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David Bassenge
Graphik, Zeichnungen und Gemälde des 15.–19. Jh. Dr. Ruth Baljöhr – Leitung
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+49 (0)30-893 80 29-22 15th to 19th Century Prints, Drawings and Paintings
David Bassenge
Eva Dalvai
Lea Kellhuber
Nadine Keul
Harald Weinhold
Moderne und Zeitgenössische Kunst
Modern and Contemporary Art
Photographie | Photography
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Rare Books and Manuscripts
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+49 (0)30-893 80 29-80
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+49 (0)30-893 80 29-20
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+49 (0)30-893 80 29-21
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+49 (0)30-893 80 29-13 h.weinhold@bassenge.com
Barbara Bögner – Leitung (in Elternzeit)
Katharina Fünfgeld
Simone Herrmann
Miriam Klug
Sonja von Oertzen
Laetitia Weißer
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Elmar F. Heddergott
Giovanni Teeuwisse
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Harald Damaschke
+49 (0)30-88 91 07 90 k.fuenfgeld@bassenge.com
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+49 (0)30-893 80 29-27
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+49 (0)30-893 80 29-36 a.bartens@bassenge.com
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Harald Weinhold
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Dr. Mayme Francis Neher +49 (0)175 - 204 63 23 info@mayme-neher.de
19 th century photography
4048
leopold ahrendts (1825–1870)
4001 View of the former „von Hordt‘sche Palais“, Wilhelmstraße 69, at the corner of Unter den Linden. Early 1860s. Salted paper print with rounded corners. 16,8 x 20,5 cm. Mounted to board (strongly soiled).
750 €
Leopold Ahrendts began his career as a painter and lithographer in Dessau, eventually transitioning to photography in the mid-19th century. His photographic oeuvre encompassed urban landscapes and architectural views of Berlin, with an eye for composition and detail. His noteworthy contributions to the field earned him participation in international photographic exhibitions and widespread recognition as an architectural photographer. Between 1818 and 1834, the „von Hordtsche
Palais,“ depicted in the image offered here, served as the Berlin residence of Ernst August (1771-1851), King of Hanover (18371851) and 1st Duke of Cumberland. Ernst August was married to Frederike of Mecklenburg-Strelitz, the sister of Queen Luise of Prussia. Ernst August‘s son, later King George V, spent most of his childhood in this residence. The house remained in the state depicted in this image until 1868. when a third floor was added.
Lit.: Galerie Berinson (ed.). With a text by Sigrid Schulze. Leopold Ahrendts und die Frühzeit der Photographie in Berlin. Berlin 2011. Eberhard Mayer-Wegelin. Berlin als Residenzstadt. Photographien von Leopold Ahrendts 1854-1870. Munich 2018, ill. p. 161. Provenance: The estate of Ernst August von Hannover, 3rd Duke of Cumberland
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4001
4002 View of „Palais von der Osten“ (built 1736), Unter den Linden 4. Late 1850s. Salted paper print with rounded corners. 19,5 x 16,3 cm. Mounted to boa rd (soiled on verso, toning), annotated in ink in lower edge on mount.
750 €
As of 1835 the building depicted here belonged to Frederike von Hanover, the sister of Queen Luise of Prussia. After her death her husband, the Duke of Cumberland, sold it and the Ministry of Cultural and Medical Affairs moved into the building (demolished in 1883). To the right of the building the famous Hotel
Royal can be seen, where the student Ferdinand Cohen-Blind checked in on May 5, 1866 and two days later, not far from the hotel, attempted to assassinate Otto von Bismarck . A later guest was Mark Twain, who stayed at the Hotel Royal on his third European tour in 1891.
Lit.: Sigrid Schulze. „Leopold Ahrendts, Photograph“ in: Galerie Berinson (ed.). Leopold Ahrendts (1825-1870) und die Frühzeit der Photographie in Berlin. Berlin 2011.
Eberhard Mayer-Wegelin. Berlin als Residenzstadt. Photographien von Leopold Ahrendts 1854-1870. Munich 2018, ill. p. 159. Provenance: The estate of Ernst August von Hannover, 3rd Duke of Cumberland
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leopold ahrendts
4002
amazonia / koch-grünberg expedition
4003 Photographer: George Huebner (1862-1935). Portraits and ethnographic studies of indigenous people of the Amazon region. 1903-05. 4 vintage collodion paper prints. Various sizes, 16 x 11,3 cm, 13 x 9 cm and 11,3 x 9,3 cm. 2 with number in negative in upper left corner; each annotated in pencil/crayon on the verso.
1.200 €
Theodor Koch-Grünberg travelled with photographer George Huebner to document the people he studied. In 1906, he published photogravures of the individuals he encountered on the expedition in his monumental work „Indianertypen aus dem Amazonasgebiet nach eigenen Aufnahmen während seiner Reise in Brasilien“ (1906). His descriptions of Brazilian tribes, illustrated with photographs, are still utilized by anthropologists and ethnologists today. Two of the photographs offered here were most likely included in one of Theodor Koch‘s publications, as they have notations referring to illustration numbers on the verso.
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4005
4005
james anderson (Isaac Atkinson, 1813–1877)
4004 Views of the Colosseum, Rome. Circa 1853. 2 albumen prints. 20 x 43 cm and 28 x 36 cm. Each mounted to card, titled in ink below the image on the mount.
1.200 €
Born Isaac Atkinson in Blencarn, Cumberland, England, James Anderson initially pursued studying painting in Paris. In 1838, he relocated to Rome and embarked on a career in sculpture under the name James Anderson, which he kept professionally. Eleven years later, he ventured into photography, establishing a studio in Rome in 1853. He specialized in reproductions of works of art, publishing frequent catalogues of his work, but he also photographed views of Italy and antiquities. His work gained recognition among his peers, particularly for his depictions of Rome. Throughout the 1860s, Anderson exhibited extensively. Following his passing, his son Domenico assumed
control of the studio, and it remained in the family‘s hands until the 1940s.
Lit.: Dorothea Ritter. Rom 1846-1870. James Anderson und die Maler-Fotografen, Sammlung Siegert, Munich 2005, ill. p. 28.
4005 View over the Tiber with St. Peter‘s; View of Castel Sant‘Angelo; View of Rome from Ripetta. Circa 1853. 3 albumen prints. Circa 23,5 x 36,5 cm, 32 x 40,5 cm and smaller. Each mounted to board, 2 with Spithöver blindstamp in lower right corner on mount.
1.500 €
Lit.: Dorothea Ritter. Rom 1846-1870. James Anderson und die Maler-Fotografen, Sammlung Siegert, Munich 2005, ill. p.78.
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4007
4006
james anderson
4006 Views of St. Peter‘s Basilica, St. Peter‘s Square. Circa 1855/60. 2 albumen prints. 27 x 37 cm and 21 x 42 cm. Mounted to card, titled in ink below the image on the mount, 1 with Spithöver blindstamp in lower right corner on mount.
1.200 €
4007 (Attributed to). Panoramic view of the Forum Romanum with St. Peter‘s Basilica and the Temple of Saturn. Circa 1857. Albumen print. 21,4 x 42,5 cm. Mounted to board (small tear in upper edge), titled in ink below the image on the mount.
1.200 €
4008 (Attributed to). Views to the Capitol Hill from the Forum Romanum, the Temple of Castor and Pollux in the foreground. Mid-1850s. 2 albumen prints. 31 x 41 cm and 20 x 26 cm. Each mounted to card, titled in ink below the image on the mount.
1.200 €
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4008
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james anderson
4009 View of Basilica of Maxentius and ruins of the Imperial Palace (interiors). Mid-1850s. 3 albumen prints. 22,8 x 30,3 cm and circa 29 x 21 cm. Each mounted to card (some foxing), titled in ink below the image on the mount.
1.000 €
View of the Maxentius Basilica, seen from Palatine Hill. In the foreground one can see part of the Farnese Gardens, which were later destroyed in the course of further excavations.
4010 Views of the Palazzo Senatorio on the Capitoline Hill, Piazza del Populo, the Spanish Steps with Santissima Trinità dei Monti, Fontana di Trevi, Basilica San Giovanni in Laterano. Circa 1860. 5 albumen prints. Circa 30,5 x 39,5 cm, 27,5 x 35,5 cm and smaller. Mounted to card, 2 with Spithöver blindstamp in lower right corner on mount.
1.200 €
Lit.: Dorothea Ritter. Rom 1846-1870. James Anderson und die Maler-Fotografen, Sammlung Siegert, Munich 2005, compare ill. p. 51 and 68.
4011 Meta Sudans with Temple of Venus, Rome. Circa 1858/60. Albumen print. 31 x 41 cm. Mounted to board, Spithöver blindstamp in lower right corner on mount.
900 €
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4011
eugène atget / pierre gassmann (1857–1927/1913–2004)
4012 „Boutique rue Ste Foy 26, Paris“. 1903-04/ printed 1977 from the original negative. Brown-toned contact gelatin silver print on thin photographic paper. 17,8 x 23,7 cm. Copyright stamp Négatif de la collection des archives photographiques des monuments historiques of the Bibliothéque Nationale, Pierre Gassmann‘s signature stamp with the year 1977 on the verso.
800 €
In 1977, Pierre Gassmann reprinted some of Atget‘s negatives for an exhibition, yielding astonishing results. Numerous negatives by Atget contained far more details and contrasts than were discernible in his own prints. Gassmann emphasized that these prints revealed what Atget himself had observed while capturing his photographs, but that could not be fully realized with the printing techniques he employed at the time.
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4012
4013
edouard baldus (1813–1889)
4013 Fontaine des Innocents. 1860s. Albumen print mounted to board (light moisture stain on right margin). 27 x 21,4 cm (40,5 x 29,5 cm). With title, plate number and photographer‘s signature embossed in lower margin.
500 €
bisson frères (active 1841–1864 )
4014 Trajan‘s Column. 1858. Albumen print mounted to board. 45 x 32, 8 cm (51 x 38 cm). Photographer‘s embossed studio logo lower left; photographer‘s studio stamp below image on mount.
2.500 €
The Bisson brothers were renowned for their large-format photographs, capturing iconic landmarks such as cathedrals, monuments, and landscapes across Europe.
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4016
4015
bisson frères
4015 Arch of Constantine. 1858. Albumen print mounted to board. 35,2 x 43,8 cm (42,4 x 48 cm).
Photographer‘s embossed studio logo lower left; photographer‘s studio stamp below image and on verso of mount.
2.500 €
4016 Ascending Mont Blanc. 1859. Large-format albumen print. 22,5 x 37,5 cm. Photographer‘s FBF blindstamp in lower left corner, flush-mounted to board, framed under glass in wooden frame.
2.500 €
Lit.: Die Brüder Bisson. Aufstieg und Fall eines Fotografenunternehmens im 19. Jahrhundert. Munich 1999.
bois de vincennes
4017* Photographers: Émile de la Bédollière (18121883) and Ildefonse Rousset (1817-1878). Le Bois de Vincennes, Bound album with a total of 25 albumen prints from glass-plate negatives and a map of the Bois de Vincennes. Each between 7,5 x 10,2 cm and 15,2 x 21,5 cm (31 x 25 cm). The majority with printed caption on mount. With title, publisher information and illustration on frontispiece. Bound in green leather-backed cloth (edges/corners rubbed) with gold-embossed title and illustration on front cover as well as the coat of arms of the city of Paris embossed on back cover.
A. Lacroix, Verboeckhoven et Cie., Paris, 1866.
750 €
„Le Bois de Vincennes“ is an attractive folio album capturing the beauty of Paris‘s largest public park, created under Emperor Napoleon III. Featuring 22 full-page albumen prints by photographer Ildefonse Rousset, the album comprises picturesque scenes such as waterfalls, landscapes, and architectural wonders within the park, complemented by descriptive text by Émile de la Bédollière. Bound in original pebbled green cloth with gilt decorations, the publication offers a visual journey through the enchanting landscapes of Le Bois de Vincennes, making it a treasured collector‘s item for lovers of Parisian history and photography.
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4017
félix bonfils (1831–1885)
4018 Panorama of Constantinople from the Fire Tower of Beyazit. 1869. Panorama consisting of 6 albumen prints, unmounted and unattached. Each circa 21 x 28 cm. Each with title and number 560-565 in lower edge and 2 photos with photographer‘s name in the negative.
750 €
Félix Bonfils established a successful photographic studio in Beirut, Lebanon, in 1867 and gained widespread recognition for his stunning vistas capturing landscapes, architecture, and daily life across the Middle East, including Egypt, Palestine, Syria, and Lebanon. This particular panorama of Constantinople sho ws a sweeping view of the city.
samuel bourne (1834–1912)
4019* Group of Bhutanese people, Darjeeling. Circa 1868. Albumen print mounted to board. 23 x 28,8 cm (24,3 x 30,3 cm). Annotated in pencil on lower margin of mount.
750 €
This image, originally part of one of six albums compiled during Prince Albert Edward‘s tour of the Indian subcontinent in 18751876, portrays five Bhutanese men and two Bhutanese women engaged in various activities in front of a building‘s doorway. The women are shown plaiting reeds, demonstrating a traditional craft of Bhutan. King Edward VII acquired a print of this image while he was the Prince of Wales, making the photograph a valuable historical artifact that enhances our understanding of 19th-century diplomatic relations and cultural exchange in the region.
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19 4019
adolphe braun (1811–1877)
4020* Flower study. Circa. 1855. Varnished salted paper print. 31,4 x 37,2 cm (37,2 x 43,3 cm).
600 €
Trained originally as a fabric designer, Adolphe Braun embarked on his photography career in 1853, initially focusing on capturing flowers for a catalog titled Fleurs photographiées, with the intention of incorporating them into wallpaper and fabric designs. This venture proved highly successful, earning him a medal at the 1855 Paris Exposition Universelle, and he even presented an album of the photographs to Empress Eugénie of France. By the early 1860s, Braun shifted his focus to creating topographical views across Europe and later expanded into reproductions of artworks, establishing his studio as one of the world‘s largest publishers of such images.
adolphe braun & cie (1812–1877)
4021 Nike of Samothrace (Winged Victory). Circa 1900. 1 vintage carbon print, 1 toned gelatin silver print. 46 x 37 cm and 57,5 x 43,5. Each mounted to board (1 flush-mounted), 1 with photographer‘s stamp below image on mount (traces of use).
900 €
Lit.: Ulrich Pohlmann/Paul Mellenthin (eds.).Adolphe Braunein europäisches Photographie Unternehmen, Munich 2017, compare ill. p. 323.
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21 4021
étienne carjat (1828–1906)
4022 Portrait of Gioachino Rossini. 1862/printed 1876. Woodburytype. 23,8 x 19,1 cm (35 x 26,7 cm). Signed by Gioacchino Rossini in ink in lower right corner. „Galerie Contemporaine“, „Cliché Carjat“ and „Goupil et Co“ copyright stamp on lower margin of mount.
600 €
Étienne Carjat was a French journalist, caricaturist, and photographer known for his numerous portraits of French political, literary, and cultural figures. Through Carjat‘s lens, Rossini‘s expressive features and commanding presence are vividly portrayed, reflecting his status as one of the most esteemed composers of the 19th century. Notably, this particular print is signed by Rossini himself.
Lit.: Galerie Contemporaine Litteraire, Artistique. Vol.3. Paris, 1876, n.p.
22 4023 4022
ceylon
4023* Photographer: Alfred W. A. Plâté & Co. (active 1890s-1940s). Views of Ceylon. Circa 1890-1910. 15 platinum prints. Each circa 23,8 x 29 cm. Each with photographer‘s studio stamp and plate number on verso.
600 €
Plâté & Co‘s photographic collection of Ceylon offers a comprehensive portrayal of the island‘s landscapes, cultural landmarks, and daily life, capturing its diverse geography from temples and imperial grounds to gardens, plantations, and bustling markets, providing glimpses into the region‘s rich heritage and natural splendor during the late nineteenth and early twentie th centuries. This selection includes iconic sites such as the Temple of the Sacred Tooth (Sri Dalada Maligawa), Kandy Lake (Kiri Muhuda), the Royal Botanical Gardens, The Dutch Canal, the
Pettah Market in Colombo, and various landscapes from Sri Lanka‘s central province, including scenes of Adam‘s Peak (Sri Pada). – Corners slightly bumped, a small tear on one print and some light foxing on others, otherwise in good condition.
chile/argentina
4024* Photographer unknown. Views of the Strait of Magellan and Sierra de Cordoba, Argentina. 1860s. 2 albumen prints mounted to board. 10,7 x 17,9 cm and 14,4 x 20,4 cm (30,4 x 40,2 cm).
600 €
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4024
daguerreotypes
4025 Photographer: Désiré François Millet (active in Paris, France circa 1840-1868). Studio portrait of a woman. 1855. Half-plate daguerreotype with gilt oval surround with photographer’s name in lower right, newly sealed behind glass, original paper label and handwritten text in French in ink on verso.
500 €
4026 Photographer: Carl Ferdinand Stelzner (1805-1894). Portrait of a finely dressed young woman. Circa 1845. Nearly half-plate, gold-toned daguerreotype (image size circa 10,5 x 8 cm, plate size circa 15 x 11 cm). With ornamental paper surround, taped behind glass.
2.500 €
As of 1830, Carl Ferdinand Stelzner worked as a miniaturist and portrait painter alongside his wife in Hamburg. In 1842, Stelzner opened a studio with Hermann Biow, but the partnership was dissolved in 1843. Renowned for his fine compositions and vivid portraits, which hold both artistic and historical significance, Stelzner was considered one of the finest German portraitists of his time, also known for his excellent group portraits.
Lit.: Bodo von Dewitz/Fritz Kempe. Daguerreotypien (from the series Dokumente der Photographie 2, Museum für Kunst und Gewerbe, Hamburg). Hamburg 1983, see ill. pp. 84 and 95 for Stelzner daguerreotypes with same mats.
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4025
daguerreotypes
4027 Photographer: Carl Ferdinand Stelzner (1805-1894). Studio portrait of a mother with her eight children, Hamburg. Circa 1848. Quarter-plate, goldtoned daguerreotype (image size circa 7 x 6 cm, plate size circa 11 x 8 cm). With original ruled paper surround, taped behind glass, photographer‘s yellow paper label on verso (traces of use).
1.500 €
Lit.: Bodo von Dewitz/Reinhard Matz (eds.) Silber und Salz. Zur Frühzeit der Photographie im deutschen Sprachraum 1839-1860, exhibition catalog Agfa Foto-Historama Cologne/Heidelberg 1989.
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daguerreotypes
4028 Photographer unknown (German). Portrait of a mother and daughter. Late 1850s. Half-plate ambrotype (17,6 x 16,5 cm), framed under glass in later wooden frame, handwritten text on frame verso.
400 €
With: A photographic reproduction of the offered ambrotype. 1870s. Albumen print. 7 x 6,5 cm. Mounted to card.
4029 Photographer unknown (probably English). Portrait of a man in plaid suit. Circa 1850. Half-plate daguerreotype opened and newly sealed with paper tape, plate stamp 40 in lower left corner.
600 €
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4028
daguerreotypes
4030 Photographer: Samuel Heer (1811-1889). Portrait of „Rodolphe de Taub at the age of 20“. 1855. Sixthplate daguerreotype, in original glass cover with gilt paper mat, paper taped, original paper backing with photographer’s logo and name, in original slipcase with stand prop.
600 €
Samuel Heer was a Swiss tinsmith turned photographer who played a pioneering role in the development of daguerreotypes in Switzerland during the 19th century. – A few spots on plate, otherwise in good condition.
4031 Photographer unknown (probably American): Group portrait of five young women. Late 1850s/ early 1860s. Quarter-plate ambrotype with gilt surround in original embossed leather case with velvet lining.
500 €
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4031
darmstadt
4032 Photographer unknown. „Album von Darmstadt“. 1870s. 18 albumen prints. Each circa 10 x 14,5 cm (17,5 x 23,5 cm). Each mounted to board (slightly soiled), printed caption label on mount verso. In original burgundy canvas portfolio with gilt-stampe d title Album von Darmstadt on front cover and brass clasp.
400 €
This small album comprises 18 early souvenir photographs depicting the serene residential city of Darmstadt, featuring street views, squares, and notable landmarks like the Residenzschloss, the Zeughaus, the theater, the Palais Prinz Ludwig, the new train station, the casino, Wilhelminenstrasse, the Catholic church, the Ständehaus, and more.
adolphe duperly & sons (active 1840–1922)
4033* Views of Jamaica. 1860s. 6 albumen prints. Circa 17,5 x 23,6 cm (30,3 x 40,2 cm). Each mounted to board.
1.500 €
Adolphe Duperly‘s photographic work in Jamaica during the mid-19th century was characterized by particular attention to detail and a discerning eye for capturing the island‘s diverse landscapes and communities. His albumen prints, intended for reproduction, not only served as visual records but also played a crucial role in shaping perceptions of Jamaica both domestically and internationally.
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4034
eleonora duse (1858–1924)
4034 Photographers: Otto Mayer (1850-1929), K.u.K. Hofatelier Adèle (active 1862-1938), Fernando Tosara (lifedates unknown) and others. Portraits of Eleonora Duse. 1890s. 2 albumen cabinet cards 1 g elatin POP cabinet card, 5 gelatin silver prints. Each between 13,7 x 8,7 cm and 17,2 x 10,9 cm. Most with photographer‘s studio emblem and caption.
400 €
This set of photographs features the illustrious Italian actress Eleonora Duse in a series of portraits, each showcasing her captivating presence and emotional depth through subtle expressions and carefully arranged poses.
4035
egypt/ottoman empire
4035 Photographer: Luigi Fiorillo (1847-1898), Pascal Sebah (1823-1886), H. Arnoux (active c. 1860-1890) and unknown. Views of Alexandria, Cairo and artefacts in the Boulaq Museum. 1880s/90s. 24 albumen prints. Each circa 27 x 20 cm and reverse. Most with photographer‘s name and/or title/number in the negative in lower edge.
600 €
Luigi Fiorillo established his photographic studio in Alexandria during the 1870s, earning praise for his ‚cartes-de-visite‘, which were featured in ‚Murray‘s Handbook for Egypt‘ (1875). Following the 1882 bombardment by the British, he documented the city‘s aftermath and published an album of his images. Hippolyte Arnoux was equally prolific, albeit his work was not as high quality. He opened his main studio in Port Said in the early 1870s.
Lit.: Ken Jacobson. Odalisques & Arabesques: Orientalist Photography 1839-1925. London 2007.
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4036
french indochina
4036 Photographer: Charles-Édouard Hocquard (1853-1911). Landscape views and portraits of people of Tonkin. 1887-88. 49 Woodburytypes (a few albumen prints). Each circa 21 x 15,5 cm and reverse and smaller. Some with titles in French in the negative in lower edge, mounted to gilt edge album boards (some timestaining, slight foxing at ends of album), bound in half leather album (scratches, scuff marks), marbled fly leaves and endpapers, with gilt-embossed title Voyage Autour du Monde, 1887-88, TONKIN, 33 x 45 cm. 5.000 €
This finely bound and thoroughly compiled album is likely part of a larger collection of souvenir albums, as the title suggests. It features 49 photographs, mostly printed as Woodburytypes, captured by Charles-Édouard Hocquard. The album documents the diverse cultural interests of its original owner, presumably a high colonial official or member of the French upper class, who brought back albums like this from a trip around the world
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4036
francis frith (1822–1898)
4037 Views of Egypt: „The Pyramids of Dashoor“; „The Pyramids of Sakkarah“; „The Colonnade“; „RockTombs and Belzoni‘s Pyramid, Gizeh“ and „Assouan“. 1857. 5 albumen prints from collodion glass plate negatives. Each circa 16 x 23 cm. Each signed and some also with number in lower right/left corner in the negative, each mounted to original album page (water stains), with title, photographer‘s name and year printed below the image on the mount.
750 €
Francis Frith embarked on three expeditions to Egypt between 1856-1860. Using wet collodion glass plate negatives, he captured iconic monuments like the Pyramids at Giza and the temple of Karnak in Luxor, producing albumen prints on-site in a portable darkroom. His work became indispensable for Egyptologists and archaeologists, fueling Western fascination with Egypt‘s ancient history and cultural heritage.
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4038
4037
gülmez frères (active 1870–1900)
4038* Eleven-plate panorama showing the shores of the Bosporus Strait north of Constantinople. 1880s. 11 albumen prints mounted together as panorama. Each print circa 19,5 x 27,5 cm, entire size circa 29 x 270 cm.
1.500 €
The Gülmez Brothers, Ahmet and Abdullah, were pioneering Ottoman photographers active during the late 19th and early 20th centuries. Based in Istanbul, they operated a successful photographic studio known for their portraits of notable figures, urban scenes, and historical events. Their work played a significant role in documenting and preserving the cultural and social landscape of the Ottoman Empire during a period of immense change.
italy
4039 Photographer: Alinari and unknown. Views of Bologna, Pisa, Siena, Assisi and San Benedetto. 1860s. 11 albumen prints. Various sizes between circa 23 x 17 cm and 10 x 13 cm. Each mounted to card, titled in ink below the image on the mount.
750 €
Attractive group of early views of northern Italy, some with strong violet brown tones.
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4039
david octavius hill and robert adamson (1802–1870 and 1821–1848)
4040 „Miss Crampton“. 1843-47/printed circa 1895. Albumen print from a paper negative, printed by James Craig Annan (?). 20 x 14,1 cm (38 x 26,9 cm). Mounted to cream colored board (light foxing and time staining along edges), annotated in pencil in an unknown hand on mount verso.
500 €
David Octavius Hill and Robert Adamson, pioneers of Scottish photography, formed a groundbreaking partnership in 1843, establishing Scotland‘s first photography studio. Renowned for their portrait work, Adamson‘s expertise in composition and lighting complemented Hill‘s skill in handling the camera, resulting in captivating and nuanced images of notable Scottish figures. Their collaborative efforts produced a significant body of work, capturing the essence of their subjects with remarkable sensitivity and contributing to the early development of artistic photography.
Lit.: Katherine Michaelson. A Centenary Exhibition of the Work of David Octavius Hill 1802-1870 and Robert Adamson (18211848). Edinburgh 1970, ill. p. 117.
4041 Photographers: Kajima Seibei (1866-1924), Kusakabe Kimbei (1841-1932) and others. Views of people, landscapes and temples of Japan. 1870-1890. 46 hand-colored albumen prints. Each circa 20 x 27 cm. Most prints with title and number in the negative in lower corners, mounted to gilt-edged album boards (slightly warped, some foxing), bound in contempor ary decorative red lacquer album (some chips/scratches in edges) with relief landscape scene in gold and leather spine (rubbed), 27 x 36 cm.
1.000 €
This attractive album features various landscape vistas and genre scenes, alongside a number of captivating portraits of Kabuki actors and Geishas, some of which can be attributed to Kajima Seibei and Kusakabe Kimbei. Included are several early portraits of the renowned Geishas Ponta and Oen from the Shinbashi district in Tokyo, who would later achieve nationwide acclaim for their mastery and refinement.
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japan
35 4041
japan
4042 Photographer unknown. „Travelling Girl in Kago“; Portrait. Circa 1900. 2 hand-colored albumen prints. 20,2 x 26 cm and 26,7 x 20,5. One with title and number in negative in lower left.
200 €
36
4042
4043
august kotzsch (1836–1910)
4043 „Kotzschhausecke“ (Cherry blossom trees). Circa 1865. Albumen print. 20 x 15,7 cm. Mounted to board (slightly soiled), photographer‘s blindstamp below image, titled in ink below image, No 137 as well as annotated in pencil lower left on mount.
2.000 €
This image depicts the garden around August Kotzsch‘s house in Loschwitz which can be seen in the upper right corner. In order to identify his photographs, Kotzsch often numbered and titled his studies in pencil. This print bears a caption that is comparable and well documented in a similar form in literature or on other photographs.
Lit.: Ernst Hirsch/Matthias Griebel/Volkmar Herre. August Kotzsch 1836-1910. Photograph in Loschwitz bei Dresden. Dresden 1986, ill. p. 88, compare p. 35.
4044 (Attributed to). Nature study. 1870s. Albumen print. 21,5 x 18,5 cm. Number 103 in pencil on the verso. 1.000 €
Provenance: The Collection of the American Barbizon painter Charles Henry Miller (1842-1922).
4045 No Lot
37
4044
4046
george leuzinger and others (1813–1892)
4046* Photographers: George Leuzinger (1813-1892), Benito Panunzi (1819-1894) and Esteban Gonnet (1828-1868). Views of Rio de Janeiro and Buenos Aires. 1860s. 14 albumen prints mounted to board. Each between 11 x 19,2 cm and 19 x 25,2 cm or vice versa (30,4 x 40,2 cm). Dated and annotated in ink in lower margin.
3.000 €
George Leuzinger, Benito Panunzi, and Esteban Gonnet emerged as pivotal figures in the early documentation of South America, particularly in Argentina and Brazil during the 1860s. Panunzi and Gonnet created photographic albums depicting various aspects of Buenos Aires life, rural landscapes, gaucho traditions,
and indigenous cultures, offering valuable insights into the societal, cultural, and urban fabric of 19th-century Argentina. Concurrently, George Leuzinger, a Swiss photographer and lithographer based in Brazil, played a crucial role in visually chronicling Brazil‘s advancement and cultural diversity, capturing urban scenes, architectural wonders, scenic panoramas, and individual portraits that left a lasting impact on South American photographic history. The photographs comprised in this selection include some of the earliest depictions of South America, featuring views of the Port of Rio, Praia da Boa Viagem, the Botanical Garden in Rio, the Monument of General Saint Martin in Buenos Aires, the Jesuit Monastery of Jesus Maria, Views of Cordoba, as well as various depictions of Gauchos and their encampments.
38
39 4046
4046
otto lilienthal (1848–1896)
4047 Photographer: Alex Krajewski (Court photographer of Prince Aribert von Anhalt, active in Berlin, 1890s). Otto Lilienthal flying one of his gliding planes near Berlin, Rhinower Berge, Germany. 1893. Vintage collodion paper print. 15,2 x 20,9 cm. Mounted to original ornamental board (slight traces of use ). 7.000 €
The evolution of photography and aviation shares interesting similarities. In 1884, Ottomar Anschütz began capturing images of storks in flight, marking the first momentary snapshots in the history of photography. By 1890, he developed the „Tachyscope,“ displaying sequential images of people and animals in motion, which gained popularity at the 1893 Chicago World‘s Fair, highlighting advancements in transportation and industry through widely distributed photographs. In 1891, Otto Lilient-
hal initiated his flight experiments, lasting five years until his unfortunate death in 1896, due to a flight accident. During this period, photographers such as Ottomar Anschütz, Carl Kassner, Richard Neuhauss, and Alex Krajewski documented Lilienthal‘s flights near Berlin. These images often circulated as photo postcards and served as crucial documentation for Lilienthal. Unfortunately, the glass negatives of Lilienthal‘s photographs, archived in the Deutsches Museum in Munich, were destroyed during WWII. This particular image, part of a series by Alex Krajewski capturing Lilienthal‘s flights in the Rhinow Hills near Berlin, is exceptionally rare in its large format and good condition, with only eight images from this series preserved in the photo archives of the Otto Lilienthal Museum in Anklam. Lit.: Published in Prometheus Illustrierte Wochenschrift über die Fortschritte in Gewerbe, Industrie und Wissenschaft. 4. Jg., No. 220. Berlin 1893, ill. p. 184 (no. 87).
40
4047
4048* Views of New Orleans. Circa 1865-1870.
2 abumen prints. 24,7 x 34,5 cm (30 x 40 cm).
Numbered in pencil on margins of mount.
3.000 €
Born in Prussia (Frankfurt /O.), Theodore Lilienthal established himself as a prominent figure in the nascent field of photography, eventually operating one of the most successful photographic businesses in New Orleans. From his early days as a daguerreotypist to his innovative utilization of the traveling darkroom wagon, Lilienthal adeptly captured the essence of the city‘s
architecture, culture, and society. His groundbreaking portfolio for the Paris Exposition of 1867, as well as subsequent works, not only highlighted the city‘s grandeur but also played a pivotal role in post-Civil War reconstruction efforts and municipal promotion, solidifying his position as a central figure in the history of American urban photography. However, despite his early success, Lilienthal eventually faced challenges. Fierce competition and the advent of amateur photography led to the decline of his studio, and he eventually went out of business. Nevertheless, his contributions to the art and documentation of New Orleans remain significant and enduring.
41
4048
theodore lilienthal (1829–1894)
john william lindt (1845–1926)
4049 Studio portraits of Aboriginal Australians. 1875-80. 6 albumen prints. Circa 12 x 9 cm and 14 x 10,5 cm. Each mounted to card and hinge-mounted in mat.
2.500 €
One of Australia‘s pre-eminent 19th-century photographers, Lindt is best known for his quietly theatrical and melancholic studio portraits of Aboriginal people. Born in Frankfurt am Main, Germany, he left at age 17, travelling by ship and arrived in Australia circa 1862. He joined the photographic firm Wagner which specialized in Aboriginal scenes and studio settings. In 1876 Lindt set up his own studio in Melbourne, Victoria. His ethnographic studies of indigenous people of the region are among the most important produced in the 19th century.
42
4049
4049
4049
adolph von menzel (1815–1905)
4050 Photographer: A. Baumann . Studio portrait of Adolph von Menzel. 1899. Vintage collodion paper print. Circa 16,5 x 10,5 cm. Photographer‘s blindstamp and date stamp in lower right corner, mounted to original cabinet board (small nick in upper edge); Menzel‘s estate stamp on mount verso.
400 €
With: Some contemporary newspaper articles on Menzel, 1885-1899.
Provenance: The estate of Adolph von Menzel.
félix jacques moulin (1802–1875)
4051 „Goum Nadji“. Circa 1856-58. Albumen print. 22 x 16 cm. Mounted to original board (slightly soiled) with printed caption label Goum Nadji, Coulougli, Alger No. 77 on mount verso.
400 €
43
4050
4051
nadar (Gaspard Félix Tournachon, 1820–1910)
4052 Portrait of George Sand. 1864/printed before 1876. Woodburytpe. 23,1 x 17,1 cm (29,7 x 22,5 cm).
Signed by George Sand in ink on lower right corner of print. „Galerie Contemporaine“ and „Cliché Nadar“ copyright stamp in lower margin of mount.
800 €
Nadar‘s mid-19th century portraits of George Sand, the esteemed French novelist, depict her with notable intellectual presence and unconventional style. Through Nadar‘s lens, Sand‘s confident demeanor and distinctive appearance are evident, reflecting her prominence as a literary figure. These portraits are regarded as significant examples of Nadar‘s photography and poignant portrayals of the writer. Notably, this particular photograph was signed by George Sand herself during her lifetime.
44
4052
4053
nature printing
4053* Constantin v. Ettingshausen (1826-1897) and Alois Pokorny (1836-1886). Plant studies. 7 Naturselbstdrucke (nature prints) on heavy paper. Each circa 58 x 41 cm. From the publication „Physiotypia plantarum austriacarum. Der Naturselbstdruck in seiner Anwendung auf die Gefässpflanzen des österreichischen Kaiserstaates, mit besonderer Berücksichtigun g der Nervation in den Flächenorganen der Pflanzen“ Vienna, K.K. Hof und Staatsdruckerei, 1855-6.
1.200 €
Constantin von Ettingshausen and Alois Pokorny, two Austrian botanists of the nineteenth century, embraced an innovative approach to botanical documentation by employing an early reproduction method called „Naturselbstsdruck“ (nature prints). This technique allowed them to create detailed impressions of plant specimens, providing a means to accurately record the rich flora of the Austro-Hungarian Empire. The nature prints in this collection comprise seven exquisite „self-imprints“ of plants, capturing the intricate details and delicate beauty of each specimen in a unique and artistic manner. – Some with minimal foxing, light signs of handling, slight edge wear, otherwise strong impressions in very good condition.
45
46
4054
4054
new zealand
4054* Photographer unknown. Views of cities and landscapes of New Zealand. 1860s. 16 albumen prints (several oval). Each circa 19 x 16 cm. Each mounted to board (time-stained/soiling, some foxing), some annotated in pencil in German below the images on the mount.
900 €
These early views of New Zealand show Auckland, the harbor of Wellington, several landscapes and Alpine/glacier images, including an early panorama of Nelson. One image shows the consulate building of the „Freie und Hansestadt Hamburg“ in Auckland (Queen Street).
47
4054
4055* Photographer unknown. Views of Niagara Falls. 1860s. 4 albumen prints mounted to board. Each circa 19 x 14,5 cm and vice versa (30,4 x 40,2 cm).
600 €
In the nineteenth century, Niagara Falls became a popular subject for photography, with photographers like Samuel Morse, Platt Babbitt, and George Barker capturing its beauty using large format cameras. Their stunning images served scientific and artistic purposes, promoting tourism to the region and enhancing Niagara Falls‘ renown as a must-see destination.
kazumasa ogawa (1860–1929)
4056 Japanese flower studies. 1890s. 8 collotypes with lithographic overprinting in colour. Each between 24,2 x 22,5 cm and 29,3 x 23,2 cm or vice versa (38 x 29,5 cm). Each accompanied by a sheet stating the flower‘s name in Latin and Japanese.
800 €
Ogawa Kazumasa was a Japanese pioneer in photomechanical printing and photography during the Meiji era. He established Tokyo’s first photographic studio in 1884 and Japan’s pioneering collotype business in 1889, while also editing photography journals and being a founding member of the Japan Photographic Society. Renowned for his mastery of flower photography, Ogawa’s exquisite flower collotypes demonstrated his profound appreciation for botanical subjects and particular attention to detail. Some of the images offered here are published in „Some Japanese Flowers. By K. Ogawa“. F.R.P.S., Tokyo 1896.
48
4056
niagara falls
4055
49 4056
ottoman empire
4057 Photographer: C. J. Fettl , Guillaume Berggren (1835-1920), P. Sebah (1825-1886), Zangaki (active 1870-1915) and unknown. Travel album with portraits of people, landscapes and cities of the Ottoman Empire, also views of Vienna, Prague, Budapest, Odessa. 1880s. Circa 130 albumen prints. Most circa 10 x 14 cm and 21 x 25 cm and some smaller, a few larger. Some with photographer‘s name and/or title in the negative in lower corner, mounted to album boards (warped, soiling towards beginning and end of album), bound in half leather album (edges rubbed) with gilt embossed title Voyage en Orient Juillet - Octobre 1886
900 €
As industrialization swept through European nations in the 19th century, a concurrent surge of romantic orientalism took hold, captivating the imaginations of many. In response to this fascination, affluent individuals embarked on journeys by rail or ship to the Ottoman Empire, a destination that catered adeptly to this burgeoning tourism trend. Today, a wealth of well-preserved travel albums serves as enduring testaments to this era, offering vivid glimpses into the encounters and experiences of those who ventured into the heart of the Ottoman world.
marie panckow (1836–1903)
4058* Views of Potsdam. ca. 1870. 15 albumen prints mounted to board. Each circa 18 x 24 cm (30 x 36 cm).
900 €
Marie Panckow‘s photographs of Potsdam, taken during the 1860s and 1870s, provide invaluable insights into the architectural landscape of that era. Specializing in urban and architectural photography, Panckow documented the newly constructe d buildings in Potsdam, offering valuable historical records of the city‘s development. Notable landmarks featured in this collection include the City Palace, St. Nicholas Church, Sanssouci Palace, and its surrounding grounds, including the orangery. Particularly intriguing is the panorama of Potsdam, which includes the photographer‘s wet-plate wagon prominently displayed in the foreground, with the name advertised on its side.
50
4057
51
4058
4058
4059* Photographer unknown. Panoramic view of Porto and Vila Nova de Gaia. Circa 1870. Albumen print mounted to board. 25,2 x 40,2 cm (33,2 x 45,2 cm).
600 €
This panoramic view of Porto and Vila Nova de Gaia shows the suspension bridge connecting the two towns, the opening of Rua Nova da Alfândega, riverside houses along the Douro River, boats, and the Serra do Pilar Monastery, offering a glimpse into the region‘s scenic charm and maritime activity.
4060 Base of the Malakoff Tower, Crimea. 1855. Salted paper print. 22,5 x 29,5 cm (26,2 cm x 31,5 cm). Mounted to board, annotated in pencil on mount.
600 €
Taken by James Robertson during the Crimean War in 1855, this photograph depicts the Malakhov Tower, a crucial Russian fortress during the Siege of Sevastopol. Recognized as one of the earliest photographs capturing armed conflict in the history of photography. – Faded first print with two creases on top margin and a small spot in lower margin.
52
porto
james robertson (1813–1888)
4059
4060
rome
4061 Photographer unknown. Views of excavations of the Farnese Gardens area on the Palatine Hill (Orti Farnesiani sul Palatino). Early 1860s. 2 albumen prints. Each circa 20 x 30 cm. Each mounted to card, titled in ink below the image on the mount.
500 €
The Gardens of Farnese in Rome, situated on the Palatine Hill, boast a rich history dating back to the Roman Empire. Napoleon III, known for his keen interest in archaeology, acquired the site in 1861 and initiated systematic excavations. However, earlier sporadic excavations, starting from the 1820s, contributed to the gradual destruction of the renowned Renaissance gardens. The two rare photographs offered here provide glimpses into the state of the gardens during the early 1860s, offering valuable insights into their historical significance and evolving landscape. – A few light surface scuff marks, a few small spots, otherwise strong tonal prints in very good condition.
53
4061
rome
4062* Photographers: James Anderson (1813-1877) & Goacchino Altobelli (1814-1878). Views of the Ponte Nomentano and the Ponte Rotto with the Capitol in the background. 1864-1870. 2 albumen prints. 23,8 x 35,8 cm and 27,7 x 36 cm. Both annotated and numbered in pencil on verso.
600 €
4063* Photographers: James Anderson (1813-1877) and unknown . View of the Capitol from the Forum Romanum; Trajan‘s Forum with Trajan‘s Column and the Church of Santa Maria di Loreto. Circa 1865. 2 albumen prints. 29 x 40 cm and 30,2 x 38,8 cm. Both annotated and numbered in pencil on verso.
600 €
54
4063
4062
rome
4064 Photographer: Domenico Anderson (18541938) Views of Rome. 1890s-1900. Circa 108 albumen prints. Each circa 20 x 26 cm. Each with title and nu mber and photographer‘s name in lower edge in the negative. Inserted in album board slits, bound in contemporary half leather album (some scratch marks, edges rubbed).
500 €
The son of the photography pioneer James Anderson (18131877), Domenico Anderson inherited his father‘s business and continued the firm in Rome. He is particularly known for his photographs of monumental architecture, Roman antiquities, church interiors, and religious art. After his death, his archive was acquired by the Fratelli Alinari archive in Florence.
4064
55
4064
auguste salzmann (1824–1872)
4065 „Jerusalem, Mosqué d‘Omar, coté Ouest“. 1854. Salted paper print from paper negative. 23 x 33 cm. Mounted to original board, photographer‘s credit, title and publisher‘s name printed below the image on the mount. Printed by Blanquart-Evrard, framed under glass in wood frame.
1.500 €
Auguste Salzmann, born into a wealthy Alsatian family, embarked on a multifaceted career that intertwined painting, archae ology, and photography. His pioneering approach to using photography as a tool for archaeological research led him to Jerusalem in the mid-19th century, where he meticulously documented architectural details and excavation fragments, challenging prevailing scholarly debates. Salzmann‘s album „Jerusalem,“ published in 1856, stands as a testament to his harmonious blend of artistic vision and archaeological acumen, offering a visually rich and historically significant portrayal of the ancient city.
56
4065
arthur schopenhauer (1788–1860)
4067 Photographer: Johannes Schäfer (1822-1885?). Portrait of Arthur Schopenhauer. 1859. Varnished albumen print. 16 x 13 cm. Flush-mounted to card, mounted in mat.
1.200 €
The portrait offered here is possibly mentioned in a letter from Gustav Brecht to Schopenhauer in 1859, where Brecht recalls the photographer Schaefer contacting Schopenhauer for consultation. The letter notes Brecht‘s instruction to avoid retouching Schopenhauer‘s face and to have Schaefer present the completed picture to him. Despite Schopenhauer‘s keen interest in photography‘s advancements, he favored older daguerreotypes over newer paper photographs, as he felt he appeared older in the latter. – Two pinholes near upper edge, some spots, upper left corner with some loss, a few rubbed spots, otherwise in good condition.
heinrich schliemann (1822–1890)
4066* Photographers: Samuel Lock (1822-1881) and George Whitfield (ca. 1832-1904). Heinrich Schliemann, from the series „Men of Mark“. 1877. Woodburytype. 11,3 x 9 cm (27,2 x 20,5 cm). Titled and annotated on mount.
300 €
This portrait captures Heinrich Schliemann, the pioneering archaeologist celebrated for his excavations at Troy and Mycenae, which revolutionized our understanding of ancient civilizations. – Minimal buckling, otherwise in excellent condition.
57
4066
4067
giorgio sommer (1834–1914)
4068 Views of landscapes, sites and cities of southern Italy. Mid-1850s. 19 albumen prints. Circa 19 x 25 cm and 6 cdvs and 4 cabinet format photos. Each mounted to card (some foxing).
750 €
Giorgio Sommer is celebrated for extensively documenting Italy‘s landscapes and archaeological sites, notably in Rome, Naples, and Pompeii. His photographs vividly capture Italy‘s cultural heritage, featuring iconic landmarks like the Colosseum, the Roman Forum, and the ruins of Pompeii, contributing significantly to the preservation and dissemination of Italy‘s rich history. Sommer‘s accomplishments in photography led to his appointment as the official photographer to King Victor Emmanuel II of Italy, solidifying his status as a prominent figure in the field. – Some faded in edges, minimal surface scuffing, otherwise strong tonal prints in good condition.
58
4068
giorgio sommer
4069 The Colosseum. 1860s. Albumen print mounted to board (slightly stained). 28,2 x 38,2 cm (36,8 x 48,5 cm), Titled, numbered and photographer‘s name in negative in lower margin.
600 €
4070 „Si traduce il francese“. 1860s. Albumen print, 25,4 x 18,7 cm. Annotated by another hand in pencil on verso.
500 €
Lit.: Marina Miraglia, Daniela Palazzoli and Italo Zanner. Fotografia italiana dell‘Ottocento. 1979. ill. p. 56. Marina Miraglia, Pino Piantanida Ulrich Pohlmann and Dietmar Siegert. Giorgio Sommer in Italien: Fotografien 1857-1888. München, 1992. ill. p. 106.
59
4069
4070
giorgio sommer (1834–1914)
4071 Neapolitan woman. 1870s. Hand-colored albumen print. 25,4 x 19,7 cm (26,5 x 20,7 cm). With plate number in negative in lower margin, mounted to board.
500 €
Some creases, some buckling along edges of print, otherwise in good condition.
4072 Views of Naples, Pompeii and museum interiors. 1870s. 22 albumen prints. Each ca. 20 x 25 cm or reverse. Most with negative number and caption in the negative in lower edge.
800 €
Lit.: Marina Miraglia/Pino Piantanida, et. al. Giorgio Sommer in Italien: Fotografien 1857-1888. Heidelberg 1992, ill. pp. 86, 88 and 135.
60
4071
4072
switzerland
4073 Various photographers. Souvenir album with views of Switzerland. 1860s-70s. Circa 181 albumen prints (most cdv and some cabinet cards) and 34 chromolithographs. Inserted in gilt-edged album window pages bound in full leather album (some scuff marks/scratches, edges rubbed), with gilt-stamped title Albert Jasse 1875
500 €
This opulent album shows the main sights such as cities, landscapes and monuments of Switzerland, including some views of Northern Italy. The photographers include: F. Charnaux, R. Guler, N. Lotse, G. Sommer, F. Frith, A. Garcin, A. Gabler, R. Leuthold, Ad. Braun, R. Sohn, W. England, M. Vollenweider. – Some photos with surface scuff marks, otherwise with strong tones and in very good condition.
61
4073
syria & palestine
4074 Photographer: A. Bonfils, S. Hakim and unknown. Views of architecture in Syria and Palestine. 1880s/90s. Circa 42 albumen and collotype prints. Most circa 25 x 21 cm and reverse. Some with photographer‘s name and/or title in the negative in lower corner, mounted to album boards (warped, soiling/ foxing in edges), in contemporaray canvas portfolio with gilt-embossed title Photographien
400 €
62
4074
4074
unknown photographer/ james holmes
4075 (English). Portrait of a seated young woman in fancy dress, holding a letter. Late 1850s. Vintage hand-colored salt print. Circa 14 x 11,5 cm. Signed by the painter J. Holms (sic) (1777-1860) in ink in lower right corner, flush-mounted to board, matted in contemporary red mat.
400 €
The painter and colorist James Holmes began attending the Royal Academy schools in 1796 and first exhibited at the Royal Academy in 1798. From 1798-1849 Holmes exhibited 21 paintings at the Royal Academy, including miniatures and portraits. In 1824 he became a founding member of the Society of British Artists, and a frequent exhibitor, chiefly in miniatures.
unknown photographer
4076 Double studio portrait of two seated young girls holding hands. Early 1860s. Lightly hand-painted salted paper print. 21 x 17 cm. Flush-mounted to oval card (partially hand-colored with black crayon), in contemporary oval ornamental frame (34,5 x 30 cm).
750 €
63
4075
4076
léon vidal (1834–1906)
4077 „Coffret á Bijoux de la Reine Anne d‘Autriche“; „Cassette de Saint Louis 1226-1270“. 1872/75. 2 vintage photochromes. Each circa 24 x 35 cm. Each sandwichmounted in original mat (traces of use, corners slightly bumped, paper peeling) with gilt ornamental frame line, name of the photographer and title printed above/below the image.
750 €
These prints originate from the publication „Le Trésor Artistique de la France, Musée National du Louvre, Galerie d‘Apollon.“
Vidal‘s early photochromes are prized for their rarity and historical significance, representing the earliest successful endeavor to reproduce objects in color with a remarkable three-dimensional quality that remained unmatched in subsequent color photography. Notably, they also mark the first instance of color illustrations being used in a photographic book, highlighting their pioneering role in the evolution of photography and publishing.
Lit.: Helmut Gernsheim. Geschichte der Photographie. Berlin 1983.
64
4077
léon vidal
4078 „Plastron de la cuirasse du roi Henri II“. 1872/75. Vintage photochrome. 35 x 25,5 cm. Sandwic hmounted in original mat (traces of use, corners slightly bumped, edges toned) with gilt ornamental frame line, name of the photographer and title printed above/below the image.
600 €
This print originates from the publication „Le Trésor Artistique de la France, Musée National du Louvre, Galerie d‘Apollon.“ Lit.: Helmut Gernsheim. Geschichte der Photographie. Berlin 1983.
65
4078
4079 Photographer unknown. Stephansdom, Vienna seen from the West. Mid-1870s. Mammoth albumen print. 56 x 77 cm (mount 68 x 88 cm). Mounted to board (soiled, some traces of use).
900 €
An unusually large print depicting St. Stephen‘s Cathedral in Vienna. In the foreground one can see the carriages of the Neue Wiener Omnibus-Gesellschaft which was founded in 1872.
66
4079
vienna
20 th century & contemporary photography
67
4089
john ahern (1903–1961)
4080* Model street scene with skyscrapers and cars. 1930s. Vintage gelatin silver print. 36,2 x 29,3 cm (43,8 x 36,2 cm). Mounted to board (corners slighly bumped), signed in pencil on mount verso.
900 €
A London insurance broker by trade, John H. Ahern was a polymath with a fervent interest in railway modeling, vintage cars, and photography. A Fellow of the Royal Photographic Society, his photographs often blended realism and illusion in deceptively realistic landscape and street scenes. Ahern‘s keen eye for detail and storytelling through his images left a lasting legacy, earning him recognition as a revered figure in both the photography and hobbyist communities.
69
4080
laure albin-guillot (1879–1962)
4081 Floral still life. 1927. Vintage fresson print on silver paper. 21,5 x 16 cm. Signed and dated by the photographer in silver ink in lower right corner, framed under glass with silk, silver lined window mat in silver frame.
900 €
Laure Albin-Guillot frequently utilized the Fresson technique in her work, particularly for her floral and nature images. Developed by Théodore-Henri Fresson, the Fresson technique involves printing photographs using carbon pigment, resulting in rich blacks and subtle tones. This method endowed AlbinGuillot‘s photographs with a velvety surface and grainy texture, evoking the fine pictorialist quality characteristic of her compositions.
alpine landscapes
4082 Photographer: Hans Breuer (1869-1961). Views of Brixsdal glacier, Norway. 1928. 2 vintage gelatin silver prints. Each circa 28 x 20 cm. One with photographer‘s blindstamp in lower right; each with photographer‘s stamp and annotated in pencil on the verso.
400 €
70
4081
4082
4083 „Lorna la rue“. 1995. 9 chromogenic prints. Each circa 39 x 50,5 cm. Each signed and editioned 8/15 by the photographer in ink on the verso. In orignal green linen clamshell box with silver embossed title on cover, with numbered cover sheet (15+4 AE), Fleet Edition, Hamburg.
71
antonina (b. 1966)
800 € 4083
4083
4084
nobuyoshi araki (b. 1940)
4084 Bondage. Circa 1990. Chromogenic print on Fujicolor Professional paper. 21 x 30,2 cm. Signed by the photographer in silver marker lower right. Mounted in mat window.
1.500 €
Nobuyoshi Araki‘s work is characterized by its provocative and often controversial exploration of themes such as sexuality, intimacy, and desire. His extensive oeuvre includes a wide range of subjects, from Tokyo street scenes to explicit bondage-inspired photographs, challenging societal norms and boundaries.
Lit.: Nobuyoshi Araki. Araki. 40th Edition Cologne 2022, ill. unpaginated.
applied arts exhibition, monza
4085 Photographer: Wanda von Debschitz-Kunowski (1870-1935) and unknown. German designed objects at the International Applied Arts exhibition, Monza. 1927. 19 vintage gelatin silver prints. Each circa 15,5 x 21,8 cm and reverse, some smaller. 2 with photographer‘s W. v. Debschitz-Kunowski, Wittenbergplatz 3a. stamp, 15 with Original-Foto durch die Leitung der deutschen Abteilung der Internationalen KunstgewerbeAusstellung Monza 1927 stamp on the verso.
750 €
Wanda von Debschitz-Kunowski was one of the founding members of the „Deutscher Künstlerbund“ (German Artists Association) in 1903, where she played a crucial role in promoting photography as a legitimate art form alongside painting and sculpture.
72
architecture
4086* Photographer: Evert Marinus van Ojen (1886-1964). Housing complex on the beach of Hoek van Holland, designed by J.J.P. Oud (1890-1963). 1927. Vintage gelatin silver print. 15,2 cm x 22,2 cm. Annotated in pencil on verso.
500 €
Designed by J.J.P. Oud in the early 1920s, the housing complex on the beach of Hoek van Holland, known as the „Strand Wijk“ (Beach District), is a significant example of Dutch modernist architecture. Intended for workers and their families, the complex emphasizes simplicity and functionality, incorporating modern architectural principles derived from the De Stijl movement and fostering community through integrated green spaces and communal areas. Today, it stands as an important landmark in Dutch architecture, attracting visitors interested in modernist housing concepts.
Lit.: Ludwig Hilberseimer. Groszstadtarchitektur. Stuttgart 1927, ill. p. 45, pl. 94.
Ludwig Hilberseimer. Internationale neue Baukunst im Auftrag des Deutschen Werkbundes. Stuttgart 1928, ill. p. 10. Walter Dexel. Das Wohnhaus von heute. Leipzig 1928, ill. p. 69, pl. 46.
Siegfried Giedion. Befreites Wohnen: 86 Bilder. Zürich and Leipzig 1929, ill. p. 35.
Martien DeVletter, Ed Taverne and Cor Wagenaar, J.J. P. Oud 1890-1963: The Complete Works. Amsterdam 2001, ill. p. 266.
73 4085 4086
architecture
4087* Photographer: Rudolf Sandalo Jr. (1899-1958). Housing projects in Brno, designed by Bohuslav Fuchs (1895-1972), 1926-27. 2 vintage gelatin silver prints. 12,3 x 23,2 cm and 22,4 x 16,7 cm. Each with photographer‘s studio stamp, typewritten caption and architect‘s name stamped on verso. Hingemounted to board.
600 €
Rudolf Sandalo Jr., the proprietor of Atelier de Sandalo, established himself as a prominent figure in architectural photography, particularly renowned for capturing Czechoslovakian functionalist architecture of the 1920s and 1930s. His studio, initially focused on portrait photography, gained international acclaim under his leadership, producing iconic images of buildings like the Villa Tugendhat by Mies van der Rohe. Sandalo‘s meticulous compositions skillfully highlighted the structural and aesthetic qualities of modernist designs, shaping the perception of architecture both locally and abroad.
4088* Photographer : Sasha Stone (1895-1940). German Pavilion at the World Exhibition in Barcelona, designed by Ludwig Mies van der Rohe (18861969). 1928-1929. 2 vintage gelatin silver prints. 15,8 x 23 cm and 16 x 22,2 cm. One with Berliner Billd Bericht copyright stamp on verso; the other with Mies van der Rohe studio stamp, Berliner Billd Bericht copyright stamp and annotated in black ink on verso. Each hinge-mounted to mat.
4.000 €
Originally commissioned by Dr. Erich Raemisch on behalf of Deutsche Seide, Sasha Stone‘s photographs of the Barcelona Pavilion play a crucial role in capturing the essence of Ludwig Mies van der Rohe‘s architectural masterpiece, which was rebuilt in 1986 after its original demolition shortly after the 1930 World Exhibition. Serving as visual ambassadors, these images not only document the Pavilion‘s groundbreaking design and elemental aesthetics but also perpetuate Mies‘ vision of ideal architecture. These photographs were instrumental in driving the reconstruction campaigns of the Barcelona Pavilion, ensuring its legacy as a pioneering example of modern architecture.
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architecture
4089 Photographer: Ezra Stoller (1915-2004). Fallingwater, designed by Frank Lloyd Wright , Bear Run, Pennsylvania.1935. Vintage gelatin silver print 1963. 26,3 x 20,2 cm. Photographer‘s studio stamp and layout/number notations in pencil/black crayon on the verso.
600 €
This photograph joins two of the most influential and important architects and architectural photographers of American Modernism. In his impressive photographs Ezra Stoller captured structures that have shaped the cultural memory of the equally iconic structures they document. Shooting both in color and black-and-white, Stoller was exceptionally attuned to the buildings and spaces he photographed, framing them with precise attention to vantage point, lighting conditions, and the unique qualities of their form. The architect Frank Lloyd Wright was known for his innovative and organic structures and Falling water is considered one of his most important projects.
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auto union
4090 Photographer unknown. Auto Union streamlined racing car type C. 1937. Large-format vintage gelatin silver print. 30 x 39,5 cm. In original mat.
500 €
The evocative design of the new 1937 Auto Union Type C Streamline racing car caused quite a stir on the auto scene. Bernd Rosemeyer, one of the most popular race car drivers of his time, drove this model and was killed in a racing accident in 1938 when a gust of wind caused his car to overturn at high speed.
martin badekow (1896–1983)
4091 (Attributed to). Car images. 1930s. 2 vintage gelatin silver prints. 18 x 24 cm and 15,5 x 22 cm.
1 annotated on the verso.
400 €
One image shows the front of the service car of the Persian Embassy, Berlin.
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bernd and hilla becher (1931–2007, 1934–2015)
4092 „Hochofen, Hainer Hütte, Siegen“. 1961/printed 1971. Vintage large-format ferrotyped gelatin silver print. 39,5 x 30 cm. Mounted to original board, signed by the photographers in pencil on mount verso, framed under glass in wooden frame.
8.000 €
The German conceptual artists and photographers Bernd and Hilla Becher, worked as a collaborative duo. They are renowned for their extensive series of photographic images, or typologies, of industrial buildings and structures. As the founders of the „Becher School“ or the Düsseldorf School of Photography, they influenced generations of documentary photographers and artists in Germany and abroad. By the mid-1960s they arrived at a preferred presentational mode: the images of structures with similar functions were then displayed side by
side often in grids of six, nine or fifteen to invite viewers to compare their forms and designs based on function, regional idiosyncrasies, or the age of the structures. The Bechers used the term „typology“ to describe these ordered sets of photographs.
While the Bechers are primarily known for their typological series, single images, such as the one offered here, stand out. This image is of particular interest as it was taken in Bernd Becher‘s birthplace Siegen in 1961, coinciding with the year of Bernd and Hilla Becher‘s marriage.
Lit.: Susanne Lange. Was wir tun, ist letzlich Geschichten erzählen... Bernd und Hilla Becher. Eine Einführung in Leben und Werk. Munich 2005, ill. plate 7, p. 104.
Ariane Grigoteit (ed.). Bernd & Hilla Becher. Mainz 1998, ill. p. 83.
Provenance: Private Collection, Siegen
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hans bellmer (1902–1975)
4093 „Hans Bellmer Photographies“ (Images from the „Poupée“ series). 1930s/printed 1983. 10 gelatin silver prints. Each circa 25,5 x 26 cm (35 x 29 cm). Each with photographer‘s facsimile signature blindstamp below image in margin; each with photographer‘s name stamp editioned 26/50 in ink and Tirage original realisé par Roger Vulliez stamp on the verso, losely mounted in window mats (a few loose). In original black cloth clamshell box with applied lace and pink stamped title Hans Bellmer (corners/edges rubbed, writing on cover with light scratch/rubbing, otherwise in very good condition), 2 text leaves. Galerie Francois Petit, Paris 1983.
8.000 €
Hans Bellmer is renowned for his innovative contributions to Surrealism, notably his La Poupée series which explores themes of desire, sexuality, and the subconscious. This collection comprises 10 posthumous prints made from Bellmer‘s original negatives by „Roger Vulliez after agreement of the rights holders who numbered them and marked them with a dry stamp,“ along with wet stamps on the verso. These prints provide insight into Bellmer‘s surreal universe, encapsulating the essence of his provocative imagery.
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max baur (1898–1988)
4094 Maguerite and grass. 1930s. Vintage gelatin silver print on doubleweight ivory paper. 29,8 x 21,5 cm. Photographer‘s stamp on the verso.
berlin night views
4095 Photographer/agency. Bruno Schroeter. Series of Berlin night views. Late 1920s. 19 vintage ferrotyped gelatin silver prints. Each 13 x 18 cm, one 16,5 x 23 cm. Each with agency stamp(s) and annotated in pencil/ink, some also with typed caption label on the verso.
600 €
An attractive and comprehensive collection titled „Berlin bei Nacht“, comprising views of Berlin at night showing many facades with illuminated advertising.
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joseph beuys (1921–1986)
4096 Photographer unknown. Contact sheet of Joseph Beuys‘ installations „Das Rudel“ (1969) at the Neue Galerie, Kassel, and „Honigpumpe am Arbeitsplatz“ at the Dokumenta 6, Kassel 1977. Vintage gelatin silver print. 24 x 31 cm. Signed by Joseph Beuy s in ballpoint pen in upper left.
800 €
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4097 „Artificial pubic hair“. 1990. Vintage gelatin silver print. 21 x 18,5 cm. Signed, titled, dated and numbered 1/1 by the photographer in ink on verso, framed under glass in wooden frame (a few scratches).
500 €
Born in Amsterdam, Paul Blanca‘s interest in photography began after he met Eva Veldhoen, daughter of painter Aat Veldhoen. Blanca initially used a small, color camera before transitioning to black and white photography with a 6 x 6 cm Hasselblad camera. In the 1980s, he gained recognition for his violent self-portraits, inspired by the works of Robert Mapplethorpe and Andres Serrano. Mapplethorpe himself once stated: „Paul Blanca is my only competitor.“
tom blau (1912–1984)
4098 John Lennon and Yoko Ono in New York. 1969. Vintage gelatin silver print 30,2 x 20,6 cm. Several agency stamps, typed press text label on the verso.
500 €
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karl blossfeldt (1865–1932)
4099 „Urformen der Kunst. Photographische Pflanzenbilder“. Edited and with an introduction by Karl Nierendorf. XVII, 1 l. (Text brochure) and 120 loose plates in rotogravure after photographs. 31,5 x 24 cm. Green orig.-canvas portfolio with gilt-stamped spine and cover title (spine rubbed, writing in marker [rubbed] on front cover). Berlin, Ernst Wasmuth, 1929.
750 €
„Urformen der Kunst“ („Art Forms in Nature“) is a seminal work by German photographer Karl Blossfeldt, first published in 1928. The book, as well as the portfolio edition offered here, features a collection of close-up photographs of plant forms, displaying their intricate structures and patterns. Blossfeldt meticulously captured botanical specimens, often using a homemade camera with high magnification, revealing the beauty and complexity of nature‘s designs and presenting them as works of art in their own right. Lit.: Heidtmann 14471 and 7293.
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katharina bosse (b. 1968)
4100 Portrait. 1997. Large-format chromogenic print on Kodak Professional paper. 72 x 52,5 cm. Signed, dated and editioned 1/3 by the photographer in ink on the verso.
800 €
Katharina Bosse, born in Finland and raised in southern Germany, studied photography and film at Bielefeld University of Applied Sciences and Arts. Following her education, she spent two years in Cologne working on artistic projects and magazine commissions. From 1997 to 2003, she resided in New York, where she continued her artistic pursuits and produced work for prestigious publications such as The New Yorker and The New York Times Magazine. Bosse‘s work is included in collections at institutions such as the Museum of Fine Arts Houston, the Centre Pompidou in Paris, and the Museum of Modern Art in New York.
brassaï (Gyula Halász, 1899–1984)
4101 Alberto Giacometti in his studio. 1965/printed later. Gelatin silver print. 30 x 23,7 cm. Signed by the photographer in ink in margin lower right; photographer‘s/copyright stamp and number notations in pencil on verso.
1.500 €
This is the last portrait of Alberto Giacometti in his studio, taken in 1965 by Brassai.
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max burchartz (1887–1961)
4102 „Lotte (Auge)“. 1928/printed 1980. Matte gelatin silver print on Agfa paper. 30,5 x 40 cm (32 x 41,5 cm). Edition stamp, signed by Lotte Burchartz in felt-tip pen and editioned 79/100 on the verso. 1.600 €
Born in 1887, Max Buchartz studied at the Kunstgewerbeschule Elberfeld and the Kunstakademie Düsseldorf. He moved to Weimar in 1921 and in 1926 was appointed professor at the Folkwangschule where he worked until 1933 teaching graphic design, typography and photography. This image was included in the Film und Foto exhibition in Stuttgart 1929 and two years later in 1931 it was used as an enlarged mural to greet visitors at the exhibition Das Lichtbild in Essen. It has since become an icon of modern photography.
Lit.: Film und Foto, p. 56, cat. no. 148, ill. p. 44.
Franz Roh/JanTschichold. foto-auge/oeil et photo/photo-eye. Stuttgart 1929, ill. plate 31.
Van Deren Coke. Avant Garde Photography in Germany 19191939, Munich 1982, ill. plate 23.
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harry callahan (1912–1999)
4103 Cape Cod. Circa 1972. Gelatin silver print. 24,3 x 24,5 cm (27,8 x 30,2 cm). Signed by the photographer in pencil in margin lower right.
3.000 €
Harry Callahan was born in Detroit, Michigan and started photographing in 1938. In 1946, he was appointed by László Moholy-Nagy to teach photography at the Institute of Design in Chicago. By the time he retired in 1977, he was teaching at the Rhode Island School of Design. His technical method was
to go out almost every morning, walk the city he lived in and take numerous pictures. He then spent almost every afternoon making proof prints of that day‘s best negatives. Yet, in spite of all his activity, Callahan, by his own estimates, produced no more than half a dozen final images a year.
Lit.: The Museum of Modern Art. Harry Callahan. New York 1976/77, ill. p. 192.
Harry Callahan. Water‘s Edge. New York 1980, ill. p. 47. Double Vision: Photographs from the Strauss Collection. University Art Museum, Long Beach 2000, ill.
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henri cartier-bresson (1908–2004)
4104 Liberated forced laborers beating their former guards in Dessau. 1945. Vintage gelatin silver print on Agfa paper. 16,5 x 24,5 cm. Photographer‘s/copyright stamp, several archive stamps, layout marks and annotated Les deportes libre frappents sur les gardiens in pencil/red ink on the verso.
5.000 €
In 1945, many former forced laborers gathered in Dessau to prepare for their return to their home countries. It was precisely at this time that Henri Cartier-Bresson was in Dessau and photographed the events with his Leica. Many famous images were taken in the destroyed city on 12 rolls of films, but only a few of them are world-famous icons today. The vintage photograph offered here is one of the great rarities from this series and is widely unknown. It shows the outburst of rage of former prisoners who recognize some of their tormentors.
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henri cartier-bresson
4105 George Braque. 1944/printed later. Gelatin silver print. 24 x 35,5 cm. Signed and dedicated by the photographer in ink as well as photographer‘s blindstamp in lower margin, framed under glass in wooden frame.
900 €
Henri Cartier-Bresson is perhaps best known for his candid street photography and his founding role in the Magnum agency. However, his portrait work is also highly significant and shows his ability to capture the essence of his subjects with both intimacy and depth. In his portrait work, Cartier-Bresson had the rare gift of making the subjects forget the camera‘s presence, resulting in candid and revealing photographs, characterized by their simplicity and honesty.
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henri cartier-bresson
4106 Roland Barthes. 1963/printed later. Gelatin silver print. 35,5 x 24 cm. Signed and dedicated by the photographer in ink as well as photographer‘s blindstamp in lower margin, framed under glass in wooden frame.
900 €
4107 Claude Lévi-Strauss.1963/printed later. Gelatin silver print. 35,5 x 24 cm. Signed and dedicated by the photographer in ink as well as photographer‘s blindstamp in lower margin, framed under glass in wooden frame.
900 €
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jewgeni chaldej
4108 „Atop the Berlin Reichstag, May 2, 1945“. 1945/ printed later. Gelatin silver print. 22,7 x 30,5 cm. Signed and titled by the photographer in pencil on the verso.
1.000 €
An interesting document, which Chaldej himself commented on: „Early in the morning on May 2, 1945, I entered it (the Reichstag). I was surrounded by horrendous noise, Russians and Germans were all shouting in horrible confusion ... A pleasant young soldier came up to me. I had a red flag in my hand. He said, ‚Lieutenant, davai, let‘s hurry up and climb onto the roof with the flag‘ ... We started out, but all the stairs were badly
damaged. When we finally got up the Reichstag was on fire. ... We found a long pole. I spent lots of time trying out different compositions. I took one picture from the left, but that wasn‘t any good. I wanted Berlin to be clearly visible in the picture. Then I said, ‚Boys, go and stand over there and raise the flag ... then try over there‘. There were three of them. One was from the Ukraine, the other from Machatshkala in Dagestan and the third was a Russian. ... I shot a whole roll of film, 36 shots.“ (cited in Volland/Krimmer, p. 151).
Lit.: Ernst Volland/Heinz Krimmer (eds.). Von Moskau nach Berlin. Bilder des russischen Fotografen Jewgeni Chaldej. Berlin 1999, ill. pp. 65-67 (images from the same series).
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jewgeni chaldej (1916 – 1997)
4109 Planes over the Reichstag, Berlin. April 1945/ printed early 1990s. Gelatin silver print. 30 x 40 cm. Signed by the photographer in pencil on verso.
900 €
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. 70.
color photography
4110 Photographer: Reinhold Lessmann (1915-2004). Advertising photo for Kubald seatbelt Late 1950s. Vintage tricolor Duxochrome print. 23,5 x 17,5 cm. Photographer‘s studio stamp on the verso.
400 €
4110
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edward sheriff curtis (1868–1952)
4111 „The Vanishing Race, Navaho“. 1904. Orotone. 27,5 x 35 cm. Signed in the plate by the photographer in lower right and copyright signet in lower left within the image, in original studio wooden frame (some traces of use) and and printed text label (some paper loss) on frame verso.
8.000 €
Edward Sheriff Curtis was a pioneering American photographer and ethnologist celebrated for his comprehensive documentation of the Indigenous peoples of North America. His magnum opus, „The North American Indian,“ stands as a monumental photographic and ethnographic study, capturing the culture and traditions of over 80 Native American tribes during the early 20th century. Curtis dedicated decades of his life to this ambitious project, traveling extensively across the United States to document the daily lives, ceremo -
nies, and customs of Indigenous communities. Through his evocative photographs and detailed ethnographic notes, Curtis sought to preserve and honor the rich cultural heritage of Native American tribes, providing future generations with invaluable insights into their way of life. In addition to his extensive photographic work, Curtis is also renowned for his innovative technique known as the „Orotone“ process, in which photographic images were printed onto glass plates coated with a fine layer of gold pigment, adding a luminous and ethereal effect to his work and further enhancing its impact.
Lit.: Edward S. Curtis. The North American Indian. Vol. 1: The Apache. The Jicarillas. The Navaho, Cambridge 1907, ill. plate 1. Christopher Cardozo (ed.). Native Nations. First Americans as seen by Edward S. Curtis, Boston 1993, ill. p. 122.
Christopher Cardozo. Edward S. Curtis. The Great Warriors, New York 2004, ill. p. 7.
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4112 „The Fisherman, Wisham“. 1904. Orotone. 35 x 27,5 cm. Signed in the plate by the photographer in lower right and copyright signet in lower left within the image, in original studio frame (some traces of use, scratches) and printed text label as well as photographer‘s studio label on frame verso.
4.000 €
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Lit.: Christopher Cardozo. Native Nations: First Americans as Seen by Edward S. Curtis. Boston 1993.
dance photography
4113 Photographer: Herbert Volwahsen (1906-1988) and Charlotte Rudolph (1896-1983). Scene from the dance pantomime „Der Weg“ (1932) and „Totenmal“ (1930), both choreographed by Mary Wigman. 2 vintage gelatin silver prints. 10,2 x 14,5 cm and 8,7 x 13,5 cm. Rudolph photo with photographer‘s blind stamp in lower left corner; each annotated in pencil on the verso.
600 €
One image depicts a scene from the pantomime dance „Der Weg,“ choreographed by Mary Wigman in 1932 and photographed by the sculptor Herbert Volwahsen. The other photo captures a scene from „Totenmal“ in 1930, photographed by the prominent German dance photographer Charlotte Rudolph, who documented dancers like Mary Wigman, Vera Skoronel, and Gret Palucca in the 1920s-1930s. Tragically, her studio was destroyed during the bombing of Dresden on February 13, 1945.
Lit.: Rudolf Bach. Das Mary Wigman Werk. Dresden 1933, ill. („Totenmal“, variant).
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madame d‘ora (Dora Kallmus, 1881–1863)
4114* Fashion study with skis. ca. 1930. Gelatin silver print. 21,3 x 14,4 cm (38,5 x 27 cm). Photographer‘s studio stamp in negative, mounted to board, photographer‘s studio blindstamp on the mount.
Dora Kallmus, professionally known as Madame d‘Ora, was a prominent Austrian photographer in the early 20th century. Born in Vienna in 1881, she became renowned for her sophisticated and groundbreaking portraits of prominent individuals in art, fashion, and society. Her studio in Vienna emerged as a focal point for avant-garde artists, and her work stood out for its innovative use of light and composition, capturing the essence of the interwar period. 4115
500 €
frantisek drtikol (1883–1961)
4115 „Le rire“ (Female nude with skull). Circa 1913. Vintage gelatin silver print. 23,2 x 29,3 cm. Photographer‘s Bromografia and address stamp in the negative in lower left corner.
3.500 €
At the beginning of the century, Frantisek Drtikol was part of the international pictorialist movement. During this period, he created a number of photographs using very elaborate techniques and pigment processes. He often combined female nudes in expressive gestures and movements with dramatic lighting. With this image, Drtikol succeeded in transforming the seriousness and gravity of the Memento Mori motif into a light and cheerful scene.
Lit.: Zuzana Fortova. Frantisek Drtikol: photographe, peintre, mystique. Prague 1998, ill. pl. III/2 (bromoil pigment print).
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tilla durieux (1880–1971)
4116 Photographer: Hänse Herrmann (active in Berlin 1910s). Portrait of the actress Tilla Durieux. Circa 1910. Vintage matte gelatin silver print. 21,5 x 16 cm. Photographer‘s blindstamp in lower right corner.
500 €
harold edgerton (1903–1990)
4117 „Bobby Jones Multiflash Golf Swing“. 1938. Vintage gelatin silver press print. 13 x 16,2 cm. Typed German press text label affixed to the verso.
1.200 €
Harold Edgerton, known for his pioneering work in stroboscopic photography, revolutionized the way we perceive highspeed events with his invention of the electronic flash. The Atlantic photo agency stamp on the verso indicates that this print was most likely used for its first German publication in 1939. An image from this same series is in the collection of SFMOMA.
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4116
el lissitzky (1890–1941)
4118* Agitation board in front of a factory in Vitebsk. 1919. Vintage gelatin silver print. 9,4 x 10 cm. Number 256 in pencil on verso. Hinge-mounted to mat. 5.000 €
El Lissitzky‘s photographs of agitation boards in Vitebsk capture the fervent spirit of early Soviet propaganda, employing bold graphics and slogans designed to inspire revolutionary zeal. Through dynamic compositions and striking typography, Lissitzky captures the fusion of art and politics, illuminating the power of visual communication in mobilizing the masses. These images serve as poignant documentation of a pivotal moment in history, highlighting Lissitzky‘s role as both artist and political advocate during the tumultuous early years of the Soviet Union.
Lit.: Sophie Lissitzky-Küppers. El Lissitzky, Maler, Architekt, Typograf, Fotograf: Erinnerungen, Briefe, Schriften. Dresden, 1967. ill. pl. 42, Victor Malsy. El Lissitzky: Konstrukteur, Denker, Pfeifenraucher, Kommunist. Mainz, 1990. ill. p, 69.
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el lissitzky
4119* Soviet Display at the International Hygiene Exhibition in Dresden. 1930. Vintage gelatin silver print on carte postale. 9 x 13,8 cm. Annotated by another hand in pencil on verso. Hinge-mounted to mat.
1.200 €
entartete kunst
4120 Proscription postcards showing works in the „Entartete Kunst“ (Degenerate Art) exhibition. 1937. 2 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 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.
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film photography
4121 Stills from the French film „ Marthe Richard au service de la France“, directed by Raymond Bernard. 1937. 30 vintage matte brown-toned gelatin silver prints. Each circa 29,5 x 39,5 cm. Most with Paris Film Production in the negative in lower left corner, inserted in album pages, bound together in contemporary reptile patterned cloth album (inner joint torn) with chord binding.
500 €
A comprehensive album with a wide selection of large-format and technically superb film stills/publicity portraits featuring the main stars Erich von Stroheim, Edwige Feuillère , Jean Galland and Marcel André
4122 Photographer: John Engstead (1909-1983). Marlene Dietrich in „Seven Sinners“. 1940. Vintage gelatin silver print. 25 x 20,3 cm. Photographer‘s stamp and annotated in ink on verso.
400 €
In „Seven Sinners“, Marlene Dietrich plays the role of Bijou Blanche, a singer who becomes entangled in a love triangle with two men, played by John Wayne and Albert Dekker.
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film photography
4123* Photographer: John Engstead (1909-1984).
Marlene Dietrich in Las Vegas. 1957. Gelatin silver print. 25,2 x 20,3 cm. Titled „Marlene Dietrich“ in red pencil on verso; photographer‘s copyright stamp, „Yvonne M Spiegelberg“ stamp,“Brigitte“ stamp as well as „Archiv Lebeck“ sticker on verso.
300 €
John Engstead‘s photographs of Marlene Dietrich in Las Vegas capture the pinnacle of her reinvention as she dazzled audiences with her cabaret act at the Sahara Hotel marking the beginning of a new chapter in her illustrious career. Adorned in Jean Louis‘s iconic „nude“ gowns, Dietrich‘s stage presence exuded an irresistible allure, with the gowns practically sewn onto her figure for a flawless silhouette. Renowned among her ensembles was her famous long stole made of fine swan‘s down, adding an extra touch of luxury and sophistication to her performances.
4124* Arthur Miller and Marilyn Monroe in London. 1956. Gelatin silver print. 22,6 x 16,4 cm.
300 €
This image depicts the couple Marilyn Monroe and Arthur Miller attending a preview of Miller’s play, ‚A View From The Bridge,‘ at the New Watergate Theatre Club in London, England, on September 9th, 1956.
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trude fleischmann (1895–1990)
4125* 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 of recto, annotated and dated in pencil on verso.
400 €
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.
günther förg (1952–2013)
4126 „Architecture. Moscow 1923-1941“. 1995/96. 10 gelatin silver prints. 36 x 27 cm (40,3 x 30,4 cm). Each signed, dated and editioned 7/10 by the photographer in pencil on the verso. In orignal cardboard box with embossed title on cover (a few scuff marks), with numbered cover sheet (light dent), Fleet Edition, Hamburg 1996.
2.500 €
Günther Förg‘s architectural photographs of Moscow capture the city‘s urban landscape with a distinct aesthetic vision. Förg‘s lens explores the interplay between light, shadow, and geometric forms, highlighting the architectural diversity and historical layers of Moscow‘s built environment. These photographs reflect Förg‘s fascination with space, structure, and the intersection of art and architecture, showcasing his unique perspective on the urban landscape.
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leonard freed (1929–2006)
4127 Brooklyn, New York. 1963/printed later. Gelatin silver print. 32,7 x 22 cm (35,5 x 27,7 cm). Signed, titled and dated in pencil and with the photographer‘s copyright stamp on verso.
1.000 €
The American photographer Leonard Freed is celebrated for his compelling images of Harlem and Brooklyn, 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.
Lit.: Leonard Freed. Black in White America. New York 2010.
4128 Children from the City of New York in a Upstate New York summer camp. 1963. Vintage gelatin silver print on Agfa paper. 21,5 x 32 cm. Signed by the photographer in pencil, agency label with typed text and photographer‘s stamp on the verso.
1.200 €
Lit.: Leonard Freed. Black in White America. New York 2010.
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barbara metselaar berthold (b. 1951)
4129 Factory workers. 1980s. Vintage gelatin silver print. 18 x 24 cm. Photographer‘s stamp on verso.
400 €
Barbara Metselaar Berthold is acclaimed for her candid depiction of daily life during the former GDR era. With exceptional authenticity and profound empathy, she captured the subtleties of ordinary existence, from factory workers on their lunch breaks to families navigating the complexities of East German society.
kurt buchwald (b. 1953)
4130 „Hartmann & Krause in der Oderberger Straße“ from the series „Ein Streifen Tag - ein Streifen Nacht, Berlin“. 1987/printed 1997. Gelatin silver print. 20,7 x 30,5 cm (27 x 36,5 cm). Titled, dedicated and signed by the photographer in lower margin.
600 €
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4130 gdr photography
kurt buchwald
4131 Joerg Waehner during the performance „Happy Birthday Stalin!“. 1989. Vintage ferrotyped gelatin silver print. 17,2 x 23,8 cm. 2 photographer‘s stamps and extensively annotated in ink/pencil on the verso.
750 €
detlef christel (1943–2018)
4132* Boy with toy gun, Berlin. 1980s. Gelatin silver print. 48,2 x 38,2 cm. Photographer‘s stamp on verso.
400 €
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 former 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.
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4133* Kids, Berlin. 1980s. Gelatin silver print. 38 x 48 cm. Photographer‘s stamp on verso.
400 € 4133 4134
4134* Youngsters, Berlin. 1980s. Gelatin silver print. 38,2 x 48,2 cm. Photographer‘s stamp on verso.
400 €
christiane eisler (b. 1958)
4135 „Imad, Oktober 1984“. 1984. Vintage gelatin silver print on doubleweight paper. 45,5 x 30,5 cm. With typewriten exhibition label attached to print. Photographer‘s stamp as well as titled and dated in pencil on verso.
750 €
Christiane Eisler, a Berlin-born photographer who studied in Leipzig, gained recognition for her documentation of Punk culture during the former GDR era. Predominantly focusing on underground scenes and marginalized communities, Eisler‘s socially documentary approach captures the spirit of rebellion and resilience among punks in East Germany.
4136 „Shila, 1982“. 1982. Vintage gelatin silver print on doubleweight paper. 30,5 x 47,2 cm. Photographer‘s stamp as well as titled and dated in pencil on verso.
750 €
108
4135
4136
arno fischer (1927–2011)
4137 New York. 1984. 6 vintage ferrotyped gelatin silver prints. Each circa 30 x 19,5 cm. Number in pencil on verso.
500 €
Whether in New York, Moscow or Leningrad or India, Arno Fischer got close to people and gave them a stage, so to speak. He never sought the exotic when traveling, but rather recorded moods. With his portraits he placed inconspicuous people at the center of his lens. The results are often tender images, in a wonderful composition of light and shadow.
Provenance: Estate of Arno Fischer
109
4137
arno fischer
4138 „West-Berlin, Strassenbahn“. 1956/printed later. Gelatin silver print. 27 x 41,4 cm. Signed, titled and dated (1958) by the photographer in pencil and photographer‘s stamp on the verso.
900 €
4139 East Berlin, Prenzlauer Berg. 1957/printed 1970s. Gelatin silver print. 20,2 x 27,2 cm. Photographer‘s stamp and titled by the photographer in ink and on the verso.
750 €
Lit.: Elke aus dem Moore/Matthias Flügge (eds.). Arno Fischer. Fotografie (exhibition catalogue). Ostfildern 2009, ill. p. 47.
110
4138
4139
4140 Untitled. 6.IV.84 (diptych). Vintage gelatin silver print. 33 x 16,5 cm (39,7 x 29,8 cm). Signed and dated by the photographer in ink below the image in the margin; photographer‘s stamp on the verso.
1.000 €
Thomas Flörschütz is 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 traditions, and he has gained recognition both nationally and internationally for his unique artistic vision.
111
4140
thomas florschuetz (b. 1957)
gerhard gäbler (b. 1952)
4141 „Lutherstadt Eisleben“. 1984/printed later. Archival pigment print on Hahnemühle Baryta paper. 28,8 x 43,5 (32,8 x 48,2 cm). Photographer‘s stamp on verso; signed, titled and dated in pencil on verso.
800 €
Originally trained as a chemist, Gerhard Gäbler emerged as one of the most distinctive artists from the former GDR. After opting for a career change and studying photography at the Hochschule für Grafik und Buchkunst in Leipzig, he focused his lens on his immediate environment, becoming a keen observer of life under communist rule. His black and white photographs not only document the familiar aspects of socialism but also capture moments of quiet resilience and determination amidst societal change.
112
4141
4142
gerhard gäbler
4142 „Berlin Friedrichstrasse“. 1988/printed later. Archival pigment print on Hahnemühle Baryta paper. 28,8 x 43,5 (32,8 x 48,2 cm). Photographer‘s stamp on verso; signed, titled and dated in pencil on verso.
800 €
Lit.: Gäbler, Gerhard. Zeit ohne Wiederkehr. Fotografien aus der DDR von 1978 bis 1990. Halle, 2015. ill. p. 43.
4143 „Vor der Währungsunion, Leipzig, Juni 1990“. 1990/printed later. Archival pigment print on Hahnemühle Baryta paper. 28,8 x 43,5 (32,8 x 48,2 cm). Photographer‘s stamp on verso; signed, titled and dated in pencil on verso.
800 €
Lit.: Gäbler, Gerhard. Zeit ohne Wiederkehr. Fotografien aus der DDR von 1978 bis 1990. Halle, 2015. ill. p. 142.
4144 „Leipzig, Mai 1990“. 1990/printed later. Archival pigment print on Hahnemühle Baryta paper. 42,3 x 29 cm (48,2 x 32,8 cm). Photographer‘s stamp on verso; signed, titled and dated in pencil on verso.
800 €
Lit.: Gäbler, Gerhard. Zeit ohne Wiederkehr. Fotografien aus der DDR von 1978 bis 1990. Halle, 2015. ill. p. 150.
113
4143 4144
jürgen graetz (b. 1943)
4145 After demolition of the Garnisonskirche Potsdam. 1968. Vintage gelatin silver print. 20 x 28 cm. Signed, titled and dated by the photographer in pencil and with photographer‘s stamp on the verso.
400 €
herbert hensky (1910–2005)
4146 Trümmerfrauen in Schönhauser Allee, Berlin. Early 1940s/printed later. Large-format vintage gelatin silver print. 29 x 38,5 cm. Photographer‘s/agency stamp and estate stamp and annotated in pencil on the verso.
500 €
114
4145
4146
herbert hensky
4147 The miner Adolf Hennecke in the former Soviet occupation zone of Germany. 1948. 6 vintage ferrotyped gelatin silver prints. Each circa 18 x 13 cm. Each with photographer‘s/agency stamp, one annotated in red/blue crayon on the verso.
800 €
On October 13, 1948, miner Adolf Hennecke surpassed the required work standard four times in an East German coal mine. This event was orchestrated as a propaganda stunt to promote role models and productivity. Hennecke was rewarded with 1.5 kilograms of the strictly rationed fat, three packs of cigarettes, and a bottle of liquor, and he had the day before and after off. The „Hennecke myth“ persisted well into the 1970s in the former GDR, and even longer among older individuals, before gradually fading away.
115 4147
herbert hensky
4148 Reconstruction of Alexanderplatz. 1969/70. Large-format vintage gelatin silver print. 39,6 x 29,5 cm. Photographer‘s/agency stamp and annotated in pencil on the verso.
800 €
116
4148 4149
4150
bernd heyden (1940–1984)
4149 Living room; Interior, Berlin. 1970s. 2 vintage ferrotyped gelatin silver prints. 21,2 x 29,5 cm and 24,3 x 17,8 cm. Each with photographer‘s Berlin stamp on the verso.
400 €
Bernd Heyden was closely connected to and integrated in Prenzlauer Berg, Berlin, where he spent most of his life. The autodidact initially trained as a woman‘s tailor and worked as an ironer, chauffeur and laboratory assistant, until he was admitted as a photographer in 1974. Since 1967, he worked in the Club junger Fotografen (Club of Young Photographers) founded by Arno Fischer and Sibylle Bergemann. His photographs were rejected by former GDR officials as „trash can photography“, nonetheless they were highly valued by many of his colleagues.
4150 Apartment interiors, Berlin. 1970s. 3 vintage gelatin silver prints (1 ferrotyped). Each circa 20,2 x 28 cm. 1 with photographer‘s Berlin stamp on the verso.
400 €
117
harald kirschner (b. 1944 )
4151 Ringstrasse, Leipzig-Grünau. 1982. Vintage gelatin silver print. 33,3 x 44,5 cm. Photographer‘s copyright stamp as well as signed, titled and dated in pencil on verso.
750 €
Harald Kirschner‘s photography project on Leipzig-Grünau is a comprehensive long-term study comprising circa 200 photographs, documenting the social and urban developments of a newly built residential area during the GDR era. Through his lens, Kirschner captured the challenges and experiences of the residents, particularly children and adolescents, who transformed the urban landscape into a playground of imagination and exploration. His photographs offer a nuanced portrayal of Grünau‘s evolution, revealing both the struggles and the resilience of its inhabitants amidst the backdrop of rapid urbanization.
4152 Ringstrasse, Leipzig-Grünau. 1983. Vintage gelatin silver print. 45 x 30,5 cm. Photographer‘s copyright stamp as well as signed, titled and dated in pencil on verso.
750 €
118
4151 4152
mahler (b. 1949)
4153 Paris. 1979. 2 gelatin silver prints. 26,2 x 18,4 and 17,2 x 24,8 cm. 1 signed by the photographer in pencil on verso, the other unsigned.
600 €
Ute Mahler is celebrated for her provoking and introspective photographic style, characterized by keen attention to detail and an ability to evoke emotion. With a career spanning decades, she has captured a wide range of subjects, from intimate portraits to vast landscapes. Her series of photographs taken in Paris in 1979 exemplifies her talent for juxtaposing the unfamiliarity of a foreign city with her personal experiences and observations from East Germany.
119
ute
4153
120 4154 4155
olaf martens (b. 1963)
4154 Leningrad. 1996. Vintage chromogenic print. 37 x 47 cm (40,2 x 50,7 cm). Signed, dedicated, dated and annotated by the photographer in Russian in black marker on the verso.
900 €
From the former GDR, photographer Olaf Martens has made a significant mark in both the realms of fashion and photojournalism. His unique style revolves around the exploration of contrasts, infusing his work with depth and narrative complexity. Martens‘ portfolio spans international PR and advertising campaigns, along with contributions to numerous publications, solidifying his reputation as a versatile and sought-after photographer since the late 1980s.
4155 Leningrad Music Hall. 1997. Vintage chromogenic print. 34,8 x 43,7 cm (40,5 x 50,7 cm). Signed, dedicated, dated and annotated by the photographer in Russian in black marker on the verso.
900 €
roger melis (1940–2009)
4156 Fashion photograph. 1980s. Vintage gelatin silver print. 24 x 18 cm. Photographer‘s stamp on verso.
500 €
Renowned for his documentary photography, fashion and portrait work, Roger Melis approached fashion photography with a unique and discerning eye. Often capturing subjects in unembellished, everyday scenes, his portraits provide glimpses into the essence of his subjects while subtly reflecting the zeitgeist of the former GDR era.
4156
121
robert paris (b. 1962 )
4157 „Berlin, Gaswerk Dimitroffstr.“. 1983. Vintage gelatin silver print. 16,2 x 23,8 cm. Titled and dated by the photographer in ink and with photographer‘s stamp on the verso.
During the 1980s, photographer Robert Paris traversed the deteriorating streets of East Berlin, capturing the decaying facades, forsaken factories, and empty squares. The transient quality evident in his photographs foreshadowed the imminent decline of the former GDR.
Lit.: Robert Paris. Entschwundene Stadt: Berlin 1980-1989. Mitteldeutscher Verlag, 2013.
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800 € 4157
4158
robert paris
4158 „Berlin, Röntgenthal“. 1986. Vintage gelatin silver print. 16,2 x 23,8 cm. Titled and dated by the photographer in ink and with photographer‘s stamp on the verso.
800 €
4159 „Berlin, Wasserwerke Friedrichshagen“. 1988. Vintage gelatin silver print. 22,4 x 15,5 cm. Titled and dated by the photographer in ink, annotated in ink and with photographer‘s stamp on the verso.
800 €
4160 „Berlin, Neue Synagoge“. 1988. Vintage gelatin silver print. 22,1 x 15,2 cm. Titled and dated by the photographer in pencil and with photographer‘s stamp on the verso.
800 €
123
4159
4160
manfred paul (b. 1942)
4161 „An der S-Bahn, Kopenhagener Straße, Prenzlauer Berg“. 1988. Gelatin silver print. 21,5 x 31,7 cm (29,7 x 39 cm). Signed, titled, dated and numbered 1/12 by the photographer in pencil on the verso.
500 €
Manfred Paul, a Berlin-based photographer, approaches the essence of human existence through his evocative imagery . With a career spanning decades, Paul‘s work ranges from intimate portraits to cityscapes, exploring themes of change, memory, and the passage of time with profound depth and insight.
Provenance: Galerie Bodo Niemann
124
4161
4162
4163
jens rötzsch (b. 1959)
4162 „1. Mai 1988 Budapest“. 1988. Vintage gelatin silver print mounted to board. 30 x 30 cm (53 x 39 cm). Signed, titled, dated and numbered II/XXV in black ink on lower margin of mount.
600 €
Jens Rötzsch, a Berlin-based photographer, refined his skills at the Hochschule für Grafik und Buchkunst in Leipzig during the 1980s, before establishing himself as a freelance photographer in Berlin. Renowned for his documentary series „ProtokollStrecken,“ he captured the transition from the SED dictatorship to a new era in East Germany post-Wende. As a founding member of the Ostkreuz image agency, Rötzsch‘s work has been featured in publications like Zeit Magazin and GEO, earning him prestigious awards such as the World Press Prize in 2002.
4163 „Leipzig“. 1987/printed later. Chromogenic print. 51 x 51,5 cm (55 x 55,5 cm). Signed, titled and dated by the artist in felt-tip pen on verso; accompanied by a certificate of authenticity signed by the artist.
1.200 €
Lit.: Petra Göllnitz and Erik Stephan. Der große Schwof: Feste feiern im Osten. Jena, 2023. ill. p 178.
125
erasmus schröter (1956–2021)
4164 „Nachtbilder“ (Infrared photos). 1980-81. 3 vintage gelatin silver prints. Each circa 14,5 x 40 cm and 19 x 30 cm.
Erasmus Schröter‘s „Nachtbilder“ series, captured on infrared film with invisible flash, offers a glimpse into nocturnal life in the years 1980-1981 in the former GDR. From streetcar commuters to ballroom dancers, circus performers, and artists, these images portray a diverse array of nighttime scenes, enveloped in a surreal and transcendent atmosphere, reminiscent of theatrical performances. 4164
1.200 €
126
gundula schulze eldowy (b. 1954)
4165 „Tamerlan, Berlin“ (series). 1984. Gelatin silver print. 35,5 x 25,8 cm. 2 photographer‘s stamp and annotated in pencil on the verso.
900 €
Gundula Schulze Eldowy is known for her poignant and intimate documentary portraits capturing everyday life in East Berlin during the final years of the former GDR. This classic portrait by Schulze Eldowy is emblematic of her early work, characterized by a socially critical yet empathetic portrayal of her subjects. It is part of a series captured between 1979-1987 in East Berlin.
Lit.: Photographie des 20. Jahrhunderts. Museum Ludwig Köln. Cologne 1996, ill. p. 611.
4166 „Lothar“ from the series „Aktportraits“. 1983. Vintage gelatin silver print. 26,5 x 40 cm. Signed, titled and dated by the photographer in pencil on the verso.
1.000 €
Lit.: Gosbert Adler/Wilmar Koenig (eds.). DDR FOTO. Freunde der Werkstatt für Fotografie. Berlin 1985, ill. p. 106.
127
4165 4166
hans martin sewcz (b. 1955)
4167* Self-portrait, Checkpoint Charlie (sequence). 1988. Vintage gelatin silver print. 39,5 x 20 cm. Flushmounted to board, signed, titled and dated by the photographer in pencil and photographer‘s stamp on mount verso.
In the series „Sequences 1987-1992,“ Hans Martin Sewcz offers a glimpse into a period of rapid political and social transformation, reflecting autobiographical elements and the quest for identity amid Berlin‘s reunification. Sewcz‘s retrospective approach intertwines personal phases in East Berlin with the broader context of Germany‘s reunification, using visible perforations on the negative strips to emphasize the process and narrative elements within each sequence.
128
750 €
4167
4168* „Out of Order“ - Hommage á Hannah Höch. 1985-2005. Unique photomontage consisting of 25 cibachrome strips. 74 x 100 cm. Signed and dated by the photographer in ink in lower right edge; mounted to board, signed and dated by the photographer on mount verso, framed under glass.
2.200 €
This work by Hans Martin Sewcz features a unique photomontage comprising test strips from his cibachrome prints. Spanning from 1985-1993, the images depict scenes from both East and West Berlin, as well as locations in Brandenburg, Stuttgart, Strasbourg, Chicago, and Texas. Sewcz regards this montage as a visual diary and biography capturing moments preceding the fall of the Berlin Wall, up to the reunification of Germany, and the subsequent freedom of travel.
129
hans martin sewcz
4168
uwe steinberg (1942–1983)
4169 „Auf dem Heimweg“. 1963/printed later. Gelatin silver print. 23 x 35 cm (27,5 x 39 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. Steinberg‘s extensive body of work, spanning various themes
such as labor, daily life in the former GDR, and portraits of youth, serves as a testament to his discerning choice of subjects and his mastery of composition techniques.
4170 Dessau. 1977/printed later. Gelatin silver print. 24,5 x 37 cm (29,6 x 39,7 cm). Titled and dated in pencil, with the photographer‘s stamp on verso.
600 €
130
4170 4169
helfried strauss (b. 1943 )
4171 „Tretjakow Galerie, Moskau“. 1969. Vintage gelatin silver print. 37,5 x 26,5 cm. Signed, titled and dated in felt-tip pen on verso.
600 €
Helfried Strauß is a German photographer known for his evocative and introspective black and white imagery. His work often explores themes of identity, memory, and the passage of time, capturing the subtle nuances of everyday life with a poetic sensibility. Strauß has exhibited his photographs extensively in Germany and internationally, earning acclaim for his ability to evoke profound emotion and contemplation through his visual storytelling.
4172 Leipzig. 1980s. Vintage gelatin silver print. 30 x 39,8 cm. Signed in pencil on verso.
500 €
131
4171
4172
4173 Leipzig. 1980s. Vintage gelatin silver print. 29,8 x 39,8 cm. Signed in pencil on verso.
500 €
4174 Gewandhaus Leipzig. 1987. Vintage gelatin silver print. 24 x 18,3 cm. Photographer‘s stamp on verso.
400 €
132
helfried strauss
4174
4173
ulrich wüst (b. 1949)
4175 Dresden. 1981. Vintage gelatin silver print. 17,2 x 23,2 cm. Titled and dated by the photographer in pencil on recto; archive stamp on verso.
750 €
Ulrich Wüst intricately captured the urban landscapes and architectural motifs of the former GDR with exceptional detail and nuance. His photographs, characterized by stark compositions and muted tones, serve as poignant reflections on the built environment and societal dynamics of East Germany during the Cold War era.
4176 „Haldensleben, 1979“ from the series „Stadtbilder“ (1979-1985). Vintage gelatin silver print. 14,5 x 21,8 cm (24 x 29,8 cm). Photographer‘s studio stamp on verso.
Lit.: Ulrich Wüst. Stadtbilder. Stuttgart, 2021, ill. p. 28.
750 €
133
4175
4176
ulrich wüst
4177 Malchow / Mecklenburg. 1980. Vintage gelatin silver print. 17 x 23,5 cm. Titled and dated by the photographer in pencil on recto, archive stamp on verso.
750 €
4178 Architectural studies. 1980s. 4 vintage gelatin silver prints. Between 13,4 x 19,8 cm and 14,4 x 21,8 cm (24 x 29,8 cm). Each with photographer‘s studio stamp on verso. 1.500 €
134
4178
4177
wüst
4179 Street corner. 1980s. Vintage gelatin silver print. 14,5 x 21,8 cm (24 x 29,8 cm). With the photographer‘s studio stamp on verso.
750 €
4180 Portrait. 1982. Vintage ferrotyped gelatin silver print. 14,8 x 20 cm (18 x 22 cm). Dated by the photographer in ink in lower margin; photographer‘s stamp and annotated by the photographer in pencil on the verso.
€
135
ulrich
750
4179 4180
nan goldin (b. 1953)
4181 „J. and Richard on the bed, Chicago“ (Couple in Bed, Chicago), from the series „The Ballad of Sexual Dependency“. 1977/printed late 1990s. Cibachrome print. 58 x 72,5 cm. Signed, titled, dated and dedicated by the photographer in felt-tip pen on the verso.
3.000 €
Nan Goldin‘s work explores themes surrounding the LGBT community, intimacy, the HIV crisis, and the opioid epidemic. Her seminal work, „The Ballad of Sexual Dependency“ (1986), which includes this image, serves as a poignant documentation of post-Stonewall gay subculture, intertwined with intimate portrayals of Goldin‘s family and friends. Often compared to Diane Arbus and Larry Clark, Goldin‘s style embraces the informal, content-driven aesthetic of the snapshot, with a preference for capturing private dramas in interior settings, such as cluttered kitchens, downtown bars, and disheveled beds. Notably, her adept use of color serves as a catalyst for accentuating the emotional essence of each moment. Goldin resides and works in New York City, Berlin and Paris.
Lit.: Nan Goldin. The Ballad of Sexual Dependency. New York 2004, ill. p. 138.
Sylvia Wolf. Visions from America: Photographs from the Whitney Museum of American Art, 1940-2001. New York 2002, ill. p.123.
Nan Goldin. Couples and Loneliness. Kyoto 1998, ill. p. 8.
4182 Selected images: „April at the window“ (1983); „Lynelle in Japanese restaurant, NYC (1986); „My room in The Lodge, Belmont, Ma.“ (1988); „Honeymo on suite in Nuernberger Eck Hotel, Berlin“ (1994); „Kee on the bed, East Hampton“ (1995); „My hotel room, Zürich“ (1995). 6 cibachrome prints/printed 1996. Each circa 30 x 40,5 cm. Each signed, titled and dedicated by the photographer in ink on the verso.
4.000 €
136
4181
137
4182
4182
4183 „Jimmy Paulette after the Parade, New York“, 1991/printed 1996. Cibachrome print. 50,5 x 60,8 cm. Signed by the photographer in felt-tip pen and number in pencil on the verso.
3.000 €
Lit.: Nan Goldin. The Other Side. Edited with David Armstrong and Walter Keller. Zurich 1992, ill. p. 63.
138
nan goldin
4183
4184 „Amanda in the Locker Room, Berlin“. 1993/ printed 1996. Cibachrome print. 51 x 61 cm. Signed by the photographer in felt-tip pen on the verso.
1.200 €
139
4184
4185
2.000 €
140
nan goldin
„James King: Supermodel“. 1995. Cibachrome print. 40,5 x 50,5 cm. Signed by the photographer in black marker on the verso.
4185
2.000 €
141
4186 „James King: Supermodel“.1995. Cibachrome print. 35 x 50 cm. Signed by the photographer in black marker on the verso.
4186
4187 „Homes for America“ (#6). 1960s/printed 1989. Color offset print. 24 x 31 cm (49,5 x 55.5 cm). Printed title and number as well as signed by the photographer in pencil below the image in the margin.
900 €
Dan Graham‘s multifaceted oeuvre encompasses performanc es, installations, video works, photographs, and architectural endeavors, challenging conventional boundaries between art forms. His influential photo-text essay „Homes for America,“ published in 1965, critically examines the architecture of American suburbs, offering profound insights into suburban living and its cultural ramifications.
142
dan graham (b. 1942)
4187
4187
german east africa
4187a Photographer: Carl Vincenti (1871-1946), Dares-Salam. Colonial documentation showing economic resources of Geman East Africa. 1900-1910. Circa 60 vintage gelatin silver prints. Each circa 18 x 24 cm or reverse and smaller. Photographer‘s name and signet in the negative in lower right corner.
800 €
With: Deutsch-Ostafrika. Colonial documentation album showing economic resources of German East Africa. 62 vintage gelatin silver prints. Inserted in window mats, annotated in ink in German below images on album page, bound in contemporary paper album with chord binding (edges rubbed).
timothy greenfield-sanders (b. 1952)
4188 Willem de Kooning. 1981/printed 1990. Gelatin silver print. 20,4 x 15,9 cm. Signed and dedicated by the photographer in pencil and photographer‘s stamp on verso, hinge-mounted in upper edge to mat.
750 €
A print of this image is in the collection of the Portland Art Museum.
143 4188
4187a
f.c. gundlach (1926–2021)
4189 „Christa im Saga-Mink“. 1970/printed later. Gelatin silver print. 40,5 x 48 cm (50,4 x 61 cm). Signed, titled, dedicated and dated by the photographer in pencil and photographer‘s stamp 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 encapsulates 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.
Lit.: Klaus Honnef (ed.). F.C. Gundlach. Modewelten: Photographien 1950 bis heute. Berlin 1985, ill. p. 203 (variant).
4190 Berlin. 1957/printed 1998. Gelatin silver print. 33,5 x 29,5 cm (51 x 40,5 cm). Signed, titled and dated by the photographer in pencil and Griffelkunst edition stamp on the verso.
900 €
144
4190
4189
robert häusser (1924–2013)
4191 „Kultstätte“ (Ritual site). 2000/printed 2004. Archival pigment print. 29 x 32,7 cm (40 x 50 cm). Signed, titled, dated and editioned a.p. by the photographer in pencil in lower margin.
900 €
Lit.: Claude W. Sui (ed.). Robert Häusser. Aus dem photographis chen Werk 1938 - 2004. Heidelberg 2004, ill. front cover and p. 143.
raoul hausmann (1886–1971)
4192 „Mechanischer Kopf (Der Geist unserer Zeit)“. Circa 1919-1920/printed 2002. Gelatin silver print from the original negative. 29,2 x 20,2 cm (40,3 x 30,5 cm).Griffelkunst edition text printed on the verso.
500 €
Raoul Hausmann‘s „Mechanischer Kopf“ (Mechanical Head) is a notable Dada artwork from the early 20th century, crafted from mechanical and everyday objects, symbolizing his exploration of technology‘s impact on human identity. It embodies Dadaist principles, prompting a reevaluation of art and the role of machinery in society.
145
4191
4192
jürgen henschel (1923–2012)
4193 Benno Ohnesorg, Berlin Charlottenburg, June 2, 1967/printed later. Gelatin silver print. 17,7 x 24 cm. Signed, titled and dated by the photographer in felttip pen on verso.
600 €
This photograph shows the German student and activist Benno Ohnesorg, whose death at the hands of a police officer is considered a turning point in German postwar history.
4194 Rudi Dutschke. 1967/printed later. 3 gelatin silver prints. 17,8 x 24 cm or vice versa. Signed, titled and dated by the photographer in felt-tip pen on verso.
600 €
146
4193
4194
lucien hervé (1910–2008)
4195 Haute Cour à Chandigarh. 1955/printed later. Gelatin silver print. 30,5 x 28,2 cm (40,2 x 30,2 cm).
Signed in pencil on verso.
1.500 €
Lucien Hervé‘s photographs of Chandigarh epitomize the harmonious dance between light and form, capturing Le Corbusi -
er‘s modernist architecture with striking clarity and dynamism. Through his lens, the city‘s geometric shapes and bold lines emerge as sculptural compositions, revealing the beauty and power of human-made structures in dialogue with their surroundings. Another print of this image is in the collection of the Museum of Modern Art, New York.
Lit.: Oliver Beer. Lucien Hervé: L‘homme construit. Paris 2001. ill. p. 146.
147
4195
ken heyman (1934–2019)
4196 „New York City, Houston Street“. 1966/printed later. Gelatin silver print. 22,5 x 33 cm (27,7 x 35,4 cm). Signed by the photographer in ink in lower margin; signed, titled and dated by the photographer in pencil and photographer‘s stamp on the verso.
1.000 €
Ken Heyman was an American photographer known for his extensive documentary work capturing various aspects of human life and culture around the world. He collaborated with anthropologist Margaret Mead on several projects, including the book „Family“ (1965), which featured photographs of families from diverse cultural backgrounds. Heyman‘s empathetic approach to photography and his ability to capture intimate moments made him a celebrated figure in the field of documentary photography.
148
4196
thomas hoepker (b. 1936)
4197 „Muhammad Ali (formerly Cassius Clay). Boxing world heavyweight champion in front of the skyline of Chicago“. 1966/printed later. Large-format gelatin silver print. 34 x 50 cm. (48,5 x 58,8 cm). Stamped, signed and titled by the photographer in pencil as well as edition stamp AP 4/5 on the verso.
3.000 €
The photographer and documentary filmmaker Thomas Hoepker contributed to defining photojournalism in the 20th century. He was the first German member of Magnum , eventually serving as the organization’s president from 2003-2006. Hoepker earned recognition as a photo reporter for German magazines starting in 1959, when he became a full-time reporter for Stern in 1964 and, later, the magazine’s art director. In 1966 Hoepker traveled on assignment to the United States, where he produced the photo series “Champ” for Kristall magazine. It featured legendary boxer Muhammad Ali and included the image offered here. Lit.: „Champ“. Muhammad Ali photographed by Thomas Hoepker. Berlin 2012, illustrated.
149
4197
marta hoepffner (1912–2000)
4198 „Rhythmisches Raster“. 1972. Chromogenic print. 19,8 x 19,5 cm. Signed and dated by the photographer in pencil in lower left corner, mounted to board; titled, dated and annotated by the photographer in pencil and photographer‘s label on mount verso.
2.500 €
The photographer Marta Hoepffner was known for her innovative „Farbinterferenzbilder“ series, created as of 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.
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.
150
4198
4199 „Gegenbewegung I“ (Farbfotogramm in polarisiertem Licht). 1977. Vintage chromogenic print on Kodak paper. 23 x 23,2 cm. Mounted along upper edge to card (minimal traces of use); signed and dated below the image on mount; titled, dated and annotated by the photographer in pencil on mount verso. 2.500 €
Lit.: Eva Scheid (ed.). Lichtbilder - Bilder des Lichts. Marta Hoepffner. Fotokünstlerin und Pädagogin. Hofheim am Taunus 1997, see pp. 50-67.
151
marta hoepffner
4199
152 4200
sven hoffmann (b. 1965)
4200 „Coconut Island Water“. 2018. Chromogenic print. 80 x 60 cm. Framed under glass in wooden frame, Certificate of Authenticity label, signed, dated and numbered 1/10 by the photographer in black ink on frame verso.
1.500 €
Sven Hoffmann studied photography at the Hochschule der Künste in Berlin from 1986-1992, graduating as a master student. Already during this time, he focused his artistic work on the element of water and its photographic representation. He developed this focus consistently over the years, expanding his
concept of art to include social and ecological aspects. Eventually he established the Aqua Globalis project, which, in addition to the artistic representation of water, is also dedicated to the social and environmental significance of clean water and access to it.
michael horowitz (b. 1950)
4201 Helmut Qualtinger as pilot. 1980s. Vintage gelatin silver print. 39 x 29,5 cm. Framed under glass in wooden frame, signed by the photographer in ink on frame verso.
750 €
153
4201
horst p. horst
(Paul Horst Bohrmann, 1906–1999)
4202 „Irving Penn, N.Y.“. 1951/printed later. Gelatin silver print. 35 x 27,5 cm. Photographer‘s blindstamp in lower right in the margin; signed, titled by the photographer in pencil and titled in pencil on the verso, hinge-mounted in upper edge to board.
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 careful attention to lighting, composition, and detail. Here he captured fellow photographer Irving Penn in a relaxed and personable pose. Lit.: Horst. Photographien aus sechs Jahrhunderten, Munich 1995.
154
4202
4203 Distributor: Verkehrs- und Werbeamt der Stadt Essen . Industrial images of the Krupp factory, Essen and Gelsenkirchen. 1927-1930. 8 vintage gelatin silver prints. Various sizes circa 16 x 22 cm and sma ller. Each with distributor‘s stamp, some annotated in pencil/crayon/ink and 3 with typed caption label on the verso.
900 €
This selection of images shows the exterior and interior of the Krupp steel factories in Essen and Gelsenkirchen. Includes a photograph showing the coking plant and a panoramic view of Essen with many factory smokestacks.
155 industrial
photography
4203 4203
lotte jacobi (1896–1990)
4204 Theater portraits of Hans Albers and Lucie Höflich in Ferdinand Bruckners „Die Verbrecher“.1928. 3 vintage gelatin silver prints. Each circa 24 x 18 cm. Each mounted to board (slight traces of use), each signed by the photographer in pencil below image on mount; each with photographer‘s stamp on mount verso.
400 €
Hans Albers celebrated his first major stage success at the Deutsches Theater Berlin in the role of a waiter in the play „Die Verbrecher“ by Ferdinand Bruckner. This was his major breakthrough and he went on to star in a variety of sound films.
4205 Jazz Club Café Dachgarten, Berlin. Circa 1931. Vintage gelatin silver print. 15,5 x 21,5 cm. Photographer‘s/copyright stamps and annotated in pencil on the verso.
400 €
In this image Lotte Jacobi photographed a jazz performance at the famous jazz club, Café Dachgarten in Berlin. In the center one can see the composer Will Meisel.
156
4204 4205
4206 Photogenic abstraction. Circa 1950. Vintage gelatin silver print. 19,7 x 24,6 cm. Photographer‘s Pho togenics /copyright stamp on the verso, hingemounted in upper corners to mat.
1.200 €
Encouraged by Leo Katz, in the early 1940s Lotte Jacobi began experimenting with making photographs without a camera. It was Katz who coined the term „Photogenics“ for these renditions of paths of light. To him these images were true „original “ art objects, devoid of the reproducible nature of normal photo -
graphs. Jacobi‘s photogenics follow the new concepts in the visual arts of the time. They were included in such avantgarde exhibitions as In and Out of Focus in 1948 and Abstraction in Photography in 1951, both at the Museum of Modern Art in New York, as well as in the second Subjektive Fotografie exhibition in 1954, in Saarbrücken.
Lit.: Marion Beckers/Elisabeth Moortgat. Atelier Lotte JacobiBerlin, New York. Berlin 1997. ill. pp. 191-192 (similar photogenics). Provenance: Christie‘s. Light, Volume and Form: Photographs from the Shalom Shpilman Collection, May 24-June 2, 2016, lot 85.
157
lotte jacobi
4206
rinko kawauchi (b. 1972 )
4207 „Untitled“ from the series „Illuminance“. 2007. Chromogenic print in artist‘s wooden frame (corners bumped and slightly scratched). 104 x 104 cm. Signed by the photographer on verso.
4.000 €
Rinko Kawauchi‘s photography embodies a serene and contemplative aesthetic, characterized by soft, diffused light and deli -
cate compositions. Her images often depict everyday moments infused with a sense of wonder and introspection, inviting viewers to find beauty in the mundane. Through her minimalist approach, Kawauchi captures the fleeting moments of life with poetic simplicity, evoking a sense of timelessness and universal resonance. This print is one of only three prints made for the artist‘s series „Illuminance“ from 2011.
Lit.: Rinko Kawauchi. Illuminance. Heidelberg, 2011. n.p.
158
4207
4208 „Untitled“ from the series „Illuminance“. 2007. Chromogenic print in artist‘s wooden frame (slightly scratched). 104 x 104 cm. Signed by the photographer on verso.
4.000 €
159
rinko kawauchi
Lit.: Rinko Kawauchi. Illuminance. Heidelberg, 2011. n.p.
4208
daniel kane (b. 1954)
4209* „Pergamon I“. 1990s. Vintage gelatin silver print. 26,8 x 18,2 cm. Signed, titled and numbered 2/6, in pencil on verso.
600 €
peter keetman (1916–2005)
4210 Untitled (Light reflections). 1950s. Vintage ferrotyped gelatin silver print on Agfa paper. 29,7 x 24 cm. Photographer‘s stamp and negative number in pencil on the verso.
1.800 €
Peter Keetman was a German photographer known for his innovative approach to capturing everyday scenes with a unique visual perspective. He was a prominent member of the „Fotoform“ group, which was influential in shaping post-war German photography. Keetman‘s work often focused on abstract compositions and geometric patterns found in urban environmen ts, demonstrating his keen eye for detail. He experimented with techniques such as multiple exposures and close-ups, paving the way for new artistic directions in the medium..
Provenance: Christie‘s. Light, Volume and Form: Photographs from the Shalom Shpilman Collection, May 24-June 2, 2016, lot 54.
160
4210
4209
tilo keil (1931–1969)
4211 „Umarmung“ (Embrace). 1968. Half-tone print. 40,2 x 29,5 cm. Signed and dated by the photographer in white ink in lower right.
500 €
Tilo Keil is one of the most interesting rediscovered artists of younger German photo history. His main body of work was produced over a three year period, and the quality of his unique oeuvre is still underrated today. This unusual erotic montage is from a series entitled „Hautbilder“ (Skin Pictures), 18 of which were exhibited in Munich in 1968 at the Avant Art Galerie Casa.
hannes killian (1909–1999)
4212* „Im Prater, Wien“. 1940. Gelatin silver print. 17,5 x 12,6 cm. Titled and dated in pencil as well as photographer‘s copyright and archive stamp on the verso.
900 €
Hannes Kilian, renowned for his photographic documentation of ballet performances, demonstrated a remarkable ability to capture the essence of movement within static images. His work spans over half a century of European and German histor y, encompassing pivotal moments from the World Exhibition in Paris 1937 to post-war reconstruction in Germany. Kilian‘s ex tensive portfolio was featured in esteemed publications like TIME Magazine and Spiegel
161
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4212
astrid kirchherr (1938–2020)
4213 „John Lennon, Heiligengeistfeld, Hamburg“. 1960/ printed later. Large-format gelatin silver print on doubleweight paper. 44 x 58,5 cm. Signed by the photographer in pencil and photographer‘s label on the verso.
1.200 €
Astrid Kirchherr‘s portraits of John Lennon and 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.
jürgen klauke (b. 1943)
4214 „So stell‘ ich mir die Liebe vor“. 1977. 13 vintage chromogenic prints. 50 x 40 cm (sheet size), various image sizes. Each signed and editioned 7/20 by the photographer in felt-tip pen on verso, double she et with title and imprint, in original cardboard box. Edition F.C. Gundlach & Jürgen Klauke Hamburg/ Cologne.
5.000 €
The photography and media artist Jürgen Klauke is known for his critical and confrontational view of normed sexual identities and social behavioral patterns. In works ranging from highly minimalistic to strongly excessive, and also at times
surrealistic scenes, his photographs reflect on the basic conditions of paranoid existence. Using everyday materials as a means to produce images, the artist creates a concentrated look at the absurdity of life.
4215 „pro securitas“. 1992. 2 vintage hand-colored gelatin silver prints mounted together inversed. 23,8 x 35,3 cm. Sandwich-mounted in mat, signed, titled, dated and numbered 1/1 by the photographer in felt-tip pen on mount verso.
900 €
162
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163
4215
4214
164
4216
4217
viktor kolár ˇ (b. 1941)
4216 Ostrava. 1967. Vintage ferrotyped gelatin silver print. 18 x 24 cm. Photographer‘s stamp, titled and dated in pencil on the verso.
400 €
Viktor Kolárˇ was born in Ostrava, the son of a self-taught filmmaker and photographer. In 1953, he began taking photographs, and soon familiarized himself with the works of renowned photographers, particularly Henri Cartier-Bresson. From the second half of the 1960s, he decided to devote himself fully to photography. In 1964, Kolárˇ had his first solo exhibition. In October 1968, after the Warsaw Pact invasion of Czechoslovakia, he emigrated to Canada, where he worked as an assistant in the Molybdemite mines and as a worker in the nickel smelters in Manitoba. From 1971-1973, he participated in documenting shopping malls in Montreal. In 1973, however, he returned to Czechoslovakia via Paris and London.
4217 Ostrava. 1981. Vintage gelatin silver print. 28,5 x 39 cm. Signed, titled and dated by the photographer in pencil on the verso.
600 €
4218 Ostrava. 1986. Vintage ferrotyped elatin silver print. 18 x 24 cm. Photographer‘s stamp, titled and dated in pencil on the verso.
400 €
165
4218
myron kozman (1916–2002)
4219 Photogram. Circa 1935. Vintage gelatin silver print. 25 x 20 cm. Annotated in pencil on the verso.
900 €
Myron Kozman was an abstract painter, sculptor and screen printer. He studied at Grand Rapids Junior College and then in Chicago where he was one of the first five graduates of the Institute of Design (New Bauhaus) in Chicago. Kozman later became a teacher there for twelve years. He worked closely with Moholy-Nagy, teaching him screen printing, and was a WPA (Works Progress Administration) artist. His work was exhibited at the Art Institute of Chicago, Artists Gallery of Chicago and London Art Gallery in London, England.
Provenance: Christie‘s. Light, Volume and Form: Photographs from the Shalom Shpilman Collection, May 24-June 2, 2016, lot 75.
4220 „Bartkauz“. 2019/printed 2024. Pigment print on Brilliant Matte paper. 59,5 x 42 cm. Signed, photographer‘s stamp, therein titled, dated and numbered 2/20 in pencil on the verso.
750 €
Born in 1951 in Hamburg, Tom Krausz began working as an assistant in public television and for various advertising photographers after his studies. Since 1980, he has been working as an independent photographer and filmmaker. His photographs have been widely exhibited and have appeared in numerous photo books.
166
tom krausz (b. 1951)
4219
4220
tom krausz
4221 „Grüner Leguan“. 2021/printed 2024. Pigment print on Brilliant Baryta paper. 59,5 x 42 cm. Signed, photographer‘s stamp, therein titled, dated and numbered 2/20 in pencil on the verso.
750 €
4222 Experimental portrait. 1980s. Vintage gelatin silver print. 25 x 14 cm. Photographer‘s stamp on the verso.
500 €
167
4221
4222
wolfgang krolow
wolfgang krolow (1950–2019)
4223 Berlin/Kreuzberg impressions, 1970s/80s. 13 fine art pigment prints. Each circa 35 x 26 cm (47,5 x 33 cm). Each signed in black ink in the lower white margin.
1.200 €
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 of 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. This select group includes some of his most well-known images.
168 4223
klaus kumrow (1959–2010)
4224 „Stalking“. 2002. 12 Ilfochrome prints. Each circa 39 x 50,5 cm. Each signed and editioned by the photographer in ink on the verso. In original green linen clamshell box with embossed title on cover, with numbered and signed cover sheet (9/12 + 4 AP).
1.200 €
169
4224
vincenzo laera (b. 1966)
4225 „Study of a Torso, Berlin“. 2023. Giclée print on archival Museum Fine Art paper. 81 x 61 cm. Signed, titled, dated and editioned 1/5 by the photographer in pencil and photographer‘s stamp on the verso.
1.200 €
Vincenzo Laera‘s creative journey began in the 1980s Milan fashion world, joining Helmut Newton‘s team in his early 20s and in 1989 later relocated to New York City. Collaborating with luminaries like Albert Watson and Annie Leibovitz until 2005, he transitioned to Berlin in 2006, to pursue his passion for fine art photography. Focused on the human form, beauty, and eros, his work is imbued with the elegance learned from his mentors, intertwined with explorations of art history and his Catholic upbringing. Inspired by the Belvedere Torso, his current project with Marco, offered here, demonstrates his ongoing artistic evolution.
170
4225
robert lebeck (1929–2014)
4226 Calcutta. 1971/printed later. Gelatin silver print. 25 x 36,7 cm (30,5 x 40,3 cm). Signed, titled and dated by the photographer in ink and photographer‘s stamp on the verso.
750 €
The German photographer Robert Lebeck is known 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.
171
4226
robert lebeck
4227 „Konrad Adenauer an seinem 90. Geburtstag in Bonn am 4.1.1966“. Printed later. Gelatin silver print. 25,3 x 37,5 cm (30,3 x 40 cm). Signed, titled and dated by the photographer in ink and photographer‘s stamp on the verso.
750 €
4228 „Romy Schneider in Berlin“. 1976/printed later. Gelatin silver print. 21,5 x 31,5 cm (27,8 x 35,2 cm). Signed, titled, dated and editioned by the photographer in pencil photographer‘s stamp on the verso.
1.200 €
The photographer Robert Lebeck had a special friendship with the actress Romy Schneider who he portrayed on several occasions, capturing her vivacious personality but also her vulnerability.
Lit.: Tete Böttger (ed.). Robert Lebeck: Vis-à-vis. Steidl/Arkana, Göttingen 1999, ill. p. 244.
172
4228
4227
4229 „Jodie Foster, Malibu, California“. 1988. Cibachrome print. 49 x 40,4 cm. Signed, titled, dated and editioned 6/40 by the photographer in black marker in lower margin.
4.000 €
The American photographer Annie Leibovitz is one of today‘s most influential portraitists. Her breakthrough came as she joined Rolling Stone magazine as a photographer in 1973, eventually serving as its chief photographer until 1981. In the following years, Leibovitz, known for her media-shy demeanor, rose to international acclaim for her iconic portraits of numerous music legends. Alongside staged portraits and notable nudes, including those of Demi Moore, Whoopi Goldberg, and Queen Elizabeth II, Leibovitz expanded her repertoire to include reportage and advertising photography.
Lit.: Annie Leibovitz. Photographs 1970-1990. New York 1991, ill. p.
173
annie leibovitz (b. 1949)
4229
herbert list (1903–1975)
4230 Pablo Picasso, Paris. 1948/printed 1981. Gelatin silver print. 23,3 x 34,5 cm (30 x 40,5 cm). Photographer‘s estate stamp, therein titled, dated and signed by Max Scheler in ink on the verso.
900 €
Herbert List‘s portraits of renowned artists exemplify his talent for capturing the essence of his subjects. In this particular image, he skillfully conveys the multifaceted persona of Picasso in his Paris studio.
Lit.: Max Scheler/Matthias Harder (eds.). Herbert List. The Monograph. Munich 2000, ill. p. 205 (image from the same sitting).
4231 Young men at swimming pool. 1950s. Vintage ferrotyped gelatin silver print on Agfa-Brovira doubleweight paper. 23,5 x 29,2 cm. Photographer‘s stamp and annotated in pencil/red crayon with layout notes on the verso.
1.600 €
4232 School class with priest, Rome. 1950s. Vintage ferrotyped gelatin silver print on Agfa-Brovira doubleweight paper. 23,2 x 29,6 cm. Photographer‘s estate stamp, therein negative number and signed by executor in pencil on the verso.
1.600 €
174
4230
175 4231 4232
roxanne lowit (1942–2022)
4233 „Richard Avedon, Irving Penn and Helmut Newton, NYC“. 1983/printed 1993. Large-format gelatin silver print. 30 x 45 cm (51 x 60,5 cm). Signed, titled, dated and editioned 24/25 by the photographer in pencil on the verso.
600 €
For over three decades Roxanne Lowit was a celebrity and backstage photographer. Her work documents the era starting in the 1980s showing such personalities as Andy Warhol, Salvador Dali, Karl Lagerfeld, Tom Ford, Kate Moss, Elizabeth Taylor and Mick Jagger in settings such as Studio 54 and glamourous parties in Paris, New York and L.A. In this image she captured the three great fashion/portrait photographers of the 20th century, Richard Avedon, Irving Penn and Helmut Newton together.
karl-heinz mai (1920 – 1964)
4234 Trümmerfrauen, Leipzig. 1949/printed 1997. 4 gelatin silver prints. Each circa 23,5 x 16 cm. Each with photographer‘s/copyright stamp and 1 with exhibition label on the verso.
400 €
176
4234
4233
man ray
(Emmanuel Rudnitzky, 1890–1976)
4235
„Larmes“; „Retour à la raison“. 1930, 1923/ printed 1991. 2 gelatin silver prints on Agfa paper. 19,7 x 26,8 cm (23,5 x 30,3 cm) and 26,7 x 19 cm (30,4 x 23,6 cm). Both with Griffelkunst and ADAGP Man Ray
Trust copyright stamps on the verso.
1.000 €
Lit.: Man Ray. Photographs. London 1982, ill. pp. 84 and 97.
4236 „Erotique voilée“; „Le violin d‘Ingres“; „Juliet“. 1933, 1924, 1945 /printed 1991. 3 gelatin silver prints on Agfa paper. Each circa 24 x 17,5 cm (30,2 x 24 cm). Each with Griffelkunst and ADAGP Man Ray Trust copyright stamps on the verso.
900 €
Lit.: Man Ray. Photographs. London 1982, ill. pp. 69,17 and 114.
177
4235
4236
4237 „Gilded Lily #5“; „Gilded Lily # 4“. Circa 1980. 2 vintage toned gelatin silver prints. Each circa 35,2 x 27,5 cm (42 x 36,3 cm). Each signed, titled and dated by the photographer in pencil on the verso.
500 €
walter martin (active 1930s–1950s)
4238 „Osterputz“. 1939/printed 1950s. Gelatin silver print. 24 x 18 cm. Photographer‘s stamp on verso.
500 €
178
carol marino (b. 1943)
4237 4238
willy maywald (1907–1985)
4239 Artists in their studios and at home. Late 1940s/printed 1989. 6 gelatin silver prints. Each circa 30,5 x 29,5 cm. Each signed by Jutta Niemann in ink on the verso, as well as with Griffelkunst edition sta mp and Association Willy Maywald ADAGP stamp on the verso.
600 €
Willy Maywald‘s photographs of artists and their studios depict the creative realms of prominent figures in the art world. Maywald captured artists amidst their works-in-progress, surrounded by the tools and clutter of their studios, providing both documentation of artistic spaces and intimate portraits that convey each artist‘s creative process and environment. Notable artists in this set include Henri Matisse, Georges Braques, Hans Arp, Fernand Léger, as well as the studio of Otto Freundlich.
179
Lit.: Elizabeth Pineau. Willy Maywald, L‘ Élégance du regard. Paris 2002.
4240 Fashion photo for Fath , Paris. 1953. Vintage gelatin silver print. 25,2 x 19,2 cm (30,2 x 23,7 cm). Signed by the photographer in lower margin; photographer‘s stamp and annotated in pencil on the verso. 600 €
Lit.: Elizabeth Pineau. Willy Maywald, L‘ Élégance du regard. Paris 2002.
4239
4240
willy maywald
4241 Fashion photo for Fath , Paris. 1953. Vintage gelatin silver print. 25,2 x 19,2 cm (30,2 x 23,8 cm). Signed by the photographer in pencil in lower margin; photographer‘s stamp and annotated in pencil on the verso.
600 €
Lit.: Elizabeth Pineau. Willy Maywald, L‘ Élégance du regard. Paris 2002.
will mcbride
(1931–2015)
4242 Couple embracing. Early 1960s. Vintage ferrotyped gelatin silver print on Mimosa paper. 24 x 27,3 cm. Annotated in pencil and publisher‘s stamp on the verso.
500 €
Will McBride, an esteemed American-German photographer, is renowned for his impactful and unvarnished documentary photography. McBride‘s oeuvre often depicted themes of youth, sexuality, and the human condition, and he is known for his compassionate and genuine portrayal of his subjects. His photographs offer a compelling and unfiltered window into diver se facets of life, encompassing documentation of cultural and societal shifts.
180
4241
4242
will mcbride
4243 Konrad Adenauer in Cadenabbia. 1963. Vintage gelatin silver print on Agfa paper. 30 x 21,2 cm. Signed, titled and dated by the photographer in pencil and agency stamp on the verso.
900 €
Provenance: Directly from the photographer to the present owner.
4244 „Amerikanische und russische Panzer stehe n sich gegenüber, Berlin Friedrich Str.“. 1961/printed later. Large-format gelatin silver print. 33,5 x 50 cm (50,5 x 60,7 cm). Signed, titled and dated by the photographer in pencil on the verso.
1.200 €
Provenance: Directly from the photographer to the present owner.
181
4243
4244
will mcbride
4245 „Nach dem Licht schauen - Jungen beim Waschen, Schule Schloß Salem“. 1963/printed 1990. Gelatin silver print. 54 x 36 cm (61 x 51 cm). Signed, titled and dated by the photographer in pencil, editioned 9/12 and collector‘s stamp on the verso. 2.000 €
Lit.: Will McBride. I, Will McBride. Köln 1997, ill. p. 205 (variant).
182
4245
will mcbride
4246 „Schüler schmeißen Wasser beim Waschen, Schloß Schule Salem“. 1963/printed later. Gelatin silver print. 36,5 x 53,5 cm (51 x 60,5 cm). Signed, annotated, dated and numbered 12/12 by the photographer in pencil and collection stamp on the verso.
2.200 €
Provenance: Directly from the photographer to the present owner.
eamonn mccabe (1948–2022)
4247 Linda Evangelista modelling. 1998. Gelatin silver print on RC paper. 35,4 x 27,8 cm. Annotated in pencil on the verso.
600 €
Provenance: From the photographer to the present owner.
183
4246
4247
linda mccartney (1941–1998)
4248 „Paul and Willem de Kooning, East Hampton“. 1983. Chromogenic print on Kodak Professional paper. 25,3 x 20,2 cm. Printed estate label on the verso, mounted to black board.
2.000 €
Linda McCartney received her first breakthrough as a photographer while working as an editorial receptionist at Town and Country magazine. She documented a Rolling Stones promotional event and the magazine was so impressed with her candid, intimate and relaxed photographs of the Rolling Stones, that they published her images in an editorial feature. This first
magazine commission was followed by many more. In the midsixties McCartney chronicled the musical revolution of the decade. While working as the house photographer at the Fillmore East in New York City, she photographed many iconic musicians including: B.B. King, The Doors, Frank Zappa, The Beach Boys, The Who, The Kinks and Jimi Hendrix. Linda continued to work prolifically as a photographer throughout her life, documenting family life, landscapes and the natural world, interiors, social documentary and portraits of artists. Her work is in the National Portrait Galleries of both the UK and the USA. Lit.: Wolfgang Suttner (ed.) Paul McCartney. Paintings. Ostfildern1999, ill. p. 13.
184
4248
4249 Still life with Gladiolas. 1982. Vintage Fresson print on matte double-weight paper. 40 x 27,4 cm (55 x 39,8 cm). Signed by the photographer in pencil and photographer‘s Sheila Metzner, Photographer, Michel Fresson-Print blindstamp in lower margin; annotated by the photographer in pencil ( Artist Proof ) on the verso.
1.200 €
Sheila Metzner‘s unique photographic style has positioned her as a contemporary master in the worlds of fine art, fashion, portraiture, still life and landscape photography. Born in Brooklyn, she attended Pratt Institute, where she majored in Visual Communications, and was then hired by Doyle Dane Bernbach advertising agency as its first woman art director. While raising five children she continued to take pictures. Gallery shows and commercial clients soon followed. Her first commercial client was Valentino, followed by Elizabeth Arden, Perry Ellis, Shiseido, Fendi, Saks Fifth Avenue, Paloma Picasso, Victoria‘s Secret and Revlon.
185
sheila metzner (b. 1939)
4249
4250 Still life with tulips and orchids. 1992. Vintage Fresson print on matte double-weight paper. 41,5 x 62,6 cm (60 x 80 cm). Monogrammed by the photographer in pencil and photographer‘s Sheila Metz ner, Photographer, Michel Fresson-Print blindstamp in lower margin; signed and annotated „one of a kind“ by the photographer in pencil on the verso.
1.800 €
186
sheila metzner
4250
lászló moholy-nagy (1895–1946)
4251 Selected images. 1925-1932/printed 1993-1994. 7 gelatin silver prints. Each between 26,7 x 20 cm and 28,4 x 20 cm (40 x 30 cm). Each monogrammed by Hattula Moholy-Nagy in pencil and with Griffelkunst edition text printed on the verso.
600 €
Images in this portfolio include: Untitled (Ascona), 1925; Untitled (La Sarraz), 1928; Berliner Funkturm, 1928; Untitled (Skandinavienreise), 1930/1931; Akt (positiv/negativ), 1931; Hamburg im Gängeviertel während der Reichspräsidentenwahl, 1932; Untitled (Blumenphotogramm) n.d.
Lit.: Laszlo Moholy-Nagy. Photographies, photomontages, photogrammes. Paris 1998.
4252 Francesco Clemente, N.Y.C. 1981. 2 vintage gelatin silver prints. Each circa 22,5 x 23 cm (35,3 x 28 cm). Each with photographer‘s/copyright stamp on the verso.
600 €
187
4251
4252
jeannette montgomery barron (b. 1956)
jeannette montgomery barron
4253 Sandro Chia, N.Y.C. 1982. Vintage gelatin silver print. 23,2 x 22,5 cm. Photographer‘s/copyright stamp on the verso.
300 €
aenne mosbacher (1888–1954)
4254 Views of Palestine and Jerusalem. 1935/36. 40 vintage photo postcards. Each circa 10,5 x 14,7 cm and reverse. Each with title in Hebrew and German, number and photographer‘s name in the negative in lower margin. In original silver paper envelopes (traces of use) with topic titles.
1.500 €
Aenne Mosbacher began photographing in the mid-1920s and took part in the „Film und Foto“ exhibition in Stuttgart in 1929, showing six photographs. During a visit to Palestine she took a series of views of the landscapes, people and architecture. These views, which were meant to encourage Jewish people to relocate to Palestine, were printed and distributed in Germany to show Palestine as both historically interesting and as an economically prospering country. Photographs by Aenne Mosbacher are extremely rare and this series as a set with the original presentation envelopes is a true gem of photo history. Lit.: Klaus Honnef/Frank Weyers. Und sie haben Deutschland verlassen müssen. Fotografen und ihre Bilder 1928-1997. Cologne 1997, see pp. 348-349. Wolfgang Kemp/Floris Neusüss (eds.). Kassel 1850 bis heute. Fotografien in Kassel - Kassel in Fotografien. Munich 1981, see p. 198-99.
188
4253
189 4254
otto mueller (1874–1930)
4255 Photographer: Max Glauer (1867-1935). The artist Otto Mueller and his wife Maschka. 1928. Vintage sepia-toned matte gelatin silver print. 21,5 x 16 cm. Photographer‘s blindstamp in lower left corner; annotated in ink/pencil on the verso, mounted along right edge in window mat.
900 €
190
4255
helmut newton (1920–2004)
4256 Gianni Versace, Lake Como, Italy. 1994. Vintage chromogenic print. 37 x 30 cm. Signed, dedicated and dated by the photographer in red marker in upper and lower margins, framed under glass in wooden frame.
1.800 €
191
4256
oskar nerlinger (1893–1969)
4257 Photograms. 1925-1928/printed 1993. 6 gelatin silver prints. Each between 17,8 x 12,5 cm and 23,2 x 17,5 cm (29,8 x 23,5 cm). Each with estate stamp, sig ned in pencil by Peter Nerlinger and Griffelkunst edition text printed on the verso.
400 €
During the early 1920s, Oskar Nerlinger was part of the circle associated with Berlin‘s „Der Sturm“ gallery. He co-founded the group „Die Abstrakten“ in 1926. Pioneering photograms with tissue paper in 1925, his works from this period are offered in this collection, some of which were exhibited at the notable ‚Film und Foto‘ exhibition in Stuttgart in 1929.
192
4257
4258* Selected works. 1930-1947. 3 vintage gelatin silver prints. Between 9,4 cm x 3,4 cm and 9,2 x 7 cm. 2 mounted to original card, both signed, titled and dated in pencil and ballpoint pen and photographer‘s stamp on mount verso.
2.000 €
Dorothy Norman, though better known for her writing and humanitarian efforts, made a significant but understated contribution to photography during the 1930s to the mid-1950s. Influenced by her close relationship with Alfred Stieglitz, she began taking photographs in 1931, capturing personal and intimate moments rather than pursuing professional assignments. Despite working alongside prominent photographers such as Margaret Bourke-White, Norman never identified herself as a photographer. The works in this selection include „Hunter College, 1930,“ „Church Waquoit, Massachusetts, VI, 1933,“ and „Barn Door, Lake George, 1947.“
Lit.: Miles Barth. Intimate Visions: The Photographs of Dorothy Norman. San Francisco, 1993. ill. p. 73, 146.
193
dorothy norman (1905–1997)
4258
4258 4258
peter nürnberg (1959–2015)
4259 Maria Callas. 1959/printed 2013. Gelatin silver print. 38 x 25,7 cm (40,5 x 30,3 cm). Signed and dated by the photographer in pencil and photographer‘s stamp on the verso.
750 €
Whether Sophia Loren, Marlene Dietrich, Hildegard Knef or Maria Callas, Peter Nürnberg photographed an array of internationally acclaimed stars. The image offered here was taken during a moment in music history, when Maria Callas gave her first ever solo concert in Germany at the Hamburg Musikhalle, in May 1959. She sang five arias that evening. Perhaps it is the most visually impressive photo of this event, when Peter Nürnberg captured the star soprano on her way to the concert: wrapped in a fur coat, her gaze confident. The cap of the bellboy from the Hotel Atlantic in the background points to the location.
detlef orlopp (b. 1937)
4260 Landscape. Circa 1964. Vintage ferrotyped gelatin silver print on Agfa paper. 29 x 39,3 cm. Signed by the photographer in ink on verso.
600 €
Detlef Orlopp‘s body of photographic work is dedicated to the vivid diversity of landscapes and faces. In the mid-1950s, Orlopp studied at the School of Arts and Crafts in Saarbrücken under Otto Steinert. Initially, the experimental methods and artistic concepts of the initiator of “Subjective Photography” greatly influenced him. However, Orlopp soon began to develop his own approach, transforming the surface of the landscape into a constructed and reduced image, without losing sight of the object. Mountain formations, icebergs and water surfaces, but also faces, are the recurring motifs in his work. From 1961-2000 he taught as a professor at the Werkkunstschule Krefeld.
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4259
4260
pabel (1910–2000)
4261 China. 1956. 8 vintage gelatin silver prints on Agfa Brovira paper. Each between 29,2 x 23,6 cm and 40 x 29,9 cm and vice versa. Most signed and titled in pencil on verso.
900 €
Hilmar Pabel worked as a photographer for the German magazine Quick for fourteen years. In 1956, he embarked on a journey to China, becoming the first German photojournalist to document the region. This selection of photographs includes views of the Great Wall of China, scenes from Shanghai, glimpses into daily life, as well as some intriguing nightlife scenes in Hong Kong.
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hilmar
4261
irving penn (1917–2009)
4262 „Steinberg in Nose Mask, New York“. 1966/ printed 1968. Platinum palladium print on strong Arches paper. 46 x 38 cm (56,5 x 46 cm). Signed, titled, dated and numbered 9/36 by the photographer in pencil, several edition/copyright stamps on the verso. 18.000 €
Irving Penn‘s oeuvre is distinguished by its elegance, simplicity, and meticulous attention to detail. Across his fashion photography, portraiture, and still life compositions, Penn captured the essence of his subjects with a minimalist aesthetic, often employing stark backdrops to accentuate their presence. Beyond his celebrated portraits, Penn‘s pioneering techniques and commitment to craftsmanship have firmly established him as one of the most influential photographers of the 20th century. His depiction of the American caricaturist Saul Steinberg, wearing a paper bag over his head, demonstrates his knack for
conveying personality and intellect through unconventional means, highlighting not just the physical absence of Steinberg‘s face but also hinting at his inner world and artistic spirit. Penn‘s mastery of the Platinum-Palladium printing process, renowned for its rich tonal range and archival durability, bestowed his pho tographs with depth and a unique quality that continues to resonate within the realm of photography. Another print of this image resides in the esteemed collection of the Metropolitan Museum of Art.
Lit.: John Szarkowski. Irving Penn. The Museum of Modern Art, New York 1984, ill. pl. 143.
Irving Penn, Passage: A Work Record, New York 1991, ill. p. 158. Sarah Greenough. Irving Penn: Platinum Prints, Washington, D.C. 2005, ill. pl. 43.
Magdalene Keaney. Irving Penn Portrait. London 2010, cover image.
Maria Morris Hambourg/Jeff L. Rosenheim. Irving Penn: Centennial. New York 2017, ill. pl. 183.
196
4262
hans pieler (1951–2012)
4263 From the series „Transit“. 1984. Fine art print. 24,3 x 30 cm (40,2 x 48 cm). Signed, dedicated and dated by the photographer in pencil on the verso.
500 €
Lit.: A. Ghandtschi/Mathias Harder (eds.). Hans Pieler / Wolf Lützen. Transit. Heidelberg 2014.
george platt lynes (1907–1955)
4264 Nude against wall in oval. Circa 1949. Vintage gelatin silver print. 23,4 x 19 cm. Annotated in pencil on verso.
1.000 €
Recognized today as one of the masters of 20th century photography, George Platt Lynes has influenced artists such as Robert Mapplethorpe and Herb Ritts. Although Lynes was commercially successful in New York fashion and portrait photography, his art practice is largely characterized today by his remarkable photographs of nude men, from the 1930s until his death in 1955. Inventive lighting, posing, and cropping techniques used within his carefully staged studio settings, enabled him to visually translate both the physical and psychological nuances of his subjects.
197
4263
4264
allan porter (1926–2022)
4265 Photogram. Circa 1948. Vintage unique ferrotyped gelatin silver print. 17,2 x 12,2 cm. Mounted to board, signed by the photographer in pencil on mount verso, hinge-mounted in mat.
900 €
The American-Swiss photographer Allan Porter was also a journalist, editor, designer, and art director best known for his role as editor of Camera magazine. His eye for talent helped launch the career of many now-renowned photographers, namely Josef Koudelka, Stephen Shore and Sarah Moon amongst many others. Under his direction, Camera became one of the most important and widely read photography publications of its time, featuring the works of renowned photographers from around the world.
Provenance: Christie‘s. Light, Volume and Form: Photographs from the Shalom Shpilman Collection, May 24-June 2, 2016, lot 77.
potsdam
4266 Photographer: Studio of Albrecht Meydenbauer (1834-1921). View from Jägerstr. to Charlottenstr. crossing, Potsdam. Circa 1900. Vintage gelatin silver print. 40 x 40 cm. Kgl. Pr. Messbild-Anstalt stamp, other stamps and annotated in pencil on the verso.
750 €
Messbild photographs are extremely accurate in their rendition of architectural detail; when the photograph is taken, the picture plane is 100% parallel to the object. Their accuracy allows architects to reproduce the true measurements of a building. Lit.: Rudolf Meyer (ed.). Albrecht Meydenbauer. Baukunst in historischen Fotografien. Leipzig 1985.
198
4266 4265
edward w. quigley (1898–1977)
4267 Photogram. Circa 1931. Vintage unique ferrotyped gelatin silver print. 36 x 26,5 cm. Mounted along upper edge to mat.
2.000 €
Known for his experimental photographic work with light in the 1930s, the American modernist Edward Quigley started photographing at the young age of twelve. He joined the Photographic Society of Philadelphia in 1929, and opened his own studio a year later. He supported himself with innovative advertising
and editorial work published regularly in magazines such as U.S. Camera and Photographie, while winning prizes in numerous salons for his experimental light abstractions, captured with the aid of prisms and lenses. Today, photographs by Edward Quigley are in the permanent collections of The San Francisco Museum of Modern Art, The Museum of Fine Arts, Boston, The Cleveland Museum of Art, and the Philadelphia Museum of Art. Provenance: Christie‘s. Light, Volume and Form: Photographs from the Shalom Shpilman Collection, May 24-June 2, 2016, lot 76.
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4267
edward w. quigley
4268* Building, New York. 1932. Vintage gelatin silver print. 34,6 x 27 cm (49,2 x 40,2 cm). Mounted to board. Numbered 5860 in pencil and photographer‘s studio stamp on mount verso.
750 €
Edward W. Quigley‘s pioneering experiments with light abstraction distinguished him as a prominent modernist photographer of the 1930s. Quigley, however, also captured the essence of New York City through his lens, offering unique perspectives of its bustling streets, iconic landmarks, and vibrant energy. Despite being largely self-taught, Quigley‘s work garnered attention and acclaim, leading to exhibitions at prestigious institutions such as the J. Paul Getty Museum in Los Angeles and the Museum of Modern Art in New York City.
200
4268
arnulf rainer (b. 1929)
4269 From the series „Face Farce“. 1970-71. Vintage ferrotyped gelatin silver print. 17,5 x 12,7 cm. Signed by the artist in ink in lower right.
1.200 €
Hardly any other artist has subjected himself to such relentless self-analysis in his works as Arnulf Rainer. In the transformations of his self in gestures and facial expressions with rigorous use of the body and in the overpainting of his images, he developed the principle of destruction as a strategy in the search for ever new forms.
4270 Gottfried Benn. 1956. 3 vintage ferrotyped gelatin silver prints on Agfa and Agfa-Brovira paper. Each circa 17,8 x 12,5 cm. Each with photographer‘s/ copyright stamp on the verso.
300 €
201
hans rama (1906–1967)
4269 4270
dirk reinartz (1947–2004)
4271 Günther Förg, Munich. 2001. Cibachrome print. 24 x 30 cm. Signed, titled, dated and dedicated by the photographer in ink on verso.
800 €
Lit.: Dirk Reinartz. Künstler: 114 Porträts. Göttingen 1992, ill. unpaginated.
202
4271
4272 John Giorno, Laurie Anderson and William Burroughs, New York. 1980. Vintage gelatin silver print. 22 x 32 cm (32,8 x 43,4 cm). Signed, titled and dated by the photographer in pencil below the image in the margin.
600 €
A native New Yorker, Marcia Resnick was part of the legendary Downtown art scene of the 1970s and 1980s. Her portraits of the era’s major cultural figures, such as Jean-Michel Basquiat, John Belushi and Susan Sontag, have contributed to the scene’s mythic status.
4273 Peter Orlowsky, Gregory Corso, Allen Ginsberg and William Burroughs at the Bunker, New York. 1980. Vintage gelatin silver print. 32 x 22 cm (41,3 x 33 cm). Signed, titled and dated by the photographer in pencil below the image in the margin.
600 €
203
marcia resnick (b. 1950)
4273
4272
herb ritts (1952–2002)
4274 „Wrapped Torso, Los Angeles“. 1989. Platinum palladium print on strong vellum paper. 46 x 38 cm (56,5 x 46 cm). Photographer‘s blindstamp in lower right in the margin; Signed, titled,dated and numbered 20/25 by the photographer in pencil on the verso.
10.000 €
Herb Ritts, renowned for his refined and minimalist approach, adeptly distilled the essence of his subjects with remarkable simplicity. Particularly notable among his works is „Wrapped Torso,“ which highlights Ritts‘ skill in elevating the human form to sculptural art through the interplay of light, shadow and fabric. This evocative photograph not only demonstrates Ritts‘ photographic prowess but also signifies his exploration of themes revolving around beauty and form.
204
4274
tata ronkholz (Roswita Tolle, 1940–1997)
4275 „Düsseldorf-Flingen, Lindenstrasse 107“ from the ‚Trinkhallen‘ series. 1979. Vintage ferrotyped gelatin silver print on doubleweight paper. 30,8 x 40,3 cm. Titled, dated and annotated with archive number 160 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 1980s, is known for her documentation of urban scenes in the Rhineland and Ruhr region, providing a visual record of postwar architecture and urban development. She primarily depic ted cities like Cologne, Düsseldorf, Essen, and others in the RhineRuhr area. Her renowned series, „Trinkhallen“ (drinking halls), which she began in 1978, features photographs of refreshment kiosks, in which she also integrated images of other shop window designs. 4275
4276 „Köln, Merlotstrasse 2“ from the ‚Schaufenster‘ (Display window) series. 1980. Vintage ferrotyped gelatin silver print. 36 x 26 cm (40,2 x 31 cm).
Annotated with archive number 228 by the photographer in pencil on the verso.
2.500 €
205
4276
rosswog (b. 1950)
4277 Interiors from the series „Heritage“. 19932010/printed 2018. 6 chromogenic prints on Fuji Crystal Archive paper. Each circa 28 x 35 cm (30 x 39,5 cm). Each signed by the photographer in ink on the verso. From an edition by Griffelkunst-Vereinigung Hamburg e.V.
900 €
This selection of photographs is part of a large-scale project Martin Rosswog, a master student of Bernd Becher, has pursued since 1989. The „Heritage“ series documents rural interiors throughout Europe. Rosswog‘s goal is to capture the forms of living typical of countries and regions before they disappear as a result of advancing modernization and globalization. For the project, he collaborated with historians and took a strictly systematic documentary approach. He gives special attention to houses and farm buildings that have been largely spared from modern influences and which have still been used for centuries, reaching back to pre-industrial times.
206
martin
4277
franz roh (1890–1965)
4278 Female nudes. Circa 1930/printed 1999. 6 gelatin silver prints printed from the original negatives. Each 17 x 25,4 cm (24 x 30,2 cm). Annotated in pencil and Griffelkunst edition text printed on the verso.
600 €
theodore jacob roszak (1907–1981)
4279 Photogram. 1937-41. Vintage unique gelatin silver print. 9 x 12 cm. Signed and dated by the photographer in pencil on the verso, mounted in left edge to paper, hinge-mounted in mat.
1.800 €
Roszak met Laszlo Moholy-Nagy in New York in the late 1930s when he was teaching at the Design Laboratory, a WPA sponsored School of Industrial Arts. During this period of the late
1930s, Roszak was simultaneously experimenting with the photogram technique and incorporating elements of the constructions that were preoccupying him at the time. Only after Roszak’s death did knowledge become widespread, of a small but important group of photograms created by the sculptor in the 1930s.
Provenance: Christie‘s. Light, Volume and Form: Photographs from the Shalom Shpilman Collection, May 24-June 2, 2016, lot 84.
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4278
4279
willi ruge (1892–1961)
4280 From the series „On the Avus with Caracciola“. 1931. Vintage ferrotyped gelatin silver print. 14 x 20,3 cm (17,9 x 24,2 cm). Typed press text label with Willi Ruge‘s text and copyright note Fotoaktuell attached to the verso.
2.000 €
This rare image shows the Berlin Funkturm taken by Willi Ruge while in a race car with the famous driver Rudolf Caracciola on the Berlin Avus, the first European motor racetrack. This series was titled „On the Avus with Caracciola“ published in the same year as his other famous series „I Photograph Myself During a
Parachute Jump“ for which Ruge actually jumped out of a plane with a parachute. Ruge was known for his photographic essays published in the magazines of the 1920s-30s, and he founded his own picture agency Fotoaktuell. Both a daredevil and photographer, he attempted to place the viewer in the center of the action and thus achieved truly innovative images. Sadly, his archive was destroyed during an air raid on Berlin in 1943, making his photographs very rare Lit.: Ute Eskildsen. „Willi Ruge and Fotoaktuell: Adventures for the Press“ in: Mitra Abbaspour/Lee Ann Daffner/Maria Morris Hambourg. Object: Photo. Modern Photographs. The Thomas Walther Collection 1909-1949, MOMA New York, see pp. 347357.
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4280
sebastião salgado (b. 1944 )
4281 „Outskirts of Guatemala City, Guatemala“. 1978. Vintage gelatin silver print. 37 x 55 cm (56 x 72 cm). Titled, dated and signed by the photographer in felt-tip pen in lower margin.
3.500 €
Sebastião Salgado‘s photography addresses the human condition and environmental issues through powerful black-andwhite imagery. His work portrays marginalized communities, laborers, and the impacts of poverty and conflict with deep empathy and intimacy. In his images, Salgado creates narratives that provoke reflection and advocate for social justice and environmental conservation.
Lit.: An uncertain grace: Photographs by Sebastião Salgado. New York, 1990, p. 118-119, ill. Other Americas. New York, 2015, p. 74-5, ill.
209
4281
august sander (1876–1964)
4282 Willi Ostermann and Trude Alex. 1932/ printed 2000. Gelatin silver print. 14,5 x 11 cm (29,7 x 21 cm). „August Sander - Köln Lilienthal“ embossed in lower left corner; „Photographische Sammlung/SK Stiftung Kultur, Köln“ and „August Sander Archiv“ copyright stamp on verso.
750 €
This print, which was made on the occasion of the exhibition „Zeitgenossen: August Sander und die Kunstszene der 20er Jahre in Rheinland“ at the Josef-Haubrich Kunsthalle, Cologne, features the prolific German songwriter Willi Ostermann celebrated for his iconic carnival songs in the Kölsch dialect and the German cabaret performer Trude Alex known for her wit and satirical songs during the Weimar Republic era.
Lit.: August Sander: Menschen des 20. Jahrhunderts. Köln: 2001. ill. p. 151 (uncropped version).
210
4282 4283
ernst schieron
4283 „Kreisstudie“; Work study (multiple exposure). Circa 1928. 2 vintage gelatin silver prints. 12 x 17 cm and 18 x 12,8 cm. 1 annotated by the photographer in ink and paper label on the verso.
600 €
jörg sasse (b. 1962)
4284 „P-91-09-03, Giessen“. 1991. Chromogenic print. 37 x 48 cm (83 x 72,5 cm). Signed, dated and numbered „3/6“ in pencil on verso. Framed under glass in wooden frame (slightly scratched), typewritten exhibition label and printed gallery label on verso of mount.
1.200 €
Jörg Sasse is a contemporary German photographer who studied under Bernd and Hilla Becher at the Düsseldorf Art Academy. Known for his conceptual approach, he digitally manipulates mundane subjects like interiors and landscapes to challenge perceptions of reality and memory. His work has garnered international acclaim for its innovative exploration of space, time, and the boundaries of traditional photography. Lit.: Jörg Sasse, Vierzig Fotografien 1984-1991, Munich 1992, p. 87
211
4284
michael schmidt (1945–2014)
4285 Image from the series „Waffenruhe“ (Checkpoint Charlie). 1985. Vintage gelatin silver print. 28,2 x 33,6 cm (30 x 39,8 cm). Signed/copyrighted, dated and dedicated by the photographer in pencil on the verso.
1.500 €
Michael Schmidt embarked on his photographic career 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 „Waffenruhe“ series is characterized by its stark, often desolate, urban landscapes showing Berlin in an empty, transitional state, evoking a sense of both beauty and desolation. His images of Berlin cemented his position as a key figure in the „New Topographic Movement“ of German photography. Lit.: Michael Schmidt. Fotografien seit 1965. Folkwang Essen 1995.
212
4285
bastienne schmidt (b.
1961)
4286 „American Flag“ from the series ‚American Dreams‘. 1996/printed later. Gelatin silver print. 25 x 25,5 cm (35 x 25,5 cm). Signed, titled and annotated by the photographer in pencil on the verso.
900 €
The multi-disciplinary artist Bastienne Schmidt works with photography, painting and large-scale drawings. Born in Germany, raised in Greece and Italy, she has lived in New York for the past 30 years. Her artwork is included in the collections of the Museum of Modern Art, the International Center of Photo graphy, the Brooklyn Museum, the Victoria and Albert Museum in London and the Bibliothèque Nationale in Paris, among others. Her work has been shown nationally and internationally in over 100 exhibitions and she has published seven monographs, among them „American Dreams“.
Lit.: Bastienne Schmidt. American Dreams. Zurich 1997, ill. front cover.
sarah schuhmann (1933–2019)
4287 „Marilyn + Goebbels“. 1963/printed later. Color offset print. 32,5 x 35,7 cm (48 x 60,5 cm). Signed and dated by the artitst in the negative in right side, signed by the photographer in pencil below the image in the margin.
300 €
213
4287
4286
4288 The Storming of the Berlin Reichstag. May 1945/printed 1960s. Large-format ferrotyped gelatin silver print. 42 x 59 cm. Annotated in Russian in black ink and photographer‘s stamp on the verso.
1.200 €
214
ivan shagin (1904–1982)
4288
eva siao (1911–2001)
4289 Images of Lhasa and Potala Palace. 1956/ printed 1995. 9 ferrotyped gelatin silver prints on RC paper. Each between 20 x 30 cm and reverse. Each signed by the photographer in black felt-tip pen in lower left/right corner; each annotated in ballpoint pen on the verso.
2.000 €
The photographs offered in this and the following six lots are all taken by Eva Siao. Born Eva Sandberg into a Jewish family of doctors, the photographer was forced to flee Germany in the 1930s, and she eventually made her way to China via Sweden and the Soviet Union, where she met her second husband Emi Siao. During the Cultural Revolution, she and her husband were attacked and imprisoned by the Red Guards. Despite this, she remained committed to communist ideology until her death and supplied the agencies in Beijing, Moscow and the GDR with the photographic material they required. She was, however, also a sensitive artist who left behind a large oeuvre of impressive portraits and landscapes, far removed from any official propaganda.
In 1956, Eva Siao traveled to Tibet for the first time to photograph the country and its people, just four years after the „liberation“ of Tibet from the „imperialist forces“ by the Chine se People‘s Liberation Army. A second trip, this time on an official commission, took place in 1959.
The photographs taken on these trips are being offered here for the first time on the art market and are extremely rare
Fortunate circumstances enabled her photos to be exhibited in Berlin in 1995, with Eva Siao present. She herself was involved in this project and signed each of the exhibited photographs. Her entire photographic oeuvre is now in the Peter and Irene Ludwig Foundation in Cologne.
In addition to the famous views of the Potala Palace, this lot also includes a view of the Tashi Lhunpo Monastery from 1956, before its partial destruction by the Red Guards. It was restored in the 1980s with donations from religious Tibetans and the Chinese government. It is the traditional seat of the Panchen Lama.
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eva siao
4290 The Nechung Oracle (the personal oracle of the Dalai Lama). 1956/printed 1995. 2 ferrotyped gelatin silver prints on RC paper. Each between 30 x 20 cm and reverse. Each signed by the photographer in black felt-tip pen in lower left/right corner; each annotated in ballpoint pen on the verso.
2.000 €
Portrait of the Tibetan state oracle with entourage in ceremonial dress. Far-reaching decisions by the Dalai Lama were not made without consulting the oracle. For example, when the Chinese invaded Lhasa in 1959, and it was a question of whether the Dalai Lama should stay in Tibet or flee to India, the Ne chung Oracle was asked for advice. He advised him to flee immediately.
4291 Portraits of the 10th Panchen Lama (Chökyi Gyeltshen). 1956/printed 1995. 4 ferrotyped gelatin silver prints on RC paper. Each circa 30 x 20 cm. Each signed by the photographer in black felt-tip pen in lower left/right corner; each annotated in ballpoint pen on the verso.
1.800 €
Two photos in this group also show the Chagpori Monastery in Lhasa and one of the last monks to complete their medical training at this famous place. On March 20, 1959, this medical school (called Men-Tsee-Khang) and a temple belonging to it were destroyed by artillery fire from the Chinese People‘s Liberation Army. Today, the mountain is crowned by a radio antenna.
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4291
4290
4292 Views of Lhasa including street vendors, portraits as well as cloisters. 1956-59/printed 1995. 8 ferrotyped gelatin silver prints on RC paper. Each between 20 x 30 cm and reverse. Each signed by the photographer in black felt-tip pen in lower left/right corner; each annotated in ballpoint pen on the verso. 1.800 €
217
eva siao
4292
eva siao
4293 Portraits of the 14th Dalai Lama (Tenzin Gyatso), Lhasa. 1959/printed 1995. 2 ferrotyped gelatin silver prints on RC paper. Each circa 20 x 30 cm and reverse. Each signed by the photographer in black felt-tip pen in lower left/right corner; each annotated in ballpoint pen on the verso.
2.000 €
These two portraits show the 14th Dalai Lama (Tenzin Gyatso) in early 1959 at the age of 24, here still as head of state of Tibet. At 4 pm on March 17, the Chinese People‘s Liberation Army fired two mortar grenades at Norbulingka Palace, the residence of the Dalai Lama, and he and his entourage had to seriously fear for their lives. Immediately afterwards, they fled to India. Tens of thousands of Tibetans followed their leader‘s example.
4294 The 14th Dalai Lama (Tenzin Gyatso) in Norbulingka Park, Lhasa. 1959/printed 1995. Ferrotyped gelatin silver print on RC paper. 29 x 19,5 cm. Signed by the photographer in black felt-tip pen in lower ri ght corner; annotated in ballpoint pen on the verso.
1.800 €
218
4293 4294
4295 Various Chinese propaganda photographs after the „Liberation“ of Tibet. 1959/printed 1995. 9 ferrotyped gelatin silver prints on RC paper. Each between circa 20 x 30 cm and reverse. Each signed by the photographer in black felt-tip pen in lower left/ right corner; each annotated in ballpoint pen on the verso.
1.500 €
Lit.: Eva Siao/Harald Hauser. Sterne über Tibet. Leipzig 1961, some illustrated.
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eva siao
4295
220 4297
4296
walter sittig (b. 1935)
4296 Indian Elephant and Great Indian Rhinoceros 1980s/printed 2001. Ferrotyped gelatin silver print on Agfa paper. 30,9 x 40,5 cm. Signed, annotated and dated by the photographer in pencil and photographer‘s stamp on the verso.
600 €
christian skrein (b. 1945)
4297 „Arnulf Rainer, kurz vor der neuerlichen Provokation im Eingang zum Stephansdom in Wien“. 1968. Unique vintage toned gelatin silver print. 30 x 29,5 cm. Signed and dated by the photographer in ink in lower left edge; signed by the photographer and annotated in red/blue crayon as well as photographer‘s/copyright stamp on the verso.
1.500 €
Lit.: Christian Skrein. 68 künstler, legenden, fotografien. Vienna 2001, ill. p. 20.
alex stöcker (1896–1962)
4298 Tempelhof airport, Berlin. Early 1930s. 2 vintage gelatin silver prints on strong chamois paper. 24 x 18 cm and 18 x 24 cm. Each with photographer‘s/ copyright/reproduction limitation stamps and 1 with typed press text label on the verso.
500 €
Alexander Stöcker‘s diverse portfolio encompassed aviation, sports and early 20th-century history. Many of his versatile photographs were published in the magazines of the day.
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alex stöcker
4299 The Great Balloon Show on the occasion of the Olympic Games, Tempelhof Airport, Berlin. 1936. Vintage gelatin silver print. 24 x 18 cm. Photographe r‘s studio/copyright stamp on the verso.
Lit.: Das Deutsche Lichtbild, 1937, ill. p.36.
400 €
alex stöcker
4300 Heinkel He 111 plane and Fokker plane at Tempelhof Airport, Berlin. 1935. 2 vintage ferrotyped gelatin silver prints on strong chamois paper. 24 x 18 cm and 18 x 24 cm. Each with photographer‘s/copyright/reproduction limitation stamps and each with typewrtitten caption labels on the verso.
400 €
4301 Potsdamer Platz at night, Berlin. Early 1930s. 2 vintage gelatin silver prints (1 ferrotyped) on strong chamois paper. Each circa 18 x 24 cm. Each with photographer‘s/copyright/reproduction limitation stamps and annotated in pencil on the verso.
500 €
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4300
4299
223 4301
strelow (1908–1981)
4302 Joseph Beuys, Düsseldorf. 1967. Vintage gelatin silver print. 23,5 x 30,3 cm. Photographer‘s stamp, titled and signed by the photographer in pencil on the verso.
1.200 €
Lit.: Marlene M. Rytlewski. Liselotte Strelow. Momente der Wahrheit. Bilder eines Jahrhunderts. Rostock 2006, ill. p. 79.
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liselotte
4302
antanas sutkus (b. 1939)
4303 „Country Children Competition to the Art School, 2“. 1969/printed 1990. Large-format matte gelatin silver print. 29,5 x 39,5 cm. Signed, titled and dated by the photographer in pencil on the verso.
600 €
Sutkus was one of the founding members of the „Association of Lithuanian Photographers“ (1960) and in 1976 became a member of the „International Federation of Photographic Art in UNESCO“. His poetic images of the Lithuanian village of his youth show a nostalgic and unique past.
Provenance: Galerie Bodo Niemann
225
4303
richard tauber (1891–1948)
4304 Photographers: Robert Sennecke , Atelier Badekow and Associated Press. Various images of the tenor and film actor Richard Tauber. 1930s. 3 vintage ferrotyped gelatin silver prints. Each circa 16 x 20,5 cm and 22,5 x 16,5 cm. Photographer‘s/copyright stamps, 1 with press text label and 2 annotated in pencil on the verso.
400 €
The images show Richard Tauber with the composer Franz Lehár, with his wife Diana Napier and with the actress Lee Parsy.
226
4305
4304
elsa thiemann (1910–1981)
4305 Design for wallpaper.1930-31. Unique vintage ferrotyped gelatin silver print collage. 45,8 x 40 cm Mounted to board (some wear, time-stained in edges), photographer‘s estate stamp on mount verso.
1.500 €
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.
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
peter thomann (b. 1940)
4306 „Lupinen vor rauchenden Schornsteinen, Essen“. 1964/printed 2024. Gelatin silver print. 39 x 57 cm (50,5 x 60,5 cm). Photographer‘s copyright stamp, therein signed, titled and dated by the photographer in pencil on the verso.
1.200 €
Peter Thomann studied photography under Dr. Otto Steinert at the Folkwang School in Essen. As of 1968 he was under contrac t with Stern magazine. He is known for his dynamic horse images and other reportage work. This image is one of six images from the portfolio „schwarz/weiss/Ruhr“.
Lit.: Subjekt Objekt. Foto Rhein Ruhr (exhibition catalogue). Kunsthalle Düsseldorf 2020, ill. p. 16-17.
227
4306
albrecht tübke (b. 1971)
4307 From the series „Jugendliche“. 1998. Largeformat chromogenic print on Kodak Professional pap er. 47 x 37,5 cm (50,2 x 40,2 cm). Signed, titled, dated and editioned 6/6 by the photographer in ink on the verso.
900 €
The photographer Albrecht Tübke, who lives and works in Germany and Italy, primarily works with portraiture and usually in series. He is interested in the individuality and uniqueness of the person portrayed. Most of his portraits are full-body shots but he also produced a series titled „Heads“, following in the tradition of the Italian Renaissance, emphasizing individual features of the sitter.
abisag tüllmann (1935–1996)
4308 „Frankfurt“. 1964/printed later. Gelatin silver print. 30,3 x 40,5 cm. Signed, titled and dated by the photographer in pencil on verso.
500 €
228
4308 4307
umbo (Otto Umbehr, 1902–1980)
4309 „Unheimliche Straße“. 1928/printed 1977. Gelatin silver print on Agfa paper. 30 x 23 cm. Signed, editioned 64/100 and dated by the photographer in pencil on the verso; mounted along upper edge to board, editioned 64/100, dated and signed as well as dedicated by the photographer in pencil below the image on the mount, annotated in pencil on mount verso.
900 €
Otto Umbehr, known as UMBO, played a significant role in avant-garde and modernist photography during the early 20th century. The photo offered here is one of Umbo‘s most wellknown images for which the negative was lost early on. Only a small number of extant vintage prints of this image are known today. Umbo rephotographed the original print and in 1977, he made high quality prints, which were offered as the annual gift for members of the Kestner Gesellschaft.
Lit.: Herbert Molderings. Umbo - Otto Umbehr 1902-1980. Düsseldorf 1995, ill. plate 52.
4310 „Golden Gate Bridge, San Francisco“. 1952/ printed 1995. Ferrotyped gelatin silver print. 30,3 x 24,5 cm. Estate stamp, signed and dated by Phyllis Umbehr and editioned 19/50 in ink on the verso, matted.
1.000 €
With: Umbo. „Horch Kühlerfigur“. 1929/printed 1979. Gelatin silver print. 22 x 16,3 cm. Mounted to board, signed, dated, editioned 26/60 and dedicated by the photographer in pencil on mount. - Several retouched spots, otherwise in very good condition.
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4310
230 4311
walter vogel (b. 1932)
4311* „Joseph Beuys“. 1965/printed 2010. Digital print in wooden frame. 83,5 x 55 cm (88,6 x 59,2 cm). Signed titled and dated in black ink below image in margin.
4.000 €
This photograph by Walter Vogel shows Joseph Beuys during his performance „Wie man dem toten Hasen die Bilder erklärt“ (How to Explain Pictures to a Dead Hare) at the Galerie Schmela in Düsseldorf, 1965.
Lit.: Walter Vogel. Werkverzeichnis 19502010. Düsseldorf, 2009. ill. p. 26.
ernst volland (b. 1946 )
4312 Wolfgang Krolow. 1985/printed later. Gelatin silver print. 40,5 x 30,5 cm. Signed, titled and dated by the photographer in pencil on verso.
500 €
231
4312
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4313
wim wenders (b. 1945)
4313 „Corral Drive-In“. 1983. Cibachrome print. 27 x 40 cm (47,8 x 59 cm). Signed, titled and dated by the photographer in black marker on verso.
1.200 €
Wim Wenders‘ photographs of the United States seamlessly blend his cinematic vision with the visual narrative of the Americ an landscape. While scouting for locations before the filming of „Paris, Texas,“ Wenders captured the vastness of the American West and the intimate moments in roadside motels, diners and gas stations. Inspired by his cinematic storytelling, Wenders‘ photographs offer viewers a captivating exploration of both the real and imagined landscapes of the United States.
4314 „Mojave Desert“. 1983. Cibachrome print. 27 x 40 cm (51 x 61 cm). Signed, titled and dated by the photographer in black marker on verso.
1.200 €
4315 „Landscape. Near Sana Fé, New Mexico“. 1983. Cibachrome print. 49 x 61 cm (60 x 80 cm). Mounted to board, signed by the photographer in black felt-tip pen below image on mount.
1.200 €
Lit.: Wim Wenders. Written in the West. Photographien aus dem amerikanischen Westen. Munich 1987, ill. plate 23.
233
4315
wim wenders
4316 „Lounge paintings. Gila Bend, Arizona“ (from ‚Written in the West‘). 1983/printed later. Chromogenic print on Kodak paper. 19,6 x 26 cm (24 x 30 cm). Signed by the photographer in ink below the image in the margin.
900 €
Lit.: Wim Wenders. Written in the West. Photographien aus dem amerikanischen Westen. Munich 1987, ill. plate 17.
jan wenzel (b. 1972)
4317 Untitled. 1998. 3 chromogenic photoboothstrips on PMI photographic passport paper. Each between 20,3 and 21,3 x 4 cm. 1 strip signed, dated and annotated Atelierseröffnung 19.VI.1998 19:00 Prager Str. 120 Leipzig by the photographer in ink on the verso.
500 €
234
4317
4316
world war ii
4318 Private album of the Battle of France„Westfeldzug“. May 1940. 66 vintage gelatin silver prints. Each circa 8,5 x 1,5 cm. Each mounted to album pages, annotated in ink in German on mounts.
750 €
The Battle of France (French: bataille de France) (10 May-25 June, 1940), also known as the Western Campaign (Westfeldzug), the French Campaign (German: Frankreichfeldzug), was characterized by a fast-pace and low casualty course. Accordingly, the images in this album show vast destruction, but relatively at ease infantry advancing through many Belgian and northern French locations. The collection offered here was compiled by an unknown German participant, who annotated each photo with location information.
Lit.: The Fall of France: the Nazi Invasion of 1940. Oxford University Press, Oxford 2003.
Karl-Heinz Frieser: Blitzkrieg-Legende. Der Westfeldzug 1940 (Operationen des Zweiten Weltkrieges. vol. 2), third edition. Oldenbourg, München 2005.
235 4318
(Wolfgang Wesener, b. 1960)
4319 James Brown, Georgia, 1988. Pigment print in artist’s steel frame. 52,5 x 64 cm (80 x 90 cm). Signed by the artist on verso; with exhibition label attached to frame verso.
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 photographic career 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 offered here and in the next two lots originate from that very exhibition and are presented with an original steel frame designed by the artist.
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4319
wowe
4320 Ed Ruscha, Venice, 2003. Pigment print in artist’s steel frame. 36.5 x 29.5 cm (61.5 x 51.5 cm). Signed by the artist on verso; with exhibition label attached to frame verso.
1.000 €
This picture shows the American artist Ed Ruscha, known for his conceptual and pop art-inspired works exploring themes of consumer culture and the American landscape through bold text and imagery.
4321 Gerhard Richter, Cologne, 2007. Pigment print in artist’s steel frame. 55.5 x 44.5 cm (90 x 80 cm) Signed by the artist on verso; with exhibition label attached to frame verso.
1.500 €
Captured in this image is the acclaimed German artist Gerhard Richter, renowned for his multifaceted artistic practice encompassing photorealism, abstraction, and conceptualism, which intricately investigates themes of memory, perception, and the complexities of representation.
237
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4320
4322
iwao yamawaki
(Iwao Fujita, 1898–1987)
4322 Wooden latticework. 1932. Vintage gelatin silver print on matte chamois paper. 11,3 x 8,4 cm. Photographer‘s stamp, numbered in pencil on the verso.
1.200 €
Iwao Yamawaki was born in Nagasaki, Japan and studied at the Bauhaus in Dessau between 1930-1932. There he took classes in architecture, interior design and later photography with Walter Peterhans. After his return to Japan, he founded an archi tectural firm which became one of the most prominent in post-war Japan. His photography focused on abstract still-lifes, images shot at an angle and extreme close-ups.
Lit.: Iwao Yamawaki. Editions 7L. Göttingen 1999, ill. plate 6.
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