der Fotografie in Österreich Band II. Bad Ischl 1983, see p. 145. 29


4035

lim a 4035 Photographer: Eugenio Courret (1841-1900?).

Views of Lima and portraits of indigenous people and well-dressed women of Lima. Late 1870s/1880s. 86 vintage albumen prints. Various sizes: portraits between 9 x 5,5 cm and 14 x 10 cm; landscapes and views circa 19 x 25 cm. Mounted to gilt-edged album boards (some foxing, some soiling at beginning and end of album), bound in red moroccan album (edges slightly rubbed) with gilt-stamped title Recuerdos del Perú, ornaments and photographer’s name E. Courret Fot. Lima on front cover and brass corner reinforcement in lower right corners. 1.500 € 30

This comprehensive album shows the early boomtown of Lima with its ornate facades, populated streets, as well as the harbor district with train station and piers, showing circa 40 ships in the harbor, illustrating the city’s role as the center of worldwide guano export for fertilizer and the production of gunpowder. In the second half of the 19th century Hamburg was one of the greatest transit points for the importation of guano. The photo­ grapher Eugenio Courret came to Lima from France in 1860. In 1863 he founded the “Photo Central” studio with his brother Aquiles and in 1887 he founded a studio with Adolphe Dubreuil. In the 1890s Courret returned to France.


4036

gaudenzio m a rconi (1841–1886)

4036* (Attributed to). Male nude. Circa 1875. Albumen print. 16,8 x 26 cm. Mounted to board (slightly soiled). 900 € Marconi was a Swiss/Italian photographer who later worked in France and Belgium. His high quality nudes, such as the one offered here, were famous and sought after by many artists. Rodin especially appreciated his photographs.

4037* (Attributed to and unknown). Male and fe-

male nude studies. Circa 1875. 2 albumen prints. Each circa 26 x 16,5 cm. Each with number in the negative in lower portion, mounted to board (slightly soiled). 900 €

4037 31


4038

munich

nature printing

4038 Photographer unknown. Augsburger Eisebahn

4039* Constantin v. Ettingshausen and A. Pokorny. Plant studies. 10 Naturselbstdrucke (nature prints) on heavy paper. Each circa 58 x 41 cm. From the pub­ lication “Physiotypia plantarum austriacarum. Der Naturselbstdruck in seiner Anwendung auf die Gefässpflanzen des österreichischen Kaiserstaates, mit besonderer Berücksichtigung der Nervation in den Flächenorganen der Pflanzen“ Vienna, K.K. Hof und Staatsdruckerei, 1855-6. 1.200 €

Station, Munich; Nürnberger Eisenbahn Station, Munich. Early 1850s. 1 varnished albumen print and 1 salt print. 24 x 29,5 cm and 20 x 22 cm. Mounted to board and annotated in ink below the image on the mount. 900 €

Von Ettingshausen and Pokorny were Austrian botanists who began using an early method of reproduction (nature prints) as a means of recording the vegetation of the Austro-Hungarian Empire. The nature prints offered here show three delicate “self-imprints” of plants.

4040* Constantin v. Ettingshausen and A. Pokorny. Plant studies. 9 Naturselbstdrucke (nature prints) on heavy paper. Each circa 58 x 41 cm. From the publication “Physiotypia plantarum austriacarum. Der Naturselbstdruck in seiner Anwendung auf die Gefässpflanzen des österreichischen Kaiserstaates, mit besonderer Berücksichtigung der Nervation in den Flächenorganen der Pflanzen“ Vienna, K.K. Hof und Staatsdruckerei, 1855-6. 1.200 € 32


4039

4039

4040

4040 33


4041

4042 34


4043

4043

nineteenth century portra its 4041 Photographer: Gebrüder Matter, Mannheim; H. Boppel; Hans Stix, Giessen; W.F.K. Travers, Mannheim; Philipp Hoff, Frankfurt; J. W. Einbigler, Frankfurt; F. Weisbrod, Frankfurt; A. Hofmann, Frankfurt; T. Wackendorff, Frankfurt; P.C. Schiller, Frankfurt; Gebr. Streit, Trier. German portraits. 1860s-1880s. 162 cartes-de-visite albumen portraits. Most studio mounts with photographer’s name below the image on mount recto/verso, some annotated in ink/pencil on mount verso, inserted in gilt-edged window album pages, some annotated in pencil in German below the images on album pages, bound in full leather album (spine cracked) with brass clasps (1 missing). 400 € The portraits show high ranking military officers, members of the bourgeoisie mostly from the Frankfurt and Baden area.

pasca l seba h a nd basile k a rgopoulo (1826–1886, 1858–1899)

4042 Views of Constantinople and Egypt. 1880s.

32 albumen prints. Various sizes, most circa 24 x 30 cm. Most with photographer’s name and/or title in the negative in lower edge. 500 € The most interesting photos show exterior and interior views of Topkapi Palace and its harem by B. Kargopoulo, who was probably one of the few photographers to have access to the interior of the Sultan’s palace.

4043

m a rie pa nckow

(active in Berlin and Potsdam, 1860s/70s)

4043 Views of Berlin and Potsdam. 1870s. 56 albumen prints. Each circa 20 x 26 cm. Mounted to giltedged boards (slightly warped), bound in embossed full leather album (edges slightly rubbed, soiled and some stains) with gilt spine and gilt-stamped title Berlin & Potsdam (36 x 48 cm). 900 € This opulent and beautifully decorated album comprises a comprehensive overview of architecture in Berlin and Potsdam.The photographs are likely taken by Marie Panckow who listed herself as M. Panckow, not revealing her gender. Apart from Emma Planck and Laura Bette, she was probably one of the few female photographers in Berlin at the time. 35


pierre petit (1832–1909)

4044 Portrait of Eugène Delacroix (photographic

reproduction). Circa 1860/ printed later. Gelatin silver print. 18,7 x 13,8 cm. Annotated in pencil on the verso, hinge-mounted in modern mat. 200 €

photochrome 4045 View of Lucern. Circa 1900. Large-format photochrome. 42 x 53 cm (49 x 57 cm). Mounted to board. 300 €

4044

4045 36


4046

gugliel mo plüschow (Wilhelm, 1852–1930)

4046 Nude youth with vine; Subiaco and Rome. Circa

1900. 3 albumen prints. Various sizes 16,7 x 16,7 cm and 22,7 x 16,8 cm and 16,2 x 11,8 cm. 2 with number 7958 and 2421 in blue crayon on the verso. 900 €

4047 Two nude youths. Circa 1900. Albumen print.

22,2 x 16,8 cm. Number 12204 in blue crayon on the verso. 1.000 €

4047 37


gugliel mo plüschow 4048 Young nude. Circa 1900. Albumen print. 22,2 x 16,8 cm. Number 3676 in pencil on the verso.

1.000 €

4048

gugliel mo plüschow

4049 38

4049 Young nude boy in classical pose. Circa 1900. Albumen print. 20,8 x 13,2 cm. Photographer’s stamp and number 8 (?)555 in blue crayon. Framed under glass in decorative gilt frame. 1.200 €


4050

rome 4050 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. 750 € 39


4051

john edwa rd saché a nd w estfield (1824–1882)

4051 Natives of the Adaman Islands. 1865. 2 albumen

cdv prints. 9 x 8 cm. Each mounted to photographer’s Calcutta studio card with name/logo printed on recto/ verso. 900 €

john edwa rd saché, w estfield a nd sch wa rzschild & co. (1824–1882)

4052 Colonial household of the family of Léon Dufet.

1874. 13 albumen cdv prints and 5 larger (14 x 19 cm) albumen prints. All mounted to card, 6 on photographer’s Calcutta studio card with name/logo printed on recto/verso, 10 annotated in ink/pencil below the image and/or on verso. 800 € An interesting collection of images showing French colonial life in Bengal, India.

40


4052

41


4053

georg schmidt (1811–1867)

4053 (Attributed to). „Portal der Frauenkirche, Nürn-

berg“; „Sebalder Pfarrhof mit Chörlein, Nürnberg“. Late 1840s/early 1850s. 2 salt prints, 1 lightly coated from paper negatives. 25 x 23 cm and 27 x 20,6 cm. Each mounted to board and annotated in ink/pencil below the image on the mount. 750 €

4054 (Attributed to). „Burg von Nürnberg“; „Nassauer Haus, Nürnberg“. Late 1840s/early1850s. 2 salt prints, 1 lightly coated from paper negatives. 26 x 19,5 cm and 26 x 22 cm. Mounted to board and annotated in ink below the image on the mount. 600 €

42

4055 (Attributed to). Ottman’s Kapelle, Rathaus, Preller Haus, Nuremberg. Late 1840s/early 1850s. 3 salt prints from paper negatives. 25,4 x 22,3 cm, 23,8 x 20,2 cm and 23,8 x 21,7 cm. Each mounted to board and annotated in ink/pencil below the image on the mount. 500 € 4056 (Attributed to). Lorenzkirche, Nuremberg. Late 1840s/early 1850s. 3 salt prints from paper negatives. 25,4 x 22,3 cm, 23,8 x 20,2 cm and 23,8 x 21,7 cm. Each mounted to board and annotated in ink/pencil below the image on the mount. 500 € 4057 (Attributed to). Unknown building and small

church, Nuremberg. Late 1840s/early 1850s. 2 salt prints from paper negatives. 21,5 x 18,5 cm and 23,5 x 21,2 cm. Each mounted to board. 500 €


4055

4054

4056

4057 43


joh a nn h. schönscheidt (1835–1903)

4058 Interior view of Cologne Cathedral. 1890s. Large format albumen print. Each circa 41 x 54 cm. Photographer’s blindstamp in lower area, mounted in mat (time-stained) and framed under glass. 400 €

4058

4059 44


4060

a rthur schopenh auer (1788–1860)

4059* Photographer: Johannes Schäfer (1822-1885?).

Portrait of Arthur Schopenhauer. 1859. Albumen print. 16,2 x 12,8 cm. Mounted to original board (slightly toned), with photographer’s blindstamp in lower edge. 1.200 € The portrait offered here is possibly referred to in a letter by Gustav Brecht, written in 1859 to Schopenhauer, stating: „Der Photograph Schaefer wird sich nun zu näherer Rücksprache alsbald bei Ihnen melden. Ich habe mir alles Retouchiren im Gesicht verbeten, dagegen Hn Sch. ersucht, Ihnen das Bild nach Vollendung vorzulegen“ (The photographer Schaefer will soon contact you for closer consultation. I have forbidden any retouching in your face, but have asked Mr. Sch. to present the picture to you after completion). Since the invention of photography, Schopenhauer had been interested in its further development and new discoveries. However, he preferred the older daguerreotype to the newer photographs on paper; he believed he looked much older on paper photographs.

scotl a nd 4060 Photographer: James Valentine (1815-1880) and George Washington Wilson (1822-1898). Views of landscapes, cities, cloisters, castles and monuments in Scotland. Mid-1870s. 33 albumen prints (a few collotypes). Most circa 19 x 29 cm, a few 14 x 20,5 cm. Most with photographer’s monogram, title and number in the negative in lower edge. Each mounted to gilt-edged board (slightly warped, soiled in edges at front of album), bound in original leather album (edges rubbed, scratches, spine cracked in upper and lower ends) with gilt embossed title: Photographs of Scotland. 28 x 37 cm. 400 € A very attractive collection showing Scotland’s picturesque landscapes as well as cities and the signs of early industrialization.

45


4061

j. pasca l seba h a nd polica rpe joa illier (1825–1886, 1848–1904)

4061 Interior of the Hagia Sophia, Constantinople.

1870s. 6 albumen prints mounted together as an unusually mammoth-size print. 54 x 74 cm. In original gilt-lined mat (some trace sof use) and framed under glass in heavy contemporary oak frame. 1.500 € 46

This early and oversized image of the interior of the Hagia Sophia was a difficult challenge for the photographer. As he probably did not have an extreme wide angle lens at his disposal, he skillfully took six individual images with an identical exposure in order to combine them as a coherent large single mammoth print. The early wet plate collodion process required preparation of the glass plates and their immediate development in the church gallery. The enormous effort required the presence of several assistants, as was customary at that time. In its original mat and heavy oak frame this piece is rare and unique.


4062

giorgio sommer (1834–1914)

4062 Views of Naples: Military harbor, Palazzo

Reale, excavations in Herculaneum and rural scenes. Circa 1860s/70s. 11 albumen prints. Each 20 x 25 cm. Photographer’s name, title and number in the negative in lower edge, each flush-mounted to card. 500 € Some of the images were most likely taken during the last period of the Resorgimento shortly before before 1870. They show military cannon ships in the harbor and weapon storage areas in Naples. Lit.: Marina Miraglia et.al. (eds.). Giorgio Sommer in Italien. Fotografien 1857-1888. Munich 1992, ill. pp. 137, 95 + 84 (variants).

tonkin 4063* Photographer unknown. Portraits. 1880s/90s. 2 albumen prints. Each circa 27 x 22 cm. Each mounted to board (light foxing). 800 €

4063 47


4064

tsingtau

gustav völkerling

4064 Trade families in Tsingtau. 1890s. 7 vintage

4066* „Dessauer Eichen“ Nr. 110 (Oaks in Dessau). Late 1850s. Salt print (?). 25 x 31 cm. Mounted to original board (time-stained in edges, slightly soiled), signed by the photographer in ink below the image, photographer´s paper label G. Völkerling in Dessau, Maler und Hof-Photograph, Preis Medaille/Ehrenv. Erw. Paris 1865 affixed in lower left corner, label with title and number in lower right corner on mount. 750 €

collodion paper prints. Between circa 21 x 28 cm and 15 x 21 cm. 600 €

gustav völkerling (1810 –1876)

4065* “Dessauer Eichen” Nr. 51 (Oaks in Dessau). Late

1850s. Albumen print. 26,5 x 32 cm. Mounted to original board (time-stained in edges, slightly soiled), signed by the photographer in ink below the image, photo­ grapher´s paper label G. Völkerling in Dessau, Maler und Hof-Photograph, Preis Medaille/Ehrenv. Erw. Paris 1865 affixed in lower left corner, label with title and number in lower right corner on mount. 750 € Born in Berlin, the photographer Gustav Völkerling moved to Dessau in 1840 and in 1860 he was appointed court photographer by Leopold IV, Duke of Anhalt.

48


4065

4066 49


4067

ca rleton e. watkins a nd isa i a h w est ta ber (1829 – 1916, 1830 – 1912)

4067 Album with views of San Francisco, Yosemite

and other California sites. 1864-66. 39 albumen prints. Each circa 20 x 31 cm. Mounted to gilt-edged album boards (some light foxing, time-stained in edges), bound in brown leather album (spine loose) with brass ornament and clasp and gilt tooling in edges. 2.500 € A wonderful selection of the most beautiful and famous landmarks of Yosemite Valley and other sites of northern California, including Charles Crocker’s Residence, San Francisco; View of San Francisco with Golden Gate; Ferry boats on the Sacramento River, Ca. At Mariposa Grove: Sequoia group, Portrait of Galen Clark in front of the Grizzly Giant, the Grizzly Giant (total view)

50

and the “Wawona Tree”. In Yosemite: Inspiration Point, “Half Dome” from Glacier Point, Vernal Falls, The Three Brothers, The Cathedral Spiros and Cathedral Rock, El Capitain, Sentinel Rock, Cascade Falls and The Domes. Other images show a train in Ani­mas Canyon with Needle Mountains, Castle Rock, Price Canyon and a gold mining site. Also includes an early view of Salt Lake City showing the Tabernacle under construction. Many of the images in this album are by Carleton E. Watkins and printed later by Isaiah W. Taber with his name in the negative. It is an exceptionally beautiful compilation of views of Yosemite and San Francisco. It also includes an image of Galen Clark, one of the discoverers of the Mariposa Grove in 1857 and the first ranger of Yosemite Park, in front of the “Grizzly Giant”.


4067 51


4068

ch a rlot te wolter (1834–1897)

4068 Photographer: Dr. Székely and Franz Luckhardt,

Vienna, L. Haase and N. Lehmann, Berlin. Portrait album of the German actress Charlotte Wolter from the Burgtheater, Vienna. 1857-70s. 44 carte-de-visite and cabinet albumen prints, inserted in gilt-edged window mat album boards, each annotated in ink on mount, bound in leather album (edges rubbed, traces of use) with brass ornaments and clasp (broken). 400 € Charlotte Wolter was one of the great tragic actresses of the Victorian age. Her repertory included Medea, Sappho, Lady Macbeth, Mary Stuart, Preciosa, Phèdre, Adrienne Lecouvreur, Jane Eyre and Messalina. In 1862 she was given an appointment at the Vienna Hofburg Theater, to which she remained faithful until her death. According to her wish, she was buried in the costume of Iphigenia, the role in which she had achieved her most brilliant success.

52


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


4417 54


4069

h a ns christi a n a da m (b. 1948)

4069 “Cäsar”. 1974. Gelatin silver print. 17 x 24 cm

(24 x 30 cm). Photographer’s/copyright stamp, titled and dated by the photographer in pencil on the verso. 400 €

dieter a ppelt (b. 1935)

4070 Erinnerungsspur - Statische Vibration. 50 p.

with numerous full-page illustrations and original gelatin silver print on Agfa paper (30 x 24 cm), with photographer’s copyright stamp and signed, dated, editioned 35/100 and dedicated by the photographer in ink on the verso. 31 x 30 cm. Original illustrated wrappers. Berlin, Nicolai, 1979. 750 €

4070 55


4071

a lpine v iews 4071 Photographer: Gebrüder Wehrli (1897 - 1924).

Panoramic view of the Gornergrat. Circa 1910. 8-part panoramic view, 8 vintage gelatin silver prints. Each photo circa 20 x 15 cm. Each titled and numbered in lower edges of images in the negative. 1.800 € This complete suite of the Gornergrat shows the following mountain peaks: Rimpfischhorn, Mischabel, Monte-Rosi, Lysskamm, Breithorn, Gornergrat, Matterhorn, Dent-Blanche, Zinal Rothorn, Weisshorn and the Bernese Alps.

56

nobu yoshi a ra ki (b. 1940)

4072 “Satchin and his Brother Mabo”. 1963/printed later. Gelatin silver print. 40,2 x 60 cm. Signed by the photographer in black marker on the verso. 1.500 €


4072 57


4073

nobu yoshi a ra ki 4073 Flowers. Circa 2000. 5 unique polaroid prints.

8 x 7,5 cm (10,7 x 8,7 cm). Signed by the photographer in black marker on recto in lower margin. 1.200Â â‚Ź 58


4074

a rchitectura l photogra ph y 4074 Photographer: Arthur and Walter Köster (1890– 1965, 1904-1988). Architectural views of Berlin. 1930– 1936. 10 vintage gelatin silver prints, some on AgfaPortriga-Rapid paper. Each circa 17 x 22 cm. Most with number in the negative in lower left corner; 2 with photographer’s stamp and all annotated in pencil on the verso. 500 € Arthur Köster began his training in photography in the military during WWI. He met Günther Wasmuth, director of the architecture/art publishing firm in 1915. In 1918-20 Köster started

working for Wasmuth, and he stayed with the company for six years. Here he met important architects such as Erich Mendelsohn, Bruno Taut, Mies van der Rohe and Hans and Wassili Luckhardt, who encouraged him to establish his own firm, which he did in November 1926. Arthur received such a large number of commissions that in 1929 he trained his brother Walter as a photographer, who then became his partner as of 1935. When Arthur died in 1965, Walter took over the firm until 1970. Architectural photographs from the Köster studio are valued for their high technical quality and usually are very fine prints. The images show the famous Wintergarten Varieté, models for Tempelhof airport, the Waldbühne, Anhalter Bahnhof and the opera in Chemnitz. 59


4075

4075

4075 60


4076

a rchitectura l photogra ph y 4075 Photographer: Emil Leitner and unknown. Presentation album of marble and stone works incorporated in commercial buildings in Berlin and other German locations such as Hamburg, Posen, Saarbrücken and Lodz. 1900-1920s. Circa 84 vintage, large-format platinum prints. Each circa 39 x 29 cm and some smaller. Some with photographer’s blindstamp in lower corners, mounted to album pages (warped, time-stained and wear in edges), annotated in black ink below the images on mount, bound in full parchment album (soiled, stains) with gilt-embossed title Ausführung von Werkstein und Marmorarbeiten der Firma Norddeutsche Marmorwerke und Steinmetzgeschäft Hans Köstner & Gottschalk, Berlin Weissensee on front cover. 1.800 €

4076 Photographer: Arthur and Walter Köster (1890– 1965, 1904-1988). Architectural views of Berlin. 1950s. 8 vintage (some ferrotyped) gelatin silver prints on Leonar, Agfa-Portriga-Rapid and Mimosa paper. Each circa 17 x 22 cm. Most with number in the negative in lower left corner; 3 with photographer’s stamp and all annotated in pencil on the verso. 400 € The images show the construction of the Bikini Haus (Zentrum am Zoo), the Apollo Film Theater and aerial views of the Europa Center.

This comprehensive and opulent album includes rare interior views of important and destroyed buildings in Berlin and other German locations. It is not only an extensive documentation but also contains some very artistic architectural views.

61


a rchitectura l photogra ph y 4077 Photographer: Arthur and Walter Köster (1890-1965, 1904-1988). Exterior and interior views of the Schiller Theater, Berlin. 1950s. 2 vintage chromogenic prints on Agfa paper. Each circa 17 x 22 cm. Most with photographer’s blindstamp in lower left corner; 3 with photographer’s stamp and all annotated in pencil on the verso. 300 €

4077

4078 62


4079

a rchitectura l photogra ph y 4078 Photographer unknown: Structures by the

architect Frei Otto (1925-2015). 1970s. 11 vintage ferrotyped gelatin silver prints. Each circa 18 x 24 cm. Each with architect’s stamp, some with number notations in pencil/marker on the verso. 500 €

4079 Photographer: Jonny Lüsing. Rathaus in Hilver-

sum (architect W.M. Dudok), Holland. Circa 1931. 4 vintage gelatin silver prints. Each circa 17 x 13 cm. Each mounted to chamois board (time-stained), 1 with typed label on the verso. 500 €

The German architect and structural engineer Frei Otto was noted for his use of lightweight structures, in particular tensile and membrane structures, including for the roof of the Olympic Stadium in Munich for the 1972 Summer Olympics. This collection comprises photographs of architectural models of various structures designed by Frei Otto. 63


4080

4081 64


m a rcel a rth aud (1898–1975)

4080 Young boys with American soldier, Berlin.

1945. Vintage ferrotyped gelatin silver print. 19,5 x 18 cm. Annotated in pencil on the verso. 400 €

4081 Young girls playing in ruins, Berlin. 1945. Vintage ferrotyped gelatin silver print. 19,5 x 18 cm. Photographer’s stamp on the verso. 400 € 4082 Women dancing with Soviet soldiers, Berlin.

1945. Vintage ferrotyped gelatin silver print. 19,5 x 18 cm. Photographer’s stamp on the verso. 400 €

4082

atomic cow boy 4083 Photographer: Carole Gallagher (b. 1950). Ken

Case, also known as the “Atomic Cowboy”. 1980s. Vintage gelatin silver print. 18,3 x 18 cm. Typed exhibition label the verso. 300 €

4083

In the 1950s the US Atomic energy authorities asked Ken Case to bring his animals to the contaminated atomic testing site in Nevada for experimental testing. He himself then got cancer and died in 1985. Lit.: Carole Gallagher/Keith Schneider. American Ground Zero: The Secret Nuclear War. New York 1994, ill. front cover. 65


4084

automobile (awz p 70) 4084 Advertising photos for early automobile pro-

duction in the GDR for VEB Automobilwerk Zwickau (AWZ P 70). 1950s. 13 vintage chromogenic prints and 4 vintage gelatin silver prints. Most circa 17,5 x 22 cm. Most with Bernstein Farbenfotografie Leipzig studio stamp on the verso. 300 € The curious “P 70” car was produced in East Germany between 1955-1959. The body consisted of a wooden skeleton construction with a newly developed and stable Duroplast cladding. This made the car light and durable. The modified construction was based on the former IFA F8 model, which was also built in Zwickau until 1955. The photos offered here and in the next lot were primarily intended as advertising material for visitors to the Leipzig Trade Fair 1955/56.

4085 Advertising photos for early automobile produc-

4085 66

tion in the GDR for VEB Automobilwerk Zwickau (AWZ P 70). 1950s. 6 vintage chromogenic prints and 11 vintage gelatin silver prints. Most circa 17,5 x 22 cm. Most with Bernstein Farbenfotografie Leipzig studio stamp on the verso. 300 €


4086

av i ation 4086 Photographer: August Grünewald. Images of German aviation during WW I, documentation of Preussische Flieger-Ersatz-Abteilung 1 (FEA1) in Wiederau (Thüringia). 1914-18. 34 vintage gelatin silver prints. Circa 12 x 17 cm and 17 x 12 cm. Most mounted to card (some on both sides of card). 1.200 €

This interesting and unique documentation of a secret Prussian aviation department comes directly from the photographer’s family. According to the grandson of the photographer this department was first stationed in Berlin-Adlershof and from 1916 in the vicinity of the small village in Wiederau (Thuringia). The photos show many airplane crashes and large barracks where new systems were tested and the crashes investigated. Three photographs are group shots of officers and the experts of this department. Provenance: From the family of the photographer. 67


4087

roger ba llen (b. 1950)

4087 “Children from Circus Family”. 1993/printed

later. Selenium toned gelatin silver print. 24,2 x 36 cm (39,2 x 40,2 cm). Signed, titled, editioned 9/35 and annotated by the photographer in pencil on the verso. 2.000 € 68


4088

roger ba llen 4088 “Family Portrait”. 2000/printed 2000. Selenium toned gelatin silver print. 38,5 x 38,8 cm. Signed, titled, editioned 6/35 and annotated by the photographer in pencil on the verso. 2.000 € 69


4089

hugo ba llin

bauh aus photogra ph y

4089 P rivate family album of the shipping line

4090 „Bauhaus Fotografie 2“. Arbeiten ehemaliger

owner Hugo Ballin, Hamburg. 1910s/20s. Circa 123 mostly collodion paper prints. Various sizes circa 10 x 14 cm and larger. Mounted to album boards, bound in contemporary full leather album (corners rubbed/ worn) with gilt-embossed title Amateur Aufnahmen von Hugo Ballin 1910, 48 x 33 cm. 400 € The images show the family of Hugo Ballin including a photograph of the arrival of Kaiser Wilhelm II in Hamburg being welcomed by Albert Ballin. Other images show leisure activities of the family and Ballin’s great Nordlandfahrt with the SMS Blücher 1911. Also includes images of unidentified important people of Hamburg.

70

Bauhaus-Studierender aus der CSFR, der Schweiz, Ungarn und Deutschland/Ost. 1924-32/printed 1990. With title page, text page, 17 gelatin silver prints, most from the original negative. Each circa 35 x 28 cm. Each mounted to board; each with edition label on mount verso, therein signed by the artist or estate manager and typed title. Edition 27/40, in original black canvas case with white printed title. 1.200 € This portfolio was published on the occasion of the exhibition “bauhaus 7” in a complete edition of 50 copies (40 for sale and 10 hors de commerce). With photographic works by Irena Blühová, Marianne Brandt, Edmund Collein, Franz Ehrlich, Ladislav Foltyn, Lotte Gerson-Collein, Albert Hennig, Gyula Pap and Xanti Schawinsky, showing interesting experimental images of early Bauhaus photography.


4090 71


4091

herbert bay er (1900 –1985)

4091 “Shortly Before Dawn”. 1936/printed 1973. Gela-

tin silver print. 25,5 x 33,9 cm (28 x 35,7 cm). Signed, dated and editioned18/40 by the photographer in pencil in lower margin; fotogalerie vienna stamp and annotated in pencil on the verso. 1.800 € This and the following image were in the portfolio “Herbert Bayer. 10 Fotoplastiken 1932-1936 Portfoilio 2”, issued by Galerie Klihm in 1969. These prints are, however, outside that edition.

72


4092

herbert bay er 4092 “Wall with Shingles”. 1936/printed 1973. Gelatin silver print. 25,5 x 33,9 cm (28 x 35,7 cm). Signed, dated and editioned 18/40 by the photographer in pencil in lower margin; fotogalerie vienna stamp and annotated in pencil on the verso. 1.800 € This image is from a series of paintings and fotoplastiken (photographs of assembled objects) that Bayer made in recollection of his upbringing in rural Austria. There the barns and stables often had small windows in various ornamental shapes used for ventilation and the walls often had hooks and other implements and tools to hang the hay to dry in the fields. (Herbert Bayer, A Total Context, Denver 1973, p. 18). This image shares similarities with the painting “Mauerbild - Gelb” which he also painted in 1936. 73


4093 74


4094

bernd & hill a becher (1931–2007, 1934–2015)

4093* „Schwebebahn-Bahnhof, Werther Brücke, Wuppertal“. 1972. 3 vintage gelatin silver prints. 55 x 30 cm. Mounted to board, signed and editioned 19/100 by Bernd Becher in pencil lower right. 3.500 €

4094 “Sycamore, Ohio, USA” (Grain elevators) 1987/

printed 2008. Ferrotyped gelatin silver print. 23,8 x 18,4 cm. Signed and editioned 78/100 by Hilla Becher in pencil on the verso. In original grey linen portfolio mat, edition label on inside cover. Schirmer/Mosel edition 2008. 1.500 € With: Copy of the book Getreidesilos. Schirmer/Mosel, Munich, 2006, in grey linen slipcase (a few spots). - Book in excellent condition. Lit.: Bernd and Hilla Becher. Getreidesilos. Munich 2006, ill. plate 116. 75


becker & m a ass 4095 The actress Olga Tschechova. 1925. Vintage

sepia-toned gelatin silver print. 22,2 x 16,5 cm. Mounted to original studio card (slight edge wear, slightly soiled), dedicated, signed and dated by Olga Tschechova in ink below the image on the mount. 300 €

kl aus behr (b. 1941)

4096* The photographer Bettina Rheims. 1990s. Gelatin silver print. 30,5 x 40,5 cm. Signed by the photographer in felt-tip pen lower right corner; photo­ grapher’s/ copyright Semperstr. 44, 22303 Hamburg stamp and reproduction limitation stamp on the verso. 500 €

4095

4096 76


berlin 4097* Photographer: V. Vorbin. Berlin plain clothes policemen. Circa 1900. Vintage gelatin print. 16,5 x 21,5 cm. Agency stamp and photographer’s stamp on the verso. 200 €

4098 Photographer: Paul Weber. Various residential buildings and factory in Berlin. 1926/27. 7 vintage gelatin silver prints. Each circa 17 x 23 cm. Each with Bauhütte Berlin GmbH stamp and typed text label with architect and location on the verso, in original paper folder (slight traces of use) with photographer’s stamp on outer flap. 300 €

4097

Attractive collection of views showing typical architectural styles of the late 1920s. One image shows the house of painter Fritz Ascher. – With: Architectural views: Schocken department store at night, Stuttgart (Arthur Köster); Kopp & Joseph at night, Berlin (Atelier C. Rehbein) and Jonaß department store, Berlin.1928. 3 vintage gelatin silver prints. 18 x 24 cm. 1 with photographer’s blindstamp in lower right and 2 with Blume Bronce Bau Berlin logo in the negative in lower right corner.

4098 77


4099

4100

4099

4100

berlin 4099 Photographer: Alex Stöcker (1896–1962). Presen-

tation album of the Berlin Polo Club e.V. Circa 1927. 22 vintage gelatin silver prints. Each circa 17 x 23 cm. Most with photographer’s stamp on the verso, mounted to album pages in corners, bound in modern canvas album with leather clasp with chord binding (22 x 32 cm). 750 €

The Berlin Polo Club e.V. was founded in 1906 and was the second largest (after Hamburg) in Germany and on the European mainland. It was the meeting place of the Bohéme but also the aristocracy. With its international network and many Jewish members the club was a thorn in the side of the National Socialists and they pressed for its dissolution in 1933. This is a rare document of the club’s heyday.

78

4100 Aerial views of Berlin and Potsdam. 1929–30. Circa 74 gelatin silver prints. Most circa 12 x 17 cm. Mounted to album pages (slightly warped), bound in cased album with chord binding. 750 € Rare and unusual collection of aerial views showing various sites in Berlin, many under construction such as the Haus des Rundfunks; the reconstruction of Alexanderplatz; Messegelände with the Funkturm; Trumpf chocolate factory, Weissensee; the new Lichtburg, Wedding; the Charlottenburg Oberon; Trabrenn­ bahn Karlshorst; Werder and old Potsdam as well as many factories, train stations and housing developments under construction. Another interesting aspect is the painted advertising visible on many of the larger buildings.


4101

berlin 4101 Photographer unknown. Images of Berlin after

WW II. 1950s. 111 vintage photo postcards (10 x 14,5 cm) and 25 gelatin silver prints (7 x 10 cm). Mounted to album pages in photo corners, bound in grey textured canvas album 25 x 22 cm. 500 € A comprehensive collection comprising views of Berlin in the 1950s. The first part of the album consists of photo postcard views, showing many of the newly built architectural landmarks of Berlin such as the traffic tower at the Joachimsthaler/

Ku’damm corner; the new Zoo Palast cinema; the Kempinski Hotel; Kranzler Eck; the new restaurant pavillon in the exhibition garden (Funkturm); the new HdK concert hall, Hardenberg Str.; Kongresshalle, Tiergarten; many planes at Tempelhof Airport; views of the architectural exhibition 1957; the new Bilka department store; the Bikini Haus and several views of Berlin by night. At the end of the album are a group of private shots showing the streets of Berlin, the Zoo station under reconstruction, Autobahn bridges and construction at Halensee, street traffic, the Berlin Hilton hotel and the Memorial Church in its state as a sole ruin. 79


4102

berlin 4102 Photographer: Karl-Heinz Kraemer. Aerial view

of Alexanderplatz, Berlin under construction. July 1967. 2 vintage gelatin silver prints joined with tape on verso as a panorama. 14 x 42 cm. 2 photographer’s stamps, archive stamps and annotated/layout marks in pencil/ ink on the verso. 400 € A very detailed panoramic view of the constrcution of Alexander­ platz, Berlin. Karl-Heinz Kraemer was a popular architectural photographer in the GDR. He was known for his extensive documentation of the construction of the TV tower at Alexanderplatz. Lit.: Karl-Heinz Kraemer. Berliner Panorama. Leipzig 1987.

helene bieberkraut (1896–1983)

4103 80

4103 Early photo works from Helene Bieberkraut‘s time at the Münchner Fotoschule. 1920s. 29 vintage gelatin silver prints, some sepia toned. Each between circa 24,5 x 19 cm and 14 x 9 cm. Some monogrammed and titled in the negative as well as annotated Handdruck, several mounted in 2 card portfolios (timestained, edge wear) with lithographed HaBe KunstFoto Karten label on covers. 500 €


helene bieberkraut 4104 Architectural views of Tel Aviv. 1930s. 9 vintage

gelatin silver prints, some sepia toned. Each circa 23 x 17 cm. Each mounted to board (slight edge wear), most annotated in white ink by the photographer below the images on the mount, bound in paper album, annotated by the photographer in white ink on inner cover, with chord binding. 900 € Helene Bieberkraut, née Joseph, was born in Cologne, Germany and studied photography in Munich, where she opened a studio for portraiture and architectural photography. In the late 1920s she married the artist James Bieberkraut (born in Leipzig, Germany). Circa 1936 the couple emigrated to Palestine. Helene opened a photography studio in Tel-Aviv. She photographed the famous Dead Sea Scrolls (her husband, James Bieberkraut, was the person who opened the Genesis Apocryphon) as well as architecture. Her work is in the collection of Stanford University Library. – With: Views of architectural models for the White City, other private homes as well as the synagogue in Chadera. 1930s. 24 vintage gelatin silver prints. Each circa 17 x 12 cm and some smaller. Mounted to board (slight edge wear, 6 loose), most annotated in white ink by the photographer below the images on the mount, bound in paper album with chord binding.

4104

4104 81


4105

4106

bit terfeld (m ä rzk ä mpfe) 4105 Images of the Märzkämpfe in Bitterfeld

(March Battles in central Germany). 1921.12 vintage ferrotyped gelatin silver prints. Each circa 8 x 12 cm and 18 x 24 cm. Most mounted to card (slight foxing), 3 loose. 300 € 82

heiner blum (b. 1959)

4106 Große Fontäne bei den Wasserspielen in Kassel.

1981. Gelatin silver print on Agfa paper. 19,8 x 29,5 cm (30,3 x 40,2 cm). Signed, titled and annotated by the photographer in pencil on the verso. 500 €


boli v i a 4107 Photographer: Maximilano T. Jesse (4), Fried-

rich Ahlfeld (1892-1982) and R. Giménez. Views of Bolivia. 1900-1930s. 14 vintage gelatin silver prints. Circa 24 x 19 cm and some smaller. Mounted to board (some traces of use), several signed and titled by the photographer in pencil below the image on the mount and some with photographer’s stamp on mount verso. 600 € Attractive group of views showing landscapes of Bolivia including Mt. Illimani, Mt. Sajama, fishermen at Lake Titicaca, Rio Desaguadero and some unidentified villages and landscapes.

4107

robert bothner (1899–1967)

4108 Industrial smokestack. 1950s. Vintage ferro-

typed gelatin silver print on Agfa paper. 23,5 x 17,5 cm. Annotated in pencil by the photographer, as well as photographer’s Stgt.-Wangen Ravensburger Str. 38 stamp on the verso. 500 €

4108

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. 83


robert bothner 4109 Staircase studies. 1950s. 2 vintage ferrotyped

gelatin silver prints, 1 on Agfa-Brovira paper. 16,8 x 12,7 cm and 14,7 x 12,1 cm. 1 annotated in pencil by the photographer, each with photographer’s Stuttgart.Wangen Ravensburger Str. 38 stamp on the verso. 500 € Provenance: The estate of the photographer.

4109

robert bothner 4110 Pelican. 1950s. Vintage ferrotyped gelatin silver print on Leonar paper. 24 x 17,3 cm. Annotated in ink by the photographer, layout marks in pencil, as well as photographer’s Stgt.-Wangen Wasenstr. 4 stamp on the verso. 600 € 4110 84

Provenance: The estate of the photographer.


pierre boucher (1908–2000)

4111 “La chute des corps”. 1936/printed 1991. Gelatin

silver print. 27,5 x 21,2 cm (40,5 x 30 cm). Signed by the photographer in pencil and Griffelkunst stamp on the verso. 300 €

4111

da niele buet ti (b. 1956)

4112 “White Tears”. 2005/2006. Digital color print.

80 x 64 cm. Edition label with title, therein signed and numbered 94/100 by the photographer in ink on the verso. From an edition of 100 + 20 a.p. 750 €

4112

This photo-based work uses Tom Munro’s famous image illu­ strated on the cover of the catalogue for the Giorgio Armani exhibition, organized by the Solomon R. Guggenheim Foun­ dation and the Kunstgewerbemuseum Berlin in 2003. Lit.: Guggenheim Museum Publications. Giorgio Armani. Stuttgart 2003, ill. front cover (Tom Munro image). 85


4113

4114 86


4115

john bul mer

suse by k

4113 “Manchester”. 1977/printed later. Large-format

4115 Reimann Ball costume. 1920s. 2 vintage gelatin

(b. 1938)

fine art print. 32,7 x 51 cm (42 x 59,2 cm). Signed and editioned 02/25 by the photographer in black ink in lower margin; label titled and signed by the photo­ grapher in black ink on verso. 1.000 €

4114 “North UK”. 1965/printed later. Large-format

fine art print. 36 x 50,6 cm (42 x 59,2 cm). Signed and editioned 03/25 by the photographer in black ink in lower margin; label titled and signed by the photo­ grapher in black ink on verso. 1.000 €

(1890 –1943)

silver prints. 22,6 x 15 cm. Each signed by the photo­ grapher in the negative in lower right; each annotated in pencil on the verso. 300 € Suse Byk was likely a student at the Lette Verein in Berlin and as of 1910 she was registered with the “Photographischen Verein zu Berlin”. She took over the studio of Ernst Sandau and from 1913-1938 had her own studio at Kurfürstendamm 230 which specialized in portrait, fashion and dance photography. Martha Maas and Lore Feininger apprenticed in her studio. Byk’s role and film portraits of the cabaret star Valeska Gert have become legendary. In 1938 she sold her studio to her former apprentice Lieselotte Strelow and emigrated with her husband, the writer and philosopher Hellmuth Falkenfeld (1893-1954) via London to New York. Lit.: Albert Reimann Kunstwerkstätten, Schule Reimann (ed.). Farbe und Form. Monatsschrift für Kunstgewerbe, see issue January 1, 1928 (variants). 87


4116

jewgeni ch a ldej (1916–1997)

4116 “Atop the Berlin Reichstag, May 2, 1945”. 1945/

printed 1990s. Gelatin silver print. 22,7 x 30,3 cm. Signed and dated by the photographer in pencil on the verso. 1.500 €

An interesting document, 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.

88

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). Lit.: Ernst Volland/Heinz Krimmer (eds.). Von Moskau nach Berlin. Bilder des russischen Fotografen Jewgeni Chaldej. Berlin 1999, ill. p. 65.


4117

jewgeni ch a ldej 4117 “Budapest, January 1945”. Printed later. Gelatin

silver print. 31 x 40,4 cm. Signed by the photographer in crayon on the verso. 750 € Lit.: Ernst Volland/Heinz Krimmer (eds.). Von Moskau nach Berlin. Bilder des russischen Fotografen Jewgeni Chaldej. Berlin 1999, ill. p. 39. 89


4118

china 4118 Photographer unknown. Views of China. 1950s.

Circa 100 vintage ferrotyped gelatin silver prints. Most circa 13 x 18 cm and some smaller. 750Â â‚Ź

90


china 4119 Photographer: Leong Shang Woy and Lai Chong.

Souvenir photos of a German merchant in Shanghai. 1912–13. 7 collodion paper and gelatin silver prints. Each circa 24 x 29 cm. 1 mounted to board (wear in edges), 2 with photographer’s stamp and most annotated in ink in German on the verso. 400 € Includes one smaller panorama of Shanghai by Leong Shang Woy and a group portrait of members of the China ExportImport Bank & Compagnie, Shanghai.

václ av chochol a (1923–2005)

4120 “Konecna” (End station). 1947. Vintage gelatin

silver print. 23,2 x 29,2 cm. Signed and dated by the photographer in ink in lower right; signed, titled and dated by the photographer in pencil on the verso. 500 €

4119

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.

4120 91


4121

lucien clergue (1934–2014)

4121 “Nu de la mer”. 1968. Vintage large-format ferro­

typed gelatin silver print. 50 x 38,8 cm. Signed, titled and numbered 14/60 by the photographer and 2 photographer’s stamps on the verso. 1.200 € 92


4122

lucien clergue 4122 Urban Nude. 1979. Vintage gelatin silver print.

30,2 x 23,7 cm. Photographer’s stamp (partially cut off), layout notations and dated in pencil on the verso. 1.000 € 93


cologne 4123 Photographer unknown. Interiors of Cologne cafe/restaurant.1919. 4 vintage gelatin silver prints. Each circa 23,5 x 17,4 cm. Each mounted to card (soiled, some foxing). 300 € Excellent examples of art deco interior design of a Cologne establishment in 1919.

thom as dem a nd (b. 1964)

4124^ “Phototrophy”. 2005. Fine art print. 31 x 36,5 cm. Signed and editioned AP V/XX by the photographer in pencil on the verso. Framed under glass in wooden frame. Edition Schirmer/Mosel Munich. 1.800 € One of the most celebrated contemporary photo artists, Thomas Demand’s pictures at first seem like depictions of everyday places. On closer inspection it becomes evident that they are reconstructions of reality: Demand creates life-size environments made of paper and cardboard which are accurate down to the smallest details, then photographs these ‘re-creations’ and destroys them. These pictures underline the drab aesthetics of the modern office world and architecture, but also show depictions of nature. Demand’s sculptural simulations, completely devoid of people, lead us into a world of models in which a “faked’ reality blends with the memory of “real” reality and as such become a virtual reality.

4123

4124 94


4125

deutsch südw est a frik a 4125 Photographer: Erich Staebe (1884-1936). Presentation album of views of German Southwest Africa. 1920s. 60 vintage gelatin silver prints. Each circa 16 x 21 cm. Mounted to grey album boards (soiled in edges), bound in contemporary half leather album (book block loose, 26 x 36 cm). 2.000 € Attractive views showing the landscape, some mining industry and compelling portraits of inhabitants. 95


4126

dichterfa hrt 1940 4126 Photographer: Albert Weinsheimer (active in

Berlin, 1929-1969). Rich and curious documentation of the so-called “Dichterfahrt” to France in 2 souvenir albums. 1940. Circa 450 vintage ferrotyped gelatin silver prints in 2 albums and circa 61 unmounted vintage gelatin silver prints). Most circa 5,5 x 8,5 cm and 18 x 12,5 cm. Most mounted to album pages, anno­ tated in ink and red crayon below images on mount, unmounted photos with typed press text label and photographer’s stamp on the verso. 1.000 € 96

The “Dichterfahrt” was a travel event organized by the German Ministry for Propaganda and the Wehrmacht. Politically loyal writers (14 in total) were invited to visit the West European battlefields in France such as Verdun, Somme River, Flanders via Paris and other cities to the Atlantic Coast. They were received by officers who explained the military situation so the authors could write about it. The images show the vast destruction of the war in France. Following the tour one of the participants, Wilhelm Pleyer, wrote the book “Dichterfahrt durch Kampf­ gebiete” in 1940. – With: Albert Weinsheimer’s personal scrap ­book with newspaper clippings and documentation of the Dichterfahrt 1940. Many articles with images show the various stations of the journey, many annotated in pencil by Weins­ heimer.


4127

4128

johnn y donnels

jeremy dunn

4127 “Jazz Intermezzo”; “Eubie in Concert”. 1970s/

4128 Sassnitz, Rügen. 2010. Gelatin silver print. 21,6 x

(1924–2009)

printed 1980s. 2 gelatin silver prints. 24 x 33,5 cm and 25 x 31 cm. Each matted and signed and titled by the photographer in ink below the image on the mat, second print also annotated by the photographer on mat verso. 600 €

(b. 1956)

33,5 cm (24 x 36 cm). Signed, dated and titled by the photographer in pencil on the verso. 400 €

97


4129

h a rold edgerton (1903–1990)

4129 „Light Bulb (IV), 30 Caliber Bullet, Exit“. 1936/

printed 1980s. Gelatin silver print. 22 x 30 cm (27,8 x 35 cm). Signed and titled by the photographer in pencil on the verso. 2.500 €

98


4130

roberto eichenberger (1902– ?)

4130 Santa Cruz, Guatemala; La Merced, Antigua,

Guatemala. Early 1930s. 2 vintage hand-tinted gelatin silver prints. Each circa 19,5 x 23 cm and 24,3 x 17,7 cm. Each mounted to black paper, mounted to original chamois board (slightly soiled, slight edge wear), each signed and titled by the photographer in ink below the image on the mount; each with photographer‘s stamp on mount verso. 750 €

4131 Chicicastenango, Guatemala. Early 1930s.

Vintage hand-tinted gelatin silver print. 24,3 x 17,7 cm. Mounted to black paper, mounted to original chamois board (slightly soiled, slight edge wear), signed and titled by the photographer in ink below the image on the mount. 600 €

4131 99


ol a fur eli asson (b. 1967)

4132* „Contact is content at Seljalandsfoss“.1996/ 2014. 2 chromogenic prints. 53 x 42 cm. Signed and editioned by Olafur Eliasson in ink on separate label. In original ivory linen clamshell box with folder with 2 photos inside and the accompanying artists‘s book of the same title. Edition 37/100 + 25 APs, Schirmer/ Mosel edition 2008. 3.500 €

4132 100

Over the years, Danish-Icelandic artist Olafur Eliasson has con­ tinually returned to Iceland to capture its landscape with his camera. This ambitious, ongoing venture has resulted in approximately eighty photo series to date, and a vast number of individual photographs showing glaciers, waterfalls, rivers, volcanoes, and caves. More than mere documents of the terrain, Eliasson’s vibrant images reflect on man‘s relationship to nature, the physical space in which we exist, and the body’s felt motion through space. The prints in this work mirror each other. The artist suggests framing the two prints separately and hanging them one above the other, with the sources of the two waterfalls abutting. This creates an abstract, Rorschach-like composition of a waterfall spilling upwards as well as downwards, although which image is the ‘actual’, non-inverted depiction of Seljalandsfoss is indeterminable, creating a visual ambiguity and surreality.


siegfried enkel m a nn (1905–1978)

4133 Unknown dancer. 1940s. Vintage ferrotyped

gelatin silver print on Agfa-Brovira paper. 18 x 24 cm. Photographer‘s stamp on the verso. 300 €

erotic photogra ph y 4134 Selection of female nudes. 1920s. 5 vintage

gelatin silver prints, some sepia-toned. Most circa 14 x 10 cm. 400 €

4133

4134

ethnogra phic portra its 4135 Photographer unknown. Ethnographic por-

4135

traits. 1910s. 71 gelatin silver prints, rotogravures and reproduction prints. Most circa 6 x 9 cm and 13 x 8 cm. Mounted to album pages, bound in canvas album (spine cracked and loose, edges rubbed). 300 € 101


4136

elger esser (b. 1967)

4136* „Nocturnes à Giverny“ (Giverny VII). 2010/ printed 2012. Chromogenic print. 19 x 24 cm (21 x 26,2 cm). Signed and numbered 30/50 by the photographer in felt-tip pen on the verso, framed under glass. Edition Schirmer/Mosel Munich. 1.400 € Lit.: Hubertus von Amelunxen (ed.). Elger Esser. Nocturnes à Giverny, Munich 2012, ill. p. 23.

102


4137

a ndreas feininger (1906–1999)

4137 The Hudson River and lower Manhattan from

above. 1940. 2 vintage ferrotyped gelatin silver prints mounted together as a panorama. Each 36 x 27 cm, total size 36 x 54 cm. Each with photographer‘s stamp and extensively annotated by the photographer in pencil on the verso. 3.000 € Lit.: Andreas Feininger. New York in the Forties. New York 1978, ill. pp 46-47. Provenance: Van Ham Auction 318, Dec. 7, 2012, lot 1079. Hans van den Bogaard collection. 103


4138

4138

4139 104


4140

fil m photogra ph y 4138 Set and film still photos of „Paganini“ (1923)

directed by Heinz Goldberg and starring Conrad Veidt. 19 vintage gelatin silver prints. Various sizes between circa 23 x 17,5 cm and 9 x 13 cm. Each annotated in ink/ pencil by Stefan Lorant, 1 mounted to modern board and with Stefan Lorant Collection stamp on mount verso. 400 € The photos in this collection were taken 1922-23. Many are on the set of „Paganini“ and show Conrad Veidt, Eva May, Stefan Lorant and others. The film stills show: Eva May on lighted bridge, officer reading proclamation, crowd scene, Eva May and child with violin, concert hall and dimly lit interior. The expressive use of light and staging is evident in these images. Provenance: Stefan Lorant Collection

4139 Set photos of the films „Asphalt“ (1929) directed

by Joe May and „Berlin - Die Sinfonie der Großstadt“ (1927) directed by Walther Ruttmann. 3 vintage gelatin silver prints. 12 x 16 cm and 8 x 11,8 cm. 1 mounted to modern board, each annotated in ink/pencil by Stefan Lorant and Stefan Lorant Collection stamp on the verso. 500 €

Early film photos taken during the filming of two of the most famous German silent films. „Berlin - Die Sinfonie der Großstadt“ was an experimental silent documentary film which portrayed the everday life in the metropolis Berlin, showing it as a living organism. „Asphalt“ was one of the last silent films released in Germany as the sound film era approached. Provenance: Stefan Lorant Collection

4140 Scene from the film „Metropolis“ showing the

Heart Machine. 1926/27. Vintage gelatin silver print. 21 x 27,5 cm (23,3 x 29,8 cm). Ufa logo and number 47 in the negative in lower left corner; Photo:Ufa reproduction limitation stamp and film title stamp on the verso. 750 € Although „Metropolis“ did not enjoy the expected success during its premiere, audiences were impressed with the technical tricks and visual effects which remain an iconic element of cinematography today. This film still shows the Heart Machine, which is the city‘s power generator in the film. Its destruction leads to a hydraulic breakdown and flood of the worker‘s city.

105


4141

fil m photogra ph y 4141* Stills from the silent film „Der schwarze Pier-

rot“ directed by and with Harry Piel. 1926. 8 vintage matte gelatin silver prints. Each circa 21 x 27 cm. Each mounted to board (some traces of use). 400 €

4142 Selected images of Henny Porten (1890–1960)

in various roles and on the set of different films. 19101930s. 24 vintage gelatin silver prints. Various sizes between circa 27 x 22 cm and 13 x 9 cm. Each annotated in ink/pencil by Stefan Lorant, several mounted to modern board most with Stefan Lorant Collection stamp on verso. 300 € A wide selection of photographs showing the German film actress Henny Porten in different roles as well as on the sets of various films such as: „Alexandra“ (1914), „Auf der Alm gib‘s ka Sünd“ (1915), „Rose Bernd“ (1919), „Kohlhiesels Töchter“ (1920), „Die Geierwally“ (1921), „Anna Boleyn“ (1921) „Wehe, wenn sie losgelassen...“ (1926). Provenance: Stefan Lorant Collection

106

4142


4143

fil m photogra ph y 4143 Photographer: Foto Wesel. Publicity shots of

Hildegard Knef for the film „Die Sünderin“. 1951. 6 vintage ferrotyped gelatin silver prints on Agfa-Brovira paper. 24,3 x 18 cm. Each with film distribution stamp and copyright/reproduction stamp on the verso. 600 € With: 2 vintage German film program magazines for „Die Sünderin“, 1951. 107


4144

li v io fioroni 4144 Images of the Helmut Newton shooting „The

Seven Deadly Sins: Anger, Greed, Gluttony, Envy, Sloth, Lust and Pride“ project, commissioned by the Italian magazine Amica. 1982. 21 gelatin silver prints on RC Agfa paper. Each 26 x 19,4 cm (30,5 x 24 cm) and 19,4 x 26 cm (24 x 30,5 cm). Each with photographer‘s stamp on the verso. 1.000 € Photos taken on the project set by the photographer Livio Fioroni, showing Helmut Newton, the model Sylvia and others on the set of the shooting.

108


fra nco fonta na (b. 1933)

4145 Seascape. 1975/printed early 1990s. Dye transfer print. 50,5 x 33,8 cm (57,7 x 48,5 cm).

1.000 €

4146 Landscape. 1985/printed early 1990s. Dye trans­ fer print. 33,5 x 50,5 cm (48 x 57,7 cm).

1.500 €

4145

4146 109


4147

110


4148

lee friedl a nder

ford motor compa n y ri v er rouge pl a nt

4147 Portraits of Ray Charles, Miles Davis, Joe Turner and Milt Jackson. 1959,1969/printed 1983. 4 dye transfer prints. Each circa 28 x 27,5 cm (41 x 35 cm). 1.200 €

4148 Photographer unknown. Ford Motor Company,

(b. 1934)

River Rouge Plant. 1930s. Vintage ferrotyped gelatin silver print. 25 x 20 cm. Number in pencil on the verso. 400 €

Lee Friedlander became a photographer for Atlantic Records in the 1950s and produced many well-known album covers. The images offered here were part of the Jazz & Blues Portfolio published in 1983 which contained 7 dye transfer prints and included 25 sets. Lit.: Lee Friedlander. American Musicians: Photographs by Lee Friedlander. New York 1998. 111


4149

gdr pho t ogr a ph y siby lle bergem a nn (1941–2010)

4149 Boardwalk. Mid-1970s. Vintage gelatin silver

print. 34 x 48 cm. Dedicated and dated by the photographer in ink and archive stamp on the verso. 1.200 €

4150 Portraits of the actress Angelica Domröse. 1972. 3 vintage gelatin silver prints. 28,5 x 19,5 cm. Each with photographer‘s stamp, 1 also signed by the photographer in ink and each with archive stamp on the verso. 600 €

4151 Backstage at theater. 1980s. Vintage gelatin silver print. 29,5 x 39,5 cm. Photographer‘s stamp and archive stamp on the verso. 500 € 112


4150

4150

4151 113


4152

siby lle bergem a nn 4152 Jewish children in New York. 1980s. 2 vintage gelatin silver prints. 22 x 31 cm and 17,5 x 24,5 cm. Each signed and dedicated by the photographer in ink and archive stamp on the verso. 400 €

4153 Parade. 1980s. Vintage gelatin silver print. 39 x 29 cm. Signed by the photographer in ink and archive stamp on the verso. 400 €

4153 114

With: Portrait of Katharina Thalbach with child. 1980s. Vintage sepia-toned gelatin silver print. 24 x 30 cm. Signed by the photogapher in ink and archive stamp on the verso. - Some surface spots.


4154

siby lle bergem a nn 4154 Images from „Das Denkmal“ series. 1975-1986/

printed 1989. 7 gelatin silver prints. Each circa 24 x 31 cm. Each signed by the photographer in ink and with photographer‘s label, some with additional notations in pencil/ink on the verso. 2.500 € Lit.: Arno Fischer/Bernd Heise/Frieda von Wild. (eds.). Sibylle Bergemann. Fenster. 2011, ill. unpaginated. 115


4155

kurt buch wa ld (b. 1953)

4155 From the series „Ein Streifen Tag - ein Streifen Nacht, Berlin“. 1987/88. Vintage ferrotyped gelatin silver print. 13 x 19 cm (18,2 x 24 cm). Photographer‘s stamp on the verso. 600 € Lit.: F.C. Gundlach (ed.). Zwischenzeiten. Bilder ostdeutscher Photographien 1987-1991. Hamburg 1991, ill. p. 154.

christi a n borchert (1942–2000)

4156 116

4156 The artist and writer Charlotte E. Pauly (18861981). 1976. Vintage gelatin silver print. 23,8 x 16 cm (30 x 22,1 cm). Signed, titled and dated by the photographer in pencil, photographer‘s stamp and archive stamp on the verso. 600 €


detlef b. christel (1943–2018)

4157 Berlin. 1980s. Vintage ferrotyped gelatin silver

print. 28 x 21 cm. Photographer‘s stamp on the verso. 400 € Detlef Christel studied photography at the Hochschule für Grafik und Buchkunst Leipzig from 1976-1981. From 1982-1991 he was a photojournalist for the magazine „Freie Welt“ and worked. One of his major topics was children in the GDR and the bridge to adulthood. He aimed to portray them in natural everyday situations, documenting social conditions and their inner life. Provenance: From the estate of the photographer.

4158 Berlin. 1980s. Vintage ferrotyped gelatin silver

print. 22 x 21 cm. Photographer‘s stamp on the verso. 400 € Provenance: From the estate of t he photographer.

4157

4158 117


4159

detlef b. christel 4159 Berlin. 1980s. Vintage ferrotyped gelatin silver

print. 28,5 x 40 cm. Photographer‘s stamp on the verso. 600 € Provenance: From the estate of the photographer.

4160 Berlin. 1980s/printed later. Gelatin silver print

on Fujicolor Professional paper. 41 x 30,5 cm. Annotated on the verso. 500 € 4160 118

Provenance: From the estate of the photographer.


4161

4162

detlef b. christel 4161 Palast der Republik, Berlin. 1980s. 3 vintage ferrotyped gelatin silver prints. 29 x 40 cm. Each mounted to board, photographer‘s stamp on mount verso 600 €

4162 Destruction of old buildings, Berlin. 1980s.

Provenance: From the estate of the photographer.

Provenance: From the estate of the photographer.

Vintage ferrotyped gelatin silver prints. 29 x 40 cm. Mounted to board, photographer‘s stamp on mount verso. 500 €

119


4163

a rno fischer (1927–2011)

4163 „Müritz“. 1956/printed 1980s. Gelatin silver

print. 23,7 x 36 cm (28,4 x 39,8 cm). Photographer‘s stamp on the verso. 1.200 € Lit.: Elke aus dem Moore (ed.). Arno Fischer. Fotografie (exhibition catalogue). Ostfildern 2009, ill. p. 65.

4164 The artist Otto Nagel (1894-1967). Circa1958/

printed 1980s. Gelatin silver print. 41,5 x 27 cm (50,5 x 40,5 cm). Signed and titled and by the photographer in pencil, photographer‘s and archive stamp on the verso. 900 €

120

4164


4165

a rno fischer 4165 East Berlin, Wuhlheide. 1959/printed 1980s.

Gelatin silver print. 27,5 x 42 cm (34 x 46,5 cm). Signed, titled and dated by the photographer in pencil, photographer‘s and archive stamp on the verso. 750 €

4166 The actress Schanna Prochorenko (1940-2011).

1960/printed 1980s. Gelatin silver print. 41,5 x 27 cm (51 x 40,5 cm). Signed and titled and by the photographer in pencil, photographer‘s and archive stamp on the verso. 600 € Lit.: Elke aus dem Moore (ed.). Arno Fischer. Fotografie (exhibition catalogue). Ostfildern 2009, ill. p. 62.

4166 121


4167

a rno fischer 4167 West Berlin. 1960/printed 1980s. Gelatin silver

print. 27,3 x 41,7 cm (34 x 46,2 cm). Signed, titled and dated by the photographer in pencil, photographer‘s and archive stamp on the verso. 750 €

4170 „New York“. 1984. Vintage matte gelatin silver print. 49,5 x 33 cm (55,5 x 36,5 cm). Photographer‘s stamp and number in pencil on the verso. 1.200 € Lit.: Elke aus dem Moore (ed.). Arno Fischer. Fotografie (exhibition catalogue). Ostfildern 2009, ill. p. 144. Provenance: From the photographer to the present owner.

4168 „New York“. 1984. Vintage matte gelatin silver

print. 49,5 x 33 cm (55,5 x 36,5 cm). Photographer‘s stamp and number in pencil on the verso. 1.200 € Lit.: Elke aus dem Moore (ed.). Arno Fischer. Fotografie (exhibition catalogue). Ostfildern 2009, ill. p. 153. Provenance: From the photographer to the present owner.

4169 „New York“. 1984. Vintage matte gelatin silver

print. 49,5 x 33 cm (55,5 x 36,5 cm). Photographer‘s stamp and number in pencil on the verso. 1.200 € Lit.: Elke aus dem Moore (ed.). Arno Fischer. Fotografie (exhibition catalogue). Ostfildern 2009, ill. p. 147. Provenance: From the photographer to the present owner.

122

4171 „New York“. 1984. Vintage matte gelatin silver print. 49,5 x 33 cm (55,5 x 36,5 cm). Photographer‘s stamp and number in pencil on the verso. 1.200 € Lit.: Elke aus dem Moore (ed.). Arno Fischer. Fotografie (exhibition catalogue). Ostfildern 2009. Provenance: From the photographer to the present owner.


4168

4170

4169

4171 123


bernd hey den (1940 –1984)

4172 Prenzlauer Berg, Berlin. 1970s. Vintage gelatin silver print. 24 x 18 cm.

600 €

Bernd Heyden was a child of Prenzlauer Berg, Berlin where he spent most of his life. The autodidact initially trained as a woman‘s tailor and worked as an ironer, chauffeur and laboratory assistant until he was admitted as a photographer in 1974. Since 1967 he worked in the Club junger Fotografen (Club of Young Photographers) founded by Arno Fischer and Sibylle Bergemann. His photographs were rejected by GDR officials as „trash can photography“, but were highly valued by many colleagues. Provenance: Estate of Arno Fischer.

4172

bernd hey den 4173 Prenzlauer Berg, Berlin. 1970s. Vintage gelatin silver print. 23,8 x 16 cm (29,7 x 23,7 cm). 750 € 4173 124

Provenance: Estate of Arno Fischer.


4174

4175

bernd hey den 4174 Old woman; Neues Deutschland Pressefest,

Berlin. 1970s. 2 vintage gelatin silver prints, 1 ferro­ typed. 17,5 x 26 cm (21 x 28,4 cm) and 17 x 23 cm. 1 with photographer‘s stamp on the verso. 500 € Provenance: Estate of Arno Fischer.

4175 Selected images of Berlin including „Blick von

der Stralauer Brücke“ and Children in box. 1970s. 4 vintage gelatin silver prints. Various sizes 14,5 x 21,5 cm (20,7 x 27 cm). 2 with photographer‘s stamp and one with exhibition text printed on the verso. 500 € Provenance: Estate of Arno Fischer. 125


bernd hey den 4176 Train tracks. 1970s. Vintage gelatin silver print. 31 x 22,5 cm. Signed by the photographer in red pen, photographer‘s stamp and archive stamp on the verso. 1.000 €

4177 Autobahn, GDR. 1970s. Vintage gelatin silver

print. 26,5 x 38,5 cm. Signed by the photographer in red pen, photographer‘s stamp, Spanish exhibition stamp and archive stamp on the verso. 1.200 €

4176

4177 126


4178

4179

bernd hey den 4178 Landscape. 1970s. Vintage gelatin silver print.

26,5 x 39 cm. Signed by the photographer in red pen, photographer‘s stamp, French exhibition stamp and archive stamp on the verso. 1.200 €

4179 Wheat field. 1970s. Vintage gelatin silver print.

19 x 28,5 cm. Signed by the photographer in red pen, photographer‘s stamp and archive stamp on the verso. 900 € 127


4180

4181

bernd hey den 4180 At Hoppegarten racetrack, Berlin. 1970s. Vin­

tage gelatin silver print. 16,5 x 24,3 cm (20 x 29,7 cm). 750 € Provenance: Estate of Arno Fischer.

ute m a hler (b. 1949)

4181 „Zirkuskinder vom Zirkus ‚Hein‘“. 1974. Vintage semi-glossy gelatin silver print. 23 x 34 cm (29,5 x 39 cm). Signed and dated by the photographer in pencil in lower margin; titled by the photographer in pencil and archive stamp on the verso, mounted along upper edge in black paper folder. 600 € Lit.: Ingo Taubhorn/ Brigitte Woischnik (eds.). Ute Mahler und Werner Mahler. Werkschau. Heidelberg 2014, illustrated.

128


4182

4183

ute m a hler 4182 Young girl with doll. 1974. Vintage semi-glossy

gelatin silver print. 23 x 34 cm (29,5 x 39 cm). Signed and dated by the photographer in pencil in lower margin; archive stamp on the verso, mounted along upper edge in black paper folder. 600 €

4183 „Bauern, Thüringen“. 1975. Vintage semi-glossy

gelatin silver print. 23 x 34 cm (29,5 x 39 cm). Signed and dated by the photographer in pencil in lower margin; titled by the photographer in pencil and archive stamp on the verso, mounted along upper edge in black paper folder. 600 €

129


4184

4185

ute m a hler 4184 „18 jährige in ihrem einzigen Zimmer, Berliner

Vorort“. 1975. Vintage semi-glossy gelatin silver print. 23 x 34 cm (29,5 x 39 cm). Signed and dated by the photographer in pencil in lower margin; titled by the photographer in pencil and archive stamp on the verso, mounted along upper edge in black paper folder. 600 € Lit.: Ingo Taubhorn/ Brigitte Woischnik (eds.). Ute Mahler und Werner Mahler. Werkschau. Heidelberg 2014, ill. (variant).

130

4185 „Kellnerin, Landmaschinenmechaniker, Berli-

ner Vorort“. 1975. Vintage semi-glossy gelatin silver print. 15,5 x 22,5 cm (29,5 x 39,5 cm). Signed and dated by the photographer in pencil in lower margin; titled by the photographer in pencil and archive stamp on the verso, mounted along upper edge in black paper folder. 600 €


4186

sv en m a rqua rdt (b. 1962)

4186 Portraits of people from the GDR subculture

scene. 1980s. 11 vintage gelatin silver prints. Each 14,5 x 10 cm. Each with photographer‘s stamp on the verso. 1.500 € 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 Magazin from 1985-1986, he was the assistant of Rudolf Schäfer. He work­ ed 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 worked as a bouncer at the Berlin club Berghain where he soon became a symbol of the club culture. 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. 131


sv en m a rqua rdt 4187 Portraits of people from the GDR subculture scene. 1980s. 5 vintage gelatin silver prints (2 on RC paper). 30 x 21 cm and most circa 14,5 x 10 cm. 2 with photographer‘s stamp on the verso. 900 €

4187

roger melis (1940 –2009)

4188 Christa Wolf. 1970s. Vintage ferrotyped gelatin

silver print. 40 x 30 cm. Signed by the photographer in felt-tip pen and archive stamp on the verso. 500 €

4189 Festive dinner with suckling pig. 1970s. 9 vin­

tage ferrotyped gelatin silver prints. Each circa 30,2 x 24 cm. Each signed by the photographer in felt-tip pen and archive stamp on the verso. 900 € 132

4188


4189 133


4190

robert pa ris (b. 1962)

4190 S-Bahnhof Potsdamer Platz. 1990. Gelatin silver

print. 30,2 x 39,6 cm. Titled, dated, signed and editioned III/20 by the photographer in pencil on the verso. 400Â â‚Ź Lit.: Robert Paris. Lichter aus dem Untergrund. Berlin 1994, illustrated.

134


4191

rudolf sch ä fer (b. 1952)

4191 Gasometer, Prenzlauer Berg shortly before its

demolition. 1984. Gelatin silver print. 16,7 x 22,2 cm (23 x 28,7 cm). Photographer‘s/copyright stamp on the verso. 600 € 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. 135


gundul a schulze eldow y (b. 1954)

4192 „Sylvester, Berlin“. 1982. Vintage gelatin silver print. 50,7 x 39,3 cm (70,5 x 51,5 cm). Signed, titled and dated by the photographer in pencil below the image in the margin, photographer‘s stamp Gundula Schulze on the verso. 900 € Lit.: Gabriele Muschter (ed.). DDR Frauen fotografieren. Berlin 1991.

4192

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

4193* „Humboldt-Uni“. 1981. Vintage gelatin silver print. 21 x 30 cm. Signed, titled and dated by the photographer in pencil, as well as photographer‘s stamp on the verso. 600 € This image was part of Sewcz‘s diploma project at the Hochschule für Grafik und Buchkunst Leipzig in 1981. Lit.: Marc Barbey (ed.). Hans Martin Sewcz. Berlin-Mitte Mai 1979. Berlin 2011, ill. p. 6.

4194* „Struktur I-IV“. 1976. 4 vintage gelatin silver prints. Each 16,5 x 23,5 cm. Each with photographer‘s stamp and titled, dated and signed by the photographer in pencil on the verso, mounted along upper edge in mat (60 x 76 cm), titled, signed and dated by the photographer in pencil on mat verso. 900 € 136


4193

4194 137


4195

h a ns m a rtin sewcz 4195* „Gorbachev in East Berlin“. 1987. Gelatin sil-

ver print mounted to Aludibond. 20,5 x 67,5 cm. Signed, titled dated by the photographer in black marker on the verso. 900 € Hans Martin Sewcz printed several variants of this image. The one offered here includes his self-portrait on the left which is not on the more published image with only the cars. Exhibition: „Aus nicht so ferner Zeit“, Mauer-Mahnmal des Deutschen Bundestages, June 12- Sept. 10, 2010.

138


4196

ulrich w üst (b. 1949)

4196 Parmen. 2011. Vintage gelatin silver print.

14,5 x 20 cm (17,3 x 22,2 cm). Signed, titled, dated and dedicated by the photographer in pencil on the verso. 1.000 € Lit.: Ulrich Wüst. Kopfreisen und Irrfahrten. Cologne 2004, illustrated. 139


4197

a rnold genthe (1869–1942)

4197 Elizabeth Duncan dancer; Elizabeth Duncan and

students. 1916. Vintage gelatin silver print; halftone print. 22,4 x 11,5 cm and 16,7 x 22,5 cm. Each mounted in upper edge to brown card, each annotated Elisabeth Duncan und ihre deutschen Schülerinnen senden dieses Bild als Ausdruck ihrer Treue. New York 4. August 1916 in ink on mount verso. 500 €

4197 140


4198

luigi ghirri (1943–1992)

4198 Untitled. 1977. Two-toned composite chromogenic print on Kodak paper. 19,2 x 29,2 cm. Mounted in upper portion to card, signed and dated by the photographer in pencil below the image on the mount. 6.000 € With his documentary and surrealistic images of contemporary Italian life, the photographer Luigi Ghirri established his standing as one of the main contemporary photographers of color. Ghirri’s small prints often appear modest, but their cinematic qualities and whimsical perspectives hint at the dualities and contradictions of everyday life. Washed-out colors evoke memories, which Ghirri uses to explore the hidden details within banal scenes. He was inspired by other photographers such as William Eggleston and Lee Friedlander and his aesthetic and conceptual concerns evoke the New Topographics. With it‘s two color rendition, this image is highly unusual within Ghirri‘s oeuvre. 141


4199

na n goldin (b. 1953)

4199 „Kim and Mark in my red car, Newton, MA“.

1978/printed later. Cibachrome print. 39,8 x 59,8 cm. Titled, signed, dated and editioned A.P.3 by the photographer in felt-tip pen on the verso. 3.000 € 142


4200

f.c. gundl ach (b. 1926)

4200 Romy Schneider. 1961. Vintage gelatin silver print. 30 x 29,7 cm. Dedicated by Romy Schneider in ink in left side (faded); photographer’s stamp on the verso. 1.200 € 143


4201

k a rl theodor gremmler (1904–1942)

4201 „Männer am Netz“ series. Late 1930s. Circa 150

vintage ferrotyped gelatin silver prints, many on AgfaBrovira paper. 24 x 18 cm and 18 x 24 cm and some smaller. Some with Gremmler’s copyright stamp or with Fotografie Gremmler-Gorny agency stamp, some annotated in pencil on the verso. 1.500 € Little is known about the life of the photographer Karl Theodor Gremmler and his photographs, especially his work of the 1920s which is considered lost. A small part of his negatives is in the collection of the Deutsche Fotothek, Dresden. The group offered here is therefore rare. Some of the photos bear both Gremmler’s copyright stamp and the agency stamp Gremmler-Gorny. Gremmler received his artistic inspiration in Hanover during the Weimar Republic, where Käte Steinitz (1889-1975) invited the avant-garde artists of the time to her legendary salon. Gremmler was a close friend of Käte and Ernst Steinitz and a regular guest at their house. Kurt Schwitters, El Lissitzky, Mary Wigman, Herward Walden, Lazlo Moholy-Nagy, Theodor Lessing and many others attended Käte Steinitz’s salon. Here Gremmler befriended Albert Renger-Patzsch and also met Hein Gorny. Gorny and his wife Ruth Lessing knew Lotte Jacobi, who had to

144

give up her studio in Berlin in 1935 and emigrate. In that year Gremmler and Gorny took over Jacobi’s studio at Kurfürstendamm 35 and sold their photos individually, as well as together under the Gremmler/Gorny-Bildagentur name. Karl Theodor Gremmler died in 1942 under unclear circumstances. Only one year later, the studio was destroyed in a bombing raid, and a large part of the negatives and photographs were destroyed. The book “Männer am Netz” (Men at the Net) offered here, together with the original photographs, is one of the last German photo books of this time, when such quality was no longer to be expected. Design and layout still emit the spirit of modernity, so hated by the National Socialists. Each page illustrates how a resistant photographer bravely tried to elude National Socialist appropriation. Thus, in 1939, a German photo book was published which is unfortunately still underestimated, but which can nevertheless be included among the best photo books of the German New Objectivity period, alongside those by Albert Renger-Patzsch, Alfred Ehrhardt, Aenne Biermann or Arvid Gutschow. Lit.: Karl Theodor Gremmler. Männer am Netz. Mit Dampfer und Kutter auf Frischfisch und Krabbe. Berlin1939 (first edition), all illustrated.


4201 145


4202

efra im h a berm a nn

robert h äusser

4202 Woman in front of wall; Female nudes. 1979, 1982, 1984. 3 vintage gelatin silver prints on Agfa paper. Each circa 30,5 x 40,2 cm. Each signed and dated by the photographer in pencil in lower left/right corner; photographer’s/copyright stamp on the verso. 600 €

4203 “Räder”. 1953. Vintage ferrotyped gelatin silver print on Leonar paper. 19,3 x 25,5 cm. Titled and dated by the photographer and 2 photographer’s/copyright stamps on the verso. 1.800 €

(b. 1933)

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.

(1924–2013)

4204 „Röhren im Chemiewerk“. 1963. Vintage gelatin

silver print. 20 x 26 cm. Titled and dated by the photographer and photographer‘s Fotografie, Robert Häusser GDL, 6800 Mannheim-41, Ladenburger Strasse 23 stamp on the verso. 1.800 € Lit.: Robert Häusser. Photographische Bilder. Werkübersicht der Jahre 1941-1987. Lamspringe 1988, ill. p. 201.

146


4203

4204 147


4205

robert h äusser 4205 „Kreuz“. 1973. Vintage gelatin silver print. 19 x 26,8 cm. Titled and dated by the photographer and photographer‘s Fotografie, Robert Häusser GDL, 6800 Mannheim-41, Ladenburger Strasse 23 stamp on the verso. 1.800 € Lit.: Robert Häusser. Photographische Bilder. Werkübersicht der Jahre 1941–1987 (exhibition catalogue). Stuttgart 1988, ill. p. 224.

148


4206

heinz h a jek-h a lke (1898–1983)

4206 „Vogeluhr“ (Bird clock). 1967. Vintage large-format gelatin silver print on thick paper. 59,5 x 47 cm. Signed and dated in lower right and editioned Fassung2/Auflage 7 in lower left by the photographer in ballpoint pen; titled by the photographer in ink, photographer’s Bln-Grunewald, Hagen Strasse 32 copyright stamp and Lichtgraphik stamp (therein numbered 2/7) on the verso, hinge-mounted in mat. 3.000 €

Heinz Hajek-Halke’s very complex and unique later work (Lichtgraphiken) can be seen as a form of photographic painting. He employed numerous techniques using mutiple exposures, reworking negatives and combining negatives in many variations. Lit.: Michael Ruetz/Rolf Sachsse (eds.). Heinz Hajek-Halke. Der Alchemist. Göttingen 2012, see ill. p. 70 (dated 1966).

149


4207

heinz h a jek-h a lke 4207 „Im Zwielicht“ (Twilight). 1968. Vintage large-

format gelatin silver print on thick paper. 58,5 x 44,5 cm. Signed and dated by the photographer in ballpoint pen in lower left; titled by the photographer in ink, photographer’s 6701 Birkenheide/Pfalz copyright stamp and Lichtgraphik stamp (therein numbered 1/8) on the verso, hinge-mounted in mat. 2.500 € In a description of how he made a variation of this image, HajekHalke stated:”I coated the negative layer with Pelikanol (glue) mixed with varnish. Further treatment was done with a dry

150

brush, a razor blade and small, flat pieces of wood. The picto­ rial effect is first achieved after thorough drying and rubbing the entire surface with graphite, soot, coal dust or almost dry oil paint. Rubbing is best done with the ball of the thumb, carefully dabbed with one of the materials listed” (cited in Ruetz/ Sachsse, p. 158). In the variant offered here Hajek-Halke also used pressed oil paint as the background and another negative with plant seeds, which appear like birds. Lit.: Michael Ruetz/Rolf Sachsse (eds.). Heinz Hajek-Halke. Der Alchemist. Göttingen 2012, see ill. p. 43 for a variation of this image titled „...sie kommen - wenn sie kommen“.


4208

heinz h a jek-h a lke 4208 “Zwitscherorgel”. 1968. Vintage large-format

gelatin silver print on thick paper. 60 x 37,5 cm. Signed and dated by the photographer in ballpoint pen in lower right; titled and annotated by the photographer in ink, photographer’s 6701 Birkenheide/Pfalz copyright stamp and Lichtgraphik stamp (therein annotated Probedruck) on the verso, hinge-mounted in mat. 2.500 € Lit.: Michael Ruetz/Rolf Sachsse (eds.). Heinz Hajek-Halke. Der Alchemist. Göttingen 2012, ill. p. 151. 151


peter hebler (b. 1950)

4209 Punk rocker, Berlin. March 20,1982. Matte gelatin silver print. 36 x 24,5 cm (40,3 x 30,5 cm). Photographer’s/copyright stamp as well as signed and dated by the photographer in pencil on the verso. 400 €

4209

heinrich heidersberger (1906–2006)

4210 Tree. 1968/printed later. Large-format gelatin silver print. 39 x 31,5 cm. Signed and dated by the photographer in ink on the verso, mounted in mat, signed and editioned 18/50 by the photographer in pencil below image on mat. 600 € 4210 152

Lit.: Heinrich Heidersberger. 50 Jahre Photographie. Galerie für Photographie. Braunschweig 1982, unpaginated.


jürgen heinem a nn (b. 1934)

4211 Brazil. 1960s. Vintage ferrotyped gelatin silver print on Agfa paper. 39,3 x 29,3 cm. Archive stamp on the verso. 600 € Jürgen Heinemann studied under Otto Steinert, first in Saarbrücken and then in Essen between 1959-1962. He was always interested in the social and cultural plight of the people in the various parts of the world he photographed such as Central and South America and Africa. In 1963 he received the “World Press Award”, winning the first prize for ‘Artistic Reportage Photo’. His work has been published in “Das Deutsche Lichtbild” (1961-1968) and has been shown in many exhibitions.

4212 Boy in front of chalk board, Brazil. 1960s. Vintage ferrotyped gelatin silver print on Agfa paper. 29,7 x 37,8 cm. Archive stamp on the verso. 600 €

4211

4212 153


jürgen heinem a nn 4213 Children’s home, Columbia. 1960s. Vintage ferrotyped gelatin silver print on Agfa paper. 30,7 x 39,9 cm. Photographer’s copyright stamp, titled in pencil and archive stamp on the verso. 600 €

4214 Girl, Columbia. 1960s. Vintage ferrotyped gelatin silver print on Agfa paper. 29,3 x 38,2 cm. Archive stamp on the verso. 600 € 4213

4215 Cemetery, Brazil. 1960s. Vintage ferrotyped gelatin silver print on Agfa paper. 30,2 x 40 cm. Archive stamp on the verso. 600 €

4214

4215 154


4216

4217

fritz henle (1909–1993)

4216 Selected images of China. 1935/printed 1992.

8 gelatin silver prints on RC paper. Each circa 25,3 x 20,2 cm and 20,2 x 25,3 cm. Each signed, titled, dated and copyrighted by the artist in ink on the verso. 600 €

4217 Edward Weston, Point Lobos. 1941/printed 1992. Gelatin silver print on RC paper. 20,2 x 19,4 cm (25,2 x 20,2 cm). Signed, titled, dated and copyrighted by the artist in ink on the verso. 600 €

4218 „Akt auf eisernem Hocker“. 1953/printed 1992.

Gelatin silver print on RC paper. 25,3 x 20,2 cm. Signed, titled, dated and copyrighted by the artist in ink on the verso. 800 €

4218 155


4219

jacob hilsdorf (1872–1916)

4219 Portrait of the painter Adolph von Menzel (1815-1905), standing with a book. 19.05.1904. Vintage carbon print. 20,3 x 10,5 cm. Mounted to board, handwritten label and framer’s stamp on mount verso, mounted to window mat. 2.000 € 156

This image is from a series of eleven portraits Jacob Hilsdorf took of Menzel in the artist’s studio in 1904, nine months before the painter’s death. Lit.: Franz Toth. Jacob Hilsdorf 1872 - 1916. Photograph im Jugendstil. Bingen 1989, ill. cat. no. 154, p. 50 (cropped).


4220

hiro

(b. 1930)

4220 “The Kiss, New York, N.Y.”. 1968/printed late 1980s. Dye transfer print. 35 x 25 cm (57 x 48 cm). 1.000 € 157


4221

4222 158


ca ndida höfer (b. 1944)

4221* “Shelves”. 2009. Fine art print. 25 x 160 cm.

Signed and editioned 52/75 by the photographer in ink on the verso. Edition by Schellmann Art Production, Munich/New York. Framed under glass. 2.000 € Following in the tradition of the Düsseldorf School of photo­ graphy, Candida Höfer has often captured images of waiting rooms, spa resorts, banks, churches, libraries, theaters and museums. These transitional spaces are also places where universal culture is accumulated, organized and conserved to an encyclopedic degree, and are photographed by the artist with a rigor and simplicity approaching minimalism. In the image offered here her fascination with public and cultural spaces is evident.

4222^ „Deutsche Oper am Rhein Düsseldorf “. 2012. Chromogenic print. 30 x 45,5 cm (38 x 53,5 cm). Label signed by the photographer in ink with title and editioned 96/100 on the verso. Matted and framed under glass in wooden frame. 2.000 €

4223* “Teatro Nacional de São Carlos Lisboa III”. 2005/

2009. Chromogenic print. 25 x 19,7 cm (28 x 22,7 cm). Signed and editioned 74/100 by the photographer in ballpoint pen on the verso. Framed under glass in wooden frame. 1.200 €

4223 159


thom as hoepker (b. 1936)

4224 Wedding in Jerez, Spain. 1964/printed 1970s. Gelatin silver print. 33,5 x 22,5 cm (39,5 x 30 cm). Signed and dedicated by the photographer in pencil on the verso. 750 €

4225 Heidelberg. 1970s. Gelatin silver print. 25 x

37 cm (30 x 40 cm). Photographer’s stamp and archive stamp on the verso. 600 €

4224

4225 160


4226

lena holderer (1911–1984 (?))

4226 Plant studies. 1930s/printed 1950s/60s. 3 gelatin silver prints on ivory paper. Each circa 14 x 10 cm. 1 with photographer’s label and negative number in ink on the verso. 500 € Very little is known about Lea Holderer’s life and photographic work. She most likely received her first artistic training with the photographer Carl Albiker, whom she occasionally worked together with and they shared a lifelong friendship. After WW II she was promoted by Martha Hoepffner and held a teaching position at the TH Karlsruhe between 1952-1956. 161


4227

horst p. horst

(Paul Horst Bohrmann, 1906–1999)

4227 “Calla Aethiopica”. 1945/printed later. Gelatin silver print on. 22,7 x 30,5 cm (35,3 x 27,7 cm). Photo­ grapher’s blindstamp in lower right in the margin; signed by the photographer in pencil and titled in pencil on the verso, hinge-mounted to mat window. 2.000 € Lit.: Horst. Photographien aus sechs Jahrhunderten, Munich 1995.

162


4228

a xel hüt te (b. 1951)

4228^ “Stratosphere Tower, Las Vegas” 2003. Chro-

mogenic print on Kodak Professional Endura paper. 21 x 27,2 cm (25,5 x 30,5 cm). Signed, titled and numbered 59/100 by the photographer in black marker in lower margin. Framed under glass in wooden frame. 1.200 € 163


4229

indi a 4229 German souvenir album of a trip to India (Bombay, Calcutta), Rangoon, Manila, Tsingtau and Japan. 1912/13. 78 vintage gelatin silver prints. Most 8 x 10,5 cm. Mounted to album boards (faded in edges, some tears), captions in white ink in German above/ below images, bound in paper album (edges frayed). 750Â â‚Ź 164


4230

industri a l v iews sa a rl a nd 4230 Industrial views of coal mines in French-occupied Saarland. 1920s. 22 large-format gelatin silver prints on chamois paper. Various sizes, most circa 22 x 28 cm. Each mounted to original board (slightly timestained), each with caption in French in ink, in original maroon leather album (edges slightly rubbed) with embossed title Mines Domaniales Francais du Bassin de la Sarre Sarrebruck on front cover (33 x 47 cm). 500 €

loth a r inkler 4231 Berlin, August 13, 1961. Vintage ferrotyped gela-

tin silver print on Mimosa paper. 24 x 18 cm. Photo­ grapher’s/copyright stamp, agency stamp and annotated in pencil on the verso. 400 € 4231 165


4232

yasuhiro ishimoto (1921–2012)

4232 Katsura Imperial Villa. 1954/printed 1980s. Dye transfer print. 48 x 46,8 cm (57 x 49,5 cm). 900 € This image is one of several interiors that Ishimoto Yasuhiro took of the Katsura Imperial Villa in 1954.

4233 Chicago, Chicago. 224 pp. Foreword by Harry

Callahan. Text by Shuzo Takiguchi. 208 black and white photographs by Yasuhiro Ishimoto. Note by Yusaku Kamekura. Layout by Yusaku Kamehura. Text in Japanese and English. Full black cloth boards, white embossed title on spine and front cover.With original slipcase (slightly soiled, slight wear in edges). Tokyo, Bijutsu Shuppan-Sha, 1969. 3.000 €

4233 166

The Photobook by Parr & Badger, vol.1 p. 289; Auer Book, p.495. First edition. This seminal work by Ishimoto is one of the classic photobooks of the 1960s rendering the streetlife and architecture of a lively city.


izis

(Israel Bidermanas, 1911–1980)

4234 Notre Dame in winter. 1940s. Vintage warmtoned gelatin silver print on Kodak Bromesko paper. 28 x 23 cm. 2 photographer’s stamps as well as signed and authentictaed by Manuel Bidermanas in ink on the verso. 500 €

4234

a rno ja nsen (b. 1938)

4235

4235 Still life with glass, shell and feather. 1976. Vintage gelatin silver print on Agfa paper. 21,7 x 18 cm (40,3 x 30,5 cm). Signed, dated and editioned 6/20 by the photographer in pencil below the image in the margin. 300 € 167


ja pa n

4236

4237 168

4236 Photographer unknown. Views of Japan. Circa 1910. 6 hand-colored platinum prints. Each circa 20 x 25 cm. 300Â â‚Ź


4238

ja pa n

join v ille (brazil)

4237 Potraits of the Emperor of Japan Hirohito (1901–

4238 Photographer: Hugo Quidde (active in Brazil, circa 1906). Private souvenir and documentation album of a German living in Joinville, Brazil. 1900–12. Circa 25 vintage collodion paper prints. Circa 12 x 16 cm. Mounted to album boards, bound in canvas album. 500 €

1989) and his family. 1971. 3 vintage gelatin silver prints and 3 vintage chromogenic prints. Each circa 25,5 x 20,2 cm and 20,2 x 25,5 cm. Each with press text labels on the verso. In presentation portfolio (some traces of use) titled EUROPA-BESUCH Ihrer Majestäten des Kaisers und der Kaiserin von Japan September-Oktober 1971 pub­ lished by the Ministerium für Auswärtige Angelegenheiten Japan with a typewritten itinerary of the visit. 400 € This small collection contains images of the Emperor and Empress of Japan and their family, including two official portraits of Emperor Hirohito and Empress Kojun. – With: Three books about Japan and the Royal family.

Founded in 1851, Joinville is located in the state of Santa Catarina in Brazil and today has circa 515 000 inhabitants. The city is considered one of the centers of German colonization in this state, next to Blumenau and Brusque. In addition to German settlers, many Swiss and Norwegians immigrated to the city. The images show farm houses, deforestation, plantations, streets and villas in Joinville as well as black land workers. 169


4239

da n k a ne (b. 1954)

4239* „Sven“. 2008. Selenium toned gelatin silver print. 14,5 x 19 cm (17,7 x 23,7 cm). Signed, titled, dated, editioned 3/5 and copyrighted by the photographer in pencil on the verso. 750 € 170


da n k a ne 4240* „Sven“. 2013. Selenium toned gelatin silver

print. 18,5 x 14,8 cm (23,6 x 17,6 cm). Signed, titled, dated, editioned 2/6 and copyrighted by the photographer in pencil on the verso. 750 €

a lex k ayser (b. 1949)

4241 David Hockney. 1983. Hand-colored gelatin silver print. 11,5 x 17 cm (18 x 24 cm). Signed and dated below image in margin. 300 €

4240

4241 171


4242

4243 172


4244

peter keetm a n (1916–2005)

4242 „Spiegelnde Tropfen“ (Reflecting drops). 1950.

Vintage ferrotyped gelatin silver press print on AgfaBrovira paper. 17,4 x 23,5 cm. Photographer’s Prien am Chiemsee, Jensenstraße 11 stamp, annotated by the photographer in ink and press text label/archive label on the verso. 1.000 € This image was exhibited at the famous exhibition “Subjektive Fotografie”, which was first shown in 1951 and then travelled to various German cities. This image is in the collection of the Saarland Museum, Saarbrücken. Lit.: Otto Steinert. Subjektive Fotografie. Bonn 1952, ill. p. 13. Barbara Auer (ed.). Zwischen Abstraktion und Wirklichkeit. Fotografie der 50er Jahre. Heidelberg 1998, ill. p. 37.

4243 „Zaun im Schnee“ (Fence in Snow). 1957/ printed 1970s/80s. Ferrotyped gelatin silver print on doubleweight Agfa paper. 23 x 31 cm. Signed, titled and dated by the photographer in pencil, as well as photographer’s/copyright stamp on the verso. 2.500 €

4244 “Erdmännchen”. 2001. Chromogenic print on Agfa paper. 20,2 x 30,3 cm. Signed and dated by the photographer in black pen on the verso. 750 € 173


4245

a ndré kertész (1894–1985)

4245 “Distortion No. 98, Paris”. 1933/printed 1970s/80s. Gelatin silver print. 25,2 x 20,3 cm. Signed, titled and dated in pencil on the verso. 2.200 € 174


h a nnes kili a n (1909–1999)

4246 „Wesseling (bei Köln) Benzinraffinerie Dusseg“. 1964. Vintage ferrotyped gelatin silver print. 26,7 x 23,5 cm. Photographer’s/copyright label, reproduction limitation stamp, estate stamp and signed/ annotated by Gundel Kilian in pencil on the verso. 1.200 € 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, Die Zeit, Stuttgarter Illustrierte, Spiegel, Stern and Vogue.

4247 Am Rhein, Duisburg. 1965. Vintage ferrotyped gelatin silver print. 23,2 x 27,7 cm. Photographer’s/ copyright stamp, reproduction limitation stamps, estate stamp, annotated by the photographer in pencil and signed/annotated by Gundel Kilian in pencil on the verso. 1.500 €

4246

Lit.: Klaus Honnef. Hannes Kilian. Exhibition catalogue. Ost­ fildern 2009, ill. p. 224.

4247 175


k atja krä mer (b. 1970)

4248 Bus Stop, Scotland. 2018. Fine art print on Hahnemühle Silk Baryta paper. 40 x 40 cm (49,8 x 49,8 cm). Signed, titled, annotated and editioned 1/3 by the photographer on the verso. 600 € 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.

4248

k a rl krüger

(active in Dessau, 1930s)

4249 (Attributed to). Advertising photo for Weser Flugzeugbau GmbH. Circa 1940. Vintage gelatin silver print. 26,3 x 22,3 cm. Archive stamp on the verso. 600 € This image shows the famous Junkers Ju 90, the last civilian passenger plane built in Dessau for Lufthansa. At the start of WW II the eleven machines belonging to Lufthansa were appropriated for the German Luftwaffe.

176

4249


4250

germ a ine krull (1897–1985)

4250 Two female nudes in various poses from “Der Akt”. 1924. 3 vintage gelatin silver photo postcards. Each circa 14 x 9 cm. 2 with Verlag der Schönheit imprint on the verso. 1.000 € Lit.: Kim Sichel. Avantgarde als Abenteuer. Leben und Werk der Photographin Germaine Krull. Munich 1999, compare ill. pp. 54/55 (images from the same series).

herbert l achm a nn 4251 Erich Honecker at sports event opening (Turn- und Sportfest), Leipzig. Early 1970s. Vintage ferrotyped gelatin silver print. 24 x 18 cm. Photo­ grapher’s stamp, agency stamps and annotated in pencil on the verso. 300 € This unusual picture shows Erich Honecker’s strong desire to appear accessible to the people during public appearances, here during the Leipzig Gymnastics and Sports Festival.

4251 177


4252

4253

lou l a ndauer (1897–1991)

4252 Wild oats. 1942. Vintage gelatin silver print. 18 x 23,8 cm. Annotated/dated by the photographer in pencil and estate stamp on the verso. 600 € This and the following images (except lot 4259) were made during Landauer’s time when she was an instructor of Photo­ graphy at the New Bezalel School of Arts and Crafts, Jerusalem. Provenance: From the estate of Lou Landauer.

178

4253 Seedlings. Circa 1943. Vintage ferrotyped gelatin silver print. 23,2 x 18,3 cm. Estate stamp on the verso. 600 € Provenance: From the estate of Lou Landauer.


4254

lou l a ndauer 4254 Crumpled plastic. 1943. Vintage matte gelatin silver print. 18 x 23,8 cm. Annotated and dated by the photographer in pencil and estate stamp on the verso. 600 € Provenance: From the estate of Lou Landauer.

4255 Cactus flower. 1943. Vintage ferrotyped gelatin silver print. 25,3 x 20,7 cm. Annotated and dated by the photographer in ink/pencil and estate stamp on the verso. 600 € Provenance: From the estate of Lou Landauer.

4255 179


lou l a ndauer 4256 Design for crime novel cover. 1943. Vintage

matte gelatin silver print. 22,7 x 17,3 cm. Photographer’s Jerusalem stamp and annotated and dated by the photographer in pencil and estate stamp on the verso. 750 € Provenance: From the estate of Lou Landauer.

4257 Design for book cover. 1943. Vintage ferrotyped gelatin silver print. 14,7 x 22 cm. Photographer’s Jerusalem stamp and estate stamp on the verso. 400 € Provenance: From the estate of Lou Landauer.

4256

4257 180


4258

lou l a ndauer 4258 Shadow study. 1949. Vintage matte gelatin silver print. 18 x 23,8 cm. Annotated and dated by the photographer in pencil/ink and estate stamp on the verso. 750 € Provenance: From the estate of Lou Landauer.

4259 Still life with Vogue cover, July 1949. Vintage color carbro print. 23,5 x 18,7 cm (29 x 23,4 cm). Signed and dated by the photographer in pencil within the image in lower left corner and estate stamp on the verso. 600 € Provenance: From the estate of Lou Landauer.

4259 181


a dolf l azi (1884–1955)

4260 Fabric detail. 1930s. Vintage gelatin silver print. 22,7 x 17 cm (23,8 x 18 cm). Photographer’s stamp Photographische Bildkunst Lazi / Stuttgart - Diemershalde 48 and architect’s stamp on the verso. Matted. 500 €

lehnert & l a ndrock

(Rudolf Franz 1878–1948, Ernst Heinrich 1878–1966)

4261 Female nudes, Tunis. Circa 1910. 8 vintage sepia-toned matte gelatin silver prints on structured paper. Each circa 24 x 18 cm. Each with photographer’s logo and number in the negative in lower right/left, 7 with photographer’s reproduction limitation stamp on the verso. 600 €

4260

4261 182


4262

4263

lehnert & l a ndrock 4262 Female nudes, Tunis. Circa 1910. 9 vintage sepia-toned matte gelatin silver prints on structured paper. Each circa 24 x 18 cm. Each with photographer’s logo and number in the negative in lower right/left, each with photographer’s reproduction limitation stamp on the verso. 600 € 4263 Female nudes, Tunis. Circa 1910. 8 vintage sepia-toned matte gelatin silver prints on structured paper. Each circa 24 x 18 cm. Each with photographer’s logo and number in the negative in lower right/left, each with photographer’s reproduction limitation stamp on the verso. 600  € 4264 Female nudes, Tunis. Circa 1910. 6 vintage

sepia-toned matte gelatin silver prints, 4 on structured paper. Each circa 24 x 18 cm. Each with photographer’s logo and number in the negative in lower right/left, 4 with photographer’s reproduction limitation stamp on the verso. 600 €

4264 183


4265

jochen lempert (b. 1958)

4265 Swans. Circa 1995/printed before 2000. Gela-

tin silver print. Circa 63 x 104 cm. Framed behind glass in wooden frame. 4.000Â â‚Ź Jochen Lempert studied biology from 1980-88 and worked as a biologist. By the early 1990s he came to photography with a keen understanding of the natural world. His subject is mainly nature: animals, plants and other natural phenomena such as waves, clouds and lava streams. He uses analogue photography

184

to experiment with various techniques, for example the photogram, or purposely employs calculated effects such as soft focus, the grainy texture of an enlargement or, as in this piece, creases and tears in the printing paper. Many of his images do not reveal themselves upon first viewing and require a more careful look. Often abstract patterns take time to develop into the actual object they are. He has had solo exhibitions at the Museum Ludwig, Cologne, as well as in St. Louis and Barcelona. This and the following three lots are early works by Lempert and were directly purchased from the artist.


4266

jochen lempert 4266 „Sympetrum saguineum“ (Blutrote Heide­ libelle). 1995. Gelatin silver print. 14 x 10 cm. Titled, signed and dated by the photographer in pencil on the verso. Framed under glass in wooden frame (27,5 x 22,5 cm). 1.000 € This early and rare photograph is an important part of Jochen Lempert’s work and was formative for his later artistic develop­ ment. It is part of his thesis in which he investigated the flight behavior of dragonflies. Here the insect wing bears the number 51. Lit.: Reiner Speck/Gerhard Theewen (eds.). Jochen Lempert. Physiognomische Versuche. Cologne 2002, ill. unpaginated. 185


4267

jochen lempert 4267 Mummy; Hanging towel. 1990s/printed mid 1990s. 2 gelatin silver prints mounted together and framed. Each photo circa 13,5 x 7,5 cm. 1 photo signed by the photographer in pencil on the verso, the other annotated in ink on the verso, framed under glass in wooden frame (28 x 29 cm). 1.500Â â‚Ź 186


4268

jochen lempert 4268 Pansy. 2002. Gelatin silver print. 15 x 10,2 cm. Framed under glass in wooden frame (28,5 x 24 cm). 500 € From the series „Physiognomische Versuche“. Lit.: Reiner Speck/Gerhard Theewen (eds.). Jochen Lempert. Physiognomische Versuche. Cologne 2002, ill. unpaginated. 187


4269

188


4270

peter lindbergh

erna lendva i-dircksen

4269^ “Giselle, Le Touquet” (British Vogue). 1991/ printed 2002. Gelatin silver print. 26,5 x 18 cm (30,2 x 23,8 cm). Signed, titled, dated and editioned 10/100 by the photographer in pencil on the verso. In original grey canvas folder mat (glue residue from removed label on inside cover). 1.800 €

4270 Fruit still lifes. 1950s. 2 vintage chromogenic prints on Agfa paper. Each 38 x 28 cm. Each with estate stamp and number in pencil and 1 also signed by the photographer in ink on the verso. 500 €

(b. 1944)

(1883–1962)

Lit.: Peter Lindbergh. Images of Women. Munich 1997, illustrated. 189


4271

4272 190


4273

herbert list (1903–1975)

4271 Coastal cemetery, Finistère, Brittany. 1950s. Vintage ferrotyped gelatin silver print on Agfa-Brovira paper. 23 x 30 cm. Estate stamp with number in pencil on the verso. 2.000 €

4272 Deutscher Turner-Bund training. 1950s. Vintage gelatin silver print on Agfa-Brovira paper. 21 x 29 cm. Photographer’s stamp on the verso. 1.500 €

4273 St. Peter’s Square, Rome. 1950s. Vintage gelatin silver print. 20 x 30 cm. Photographer’s stamp on the verso. 1.200 €

4274 Palazzetto del Sport, Rome. 1960s. Vintage gelatin silver print. 29,9 x 20 cm. Photographer’s stamp and annotated in pencil on the verso. 1.200 €

4274 191


robert longo (b. 1953)

4275* Eric, New York City, from the “Men in the Cities” series. 1979/ printed 2009. Chromogenic print. 22,5 x 15 cm (25,5 x 18,5 cm). Signed and editioned AP 20/20 by the photographer in black marker in lower margin. 1.900 € Robert Longo is an American painter and sculptor most well known for his “Men in the Cities” series which depicts sharply dressed men and woman contorted in interesting shapes. He received his Bachelor of Fine Arts from Buffalo State College, where Cindy Sherman was his contemporary.

4275

k azimir m a lev ich (1879–1935)

4276 Photographic reproduction of Kazimir Male­ vich’s painting and collage “Woman Reaper”, 1909. Vintage collodion paper print, printed 1920s. 12 x 12 cm. Annotated in pencil on the verso. 750 €

4276 192

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.


m a n ray

(Emmanuel Rudnitzky, 1890 –1976)

4277

“L’oeuf et le coquillage”; “Le violin d’Ingres”. 1931, 1924/printed 1991. 2 gelatin silver prints. Each circa 27 x 20 cm (30 x 23,5 cm). Each with Griffelkunst and ADAGP Man Ray Trust stamp on the verso. 600 € Lit.: Man Ray. Photographs. London 1982, ill. pp. 17 and 158.

4277

m a nassé

(Olga & Adorjan Wlassics, 1896–1969, 1893–1946)

4278

4278 Woman’s head. Early 1930s. Vintage gelatin silver print. 22,4 x 16,8 cm. Photographer’s logo in the negative in lower left corner; photographer’s/copyright stamp and annotated in pencil on the verso. 500 € 193


ch a rlot te m a rch (1934–2005)

4279 Vera Munro. 2000. Inkjet print on semi-glossy

paper. 60 x 40 cm (75,5 x 56 cm). Sandwich-mounted in mat, signed and dated 6/02 by the photographer in ink on mat verso, 1 of an edition of 2 inkjet prints. 1.000 €

4279

m a rseille 4280 Photographer unknown. Views of Marseille

and some Italian cities. 1930s. 14 vintage gelatin silver prints. Each circa 17,5 x 12,5 cm. Each mounted to board, most captioned in ink below the image on the mount. 500 € 194

4280


4281

w ill mcbride (1931–2015)

4281

„Sektorengrenze etwa 1957 in Berlin (Kreuzberg)“. Circa 1957/printed 1992. Gelatin silver print on Agfa paper. 37,5 x 54,5 cm (51 x 60,5 cm). Titled, dated, signed and editioned 5/30 by the photographer in pencil on the verso. 1.200 € 195


w ill mcbride 4282 “Reinhard H. mit Socke, Casoli”. 1973/printed

2014. Archival pigment print on Hahnemühle rag paper. 66 x 43,5 cm (81 x 59 cm). Signed, annotated and dated by the photographer in ballpoint pen on the verso. 2.200 € Color photographs by Will McBride are seldom on the art market. In 1973 McBride took a series of male nudes in Casoli, Italy but never made prints from the slide negatives. At the request of an enthusiastic collector high quality pigment prints were made of a selection of the images in a small edition of 5 prints in 2014. The subtle colors and fine rendition of the skin’s surface and show an undiscovered side of Will McBride’s work. Lit.: Will McBride. Mein Italien. Munich 2003. ill. p. 161 (image of the same model). Provenance: Directly from the photographer to the present owner.

4283 „Mike und die Anderen schmeißen sich mit Wasser. Schule Schloß Salem”. 1963/printed later. Gelatin silver print. 36 x 53,5 cm (50,8 x 61 cm). Signed, annotated and numbered 3/12 by the photographer in pencil and collection stamp on the verso. 2.000 € Lit.: Kurt von Hammerstein/Björn Koll/Jan Künemund (eds.). Will McBride. Salem Suite. Berlin 2014, ill. unpaginated. Provenance: Directly from the photographer to the present owner.

4282

4283 196


4284

4285

w ill mcbride 4284 Romy Schneider in Paris. 1964/printed later.

4285 Romy Schneider in Paris. 1964/printed later.

Gelatin silver print. 30 x 45 cm (40,5 x 50,8 cm). Signed, annotated and dated by the photographer in pencil, as well as collection stamp on the verso. 1.200 €

Gelatin silver print. 30 x 45 cm (40,5 x 50,8 cm). Signed, annotated and dated by the photographer in pencil, as well as collection stamp on the verso. 1.200 €

Provenance: Directly from the photographer to the present owner.

Provenance: Directly from the photographer to the present owner. 197


4286

w ill mcbride 4286 „Berührung Mike der sich wäscht. Schule

Schloss Salem”. 1963/printed later. Gelatin silver print. 33 x 22 cm (40,5 x 30,5 cm). Signed, annotated and numbered 15/20 by the photographer in pencil and collection stamp on the verso. 2.000 € Lit.: Will Mc Bride. I, Will McBride. Köln 1997, ill. p. 205 (variant). Coming of Age: Photographs by Will McBride. New York 1999, ill. p. 29 (variant). Provenance: Directly from the photographer to the present owner.

198


4287

v era mercer (b. 1936)

4287 “Green Leaves”. 2014. C-print flush-mounted to Dibond. 110 x 147 cm. Signed and editioned A.P. and annotated by the photographer in black marker on the verso. 2.000 € 199


l ászló moholy-nagy (1895–1946)

4288 “Berliner Funkturm”; Staircase; “Lucia Moholy,

Dessau”. Circa 1928, 1936, 1925/28 /printed 1994. 3 gelatin silver prints. Each circa 27 x 20 cm (40 x 30 cm). Estate information as well as einmalige Auflage für die Griffelkunst 1994 printed on the verso. 600 € Lit.: László Moholy-Nagy. Photographies, photomontages, photogrammes (Photo Poche series). Paris 1998, ill. plates and 54.

4288

na raya n “nino” mondhe (b. 1935)

4289 London. 1987/printed 1990s. Gelatin silver print on chamois paper. 49,8 x 44 cm (57 x 48 cm). Signed, titled and dated by the photographer in pencil on the verso. 750 €

4289 200

Born in 1935 Nino Mondhe studied at the Indore College of Art from 1951-1954. In 1957 he graduated at J.J. School of Art in Mumbai. He worked as a medical photographer at MGM Medical College in Indore. During this time he began freelance work as a painter and photographer. Mondhe has lived and worked in London, New York, Paris, Geneva, Düsseldorf and Hamburg. Today he continues his work as a painter. In the past decades he has produced work for many renowned clients and photographers, as well as his own art.


4290

na raya n “nino” mondhe 4290 London. 1987/ printed 1990s. Gelatin silver print on chamois paper. 34 x 50 cm (48,5 x 59 cm). Signed, titled and dated by the photographer in pencil on the verso. 600 €

4291 New York. 1986/ printed 1990s. Gelatin silver print on chamois paper. 44 x 43 cm. Signed, titled and dated by the photographer in pencil on the verso. 600 €

4291 201


a lbert monier (1915–1998)

4292 Horse hoofs, Paris. 1950s. Vintage rotogravure.

46,5 x 46,4 cm. Signed by the photographer in the negative lower right. Flush-mounted to board. 500 € Lit.: Albert Monier. Paris. Cantal 1954.

jea n mora l (1906–1999)

4293 Arabesques. 1932. Vintage gelatin silver print on Agfa-Brovira paper. 29,6 x 23,5 cm. Photographer’s stamp, address 8, rue Biomet, Paris, date stamp 24 Nov 1932 and layout notations in pencil on the verso. 900 € Lit.: Published in: Paris-Magazine, no. 17, January 1933.

4292

da ido mori ya m a 4294 Color 2. 84 pp., with 58 four-color plates of photographs by Daido Moriyama. Produced and edited by Michitaka Ota. Includes a laid-in list of plates (in Japanese and English). Designed by Toru Odaira. Fine gray silk cloth-covered boards (a few lightly rubbed spots) with title stamped in gold on cover and spine, no dust jacket as issued; contained in a brown cardboard slipcase with title printed on black and white label on cover. Kanagawa, Sokyu-sha, 1999. 600 € First edition limited to 600 copies. Signed (in kanji) and dedicated by Moriyama in black ink and dated ‘99 on recto of front free endpaper.

stefa n moses (1928–2018)

4293 202

4295 Karl Jaspers (1883-1969) in Basel. 1964/printed 1980s. 2 gelatin silver prints. 23,8 x 30,5 cm. Photo­ grapher’s stamp on the verso. 500 €


4294

4295 203


4296

ga briele nagel (b. 1970)

4296* “Ephemeriden II - kinetics - f#01, 02, 04”. 2012. 3 Fine art prints on Awagami Kozo paper. Each circa 31 x 22,5 cm. Each signed, dated and editioned 1/10 by the photographer in penicl on the verso. 800 € 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.”

4297 204

4297* “Ephemeriden. Totale Mondfinsternis. 27.07.2018 II - kinetics - b#07”. 2016. Fine art print on Hahnemühle paper. 60,5 x 40,3 cm (74,5 x 55 cm). Signed, dated and editioned 1/5 by the photographer in pencil on the verso. 800 €


floris m. neusüss (b. 1937)

4298 Neusüss works in environment: “Silhouette Hanns Ell”; “Ingbert”; Issey Miyake Wetterfahne”; “New Wave Gruppe” . 1984. 4 vintage gelatin silver prints on Agfa paper. Each circa 30,5 x 23,8 cm. Each titled and dated by the photographer in pencil and photographer’s stamp on the verso. 600 €

4298

floris m. neusüss 4299 Full body silhouettes: “Ingbert” and “Silhou-

ette Dr. Ulrich K”. 1984. 2 vintage gelatin silver prints on Agfa paper. Each circa 29 x 13,5 cm (30,5 x 23,9 cm). Each titled and dated by the photographer in pencil and photographer’s stamp on the verso. 600 €

4299 205


4300

a rnold newm a n (1918–2006)

4300* Igor Stravinsky (1882 - 1971), series of contacts. 1947/printed 2003. Gelatin silver print. 17,5 x 33 cm (27,5 x 35 cm). Signed and copyrighted by the photo­ grapher in ink below the image; photographer’s/copyright stamp and signed, titled and dated by the photo­ grapher in pencil on the verso. Framed under glass in wooden frame. 2.200 € Lit.: One Mind’s Eye, The Portraits and Other Photographs of Arnold Newman”, by Arnold Newman, Introduction by Robert A. Sobieszek. 1974.

206


a ndré nisa k 4301 The cabaret star Bambi (Marie-Pierre Pruvot, b. 1935). 1960s. Oversize vintage gelatin silver print. 39,7 x 29,8 cm. Photographer’s stamp on the verso. 2.000 € The Algerian-born French transgender performer Marie-Pierre Pruvot was known under the stage name Bambi. She was part of a transgender showgirl review in Paris for nearly 20 years. In 2013 Sébastien Lifshitz’s documentary about her won the Teddy Award at the Berlinale film festival.

4301

a rno nollen (b. 1964)

4302 „Vanessa“. 2000. Gelatin silver print. 38 x 24,5 cm

4302

(40,5 x 30,5 cm). Signed, dated and editioned 1/5 by the photographer in pencil/marker on the verso. 750 € 207


hil m a r pa bel (1910 –2000)

4303 „Für was sind sie gestorben? Deutscher Lands-

er” (For what did they die? German privates). 1943/ printed 1970s. Gelatin silver print. 25 x 38 cm. Annotated by the photographer in felt-tip pen/ink, photographer’s/copyright stamp and archive stamp on the verso. 900 €

4303

4304 Munich, Stachus. 1947/printed 1970s. Gelatin silver print. 20 x 30 cm. Annotated by the photographer in pencil/ink, photographer’s/copyright stamp and archive stamp on the verso. 900 €

4304

4305

208


4305

pa l astine 4305 Views of Palestine. 1914. 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 editor’s logo and title/number printed on the mount. In original brown book box (edges worn, some stains) with gilt title on spine. Underwood & Underwood, New York/ London. 1.000 € A comprehensive group of images showing – With: Accompanying text book Palestine Through the Strereoscope. Underwood & Underwood, New York 1914 and original stereo viewer. 209


4306

rich a rd dav id pa re

norm a n pa rkinson

4306 Venice. 1980s/printed late 1980s. Dye transfer print. 39 x 50 cm (46,5 x 57,7 cm). 900 €

4307 Wenda Parkinson, British Vogue cover, June

(b. 1948)

(1913–1990)

1954. Printed late 1980s. Dye transfer print. 48 x 46,8 cm (58 x 47,5 cm). 2.500 €

4308 Self-portrait with model. 1970s/printed late 1980s. Dye transfer print. 48 x 46,8 cm (57 x 49,5 cm). 2.500 € 210


4307

4308 211


4309 212


4310

der pa rl a menta rische rat 1948 4309 Photographer: Erna Wagner-Hehmke (1905– 1992). Presentation album of the Parlamentarische Rat. 1948/49. 15 vintage gelatin silver prints on chamois paper. Various sizes, circa 17 x 22 cm. Mounted along upper edge to album pages with printed captions, bound in contemporary half imitation leather (spine cracked) album, printed label Überreicht durch die Landesregierung Nordrhein-Westfalen, Düsseldorf, Weihnachten 1948 on inner cover. 1.500 € The photos contained in this rare album show scenes from the Assembly of the Parlamentarische Rat (Parliamentary Council), which met at the Museum Koenig/Bonn during September 1948 to May/June 1949. As a result, the Parliamentary Council passed the Grundsetz (provisional constitution) on May 8, 1949, the basis for the foundation of the Federal Republic of Germany (West Germany). The first photo shows the President of the Parliamentary Council, Dr. Konrad Adenauer, in the meeting room. The following photos show Vice President Adolf Schön­ felder, Paul Loebe, Prof. Dr. Theodor Heuss, Dr. H. Seebohm, Prof. Dr. Carlo Schmid, Minister Dr. Hundhammer, August Zinn, Dr. Paul de Chapeaurouge, Prof. Hermann von Man­ goldt, Mr. Mayhew (Foreign Office), former Ambassador Fran­ cois Poncet and many others, as well as representatives of the international press. According to participants of this council, such presentation albums were probably given to the partici-

pants of this important meeting. A printed label: Überreicht durch die Landesregierung Nordrhein-Westfalen, Düsseldorf, Weihnachten 1948 is affixed to the inner cover. The photographs bear the blindstamp Hehmke-Winterer, Düsseldorf, as the photo­ grapher Erna Hehmke had been running a joint ‘Lichtbildwerkstatt’ with Anne Winterer (1894-1938) since 1925. After her marriage to the architect Rudolf Wagner in 1932 she continued to run the studio on her own and received the commission for this documentation directly from the state government of North Rhine-Westphalia. With these photographs Wagner-Hehmke produced the most comprehensive documentation on the emergence of the Grundgesetz. Lit.: Michael F. Feldkamp, Der Parlamentarische Rat 1948 - 1949: Die Entstehung des Grundgesetzes, Vandenhoeck & Puprecht, 2008.

heinz von perckh a mmer (1895–1965)

4310

Views of Peking. Circa 1928. 4 vintage ferrotyped gelatin silver press prints. Various sizes, each circa 20 x 16 cm. Each with photographer’s/copyright stamps, press agency stamps/labels, and annotated in pencil on the verso. 300 € 213


rich a rd peter sr. (1895–1977)

4311 „Der Nazi-Blockwart“ (Nazi Block Leader), Dresden. 1945. Vintage ferrotyped gelatin silver print. 23 x 18 cm. Annotated by the photographer in pencil, photographer’s/copyright 8029 Dresden, Warthaer Str. 40 stamp and collector’s stamp on the verso. 1.000 € Lit.: Richard Peter. Dresden. Eine Kamera klagt an. Ein historisches Dokument. Dresden 1949. Provenance: From the photographer to the current owner.

4311

rich a rd peter sr. 4312 Burnt asphalt, Dresden. 1945. Vintage ferrotyped gelatin silver print. 29 x 22,5 cm. 2 photographer’s/copyright stamp, annotated by the photographer in pencil and archive stamp on the verso. 1.000 €

4312 214

Lit.: Richard Peter. Dresden. Eine Kamera klagt an. Ein historisches Dokument. Dresden 1949. Provenance: From the photographer to the current owner.


rich a rd peter sr. 4313 „Zwei Männer und ein Bein“. 1946/printed 1960s. Ferrotyped gelatin silver print. 40 x 30,3 cm. Photographer’s stamp, annotated by the photographer in pencil and archive stamp on the verso. 1.200 € Lit.: Richard Peter. Dresden. Eine Kamera klagt an. Ein historisches Dokument. Dresden 1949. Provenance: From the photographer to the current owner.

4313

rich a rd peter sr. 4314 „Heimkehrer“. 1946/printed 1960s. Ferrotyped gelatin silver print. 39,8 x 30,5 cm. Photographer’s stamp, annotated by the photographer in pencil and archive stamp on the verso. 1.200 €

4314

Lit.: Richard Peter. Dresden. Eine Kamera klagt an. Ein historisches Dokument. Dresden 1949. Provenance: From the photographer to the current owner. 215


4315

rich a rd peter sr. 4315 „Kraftfahrpark im Ausstellungsgelände, Dresden“. 1946/printed 1960s. Ferrotyped gelatin silver print. 29,8 x 37 cm. Photographer’s stamp, annotated by the photographer in pencil and archive stamp on the verso. 1.200 € Lit.: Richard Peter. Dresden. Eine Kamera klagt an. Ein historisches Dokument. Dresden 1949. Provenance: From the photographer to the current owner.

4316

Dresden. 1948. Vintage gelatin silver print. 29 x 22 cm. Photographer’s/copyright stamp, anno­ tated by the photographer in pencil and archive stamp on the verso. 1.000 €

4316 216

Lit.: Richard Peter. Dresden. Eine Kamera klagt an. Ein historisches Dokument. Dresden 1949. Provenance: From the photographer to the current owner.


4317

rich a rd peter sr. 4317 Fireworks for May 1, in Dresden. 1960s. Vintage gelatin silver print. 39 x 29 cm. Photographer’s stamp, annotated by the photographer in pencil and archive stamp on the verso. 1.000 ₏ Provenance: From the photographer to the current owner. 217


4318

pa blo picasso / a ndré v illers 4318

“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 edges), in original cloth-covered case (edges and spine time-stained/soiled, some tears) with decorative color design by Picasso. Paris, Berggruen, 1962. 2.500 € Kibbey 1466. Goeppert 115. Prints in individual folder with printed title, edition 947 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).

218


pictori a lism 4319

Selection of Pictorialist views. Edited by Ernst Juhl. Title page, double-leaf text with 21 (of 25) heliogravures after gum bichromate prints by the members of the Gesellschaft zur Förderung der Amateur-Photographie, on plates in original canvas portfolio (rubbed, faded, soiled). Meisenbach, Riffarth & Co., Berlin, 1903 (50 x 34 cm). 200 € This beautiful and technically brilliant publication is an excellent example of the high value art and pictorialist photography had at the turn of the century and is another one of Ernst Juhl’s publications promoting quality amateur photography.

4319

m aya mich a ilow na plisetsk aya (1925–2015)

4320 Photographer unknown. Portraits of the prima­

ballerina Maya Michailowna Plisetskaya. 1950s1980s. 28 vintage ferrotyped gelatin silver press prints. Each circa 24 x 17 cm. Most with agency stamp and typed German/Russian press text label affixed to the verso. 400 €

4320

This large collection of photographs represents the best years of the famous Russian primaballerina Maya Michailowna Plisetskaya’s career. Some images show her in her star role as the dying swan, ballet studies as well as some private photos. Plisetskaya was from a Russian Jewish ballet family. Her father was arrested and executed in 1938 under Stalin. She was a member of the Bolshoi theater, professor at the Paris Sorbonne and the Moscow Lomonossow University. She choreographed many pieces by her husband the composer Rodion Shchedrin. 219


4322

4321 220


potsda m 4321

Photographer: Albert Weinsheimer (active in Berlin, 1929-1969). Documentation album and unmounted photos of the production and installation of four bells in the Garnisonskirche in Potsdam. 1938-39. Circa 166 + 19 vintage gelatin silver prints. Most 6 x 9 cm and 18 x 24 cm (19 unmounted). Smaller photos bound in contemporary paper album (22 x 31 cm). 900 € The photos show the arrival and installation of the great bell and other bells in the Potsdamer Garnisonskirche which were cast in October 1938 at the Otto Schilling foundry and financed through donations.

m a rtin pudenz (b. 1948)

4322 “Anthony Quinn” series. 1995/printed 2002. 4 gelatin silver prints. Each circa 29,5 x 38 cm. Each signed, titled, dated and editioned 3/6 by the photo­ grapher in pencil on the verso, each matted. 1.500 € Lit.: Martin Pudenz. Licht im Himmel. Fotografien. Heidelberg 2004, 2 ill. pp. 32-33.

221


m a x prugger (b. 1935)

4323

Aerial view of Munich. 1960s. Vintage gelatin silver print. 29,5 x 24 cm. Photographer’s stamp, archive stamp, as well as annotated in ballpoint pen on the verso. 400 €

4323

dirk reina rtz (1947–2004)

4324 New York. 1974/printed 1975. 2 vintage ferro-

typed gelatin silver prints on Agfa paper. Each circa 27,5 x 19 cm (38,5 x 29 cm). Each with photographer’s stamp, dated and titled in pencil and archive stamp on the verso. 600 €

4324 222

Lit.: Karin Reinartz (ed.). Dirk Reinartz. New York 1974. Göttingen 2007, ill. front cover.


4325

a lbert renger-patzsch (1897–1966)

4325

View in the cloister of St.-Annen, Lübeck. 1928. Vintage warm-toned gelatin silver print on chamois paper. 23 x 17,1 cm. Photographer’s RENGER-FOTO D.W.B. stamp, Jede Reproduktion verboten stamp and Lüb 120 in pencil on the verso. 2.000 € 223


4326

224


4327

leni riefensta hl

henry ries

4326 Selected film stills from “Triumph des Willens”. 1935. 18 vintage ferrotyped gelatin silver prints. Each circa 23 x 29 cm. Each with number in lower right, some with film text in lower edge in the negative. Some with number notations on the verso. 5.000 €

4327 “Berlin Airlift, Tempelhof ” and two other Berlin post WW II scenes. 1948/printed later. 3 gelatin silver prints on Agfa paper . 18 x 13 cm and 13 x 18 cm. Annotated in pencil on the verso. 400 €

(1902–2003)

A rare group of film stills from the 1935 National Socialist propaganda film directed, produced, edited, and co-written by Leni Riefenstahl. It chronicles the 1934 NSDAP Congress in Nuremberg, which was attended by more than 700,000 participants. Riefenstahl’s techniques such as moving cameras, aerial photo­ graphy, the use of long focus lenses to create a distorted perspective, and the revolutionary approach to music and cinematography have earned “Triumph of the Will” recognition as one of the greatest propaganda films in history. Riefenstahl helped to stage the scenes, directing and rehearsing some of them up to fifty times. Riefenstahl won several awards, not only in Germany but also in the United States, France, Sweden and other countries. The scenes show many soldiers and other participants such as children and young people, Hitler giving his speech, other high ranking N.S. officials and various aerial views.

(1917–2004)

Born in Germany Henry Ries went to America as a young man. He volunteered for service in WW II and served as an Army-Air Force photographer. After the war he was editor and chief photographer for OMGUS OBSERVER, an American weekly in Berlin and then as a European photojournalist for the New York Times and Time Magazine. He took the present famous image of the Berlin Airlift during that time. It was used for a U.S. postage stamp issued in 1998. Lit.: Katrin Peters-Klaphake/Dieter Vorsteher (eds.) Brennpunkt Berlin: Die Blockade 1948/49. Der Fotojournalist Henry Ries. Berlin 2008, ill. p. 98 (uncropped).

225


4328

4329

k a rin rocholl 4328 Hannelore Elsner, Munich. 1984/printed 2019. Gelatin silver print. 30,5 x 44,8 cm (40,4 x 50,3 cm). Signed, dated, titled and editioned 4/24 by the photographer in pencil on the verso. 900 € The photojournalist Karin Rocholl has made many portraits of figures of the cultural scene. Her engaged relationship with the sitter has often enabled her to portray many otherwise elusive prominent people in a more natural and candid way. Much of her work has been published in Stern magazine.

226

4329 Udo Lindenberg and Joseph Beuys in Bochum. 1982/printed 2012. Gelatin silver print. 22,5 x 33,7 cm (30,2 x 40,2 cm). Signed, copyrighted, dated, titled and editioned 12/24 by the photographer in pencil on the verso. 800 € Lit.: Karin Rocholl. Prominente im Porträt. Der zweite Blick. Munich, ill. pp. 134-135.


4330

a lex a nder rodchenko (1891–1956)

4330 Selected images. 1924-1932/printed 1987. 14 gelatin silver prints. Various sizes: 23,8 x 18 cm and 30,2 x 24 cm. Each with 2 photographer’s/estate stamps in Russian and annotated in pencil on the verso. Griffelkunst edition. 1.500 € The images include: Still-Life with Leica (1929); Electric Pylon (1929); Demonstration May 1, 1932; W. Stepanowa (1928); Female

Student (1932); Back Courtyard (1932); Railway Bridge (1925); the Painter A. Schewtschenko (1924); High Jump (1937); Diver (1933); Stairs (1930); Columns of the Museum of Revolution (1926); W. Majakowski; W. Stepanaowa, O Beskin and Lila Brik (1928) and Radio Studio (1929). – With: Original illustrated text brochure (traces of use). Lit.: Alexander Lavrentiev. Alexander Rodchenko. Photography 1924-1954. Cologne 1995, ill pp. 162, 206 and see pp. 181 and 228 for similar images of electric pylon and demonstration. 227


4331

ch a rlot te rudolph a nd herbert volwa hsen (1896–1983, 1906–1988)

4331 Dancers of the Gret Palucca School and Mary

Wigman School, Dresden. 1920s - 1932. 5 vintage gelatin silver prints. Various sizes between circa 9,5 x 8,3 cm, 10,3 x 16,5 cm and 17,7 x 12,3 cm. 1 with Volwah­ sen’s stamp on the verso, 1 with C. Rudolph’s blindstamp in lower right. 1.200 € This interesting collection of photos and manuscript pertaining to the Palucca School of Dance and the Mary Wigman School in Dresden belonged to the dancer seen on several of the images. Two images show a scene from the pantomime dance “Der Weg” choreographed by Mary Wigman,1932 and photographed by the sculptor Herbert Volwahsen. – With: Typed manuscript Kleines Lexikon für das Ballett. A small dictionary of ballett terms. Palucca Schule, Dresden stamp on inside cover. 19 p.

228

4331


4332

4333

edwa rd rusch a 4332* Every Building on the Sunset Strip. Black and

white photographs in 9 sections tipped together and folded as a leporello. 18 x 14,5 cm. Original white wrappers (corners bumped, spine with creases, front cover slightly soiled), with original silver paper covered slipcase (bumped along lower and upper edges, cracked along edges, creases). Los Angeles, Edward Ruscha, 1966. 1.500 €

sebasti ao sa lga do (b. 1944)

4333 “Dispensary, Tchad”. 1985/printed later. Gelatin silver print. 24,5 x 36,5 cm (30,5 x 40,3 cm). Photo­ grapher’s blindstamp in lower left in the margin, mounted along upper edge to black card; signed, titled and dated by the photographer in pencil on the verso. 1.200 €

First edition, second issue (as issued, without rear flap). The Open Book. Hasselblad Center. pp. 198-201. “Ruscha’s books and the photos in them have had a greater influence on younger artists and photographers than his paintings” (101 Books). 229


4334

4335

4336

august sa nder (1876–1964)

4334 “Bäuerin und Bergmannsfrau” (Farm woman and wife of a miner). 1924/printed by Gunther Sander 1970s. Gelatin silver print. 16,7 x 11,2 cm. Annotated in ink on the verso. 600 €

of the 20th century. This and some of following lots were part of this project. The image offered here is part of group IV, “Die Stände: Der Geistliche” (The Social Classes: The Clergy). Lit.: Susanne Lange/Gabriele Conrath-Scholl (eds.). August Sander. Menschen des 20. Jahrhunderts (study volume). Munich 2001, ill. p. 144.

4335

„Pfarrer einer Kleinstadt“ (Small Town Pastor). 1906-1914/printed by Gunther Sander 1960s. Ferrotyped gelatin silver print. 30 x 22,8 cm. Annotated in ballpoint pen and pencil on the verso. 1.200 € With his project “Menschen des 20. Jahrhunderts” (People of the 20th Century), August Sander set out to portray the general character and traits of the German people at the beginning

230

4336 Bäuerin vor Scheunentor (Old farm woman in front of door). 1926/printed by Gunther Sander 1970s. Gelatin silver print. 15,3 x 10,2 cm. Annotated in ink on the verso. 600 €


august sa nder 4337

The painter Otto Dix. 1928/printed 1986. Gela­ tin silver print on Agfa paper. 25 x 17 cm. August Sander, Köln-Lindenthal blindstamp in lower left corner and mounted along upper edge to card; copyright label of the August Sander Archive, New York on mount verso. Griffelkunst edition. 400 € Lit.: Gunther Sander (ed). August Sander. Menschen des 20. Jahrhunderts. Portraitphotographien 1892-1952. Munich 1997, ill. p. 327.

4338 “Metzgermeister und Frau” (Master butcher and his wife). 1906/printed by Gunther Sander 1970s. Gelatin silver print. 12 x 17,3 cm. Annotated in ink on the verso. 500 €

4337

4338 231


ja n sav ua (b. 1939)

4339 “Cariba XXIV”. 1990s. Vintage gelatin silver print. 30 x 43 cm (40 x 50 cm). Signed and annotated by photographer’s in pencil on the verso, hinge-mounted in mat. 500 €

4340 “Cariba XXXIII”. 1990s. Vintage gelatin silver print. 43 x 23 cm (50 x 40 cm). Signed and annotated by photographer’s in pencil on the verso, hinge-mounted in mat. 500 €

4339

4340 232


4341

ja n sav ua 4341 Untitled XV; Untitled VIII. 1990s. 2 vintage gelatin silver prints. 30 x 43 cm (40 x 50 cm). Signed and annotated by photographer in pencil on the verso. Hinge-mounted in mat. 500Â â‚Ź In these works Jan Savua employed a relatively elaborate manual process. At first he created high-contrast negatives and exposed them on a heavy laid paper, which he previously coated with a special photo emulsion. Finally, he applied a small gold leaf area to each picture on a signal red color application, quasi as a signet. Each of the pictures thus becomes a unique piece. 233


4342 234


4343

christi a n sch a d

roger sch a ll

4342 “Hommage à Dada” Portfolio with original etching “Dada 1916-1976” by Christian Schad. 1976. 10 gelatin silver prints and 1 etching. Photos circa 32 x 23,4 cm, etching: 41 x 32,5 cm (59 x 42 cm). Mounted to archival boards, signed, dated and editioned 48/90 in pencil by the photographer under the images on the mounts, in original canvas clamshell box with collophon with original photograph portrait of Christian Schad, signed and editioned 48/90 by C. Schad in pencil. 1.500 €

4343 Female nude with shadow. 1933/printed later.

(1894–1982)

(1904–1995)

Gelatin silver print. 19 x 17 cm (24 x 18 cm). Photographer’s/copyright stamp, signed and dated by the photographer in pencil on the verso. 900 € Before World War II Schall worked primarily as a photojournalist. In 1934 he began working for fashion magazines such as Vogue, where he also excelled in fashion and advertising photography.

Richter 76. - 1 of 90 numbered copies. The images include; „Moma in Moma“, „Die Auserwählte“, „Allergeil“, „Scarbo im Gehäus“, „Illusion“, „Neuer Tum“, „Negapos“, „Augenblicke“, „Hexenspucke“, „Dadanux“. Lit.: G.A. Richter. Christian Schad- Druckgraphiken und Schadographien 1913 - 1981. 1997, ill. pp 114-125. Helen Adkins/InesOtschik. Werkverzeichnis Band III: Schadographien. Cologne 2019, ill. pp. 324-326. 235


roger sch a ll 4344 Men working. Circa 1933. Vintage gelatin silver print. 27,8 x 18,7 cm. Mounted to original black board (some traces of use), annotated Schall in red crayon on mount verso. 750 € Lit.: Published in: Paris Magazine, no. 26, October 1933.

4344

roger sch a ll 4345 Market day, Khust, West Ukraine. 1940s.

4345 236

3 vintage ferrotyped gelatin silver prints. 30,3 x 24 cm and 21 x 21 cm. Each with photographer’s stamp, number stamp, 1 annotated in ink and 2 with typed paper press text label on the verso. 500 €


roger sch a ll 4346 Jewish people in Khust, West Ukraine. 1940s. 2 vintage ferrotyped gelatin silver prints. 30 x 24 cm and 21 x 21 cm. Each with photographer’s stamp, number stamp, 1 annotated in ink and 1 with typed paper press text label on the verso. 600 €

jordis a ntoni a schlösser (b. 1967)

4347 “Havanna”. 1996/printed later. Gelatin silver print. 43 x 60,5 cm. Label with photographer’s/copyright stamp, therein signed, titled and dated by the photographer in pencil on the verso. 1.000 € Jordis Antonia Schlösser studied photo design at the FH Dortmund and has been a member of OSTKREUZ agency since 1997. She has worked for GEO, Stern, Spiegel and National Geographic. Lit.: World Press Photo Award 1997.

4346

4347 237


ernst schneider (1881–1959)

4348 Mythological and Biblical scenes. 1920s.

3 vintage matte sepia-toned gelatin silver prints. Each circa 26,8 x 21,5 cm. Each mounted to original board (a few light spots, slight edge wear), with photographer’s imprint and signed by the photographer in pencil below the image on the mount. 500 €

4348

toni schneiders (1920 –2006)

4349 “Zaungäste” (Fence Visitors). 1952/printed 1980s. Ferrotyped gelatin silver print. 40,5 x 30,2 cm. Photographer’s/copyright Lindau stamp and signed, titled and dated by the photographer in pencil on the verso. 1.000 € 4349 238

Lit.: Landesmuseum Koblenz (ed.). Toni Schneiders - Fotografie. Ostfildern 2006, ill. p. 79 and back cover.


toni schneiders 4350 „Idiotenhügel, Skiläufer“. 1956/printed 2015. Gelatin silver print. 20,4 x 18,4 cm (30,3 x 23,8 cm). Griffelkunst text printed on the verso. 600 €

a lfred seil a nd (b. 1952)

4351

“Pferdeschaukel, Jekyll Island, Georgia”. 1982/ printed 1985. Chromogenic color print on Kodak paper. 29,2 x 37,4 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. 1.000 €

4350

4351 239


4352

a ndres serra no (b. 1950)

4352^ “Pietà” 2012. Chromogenic print. 29,8 x 23,4 cm. Signed, titled and numbered 38/50 by the photographer in pencil on the verso, framed under glass. 900 € 240


4353

stephen shore (b. 1947)

4353

“Moore Haven, Fla.”. 1977/printed 1980. Chromogenic color contact print on Kodak paper. 19,8 x 25 cm (27,8 x 35,5 cm). Signed, titled and dated by the photo­ grapher in felt-tip pen on the verso. 1.200 € Shore photographed his American homeland, as well as neighboring Canada, during a series of road trips taken in the 1970s. He began experimenting with color photography first using a 35mm camera, then 4x5, before finally deciding on the 8x10 format. This work demonstrates his fundamental interest in the sublime ordinariness of everyday life. Lit.: Stephen Shore. Uncommon Places. 50 Unpublished Photographs 1973-78. Paris 2002. 241


4354

si a m a nd the fa r east 4354 Photographer: R. Lenz, Platé, Emil Eisenhofer

as well as Bangkok and Tsingtau studios and unknown. Collection of photographs and various written documents from the estate of the German diplomat and pharmacist Georg Friedrich Wilhelm Rexhausen (1868– 1928) in Siam. Circa 1900-1911. Circa 200 albumen, gelatin silver, platinum and collodion paper prints. Various sizes between 22 x 26 cm, 12 x 16,5 cm and 6 x 8 cm. Some mounted to board, some annotated in ink/pencil in German below image on the mount or on verso. 900 € 242

This collection offers an extensive documentation of the German pharmacist Georg Rexhausen’s life in Bangkok where he lived as of 1905. In 1912 Rexhausen became the director of the Royal Siamese Government Pharmacy in Bangkok and the State pharmaceutical laboratory. His military rank was First lieutenant. At the outbreak of war in 1914 he was summoned to Tsintau as lieutenant general, but only reached Shanghai and returned to Bangkok towards the end of the year. Due to the declaration of war of the Siamese government on July 22, 1917 his contract was dissolved and his property in Siam was confiscated, as can be seen from some of the numerous documents in this collection. In 1921, after the end of the war, he opened a pharmacy in Berlin at Bayerischer Platz, which still exists today. One photo is by the railway engineer Emil Eisenhofer (1879-1962) and the group also includes some views of Ceylon.


4355

k ath a rina siev erding (b. 1944)

4355* “Nachtmensch”. 1982. 2 chromogenic prints. Each 86 x 63 cm, together as a diptych (86 x 126 cm). Framed under glass in wooden frame. 900 € An internationally renowned pioneer of unconventional visual strategies who uses an original media-based creative practice, Katharina Sieverding revitalised the artistic potential of photo­ graphy. She introduced the super-sized format as a key element of her exhibitions when it was not common practice. Siever­ ding’s serial photographic works give expression to reflections about identity, gender issues and the emancipation of the role of the woman artist and deal with the current social, political and cultural climate. Mirroring the artist’s themes and subjective perception of current events, it conveys an image of its time. 243


4356

raghubir singh (1942–1999)

4356 India, Kashmir. Circa 1978/printed circa 1985. Dye transfer print. 24 x 37 cm (40,8 x 51,8 cm). 1.000 € R. Singh was born in Jaipur to an aristocratic Rajput family. His grandfather was commander-in-chief of the Jaipur armed forces, his father a Thakur or feudal landowner of Khetri (Rajasthan). After independence, the family lost influence and much of its wealth. As a student he discovered “Beautiful Jaipur”, CartierBresson’s little-known book published in 1948, which aroused his interest in photography. Today he is regarded as one of the great pioneers of early color photography alongside important photographers such as William Eggleston, Stephen Shore, Joel Sternfeld and Joel Meyerowitz. Singh’s work documents Indian culture and the changing times the country has faced. Singh’s works have primarily been shown in major American institutions, such as the Metropolitan Museum of Art, and the Museum of Modern Art, as well as the Tate Modern, London and many others. He has published more than fourteen books on India and received numerous international awards.

244

4357 India, Kashmir. Circa 1978/printed circa 1985. Dye transfer print. 24 x 37 cm (41,5 x 51,6 cm). 1.000 € 4358 India, Kashmir. Circa 1978/printed circa 1985. Dye transfer print. 24 x 37 cm (41,2 x 52,3 cm). 1.000  €


4357

4358 245


4359

4360 246


4361

a nton sta nkowski (1906–1998)

4359 „Lichtspiele“. 1932/printed later. Gelatin silver print. 30,5 x 40 cm. Estate stamp on the verso. 900 € Lit.: Anton Stankowski. Photographien ab 1927. Heimerdingen 1979, ill. p. 72. Provenance: From the photographer to the present owner.

4361 Untitled. 1950s/printed later. Gelatin silver print. 40 x 30 cm. Estate stamp on the verso. 900 € Provenance: From the photographer to the present owner.

4360 “Kastanienauge”. 1935/printed later. Gelatin silver print. 30,2 x 39,2 cm. Estate stamp on the verso. 750 € Lit.: Anton Stankowski. Photographien ab 1927. Heimerdingen 1979, ill. p. 81. Provenance: From the photographer to the present owner. 247


4362

a ndré steiner

h a na stepa n

4362 Male nude with shadow. 1933. Vintage ferro-

4363 Satirical photo collages. Circa 2000. 3 photo

(1901–1978)

typed gelatin silver print. 24,2 x 16,8 cm. Photographer’s/ copyright stamp with pictogram, collection stamp, number stamp and annotated in pencil on the verso. 600 €

(b. 1934)

collages using 19th century cabinet portraits. Circa 16 x 11 cm. 400 € 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 artist gives new meaning and humor to the rather conventional cabinet portraits of the late 19th century. The wife of Bohumil Stepan, Hana Stepan worked together closely with him up until his death. She is an illustrative artist in her own right and has worked on many animated films.

4364 Satirical photo collages. Circa 2000. 3 photo

collages using 19th century cabinet portraits. Circa 16 x 11 cm and 21 x 11 cm. 400 € 248


4363

4364

249


4365

bert stern (1929–2013)

4365 “Marilyn Monroe Pink Scarf ” (from ‘The Last Sitting’ for Vogue). 1962/printed 2009. Large-format fine art print. 74 x 61 cm. Signed and editioned 2/6 by the photographer in black 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. 3.000 € 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 2012.

250


4366

bert stern 4366 “Marilyn Monroe Crucifix” (from ‘The Last Sitting’ for Vogue). 1962/printed 2010. Large-format fine art print. 65 x 61 cm. Signed and editioned 2/6 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. 3.000 € With: Certificate of Authenticity 2012. 251


ca mi stone (1892–1975)

4367 Charlie, Rene and Paulo Rivel. 1930. Vintage ferrotyped gelatin silver print. 23,4 x 17,5 cm. Photo­ grapher’s name in lower left in the negative, annota­ ted in ink in upper edge and signed by Charlie Rivel in ink (faded and illegible); photographer’s stamp on the verso. 400 €

paul stra nd (1890 –1976)

4368 New York. 1916. Photogravure on Japan. 12,6 x 16,4 cm (28 x 20 cm). Tipped in upper corners to ENFIELD laid paper (small residue of glue in upper right corner, restored loose corner), matted. From Camera Work 48, 1916. 1.000 € Lit.: Alfred Stieglitz. Camera Work. The Complete Illustrations 1903 - 1917. Cologne 1997, ill. p. 758.

4368 252

4367


4369

josef sudek (1896–1976)

4369 Ray of light in forest. 1950s. Vintage ferrotyped gelatin silver print. 16 x 12 cm. Photographer’s stamp, address Praha III, Ujezd 2B on the verso, mounted in window mat. 800 € 253


4370

a nta nas sutkus (b. 1939)

4370 “The Boy in the City Street”. 1973. Vintage

large-format matte gelatin silver print. 50,6 x 50,2 cm. Titled and dated in pencil on the verso. 750 € Sutkus was one of the founding members of the “Association of Lithuanian Photographers” (1960) and in 1976 became a member of the “International Federation of Photographic Art in UNESCO”. His poetic images of the Lithuanian village of his youth show a nostalgic and unique past.

4371 254

4371 “His Life”. Late 1960s.Vintage large-format matte gelatin silver print. 54 x 22,6 cm. Titled in pencil on the verso. 600 €


4372

4373

a nta nas sutkus 4372 “The Old Town Citizens”. 1968/ printed 1970s. Large-format matte gelatin silver print. 51 x 50,1 cm. Titled and dated in pencil on the verso. 600 €

4373 “In Father’s Cab”. 1965/printed 1970s. Large-format matte gelatin silver print. 53 x 50,2 cm. Titled and dated in pencil on the verso. 750 €

4374 “The Militarists”. 1976. Vintage large-format matte gelatin silver print. 50,3 x 49,7 cm. Titled and dated in pencil on the verso. 750 €

4374 255


4375

jerusa lem sy ri a n orph a nage (schneller orph a nage) 4375 Album of the Syrian Orphanage (Schneller Orphanage) in Jerusalem with photos from the estate of Hermann Schneller (1893-1993), most by Paul Hommel. 1927-29. Circa 200 gelatin silver prints. Most 6 x 8,5 cm. Mounted to album pages, bound in imitation leather album (35 x 46 cm) with belt binding, inner cover with typewritten description label. 750 €

256

The foundation of the Syrian Orphanage dates back to the bloody massacre in Syria in May/October 1860. The old conflict between the Islamic Druze and the Christian Maronites led to the murder and expulsion of the Maronites in 1860. Through an initiative of Friedrich Spittler many orphans of this massacre were admitted to the Jerusalem ‘Brüderhaus’. Its director Johann Ludwig Schneller collected money and supported the institution, so that by the end of the 19th century over 200 children were already acco­ mmodated there. A rare compilation comprising many images of the Syrian Orphanage in Jerusalem under German direction as well as images of Palastine.


k a rin székessy

(Karin Wunderlich, b. 1939)

4376 Female nude. 1970s. Vintage gelatin silver print on Agfa paper. 30,5 x 24 cm. Photographer’s/ copyright stamp and archive stamp on the verso. 500 €

4376

k a rin székessy

4377

4377 Female nude. 1970s. Vintage gelatin silver print on Agfa paper. 24 x 14,7 cm. 3 photographer’s/ copyright stamps and archive stamp on the verso. 500 € 257


4378

k a rin székessy 4378 Female nude with dog. 1970s. Vintage matte gelatin silver print on Agfa paper. 23,8 x 30,3 cm. Photographer’s/copyright stamp and archive stamp on the verso. 500 €

4379 258

4379 Female nude. 1970s. Vintage matte gelatin silver print on Agfa paper. 30,6 x 24 cm. 2 photographer’s/copyright stamps and archive stamp on the verso. 600 €


4380

k a rin székessy 4380 Female nude in forest. 1970s. Vintage matte gelatin silver print on Agfa paper. 30,2 x 39,8 cm. Photographer’s/copyright stamp and archive stamp on the verso. 600 €

4381 “Dagmar & Joana”. 1970. Vintage ferrotyped gelatin silver print on Agfa paper. 23,5 x 14 cm. 2 photographer’s/copyright stamps, titled by the photographer in ink and archive stamp on the verso. 600 €

4381 259


4382

m a rio testino (b. 1954)

4382 Claudia Schiffer, German Vogue. 2008. Chromogenic color print on FujicolorCrystal Archive paper. 20 x 25 cm. Signed by the photographer in black marker upper left. 1.000Â â‚Ź 260


elsa thiem a nn (1910 – 1981)

4383 Portrait of the artist Hans Thiemann with head scarf, Dessau. 1930-31. Vintage ferrotyped gelatin silver print on Leonar paper. 17,9 x 12,9 cm. Annotated in ink and estate stamp 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 photo­ graphy 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. Lit.: Annemarie Jaeggi/Margot Schmidt (eds.). Elsa Thiemann: Fotografin, Bauhaus und Berlin. Berlin 2004, ill. p. 17. Provenance: From the estate of the photographer.

4383

elsa thiem a nn 4384 Design for wallpaper (“Tintenflecke”). 1930– 31. Vintage ferrotyped gelatin silver print on ivory paper. 23,3 x 17,6 cm. Photographer’s stamp, estate stamp and annotated by the photographer in pencil on the verso. 750 €

4384

Lit.: Annemarie Jaeggi/Margot Schmidt (eds.). Elsa Thiemann: Fotografin. Bauhaus und Berlin. Berlin 2004, see pp. 18-27. Provenance: From the estate of the photographer. 261


elsa thiem a nn 4385 Detail study (Radiator). 1930s. Vintage ferro-

typed gelatin silver print on ivory paper. 18 x 13 cm. Photographer’s stamp, estate stamp and annotated by the photographer in pencil/ink 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). Lit.: Annemarie Jaeggi/Margot Schmidt (eds.). Elsa Thiemann: Fotografin, Bauhaus und Berlin. Berlin 2004, see pp. 62 - 67. Provenance: From the estate of the photographer.

4385

elsa thiem a nn 4386 Fishing nets, Kurisches Haff. 1930s. Vintage

gelatin silver print on Agfa-Brovira paper. 39,9 x 29,5 cm. Annotated in ink and estate stamp on the verso. 1.000 € 4386 262

Provenance: From the estate of the photographer.


4387

elsa thiem a nn 4387

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 in ink and estate stamp on the verso. 750 € Provenance: From the estate of the photographer.

4388 The artist Hans Thiemann in deck chair.

Circa 1950. Vintage ferrotyped gelatin silver print. 23,2 x 17,5 cm. 2 photographer’s stamps, estate stamp and annotated in pencil and ink on the verso. Hingemounted in mat. 750 € Lit.: Annemarie Jaeggi/Margot Schmidt (eds.). Elsa Thiemann: Fotografin. Bauhaus und Berlin. Berlin 2004, ill. p. 11 (variant). Provenance: From the estate of the photographer.

4388 263


4389 4389

264

4390

4390

4390

4390


4391

4391

third reich 4389 Photographer unknown. Press photos of the Reichstag Fire Trial and other NS photo documents. 1933. 7 vintage sepia-toned gelatin silver prints. Each circa 16 x 24 cm. Each with typed English press text label and agency stamps on the verso. 600 €

4390 Photographer: Max Gerlach (1886-1957) agency.

Documentaion of early National Socialist events in Westphalia.1933-mid 1930s. Circa 59 vintage gelatin silver prints. Each circa 9 x 14 cm. Most with photo­ grapher’s stamp/label and typed press text labels on the verso. 1.200 €

4391 Photographer: H. Wolter and unknown. Two

souvenir albums of a member of the Berlin Wachregi­ ment (guard regiment). Circa 1935-38. Circa 52 + 83 vintage gelatin silver prints. Most 13 x 18 cm and 7 x 9,5 cm. Mounted to album pages (some wear) with handwritten captions in white ink below the images on the mount, bound in 2 contemporary cloth albums (22 x 31 cm), 1 with chord binding. 1.200 € The larger album with 52 photographs (3 loose) comprises many scenes of official Berlin state visits, wreath-laying ceremonies, the New Year’s reception at the Reichs Chancellery and parades, most taken by H. Wolter, a professional photographer. The second smaller album contains private shots of the same soldier taken on a trip to Italy.

A very extensive documentation of early National Socialist events in Westphalia from the archive of the press photographer Max Gerlach who was the head of the ‘Internationalen Presse Illustration-Photo-Verlag Max Gerlach’ agency which supplied the National Socialist state with propaganda material. 265


4392

third reich 4392 Photographer: Struck and Heinrich Hoffmann.

Group of proscriptive postcards showing works in the “Entartete Kunst” (Degenerate Art) exhibition as well as the exhibtion building in Berlin. 1938. 5 vintage gelatin silver prints (photo postcards). Circa 9 x 14 cm and 6 x 14 cm. 1 with title and photographer’s name in the negative in lower edge/on verso, special postmark “Entartete Kunst” Haus der Kunst Februar-April 1938. 1.200 € The exhibition “Entartete Kunst” toured several German cities between 1938 - 1941 in various compilations and was accompanied by a vast range of propagandistic material such as posters, brochures, postcards, articles, etc.

4393 Photographer: Heinrich Hoffmann agency, Helmut Haak and unknown. Images of Adolph Hitler during Molotov’s visit in Berlin, meeting with the Japanese Foreign Minister Matsuoka Yosuke and Mussolini in Munich and Berlin. 1939-1940. 12 vintage ferrotyped gelatin silver press prints. Each circa 13 x 18 cm and larger. Several with photographer‘s/studio stamp and/or press text label and annotated on the verso, a few mounted to board. 500 € Some of the images in this lot shows the visits of Molotov and Matsuoka in Berlin. Molotov‘s visit was to prepare the MolotovRibbentrop Pact.

4394 Photographer unknown. Views of the Warsaw ghetto. Early 1940s. 7 vintage gelatin silver prints. Most circa 8,5 x 12 cm. 4 mounted to card, 3 loose, with 2 Russian archive stamps and numbers in red crayon on the verso. 800 € 266


4393

4394

267


kurt triest (1907–1985)

4395 Circus artists. 1930s. 4 vintage gelatin silver prints on Agfa-Brovira paper. 22,5 x 15,7 cm and 14 x 20 cm. Each with photographer‘s/copyright stamp and annotated in pencil on the verso. 400 € The German-Israeli photographer Kurt Triest came from an affluent merchant family. In 1932, against his father‘s will, he took up photography and worked as a freelance photojournalist in Berlin until 1938 when he emigrated to Palestine. Triest worked as a photojournalist in Tel Aviv until 1951.

4395

holger trülzsch and vera lehndorff (b. 1939)

4396 Image from the „Oxydationen“ series (Eisenpfeiler mit Abflussrohr), Hamburg-Altona. 1978/printed 1979. Dye-transfer print. 40,5 x 40,5 cm (60,5 x 50,5 cm). Signed, dated, editioned 6/29 and copyrighted by the artists in pencil on the verso. 1.200 € Vera Lehndorff studied design and painting at the Academy of Arts in Hamburg as well as acting with Lee Strasburg in New York. She became a well-known fashion model under the name ‚Veruschka“ and worked with such prominent photographers as Richard Avedon, Irving Penn and Helmut Newton. In 1966 she did her first body-painting and as of 1970 she began working with Holger Trülzsch who studied painting and sculpture at the Aca­ demy of Arts in Munich. These images were taken at the Fish Auction Hall in Hamburg, a building that was in a state of disin­ tegration and which offered an ideal location for Lehndorff and Trülzsch‘s experimentations of merging the human body with walls and metallic pipes. The colors of oxidation – rust, soot and chalk - are prominent in these images and the dye-transfer prints display these colors beautifully. Lit.: Vera Lehndorff/Holger Trülzsch. Veruschka. Trans-figurations. Boston 1986, ill. p. 136.

268

4397 Image from the „Oxydationen“ series (Aufgeschlagenes Mauerstück neben Elektrokasten), Hamburg-Altona. 1978/printed 1979. Dye-transfer print. 40 x 40 cm (60 x 50 cm). Signed, dated, editioned 6/29 and copyrighted by the artists in pencil on the verso. Mounted in upper corners to window mat. 1.200 € Lit.: Vera Lehndorff/Holger Trülzsch. Veruschka. Trans-figura­ tions. Boston 1986, ill. p. 141.


4396

4397 269


gerh a rd ull m a nn (1935–2012)

4398 Berlin street scene. 1964. Vintage gelatin silver print. 30 x 21,5 cm. Photographer‘s/copyright stamp and annotated in pencil on the verso. 600 €

united nations 4399 Photographer: Bedrich Grunzweig. United Nations Headquarters, New York. 1952. Vintage ferrotyped gelatin silver print. 25,2 x 20,8 cm. Year in pencil in lower margin; printed press text on the verso. 400 €

4398

4399 270


unknow n photogra pher 4400 Woman in expressive pose. 1920s. Vintage pigment print. 16,8 x 22,5 cm. Mounted to original grey card (edges with toning, backed tears in edges), annotated in red crayon on verso. 500 €

4400

unknow n photogra pher

4401

4401 Experimental studies. 1930s. 3 vintage gelatin silver prints on Agfa paper. Each circa 10 x 7,5 cm. 400 € 271


„vaterl a nd“ ocea n liner 4402 Souvenir and documentation album of the

launching of the ocean liner Vaterland. 1914. 33 vintage gelatin silver and collodion paper prints. Each circa 23 x 17 cm. Mounted to album boards, bound in half leather album (edges/spine) rubbed. 600 € The images show the launching of the Vaterland by Prince Rupprecht of Bavaria, its various officers, deck views, the luxurious interior furnishings, first class cabins and the very modern radio operator cabin. After the beginning of WW I the ship was confiscated in New York in 1917 and used as a troop transporter under the name Leviathan.

v ietna m 4403 Souvenir album of Vietnam after the first

Indochina War (1946-1954). Compiled 1955. Circa 106 vintage gelatin silver prints. Various sizes between circa 9 x 12 cm and 12 x 16,5 cm. Mounted to album pages (3 loose), typed Vietnamese caption labels below images on mounts, bound together in contemporary wood lacquer album (edges/corners chipped) with chord binding. 750 €

4402

4403 272

The images in this historically important album were compiled circa six months after the Battle of Dien Bien Phu. The title page bears a dedication in Vietnamese: „Commemorative album on the occasion of the liberation of the capital, dedicated by President Ho and his government“. The first images show portraits of Ho Chi Minh, Truiong Chinh, Pham Van Do`ng, General Vo Nguyen Giap. They show the rebuilding of North Vietnam after the first Indochina War. Some important images show President Ho giving a speech on land reform in Vietnam. Other images document the war against the French troops, the Geneva Conference on May 3,1904 and the signing ceremony of the Armistice Treaty, as well as state visits of Zhou Enlai, Gromoyko, Grotewohl and others in Hanoi.


4404

ernst voll a nd (b. 1946)

4404 „ H & S“ (from the series ‚Eingebrannte Bilder‘). 2000. Gelatin silver print. 38,6 x 25,3 cm. (40,6 x 30,2 cm). Signed, titled and dated by the photographer in pencil on the verso. 900 € Lit.: Ernst Volland. Eingebrannte Bilder, Plakate, Cartoons, Buntstiftbilder, Fakes, Dokumente. Berlin 2018, ill. 49. 273


4405

gerh a rd vormwa ld (1948–2016)

4405 „Essen und Trinken“. 1992. Chromogenic print on Ilfochrome Classic paper. 43,7 x 57 cm. Signed, dated and numbered 7/10 by the photographer in ink in lower left/right; signed, dated and numbered 7/10 by the photographer in pencil on the verso. 500 € Lit.: Gerhard Vormwald. Bilder von Menschen und Objektinszenierungen. Kraichtal 1992.

274


4406

wolfga ng volz (b. 1948)

4406 A hlbeck. 1992. Toned gelatin silver print. 16 x 48 cm. Signed, dated and editioned 8/10 by the photographer in ink in lower margin. Framed under glass (48 x 80 cm). 500 €

the siegfried wagner fa mily 4407 Photographer: Atelier Weirich and others. Por-

traits of the Wagner family and stage sets of Bayreuth festivals. 1930s. 20 vintage gelatin silver prints. Each circa15 x 10,5 cm. Most annotated in ink on the verso. 400 € This collection includes portaits of Winifried, Wieland, Friedelind and Verena Wagner as well as a family portrait from 1919.

4407 275


4408

dr. peter w eller (1868–1940)

4408 Portrait of the writer Theodor Däubler (1876– 1934). 1926. Vintage gelatin silver print. 17 x 25,5 cm. Photographer‘s/copyright stamps, credit label and annotated in pencil on the verso. 300 €

4409 276

4409 Fashion photos. 1930s. 3 vintage ferrotyped gelatin silver prints. Each circa 23 x 17 cm. Each with photographer‘s/copyright stamps and annotated in pencil on the verso. 300 €


dr. peter w eller 4410 Fashion photos. 1930s. 3 vintage ferrotyped gelatin silver prints. Each circa 23 x 17 cm. Each with photographer‘s/copyright stamps and annotated in pencil/blue crayon and 1 with typed label on the verso. 300 € Lit.: F.C. Gundlach/Uli Richter (eds.) Berlin en Vogue. Berliner Mode in der Fotografie. Tübingen 1993, ill. p. 32.

4410

dr. peter w eller 4411 Berlin street scene; Back courtyard. 1930s. 2 vin-

4411

tage gelatin silver prints (1 ferrotyped). 23 x 17 cm and 17 x 23 cm. Each with photographer‘s/copyright stamps and 1 with agency label on the verso. 300 € 277


4412

kurt w endl a ndt (1917–1998)

4412 „Ossians Gesänge“ (Lichtgraphik). 1960s. Uni­

que large-format vintage gelatin silver print on thick warm-toned paper. 34 x 49 cm. Mounted board (50 x 65 cm), signed, titled and dated by the photographer in pencil below the image on the mount. 1.200 €

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.

4413 „Wintergedicht V“ (Jean Gabser - Lichtgraphik). 1960s. Unique vintage gelatin silver print. 40 x 30 cm. Mounted to grey board, signed and titled by the photographer in pencil below the image on the mount. 1.000 € 4413 278

Provenance: The estate of Kurt Wendlandt.


kurt w endl a ndt 4414 „Dame mit Fischen“ (Lichtgraphik/collage). 1965. Unique large-format vintage gelatin silver print on photo linen. 42 x 29 cm. Flush-mounted to board, signed, titled and dated by the photographer in pencil below the image on the mount, mounted again to board (68 x 48 cm). 1.200 € Provenance: The estate of Kurt Wendlandt.

4414

kurt w endl a ndt 4415 „Glassplitter Ib“ (Lichtgraphik). 1975. Unique large-format vintage gelatin silver print on photo linen. 57 x 44 cm. Signed and titled in pencil below the image in the margin; photographer‘s stamp and annotated by the photographer in ink on the verso. 1.200 € Provenance: The estate of Kurt Wendlandt.

4415 279


4416

tel av i v w hite cit y 4416 Photographer: Jack Pfeifenkopf and unknown. Views of residential interiors and furniture, Tel Aviv. 1930s. 19 vintage gelatin silver prints (7 ferrotyped). Each between circa 16,5 x 24 cm and 8,5 x 16,5 cm. 4 with photographer‘s stamp and several annotated in pencil on the verso. 500 € Some prints with airbrush retouching for publication, a few with minimal oxidation mirroring in dark areas, otherwise in very good condition.

280

4417 Photographer: Itzhak Kalter (1903–1997). Pano­ ramic view of the White City, Tel Aviv. 1940s. 7-part panorama (7 vintage ferrotyped gelatin silver prints on Agfa-Brovira paper, joined together at edges). 22 x 108 cm. Each photo with photographer‘s stamp on the verso. 900 €


4417

kl aus w it tkugel (1910 –1985)

4418 „Menschen am Kai“ (People on the dock). 1934. Vintage gelatin silver print. 22,5 x 16,7 cm. Signed by the photographer in pencil and typed title on the verso. 500 € Wittkugel experimented a great deal in his early work, using unusual vantage points, as well as abstract compositions. Early vintage prints by Wittkugel are rare.

4418 281


reinh a rt wolf (1930 –1988)

4419 Palm Springs. 1951/printed later. Gelatin silver print. 44,7 x 44 cm (51 x 50 cm). Photographer‘s estate stamp on the verso. 800 €

4420 San Francisco. 1951/printed later. Gelatin silver print. 44,7 x 44 cm (51 x 50 cm). Photographer‘s estate stamp on the verso. 800 €

4419

reinh a rt wolf 4421 Romy Schneider. 1972. Chromogenic print. 35,4 x

35,4 cm (41 x 41 cm). Label with title and editioned 2/2 as well as photographer‘s estate stamp on the verso. 1.000 €

Provenance: From the estate of the photographer.

4420 282

4422 Japan. 1986. Vintage chromogenic print. 24 x 30,3 cm. Annotated by the photographer in red ink and photographer‘s estate stamp on the verso. 400 €


4421

4422 283


dr. paul wolff (1887–1951)

4423 Two women at cafe. 1930s. Vintage ferrotyped

gelatin silver print. 23,5 x 17,5 cm. Schostal agency label with photographer‘s name and stamp of Annette Wolff, Strasbourg on the verso. 750 € Annette Wolff, the wife of Paul Wolff, was his assistant and worked in the archive for many years.

dr. paul wolff & a lfred tritschler (1887–1951, 1905–1970)

4424 Hamburger Rathaus reflected in car trunk. 1930s. Vintage gelatin silver print on Agfa-Brovira paper. 16,3 x 22,5 cm. Annotated in ink/pencil on the verso. 500 €

4423

4424 284


4425

dr. paul tritschler & a lfred wolff 4425 Waldenburg, Silesia. 1930s. Vintage ferrotyped gelatin silver print on Agfa-Portriga-Rapid paper. 17,7 x 23,8 cm. Photographers‘ Frankfurt am Main stamp, layout marks in pencil and annotated in pencil/red marker on the verso. 500 € 4426 View of the Rententurm from the Eiserner Steg, Frankfurt. 1930s. Vintage gelatin silver print on Agfa-Brovira paper. 22,8 x 16,7 cm. Photographers‘ Frankfurt am Main stamp and Original Leica print stamp on the verso. 400  €

4426 285


world wa r i 4427 Photographer: Carl Drausfeld, Benninghoven and Bufa. Images of World War I. 1914-1918. 5 vintage gelatin silver prints. Each 22,5 x 27,5 cm. Each with photographer name, number and Paul Hoffmann & Co. censorship logo in the negative in lower edge; each with printed text label on the verso. 200 €

4427

wa lter za dek (1900 –1992)

4428 Bedouin women. 1930s. 3 vintage ferrotyped gelatin silver prints on Agfa-Brovira paper. Each circa 24 x 18,2 cm. 2 with photographer‘s/copyright stamp and each annotated in pencil/marker on the verso. 400 €

4428 286

Born in Berlin, the photojournalist Walter Zadek emigrated to Israel in 1933, where he founded the Association of Professional Photographers in Palestine in 1939.


4429

va dim za kh a rov (b. 1959)

4429 Self-Portrait - Performance. 1983/ printed 1995. Gelatin silver print on RC paper. 17,7 x 12,7 cm. Signed by the photographer in ink lower right; editioned 9/25 on the verso. From an edition by Kölnischer Kunstverein, Cologne. 600 € Vadim Zakharov is an internationally exhibited Russian conceptual artist and collector who lives and works in Berlin. He created the work “DANAE” for the Russian pavilion at the 2013 55th edition of the Venice Biennale. 287


index A Adam, Hans Christian 4069 Alpine Landscapes 4001-02, 4071 American West 4004 Anschütz, Ottomar 4003 Appelt, Dieter 4070 Araki, Nobuyoshi 4072-73 Architectural Photography 4074-79 Arthaud, Marcel 4080-82 Atomic Cowboy 4083 Automobile AW7 P 70 4084-85 Aviation 4086 B Ballen, Roger 4087-88 Ballin, Hugo 4089 Bauhaus Photography 4090 Bayer, Herbert 4091-92 Becher, Bernd & Hilla 4093-94 Becker & Maass 4095 Behr, Klaus 4096 Bergemann, Sibylle 4149-54 Berlin 4005, 4097-4102 Bieberkraut, Helene 4103-04 Bisson frères 4006-10 Bitterfeld (Märzkämpfe) 4105 Blum, Heiner 4106 Bolivia 4107 Borchert, Christian 4155 Bothner, Robert 4108-10 Boucher, Pierre 4111 Brahms, Johannes 4011 Braun, Adolphe 4012-13 Braun & Cie, Adolphe 4014 British Views 4015 Buchwald, Kurt 4156 Buetti, Daniele 4112 Bulmer, John 4113-14 Byk, Suse 4115 C Chaldej, Jewgeni 4116-17 China 4016, 4118-19 Chochola, Václav 4120 Christel, Detlef B. 4157-62 Claudet, Antoine 4017 Clergue, Lucien 4121-22 Cologne 4123 D Daguerreotypes 4018-19 Daziaro, Joseph 4020 Delton, Louis-Jean 4021 Demand, Thomas 4124 Deutsch Südwest Afrika 4125 Dichterfahrt 1940 4126 Donnels, Johnny 4127 Dunn, Jeremy 4128 E Edgerton, Harold 4129 Eichenberger, Roberto 4130-31

288

Eliasson, Olafur 4132 Emden, Hermann 4022 Enkelmann, Siegfried 4133 Erotic Photography 4023-24, 4134 Esser, Elger 4136 Ethnographic Portraits 4135 European Folk Costumes 4025 European Royalty and Politicians 4026

Kayser, Alex 4241 Keetman, Peter 4242-44 Kertész, André 4245 Kilian, Hannes 4246-47 Krämer, Katja 4248 Krüger, Karl 4249 Krull, Germaine 4250 Küss, Ferdinand 4034

F Feininger, Andreas 4137 Film Photography 4138-43 Fioroni, Livio 4144 Fischer, Arno 4163-71 Fontana, Franco 4145-46 Ford Motor Company, River Rouge Plant 4148 Fribourg 4027 Friedlander, Lee 4147

L Lachmann, Herbert 4251 Landauer, Lou 4252-59 Lazi, Adolf 4260 Lehnert & Landrock 4261-64 Lempert, Jochen 4265-68 Lendvai-Dircksen, Erna 4269 Lima 4035 Lindbergh, Peter 4270 List, Herbert 4271-74 Longo, Robert 4275

G Genthe, Arnold 4197 Ghent 4028 Ghirri, Luigi 4198 Gloeden, Wilhelm von 4029-31 Goldin, Nan 4199 Gremmler, Karl Theodor 4201 Gundlach, F.C. 4200 H Habermann, Efraim 4202 Hajek-Halke, Heinz 4206-08 Hanfstaengl, Franz 4032-33 Häusser, Robert 4203-05 Hebler, Peter 4209 Heidersberger, Heinrich 4210 Heinemann, Jürgen 4211-15 Henle, Fritz 4216-18 Heyden, Bernd 4172-80 Hilsdorf, Jacob 4219 Hiro 4220 Hoepker, Thomas 4224-25 Höfer, Candida 4221-23 Holderer, Lena 4226 Horst, Horst P. 4227 Hütte, Axel 4228 I India 4229 Industrial Views Saarland 4230 Inkler, Lothar 4231 Ishimoto, Yasuhiro 4232-33 IZIS 4234 J Jansen, Arno 4235 Japan 4236-37 Joinville (Brazil) 4238 K Kane, Dan 4239-40 Kargopoulo, Basile and Pascal Sebah 4042

M Mahler, Ute 4181-85 Malevich, Kazimir 4276 Man Ray 4277 Manassé 4278 March, Charlotte 4279 Marconi, Gaudenzio 4036-37 Marquardt, Sven 4186-87 Marseille 4280 McBride, Will 4281-86 Melis, Roger 4188-89 Mercer, Vera 4287 Moholy-Nagy, László 4288 Mondhe, Narayan "Nino" 4289-91 Monier, Albert 4292 Moral, Jean 4293 Moriyama, Daido 4294 Moses, Stefan 4295 Munich 4038 N Nagel, Gabriele 4296-97 Nature Printing 4039-40 Neusüss, Floris M. 4298-99 Newman, Arnold 4300 Nineteenth Century Portraits 4041 Nisak, André 4301 Nollen, Arno 4302 P Pabel, Hilmar 4303-04 Palastine 4305 Panckow, Marie 4043 Pare, Richard David 4306 Paris, Robert 4190 Parkinson, Norman 4307-08 Parlamentarische Rat 1948, Der 4309 Perckhammer, Heinz von 4310 Peter Sr., Richard 4311-17 Petit, Pierre 4044


Photochrome 4045 Picasso, Pablo / André Villers 4318 Pictorialism 4319 Plisetskaya, Maya Michailowna 4320 Plüschow, Guglielmo 4046-49 Potsdam 4321 Prugger, Max 4322 Pudenz, Martin 4323 R Reinartz, Dirk 4324 Renger-Patzsch, Albert 4325 Riefenstahl, Leni 4326 Ries, Henry 4327 Rocholl, Karin 4328-29 Rodchenko, Alexander 4330 Rome 4050 Rudolph, Charlotte and Herbert Volwahsen 4331 Ruscha, Edward 4332 S Saché, John Edward and Westfield 4051-52 Salgado, Sebastiao 4333 Sander, August 4334-38 Savua, Jan 4339-41

Schad, Christian 4342 Schäfer, Rudolf 4191 Schall, Roger 4343-46 Schlösser, Jordis Antonia 4347 Schmidt, Georg 4053-57 Schneider, Ernst 4348 Schneiders, Toni 4349-50 Schönscheidt, Johann H. 4058 Schopenhauer, Arthur 4059 Schulze Eldowy, Gundula 4192 Scotland 4060 Sebah, J. Pascal and Policarpe Joaillier 4061 Seiland, Alfred 4351 Serrano, Andres 4352 Sewcz, Hans Martin 4193-95 Shore, Stephen 4353 Siam and the Far East 4354 Sieverding, Katharina 4355 Singh, Raghubir 4356-58 Sommer, Giorgio 4062 Stankowski, Anton 4359-61 Steiner, André 4362 Stepan, Hana 4363-64 Stern, Bert 4365-66 Stone, Cami 4367 Strand, Paul 4368

Sudek, Josef 4369 Sutkus, Antanas 4370-74 Syrian Orphanage (Schneller Orphanage), Jerusalem 4375 Székessy, Karin 4376-81 T Taber, Isaiah West 4067 Testino, Mario 4382 Thiemann, Elsa 4383-88 Third Reich 4389-90, 4392-94 Thrid Reich 4391 Tonkin 4063 Triest, Kurt 4395 Trülzsch, Holger and Vera Lehndorff 4396-97 Tsingtau 4064 UVW Ullmann, Gerhard 4398 United Nations 4399 Unknown Photographer 4400 Völkerling, Gustav 4065-66 Watkins, Carleton E. 4067 Wolter, Charlotte 4068 Wüst, Ulrich 4196

consigners 1: 4172, 4173, 4174, 4175, 4180, 4201, 4320. 2: 4423. 3: 4112. 4: 4239, 4240. 5: 4363, 4364. 6: 4005, 4016, 4036, 4037, 4059, 4097, 4141. 7: 4002, 4015, 4022, 4025, 4029, 4030, 4042, 4046, 4047, 4048, 4064, 4068, 4069, 4095, 4098, 4106, 4122, 4123, 4148, 4230, 4238, 4241, 4249, 4272, 4273, 4274, 4295, 4298, 4299, 4310, 4319, 4367, 4399, 4402, 4427. 8: 4023. 9: 4301. 10: 4200, 4396, 4397. 11: 4100, 4128, 4216, 4217, 4218, 4260, 4276, 4292, 4327, 4331, 4400, 4401, 4405, 4408. 12: 4111, 4277, 4288, 4337, 4349, 4350. 13: 4108, 4109, 4110. 14: 4192. 15: 4193, 4194, 4195. 16: 4010, 4011, 4012, 4013, 4027, 4039, 4040, 4063, 4065, 4066, 4096. 17: 4318. 18: 4210, 4359, 4360, 4361. 19: 4149, 4150, 4151, 4152, 4153, 4154, 4155, 4163, 4164, 4165, 4166, 4167, 4176, 4177, 4178, 4179, 4181, 4182, 4183, 4184, 4185, 4188, 4189, 4211, 4212, 4213, 4214, 4215, 4225, 4242, 4244, 4303, 4304, 4311, 4312, 4313, 4314, 4315, 4316, 4317, 4323, 4324, 4376, 4377, 4378, 4379, 4380, 4381, 4390. 20: 4334, 4335, 4336, 4338. 21: 4187. 22: 4332. 23: 4419, 4420, 4421, 4422. 24: 4020, 4035, 4058, 4067, 4237. 25: 4429. 26: 4026, 4140, 4305. 27: 4018, 4019, 4034. 28: 4045. 29: 4091, 4092, 4129, 4293, 4344. 30: 4116, 4117, 4209, 4404. 31: 4103, 4104, 4389, 4392, 4394, 4395, 4416, 4417, 4428. 32: 4041, 4044, 4079, 4197, 4203, 4204, 4205, 4325. 33: 4328, 4329. 34: 4226. 35: 4383, 4384, 4385, 4386, 4387, 4388. 36: 4089. 37: 4138, 4139, 4142, 4144. 38: 4014, 4107, 4143, 4393, 4407. 39: 4075, 4115, 4120, 4190, 4191, 4196, 4202, 4233, 4250, 4278, 4281, 4294, 4302, 4409, 4410, 4411. 40: 4412, 4413, 4414, 4415. 41: 4246, 4247. 42: 4270. 43: 4093, 4132, 4136, 4221, 4223, 4275, 4300. 44: 4370, 4371, 4372, 4373, 4374. 45: 4243. 46: 4086, 4127. 47: 4130, 4131. 48: 4252, 4253, 4254, 4255, 4256, 4257, 4258, 4259. 49: 4145, 4146, 4147, 4220, 4232, 4289, 4290, 4291, 4306, 4307, 4308, 4356, 4357, 4358. 50: 4101. 51: 4248. 52: 4031, 4049. 53: 4186. 54: 4296, 4297. 55: 4234, 4245, 4369. 56: 4227. 57: 4080, 4081, 4082, 4156, 4231, 4251, 4309, 4326, 4343, 4345, 4346, 4362, 4398, 4418. 58: 4168, 4169, 4170, 4171. 59: 4050. 60: 4351. 61: 4113, 4114, 4347. 62: 4072, 4073, 4199, 4365, 4366. 63: 4271. 64: 4021. 65: 4355. 66: 4099, 4135, 4157, 4158, 4159, 4160, 4161, 4162, 4229, 4375. 67: 4094, 4265, 4266, 4267, 4268. 68: 4051, 4052. 69: 4006, 4007, 4008, 4009, 4028. 70: 4004. 71: 4074, 4076, 4077. 72: 4282, 4283, 4284, 4285, 4286. 73: 4003. 74: 4024, 4134. 75: 4062. 76: 4060. 77: 4261, 4262, 4263, 4264. 78: 4070, 4382, 4424, 4425, 4426. 79: 4333. 80: 4348. 81: 4353. 82: 4032, 4033, 4038, 4053, 4054, 4055, 4056, 4057. 83: 4342. 84: 4368. 85: 4061. 86: 4206, 4207, 4208, 4235, 4406. 87: 4198. 88: 4224, 4279. 89: 4121. 90: 4017. 91: 4287. 92: 4118, 4126, 4321, 4354, 4391, 4403. 93: 4043. 94: 4087, 4088, 4137. 95: 4090, 4330. 96: 4124, 4222, 4228, 4269, 4352. 97: 4001, 4084, 4085, 4105, 4119, 4125, 4236. 98: 4071, 4219. 99: 4322. 100: 4078, 4083, 4102, 4133, 4280, 4339, 4340, 4341. 289


technical terms

fachbegriffe

albumen print annotated / by another hand attached / mounted ball-point pen blindstamp card / cardboard collotype print colored contact print corner crayon dated edge edition felt-tip pen ferrotyped framed gelatin silver print illustration / plate ink inscribed / notations label left / right margin mat / matted mounted numbered / editioned original studio cardboard mount pencil photographer’s stamp photogravure platinum print printed later salt print signed stamp / stamped tipped to mount titled toned upper / lower margin

290

Albuminabzug bezeichnet / von fremder Hand befestigt / montiert Kugelschreiber Prägestempel Karton / Untersatzkarton Lichtdruck koloriert Kontaktabzug Ecke Farbstift datiert Kante Auflage Filzstift hochglänzend gerahmt Gelatinesilberabzug Abbildung Tinte beschriftet Etikett / Aufkleber linker / rechter Rand Passepartout / unter Passepartout aufgezogen, aufgewalzt nummeriert Original-Atelierkarton Bleistift Photographenstempel Photogravüre Platinabzug späterer Abzug Salzpapierabzug signiert Stempel / gestempelt auf die Unterlage geheftet betitelt getont oberer / unterer Rand


condition

zustand

abrasion, traces of buckling bumped crease / light crease mark damaged edge wear faded foxing glue, traces of handling crease layout marks oxidation mirroring pen mark pinholes retouched spot rubbed scratch scuff-marks slightly soiled smudge soiled spot / mark tear / small tear traces of previous mounting traces of use

Schleifspuren gewellt bestoßen Knick / Knickspur lädiert Gebrauchsspuren entlang der Kanten ausgeblichen stockfleckig Klebstoffreste Druckstellen / Gebrauchsspuren Layoutmarkierungen Aussilberung Stiftspur Nadellöcher Retusche (punktuell) berieben Kratzer leichte Schleifspuren angestaubt Schmierfleck unfrisch / angeschmutzt Fleck Riß, kleiner Einriß Montierungsreste Gebrauchsspuren

291


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 unbenannt bleiben. 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. 19% 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 Interes­ sent 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. Hochauf­ge­löste Digitalisate der Katalogabbildungen von ersteigerten Ob­jek­­­ten können gegen eine Gebühr von 25€ pro Abbildung erworben werden. 17. Sollte eine der vorstehenden Bestimmungen ganz oder teilweise unwirksam sein, so bleibt die Gültigkeit der übrigen davon unberührt. David Bassenge Geschäftsführer Stand: November 2019

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 Sal 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 19% 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. 17. 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. 16. High resolution image files of purchased lots can be obtained for a fee of â‚Ź25 per image. David Bassenge As of November 2019


s h o ta ro s h i m o m u r a . Magasin du Nord. Vintage gelatin silver print. 1934/35.

to be sol d in our spring auct ion 2020 gallery & previews | Rankestr. 24, 10789 Berlin auctions | Erdener StraĂ&#x;e 5a, 14193 Berlin

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