Bassenge Kunstauktion 122: 19th – 21st Century Photography by Galerie Bassenge

pho t ogr a ph y auc t ion 122

Erdener Str. 5a, 14193 Berlin, Germany

dec 6, 2023

p r e v i e w / v o r b e s i c h ti g un g :

27.11. – 02.12.2023: 10.00 – 18.00, 04.12. 2023: 10.00 – 18.00, 05.12.2023: 10.00 – 14.00

Rankestr. 24, 10789 Berlin, Germany

15.00

In order to guarantee a smooth preview, we kindly ask you to register in advance by phone or e-mail. Um einen reibungslosen Ablauf der Vorbesichtigung 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 t o a uk ti o n e n g b r Online catalogues: www.bassenge.com

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

expe r t e n | spe c i a l i st s Geschäftsführung | Management David Bassenge +49 (0)30-893 80 29-17 david@bassenge.com Graphik, Zeichnungen und Gemälde des 15.–19. Jahrhunderts Dr. Ruth Baljöhr – Leitung +49 (0)30-893 80 29-22 15th to 19th Century Prints, Drawings and Paintings r.baljoehr@bassenge.com David Bassenge +49 (0)30-893 80 29-17 david@bassenge.com Eva Dalvai +49 (0)30-893 80 29-80 e.dalvai@bassenge.com 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 Moderne und Zeitgenössische Kunst Barbara Bögner – Leitung +49 (0)30-88 62 43 13 Modern and Contemporary Art b.boegner@bassenge.com Katharina Fünfgeld +49 (0)30-88 91 07 90 k.fuenfgeld@bassenge.com Simone Herrmann +49 (0)30-88 91 07 93 s.herrmann@bassenge.com Miriam Klug +49 (0)30-88 91 07 92 m.klug@bassenge.com Sonja von Oertzen +49 (0)30-88 91 07 91 s.v.oertzen@bassenge.com Laetitia Weißer +49 (0)30-88 91 07 94 l.weisser@bassenge.com Jennifer Augustyniak – Leitung +49 (0)30-21 99 72 77 Photographie | Photography Photography jennifer@bassenge.com Elmar F. Heddergott +49 (0)30-21 99 72 77 e.heddergott@bassenge.com Giovanni Teeuwisse +49 (0)30-88 91 08 55 giovanni@bassenge.com Buchabteilung, Autographen | Books, Autographs Dr. Markus Brandis – Leitung +49 (0)30-893 80 29-27 Rare Books and Manuscripts m.brandis@bassenge.com Harald Damaschke +49 (0)30-893 80 29-24 h.damaschke@bassenge.com Naomi Schneider +49 (0)30-893 80 29-48 n.schneider@bassenge.com Stephan Schurr +49 (0)30-893 80 29-15 s.schurr@bassenge.com Autographen | Autograph Letters Dr. Rainer Theobald +49 (0)30-4 06 17 42 r.theobald@bassenge.com Logistik Management | Logistics Ralph Schulz +49 (0)30-893 80 29-16 r.schulz@bassenge.com Verwaltung | Office Anja Breitenbach +49 (0)30-893 80 29-12 a.breitenbach@bassenge.com Repräsentanzen | Representatives Rheinland Dr. Mayme Francis Neher +49 (0)175 - 204 63 23 info@mayme-neher.de München Harald Weinhold +49 (0)30-893 80 29-13 h.weinhold@bassenge.com

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

4062

leopold a hrendts (1825–1870)

4001 Equestrian statue of Friedrich II., Berlin, by Christian Daniel Rauch (1840-1851). 1860s. Albumen print with rounded corners. 19,5 x 16,5 cm. Mounted in mat and framed under museum glass in gilt frame. 800 € Leopold Ahrendts began his artistic career as a painter and lithographer in Dessau, eventually transitioning to photography around the mid-19th century. His work as a photographer included urban landscapes and architectural views of Berlin, reflecting a keen eye for composition and detail. His significant contributions to the field led to his participation in international photographic exhibitions and widespread recognition as an architectural photographer. Galerie Berinson (ed.) Leopold Ahrendts (1825–1870) und die Frühzeit der Photographie. Berlin 2011, ill. p. 59. Provenance: Uta and Wilfried Wiegand Collection

4002* (Attributed to). Markgrafenstrasse, Berlin. 1860s. Lightly coated salted paper print, flush-mounted to board. 21,9 x 26,4 cm. Annotated by another hand in pencil on mount verso. 750 €

4001

4002 5

4003

leopoldo a lina ri (1832–1865)

4003 Views of Siena and Perugia. Circa 1854. 1 large-format gold-toned salted paper print and 2 a lbumen prints. 26 x 33,5 cm and 18 x 24 cm. Each with number 206, 390 and 364 in lower right in the negative, each mounted to board (edges slightly t ime-stained and some spots), first print with photographer‘s Fratelli Alinari, Fotografi Firenze, P resso Luigi Bardi blindstamp below the image on the mount, smaller prints annotated in ink below i mage on the mount. 900 € 6

Leopoldo Allinari was an Italian photographer known for his pioneering work in the 19th century, specializing in architec tural photography. He was one of the founders of the Fratelli Allinari studio, a renowned photography and publishing company in Florence, Italy, and played a significant role in documenting the art, architecture, and cultural heritage of Italy. The studio became known for its vast collection of photographs, which contributed to the preservation and dissemination of Italian art and culture.

4004

Pisa: Dome and Baptistry; Dome portal; Madonna de la Spina Church; Dome with Campanila. Circa 1854-1860. 3 large-format gold-toned salted paper prints and 3 albumen prints. Between 32 x 41 cm and 18 x 24 cm. Most with number 185, 183, 47 and 44 in lower right in the negative, each mounted to board (edges slightly time-stained and some spots), larger prints with photographer‘s Fratelli Alinari, Fotografi Firenze, Presso Luigi Bardi blindstamp below the image on the mount, smaller prints annotated in ink below image on the mount. 900 € 7

4005

leopoldo a lina ri (1832–1865)

4005

Fontana di Niccolò Pisano, Perugia. Circa 1854. Large-format gold-toned salted paper print. 26 x 33,5 cm. Number 135 in lower right in the negative, mounted to board (edges time-stained and with some foxing), photographer‘s Fratelli Alinari, Fotografi Firenze, Presso Luigi Bardi blindstamp and annotated in ink below the image on the mount. 1.200 €

4006 Florence: Loggia dei Lanzi; Interior and exterior views of Palazzo Vecchio, Baptistry bronze door, San Miniato, Santa Maria Novella, Palazzo Pitti, the Dome. Circa 1854-60. 1 large-format, gold-toned salted paper print and 8 albumen prints. 30,5 x 41 cm and circa 24 x 18 cm. Each with number 163, 10, 722, 12, 295, 13, 280, 25 and 706 in lower right in the negative, each mounted to board (edges slightly time-stained and some spots), first print with photographer‘s Fratelli Alinari, Fotografi Firenze, Presso Luigi Bardi blindstamp below the image on the mount, smaller prints annotated in ink below image on the mount. 900 € Lit.: Jutta Reinke/Wolfgang Stemmer (eds.). Pioniere der Kamera. Das erste Jahrhundert der Fotografie 1840-1900. Die Sammlung Robert Lebeck. Bremen 1987, ill. p. 111.

4006

fratelli a lina ri 4007

Panoramic view of Florence from San Miniato. Circa 1860. 1 large-format, gold-toned albumen print (oval). 30,5 x 43 cm. Mounted to board (edges slightly time-stained and some spots), photographer‘s Fratelli

Alinari, Fotografi Firenze, via Nationale 8 blindstamp below the image on the mount, smaller prints annotated in ink below image on the mount. 900 €

4007 9

gioacchino a ltobelli (1814–1879)

4008 Pope Pius IX blessing his troops for the last time before the capture of Rome, April 25, 1870. Largeformat gold-toned albumen print. 26,5 x 36,5 cm. Mounted to original board (a few light foxing spots), photographer‘s blindstamp below image on mount. 1.200 € Gioacchino Altobelli‘s work was distinguished by elegant compositions featuring soldiers and high-society personalities, and he later applied for a brevet for his innovative technique of applying color to photographic images. His work recorded significant historical events, such as the capture of Rome by Piedmontese troops in 1870, marking the end of Papal power and the establishment of the Kingdom of Italy. – With: Fratelli d‘Alessandri (Antonio d‘Alessandri [1818-1893] and Paolo Francesco d‘ Alessandri [1824-1889] and unknown. Portraits of noblemen and high-ranking religious figures of the Papal State and other Roman figures. Late 1860s. 11 finely hand-colored carte-de-visites and 1 albumen print, all mounted to one board (45 x 60 cm).

4008

4008 10

fratellii a lina ri (founded 1852)

4009

Italian marble marquetry studies. 1890s. 24 linen-backed albumen prints. Between 24 x 18,5 cm and 25 x 19 cm. With Ed. Allinari negative number, caption and title in lower margin; annotated by another hand in ink and stamped Kutschmann on verso. 400 € This photographic collection presents a series of detailed studies capturing the floors, choirs, and candelabra of prominent sites, including the St. John Baptistery and the Basilica di S. Miniato al Monte in Florence, as well as San Cesareo Cathedral in Terracina, Latium.

ja mes a nderson (1813–1877)

4010 View of St. Peter‘s Basilica from Monte Pincio. Circa 1853. Albumen print, oval. 26 x 34,5 cm. Matted and framed under museum glass in gilt frame. 1.000 € Lit.: Dorothea Ritter. Rom 1846 - 1870. James Anderson und die Maler-Fotografen, Sammlung Siegert, Munich 2005, ill. p. 54. Provenance: Uta and Wilfried Wiegand Collection

4009

4010 11

4011

ja mes a nderson a nd unknow n (Isaac Atkinson, 1813–1877)

4011

View of Forum Romanum. Circa 1853/54. Large-format albumen print. 29 x 36 cm. Mounted to board (slightly soiled, time-stained in edges), Spithöver blindstamp and annotated in ink on mount. 1.000 € Lit.: Francesca Bonetti (ed.). Roma 1840-1870. La fotografia, il collezionista e lo storico. Fotografie della collezione Orsola e Filippo Maggia. Rome 2008, ill. p. 146.

4012 Panoramic view of Rome from Monte Mario; View of Rome over the Tiber River from Monte Ave tino. Circa 1858. 2 large-format panorama albumen prints, (one a 2-part panorama). 31,2 x 54,5 cm and 42,5 x 16,5 cm. Each mounted to thick card (slightly 12

soiled, time-stained in edges), 1 annotated in ink below image on mount. 1.200 € Lit.: Dietmar Siegert. Rom vor hundert Jahren. Photographien 1846-1890. Munich 1985, ill. p. 52 (foldout).

4013 Panoramic view of Roman Campagna to the Alban Hills; Views of Tivoli; San Benedetto convent, Subiaco. Late 1850s. 1 large-format albumen pano rama and 3 albumen prints. 23 x 41 cm and 17 x 24 cm. Each mounted to thick card (slightly soiled, timestained in edges), each annotated in ink below image on mount. 1.000 € Lit.: Dorothea Ritter. Rom 1846-1870. James Anderson und die Maler-Fotografen, Sammlung Siegert, Munich 2005, compare ill. p. 87 (similar image of Campagna).

4012

4013 13

4014

ot tom a r a nschütz (1846–1907)

4014 Selected animal studies (taxidermy models). 1885-89. 8 albumen prints. Each circa 14,5 x 20,5 cm. Each with photographer‘s name, date and location in the negative lower right. Each mounted to board, number label and number in red pencil in upper corner as well as annotated in pencil in lower edge of mount. 900 €

4014 14

Ottomar Anschütz made significant contributions to the realms of early motion picture and high-speed photography, gaining renown for his expertise in capturing swift movements of both animals and humans. Among his notable works, the eight photographs in this series depict taxidermied animals within carefully arranged settings, including painted backgrounds and various props, closely simulating their natural habitats. – With: Ottomar Anschütz. Calvary horse with rider. 1883. Albumen print. 15 x 20 cm. Photographer‘s blindstamp with year in lower right; photographer‘s stamp on the verso. Lit.: Ilustrirte Zeitung, Leipzig No. 2365, vol. 91, 27.10.1888, p. 425 (4 illustrated). Provenance: Robert Lebeck Collection

4015

4016

eugène atget (1857–1927)

4015

Stains, Ancien Pied-à-terre des Ducs d’Orleans. Circa 1901. Albumen print. 22 x 17,8 cm. Annotated and numbered 6207 by the photographer in pencil on verso. 1.500 € This photograph by Atget shows the entry of the eighteenthcentury, Roccoco-style Chateau de la Motte in Stains, St. Denis. Two other prints of this image are in the collections of the Bibliothèque Nationale in Paris and the Getty Museum, Los Angeles.

4016 Portail Rue de Temple. Paris 3e. Circa 1910. Albumen print on board. 21,8 x 17,8 cm (41 x 27,8 cm). 1.200 € This particular image shows the 14th-century Hôtel de Clisson in the Marais district, which today houses the French national archives. 15

4017

edoua rd-denis ba ldus (1813–1882)

4017 Notre Dame. Circa 1856. Albumen print. 43 x 33,5 cm. Matted and framed under museum glass in wooden frame. 1.200 € Known for his pioneering role in 19th century architectural and landscape photography, the French photographer Édouard Baldus contributed significantly to the use of photography as a tool to document and preserve architectural heritage. His photographs of Notre Dame are crucial historical records that capture the intricate architectural details and the restoration process of the cathedral in the mid-19th century. Provenance: Uta and Wilfried Wiegand Collection 16

4018

4018 Notre Dame, Paris. 1860s. Albumen print. 21,5 x 28,4 cm. Mounted to original board (some light foxing spots and light traces of use), photographer‘s signature stamp in lower right on the mount, hingemounted along upper edge to window mat. 800 € Provenance: Uta and Wilfried Wiegand Collection

4019

felice beato (1834–1909)

4019

„Tangkoo Fort after Its Capture, showing the French and English Entrance, August 10th, 1860“. 2-part albumen print panorama. 23 x 57,8 cm. Annotated in English in ink/pencil on verso, taped together at center on verso with paper strip, hinge-mounted in mat. 1.800 €

Felice Beato‘s mid-19th-century photographic views of Japan are of great historical importance, capturing the nation during a crucial phase of modernization as it opened up to the world. This collection of photographs includes views of the Tokaido, the valley of Mayonashi and other landscapes. Lit.: Claudia Gabriele Philippe/Dietmar Siegert/Rainer Wick (eds.). Felice Beato in Japan. Photographien zum Ende der Feudal Zeit 1863-1873. Heidelberg 1991, ill. p. 79 and 88. Provenance: Robert Lebeck Collection

The Italian-British photographer Felice Beato took a series of photographs during the Second Opium War (1856-1860) after the capture of Tangkoo Fort, which today are among the most important documents in the history of photography. The panoramic photo offered here shows the enormously large fort in an exterior view after the end of the battle. Lit.: Anne Lacoste, Felice Beato. A Photographer on the Eastern Road (exhibition catalogue). Los Angeles 2010, ill. plate 106. Provenance: Robert Lebeck Collection

4021 Picturesque views of Japan. 1867-68. 3 albumen prints. Each circa 24 x 30 cm. Each mounted to thin cream card, annotated in German in pencil below images on the mounts; each with printed text label of following print on mount verso. 800 €

4020 Picturesque views of Japan. 1860s. 4 albumen prints. Each circa 24 x 30 cm. Each mounted to thin cream card, annotated in German in pencil b elow images on the mounts; each with printed text label of following print on mount verso. 900 €

This collection features images of the Miyanoshita resort nestled in the Hakone mountains, recognized as one of Japan‘s first Western-style resorts that welcomed visitors from around the world. Lit.: Claudia Gabriele Philippe/Dietmar Siegert/ Rainer Wick (eds.). Felice Beato in Japan. Photographien zum Ende der Feudal Zeit 1863-1873. Heidelberg 1991, ill. p. 99. Provenance: Robert Lebeck Collection

4020

4021 19

4022

felice beato 4022 Picturesque views of Japan. 1867-68. 3 albumen prints. Each circa 24 x 30 cm. Each mounted to thin cream card, annotated in German in pencil below images on the mounts; each with printed text label of following print on mount verso. 800 € This selection comprises images of significant locations in the Edo region. It features scenic vistas from Atango-yama hill, the revered Shinto Hachiman Shrine in Kamakura, and the vibrant Yokohama port, known for its pivotal role in Japan‘s 19th-century trade and cultural interactions with the world. Lit.: Claudia Gabriele Philippe/Dietmar Siegert/ Rainer Wick (eds.). Felice Beato in Japan. Photographien zum Ende der Feudal Zeit 1863-1873. Heidelberg 1991, ill. p. 82 and 114. Provenance: Robert Lebeck Collection

4023

auguste belloc (1800 –1867)

4023 Nu à la méridienne. Circa 1855. Albumen print on board. 19,9 x 14,7 cm (21,3 x 16 cm). With number 146 etched into negative. 1.200 € Auguste Belloc, originally a painter of miniatures and watercolors, transitioned to photography, particularly excelling in daguerreotypes and contributing to the development of early color stereoscopy. He later became known for his picturesque nude studies, and his work is now featured in renowned collections around the world, including the Museum of Modern Art, The Metropolitan Museum, Musée d‘Orsay, and MFA Boston. 21

guill aume berggren (1835–1920)

4024* Views and people of Constantinople.

1870s/1880s. 3 albumen prints. Each circa 26 x 21 cm. Each with photog rapher‘s name, title and number in lower corners in the negative, mounted to boards and sandwich-mounted in mats. 500 € This assortment features attractive images of Constantinople, captured by Guillaume Berggren, a Swedish photographer in Constantinople, where he founded a photography studio in 1870, primarily catering to tourists seeking picturesque views of the city. However, with the approach of the 20th century, the growing trend of tourists taking their own photos led to a decline in Berggren‘s business, forcing him to sell his negatives as window glass. A small selection of his negatives was fortunately preserved by a member of the German Embassy and is now housed at the German Archaeology Institute in Istanbul.

4024

sa muel bourne a nd ch a rles shepherd

(1834–1912, active in India 1850s–1870)

4025

Views of India. Circa 1864-66. 4 albumen prints. Each circa 23 x 28,7 cm. Annotated in pencil on the verso. 1.200 € These early photopgraphs include: The Rock Fort of Tiruchi rappalli, from the East (No. 3); Sopur, Kaschmir (No. 994); The Mausoleum of Akbar,Sikandra (No.1250) and Fatehpur Sikri (No.1278). Lit.: Ulrich Pohlmann/Dietmar Siegert (eds.). Samuel Bourne Sieben Jahre Indien. Munich 2001, ill. pp. 75 and 170.

4025

4025 23

4026

china 4026* Photographer: William Saunders (1832-1892) and others. Views of China. 1870-1890. 10 albumen prints, some mounted to board (some buckling/foxing). Various sizes 18,2 x 26,8 cm and 22,2 x 27,5 cm (30,2 x 36,2 cm). Some captioned in ink below images on mount. 1.200 € Aside from various portraits and genre scenes, this collection includes some attractive views of China, namely a view of the port of Shanghai seen from the German consulate, the great Pagoda in the Imperial Winter Garden in Beijing and Pazhou Pagoda in Guangzhou. Also includes five views of India and Japan mounted onto the versos of mounts.

china 4027 Souvenir album of a German officer stationed in Tsingtao, China. Circa 1900. 69 vintage collodion paper prints. Most 9 x 12 cm and some larger. Mounted to boards (time-stained/soiled in edges), bound in contemporary black lacquer boards (some cracks, edges rubbed/chipped, leather spine restored) with decorative scene on front cover with mother of pearl inlay (several pieces missing). 800 € This assortment features personal photographs taken by a German officer while stationed in China around 1900. The collection encompasses a diverse range of subjects, including scenic views of Qingtao (Tsingtao) and various locations, as well as depictions of German military life. Additionally, it includes captivating snapshots of landscapes, barracks, railway stations, and military equipment, providing valuable insights into the historical context of the time.

4027 25

4028

4029

edwa rd sheriff curtis (1868–1952)

4028* Okúwa-Tse („Cloud Yellow“)-San Ildefonso, 1905. Photogravure. From Volume XVII of „The North American Indian“, printed in 1926. 39,5 x 29,4 cm (55,5 x 45,5 cm). With printed title and copyright text below image. 600 € Edward Sheriff Curtis was an American photographer and ethnologist known for his extensive work documenting the Indigenous peoples of North America. His most famous project is „The North American Indian“, a monumental photographic and ethnographic study that aimed to capture the culture and traditions of more than 80 Native American tribes in the early 20th century. Lit.: Edward S. Curtis. Die Indianer Nord-Amerikas: Die kompletten Portfolios. Cologne 1997, ill. p. 646.

4029* A Desert Cahuilla Woman, 1924. Photogra-

vure. From Volume XV of „The North American I ndian“, printed in 1926. 39,7 x 29,5 cm (56,5 x 45,5 cm). With printed title and copyright text below image. 600 € Lit.: Edward S. Curtis. Die Indianer Nord-Amerikas: Die kompletten Portfolios. Cologne 1997, ill. p. 576.

daguerreot y pes 4030 Photographer: Abraham Bogardus (1822– 1908). Portrait of a young boy. Early 1850s. Sixth-plate gold-toned daguerreotype with gilt surround, photog rapher‘s blindstamp, newly sealed behind glass in leather case with embossed flower ornament. 750 € The American daguerreotypist Abraham Bogardus operated a highly successful portrait studio in New York City, where he produced countless daguerreotype portraits, contributing to the popularization of this medium during the 19th century. His work played a significant role in the development of portrait photography and the spread of this art form across the United States.

4030

daguerreot y pes 4031

Photographer: Southworth & Hawes (active 1843-1863). Group family portrait. Early 1840s. Q uarter-plate daguerreotype opened and newly sealed and paper taped. 750 € Southworth & Hawes, the renowned daguerreotype studio founded in 1843 by Albert Sands Southworth and Josiah Johnson Hawes, excelled in creating striking and innovative photographic portraits. Their work transcended traditional portraiture, capturing not only the physical features but also the inner character and essence of their subjects, setting new standards in the art form. Lit.: Grant Romer/Brian Wallis. Young America, the Daguerreotypes of Southworth & Hawes. 2005, ill. 1785, p. 458.

4031 27

4032

daguerreot y pes 4032

(Most probably from a Berlin studio). Portrait of a girl and her doll. Late 1840s. Sixth-plate daguerreotype, in original glass cover with paper mat and paper taped (edges slightly rubbed), unopened. 750 €

dimitri erm a kov (1846–1916)

4033

Two women in traditional attire. Late 1860s. 2 albumen prints. 20,1 x 16,2 cm and 19,2 x 10,1 cm. 1 print numbered and captioned in negative in lower margin of recto, the other annotated by another hand in pencil on verso. 900 €

4033 28

Dimitri Ermakov was a celebrated Russian photographer known for his extensive documentation of Central Asia, particularly the Caucasus region, during the 19th century. His portraits of local inhabitants, featuring their traditional attire, customs, and ways of life, offered valuable ethnographic insights into the region‘s cultural diversity and social dynamics.

4034

fonta inebleau 4034

Photographer unknown. Landscapes of Fontainebleau. Circa 1865. 1 large-format salted paper print, 2 albumen prints. 27,5 x 40,5 cm and 18,5 x 25,5 cm. 2 mounted to modern cream-colored board, 1 mounted to contemporary board. 900 €

Fontainebleau was a popular subject for landscape photography, and these photographs provided artists with detailed depictions of the forest‘s natural beauty, its rock formations, and various scenic elements. Artists would draw inspiration from these photographs to create their own paintings, drawings, and other works of art, incorporating the natural landscapes and their elements into their artistic expressions. Provenance: Robert Lebeck Collection 29

4035

fra ncis frith (1822–1898)

4035

Lower Egypt, Thebes and the Pyramids. Bound volume with a total of 37 albumen prints from glass plate negatives. Photos circa 16 x 23 cm or reverse. The majority signed and numbered in negative, each with printed caption on mount. With contents, title and illustration on frontispiece. Bound in green leather-backed cloth (buckled, edges/corners rubbed) with gold-embossed title on front cover. William MacKenzie, London, Glasgow & Edinburgh, 1862. 3.000 €

Francis Frith, a former apprentice in a cutlery house and a partner in a grocery business, transitioned to photography in the early 1850s. He embarked on three expeditions between 1856-1860 to Egypt, Sinai, Ethiopia, and Jerusalem, capturing ancient monuments and culture using wet collodion glass plate negatives and producing albumen prints on-site in a portable darkroom. The second volume of his four-part series on Egypt, Palestine, and Nubia includes views of Cairo, the Pyramids at Giza, and early photographs of the temple of Karnak in Luxor. His work served as a valuable resource for Egyptologists and archaeologists, contributing to a Western fascination with Egypt‘s ancient history and cultural heritage.

4036

germ a n-da nish wa r 1864 4036

Photographers: Christian Friedrich Brandt, Ludwig Angerer, L. Perini, H.F. Plate, C. Junod, G. Jaegermayer, Georg E. Hansen. L. Haase and others. Images of the German-Danish War 1864. Circa 198 albumen prints, 100 wood engravings and 22 original drawings. Various sizes between circa 17 x 42 cm, 20 x 17 cm, 18 x 21 cm and many cartes-de-visite. Each mounted to board (soiled, slightly warped), most with photographer‘s name, flyleaf annotated in ink „Aus dem Nachlasse: Karl Freiherrn v. Mertens ... vererbt an: Rittm. Ludwig u. Oskar Maxon de Rövid, Neffen d. obigen, spätere ung. Generäle Pécs“ in brown full leather album (edges rubbed, scuff marks) with brass letter title Schleswig. Jütland 1864 (4 letters missing), missing clasp. 6.000 € This remarkably large and extensively illustrated commemorative album, from the estate of k.u.k. Officer Karl Ritter Freiherr von Mertens (1842-1910), provides a significant perspective on the German-Danish War of 1864. Mertens, originally from Lower Austria, swiftly advanced in the military hierarchy and held the rank of Feldzeugmeister during the war, later becoming General der Kavallerie und Korps-Kdt. (Corps commander)

in Kassa, Hungary, as indicated in the album. The primary focus is on the Austrian involvement in the conflict, encompassing land warfare, major naval battles, and emphasizing the role of the „Schwarzenberg“ frigate, prominently portrayed in a group photograph of its crew. Furthermore, it offers insights into the Prussian and Danish sides, featuring photographs of battlefields, significant locations, war equipment, and portraits of high-ranking military officers. Notably, the album includes two panoramic photos of Austrian quarters in Cuxhaven (depicting 50 people) and Prussian headquarters in Sonderjylland (showing approximately 48 people). It also contains several military maps, around 100 wood engravings portraying war scenes and individuals, and roughly 22 original drawings illustrating various aspects of the war. Additionally, the album is accompanied by an extensive collection of personal letters and state documents, comprising military and war reports, drawn and printed plans and maps, as well as handwritten and printed documents from the 19th century, particularly relating to the 1848/49 revolution. A noteworthy inclusion is an ornate noble patent on parchment, featuring a finely painted coat of arms and the signature of Emperor Franz-Josef. Lit.: Friedrich Brandt. Ein Pionier der Photographie in Schleswig-Holstein. Heide in Holstein 1989, ill. pp. 74-75. Provenance: Officer Karl Ritter Freiherr von Mertens

4036 33

4036 34

4036 35

herm a nn heid (1834–1891)

4037 Nude study of a standing female. Circa 1875. Albumen print. 14 x 9,8 cm. 400 € Hermann Heid, a multifaceted Austrian photographer, chemist, and manufacturer, embarked on his photographic journey during the mid-19th century, initially focusing on architectural and industrial photography, which he showcased at the 1864 photographic society exhibition in Vienna. Over time, he diversified his portfolio to include a wide range of photographic subjects, such as portraiture, nature, animals, and nude studies, amassing numerous awards both domestically and inter nationally. His photographic creations are now preserved in the collections of esteemed institutions such as the Museum of Modern Art, New York and the Rijksmuseum in Amsterdam.

4037

indi a 4038 Photographer: Charles Shepherd (active 1858–1878), John Murray (1809–1898) and unknown. The Durbar of 1877 or the so-called “Delhi Proclamation”. 24 large-format albumen prints. Most ca. 22 x 27 cm. Mounted to board (slightly warped, some light foxing), titled in ink (2 colors) below the images on mount. 900 € The Delhi Proclamation, also known as the Royal Proclamation, marked a pivotal moment in British India‘s history, signifying a major shift in British governance of the Indian subcontinent. Although Queen Victoria declared herself Empress of India during this event, she was not physically present in Delhi. The proclamation was delivered by Lord Lytton, representing the Queen, and was read in both English and Urdu. In this procla-

mation, Queen Victoria expressed her intention to adopt the title of Quaisar-i-Hind, reaffirming its permanence. She also emphasized her concern for the welfare, health, and religious freedom of her subjects. However, the Durbar ultimately served as a declaration of imperial authority, reinforcing the Indian people‘s status as subjects of the British Empire. The collection includes several large group portraits from 1875 featuring high-ranking military officers and colonial officials. Additionally, two photographs depict the Prince of Wales and his staff in Bombay and Lahore, while two more photos taken by John Murray in 1859 showcase Indian monuments. Lit.: Julie F. Codell (Ed.). Power and Resistance - The Delhi Coronation Durbars 1877-1903-1911. (The Alkazi Collection of Photography) Mapin 2012. Provenance: Günter Heil Collection

4038 37

4039

ita ly 4039 Unknown photographer. Views of Italy and Egypt. 1870s-80s. 4 albumen prints. Circa 18 x 24. 300 € Provenance: Uta and Wilfried Wiegand Collection

4040

ita ly

4040 38

4040 Private souvenir album with views of Siena and other Italian cities and landmarks. 1891. 50 albumen prints. Various sizes, most circa 12 x 17 cm. Mounted to album boards (slightly warped), bound in contemporary half leather album (edges rubbed, spine cracked) with gilt-stamped title on front cover. 500 €

4041

ja pa n / kusa k a be kimbei (1841–1934)

4041

Views of landscapes and people of Japan. 1880s. 50 hand-colored albumen prints. Each circa 26,5 x 20 cm and 20 x 26,5 cm. Most with number and title in lower edge in the negative. Mounted to both sides of giltedged album board (slightly warped), bound in decora tive lacquer album (crack on front cover) with inlay genre scene of a couple shooting storks with a bow and arrow, with leather spine and Kusakabe‘s HonchoDori, Yokohama stamp on inside front cover. 3.500 € The Japanese photographer Kusakabe Kimbei played an important role in the early history of photography in Japan. Kimbei‘s photography demonstrates exceptional quality, influenced by aspects of Stillfried and Beato whom he collaborated with. While Kimbei was active, the tourist album, with its views of costumes and landscapes, was in high demand by European travellers, and he concentrated on satisfying that demand. In the early phase of his career, he sometimes used the negatives and prints of other photographers to enrich his portfolio, and some images in this collection may therefore be attributed

4041 to them. This album is a valuable compilation comprising iconic Kimbei photographs and some of his finest landscape compositions. Lit.: Terry Bennett. Photography in Japan 1853–1912. Tokyo 2006, ill. p. 208 (Basket Seller). Philipp March and Claudia Delank (eds.). Abenteuer Japanische Fotografie 1860 - 1890. Heidelberg 2002, ill. pp. 45 (Snow Costume), 58 (Girls Travelling), 60 (Visiting Ceremonials), and 67 (Woman with Umbrella). 39

4042

gustav rich a rd l a mbert (1846–1907)

4042* Ethnic portrait studies from South East Asia. Circa 1890. 28 albumen prints, corners inserted in slits of card mounts. Each 13,2 x 9,7 cm (19,5 x 16,4 cm). Most with photographer‘s blindstamp in lower right corner, captioned in ink in lower edge of mount. 3.000 € Gustav Richard Lambert, a German photographer who divided his time between Singapore and Dresden, achieved recognition

for his ethnographic and topographical photographs of Southeast Asia. He operated studios in various locations across the region, including Sumatra, Kuala Lumpur, Thailand, and Borneo, and established one of the largest studios on the Malay Peninsula. His extensive portfolio comprises ca. 3,000 images that document the Far East in the late 19th and early 20th c enturies, featuring remarkable portraits and landscapes. This collection showcases captivating portraits of diverse ethnic groups from Indonesia, India, China, Singapore, and Japan.

4043

luna r photogra ph y 4043

Photographers: Lewis Morris Rutherfurd (1816–1892) and James Nasmyth (1808–1890). Threequarter view of the moon and constructed view of the moon‘s surface. 1877. 2 woodburytypes. Each circa 11 x 8,8 cm. Mounted to book page with printed title and author/photographer on page. 400 €

Lews Morris Rutherfurd and James Nasmyth were pioneering astrophotographers known for their groundbreaking lunar and celestial object photographs, greatly advancing the field of astronomy. These photographic plates from Camille Flammarion‘s publication „Les Terres du Ciel,“ (1877) show a three-quarter view of the moon captured by L.M. Rutherfurd and a meticulously constructed representation of the moon‘s surface by James Nasmyth, sourced from his seminal book „The Moon: Considered as a Planet, a World, and a Satellite“ from 1874. 41

4044

4045 42

robert m acpherson (1811–1872)

4044

View from the bank of the Tiber River towards the Capitoline Hill, Rome. Circa 1855. Albumen print, oval. 28,5 x 40 cm. Mounted to board (minimal foxing in edges, some tears/creases and slightly soiled). 900 € An exceptional cityscape with a rare view of Rome from below the Aventine Hill along the Tiber‘s bank during the reign of Pius IX. In the distance, a segment of the Ponte Rotto is seen, complete with its iron extension that opened to traffic in May 1853, set against the backdrop of the Capitoline Hill. Particularly noteworthy is the presence of several Prussian establishments on the riverbank, including the Palazzo Caffarelli serving as an embassy and a hospital, with the former hosting the German Institute of Archaeology until its relocation in 1877. Lit.: Thorvaldsen Museum (ed.). Rome in Early Photographs The Age of Pius IX. (exhibition catalogue). Copenhagen 1977, ill. p. 132 (variant). Provenance: Uta and Wilfried Wiegand Collection

4045

(Attributed to). View of the Temple of Vesta and Santa Maria in Cosmedin, Rome. Circa 1860. Large-format, gold-toned albumen print. 21,5 x 40,5 cm. Mounted to cream card (slightly soiled), annotated in ink on mount, photo of equestrian monument of Marcus Aurelius on mount verso. 900 € Lit.: Dietmar Siegert. Rom vor hundert Jahren. Photographien 1846-1890. Munich 1985, ill. p. 31.

gaudenzio m a rconi (1841–1885)

4046* Male nude study. Circa 1875. Albumen print. 26,4 x 17,4 cm. Number in negative in lower portion, mounted to board (43,1 x 31,1 cm, slight edge wear and buckling, light soiling). 600 € Gaudenzio Marconi was a Swiss-Italian photographer celebrated for his academic nude studies, which are notable examples within the 19th-century French tableaux vivants tradition. In these compositions, often set against unadorned backgrounds or simple landscapes, Marconi displayed a keen focus on the sculptural qualities of the human form, emphasizing the dyna mics of muscular movement. His photographs became a valuable resource for accomplished artists and students alike, with Auguste Rodin (1840-1917) enlisting Marconi‘s assistance during the creation and subsequent documentation of his influential sculpture „The Age of Bronze“ in 1877.

4046 43

4047

ch a rles m a rv ille

na k a jim a m atsuchi

4047

4048* Japanese bronze vases with flower and plant arrangements. Circa 1890. 34 albumen prints, each mounted to board in clamshell box. Each ca. 25 x 20,3 cm (34,3 x 27,4 cm). Most with photographer‘s studio stamp on mount verso. 800 €

(1816–1879)

Amiens cathedral, interior. Circa 1865. Albumen print. 26,2 x 35,8 cm (mount 35,5 x 50,3 cm). Mounted to original board (some foxing/soiling) with photographer‘s embossed stamp below the i mage on the mount. 750 € Charles Marville is renowned for his comprehensive photographic documentation of Paris during a pivotal era of urban development. His broader photographic portfolio also encompasses iconic French landmarks like Amiens Cathedral, contributing considerably to the historical preservation movement and insights into French cultural and architectural history.

(1850 –1938)

The Japanese photographer Nakajima Matsuchi, renowned during the 1880s-1890s, was a founding member of the Nihon Shashin Kyokai (Japanese Photographic Society) in 1889. His exquisitely hand-colored lantern slides, created in collaboration with his wife, Sonoko, received numerous accolades, including recognition at the Japanese National Exhibitions of 1877 and 1881. Although Nakajima worked with various photographic formats, including stereographs, cartes de visites, and cabinet-sized photographs, his large-format work remains particularly rare. Lit.: Terry Bennett. Photography in Japan 1853-1912. North Clarendon, Vermont. 2006. see pp. 182-184.

4048 45

4049

ca rl friedrich my lius (1827–1916)

4049* Early views of Frankfurt am Main: Dom, Römerberg, Gutenberg monument and Goethe monument. ca. 1860. 4 albumen prints mounted to board. Each circa 23 x 17 cm (30 x 23 cm). Each signed in lower right corner on mount recto; annotations in pencil on mount verso. 800 € Carl Friedrich Mylius, a German artist proficient in painting, lithography, and photography, is known for his early architectural depictions of Frankfurt am Main. His photographic oeuvre constitutes a valuable archive of the 19th-century transformation of Frankfurt, focusing on the medieval Old Town rather than the contemporary architectural developments typical of that period.

4050

na da r

(Gaspard-Félix Tournachon, 1820 –1910)

4050 Portrait of Paul Nadar. 1868. Photographic miniature on enamel (Procédé Deroche). 4,5 x 5,5 cm (8 x 7 cm). Signed Nadar, dated 1868 and annotated Procédé Deroche in ink on verso. 4.000 € Nadar‘s portraits of his son Paul are a testament to his skill as a photographer and his personal connection to his subjects. This portrait captures the essence of childhood and the fatherson relationship with remarkable tenderness and intimacy. The use of romantic lighting, a hallmark of Nadar‘s style, brings out the youthful innocence and curiosity of his son, making the portrait both artistic and emotionally evocative. It provides a

4050, verso

glimpse into the personal life of one of the most renowned photographers of the nineteenth century and showcases his ability to infuse even his family portraits with a sense of artistic mastery. The Deroche Process, pioneered by Mathieu- Deroche around 1860, was a distinctive photographic technique known for transferring photographic images onto enamel plates, resulting in enduring portraits in a variety of tones, including black and white, sepia, and color. These portraits were highly sought-after as cherished mementos or, in cases of memorializing loved ones, as decorative adornments to their gravestones. Given the unique nature of this method and the personal subject matter, it is probable that Nadar used it to create an affectionate keepsake of his only son. Provenance: From the collection of Gérard Lévy to the current owner.

4051

new guinea / sa moa / fiji 4051*

4051 48

Photographer unknown. German colonial souvenir album of New Guinea, Samoa and Fiji I slands. 1906-09. 34 gelatin silver and collodion paper prints. Various sizes, most circa 15 x 20 cm and 20 x 15 cm. Mounted to boards, annotated in ink below the images on the mount, bound in canvas album with giltstamped title Reise-Erinnerungen 1906-1909 on front cover (spine repaired). 2.200 €

ni aga ra fa lls 4052 Photographer unknown. Niagara Falls. 1860s. Albumen print. 15 x 20 cm (16 x 21 cm). Mounted to board, annotated in ink in lower corner on mount. 400 €

giuseppe ninci (1823–1890)

4053

Colosseum seen from the via Sacra, Rome. Mid-1860s. Large-format albumen print. 27 x 38 cm. Mounted to original board (slightly soiled/toned, a few tears in edges), photographer‘s blindstamp below image on mount. 600 € Giuseppe Ninci learned photography while he was employed as an art appraiser at Tommaso Cuccioni‘s studio in Rome. Although much of his personal life remains a mystery, historical records reveal that he was involved in the supply of photographic chemicals and sold photographs created during his time at Cuccioni‘s studio. Ninci eventually established his photography studio in Rome around 1866, leaving a notable legacy with works like an eight-part folding panorama of the Roman

4052

Forum. – With: Photographer unknown. View of Bizzaccheri Fountain with Temple of Vesta. 1870s. Large-format albumen print. 27 x 37,5 cm. Mounted to board, matted and framed under museum glass in wooden frame (62 x 71 cm). Provenance: Uta and Wilfried Wiegand Collection

4053 49

4054

pa ris ra ilway 4054 Photographer unknown. Train station, Paris. Early 1850s. Salted paper print. 15,8 x 21,7 cm. Tipped in corners to card (23 x 29,8 cm). 400 € This rare salted paper print depicting a newly constructed railroad station is potentially among the earliest photographic records of Paris‘ railway development in the mid-19th century. Baptiste Alexis Victor Legrand (1791-1848) initiated a railway program centered on Paris in 1832. Construction commenced around 1850, and by 1859, all major rail lines radiating from Paris were completed. The photograph presented here may depict an intermediate station along these radial lines or one of the stations of the „Chemin de Fer de Petite Ceinture“ (Small Ring Railway) that opened in 1852. A horse-drawn omnibus in front of the station offers passenger transfer.

nicol a perscheid (1864–1930)

4055*

The composer Edvard Grieg. Circa 1900. Vintage photogravure. 15,1 x 11,7 cm (21,6 x 17 cm). Photographer‘s name, negative number and caption printed in lower margin; annotated in pencil on verso. 400 €

4055 50

Nicola Perscheid, renowned for his portraiture marked by adept soft focus and the use of natural light, possessed a unique talent for capturing the character and essence of his subjects during the late 19th and early 20th centuries. In this photograph, Perscheid portrays Edvard Grieg, a celebrated Norwegian composer and pianist famous for his Romanticera music.

4056

pierre petit (1832–1909)

4056 Eiffel Tower under construction, building of the foundation. 1888/printed slightly later. 2 largeformat gelatin silver prints. Each circa 26,5 x 36,5 cm. Each mounted to contemporary board (some edge wear/creases); each annotated in ink on mount verso. 600 € The French photographer Pierre Petit, was renowned for his wide-ranging subjects, encompassing portraits of important personalities, landscapes, and iconic landmarks. The offered pair of photographs here show the Eiffel Tower during the initial stages of its construction, one year prior to its grand debut at the Exposition Universelle on March 31, 1889. Provenance: Robert Lebeck Collection

prussi a n milita ry 4057* Photographer unknown. Prussian military officers. 1860s. Salted paper print with rounded corners on loose card mount. 21,7 x 16,4 cm. 400 € This portrait features a group of Prussian cavalry officers from the Uhlan regiment, among them Baron Thilo Freiherr von Schlotheim (1826-1896), in the center of the photograph.

4057 51

4058

4059 52

4060

ja mes robertson & felice beato

j. pasca l seba h

4058 Fountain of Sultan Selim, Constantinople, Turkey. Circa 1855. Albumen print. 24,7 x 31,5 cm. T itled and signed in negative in lower right corner, mounted to board, annotated by another hand in ink on mount. 600 €

4060 Views of Constantinople. 1870s-90s. 4 largeformat albumen prints. Various sizes between circa 26 x 34 cm and 18 x 23 cm. Most signed and titled in the negative in French in lower edge, mounted to board (slightly soiled), annotated in black ink below images on the mounts. 750 €

(1813–1888, 1832–1909)

During the 1850s – 60s, James Robertson established a thriving studio in Constantinople, in collaboration with his partner Felice Beato, where they created an extensive collection of photographs that meticulously documented the city‘s architecture, landscapes, and daily life.

rome 4059

Photographer unknown. Peter‘s Square with St. Peter; View of Pantheon. 1860s. 2 large-format a lbumen prints. 27 x 37 cm and 29 x 36 cm. Each mounted to board and matted, one framed under museum glass in wooden frame. 750 €

(1825–1886)

Pascal Sebah‘s photographs of Constantinople stand out due to their exceptional artistic quality, capturing the city‘s iconic landmarks, daily life, and architectural details with remarkable precision and a keen eye for composition. This collection comprises images of the Fountain of Fresh Waters of Asia (Fontaine des Eaux Doux d‘Asie), the Turkish Cemetery in Scutari, a Tomb in Eyoub, and a Fountain within Yeni Djami. – With: Antonio Beato (1835-1906). View of the Citadel and Mamluk Tombs, Cairo. 1870s. Albumen print. 30 x 25 cm. Tipped in c orners to card. Provenance: Uta and Wilfried Wiegand Collection

Provenance: Uta and Wilfried Wiegand Collection 53

4061

joh a nn a nsel m heinrich schna ebeli (1824–1915)

4061

Tom Busby on German race horse „Gouverneur“. Circa 1895. Hand-painted albumen print, m atted and in wooden frame. 31 x 44 cm (67,5 x 82,5 cm). Annotated in ink on lower margin of mount. 600 € Heinrich Schnaebeli, a German painter and a photographer specializing in equestrian and court photography, achieved fame for his exceptional retouching skills, blending largeformat images created from collodion wet-plate negatives with intricate painting techniques. In 1873, Schnaebeli‘s photographic work was awarded the Medal of Merit at the World Exhibition in Vienna. This photograph depicts the celebrated British jockey Tom Busby (1854-1929), renowned for winning the German derby five times before this portrait was taken and later achieving further victories in Vienna and Copenhagen.

4062

si a m 4062* Photographer: Robert Lenz (1864–1929). Early views of Bangkok. 1890-1900. 10 vintage large-format platinum and collodion chloride prints mounted to board. Each 22 x 29,2 cm (28,4 x 40,2 cm) and reverse. Captioned in ink below images on mount. 2.200 € Robert Lenz, a German photographer active in Southeast Asia during the late 19th and early 20th centuries, established his studio in Bangkok, Thailand, at the invitation of King Rama V.

He is celebrated for his extensive photographic work, which encompassed architectural views of the Siamese capital, portraits of Thai royalty and nobility, cabinet portrait photos, and postcards, offering valuable insights into the culture, people, and architecture of the region during that era. This group of photographs includes depictions of various important sites in Bangkok, such as Wat Phea Keo, Wat Pho, Wat Sutat, Wat Cheng, Wat Saket, and Paknam. Lit.: Joachim K. Bautze. Unseen Siam: Early Photography 1860– 1910. Bangkok 2016, ill. p. 308, plate 39 and p. 316, plate 68.

4063

4064 56

giorgio sommer (1834–1914)

4063 Views of Mount Vesuvius. 1872-1888. 9 albumen prints. Each between 18,2 x 24 and 20,2 x 24,4 cm (31,4 x 37,8 cm). Most with negative number, caption and date in the negative in lower edge, mounted to board. 600 € Giorgio Sommer is renowned for his extensive collection of Italian landscapes, with an emphasis on Naples and its surrounding areas. His significant achievements in photography earned him acclaim and the official appointment as the photographer to King Victor Emmanuel II of Italy. This compilation of photographs encompasses a variety of Mount Vesuvius scenes, from tourists ascending the craters and riding the mountain railway to captivating eruptions, such as the 1872 volcanic eruption as seen from the Gulf of Naples. Lit.: Marina Miraglia/Pino Piantanida, et. al. Giorgio Sommer in Italien: Fotografien 1857-1888. Heidelberg 1992, ill. pp. 119, 123 and 124.

4065

4064

Views of Naples and Capri. 1860-1886. 46 albumen prints. Each ca. 20,2 x 25,4 cm (31,3 x 37,8 cm) or vice versa. Negative number and caption in lower edge, mounted to board. 600 € Lit.: Marina Miraglia/Pino Piantanida, et. al. Giorgio Sommer in Italien: Fotografien 1857-1888. Heidelberg 1992, ill. pp. 87, 92, 152 and 153.

4065 Views of Pompeii. 1860s. 24 albumen prints. Each ca. 20,2 x 25,4 cm (31,3 x 37,8 cm) or vice versa. Negative number and caption in the negative in lower edge, mounted to board. 500 € This collection of photographs features a variety of scenes from Pompeii, including the public baths, the amphitheater, the temples dedicated to Mercury and Isis, Marco Lucrezio‘s house, as well as several images of both human and canine casts. Lit.: Marina Miraglia/Pino Piantanida, et. al. Giorgio Sommer in Italien: Fotografien 1857-1888. Heidelberg 1992, ill. pp. 126 and 131.

4066

Building of the Gotthardbahn. Mid-1870s– 1880. 3 albumen prints. Each ca. 20 x 25 cm (31,4 x 37,8 cm). Negative number, title and location in the negative in lower edge, mounted to board. 300 €

4066

The Gotthardbahn stands as a significant railway artery in Switzerland, coursing through the Swiss Alps to unite the country‘s northern and southern regions, making it an essential transportation conduit. Among the images in this collection, one captures the early phases of construction for the Gotthard Base Tunnel, recognized as one of the lengthiest and deepest railway tunnels worldwide. 57

4067

jacob steigenberger or joseph a lbert (1828–1896, 1825–1886)

4067

(Attributed to). Oberammergau Passion Play. 1870/71. 2 large-format albumen prints. 27 x 47 cm and 28,3 x 52,2 cm. Each mounted to board (48,2 x 64,2 cm). 500 €

These images depict scenes from the 1870 performance of the Oberammergau Passion Play, a centuries-old tradition in Oberammergau, Bavaria. The exclusive privilege of photographing the actors, capturing moments like the Last Supper and Christ‘s condemnation, was granted to photographers Jacob Steigenberger (1828-1896) and Bernhard Johannes (1848-1899) before the play‘s commencement. Notable attendees of the 1870 event, which attracted more than 40,000 spectators, included Ludwig II of Bavaria, the future King Edward VII, Richard Wagner, Franz Liszt, and British banker Leopold de Rothschild. Subsequently, in the aftermath of the Passion Play‘s interruption and resumption due to the Franco-German War, renowned court photographer Joseph Albert documented the play, fulfilling a request from King Ludwig II and producing 60 photographs that included depictions of the living scenes and important crowd moments.

ba ron ra imund von stillfried-ratenicz (1837–1916)

4068 Portrait of a Japanese man in traditional costume. 1870s. Albumen print. 26,2 x 20,2 cm. Mounted to board. 600 € 4068 58

Lit.: Luke Gartlan. A Career of Japan. Baron Raimund von Stillfried and Early Yokohama Photography. Leiden/Boston 2016.

4069

sw itzerl a nd 4069 Photographer: William England and Adolphe Braun. Views of Switzerland including an Alpine landscape, the Rigi train and view of Bern. 1860s/70s. 3 albumen prints and 1 salted paper print. 19 x 16 cm and 18 x 25 cm. Mounted to original boards (soiled, some with light foxing), 2 with printed text below images on mounts. 500 € William England and Adolphe Braun, both renowned 19th-century photographers, produced captivating images of Switzerland, showcasing its majestic landscapes, charming villages, and the grandeur of the Swiss Alps. Their work played a crucial role in popularizing Switzerland as a travel destination and is celebrated for its artistic value, also providing an important historical record of the country‘s stunning landscapes during the Victorian era.

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

4070 Views of Berlin: “An der Friedrichsgracht 61-56 mit Jungfernbrücke“; Feldmarshall Blücher monument, Berlin. 1909/1903. 2 vintage collodion paper prints. 23 x 29 cm and 28 x 21,8 cm. Each with photographer‘s logo, negative number and 1 with date in the negative in lower right corner, mounted to board. 400 €

4070 The German photographer Waldemar Titzenthaler was renowned for his portraiture, interior photography, and architectural work. This image features the Jungfernbrücke, a historic bridge that spans the River Spree, linking Friedrichswerder to Museum Island. Erected in 1798, it remains one of Berlin‘s oldest bridges, celebrated for its elegant neoclassical design. The name „Jungfernbrücke,“ meaning „Maiden‘s Bridge,“ stems from the tradition of young brides crossing it on their way to the Nikolaikirche for their wedding ceremonies. Lit.: Landesbildstelle Berlin (ed.). Berlin. Photographien von Waldemar Titzenthaler, Berlin 200, ill p. 33 (Unter den Linden). Provenance: Robert Lebeck Collection 59

4071

w illi a m henry fox ta lbot (1800 –1877)

4071 „Nelson‘s Column under Construction, Trafalgar Square, London, April“. 1844. Salted paper print from a calotype negative. 17 x 21,2 cm (18,6 x 22,6 cm). Annotated LA 309 in ink on verso, hingemounted in upper edge to window mat. 1.500 € William Henry Fox Talbot, a 19th-century English scientist and pioneer in the field of photography, is renowned for inventing

the calotype process, a major advancement in early photog raphy that enabled multiple prints to be made from a single negative. This photograph shows the unfinished base and part of the shaft of Nelson’s Column in Trafalgar Square, with the early 18th century church of Saint Martin-in-the-Fields in the background. Other examples of this image are in the collections of the Metropolitan Museum, the Museum of Fine Art Houston and the Getty Museum. Lit.: Larry J. Schaaf. The Photographic Art of William Henry Fox Talbot. Princeton 2000, see plate plate 81, p. 194 and cover, showing detail. Provenance: Uta and Wilfried Wiegand Collection

4072

w illi a m henry fox ta lbot 4072

„A Fruit Piece“; „The Haystack“. 1844/45/ printed 1987. 2 salted paper prints on thick paper from original calotype negatives. 17,4 x 20,7 cm and 16,9 x 21,8 cm. 500 €

These two prints were made from William Henry Fox Talbot‘s original calotype negatives on the occasion of the exhibition and publication of the book „Die Aufgehobene Zeit“. Lit.: Hubertus von Amelunxen (ed.). Die Aufgehobene Zeit. Berlin 1989, illustrated. 61

4073

unknow n photogra pher

v enice

4073 Still life with statuette and various objects. 1860s. Albumen print. 38 x 28,3 cm. 900 €

4074 Various photographers: Auguste-Rosalie Bisson (Bisson jeune 1826-1900), Ippolito Lafranchini (1826-1899), Carlo Naya (1816-1882) and Carlo Ponti (1822-1893). Views of Venice. 1855-1860s. 6 albumen prints. Various sizes between 41 x 53 cm and 33,5 x 25,5 cm. Some with number/photographer‘s name in the negative in lower corners, 1 with printed text below image on mount and 1 with printed text on mount verso. 800 €

This still life is most likely of Belgian or French origin. The composition is artfully arranged making it an exemplary 19th century still life.

This collection features attractive, early views of various Venetian landmarks, such as the Courtyard of the Doge‘s Palace, the Stairway to Doge‘s Palace, views of the Palazzo Vendramin Calergi (the place of Wagner‘s passing) from the Fondaco dei Turchi terrace, and the iconic Ponte dei Sospiri (Bridge of Sighs). Provenance: Robert Lebeck Collection

4074 63

giuseppe v erdi (1813–1901)

4075 Photographer: Ferdinando Ramann (1824– 1888). Portrait of Giuseppe Verdi. 1869. Albumen print. 6 x 5,5 cm. Mounted to original carte-de-visite board (some soiling). Annotated in pencil on mount verso. 300 €

v ill a hügel 4076

Photographer unknown. Interior and exterior views of Villa Hügel, Essen. 1900. 38 vintage platinum prints. Each ca 23 x 16 and reverse. Each mounted to original board (soiled in edges), in canvas portfolio (damaged, soiled). 400 €

The Krupp cast steel factory owed its rise in the 1850s-1860s mainly to the enormous expansion of the railroad network in America and Europe and finally to arms production and its sales to Prussia. Built between1870-1873, Villa Hügel served as the Krupp family‘s residence for many years and also played a significant role in hosting political and cultural events. As an iconic and typical structure of the Gründerzeit, this building became a significant landmark. The villa boasts 269 rooms with a living space of over 8 thousand square meters, featuring historical as well as more modern furnishings up to circa 1900.

4075

4076 64

4077

thom as v incot te & jules l aga e (1850 –1925, 1862–1931)

4077* Photographer unknown. Horses for the quadriga of the Cinquantenaire Arch in Brussels. Circa 1905. Collodion paper print. 25,5 x 49 cm. Flushmounted to board, annotated in pencil mount on verso. 600 € This photograph displays elements of a bronze sculptural group featuring a female charioteer representing Brabant province raising the national flag. It was commissioned in 1880 under King Leopold II‘s patronage to commemorate the 50th anniversary of the Belgian revolution (Brabant Revolution). Crafted by Belgian sculptors Thomas Vincotte and Jules Lagae, the monument was unveiled in 1905, gracing the Cinquantenaire Arch, with its gaze toward the heart of Brussels.

gustav völkerling (1810 –1876)

4078* Tree study from the series „Dessauer Eichen (Oaks in Dessau)“. 1859. Varnished salted paper print with rounded corners. 32 x 25,5 cm. Signed and dated by the photographer in ink in edge lower left, mounted to original board (a few spots) with applicated frame line, annotated in pencil in lower edge. 900 € Gustav Völkerling, a skilled German artist based in Dessau during the mid-19th century, transitioned from portrait painting to photography in 1857. He was renowned for integrating painterly methods into his photographic work, earning recognition for the artistic quality of his depictions of Dessau‘s landscapes and daily life, leading to prestigious commissions, notably from Duke Leopold IV of Anhalt.

4078 65

4079

yao hua photogra phic studio a nd others (active 1892–1920)

4079* Photographer: Yao hua Photographic Studio (Sze Zuen Ming & Co,) and others. Scenes of daily life in Shanghai. Circa 1870-1910. 4 albumen prints. Between 18,7 x 26,7 cm and 21,4 x 27,3 cm. All annotated in pencil on verso, one with „The Great China Dispensary“ copyright-stamp on verso, another with negative number on recto. 1.200 € 66

The Yao Hua Photographic Studio, also known as Sze Yuen Ming & Co, was a prominent Chinese-run photography studio in Shanghai during the late 19th and early 20th centuries, known for its exceptional portrait photography, advanced equipment, and large-format prints. Established and owned by Shi Yuming (Shi Dezhi), of mixed British and Chinese heritage, the studio operated from 1892-1920s. This collection includes photographs depicting daily life in late Qing Dynasty Shanghai, featuring a group portrait taken in the Yao Hua studio with enlarged courtesan photographs in the background, along with images of a street vendor and families traveling on wheelbarrows.

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

4171

4080

mich a el ackerm a n (b. 1967)

4080 New York City. 1998. Gelatin silver print. 23 x 34 cm (30,3 x 40,6 cm). Signed titled and dated in pencil on verso. 1000 € Michael Ackerman‘s portfolio encompasses a diverse range of genres, incorporating elements of street photography and documentary photography. Ackerman‘s images frequently exude an overwhelming sense of intensity, masterfully capturing unfiltered and emotive moments within the dynamic tapestry of urban settings.

a frica 4081 Photography agency: Georg and Otto Haeckel (1873-1942, 1872-1945). Inhabitants of East Africa. Circa 1910. 7 vintage gelatin silver prints. Between circa 18 x 12,7 cm and 8,5 x 14 cm. A few with typed text label on verso. 500 € The press photographers Georg and Otto Haeckel played a significant role in the development of photography in Germany. As press photographers, the brothers traveled extensively throughout the world, and would often accompany Reichstag officials on their journeys through German East Africa before their expulsion from the former colony at the end of WWI. The tribes depicted in these photographs include the Wavumba, Wanjamwesi, and Wageia of present-day Rwanda and Burundi

4081 69

4082

nobu yoshi a ra ki (b. 1940)

4082 „Untiltled“ from the series „Tokyo Story“. 1989. Silver gelatin print. 32,6 x 40,5 cm (35,6 x 43,3 cm). Signed by the photographer in pencil on verso. 4.000 € Nobuyoshi Araki‘s work is characterized by its provocative and often controversial exploration of themes such as sexuality, intimacy and the human condition. His extensive oeuvre includes a wide range of subjects, from Tokyo street scenes to explicit bondage-inspired photographs, challenging societal norms and boundaries. Among Araki‘s most groundbreaking and influential series is „Tokyo Story (Tokyo Monogatari),“ in which the artist candidly delves into Tokyo‘s multifaceted subcultures, notably the underground and fetish scenes that thrived during the 1970s and 1980s.

4083

nobu yoshi a ra ki 4083* Bondage. Circa 1995. Gelatin silver print on RC paper. 20,2 x 25,2 cm. Signed and annotated by the photographer in ink and photographer‘s copyright information on verso. 800 € 71

a rchitecture / interior design 4084 Photographer: Wanda von Debschitz-Kunowski (1870–1935). Hotel Askanischer Hof, Berlin. Interior and exterior views. Circa 1923/35. 12 vintage gelatin silver prints. Each circa 16,5 x 21,5 cm and reverse. Each with photographer‘s W. v. Debschitz-Kunowski, Wilm., Nassauischestr. 4 III, Tel. Pfalzburg 9277 stamp on the verso. 8 photos numbered by the photographer and 11 other photos annotated by other hands in pencil on the verso. 750 €

4084 72

Wanda von Debschitz-Kunowski was married to Wilhelm von Debschitz, co-founder of a private reform art school in Munich, in 1902. From 1904-1914 she worked at the school as a photog rapher teaching courses and photographing students‘ work. In 1921, after divorcing von Debschitz, she established her own photographic studio in Berlin and photographed applied art objects, personalities as well as modern architecture and exhibitions. This lot gives an attractive overview of the famous Hotel Askanischer Hof in Berlin where Franz Kafka once resided. – With: Wanda von Debschitz-Kunowski. 14 additonal gelatin silver prints, some doubles of Hotel Askanischer Hof images and 4 other photos by other photographers. Circa 22 x 16,5 cm. Some mounted to board. Provenance: Robert Lebeck Collection

4085

a rchitecture & design 4085

Photographer: Wilhelm Niemann (1891–1981). International World‘s Fair Barcelona, Pavilion of the German Electrical Industry, designed by Ludwig Mies van der Rohe. 1929. Vintage gelatin silver print. 16,2 x 20,9 cm. Berliner Bild Bericht agency stamp on the verso. 750 € Wilhelm Niemann had an influential role in early 20th-century architectural photography. He contributed substantially to the documentation and promotion of modernist and Bauhaus architecture and captured iconic designs by Mies van der Rohe, such as the German Pavilion at the 1929 International World Exposition in Barcelona. Lit.: Zentralblatt der Bauverwaltung. Vol. 49, iss. 34, 1929, p. 546 (titled: Pavillon der Deutschen Elektrizität-Lieferungsindustrie). Helmut Reuter and Birgit Schulte (eds.): Mies und das Neue Wohnen. Räume, Möbel. Fotografie. Ostfildern 2008, ill. 258 (variant), p. 269. 73

4086

ja ne ev ely n at wood (b. 1947)

4086 „Woods Hole, Cape Cod, Massachussetts“. 1983/ printed in 2009. Gelatin silver print. 36 x 24 cm. Signed, titled and dated by the photographer in pencil on verso. 2.500 € 74

Jane Evelyn Atwood‘s photographs are distinguished by their profound emotional impact and intimate storytelling. Her work centers on marginalized and vulnerable individuals, skillfully capturing their experiences with empathy and sensitivity. Whether documenting the lives of sex workers, survivors of domestic violence, or people with HIV, Atwood‘s images convey a deep sense of humanity and resilience. This particular photograph was taken in Cape Cod, the artist‘s hometown, which has been a welcoming refuge for artists, writers, and the LGBTQ+ community since the late nineteenth century.

4087

av i ation 4087* Construction of the Hindenburg airship. 1932-1937. 5 vintage gelatin silver prints. Each ca. 17,5 x 23,5 cm. With Luftschiffbau Zeppelin Friedrichshafen copyright stamp on verso. 600 € These images provide a glimpse into the Friedrichshafen airship wharf during the construction phase of the infamous Hindenburg Zeppelin. The photographs of the interior offer a profound insight into the vast scale of this ambitious endeavor.

louis fa bi a n bachrach jr. (1917–2010)

4088* Senator John F. Kennedy. 1960.Vintage gelatin silver print. 35,5 x 28 cm. Signed in negative lower right with photographer‘s copyright stamp. 600 €

4088

Louis Fabian Bachrach Jr. was a renowned American photographer renowned for his portraiture of politicians, celebrities, and other prominent personalities. Among his most iconic works is the portrait of Senator John F. Kennedy, which subsequently became Kennedy‘s official photograph after his presidential election. The photo session, as recalled by Mr. Bachrach, was impressively brief, lasting just about ten minutes, driven by the need to work swiftly due to Kennedy‘s propensity for rarely remaining still. 75

4089

dav id ba iley (b. 1938)

4089 South India. 1960s. Vintage gelatin silver print on Agfa-Brovira paper. 22 x 33 cm (30,5 x 40,5). Photographer‘s stamp, annotated in pencil and newspaper article taped to the verso. 600 € Renowned British fashion photographer David Bailey has made multiple trips to India since the 1960s, creating a rich and varied collection of images that beautifully showcase the country‘s diverse landscapes, people, and culture. In addition to his portraits of prominent figures like Mother Teresa and Indian actress Aishwarya Rai, Bailey‘s portfolio also includes a series of black-and-white landscape photographs imbued with a sense of subtle contemplation.

ba l ász studio 4090

Portrait of the Danish silent screen actor Arne Molander. Late 1920s. Vintage matte sepia-toned gelatin silver print. 22,7 x 17 cm. Mounted to original board (soiled, pinholes in corners), signed by the photographer in pencil below the image on the mount; photographer‘s studio stamp and annotated in pencil on the verso. 300 €

4090 76

Danish actor Arne Molander had a relatively limited presence in German cinema, featuring in just three films. He had a leading part in the war drama Richthofen, der Rote Ritter der Luft (Peter Joseph, Desider Kertesz, 1929) as the son of the famous German Baron and WWI hero.

4091

serge ba lkin (1905–1990)

4091

Female nude studies. 1920s. 2 vintage gelatin silver prints. Each circa 17 x 22,7 cm. Each with photog rapher‘s/copyright stamps and annotated in pencil on the verso. 600 € Sergeij Balkin, originally from Russia, started his career in the late 1920s in Berlin-Charlottenburg, primarily working with the agency Photo-Ballé. Photos from this time are quite rare, and only a few have his personal copyright stamp, as the ones presented here. In the early 1930s, he moved to the United States and began a successful photography career with Condé Nast Publications, spanning more than two decades. His highly sought-after fashion spreads, in both black and white and color, appeared in prestigious magazines like Vogue, Glamour, House & Garden, and others. In 1950, Balkin co-founded a commercial photography studio with photographers Fredrich Baker, Constantin Joffé, and Herbert Matter. 77

m a x baur (1898–1988)

4092

Campanula with grass. 1930s. Vintage gelatin silver print on doubleweight ivory paper. 29 x 20,5 cm. Mounted to board, signed by the photographer in pencil below image on mount in lower right. 400 €

The German photographer Max Baur is known for his signifi cant contributions to the New Objectivity movement in the early 20th century. His photography primarily focused on industrial subjects, architecture, and urban landscapes, characterized by precise composition and sharp lines. Baur also created exquisite flower still life photographs, showcasing his versatility and artistic depth within the New Objectivity style.

4092

berlin 1960s 4093* Photographer: Herbert Jacobi (1915–1978). Berlin dance and strip clubs and other buildings around Bülowstr., Schöneberg and Charlottenburg, Berlin. 1966. 33 vintage ferrotyped gelatin silver prints. Various sizes between circa 19 x 17 cm, 17 x 23 cm and 23 x 17 cm. Most mounted to card with hole punches on left side, annotated in pencil in German on mounts. 500 € Herbert Jacobi began photographing in his hometown Berlin at the end of the war. From the early 1960s, he was employed by the Berlin Gas Works. The task of documenting the extensive facilities scattered across the western part of the city was an artistic challenge for Jacobi, resulting in panoramic shots and detailed views, some of which featured impressive compositions. This collection includes photographs of dance and strip clubs near Bülowstrasse in Berlin, as well as shots of buildings near Niebuhr Strasse and Pestalozzistrasse. It also contains some personal images, including those of Jacobi with his partner.

4093

4094

berlin wa ll 4094 Photographer unknown. Early views of the Berlin Wall. 1961. 25 vintage gelatin silver prints on doubleweight paper. Between 17,7 x 23,7 cm and 20,7 x 25 cm. Annotated in pencil and with Zollfahdungsstelle Berlin copyright stamp on verso. Accompanied by an official document issued by the Berlin Customs Office. 1.200 €

These photographs, commissioned by the Berlin Customs Office, serve as a detailed chronicle of the initial stages of the construction of the Berlin Wall spanning from August to November 1961. Within this collection, significant historical moments are vividly captured, such as scenes at the Brandenburg Gate border crossing, families waving to each other across the wall, border officials stationed at Potsdamer Platz and Bernauer Strasse, and the iconic confrontation between Russian and American tanks at Checkpoint Charlie. This remarkable archive holds immense historical significance, offering a poignant glimpse into a pivotal period in Berlin‘s history. 79

4095

jerry berndt (1943–2013)

4095

„Angel & Mississippi, Washington Street, Boston“ from „The Combat Zone“. 1967/printed 1985. Gelatin silver print. 30,3 x 46,8 cm (40,5 x 50,7 cm). Titled in ink in lower margin; signed, titled and dated by the photographer in pencil on verso, with photog rapher‘s studio and copyright stamp. 2.500 € Jerry Berndt‘s photographs of Boston‘s Combat Zone offer a compelling depiction of the raw and frequently sordid ambiance that enveloped this neighborhood in the 1960s and 1970s. Renowned for its adult entertainment establishments, theaters, and nightclubs, the Combat Zone served as a nexus for diverse subcultures. Berndt‘s pictures present an unvarnished perspective of the denizens of this area, encompassing sex workers, pimps, patrons, and performers, providing an unfiltered window into a marginalized and often misconstrued community.

4096 „Young wannabe pimp, Washington Street, Boston“ from „The Combat Zone“. 1968/printed 1999. Gelatin silver print. 46,5 x 30,7 cm (50,5 x 40,5 cm). Photographer‘s copyright stamp on verso. 2.500 €

4096

4097

peter bi a lobrzeski (b. 1961 )

4097 „Heimat 31, Schwarzwald“. 2004. Chromogenic print. 26,9 x 35,6 cm (30,3 x 40,5 cm). Signed, titled and dated in felt-tip pen on the verso, mounted in photo corners in mat. 800 € Peter Bialobrzeski is celebrated for his significant impact on the realm of contemporary landscape photography, particularly in his exploration of the dynamic interplay between nature and urbanization in the context of modern society. His body of work includes striking photographs that focus on the Black Forest in Germany, providing a distinctive viewpoint on this renowned natural expanse. Through his lens, Bialobrzeski captures the tranquil and enigmatic aspects of this ancient wood land, offering a perspective that reveals the timeless allure and mystique inherent to the landscape.

4098

w erner bokelberg (b. 1937)

4098 Romy Schneider, Paris. 1966/printed later. Gelatin silver print. 17,4 x 24,5 cm (23,6 x 30,3 cm). Annotated and dated in pencil on the verso. 500 € Renowned German photographer Werner Bokelberg captured actress Romy Schneider through a series of photographs that have since achieved iconic status in the realm of portrait photography. Bokelberg possessed a discerning eye for encapsulating her innate beauty and charisma, frequently portraying her in a candid and relaxed manner, as exemplified in this particular portrait where she graces a carpet in evening attire, bathed in the soft glow of candlelight.

k at t both (1905–1985)

4099 „Atikah Cigaretten“, from „Bauhaus – 20 Photographs“ portfolio 1931/printed 1984. Gelatin silver print. 27,2 x 20,8 cm (30 x 23,5 cm). Annotated in pencil and Pressprint & Copyright Galerie Rudolf Kicken stamp on the verso. 500 € The Bauhaus left a significant imprint on advertising photography and design, highlighting the importance of clean lines, basic geometric shapes, and clear typography to produce uncluttered visuals that effectively communicate messages, as seen in this advertising sketch for Atikah cigarettes.

4099 83

4100

bill bra ndt (1904–1983)

4100 „Eygalières, France“. 1953. Vintage gelatin silver print. 25,3 x 20,4 cm. Numbered 35 in ink in lower margin recto; photographer‘s stamp on verso.

6.000 €

Bill Brandt‘s nude photography is characterized by its dramatic lighting and innovative compositions. Produced primarily during the mid-20th century, Brandt‘s nudes challenge conventio-

nal notions of beauty and femininity, often emphasizing abstract and sculptural qualities in the human form. His work in this genre is considered a significant contribution to the art of photography, leaving a lasting impact on the exploration of light, shadow, and form in the depiction of the nude. Lit.: Haworth-Booth, Mark and Lawrence Durrell. Bill Brandt Nudes: A New Perspective. London: Thames and Hudson 2013, ill. p. 91.

british roya l fa mily 4101 Photographer: Studio Lisa (Lisa Sheridan 1894-1966). Princess Elizabeth and Princess Margaret painting. 1940. Vintage warm-toned gelatin silver print. 30,2 x 38 cm. Typed press text label and photog rapher‘s/copyright stamp on the verso. 750 € This image is part of a series featured in the book „Our Princesses at Home,“ published in 1940. Photographer Lisa Sheridan was given the privilege to create a collection of photographs that showcase the two Princesses engaging in a variety of activities, such as lessons, music, gardening, knitting, horseback riding, and enjoying moments with their dogs in their home environment.

4101

rené burri (1933–2014)

4102 Berlin-Ost, Treptow, Deutschland. 1959/printed later. Gelatin silver print. 30,8 x 45,9 cm (40,4 x 50,2 cm). Signed, titled and dated in pencil on verso. 1.200 €

Renowned Swiss photographer Rene Burri documented East Germany during the period of the Berlin Wall and the country‘s division, offering a unique and compelling perspective on life during the Cold War. His photographs stand as a testament to Burri‘s exceptional ability to capture the socio-political realities of his time, blending artistic and journalistic approaches to photography.

4102 85

4103

h a rry ca ll a h a n (1912–1999)

4103 Skyscrapers. 1970s/printed early 1980s. Dye transfer print. 24,2 x 36,5 cm (45,3 x 56,8 cm). Unsigned. 1.200 € Harry Callahan‘s color photographs, crafted in the later years of his career, are highly acclaimed for their vivid, introspective, and frequently abstract characteristics. These images delve into a diverse array of subjects, encompassing landscapes, city scapes, and portraiture. The introduction of color to his work brought an extra dimension of depth and emotional resonance, enriching his already compelling body of photographic art.

4104

h a rry ca ll a h a n 4104

Ireland. 1979/printed 1980s. 2 dye transfer prints. 24,5 x 36,5 cm (44,3 x 56,8 cm) and 24,5 x 36,5 cm (45,2 x 57 cm). Unsigned. 2.400 € 87

4105

h a rry ca ll a h a n 4105 Ireland. 1979/printed 1980s. Dye transfer print. 24,5 x 36,5 cm (44,3 x 56,8 cm). Unsigned. 1.800 € In the early 1970s, Callahan embarked on a series of journeys to Ireland, capturing the country‘s landscapes, people, and the interplay of natural and human elements. His color photographs of Ireland are marked by their sensitivity to the play of light and color, showcasing the lush green landscapes, coastal scenes, and the subtle nuances of Irish life. Lit.: Lit.: Keith F. Davis. Harry Callahan: New Color, Photographs 1978 - 1988. Kansas City 1988, ill. p. 41.

4106

m a rio cat ta neo (1916–2004)

4106 „Caravaggio“ (Outdoor photo studio). 1967. Vintage ferrotyped gelatin silver print on doubleweight Agfa paper. 29,5 x 39,8 cm. Photographer‘s stamp, number stamp and annotated in pencil on the verso. 500 €

Mario Cattaneo was an influential Italian photographer celebrated for his street photography and photojournalism, with a talent for capturing the intricacies of everyday life and human interactions in urban settings. His work continues to be revered for its storytelling quality and its lasting impact on the field of street and documentary photography.

jewgeni ch a ldej (1917–1997)

4107

Berlin, May 2, 1945. Printed 1990s. Gelatin silver print. 29,8 x 39,5 cm. Signed by the photographer in marker on the verso. 800 €

4107

Jewgeni Chaldej, a Soviet photojournalist, is renowned for his photographs documenting the capture of Berlin by Soviet troops on May 2, 1945, marking the end of World War II in Europe. His images, particularly the iconic scene of the Soviet flag being raised on the Reichstag building, have become crucial visual records of this historic moment. Lit.: Ernst Volland/Heinz Krimmer (eds.). Von Moskau nach Berlin. Bilder des russischen Fotografen Jewgeni Chaldej. Berlin 1999, ill. p. 81. 89

4108

china / ernst boerschm a nn 4108 Photographer: Ernst Boerschmann (1873– 1949) and unknown. Architectural photographic views and drawings/studies of China. 1910-1940. Circa 156 gelatin silver and collodion paper prints. Various sizes between circa 5,5 x 9 cm, 17 x 13 cm (most) and 32 x 24 cm. Most annotated by Boerschmann in pencil/ink on the verso. 16.000 € Distinguished for his extensive research and photography focused on historical Chinese architecture, Ernst Boerschmann, a German sinologist, architect, architectural historian, and photographer, holds the distinction of being the first foreigner to systematically document China‘s ancient cultural structures. On several trips to China in the early 20th century, he collected thousands of photographs, sketches, and architectural images. Boerschmann‘s journey began in 1906 with financial support from the German Empire and lasted until the outbreak of World War I in 1914, when he served as a scientific advisor to the German Foreign Office. His expeditions yielded valuable material, and in 1912 his photographic work was featured in a major exhibition at the Museum of Decorative Arts in Berlin. After World War I, he shared his knowledge of Chinese architecture in lectures in Königsberg and other German cities. As of 1927 he was

a professor at the Technical University in Berlin. His publications, including „Baukunst und Landschaft“, „Picturesque China“ and „Chinesische Architektur“ in the 1920s, brought him much international recognition. „Picturesque China“, published in English in 1923, became his best-known work. The majority of the photographs in this extensive collection were taken by Ernst Boerschmann. Some of the photographs, such as three studio portraits of Chinese ladies in traditional costumes, are believed to have been taken by a local photographer, as is another large albumen print in which he is seen with photographer Sanshichiro Yamamoto at the Great Wall. The collection presents many ancient Chinese temples, some of which no longer exist or were ruinous at the time. Boerschmann‘s interest in valuable carved architectural details is also documented in many photographs, as are some picturesque villages and landscapes. This compilation includes a detailed list of image titles. A significant portion of Boerschmann‘s estate is housed in the University Library of Cologne, and another notable collection of his photographs is in the Stephan Loewentheil Collection. Lit.: Ernst Boerschmann. Old China in Historic Photographs: 288 Views by Ernst Boerschmann. New York 1982, ill. pp. 14, 38, 40, 43, 55, 193, 225, 231 and 245. Provenance: Ernst Boerschmann estate

4108 91

4108

4109

china 4109

Chinese Communist Party propaganda photographs. 1954–1964. 7 vintage gelatin silver press prints. Each 15,3 x 20,8 cm and vice versa. Captioned in lower margin of recto. 400 €

Chinese Communist Party (CCP) propaganda photographs from the 1950 and 60s were a powerful visual tool used to promote the CCP‘s ideology and leadership under Mao Zedong. These images portrayed CCP leaders as visionary and the Chinese people as devoted supporters of socialist ideals. These photographs played a crucial role in shaping public opinion, mobilizing the population for various campaigns, and projecting an image of China‘s progress and achievements to the world.

ch a rgesheimer

(Carl-Heinz Hargesheimer, 1924–1972)

4110 „Siegfried“ opera, Cologne. 1963. Vintage gelatin silver print on Agfa paper. 38,3 x 29,7 cm. Two typed label with performance info on the verso. 500 € Karl Heinz Hargesheimer, also known as Chargesheimer, had a varied photographic practice that ranged from documenting post-war Cologne‘s ruins to working as a set designer, experimenting with abstract light graphics, and creating surrealist photomontages, reflecting his multifaceted approach to photography and art.

4110 93

oli v ier christini at (b. 1963)

4111 „Adam & Eva“. 1997. Gelatin silver print matted in portfolio. 30,3 x 24 cm (50 x 40 cm). Signed, titled, dated and numbered 17/20 by the photographer in pencil on verso. 500 €

4111

lucien clergue (1934–2014)

4112 „Urban Nude“. 1979. Vintage gelatin silver print. 30,2 x 23,7 cm. Photographer‘s stamp (partially cut off), layout notations and dated in pencil on the verso. 750 € Renowned French photographer Lucien Clergue is celebrated for his captivating and artistic nude photography. While he is primarily associated with naturalistic outdoor nude studies, he also delved into the realm of urban nudes, enabling him to juxtapose the human form with architectural and urban landscapes. In this new context, he experimented with angles, reflections, and compositions to produce images that pushed the boundaries of traditional nude photography, achieving a unique fusion of sensuality and urban surroundings.

4112

4113

serge cohen (b. 1951)

4113 Richard Avedon. 1994. Vintage gelatin silver print. 22 x 26 cm (29,4 x 39,5 cm). Signed, titled and dated by the photographer in marker on verso. 800 € Serge Cohen‘s photographic repertoire covers a wide array of subjects, spanning architecture, landscapes, and reportage, with his most recognized work being his skillfully staged portraits. The featured photograph depicts the celebrated American fashion and portrait photographer Richard Avedon, whose groundbreaking contributions reshaped the industry and elegantly captured the essence of his subjects. Provenance: Uta and Wilfried Wiegand Collection 95

4114

imogen cunningh a m (1883–1976)

4114 Martha Graham. 1931/printed 1991. Gelatin silver print. 17,5 x 23,2 cm (45,8 x 35,7 cm). With the photographer‘s name and estate logo embossed on mat recto, with signed estate label on mat verso. 600 € Imogen Cunningham‘s 1931 portrait of Martha Graham, the iconic American dancer and choreographer, is celebrated for its unique approach to capturing the essence of the subject. In this image, Martha Graham strikes a dynamic dance pose, accentuating her innovative modern dance style, while Cunning ham‘s composition underscores her physicality and the emotional depth of her movements.

4115 Gertrude Stein. 1937/printed 1981. Gelatin silver print. 19,9 x 16,6 cm (45,8 x 35,7 cm). With the photographer‘s name and estate logo embossed on mat recto, with signed estate label on mat verso. 600 €

4115 96

This portrait of Gertrude Stein, the renowned American writer and avant-garde figure, captures Stein‘s strong presence and intellectual authority through her commanding posture, profile, and detailed facial features. Cunningham‘s skillful use of lighting and shading adds depth and texture to the image, providing a deep and insightful portrayal of her subject.

4116

sa lva dor da lì / robert desch a rnes (1904–1989, 1926–2014)

4116 Surrealist photographic collages. 1962–1975/ printed before 1989. 4 dye transfer collages with applied elements. 40 x 26,8 cm (59,8 x 45 cm) and 40,2 x 26,6 cm (60,8 x 51,2 cm). Signed and numbered 45/90 by the photographer in blue felt-tip pen in lower margin and signed by Salvador Dalì in blue felt-tip pen in lower right corner. 1.000 €

These collages were a collaborative project between the Spanish Surrealist Salvador Dalí and his private secretary, French photographer Robert Descharnes. Descharnes, responsible for managing Dalí‘s intellectual property, also authored key books about the artist, such as „The World of Salvador Dalí“ (1975), which featured one of these collages on its cover. This collection includes depictions of Gala Dalí, a tribute to poet Guillaume Apollinaire, and Dalí‘s „Venus de Cullero.“ Lit.: Robert Descharnes, Gilles Neret. Salvador Dali 1904-1989: Das Malerische Werk. Cologne, 1993, ill. p.731. 97

ch a rles delius (1877–1962)

4117*

(Attributed to). Maxim Gorki with his granddaughter Marfa Peshkov in Sorrento. 1930. Vintage ferrotyped gelatin silver press print. 18,6 x 12,7 cm. With typewritten caption and reference library stamp on verso. 400 € This image captures the Russian novelist Maxim Gorki alongside his four-year-old granddaughter, Marfa Peshov, during their exile in Sorrento, Italy. The photograph gained significant circulation during Gorki‘s visit to the United States in 1930, where he had been invited by the Literary Guild of America.

a llen a. dut ton (1922–2017)

4118 Surrealistic collage. 1970s. Vintage gelatin silver print. 19 x 23,2 cm. Mounted to card, with pho togr apher‘s stamp and annotated in ink on the verso. 300 € Born in 1922 in Kingman, Arizona, Allen Dutton studied painting and sculpture at the Art Center School in Los Angeles. He held a variety of teaching posts in public schools in Arizona, before joining the art department at Phoenix College in 1960, where he taught photography and later served as head of the department until 1982. Between 1963-1964, he studied with Minor White and has acknowledged this time to be one of the greatest influences in his photographic development. His work is in the collections of the Museum of Modern Art, Bibliothéque Nationale in Paris and the Corcoran Gallery in Washington DC.

4117

4118 98

lutz dille (1992–2008)

4119 Mexico.1959/printed 2001. Gelatin silver print. 29,2 x 39 cm (30,5 x 40,3 cm). Signed and dated in ink on lower left corner of recto; signed titled and dated in pencil, with the photographer‘s copyright stamp on verso. 600 €

4119

The German photographer Lutz Dille is known for his documentary and reportage-style photography. His photographs often focus on the lives of ordinary individuals, including children, families, and workers, reflecting the social and cultural transitions of the time. Dille‘s photography showcases a deep humanistic perspective, and his images are considered significant contributions to the visual history of the post-war era.

m a da me d‘ora

(Dora Phillipine Kallmus and Arthur Benda studio, 1881–1963, 1885–1969)

4120

Madame Domergue, wife of the painter Gabriel Domergue, in a cloak designed by her husband. Circa 1920. Vintage gelatin silver print. 22,2 x 12,5 cm. Photographer‘s stamp, annotated in pencil and typed press text label on the verso. 400 € Dora Kallmus, known professionally as Madame D‘Ora, was an Austrian photographer who became famous for her portrait and fashion photography during the early 20th century. Born in Vienna in 1881, she became known for her striking portraits of famous personalities such as Pablo Picasso, Josephine Baker, and Gustav Klimt. Her innovative and elegant approach to fashion photography made her a leading figure in the Parisian fashion scene during the 1920s and 1930s, leaving a lasting impact on the industry.

4120 99

4121

4122

m a da me d‘ora 4121

Fashion photo. Circa 1925. Vintage matte gelatin silver print. on chamois paper 22,3 x 29,5 cm. Signed by the photographer in pencil in lower right; photographer‘s RUE Eugène-Flachat, Paris stamp and number in pencil on the verso. 1.000 € Madame D‘ora‘s fashion photographs from Paris showcase her remarkable ability to capture the elegance and style of the city‘s fashionable society during the early 20th century.

100

rudolph dührkoop (1848–1918)

4122 The jurist and poet Josef Kohler (1849-1919). Early 1900s. Vintage carbon print 16,9 x 22,7 cm (43 x 31,5 cm). Photographer‘s blindstamp in lower right, mounted to thin card and mounted in photographer‘s portfolio with photographer‘s stamp in lower right of mount, with handwritten dedication in ink by Josef Kohler on back leaf, photographer‘s blindstamp on portfolio front cover lower right. 600 €

4123

thom as dem a nd (b. 1964)

4123

„Phototrophy – Detail XII“. 2005. Fine art print, accompanied by monograph. 31 x 36,5 cm. Signed and editioned 86/100 by the photographer in pencil on verso. Edition Schirmer/Mosel, Munich, 2004. 1.800 € Thomas Demand is celebrated for his unique artistic approach, involving the precise creation of life-sized paper and cardboard models that mimic everyday scenes and objects. These models

serve as the subjects for his photography, yielding remarkably lifelike images. Demand‘s art blurs the line between reality and illusion, encouraging contemplation of representation, memory, and perception, particularly in today‘s digitally manipulable image-driven era, emphasizing the intricate connection between the tangible and the perceived. – With: Collector‘s edition of Eckhard Schneider (ed.). Thomas Demand. Phototrophy. English/German edition. 128 pages, 66 color plates. Schirmer/ Mosel, Munich 2004. In original grey linen slipcase and grey linen print folder. 101

4124

w illi a m eggleston (b. 1939)

4124 Untitled (Christmas trees). 1967/printed 1990s. Dye transfer print. 30,1 x 46 cm (39,3 x 48,5 cm). Unsigned, with printer‘s stamp on the verso. 2.500 € William Eggleston‘s photographic practice is characterized by his pioneering use of color photography to capture everyday scenes and objects, transforming the mundane into compelling and evocative works of art. This print emerged from a collaboration in the late 1990s between William Eggleston and the esteemed dye transfer printer, Nino Mondhe, who was widely sought after by many notable photographers. Despite the absence of Eggleston‘s signature, the print is of exceptional quality.

102

4125

w illi a m eggleston 4125

Untitled (Car wreck). 1970/printed 1990s. Dye transfer print. 31 x 45 cm (39,2 x 49 cm). Unsigned, with printer‘s stamp on the verso. 3.000 € This print is yet another product of Eggleston‘s partnership with the printer Nino Mondhe, showcasing the consistent high quality and vibrant color richness that have become hallmarks of his work.

103

4126

elliot t erw it t (b. 1928)

4126 „Orléans, France“. 1952/printed 1974. Gelatin silver print. 22,5 x 34 cm. Mounted to board, signed by the photographer in black ink below image on mount; Elliott Erwitt portfolio label signed, therein numbered 2 of portfolio 6 from an edition of 25 on mount verso. 1.200 € Elliott Erwitt‘s photographic work is characterized by his candid and often humorous street photography, offering a unique perspective on everyday scenes. His images from Orleans reflect his exceptional ability to distill moments and offer insightful commentary on life‘s moments, exemplifying his talent for visual storytelling. Lit.: Elliott Erwitt. Snaps. London 2001, ill. pp. 438-439. Provenance: Collection Prof. Hans Kollhoff, Berlin

104

4128

enta rtete kunst 4127* Proscription postcards showing works in the „Entartete Kunst“ (Degenerate Art) exhibition. 1937. 6 vintage gelatin silver photo postcards. Each circa 9 x 14 cm. 900 € The „Entartete Kunst“ (Degenerate Art) exhibition holds historical significance as a symbol of the Nazi regime‘s suppression of artistic freedom, censorship of modern art, and the persecution of artists during the era of National Socialism in Germany. Among the displayed works was Otto Dix‘s haunting portrayal

of four wounded veterans, „Die Kriegskrüppel“ (1920), considered a masterpiece of the New Objectivity movement. Unfortunately it went missing in the aftermath of the exhibition.

fashion 1920s 4128 Photographer: Paul Géniaux (1873-1930). Fashion photos. 1923. 16 vintage gelatin silver prints. Circa 18 x 13 cm. Most with number in the negative in upper/lower corner; most with photographer‘s stamp and some annotated in pencil on the verso. 600 €

4127 105

4129

a ndreas feininger (1906–1999)

4129

„Rockefeller Center, New York“. 1942. Vintage large-format gelatin silver print. 47 x 40 cm. Titled by the photographer on label, affixed in lower left, flushmounted to board, annotated Please return to Andreas Feininger c/o LIFE PHOTO LAB, 5th floor 9 Rockefeller Plaza, NYC. and signed by the photographer in ink, Life Picture Service stamp and with 2 exhibition labels on mount verso, framed under museum glass in gilded wooden frame with glass backing. 3.000 € 106

Andreas Feininger‘s photography in New York is distinguished by his expert handling of light and composition, skillfully capturing the city‘s urban landscape with a sense of dynamism and allure. His photographs frequently highlight the interaction between architecture, shadows, and human activity, providing a distinct and visually captivating view of the city‘s lively atmosphere. The two exhibition labels on the verso of the mount confirm that this photograph was featured in two exhibitions during the 1940s, and it stands out as an exceptionally wellcrafted print, further enhanced by its rarity in this larger vintage format. Provenance: Collection Prof. Hans Kollhoff, Berlin

4130

4131

fil m photogra ph y 4130* Photographer: Eugene Robert Richee (1896– 1972). Marlene Dietrich. 1931. Rotogravure mounted to board (some smudge/glue marks). 35,4 x 27,3 cm (51 x 38,4 cm). Photographer‘s edition stamp, „The Women‘s Museum“ stamp and typewritten caption on verso. 900 € A less published image of the iconic German actress Marlene Dietrich taken during the earlier phase of her Hollywood career.

4131* Photographer unknown. Portrait of Marlene Dietrich for „Dishonored“. 1931. Vintage ferrotyped gelatin silver print. 25,8 x 20 cm. Negative number in lower right; annotated in pencil on the verso. 400 € In the 1931 film „Dishonored,“ Marlene Dietrich delivered a captivating and sophisticated performance as a Viennese prostitute turned Austrian spy during World War I. Her portrayal showcased her alluring and complex character, solidifying her status as an iconic actress of classic Hollywood cinema. 107

4132

4133

fil m photogra ph y 4132* Photographer: Eugene Robert Richee (1896– 1972). Marlene Dietrich on the set of „The Song of Songs“. 1933. Vintage gelatin silver print. 24,3 x 18,9 cm. Negative number in negative in lower right; photog rapher‘s Paramount Photo stamp and World Press agency stamp and annotated in pencil on verso. 600 € Eugene Robert Richee‘s iconic photographs of Marlene Dietrich captured her striking beauty and unique style, helping to solidify her status as a Hollywood legend during the Golden Age of cinema. In the 1933 film „The Song of Songs,“ Marlene Dietrich takes on the character of Lily Czepanek, a young German woman who ascends to stardom as a fashion model in Berlin. Her beauty and charisma capture the interest of a sculptor, setting the stage for a complex love triangle infused with themes of ambition, desire, and the challenges within the modeling industry in this classic Hollywood production.

108

4133* Paramount Pictures. Marlene Dietrich on the set of „A Foreign Affair“. 1948. Vintage ferrotyped gelatin silver print. 25,5 x 21,8 cm. With studio‘s copyright text in lower margin of recto; annotated in felttip on verso. 400 € In the 1948 film „A Foreign Affair,“ Marlene Dietrich stars as a nightclub singer entangled in a romantic and political drama set in post-World War II Berlin.

fil m photogra ph y 4134*

United Artists. Shirley MacLaine in „Irma la Douce“. 1963. 2 vintage gelatin silver prints. 17,7 x 22,7 cm and 23,5 x 17,8 cm. Negative number and printing/layout marks on recto of one print; typewritten labels, date stamps and newspaper clipping on verso of one print, the other annotated in pencil on verso. 400 € In the 1963 film „Irma la Douce,“ Shirley MacLaine delivers a charming and endearing performance as Irma, a charismatic and lovable Parisian prostitute. Her portrayal infuses the character with a blend of innocence and charm, establishing her as a pivotal figure in the romantic escapades and comedic scenarios that unravel in this Billy Wilder-directed movie.

4134

trude fleischm a nn (1895–1990)

4135* Wilhelm Furtwängler. Circa 1920. Vintage gelatin silver print mounted to board. 22,9 x 16,7 cm (37,7 x 29,8 cm). Photographer‘s studio reference in negative in lower left corner. 400 €

4135

Trude Fleischmann‘s portraits of celebrities are marked by their candid and intimate quality. During the 1920s and 1930s, her Vienna studio became a gathering place for avant-garde artists and cultural figures, leading to the creation of striking portraits that captured the essence and personality of her subjects. Trude Fleischmann‘s portrait of Wilhelm Furtwängler, a renowned German conductor and composer, is a prime example of her work capturing prominent cultural figures of her time. 109

thom as florschuetz (b. 1957)

4136

Untitled. 21.VII.85 (diptych). Vintage gelatin silver print. 23 x 11,5 cm (29 x 20 cm). Signed and dated by the photographer in ink below the image in the margin. 800 € Thomas Florschuetz is a prominent German photographer known for his abstract and experimental photographic work. His photographs explore themes of light, form, and texture, often reducing subjects to their essential, minimalist components. His innovative approach challenges traditional photographic conventions, and he has gained international recognition for his influential contributions to contemporary photography.

4136

fra nco fonta na (b. 1933)

4137 „Argine“. 1974. Vintage chromogenic color print on Kodak paper. 14,3 x 21,5 cm (17,4 x 24 cm). Titled by the photographer in ink in margin, lower left; photographer‘s label on the verso. 900 € Franco Fontana‘s photographic practice is characterized by his mastery of color, abstraction, and minimalism. His vibrant and abstract compositions often reduce scenes and subjects to their essential forms and colors, creating visually striking and contemplative images. Fontana‘s innovative approach to color photography has earned him recognition as a pioneering figure in the field, known for his distinctive and influential work.

110

4138

„Autostrada“. 1974. Vintage chromogenic color print on Kodak paper. 14,3 x 21,5 cm (17,4 x 24 cm). Tiitled by the photographer in ink in margin, lower left; photographer‘s label on the verso. 900 €

4137

4138 111

4139 112

leona rd freed (1929–2006)

4139 Harlem, New York. 1963/printed later. Gelatin silver print. 30,2 x 20,4 cm (35,4 x 27,9 cm). Signed, titled and dated in pencil and with the photographer‘s copyright stamp on verso. 1.200 € The American photographer Leonard Freed is celebrated for his compelling images of Harlem, especially during the civil rights movement in the 1960s. He adeptly documented the vibrant and intricate life of the Harlem community, highlighting its people, culture, and the social and political issues of the era. Freed‘s photographs of Harlem provide a distinctive and intimate perspective on this historic neighborhood, offering a documentation of moments that encompass joy, resilience, struggle, and the winds of social change. Lit.: Leonard Freed. Black in White America. New York 2010. ill. front cover.

4140

Harlem, New York. 1963/printed later. Gelatin silver print. 33 x 22 cm (35,5 x 27,8 cm). Signed, titled and dated in pencil and with the photographer‘s copyright stamp on verso. 1.200 € Lit.: Leonard Freed. Black in White America. New York 2010.

4140

v erena von gagern-steidle (b. 1946)

4141 Untitled. 1975. Vintage gelatin silver print. 28,5 x 28,5 cm (40 x 29,8 cm). Signed and dated by the photographer in ink and annotated in pencil on the verso. 750 €

4141

German photographer Verena von Gagern-Steidle has made a substantial impact on the genre of „poetic documentation“ by skillfully weaving her personal experiences, reflections on society, and the element of spontaneous image capture into her work, evoking a style reminiscent of visual haikus. Moreover, her influence extended beyond her photographic artistry; she served as the director of Salzburg College‘s Photography Program from 1975 to 1986 and shared her expertise through pho tography courses and workshops conducted across various countries. 113

gdr photography siby lle bergem a nn (1941–2010)

4142

11 cm.

Model. 1990s. Vintage polaroid photo. 9 x 900 €

Sibylle Bergemann rose to prominence as a significant figure in the field of East German photography, demonstrating a remarkable ability to capture the lives of everyday citizens during the Berlin Wall era. Her unique talent resided in her skill to evoke deep emotions and craft compelling stories within her photographs, effortlessly blending artistic expression with the authenticity of documentary photography.

4143 DOME (Dominique Hollenstein). 1990s. Vintage gelatin silver print. 14,7 x 19 cm (17,7 x 24 cm). Signed and titled by the photographer in ink on verso. 600 € This photograph shows Dominique Hollenstein, a German artist and model who emerged as an icon within the East German underground scene, making her a recurring subject in the portfolios of photographers like Sibylle Bergemann, Arno Fischer, Sven Marquardt, and Robert Paris.

4142

4143 114

4144

4145

detlef christel (1943–2018)

4144* Kids, Berlin. 1980s. Vintage gelatin silver print. 42,7 x 32,7 cm. Photographer‘s stamp on verso 600 € Detlef Christel pursued a photography education at the Hochschule für Grafik und Buchkunst Leipzig between 1976 and 1981. Subsequently, from 1982 to 1991, he worked as a photojournalist for the magazine Freie Welt, with a significant focus on capturing the lives of children in the GDR and their transition into adulthood. His approach involved portraying them in candid, everyday scenarios, offering insights into their inner worlds and the surrounding social circumstances. Provenance: From the estate of the photographer 4146

4145* Tree studies. 1980s. 2 vintage gelatin silver prints. 41,7 x 31,7 (48 x 38,2 cm) and reverse. Each with photographer‘s stamp on verso. 600 €

4146* Palast der Republik, Berlin. 1980s. Vintage ferrotyped gelatin silver print. 29 x 39 cm. Photographer‘s stamp on verso. 400 € 115

a rno fischer (1927–2011)

4147 „West-Berlin, Weihnachtsmarkt, Lustgarten“. 1952. Vintage gelatin silver print. 18,7 x 28,8 cm. Signed, titled and dated by the photographer in pencil on the verso. 900 € Arno Fischer‘s photographs of 1950s West Berlin provide a valuable window into the city during a time when it existed as an isolated enclave within East Germany. His images document post-war rebuilding, street scenes, and the city‘s vibrant cultural life, offering a snapshot of daily life in the pre-Berlin Wall era.

4148 „West-Berlin, Kurfürstendamm“. 1956. Vintage gelatin silver print. 18,7 x 28,8 cm. Signed, titled and dated by the photographer in pencil on the verso. 900 € Lit.: Elke aus dem Moore/Matthias Flügge (eds.). Arno Fischer. Fotografie (exhibition catalog). Ostfildern 2009, ill. p. 36.

4147

4148 116

4149

4150

a rno fischer 4149 „West-Berlin, Masurenallee“. 1958/printed 1980s. Gelatin silver print. 27,5 x 40,8 cm. Signed, titled and dated by the photographer in pencil and with photographer‘s oval stamp on the verso. 900 €

4150

Lit.: Elke aus dem Moore/Matthias Flügge (eds.). Arno Fischer. Fotografie (exhibition catalog). Ostfildern 2009, ill. p. 149.

Lit.: Elke aus dem Moore/Matthias Flügge (eds.). Arno Fischer. Fotografie (exhibition catalog). Ostfildern 2009, ill. p. 54.

„West-Berlin, 1. Mai, Tiergarten“. 1959/printed 1980s. Gelatin silver print. 27,5 x 42 cm. Signed, titled and dated by the photographer in pencil and with photographer‘s oval stamp on the verso. 900 €

117

a rno fischer 4151 Margaretenhof. 1998. Vintage gelatin silver print. 32,3 x 26,3 cm. 600 € This work was part of Arno Fischer and Erik Schiemann‘s exhibition „Der Garten“ held at the Pratergarten in Berlin. Accompanied by the exhibition invitation with same image.

4151

h a ra ld h auswa ld (b. 1954)

4152 Artwork by Gerd Sonntag from the series „Kindlein im Wägelchen“. Circa 1986. Vintage gelatin silver print. 28,5 x 21 cm. Photographer‘s/copyright stamp and annotated by the photographer in pencil on the verso. 500 € Harald Hauswald‘s photographic practice is marked by his documentary approach, in which he captures everyday life in East Germany during the Cold War era, displaying a keen eye for human stories and social changes. Gerd Sonntag is a painter and sculptor well-known for his work, which gained prominence in the early 1990s when a surge of artists emerged from Prenzlauer Berg to establish themselves in galleries and museums.

118

4152

4153

ute m a hler (b. 1949)

4153

Woman with harp at lake. 1986/printed 1996. Gelatin silver print on RC paper. 24,5 x 37 cm (30,4 x 40,5 cm). Annotated, dedicated and signed by the photographer in ink on the verso. 800 € Ute Mahler completed her studies at the Academy of Visual Arts in Leipzig in 1974 and co-founded the OSTKREUZ - Agency of Photographers in 1990 with six other East German photog raphers. She has been a lecturer at the Ostkreuzschule für Foto grafie in Berlin since 2005 and held a professorship in photog raphy at the University of Applied Sciences in Hamburg from 2000 to 2015. Her work was featured in the GDR fashion magazine Sibylle and later in various national and international publications. 119

4154

sv en m a rqua rdt (b. 1962)

4154 Portrait. 1980s/printed 1990s. Vintage gelatin silver print. 27,1 x 39,5 cm. Signed and dated by the photographer in pencil on verso. 1.000 € Sven Marquardt, trained as a photographer and cameraman at the DEFA studios before making a name for himself with publications in magazines like Sonntag and Das Magazin in the mid-1980s. He worked as a fashion photographer for Sibylle, alongside Roger Melis and Arno Fischer, gaining recognition for his documentation of the GDR‘s subculture. Following German reunification, he transitioned to working as a bouncer at the renowned Berghain club, becoming an emblematic figure of the club culture scene. He has participated in numerous exhibitions and continues his photography work today.

120

4155

sv en m a rqua rdt 4155 Fashion. 1986. Vintage gelatin silver print. 20,8 x 30 cm. Signed and dated by the photographer in pencil in lower margin; dedicated, signed and dated by the photographer in green ink on verso. 600 €

4156 Portrait. 1980s. Vintage gelatin silver print. 31,3 x 21,6 cm. Signed by the photographer in pencil on verso. 800 €

4156 121

sv en m a rqua rdt 4157

Nude. 1980s. Vintage gelatin silver print. 31,2 x 21,5 cm. Signed by the photographer in pencil on verso. 800 €

4157

sv en m a rqua rdt 4158 Portrait. 1980s/printed 1990s. Gelatin silver print. 39,7 x 27,5 cm. Signed by the photographer in pencil in lower margin; signed and dated by the photographer in pencil on verso. 1.000 € 122

4158

4159

4160

sv en m a rqua rdt 4159

Fashion. 1980s. 2 vintage gelatin silver prints. 16 x 22,8 cm and 14,7 x 21,2 cm. Each with photogra pher‘s stamp on the verso. 400 €

robert pa ris (b. 1962 )

4160 Berlin. 1980s. 2 vintage gelatin silver prints. 10,5 x 14,8 cm and 18,3 x 24 cm. Both signed by the photographer on verso, 1 also annotated in pencil and with photographer‘s copyright stamp on verso. 400 €

During the 1980s, photographer Robert Paris traversed the deteriorating streets of East Berlin, capturing the decaying facades, forsaken factories, and empty squares. He embarked on a mission to preserve the essence of his city, transforming its buildings, streets, and urban vistas into subjects that he portrayed with a unique blend of nostalgia and stark realism. The transient quality evident in his photographs foreshadowed the imminent decline of the GDR system as the decade drew to a close. Lit.: Robert Paris. Entschwundene Stadt: Berlin 1980–1989. Mitteldeutscher Verlag, 2013. 123

4161

ev ely n richter (1930 –2021 )

4161 „Berlin 23. Dezember 1989“. 1989/printed 1990s. Gelatin silver print. 20,6 x 31,3 cm (26,5 x 38,2 cm). 600 € Evelyn Richter often explores the intricacies of daily life, human relationships, and the passage of time in her photography. Her work is characterized by its emotional depth and ability to capture poignant moments, such as this portrait of a couple embracing in front of the Brandenburg Gate, where the Berlin Wall once stood. Lit.: Hans-Werner Schmidt. Evelyn Richter: Rückblick, Konzepte, Fragmente. Bielefeld and Berlin, 2005.

124

ev ely n richter 4162 „Selbstportrait in Cell (Eyes and Mirrors) von Louise Bourgeois, Tate Modern, London“. 2007/printed 2019. Gelatin silver print. 32 x 21,2 cm (39 x 28 cm). Signed, dated and numbered 6/10 by the photographer in pencil on verso, mounted to window mat. 600 €

4163 „National Gallery London“. 2007/printed later. Gelatin silver print. 21 x 32 cm (28,3 x 39 cm). Signed, dated and numbered 2/30 by the photographer in pencil on verso, mounted to window mat. 600 €

4162

4163 125

4164

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

4164* Rostock. 1971. 4 gelatin silver prints mounted on cardboard. Each ca. 19,2 x 29,4 cm (72,2 x 87,2 cm). Each print signed, titled, numbered and dated, with the photographer‘s stamp on verso; signed, titled and dated in pencil on mount. 900 € 126

Hans Martin Sewcz is a multifaceted German artist known for his work in photography and conceptual art. His creative pursuits span a diverse array of styles, ranging from documentary to subjective photography. Moreover, since the 1990s, he has successfully ventured into installation and video art. A notable aspect of Sewcz‘s artistic journey is his exploration of „everyday culture“ during the era of the German Democratic Republic (GDR).

4165

h a ns-m a rtin sewcz 4165*

„Planwirtschaftswerte“. 1990. 6 chromogenic prints matted together as one unique object. Each 14 x 21 cm (80,2 x 64 cm). Signed, titled, dated and annotated in pencil, with the photographer‘s stamp on verso. 1.200 €

Hans Martin Sewcz created this conceptual piece a day prior to the introduction of the Deutsche Mark in the former GDR. He captured the stockpiling of goods in a state-owned trading organization (staatliche Handelsorganisation) market hall on the final day before the monetary union, after which all the items were entirely cleared out. Lit.: Georg C. Bertsch. SED Schönes Einheitsdesign. Cologne: Taschen Verlag, 1990. p. 46-47. 127

gundul a schulze eldow y (b. 1954)

4166

„Essen, 1990“. Vintage gelatin silver print. 19 x 12,8 cm (22,5 x 17 cm). Photographer‘s stamp, titled and annotated by the photographer in pencil on the verso. 600 € Gundula Schulze Eldowy‘s photographs from Essen are a part of her broader body of work that captures everyday life in various German cities, particularly in East Germany before and after reunification.

m a rion w enzel (b. 1958)

4167 „Tagebau Cospuden V“. 1985. Vintage silver gelatin print on matte paper. 28,8 x 38,2 cm (30,7 x 40,1 cm). Signed, titled and dated by the photographer on verso. 600 € Marion Wenzel has dedicated her photographic practice to capturing the profound transformations in the landscape caused by coal mining in southern Leipzig since the early 1980s. Her work serves as a vital visual testimony to the environmental impact of the coal mining industry and played a significant role in supporting the protest movements that ultimately led to the closure and subsequent reclamation of the mining site in the early 1990s. Lit.: Leipzig. Fotografie seit 1839. Leipzig: Passage Verlag, 2011.

4166

4167 128

4168

a ndreas gefeller (b. 1970)

4168 Untitled (Stadium) from the series „Supervisi-

ons“ 2002-2009. 2002. Chromogenic print mounted on Diasec. 49,5 x 65 cm. Signed, dated and numbered 9/33 by the photographer in black ink on label on verso. 3.000 €

Andreas Gefeller is a contemporary German photographer renowned for his innovative approach to capturing urban environments. He uses unconventional angles and advanced techniques to create abstract, visually captivating compositions from urban environments, uncovering hidden details and patterns within familiar cityscapes.

129

guggenheim museum 1945 4169 Photographer unknown. Frank Lloyd Wright with Hilla von Rebay and Solomon R. Guggenheim at the project presentation of the new museum for the Solomon R. Guggenheim Foundation Collection and other related images. 1945. 3 vintage gelatin silver prints, 1 Kodachrome chromogenic print. Various sizes between 11 x 16,5 cm and 23,3 x 18,5 cm. 1 photo with Solomon R. Guggenheim Foundation, Museum of Non-Objective Painting stamp, 1 mounted to black card. 750 € In addition to the photograph showing the presentation of the Guggenheim Museum architectural model by Frank Lloyd Wright in this lot, the other images include a rare private color portrait of Solomon R. Guggenheim, an outdoor portrait of Frank Lloyd Wright and a photographic reproduction of an architectural sketch of the museum. Collectively, these images offer a comprehensive glimpse into the early history of the Guggenheim Museum and its visionary creators.

4169

4169 130

4170

f.c. gundl ach (1926–2021)

4170 Falke Fashion. 1968. Vintage gelatin silver print. 24,5 x 35,5 cm (30 x 40 cm). Photographer‘s stamp as well as FALKE stamp with date on the verso. 1.200 € Spanning several decades, the career of F.C. Gundlach is a testament to his exceptional sense of composition, mastery of light, and an unwavering commitment to elegance. His work is celebrated for its ability to encapsulate the essence of post-war Germany, including its evolving fashion and culture, effectively bridging the realms of photography and art. Gundlach‘s iconic fashion images and portraits of celebrities have left an enduring imprint on the industry, establishing him as a respected and influential figure in the annals of photography. 131

f.c. gundl ach 4171 „Denise Sarrault im Breitschwanz Mantel“. 1958. Vintage ferrotyped gelatin silver print on doubleweight paper. 40 x 30 cm. Photographer‘s stamp and annotated on the verso. 1.200 € Denise Sarrault was a French photographer and columnist known for her eloquent observations on cultural and artistic subjects of her time.

4171

f.c. gundl ach 4172 Curd Jürgens and Simone Bicheron, Portugal. 1960. Vintage ferrotyped gelatin silver print. 29 x 21 cm. Photographer‘s stamp and annotated in pencil on the verso. 750 € Curd Jürgens was a distinguished Austrian-German actor known for his versatile and prolific career in film and theater, spanning international productions, and often cast in charismatic, leading roles; in this photograph, he is accompanied by his spouse, French model Simone Bicheron.

132

4172

4173

robert h äusser (1924–2013)

4173 „Nescafé“. 1956. Vintage ferrotyped gelatin silver print. 15,5 x 23 cm. Mounted to board, signed, titled and dated by the photographer in pencil below the image on the mount; photographer‘s stamp and titled and dated by the photographer in pencil on mount verso. 750 €

Throughout his career, Robert Häusser consistently exhibited an extraordinary talent for encapsulating the quintessence of his subjects, whether they were people, landscapes, or still life. His photography is marked by a pervasive sense of timeless ness, achieved through a meticulous dedication to detail and a keen eye for composition. Häusser‘s ability to transcend temporal boundaries and convey the enduring beauty of his subjects is a hallmark of his remarkable body of work. Lit.: Robert Häusser. Photographische Bilder. Werkübersicht der Jahre 1941 - 1987 (exhibition catalog). Stuttgart 1988, ill. plate 216. 133

4174

heinz h a jek-h a lke (1898–1983)

4174 „Mausoleum“. 1969. Vintage large-format gelatin silver print on thick paper. 39,9 x 30 cm. Signed, titled and dated by the photographer in felt-tip pen as well as photographer‘s 6701 Birkenheide/Pfalz copy right stamp and Lichtgraphik stamp (therein numbered 1/10) on the verso, hinge-mounted in mat. 1.200 € 134

Active during the early to mid-20th century, German photographer Heinz Hajek-Halke was a true innovator, known for his imaginative and surreal compositions. His work often incorporated multiple exposures, photomontage, and innovative darkroom techniques to create visually striking and thought-provoking images. He explored themes of abstraction, motion, and the intersection of reality and dreams, pushing the boundaries of traditional photography. Lit.: Michael Ruetz/Rolf Sachsse (eds.). Heinz Hajek-Halke. Der Alchemist. Göttingen 2012, ill. p. 91.

udo hesse (b. 1955)

4175 „Ioeh Ming Pei, New York City“. 1998/printed 2006. Gelatin silver print. 38 x 38 cm (50,6 x 40,9 cm). Signed, titled, dated and numbered 5/10 by the photographer in pencil, photographer‘s copyright stamp on verso. 600 € I.M. Pei was a renowned Chinese-American architect known for his groundbreaking and iconic designs in the 20th century. His portfolio includes the Louvre Pyramid in Paris, the John F. Kennedy Library in Boston, and the Bank of China Tower in Hong Kong, all distinguished by their innovative use of geometry and materials. His work is celebrated for its modern, geometric designs and profound impact on the field of architecture.

4176 „Norman R. Foster, Berlin“. 1998/printed 2007.

Gelatin silver print. 38 x 38 cm (50,6 x 40,9 cm). Signed, titled, dated and numbered 2/10 by the photographer in pencil, photographer‘s copyright stamp on verso. 600 € Norman Foster is a renowned British architect celebrated for his sleek and innovative designs that often blend cutting-edge technology with environmental sustainability. His notable works include The Gherkin (30 St Mary Axe) in London and the Hearst Tower in New York City, both of which exemplify his commitment to architectural innovation and sustainability.

4176

4175

4177 „Richard Rogers, Berlin“. 1998/printed 2006. Gelatin silver print. 38 x 38 cm (50,6 x 40,9 cm). Signed, titled, dated and numbered 1/10 by the photographer in pencil, photographer‘s copyright stamp on verso. 600 € Richard Rogers designed the Centre Pompidou in Paris, a ground breaking cultural and arts complex known for its radical, inside-out architectural style.

4177 135

4178

m a rta hoepffner (1912–2000)

4178 „Fliehende Konstruktion“ (Farbfotogramm in polarisiertem Licht). 1977. Vintage chromogenic print on Kodak paper. 21,3 x 21 cm. Signed and dated by the photographer in pencil in lower right corner; titled, dated and annotated by the photographer in black crayon on the verso. 2.000 € 136

Marta Hoepffner was an artist known for her innovative „Farb interferenzbilder“ series, created in the mid-1960s, which featured geometric forms and a harmonious interplay of pastel and vibrant colors. Her work demonstrates a unique fusion of art and science, captivating viewers with its dynamic optical effects. Lit.: Eva Scheid (ed.). Lichtbilder - Bilder des Lichts. Marta Hoepffner. Fotokünstlerin und Pädagogin. Hofheim am Taunus 1997, see pp. 50-67. Brigitte Behrens/Ulrika Jäger. „Lichtbilder - Bilder des Lichts. Marta Hoepffner und Ihm Schoffers“ in: Die Frauenfeder No 2, Drumlin Verlag, Weingarten 1986, p. 135-175.

4179

m a rta hoepffner 4179 „Räumliche Strukturen II“. 1979. Chromogenic print on Kodak paper. 21,5 x 21,2 cm. Tipped in edges to card, signed, titled by the photographer in pencil below the image on the mount; titled and dated by the photographer in pencil and photographer‘s label on mount verso. 2.000 € Lit.: Eva Scheid (ed.). Lichtbilder - Bilder des Lichts. Marta Hoepffner. Fotokünstlerin und Pädagogin. Hofheim am Taunus 1997, see pp. 50-67. 137

him a l ayas 4180* Photographer: Vonderthann, Berchtesgaden. Himalaya Mountains. 1930s. 5 vintage gelatin silver prints on Agfa-Brovira paper. Various sizes between 30 x 25 cm and 26 x 34,4 cm (39,5 x 30 cm). Each with printed title/photo data and photographer‘s logo on verso. 600 €

4180

horst p. horst (1906–1999)

4181 „Gertrude Stein and Horst, Paris“. 1945/ printed later. Gelatin silver print. 34,4 x 27,1 cm. Mounted to board (50,7 x 40,6 cm). Signed in felt-tip pen on mount recto lower right; signed, titled, dated and dedicated by the photographer and photographer‘s copyright stamp on mount verso. 1.200 € Horst P. Horst‘s work is characterized by his ability to capture the essence of his subjects, whether they were iconic Hollywood stars, fashion models, or cultural luminaries. His portraits exude a sense of sophistication, marked by meticulous attention to lighting, composition, and detail. His portraits of Gertrude Stein taken during the 1940s, reveal a deep connection between photographer and subject, showcasing Stein‘s unique charisma and her strong character. Lit.: Richard J. Horst/Lothar Schirmer (eds.). Horst. Sixty Years of Photography. Munich 1996, ill. pl. 82 (variant).

138

4181

4182

horst p. horst 4182 „Coco Chanel, Paris“. 1937/printed later. Platinum palladium print on Strathmore Carbon paper. 24,5 x 18 cm (35,4 x 28 cm). Signed by the photographer in pencil in lower margin; signed by the photographer in pencil on verso. 2.500 €

Horst P. Horst‘s portraits of Coco Chanel epitomize timeless elegance, cementing her status as a fashion icon through her sophistication and influence on the world of style. Lit.: Horst P. Horst. Photographien aus sechs Jahrzehnten. Munich 1995, ill. plate 2. Provenance: Uta and Wilfried Wiegand Collection

139

george hoy ningen-huene (1900 –1968)

4183 „Horst Torso, Paris“. 1931/printed later. Rotogra-

vure mounted on board. 21 x 23 cm (34,2 x 36,8 cm). Dated, titled and annotated by another hand in pencil on mount verso. 800 €

George Hoyningen-Huene, a pioneering fashion photographer known for his innovative approach blending art, sculpture, and classicism, left an indelible mark on mid-20th-century fashion photography. In this portrait of fellow fashion photographer Horst P. Horst, Hoyningen-Huene highlights elegance, aesthetics, and avant-garde sensibilities, employing classical allusions and dramatic lighting to craft sculptural depth and threedimensional impact. Lit.: William A. Ewing. The Photographic Art of HoyningenHuene. London 1986, ill. pl. 58. 4183

eugene hutchinson (1880 –1957)

4184 Portrait of the dancer Anna Pavlova. 1915.

Vintage matte toned gelatin silver print. 24,2 x 19,5 cm. Photographer‘s stamp in lower right, dedicated to her friend, the painter Giuseppe Gaudenzi and signed by Pavlova (1916) in ink in mid lower portion; annotated in pencil on the verso. 900 € The American photographer Eugene Hutchinson began exhibiting in photographic salons in 1906 and moved to Chicago in 1910, where he opened two offices. In the 1910s, he became interested in dancers as subjects, cultivating enduring relationships with Anna Pavlova, Adolph Bolm, Ruth Page, and the Pavley-Oukrainsky dance troupe. This striking and atmospheric portrait of Anna Pavlova shows her in elegant day wear with a swooping hat as opposed to the dance costumes she often posed in.

4184 140

4185

eikoh hosoe (b. 1933)

4185 „Embrace #29“. 1971. Vintage gelatin silver print. 16,4 x 24,2 cm (24 x 30 cm). Signed by the photographer in pencil in lower right corner of margin recto; signed, titled and dated by the photographer in pencil on verso. 3.000 € Eikoh Hosoe‘s „Embrace“ series is a renowned body of work in which the photographer explores themes of human connection, sensuality, and the complex interplay between bodies and emotions. Created in collaboration with the butoh dancer Tatsumi Hijikata, the series captures the intimate and often unsettling interactions between the dancer and his counterpart. These images are marked by a raw, intense, and surreal quality, blurring the lines between dance, performance, and photography. 141

4186

izis

(Israel Bidermanas, 1911–1980)

4186 „Jardin de Tuilleries, Paris“. 1948/printed 1970s. Gelatin silver print. 33 x 26,9 cm (40,4 x 30,4 cm). Signed by the photographer in ink in margin lower right; signed, titled and dated by the photographer in pencil on verso. 1.200 € 142

Izis Bidermanas, known simply as „Izis,“ was a Lithuanian-born French photographer renowned for his poetic and humanistic approach to photography. His evocative and emotionally charged photographs captures the essence of everyday life in Paris and beyond. The image featured here served as the cover for the book „Grand Bal du Printemps,“ which he co-authored with Jacques Prévert in 1951. Lit.: Marie de Thezy. Izis Captive Dreams: Photographs 1944– 1980, London: Thames and Hudson. 1993. p. 111.

da niel k a ne (b. 1954)

4187* „Ed“. 1987. Vintage gelatin silver print. 17,6 x 23,8 cm. Signed, dated and numbered 2/6 in pencil, with the photographer‘s stamp on verso. 750 €

4187

4188* „Sven & Federico“. 2013. Gelatin silver print. 25,2 x 20,2 cm. Signed, dated and numbered 2/3 in pencil, with the photographer‘s stamp on verso. 750 €

4188

da niel k a ne

4189

4189* „Christo“. 2016. Gelatin silver print. 25,2 x 20,2 cm. Signed, annotated and numbered 1/7, in pencil on verso. 800 € 143

fritz kempe (1909–1988)

4190 Otto Steinert. 1970. Silver gelatin print. 37,3 x 27,1 cm (39,5 x 28,5 cm). Signed, titled and dated by the photographer in felt-tip pen, with photographer‘s copyright stamp and negative number in pencil on verso. 600 € Fritz Kempe‘s portrait photography is a masterful exploration of human expression and emotion, capturing the essence of his subjects with a unique blend of intimacy and artistic flair, inviting viewers to connect with the personalities and stories behind each face. In this image the German photographer Otto Steinert (1915-1978) is depicted, one of the key proponents of the „Subjective Photography“ movement, who played a significant role in the development of post-war European photography.

4190

fritz kempe 4191 Max Bill. 1967. Vintage gelatin print. 37 x 29,4 cm (39,4 x 29,4 cm). Signed, titled and dated in felt-tip pen, with photographer‘s copyright stamp on verso. 600 € This portrait by Fritz Kempe features Max Bill (1908–1994), a Swiss architect, artist, designer, and educator who left a lasting impact on art and design. Max Bill was a prominent figure in the Bauhaus movement and played a pivotal role in popularizing the Swiss Style in graphic design, making him a multifaceted and influential contributor to various creative fields.

144

4191

4192

astrid kirchherr (1938–2020)

4192 „Paul McCartney, Heiligengeistfeld, Hamburg“. 1960/ printed later. Ferrotyped gelatin silver print on doubleweight paper. 30,2 x 39 cm. Signed by the photographer in silver pen lower left. 900 € Astrid Kirchherr‘s portraits of Paul McCartney in Heiligengeistfeld, Hamburg, reveal a captivating glimpse into the early days of The Beatles and their transformative years in Germany. These images not only provide a historical record of The Beatles‘ formative period but also underscore Kirchherr‘s role as a pioneering photographer who helped shape the band‘s image and contributed significantly to their enduring cultural impact.

4193 John Lennon. 1962/printed 1990s. Large-format dye transfer print. 57,5 x 49,2 cm. 900 €

4193 145

4194

a ndré kertész (1894–1985)

4194 „Vermont“. 1937. Vintage gelatin silver print. 25,3 x 20,4 cm. Photographer‘s copyright stamp, titled and dated by the photographer in pencil on verso. 2.500 € 146

André Kertész‘s photographs of Vermont offer a glimpse into his fascination with rural landscapes and everyday life of American communities. In the 1930s, he spent time in Vermont, capturing the charm of this rural state in his signature style. His Vermont photographs often feature serene countryside scenes, old farm houses, winding roads, and the simplicity of rural life. Lit.: Ducrot, Nicolas. André Kertész: Sixty Years of Photography. London: Penguin books, 1978, ill. p. 205.

4195

a ndré kertész 4195 Woman in traditional attire. Circa 1930. Vintage

gelatin silver print. 32 x 14,7 cm. Photographer‘s Boulevard Montparnasse studio- and copyright stamp on verso. 2.500 €

André Kertész is celebrated for his innovative photographic practice, marked by a keen eye for everyday life captured from distinctive angles. His body of work includes striking portraits of women donning traditional attire from various cultures. These portraits serve as a testament to Kertész‘s artistic versatility and his ability to convey the richness of different cultures while capturing the essence of his subjects with an unconventional and emotionally resonant approach. 147

4196

jürgen kl auke (b. 1943)

4196 Images from the series „The Big Sleep“. 1989–90.

2 Ilford Cibachrome prints with color screen print. Each circa 67 x 50 cm. Each signed and editioned 3/20 by the photographer on the verso. Each mounted in mat and framed under glass. 1.200 € 148

Jürgen Klauke‘s work is characterized by its provocative and often controversial exploration of gender, identity, and the human body through photography, performance, and video art. He is known for pushing the boundaries of traditional artistic expression, challenging societal norms and conventions.

4197

ba rba ra klemm (b. 1929)

4197 Leonid Breschnew with Willy Brandt in Bonn. 1973. Vintage ferrotyped gelatin silver print. 29 x 39 cm. Photographer‘s/copyright 6 Frankfurt/Main Brüder-Grimm-Strasse 39 stamp and annotated by the photographer in pencil on the verso. 2.000 €

Barbara Klemm, the highly acclaimed German photojournalist, has made extraordinary contributions to the field of documentary photography. Her work not only captured historical events but also provided a valuable glimpse into the intricacies of Cold War politics and diplomacy, leaving a lasting impact on the field. – With: Some newspaper clippings pertaining to the event. 149

4198

herlinde koelbl (b. 1939)

4198* Images from the „Starke Frauen“ series. 1996. 2 vintage gelatin silver prints. Each circa 49,2 x 48,6 cm (60,8 x 51 cm). Each signed and dated by the photographer in pencil in margin lower right; photographer‘s stamp on verso. 1.500 € Herlinde Koelbl‘s series „Starke Frauen“ (Strong Women) is a powerful and thought-provoking exploration of female strength and resilience. In this project, Koelbl delves into the lives of women from various backgrounds and professions, highlighting their individual stories and the challenges they have overcome. Lit.: Herlinde Koelbl. Starke Frauen. Munich 1996.

tom krausz (b. 1951)

4199 150

4199 „Amerikanischer Seeadler“. 2021. Pigment print on Fine Art Hahnemühle Baryta paper. 51,6 x 41,3 cm (59,3 x 42 cm). Photographer‘s blindstamp in upper margin; signed, titled and dated in felt-tip pen and photographer‘s stamp on the verso. From an edition of 20. 800 €

4200

wolfga ng krolow (1950 –2019)

4200 Kreuzberg, Berlin. Circa 1975. Vintage gelatin silver print. 27,2 x 38,5 cm. Signed by the photographer in pencil on the verso. 500 € Wolfgang Krolow‘s photographs of Berlin are a visual chronicle of the city‘s ever-evolving identity and history. With a keen eye for capturing urban life, Krolow‘s images offer a compelling glimpse into its streets, architecture, and the people who inhabit them. His work often combines elements of documentary and street photography, portraying the city‘s rich cultural tapestry.

4201 Portrait of the photographer Jewgeni Chaldej. 1980s. Vintage gelatin silver print. 17,7 x 23,9 cm. With the photographer‘s copyright stamp on exhibition label on verso. 500 €

4201

151

wolfga ng krolow 4202 Ku‘damm Eck, Berlin. 1980s. Vintage gelatin silver print. 40 x 27,3 cm. Signed by the photographer in pencil and photographer‘s/copyright stamp on the verso. 600 €

eva kroth (b. 1948)

4203 Women in lingerie. 1970s. Vintage gelatin silver print on toned RC paper. 25,8 x 35,6 cm (30 x 39 cm). Signed and copyrighted by the photographer in pencil in margin lower right. 400 € Eva Kroth‘s portraits of women serve as a compelling testament to her skill in delicately navigating the intricate interplay between sensuality and vulnerability. Kroth‘s work speaks to the nuanced and multifaceted nature of women, providing viewers with a window into their inner world. Lit.: Eva Kroth. Ansichten von Frauen. Frankfurt/M. Zweitausendundeins1982.

4202

4203 152

4204

k a rl l agerfeld (1933–2019)

4204* „Lola & Medi at Kumpelnest“ from „Off the Record“ (1994). 1992/ printed later. Pigment print. 40,3 x 30,6 cm (59,5 x 41,9 cm). Annotated in pencil on recto and verso. 800 € The iconic German fashion designer and creative director Karl Lagerfeld was also a skilled photographer, known for his distinctive style that blended fashion, art, and culture in his work.

In „Off the Record,“ a book published in 2014, Lagerfeld shares candid and behind-the-scenes images, offering an unfiltered glimpse into his life, creative processes, and personal interests. Departing from his stylized fashion photography, this project showcases Lagerfeld‘s versatility as an artist, capturing the essence of various subjects, from fashion models to celebrities and cultural figures. Lit.: Karl Lagerfeld. „Off the Record“. Zürich: Scalo Publishing, 1994, ill. (variant). 153

lou l a ndauer (1897–1991)

4205 Photogram of oat grass. 1942. Vintage gelatin silver print. 24 x 18 cm. Photographer‘s estate stamp on the verso. 400 € Born in 1897 in Cologne, Lou Levi married Georg Landauer, a prominent Zionist politician, in 1923 after attending the Commercial Academy in Cologne. Her passion for photography led her to the Staatliche Fotoschule in Munich in 1928/29. She continued her photographic studies in Berlin, at the Lette Verein, and in 1934, she immigrated to Palestine with her husband and parents. Lou Landauer worked as a press photographer for the Jüdische Rundschau, still published in Berlin at the time, and later as a photography teacher at the Bezalel Hechadash, the new arts and crafts school in Jerusalem. In 1949, she relocated to the USA, where she pursued a career as an advertising photographer and experimented with the Carbro process before transitioning to an assistant librarian position at the Leo Baeck Institute in New York. Provenance: From a descendant of the photographer

4205

lou l a ndauer 4206 Stapelia. 1944. Vintage matte gelatin silver print on strong paper. 28 x 23,5 cm. Annotated and dated by the photographer in ink/pencil and photog rapher‘s Jerusalem stamp on the verso. 500 € Provenance: From a descendant of the photographer

4206 154

4207

lou l a ndauer 4207 „Double Callas“ (multiple exposure). 1949. Vintage matte gelatin silver print on strong paper. 33,8 x 27 cm. Annotated, titled, dated and monogrammed by the photographer in ink/pencil on the verso. 750 € Provenance: From a descendant of the photographer 155

4208

robert lebeck (1929–2014)

4208 „Romy Schneider in Zwettl“. 1976/printed later. Large-format gelatin silver print. 32 x 48 cm (41 x 51 cm). Signed, titled, dated by the photographer in pencil and photographer‘s stamp on the verso. 1.000 € Robert Lebeck was a distinguished German photographer celebrated for his influential documentary and portrait photography. His career spanned several decades and encompassed a wide range of subjects, including politics, culture, and society. Lebeck‘s work often captured pivotal historical moments and iconic figures, making him a prominent figure in the world of photojournalism. Robert Lebeck‘s portraits of Romy Schneider, taken during the filming of „Group Portrait with a Lady“ in the late 1970s, offer an intimate and multifaceted portrayal of the iconic actress, capturing her beauty, vulnerability, and complexity.

156

4209

robert lebeck 4209 Portraits of prisoners at JVA Fuhlsbüttel/ Hamburg. 1976. 3 vintage gelatin silver prints on Agfa paper. Circa 19,5 x 29 cm (24 x 30,5 cm). Each with Stern stamp with photographer‘s name and mimeographed press text on the verso. 500 €

kl aus lehna rtz (1936–2008)

4210 Kreuzberg, Kloedenstrasse. 1964. Vintage ferrotyped gelatin silver print. 23 x 17,4 cm. Photogra pher‘s stamp, typed title and date on the verso. 500 €

4210

Klaus Lehnartz, a highly regarded German photojournalist, contributied notably to the field by skillfully documenting a wide range of subjects, from political events to everyday life. He distinguished himself by portraying Berlin‘s evolving landscape during the German division. 157

4211

herbert list (1903–1975)

4211

Fishermen, Audierne, St. Finistère, Brittany. 1950s. Vintage ferrotyped gelatin silver print on AgfaBrovira doubleweight paper. 23,2 x 29,6 cm. Photographer‘s stamp, estate stamp, therein negative number in pencil and annotated in pencil on the verso. 1.400 € Herbert List, a prominent German photographer, is renowned for his pioneering contributions to 20th century photography. His poetic and evocative travel photographs often transcend mere documentation by conveying a sense of timelessness and wonder. List’s images reveal the essence of a place and its people making his travel photography a significant and enduring part of his artistic legacy.

4212 158

4212 Church doorway, Rome. 1950s. Vintage ferrotyped gelatin silver print on Agfa-Brovira doubleweight paper. 29,7 x 23,2 cm. Estate stamp, therein negative number in pencil on the verso. 1.300 €

4213

4214

herbert list 4213 Exercise class at Loges School. 1960s. 2 vin tage gelatin silver prints on Agfa-Brovira paper. Each 21 x 29 cm. Each with photographer‘s stamp on the verso. 750 €

4214 Jean Cocteau, Paris. 1948. Vintage gelatin silver print on Agfa-Brovira paper. 23 x 28,5 cm. Pho togr apher‘s/copyright stamps and annotated in ink/ pencil on the verso. 1.000 € Herbert List‘s portraits of Jean Cocteau, the acclaimed French writer, artist, and filmmaker, are a testament to List‘s ability to capture the essence of his subjects, conveying the multifaceted persona of Cocteau through evocative and thought-provoking imagery. Lit.: Max Scheler/Matthias Harder (eds.). Herbert List. The Monograph. Munich 2000, ill. p. 205 (image from the same sitting). Provenance: Uta and Wilfried Wiegand Collection 159

4215

count fra nz von l a risch-moennich (1878–1937)

4215

„Tropische Wolkenpracht“. Circa 1910. Vintage platinum print flush-mounted to cardboard. 31,5 x 41,5 cm (40 x 50 cm). Signed, titled and annotated by the photographer in ink on mount verso; annotated by another hand in pencil on verso. 900 €

160

Franz Count of Larisch-Moennich‘s captivating seascapes originated from his extensive journeys across the Atlantic, Indian, and Pacific oceans from 1909 to 1914, during which he meticulously studied the ocean‘s dynamics. Count Larisch embraced substantial challenges, navigating even the most turbulent waters and engineering a specialized waterproof housing for his camera to shield it from the relentless waves. These resulting photographs, like this tranquil tropical ocean vista, captivated not only the artistic community but also marine experts, intriguing them with his unique perspective on the sea‘s movement.

4216

gilles lorin (b. 1973)

4216 „La Vanité du pouvoir“. 2018. Platinum-palladium on Japanese gampi from Kochi Prefecture (Shikoku Island). 48 x 60 cm (57 x 69 cm). Signed and numbered 1/5 by the photographer in pencil in lower margin. Limited edition of 5 AP. Mounted under museum glass in wooden frame. 2.800 €

Gilles Lorin, originally educated in art history, archaeology, and economics at the universities of Chicago and Paris, later became an expert in Japanese art at Christie‘s in London. However, a life-altering car accident reshaped his perspective, leading him to create art that embodies a transcendental view of the world. His works, characterized by subtlety, timeless beauty, and universal spirituality, are meticulously crafted using printmaking techniques, informed by deep knowledge of historical printing methods, materials, and photographic processes. Provenance: Acquired directly from the artist by the current owner. 161

4217

ulrich m ack (b. 1934)

4217

Image from the series „Stille“. 1979. Dye transfer print. 25,5 x 36 cm (44 x 53,7 cm). Signed and editioned 30/100 by the photographer in pencil and photographer‘s blindstamp in lower margin; photog rapher‘s/copyright stamp, several edition stamps and pencil notations on the verso, hinge-mounted along upper edge in archival mat. 500 € 162

Ulrich Mack is celebrated for his innovative contributions to photography, particularly in abstract and conceptual photography. His work delves into the interplay of light, form, and texture, creating visually captivating and thought-provoking compositions. In „Stille, Weite, Ferne, Nähe“ („Silence, Expanse, Distance, Proximity“), he pays homage to nature and the world of objects through powerful color photographs that showcase the silent grandeur of the environment, where water, wind, and light converge on the coastlines of Northern Germany and New England, USA.

4218

m a n ray

(Emmanuel Radnitzky, 1890 –1976)

4218

Rayographs. 1924/1928. 2 gelatin silver prints, printed 1980s. 27,8 x 20,8 cm (30,6 x 23,8 cm). Both prints annotated in pencil on verso, one print annotated Man Ray in pencil and with the photographer‘s studio stamp and one with A.D.A.G.P. Paris stamp, both with Tirage original réalisé par Pierre Gassmann stamp and Foto von einem Fotogramm stamp on the verso . 1.200 €

Man Ray‘s rayographs involved placing objects directly onto photosensitive paper and exposing them to light, resulting in ethereal and often abstract compositions. This technique allowed him to explore the interplay of light and shadow, shape and form, in a way that challenged conventional photography. Offered here are two photographs of Man Ray‘s photograms made by Pierre Gassmann. The original prints of these works are in the collection of the Museum of Modern Art in New York.

163

4219

robert m a pplethorpe (1946–1989)

4219

„Dennis Speight, New York City“ from „Portfolio Z“. 1980/printed later. Gelatin silver print. 35 x 35 cm (50,8 x 40,6 cm). Signed and editioned 6/15 by the photographer in ink in lower margin, edition/ copyright stamp, therein signed and numbered by the photographer in ink and titled, numbered and dated in pencil in lower edge on verso, framed under glass in silver gilded wooden frame. 9.000 € 164

Robert Mapplethorpe‘s oeuvre is distinguished by his meticulous black-and-white photography, which explores themes like sexuality, beauty, and the human form. His work pushes the boundaries of artistic expression and has left a significant mark on the world of photography. This work is from Mapple thorpe‘s notorious „Z“ portfolio, notable for its explicit exploration of sexuality, which challenged societal norms and prompted debates about artistic freedom and censorship. It remains a pivotal part of the artistic discourse on these themes. Lit.: Robert Mapplethorpe. Black Males. Galerie Jurka, Amsterdam 1980, illustrated.

4220

ol a f m a rtens (b. 1963)

4220 „Marie, Friderrike, Montageplatz. Mitteldeutsche Braunkohle, Rackwitz“. 1992. Pigment print on thick paper. 45 x 29,9 cm (60 x 50 cm). Signed, titled and dated by the photographer in pencil on the verso, hinge-mounted to window mat. 750 €

Olaf Martens is an internationally acclaimed German photographer whose artistry extends to both fashion and photojournalism, garnering recognition on a global scale. He is known for his distinctive approach to capturing subjects through the exploration of contrasts, which adds depth and narrative richness to his work. Since the late 1990s, he has produced photographs for international PR and advertising campaigns while contributing to a wide array of publications. 165

4221

ol a f m a rtens 4221 „Durchblick“. 2014. Pigment print on thick paper. 34,6 x 45,8 cm (50 x 60 cm). Loose in mat, signed, titled and dated by the photographer in pencil on mat verso. 750 € 166

w ill mcbride (1931–2015)

4222 Barbara pregnant. 1960. Vintage gelatin silver print. 49,5 x 38,2 cm. Flush-mounted to board, various annotations in ink/pencil and layout marks on the verso. 750 € Will McBride, an esteemed American-German photographer, is renowned for his impactful and unvarnished documentary photography. McBride‘s oeuvre often delved into themes of youth, sexuality, and the human condition, and he is celebrated for his compassionate and genuine portrayal of his subjects. His photographs offer a compelling and unfiltered window into diverse facets of life, encompassing documentation of cultural and societal shifts as well as capturing the essence of individuals and their emotions. The featured image, an iconic work by McBride from the 1960s, stirred some controversy upon its publication in Twen with the article „Mein Kind kommt,“ due to its open and natural representation of a young woman‘s pregnant body. Lit.: Will McBride. I, Will McBride. Cologne 1997, ill. p. 145.

4222

w ill mcbride 4223

John F. Kennedy in the Oval Office, Washington. 1963/printed later. 2 gelatin silver prints. 28 x 19 cm (30,5 x 24 cm) and 19 x 28 cm (24 x 30,5 cm). Each signed, annotated and dated by the photographer in pencil on the verso. 600 €

4223

This series of photographs was captured in 1963 during an interview between President Kennedy and Karl-Heinz Hagen, who served as the chief editor of the German magazine Quick. 167

w ill mcbride (1931–2015)

4224 Boys playing in the sand. 1950s. Vintage ferrotyped gelatin silver print on Agfa-Brovira paper. 30 x 24 cm. Annotated in ballpoint pen on the verso. 500 € 4225

„Jungs schmeißen Wasser auf sich, Schule Schloss Salem“. 1963/printed 1990. Gelatin silver print. 36 x 54 cm (50,5 x 60,5 cm). Signed, titled, dated and editioned 1/12 by the photographer in pencil and col lector‘s stamp on the verso. 2.500 € Will McBride‘s photographs of Schule Schloss Salem capture the everyday life and educational activities at the progressive co-educational boarding school in Germany during the 1950s, characterized by their candid and documentary style. Provenance: Directly from the photographer to the present owner.

4224

4225 168

4226

w ill mcbride 4226 „Mike schmeißt Wasser auf sich, Schule Schloß Salem“. 1963/printed 1990. Gelatin silver print. 53,5 x 36 cm (60,5 x 51 cm). Signed, annotated, dated and numbered 1/12 by the photographer in pencil and collection stamp on the verso. Matted. 2.500 € Provenance: Directly from the photographer to the present owner. 169

4227

w ill mcbride 4227 „Indian Boys in Ganges, near Benares“ (for Twen). 1959/printed 2012. Large-format Cibachrome print. 40 x 60 cm (50 x 70 cm). Signed, titled and dated by the photographer in marker on the verso. 2.000 € Color photographs by Will McBride are seldom on the art market. The vibrant colors of this large cibachrome print attest to his feel for color. Provenance: Directly from the photographer to the present owner.

170

4228 „Reinhard H. mit Socke, Casoli“. 1973/printed 2014. Archival pigment print on Hahnemühle rag paper. 66 x 43,5 cm (81 x 59 cm). 2.000 € In 1973 McBride took a series of male nudes in Casoli, Italy but never made prints from the slide negatives. At the request of an enthusiastic collector high quality pigment prints were made of a selection of the images in a small edition of 5 prints in 2014. The subtle colors and fine rendition of the skin‘s surface are extraordinary and show an undiscovered side of Will McBride‘s work. Lit.: Will McBride. Mein Italien. Munich 2003. ill. p. 161 (image of the same model). Provenance: Directly from the photographer to the present owner.

4228

171

4229

rich a rd misrach (b. 1949)

4229 „Boojum Tree / „Saguaro Cactus“. 1975-1976/ printed 1999. 4 Iris prints. Each 39 x 39 cm. Signed, titled, dated and numbered by the photographer in pencil on verso. 4.000 € 172

Richard Misrach is a prominent American photographer renowned for his extensive exploration of the American landscape, with a specific focus on the Sonoran Desert. In his „Desert Cantos“ series, he captures the desert‘s beauty, emphasizing its unique cacti species and resilient landscapes. Simultaneously, Misrach‘s work invites contemplation of the challenges faced by the desert ecosystem due to climate change and human influence, blending aesthetics with a critical examination of environmental issues. Lit.: Richard Misrach. Chronologies, San Francisco, Fraenkel Gallery 2005.

paolo monti (1908–1982)

4230 „Strada Secondaria, Pavia“. 1957. Vintage ferrotyped gelatin silver print on doubleweight AgfaBrovira paper. 37,5 x 25,5 cm. Unione Fotografica stamp and annotated by the photographer in pencil on the verso. 600 € Lit.: Paolo Zanzi. Paolo Monti. Fotografia. Nei segreti della luce tra le cose. BEICU/Fon. e Enrico Monti 2010.

4231 Luna Park, Venice. 1949. Vintage ferrotyped gelatin silver print on doubleweight Agfa paper. 25,5 x 23,3 cm. Photographer‘s signature stamp on the verso. 600 € Lit.: Paolo Monti. Fotografie 1950-1980. Milan 1993, illustrated. Paolo Zanzi. Paolo Monti. Fotografia. Nei segreti della luce tra le cose. BEIC/Fon. e Enrico Monti 2010.

4232 Marino Marini in his studio, Milan. Circa 1963. Vintage ferrotyped gelatin silver print on doubleweight Agfa paper. 27,3 x 23,6 cm. Photographer‘s Corso Semplone, 28, Milano copyright/studio stamp and annotated in pencil and ink on the verso. 750 € Lit.: Paolo Monti. Fotografie 1950-1980. Milan 1993.

4231

4230

4232 173

a lbrecht mey denbauer (1834–1921)

4233 Messbild photographs of Eltz Castle, Magdeburger Dome, Limburg Dome, St. Lambert‘s Church Münster, and Cologne Cathedral. 1910s. 5 vintage gelatin silver prints. Each circa 38 x 38,8 cm. Each annotated in pencil and Cologne image with stamps on the verso and AUSSCHUSS perforated stamp in lower right. 400 € Lit.: Rudolf Meyer (Hrsg.). Albrecht Meydenbauer. Baukunst in historischen Photographien. Leipzig 1985.

4233

m a rtin munk ácsi

(1896–1963)

4234 Horseback riding at Wannsee. 1930s. 2 vintage ferrotyped gelatin silver prints on doubleweight paper. Each circa 24,5 x 30 cm. Each with photographer´s stamp on verso. 600 €

4234 174

Martin Munkácsi stands as a pioneering figure in the realms of fashion and sports photography. His groundbreaking work reshaped the world of fashion photography by liberating models from the confines of the studio, capturing their dynamic grace in outdoor settings.

4235

m asa a ki na k agawa (1943–2005)

4235 Nude.1978. Vintage ferrotyped gelatin silver print on RC paper. 12 x 16,6 cm. 500 € Nakagawa Masaaki‘s nude photography is a profound exploration of the human form and its connection to the surrounding environment. His lens skillfully captures the subtle interplay of light and shadow on nude bodies, resulting in images that are both sensual and contemplative.

nasa 4236 Photographer: Neil Armstrong. „Edwin Aldrin deploys the Solar Wind Composition Experiment on the surface of the Moon“. July 20-21,1969. Vintage ferrotype gelatin silver print. 19,7 x 18,5 cm (25,5 x 20,3 cm). Typed press text in lower margin in the negative. 400 €

4236 175

floris m. neusüss (1937–2020)

4237 „Körperbild/Fotogramm, Kassel“. 1975. Vintage unique gelatin silver print on Leonar-autocop (auto-reversal) paper. Circa 250 x 51,5 cm. Signed and dated by the photographer in pencil lower right corner. 9.000 € Floris Neusüss is renowned for his pioneering contributions to cameraless photography, notably in the creation of photograms. He started producing photograms of the human body in 1960. These life-size, artistic renditions of the human form are a major part of Neusüss‘ work and such early prints as this are extremely rare and unique. This particular print, dating from his time in Kassel, showcases his innovative technique of applying developer with a sponge, resulting in a more painterly and dynamic quality that adds to the uniqueness of his work. – With: Floris M. Neusüss producing a full nude body image as photogram. Berlin 1963. Vintage gelatin silver print. 16,7 x 15,5 cm (23,5 x 17,7 cm). Annotated and signed by the photographer in pencil on the verso. - A few light handling marks, otherwise in good condition. Lit.: T.O. Immisch (ed.). Floris Neusüss. Körperbilder. Fotogramme der sechziger Jahre. Halle 2001.

4237 176

4237

4238

floris m. neusüss 4238

Full body silhouettes („Körpergramme“), reproduction prints. 1965. 3 vintage gelatin silver prints. Each circa 40,3 x 30,5 cm. Each dated and annotated by the photographer in pencil, photographer‘s stamp as well as Foto von einem Fotogramm stamp on the verso. 750 € 177

floris m. neusüss 4239 Atelier Kurt Mühlenhaupt. 1962/printed later. 2 gelatin silver prints. Each 22,5 x 17,5 cm (25,2 x 20,2 cm). Each dated by the photographer in pencil and with photographer‘s stamp on the verso. 400 €

4239

floris m. neusüss 4240 „Sabine, München“. 1965. Vintage gelatin silver print on Agfa paper. 30 x 24 cm. Signed, titled and dated by the photographer in pencil and photog rapher‘s stamp on the verso. 500 € 178

4240

floris m. neusüss 4241

Tellerbild (Plate picture). 1966. Vintage unique gelatin silver photogram. 59 x 42 cm. Signed by the photographer in pencil in lower right corner; signed, titled and dated by the photographer in pencil on the verso. 2.000 €

4241

floris m. neusüss 4242 Rondanini Medusa, Glyptothek, Munich. 2002. Vintage gelatin silver after a photogram. 36 x 17 cm (40,2 x 30,5). Signed, titled and dedicated by the photographer in pencil and photographer‘s stamp on the verso. 600 €

4242 179

floris m. neusüss (1937–2020)

4243 Flower photogram. 2007. Cibachrome print. 30,2 x 25,2 cm. Signed, dated and titled by the photographer in black marker on the verso. 750 € In addition to his remarkable body photograms, Neusüss left a lasting impression with his creative flower photograms, in which he placed flowers directly on photosensitive paper, exposing them to light to craft visually striking and abstract compositions.

kl aus nierm a nn (b. 1951 )

4243

4244 180

4244 „New York City“. 1976/printed later. Fine art pigment print. 63,5 x 97 cm. Photographer‘s blind stamp lower right; signed, dated and editioned 1/10 by the photographer in felt-tip pen/pencil on the verso. 400 €

4245

hel mut new ton (1920 –2004)

4245 „Sumo“. Edited by June Newton. With 460 full page illustrations after photographs, partly in color. 70 x 50 cm. Original white silk cloth over wooden boards and with photographic illustration on dust jacket (some traces of use in edges); printer‘s colophon signed in blue crayon by Helmut Newton. Cologne et al., Benedikt Taschen, 1999. 3.000 €

Helmut Newton‘s „Sumo“ is a remarkable collector‘s book published in 1999. It is one of the most monumental photography books ever created, measuring 70 x 50 cm and weighing around 30 kilograms. This limited, first edition with only 10,000 copies produced, showcases a comprehensive retrospective of Newton‘s iconic fashion and erotic photography.

181

4246

ki yoshi nii ya m a (1911–1968)

4246 „In Yokohama (Abstraction)“. 1960. Vintage gelatin silver print. 30,5 x 21,3 cm (53 x 42,8 cm). Number V on verso, in wooden frame. 2.000 € 182

Kyoshi Niiyama emerged as a significant figure within the Japanese amateur photography community in the post-war years. His photographic work was characterized by a dedicated exploration of abstract imagery, aligning with the principles of „subjective photography.“ Notably, German photographer Otto Steinert, a leading proponent of this photographic approach, played a pivotal role in introducing Niiyama‘s work to a global audience, thereby contributing to its international recognition and influence. Provenance: From Galerie Kicken to the current owner.

4247

ki yoshi nii ya m a 4247 „In Yokohama (Abstraction)“. 1960. Vintage gelatin silver print. 22 x 30,5 cm (42,8 x 53 cm). Number V on verso, in wooden frame. 2.000 € Provenance: From Galerie Kicken to the current owner. 183

4248

norm a n pa rkinson (1913–1990)

4248

Wenda Parkinson, British Vogue cover, June 1954. Printed late 1980s. Dye transfer print. 49,5 x 43,5 cm (58 x 48 cm). Unsigned, with printer‘s stamp and signed by the printer in pencil on the verso. 1.800 € Norman Parkinson was a highly influential British fashion pho tographer known for his innovative and glamorous fashion

184

photographs. His work, spanning several decades, helped shape the fashion industry and capture the spirit of each era he photographed. Parkinson‘s style was characterized by his use of natural light, elegant compositions, and an ability to bring out the personality of his subjects, making them appear both sophisticated and approachable. His images of his wife Wenda not only reveal his subjects‘ beauty and personality but also reflect the photographer‘s ability to infuse a personal touch into his work, demonstrating his versatility as a photographer.

hil m a r pa bel (1910 –2000)

4249 China. 1956. Vintage ferrotyped gelatin silver print. 30 x 24 cm. ABC agency stamp, publisher‘s stamp and annotated by the photographer in pencil and other hands on the verso. 600 € Lit.: Illustrated in Quick 1956.

heinz von perckh a mmer (1895–1965)

4250 Female nude. 1932. Vintage gelatin silver print on chamois paper. 23,4 x 17,4 cm. Photogra pher‘s/copyright stamps and annotated in pencil on the verso. 500 € Lit.: Published in: Das Leben, July 1932, vol. 10, issue 1, titled „Das Kleid aus Nichts“ (variant).

4251 The Great Wall, China. Circa 1928. Vintage ferrotyped gelatin silver print. 23,7 x 17,4 cm. Photog rapher‘s/copyright stamp, press agency stamp and typed title on the verso. 300 €

4249

4250

4251 185

4252

george pl at t ly nes (1907–1955)

4252

Study from George Balanchine‘s „Orpheus“. 1950. Vintage gelatin silver print. 18,9 x 23 cm. Photog rapher‘s stamp on verso. 1.000 € 186

George Platt Lynes‘s photographs of ballet dancers are celebrated for their artistic and evocative quality, emphasizing grace, movement, and the human form in motion. His work in this realm reflects his profound comprehension of dance and his skill in capturing ballet‘s beauty and expressiveness through his camera lens.

4253

4254

fra ncesco ra dino

hedda reidt

4253 Chinese steelworkers. 1972. Vintage gelatin silver print on RC paper. 16 x 24 cm (30 x 40 cm). Signed, titled and dated by the photographer in ink in lower margin. 600 €

4254* Hands with ring. Circa 1925. Vintage gelatin silver print mounted to board (lifting off of mount). 12 x 17 cm (29 x 21 cm). Signed by the photographer in pencil below image, lower right on mount; photographer‘s stamp on print verso. 400 €

(b. 1947)

(1896–1972)

187

4255

a lbert renger-patzsch (1897–1966)

4255 „Hyacinthe“. Circa 1955 / printed before 1962. Gelatin silver print on Agfa-Brovira paper. 38 x 28 cm. Photographer‘s copyright stamp, titled/annotated in ink/pencil and Jubileum Tentoonstelling 1962 exhibition label on the verso. 7.000 € Albert Renger-Patzsch was a prominent figure in the „New Objectivity“ movement in the early 20th century. His photographic practice was marked by meticulous attention to detail

188

and a commitment to representing the beauty and formal qualities of ordinary objects, industrial landscapes, and nature through precise composition and clarity. His renowned flower still lifes exemplify his remarkable ability to unveil the essence and intricate details of botanical subjects, celebrating the artistry present in the natural world. This artwork was featured in the 1962 Jubilee Tentoonstelling, celebrating Amsterdam‘s 700th anniversary with a diverse display of cultural heritage. Another print of this work was part of a donation that the photographer made to the Museum of Modern Art in 1961.

4256

heinrich riebesehl (1938–2010)

4256 Tractors from „Agrarian Landscapes. 1970s.

4 vintage gelatin silver prints. Each 20 x 24,4 cm (23,8 x 30,5 cm). Photographer‘s stamp and annotated with detailed information on the tractors by the photographer in pencil on the verso. 3.000 €

Heinrich Riebesehl, often mentioned alongside American photographers like Robert Adams, William Eggleston, and Stephen Shore, was a pioneering German photographer known for his groundbreaking black-and-white comnceptual photographs, particularly exemplified in his series „Agrarian Landscapes.“ This series provides a detailed survey of the North German lowlands, showcasing fields, meadows, livestock, and farming equipment. While these subjects might typically be depicted in a romanticized manner, Riebesehl chose to portray his homeland with a distinctly sober and distant visual language, offering a unique perspective that diverged from traditional romanticized portrayals. Provenance: Robert Lebeck Collection 189

4257

leni riefensta hl (1902–2003)

4257 „Liebestanz“ (Two Kau Nuba girls dancing the Njertun, Kordofan, Sudan). 1975/printed later. Cibachrome print. 66 x 49 cm. Leni Riefenstahl Produktion stamp on the verso. 2.200 € In the later stages of her career, Leni Riefenstahl shifted her attention to photography, embarking on captivating journeys to Africa, notably Sudan and Ethiopia during the 1970s and 1980s. Her African photographs beautifully captured a rich

190

tapestry of indigenous tribes, stunning landscapes, and vibrant cultural rituals, providing a vivid portrayal of the region‘s people and traditions. Nonetheless, it‘s worth noting that her photography was met with some criticism, primarily due to concerns about potential cultural insensitivity, given her previous association with the Nazi regime. Lit.: Leni Riefenstahl, Die Nuba, Frechen 1999, ill. p. (cropped variant). Provenance: Directly from the photographer to the current owner.

leni riefensta hl 4258*

Self-portrait. Circa 1930. Vintage gelatin silver print (photo postcard). 11 x 8 cm (14 x 9,2 cm). Signed by the photographer in the negative in lower margin. 400 € This self-portrait captures Riefenstahl in a somber and dramatic style that mirrors the intense lighting seen in her later cinematic works. While her artistic talents were evident, her role in propaganda filmmaking remain subjects of significant debate and criticism.

k a rin rocholl 4259 Gerhard Richter in Kassel. 1989/printed 2023.

Gelatin silver print. 33,8 x 45 cm (40 x 50,3 cm). Signed, copyrighted, dated and titled by the photographer in pencil on the verso. 900 € The photojournalist Karin Rocholl is well-known for her extensive portfolio of portraits featuring cultural figures. Her ability to establish a close rapport with her subjects has frequently allowed her to capture elusive and prominent individuals in a more authentic and unguarded light. Lit.: Karin Rocholl. Prominente im Porträt. Der zweite Blick. Munich, ill. pp. 134-135.

4258

4259 191

4260

tata ronkholz

(Roswita Tolle, 1940 –1997)

4260 „Bochum-Wattenscheid Assenbruchstrasse“ from the ‚Trinkhallen‘ series. 1978. Vintage ferrotyped gelatin silver print on Agfa paper. 30,9 x 40,4 cm. Titled with archive number 81 and number notation 5/78 by the photographer in pencil on the verso. 2.500 € Tata Ronkholz, a significant figure associated with the Becher School and German objective photography in the 1970s and

192

1980s, is celebrated for her documentation of urban scenes in the Rhineland and Ruhr region, providing a visual record of postwar architecture and urban development. She primarily focused her lens on cities like Cologne, Düsseldorf, Essen, and others in the Rhine-Ruhr area. Her renowned series, „Trinkhallen“ (drinking halls), which she began in 1978, features photographs of shop window designs. Her photographic journey began while she was at the Staatliche Kunstakademie Düsseldorf, where she studied under Professor Bernd Becher, later becoming part of the influential Becher School, alongside other distinguished artists such as Andreas Gursky, Candida Höfer, Axel Hütte, Thomas Ruff, and Thomas Struth.

4261

tata ronkholz 4261 „Duisburg-Neudorf, Kammstrasse 131“ from the ‚Trinkhallen‘ series. 1978. Vintage ferrotyped gelatin silver print on Agfa paper. 30,5 x 40,4 cm. Number notation 65 by the photographer in pencil on the verso. 2.500 € 193

4262

mich a el schmidt (1945–2014)

4262 „Berlin-West“. 1982. Vintage large-format gela-

tin silver print. 54 x 67 cm (83 x 93 cm). Signed, titled, numbered and dated by the photographer in pencil on the verso, matted and framed in original artist‘s/ museum frame for Folkwang Museum, Essen exhibition, photographer‘s copyright label on frame verso, therein titled, numbered 2/6 and dated by the photographer in ink. 8.000 € 194

Michael Schmidt embarked on his lifelong photographic journey at the young age of 20, becoming renowned for his contributions to socio-documentary photography in Germany, characterized by a sober and reality-based style. In 1976, Schmidt established the „Werkstatt für Photographie“ in Kreuzberg, Berlin. His notable „Berlin series“ showcases the city in an empty, transitional state, cementing his position as a key figure in the „New Topographic Movement“ of German photography until his untimely death in 2014. Lit.: Michael Schmidt. Fotografien seit 1965. Folkwang Essen 1995, ill. front cover and pp. 112-113.

4263

mich a el schmidt 4263 „Berlin Wedding (Adolf-./Ecke Gerichtstraße)“. 1976/77. Vintage gelatin silver print on Agfa paper. 20,5 x 28 cm (23,8 x 30,3 cm). Signed, titled, dated and copyrighted by the photographer in pencil on the verso. Matted and in original artist‘s frame, photog rapher‘s copyright label on frame verso, therein titled and noted Vintage v. 77 by the photographer ink. 3.000 € Lit.: Michael Schmidt. Fotografien seit 1965. Folkwang Essen 1995, ill. p. 161. 195

4264

august sa nder (1876–1964)

4264*

Individual studio portraits. Circa 1902–1909. 3 vintage gelatin silver prints mounted to original studio board. Between 9,7 x 6,5 cm and 20,2 x 9,6 cm. Photographer‘s studio logo on recto and verso of mount. 600 €

4266

fra nz schensky (1971–1957)

4265* Helgoland in rough seas. 1912/printed later. Gelatin silver print. 17,8 x 24 cm. Photographer‘s blindstamp on lower right corner; copyright stamp on verso. 600 € Franz Schensky, a renowned German photographer, gained acclaim for his courageous commitment to documenting the dramatic landscapes of Helgoland, particularly under harsh weather conditions during the early 20th century. His evocative photograph, dated 1912, is aptly titled ‚Helgoland in Rough Seas,‘ reflecting his skill in capturing the island‘s rugged beauty and the relentless power of the sea.

dieter sch w erdtle (1952–2009)

4265 196

4266 Joseph Beuys planting the first tree for his „7000 Eichen“ project during the documenta 7 in Kassel. 1982. Vintage gelatin silver print. 34,5 x 2,5 cm (40,4 x 30,4 cm). Signed, titled and dated in pencil on verso. 400 €

4267

si a m 4267 Photographer: Emil Eduard Groote (1870–1948). Views of the Ceremonial Reception of His Majesty King Chulalongkorn of Siam (9) on the occasion of his return from his second (1907) trip to Europe and some landscape views. 1907. 15 vintage platinum prints. Most circa 10 x 12,5 cm and 12 x 16 cm. 2.000 € Apart from depicting a range of bustling canal and river scenes, this rare collection of photographs also features the religious

and military reception ceremony held in Bangkok on November 17, 1907, to welcome King Chulalongkorn back from his European journey. The grand procession moved through Rajdamnern Avenue, passing under elaborately constructed arches of honor, with enthusiastic participation from the public, turning the occasion into a joyous and festive celebration. Lit.: Joachim K. Bautze. Unseen Siam: Early Photography 1860– 1910. Bangkok 2016, compare p. 345, plate 9 and 10. Provenance: Estate of Georg Friedrich Wilhelm Rexhausen, Bangkok 197

4268

4269 198

erasmus schröter (1956–2021)

4268* „Frau 6“. 2001/printed 2014. Chromogenic print mounted to Dibond. 71 x 60 cm. Signed and editioned by the photographer in pencil on mount verso. One of an edition of 3, framed under glass. 1.200 €

backgrounds featuring the fading colors of East Germany‘s bygone era, Schröter skillfully navigates the balance between staged imagery and photographic documentation. Prints of the works in this series have been exclusively published in a limited edition.

Erasmus Schröter‘s subjects are not professional models. In his series, „Komparsen“ (Extras), the Leipzig photographer dedicates his focus to crafting universal portraits of ordinary, middleaged individuals. He discovers his subjects among the records of theater extras in his hometown, giving them a moment in the spotlight during his elaborate photoshoots. Enhanced by

4269* „Frau 23“. 2008/printed 2014. Chromogenic print mounted to Dibond. 57 x 67 cm. Signed and editioned by the photographer in ink on mount verso. One of an edition of 3, framed under glass. 1.200 €

4270

k ath a rina siev erding (b. 1941)

4270 „Die Sonne um Mitternacht schauen“, 2019/2021. 6 inkjet prints in Griffelkunst portfolio. Each 40 x 40 (47 x 43 cm). Signed and dated on title page with Griffelkunst label on verso of each print. 800 € Katharina Sieverding, a renowned German photographer and conceptual artist, is celebrated for her innovative use of photography in exploring self-portraiture, identity, and political the-

mes, often blending art with issues related to gender, power, and social structures. Her series „Die Sonne um Mitternacht schauen“ is rooted in NASA data tracking the sun‘s tectonic activities, which she has transformed into two films, proposing a concept of observing the sun from within the Earth. In doing so, she addresses contemporary and technological aspects related to the conditions and self-perception of the „global“ and „digitalized“ individual who constantly seeks to push boundaries. 199

raghubir singh (1942–1999)

4271 Untitled (Rajasthan). 1975/printed circa 1985. Dye transfer print. 35,3 x 23,3 cm (42 x 33,5 cm). With printer‘s stamp on the verso. 800 € Raghubir Singh, hailing from an aristocratic Rajput family in Jaipur, had his initial encounter with photography as a student when he came across Henri Cartier-Bresson‘s 1948 book, „Beautiful Jaipur.“ This discovery ignited his passion for photography, leading to a remarkable body of work that captures the essence of Indian culture and the evolving landscapes of the country. Today, Singh holds a prominent place in the history of early color photography, alongside celebrated photographers like William Eggleston, Stephen Shore, Joel Sternfeld, and Joel Meyerowitz.

4271

4272 200

4272 India, Rajasthan. Circa 1978/printed circa 1985. Dye transfer print. 24,5 x 37 cm (41 x 52 cm). Unsigned, with printer‘s stamp and signed by the printer in pencil on the verso. 1.200 €

m a x slevogt (1868–1932)

4273 Photographer unknown and Hugo Erfurth (1 photo postcard). Portraits of the painter Max Slevogt. 1918-1930. 15 vintage gelatin silver prints. Between circa 13,5 x 9 cm, 16 x 12 cm and 19 x 16 cm. Most mounted to card/matted. 500 € Max Slevogt was a highly influential German painter and printmaker renowned for his contributions to Impressionism and German Expressionism. Slevogt‘s work is characterized by its vibrant and atmospheric landscapes, often depicting gardens, sunlight, and leisure activities. He was also associated with the Berlin Secession and ventured into Expressionism during his career. The images comprise Max Slevogt painting in his studio circa 1930, Slevogt painting in 1918 outdoors as well a group portrait of the Berliner Secessionists and Slevogt‘s funeral.

4274 Photographer unknown. Portraits of the painter Max Slevogt. Mid-1920s. 7 vintage gelatin silver and 2 pigment prints. Between circa 12 x 8 cm, 14 x 9 cm and 21 x 16 cm. Most mounted to card/matted. 500 € The images comprise three close-up portraits of Max Slevogt as well as several images of the artist being modelled for a bust sculpture.

4273

4274 201

4275

4276

u w e steinberg

a lex stöcker

4275 „Abschied Elfriede Schielski“. 1971/printed later.

4276 Rhön Glider Competition. Early 1930s. Vintage gelatin silver print on strong chamois paper. 12 x 16,5 cm. Photographer‘s stamp, copyright/reproduction limitation stamps and typed press text label on the verso. 500 €

(1942–1983)

Gelatin silver print. 25 x 37,5 cm (27 x 39,5 cm). Titled and dated in pencil, with the photographer‘s stamp on verso. 600 € Uwe Steinberg, an exceptional photographer and chronicler of his time, skillfully navigated beyond the confines of official perspectives to capture the authentic essence of individuals. He harnessed photography as an autonomous medium, even within the constraints of a socialist context. Steinberg‘s extensive body of work, spanning various themes such as labor, daily life in the German Democratic Republic, and portraits of youth, serves as a testament to his discerning choice of subjects and his mastery of composition techniques.

202

(1896–1962)

Alexander Stöcker, a versatile German photographer, is celebrated for his diverse portfolio encompassing aviation, sports, and early 20th-century history, particularly his meticulous documentation of the groundbreaking 1930 Rhön Glider Competition, a pivotal event that spurred significant advancements in aviation and gliding. Provenance: The estate of the photographer

4277

k a rin székessy

(Karin Wunderlich, b. 1939)

4277 Joseph Beuys. 1960/printed 1980s. Matte gela-

tin silver print. 20 x 30 cm (30,1 x 40,2 cm). Signed by the photographer in pencil in lower margin; signed, titled and dated by the photographer in pencil on the verso. 600 €

Karin Székessy, drawing inspiration from her personal interactions with painters, illustrators, graphic artists, and sculptors, has been dedicated to crafting monochromatic portraits since the late 1950s and continues to do so today. Through her portraits, she masterfully conveys the essence of the depicted artists and their work, forging a connection between the realms of art and photography. Her subjects include prominent figures such as Joseph Beuys, Meret Oppenheim, Elvira Bach, and Jonathan Meese, and with her empathetic approach, she skillfully captures the intricate nuances of their personalities, akin to a psychological profile. 203

elsa thiem a nn (1910 –1981)

4278 Structural study (dead wood). 1930s. Vintage gelatin silver print on chamois Agfa-Brovira paper. 29,5 x 22 cm. Estate stamp and note in pencil on the verso. 900 € Between 1929-1931, Elsa Thiemann‘s formative years at the Bauhaus in Dessau were marked by influential teachers like Josef Albers, Joost Schmidt, and, notably, Walter Peterhans, who guided her in photography. Her artistic development was strongly shaped by the New Objectivity movement and an emphasis on advertising photography in her Bauhaus education, instilling in her a deep appreciation for structure and innovative composition. Here she met her future husband, the painter Hans Thiemann, in 1930. Following her studies, she returned to Berlin in 1931, embarking on a career as a freelance press photographer until 1960 when she relocated to Hamburg with her husband, who had been appointed as a Professor at the Hochschule für Bildende Künste. Provenance: From the estate of the photographer

4279 Design for wallpaper.1930-31. Unique vintage

ferrotyped gelatin silver print collage. 49,7 x 42,3 cm. Mounted to board, photographer‘s estate stamp on mount verso. 1.500 €

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

4278

4279 204

elsa thiem a nn 4280 Design for wallpaper.1930-31. 4 unique vintage

gelatin silver prints on color paper mounted as a collage. 48 x 31,8 cm. Mounted to board; photographer‘s estate stamp and number 863 in red crayon and annoated in pencil on mount verso. 1.500 €

This unique photo collage is the only known color work by Elsa Thiemann. Lit.: Annemarie Jaeggi/Margot Schmidt (eds.). Elsa Thiemann: Fotografin. Bauhaus und Berlin. Berlin 2004, see pp. 18-27. Provenance: From the estate of the photographer

4280

h a ns a nd elsa thiem a nn (1910 –1977, 1910 –1981)

4281 „Zwanzig Fotomontagen 1930-1933“. 20 gelatin

silver reproduction prints in clamshell box (edge wear and tears on recto and verso) with index page. Each circa 30,3 x 19,7 cm (40,2 x 30 cm). Each print titled, dated and numbered on original on lower margin of recto, mounted to black card. Edition from 1977. 600 €

4281 205

4282

holger trülzsch / v era lehndorff (b. 1939 )

4282 „Verschlossene Haustüre, Paros 1977“. 1977/ printed 1979. Dye transfer print. 27,5 x 39,8 cm (61 x 51 cm). Signed, titled, dated and numbered 10/15 in pencil as well as artists‘ copyright stamp on verso. 900 € Renowned German photographer and painter Holger Trülzsch collaborated with the internationally celebrated supermodel Vera „Veruschka“ Lehndorff to produce a diverse and compelling

206

body of work during the 1970s and 80s. The highlighted pieces are drawn from their collaborative body-art project titled „Trans:figurations.“ These images prominently feature the colors of oxidation, showcasing rust, soot, and chalk, which are beautifully rendered in the dye transfer prints. Lit.: Lehndorff & Trülzsch, Veruschka, Trans-figurations, Bullfinch Press, 1988. Oxydationen. Vera Lehndorff & Holger Trülzsch. Museum für Kunst und Gewerbe Hamburg 1979.

4283

4283 „Innentüre, Peterskirchen, 1976“. 1976/ printed 1979. Dye transfer print. 30,5 x 29,7 cm (61 x 51 cm). Signed, titled, dated and numbered 6/35 in pencil as well as artists‘ copyright stamp on verso. 900 € Lit.: Oxydationen. Vera Lehndorff & Holger Trülzsch. Museum für Kunst und Gewerbe Hamburg 1979. 207

4284

shoji ueda (1913–2000)

4284 Selected images. Circa 1947-60/printed 1970s. 5 gelatin silver press prints (3 on RC paper). Each circa 16 x 16 cm (25,3 x 20 cm). Each signed by the photographer in crayon and annotated in another hand on the verso. 1.800 € 208

The Japanese photographer Shoji Ueda has a distinctive and poetic approach to photography. From Tottori, Japan, he frequently used the local sand dunes as his canvas, rendering their surreal beauty and turning them into otherworldly landscapes. His minimalist compositions, often featuring solitary figures or everyday objects against the vast sandscapes, evoke a sense of quiet contemplation, inviting viewers to appreciate the harmonious blend of nature and human presence. This set inlcudes „Sand Dunes“, „Landscape with Women“, „Kogitsune Tanjô (Appearance of a Fox Cub)“ and others.

umbo

(Otto Umbehr, 1902–1980)

4285 Dance images. 1936. 8 vintage ferrotyped gela-

tin silver prints. Each circa 12 x 8,7 cm. Each with PHOTO UMBO Berlin-Grunewald Niersteiner Str. 6 stamp and annotated in pencil on the verso. 400 € Otto Umbehr, known as UMBO, played a significant role in avant-garde and modernist photography during the early 20th century. His exceptional photographs of dancers exemplify his innovative approach to this art form, portraying the grace, energy, and fluidity of dance in a manner that surpasses conventional representations.

4285

4286

ute v ille 4286* Nina Hagen. Circa 1995/printed 2016. Chromogenic print on Kodak Professional Endura paper. 20,2 x 27,5 cm. Signed by Nina Hagen in marker on recto. 400 € Nina Hagen is a German singer, songwriter, and actress known for her groundbreaking contributions to punk and new wave music, characterized by her powerful vocals and provocative stage presence.

da nn y wa ll (?–2019)

4287 „The Beatles performing at Star-Club, Hamburg“. 1962/printed later. Gelatin silver print. 26,8 x 26,8 cm (40,5 x 30,3 cm). Star-Club blindstamp in lower margin; copyright/edition stamp, therein numbered in pencil on the verso. From an edition of 250. 500 € 4287

An early photograph taken by Danny Wall showing the Beatles during their residence at the Star Club in Hamburg, Germany. 209

4288

4289 210

4290

kurt w endl a ndt (1917–1998)

4288 „Aus dem ‚Ossian‘-Zyklus: Siehe der Mond erscheint, die Felsen stehen grau“ (Lichtgraphik - Fotogramm, Solarisation). 1975. Unique large-format vintage gelatin silver print on photo canvas. 35,5 x 48 cm. Mounted to grey board (56,5 x 70 cm), signed, titled and dated by the photographer in pencil below the image on the mount; titled and dated by the photog rapher in pencil on mount verso. 1.500 € Kurt Wendlandt emerged as a highly creative figure in postwar West Germany. After studying at the State Academy of the Arts from 1937 to 1943 and briefly pausing his artistic work due to a war injury, he resumed his creative journey after World War II. In 1958, he began experimenting with transparent materials, leading to his first Lichtgraphiken, and his close friendship with Heinz Hajek-Halke positioned them at the forefront of Berlin‘s avant-garde „Lichtgraphik“ movement during the 1960s. Provenance: The estate of Kurt Wendlandt

4289 „Probeabzug I zu .. ‚wohin seid ihr zur Ruhe gegangen‘ Ossian-Zyklus“ (Lichtgraphik). 1976. Unique large-format vintage gelatin silver print. 32 x 48 cm. Mounted to grey board (70 x 56,5 cm), signed, titled and dated by the photographer in pencil below the image on the mount; label with title on verso. 1.500 € Provenance: The estate of Kurt Wendlandt

4290 „Strukturfelder II“ (Lichtgraphik, collage). 1970s. Unique vintage gelatin silver print. 41,5 x 34 cm. Mounted to grey card (70 x 50 cm), signed, titled and dated by the photographer in pencil below the image on the mount. 1.500 € Provenance: The estate of Kurt Wendlandt

211

4291

lionel w endt (1900 –1944)

4291 Photographs. 1936-1942/printed 2017. 10 giclee prints. Each circa 29 x 21 cm (39,5 x 29,5 cm). Each with edition stamps and numbered in red pencil on the verso, matted. In original black linen case (some light scuff marks) with printed title page, from an edition of 25, published by Ton Peek Gallery, Netherlands 2017.

1.200 €

212

Born in Colombo, Lionel Wendt began his photography journey in the 1930s and played a crucial role in establishing the 43 Group, a collective of artists known for their modern, contemporary, and Sri Lankan-inspired artwork. Wendt was a versatile photographer, employing various techniques like photograms, photomontage, double printing, and solarisation. His works are held in esteemed collections worldwide, including the Kiran Nadar Museum of Art, New Delhi; Tate, London; the Metropolitan Museum, New York and the Rijksmuseum, Amsterdam.

4292, original size

fra ncesca woodm a n (1958–1981)

4292 „Self-Portrait (N3017.1/New York)“. 1979/printed

1999. Gelatin silver print. 12,7 x 12,7 cm (25,2 x 20,4 cm). With the Francesca Woodman PE/FW estate stamp, signed and numbered 13/40 by Betty & George Wood man on verso. 8.000 €

Francesca Woodman was an American photographer known for her striking and introspective black-and-white self-portraits. Her body of work delved into themes of identity, vulnerability, and the human form, utilizing experimental techniques and compositions to produce haunting and surreal imagery. Unfortunately, Woodman‘s life was tragically cut short when she took her own life at the age of 22. Nevertheless, her photography endures as a celebrated expression of a unique artistic vision and maintains its influence on contemporary photography and feminist art. Woodman‘s work has achieved international recognition and is showcased in prominent museums and galleries worldwide, including the Museum of Modern Art, the Metropolitan Museum, Tate Modern, the Stedelijk Museum, and the Centre Pompidou in Paris. 213

4293

4294

ludw ig w indstosser

dr. paul wolff & a lfred tritschler

4293 Ball bearing. 1950s. Vintage ferrotyped gelatin silver print on Agfa paper. 19,5 x 29,5 cm. Photogra pher‘s and SAAR stamp and number in pencil on the verso. 400 €

4294* House rooftops, Homberg. 1940s. Vintage ferrotyped gelatin silver print on doubleweight Leonar paper. 15,6 x 22,8 cm. Photographers‘ Frankfurt am Main stamp, annotated in pencil and subject and agency label on the verso. 600 €

(1921–1983)

(1887–1951, 1905–1970)

Dr. Paul Wolff, a celebrated German photographer of the early 20th century, is best known for his pioneering work in portraiture and modern photographic techniques. His photography is distinguished by its technical excellence and artistic merit, particularly in capturing notable figures from various fields. Wolff ‘s innovative approach to lighting and composition continues to influence the medium‘s evolution and cements his enduring legacy in the history of photography.

reinh a rt wolf (1930 –1988)

4295 Guilin, China. 1984. Vintage chromogenic print. 24 x 30 cm. Titled and signed by the photographer in gold ink in lower margin. 400 €

4295 214

The German photographer Reinhart Wolf is celebrated for his remarkable contributions to fashion and portrait photography. His portfolio radiated elegance, meticulous attention to detail, and a unique sense of style, establishing him as a highly soughtafter photographer within the fashion and entertainment realms. He not only crafted iconic portraits of celebrities, models, and artists but also ventured into the realm of landscape and architectural photography, leaving an enduring mark on the world of photography with his versatile and influential body of work, including his notable creations in China.

world wa r i 4296 Photographer: Carl Drausfeld, Benninghoven and Bufa. Images of World War I. 1914-1918. 7 vintage gelatin silver prints. Each 22,5 x 27,5 cm. Most with photographer‘s name, number and Paul Hoffmann & Co. censorship logo in the negative in lower edge; most with printed text label on the verso. 180 € This lot comprises a range of World War I scenes, depicting soldiers setting up their equipment, engaging in combat, generals strategizing maneuvers, and views from a field post office distributing mail to the troops.

4296

world wa r ii / jew ish people in pol a nd 4297 Photographer unknown. Jewish people in

Poland. Circa 1935. 14 vintage ferrotyped gelatin silver prints. Each circa 10 x 7 cm and some smaller. Some annotated in ink/pencil on the verso. 600 €

4297

Many German WWII souvenir albums contain individual photographs, like the ones available here. These photos are sometimes accompanied by derogatory comments, illustrating how some German occupation soldiers believed in their cultural superio rity over the Polish and Jewish populations. Consequently, they often captured these individuals in an unflattering light.

4297 215

4298

216

world wa r ii / wa rsaw 4298 Private photos of Warsaw after bombing 1939. 36 vintage ferrotyped gelatin silver prints. Each circa 9 x 6 cm. Most annotated in ink on the verso, mounted to card, annotated in ink in German above/below images on mount. 900 €

These small-format photographs are believed to be sourced from an album or compilation linked to a German soldier who participated in the occupation of Warsaw after the Polish invasion. The pictures portray freshly excavated graves, streets reduced to rubble, and iconic structures like the Royal Castle and Brühl Palace, either in ruins or engulfed in flames. The German Luftwaffe‘s assault on Warsaw and its surroundings began on the war‘s inaugural day, culminating on September 10, 1939, with 17 air raids that tragically resulted in the loss of over 25,000 civilian lives and the devastation of 12% of the city.

world wa r ii / siedlce 4299 Jewish ghetto in Siedlce, Poland. June 1941. 10 vintage ferrotyped gelatin silver prints. Each circa 9 x 7 cm. Most annotated in German in pencil and with German photo lab stamps on the verso. 750 €

4299

This collection of „souvenir photos“ captures the Jewish community in Siedlce, Poland. Following the WWII invasion of Poland, the SS established a ghetto where approximately 15,000 Jewish residents were confined. The photos, bearing inscriptions in an arrogant tone and dated June ‚41, offer a glimpse into this dark period. Tragically, a year later in August 1942, all of Siedlce‘s Jewish inhabitants were deported to the Treblinka extermination camp. In 1971, one survivor, Y. Kravitz, shared his harrowing experiences in the memoir „Five Years of Living Hell under Nazi Rule in the City of Siedlce.“ 217

4300

world wa r ii

4300 Various views of Tarnow. 1940. 42 vintage sil-

4301 Photographer: Michail Trachman (1918–1976).

ver gelatin prints mounted to album pages. Each ca. 9,4 x 7,2 cm and vice versa (21 x 30 cm). Album pages annotated and numbered in pencil. 500 €

This collection features images of Tarnow, a Polish town, during the German occupation. Tarnow once had one of Eastern Europe‘s most ideologically diverse Jewish populations, which is showcased in depictions of the local Jewish community. The set also includes views of the New Synagogue in Tarnow, one of Europe‘s largest synagogues, tragically destroyed by the Nazis in 1939.

4301 218

German prisoners of war in Russian internment camp, Moscow. 1944/printed 1960s. 2 (1 ferrotyped) gelatin silver prints. 27,2 x 37,5 cm and 27 x 38 cm. Each photo annotated in pencil on the verso. 750 € To disgrace the German military, Stalin paraded approximately 57,000 weary German prisoners of war through the streets of Moscow on July 17, 1944, in clear violation of the Geneva Prisoner of War Convention of 1929. This massive procession, known as „The Great Waltz,“ is still remembered by the Russian people today.

4302

world wa r ii / displ aced persons 4302 Photographer: Wolf Schärf. Jewish Displaced Persons camps in Vienna. Circa 1946-1948. 33 vintage ferrotyped gelatin silver prints. Each circa 8,5 x 13,5 cm. Each with photographer‘s stamp in lower left/right corner. 750 € Following World War II, Jewish Displaced Persons (DPs) in Austria and Germany mainly consisted of Holocaust survivors who had been left homeless and stateless due to the war‘s destructive impact. These individuals were initially accommodated in

DP camps, which played a crucial role in offering them essential support, including food, medical care, and educational services. Various organizations, including Jewish relief agencies, worked tirelessly to help DPs recover from the trauma of the Holocaust, reunite with surviving family members, and find a path to a better future. Their ultimate objective was to facilitate the emigration of these survivors to countries like Israel and the United States, where they could rebuild their lives, form new communities, and make valuable contributions to their adopted societies. This transition marked a significant step in their journey towards recovery and resilience. 219

4303

wow e

(Wolfgang Wesener, b. 1960)

4303 John Lee Hooker, San Francisco. 1990. Chromo-

genic print in artist’s frame. 52.5 x 64 cm (80 x 90 cm). Signed by the artist on verso; with exhibition label attached to frame. 1.500 € Wolfgang Wesener, widely recognized as „Wowe,“ has forged a distinguished career in photography, capturing the essence of iconic figures in culture and the arts. Through his work, he has portrayed a diverse array of individuals from the realms of arts, politics, and culture, infusing his photographs with a timeless quality that radiates an aura of greatness. Wesener‘s pho-

220

tographic journey commenced with his studies at the Folkwang schule in Essen, after which he rose to prominence in New York‘s vibrant photography scene, with a focus on documenting nightlife and establishing connections with celebrated artists and public figures. His work is lauded for its authenticity and timelessness, facilitating a genuine connection between the viewer and the subject, allowing their personalities to shine through. In 2008, his photography took center stage in a retrospective exhibition, „wowe - Essence: Twenty-five Years of Portrait,“ at C/O Berlin, affording the audience a profound experience of his enduring photographic artistry. The pieces showcased here originate from that very exhibition and are presented with an original steel frame designed by the artist.

wow e 4304 David Salle, New York. 2005. Gelatin silver print in artist’s frame. 36.5 x 29.5 cm (61.5 x 51.5 cm). Signed by the arrtist on verso; with exhibition label attached to frame. 1.000 € In this image, we see the influential American Post-Expressionist artist David Salle, whose groundbreaking, collage-inspired artworks played a pivotal role in reshaping the landscape of postmodern art.

4304

wow e 4305 David Bailey, London. 2006. Gelatin silver print in artist’s frame. 48.5 x 39.5 cm (70 x 60 cm). Signed by the artist on verso; with exhibition label attached to frame. 1.200 € This photograph shows the celebrated fashion photographer David Bailey alongside one of his iconic nudes.

4305 221

x-ray photogra ph y 4306 X-ray of a wounded hand. Circa 1910-20. Vintage gelatin silver print. 17,5 x 13 cm. Annotated in pencil on the verso. 300 €

herm a nn ziesemer

(active between 1902–1930)

4307 Family photographs of the Westphal family. 1920. 22 toned vintage gelatin silver prints mounted in album. Each between 12,2 x 16,8 and 16,3 x 22,7 cm (24,5 x 34). Photographer‘s blindstamp on title page. 400 € This visually appealing album features a collection of portraits showcasing the Westphal Family, along with interior photographs capturing their family residence in Hamburg. The Westphals were a well-to-do merchant family with a longstanding history of involvement in the Hamburg tea trading enterprise, G.W.A. Westphal Sohn & Co., dating back to 1796.

4306

4307 222

4308

4309

wolfga ng zey en

günther zint

4308 „Magdeburg“. 1980. Vintage gelatin silver print. 24,4 x 36 cm (27,5 x 39,2 cm). Photographer‘s stamp and titled and dated by the photographer in pencil on verso. 500 €

4309 The Rolling Stones, Hamburg. 1960s/printed later. Ferrotyped gelatin silver print on doubleweight paper. 40,5 x 52 cm. Signed by the photographer in pencil on the verso. 600 €

(b. 1956)

(b. 1941 )

223

4310

ra iner zerback (b. 1958)

4310 „Pariser Platz, Berlin, Deutschland“ from the series „Places of Interest“. 2020/printed 2022. Fine Art print on Hanemühle paper. 80 x 120 cm. Label with printed title, therein signed and numbered 1/20 by the photographer in ink on the verso. 1.200 € Rainer Zerback‘s „Places of Interest“ series embraces the reality of popular tourist destinations, turning the flow of visitors into the central focus. Surprisingly, the presence of people in these landscapes enhances their attractiveness. In some respects, they appear more picturesque and engaging than the illusion of pristine, untouched nature and sites. This effect is achieved through harmonious positioning of people in the frame, and in post-processing, digital techniques are employed to organize and intensify the crowds, virtually condensing the reality of these locations. Lit.: Günter Baumann/Volkhard Wolf (eds.). Rainer Zerback. Places of Interest. Böblingen/Mosbach 2020.

224

BASSENGE

Alfred Eisenstaedt. Portraits Gerhart Hauptmanns auf Hiddensee. 14 Silbergelatinabzüge. Jeweils 18 x 24,2 cm oder umgekehrt. 1931.

Erinnerungen an Wiesenstein – Aus dem Nachlass Gerhart Hauptmann Auktion 30. November 2023

GA L E R I E BA S S E N G E · E R DE N E R S T R A S S E 5A · 14193 BE R L I N Telefon: (030) 893 80 29-0 · Fax: (030) 891 80 25 · E-Mail: art@bassenge.com · Kataloge online: www.bassenge.com

225

index

A Ackerman, Michael 4080 Africa 4081 Ahrendts, Leopold 4001-02 Alinari, Fratelli 4007, 4009 Alinari, Leopoldo 4003-06 Altobelli, Gioacchino 4008 Anderson, James 4010 Anderson, James and Unknown 4011-13 Anschütz, Ottomar 4014 Araki, Nobuyoshi 4082-83 Architecture & Design 4084-85 Atget, Eugène 4015-16 Atwood, Jane Evelyn 4086 Aviation 4087 B Bachrach, Jr., Louis Fabian 4088 Bailey, David 4089 Balász Studio 4090 Baldus, Edouard-Denis 4017-18 Balkin, Serge 4091 Baur, Max 4092 Beato, Felice 4019-22 Belloc, Auguste 4023 Bergemann, Sibylle 4142-43 Berggren, Guillaume 4024 Berlin 1960s 4093 Berlin Wall 4094 Berndt, Jerry 4095-96 Bialobrzeski, Peter 4097 Bokelberg, Werner 4098 Both, Katt 4099 Bourne, Samuel 4025 Brandt, Bill 4100 British Royal Family 4101 Burri, René 4102 C Callahan, Harry 4103-05 Cattaneo, Mario 4106 Chaldej, Jewgeni 4107 Chargesheimer 4110 China 4026-27, 4109 China/Ernst Boerschmann 4108 Christel, Detlef 4144-46 Christiniat, Olivier 4111 Clergue, Lucien 4112 Cohen, Serge 4113 Cunningham, Imogen 4114-15 Curtis, Edward Sheriff 4028-29 D Daguerreotypes 4030-32 Dalì, Salvador / Robert Descharnes 4116 Delius, Charles 4117 Demand, Thomas 4123 Dille, Lutz 4119

226

Dührkoop, Rudolph 4122 Dutton, Allen A. 4118 E Eggleston, William 4124-25 Entartete Kunst 4126 Ermakov, Dimitri 4033 Erwitt, Elliott 4127 F Fashion 1920s 4128 Feininger, Andreas 4129 Film Photography 4130-34 Fischer, Arno 4147-51 Fleischmann, Trude 4135 Florschuetz, Thomas 4136 Fontainebleau 4034 Fontana, Franco 4137-38 Freed, Leonard 4139-40 Frith, Francis 4035 G Gagern-Steidle, Verena von 4141 Gefeller, Andreas 4168 German-Danish War 1864 4036 Guggenheim Museum 1945 4169 Gundlach, F.C. 4170-72 H Häusser, Robert 4173 Hajek-Halke, Heinz 4174 Hauswald, Harald 4152 Heid, Hermann 4037 Hesse, Udo 4175-77 Himalayas 4178 Hoepffner, Marta 4179-80 Horst, Horst P. 4181-82 Hosoe, Eikoh 4185 Hoyningen-Huene, George 4183 Hutchinson, Eugene 4184 I India 4038 Italy 4039-40 Izis 4186 J Japan / Kusakabe Kimbei 4041 K Kane, Daniel 4187-89 Kempe, Fritz 4190-91 Kertész, André 4194-95 Kirchherr, Astrid 4192-93 Klauke, Jürgen 4196 Klemm, Barbara 4197 Koelbl, Herlinde 4198

Krausz, Tom 4199 Krolow, Wolfgang 4200-02 Kroth, Eva 4203 L Lagerfeld, Karl 4204 Lambert, Gustav Richard 4042 Landauer, Lou 4205-07 Larisch-Moennich, Count Franz von 4215 Lebeck, Robert 4208-09 Lehnartz, Klaus 4210 List, Herbert 4211-14 Lorin, Gilles 4216 Lunar Photography 4043 M Mack, Ulrich 4217 MacPherson, Robert 4044-45 Madame D‘Ora 4120-21 Mahler, Ute 4153 Man Ray 4218 Mapplethorpe, Robert 4219 Marconi, Gaudenzio 4046 Marquardt, Sven 4154-59 Martens, Olaf 4220-21 Marville, Charles 4047 Matsuchi, Nakajima 4048 McBride, Will 4222-28 Meydenbauer, Albrecht 4233 Misrach, Richard 4229 Monti, Paolo 4230-32 Munkácsi, Martin 4234 Mylius, Carl Friedrich 4049 N Nadar 4050 Nakagawa, Masaaki 4235 NASA 4236 Neusüss, Floris M. 4237-43 New Guinea/Samoa/Fiji 4051 Newton, Helmut 4245 Niagara Falls 4052 Niermann, Klaus 4244 Niiyama, Kiyoshi 4246-47 Ninci, Giuseppe 4053 P Pabel, Hilmar 4249 Paris, Robert 4160 Paris Railway 4054 Parkinson, Norman 4248 Perckhammer, Heinz von 4250-51 Perscheid, Nicola 4055 Petit, Pierre 4056 Platt Lynes, George 4252 Prussian Military 4057

R Radino, Francesco 4253 Reidt, Hedda 4254 Renger-Patzsch, Albert 4255 Richter, Evelyn 4161-63 Riebesehl, Heinrich 4256 Riefenstahl, Leni 4257-58 Robertson, James & Felice Beato 4058 Rocholl, Karin 4259 Rome 4059 Ronkholz, Tata 4260-61 S Sander, August 4262 Schensky, Franz 4263 Schmidt, Michael 4264-65 Schnaebeli, Johann Anselm Heinrich 4061 Schröter, Erasmus 4266-67 Schulze Eldowy, Gundula 4166 Schwerdtle, Dieter 4268 Sebah, J. Pascal 4060 Sewcz, Hans-Martin 4164-65 Shepherd, Charles 4025 Siam 4062, 4269 Sieverding, Katharina 4270 Singh, Raghubir 4271-72 Slevogt, Max 4273-74 Sommer, Giorgio 4063-66

Steigenberger, Jacob or Joseph Albert 4067 Steinberg, Uwe 4275 Stillfried-Ratenicz, Baron Raimund von 4068 Stöcker, Alex 4276 Switzerland 4069 Székessy, Karin 4277 T Talbot, William Henry Fox 4071-72 Thiemann, Elsa 4278-80 Thiemann, Hans and Elsa 4281 Titzenthaler, Waldemar 4070 Trülzsch, Holger / Vera Lehndorff 4282-83 U Ueda, Shoji 4284 Umbo 4285 Unknown Photographer 4073 V Venice 4074 Verdi, Giuseppe 4075 Villa Hügel 4076 Ville, Ute 4286 Vincotte, Thomas & Jules Lagae 4077 Völkerling, Gustav 4078

W Wall, Danny 4287 Wendlandt, Kurt 4288-90 Wendt, Lionel 4291 Wenzel, Marion 4167 Windstosser, Ludwig 4293 Wolf, Reinhart 4295 Wolff, Dr. Paul & Alfred Tritschler 4294 Woodman, Francesca 4292 World War I 4296 World War II 4300-4301 World War II/Displaced Persons 4302 World War II/Jewish People in Poland 4297 World War II/Siedlce 4299 World War II/Warsaw 4298 WOWE 4303-05 XY X-ray Photography 4306 Yao Hua Photographic Studio and others 4079 Z Zerback, Rainer 4310 Zeyen, Wolfgang 4308 Ziesemer, Hermann 4307 Zint, Günther 4309

228

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 salted paper print signed stamp / stamped tipped to mount titled toned upper / lower margin

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

229

BASSENGE

Casimir. Miniatur: Liebestod der Sappho. 12,7 x 9,4 cm.

Portraitminiaturen Auktion 30. November 2023 GA L E R I E BA S S E N G E · E R DE N E R S T R A S S E 5A · 14193 BE R L I N Telefon: (030) 893 80 29-0 · Fax: (030) 891 80 25 · E-Mail: art@bassenge.com · Kataloge online: www.bassenge.com

BASSENGE

Rudolf Bauer (1889–1953) . Ohne Titel. Öl auf Leinwand. 1911–17.

Moderne und Zeitgenössische Kunst Auktion 2. Dezember 2023

GA L E R I E BA S S E N G E · E R DE N E R S T R A S S E 5A · 14193 BE R L I N Telefon: (030) 893 80 29-0 · Fax: (030) 891 80 25 · E-Mail: art@bassenge.com · Kataloge online: www.bassenge.com

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

Versteigerer jedoch keine Gewähr. Telefonische und OnlineGebote werden nur akzeptiert, wenn der Bieter bereit ist, den ihm zuvor mitgeteilten Mindestpreis des jeweiligen Loses zu bieten. Auch bei Nichtzustandekommen einer Verbindung gilt, dass für den Auktionator dieses Gebot in Höhe des Mindestpreises verbindlich ist. Für das Zustandekommen einer entsprechenden Telefon- oder Onlineverbindung übernimmt der Versteigerer keine Gewähr. Das Widerrufs- und Rückgaberecht bei Fernabsatzverträgen findet auf solche Gebote keine Anwendung (§ 312d Abs. 4 Nr. 5 BGB). 7. Mit der Erteilung des Zuschlages geht die Gefahr für nicht zu vertretende Verluste und Beschädigung auf den Ersteigerer über. Das Eigentum an den ersteigerten Sachen geht erst mit vollstän digem Zahlungseingang an den Erwerber über. 8. Auf den Zuschlagspreis ist ein Aufgeld von 29% zu entrichten, in dem die Umsatzsteuer ohne separaten Ausweis enthalten ist (Differenzbesteuerung) oder ein Aufgeld von 24% 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 24% 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 26% (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 (i. d. R. 3% des Zuschlagspreises). Während oder unmittelbar nach der Auktion ausgestellte Rechnungen bedürfen einer besonderen Nachprüfung und eventueller Berichtigung; Irrtum vorbehalten. Katalog- und Zusatzabbildungen dürfen nicht ohne Genehmigung verwendet werden. Reproduktionsrechte und digitale Dateien der Abbildungen können gegen Gebühr erworben werden. Gegebenenfalls noch bestehende Urheberrechte Dritter bleiben davon unberührt und müssen u.U. gesondert eingeholt werden.

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

banküblicher Höhe – mindestens jedoch 1 % auf den Bruttopreis je angebrochenen Monat – zu berechnen und von dem Ersteigerer wegen Nichterfüllung Schadenersatz zu verlangen. Der Schadenersatz kann in diesem Falle auch so berechnet werden, dass die Sache in einer neuen Auktion nochmals versteigert wird und der säumige Käufer für einen Mindererlös gegenüber der vorangegangenen Versteigerung einschließlich der Gebühren des Auktionshauses aufzukommen hat. Zu einem Gebot wird er nicht zugelassen, auf einen etwaigen Mehrerlös hat er keinen Anspruch. 12. Erfüllungsort und Gerichtsstand im vollkaufmännischen Verkehr ist Berlin. Es gilt ausschließlich deutsches Recht. Das UNAbkommen über Verträge des internationalen Warenkaufs (CISG) findet keine Anwendung. 13. Die im Katalog aufgeführten Preise sind Schätzpreise, keine Limite. 14. Der Nachverkauf ist Teil der Versteigerung, bei der der Interessent entweder telefonisch oder schriftlich (im Sinne der Ziffern 5 und 6) den Auftrag zur Gebotsabgabe mit einem bestimmten Betrag erteilt. 15. Die Abgabe eines Gebotes in jeglicher Form bedeutet die Anerkennung dieser Versteigerungsbedingungen. Der Versteigerer nimmt Gebote nur aufgrund der vorstehenden Versteigerungs bedingungen entgegen und erteilt dementsprechend Zuschläge. Kommissionäre haften für die Käufe ihrer Auftraggeber. 16. Sollte eine der vorstehenden Bestimmungen ganz oder teilweise unwirksam sein, so bleibt die Gültigkeit der übrigen davon unberührt. David Bassenge Geschäftsführer Stand: November 2023

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

8. A premium of 29% of the hammer price will be levied in which the VAT is included (marginal tax scheme) or a premium of 24% 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 24% 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 26% (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 24% 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 online platforms entails a transaction fee stipulated by the platform and will be added to the premium (usually 3% of the hammer price). 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. Catalogue images may not be used without permission. Repro duction rights and digital files can be acquired for a fee. Any copyrights of third parties that may still exist remain unaffected by this and may have to be obtained separately. 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 re-auction the goods at the buyer’s expense. In this case the buyer is liable for any loss incurred, the buyer shall have no claim if a higher price has been achieved. He will not be permitted to bid. 12. The place of fulfillment and jurisdiction is Berlin. German law applies exclusively; the UN-Treaty (CISG) is explicitly excluded.

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

David Bassenge As of November 2023

f r i t z h e n l e . Wintertag in Tokio. 1936/printed 1992. Gelatin silver print.

to be sol d in our spring auct ion 2024

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