__MAIN_TEXT__
feature-image

Page 1


pho t ogr a ph y auc t ion 117

Erdener Str. 5a, 14193 Berlin, Germany

j u n e 16, 2021  14.00

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

07.06. – 12.06.2021: 10.00 – 18.00, 14.06.2021: 10.00 – 18.00, 15.06.2021: 10.00 – 15.00

Rankestr. 24, 10789 Berlin, Germany

viewing appointments can be made as of may 31. vorabtermine sind nach vereinbarung ab montag, dem 31.05. möglich. In order to guarantee a safe and smooth preview, due to the current circumstances, we kindly ask you to register in advance by phone or e-mail. Um einen reibungslosen Ablauf der Vorbesichtigung aufgrund der aktuellen Einschrän­k ungen gewährleisten zu können, bitten wir Sie um eine vorherige Anmeldung per Tele­fon oder E-Mail.

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 br Online catalogues: www.bassenge.com

jennifer@bassenge.com e.heddergott@bassenge.com Tel.: +49 30 21 99 72 77 Fax: +49 30 21 99 71 05


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. bis 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 Barbara Bögner +49 (0)30-88 62 43 13 Head of Department 20th Century and Contemporary Art b.boegner@bassenge.com Simone Herrmann +49 (0)30-88 91 07 93 s.herrmann@bassenge.com Sandra Espig +49 (0)30-88 91 07 90 s.espig@bassenge.com Gabriella Rochberg +49 (0)30-88 91 07 92 g.rochberg@bassenge.com Roberta Keil +49 (0)30-88 91 07 94 r.keil@bassenge.com Berater | Consultants Klaus Spermann +49 (0)30-88 91 07 91 k.spermann@bassenge.com 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 Dr. Rainer Theobald +49 (0)30-4 06 17 42 Autographen | Autographs r.theobald@bassenge.com Ralph Schulz +49 (0)30-893 80 29-16 Logistik Management | Logistics 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


4017 4082


4001

joseph a lbert

(Court photographer of the King of Bavaria, 1825–1886)

4001 Bavarian castles: Neuschwanstein, Linderhof

and Herrenchiemsee. 1890s. 27 Albertypes (collo­t ypes) and 2 albumen prints. Each circa 27 x 22 cm or reverse. 1 with photographer‘s stamp in lower right corner, a few with date stamp 1898 in lower corner, mounted to album boards bound in half leather album (edges rubbed, inner binding partially cracked). 500 € The images show the original interiors of Neuschwanstein and other Bavarian castles at the time of Ludwig II.

4001 5


a lgeri a/biskra 4002 Photographer unknown. Views of landscapes

and people of Algeria and Biskra. Circa 1900. 60 gelatin silver, collodion paper prints and photochromes (11). Each circa 28 x 22 cm and smaller. Each mounted to album board (warped, time-stained in edges), bound in half leather album (edges rubbed, scratches) with gilt-stamped title Algier, Oasen Biskra, Sidi Okba 1908 on front cover. 300 €

ot tom a r a nschütz (1846–1907)

4003 Deer and stags. 1881,1899. 1 albumen print and

1 collodion paper print. Each circa 14,7 x 19 cm. Each with photographer‘s name, date and number in the negative in lower left/right, collodion print with distri­ butor‘s blindstamp J.Kuhn, 220 Rue de Rivoli, Paris; each with photographer‘s stamp on the verso. 600 €

4002

4003 6


4004

munich a rtists‘ ba ll 4004* Group portraits of costumed members of the artists‘ society „Stubenvoll“, Munich. 1853. 2 extensively hand-painted salt prints. Each 26 x 21 cm. Mounted to board, sitters‘ names and annotated Narrenball 1853 im Odeon in ink below the images on the mount. 750 € The portrayed participants of this artists‘ ball in Munich are Füssli, Thomberg, Dr. v. Wenzel, Liersen and C. Freiherr v. Seckendorf. The society was named after the Munich artists‘ club Stubenvoll, where it was founded in 1844. In this same year Friedrich Wilhelm Schoen painted a 50 figure portrait of the group which is now in the collection of the Münchner Stadtmuseum. Very rare, early salt prints, heavily painted and theatrically posed. 7


4005

henri béch a rd

(active in Egypt, 1870s–1880s)

4005 Views of Egypt, Thèbes. Mid-1870s. 25 large-for-

mat albumen prints. 27 x 38 cm. Photographer‘s name in lower right corner, numbered and titled in lower left in the negative, mounted to board (time-stained in edges). 1.800 €

8

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


henri béch a rd 4006 Market and street scenes in Cairo, Thèbes and

Port d‘ Assouan. Mid-1870s. 5 albumen prints. Circa 27 x 21,5 cm and reverse. Each with photographer‘s name in lower right corner, as well as numbered and titled in lower left in the negative, mounted to card (slightly buckled, slight traces of use), collector‘s stamp in lower right corner on the mount. 1.500 € The images show an Arabian café, a spice seller at the market, women washing laundry, Thèbes and Port d‘Assouan. Lit.: Ken Jacobson. Odalisques and Arabesques: Orientalist Photography 1839-1925. London 2007, see pp. 210-212. Provenance: Robert Lebeck Collection

4006

4006 9


fra ncis bedford (1815–1894)

4007 Old street in Cairo. Late 1860s. Albumen print.

21,6 x 27 cm. Signed by the photographer in lower right in the negative (slightly cut off) mounted to board (buckled). 500 €

british indi a

4007

4008 Photographer: Hurrychund Chintamon, Nur­ soo Dewjii Poopal, K. Ferozsha, Oscar Malitte, Orr & Barton, Pun-Lun, Saché & Westfield, Trill & Co. People of India. 1860s-90s. 24 albumen prints on cartes-devisite mounts. Most with photographer‘s logo on mount recto/verso, some annotated in ink. 500 € Provenance: Günter Heil Collection

4009 Photographer: Samuel Bourne (1834-1912). Individual portraits of a Lepcha man and woman, Darjeeling. 1869. 2 albumen prints. Circa 28,2 x 23,5cm. Both signed and numbered 1907 and 1908 in the negative in lower left corner, number in pencil on the verso. 1.200 € Lit.: Ludger Derenthal/Raffael Dedo Gadebusch/Katrin Specht (eds.). Das koloniale Auge. Frühe Porträt-Fotografie in Indien. Leipzig 2012, ill. pp. 64-65.

4008 10


4009 11


british indi a 4010 Photographer: Gobindram and Oodeyram,

Edward Taurines and unknown. Natives of various regions of India. 1870s/90s. 9 albumen prints. Various sizes, most circa 22 x 19 cm and smaller. Some annotated in pencil on the verso. 600 € The people depicted include a drug and charm seller, domestic Hindu workers, musicians and dancers and other Indian people Provenance: Günter Heil Collection

4011 Photographer unknown. British life and fami-

lies in India. 1870s/90s. 13 albumen prints. Various sizes, most circa 13 x 18 cm and larger. Mounted to board. 300 € Provenance: Günter Heil Collection

4010

4011 12


4012

4012

british indi a 4012 Photographer: Bourne & Shepherd and un­

4013 Photographer unknown. Wildlife hunting and British life in India. 1880s-1890s. 23 albumen prints. Various sizes, circa 15 x 20 cm and larger. Each mounted to card, some annotated in ink on the mount. 600 €

Includes an image of H.R.H. Albert Edward Prince of Wales and party with his „first tiger“ 1875. Provenance: Günter Heil Collection

Provenance: Günter Heil Collection

known. Tiger hunt. 1870s-1880s. 8 albumen prints. Most circa 12 x 16 cm, 1 larger. Each mounted to card, some annotated in pencil on the mount. 500 €

4013 13


4014

british indi a 4014 Photographer unknown. Portraits of servants, street sellers, merchants and landscapes. 1880s/90s. 14 albumen prints. Various sizes between circa 10 x 6 cm and 16 x 21 cm. Mounted to card, annotated in French in ink below the images on the mount. 600 € 4015 Photographer unknown. Gujarat court portraits.

1880s/90s. 8 albumen prints. Various sizes between circa 21 x 17 cm. 750 € 4015 14

Provenance: Günter Heil Collection


british indi a 4016 Photographer unknown. Landscapes of Bhutan. 1880s. 4 albumen prints. Each circa 10 x 15 cm. 200 € Provenance: Günter Heil Collection

4017 Photographer unknown. Natives and villages in Madras. 1880s/90s. 9 albumen prints. Most circa 10 x 15 cm. Each mounted to board (slightly warped), annotated in pencil below the image on mount. 500 € Provenance: Günter Heil Collection

4016

4017 15


british indi a 4018 Photographer unknown. Railway construction

and bridges. 1890s. 7 albumen and gelatin silver prints. Most circa 20 x 26 cm. 4 mounted to board. 500 € Provenance: Günter Heil Collection

4019 Photographer: Edward Taurines and unknown.

Landscapes, cities and temples of various regions of India. 1890s. 34 collodion paper and albumen prints. Various sizes, circa 21 x 28 cm, 19 x 24 cm and smaller. Most mounted to card, some annotated in pencil on the verso. 400 €

4018

Includes views of Darjeeling, Calcutta, Bombay, Lucknow, Poona and others. Provenance: Günter Heil Collection

4020 Photographer: T.H. Paar and unknown. Views of India. 1890s. 2 collodion paper prints and 3 gelatin silver prints. Most circa 21 x 28 cm, 1 smaller. 4 with photographer‘s name, title and number in the negative in lower corners, 2 mounted to board. 300 €

4019

4020 16


4021

british india 4021 Photographer unknown. Tea plantations and

harvest. 1890s. 10 albumen prints. Most circa 22 x 28,5 cm. 3 mounted to board. 500 € Provenance: Günter Heil Collection

4022 Group portrait of indigenous people, India. 1880s/90s. Vintage collodion paper print. 19,5 x 27 cm. Mounted to board. 300 €

4022 17


4023

british indi a 4023 Photographers: Clifton & Co. (founded 1896),

Wiele & Klein and Gobindram & Oodeyram. Views of landscapes, temples and natives of India. 1910. Circa 135 (most) collodion paper prints, gelatin silver and platinum prints. Various sizes, most circa 21 x 29 cm and smaller. Mounted to gilt-edged album boards, bound in full pressed leather album (some discoloration/fading on spine/front cover) with gilt-stamped title Weltreise 1910-1911 Indien. 27,5 x 37 cm. 3.000 €

4023 18

An attractive and richly illustrated album with many larger photographs of people in traditional costumes, religious and cultural ceremonies, monuments and temples as well as palaces in India, bound in a well-preserved, fine leather album.


4023

19


4024

4025 20


4026

british indi a/pa kista n

british indi a/pa kista n

4024 Photographer: Fred Bremner (1863-1941) and

4025 Photographer: Fred Bremner (1863-1941). Various military and industrial scenes as well as landscapes and villages. 1880s-90s. 6 albumen prints. Most circa 20,5 x 28,5 cm. 2 with photographer‘s name in the negative, 1 with photographer‘s stamp on the verso, some annotated in pencil on the verso, 2 mounted. 400 €

unknown. Landscapes, people and military forts in Pakistan. 1880s-1900. 16 albumen prints. Most circa 18 x 25 cm and larger. Mounted to board, some on both sides of board, annotated in ink on the mount. 600 € The Scottish born photographer Fred Bremner produced a wide range of portraiture work in British India, spanning 1882-1922. In 1882, Bremner accepted a position with his brother-in-law G. W. Lawrie, who ran a successful photography business in Lucknow, and he was assigned work throughout northern India (modern India and Pakistan). In 1889, Bremner established his own photographic studio in Karachi, and successively studios in Quetta, Lahore and Rawalpindi. He travelled great distances to rarely photographed areas, thus his work captures a scarce record of rural life, landscapes and people in late 19th and early 20th century India. Provenance: Günter Heil Collection

Provenance: Günter Heil Collection

british indi a a nd cey lon 4026 Album with views of the Indian Peninsula and Ceylon. Circa 1900. 57 collodion paper prints, 2 gelatin silver prints and 6 collotypes. Most between 25 x 19 cm and some smaller. Collotypes with photographer‘s name (Platé) in the negative in lower corners, mounted to album boards, bound in red half leather album (corners slightly bumped/rubbed) with gilt-stamped title Vorder-Indien & Ceylon on front cover. 2.000 € 21


4027

british indi a 4027 Photographer: Bourne & Shepherd, EOS Photo­ graphic Company, B. Gay & Co., S. Hormusjee, Jabez Hughes, Jamsetjee & Byramjee, W. Lowe, Somiah Narsiah, Orr & Barton, Lal Raghonandan, G.A. Saifi, Shum Soodein. Portraits of rulers and natives of India. 1890s. 23 albumen and collodion paper prints on cabinet card mounts. Most with photographer‘s logo on mount recto/verso, some annotated in ink. 600 € Provenance: Günter Heil Collection 22


4028

4029

british indi a 4028 Photographer: Baljii & Co., K. Barjorji, Bourne & Shepherd, J. Craddock, Lala Deen Dayal, Karl Koenig, G.W. Lawrie, J. Saché, J. Sequeira, Omaid Singh & Sons, E. Taurines, Wiele & Klein, T. Winter. British portraits taken by studios in India. 1890s. 28 albumen and collodion paper prints on cabinet card mounts. Most with photographer‘s logo on mount recto/verso, some annotated in ink. 400 € Provenance: Günter Heil Collection

4029 Photographer: Bourne & Shepherd, J. V. Clair & Co., W & D Downey, P. Hammes, W.D. Holmes, Robert Hotz, O. Kirchner, Nicholas Bros., Rajah‘s Studio, Tho­ mas A. Rust, R. Venkiah Bros., P. Vuccino & Co., Watts & Skeen. British family portraits and high ranking military figures, most taken by studios in India. 1890s. 18 albumen and collodion paper prints on cabinet card mounts. Most with photographer‘s logo on mount recto/verso, some annotated in ink. 400 € Provenance: Günter Heil Collection 23


4030

burm a 4030 Photographer unknown. Views of people, land­

scapes and temples of Burma. 1870s-1900. 17 albumen, collodion paper prints and gelatin silver prints. Various sizes, most circa 12 x 16 cm and larger (including 3 cdvs). 500 € The images show various native people, including dancers, domestic servants, monks as well as villages and temples. Provenance: Günter Heil Collection

24


burm a 4031 Photographer unknown. Anglo Burmese War.

1885-87. 13 albumen prints. Each circa 10 x 15 cm and reverse. Most annotated in pencil on recto. 400 € Provenance: Günter Heil Collection

4031

braunsch w eig (brunsw ick)

4032

4032 Photographer unknown. Selected views of old Braunschweig. Late 1850s. 6 albumen prints. Each circa 18 x 12,5 cm. Mounted to board (light soiling). 300 € 25


4033

buffa lo bill‘s w ild w est show 4033 Photographer: John C.H. Grabill, Elliot & Fry

and unknown. 1885-1910/printed 1930s. Images of Buffalo Bill‘s Wild West show. 20 gelatin silver prints and 20 celluloid copy negatives (20 x 12,5 cm). Each circa 11,5 x 16 cm or reverse. 2 with text in the negative in lower area. 500 €

4033 26

The images show many of the important figures of the earlier days of Buffalo Bill‘s Wild West show (1887) such as Annie Oakley, John Nelson, Sitting Bull, and of course Buffalo Bill himself. Some later shots circa 1910 were taken during the performances. Also includes a group portrait of Indian chiefs by John C.H. Grabill, Deadwood from 1891.


ca rtes-de-v isite 4034 Photographer: Adolphe Braun (1812-1877),

M. Leon & J. Levy (*1820, 1833-1913), and Lorenzo Sus­ cipj (1802-1885). Various landscapes, views and portraits. 1860s. 6 albumen cartes-de-visite prints, 1 lightly hand-colored. 5 with photographer‘s logo printed on mount verso. 200 € The view of the World‘s Fair 1867 in Paris by Leon & Levy shows the second Fair of the Second Empire in France. Includes three views by A. Braun and two portraits of Zampognari in Italy.

4034

4035

cey lon 4035* Photographer: Charles T. Scowen (1852-1948),

4035

William L.H. Skeen & Co. (1847-1903), Colombo Apothe­ caries & Co and unknown. Views of Ceylon. 1880s/90s. 24 albumen prints. Each circa 21 x 27 cm. Most with photographer‘s name in the negative in lower left/ right corner, each inserted in album page slits, bound in cloth album. 900 € 27


4036

4036

4036 28


4036

4036

china 4036 Photographer: Kung Tai (Gong Tai, active 18771890s). Panoramic view of the Shanghai Bund. 1880s. 8 albumen prints (each 19,5 x 27 cm., the whole panorama circa 19,5 x 218 cm.), mounted on board mounts, joined by cloth, folding concertina style into red half morocco cloth boards (edges rubbed) gilt upper cover with morocco label titled Shanghai Bund. Kung Tai. Photographer. 5.000 € The Kung Tai studio flourished from the late 1870s to 1890s. It produced important photographs and was perhaps the most popular commercial Chinese studio in Shanghai during this period, noted for its multi-part panoramas of Shanghai‘s Bund. Lit.: Terry Bennett History of Photography in China - Chinese Photographers - 1844-1879, Quaritch 2013, see pp 137-146. 29


4037

china 4037* View of the Great Wall, China. Circa 1900. Vintage hand-colored gelatin silver print. 59 x 36 cm. Distributor‘s Hartung Photo Shop Peking blindstamp in lower right corner, flush-mounted to board. 500 € 30


4038

china 4038 Private souvenir album of China. Circa 1907. Circa 50 vintage collodion paper prints. Each circa 17 x 12 cm and reverse. Mounted to album boards, bound in half canvas album (edges rubbed, spine damaged/ cracked). 900 € Very interesting album compiled circa 1907. The images include the beginning of the famous Peking-Paris rally 1907, some rare images of monuments and temples in a ruinous state, the Peking train station, pagodas and daily rural life. 31


4039

ch a rles clifford (1819–1863)

4039 Shield of Philip II 1543 (No. 483). Circa 1855/

prin­ted 1866. Albumen print. 32 x 26 cm. Mounted to board (slightly soiled), annotated in ink on the mount. 2.500 €

Lit.: L. Fontanella. Clifford en Espana: Un Fotografo en la Corte de Isabel II. Madrid 1999, ill. p. 212.

32


4040

ch a rles clifford 4040 Helmet of Philip III (No. 2423). Circa 1855/ printed 1866. Albumen print. 29,3 x 25,5 cm. Mounted to board (slightly soiled), annotated in ink on mount. 2.500 € Lit.: L. Fontanella. Clifford en Espana: Un Fotografo en la Corte de Isabel II. Madrid 1999, ill. cat. no. 177. 33


conductors 4041 Photographer: Rudolph Dührkoop (1848-1918) and unknown. Portraits of the conductors: H. Berlioz; A.G. Rubenstein; F. Weingartner and L. Spohr. 185070s/printed circa 1906. 4 vintage photogravures on vellum. 18,5 x 15,8 cm and 17 x 13,5 cm (45,5 x 33,5 cm). Photographer‘s name, title and Photographische Gesellschaft in Berlin printed below the image and blind­ stamp Photographische Gesellschaft in Berlin below the image. 500 €

4041

daguerreot y pes 4042* Photographer: Carl Staritz (active in Breslau, 1845-1850s). Portrait of a man. 1846. Sixth-plate goldtoned daguerreotype with gilt ornamental surround and ornamental gilt tape around glass (small piece missing at bottom), taped behind glass. 400 € 4042 34

Lit.: Zygmunt Wielowiejski. The Beginnings of Photography in Breslau. Instytut Sztuki Polkiej Akademii Nauk, Wroclaw 2012.


4043

daguerreot y pes 4043 Photographer: Carl Gustav Oehme (1817-1881). Berlin Biedermeier scene. Circa 1844. Quarter-plate gold-toned daguerreotype, in original paper surround with gilt ornament, photographer‘s Gustav Oehme, Opticus Mechanicus & Daguerreotypist in Berlin, Jägerstr. No. 20 label on the verso.12,4 x 15 cm. 5.000 € Originally a mechanic, Oehme learned the daguerreotype technique from Daguerre himself during a stay in Paris in 1840-1842. As early as 1841 he publically displayed his daguerreotypes, and in 1843 he established a studio as a professional daguerreotypist in Berlin. He was especially well-known for his carefully composed group portraits such as the daguerreotype offered here. He was considered one of the best and prominent daguerreotypists in Berlin in the 1840s. Lit.: Bodo von Dewitz and Reinhard Matz (eds.). Silber und Salz. Zur Frühzeit der Photographie im deutschen Sprachraum 18391860. Cologne 1989, see p. 675. 35


4044

deutscher krieg (austro-prussi a n wa r) 4044 Photographer: JohannTheodor Meier. Bahnhof Eger. June 19, 1866. Albumen print with rounded corners. 14 x 30 cm. Mounted to original board (traces of use, strong vertical crease in left side, soiled), with gilt title and date printed below the image on the mount. 600 €

The location and date „Bahnhof Eger am 19. Juni 1866“ is printed in gilt letters below the image on the mount. On this day Prussia declared war against Austria and its federal troops. The direct cause was the mobilization, by the Bundestag in Frankfurt, under the leadership of Austria. The railroad station at Eger was obviously one of the most important railroad junctions for troop transports towards Königgrätz and other war locations. The importance of railroads was quickly recognized by Prussia after the American Civil War of 1861/65, where for the first time the crucial role of railroads in the rapid transport of troops had been clearly demonstrated. Extremely rare.

denm a rk, sw eden, norway 4045 Photographer: possibly Knud Knudsen (18321915) and unknown. Travel album with views of Denmark, Sweden and Norway. 1890s. 30 albumen prints, each between 17 x 23 cm. Most with title/number and initials in lower right/left corner in the negative, mounted to album boards bound in half leather album with gilt-stamped title on front cover. 300 €

4045 36

The views comprise attractive harbor scenes of Copenhagen and Stockholm, some views of Drontheim including a panoramic view of the city as well as Tromso, Hammerfest and Nordkap.


egy pt 4046 Photographer: Charles Albert, F. Bonfils, G. Lekegian and unknown. Egyptian types, street life, landscapes, monuments etc. 1880s/90s. 3 albumen and 2 gelatin silver prints. Various sizes, most circa 27 x 38 cm, some smaller. Some with photographer‘s name, number and title in the negative in lower edge, mounted to board (time-stained/soiled in edges, some wear), annotated in German in ink on mount verso. 500 €

4047 Photographer: F. Bonfils and H. Arnoux. Panoramic views of Cairo and street life, monuments, landscapes and two views of Alexandria harbor. 1880s/­ 90s. 13 albumen prints. Each circa 22 x 28. Most with photographer‘s name and/or title in the negative in lower edge, unmounted. 700 €

4046

4047 37


dimitri n. erm a kov (1846–1916)

4048 Studio group portrait of women in national dress. 1880s. Albumen print. 13,7 x 10,5 cm. Number 12011 and title in lower edge in the negative. 900 € Dimitri Ermakov was active as a professional photographer as of 1868. He traveled to various regions of Georgia, the Caucasus, Persia, Turkey and central Asia. Ermakov is the most important documentartist of Georgian life of the nineteenth and early twentieth century. A small part of his negatives are in the collection of the National Museum of Georgia. Lit.: Masters of 19th Century Photography. Dmitri Ermakov. Photographer and Collector. Georgian National Museum, Tbilisi, 2014.

4049 Panorama of Pyatigorsk city, North Caucasus. 1880s. Albumen print. 20,2 x 26 cm. Number 1430 and title in lower edge in the negative. 1.200 € The city of Pyatigorsk in North Caucasus was the birthplace and home of the Russian writer Michael Lermontov. This image shows the northern part of the city and a view of the Caucasus Mountains and Mount Dzhutsa.

4048

4049 38


4050

dimitri n. erm a kov 4050 The old houses of Tbilisi with balconies and the

Narikala Fortress. 1880s. Albumen print. 16,9 x 22 cm. Number 12876 and title in lower edge in the negative; annotated in ballpoint pen on the verso. 1.200 €

fra nco-prussi a n wa r 1870 4051 Photographer: Eugène Appert (1830-1905) and Ernest Appert (1831-1890). Images of France‘s declaration of war on Prussia. 1870. 3 albumen prints (photomontages). Each circa 10 x 14 cm. Each with caption in the negative in lower edge, each mounted to original board (soiled). 400 € Group portraits (photomontages) of the government Ollivier under Napoleon III. The caption reads: Députés de la Seine, membres de la Défense Nationale (4 septembre 1870), left to right: Alexi Segris, Jacques Mège, Charles Rigault de Genouilly, Edmond Le Boeuf, Jean Baptiste Vaillant, Agénor de Gramont, Eugène Chevandier de Valdrome, Napoléon III. Charles Louvet, E.mile Ollivier, Pliehon, Félix de Parieu, Maurice Richard. – With: Images of the Tuileries, Versailles and the Louvre before 1870. 3 albumen prints. Each circa 19 x 24 cm. Each mounted to board.

4051 39


4052

4052

fra ncis frith (1822–1898)

4052 Egypt, Palestine & Nubia. Complete set of 4 volu­

4052 40

mes with a total of circa 145 (of 148) albumen prints from glass plate negatives, bound in 8 volumes. Photos circa 15,6 x 22 cm or reverse. The majority credited and numbered in negatives, each with printed caption on mount. Each volume with contents, title and half title with frontispiece. Maroon leather-backed cloth, armorial gilt with Frith‘s Photographs on front cover (1 cover loose, all with tears at spine, edges rubbed, scattered worm holes) volume and album number on spine (some pieces missing) folio. Each mounted to original album page (minimal foxing in edges), title printed below the image on the mount. William MacKenzie, 1863 (n.d.) Glasgow & Edinburgh. 5.000 €


4052

Francis Frith was an apprentice in a cutlery house and a partner in a grocery business before turning to photography in the early 1850s. Between 1856 and 1860 he made three expeditions to Egypt, Sinai, Ethiopia and Jerusalem to photograph ancient monuments and culture. He produced his albumen prints on site in a portable wicker darkroom using wet collodion glass plate negatives. Gernsheim has referred to the present edition as „the second expanded edition“ which was issued in three separate volumes plus a supplement titled „Egypt, Sinai and Palestine“, here bound in 8 volumes. Lit.: Helmut Gernsheim. Incunabula of British Photographic Literature 1839-1875. London, 1984, p. 38, no. 195.

4052 41


4052

42


4052

43


4053

germ a n y/w estfa len 4053 Views of Westfalen. Circa 1896. Circa 60 collodion paper prints. Each 9,5 x 13,5 cm. Some with number in the negative in lower right corner, mounted to cabinet cards, inserted in album mat windows of album boards (time-stained in edges, some with tears), each annotated in ink below the images on the mounts, first page with dedication in calligraphic letters, bound in full leather contemporary album with gilt-stamped title Westfalen and brass clasp (edges rubbed, some scratches). 400 € A comprehensive album which includes views of Hagen, Arnsberg, Herdecke, Volkmarstein, Hohen Syburg, Hohen Lindburg, Altena, Iserlohn, Marsberg, Siegen, Bielefeld, Dortmund, Soest and others.

w ilhel m von gloeden (1856–1931)

4054 Young boy in toga with headband. 1890s. Albu-

men print. 21,7 x 16,5 cm. Photographer‘s stamp and number 313 in blue crayon on the verso. 800 € 44

4054


w ilhel m von gloeden 4055 Young male in toga with young male nude in landscape. 1900. Vintage large-format albumen print. 36,5 x 28 cm. Photographer‘s stamp and number 93 in blue crayon on the verso. 1.400 € This and the following lot are unusually large albumen prints by von Gloeden.

4056 Three male nudes and boy on terrace. Circa

1900. Vintage large-format, sepia-toned salt print. 28 x 38,7 cm. Signed and dated by the photographer in the negative in lower right; photographer‘s stamp and number 224 and other numbers in pencil on the verso. 1.400 € This image was also printed in reverse by von Gloeden as an albumen print.

4055

4056 45


w ilhel m von gloeden 4057 Young male nude in doorway with blossom branch. Circa 1900/printed later. Gelatin silver print. 24 x 18 cm. 900 €

emile gsell (1838–1879)

4058* Saigon, Cochin China. 1867. Albumen print. 22,6 x 33 cm. Flush-mounted to card. 900 € The Maison Wang Tai, seen in the background to the left, is still under construction, also indicating the date. Lit.: Terry Bennett. Early Photography in Vietnam. Kent 2020, ill. pp. 88-89.

4057

4058

46


fra nz h a nfsta engl (1804–1877)

4059 Portrait of Richard Wagner (1813-1883) from the „Album der Zeitgenossen“ portfolio. Circa 1860/printed 1970s. Gold-toned salt print (with cut corners) from the original collodion glass negative. 27,5 x 21,5 cm. Mounted to modern board with ornamental borders and photographer‘s letterpress below the image on the mount. 800 € This print was made using Hanfstaengl‘s original formula for printing and processing negatives. It is printed on fine photographic paper. Lit.: Heinz Gebhardt. Franz Hanfstaengl. Von der Lithographie zur Photographie. Munich 1984, ill. unpaginated.

4059

got tlieb theodor h ase (1818–1888)

4060 Freiburg Münster seen from Schlossberg. 1850s. Albumen print with rounded corners. 16 x 12 cm. Mounted to original card (traces of use), with gilt lettering G. Th. Hase, Maler & Hofphotograph in Freiburg i. B. and gilt border around image on mount. 500 €

4060

Gottlieb Theodor Hase participated in the International Photography Exhibition in Berlin in 1865 where he showed thirty of his Schwarzwald images, which established him as an accomplished photographer. Such early photos by Hase are very rare on the art market, and this image is one of the earliest views of Freiburg. Lit.: Richard Pare. Photography and Architecture: 1839-1939. Montreal 1982, ill. plate 31 (variant). Peter Kalchthaler (ed.)/Dargleff Jahnke: Gottlieb Theodor Hase. Freiburgs erster Fotograf. (exhibition catalogue) Michael Imhof Verlag, Petersberg 2020. 47


4061

industri a l photogra ph y 4061 Photographer unknown. Two early electric

generators in the machine room of the AEG company. 1896. Vintage collodion paper print. 20 x 25,5 cm. AEG blindstamp and number in negative in lower left corner, mounted to board, annotated in ink above image on mount. 300 € An early image of the AEG (Allgemeine Elektricitäts Gesellschaft Berlin) machine room. The photo bears the earliest AEG logo of 1896 as a blindstamp in upper left corner.

ita ly 4062 Photographer: D‘Alessandro Brothers, A. Oli­

vieri and unknown. Views of Rome and surroundings. 1880s. 9 albumen prints. Circa 19 x 25 cm. Most with title and number in lower edge in the negative, 2 mounted to linen, 2 mounted to board (2 on both sides of board) 300 €

4062 48

An attractive collection of Italian views, most with people and genre scenes. Two prints are by Wilhelm von Gloeden (1 illustrated).


ita ly 4063 Photographers: Giorgio Sommer (1834-1914)

and unknown. Views of Italy. 1880s. 14 albumen prints. Each circa 18 x 24 cm or reverse. Most with number and title and some with photographer‘s name in lower edge in the negative. 300 €

Includes views of Pompeii and Florence.

4063

4063 49


4064

ja pa n 4064* Photographer: possibly Kusakabe Kimbei (1841-1932) and unknown. Landscapes, people and temples of Japan. Circa 1900. 50 hand-colored albumen prints. Each circa 20 x 26 cm and reverse. Some with title and number in the negative in lower edge, mounted to gilt-edged album boards (some foxing, soiling at front and back of album), bound in contemporary decorative black lacquer album (some chips in edges) with relief genre scene, with leather spine (rubbed, some tears), 32 x 40 cm. 2.000 € This highly attractive album includes picturesque landscapes and some more unusual genre scenes.

50

4064


4064

4064

51


4065

georg koppm a nn (1842–1909)

4065 Views of Hamburg. 1884. 4 large-format albumen prints. Each circa 26 x 38 cm and 38 x 26 cm. Mounted to original board (soiled and some traces of use), some with photographer‘s blindstamp, some with with photographer‘s name G. Koppmann & Co., title and date printed/written in ink below the image on the mount. 800 € 52

Georg Koppmann & Co. was one of the foremost photographers of Hamburg urban views in the second half of the 19th century. The views include: „Mührenfleth von der Brooksbrücke aus gesehen“; „Aussenkajen“; „Aussenkajen vom Steinhöft aus gesehen“ and „Kehrwieder“. Lit.: W. Bokelberg/Will Keller. Hamburg in frühen Photographien, 1848-1888: Sammlung Bokelberg. Hamburg, ill. p. 169.


4066

georg koppm a nn 4066 Views of Hamburg. 1882-1884. 4 large-format

albumen prints. Each circa 26 x 38 cm and 38 x 26 cm. Mounted to original board (soiled and some traces of use), 2 with photographer‘s blindstamp, 2 with photo­ grapher‘s name G. Koppmann & Co., title and date printed/written in ink below the image on the mount. 800 € The views include: „Hohebrücke“; „Die Lübschen Buden in der Steinstr.“; „Ansicht der Rathswaage“ and „Stadtdeich“. Lit.: W. Bokelberg/Will Keller. Hamburg in frühen Photographien, 1848 - 1888: Sammlung Bokelberg. Hamburg, ill. p. 207. 53


4067

4068 54


4069

august kotzsch (1836–1910)

4067* Kotzsch house with view over the Elbe river

in winter, Loschwitz. 1870. Albumen print in oval. 15,5 x 19,5 cm. Mounted to original board (light foxing), photo­ grapher‘s blindstamp and number 214 and Loschwitz in pencil on lower corners on mount. 900 € This picturesque winter view shows August Kotzsch‘s house near the Elbe river. Lit.: Ernst Hirsch/Matthias Griebel/Volkmar Herre (eds.). August Kotzsch. 1836-1910. Photograph in Loschwitz bei Dresden. Dresden 1986, compare ill. p. 73.

4069

l a bor mov ement 4069 Photographer: Nicola Perscheid (1864-1930) and

unknown. Portrait of Ferdinand Lassalle (1825-1864); Portrait of August Bebel (1840-1913). 1860/1906/printed circa 1906. 2 vintage photogravures on vellum. 18,5 x 15,8 cm and 17 x 13,5 cm (45,5 x 33,5 cm). Photographer‘s name, title and Photographische Gesellschaft in Berlin printed below the image and blindstamp Photographische Gesellschaft in Berlin below the image. 500 €

herm a nn krone (1827–1916)

4068 View of the Brühlsche Terasse with Hofkirche,

Dresden. 1857/printed by the Dresden photographer Harald Hirsch from the original glass plate negative 1980. Contact gelatin silver print on heavy paper. 32,5 x 41,5 cm (40 x 50 cm). Annotated in pencil on the verso. 500 € Lit.: Hans-Ulrich Lehmann. Hermann Krone. Die Photographien. Werkverzeichnis. Dresden 2008. 55


4070

jea n l aurent (1816–1892)

4070 Views of Spain: Aranjurez (Palacio Real); Granada; San Ildefonso (Palacio Real); Sevilla (Palacio de San Telmo, Alcazar) and many views of parks, temples and fountains. 1870s/80s. 34 albumen prints. Each circa 33 x 25 cm and reverse. Each with number and title in the negative in lower edge, tipped in corners to card (soiled, number in blue crayon on mount).

500 €

Jean Laurent opened a daguerreotype studio in Paris under the name Laurent & Company in 1843. Circa 1857 he moved to Spain and established a studio in Madrid, becoming one of the great photographers of nineteenth century Spain and Portugal. He photographed a vast variety of subjects including city views, architecture, historic monuments, old master paintings and local inhabitants of all social classes. He first published his armor studies in 1868. His output was prolific and over 11,000 negatives have been attributed to the J. Laurent studio.

56

4070


4071

mecca 4071 Photographer: Charles Albert. View of Mecca

and the Kaaba during the Hajj. 1894/95. Collodion paper print. 20 x 25,5 cm. Title, number and photographer‘s name in lower edge in the negative. 400 € Lit.: La Ilustración española y americana. XXXIX. No. 30. Madrid, August 15, 1895.

literature 4072 Photographer: Nicola Perscheid (1864-1930), Elliot & Fry, Rudolph Dührkoop (1848-1918) and un­ known. Portraits of writers and artists: W. Bölsche; A. Böcklin; R.W. Emerson; R. Browning; Longfellow; Sven Hedin. 1850-70s/printed circa 1906. 6 vintage photogravures on vellum. Each circa 22 x 17cm (45,5 x 33,5 cm). Photographer‘s name, title and Photographische Gesellschaft in Berlin printed and blindstamp Photographische Gesellschaft in Berlin below the image in margin. 300 €

4072 57


4073

séra phin médéric mieusement (1840 –1905)

4073 Views of France and castles. 1870s. 13 albumen

prints (8 large-format). Each circa 25 x 37 cm and some smaller. Mounted to board (soiled, time-stained in edges), most with photographer‘s name in lower left and publisher‘s name in lower right corner on the mount, one with title in lower edge in the negative, bound in half leather album (stronger traces of use, soiled) with brass ornaments (with oxidation) in corners. 600 € With: French landscape views and view of Chateau de Pau. 6 albumen prints, 1 by Collard. Each circa 34 x 41 cm and 22 x 17 cm.

john stua rt mill (1806–1873)

4074 Photographer: Stereoscopic Company, London. Portrait of John Stuart Mill (1806-1873). 1870/printed circa 1906. Vintage photogravure on vellum. 19,5 x 14,5 cm (45,5 x 33,5 cm). Photographer‘s name, title and Photographische Gesellschaft in Berlin printed and blindstamp Photographische Gesellschaft in Berlin below the image. 300 € 58

4074


4075

na da r jeune

(Adrien Tournachon, 1825–1903)

4075 Ayrshire cow and owner at an agricultural fair, Paris. 1856. Salt print varnished with gelatin and tannin. 20,3 x 28,5 cm. Photographer‘s signature stamp and number in the negative in lower right, mounted to board (slightly soiled, warped), annotated in German Kuh von der Ayrshire Race in ink below the image on the mount. 1.500 € In 1856 and again in 1860, Adrien Nadar made a series of photographs of prize-winning livestock at the agricultural fairs in Paris. He used the more rapid collodion wet plate process rather than the slower paper negative process he had previously employed to photograph animals that rarely stood still. At the 1856 livestock show, Tournachon succeeded in making more than 120 negatives, and printed circa 50 of them to be included in an album presented to the minister of agriculture and commerce in July 1856. The photograph offered here is printed in the technique known as vernis-cuit, in which the paper was coated with layers of gelatin and tannin to give the surface the appearance of varnished leather. 59


4076

ot tom a n empire 4076 Photographer: Felix Bonfils, P. Sebah, Emil

Frechon, G. Lékégian and Zangaki. Views of Constantinople, Cairo, Bedouin portraits, rural scenes, monuments and buildings and Jerusalem (2). 1890s. 27 albumen prints and 1 sepia-toned gelatin silver print (Fre­ chon). Each circa 20 x 27 cm. Most with photographer‘s name and/or title in the negative in lower edge, some mounted to board. 400 € 60


4077

gugliel mo plüschow (Wilhelm, 1852–1930)

4077 Cloaked youth in park of Villa Falconieri, Frascati. Late 1890s. Albumen print. 16,5 x 22,3 cm. Photographer‘s G. Plüschow, Corso Umberto I 333, Roma and number 1833 in blue crayon on the verso. 900 € Lit.: Ulrich Pohlmann. Guglielmo Plüschow. Ein Photograph aus Mecklenburg in Italien. Munich 1995, ill. unpaginated (images from the same series).

gugliel mo plüschow 4078 Male portrait. Circa 1900. Albumen print. 22,5 x 16,5 cm. Number 6863 in blue crayon and photographer‘s stamp on the verso.

800 €

Lit.: Ulrich Pohlmann (Text). Guglielmo Plüschow. Ein Photograph aus Mecklenburg in Italien. Grevesmühlen 1995, ill. unpaginated (variant).

4078 61


portra it a lbum 4079 Commemorative portrait album for Dr. W. Hertzberg in Elbing. 1858. 13 salt prints (most oval). Each circa 14,5 x 11,5 cm. Each mounted to gilt-edged album page (slightly soiled, light foxing) and with gilt decorative frame line, bound in contemporary red velvet and gilt-stamped album (some scuff marks, lower corners slightly bumped). 600 € This very richly decorated commemorative album for „Dr. W. Hertzberg, Director der höheren Bürgerschule in Elbing“, with a handwritten and drawn title page, contains a collection of intriguing portraits of teachers. There is also a very rare view of Elbing at the front, probably one of the earliest known views of this town.

4079

4079

62


4080

pompeo pozzi (1812–1888)

4080 View of churches and architectural details in

Milan. 1870s. 7 albumen prints. Each circa 36,5 x 27,5 cm. Each mounted to original board (some soiling, some traces of use), 3 with photographer‘s blind stamp below the image and annotated in ink on the mount, 4 with photographer‘s blind stamp in lower left corner of photo. 600 €

63


4081

i va n petrov ic raoult (active 1870 –1884)

4081 People and landscapes of southern Russia. Circa

1875. 12 albumen prints. Each circa 18 x 22 cm. Mounted to both sides of board (toning in edges, some foxing/ soiling, warped) and annotated in French in ink below the images. 3.000 € Rare and attractive group showing militia groups, farmers of Bessarabia, farmers of the Poltava district, armed militia man of Mingelia, people of Ekaternioslav (Dnipro), Cossacks of the Kuban district, soldiers of the escort of the emperor in the Rus­ sian Caucasus and a praying Jewish man.

64


4081

4081 65


4082

ja mes robertson a nd felice beato (1813–1888 1832–1909)

4082* Five-plate panorama of Constantinople from Beyazid Tower. Circa 1857. 5 albumen prints mounted together as a panorama. Each print circa 23 x 30 cm, entire size circa 23 x 149 cm. Fourth plate signed Robertson & Beato photog. in the negative in lower edge, linen backed. 7.000 € James Robertson and his future brother-in-law Felice Beato began photographing together in Constantinople in 1853. This extraordinary view of Constantinople was taken from the Beyazid Tower, one of the highest vantage points of the city, and is believed to be the earliest panorama of the city known to have survived. Robertson lived in Istanbul for many years and knew it well, thus enabling him to convey an „insider‘s“ view of the city as compared to ordinary „travel“ photographers just passing through. A rare and well-preserved early panorama. Lit.: Bahattin Öztuncay. The Photographers of Constantinople. Pioneers, studios and artists from 19th century Istanbul. Istanbul 2006 (2nd edition).

66


4082 67


heinrich schliem a nn (1822–1890)

4083 Photographer: Adolf Halwas, Berlin. Portrait of

Heinrich Schliemann. Circa 1880. Photogravure by H. Riffarth. 19,5 x 13 cm. On vellum with letterpress and facsimile signature below the image. 600 €

4083

sophi a schliem a nn (1852–1932)

4084 Photographer unknown. Portrait of Sophia Schliemann wearing the Treasure of Priam. 1873. Photogravure in oval printed by the Graphische Kunstanstalt von H. Riffarth, Berlin. 11,2 x 7,5 cm. Letterpress text and facsimile signature of S. Schliemann below image. 300 €

schliem a nn excavation / greece 4084a Photographer unknown. Views of the Heinrich Schliemann excavation, Greece. 1870s. 2 albumen prints. 28 x 26 cm and 27 x 37 cm. 1 with number 82 in the negative in lower right. 750 €

4084 68

One image shows Schliemann‘s wife Sophia in front of the entrance of the Treasury of Atreus. during the excavation. The other is a view of the Lion Gate of Mycenae, Greece.


4084a

4084a 69


august sachtler (c. 1839–1873)

4085 Views of Gopuram of the Sri Mariamman Temple and a Chup Tazia used for Islamic ceremonies, Singa­p ore.1863. 2 large-format albumen prints. 32,5 x 22,5 cm. Mounted to card (buckled). 300 € Provenance: Günter Heil Collection

4085

georg schmidt (1811–1867)

4086 (Attributed to). Views of Nuremberg of old court­ yard, Nuremberg. Circa 1860. 5 albumen prints. Circa 27 x 22 cm and reverse. Each mounted to board. 400 € The views include two views of an old courtyard, view over the Pegnitz river, Chörlein am Sebalder Pfarrhof and one view of the old castle.

4086 70

4086


4087

spa in 4087 Photographer: Hauser y Menet, Angel and Gar­ con. Two souvenir albums of Spain. 1880s-1890s. Circa 172 albumen prints and collotypes. Most 20 x 27 cm and some smaller. Some with photographer‘s name and/or title/number in lower edge in the negative. Mounted to album boards (warped, time-stained in edges, some foxing), inscribed in German in ink below the images on the mount and bound in 2 brown canvas albums with ornamental gilt stamped title Spanienreise 1898. 600 € Views of Spain showing picturesque landscapes and cities such as Montecarlo, Marseilles, Barcelona, Montserrat, Zarragosa, Valencia, Cordoba, Granada, Sevilla, Cadiz, Lissabon and Madrid. Also includes circa 11 Spanish and Arabian portraits and types in traditional costume. – With: Views of Spain. 1880s. J. Laurent. 8 large-format albumen prints. 33 x 25 cm.

4087 71


4088

4089 72


sw itzerl a nd

sw itzerl a nd, ita ly, t y rol

4088 Photographer: Schroeder& Co. Views of Switzer-

4089 Photographer unknown. Travel album with

The views show cities and landscapes such as Montreux, Chamonix with Montblanc, la Mer de Glace, Zermatt with Matterhorn, Lausanne, Zurich, Lauterbrunnen, Grindelwald and others.

The views show cities and landscapes such as Innsbruck, SchrunsMontafon, Bozen, Meran, Milan, Lugano, Lucern, Basel and others.

land. 1890s. 20 collotypes. Each 20,5 x 26,5 cm. Mounted to board (soiled, some with light foxing) bound in canvas album with gilt-stamped title Souvenir de la Suisse. 300 €

4090

views of Switzerland, Italy and Tyrol. 1902. Circa 29 collotypes, albumen prints, platinum prints and photochromes. Each circa 19 x 25 cm. Mounted to board (time-stained in edges) bound in half leather album (edges rubbed). 300 €

4090

wa ldem a r titzenth a ler (1869–1937)

4090 Views of Berlin. 1890s-1920s/printed later.

22 ferroytped gelatin silver prints. Each circa 12 x 17,2 cm. Each mounted to album board with captions in German in white crayon below the images on the mount, bound in a 1920s cloth album. 400 € A very attractive collection of Berlin views showing the hustle and bustle on the streets with automobiles and crowds. – With: Two views of Berlin, also by Titzenthaler. Circa1900/printed later. 2 gelatin silver prints mounted to board. Lit.: Landesbildstelle Berlin (ed.). Berlin. Photographien von Waldemar Titzenthaler, Berlin 200, ill pp. 32, 39 (variant) and 61.

4090 73


4091

trier 4091* Photographer unknown. Views and monu-

ments of Trier. 1865. 5 albumen prints, arch-topped. Circa 14,5 x 22 cm and reverse. Mounted to board (some with light foxing), each with title and P. Braun‘s Verlag in Trier printed below the images on the mounts. 700 € The views show the Porta Negra, the Basilica, the Roman Baths, portal of Liebfrauenkirche and the marketplace with the Rothe Haus (illustrated) in Trier.

tunis 4092 Photographer: J. Garrigues. Portraits of women and men of Tunis in traditional dress. 1880s/1890s. 14 albumen prints. Circa 26 x 20 cm. Each with photo­ grapher‘s name, title and number in lower edge in the negative. 600 € An attractive selection of studio portraits of people of Tunis.

74

4092


v ietna m 4093 Photographer unknown. High ranking official

with his entourage. 1880s. Albumen print. 16,5 x 23 cm. 300 €

4093

wa lter bentley woodbury / ja mes page (1834–1885, studio active 1857–1908)

4094

4094 „ Atjeh (Aceh) - Eingang in den Kraton“ (entran-

ce to the Palace district); Poeloe bras and „Lingga bei Singapore“. 1865 - 1870. 3 albumen prints with rounded corners. Each circa 19 x 24 cm. Each mounted to album page, annotated in German in ink below the images on the mount, 1 with Woodbury & Page, Java in the negative lower right one with number 32 in the negative lower left. 900 € After an apprenticeship in Manchester (1849-51) in a patent office, Walter Woodbury traveled to the Australia gold mines in 1852. After a number of jobs he took up professional photography and emigrated with James Page to Java in 1858, where the photographic firm of Woodbury & Page was founded in Batavia. He returned to England via Singapore, where in January 1863 he advertised his photographhic views for sale at John Little & Co.

4094 75


4095

world‘s fa ir pa ris 1889 4095 Photographer unknown. World‘s Fair Paris. 1889. 5 albumen prints. Each circa 21 x 36,5 cm. 300 € 76


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

77


4101


4096

dr. mehemed fehmy agh a (1896–1978)

4096 Twine and towel. Circa 1940. Vintage matte

gelatin silver print on strong ivory paper. 33,7 x 26,5 cm. Photographer‘s stamp on the verso. 1.200 € Dr. Mehemed Fehmy Agha was born in the Ukraine and educated in Kiev and Paris. After having worked for Vogue in Berlin, in 1929 he was recruited by Condé Nast to work in America. He soon became the art director of House & Garden and Vanity

Fair. He was a pioneer with the use of sans serif typefaces, the duotone, full color photographs and bleed images, working together with leading photographers of the day such as Edward Steichen, Cecil Beaton, Edward Weston and Louise Dahl-Wolfe, Agha revolutionized magazine design. Under his direction Vanity Fair introduced the first double-page spread in 1930, and in 1932 Vogue produced the first magazine cover with full color photography. 79


4097

a irship ita li a 4097 Photographer unknown. The airship Italia in Seddin. 1928. Vintage gelatin silver print. 13 x 18 cm. Agency stamp and typed press text label (partly torn) on the verso. 400 €

This rare photo shows the airship Italia in the large hangar at the Seddin airfield in April 1928. The airship was repaired in Seddin near Stolp before it set off for Spitsbergen and flew towards the North Pole on May 23 with a crew of 16, including the Italian polar explorer Umberto Nobile. On the return flight it suddenly lost altitude and was damaged when landing. The rudderless airship flew loose with six crew members and was subsequently lost. An amateur radio operator was able to receive radio sig­ nals from the remaining crew and to organize help. The famous polar explorer Roald Amundsen also died in the rescue ope­ ration. Finally, a Swedish plane was able to rescue Umberto Nobile. The last survivors of the Italia were picked up by a Soviet icebreaker after 49 days.

a irship sch wa ben 4098 Photographer: E. Lichtenberg. Images of the Airship Schwaben explosion. 1912. 9 vintage gelatin silver prints. Each circa 12 x 17. Most with photographer‘s stamp, some also annotated in pencil on the verso. 400 € 4098 80

Some images double. – With: Düsseldorfer Tageblatt. Extra Blatt, June 28, 1912 of the explosion of the Airship Schwaben.


4099

ca rl a lbiker (1905–1996)

4099 Milk drops. 1930s. 2 vintage ferrotyped gela-

tin silver prints on Agfa-Brovira paper. Each circa 16,6 x 23 cm. 300 € Carl Albiker, the son of the sculptor Karl Albiker, started technical training in photography at the Lette-Verein, Berlin in 1928.

4100 Lightning. 1930s. Vintage gelatin silver print on doubleweight Agfa-Brovira paper. 22,5 x 17,2 cm. 300 €

4100 81


a lpine l a ndsca pes 4101 Photographer unknown. Alpine views of Austria. 1930s. 14 vintage gelatin silver prints. Each circa 27,5 x 20,5 and reverse. Some with title in the negative in lower edge; some with number and title stamp as well as publisher‘s stamp Verlag Schildknecht Graz on the verso. 900 € Very attractive group of Alpine glacier formations and mountains.

4101

4101 82


a rchitecture 4102

Photographer: Heinrich Opitz. The new Bauhaus school in Dessau. 1926/printed 1997. Gelatin silver print. 13 x 17,5 cm (30 x 22 cm). Museum für Kunsthandwerk Leipzig edition stamp on the verso. From an edition of 50. 300 €

4103

Photographer: Dr. Lossen & Co.. House designed by Hans Poelzig for the Werkbund exhibition „Die Wohnung“, Stuttgart. 1927. Vintage ferrotyped gelatin silver print. 13,5 x 20,5 cm. Photographer‘s stamp and annotated in ink and layout marks in pencil on the verso. 4102

600 €

4103 83


a rchitecture 4104 Photographer: Paul W. John. Karstadt depart-

ment store, Hermannplatz, Berlin. 1927-29. Vintage gelatin silver print. 15,7 x 11,5 cm. Photographer‘s stamp and annotated in pencil on the verso. 300 € The German architect Philipp Schaefer built the Karstadt department store between 1927-1929, opening it to the public in 1929. His most famous building, it was considered modern and novel in part due to its direct connection to the subway station below. Surprisingly this large department store was barely damaged during WWII. It was, however, demolished by the NS in 1945 so the Soviet troops would not be able to plunder its food supplies.

4104

a rchitecture 4105

Small modern villas and apartment buildings in Berlin. Circa 1929. 6 vintage gelatin silver prints on chamois paper. 22,5 x 16,5 cm and smaller. 500 € 84

4105


4106

a rchitecture 4106 Photographer: Sasha Stone (1895-1940). Front

side of the German Pavilion at the World‘s Fair in Barcelona, designed by Mies van der Rohe. 1929. Vintage gelatin silver print. 15,5 x 22,8 cm. Berliner Bild Bericht agency stamp on the verso, mounted along upper edge to black paper. 3.000 € A rare documentation of the extremely modern, streamlined design by Mies van der Rohe of the German Pavilion for the World‘s Fair in Barcelona 1929. The structure was van der Rohe‘s first major work which was unfortunately torn down after the exhibition. Lit.: Vitra Design Museum (ed.). Mies van der Rohe. Möbel und Bauten in Stuttgart, Barcelona, Brno (exhibition catalogue). Weil am Rhein 1998. 85


germ a n a rchitecture 4107

Photographer unknown. The architects Eckart Muthesius, Ludwig Ruff, Emil Fahrenkamp, Ludwig Mies van der Rohe and Sep Ruf in Brussels. Circa 1934. 4 vintage gelatin silver prints on carte postale. Each circa 9 x 14 cm. 600 € The images show the architects Eckart Muthesius, Ludwig Ruff, Emil Fahrenkamp, Ludwig Mies van der Rohe and Sep Ruf who took part in a competition for designing the German Pavilion at the Brussels International Exposition in 1935. Two images show them at a cafe in Brussels and the other two viewing the construction site. Hitler did not approve any of the designs as they did not satisfy his wish for grand monumentality to represent the National Socialist worldview. As a result Germany did not participate in the Fair. – With: Two enlargement prints from the same series in cafe. Circa 1934/printed 1950s. 2 gelatin silver prints. 13 x 18 cm. 1 annotated in red ink and pencil on the verso. - Some handling creases, corners bumped with creases. Lit.: Reto Niggl. Eckart Muthesius. The Maharaja‘s Palace in Indore. Architecture and Interior 1930, Stuttgart 1996, ill. p. 152. Provenance: Eckart Muthesius Archive

4108 86

4107


4109

a rchitecture 4108 Zeppelinhaupttribüne, Zeppelinfeld, Nurem-

berg and Festhalle der Reichsparteitage Nuremberg (Luitpoldhalle remodelled in 1935 by Albert Speer). 1935-37. 2 vintage ferrotyped gelatin silver prints, 1 on Agfa-Brovira paper. 22,7 x 29,2 cm and 17 x 23,5 cm. Both with several agency stamps, various annotations in pencil and ink as well as several paper labels on the verso. 400 € Albert Speer (1905-1981), the main architect of the Third Reich, had one of his first commissions with the construction of the Nazi Party rally grounds in Nuremberg in 1935-1937. Upon reviewing the initial design for the Zeppelinfeld, Speer felt that an impressive redesign was necessary to achieve the required effect. Its enormous size was capable of holding over 240.000 people.

In order to supply manpower and material to build this and other mammoth architectural projects, the NSDAP built many concentration camps near stone quarries. The verso of one photo indicates that it was used for many publications. Lit.: Werner Rittich. Architektur und Bauplastik der Gegenwart. Berlin 1938, illustrated.

dimitri ba lterm a nts (1912–1990)

4109 „Grief, (Ditch of Kerch)“. 1942/printed 1970s. Gelatin silver print. 28,5 x 39,5 cm. Annotated in pencil on the verso. 1.200 € Lit.: Claudio Razeto. War Correspondents. Florence 2011, ill. p. 354. 87


4110

m a x baur (1898–1988)

4110* Kommandantur and Nikolaikirche, Potsdam; Alte Kommandantur. 1945/1930s. 2 vintage large-format gelatin silver prints on doubleweight paper. Each circa 29,8 x 39,9 cm. Each with photographer‘s/copyright stamp and annotated in ink on the verso. 750 € Lit.: Jutta Götzmann/Judith Granzow/Anja Tack (eds.). Potsdam, ein Paradies für meine Kamera. Max Baur. Fotografie. Berlin 2018.

4111* Französische Strasse, Potsdam; Potsdam Alte

Fahrt. 1945/1930s. 2 vintage large-format gelatin silver prints on doubleweight paper. Each circa 29,8 x 39,9 cm. Each with photographer‘s/copyright stamp and annotated in ink on the verso. 750 € 88

4111


4112

m a x baur 4112* Stadtschloß Potsdam with Lange Brücke;

Stadtschloß Potsdam. 1945/1930s. 2 vintage large-format gelatin silver prints on doubleweight paper. Each circa 29,8 x 39,9 cm. Each with photographer‘s/copyright stamp and annotated in ink on the verso. 750 € Lit.: Jutta Götzmann/Judith Granzow/Anja Tack (eds.). Potsdam, ein Paradies für meine Kamera. Max Baur. Fotografie. Berlin 2018.

4113

Maguerite and grass. 1930s. Vintage gelatin silver print on doubleweight ivory paper. 29,8 x 21,8 cm. Photographer‘s stamp on the verso. 400 €

4113 89


denise bellon (1902–1999)

4114 Selected images: „Les plus belles rue de Paris“. 1938/printed 2006. 6 gelatin silver prints. Each circa 20 x 18,5 cm (30,2 x 23,7 cm). Each with printed Griffelkunst edition text on the verso, in original halfcanvas folder with illustrated text brochure. 500 €

4114

4114 90


4115

berlin 4115 Album with views of postwar Berlin. 194749. 87 vintage contact gelatin silver prints. Each 5,5 x 8,5 cm. Mounted in photo corners to album pages, bound in contemporary carved wooden album with chord binding. 400 € The album contains many images of damaged monuments and buildings after World War II in Berlin from 1947 up to the first elections in 1949.

4116* Photographer: Usa Borchert. Selected views of postwar Berlin. Circa 1949. 10 vintage ferrotyped gelatin silver prints on Agfa-Brovira paper. Each circa 24 x 18 cm. 7 with photographer‘s stamp and annotated in pencil on the verso. 300 €

4116

The images show postwar Berlin with its many ruins, Trümmerfrauen and includes two self-portraits. Usa Borchert was the wife of Eric Borchert, the star photographer at the Berliner Illustrirte Zeitung. He published the standard book on war photography under the National Socialists titled „Entscheidende Stunden. Mit der Kamera am Feind“ in 1941, but he fell shortly later in North Africa in Tobruk in 1942. 91


4117

berlin 4117 Photographer unknown. Dramatic events during Oct. 25-28,1961, Checkpoint Charlie, Berlin. 13 vintage gelatin silver prints. Each circa 18 x 24 cm. 750 € These images show various scenes around Checkpoint Charlie during and after the dramatic events between Oct. 25-28, 1961 when American and Russian tanks threatened each other. The photographs come from an East Berlin archive of former GDR border troops and were taken from the East side.

92


4118

beza lel school of a rts & cra fts jerusa lem 4118

Photographer unknown. Images of the Bezalel School of Arts & Crafts, Jerusalem. 1920s. 4 vintage gelatin silver prints. 12 x 17 cm. Each annotated in pencil on the verso. 500 € A small group of very rare images of the early times of the Bezalel School founded by Boris Schatz (1866-1932) in 1906. One image shows the Boris Schatz Gallery with many of his works, which he donated to the school. Other images show the drawing room and other studios with students, and the sculptural studio with the teacher Boris Schatz and his students.

k a rl blossfeldt (1865–1932)

4119

Pflanzenformen (Plant studies). 1930s/printed 2010 from the original negatives. 6 gelatin silver prints. Each circa 24,8 x 18,8 cm (30,5 x 24 cm). Each with Griffelkunst edition text printed on the verso, in original half-canvas portfolio with text brochure. 600 €

4119 93


4120

brassa ï

(Gyula Halász, 1899–1984)

4120 Streetwalker near the Place d‘Italie, Paris.

1932/printed 1950s by Brassai. Large-format exhibition gelatin silver print. 48 x 35 cm. Mounted to fiberboard; Das menschliche Antlitz Europas exhibition label on mount verso. 4.000 €

94

This print was made by Brassai himself for the exhibition „Das menschliche Antlitz Europas“, which was conceived as a counterpart to the „Family of Man“ exhibition curated by Edward Steichen. It opened in November 1959, at the Münchener Stadtmuseum. It included major photographers such as Edward Steichen, Cartier-Bresson and Brassai. The curator of the exhibition had received the photograph from Brassai himself, making it, also as an object, a piece of authentic photographic history. Exhibition: Das menschliche Antlitz Europas, November 1959, Münchener Stadtmuseum. Provenance: From the photographer to previous owner, to the present owner.


4121

4121

fritz brill (1904–1987)

4121

„Das dritte Auge“, selected images. 1932-51/ printed 2004. 6 gelatin silver prints. Each circa 24,7 x 18,7 cm (30,2 x 24 cm). Estate and Griffelkunst edition text printed on the verso, in original half-canvas folder with illustrated text brochure. 500 €

4122

„Freie Form“. 1951. Vintage gelatin silver print. 28 x 22 cm. Photographer‘s stamp, address Hofgeismar and exhibition label attached to the verso, mounted in upper corners to board, photographer‘s stamp, signed and annotated by the photographer in ballpoint pen on mount verso. 500 €

4122 95


4123

da n budnik (1933–2020)

4123 Robert Rauschenberg. 1958/printed 2006-08. Dye transfer print. 43 x 56 cm (50 x 60 cm). Unsigned, with printer‘s stamp on the verso. 1.200 € Dan Budnik studied painting at the Art Students League of New York in the early 1950s under Charles Alston, who he credited for inspiring his interest in photojournalism. After working as an assistant to Philippe Halsman, he joined Magnum Photos in 1957, where his first assignment was photographing atrocities in Cuba in 1958. He was one of the photographers to capture the March on Washington in 1963. Later, Budnik convinced Life to commission him to create a long-term photo essay showing the seriousness of the 1965 Selma to Montgomery march, during which he photographed both Martin Luther King Jr. and George Wallace. However, Life declined to publish his work after devoting two consecutive issues to covering the march using other photographers. He published these photos later in a book. His many portraits of actors and artists are also well known.

96

4124


4125

da n budnik 4124

„Roy Lichtenstein behind Ben-Day Screen“. 1964/printed 2006-08. Dye transfer print. 56 x 37 cm (60 x 50 cm). Unsigned, with printer‘s stamp on the verso. 1.200 €

4125

„Jasper Johns, Leo Castelli Gallery, New York“. 1958/printed 2006-08. Dye transfer print. 56 x 37 cm (60 x 50 cm). Unsigned, with printer‘s stamp on the verso. 1.200 € 97


4126

4127

rené burri

henri ca rtier-bresson

4126 Rio de Janeiro. 1958. Vintage gelatin silver print. 19,7 x 29,8 cm. Photographer‘s stamp, number stamp and annotated in ink on the verso. 1.000 €

4127 Street organ players, Berlin. 1962. Vintage gelatin silver print. 16,5 x 24,7 cm. Photographer‘s/ copyright Magnum stamp and number stamp and number in pencil on the verso. 1.200 €

(1933–2014)

98

(1908–2004)


4128

jewgeni ch a ldej (1917–1997)

4128 Tempelhof Airport, Berlin. April 1945/printed 1980s. Matte gelatin silver print. 37,7 x 27,2 cm. Signed by the photographer in pencil on the verso. 900 € Lit.: Ernst Volland/Heinz Krimmer (eds.). Von Moskau nach Berlin. Bilder des russischen Fotografen Jewgeni Chaldej. Berlin 1999, ill. p. 71. 99


4129

jewgeni ch a ldej 4129

„Atop the Berlin Reichstag, May 2, 1945“. 1945/ printed 1990s. Ferrotyped gelatin silver print. 29,4 x 21,8 cm. Signed by the photographer in pencil on the verso. 2.000 € 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. When we finally got up the Reichstag was on fire. ...We found a long pole.

100

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 Mach­ atshkala in Dagestan and the third was a Russian. ... I shot a whole roll of film, 36 shots.“ (cited in Volland/Krimmer, p. 151). – With: An original copy of the magazine Ogoniok No. 19, May 13, 1945 in which the photo is illustrated on the front page. The magazine also includes other images by Chaldej showing Russian tanks at the Brandenburg Gate on double-page spread. Lit.: Ernst Volland/Heinz Krimmer (eds.). Von Moskau nach Berlin. Bilder des russischen Fotografen Jewgeni Chaldej. Berlin 1999, ill. p. 66.


ch a rgesheimer (1924–1971)

4130

Selected images: Street and bar scenes. 195759/printed 2008. 6 gelatin silver prints. Each circa 23 x 18,5 cm (30,4 x 23,7 cm). Each with printed Griffelkunst edition text on the verso, in original half-canvas folder with illustrated text brochure. 500 €

4130

china 4131

Souvenir album of Peking. 1920s. Circa 48 vintage gelatin silver prints. Each circa 8,5 x 14 cm and reverse. Inserted in album board slits, each with typed caption label below the images on the mount, bound in canvas album. 300 €

4131 101


4132

paul citroen (1896–1983)

4132 Self-Portrait. 1932/printed 1970s. Gelatin silver print. 17,5 x 12,4 cm (29,3 x 20,5 cm). Mounted in corners to board, signed by the photographer in pencil below the image on the mount. 500 € 102


4133

color photogra ph y 4133 Photographer unknown. Advertising images for perfumes and soaps. 1940s. 4 vintage chromogenic color prints on Agfa-Color paper. Each circa 17,5 x 23,5 cm. 3 mounted to card with article numbers in ink below the images on the mount. 500 € 103


color photogra ph y 4134

Photographer: Walde Huth (1923-2011). Leatherwear. Circa 1944. Vintage chromogenic color print on Agfa-Color paper. 24 x 18 cm. Annotated in pencil on the verso. 300 € In 1943 Walde Huth was hired by I.G. Farben AG as a photographer and she took part in some of the early experiments with color film.

4134

color photogra ph y 4135 Photographer unknown. Central Park, New York in winter. 1948. Vintage color carbro print. 26 x 21 cm (29,8 x 24,5 cm). Flush-mounted to card; annotated in ballpoint pen on the verso. 500 € 4136

4135 104

Photographer: Heinz Sangermann. Interiors. 1950s. 6 vintage chromogenic prints on Agfa color paper. 23,5 x 17 cm. Each with photographer‘s stamp and number in pencil on the verso. 500 €


4136

deutsche a frik a-linien 4137

Presentation album of ships from the German Africa Shipping Lines. 1920s-30s. 24 vintage gelatin silver contact prints. Each circa 18 x 24 cm. Mounted to album pages with printed captions in German and English below the images on the mount, bound in paper album (corners worn, traces of use) with chord binding. 400 € An attractive collection of images showing ships of the Woermann-Linie, Deutsche Ost-Afrika Linie, Hamburg-Amerika Linie (Afrika Dienst) and Hamburg-Bremer Afrika-Linie. Includes both exterior and interior views of the following steamers: Ubena, Aldoph Woermann, Usambara, Njassa, Tanganjika, Wangoni, Ussukuma and Usaramo. – With: Brochure Deutsche-Afrika Linien. A short history of the German Africa Lines Hamburg. Published by Deutsche Afrika-Linien in 1980.

4137 105


4138

m a rlene dietrich (1901–1992)

4138

Photographer: Ultraphon. Marlene Dietrich with Curt Bois and others at the dance hall of the „Victoria-Garten“ Berlin, Wilmersdorf Wilhelmsaue 114/115. 1930. 2 vintage gelatin silver prints. Each circa 17,7 x 23,2 cm. Each with agency stamp, annotated in ink/pencil/red crayon and with layout marks on the verso.

500 €

106

A very rare document of the heyday of German entertainment in the early 1930s. It shows Curt Bois together with Marlene Dietrich (1930) during a recording session for the international „Ultraphon“ AG in Berlin, Wihelmsaue. The „Ultraphon“ AG was liquidated a short time later and taken over by „Telefunken“. Marlene Dietrich went to Hollywood at the end of 1930, and Curt Bois took a difficult road to emigration in 1933 via Vienna, London, Zurich, Paris and finally to the USA. With the support of Thomas Mann, he returned to Germany in 1950.


4139

h a rold edgerton (1903–1990)

4139

„Milk Drop Coronet“. 1957. Vintage chromogenic print on Kodak paper. 25 x 20,3 cm. EG & G. Inc. (Edgerton, Germeshausen and Grier Inc.) and No. 138265 stamps as well as A Kodak Paper watermark on the verso. 4.500 € A scientist and professor of electrical engineering at M.I.T., Harold Edgerton became interested in photography in 1931. He employed a stroboscope to generate extremely brief bursts of light in his photographic studies. These stop-action pictures made it

possible to observe movements that were too fast for the human eye to see. In his milk drop images, Edgerton learned that the shape of the coronet was determined by three factors: the size of the drop, the height from which it fell, and the thickness of the film of milk on the surface from a previous drop. These studies are among Edgerton‘s most iconic images. The present photograph, printed by Edgerton at M.I.T., is a rare early chromogenic print with a glossy surface and saturated colors. Lit.: Keith Davis. An American Century of Photography: From Dry-Plate to Digital: The Hallmark Photographic Collection, ill. plate 236 (Milk Drop Coronet, variant). 107


4140

w illi a m eggleston (b. 1939)

4140 Webb, Mississippi. 1969/printed 1990s. Dye

transfer print. 36,5 x 55 cm (45 x 57 cm). Unsigned, with printer‘s stamp on the verso. 3.000 € 108


4141

w illi a m eggleston 4141

Memphis, Tennessee (red cart). 1996/printed late 1990s. Dye transfer print. 35 x 55 cm (46,4 x 57,5 cm). Unsigned, with printer‘s stamp on the verso. 3.000 € 109


josef ehm (1909–1989)

4142 Female nude under veil. 1946. Vintage matte gelatin silver print on chamois paper. 29,2 x 22,3 cm. Signed and dated by the photographer in ink, photo­ grapher‘s stamp Photographer‘s stamp, titled and dated on the verso. 1.500 €

4142

eltz castle 4143

Photographer unknown. Eltz Castle. Circa 1910. Vintage mammoth platinum print on structured paper. 74 x 57 cm. Flush-mounted to linen and board. 500 € This image was most likely taken using the photogrammetry technique (Messbild).

110

4143


fritz eschen (1900 –1964)

4144 Jean Paul Sartre. 1950. Vintage ferrotyped

gelatin silver print on Agfa-Brovira paper. 23,7 x 17,8 cm. Photographer‘s/copyright stamp, address Berlin-Wilmersdorf, Kaiser-Platz 1, number stamp and annotated in pencil on the verso. 300 €

4144

a ngèle etoundi essa mba (b. 1962)

4145

„Le fil conducteur“; „Profil africain I“. 1998,1986/printed 1999. 2 gelatin silver prints. Each 35 x 35,2 cm (40,5 x 47 cm). Each signed and editioned in ink in lower margin; each titled, signed and editioned 4/20 and 7/20 in pencil on the verso, each matted, signed, titled, dated and editioned by the photographer in pencil on the mat. 600 € Essamba is a Cameroonian photographer who lives and works in Holland.

4145 111


4146

elger esser (b. 1967)

4146* „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, matted and framed under glass. Edition Schirmer/Mosel Munich. 1.200 € Lit.: Hubertus von Amelunxen (ed.). Elger Esser. Nocturnes à Giverny, Munich 2012, ill. p. 23.

112


4147

f.s.a. 4147 Photographer: Walker Evans (1903-1975). „Street and Graveyard in Bethlehem, Pennsylvania“. 1936/printed 1970s by the Library of Congress. Ferrotyped gelatin silver print on Kodak paper. 20,5 x 25,3 cm. Annotated and with number notations in pencil as well as Reproduced from the collection of the Library of Congress and other archive stamp on the verso. 600 € A print of this image is in the collection of the MoMA, New York. Exhibition: „Die USA der dreißiger Jahre in Fotografien“, Galerie Taube, Berlin Sept.4 – Oct. 2,1976. Provenance: Galerie Taube, Berlin 113


4148

f.s.a. 4148 Photographer: Walker Evans (1903-1975).

„Main Street, Greensboro, Alabama“. 1936/printed 1970s by the Library of Congress. Ferrotyped gelatin silver print on Kodak paper. 20,5 x 25,3 cm. Number notations in pencil as well as Reproduced from the collection of the Library of Congress stamp on the verso. 600 € 114


f.s.a. 4149 Photographer: Russell Lee (1903-1986). Refu-

gees in a schoolhouse, Sikeston, Missouri. 1937/printed 1970s by the Library of Congress. Ferrotyped gelatin silver print. 20,5 x 25,5 cm. Annotated and with number notations in pencil as well as Reproduced from the collection of the Library of Congress and other archive stamp on the verso. 600 € Lit.: Roy Stryker/Nancy Wood. In This Proud Land: America, 19351943 as seen in the FSA photographs. New York 1973, ill. p. 55. Exhibition: „Die USA der dreißiger Jahre in Fotografien“, Galerie Taube, Berlin Sept.4-Oct. 2,1976. Provenance: Galerie Taube, Berlin

4150

Photographer: Walker Evans (1903-1975). „Frank Tengle Family, Hale County, Alabama“. 1936/ printed 1970s by the Library of Congress. Ferrotyped gelatin silver print on Kodak paper. 20,5 x 25,3 cm. Annotated and with number notations in pencil as well as Reproduced from the collection of the Library of Congress and other archive stamp on the verso. 600 € Exhibition: „Die USA der dreißiger Jahre in Fotografien“, Galerie Taube, Berlin Sept.4-Oct. 2,1976. Provenance: Galerie Taube, Berlin

4149

4150 115


4151

f.s.a. 4151

Photographer: Russell Lee (1903-1986). New Iberia, Louisiana; „Traveling evangelists still preaching the gospel and sharpening knives to pay expenses after 25 years on the road, near Scott, Louisiana“. 1938/ printed circa 1974 by the Library of Congress. 2 ferrotyped gelatin silver prints. Each circa 20 x 25 cm. Each with Reproduced from the collection of the Library of Congress stamp, archive stamp and annotations/layout marks in pencil on the verso. 600 € Lit.: Roy Stryker/Nancy Wood. In This Proud Land: America, 19351943 as seen in the FSA photographs. New York 1973, ill. pp. 15, 95. Exhibition: „Die USA der dreißiger Jahre in Fotografien“, Galerie Taube, Berlin Sept.4-Oct. 2,1976. Provenance: Galerie Taube, Berlin

116


4152

f.s.a. 4152 Photographer: Arthur Rothstein (1915-1985). „Padrone supervising work of cranberry pickers, Burlington Co., New Jersey“. 1938/printed 1950s. Ferrotyped gelatin silver print. 20,7 x 25,5 cm. Annotated and with number notations in pencil/ink as well as several agency labels and press text blurb on the verso. 400 € Exhibition: „Die USA der dreißiger Jahre in Fotografien“, Galerie Taube, Berlin Sept.4-Oct. 2,1976. Provenance: Galerie Taube, Berlin

lore feininger (1901–1991)

4153 Portrait of an unidentified dancer. Late1920s. Vintage gelatin silver print. 17 x 12.5 cm. Photographer‘s stamp and annotated in pencil on the verso. 400 € The German portrait and architectural photographer Lore Feininger was the first daughter of the German-American painter Lyonel Feininger. In 1918, Lore Feininger began studying painting at the University for Fine Arts in Berlin. She then apprenticed with the portrait photographer Suse Byk, a family friend in Berlin. After three years of training, she worked in the studio of the fashion and portrait photographer Karl Schenker until 1924. In 1927, she opened her own photo studio for portrait, architec­ tural, and object photography. During this time, she made nume­ rous portrait photographs of artists.

4153 117


fra nz fiedler (1885–1956)

4154

Portfolio series: „Narre Tod, Mein Spielgesell“. Circa 1922. 9 (of 10) vintage sepia-toned heliogravures. Circa 21 x 14 cm, 15,5 x 15 cm and 14,5 x 20,2 cm. With printed title page, in original half-linen portfolio (edges slightly rubbed, some fading/soiling) with gilt-stamped title label Narre Tod, Mein Spielgesell on front cover. 1.200 € This portfoliio edition of „Narre Tod, Mein Spielgesell“ consists of heliogravure prints of the images which are exceptional in quality and more rare than the gelatin silver prints of other editions.

4154

fra nz fiedler 4155

Portfolio series: „Narre Tod, Mein Spielgesell“. Circa 1922. 10 vintage gelatin silver prints. Various sizes, between circa 21 x 14 cm, 15,5 x 15 cm and 14,5 x 20,2 cm. Each mounted to colored card, with printed title page (slight foxing/toning), in original half-linen portfolio (edges slightly rubbed, some fading/soiling) with gilt-stamped title label Narre Tod, Mein Spielgesell on front cover. 1.000 €

4155 118

Franz Fielder published his portfolio series „Narre Tod, Mein Spielgesell“ circa 1922 which shows a nude woman with a skeleton in various poses.


4156

fil m photogra ph y 4156

Film set scenes and theater advertising. 1920s. 6 vintage ferrotyped gelatin silver prints. Each circa 12 x 16 cm. 2 with press text label and agency stamp and some annotated Ufa in marker and in pencil on the verso. 500 € One of the most interesting images shows the photomontage advertising at the Gloria Palast theater, Berlin for the premiere of „The Blue Angel“. The press text reads: „The largest photos in the world. On the occasion of the premiere of the new Jannings

film ‚The Blue Angel‘, enlarged photos of scenes from the film were joined together as a photomontage and were placed at the entrance. Our photo shows one of the pictures, which is 14 square meters large. It attracted a lot of attention, as it was projected on a single transparent screen. Up to now photographic enlargements of this magnitude had only been done as single parts which were then put together.“ (translated from the German). The set scenes are of the film „Rasputin and the Empress“ (1932) with John Barrymore and several unidentified UFA and Gaumont films. 119


4157

fil m photogra ph y 4157

Photographer: Karl Ewald (1904-1969). Stills from the silent films „Schiff der verlorenen Menschen“ (Maurice Tourneur, 1929) and „Tartuff“ (Friedrich Wilhelm Murnau,1926). 11 vintage ferrotyped gelatin silver prints. Each circa 22 x 28,3 cm. Each with photographer‘s stamp and annotated in pencil on the verso. 500 € Born in Berlin in 1904 Karl Ewald learned the photographer‘s trade at an early age, and as a film enthusiast he quickly found access to the major film studios. He worked as a freelance photographer for Ufa,Tobis, Badal, Terra as well as for other film companies. In his studio in Neukölln he portrayed stars and

120

starlets and famous actors e.g. Marlene Dietrich, Rosa Valetti, Magda Schneider, Adele Sandrock, Jenny Yugo, Marianne Hoppe, Paul Wegener, Hans Albers, Gustav Fröhlich, Luis Trenker, Heinz Rühmann, Gustav Gründgens and many others. Karl Ewald was one of the still photographers on Josef von Sternberg‘s film „The Blue Angel“. The famous photo of Marlene Dietrich sitting on a barrel (the scene does not appear in the film) is said to be by Karl Ewald. In 1943 he was drafted into the Wehrmacht and spent 1945-1948 in captivity. In 1949 he moved to Munich, where the film industry had re-established itself. There Ewald worked in the studios of Bavaria and for other film companies. These film stills show Marlene Dietrich at the very start of her career in the 1929 silent film „Schiff der verlorenen Menschen“ and Emil Jannings in „Tartuff “ (1926).


fil m photogra ph y 4158

Photographer unknown. Portrait of Marlene Dietrich for „Dishonored“. 1931. Vintage ferrotyped gelatin silver print. 23,5 x 17,8 cm. Typed press text and two newspaper stamps on the verso. 400 €

4158

fil m photogra ph y 4159

Photographer: Eugene Robert Richee (18961972). Marlene Dietrich (1901-1992) for „Song of Songs“. 1933. Vintage ferrotyped gelatin silver print. 34,7 x 27,3 cm. Photographer‘s blindstamp in lower right corner. 750 €

4159

Josef von Sternberg often directed photographic sittings with Marlene Dietrich during her first year in Hollywood. His meticulous attention to lighting and composition gave earlier works by Eugene Robert Richee a signature look. Later when Dietrich‘s collaboration with von Sternberg ended, Richee continued to take her portraits which retained the look of the ones directed by Sternberg. 121


4160

fil m photogra ph y 4160 Photographer: A.L. Whitey Schafer (1902-1951).

Marlene Dietrich (1901-1992) in beaded dress designed by Irene for „The Lady is Willing“ (1942). 1941. Oversized vintage matte gelatin silver print. 34,7 x 27,2 cm. 1.800 € The beaded dress worn by Marlene Dietrich in this photograph was designed by Irene for the film „The Lady is Willing“. The photographer „Whitey“ Schafer had become the head of the Columbia stills photography department in 1935, and in 1941 he replaced Eugene Robert Richee as head of Paramount’s stills photography department. His untimely death at age 49 was the result of a freak boating acccident.

122


4161

h a ns finsler (1891–1972)

4161

„Neues Sehen. Photographien 1928-1931“, selected images:“Elektrische Birne“, „Eier im Spiegel II“, „Sahnemokka-Pralinen“, „Faschingsstoff II“, „Brücke“ and „Flughafenrestaurant“. 1928-1929/printed 2003 from the original negatives. 6 gelatin silver prints. Each circa 25 x 17,6 cm (30,3 x 24 cm). Titled and dated in pencil as well as Griffelkunst edition text printed on the verso, in original half-canvas folder with illustrated text brochure. 500 € An attractive selection of some of Finsler‘s most well-known images. Lit.: Klaus E. Göltz et al. (eds.). Hans Finsler. Neue Wege der Photographie. Leipzig 1991, ill. pp. 107,122, 129, 136 and 169. 123


léona rd tsuguh a ru foujita (1886–1968)

4162

Photographer: Roger Parry (1905-1977). The artist Léonard Tsuguharu Foujita. 1940. Vintage ferro­ typed gelatin silver print. 24 x 18 cm. Annotated in pencil on the verso. 400 €

4162

ga ndhi/roll a nd 4163

Photographer: Rodolphe Schlemmer (18781972). Romain Rolland, Mahatma Gandhi and Mirabehn (Madeleine Slade) at Villa Olga, Rolland‘s home in Villeneuve, Switzerland. 1931. Vintage oil pigment print. 22,5 x 24,2 cm. Mounted to chamois card (foxing and staining), signed by the photographer in ink below the image on the mount; copyright stamp on mount verso. 800 €

4163 124

Romain Rolland was a lifelong pacifist. He protested against the First World War in „Au-dessus de la Mêlée“ (1915) and in „Above the Battle“ (1916). In 1924, his biography on Gandhi, in which he described Gandhi as one of the greatest figures of 20th century, contributed to the Indian nonviolent leader‘s reputation. The two men were friendly towards each other and met in 1931. The Swiss photographer Rodolphe Schlemmer completed an apprenticeship as a photographer in Geneva. He then worked for several years with Fred Boissonnas, with whom he planned to open studios in St. Petersburg, Barcelona, Paris and Budapest. In 1910, Schlemmer set up a studio in Montreux, which was experiencing a tourist boom at the time. He catered to an upscale clientele and maintained relationships with personalities from politics and culture, namely Romain Rolland, Rabindranath Tagore and Mahatma Gandhi. Schlemmer created numerous portraits and landscapes and mastered the techniques of the carbon print, the gum bichromate print and other fine hand-crafted processes which established his reputation.


gdr pho t ogr a ph y a rno fischer (1927–2011)

4164 „Ost-Berlin, Unter den Linden“. 1956/printed

later. Gelatin silver print. 15 x 22 cm (18 x 24 cm). Signed by the photographer in pencil on the verso. 900 € Lit.: Elke aus dem Moore (ed.). Arno Fischer. Fotografie (exhibition catalogue). Ostfildern 2009, ill. p. 33.

4165 4164

Berlin. Circa 1957. Vintage gelatin silver print on doubleweight paper. 24,4 x 29,5 cm. Signed and titled by the photographer in pencil on the verso. 1.200 €

4165 125


4166

a rno fischer 4166 West Berlin, Kurfürstendamm. 1958. Vintage

gelatin silver print on doubleweight paper. 26,5 x 29 cm. Signed and titled by the photographer in pencil on the verso. 750 € Lit.: Elke aus dem Moore/Matthias Flügge (eds.). Arno Fischer. Fotografie (exhibition catalogue). Ostfildern 2009, compare ill. p. 41.

126


a rno fischer 4167 Portrait of the actresses Angelika Domröse, Jutta Hoffmann and Anne Katrin Bürger. 1960s/printed later. Vintage ferrotyped gelatin silver print on doubleweight paper. 40 x 30,3 cm. Photographer‘s stamp and collection stamp on the verso. 750 €

4167

a rno fischer 4168 Leningrad. Circa 1972/printed 2016. Gelatin

silver print on doubleweight paper. 35 x 23 cm (40 x 30 cm). Annotated and editioned 7/20 in ink on the verso. 500 €

4168 127


4169 128


4169

a rno fischer 4169 Reportage photo series of Equatorial Guinea. 1972. 37 vintage gelatin silver prints on doubleweight paper. Circa 40 x 30 cm and some smaller. 1.800 € Lit.: Elke aus dem Moore (ed.). Arno Fischer. Fotografie (exhibition catalogue). Ostfildern 2009, ill. pp. 115-127 (images from the same series). Provenance: Arno Fischer Archive 129


a rno fischer 4170

New York. 1978. Vintage gelatin silver print on doubleweight paper. 39,8 x 30,1 cm. Signed, annotated and dated by the photographer in pencil and photographer‘s stamp on the verso. 750 €

4170

thom as florschuetz (b. 1957)

4171

Untitled. 1984. Vintage gelatin silver print. 39,7 x 29,8 cm. Monogrammed and dated by the photo­ grapher in ink below the image in the margin; pho­ to­g rapher‘s stamp on the verso. 900 € 130

4171


4172

thom as florschuetz 4172

„Pink Square VII“. 1991. 4 unique chromogenic prints and 1 framed pink colored glass square to be hung as a pentaptych. 4 circa 107 x 71 cm, 1 71 x 71 cm. Each framed under glass in solid metal frame (some rust), signed, titled, dated and noted Unikat by the photographer in ink on frame verso (some gashes on versos). 2.000 € 131


sv en m a rqua rdt (b. 1962)

4173

Portrait. 1980s. Vintage gelatin silver print. 37 x 25,5 cm. Signed by the photographer in pencil in lower margin. 1.000 € From East Berlin, Sven Marquardt started his training as a photographer and cameraman at the DEFA studios. After his first pub­ lications in the magazines Sonntag and Das Magazin from 19851986, he was the assistant of Rudolf Schäfer. He worked as a fashion photographer until the late 1980s for Sibylle together with Roger Melis and Arno Fischer, and he 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 symbolic figure of the club culture. His work has been featured in several exhibitions, and he continues to photograph today.

4173

sv en m a rqua rdt 4174

Bondage scene. 1980s. Vintage gelatin silver print. 39,7 x 29,7 cm. Signed by the photographer in pencil on the verso. 1.000 € 132

4174


4175

sv en m a rqua rdt 4175 Masked woman with crow. 1985. Vintage gelatin silver print. 27,2 x 39,6 cm. Signed by the photographer in pencil in lower margin; photographer‘s stamp on the verso. 1.000 € 4176 Self-portrait (?). 1980s. Vintage gelatin silver print. 39,8 x 29,8 cm. 1.000  €

4176 133


bernd hey den (1940 –1984)

4177 Photo story of a young couple in East Germany. 1970s. 14 vintage gelatin silver prints on doubleweight paper. 29,5 x 23 cm. 8 with photographer‘s B. Heyden, 1055 Berlin, Am Friedrichshain 19c stamp on the verso. 1.000 € Bernd Heyden was closely connected to and integrated in 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“, nonetheless they were highly valued by many of his colleagues. This group comprises a photo story involving a young couple riding on a motorcycle and having fun in the countryside.

robert pa ris (b. 1962)

4178

Former Hochbahnhof Dimitroffstr., today Bahnhof Eberswalder Str., Berlin. Early 1980s. Vintage gelatin silver print. 10,5 x 14,7 cm. Photographer‘s stamp on the verso. 300 €

4177

4178 134


4179

gundul a schulze eldow y (b. 1954)

4179

„Lothar“ from the series „Aktportraits“. 1983. Vintage gelatin silver print. 26,5 x 40 cm. Signed, titled and dated by the photographer in pencil on the verso. 1.800 € Lit.: Gosbert Adler/Wilmar Koenig (eds.). DDR FOTO. Freunde der Werkstatt für Fotografie. Berlin 1985, ill. p. 106. Provenance: Directly from the photographer to the current owner.

4180 From the series „Berlin in einer Hundenacht“.

1983-1986. 3 vintage gelatin silver prints on carte pos­ tale. Each circa 10,3 x 14,8 cm and 14 x 10,2 cm. Each with photographer‘s stamp and 1 also signed by the photographer in pencil on the verso. 500 €

4180

135


4181

u w e steinberg (1942–1983)

4181

Dessau. Circa 1963/printed later. Gelatin silver print. 27 x 39,5 cm. Photographer‘s stamp and annotated in pencil on the verso. 500 € Born in Breslau, Uwe Steinberg moved to Dessau in 1959 where he did an apprenticeship at the ADN-Zentralbild (GDR central press agency). In the 1970s he was a photojournalist for the NBI magazine in Berlin. He later also studied at the Leipzig Art Academy. In 1982 he was the head of the photography department in the Berlin VBK, the central artist association.

k a rl theodor gremmler (1904–1942)

4182

Portrait of a girl. Early 1930s. Vintage ferrotyped gelatin silver print on Agfa-Brovira paper. 23,5 x 17,2 cm. Photographer‘s Bremen, Herderstr. 92 stamp on the verso. 300 € Karl Theodor Gremmler is best known for his book „Männer am Netz“ (1939). He was active in Bremen and Berlin and in the mid-1930s. Together with the photographer Hein Gorny, he took over Lotte Jacobi‘s photographic studio (Kurfürstendamm 35) in Berlin, in mutual agreement with her, when she emigrated to America. Provenance: The estate of Karl Theodor Gremmler.

136

4182


4183

milton h. greene (1922–1985)

4183

Marilyn Monroe and Marlene Dietrich at a press conference.1955/printed 2002. Fine art print. 29,2 x 28 cm (48,2 x 33 cm). Milton H. Greene estate stamp, therein signed and dated by Joshua Greene in pencil on the verso. 900 € 137


4184

john gutm a nn (1905–1998)

4184 „Two Nudes Attracted“. 1937/printed 1960s/

70s. Gelatin silver print on strong ivory paper. 25,5 x 30,5 cm (27,6 x 35,2 cm). Signed, titled and dated by the photographer in pencil on the verso. 1.000 €

138


em a nuel gyger (1886–1951)

4185

Near Adelboden. 1930s. Vintage gelatin silver print. 29,5 x 19,5 cm. Signed and titled by the photographer in pencil in lower corners; photographer‘s stamp on the verso. 600 € Light fold in upper right corner, otherwise a fine tonal print in near excellent condition. Lit.: Paul Hugger. Das Berner Oberland und seine Fotografen. Thun 1995.

em a nuel gyger / a rnold klopfenstein (1886–1951 / 1896–1961)

4186 Alpine views: „Portjengrat“; „Nadelhorn. Der

Dom“; „Bei Saas-Fee“. 1930s. 3 vintage (2 brown-toned) gelatin silver prints. Each circa 20 x 29,5 cm. Each signed and titled by the photographer in ink in lower corners; each with number stamp and Photographische Werkstätte Emanuel Gyger, Adelboden printed on the verso. 750 € Arnold Klopfenstein started an apprenticeship with Emanuel Gyger in 1914, eventually becoming his business partner in 1928. He was a trained mountaineer and often took longer hikes with E. Gyger, when he made his picturesque alpine views. Klopfenstein and Gyger worked together very closely and their images are often indistinguishable from one another. Lit.: Paul Hugger. Das Berner Oberland und seine Fotografen. Thun 1995.

4185

4186 139


4187

robert h äusser (1924–2013)

4187

„Wing“. 1976. 8 vintage gelatin silver prints. Each circa 10 x 9,5 cm. Mounted to board (24 x 40,6 cm) as a tableau, annotated by the photographer in ballpoint pen and Rohabzug stamp above images on mount; photographer‘s stamp, titled and dated by the photographer in pencil on mount verso. 1.200 € The annotation in upper edge of mount is Robert Häusser‘s instructions of how the group of images should be hung in an exhibtion. Lit.: Claude W. Sui (ed.). Robert Häusser. Aus dem photographischen Werk 1938 - 2004. Heidelberg 2004, ill. plate 290.

140


4188

robert h äusser 4188 „Unwirkliche Landschaft“. 1980/ printed later.

Fine art pigment print on heavy wove paper. 30 x 37 cm (40 x 50 cm). Signed, titled, dated and editioned I/V by the photographer in pencil in lower margin. 800 € Lit.: Robert Häusser. Photographische Bilder. Werkübersicht der Jahre 1941-1987 (exhibition catalogue). Stuttgart 1988, ill. p. 91. 141


philippe h a lsm a n (1906–1979)

4189 Woman‘s legs with garters. 1939. Vintage ferrotyped gelatin silver print. 25,2 x 20,7 cm. Photographer‘s/copyright stamp on the verso. 800 € Lit.: Jane Halsman Bello/Steve Bello (eds.). Philippe Halsman. Eine Retrospektive. Zurich 1998.

4189

elisa beth h ase (1905–1991)

4190 Doll face. 1930s. Vintage ferrotyped gelatin silver print on doubleweight paper. 23,4 x 17,5 cm.

800 €

Elisabeth Hase began her studies in 1924 at the Art Academy in Frankfurt. For five years she studied typography and graphic design with renowned teachers like Willi Baumeister and Paul Renner. By 1933, assignments became a political issue and Elisabeth Hase set up a studio of her own to stay as independent as possible. Her focus was on still lives, plants, dolls, people and especially intriguing self-portraits. She made her own person the object of photographic sequences that tell a story in stills experimenting with identity and perceived reality. During the air raid on Frankurt in 1944 her cameras and other equipment were lost, however, her archives of glass and film negatives survived. Hase‘s work has been shown and is in the collections of prominent museums, including The Metropolitan Museum of Art, The National Gallery, The Museum of Modern Art, The Chrysler Museum of Art, Folkwang Museum in Essen, The Albertina Museum in Vienna and The Bauhaus Museum of Design in Berlin. Exhibition: „Elisabeth Hase: Photographien Vintages der 30er und 40er Jahre“ at Anna Augstein Fine Arts, Berlin 2006. Provenance: Anna Augstein Fine Arts, Berlin to the current owner.

142

4190


4191

raoul h ausm a nn (1886–1971)

4191 Series of „Melanographies“. 1931/printed 1968. 5 gelatin silver prints. Each circa 30 x 19,8 cm. 1 monogrammed and dated by the photographer on recto in upper right corner, 3 monogrammed and dated by the photographer, as well as annotated in pencil on the verso. 1.800 €

Some of these „Melanographies“ illustrated Raoul Hausmann‘s essay entitled: „Scherz, Ironie und Phantastik in der Photographie“, published in 1940. One image double. – With: Three photographic certificates of authenticity for three of the images. Lit.: Hildegard Amanshauser & Monika Faber (eds.). Raoul Hausmann. Fotografien 1927-1933. Gegen den kalten Blick der Welt. Vienna 1986, see ill. pp. 157/159 and 164. 143


peter hebler (b. 1950)

4192

Children fighting in the street, Berlin. 1982. 3 matte gelatin silver prints. Each circa 17,7 x 23,8 cm. Each with photographer‘s/copyright stamp as well as signed and dated by the photographer in pencil on the verso. 400 €

4192

4193 Street riots, Berlin. June 11,1982/printed 1990s. Matte gelatin silver print. 40,3 x 30,3 cm. Photogra­ pher‘s/copyright stamp as well as signed and dated by the photographer in pencil on the verso. 400 € 4194 Punk girl, Kottbusser Tor, Kreuzberg, Berlin.

1982/printed 1990s. Matte gelatin silver print. 35,5 x 24,4 cm (40,3 x 30,3 cm). Photographer‘s/copyright stamp as well as signed and dated by the photographer in pencil on the verso. 400 €

4193 144

4194


4195

heinrich heidersberger (1906–2006)

4195 Rhythmogramms. 1950s. 3 vintage ferrotyped gelatin silver prints on Agfa-Portriga-Rapid and Agfa paper. 23,7 x 17,5 cm. Each with photographer‘s stamp with archive number in pencil and signed by the photographer in pencil on the verso. 900 €

louis held (1851–1927)

4196 Portrait of Walter Gropius (1883-1969). 1925/ printed 1950s. Ferrotyped gelatin silver print. 23 x 17,5 cm. 2 photographer‘s stamps on the verso 200 €

4196 145


4197

4198

fritz henle (1909–1993)

4197

„RCA Building and Chevrolet“. 1936/printed 1992. Gelatin silver print on RC paper. 20,3 x 19,4 cm (25,2 x 20,2 cm). Signed, titled, dated and copyrighted by the artist in ink on the verso. 400 €

146

4198 „Nieves - Model of Diego Rivera“; „Diego Rive-

ra resting in his garden. Coyoacan, Mexico“. 1943/ printed 1992. 2 gelatin silver prints on RC paper. 19,7 x 19,3 cm (25,3 x 20,2 cm). Signed, titled, dated and copyrighted by the photographer in ink on the verso. 600 €


fritz henle 4199 „Wolfsburg - VW Werk“. 1960s/printed 1992.

2 gelatin silver prints on RC paper. 19,7 x 19,3 cm (25,3 x 20,2 cm). Signed, titled, dated and copyrighted by the photographer in ink on the verso. 500 €

4199

ken heym a n (1930 –2019)

4200 „Railsplitter, Nigeria“. 1960. Vintage gelatin

silver print. 35 x 27,5 cm. Signed by the photographer in ink lower right in margin; 3 photographer‘s copyright/stamps as well as signed, dated and annotated by the photographer in pencil on the verso. 900 € Ken Heyman worked on assignments for Life magazine, and as a student of the anthropologist Margaret Mead he became her photographer for over twenty years. He also worked for Magnum and Rapho and published numerous books.

4200 147


4201

sheldon hine (1907–2002)

4201 Revolvers. 1960s. 2 vintage ferrotyped gelatin silver prints on RC paper. Each circa 25,3 x 20,2 cm. Each signed by the photographer in pencil, printed text label affixed to and 1 also with photographer‘s stamp on the verso. 900 € 148


h a nna h höch (1889–1978)

4202 Photographer: Hilde Zemann (b. 1922). The artist Hannah Höch. 1967. Vintage ferrotyped gelatin silver print. 23 x 29 cm. Signed and titled by the photographer in pencil and photographer‘s label on the verso. 300 €

ca ndida höfer (b. 1944)

4203* „Teatro Degollado Guadalajara III“. 2015. Chromogenic print on Fujifilm paper. 30 x 39 cm (38 x 47,5 cm). Label signed by the photographer in ink with title and editioned 82/100 on the verso. Matted in box with book Candida Höfer in Mexico. 2.400 €

4202

In 2014, Candida Höfer traveled to Mexico, visiting the eight cities Ciudad de México, Guadalajara, Guanajuato, Oaxaca, Puebla, Tepotzotlán, Tlacochahuaya, and Tonantzintla, where she photographed old and new libraries, theaters and opera houses, churches and museums, poorhouses and palaces. Most of the images are organized by symmetry along a central axis, a characteristic feature of her art. In the original box with the book Uta Grosenick/Herbert Burkert (eds.). Candida Höfer in Mexico. Distanz Berlin 2016.

4203 149


hugo von hofm a nnsth a l (1874–1929)

4204* Photographer: Nicola Perscheid (1864-1930). Portrait of the writer Hugo von Hofmannsthal. Circa 1910. Vintage sepia-toned gelatin silver print. 16,3 x 10,2 cm. Photographer‘s blindstamp in lower right corner, mounted to card. 400 €

jenn y holzer (b. 1950)

4205 Photographer: Boris Becker (b. 1961). Jenny Holzer‘s installation „For Paula Modersohn-Becker“. 2005. Inkjet print. 50 x 70 cm. Signed in ink by Jenny Holzer in link in lower portion; editioned 24/100 in pencil on the verso. 400 € The installation „For Paula Modersohn-Becker“, by the American concept artist Jenny Holzer, is an homage to the Worpswede artist Paula Modersohn-Becker. It was acquired by the Paula Modersohn-Becker Museum, Bremen and is permanantly installed there in the winding staircase.

4205 150

4204


4206

industri a l photogra ph y 4206 Documentation album with views of the

construction of the Inn channel, Germany. 1919-1922. Circa 130 gelatin silver prints. Various sizes most circa 12 x 17 cm and some smaller. Mounted to card, bound in cloth album (edges slightly rubbed). 400 € Extensive documentation of the individual stages of construction of the channel and the hydroelectric power station built simultaneously.

4207 Photographer: C. Leiterholdt. Industrial views

of pipe production, Düsseldorf. 1920s/30s. 12 vintage large-format gelatin silver prints. Each circa 17 x 23 cm. Each with photographer‘s stamp and annotated in pencil on the verso. 400 €

4207 151


industri a l photogra ph y 4208 Photographer: Frank Heidtmann. Historic

locomotive. 1980s. Vintage gum bichromate print on heavy paper. 38,5 x 28 cm. Photographer‘s stamp on the verso. 800 €

4208

lot te jacobi (1896–1990)

4209 The actress Dina Gralla (1905-1994). 1929.

Vintage gelatin silver print. 22,8 x 16,7 cm. Atelier Jacobi, Joachimsthaler Str. 5 stamp and annotated in ink on the verso. 300 € 152

4209


4210

ja pa nese photogra ph y 4210 Photographer: Seien Takagi. Landscapes and

views of Japan. 1937. 21 vintage gelatin silver prints on chamois paper. Each circa 28 x 17,5 cm (26,5 x 20,5 cm). First page with title in Japanese characters and signed and dated by the photographer in ink, each photo signed, titled in Japanese characters in ink in lower mar-

gin, photos inserted in album page corners, bound in cloth album with chord binding with embossed Japanese characters on front cover (some stains/soiling).

750 €

Very attractive album with atmospheric views of Japan.

153


4211

jew ish sy nagogue ry kestr. 4211

Photographer: Werner Weigl (1931-2019). Jewish Synagogue, Rykestr., Berlin. 1955. Vintage ferrotyped gelatin silver print on doubleweight paper. 39,7 x 30,2 cm. Various exhibtion stamps and annotations on the verso. 900 € The image shows a Chuppa ceremony with the Jewish community of both West and East Berlin attending.

154


k a rol k á ll ay (1926–2012)

4212

New York. 1965/printed later. Gelatin silver print. 40,3 x 30,3 cm. Signed, titled and dated by the photographer in pencil on the verso. 500 €

4212

da n k a ne (b. 1954)

4213* Beelitz. 2013. Selenium toned gelatin silver

print. 24 x 24 cm (28 x 27,8 cm). Signed, titled, dated, editioned 2/6 and copyrighted by the photographer in pencil on the verso. 900 €

4213 155


4214

da n k a ne 4214* „Claudio“. 2015. Selenium toned gelatin silver

print. 17,5 x 17,3 cm (25,3 x 20,2 cm). Signed, titled, dated, editioned 4/5 and copyrighted by the photographer in pencil on the verso. 750 €

4215* „Sven“. 2016. Selenium toned gelatin silver

print from a polaroid negative. 17,5 x 21,2 cm (20,2 x 24,5 cm). Signed, titled, dated, editioned 2/5 and copyrighted by the photographer in pencil on the verso. 750 € 156

4215


yousuf k a rsh (1908–2002)

4216 Albert Einstein. 1948. Ferroytped gelatin silver press print Agfa-Brovira paper. 12 x 17 cm. Annotated in pencil on the verso. 500 € Lit.: Yousuf Karsh. Portraits of Greatness. New York 1959, ill. p. 69.

4216

peter keetm a n (1916–2005)

4217

„(Augen-)Blick“. 1961. Vintage ferrotyped gelatin silver print on doubleweight Agfa paper. 30 x 23 cm. Signed, titled and dated by the photographer as well as number in pencil and photographer‘s stamp on the verso. 2.200 €

4217 157


4218

tilo keil (1931–1969)

4218

„Umarmung“ (Embrace). 1968. Half-tone print. 40,2 x 29,5 cm. Signed by the photographer in white ink in lower right. 750 € Tilo Keil is one of the most interesting rediscovered artists of younger German photo history. His main body of work was produced over a three year period and the quality of his unique oeuvre is still underrated today. This unusual erotic montage is from a series entitled „Hautbilder“ (Skin Pictures), 18 of which were exhibited in Munich in 1968 at the Avant Art Galerie Casa. – With: Exhibition brochure „18 Hautbilder von Tilo Keil“. Avant Art Galerie Casa Munich 1968.

158


w illy kessels (1898–1974)

4219

Microphone. 1932. Vintage gelatin silver print. 24,8 x 16,8 cm. Photographer‘s blindstamp in lower right; photographer‘s stamp and annotated in pencil on the verso. Hinge-mounted in mat. 750 € Willy Kessels attended the Ecole des Beaux Arts in Gent and then moved to Brussels, where he worked as a sculptor and architectural draftsman in the 1920s. He began his photographic career in 1929, seeing photography as a modern means of representation. Kessels was very active during the 1920s-1930s, and his photo montages, aerial views, angles and use of light illustrate the modern movement of Belgian photography at the time. His attractive nudes also are a large part of his oeuvre.

4219

w illy kessels 4220 Cactus and sculpture. 1934. Vintage gelatin silver print. 22,8 x 16,5 cm. Photographer‘s blindstamp in lower left corner; photographer‘s stamp and annotated in pencil on the verso. 600 €

4220 159


philipp kester (1873–1958)

4221* Hop harvest near Spalt, Bavaria. Circa 1907. 9 vintage collodion prints. Each circa 12 x 16,5 cm. Each with photographer‘s stamp and annotated in English in pencil on the verso. 400 €

4221

4221

gunther keusen (b. 1939)

4222

Ruins, Cologne. 1960. Vintage large-format gelatin silver print. 39 x 29,5 cm. Mounted to board, notation in pencil below photo on mount; signed and dated by the photographer in pencil on mount verso. 750 € Gunther Keusen was born in Düsseldorf in 1939 and grew up in Mecklenburg and Westphalia. From 1959 to 1961, he studied at the Hochschulinstitut für Kunst- und Werkerziehung Saarbrücken under Otto Steinert and others. He then studied for a year at the Munich Art Academy in the painting class of Joseph Oberberger. Until 1964, Keusen continued his training as a freelance graphic artist at the Düsseldorf Art Academy under Otto Coester and graduated with an art teacher‘s diploma. In 1972 Keusen was appointed professor of free graphics at the State Academy of Art in Düsseldorf, Münster Department. From 1979 to 1995, Keusen served for a time as director or later rector of what is now the Kunstakademie Münster. He lives and works in Cologne and Chiddes/Bourgogne. His works are in numerous public collections.

160

4222


4223

h a nnes kili a n (1909–1999)

4223 Bird‘s wing. 1955. Vintage ferrotyped gelatin silver print on Leonar paper. 27,8 x 23,5 cm. Photogra­ pher‘s/copyright stamp, estate stamp, negative number in pencil and signed/annotated by Gundel Kilian in pencil on the verso. 1.800 € After attending trade school, Hannes Kilian completed a threeyear photography course in Switzerland. From 1933-1938 he lived in Naples and Paris, returning to Germany in 1938, where he worked as a freelance photojournalist. In 1941, he was recruited as a war photographer. As of 1945, Kilian resumed his work as a freelance photographer supplying photographs to magazines such as Time, Picture Post, Zeit, Stuttgarter Illustrierte, Spiegel, Stern and Vogue. Provenance: From the estate of the photographer.

4224 Picadilly, London. 1955. Vintage ferrotyped

gelatin silver print. 23,5 x 17,7 cm. Photographer‘s/copyright stamp, estate stamp, negative number in pencil and signed/annotated by Gundel Kilian in pencil on the verso. 1.500 € Lit.: Klaus Honnef. Hannes Kilian. Exhibition catalogue. Ostfildern 2009, ill. p. 320. Provenance: From the estate of the photographer.

4224 161


4225

astrid kirchherr (1938–2020)

4225 John Lennon. 1962/printed 1990s. Large-format dye transfer print. 57,5 x 49,2 cm. 1.000 € 162


4226

w illi a m klein (b. 1928)

4226 „Surrealist Group and Models, Paris“. 1960. Vintage gelatin silver print. 23,5 x 30 cm. 1.800 € This image was taken during the „Exposition internationale du Surrealisme“ in the Galerie Daniel Cordier, Paris for Vogue maga­ zine and shows André Breton, Mansour, Joyce Mansour, Pieyre de Mandiargues, Radovan Ivsic, Marianne Ivsic, Mimi Parent, Robert Benayoum, Elisa Breton, Nora Mitrani, Yves Elleouet and models Kouka (Dior), Margretta (Lanvin) and Birgitta (Revillon). Lit.: Bruno Racine (ed.) Willliam Klein. Retrospective exhibition, Centre Pompidou, Paris 2005, 260-261. 163


ba rba ra klemm (b. 1939)

4227 Delhi, India. 1982. Gelatin silver print. 28,8 x 40,5 cm. Signed, titled and dated by the photographer in pencil and photographer‘s/copyright stamp on the verso. 750 €

w il m a r koenig (b. 1952)

4227

4228 „William Waiting, Tennessee“. 1984. Chromogenic print on Fujicolor Crystal Archive paper. 26,5 x 40 cm (40 x 50,5 cm). Signed, dated and editioned 1/15 by the photographer in ink on the verso. 900 € In this image Wilmar Koenig captured his close friend William Eggleston during a summer in Tennessee.

4228 164


4229

v incenzo l a era (b. 1966)

4229 „Justus“. 2020. Gelatin silver print. 56,5 x 44

cm. Signed, titled, dated and editioned 1/10 by the photographer in pencil and photographer‘s stamp on the verso. 1.200 € Vincenzo Laera began his creative career in the 1980s in the fashion industry of his hometown of Milan. Trained as a hair stylist, he began working as a freelancer for magazines such as Lei and Per Lui early on, and collaborated regularly with South

African photographer Koto Bolofo. In the late 1980s, Laera, just 20 years old, became a member of Helmut Newton‘s team. In 1989, he moved to New York City. Up until 2005, Laera collaborated on projects with Newton and photographers like Albert Watson, Irving Penn, Brigitte Lacombe, Deborah Tuberville, Bert Stern, Greg Gorman, and Annie Leibovitz. During this time, Laera began to work on his own photography. In 2006, when he moved to Berlin, he became self-employed as a professional photo­ grapher. Laera worked for magazines like Icon, GQ, Spiegel, InStyle and Kaltblut. 165


4230 166


v incenzo l a era 4230 „Amor“ (2); „X“, „Dolor“. 2012/ printed 2021. 4 gelatin silver prints. Each circa 80 x 60 cm. Each signed, titled, dated and editioned 1/10 by the photographer in pencil and photographer‘s stamp on the verso. 3.500 € The series offered here incorporates masks designed by the artist Guillaume Airiaud. It was shown in the exhibition „Level of Events“ in 2019.

robert lebeck (1929–2014)

4231

Ghana. 1960s. Vintage gelatin silver print. 29,7 x 15,1 cm. Photographer‘s/agency stamp and annotated in green ink on the verso. 1.200 €

4231 167


4232

robert lebeck 4232 „Elvis Presley in Germany“. 1958/printed 1990s. Gelatin silver print. 24,5 x 36 cm (29,5 x 40 cm). Signed, titled, dated and copyrighted by the photographer in penicl on the verso. 900 € Lit.: Augenzeuge Robert Lebeck. 30 Jahre Zeitgeschichte. Munich and Lucern 1984, ill. p. 32.

4233

„Leopoldville. Belgisch-Kongo“. 1960. 1 vintage gelatin silver print and 10 gelatin silver press prints on RC Stern magazin paper. 20,2 x 25,2 cm and 30,2 x 23,6 cm. Vintage print with photographer‘s stamp and annotated by the photographer in pencil on the verso; press prints with Stern copyright/credit stamp and watermark logo on the verso. 1.200 € Apart from a rare vintage print of this iconic image by Robert Lebeck of an African man stealing the Belgian King‘s saber in 1960, this lot also includes an exceptional set of images showing various scenes of the act and the arrest of the man.

168


4233

robert lebeck 4234 Arrival of Khomeini in Tehran. 1979. 4 gelatin silver press prints on RC paper. Each 20,3 x 29,7 cm. 2 with typed press text label, 2 annotated in ink on the verso. 500 €

4234 169


4235

lehnert & l a ndrock

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

4235 Female nudes, Tunis. Circa 1910. 2 vintage reddish-brown toned matte gelatin silver prints on structured chamois paper. Each circa 18 x 24 cm and reverse. Each with photographer‘s logo and number in the negative in lower right/left and with photogra­ pher‘s reproduction limitation stamp on the verso. 500 €

4236 Female nudes, Tunis. Circa 1910. 2 vintage

reddish-brown toned matte gelatin silver prints on structured chamois paper. Each circa 24 x 18 cm. Each with photographer‘s logo and number in the negative in lower right/left and with photographer‘s reproduction limitation stamp on the verso. 500 € 170

4236


lehnert & l a ndrock 4237

Female nudes, Tunis. Circa 1910. 2 vintage reddish-brown toned matte gelatin silver prints on structured chamois paper. Each circa 24 x 18 cm. Each with photographer‘s logo and number in the negative in lower right/left and with photographer‘s reproduction limitation stamp on the verso. 500 €

4237

lehnert & l a ndrock 4238 Arabian scenes. 4 sepia-toned gelatin silver

prints, 2 rotogravures, 2 photochromes. Circa 1910. Various sizes between circa 40 x 30 cm and 60 x 30 cm. Most with photographer‘s logo and numbers in lower right/left corner in the negative; some with copyright imprint on verso, 4 framed under glass in contempo­ rary wooden frames. 800 €

4238 171


4239

172


4240

m at thi as leupold (b. 1959)

4239* Selected images. 1983-86. 12 vintage gelatin

silver prints. Each circa 10,5 x 14,7 cm. Each with photo­ grapher‘s stamp on the verso, in original card envelope (slightly soiled, traces of use) and with exhibtion invitation Das letzte Jahrzehnt Kunstsammlungen Cottbus 1993. 1.000 €

4240* Selected images. 1983-86. 4 vintage chromo-

genic prints. Each circa 10,5 x 14,7 cm. Each with photo­ grapher‘s stamp on the verso. 500 € Lit.: Matthias Leupold. Die Vergangenheit hat erst begonnen. Szenische Photographien 1983-1999. Halle 2003, ill. pp. 27 and 41.

Matthias Leupold has worked as a freelance photo artist in Berlin since 1985. His main interest has been artistic photography, especially scenic photography. For more than 35 years Leupold has exhibited his staged photographs internationally, participated in exhibitions at the Berlin National Gallery and the Academy of the Arts, and had solo exhibitions at the Bauhaus Dessau as well as the Villa Massimo in Rome. His work is in several pub­ lic archives, e.g. the Photographic Collection of the Berlinische Galerie and the Bibliothèque Nationale, Paris. The images in this group represent Leupold‘s early work. Lit.: Matthias Leupold. Die Vergangenheit hat erst begonnen. Szenische Photographien 1983-1999. Halle 2003, ill. pp. 14, 24-25, 26,30, 31, 39, 42, 43 and 49. 173


4241

m at thi as leupold 4241

„Reisender“ (Traveler). 1988/printed 2017. Gelatin silver print. 22 x 32,5 cm (29,8 x 39,3 cm). Signed, titled, dated, WVZ # 152 and editioned 4/20 the photographer in pencil on the verso. 600 € Lit.: Matthias Leupold. Die Vergangenheit hat erst begonnen. Szenische Photographien 1983-1999. Halle 2003, ill. p. 57.

emil lichtenberg

(active in Düsseldorf, 1910s–1930s)

4242 Dutch interiors. 1910s. 6 vintage gelatin silver

prints and 1 photogravure. Various sizes, most circa 12 x 16 cm. 1 with photographer‘s blindstamp in left/ right corner, 5 with photographer‘s stamp on the verso. 300 € Active in Honnef and Düsseldorf between the 1910s-1930s, Emil Lichtenberg primarily documented architecture, including office buildings, interiors and factories, but he also made many fine portraits, especially in the 1910s. He was a member of the GDL (Society of German Photographers). He often used various highquality photographic processes and the majority of his prints show fine craftsmanship.

174

4242


emil lichtenberg 4243 Selected images of Dutch coastal scenes with

ships and fishermen. 1910s. 9 vintage gelatin silver prints and 1 photogravure. Various sizes, between circa 28 x 20 cm and most 16 x 12 cm. 4 mounted and signed in pencil on the mount, 4 with photographer‘s blind­ stamp in left/right corner, 2 with photographer‘s stamp on the verso. 400 €

4243

emil lichtenberg 4244 Selected images of Dutch fishermen. 1910s. 8 vintage gelatin silver prints. Various sizes, between circa 22 x 16 cm and 11 x 14 cm. 2 signed in pencil in lower margin, 6 with photographer‘s stamp on the verso. 400 €

4244 175


4245

o. w inston link (1914–2001)

4245 „Swimming Pool, Welch, West Virginia“. 1963/

printed 1984. Gelatin silver print. 50,4 x 40,5 cm. Signed and dated by the photographer in pencil, annotations in pencil and photographer‘s reproduction limitation and copyright stamp on the verso. 3.000 € Provenance: Purchased from the estate of Herb Ritts. 176


herbert list (1903–1975)

4247 King Paul and Queen Frederica of Greece in

their Jaguar in front of the city palace, Athens. 1950s. Vintage ferrotyped gelatin silver print on Agfa-Brovira doubleweight paper. 23,5 x 22,5 cm. 2 photographer‘s stamps and annotated by the photographer in pencil on the verso. 1.400 €

4247

herbert list 4246 Palazzo Vecchio, Florence. 1950s. Vintage fer-

4246

rotyped gelatin silver print on Agfa-Brovira doubleweight paper. 29,5 x 21 cm. 2 photographer‘s stamps and annotated by the photographer in pencil on the verso. 1.600 € 177


4248

loret ta lux (b. 1969)

4248* „The Irish Girls“ 2005. Cibachrome print. 38 x 42 cm (51 x 55,5 cm). Signed, titled, editioned AP 1/3 and dated by the photographer in ink on label on the verso. Framed under glass. 4.800 € The photographer Loretta Lux first studied painting at the Akademie der Bildenden Künste in Munich before turning to photography. However, in her photographs she continues to combine painting, along with digital manipulation, creating otherworldly images. Provenance: The Olbricht Collection

178


4249

rosa luxemburg (1871–1919)

4249 Photographer: Hänse-Herrmann, Berlin.

Portrait of Rosa Luxemburg. 1910. Vintage sepia-toned gelatin silver print in oval. 14,7 x 10,2 cm. Mounted to board (unevenly cut), photographer‘s stamp below the image on the mount. 900 €

179


4250

m a n ray

(Emmanuel Rudnitzky, 1890 –1976)

4250 Rayographs. 1921-1923/printed 1978. 3 gelatin

silver prints on Agfa paper. Each circa 29,5 x 22,5 cm (43 x 34 cm). Man Ray‘s signature stamp, Griffelkunst edition stamp and rayograph stamp, as well as signed and dated by the estate executor in pencil on the verso, each mounted along upper edge to grey board (one mount bumped in right edge), Griffelkunst stamp on mount verso. 1.200 € Lit.: Man Ray. Photographs. London 1982, ill. pp. 140-141.

180


4251

m a n ray 4251 Jean Cocteau. 1924. Vintage matte gelatin silver print on double weight chamois paper. 28 x 22 cm. Signed, inscribed à Robert delle Dome son ami and dated 1924 by Jean Cocteau in ink in lower margin; notations in pencil on the verso. 6.000 € This portrait of Jean Cocteau, taken by Man Ray in 1924, was often used by the sitter who inscribed or embellished the prints with drawings as dedicated gifts to friends. The original photograph, which is signed in the lower right by Man Ray, was rephotographed and printed again, something Man Ray often did and which gives the photo an intriguing presence with the appearance of an oil pigment print. 181


4252

w erner m a ntz (1901–1983)

4252

House of Professor Georgii, Heinestraße 2, Lindenthal, architect H. Walter Reitz. 1928/printed 1932. Gelatin silver print on Agfa paper. 24 x 18 cm. Signed, dated and annotated by the photographer in ballpoint pen in lower margin; annotated in pencil on the verso. 400 € The group of detached houses in Heinestraße, Cologne is probably the earliest example of Neues Bauen in that city. The builder of Heinestraße 2 was the pianist and university professor Walter Georgii. The large-scale form and details clearly show an

182

orientation towards Le Corbusier: the free façade structure with window bands, the inclusion of the roof garden in the rectangular outline of the house, the semi-circular avant-corps with a lookout at the apex, concrete planter boxes, a chimney running through to the attic and curved interior walls and a wide concrete band as a closure above the terrace. The August 1929 issue of Die Welt compared the house to buildings of Le Corbusier and Gropius. Lit.: Reinhold Mißelbeck/Wolfram Hagspiel. Werner Mantz. Vision vom Neuen Köln. Fotografien 1926-1932. Cologne 2000, ill. p. 59.


ewa ld m ata ré (1887–1965)

4253 Photographer: Heinz Sangermann. Portrait of Ewald Mataré and the Pope‘s and Bishop‘s Doors of the south portal of Cologne Cathedral. Circa 1950. 2 vintage ferrotyped gelatin silver prints on Agfa-Portriga-Rapid paper. 23 x 17 cm and 17,7 x 12,5 cm. Each with photographer‘s stamp on the verso. 300 €

4253

m a rinus

(Jacob Kjeldgaard, 1884–1964)

4254 „L‘obsession“ (Hitler marching in the fog of his obsession). 1940. Vintage ferrotyped gelatin silver print. 23 x 17,7 cm. Photographer‘s stamp, credit and exportation stamp on the verso. 1.500 €

4254

The title of the image refers to Hitler‘s invasion of Poland and the capitulation of the Polish Army in 1939. It portrays Hitler seeing himself in the tradition of the great field marshals of the past. This image was published on the title page of Marianne, no. 377, Jan. 10, 1940. Lit.: Gunner Byskov/Bodo von Dewitz (eds.). Marinus Heartfield. Politische Fotomontagen der 1930er Jahre, Göttingen 2008, ill. pp. 126-127 (cat. no. 35). 183


4255

w ill mcbride (1931–2015)

4255

Brandmauer, near Bernauer Str., Berlin. 1956. Vintage ferrotyped gelatin silver print on Agfa-Brovira paper. 29 x 39 cm. Signed by the photographer and layout marks in pencil on the verso. 1.500 € Lit.: Will McBride. I, Will McBride. Cologne 1997, ill. pp. 88-89.

184


4256

w ill mcbride 4256 Konrad Adenauer in Caddenabbia, Italy. 1963. 5 vintage ferrotyped gelatin silver prints on doubleweight Agfa paper. Each circa 21 x 30 cm or reverse. 4 with photographer‘s stamp, each signed, titled and dated by the photographer in pencil and agency stamp on the verso. 800 € Provenance: Directly from the photographer to the present owner.

4257

Lisette Model in Arles with one of her early photographs. 1978/printed 1980s. Gelatin silver print on Agfa paper. 30,4 x 23,8 cm. Signed, annotated and dated by the photographer in pencil on the verso. 750 €

4257 185


4258

w ill mcbride 4258 Illustration for „Eltern“, Munich. 1968. Uni-

que vintage chromogenic print with reworked image. 30 x 39 cm. Mounted to board, signed, annotated and dated by the photographer in pencil and 2 photogra­ pher‘s stamps on the verso. 1.200 € A truly unique image which McBride composed very artistically with the small figure in the background positioned between the legs of the figure on the left, which he reworked with painting around the figure.

186


joel mey erow itz (b. 1938)

4259 „Porch, Provincetown“ from the series „Bay/ Sky/Porch“. 1977/printed 1979. Contact chromogenic print on Kodak paper. 25 x 20 cm. Signed, dated and editioned 49/75 by the photographer in ink on the verso, hinge-mounted in mat. 1.000 €

4259

joel mey erow itz

4260

4260 „The Blue Chair“ from the series „Bay/Sky/ Porch“. 1977/printed 1979. Contact chromogenic print on Kodak paper. 25 x 20 cm. Signed, dated and editioned 49/75 by the photographer in ink on the verso, hinge-mounted in mat. 1.000 € 187


4261

l ászló moholy-nagy (1895–1946)

4261

„Licht-Raum-Modulationen“ portfolio. 19301946/printed 2005 from the original negatives. 6 gelatin silver prints. Each circa 24,7 x 19 cm (30,2 x 24 cm). Each monogrammed by Hattula Moholy-Nagy in pencil and with Griffelkunst edition text printed on the verso, in original half-canvas folder with illustrated text brochure. 600 € The images include: „Licht-Raum-Modulator, Berlin“ (1930); „Kinetische Skulptur, London“ (1936); „Plexiglas-Mobile in Bewegung, Chicago“ (1943); „Space Modulator with Highlights, Chicago“ (1942); „Spirals“ (1945); and „Wire sculpture, Somonauk“ (1946). Lit.: Barbara Auer. Künstler mit der Kamera. Photographie als Experiment. Mannheim 1994, ill. p. 14.

188


4262

l ászló moholy-nagy 4262 Female nude: Negative and positive image.

1931/printed 1993. 2 gelatin silver prints. Each 26,3 x 20 cm (40 x 30 cm). Each monogrammed by Hattula Moholy-Nagy in pencil and Griffelkunst edition stamp on the verso. 500 € 189


stefa n moses (1928–2018)

4263 Oskar Maria Graf, Berg, from the series

„Grosse Alte im Wald“. 1964/printed circa 2000. Largeformat digital art print. 59,8 x 50 cm. Signed, annotated and dated by the photographer in blue crayon and photographer‘s stamp on the verso. 400 € Lit.: Ulrich Pohlmann/ Matthias Harder (eds.). Stefan Moses. Die Monographie. Munich 2002, ill. from the same series p. 97.

4264 Ernst Bloch and Hans Mayer, Haus Bloch,

Tübingen, from the „Selbst im Spiegel“ series. 1965/ printed 1980s. 3 gelatin silver prints. 23,8 x 30,5 cm. 1 with photographer‘s stamp, each annotated in pencil/ink/marker on the verso. 500 €

4263

4264 190


4265

ot to mueller (1874–1930)

4265 Photographer: Max Glauer (1867-1935). The artist Otto Mueller and his wife Maschka. 1928. Vintage sepia-toned matte gelatin silver print. 21,5 x 16 cm. Photographer‘s blindstamp in lower left corner; annotated in ink/pencil on the verso, mounted along right edge in window mat. 1.500 €

ot to muehl (1925–2013)

4266 Photographer: Ludwig Hoffenreich. Material­ aktion. 1960s. Vintage ferrotyped gelatin silver print. 23,6 x 17,7 cm. Photographer‘s stamp and layout notations in pencil/blue crayon on the verso. 400 € Between 1964-1966 Otto Mühl performed numerous so-called „Materialaktionen“ involving objects, paint and material, which were often filmed/photographed by K. Kren and Ludwig Hoffenreich. As of 1966 the body itself became the „material“ which Otto Mühl and Günter Brus increasingly worked with.

4266 191


eck a rt muthesius (1904–1989)

4267 Photographer: Lotte Jacobi (1896-1990). Por-

trait of the architect Eckart Muthesius. Circa 1930. Vintage gelatin silver print. 22 x 16,9 cm. Signed by the photographer in the negative in lower right; photogra­ pher‘s ATELIER JACOBI, Charlottenburg, Joachimsthaler Str. 5 stamp on the verso, mounted along upper edge to board (some wear). 500 € The son of Hermann Muthesius, the German architect and interior designer Eckart Muthesius lived in India between 1930-1939. The Maharaja of Indore commissioned him to decorate and design his Palace at Manik Bagh in the modern International Style; it became a large-scale art project and Muthesius incorporated furniture designed by Eileen Gray, Le Corbusier, Marcel Breuer and Ivan da Silva Bruhns. He often returned to Berlin to collaborate on the projects for the furniture for the palace and this portrait was likely taken on one of those visits. Lotte Jacobi portrayed many famous figures of the day such as Albert Einstein, Emil Jannings, Lotte Lenya and Käthe Kollwitz. Lit.: Reto Niggl. Eckart Muthesius. The Maharaja‘s Palace in Indore. Architecture and Interior 1930, Stuttgart 1996, ill. p. 13. Provenance: Eckart Muthesius Archive

4267

4268 192


4269

eck a rt muthesius 4268 Photographer: Emil Leitner (1887-1953). The

4269 Photographer: Emil Leitner (1887-1953). Model

The photo offered here shows the elegant boudoir of Manik Bagh Palace with black-stained pear wood furniture with pink silk covers. Recently in Sept. 2019- Jan. 2020 an extensive exhibtion „Moderne Maharajah, un mécène des années 1930“, showcasing the Manik Bagh Palace, its design and many objects created by Eckart Muthesius was shown at the Musée des Arts Décoratifs in Paris. The exhibition presented the project as a truly unified work of art. Lit.: Reto Niggl. Eckart Muthesius. Der Palast des Maharadschas in Indore. Architektur und Interieur. 1930. Stuttgart 1996, see pp. 70-73. Provenance: Eckart Muthesius Archive

With: Photographer: Herbert Hoffmann. Maharaja of Indore at a workshop in Berlin. 2 vintage gelatin silver prints. 13,3 x 20 cm. Each with photographer‘s stamp on the verso. - One print with moisture damage in upper left. Lit.: Reto Niggl. Eckart Muthesius. Der Palast des Maharadschas in Indore. Architektur und Interieur. 1930. Stuttgart 1996, see pp. 118-121. Provenance: Eckart Muthesius Archive

Maharani‘s boudoir of Manik Bagh Palace in Indore. Circa 1931. Vintage warm-toned gelatin silver print. 21,2 x 25,5 cm. Photographer‘s blindstamp in lower left; photographer‘s stamp and annotated in pencil on the verso. 600 €

for the country residence of the Maharaja of Indore in India. Circa 1931. 2 vintage warm-toned gelatin silver prints. 17 x 27,7 cm and 14,8 x 21,6 cm. Each with photo­ grapher‘s stamp, annotated in pencil and exhibition text label on the verso. 600 €

193


4270

nasa 4270 Launch of Apollo 17, Dec. 7, 1972 . Vintage chromogenic print on Kodak RC paper. 20,2 x 25,7 cm; repeating Kodak watermark and NASA text on the verso. 750 € The huge, 363-feet tall Apollo 17 (Spacecraft 114/Lunar Module 12/Saturn 512) space vehicle was launched from the Kennedy Space Center (KSC), Florida, at 12:33 a.m., Dec. 7, 1972. Apollo 17, the final lunar landing mission in NASA‘s Apollo program, was the first nighttime liftoff of the Saturn V launch vehicle. Aboard the Apollo 17 spacecraft were astronaut Eugene A. Cernan, commander; astronaut Ronald E. Evans, command module pilot; and scientist-astronaut Harrison H. Schmitt, lunar module pilot. Flames from the five F-1 engines of the Apollo/Saturn first stage illuminate the nighttime scene.

sigrid neubert (1927–2018)

4271

4271 194

Detail of cut wood. 1970. Vintage large-format gelatin silver print on Agfa paper. 39,7 x 27,5 cm. Photo­ grapher‘s stamp on the verso, hinge-mounted in mat. 750 €


4272

floris m. neusüss (1937–2020)

4272 „Traumbilder“ series. 1961-64. 3 gelatin silver prints on Agfa paper. Each circa 21 x 20 cm (40,3 x 30,3 cm). Each signed, annotated and dated by the photographer in pencil/ink and photographer‘s stamp on the verso. 750 € Lit.: Fabian Knierem/Ulrich Pohlmann (eds.).Traumbilder. Ostfildern 2012, ill. p. 95. 195


floris m. neusüss 4273

Berlin portraits. 1962. 2 gelatin silver prints on Agfa paper. Each circa 39,8 x 30 cm. Each monogrammed by the photographer in pencil and annotated/dated in ink on the verso. 500 €

4274* „Tellerbild/Fotogramm“. 1968. Vintage uni-

que gelatin silver print (photogram) on thin paper. 63 x 46 cm. Signed and dated by the photographer in pencil in lower right corner as well as signed, titled and dated by the photographer in pencil on the verso. 3.000 €

4273

4274 196


floris m. neusüss 4275

„Poppongi Nightlife“. 1992. Gelatin silver print (photogram). 41,7 x 29,3 cm. Mounted to board, signed, dated and titled by the photographer in pencil below the image on the mount; photographer‘s stamp and dated on the verso. 600 €

4275

floris m. neusüss 4276 “Barbie and Ken“. 1993. 2 vintage unique

4276

gelatin silver prints (photograms). Each 43,2 x 31,4 cm. Each mounted to board; signed, titled and dated by the photographer in pencil and photographer‘s stamp on mount verso. 800 € 197


floris m. neusüss 4277

„Aegines, Paris“; „Waffe, Paris“, from the series „Anteidola“. 2003. 2 vintage gelatin silver prints (photograms). Each circa 40 x 30 cm. Each monogrammed, dated, titled and 1 editioned 1/2 by the photographer in pencil and photographer‘s stamp on the verso. 600 € The images of the head of Paris from the so-called Aegenis group from the West pediment of the Temple of Aphaia on the island of Aegina were taken from the reconstructed statues at the Munich Glyptothek. Lit.: Raimund Wünsche (ed.), Anteidola. Fotogramme von Floris Neusüss in der Glyptothek, exhib.cat. Glyptothek München, Munich 2003.

4277

4277 198


4278

4279

koyo ok a da (1895–1972)

4278 Mount Fuji. Circa 1950. Vintage gelatin silver print. 23 x 28 cm. Photographer‘s blindstamp in lower left corner. 1.500 €

4279 Mount Fuji. Circa 1950. Vintage gelatin silver print. 22,5 x 27,8 cm. Photographer‘s blindstamp in lower right corner. 1.500 €

Koyo Okada came from a family of painters and caligraphists. Since his visit to the small village Oshino near Moujnt Fuji he became fascinated by the mountain and decided to dedicate his work depicting it. As early as 1927 he published his first book with one hundred views of the famous mountain and many followed. In WWII he lost his entire negative archive and equipment which encouraged him all the more to record the mountain on film. Some of his images have been used on stamps and banknotes. 199


4280

mickey pa ll as

rich a rd dav id pa re

4280 „Buick Convertible and Man, Chicago“. 1959/ printed 1989. Gelatin silver print on doubleweight paper. 15,2 x 15,2 cm (25,5 x 20,2 cm). Signed, titled and dated by the photographer in pencil on the verso. 1.000 €

4281

(1916–1998)

(b. 1948)

Untitled. 1980s/printed late 1980s. Dye transfer print. 39 x 49,8 cm (47,5 x 57,2 cm). 900 €

pa ris 4282 Photographer: Eva Weichberger. Selected

views of Paris, including Marais, Pont Neuf, Monmartre and Samaritaine. 1950s. 18 vintage gelatin silver prints. Each circa 18 x 13 cm. Most with photographer‘s stamp and annotated in pencil on the verso. 400 € The images show postwar Paris street scenes with clochards, streetsellers and architecture.

200


4281

4282 201


pa blo picasso (1881–1973)

4283 Photographer: Peter Rose Pulham (1910-1956).

Pablo Picasso in his studio. 1936/printed 1975 from the original negatives. 3 gelatin silver prints on Agfa paper. Each circa 23 x 22,5 cm. 600 € These images of Pablo Picasso were taken in his Grands Augustins studio in the winter of 1936, a year before „Guernica“. These prints were made from the original, poorly conserved negatives by Isolde Baumgart (1935-2011) in 1975.

4284 Photographer: Peter Rose Pulham (1910-1956).

Pablo Picasso in his studio. 1936/printed 1975 from the original negatives. 3 gelatin silver prints (2 ferrotyped) on Agfa paper. Circa 21 x 23 cm and 26 x 24,3 cm. 600 €

4284 202

4283


potsda m 4285 Photographer: Studio of Albrecht Meyden-

bauer (1834-1921). View from Jägerstr. to Charlottenstr. crossing, Potsdam. Circa 1900. Vintage gelatin silver print. 40 x 40 cm. Kgl. Pr. Messbild-Anstalt stamp, other stamps and annotated in pencil on the verso. 600 € Messbild photos are extremely accurate in their rendition of architectural detail; when the photograph is taken, the picture plane is 100% parallel to the object and their accuracy allows architects to realize the true measurements of a building. Lit.: Rudolf Meyer (ed.). Albrecht Meydenbauer. Baukunst in historischen Fotografien. Leipzig 1985.

4285

rico puhl m a nn (1934–1996)

4286

4286 Richard Avedon and Suzy Parker, New York. 1960. Vintage large-format ferrotyped gelatin silver print on doubleweight Agfa paper. 39,8 x 30,2 cm. Photographer‘s stamp and annotated in pencil on the verso. 800 € 203


ra ilroa d 4287 Train wreck between Trifail and Sagor, WWI.

1917. 8 vintage gelatin silver prints. Each circa 8,7 x 11,5 cm. Mounted to paper (traces of use), annotated in white ink below and next to photos on mount. 200 € During the railway accident in Zagorje on January 19, 1917, a mail train on the Austrian Southern Railway was hit by a landslide between the train stations Zagorje (Sagor) and Trbovlje (Trifail), then Austria-Hungary, today Slovenia. Part of the train was buried, another part of the train was pushed into the Sava River. A relief train also drove into the wreckage, which claimed more lives: 40 people died in the railway accident.

dirk reina rtz

(1947–2004)

4288 New York. 1974/printed 2014. 6 gelatin silver

prints. Each circa 18,8 x 26 cm (29,5 x 39,5 cm). Each with griffelkunst text printed on the verso, in original half linen portfolio with illustrated text brochure. 800 € Lit.: Karin Reinartz (ed.). Dirk Reinartz. New York 1974. Göttingen 2007.

4288 204

4287


4289

regina rel a ng (1906–1989)

4289 The artist Willi Baumeister. 1946. Vintage ferro-

typed gelatin silver print on Agfa-Brovira paper. 17,8 x 23,8 cm. Several photographer‘s/copyright stamps and annotated by the photographer in ink on the verso. 500 €

h a ns retzl a ff (1902–1965)

4290 Boy of the Black Forest region in folkloric costume. 1935. Vintage gelatin silver print on cream AgfaBrovira paper. 23,5 x 17,5 cm. Mounted to black card with typed text, date and photographer‘s name on paper label on the verso. 300 €

4290 205


4291

4292

206


4293

k a rin rocholl 4291 Gudrun Landgrebe, Munich. 1984/printed 2014.

Gelatin silver print. 24 x 35,7 cm (30,5 x 40,2 cm). Signed, copyrighted, dated and titled by the photographer in pencil on the verso. 900 € The photojournalist Karin Rocholl has made many portraits of figures in 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 and several books.

ja rosl av rössler (1902–1990)

4293 Selected images, abstract photography. 1923-

1961/printed 2009. 6 gelatin silver prints. Each circa 24,5 x 18,5 cm (30,4 x 23,7 cm). Each with printed Griffelkunst edition text on the verso, in original half-canvas folder with illustrated text brochure. 500 €

k a rin rocholl 4292 Luigi Nono, Venice. 1986/printed 2020. Gelatin

silver print. 24,2 x 38,2 cm (30,2 x 40,5 cm). Signed, copyrighted, dated and titled by the photographer in pencil on the verso. 900 € 207


4294

tata ronkholz

(Roswita Tolle, 1940 –1997)

4294 „Trinkhalle“ series (Kiosk Kempener Str. 76,

Köln-Nippes). 1983. Vintage ferrotyped gelatin silver print. 26 x 35,5 cm (31 x 40,5). Estate stamp and number 400 in pencil on the verso. 2.200 € 208


4295

tata ronkholz 4295 „Trinkhalle“ series (Leverkusen - Rheindorf. Wupperstrasse 1). 1983. Vintage ferrotyped gelatin silver print. 24,7 x 34 cm (31 x 40,5). Estate stamp and number 406 in pencil on the verso. 2.200 € 209


4296

4297

ch a rlot te rudolph

august rupp

4296 Scene from Mary Wigman‘s „Chorische Studien“.

4297 Landscape views. 1934/35. 6 vintage gelatin

(1896–1983)

1929. Vintage gelatin silver print. 14,8 x 22,5 cm. Photo­ grapher‘s blindstamp in lower right corner; photogra­ pher‘s stamp and reproduction limitation stamp as well as annotated in pencil on the verso. 300 €

210

(1874–1958)

silver prints. Each circa 18 x 23 cm. Photographer‘s stamp, copyright stamp and Geätzt stamp on the verso. 300 € August Rupp was a German pictorialist photographer who primarily photographed landscapes and still lifes. This group also includes two photos by Eduard von Pagenhardt.


4298

4299

pent ti sa mm a ll a hti (b. 1950)

4298 „Signilskär, Finland“. 1974. Vintage gelatin sil-

ver print. 18,4 x 23,3 cm (23,7 x 29,7 cm). Signed and dated in pencil in lower right below the image in the margin. 900 €

edwa rd rusch a 4299* 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, some light rubbing). Los Angeles, Edward Ruscha, 1966. 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). 211


august sa nder (1876–1964)

4300* Portrait of a citizen. 1938. Vintage gelatin sil-

ver print on doubleweight paper. 23,6 x 17,5 cm. Photo­ grapher‘s stamp on the verso, mounted along upper edge to card (slight fading in edges, light handling mark in lower right), signed dated and annotated by the photographer in pencil below the image on the mount; Sander‘s Cöln-Lindenthal, Dürenerstr. 201 studio label on mount verso (partially covered by paper framing tape). 900 €

4300

august sa nder 4301 The painter Franz Wilhelm Seiwert. 1924/prin-

ted 1986 by Gerd Sander. Gelatin silver print. 25 x 17 cm. August Sander, Köln - Lindenthal blindstamp in lower left corner. Mounted along upper edge to thin board, August Sander Archive, New York paper label on the verso. 400 €

4301 212

Lit.: Photographische Sammlung/SK Stiftung Kultur (ed.). August Sander. Menschen des 20. Jahrhunderts (Studienband). Munich 2001, ill. p. 155.


heinz sa ngerm a nn 4302 Kitchen interiors. 1950s. 2 vintage ferrotyped

gelatin silver prints on Agfa-Brovira paper. Each circa 24 x 17,5 cm. Each with photographer‘s stamp on the verso. 300 €

4303 Bank interiors. 1950s. 4 vintage ferrotyped gelatin silver prints on Agfa-Brovira paper. Each circa 24 x 17,5 cm. Each with photographer‘s stamp on the verso. 400 €

4302

4303 213


heinz sa ngerm a nn 4304 Portrait of Konrad Adenauer (1876-1967), Ober-

bürgermeister of Cologne. 1928. Vintage gelatin silver print on Agfa-Portriga-Rapid paper. 17,8 x 11,8 cm. Photographer‘s stamp and annotated in pencil on the verso. 300 €

4305 Men over grid. Circa 1930. Vintage gelatin silver

print. 37 x 45,5 cm. Photographer‘s stamp and annotated and layout marks in pencil on the verso. 800 €

4304

4305 214


4306

ulf saupe (b. 1979)

4306 „Golden Forest # 7“. 2020. Ground coal printed

on 24 karat gold leaf on wood, gum bichromate process. 113 x 146 cm image size, mounted free-floating in shadow gap frame, unique piece (Variation II), signed, titled and dated by the artist in silver ink on verso. 8.000 € Ulf Saupe was born 1979 in Halle (Saale) and lives and works in Berlin. As the last student of Prof. Floris Neusüss, he has dedicated himself to the field of experimental, alternative photography. In a versatile series of works, the artist repeatedly combines analog photographic processes from the 19th century with

modern digital technology. Two aspects are paramount in his work: the materiality and haptics of the image and the resem­ blance to the color quality of painting through the use of real pigments, distinguishing it from high gloss photography. In the “Golden Forest” series, Saupe grinds common coal briquettes into fine particles and uses them in the printing process. In multiple thin layers, he transfers the motif by hand onto the 24 karat gold-plated wood panel until the desired image density is achieved. Meanwhile he intervenes, while the print is wet, with a brush and spray bottle to shape the image. This special technique creates a unique material composition. 215


4307

christi a n sch a d (1894–1982)

4307 „Schadographien“. 1962-1975/printed 2000.

6 gelatin silver prints from the original negatives. Each circa 21 x 16 cm ( 30 x 24 cm) and 19 x 25,5 cm (24 x 30 cm). Each with printed Griffelkunst edition text on the verso, in original half-canvas folder with illustrated text brochure. 500 € Includes Schadographie numbers 44, 57, 59, 63, 75b and 126 created between 1962-1975.

216


4308

4309

fra nz schensky

ernst scheel

4308 Sea view. Circa 1910. Vintage platinum print.

4309 Stairwell in Grindelhochhaus, Hamburg. Circa 1950. Vintage gelatin silver print. 17,2 x 23,2 cm. Photo­ grapher‘s (24) Hamburg 19. Rellinger Str. 1 stamp on the verso. 300 €

(Court photographer, Helgoland, 1871–1957) 16,4 x 22,8 cm. Photographer‘s blindstamp in lower right corner, mounted to card. 400 € Known for his dramatic views of the island Helgoland surrounded by a rough sea, Schensky was a master of capturing the atmosphere of the North Sea. The view offered here is a more unusual image by Schensky showing only the stormy sea.

(1903–1986)

217


4310

hugo schmölz (1879–1938)

4310 Architectural views of Düsseldorf and surroun-

dings. 1920s. 9 vintage gelatin silver prints on strong chamois paper. Each circa 22 x 18 cm or reverse. Most with photographer‘s Hugo Schmölz, U. Sachsenhausen 33, Köln 1925 or H. Schmölz, Köln, Photograph, D.W.B., Unter Sachsenhausen 33 stamp as well as architect‘s stamp and annotated in ink on the verso. 300 €

friedrich seidenstücker (1882–1966)

4311 „Spaziergänger“ (Walkers). Circa 1930 and 1950/

printed 2002. 6 gelatin silver prints from the original negatives. Each circa 25 x 19 cm (30 x 24 cm) and 19 x 25,5 cm (24 x 30 cm). Each with printed Griffelkunst edition text on the verso, in original half-canvas folder with illustrated text brochure. 600 € The images include: „Pfützenspringer“ series (2 prints), „Spaziergang in der Ahornstraße, Berlin“, „Aufputz“, „Kleine Welt in Kreide“ and „Mutterglück“.

218

4311


4312

toni schneiders (1920 –2006)

4312 Steelworks, Wuppermann, Leverkusen. 1959. Vintage ferrotyped gelatin silver print on Leonar paper. 39,5 x 28,2 cm. Signed, titled, dated and annotated by the photographer in pencil and photographer‘s/ copyright stamp, address Lindau/B on the verso. 1.000 € Lit.: Ulrich Pohlmann (ed.). Toni Schneiders - Photographien 1946 - 1980. Munich 1999, ill. p. 110. 219


4313

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

4313* „Berlin, Mitte, Mai 1979“. Gelatin silver print/

printed later. 32,5 x 49,5 cm (41,3 x 54,5 cm). Signed, titled and dated by the photographer in pencil, as well as photographer‘s stamp on the verso. 500 €

4314* Untitled (sequence). 1989. Vintage gelatin silver

print on RC paper. 30,3 x 40,5 cm. Signed, annotated and dated by the photographer in black marker and photographer‘s stamp on the verso. 600 € In the work group ‚Sequences 1987-1992‘ Hans Martin Sewcz gives insight into a time of rapid political and social change. Autobiographical in nature the change and the search for one‘s own identity in Berlin during the time of reunification also plays a role. Looking back, Sewcz states: „Aiming the camera at myself, I involved myself in the political events. Created between 1987 and 1992 my life phases in East Berlin up to the time when I left for West Berlin, the time after the opening of the Wall and the reunification of Germany merge. The process of the work and the narrative element of each sequence are emphasized by the visible perforation of the negative strips for the film transport. (Translated from the German: Sebastian Luchs. „Hans Martin Sewcz. Zeitachsen“, Stiftung F.C. Gundlach 2012).

220

4315* „Nächtliche Studie I-III“ Leipzig (Night study).

1976. 3 vintage gelatin silver prints. Each circa 23 x 15,7 cm. Each signed, dated and annotated by the photographer in pencil, as well as with photographer‘s stamp on the verso, mounted in mat as a triptych (60 x 86 cm). 750 € Hans Martin Sewcz studied at the Academy of Visual Arts in Leipzig. One of his main topics are former East Germany and other East-Bloc countries. He has had numerous exhibitions and his work is in various collections such as the Berlinische Galerie, the Deutsches Historisches Museum, the Institut für Moderne Kunst, Nuremberg and the Deutsche Bank AG Frankfurt a. Main Collection. His work was also shown in the exhibition „Das Gesicht des XX. Jahrhunderts“ at the Deutsches Historisches Museum, Berlin. These prints are from the photographer‘s time at the Academy of Visual Arts in Leipzig.


4314

4315

221


julius shul m a n (1910 –2009)

4316 Department of Water & Power, Los Angeles, California. 1965. 2 vintage gelatin silver prints, 1 on RC paper. 27,7 x 21,7 cm and 20,2 x 25,3 cm. Each with photographer‘s stamp, 1 with credit label on the verso. 1.200 € Julius Shulman‘s impressive photographs of California architecture are more than just documents of the buildings they depict. They were blueprints for living at the time they were taken and his photos were published in lifestyle magazines such as House and Garden, Good Housekeeping and Life, as well as in the professional press. They reflect the relaxed and cool Californian way of life and remain icons of design and style today. One view shows the Water and Power Office Building standing tall on Bunker Hill, the other is an interior of the building. Lit.: Robert Elwall. Building with Light. The International History of Architectural Photography, London 2004.

4316

4316 222


4317

christi a n skrein (b. 1945)

4317 Portrait of Joseph Beuys (1921-1986) at the documenta IV, Kassel. 1968. Unique vintage gelatin silver print. 31 x 20,2 cm. Signed and dated by the photographer in ink in lower edge; photographer‘s/copyright stamp and signed and annotated by the photographer in ink and number stamp on the verso. 1.800 € Lit.: Christian Skrein. 68 künstler, legenden, fotografie. Vienna 2001, ill.p. 36.

jea nloup sieff (1933–2000)

4318 Vogue, Italy. 1980s. Vintage gelatin silver print. 30,2 x 29,7 cm (40 x 29,7 cm). Signed, annotated by the photographer in pencil and 2 photographer‘s/copyright stamps on the verso. 750 €

4318 223


4319

4320 224


4321

a lbert steiner (1877–1965)

4319 „Wintermorgen bei Inner-Arosa“. 1910s. Vintage

gelatin silver print, chemically treated, on strong paper. 16,5 x 23 cm. Mounted to card and mounted to board (slightly warped, slight toning and a few scratches), signed and titled by the photographer in pencil below the image on the mount. 900 € One of the most outstanding Swiss photographers of the 20th century, many of Albert Steiner‘s photographs have been compared to those of Ansel Adams and Albert Renger-Patzsch. His impressive scenic photographs have fundamentally shaped the perception of Switzerland as an alpine country of timeless beauty. In the 1920s, however, he also adopted a more clear and objective way of photographing and created the first modern Swiss photobook „Schnee Winter Sonne“ (1930) which has been compared to Renger-Patzsch‘s „Die Welt ist schön“ (1928). Lit.: Peter Pfrunder/Beat Stutzer. Albert Steiner. Das fotografische Werk. Zurich 2005.

4320 Water lily; Landscape with crocuses. 1920s.

2 vintage contact gelatin silver prints. Circa 17,7 x 23,5 cm. Each with Geätzt stamp on the verso. 600 €

4321 Selected landscape views. 1920s. 3 vintage con-

tact gelatin silver prints. Each circa 17,5 x 23 cm and 23 x 17,5 cm. Each with Geätzt (etched) stamp on the verso. 600 € Lit.: Peter Pfrunder/Beat Stutzer. Albert Steiner. Das fotografische Werk. Zurich 2005. Engadiner Landschaften. Ausgewählte Aufnahmen von Albert Steiner. Zurich 1927.

225


herbert strässer (1930 –2005)

4322 Photo collage. 1950s. Collage with photo cutouts

from magazines/books. 86 x 61 cm. Monogrammed by the artist in pencil lower right corner; estate stamp on the verso. 900 € Provenance: From the estate of the artist.

4322

josef sudek 4323 Selected images, still lifes and landscapes.

4323 226

1950s-70s/printed later. 10 gelatin silver prints. Various sizes between 12 x 17 cm and 28 x 22 cm. 400 €


4324

fra nk thiel (b. 1966)

4324 „Stadt 1/03“ (Berlin). 1996. Chromogenic print.

25 x 36 cm. Framed under glass in artist‘s grey wooden frame (a few small nicks) ; signed, titled, dated and numbered 02/08 in ink on frame verso. 1.500 € Thiel‘s commitment to the constant transformation and development of Berlin for more than a decade has become an integral part of the unfolding history of the city and an important photographic record. His work has been exhibited in museums and galleries worldwide and is included in many public collections such as: The National Gallery of Canada, Fotomuseum Winterthur, Switzerland, and the Moderna Museet, Stockholm.

tel av i v 4325 Photographer unknown. Images of Tel Aviv. 1920s. Circa 16 vintage gelatin silver prints. Most circa 11 x 16 cm. Each annotated in ink/pencil on the verso. 500 €

4325

The images show various views of Tel Aviv including Allenby Street, the Tel Aviv train station (3), Herzl Street, the commerical center, Galet-Aviv Casino promenade, the Eden theater (cinema), the City Hall as well as four early views of Haifa. 227


4326

elsa thiem a nn (1910 –1981)

4326 Kunststein (cast stone). 1930s. Vintage ferrotyped gelatin silver print on Agfa-Brovira paper. 30,2 x 24 cm. Photographer‘s stamp and titled by the photographer in pencil on the verso. 1.200 € Provenance: From the estate of the photographer. 228


elsa thiem a nn 4327 Detail study (cauliflower). 1930s. Vintage fer-

rotyped gelatin silver print on ivory paper. 18,2 x 12 cm. Estate notation in ink and number by the photographer in ballpoint pen on the verso. 600 € 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.

4328 Detail study of sliced onion. 1930s. Vintage fer-

rotyped gelatin silver print on ivory paper. 16,5 x 17,7 cm. Photographer‘s stamp and annotated Karnevalsmaske - oder - durchschnittene Zwiebel! by the photographer in ballpoint pen on the verso. 750 € Lit.: Elsa Thiemann: Fotografin, Bauhaus und Berlin. Berlin 2004, ill. p. 67 (image from the same series). Provenance: From the estate of the photographer.

4327

4328 229


third reich 4329 Photographer unknown. Images of „Der ewige Jude“ (The Eternal Jew) propaganda traveling exhibition shown in Munich, Vienna, Berlin, Bremen and Magdeburg. 1938-39. 3 vintage gelatin silver prints and 7 postcards. Most 10,5 x 14,5 cm, some smaller. Postcards with stamp and special postmark. 300 € 4330 Photographer: U.S. Army Photo. Images of the

liberation of KZ Mauthausen, Gusen and Ebensee, Austria by the U.S. Army. May 5, 1945. 3 vintage gelatin silver prints. Each 10 x 12,5 cm. 300 €

4329

4330 230


4331

peter thom a nn (b. 1940)

4331 „Dülmener Wildpferde in der Arena“ (Wild Hor-

ses in Dülmen Arena). 1990/printed 1998. Gelatin silver print. 30 x 43,7 cm (39,7 x 48,5 cm). Signed, dated and titled in black crayon in lower white margin; pho­ tographer‘s stamp, therein signed, dated and titled by the photographer in black crayon on the verso. 800 € Peter Thomann studied photography under Dr. Otto Steinert at the Folkwang School in Essen. As of 1968 he was under contract with Stern magazine. He is well-known for his horse images and his most famous image of a black mare with her white foal won the World Press Photo Award in 1963. Since 1997, through a special agreement with the photographer, that image has been the official Kentucky Horse Park logo. 231


raoul ubac (1910 –1985)

4332 Selected images: „Ein tachistischer Photograph

avant la lettre“. 1932-1940/printed 2008. 6 gelatin silver prints. Each circa 25,2 x 18,5 cm (30,5 x 23,8 cm). Each with printed Griffelkunst edition text on the verso, in original half-canvas folder with illustrated text brochure. 600 € The images include „Agui au miroir au tain endommagé“ (193233); „Le combat de Penthésilée“ (1937); „ Le combat de Penthésilée. Triomphe de la stérilité (1937); „Photo-relief “ (1938); „L‘envers de la face“ (1939) and „Les objets fossiles“ (1939/40).

unknow n photogra pher 4333 Woman with fashionable hat. Mid-1920s. Vin­

tage reddish-brown toned gelatin silver print. 17 x 22,5 cm. With Gevaert blindstamp in lower left corner. Mounted along upper edge to light brown card (traces of use) with two printed paper labels ARTOS Paper Liver of sulphur and gold toned and EXTRA RAPID Plate on mount beneath the image. 400 €

4333 232

4332


va rieté 4334 The Canovas at the Wintergarten Varieté, Berlin. 1930s. 2 vintage ferrotyped gelatin silver prints. Each 18 x 13 cm. Each with press text label affixed to verso. 400 €

4334

a ndré v illers (1930 –2016)

4335 Pablo Picasso during the shooting of ‚Le mys­

4335

tère Picasso‘ by Henri-Georges Clouzot, Studios de la Victorine, Nice. 1955/printed later. Gelatin silver print. 36,2 x 26 cm (40,5 x 30,3 cm). Signed by the photographer in ink in lower right in margin; signed and annotated „photo réalisé par moi-meme“ by the photographer in pencil and photographer‘s stamp on the verso. 1.500 € 233


ernst voll a nd (b. 1946)

4336 „E 9“ (from the series „Eingebrannte Bilder“

- „Branded Images“). 1997. Gelatin silver print. 39 x 29,5 cm. Signed and dated by the photographer in pencil on the verso. 750 € Lit.: Ernst Volland. Eingebrannte Bilder, Plakate, Cartoons, Buntstiftbilder, Fakes, Dokumente. Berlin 2018, ill. p. 32.

4336

hedda wa lther (1894–1979)

4337 (Attributed to). Baboon. Circa 1928. Vintage

gelatin silver print. 33,7 x 27,7 cm. Mounted to board. 600 €

4337 234

Hedda Walther received her photographic training at the LetteVerein in Berlin. She opened a studio for children‘s portraits in Berlin-Westend in 1925, and her first photographs were published in the magazine Qualität. In 1926 her first book Geh‘ mit mir was published. As of 1927 she received commissions from international magazines, such as Journale de la Semaine. In 1928, the book Tiere sehen Dich an was published, through which she became internationally known as an animal photographer. In the thirties, many of her animal and children‘s photos were published. She worked for magazines such as Die Dame, Berliner Illustrierte Zeitung or the Silberspiegel. After WWII Walther worked exclusively as a fashion photographer for Die Dame, Die Modewelt and Film und Frau. She gave up professional photography in 1960.


a by wa rburg (1866–1929)

4338 Photographer: Rudolf Dührkoop (1848-1918).

Portrait of Aby Warburg. 1925. Vintage sepia-toned photogravure. 13,4 x 9,8 cm. Annotated and layout notes in pencil on the verso. 900 €

4338

m a x wa rburg (1867–1946)

4339 Photographer: Emil Bieber (1878-1962). The ban-

4339

ker Max Warburg. 1920s. Vintage gelatin silver print on chamois paper. 22 x 16,5 cm. Agency stamp, collection stamp and annotated in pencil on the verso. 600 € 235


4340

a lbert watson (b. 1942)

4340 „16th Century Aztec Fan“. 1990/printed 1990s.

Dye transfer print. 46 x 33,3 cm (51 x 46,2 cm). Unsigned, with printer‘s stamp on the verso. 2.500 € Lit.: Albert Watson. Exhibition catalogue of the Kunsthalle Rostock July 21-September 1, 2002. Munich 2002, ill. cover image.

236


w eegee

(Arthur Fellig, 1899–1968)

4341 Girl with Hershey‘s box. 1940s/printed no later

than 1954. Ferrotyped gelatin silver press print. on Agfa-Brovira paper. 23,2 x 17,8 cm. Please credit Photograph by Weegee and 3 agency stamps on the verso. 1.400 €

4341

w erner r. w eigl (1931–2019)

4342 „Artisten“. 1970s. Vintage ferrotyped gelatin

4342

silver print. 40 x 30,2 cm. Annotated by the photographer in ink and various exhibition stamps/labels on the verso. 300 € 237


4343

kurt w endl a ndt (1917–1998)

4343 „Schnipsel“ (Lichtgraphik/Fotogram). 1959. Unique vintage gelatin silver print. 17,5 x 23,3 cm. Mounted to white and brown board (39,7 x 43 cm), signed, titled and dated by the photographer in pencil below the image on the mount. 1.500 € The German painter, printmaker, photographer, author and illustrator Kurt Wendlandt was among one of the most creative artists of postwar West Germany. Since his studies at the State Academy of the Arts 1937-43, his artistic development was con­ tinuously 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.

238


4344

kurt w endl a ndt 4344 „Transparente Schichten I“ (Lichtgraphik/Original-Solarisation). 1959. Unique vintage gelatin silver print. 37 x 49,5 cm. Mounted to cream board (80 x 65 cm), signed and titled by the photographer in pencil below the image on the mount; dated by the photogra­ pher in pencil on mount verso. 2.000 € Provenance: The estate of Kurt Wendlandt. 239


4345

kurt w endl a ndt 4345 „Eingeschlossen“ (Lichtgrafik). 1960. Unique

hand-colored vintage gelatin silver print on photo linen. 17,7 x 38,4 cm. Mounted along upper edge to board (light handling mark in lower right), signed, titled and annotated 4-farbig, überarbeitet by the photographer in pencil below the image on the mount; estate label on mount verso. 1.200 € Provenance: The estate of Kurt Wendlandt.

4346 „Kreuzweg“ (Lichtgrafik). 1960s. Unique hand-

4346 240

colored vintage gelatin silver print on photo linen. 51,5 x 37 cm. Mounted along upper edge to board (slight traces of use), signed, titled and annotated 4-farbig by the photographer in pencil below the image on the mount; dedication and signed by the photographer in ink on mount verso. 2.000 €


4347

kurt w endl a ndt 4347 „Reve d‘amour“ (Lichtgrafik/Original-Solarisa-

tion). 1967. Unique vintage solarized gelatin silver print. 43,5 x 34 cm. Mounted in corners to cream board (corners/edges bumped,handling crease in upper edge), titled, annotated and signed by the photographer in pencil below the image on the mount. 2.000 € Provenance: The estate of Kurt Wendlandt. 241


4348

wa lter m. w esterv elt

ludw ig w indstosser

4348 Glass abstraction. Circa 1940. Vintage toned

4349 Steelworkers, Ruhrgebiet. 1950s. Vintage ferro-

(1888–1966)

gelatin silver print. 12,5 x 17,8 cm. Photographer‘s stamp on the verso. 600 € Walter M. Westervelt was best known for his modernist style advertising photos. He was an advertising photographer and designer based in Great Notch, New Jersey. His clients included Dobbs Hats and Kodak. He produced many abstractions using glass and refracted light.

242

(1921–1983)

typed gelatin silver print on Agfa paper. 22,8 x 29,1 cm. Photographer‘s stamp and annotated in black marker (slightly showing through to recto in lower margin) on the verso. 600 €

4350 Ball bearing. 1950s. Vintage ferrotyped gelatin silver print on Agfa paper. 23 x 29,1 cm. Photographer‘s and SAAR stamp and number in pencil on the verso. 500 €


4349

4350

243


ludw ig w indstosser 4351 Hochofen; Walzwerk. 1952. 2 vintage ferrotyped gelatin silver prints on Agfa-Brovira paper. Each circa 29 x 23,2 cm. Each with photographer‘s stamp and annotated in pencil/black marker and 1 also signed by the photographer in pencil on the verso. 750 € 4352 Steelworks and workers, coal mining. 1950s.

8 vintage ferrotyped gelatin silver print on Agfa, AgfaBrovira and Leonar paper. 5 circa 29,5 x 23,5 cm, 3 circa 23,5 x 17,5. Each with photographer‘s stamp, some annotated in pencil/marker, a few with typed paper label on the verso. 600 €

4351

4352 244


4353

patrick w it t y (b. 1972)

4353 New Yorkers, September 11, 2001. Chromogenic

print on Kodak Royal paper. 23,4 x 34,5 cm (27,8 x 39,8 cm). Annotated in ink on the verso. 600 € With the Municipal building in the background, shocked New Yorkers on a Tuesday morning in Park Row behold the demise of the South tower of the World Trade Center. 245


4354

sv en wolfga ng (b. 1982)

4354 „Taos“. 2012. Toned gelatin silver print. 28 x 28 cm (40,2 x 30,2 cm). Signed, titled, dated, editioned 1/4 and copyrighted by the photographer in pencil on the verso. 600 € 4355 „La Défense“. 2014. Toned gelatin silver print on

4355 246

Orwo paper. 23 x 15,3 cm (25,8 x 17 cm). Signed, titled, dated, editioned 1/2 and copyrighted by the photographer in pencil on the verso. 500 €


wols

(Alfred Otto Wolfgang Schulz, 1913–1951)

4356 Selected portraits of women. 1936-37/printed 2005. 7 gelatin silver prints. Each circa 20 x 20 cm and 24,5 x 19 cm (30,2 x 24 cm). Estate and Griffelkunst edition text printed on the verso, in original half-canvas folder with illustrated text brochure. 500 €

paul j. woolf (1899–1985)

4357 New York skyline by night. 1940s. 2 vintage,

ferrotyped, toned gelatin silver prints. 19 x 19 cm (20,5 x 25,5 cm) and 13,5 x 14 cm (25 x 20,5 cm). Each with pho­ tographer‘s 14 East 37th Street, New York City stamp on the verso. 500 € Born in England, Paul Woolf moved to New York at an early age. After studying at the Clarence White School of Photography in the early 1930s, he began photographing the NY skyline, capturing the dynamic new architecture of the early 20th century.

4356

4357 247


4358

4359

world wa r i 4358 Souvenir album of a high-ranking German

officer during WWI. Circa 1915. Circa 34 vintage gelatin silver prints. Various sizes, most 12 x 17 cm and smaller. Inserted in album window mats, bound in contemporary cloth album. 300 € An unusual album most likely documenting a propaganda trip of the German Kaiser and Field Marshal Hindenburg through various German cities after the so-called Battle of Tannenberg. The images show the entusiastic welcoming of Hindenburg by crowds during official events such as visiting old war veterans from 1870/71 and a military hospital for war injured. The popularity of Hindenurg in the Weimar Republic was greatly promoted by this event.

248

4359 Photographer: German Fototrupp der MarineFesselball Abteilung. Panoramic view of French Lombartzyde-Stellung (Belgian frontline near Dunkirk). 1916. 89 gelatin silver prints (the whole panorama circa 11 x 386 cm), mounted to boards, detailed handwritten notations above/ below images on mounts, dis­ tance scale in upper edge, folded concertina style in cased album (edges rubbed) with handwritten title label in German in ink on front cover, collector‘s label on inside back cover. 600 € A rare military document from WWI. The first pages have an instruction text of how this panorama corresponds to aerial photos of the same area for the exact identification of every position at the enemy lines. Provenance: Robert Lebeck Collection


world wa r ii 4360 Album of a German soldier.1938-42. Circa 140 vintage gelatin silver contact prints. Most 8,5 x 13 cm and 9 x 6,5 cm. Mounted to album pages (some wear), bound in half leather album (25 x 20,5 cm). 300 € The images show a German training camp, air bombing of Cologne as well as private photos of a German soldier and his girlfriend during WWII.

4361 Photographer: Galina Sanko (1904-1981). German prisoners of war after the battle of Stalingrad. 1943/printed 1950s/60s. Ferrotyped gelatin silver exhibition print. 58 x 38 cm. Photographer‘s stamp and annotated in red and blue crayon on the verso. 1.200 €

4360

4361 249


fra nk worth (1923–2000)

4362 Marilyn Monroe on the set of „How to Marry a Millionaire“. 1953/printed 2020. Gelatin silver print. 31,5 x 31,5 cm. Estate blindstamp in lower right corner; edition number 2/6 on the verso. 600 € With: Certificate of Authenticity

4362

fra nk worth 4363 Marilyn Monroe standing poolside. 1949/prin-

ted 2020. Gelatin silver print. 41,5 x 31,5 cm. Estate blindstamp in lower right corner; edition number 1/6 on the verso. 600 € 4363 250

With: Certificate of Authenticity


4364

x-ray photogra ph y 4364 X-ray of tulips. 1930s. Vintage gelatin silver

print. 23,5 x 17 cm. Mounted to card; annotated in pencil on the mount. 800 €

za nder & l a bisch

(Albert Zander and Siegmund Labisch, active in Berlin 1895–1939)

4365* Storefront in Berlin. 1930s. Vintage gelatin

silver print. 15,1 x 22,5 cm. Mounted to original board (corners/edges bumped), signed by the photographers in pencil below the image on the mount. 300 €

4365 251


index A Agha, Dr. Mehemed Fehmy 4096 Airship Italia 4097 Airship Schwaben 4098 Albert, Joseph 4001 Albiker, Carl 4099-4100 Algeria/Biskra 4002 Alpine Landscapes 4101 Anschütz, Ottomar 4003 Architecture 4102-08 Artists' Ball, Munich 4004 B Baltermants, Dimitri 4109 Baur, Max 4110-13 Béchard, Henri 4005-06 Bedford, Francis 4007 Bellon, Denise 4114 Berlin 4115-17 Bezalel School of Arts & Crafts Jerusalem 4118 Blossfeldt, Karl 4119 Brassaï 4120 Braunschweig (Brunswick) 4032 Brill, Fritz 4121-22 British India 4008-23, 4027-29 British India and Ceylon 4026 British India/Pakistan 4024-25 Budnik, Dan 4123-25 Buffalo Bill's Wild West Show 4033 Burma 4030-31 Burri, René 4126 C Cartes-de-visite 4034 Cartier-Bresson, Henri 4127 Ceylon 4035 Chaldej, Jewgeni 4128-29 Chargesheimer 4130 China 4036-38, 4131 Citroen, Paul 4132 Clifford, Charles 4039-40 Color Photography 4133-36 Conductors 4041 D Daguerreotypes 4042-43 Denmark, Sweden, Norway 4045 Deutsche Afrika-Linien 4137 Deutscher Krieg (Austro-Prussian War) 4044 Dietrich, Marlene 4138, 4157-60 E Edgerton, Harold 4139 Eggleston, William 4140-41 Egypt 4046-47 Ehm, Josef 4142 Eltz Castle 4143 Ermakov, Dimitri N. 4048-50

252

Eschen, Fritz 4144 Essamba, Angèle Etoundi 4145 Esser, Elger 4146 F F.S.A. 4147-52 Feininger, Lore 4153 Fiedler, Franz 4154-55 Film Photography 4156-4160 Finsler, Hans 4161 Fischer, Arno 4164-70 Florschuetz, Thomas 4171-72 Foujita, Léonard Tsuguharu 4162 Franco-Prussian War 1870 4051 Frith, Francis 4052 G Gandhi/Rolland 4163 Germany/Westfalen 4053 Gloeden, Wilhelm von 4054-57 Greene, Milton H. 4183 Gremmler, Karl Theodor 4182 Gsell, Emile 4058 Gutmann, John 4184 Gyger, Emanuel 4185 Gyger, Emanuel / Arnold Klopfenstein 4186 H Halsman, Philippe 4189 Hanfstaengl, Franz 4059 Hase, Elisabeth 4190 Hase, Gottlieb Theodor 4060 Hausmann, Raoul 4191 Häusser, Robert 4187-88 Hebler, Peter 4192-94 Heidersberger, Heinrich 4195 Held, Louis 4196 Henle, Fritz 4197-99 Heyden, Bernd 4177 Heyman, Ken 4200 Hine, Sheldon 4201 Höch, Hannah 4202 Höfer, Candida 4203 Hofmannsthal, Hugo von 4204 Holzer, Jenny 4205 I Industrial Photography 4061, 4206-08 Italy 4062-63 J Jacobi, Lotte 4209, 4267 Japan 4064 Japanese Photography 4210 Jewish Synagogue Rykestr. 4211 K Kállay, Karol 4212 Kane, Dan 4213-15

Karsh, Yousuf 4216 Keetman, Peter 4217 Keil, Tilo 4218 Kessels, Willy 4219-20 Kester, Philipp 4221 Keusen, Gunther 4222 Kilian, Hannes 4223-24 Kirchherr, Astrid 4225 Klein, William 4226 Klemm, Barbara 4227 Koenig, Wilmar 4228 Koppmann, Georg 4065-66 Kotzsch, August 4067 Krone, Hermann 4068 L Labor Movement 4069 Laera, Vincenzo 4229-30 Laurent, Jean 4070 Lebeck, Robert 4231-34 Lehnert & Landrock 4235-38 Leupold, Matthias 4239-41 Lichtenberg, Emil 4242-44 Link, O. Winston 4245 List, Herbert 4246-47 Literature 4072 Lux, Loretta 4248 Luxemburg, Rosa 4249 M Man Ray 4250-51 Mantz, Werner 4252 Marinus 4254 Marquardt, Sven 4173-76 Mataré, Ewald 4253 McBride, Will 4255-58 Mecca 4071 Meyerowitz, Joel 4259-60 Mieusement, Séraphin Médéric 4073 Mill, John Stuart 4074 Moholy-Nagy, László 4261-62 Moses, Stefan 4263-64 Muehl, Otto 4266 Mueller, Otto 4265 Muthesius, Eckart 4267-69 N Nadar jeune (Adrien Tournachon) 4075 NASA 4270 Neubert, Sigrid 4271 Neusüss, Floris M. 4272-77 O Okada, Koyo 4278-79 Ottoman Empire 4076 P Pallas, Mickey 4280 Pare, Richard David 4281


Paris 4282 Paris, Robert 4178 Picasso, Pablo 4283-84 Plüschow, Guglielmo 4077-78 Portrait Album 4079 Potsdam 4285 Pozzi, Pompeo 4080 Puhlmann, Rico 4286 R Railroad 4287 Raoult, Ivan Petrovic 4081 Reinartz, Dirk 4288 Relang, Regina 4289 Retzlaff, Hans 4290 Robertson, James and Felice Beato 4082 Rocholl, Karin 4291-92 Ronkholz, Tata 4294-95 Rössler, Jaroslav 4293 Rudolph, Charlotte 4296 Rupp, August 4297 Ruscha, Edward 4298 S Sachtler, August 4085 Sammallahti, Pentti 4299 Sander, August 4300-01 Sangermann, Heinz 4302-05 Saupe, Ulf 4306 Schad, Christian 4307 Scheel, Ernst 4309 Schensky, Franz 4308

Schliemann, Heinrich 4083 Schliemann, Sophia 4084 Schliemann Excavation / Greece 4084a Schmidt, Georg 4086 Schmölz, Hugo 4310 Schneiders, Toni 4312 Schulze Eldowy, Gundula 4179-80 Seidenstücker, Friedrich 4311 Sewcz, Hans Martin 4313-15 Shulman, Julius 4316 Sieff, Jeanloup 4317 Skrein, Christian 4318 Spain 4087 Steinberg, Uwe 4181 Steiner, Albert 4319-21 Strässer, Herbert 4322 Sudek, Josef 4323 Switzerland 4088 Switzerland, Italy, Tyrol 4089 T Tel Aviv 4324 Thiel, Frank 4325 Thiemann, Elsa 4326-28 Third Reich 4329-30 Thomann, Peter 4331 Titzenthaler, Waldemar 4090 Trier 4091 Tunis 4092 UV Ubac, Raoul 4332

Unknown Photographer 4333 Varieté 4334 Vietnam 4093 Villers, André 4335 Volland, Ernst 4336 W Walther, Hedda 4337 Warburg, Aby 4338 Warburg, Max 4339 Watson, Albert 4340 Weegee 4341 Weigl, Werner R. 4342 Wendlandt, Kurt 4343-47 Westervelt, Walter M. 4348 Windstosser, Ludwig 4349-52 Witty, Patrick 4353 Wolfgang, Sven 4354-55 Wols 4356 Woodbury, Walter Bentley / James Page 4094 Woolf, Paul J. 4357 World War I 4358-59 World War II 4360-61 World's Fair Paris 1889 4095 Worth, Frank 4362-63 X X-ray Photography 4364 Z Zander & Labisch 4365

consigners 1: 4157, 4170, 4171, 4181, 4200, 4212, 4232, 4257, 4258. 2: 4228. 3: 4213, 4214, 4215. 4: 4113, 4127, 4202, 4222, 4271. 5: 4042, 4064, 4067, 4116, 4221, 4365. 6: 4065, 4066, 4359. 7: 4009. 8: 4107, 4267, 4268, 4269. 9: 4160. 10: 4318. 11: 4331. 12: 4014, 4197, 4198, 4199, 4334, 4337, 4342. 13: 4005, 4006, 4046, 4047, 4071, 4079, 4080, 4092, 4195, 4238, 4312, 4357. 14: 4313, 4314, 4315. 15: 4035, 4037, 4058, 4082, 4091, 4204, 4300. 16: 4073. 17: 4114, 4119, 4121, 4122, 4130, 4161, 4187, 4233, 4234, 4261, 4264, 4272, 4273, 4275, 4276, 4277, 4289, 4293, 4307, 4311, 4332, 4350, 4352, 4356. 18: 4298. 19: 4003, 4254, 4335. 20: 4004. 21: 4294, 4295. 22: 4339. 23: 4218. 24: 4146, 4203, 4248. 25: 4109, 4128, 4129, 4144, 4153, 4192, 4193, 4194, 4216, 4227, 4336. 26: 4052, 4115, 4118, 4137, 4324, 4329, 4330. 27: 4099, 4100. 28: 4054, 4055, 4056, 4057, 4078, 4108, 4126, 4341. 29: 4038. 30: 4185. 31: 4288. 32: 4048, 4049, 4050. 33: 4291, 4292. 34: 4229, 4230. 35: 4001, 4346. 36: 4326, 4327, 4328. 37: 4007, 4043, 4059, 4068, 4083, 4084, 4093, 4094, 4102, 4103, 4104, 4105, 4106, 4132, 4133, 4147, 4149, 4150, 4151, 4152, 4158, 4162, 4164, 4165, 4166, 4179, 4180, 4188, 4208, 4211, 4255, 4256, 4265, 4285, 4290, 4308, 4333, 4353, 4361. 38: 4322. 39: 4343, 4344, 4345, 4347. 40: 4223, 4224. 41: 4349, 4351. 42: 4008, 4010, 4011, 4012, 4013, 4015, 4016, 4017, 4018, 4019, 4021, 4024, 4025, 4027, 4028, 4029, 4030, 4031, 4085. 43: 4306. 44: 4123, 4124, 4125, 4140, 4141, 4225, 4281, 4340. 45: 4178. 46: 4219, 4220, 4259, 4260. 47: 4172. 48: 4246, 4247. 49: 4023, 4053, 4090. 50: 4138. 51: 4235, 4236, 4237. 52: 4075, 4096, 4134, 4135, 4139, 4142, 4183, 4184, 4189, 4201, 4245, 4251, 4270, 4280, 4299, 4316, 4348. 53: 4283, 4284. 54: 4110, 4111, 4112. 55: 4148. 56: 4167, 4168. 57: 4239, 4240. 58: 4117. 59: 4241. 60: 4077. 61: 4159. 62: 4173, 4174, 4175, 4176. 63: 4084a, 4319. 64: 4169, 4177, 4182, 4191, 4309. 65: 4041, 4069, 4070, 4072, 4074, 4186, 4297, 4320, 4321. 66: 4190. 67: 4051. 68: 4249. 69: 4034, 4163. 70: 4250, 4262. 71: 4062. 72: 4022, 4097, 4156, 4266, 4338. 73: 4020, 4076, 4095. 74: 4145, 4209, 4217, 4296, 4301, 4317. 75: 4205. 76: 4278, 4279. 77: 4002, 4032, 4045, 4061, 4063, 4081, 4086, 4087, 4088, 4089, 4101, 4120, 4131, 4136, 4143, 4196, 4206, 4207, 4226, 4231, 4253, 4282, 4287, 4302, 4303, 4304, 4305, 4310, 4358, 4360. 78: 4033. 79: 4325. 80: 4323. 81: 4036, 4039, 4040. 82: 4274. 83: 4364. 84: 4362, 4363. 85: 4210, 4252. 86: 4098, 4242, 4243, 4244. 87: 4286. 88: 4026, 4060. 89: 4263. 90: 4354, 4355. 91: 4154, 4155. 92: 4044. 253


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

254

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

255


V ER ST EIGERU NG S - BEDI NGU NGEN 1. Die Galerie Gerda Bassenge KG, 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. 7% auf den Zuschlag erhoben. Für bundesdeutsche Kunsthändler und Antiquare, die zum Vor­s teuer­abzug berechtigt sind, kann die Gesamt­rech­nung auf Wunsch, wie bisher nach der Regelbesteuerung ausgestellt werden. Von der Umsatzsteuer befreit sind Ausfuhrlieferungen in Dritt­ länder (außerhalb der EU) und – bei Angabe ihrer USt.-Identi­ fikations-Nr. bei Auftragserteilung als Nachweis der Berechtigung zum Bezug steuerfreier innergemeinschaftlicher Lieferungen – auch an Unternehmen in anderen EU-Mitgliedsstaaten, unter der Voraussetzung, dass sie für gewerblichen Gebrauch einkaufen. Eine Korrektur nach Rechnungsstellung ist nicht möglich. Alle anderen Käufe aus EU-Ländern unterliegen der Umsatzsteuer. Ausländischen Käufern außerhalb der Europäischen Union wird die Umsatzsteuer erstattet, wenn binnen 4 Wochen nach der Auktion der deutsche zollamtliche Ausfuhrnachweis und der zollamt­ liche Einfuhrnachweis des entsprechenden Importlandes erbracht werden. Bei Versand durch uns gilt der Ausfuhrnachweis als gegeben. Bei Online-Live-Geboten über externe Internetplattformen erhöht sich das Aufgeld um die dort anfallende Transaktions­gebühr. Wäh­rend oder unmittelbar nach der Auktion ausgestellte Rech­ nun­­gen bedür­fen einer beson­de­ren Nachprüfung und eventueller Berichtigung; Irrtum vor­behalten. 9. Die Auslieferung der ersteigerten Stücke erfolgt in unseren schäftsräumen gegen Bezahlung. Kreditkarten (Mastercard, Ge­ VISA, American Express), Schecks sowie andere unbare Zahlungen werden nur erfüllungshalber angenommen. Bankspesen/


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

wegen Nichterfüllung Schadenersatz zu verlangen. Der Schadenersatz kann in diesem Falle auch so berechnet werden, dass die Sache in einer neuen Auktion nochmals versteigert wird und der säumige Käufer für einen Minder­erlös gegenüber der vorangegangenen Versteigerung einschließlich der Gebühren des Auktionshauses aufzukommen hat. Zu einem Gebot wird er nicht zugelassen, auf einen etwaigen Mehrerlös hat er keinen Anspruch. 12. Erfüllungsort und Gerichtsstand im vollkaufmännischen Verkehr ist Berlin. Es gilt ausschließlich deutsches Recht. Das UNAbkommen über Verträge des internationalen Warenkaufs (CISG) findet keine Anwendung. 13. Die im Katalog aufgeführten Preise sind Schätzpreise, keine Limite. 14. Der Nachverkauf ist Teil der Versteigerung, bei der der Interessent entweder telefonisch oder schriftlich (im Sinne der Ziffern 5 und 6) den Auftrag zur Gebotsabgabe mit einem bestimmten Betrag erteilt. 15. Die Abgabe eines Gebotes in jeglicher Form bedeutet die Anerkennung dieser Versteigerungsbedingungen. Der Versteigerer nimmt Gebote nur aufgrund der vorstehenden Versteigerungs­ bedingungen entgegen und erteilt dementsprechend Zuschläge. Kommissionäre haften für die Käufe ihrer Auftraggeber. 16. Sollte eine der vorstehenden Bestimmungen ganz oder teilweise unwirksam sein, so bleibt die Gültigkeit der übrigen davon unberührt. David Bassenge Geschäftsführer Stand: Mai 2021


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

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


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

14. The after-sales is part of the auction in which the bidder places either by tele­phone or in written form (as stated in number 5 and 6) the order to bid a set amount. 15. By making a bid, either verbally in the auction, by telephone, written by letter, by fax, or through the internet the bidder confirms that he has taken notice of these terms of sale by auction and accepts them. Agents who act on behalf of a third party are jointly and separately liable for the fulfillment of contract on behalf of their principals. 16. Should one or the other of the above terms of sale become wholly or partly ineffective, the validity of the remainder is not affected. In the event of a dispute the German version of the above conditions of sale is valid. David Bassenge As of May 2021


r e i m u n d f r e i h e r r s t i l l f r i e d von r at h e n i t z ( 1 8 3 9 – 19 1 1 ) . Courios Shop. Albumen print. Circa 1875.

to be sol d in ou r fa l l auct ion 2021

gallery & previews | Rankestr. 24, 10789 Berlin auctions | Erdener Straße 5a, 14193 Berlin

photoauktionen gbr


Profile for Galerie Bassenge

Bassenge Photography Auction 117  

Bassenge Photography Auction 117  

Recommendations could not be loaded

Recommendations could not be loaded

Recommendations could not be loaded

Recommendations could not be loaded