Bassenge Fotoauktion 125: Historische bis Zeitgenössische Fotografie

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p h o t o g r a p h y | a u c t i o n 125

f r on t cov e r | umsc h l agmot i v vo rn e | no. 4075 bac k cov e r | umsc h l agmot i v h i nt e n | no. 4254

pho t ogr a ph y auc t ion 125

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

4047

4001

a ntoine sa muel a da m-sa lomon (1818-1881)

4001 Self-Portrait with Cello. Circa 1860. Albumen

print. 26,4 x 20,8 cm. Mounted to board, annotated in pencil on the verso.

1.200 €

Antoine Samuel Adam-Salomon was a pioneering French sculptor and photographer, who elevated portrait photography to an art form through his expert use of lighting, shadow, and composition. His portraits were renowned for their depth and sculptural quality, rivaling painting in richness and realism.

In recognition of his achievements, he was awarded the Legion of Honor in 1870.

5

4002

leopold a hrendts

(1825-1870)

4002 Stadtschloß, Berlin. 1856/57. Gold-toned salted

paper print with rounded corners. 22 x 16,3 cm.

Mounted to original board (slightly time-stained in edges, a few foxing spots).

1.200 € Leopold Ahrendts began his career as a painter and lithographer in Dessau, eventually transitioning to photography in the mid-19th century. His photographic oeuvre encompasses urban

6

landscapes and architectural views of Berlin, captured with a keen 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.

Lit.: Eberhard Mayer-Wegelin/Sigrid Schulze. Berlin als Residenzstadt. Photographien von Leopold Ahrendts 1854-1870. Munich 2018, ill. p. 76 (variant from other side).

4003

4003 Lustgarten and Stadtschloß, Berlin. 1856/57.

Gold-toned salted paper print with rounded corners.

16,4 x 21,8 cm. Mounted to original board (slightly time-stained in edges, a few foxing spots).

1.000 €

Lit.: Eberhard Mayer-Wegelin/Sigrid Schulze. Berlin als Residenzstadt. Photographien von Leopold Ahrendts 1854-1870. Munich 2018, ill. p. 71.

7

4004

leopold a hrendts 4004 Gendarmenmarkt with farmer‘s market,

Berlin. 1857/58. Albumen print with rounded corners.

18,5 x 21,3 cm. Photographer‘s stamp in lower left, mounted to original board (slightly time-stained in edges).

1.200 € Lit.: Jutta Reinke/Wolfgang Stemmer (eds.). Pioniere der Kamera.

Das erste Jahrhundert der Fotografie 1840 - 1900. Die Sammlung Robert Lebeck. Worpswede 1987, ill. p. 190.

Eberhard Mayer-Wegelin/Sigrid Schulze. Berlin als Residenzstadt.

Photographien von Leopold Ahrendts 1854-1870. Munich 2018, ill. p. 134.

4005

Portal of the Zeughaus, Berlin. 1857. Goldtoned salted paper print with rounded corners.

21 x 16 cm. Mounted to original board (slightly timestained in edges, a few spots, small tear in right edge).

1.200 €

Lit.: Eberhard Mayer-Wegelin/Sigrid Schulze. Berlin als Residenzstadt. Photographien von Leopold Ahrendts 1854-1870. Munich 2018, ill. p. 64.

4006

Kronprinzenpalais, Berlin. Circa 1860.

Gold-toned albumen print with rounded corners.

17,3 x 21,7 cm. Mounted to original board (slightly time-stained in edges).

1.000 €

Lit.: Eberhard Mayer-Wegelin/Sigrid Schulze. Berlin als Residenzstadt. Photographien von Leopold Ahrendts 1854-1870. Munich 2018, ill. p. 111.

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4005

4006 9

4007

fratelli a lina ri 4007 Panoramic view of Florence from San Miniato;

Florence: Loggia dei Lanzi; Interior and exterior views of Palazzo Vecchio, Baptistry bronze door, San Miniato, Santa Maria Novella, Palazzo Pitti, the Dome.

Circa 1854-60. 1 large-format, gold-toned albumen print (1 oval) and 1 large-format, gold-toned salted paper print and 8 albumen prints. 30,5 x 43 cm, 30,5 x 41 cm and circa 24 x 18 cm. Mounted to board (edges slightly time-stained and some spots), 1 with photographer‘s „Fratelli Alinari, Fotografi Firenze, via Nationale 8“ blind stamp and 1 with „Fratelli Alinari, Fotografi Firenze Presso Luigi Bardi“ below the image on the mount, smaller prints annotated in ink below the image on the mount.

900 € 10

The Fratelli Alinari photography studio, established in 1852 in Florence, Italy, is one of the world‘s oldest photographic companies. The studio‘s early focus was portraiture, and it later expanded its repertoire to capture Italy‘s cultural heritage, architecture, and historical landmarks. The extensive archive of daguerreotypes, albumen prints, and glass negatives produced by Fratelli Alinari during this period has played a crucial role in preserving and documenting Italy‘s rich artistic and cultural history.

Lit.: Bodo von Dewitz/Dietmar Siegert/Karin Schuller-Procopovici (eds.). Italien sehen und sterben. Photographien der Zeit des Risorgimento (1845-1870). Cologne 1994, ill. p. 159.

Jutta Reinke/Wolfgang Stemmer (eds.). Pioniere der Kamera.

Das erste Jahrhundert der Fotografie 1840-1900. Die Sammlung Robert Lebeck. Bremen 1987, ill. p. 111.

4008

ja mes a nderson a nd tomm aso cuccioni

(Isaac Atkinson, 1813-1877, 1790-1864)

4008 View of the Colosseum; Arch of Constantine;

Temple of Hercules Victor; Arch of Drusus. 1857-early 1860s. 4 large-format albumen prints. 33,5 x 45,5 cm 39,5 x 31,7 cm, 29 x 38,7 cm and 32,5 x 45 cm. Each mounted to board (traces of use, some spots, slightly dusty), titled in Italian in ink below the image on the mount, Drusus print with „Fotografia Cuccioni, via Condotti 19, ROMA“ blind stamp under 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, frequently publishing catalogs of his work and also photographed views of Italy and antiquities. Throughout the 1860s, Anderson exhibited extensively. Following his passing, his son Domenico assumed control of the studio, which 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. 47 (Arch of Drusus, attributed to James Anderson).

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4009

4010 12

4011

ja mes a nderson a nd unknow n

(Isaac Atkinson, 1813-1877)

4009

Panoramic view of Roman Campagna to the Alban Hills; Views of Tivoli; San Benedetto convent, Subiaco; Panoramic view of Rome from Monte Mario; View of Rome over the Tiber River from Monte Aventino. Late 1850s. 3 large-format albumen panoramas and 3 albumen prints. 23 x 41 cm and 17 x 24 cm. Each mounted to thick card (soiled and time-stained in edges, some small tears), each annotated in ink below the image on the mount.

1.000 € Lit.: Dorothea Ritter. Rom 1846-1870. James Anderson und die Maler-Fotografen, Sammlung Siegert, Munich 2005, compare ill. p. 87 (similar image of Campagna).

Dietmar Siegert. Rom vor hundert Jahren. Photographien 1846-1890. Munich 1985, ill. p. 52 (foldout).

ja mes a nderson a nd tomm aso cuccioni

(Isaac Atkinson, 1813-1877, 1790-1864)

4010 View of St. Peter‘s Basilica; Fountain of

St. Peter‘s Square; Interior of St. Peter‘s; Interior

of Vatican. Early 1860s. 4 large-format albumen prints. 33,5 x 45,5 cm 39,5 x 31,7 cm, 29 x 38,7 cm and 32,5 x 45 cm. Each mounted to board (traces of use, some spots, slightly dusty), titled in Italian in ink below the image on the mount, Vatican print with „Fotografia Cuccioni, via Condotti 19, ROMA“ blind stamp under the image on the mount.

1.200 € Lit.: Dorothea Ritter. Rom 1846-1870. James Anderson und die Maler-Fotografen, Sammlung Siegert. Munich 2005, ill. p. 63 (Interior St. Peter‘s).

ja mes a nderson

(Isaac Atkinson, 1813-1877)

4011 The Arch of Titus, Rome. Circa 1860. Large-

format albumen print. 39,5 x 30,2 cm. Mounted to board (slightly dusty), „Jos. Spithöver Roma“ blind stamp in lower right corner of the mount, titled in Italian in ink below the image on the mount.

900 €

13

4012

ja mes a nderson

(Isaac Atkinson, 1813-1877)

4012 Statues of „Niobide“, Vatican; „Sophocles“,

Laterna Museum and „Mars“, Villa Ludovisi.

1855-60. 3 large-format gold-toned albumen prints.

Each circa 37 x 23 cm. Each mounted to board (traces of use, foxing, time-stained in edges), titled in Italian in ink below the image on the mount, each with „Jos. Spithoever, Roma“ blind stamp in lower right corner of the mount.

1.200 €

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James Anderson‘s rendition of sculpture is exceptional, likely due to his own experience as a sculptor. His images of sculpture far surpass other art reproductions of the time and stand out as individual works. The prints are gold-toned, giving them a rich, violet brown color that exceeds the quality of images found in travel albums of the time.

4013

ja mes a nderson 4013 Statues of „Diskobolus“; „Laocoon“; „River Nile“,

all Vatican. 1855-60. 3 large-format gold-toned albumen prints. Each circa 37,5 x 27,5 cm. Each mounted to board (traces of use, some foxing, time-stained in edges), titled in Italian in ink below the image on the mount, each with „Jos. Spithoever, Roma“ blind stamp in lower right corner of the mount.

1.200 €

4013 15

4014 16

ot tom a r a nschütz

(1846-1907)

4014 Animal studies. 1888-89. 6 albumen prints

mounted to board (edges rubbed, some smudge marks). Each circa 20,4 x 14,8 cm or reverse (27,7 x 35,3 cm). Each with photographer‘s name, date and location in the negative lower right.

800 € Ottomar Anschütz was a German photographer, renowned for his advancements in high-speed and motion photography.

In the 1880s, he developed fast shutters that captured images at 1/1000th of a second, allowing him to photograph rapid movements with unprecedented clarity. Among his notable works is a series of photographs featuring taxidermied animals in lifelike settings with painted backdrops and props to simulate their natural habitats. These images demonstrate his technical prowess as well as his dedication to blend scientific inquiry with artistic expression.

4015

Cavalry horses with riders. 1883. Albumen print. 21 x 27,5 cm. With negative number in lower left corner of the image, annotations in pencil, and “M. Hessling Kunstverlag Leipzig, 11 Fürstenstr.” stamps on the verso.

600 €

4014

4015 17

4016

18

4017

eugène atget

(1857-1927)

4016 Marchande de café au lait, rue Mouffetard,

5ème arrondissement, Paris. Circa 1898. Albumen print. 22,6 x 18,1 cm. Annotated and numbered „3087“ by the photographer in pencil on the verso.

1.200 €

4017

Hôtel De Roquelaure, 246 Boulevard St. Germain, Paris. Circa 1906-1907. Albumen print.

21,7 x 17,7 cm. Titled and numbered „5314“ by the photographer in pencil on the verso.

1.000 €

Eugène Atget’s photographs of Paris at the turn of the 20th century form a remarkable visual archive of the city’s streets, architecture, and vanishing pre-modern spaces. While best known for his carefully composed urban vistas, he occasionally photographed street vendors, shopkeepers, and laborers.

Whether capturing deserted boulevards or glimpses of daily life, his work transcends documentation, evoking a poetic sense of time and memory that profoundly influenced generations of photographers after him.

19

4018

ba den w eiler 4018

Photographer unknown. Views of Badenweiler. Circa 1900. 29 albumen prints. Each circa 17 x 23 and reverse. Mounted to boards (timestained in edges, some dusty, slightly warped).

400 €

ca pta in n. ba ily

(active 1860s)

4019

Hunting trophy. 1860s. Albumen print mounted to board. 15,8 x 12 cm (17,3 x 20 cm).

Annotated in pencil by another hand in lower left corner of the mount; with “Robert Lebeck” collection label and another albumen print, captioned in ink, affixed to the verso.

400 €

4019 20

Captain N. Baily, a British photographer active in the 1860s, was a member of the Amateur Photographic Association.

His work reflects the mid-19th-century fascination with stilllife compositions, particularly those featuring game, fowl and fish - subjects popular among gentleman photographers, many of whom had military backgrounds and engaged in hunting as a pastime. Baily’s surviving photographs are marked by careful composition and keen attention to texture and detail.

Provenance: Robert Lebeck collection

4020

édoua rd ba ldus

(1813-1889)

4020

Théâtre Romain à Arles. Circa 1855. Albumen print. 33,5 x 43 (44 x 55 cm). With title and negative number in lower margin of print, mounted to original card (some foxing and smudge marks, left margin torn), stamped „E. Baldus“ in black ink below image on mount.

1.200 €

Édouard Baldus, a pivotal figure in 19th-century architecture and landscape photography, played a crucial role in establishing photography as a vital tool for documenting and preserving architectural heritage. Renowned for his expansive photographic campaigns across France, Baldus captured monuments, railway routes, and cityscapes that represent some of the era’s most striking architectural views. Prints of this image are in the collections of the Metropolitan Museum of Art, the National Gallery of Art, Washington and the Museum of Fine Arts, Houston.

21

4021

édoua rd ba ldus 4021

Avignon. Circa 1861. Albumen print.

31,3 x 42,5 cm (44 x 55 cm). Mounted to original card (some foxing, creases and tears), stamped „Avignon“ and „E. Baldus“ in black ink below image on mount.

1.200 € Prints of this image are in the collections of the Metropolitan Museum of Art and the Museum of Fine Arts, Houston.

22

george n. ba rna rd

(1819-1902)

4022

Photographic Views of Sherman’s Campaign.

1864. 2 albumen prints mounted to album pages (corners bumped, some light discoloration). Each 25,5 x 36 cm (41 x 51,5 cm). Each titled and captioned „Photo. from nature by G.N.Barnard“ below the image on the mount.

800 € George Norman Barnard was a pioneering American Civil War photographer, best known for his 1866 album Photographic Views of Sherman’s Campaign, which document the landscapes, fortifications, and destruction left in the wake of General William Tecumseh Sherman’s march through the American South. Using large-format albumen prints, Barnard captured battlefields, ruined railroads, and cities such as Atlanta, Savannah, and Charleston, creating some of the most striking visual records of the war’s impact. His work is notable for its technical precision, dramatic compositions, and historical significance, positioning him as one of the leading war photographers of the 19th century.

Lit.: George N. Barnard. Photographic Views of Sherman’s Campaign, from Negatives Taken in the Field. New York 1866.

4022

fra ncis bedford

(1815-1894)

4023

Cairo and Thebes. 1862. 2 albumen prints mounted to board. 23,8 x 28,5 cm (29,4 x 33,9 cm) and 27 x 22 cm (31,2 x 26,9 cm). Signed, numbered, titled and dated in the negative in lower margin; annotations by another hand in pencil on the mount below the image.

500 € In 1862, Francis Bedford was commissioned to accompany the Prince of Wales on a royal tour of the Eastern Mediterranean.

He produced some of the earliest photographs of Egypt taken under official patronage. His images captured major archaeological sites such as the Pyramids of Giza, the Sphinx, Karnak, and the temples of Thebes and Philae, as well as scenes of daily life along the Nile. Technically refined and compositionally balanced, these photographs were later exhibited and published in Britain, and shaped Victorian perceptions of Egypt.

4023 23

louis-auguste bisson

(1814-1876)

4024

Prize animals. Circa 1857. Albumen print.

13,3 x 19,2 cm (25,6 x 33,2 cm). Photographer’s studio stamp in red ink in the lower left corner of print, mounted on board (some foxing and smudge marks), “Photographe de S.M. L’Empereur” embossed on the mount in lower margin.

600 €

4024

sa muel bourne

(1834-1912)

4025

Views of India and Sri Lanka. 1860s. 21 albumen prints mounted to album boards. Each between 15,5 x 23 cm and 24,3 x 28,5 cm or reverse (34,5 x 42,8 cm).

Most with photographer‘s name and/or negative number in the margins.

1.800 €

4025 24

Samuel Bourne was a pioneering British photographer celebrated for his extensive documentation of 19th-century India and Sri Lanka. Between 1863-1870, he produced over 2,000 images capturing the subcontinent’s diverse landscapes, architectural marvels, and colonial infrastructure. This selection of photographs features scenic vistas and colonial-era landmarks across India and Sri Lanka, including Shimla and its Christ Church, the Qutb Minar in Delhi, the Marble Rocks at Jabalpur, the Colombo-Kandy railway in Sri Lanka, the Satkhanda Tower in Lucknow, as well as a view of Eden Gardens in Calcutta, alongside lush Himalayan forests, rivers, and hill stations.

4025 25

4026

m a rk bra ndenburg 4026

Photographer: Emil Dux (1872-1954).

Views of Mark Brandenburg. 1890s. 43 albumen prints.

Each circa 11 x 16 cm. All mounted to board, annotated in ink on the mount, in original canvas box (edges with wear, cover loose).

400 €

This selection of photographs includes views of Alt Landsberg, Belzig, Brandenburg, Neumark, Crossen, Friedeberg, Gransee, Chorin, Lehnin, Heiligengrabe, Koenigsberg, Rheinsberg, Tangermünde and others.

a dolphe braun (1812-1877)

4027 Two prints from the book Costumes de Suisse: „Canton de Schaffhouse“; „Canton d‘ Appenzell“. 1870s.

2 delicately hand-colored albumen prints. Each circa 15 x 10 cm. Each mounted to original card (slight foxing), photographer‘s name, title and book title printed below/above the image on the mount. Matted.

400 €

4027 26

Lit.: Maureen C. O‘Brien/Mary Bergstein (eds.). Adolphe Braun.

Image and Enterprise. London 2000, ill. p. 150 (uncolored variant of „Canton d‘ Appenzell“).

4028

juli a m a rga ret ca meron

(1815-1879)

4028

Three King‘s Daughters Fair (Mary Peacock, Emily Peacock, Annie Chinery Cameron). 1873. Albumen print. 33,2 x 27,8 cm (44,2 x 37,7 cm). Mounted to modern board.

6.000 €

Julia Margaret Cameron’s Three Kings’ Daughters Fair embodies her pioneering vision of elevating photography into the realm of fine art. Drawing inspiration from the Pre-Raphaelite Brotherhood, Victorian poetry, and her close relationships with leading literary and artistic figures of her time, Cameron cultivated an aesthetic that was both intimate and transcendent. The title of this work originates from a ballad translated by Dante Gabriel Rossetti, whose romantic medievalism profoundly shaped Cameron’s approach. The photograph’s dreamlike quality - soft focus, luminous faces, and floral symbolism - evokes an allegorical reverie oscillating between portraiture and poetic myth. The sitters - Mary and Emily Peacock, along with Cameron’s daughter-in-law, Annie Chinery Cameron - were part of her creative

circle, often posing as literary and mythological figures in her staged compositions. Their presence in this image extends beyond mere likeness, rather symbolizing vessels of narrative and sentiment, in keeping with Cameron’s belief that photography should aspire to the expressive depth of painting and poetry. At a time when photographic sharpness was equated with technical prowess, Cameron defied convention by embracing soft focus as a means of artistic interpretation.

Her ethereal, often melancholic compositions prefigured the Pictorialism movement, challenging rigid definitions of the medium, and establishing her legacy as one of the 19th century’s most innovative photographers.

Lit.: Mike Weaver. Julia Margaret Cameron 1815-1879. Farnham 1984, ill. p. 72.

Amanda Hopkinson. Julia Margaret Cameron. London 1986, ill. p. 135.

Julian Cox and Colin Ford. Julia Margaret Cameron: The Complete Photographs. Los Angeles 2003, ill. p. 237.

27

4029

étienne ca rjat

(1828-1906)

4029

Album de la Galerie Contemporaine: Biographies & Portraits. 1888. 12 Woodburytypes mounted on album pages (some light foxing). Each 23 x 18 cm (34 x 27 cm). With photographer’s name, sitter’s name, and publisher’s information below the image, along with a biographical text accompanying each portrait.

Bound in contemporary cloth-backed album with gilt-embossed title and decorative ornamentation in black and blue (edges worn, some stains and scuff marks).

1.200 € An essential chronicle of 19th-century French intellectuals, writers, and artists, this volume features Carjat’s iconic portrait of Charles Baudelaire, alongside those of other luminaries such as Edmond de Goncourt, Madame de Ségur and Viollet-le-Duc.

28

4030

cey lon 4030

Photographer: Colombo Apothecaries Company (active 1883-late 1920s). Botanical studies.

6 albumen prints. Each ca. 28 x 21 cm. Most signed and captioned in the negative in lower margin as well as some with „Apothecaries & Co. - Photographers - Colombo, Ceylon“ blind stamp in lower right corner; annotations in pencil as well as „Dr. Arthur Berger“ collection stamp on the verso.

300 €

This collection comprises botanical photographs produced by C. A. & Co., also known as the Colombo Apothecaries Company, a mercantile firm established in Colombo, Ceylon in 1883, by W.M. Smith and James Smith Finlay. The company expanded into photography by the early 1890s. They acquired the negatives of Charles T. Scowen & Co. and relocated their studio to Kandy with its favorable climate for photographic work. The images document tropical plant species, including Parmentiera cereifera (Candle Tree) and Corypha umbraculifera (Talipot Palm), each labeled with Latin names and specimen numbers.

Provenance: Estate of Dr. Arthur Berger

29

4031

china 4031

Photographer unknown. Views of China, including Shanghai, Peking, Tsingtao and others.

Circa 1880-1900. Circa 69 vintage collodion paper and albumen prints. Various sizes between circa 13 x 18 cm and 21 x 28 cm. Mounted to album boards (some foxing), some annotated in German in pencil on album boards, bound in modern half-leather, green canvas album.

2.000 €

4031 30

This album comprises images of monuments and temples, harbor scenes with war ships and daily rural life, as well as scenes from the Boxer Revolt. There are also portraits of two important dignitaries Zhang Zhidong (1837-1909) and Li Hongzhang (1823-1901).

4031 31

4032 32

4032

china 4032

Photographer unknown. Views of China, mostly Beijing. Circa 1900. Circa 70 vintage collodion paper prints. Various sizes between circa 18 x 26 cm, 11 x 16 and smaller. Mounted to album boards (some foxing), bound in black lacquer album with MOP inlay (pieces missing, inner binding loose).

1.200 €

This album was compiled around the time of the Boxer Revolt and shows many soldiers of various countries such as Russia, India and Germany, posing in front of temples and monuments in and around Beijing. Also includes images of Chinese craftsmen, street sellers as well as studio portraits.

4032 33

4033

tomm aso cuccioni a nd ja mes a nderson

(1790-1864, 1813-1877)

4033

Forum Romanum and the Temple of Saturn; Temple of Vespasian, Rome. 1855 and circa 1860.

2 large-format albumen prints. 34 x 46 cm and 37 x 28 cm. Each mounted to original board (traces of use in edges, some spots, slightly dusty), Vespasian print with „Jos. Spithöver Roma“ blind stamp in lower right, each annotated in Italian in ink below the image on the mount.

1.200 €

4033 34

Tommaso Cuccioni was active in Rome from ca. 1830 as a lithographer and print publisher, with a studio on the centrally located Via dei Condotti, a popular destination for affluent English tourists. Embracing photography in 1852, he began producing large-format views of Roman landmarks, offering a new and highly effective form of visual souvenir. Few of these early prints survive, and such large formats are rare.

Lit.: Dorothea Ritter. Rom 1846-1870. James Anderson und die Maler-Fotografen, Sammlung Siegert. Munich 2005, ill. pp. 140-141.

4034

daguerreot y pes 4034

Photographer: Jean-Baptiste Sabatier-Blot (1801-1881). Portrait of a scholar. 1840s. Quarter-plate daguerreotype in fabric-lined frame. 17 x 13 cm.

Signed „Sabatier, Palais Royal 137“ in ink on lower margin.

800 € Jean-Baptiste Sabatier-Blot was a French miniaturist who transitioned to photography in 1842, opening a prominent daguerreotype studio in Paris’s Palais-Royal. One of his most significant contributions is his 1844 portrait of Louis-JacquesMandé Daguerre, among the few known photographs of the inventor. An active member of the photographic community, he joined the Société héliographique in 1851. He was a founding member of the Société française de photographie (1854).

His works are preserved in institutions such as the Musée d’Orsay and the Bibliothèque nationale de France.

35

daguerreot y pes 4035

Photographer: Philipp Graff (1813-1851).

Portrait of two women. Circa 1845. Sixth-plate daguerreotype, with ornamental gilt and red velvet frame, mounted under glass, photographer‘s label, „P. Graff. Mechaniker, Optiker u. Daguerreotypist, Jerusalemerstr. No. 18“ on the verso, in matching silk and velvet lined, gilt embossed leather case (some scratch/scuff marks, faded).

1.000 € Julius Philipp Graff was a German entrepreneur, mechanic, optician and daguerreotypist. He made a name for himself as one of the most important Berlin portraitists and ran his photographic studio at Jerusalemer Straße 18 in Berlin. As early as 1843, he advertised his business with various labels.

4035

4036

Photographer: William Edward Kilburn (1818-1891). Portrait of a gentleman. 1850s. Hand-colored quarter-plate daguerreotype in leather casing (slightly rubbed). 9,5 x 12 cm. With the photographer‘s „234 Regent Street“ studio stamp gilt-embossed onto cover.

600 € William Edward Kilburn was active as a daguerreotypist in London since 1846, running one of the city’s most successful studios alongside that of Richard Beard. He was the first photographer to be granted the title of court photographer to the British royal family. Kilburn’s daguerreotypes feature delicately stippled cloud backgrounds, created with a fine pigment dust - a technique he adopted from Beard. It is believed that the well-known miniature painter, L. Mansion, was responsible for these atmospheric effects. Kilburn gained international recognition at the 1851 Great Exhibition, where he was awarded a medal for his hand-colored portraits.

4036 36

daguerreot y pes 4037

Photographer: Carl Gustav Oehme (1817-1881).

Portrait of a woman (Minna Schweitzer). Mid-1850s.

Sixth-plate daguerreotype, with ornamental gilt surround (some small spots), mounted under glass with stand prop, photographer‘s label, address „Jäger Str. No. 19“ on the verso, in green silk lined leather case (some scratch/scuff marks, edges partially rubbed).

900 € Carl Gustav Oehme was an early German photographer and apparatus builder. He studied the Daguerreotype process in Paris after meeting Louis Daguerre in 1840 and he continued to produce daguerreotypes until 1862. The same year Oehme was awarded a medal at the World Exhibition in London.

4037

4038

Photographer unknown. Family portrait.

1840s. Half-plate daguerreotype in leather casing (slightly scratched). 20,5 x 18 cm.

400 €

4038 37

daguerreot y pes 4039

Photographer unknown. Young man with cigar. 1850s. Hand-colored sixth-plate daguerreotype in leather casing (edges rubbed). 9,5 x 8 cm.

400 €

4040

Photographer unknown. Brother and two sisters. 1850s. Quarter plate daguerreotype. 7 x 9 cm (13 x 15 cm). Sealed in glass black frame with giltlined window mat.

400 €

4039

4040 38

4041

peter henry emerson

(1856-1936)

4041

Coming home from the Marshes. ca. 1886.

Platinum palladium print. 18,9 x 28,5 cm (29,1 x 41,5 cm).

Mounted to board (slightly soiled), with the original printed tissue overlay and corresponding album page from Life and Landscape on the Norfolk Broads.

1.200 €

Peter Henry Emerson was an important figure in the development of naturalistic photography. Rejecting the sharp-focus precision of the time, he used selective focus and tonal subtleties to create images that mimicked human vision, blending documentary realism with artistic expression. His seminal work, Life and Landscape on the Norfolk Broads (1886), captures

Fenland laborers and fishermen in their natural environment.

Influenced by the Barbizon School and contemporary vision theories, he used platinum prints and photogravures to render soft, atmospheric images. Though Emerson later questioned photography’s artistic potential, his work influenced Pictorialism and remains a milestone in documentary and fine art photography. Prints of his images are housed in institutions such as the Minneapolis Institute of Art, LACMA, the National Gallery of Art, and the Museum of Fine Arts, Houston.

Lit.: Peter Henry Emerson. Life and Landscape on the Norfolk Broads. London: 1886. ill. pl. 1.

39

4042

roger fenton

(1819-1869)

4042

Officers and Men of the 8th Hussars. 1855.

Salted paper print mounted to board. 15,2 x 15,2 cm (16,8 x 17,2 cm). Titled in pencil on mount verso.

1.000 € Roger Fenton played a pioneering role in war photography.

Owing to a commission, he documented the Crimean War in 1855 through carefully staged images in a natural setting, emphasizing military discipline and camaraderie over combat.

His portraits of regiments like the 8th Hussars, known for their role in the Charge of the Light Brigade, shaped public perception by highlighting heroism over hardship, in line with Victorian expectations. This approach set a precedent for war photography as both historical documentation and visual narrative, influencing future generations of photographers in their depiction of military conflict. Prints of this image are held in the Getty Museum, the Royal Collection Trust, and the Musée d’Orsay.

40

w ilhel m von gloeden

(1856-1931)

4043

Young faun. 1890s. Salted paper print.

26,5 x 20,2 cm. Numbered „1741“ in blue crayon and photographer‘s „Taormina-Italia-Sicilia“ studio stamp on the verso.

1.000 € Wilhelm von Gloeden was a German photographer known for his idealized images depicting male nudes, often set in the natural landscape of Taormina, Sicily. His work, which evoked themes of classical antiquity, became famous for its aesthetic beauty and subtle homoeroticism, gaining recognition among art collectors in Europe. While controversial at the time for its subject matter, von Gloeden’s photography has since been recognized as pioneering in the fields of both art photography and the male nude genre.

4043

4044

Portrait of a boy. 1890s. Albumen print.

22,5 x 16,8 cm. Numbered „2071“ in blue crayon and photographer‘s „Taormina-Sicilia“ studio stamp on the verso.

1.000 € Lit.: Italo Zannier. Wilhelm von Gloeden. Fotografie Nudi, Paesaggi, Scene di genere. Florence 2008, ill. p. 129 (variant).

4044 41

4045

4046 42

4047

john beasley green

(1832-1856)

4045

Isis Temple, Isle of Philae, Egypt. Circa 18531854. Salted paper print. 22,7 x 29,4 cm (46 x 56,2 cm).

Signed and numbered in the negative on lower margin, hinge-mounted to board 1.500 € A leading figure in 19th-century photography, John Beasley Greene was one of the earliest archaeological documentary photographers. As a trained Egyptologist and an early practitioner of photography, Greene approached his work with a rigorous scientific methodology, using the camera to document ancient sites with remarkable precision. His photographs, often characterized by their spare, almost minimalist compositions, reflect a modern sensibility unusual for his time, emphasizing geometric forms, light, and shadow rather than merely serving as visual records.

john beasley green 4046

Mountain and Temple of Gerf Hussein, Egypt.

Circa 1853/54. Salted paper print mounted to board.

23,4 x 29,7 cm (40 x 56,7 cm). Signed and numbered in the negative on lower margin, annotated in pencil on the mount below the image.

1.200 €

émile gsell

(1838-1879)

4047

Studio portrait of Governor Tan-Phu-Thu of Hai-Duong, Tonkin. 1870s. Albumen print. 27,5 x 21 cm.

Mounted to board.

2.000 €

The French photographer Émile Gsell worked in Southeast Asia and was the first photographer based in Saigon. He participated in at least three scientific expeditions and his images of Angkor Wat are some of the earliest of that site. He also took many portraits of natives, important dignitaries and official figures.

Lit.: Terry Bennett. Early Photography in Vietnam. Kent 2020, ill. p. 92.

43

4048

w ilhel m h a mmerschmidt

(1822-1887)

4048* Views of Egypt. 1860s. 2 albumen prints

mounted to board (corners bumped, time-stained in edges). Each circa 24 x 31 cm (38 x 45 cm). Signed and numbered by the photographer in the negative in lower left corner; with title printed below the image on the mount.

600 €

Born in Berlin, Wilhelm Hammerschmidt was an established professional photographer, when he relocated to Cairo circa 1860. There, he founded the Hammerschmidt shop, a photographic studio and supply store that quickly became a hub for both local and visiting photographers. In 1861, he exhibited ten views of Egypt at the Société Française de Photographie in Paris, and became a member the following year.

Hammerschmidt specialized in architectural views, costume portraits, and ethnographic studies, which he presented to international audiences, notably at the Exposition Universelle in Paris, in 1867. In addition to his extensive work in Egypt, he also photographed in Syria and Nubia. The photographs in this group include a striking view of the Nile cataracts near Aswan and the Tomb of the Califs on the outskirts of Cairo.

4049 44

4050

fra nz h a nfsta engl a nd others

(1815-1862)

4049

(Attributed to). Selected early portraits of German artists (Munich?). 1850s. 3 salted paper prints from calotype negatives. Each circa 18 x 15 cm.

600 €

heidelberg 4050

Photographer unknown. View of Heidelberg from the castle terrace. Mid-1860s. Mammoth albumen print from a collodion glass plate negative.

40,2 x 50,5 cm. Mounted to board (slight traces of use).

600 € This image is not published in Milan Chlumsky (ed.).

Das Heidelberger Schloß in der Fotografie vor 1900.

Heidelberg 1990.

45

dav id octav ius hill a nd robert a da mson (1802-1870 and 1821-1848)

4051

John Henning as Edie Ochiltree. Circa 1845.

Salted paper print on original board mounted to modern mat. 20,5 x 15,8 cm (52 x 44 cm). Titled in pencil on board.

800 €

David Octavius Hill and Robert Adamson, pioneers of Scottish photography, formed a groundbreaking partnership in 1843, establishing Scotland’s first photography studio at Rock House on Calton Hill, Edinburgh. Renowned for their collaborative work, they produced approximately 3,000 calotypes over four years, capturing a diverse range of subjects, including notable Scottish figures, local landscapes, urban scenes, and the daily lives of Newhaven fishermen and their wives. Their innovative use of the calotype process and their artistic compositions significantly contributed to the early development of photography as an art form.

Lit.: Katherine Michaelson. A Centenary Exhibition of the Work of David Octavius Hill (1802-1870) and Robert Adamson (1821-1848). Edinburgh 1970, ill. p. 117.

4051

4052 46

4053

indi a 4052

Photographer: Oscar Mallitte (1829-1905).

Views of Southern India and Bengal. Late 1860s/70s.

19 albumen prints. Most circa 18 x 22 cm and a few smaller. Some with Roman number in lower/upper corner in ink, mounted along edges to brown card (slight traces of use).

750 €

This early group of views includes notable sites such as the Nataraja Temple in Chidambaram, the Brihadisvara Temple in Thanjavur, and scenes from Tharangambadi (Tranquebar), Pondicherry, Nagapattinam, Gingee, and Villianur.

We extend our thanks to Joachim K. Bautze for the attribution of Oscar Mallitte as the photographer of these views.

4053

Photographers: Clifton & Co. (active 18961933), and others. Views of India. 1890s-1910s.

42 collotypes and 9 collodion prints. Each between 18,2 x 24,4 and 23,5 x 30,3 cm. Most captioned and signed in negative in lower margin; some with annotations in pencil as well as „Dr. Arthur Berger“ collection stamp on the verso.

400 € This group of photographs by Clifton & Co., a prominent Anglo-Indian studio, founded by Harry Clifton Soundy, in Bombay around 1896/97, captures key sites and scenes across colonial India. Subjects include major monuments such as the Qutb Minar, Humayun’s Tomb, Pearl Mosque, Gate of the Taj Mahal, and the Tomb of Salim Chishti, as well as views of Benares, Gwalior, Ahmedabad, and Calcutta. The selection also features ethnographic portraits, famine-related imagery, and landscapes like Duke’s Nose in Khandala. Known for their high-quality prints, Clifton & Co. produced work for albums, postcards, and the expatriate and tourist markets.

Provenance: Estate of Dr. Arthur Berger

47

4054

ja pa n 4054

Photographers: Felice Beato (1832-1909), Baron Raimund von Stillfried-Rathenitz (1839-1911), Kusakabe Kimbei (1841-1934), and others. People and landscapes of Japan. 1860s-1890s. 22 albumen prints, most matted or mounted to board (some foxing). Each between 26 x 21 cm and 23,5 x 29,5 cm.

Some captioned and numbered in the negative in lower margin.

800 €

This selection of photographs features landscape views and portraits by various photographers from the Yokohama School, including iconic sites such as the Sacred Bridge at Nikkô and the Kasuga Shrine in Nara, alongside studio portraits of women in traditional dress, Kendo practitioners, Buddhist monks in ceremonial robes, musicians with classical instruments, and scenes from everyday life.

4054 48

4055

ja pa n 4055

Photographers: Baron Raimund von Stillfried-Rathenitz (1839-1911), Felice Beato (1832-1909), Kusakabe Kimbei (1841-1934), Kozaburo Tamamura (1856-1923) and others. People of Japan.

1860s-1890s. 50 albumen prints mounted to giltedged album pages (some light time stains). Each ca 9 x 13,5 cm (11 x 15,5 cm). Presented as leporello in contemporary silk-covered album, featuring floral motif woven in gold thread.

600 €

This album features a wide range of portraits, including Samurai in full armor, geisha engaged in music and dance, women bathing and dressing, tattooed men, craftsmen such as butchers and shoemakers, and vendors with their wares.

It also includes group portraits of children and families, along with scenes of daily life, transportation by rickshaw and palanquin as well as outdoor leisure, offering a vivid portrayal of the era’s social types and cultural practices.

4055 49

4056

ja pa n 4056

Photographers: Takashima Suteta (1864-1911), Kajima Seibei (1866-1924), Kusakabe Kimbei (18411932) and others. Views of the Tôkaidô Road. 1870-1890.

50 hand-colored albumen prints mounted to giltedged album pages (slightly warped, some foxing).

Each circa 9 x 13,5 cm (14,5 x 19 cm). A number of prints with title and number in the negative in lower margin. Bound as leporello in contemporary red lacquer album with relief landscape scene in gold and mother of pearl inlays (some chips/scratches).

500 €

50

This attractive album features various landscape views along the Tôkaidô Road, including of Mount Fuji, Hakone, Yokohama, and Kanagawa, alongside depictions of significant Japanese landmarks such as Kumamoto Castle, the torii gates at Fushimi Inari in Kyoto, and Tanzan Shrine in Nara. Also included are a number of charming genre scenes and portraits of Japanese geishas, some of which can be attributed to Kajima Seibei and Takashima Suteta.

ja pa n 4057

Photographers: Kusakabe Kimbei (1841-1934), Ogawa Kazumasa (1860-1929), Kajima Seibei (18661924), and others. Selected views of Japan. 1880s-early 1900s. Circa 150 albumen prints, 1 collodion print, and 6 collotypes mounted to gilt-edged album pages. Each between 22 x 28 cm or reverse. Most with caption in the negative in lower margin. Presented in three fullleather albums with decorative tooling (edges rubbed, spine slightly frayed).

1.500 €

These albums offer an extensive visual record of popular tourist destinations throughout Meiji-era Japan, including Yokohama, Kanagawa, Hakone, Enoshima, Nara, Nagasaki, and Nikko, as well as a variety of views of iconic landmarks, including Mount Fuji and the Great Buddha of Kamakura. It also features a wide array of temples and gardens in Tokyo and Kyoto, along with a selection of portraits of geishas and depictions of quotidian life.

Provenance: Estate of Dr. Arthur Berger

4057

4057 51

4058 52

4058

ja pa n 4058

Photographers: Felice Beato (1832-1909), Baron Raimund von Stillfried-Rathenitz (1839-1911), Kusakabe Kimbei (1841-1934), Enami Nobukuni (1859-1929), and others. Views of landmarks and people of Japan. 1880s-1890s. 98 albumen prints mounted to album pages (some loose or torn). Each ca. 20,5 x 26 cm or reverse (24 x 32 cm). Some with title in negative in lower margin, all with hand-written captions in black ink on label below the image.

Bound in contemporary red-cloth album with intricate embossed patterns, gilt detailing, and embossed title on the front cover (some fraying of the spine and partially detached decorative label).

1.000 €

This album features a diverse collection of occupational portraits, genre studies, and depictions of Japanese ethnic groups, including the Ainu, alongside iconic landmarks such as Kyoto’s Sanjûsangendô Temple, Kinkaku-ji, and the Great Buddha of Kamakura.

4058 53

4059

4059

54

jea n l aurent a nd others

(1816-1892)

4059

Views of Spain. 1865-70s. 37 albumen prints.

Various sizes between circa 23 x 34 cm and 16 x 22 cm, a few 11 x 15 cm. Many with number, title and photographer‘s name in the negative in lower edge, mounted to board (soiled).

1.500 € Jean Laurent opened a daguerreotype studio in Paris under the name Laurent & Company in 1843. Around 1857, he relocated to Spain and established a studio in Madrid, where he became one of the most influential photographers of 19th-century Spain and Portugal. His prolific output covered a wide range of subjects, including cityscapes, architecture, historic monuments, Old Master paintings, and portraits of people from all social classes. This comprehensive collection includes three fold-out panoramic views of Cartagena, San Sebastián (each approx. 24 x 102 cm), and Burgos (24 x 69 cm), as well as individual views of Murcia, Orihuela, Elche-Alicante, Ronda, Gibraltar, Seville, Córdoba, Toledo, Aranjuez, El Escorial, Madrid, and Cádiz.

One photograph bears the stamp of Francisco Rocchini (1822-1895) on the mount.

55

4060

gustav e le gray

(1820-1884)

4060

Charles-Pierre Victor, Comte Pajol. Circa 1857.

Albumen print. 32 x 24,5 cm (62,5 x 48 cm). With photographer‘s signature stamp in red ink in lower right corner, mounted to board (slightly soiled).

1.200 € Gustave Le Gray, one of the most influential figures in 19thcentury photography, is widely celebrated for his pioneering technical innovations and mastery of light. While best known for his striking seascapes and landscapes, Le Gray was also a highly skilled portraitist, frequently commissioned to depict military and aristocratic figures of France’s Second Empire.

This portrait features Charles-Pierre-Victor, Comte Pajol (1821-1891), a decorated French general and nobleman. Captured in full dress uniform adorned with medals, Pajol is presented with a commanding presence, his attire reflecting his esteemed military career and noble lineage.

56

4061

gustav e le gray 4061

Camp de Châlons. Circa 1857. Albumen print 31,7 x 38,4 cm (52,5 x 68 cm). With photographer‘s signature stamp in red ink in lower right corner of print, mounted to board (some tears, slightly soiled) as well as photographer‘s studio stamp embossed onto mount below the image.

1.200 €

This photograph by Gustave Le Gray depicts Zouave soldiers in a military encampment. The Zouaves, a light infantry regiment in the French Army, were originally formed in 1831 from North African recruits but later included French soldiers. Known for their distinctive uniforms, featuring baggy trousers, short jackets, sashes, and turbans or fezzes, they became one of the most recognizable military units of the 19th century. Renowned for their bold fighting style and agility, Zouave regiments served in major conflicts such as the Crimean War (1853-1856), the Franco-Austrian War (1859), and the Franco-Prussian War (1870-1871), influencing similar units worldwide, including those in the American Civil War. 57

4062

a lex a ndre leroux (1836-1912)

4062

Views of Algiers and Blidah. 1890s. 36 collotypes mounted on album pages (some light foxing and discoloration along the edges). Each ca. 23 x 29 cm or reverse. With number, title, and photographer’s name in the negative in lower margin. Bound in contemporary half-leather album with tortoiseshellpatterned paper cover (edges rubbed, spine frayed).

600 €

This album features views of renowned landmarks in Algiers, such as the Casbah and Notre-Dame d’Afrique, as well as the picturesque Koudiat and Mouzaïa regions of Blida, alongside a series of portraits depicting the local populace.

58

4062

mont-sa int-michel 4063

Photographer unknown. Abbaye du MontSaint-Michel - Crypte de l‘Aquilon. 1880s. Albumen print. 32 x 25,8 cm. Mounted to board (slight foxing and soiling, corners bumped) with printed title below the image on the mount.

600 €

4063

59

4064

ea dw ea rd mu y bridge

(1830-1904)

4064

Animal Locomotion: An Electrophotographic Investigation of Consecutive Phases of Animal Movements. 1872-1885. 6 collotypes on plates. Each between 45 x 49 cm and 48,5 x 61,5 cm. Each with printed caption, plate number and Muybridge‘s copyright title.

3.000 € Eadweard Muybridge was renowned for his groundbreaking work in motion studies. In 1878, he famously captured The Horse in Motion, a series demonstrating that during a horse’s gallop, all four hooves are off the ground simultaneously - a subject of debate at the time. Building on this success, Muybridge expanded his studies to include various animals and people, photographing over 100,000 images between 1884 and 1885.

60

These efforts culminated in the 1887 publication Animal Locomotion, comprising 781 collotype plates that provided an unprecedented analysis of movement, influencing both scientific research and the arts. This selection of photographs features mostly human subjects from Muybridge’s Animal Locomotion series, including a toddler crawling (Plate 471), a man pushing a cart (Plate 393), two nude male wrestlers engaged in various holds and throws (Plate 529), a nude male throwing a ball (Plate 319), a nude male catching a ball (Plate 288), as well as a rider on a horse (Plate 578).

Lit.: Eadweard Muybridge. Animal Locomotion: An ElectroPhotographic Investigation of Consecutive Phases of Animal Movements, 1872-1885. Philadelphia 1887.

4064 61

4065

na da r jeune

(Adrien Tournachon, 1825-1903)

4065

Prize-winning cows at the Paris agricultural fair. 1856. 4 varnished salted paper prints. Each ca.

19,3 x 26,6 cm (29,9 x 47,2 cm). Photographer‘s studio stamp in lower margin of print, each mounted to board, printed title below the image on the mount.

1.000 €

Adrien Tournachon, younger brother of Gaspard-Félix Tournachon (Nadar), briefly collaborated with his brother before tensions led to a legal dispute in 1855, with Félix ultimately recognized as “the only, the true Nadar.” In 1856 and 1860, Adrien photographed prize-winning livestock at the Paris agricultural fair, using the collodion wet plate process.

At the 1856 show, he produced over 120 negatives, printing around 50 for an album presented to the minister of agriculture and commerce. The photograph offered here is printed using the verniscuit technique, where the paper is coated with gelatin and tannin to create a varnished, leather-like surface.

62

norway 4066

Photographer: Axel Lindahl (1841-1906), James Valentine (1815-1880) and Sköien. Selected views of Norway. 1880s. 4 albumen prints, 4 platinum prints, 6 collotypes. Various sizes between 21 x 28 cm, 30 x 19 cm and 16,5 x 23 cm. Most with title/number and photographer‘s name in lower right/left corner in the negative, Lindahl photos mounted to original ornamental board.

500 € An attractive collection of views of landscapes and small towns in Norway as well as portraits of Lapp people.

4066

ra ilway accident, pa ris 4067

Photographer unknown. Railway accident, October 22, 1895, Montparnasse, Paris. Vintage collodion paper print. 14,3 x 10,5 cm. Annotated in pencil on the verso, hinge mounted in upper edge in mat.

500 €

4067

On October 22, 1895, a train derailed at Paris’s Montparnasse station due to excessive speed, crashing through the station wall and falling onto the street below. While all passengers survived, a woman on the street was tragically killed. This photograph is notably rare. It shows a more distant perspective than commonly published images, and captures details such as the advertising column at right, which is not seen in most other views.

63

4068

64

4069

ja mes robertson & felice beato

pasca l séba h

(1813-1888, 1832-1909)

(1823-1886)

4068

4069

Views of Constantinople. 1850s. 4 albumen prints. 26,2 x 31,2 cm (30,5 x 44 cm). All but one titled and signed in negative in lower edge, mounted to board (some light foxing and discoloration).

1.000 €

During the 1850s and 1860s, James Robertson and Felice Beato operated a prominent photography studio in Pera, the European quarter of Constantinople. Their collaboration began circa 1853, leading to the establishment of Robertson & Beato, one of the earliest commercial photography studios in the region. They were later joined by Beato’s brother, Antonio, expanding their photographic endeavors. Their extensive portfolio documented the city’s rich architectural heritage, diverse landscapes, and vibrant daily life, providing invaluable visual records of the Ottoman Empire during that era.

Views of Constantinople and Pergamon.

1870s. 10 albumen prints. Each 21 x 27 cm (23,4 x 32,2 cm). Signed, dated and numbered in negative on lower edge of print, each mounted to board.

600 € Pascal Sébah was known for his detailed and impressive images of the Middle East and North Africa during the 19th century.

Operating a studio in Constantinople, he specialized in both portraiture and landscape photography, capturing the diverse culture and architectural wonders of the Ottoman Empire.

His work contributed significantly to Western fascination with the Orient and remains a valuable resource for understanding the region’s history and heritage. This collection comprises views over the Bosporus with the Galata Bridge, the Bazaar of Üsküdar, the Acropolis of Pergamon as well as a number of interior views of the Hagia Sophia and the Blue Mosque.

65

4070

giorgio sommer

(1834-1914)

4070

Views of Pompeii. 1860s. 28 albumen prints (2 hand-colored). Each ca. 10,4 x 14 cm (17,5 x 21 cm).

Each numbered and titled in lower edge, mounted to album pages. Bound in contemporary gilt-tooled leather album with “Pompei” embossed on front cover.

600 € Giorgio Sommer is renowned for his extensive documentation of Italy’s landscapes and archaeological sites, particularly of Rome, Pompeii, and Naples. His photographs of landmarks such

66

as the Colosseum, the Forum Romanum, Mount Vesuvius, and the ruins of Pompeii played an importrant role in preserving and sharing Italy’s cultural heritage. This album offers a compelling visual record of Pompeii, featuring its public baths, the amphitheater, the temples of Mercury and Isis, the House of Marcus Lucretius, and several plaster casts of victims of the eruption. Also included are two hand-colored interior views.

Lit.: Marina Miraglia, Pino Piantanida, Ulrich Pohlmann and Dietmar Siegert (eds.). Giorgio Sommer in Italien: Fotografien 1857-1888. Heidelberg, 1992, ill. pp. 126 and 135.

4071

giorgio sommer 4071

Selected views of Italy. 1860s. 21 albumen prints mounted to album pages (some foxing and time-stains). Each ca. 18 x 24 cm (30,5 x 37 cm). Most numbered and captioned in the negative in lower margin. With the photographer’s dry stamp “Sommer & Behles - Napoli, Monte di Dio 4 / Roma, Mario de Fiori, 28” on the lower right corner of the mounts, and a printed label “Sommer & Behles - Photographes Naples / Rome” affixed to the verso of some mounts.

Presented in contemporary oblong folio album bound in red cloth with embossed borders and gilt-stamped title “Ricordo del 1865” on the front cover.

600 €

This album includes views of the Piazza del Popolo, Castel Sant’Angelo, St. Peter’s Basilica, San Giovanni in Laterano, Piazza del Campidoglio, the Colosseum and the Forum Romanum in Rome. It also features views of Florence seen from the Boboli Gardens, alongside the Ponte Vecchio, Palazzo Pitti, Loggia dei Lanzi, Palazzo Vecchio, Piazza del Duomo with Giotto’s Campanile, and the Palazzo del Podestà. Additional photographs depict the Piazza del Campo, and Piazza del Duomo in Siena, as well as the Duomo and the Chiesa della Spina in Pisa.

Lit.: Marina Miraglia, Pino Piantanida, Ulrich Pohlmann and Dietmar Siegert (eds.). Giorgio Sommer in Italien: Fotografien 1857-1888. Heidelberg, 1992, ill. pp. 54, 64, 72 and 76.

4071 67

sw itzerl a nd 4072

Photographer unknown. French souvenir album with views of Switzerland. 1880s. 30 albumen prints. Several with number and title in the negative in lower edge, mounted to gilt-edged boards (dusty at front of album), bound in full leather album (some scuff marks/scratches, edges rubbed) handmade decorative endpapers (Susse frères 31, Place de la bourse, Paris).

750 €

The views include a wide range of Swiss locations, featuring cityscapes and landscapes from Basel, Zurich, St. Gallen, Lucerne, Flüelen, Interlaken, the Wetterhorn, Grindelwald, Bern, Fribourg, Lausanne, Montreux and Lugano.

4072

4072

68

4073

ca rleton watkins

(1829-1916)

4073

The Vernal and Nevada Falls, from Glacier Point, Yosemite Valley. 1865/66. Mammoth albumen print from wet collodion negative. 40,3 x 52 cm.

Mounted to board (top left corner torn), numbered and titled by the photographer in pencil on the mount verso.

4.000 € Carleton Watkins’ majestic view of Yosemite Valley exemplifies his mastery of large-format landscape photography. Taken

circa 1865/66, this composition captures the dramatic sweep of the Sierra Nevada, with Nevada and Vernal Falls cascading in the distance. Watkins’ pioneering use of the mammoth plate format, requiring 18 x 22 inch glass negatives, allowed for extraordinary detail and depth, reinforcing the sublime grandeur that helped inspire the conservation movement and the creation of Yosemite National Park in 1890. Prints of this image reside in the collections of the Smithsonian Museum, The Getty Museum, and the Metropolitan Museum.

69

4074

world trav el a lbum 4074

Photographers: Sylvester Dutton and Vincent Michaels (1824-1866, c. 1832-1864), Felice Beato (1832-1909), Shimooka Renjo (1823-1914), Ueno Hikoma (1838-1904), August Sachtler (c.1839-1873), Gustav Lambert (1846-1907) and others. Views of various countries such as Dutch India, China, Japan, Arabia and Peru. Circa 112 albumen prints. Various sizes between 6 x 8,5 cm, 22 x 26,5 cm and 24 x 34 cm. One print with photographer’s name in lower edge in the negative, mounted to album boards (some foxing, time-staining), some annotated in German in ink on album boards, bound in brown velvet album (some rubbed spots, back cover rubbed) with cut-out title „ALBUM“ on blue paper background on front cover.

3.000 €

This rare and comprehensive album was compiled circa 1872

by German photographer and businessman Wilhelm Schmedes, who was working as an assistant at the Woodbury & Page studio in Batavia (present-day Jakarta) at the time.

The album contains Schmedes’ handwritten notes indicating

70

that the photographs were taken between 1869-1872. It is likely that Schmedes purchased these images from one of the officers of the Hertha when the vessel docked in Sumatra, as suggested by the inclusion of a portrait of the Sultan of Siak.

The collection comprises approximately 112 albumen prints, many dating from the 1860s, gathered during the voyage.

It includes a large photograph of the Hertha’s crew and rare, large-format images from various destinations such as Plymouth, Bangkok, Canton, Hong Kong, Shanghai, Amoy, Nagasaki, Yokohama, and Lima. Notably, the album features very large portraits of the Sultan and Princess of Siak, as well as numerous carte-de-visite portraits of various indigenous peoples.

We extend our thanks to Joachim K. Bautze for attributing some of the Asian portraits in this album to August Sachtler and/or Gustav Lambert, and to Sebastian Dobson for identifying several Japanese views and carte-de-visite photographs.

4074 71

4074

72

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

4143

4075

berenice a bbot t

(1898-1991)

4075 Jean Cocteau with Gun. 1926. Gelatin silver

print, printed later. 34 x 25,5 cm (67,5 x 52 cm).

Mounted to board (some foxing), signed and editioned „41/60“ in pencil on the mount below the image.

1.200 €

Lit.: Berenice Abbott. Berenice Abbott: Photographs. New York 1970, ill. p. 18.

75

berenice a bbot t 4076 Theater & Amusement Service Employees

Union, Local 54, 826 Seventh Avenue, New York, N.Y. 1960s. Vintage gelatin silver print. 24,2 x 10 cm.

With the photographer’s „50 Commerce Street“ studio stamp, “Giorgio Cavaglieri Architect” stamp, cropping notes and label with typewritten caption affixed to the verso.

1.500 €

This photograph by Berenice Abbott reflects her later career focus on architectural documentation, produced as a commercial commission rather than a personal project. Known primarily for her artistic and documentary work, Abbott also undertook assignments for architects, designers, and institutions, applying her precisionist style to highlight modernist structures. The architect Giorgio Cavaglieri, whose stamp appears on the verso, was a pioneering figure in historic preservation and adaptive reuse, best known for restoring the Jefferson Market Library in Greenwich Village.

4076 76

4077

m a nuel á lva rez bravo

(1902-2002)

4077

Retrato de lo Eterno (Portrait of the Eternal).

1935. Gelatin silver print, printed later. 25,2 x 20,2 cm.

Signed „M. Alvarez Bravo. Mexico.“ in pencil on the verso.

2.500 €

This seminal work by Manuel Álvarez Bravo features Isabel Villaseñor, a distinguished poet, sculptor, and songwriter, who embodied female intellect and beauty in post-revolutionary Mexico. Villaseñor gazes into a handheld mirror, her long hair cascading around her, symbolizing themes of beauty, memory, and the passage of time. The image exemplifies Álvarez Bravo’s

talent for transforming everyday scenes into profound reflections on universal themes, blending documentary realism with surrealist elements.

Lit.: Arthur Ollman and Nissan N. Perez. Revelaciones: The Art of Manuel Álvarez Bravo. San Diego 1990, ill. p. 4, cover.

Frederick Kaufman. Manuel Álvarez Bravo: Photographs and Memories. New York 1997, ill. p. 31.

A. D. Coleman. Manuel Álvarez Bravo: Masters of Photography.

New York 1987, ill. p. 53.

Weston Naef. In Focus: Manuel Álvarez Bravo, Photographs from the J. Paul Getty Museum. Los Angeles 2001, ill. p. 51.

77

4078

m a nuel á lva rez bravo 4078

Untitled (Salomé), from the portfolio „Diez Desnudos - Ten Nudes“ (1980). 1980. Platinum palladium print, printed 1981. 24,9 x 30,6 cm. Mounted to board, signed „M. Alvarez Bravo. Mexico“ in pencil on the mount below the image.

2.000 €

Manuel Álvarez Bravo’s „Diez Desnudos (Ten Nudes)“ series exemplifies his distinctive approach to nude photography, characterized by subtlety, and a focus on form and composition rather than overt eroticism. This portfolio reflects his ability to intertwine elements of surrealism with Mexican cultural motifs, offering insight into his artistic philosophy and the cultural context of his time.

78

4079

nobu yoshi a ra ki

(b. 1940)

4079

Untitled (Watermelon on the Rooftop). 1991.

Gelatin silver print. 27 x 40,4 cm (35,5 x 43 cm).

Signed by the photographer in pencil on the verso.

5.000 €

Nobuyoshi Araki is a prolific Japanese photographer whose work addresses themes of sexuality, intimacy, and mortality.

Combining eroticism with fine art, his extensive oeuvre includes Tokyo street scenes, explicit bondage-inspired photographs, and deeply personal narratives. Araki’s distinctive style, characterized by its candidness and exploration of taboo subjects, has challenged societal norms and left a lasting impact on contemporary photography.

Provenance: Galleria13, Reggio Emilia, Italy

79

4080

di a ne a rbus

(1923-1971)

4080

Woman in her negligée, N.Y.C.. 1966. Gelatin silver print, printed 1972 by Neil Selkirk. 37 x 37 cm (50,5 x 40,5 cm). Edition stamp, therein signed, titled, dated and editioned „23/75“ by Doon Arbus in ink, „The Estate of Diane Arbus“ copyright stamp and reproduction limitation stamp on the verso. Framed under glass in wooden frame.

4.000 € Diane Arbus’s Woman in Her Negligee, N.Y.C. exemplifies her signature approach to portraiture - unflinching, intimate, and psychologically charged. Arbus was drawn to individuals in moments of quiet self-presentation, capturing a raw, almost

80

confrontational honesty that set her apart from her contemporaries. Her work redefined documentary photography, shifting it from objective observation to deeply personal engagement with her subjects. This image reflects her enduring interest in themes of identity, vulnerability, and the tension between public and private selves. Prints of this image are held in major institutional collections, including the Museum of Modern Art (MoMA), the Whitney Museum, the Museum of Contemporary Art (MOCA), Los Angeles, the Museum of Fine Arts, Houston as well as the Centre Pompidou in Paris.

Lit.: Diane Arbus. Diane Arbus: An Aperture Monograph. New York 1972, unpaginated.

4081

di a ne a rbus 4081

Charles Atlas. 1969. Gelatin silver print, printed 1985 by Neil Selkirk. 36 x 36 cm (50,5 x 40,5 cm).

Edition stamp, therein signed, titled, dated and editioned „2/75“ by Doon Arbus in ink, „The Estate of Diane Arbus“ copyright stamp and reproduction limitation stamp on the verso. Framed under glass in wooden frame.

4.000 €

Diane Arbus’s Charles Atlas, 1969 is a striking portrait of the legendary bodybuilder and fitness icon, known for his role in popularizing physical culture in the early 20th century. Taken in Arbus’s raw and direct signature style, the photograph presents Atlas flexing in a defiant pose, yet the exaggerated low-angle perspective, harsh lighting, and stark tonal contrasts challenge traditional representations of strength and masculinity. Rather than glorifying his physique, Arbus’s image emphasizes the texture of his aging body, inviting reflection on time, physicality, and self-image.

81

4082

ev e a rnold

(1912-2012)

4082

Marilyn Monroe during the filming of The Misfits. 1960. Chromogenic print on Fujicolor Professional paper, printed later. 48 x 32,2 cm.

(50,5 x 40,5 cm). Label with photographer‘s signature stamp and copyright stamp on the verso.

1.500 €

82

Eve Arnold was an American photojournalist and the first woman to join Magnum Photos in 1951, becoming a full member in 1957. She is particularly renowned for her decadelong collaboration with Marilyn Monroe, capturing candid and intimate moments that revealed the actress’ vulnerability behind her public persona. Among these, her photographs from the set of The Misfits (1960) stand out, depicting Monroe during a challenging period in her life, and demonstrating Arnold’s empathetic approach to portraiture.

4083

ev e a rnold 4083

Clark Gable during the filming of The Misfits.

1960. Gelatin silver print, printed later. 48 x 33 cm.

(51 x 41 cm). Photographer‘s signature stamp and copyright stamp on the verso.

1.500 €

83

theo ba ll mer

(1902-1965)

4084* Untitled (Beleuchtungsstudie). Circa 1930.

Gelatin silver print, printed later. 24 x 30,5 cm. Signed in pencil on the verso.

900 €

In the late 1920s and 1930s, Theo Ballmer developed a body of photographic work closely aligned with the aesthetics of the New Typography and the emerging principles of modernist design. Strongly influenced by his training under Walter Peterhans at the Bauhaus and his engagement with the Constructivist movement, Ballmer’s photographs from this period often feature industrial objects, stark lighting, and carefully arranged compositions that emphasize form, texture, and geometric abstraction.

4084

w ilfried bauer

(1944-2005)

4085

New York. 1984. 2 vintage gelatin silver prints on Agfa paper. Each 24 x 30,8 cm. Titled and dated in felt-tip pen as well as photographer‘s copyright stamp on the verso.

800 €

4085 84

Wilfried Bauer was one of Germany’s most recognized reportage photographers. From 1964-1968, he worked as an assistant to Robert Häusser. As of 1969, he regularly contributed to the German newspaper Die Zeit. From 1976 onward, he worked as a freelance photographer for major publications including Stern, Der Spiegel, and FAZ-Magazin. In his later years, Bauer received fewer commissions and struggled with depression. In a final, tragic act, he destroyed his photographic archive in December 2005 before taking his own life.

m a x baur

(1898-1988)

4086

Tulips; Gladiolus. 1930s. 2 vintage gelatin silvers prints. Each 38,3 x 28,3 cm. Each flush-mounted to chipboard, photographer‘s label on mount verso.

500 €

The German photographer Max Baur is known for his contribution to the New Objectivity movement in the early 20th century.

His photography primarily focused on industrial subjects, architecture, and urban landscapes, characterized by precise composition and sharp lines. Baur also created exquisite flower still life photographs, displaying his versatility and artistic depth.

4086

m a x baur 4087

4087

Maguerite and grass; Campanula. 1930s.

2 vintage gelatin silvers prints. 38,3 x 28,3 cm.

Each flush-mounted to chipboard, photographer‘s label on mount verso.

400 € 85

cecil beaton

(1904-1980)

4088

Truman Capote, Bangkok, Thailand. 1958.

Vintage gelatin silver print. 25,2 x 20,4 cm.

Photographer‘s copyright stamp, „The Museum of the City of New York“ stamp and annotations in pencil and felt-tip pen on the verso.

800 €

This portrait of Truman Capote by Cecil Beaton, taken in Bangkok, demonstrates Beaton’s ability to merge portraiture with a cinematic sense of atmosphere. Known for his glamorous celebrity portraits, he adopts a more organic approach here. The contrast between Capote’s delicate features and the oversized leaves reflects themes of vulnerability and control, nature and artifice. Captured just before Breakfast at Tiffany’s (1958), this remains one of the most evocative images of Capote at a defining moment in his career.

4088

cecil beaton 4089

4089 86

The artist Louise Nevelson. 1978. Vintage gelatin silver print on RC paper. 30,2 x 23,8 cm. Typed press text label and 2 agency stamps on the verso.

750 €

4090

bernd a nd hill a becher

(1931-2007, 1934-2015)

4090

Hochofen, Hainer Hütte, Siegen. 1961. Vintage large-format ferrotyped gelatin silver print, printed 1971. 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 €

Bernd and Hilla Becher, the influential German conceptual artists and photographers, collaborated throughout their careers to document industrial architecture with remarkable precision and consistency. They are best known for their extensive typologies of structures such as water towers, blast furnaces, and framework houses, often presented in grids to highlight formal similarities and regional variations. Their work, characterized by its objective style and conceptual rigor,

significantly influenced the development of contemporary art led to the founding of the Düsseldorf School of Photography, shaping the practices of subsequent generations of artists.

While the Bechers are primarily associated with their grid-based typologies, individual prints such as the one offered here hold particular significance. This photograph, taken in 1961 in Siegen, Bernd Becher’s birthplace, and in the year the couple married, is an early example of their iconic practice.

Lit.: Susanne Lange. Was wir tun, ist letztlich 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

87

4091 88

4092

bernd a nd hill a becher 4091

Schwebebahn-Bahnhof, Werther Brücke, Wuppertal. 1972. 3 vintage ferrotyped gelatin silver prints. Various sizes: 21,3 x 30 cm, 18,7 x 30 cm and 13,3 x 30 cm (54,5 x 30 cm). Mounted in a vertical row to board, signed and editioned „17/100“ by Bernd Becher in pencil lower right, collector‘s stamp on mount verso; presented with overmat.

3.000 €

4092 Hochöfen (Blast Furnaces). 1971. Collotype.

44,7 x 31,8 cm. Signed and dated by Bernd and Hilla Becher as well as annotated „Probedruck“ in pencil in lower margin.

900 € With: Kunst-Zeitung Nr. 2. Bernhard und Hilla Becher. Anonyme Skulpturen. Düsseldorf 1969. - Some traces of use, small tear in lower right corner of front cover, a few light spots.

Provenance: Carl Vogel Collection 89

denise bellon

(1902-1999)

4093

Selected images: Les plus belles rue de Paris, International Surrealist Exhibition, Paris. 1938. 6 gelatin silver prints, printed 2006. Each circa 20 x 18,5 cm (30,2 x 23,7 cm). Each with Griffelkunst edition text printed on the verso, in original half-canvas folder with illustrated text brochure.

500 €

Between 1938-1965 Denise Bellon photographed the International Surrealist exhibitions in Paris, as well as its most influential artists from Duchamp to Miró, to Tanguy and Dali.

This group includes: Rain Taxi by Salvador Dali; Papillon by Hans Arp; Wolfgang Paalen‘s mannequin; André Masson‘s mannequin; Maurice Henry with his mannequin and Salvador Dali with his mannequin.

4093

ilse bing

(1899-1998)

4094

Rue de la Chaise, Paris (Bec de Gaz). 1934.

Vintage gelatin silver print. 12 x 16,5 cm. Signed and dated by the photographer in white ink in upper left, mounted to original card (minimal tr aces of use), signed and titled in white ink under image on the mount.

800 €

4094

90

Ilse Bing‘s move from her birth city Frankfurt to the avant-garde and surrealist scene in Paris marked the start of the most notable period of her career. She produced images in the fields of photojournalism, architectural photography, advertising and fashion, and her work was published in magazines such as Le Monde Illustre, Harper‘s Bazaar and Vogue. In 1931, Bing‘s work was exhibited in both France and Germany. Her rapid success as a photographer, and her position as the only professional in Paris to use an advanced Leica camera, earned her the title „Queen of the Leica“ coined by the critic and photographer Emmanuel Sougez, whom she met in 1931. – With: 5 folding cards with reproductions of Ilse Bing images (2 double, 1 signed) from the 1930s. Ilkon Press, New York.

Lit.: Larisa Dryansky (ed.). Ilse Bing. Photography through the Looking Glass. New York 2006, ill. p. 137 (variant).

4095

ruth bernh a rd

(1905-2006)

4095

Draped Torso with Hands / Two Forms / Hips Horizontal. 1962-1975. 3 platinum palladium prints, printed 1993. Each ca. 16 x 13 cm or reverse (35 x 27,5 cm). Each signed in pencil in lower right corner as well as titled, dated and editioned in pencil on the verso. Presented in elegant cotton rag portfolio with Japanese stitch binding.

1.800 € Ruth Bernhard’s work is characterized by carefully composed, luminous black-and-white photographs, primarily focusing on

the female form, where she transforms the body into sculptural, abstracted shapes through masterful lighting and tonal gradation. Her images emphasize sensuality, elegance, and a deep reverence for light and shadow, often elevating everyday subjects into timeless, almost spiritual compositions. A major figure in 20th-century fine art photography, Bernhard’s approach blends modernist precision with a classical sense of form, making her one of the most influential photographers of the nude.

91

4096

bism a rck a rchipel ago a nd sa moa 4096

Photographer: Dr. Arthur Berger (1871-1947) and unknown. Views of Samoa, Fiji and Papua including indigenous people. 1910. Circa 130 vintage collodion paper prints and gelatin silver prints. Each circa 9 x 12 cm or reverse. Inserted in album window mats, bound in canvas album (slight traces of use) with embossed title „Eigene Aufnahmen“.

600 € Provenance: Estate of Dr. Arthur Berger See also lot 4114 and 4115.

92

4097

m a rga ret bourke-w hite

(1904-1971)

4097

Walking Path with Footprints in Snow.

1938. Vintage gelatin silver print. 33,8 x 24,6 cm (53,3 x 35,8 cm). Mounted to board (corners slightly damaged from previous mounting), signed in pencil below the image on the mount as well as annotated in pencil on the verso.

2.000 € Margaret Bourke-White, best known for her pioneering work in photojournalism and industrial photography, had a remarkable

ability to blend narrative and formal composition across various subjects. Her 1930 Fortune magazine article, “Paper & Power,” featuring images of industrial paper production, exemplifies her early interest in documenting technology and human labor.

Even in landscapes, like this winter scene, she applied a structured, cinematic approach, using visual elements to evoke movement and human presence, reflecting her ongoing exploration of the relationship between people, industry, and their environments.

Lit.: “Paper & Power.” Fortune, May 1930.

93

4098

94

4098

m athi as braschler a nd monik a fischer

(b. 1969, b. 1971)

4098

About Americans. 2003. 78 chromogenic prints on RC paper. Circa 20,5 x 20 cm (35,4 x 27,8 cm) and 19,5 x 24,8 cm (27,8 x 35,4 cm). 20 with printed label with title, date and copyright on the verso.

2.000 €

In May 2003, Braschler and Fischer embarked on a road trip across the United States with the goal to create a photographic portrait of Americans - capturing how individuals perceive themselves and their country. While some portraits were

arranged in advance, many of the subjects were encountered spontaneously along the way, reflecting the openness that shaped the project. The photographers were struck by the diversity and warmth of those they met, and this portfolio, produced in conjunction with the book publication, offers a vivid and multifaceted glimpse into the American spirit. – With: A copy of the book About Americans. Heidelberg 2007.

Lit.: Mathias Braschler/Monika Fischer. About Americans.

Heidelberg 2007, most images illlustrated.

Provenance: Private collection, gift of the photographer.

95

4099

96

4099

ja n bulh a k

(1876-1950)

4099

Views of old Danzig. 1920s. 16 vintage toned gelatin silver prints on heavy paper. Each circa 11 x 16 cm and reverse. Each with photographer‘s blind stamp in lower right corner, mounted to original cream card (minimal traces of use), each with number stamp in upper right corner of mount.

2.200 €

Jan Bulhak was one of the most influential figures in Polish photography during the interwar period, active between 1918-1939. He began photographing around 1905 and worked as an assistant to Hugo Erfurth in Dresden circa 1910-1911, before opening his own studio in Wilno (then Poland) in 1912.

From 1919-1939, he lectured at Wilno University, where he also served as head of the Institute of Photography within the Department of Fine Arts. A crucial organizer in the Polish photographic scene, Bulhak co-founded the Wilno Photo-Club in 1927, and the Polish Photo-Club in 1929, where he served as chairman. He was widely exhibited, participating in 174 fine art photography salons both in Poland and abroad. Tragically, most of his negatives were destroyed during World War II, making surviving vintage prints exceptionally rare and seldom seen outside Poland.

97

4100

norbert bunge

(1941-2024)

4100

Robert Frank, Cape Breton. 1998. Vintage gelatin silver print. 29,8 x 39,8 cm. Signed, titled and annotated “Vintage” in pencil as well as photographer’s studio label affixed to the verso.

400 €

4101 98

4102

cl aus bury

m a x burch a rtz

(b. 1946)

(1887-1961)

4101

4102

Bauernarchitektur. 1990-2005. Gelatin silver print, printed 2012. 18 x 24,2 cm (21,2 x 27,5 cm).

400 €

The German artist Claus Bury is one of the most important representatives of architectural sculpture. Using sketches, drawings and scale models, Bury develops his sculptures for urban and landscape spaces. Parallel to his sculptures, he has been taking architectural photographs for 20 years. During numerous trips through Europe, the USA and Egypt, Bury has found inspiration in diverse archetypes of architecture such as temples, pyramids, bridges and artfully stacked haystacks.

Lit.: Florian Hufnagl (ed.) Claus Bury, Bauernarchitekturen, 1990-2005. Die Neue Sammlung - The International Design Museum, Munich. Cologne 2012.

Provenance: Private collection, gift from the photographer.

Lotte (Auge). 1928. Matte gelatin silver print on Agfa paper, printed 1980. 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.

1.500 €

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. His 1928 photograph Lotte (Auge), a close-up of his daughter’s eye, was featured in the 1929 Film und Foto exhibition in Stuttgart and later enlarged as a mural for the 1931 Das Lichtbild exhibition in Essen, becoming 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 1919-1939.

Munich 1982, ill. plate 23.

99

4103

h a rry ca ll a h a n

(1912-1999)

4103

Provincetown Beach, Cape Cod. 1972. Vintage gelatin silver print. 15,3 x 20 cm (20,4 x 25,2 cm).

Signed in pencil in lower right margin below the image as well as titled and signed in pencil on the verso.

3.000 €

Harry Callahan’s Cape Cod photographs exemplify his modernist approach to light, space, and form, capturing the vastness of the coastal landscape with a quiet, meditative simplicity. These images, often featuring expansive beaches, delicate horizon lines, and solitary human figures, reflect his lifelong fascination with minimalism and the interplay between nature and human presence. While his earlier work explored abstraction, multiple exposures, and urban geometry, his Cape Cod series embraces a more serene, observational style, emphasizing negative space and tonal subtlety. Prints of this work are in the collections of the Museum of Modern Art (MoMA), the Whitney Museum, the Art Institute of Chicago, The Getty Museum, the Museum of Fine Art Boston, and the National Gallery of Art, Washington.

Lit.: John Szarkowski. Harry Callahan. New York, 1977. ill. p. 186.

Harry Callahan. Harry Callahan: Water’s Edge. New York, 1980. ill. plate 1.

Sarah Greenough. Harry Callahan. Boston, 2001. ill. p. 150.

Britt Salvesen and John Szarkowski. Harry Callahan: The Photographer at Work. New Haven, 2006. ill. p. 6.

100

4104

Ireland. 1979. Dye transfer print.

24,4 x 36,7 cm (44,4 x 56,5 cm). Unsigned.

1.800 €

In the 1980s, Harry Callahan’s foray into color photography marked a significant evolution in his artistic practice. Departing from the stark tonal contrasts of his earlier black-and-white work, Callahan embraced vibrant hues and complex compositions. He frequently captured urban scenes, nature, and architectural details, utilizing techniques like multiple exposures and reflections in glass surfaces to create striking visual effects.

This period demonstrated his deep engagement with the possibilities of color, displaying his continued exploration of form, light, and abstraction. Notably, prints of this work are held in the collections of the Minneapolis Institute of Art and the Nelson-Atkins Museum of Art.

4105

Portugal. 1982. Dye transfer print.

24,4 x 36,7 cm (45 x 57 cm). Unsigned.

1.800 €

4104

4105 101

4106

h a rry ca ll a h a n 4106

Atlanta. 1984. Dye transfer print.

24,4 x 36,7 cm (45,7 x 56 cm). Signed „Callahan“ in pencil on the verso.

1.800 €

Another print of this work is in the collection of the Museum of Modern Art (MoMA), New York.

102

henri ca rtier-bresson

(1908-2004)

4107

Henri Matisse. 1965. Gelatin silver print, printed later. 35,3 x 24 cm (circa 45 x 33 cm). Signed and dedicated by the photographer in ink as well as photographer‘s blind stamp in lower margin.

Framed under glass in wooden frame.

900 €

Henri Cartier-Bresson is perhaps best known for his documentary photography and his founding role in the Magnum agency.

However, his portrait work is also significant, showing 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 letting his sitters forget the camera‘s presence, resulting in candid photographs, characterized by their simplicity and honesty.

4107

henri ca rtier-bresson 4108

4108

Pablo Neruda. Circa 1965. Gelatin silver print, printed later. 35,3 x 24 cm (circa 45 x 33 cm).

Signed and dedicated by the photographer in ink as well as photographer‘s blind stamp in lower margin.

Framed under glass in wooden frame.

900 € 103

jea n ch a rpie

(1925-2007)

4109

Still life with eggs and egg slicer. 1945-48.

Vintage ferrotyped gelatin silver print. 28,5 x 23 cm.

Mounted to original board (slightly time-stained), signed by the photographer in pencil below image on mount; printed label on mount verso.

500 € Jean Charpie, a professor at the Schule für Photographie in Vevey, was the author of popular book „Traite de Photographie.

4109

václ av chochol a (1923-2005)

4110

Vesak (Coat Stand). 1944. Gelatin silver print, printed later. 30 x 23 cm. Photographer‘s stamp, annotated and copyrighted by the photographer in pencil on the verso.

500 €

4110 104

Václav Chochola began photographing while still a student and published his first images in 1940. Early on he worked with colleagues such as Karel Ludwig, Zdenek Tmej, Karel Hájek, Kamil Lhoták, Frantiček Hudecek, Jiri Kolar, Zdenek Seydl and Frantiček Tich who together founded the ‚Group 42‘ during WWII.

václ av chochol a 4111

Salvador Dali, Paris. 1969. Vintage ferroytped gelatin silver print. 23,8 x 18 cm. Photographer‘s stamp and annotated by the photographer in pencil on the verso.

500 €

4111

herm a nn cl a asen

(1889-1987)

4112

WWII destruction in Cologne. Circa 1946.

3 gelatin silver prints, printed later from the original negatives from the estate. Each circa 24 x 16 cm (30,5 x 23 cm).

900 € Born in Cologne, Hermann Claasen initially worked in his family’s textile business before turning to photography at the age of 30. He began with nature subjects, later expanding into portrait and advertising photography. He earned his master craftsman certificate in 1936. On May 31, 1942, his studio and much of his archive were destroyed in a bombing raid on Cologne.

Lit.: Hans J. Scheurer/Jan Thorn-Prikker (eds.). Hermann Claasen. Nichts erinnert an Frieden. Bilder einer zerstörten Stadt.

Cologne 1985, ill. no. 27, p. 32.

Provenance: Private collection, gift from the estate of the photographer.

4112 105

4113

edwa rd sheriff curtis

(1868-1952)

4113

The Vanishing Race, Navaho. 1904. Platinum palladium print. 29,5 x 40 cm (45,8 x 55,4 cm). Signed by the photographer in lower right, with the photographer‘s copyright stamp embossed in lower left corner. Sandwich-mounted to original mat (some light abrasion marks).

3.000 €

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

106

this ambitious project, traveling extensively across the United States to document the daily lives, ceremonies, 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.

Lit.: Edward S. Curtis. The North American Indian. Vol. 1: The Apache. The Jicarillas. The Navaho. Cambridge 1907, ill. plate 1.

Christopher Cardozo. 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.

4114

deutsch- a nd british osta frik a 4114

Photographer: Dr. Arthur Berger (1871-1947) and unknown. Views of Africa, Egypt and India.

1908-09. Several hundred vintage collodion paper prints. Each circa 9 x 12 cm or reverse. Most with archive stamp „Photo-Centrale des Kolonialkriegerdank“ and annotated in ink on the verso.

600 € Dr. Arthur Berger was a physician and hunter active in German East Africa during the early 20th century, known for his widely

read travel books. In addition to his writing, he produced numerous photographs documenting the landscapes and communities he encountered, offering a vital visual record shaped by the context of the colonial era.

Lit.: Dr. A. Berger. Der heilige Nil. Berlin 1924, ill. p.15, 49, 65, 81 and 113.

Dr. A. Berger. Der heilige Nil. Berlin 1935, ill. p. 32, 49, 80, 97 and 112.

Provenance: Estate of Dr. Arthur Berger

See also lot 4096.

107

4115

deutsch osta frik a a nd ken ya 4115

Photographer: Dr. Arthur Berger (1871-1947) and unknown. Views of Africa, Egypt and India.

1908-09. Circa 500 vintage collodion paper prints.

Each circa 9 x 12 cm or reverse. Most with archive stamp „Photo-Centrale des Kolonialkriegerdank“ and annotated in ink on the verso, inserted in album window mats, bound in 3 canvas albums (slight traces of use) with embossed titles.

1.000 €

The present albums document various travel locations in East Africa, featuring striking images of indigenous communities including the Kikuyu, Maasai, and others - alongside hunting scenes, landscapes, village life, and glimpses of European colonial presence, particularly in Dar es Salaam.

Lit.: Dr. A. Berger. Der heilige Nil. Berlin 1924, some illustrated.

Dr. A. Berger. Der heilige Nil. Berlin 1935, some illustrated.

Provenance: Estate of Dr. Arthur Berger

See also lot 4096.

108

4116

john di vol a

(b. 1949)

4116

Vandalism (74V01). 1974. Vintage gelatin silver print. 17,8 x 17,8 cm (35,2 x 27,7 cm). Signed and dated in pencil on the verso.

2.000 €

John Divola’s „Vandalism“ series (1974/75) comprises black-andwhite photographs of abandoned houses in Southern California, where the artist enacted spontaneous interventions by spraypainting bold marks, lines, and shapes onto the interiors. These performative gestures blur the boundaries between photography, painting, and conceptual art, foregrounding themes of entropy, transgression, and authorship. Visually arresting and charged with tension, the images capture a dynamic interplay between deterioration and artistic intent, transforming sites of neglect into ephemeral canvases.

Lit.: John Divola. Vandalism. London 2018.

109

tom as dvora k 4117

Abstract trees. 1975. Gelatin silver print, printed 1979. 39,8 x 30 cm. Photographer‘s stamp and annotated by the photographer in ink on the verso.

500 €

bogda n dzi worski

(b. 1941)

4118

Street scenes of children in Lodz. Late 1960s.

2 vintage, large-format, ferrotyped gelatin silver prints. 41 x 52,5 cm and 49 x 40,3 cm. Each with photographer‘s stamp on the verso.

500 €

Bogdan Dziworski studied cinematography at the Lodz Film Academy. As a cameraman, director and documentary filmmaker, he has made numerous films and was Dean of the Film Academy in Katowice. He has published many illustrated books and participated in various exhibition projects. His photographs show a quirky contrast between the run-down environment and the carefree nature of the people who live in it. His particular eye for children and older people is evident, and many of his images have a filmic quality.

4117

4118 110

bogda n dzi worski 4119

Children in Lodz. Late 1960s. 4 vintage ferrotyped gelatin silver prints. Each circa 24 x 18 cm.

Each with photographer‘s stamp and layout marks in pencil on the verso.

400 € Lit.: Bogdan Dziworski. My View. Polish Impressions in Photography. Vienna 1981, two ill., unpaginated.

wa lker eva ns

(1903-1975)

4120

River Hill Café, Alabama. 1936. Gelatin silver print, printed later. 29,2 x 36,8 cm. Titled and dated as well as annotated by another hand in pencil on the verso; „Walker Evans - Gelatin silver print from the original negative“ stamp on the verso.

400 €

4119

4120 111

4121

elliot t erw it t

(1928-2023)

4121*

Ireland. 1965. Gelatin silver print, printed later. 20,5 x 30,5 cm (32,4 x 43,8 cm). Signed in ink in lower right corner; signed, titled and dated in pencil on the verso.

1.200 €

Elliott Erwitt is renowned for his keen observational eye and subtle wit, capturing fleeting moments of everyday life with clarity, humor, and empathy. Working primarily in black and white, his photographs blend documentary precision with a poetic sensibility, often revealing the absurd or touching elements of human behavior. Whether depicting street scenes, social gatherings, or quiet personal interactions, Erwitt’s work consistently reflects his deep understanding of the human condition and his talent for finding meaning in the mundane.

112

4122

louis faurer

(1916-2001)

4122*

56th Street Behind City Center on a Sunday.

1949. Gelatin silver print, printed later. 27,5 x 18,4 cm (35,2 x 27,7 cm). Signed and dated by the photographer in ink below the image in the margin.

1.200 €

The American photographer Louis Faurer was known for his deeply humanistic and often melancholic images of urban life, particularly in New York City and Philadelphia during the

mid-20th century. Working primarily in black and white, he captured fleeting expressions, gestures, and moments of isolation among pedestrians, often using slow shutter speeds, blur, and unconventional angles to evoke emotional depth and psychological nuance. Though he worked commercially for fashion magazines like Harper’s Bazaar and Vogue, his personal street photography remains his most celebrated legacy, admired for its poetic and empathetic view of modern city life.

Lit.: Anne Wilkes Tucker. Louis Faurer. Houston 2002, ill. p. 140.

113

4123

a ndreas feininger (1906-1999)

4123

Gothic church portal (Domkirche Greifswald). 1930s. Vintage ferrotyped gelatin silver print on Agfa-Brovira paper (negative print).

23,5 x 18 cm. Photographer‘s stamp and annotated by the photographer in pencil on the verso, with original card mount (traces of use), typed German text on mount; photographer‘s stamp on mount verso.

900 €

114

After leaving school at age 16 in 1922, Andreas Feininger enrolled at the Bauhaus, before he shifted his focus to architecture, studying first at the Staatliche Bauschule Weimar, and later at the Bauschule Zerbst. While in Zerbst, he developed a growing interest in photography, guided in part by Bauhaus teacher and neighbor László Moholy-Nagy. In 1936, Feininger abandoned architecture to pursue photography full-time, relocating to Sweden, and later immigrating to the United States in 1939.

He went on to work as a staff photographer for Life magazine from 1943-1962, and became widely known for his photographic manuals, including The Complete Photographer.

The print offered here comes from the original dummy for Feininger’s 1939 book New Paths in Photography, published by American Photographic Publishing Co., Boston (plate 33).

pepa feldsch a rek

(1899-1962)

4124

Female nude study; Portrait of a dancer.

Circa 1925. 2 vintage gelatin silver prints. Each circa 20,7 x 15 cm. Each mounted to board (slightly dusty) and signed by the photographer in pencil below the image on the mount.

500 € Pepa Feldscharek graduated from the Graphische Lehr- und Versuchsanstalt in 1918 and, in 1920, co-founded a photo studio in Vienna with fellow graduate Melanie Heller. From 1922 onward, she ran the studio independently, specializing in fashion, dance, and portrait photography, with her work regularly featured in leading magazines such as Die Bühne, Moderne Welt, Die Dame, Berliner Illustrirte Zeitung, Wiener Magazin and Münchner Illustrierte Presse. Due to her Jewish heritage, Feldscharek fled Austria in 1938, adopting the name Josefine Schreier. She emigrated to New York and eventually settled in Gloucester, Massachusetts, where she died in 1962.

4124

fil m photogra ph y 4125

Photographer: Lotte Jacobi (1896-1990).

The actress Anna May Wong (1905-1961). Circa 1928.

Vintage gelatin silver print. 26 x 21,3 cm.

Photographer‘s „Atelier Jacobi, Joachimsthaler Str. 5“ studio and reproduction limitation/copyright stamp and number in red crayon on the verso.

750 €

4125

In 1928, Anna May Wong arrived in Berlin seeking more progressive film roles and an escape from the stereotypical parts she had long been offered in Hollywood. She also spent time in London and Paris, where she was warmly received by critics and audiences alike. Wong returned to the United States in 1930, with an expanded artistic profile and growing international acclaim.

115

fil m photogra ph y 4126

Photographer: Freiherr Wolff von Gudenberg (1890-before 1961). Portrait of Marlene Dietrich. 1929.

Vintage gelatin silver print. 22 x 16,8 cm. Annotated in ink and pencil as well as 2 agency stamps on the verso.

750 €

The verso of the photograph notes that it was taken in connection with the 1929 film Die Frau, nach der man sich sehnt (The Woman One Longs For), starring Marlene Dietrich, prior to her departure for Hollywood.

4126

fil m photogra ph y 4127

Photographer: Roger Fritz (1936-2021).

Romy Schneider on the set of Bocaccio ‚70. 1962.

Vintage gelatin silver print on Agfa paper.

29 x 18,2 cm. Photographer‘s stamp, agency stamps and annotated in pencil on the verso.

500 €

This photograph by Roger Fritz captures Romy Schneider in a moment of poised introspection on the set of Boccaccio ’70 (1962). With a keen sense for atmosphere, Fritz conveys the quiet tension behind the scenes, offering an intimate portrait of one of Europe’s most celebrated actresses at a pivotal point in her career.

116

4127

4128

günther förg

(b. 1952)

4128

Architectural views. 1986-1992. 6 gelatin silver prints, printed 1995. 55,3 x 39 cm (59,8 x 43,4 cm).

Each signed and dated by the artist in pencil on the verso. From an edition by Griffelkunst.

750 €

This selection of photographs includes views of the clock at the George Podìbrady Church in Prague, the Lingotto building in Turin, the Palazzo dei Congressi and the Palazzo della Civiltà Italiana from the Esposizione Universale in Rome, the Casa del Fascio in Como, and the Villa Malaparte on Capri.

Lit.: Günther Förg. Fotografien 1982-1992. Ostfildern 1993, illustrated.

117

4129

l a rry fink

(1941-2023)

4129*

Untitled from the series „Moses Soyer“.

Circa 1960. Gelatin silver print on Agfa paper, printed later. 25 x 25 cm (32,8 x 22 cm), Signed, titled and dated in pencil on the verso.

1.000 €

118

Larry Fink was an American photographer known for his intimate, flash-lit black-and-white images that captured the social rituals and unguarded moments of everyday life. His work spans from beatnik circles in the late 1950s to high-society parties and working-class gatherings, often blurring the line between documentary and staged photography. With a sharp eye for gesture and atmosphere, Fink revealed the emotional undercurrents of human interaction across class and cultural divides.

4130

l a rry fink 4130*

Untitled from the series „Beatniks“. 1958.

Gelatin silver print on Agfa paper. 25 x 25 cm (35,4 x 27,7 cm), Signed, titled and dated in pencil on the verso.

1.000 €

119

4131

fra nco fonta na

(b. 1933)

4131

Praga. 1967. Cibachrome print, printed early 1990s. 43 x 27,8 cm. Signed, titled, and dated by the photographer in the lower margin; additionally signed, titled, and dated on the verso. Housed in a black ornamental paper portfolio, signed by the photographer in pencil on the front cover, with an inner window mat.

1.000 € 120

Franco Fontana‘s work is characterized by his mastery of color, abstraction, and minimalism. His vibrant and abstract compositions often reduce scenes and subjects to their essential forms and colors, creating visually striking and contemplative images.

Fontana‘s innovative approach to color photography has earned him recognition as a pioneering figure in the field, known for his distinctive and influential work.

4132

a be fra jndlich (b. 1946)

4132

Jack Lemmon, Hollywood, California. 1996.

Chromogenic print, printed 2000. 46 x 38 cm (51 x 40,7 cm). Signed, titled, dated and copyrighted by the photographer in felt-tip pen on the verso.

900 € Abe Frajndlich is an American photographer who lives and works in New York City. He became internationally known in particular as a portraitist of celebrities, including important fellow photographers. As a photographer and reporter, Frajndlich worked for the Frankfurter Allgemeine Zeitung magazine, Life, Der Spiegel, the London Observer and the New York Times Magazine, among others. In addition to his journalistic assignments, he has achieved international recognition in the fields of portrait and nude photography in particular.

Lit.: Abe Frajndlich. Porträts, Munich 2000, ill. front cover and p. 37.

121

gisèle freund

(1908-2000)

4133

Jean Cocteau in his apartment, Paris. 1939.

Chromogenic print on Kodak Professional paper, printed later. 42,5 x 29 cm. Signed by the photographer in felt-tip pen in lower margin, as well as copyright blind stamp in lower right corner; photographer‘s/ copyright stamp on the verso. Hinge-mounted in mat.

900 €

Gisèle Freund was a German-born French photographer and photojournalist renowned for her documentary work and intimate portraits of writers and artists. She pioneered the use of the Leica camera for reportage and was among the first to employ Kodachrome and Agfacolor films for color portraits, capturing figures such as James Joyce, Virginia Woolf, and André Malraux with a uniquely candid style. Her contributions significantly shaped 20th-century photography, blending sociological insight with artistic expression.

Lit.: Gisèle Freund. Photographien und Erinnerungen. Munich 1998, ill. 112, p. 116.

4133

gisèle freund 4134

Virginia Woolf, London. 1939. Dye transfer print, printed later. 30 x 20,5 cm (46 x 35,8 cm). Signed by the photographer in felt-tip pen in lower margin as well as copyright blind stamp in lower right corner; photographer‘s/copyright stamp and numbered „16/30“ in pencil on the verso. Hinge-mounted to mat.

1.200 € Lit.: Gisèle Freund. Photographien und Erinnerungen. Munich 1998, ill. 97, p. 99.

122

4134

4135

georges friedm a nn

(1910-2002)

4135

Intersection of 42nd Street and 5th Ave., New York. 1968. Vintage gelatin silver print.

49,5 x 59,7 cm. Photographer‘s Buenos Aires stamp and signed by the photographer in ballpoint pen on the verso.

1.000 € Born in Miskolc, Hungary in 1910, master photographer Georges Friedmann (also known as György Friedmann, George Friedman, or Jorge Friedman) worked as a cameraman on film productions in London and Hollywood, and contributed photography to major magazines including Vu, Paris Match, Time, and Life until 1937. From 1939 onward, he lived in Buenos Aires, where he worked as a photo editor and publisher of illustrated magazines, most notably Atlántida.

123

4136

robert ca pa

(1913-1954)

4136

Russian Sector, Berlin. 1945. Gelatin silver print, printed 1960s. 35,7 x 27,8 cm. With the photographer‘s „Robert Capa- Magnum“ credit stamp as well as press stamps and annotations in pencil on the verso.

1.200 €

In August and September 1945, renowned war photographer Robert Capa documented post-war Berlin, capturing over six hundred images that provide a poignant glimpse into the city’s state following World War II. This photograph features an elderly man playing a barrel organ amidst the city’s ruins, with two Soviet soldiers standing nearby. The backdrop includes a bilingual sign reading “Reichstag” in German and Russian, indicating the location near the Reichstag building in the Sovietoccupied sector.

Provenance: Robert Lebeck collection

ch a rles gatewood

(1942-2016)

4137

William Burroughs. 1972. Gelatin silver print, printed 1980s. 25,2 x 18 cm (35,4 x 28 cm). Several photographer‘s stamps and annotations in pencil on the verso.

600 €

4137 124

Lit.: Michael Köhler (ed.). Burroughs. Eine Bild-Biographie. Berlin 1994, ill. p. 81.

gdr photography

4138

gerh a rd gä bler

(b. 1952)

4138

Leipzig Hauptbahnhof. 1983. Vintage gelatin silver print. 29,2 x 41 cm (39,8 x 49,8 cm). Signed, titled, dated and editioned in pencil as well as photographer‘s copyright stamp on the verso.

1.200 €

Gerhard Gäbler, originally trained as a chemist, turned to photography to document everyday life in the GDR, capturing the subtleties of East German society under Communist rule.

His black and white photographs, often taken in the context of his professional duties, offer a nuanced and intimate view of daily life in East Germany during the 1980s. His work is held in collections such as the Museum of Fine Arts, Houston, and the International Center of Photography, New York.

125

4139

gerh a rd gä bler 4139

Leipzig. 1981. Vintage gelatin silver print.

30,2 x 30,2 cm (49 x 39,8 cm). Signed, titled and dated in pencil as well as photographer‘s copyright stamp on the verso.

1.200 €

gdr 4140

Photographers: Franke, Schindler, Sindermann. Presentation box of views of the Palast der Republik, Berlin. 1973-1980s. Circa 47 vintage chromogenic prints. Circa 20 x 25 cm. Each but 3 mounted to board, in brown leather presentation box (edges rubbed, some water stains) with embossed title Palast der Republik.

800 €

126

This historical compilation presents interior and exterior views of the Palast der Republik (Palace of the Republic) in Berlin, spanning from its construction to the mid-1980s. Completed in 1976, the building served as the seat of the East German parliament, the Volkskammer, until 1990, while also functioning as a major cultural and social venue. Nicknamed the “People’s Palace,” it was located across Unter den Linden from Museum Island, on the former site of the Berlin Palace. It housed a wide array of facilities, including auditoria, galleries, a theater, cinema, numerous restaurants and bars, a discotheque, bowling alleys, a rooftop ice rink, and even a police station with an underground cellblock.

4140 127

4141

4142

128

4143

herbert hensky

(1910-2005)

4141

Rally after the founding of the GDR, Oct. 11, 1949. Large-format gelatin silver print, printed 1950s. 38,5 x 49,8 cm. Photographer‘s/agency stamp and number notations in crayon on the verso.

500 €

Herbert Hensky was a German photojournalist known for his candid documentation of life in East Germany from the postwar period onward. His work captured everyday scenes and important political moments, including the iconic 1946 handshake between Wilhelm Pieck and Otto Grotewohl. Hensky’s photographs became emblematic of East German visual culture and are held in major institutions such as the Berlinische Galerie and the German Historical Museum.

4142

Exhibition opening, Berlin. 1960s. Vintage large-format gelatin silver print. 40 x 49,8 cm.

Photographer‘s/agency stamp and estate stamp on the verso.

500 €

4143

Mongolian horse breeders. 1960s. Vintage large-format gelatin silver print. 48,9 x 38,8 cm.

Photographer‘s/agency stamp and annotated in crayon/ballpoint pen on the verso.

600 €

129

4144

konra d hoffmeister

(1926-2007)

4144

Panoramic views of East Berlin: View of the Nikolaikirche, Rathaus, Marienkirche and Stadthaus; View from Rathaus of the Marienkirche with the Berliner Dom. 2 vintage ferrotyped gelatin silver prints. Each circa 24 x 30,3 cm. Each with photographer‘s studio stamp and signed by the photographer in pencil on the verso.

1.000 €

130

4145

thom as kl ä ber

(b. 1955)

4145

Kraftwerk Jänschwalde. 1990. Large-format gelatin silver print, printed later. 33 x 49,5 cm (45,2 x 59,4 cm). Photographer‘s stamp as well as signed, titled and dated by the photographer in pencil on the verso.

400 €

The German photographer Thomas Kläber studied at the Hochschule für Grafik und Buchkunst Leipzig (HGB). His first larger body of work was titled „Landleben“, and is a series he continued over the years. He depicted country life in the GDR in authentic and often moving portraits as well as landscapes and architecture of more remote areas.

rudolf sch ä fer

(b. 1952)

4146

Image from „Der Ewige Schlaf: Visages de morts“. 1988. Vintage gelatin silver print. 23,4 x 17,7 cm (41,3 x 30 cm). Signed, numbered and dated by the photographer in pencil below the image in margin.

1.000 €

4146

Rudolf Schäfer’s „Der Ewige Schlaf (Eternal Sleep)“ is a contemplative series of 13 black-and-white photographs, portraying deceased individuals, their bodies shrouded in white sheets to evoke the stillness of sleep. This quiet meditation on death blurs the line between repose and finality, capturing a haunting serenity. Schäfer invites viewers to confront mortality, projecting their own thoughts and fears onto these intimate post-mortem portraits.

Lit.: Rudolf Schäfer. Der Ewige Schlaf - Visages de morts.

Hamburg 1989.

Gosbert Adler/Wilmar Koenig (eds.). DDR FOTO. Freunde der Werkstatt für Fotografie. Berlin 1985, ill. p. 67.

Karl Gernot Kuehn (ed.). Caught: The Art of Photography in the German Democratic Republic. Los Angeles, 1997, ill. p. 215.

131

4147

h a ns m a rtin sewcz

(b. 1955)

4147*

Auguststraße, Ecke Kleine Hamburger Straße, Berlin; In der Auguststraße, Berlin-Mitte; Linienstraße am Koppenplatz, Berlin. 1979. 3 panoramic gelatin silver prints, printed 2005/2007. Each circa 24 x 58 cm (34 x 61 cm). Each signed, titled, and dated by the photographer in pencil as well as photographer‘s stamp on the verso.

1.500 €

132

Hans Martin Sewcz studied at the Academy of Visual Arts in Leipzig and is best known for his photographic exploration of East Germany and other former Eastern Bloc countries. His work has been widely exhibited and is held in major public and private collections, including the Berlinische Galerie, the Deutsches Historisches Museum, the Institut für Moderne Kunst in Nuremberg, and the Deutsche Bank Collection in Frankfurt am Main. Notably, his photographs were featured in the exhibition „Das Gesicht des XX. Jahrhunderts“ at the Deutsches Historisches Museum in Berlin.

Lit.: Marc Barbey (ed.). Hans Martin Sewcz. Berlin-Mitte, Mai 1979. Berlin 2011, ill. pp. 8,10 and 32.

4148

h a ns m a rtin sewcz 4148*

Auguststraße, Ecke Große Hamburger Straße, Berlin; Linienstraße mit Fernsehturm, Ost-Berlin; Linienstraße „Gerüstbau“, Berlin. 1979. 3 panoramic gelatin silver prints, printed 2005/2007. Each circa 24 x 58 cm (34 x 61 cm). Each signed, titled, and dated by the photographer in pencil as well as photographer‘s stamp on the verso.

1.500 € Lit.: Marc Barbey (ed.). Hans Martin Sewcz. Berlin-Mitte, Mai 1979.

Berlin 2011, ill. pp. 8, 34 and 30.

133

4149

ulrich w üst

(b. 1949)

4149

Berlin, from the series „Stadtbilder“ 19791983. 1982. Vintage gelatin silver print. 14 x 20 cm (17,5 x 22,5 cm). Photographer‘s stamp on the verso.

750 € Ulrich Wüst visually 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. Wüst‘s work offers a compelling visual narrative, referencing the complexities of history, memory, and social transformation within the urban fabric of the former GDR. Lit.: Gosbert Adler/Wilmar Koenig (eds.). DDR FOTO. Freunde der Werkstatt für Fotografie. Berlin 1985, ill. p. 95.

134

4150

ulrich w üst 4150

Magdeburg, from the series „Stadtbilder“ 1979-1983. 1982. Vintage ferrotyped gelatin silver print. 17 x 22,5 cm. Photographer‘s stamp on the verso.

600 € Lit.: Gosbert Adler/Wilmar Koenig (eds.). DDR FOTO. Freunde der Werkstatt für Fotografie. Berlin 1985, ill. p. 88.

135

4151

4152

136

4153

m a rio gi acomelli

(1925-2000)

4151

Untitled (from the series „Presa di Coscienza della Natura“). 1970s. Vintage gelatin silver print.

21,7 x 31,9 cm. Annotated in pencil, „Mario Giacomelli via Mastai 24 Senigallia“ copyright stamp on the verso.

800 € Mario Giacomelli’s „Presa di Coscienza della Natura“ (1976-1980) is a striking departure from his earlier human-focused work, embracing abstract aerial landscapes to explore the dynamic relationship between nature and artistic expression. Through high-contrast black-and-white photography, he transforms plowed fields and furrowed earth into gestural, painterly compositions, emphasizing movement, rhythm, and the impermanence of human intervention. By intensifying contrasts in post-production, Giacomelli blurs the line between photography and painting, evoking themes of time, transformation, and the cyclical nature of existence. This series stands as one of his most experimental and poetic, reinforcing his mastery of abstract landscape photography.

4152

Untitled (from the series „Presa di Coscienza della Natura“). 1970s. Vintage gelatin silver print.

17,2 x 30,6 cm. Annotated in pencil, „Mario Giacomelli Via F.lli Bandiera 25 Senigallia“ copyright stamp on the verso.

800 €

4153

Untitled (from the series „Presa di Coscienza della Natura“). 1970s. Vintage gelatin silver print.

16,5 x 32 cm. Annotated in pencil, „Mario Giacomelli via Mastai 24 Senigallia“ copyright stamp on the verso.

800 €

137

4154

na n goldin

(b. 1953)

4154

Bruce in his car, NYC. 1981. Cibachrome print, printed 1990s. 50,8 x 61 cm. Signed by the photographer in felt-tip pen on the verso.

4.000 €

The American photographer Nan Goldin is renowned for her deeply personal and raw visual narratives that delve into themes of love, gender, domesticity, and sexuality. Her seminal work, The Ballad of Sexual Dependency (1986), is a poignant documentation of her “chosen family,” capturing the postpunk and gay subcultures of New York City during the late 1970s and early 1980s. Goldin’s style is characterized by an informal snapshot aesthetic, often portraying private moments in intimate settings such as cluttered kitchens, downtown bars, and disheveled beds. Her adept use of color accentuates the emotional essence of each moment. Beyond her photographic endeavors, Goldin has been an active voice in art and activism, addressing critical issues such as the HIV/ AIDS epidemic and the opioid crisis. She currently resides and works between New York City, Berlin, and Paris.

138

4155

na n goldin 4155

Jimmy Paulette after the Parade, New York.

1991. Cibachrome print, printed 1990s. 50,8 x 61 cm.

Signed by the photographer as well as cropping marks in felt-tip pen on the verso.

2.500 €

Lit.: Nan Goldin, David Armstrong and Walter Keller (eds.).

The Other Side. Zurich 1992, ill. p. 63.

139

4156

na n goldin 4156

Michael Raberg and Geno in the Paris Bar, X-Mas. 1991. Cibachrome print, printed 1990s.

43,5 x 66 cm. Signed, titled and dated by the photographer in felt-tip pen on the verso.

2.000 €

This image was included in the most recent iteration of Nan Goldin’s slideshow The Ballad of Sexual Dependency, presented as part of her retrospective This Will Not End Well at the Neue Nationalgalerie.

na n goldin 4157

4157 140

Photographer: Walter Remy. Nan by Walter Remy. 1992. Chromogenic print. 26,5 x 39,4 cm. Signed, titled and dated by Nan Goldin in felt-tip pen on the verso.

600 €

4158

na n goldin 4158

James King: Supermodel. 1995. Cibachrome print. 40,5 x 50,8 cm. Signed by the photographer in felt-tip pen on the verso.

2.500 €

Nan Goldin’s “James King: Supermodel” series offers an intimate and unvarnished portrayal of teenage model Jaime (James) King, who rose to prominence in the mid-1990s - a transitional period between the supermodel era and the emergence of the “heroin chic” aesthetic. At just sixteen, King navigated the complex and often toxic world of fashion, characterized by unattainable beauty standards, an obsession with youth, and the glamorization of drug use. Goldin’s candid photographs resist romanticizing this environment, instead highlighting the emotional toll and psychological complexities of growing up in a world where innocence is often sacrificed for fame and glamour.

141

4159

na n goldin 4159 James at a Jean Colonna fitting, Paris. 1995.

Cibachrome print. 61,5 x 46,5 cm. Signed by the photographer in felt-tip pen on the verso.

142

2.000 €

This photograph of James King was also part of Nan Goldin‘s 1995 series „James King: Supermodel“ though it was not included in the portfolio of the same title.

4160

greg gorm a n

(b. 1949)

4160 Michael Kotcharian, Los Angeles. 1991. Gelatin

silver print. 48 x 38 (63 x 52,5 cm). Framed under glass in wooden frame (slightly scratched).

1.000 € Greg Gorman is best known for his striking black-and-white portrait photography, capturing celebrities, artists, and cultural figures with a refined sense of drama and intimacy. His work is

characterized by meticulous lighting, strong contrasts, and a timeless elegance that reveals both the glamour and vulnerability of his subjects. Beyond Hollywood portraiture, Gorman has also explored the male nude with a bold and sensual aesthetic, establishing his reputation in both commercial and fine art photography.

143

k a rl theodor gremmler

(1904-1942)

4161 Selected car advertising images. Late 1930s.

7 vintage (6 ferrotyped) gelatin silver prints (1 on Agfa-Brovira paper). Each circa 23,5 x 16 cm. Several with photographer‘s „Gremmler“ and/or „Gorny“ stamp and annotated in pencil on the verso.

600 € Karl Theodor Gremmler is best known for his 1939 publication Männer am Netz. Active in Bremen and Berlin during the mid1930s, he acquired the photographic studio at Kurfürstendamm 35 in Berlin in 1938, previously owned by Lotte Jacobi and later

by Hein Gorny. In 1939, Gorny rejoined him, and together they established the studio Fotografie Gremmler-Gorny, a name stamped on several prints in this group. The advertising photographs featured here include promotional images for the Opel Super 6 Cabrio, Borgward-Hansa 1700, and Adler Trumpf Junior Cabrio.

4161

4162 144

4163

george grosz

f.c. gundl ach

(1892-1959)

(1926-2021)

4162 Photographer unknown. George Grosz in

4163 Luxor. 1959. Gelatin silver print, printed later.

40,2 x 30 cm. Signed, titled and dated by the photographer in pencil as well as photographer‘s stamp and cropping notes on the verso.

1.000 €

his studio, Nassauische Str. 4, Berlin. Circa 1920.

Ferrotyped gelatin silver print on Agfa paper, probably printed 1930s. 18 x 23,7 cm.

600 €

This rare photograph of George Grosz in his studio circa 1920 offers a glimpse into his working environment and features several of his artworks displayed on the wall, including Johannisnacht (1918) and two additional pieces.

Lit.: Klaus Honnef, ed. Mode Welten: F.C Gundlach, Photographien 1950 bis heute. Hamburg 1986, ill. p. 149.

Klaus Honnef and Hans-Michael Koetzle, eds. F.C. Gundlach: Das fotografische Werk. Göttingen 2008, ill. p. 133.

145

4164

f.c. gundl ach 4164 Christa im Saga Nerz, Hamburg. 1970. Large-

format gelatin silver print, printed later. 104 x 124 cm (114,5 x 134,5 cm). Signed, titled and dated on the verso.

Framed under acrylic glass in large wooden frame.

2.500 € Lit.: Klaus Honnef (ed.). F.C. Gundlach. Modewelten, Photographien 1950 bis heute. Berlin 1985, ill. p. 203 (variant).

146

f.c. gundl ach 4165 Romy Schneider. 1962. Gelatin silver print,

printed later. 49,5 x 40 cm (60 x 50 cm). Signed, titled, dated and annotated by the photographer in pencil as well as photographer‘s stamp on the verso.

1.200 € Lit.: Klaus Honnef and Hans-Michael Koetzle (eds.).

F.C. Gundlach: Das fotografische Werk. Steidl 2008, ill. p. 35.

Beate Kemfert (ed.). Die Erinnerung ist oft das Schönste: Fotografische Porträts von Romy Schneider. Mit Fotografien von Herbert List, Max Scheler, Roger Fritz, F. C. Gundlach, Will McBride, Peter Brüchmann, Werner Bokelberg, Helga Kneidl, Robert Lebeck.

Ostfildern 2008, ill . p 58.

4165

philippe h a lsm a n

(1906-1979)

4166 Marilyn Monroe (Life cover sitting). 1952.

Gelatin silver print, printed later. 35,2 x 27,8 cm (50,7 x 40,4 cm). Photographer‘s copyright stamp on the verso. Hinge-mounted to mat.

900 € Lit.: Jane Halsman Bello/Steve Bello (eds.). Philippe Halsman: Eine Retrospektive. Zurich 1998, unpaginated.

4166 147

4167

joh a nn h a m a nn

(1859-1935)

4167 Immigrants in Hamburg. Late 1890s-1909.

1 albumen print and 15 gelatin silver prints.

Each between 11,7 x 18,7 cm and 17,8 x 23,6 cm or reverse. Most annotated in pencil or crayon, with the photographer’s studio stamp or copyright label affixed to the verso.

750 € Johann Hinrich Wilhelm Hamann was a German photographer known for his detailed documentation of Hamburg as a major emigration hub around 1900. In the late 1890s and early 1900s, he photographed the HAPAG emigration facilities on Veddel Island, capturing dormitories, dining halls, reception points and medical rooms - offering rare insight into the experiences of Eastern European migrants en route to America. Among the first in Hamburg to use flash powder, Hamann brought remarkable clarity to interior scenes, creating a body of work that reflects both the era’s migration history and its broader social transformations. – With: Photo postcard of Hamburg

by Hans Breuer (1930).

4167 148

4168

4169

peter hebler

(b. 1950)

4168

Demo in Kreuzberg, Berlin. March 11, 1981.

Matte gelatin silver print, printed later. 24,4 x 36 cm (30,5 x 40,3 cm). Photographer‘s/copyright stamp as well as signed, titled and dated by the photographer in pencil on the verso.

500 €

4169

Anti-Reagan Demo, Berlin. June 11, 1982.

Gelatin silver print, printed later. 25 x 35,5 cm (30,5 x 40,3 cm). Photographer‘s/copyright stamp as well as signed, titled and dated by the photographer in pencil on the verso.

500 € 149

4170

peter hebler 4170

Verhaftung von Erich Honecker Berlin, Charité (Arrest of Erich Honecker Berlin, Charité). January 29, 1990. Chromogenic print on Fujicolor Crystal Archive paper, printed later. 30,2 x 45,5 cm. Signed, titled, copyrighted and dated by the photographer in ink on the verso.

750 €

m a nfred h a mm

(b. 1944)

4171

Brandenburger Tor, Berlin. 2000. Vintage gelatin silver print. 26,5 x 19,8 cm (30,2 x 23,7 cm).

Signed, titled, dated and dedicated by the photographer as well as negative number in pencil on the verso.

600 € Manfred Hamm was born in Cainsdorf near Zwickau and trained as an advertising and theater photographer in Ulm and Munich from 1961-1963. Between 1965-1967, he traveled extensively through Australia and Southeast Asia before settling in Berlin in 1967, where he worked as an assistant to Ben Wargin at Galerie S until 1970. From that point on, Hamm worked as a press photographer for various magazines, and in 1977, he published his first photo book, Berlin - Landschaft einer Stadt.

Provenance: Directly from the photographer to the current owner.

150

4171

fritz henle

(1909-1993)

4172

Stadio dei Marmi, Foro Mussolini, Rome.

1930s. Vintage gelatin silver print on Agfa-Brovira paper. 18,3 x 16,5 cm. Photographer‘s stamp, several agency stamps and annotated in pencil and blue crayon on the verso.

400 €

The sports complex Foro Italico, formerly Foro Mussolini, was built between 1928-1938 under the design of Enrico Del Debbio and, later, Luigi Moretti. Inspired by the Roman forums of the imperial age, its design is a preeminent example of Italian Fascist architecture instituted by Mussolini. The purpose of the prestigious project was to host the Olympic Games of 1944, to be organized by fascist Italy and held in Rome.

4172

ken heym a n

(1934-2019)

4173

Roy Lichtenstein. 1964. Vintage gelatin silver print. 24 x 32 cm. Photographer‘s credit stamp, signed and annotated by the photographer in pencil as well as other notations in ink on the verso.

900 €

The American photographer Ken Heyman was known for his extensive documentary work capturing various aspects of life and culture. 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 forged his way in the field of documentary photography.

4173 151

4174

ca ndida höfer

(b. 1944)

4174

Zoologischer Garten, Köln. 1991. Vintage ferrotyped gelatin silver print. 23,8 x 31 cm (30 x 40 cm). Signed, dated and editioned „11/20“ by the photographer in pencil on the verso, mounted to mat.

900 €

The German photographer Candida Höfer is renowned for her meticulously composed, large-scale color photographs of public and institutional interiors. Her work captures the psychological and aesthetic dimensions of spaces such as libraries, museums, theaters, and zoological gardens, often devoid of human presence. By focusing on the architecture and design of these environments, Höfer invites viewers to contemplate the cultural and historical significance embedded within these spaces.

Lit.: Candida Höfer. Candida Höfer. Orte Jahre. Munich 1999, ill. p. 120.

152

h a nns holdt

(1887-1944)

4175

The dancer Sent M‘Ahesa (Elsa von Carlberg, 1883-1970), Munich. 1913/14. Matte gelatin silver print, printed circa 1928. 29,8 x 23,8 cm. Annotated in pencil on the verso.

800 €

Born in Riga, Elsa von Carlberg moved to Berlin in 1905 to complete her high school education and to enroll in dance lessons.

She then studied philosophy and history in Munich and became interested in Egyptology. In 1909, she made her stage debut at the Munich Künstlerhaus with Egyptian dances such as „Lotus Flower“ and „Dance of the Moon Goddess“, giving herself the exotic stage name Sent M‘Ahesa. With her eccentric costumes and geometrically composed movements, her dances did not correspond to the usual graceful ideal of beauty, but she was nevertheless very successful until the 1920s. She ended her dance career in 1932 and moved from Munich to Sweden, working there as a translator and author.

Lit.: Fritz Winther. Körperbildung als Kunst und Pflicht. Munich 1914, illustrated.

4175

h a nns holdt 4176

The doctor, philosopher and theologist Albert Schweitzer (1875-1965). Circa 1929. Vintage matte gelatin silver print. 30 x 24 cm.

500 €

4176 153

4177

horst p. horst

(Paul Horst Bohrmann, 1906-1999)

4177

Gloria Vanderbilt, NY. 1941. Platinum palladium print, printed later. 47 x 38,5 cm (61 x 51 cm).

Signed by the photographer and copyright stamp as well as annotated by another hand. AP of an edition of 25 (only 10 printed).

5.000 €

154

Horst P. Horst’s photography is renowned for its sophisticated elegance and careful attention to detail, particularly in his portraits of Hollywood icons, fashion models, and cultural figures. His masterful use of dramatic lighting and sculptural composition, influenced by classical art, imparts a timeless quality to his work. Horst’s innovative approach has left a lasting impact on fashion photography, blending elements of surrealism and classicism to create images of enduring allure.

4178

horst p. horst 4178

Lisa Hair (Lisa Fonssagrives-Penn). 1939.

Platinum palladium print, printed later. 24 x 19 cm (35,4 x 27,7 cm). Titled, editioned and signed in pencil, as well as photographer‘s copyright stamp on the verso.

2.000 €

This photograph features Lisa Fonssagrives-Penn, one of the most iconic fashion models of the 20th century and a muse to photographers like Horst P. Horst, Richard Avedon, and Irving Penn (whom she later married). Known for her grace and timeless sophistication, she helped define the golden age of fashion photography. Captured by Horst P. Horst, this image highlights the qualities that made her a prominent figure in haute couture from the 1930s-1950s.

155

4179

george hoy ningen-huene

(1900-1968)

4179

Greek Decorations, Paris. 1934. 3 Platinum palladium prints on Strathmore Script cotton fiber paper, commissioned by Horst P. Horst and printed later by Sal Lopes. Each ca. 24 x 17 cm (35,5 x 28 cm).

With the „Hoyningen-Huene / Horst“ copyright dry stamp below image; signed, titled and dated in pencil by Horst P. Horst on the verso.

1.500 €

156

George Hoyningen-Huene, a prominent fashion photographer of the early 20th century, was renowned for blending art, fashion, and classical influences in his work. His compositions often featured models posed among classical motifs, drawing inspiration from ancient Greek and Roman art to convey a sense of timeless elegance. His „Greek Decorations“ series exemplifies his fascination with sculptural form, precise lighting, and the interplay of drapery and the human figure, capturing the grandeur of classical art with a modern photographic sensibility.

industri a l photogra ph y / blohm & voss 4180

Blohm & Voss shipyard docks. 1881-1909.

13 collodion prints mounted to album pages, Each 23,5 x 31,5 cm (34 x 42 cm). Each with „Blohm & Voss Kommanditengesellschaft auf Aktien“ stamp along with date in negative in lower margin. Presented in large-format, oblong folio, textured, khaki-brown cloth with decorative silver and gilt stamping to the front cover, featuring the title “Blohm & Voss Hamburg 1881-1909.”

800 €

This album presents a visual chronicle of Blohm & Voss’ shipbuilding operations between 1881-1909. It includes panoramic views of the Hamburg docks, construction scenes of both naval and civilian ships, and detailed documentation of dry dock engineering. Together, the photographs reflect the firm’s technological ambition and its central role in Imperial Germany’s maritime industry.

4180

4180 157

4181

m a x jacoby

(1919-2009)

4181

Crowds lined up on Joachimsthaler Str. during John F. Kennedy‘s visit to Berlin. 1963. Vintage gelatin silver print on Agfa paper. 22 x 29,8 cm.

2 photographer‘s/copyright stamps and annotated in pencil on the verso.

1.000 €

In 1937, Jewish photographer Max Jacoby fled his hometown of Koblenz for Argentina. A position as a camera assistant to photographer Georges Friedmann offered a new beginning. In 1957, Jacoby returned to Berlin, where he continued working as a freelance photographer, capturing portraits of workers, artists, beggars, and politicians, as well as documenting both political events and everyday life in the divided city.

jüterbog 4182

Photographer unknown. Views of Jüterbog.

Circa 1905-08. 61 toned gelatin prints (some possibly platinum prints). Various sizes between circa 16 x 22 and 8 x 23 cm. Mounted to boards (some timestained in edges), annotated in ink below/above images on board. Bound in canvas album (edges rubbed, some spots) with screw binding, handwritten dated dedication in ink on front flypaper.

500 €

4182 158

Exceptionally fine and atmospheric views of Jüterbog, capturing the character and charm of the town at the turn of the 20th century.

4183

k a iserbesuch consta ntinople 1917 4183

Photographer: Bild- und Filmamt (BUFA).

Images of Kaiser Wilhelm II‘s visit to Constantinople.

1917. 12 vintage gelatin silver prints. Each circa 17 x 23 cm. Some with number in the negative in lower corners; inserted in photo corners on modern card with printed title „Türkei“ „Kaiserbesuch“.

800 €

This interesting group of photographs documents Kaiser Wilhelm II’s visit to Constantinople in October 1917, where he met with his wartime ally, Sultan Mehmed V of the Ottoman Empire. The series of twelve images captures key moments from the visit, including a grand military parade across the Galata Bridge, accompanied by a ceremonial Janissary Corps in traditional dress. Another photograph features the Kaiser alongside the Sultan, surrounded by Ottoman dignitaries and highranking military officials, offering a rare visual record of this symbolic display of alliance during World War I.

159

4184 160

4185

peter keetm a n

(1916-2005)

4184

Volkswagenwerk. 1953. 5 gelatin silver prints, printed 1990s. Each 25,8 x 25,2 cm (50,2 x 40,4 cm).

Each signed by the photographer in black ink on the verso.

1.500 € Peter Keetman’s 1953 series Volkswagenwerk offers a strikingly modernist view of the Volkswagen factory, transforming car parts and assembly lines into rhythmic, abstract compositions.

Blending industrial subject matter with formal experimentation, the series exemplifies Keetman’s role in the postwar Fotoform movement and how he redefined the aesthetic potential of

industrial photography. These attractive photographs are unique prints with unusually wide margins, which Keetman only printed once in this format.

Lit.: Holger Broeker (ed.). Peter Keetman: Volkswagenwerk 1953.

Bielefeld, 2003, ill. pp. 21, 29, 63, 87 and 99.

4185

Tulip. Circa 1996. Chromogenic print on Agfa paper. 30 x 20,2 cm. Signed by the photographer in black pen on the verso.

750 €

161

4186

edmund kesting

h a nnes kili a n

(1892-1970)

(1909-1999)

4186

4187

Dancer with projected profile of Gret Palucca.

1940s. Vintage warm-toned gelatin silver print on heavy chamois paper. 30 x 24 cm. Signed by Gerda Kesting in ballpoint pen on the verso.

500 € Edmund Kesting studied art in Dresden and developed a growing interest in photography after 1925. He became particularly drawn to experimental techniques, including double exposures, photograms, and negative montages, which became central to his innovative visual style.

Provenance: Estate of the Bauhaus artist Peter Keler

Bei Duisburg. 1949. Vintage ferrotyped gelatin silver print on Leonar paper. 23 x 29,5 cm.

Photographer‘s/copyright stamp, „Hannes Kilian Archiv“ stamp, negative number in pencil and dated by Gundel Kilian in pencil on the verso.

800 € After attending trade school, Hannes Kilian completed a threeyear photography program in Switzerland. Between 1933 and 1938, he lived in Naples and Paris before returning to Germany, where he began working as a freelance photojournalist. Drafted as a war photographer in 1941, he resumed his freelance career after 1945, contributing to publications such as Time, Picture Post, Die Zeit, Stuttgarter Illustrierte, Der Spiegel, Stern and Vogue.

h a nnes kili a n 4188

Oberhausen. 1955. Vintage ferrotyped gelatin silver print on Agfa paper. 17,8 x 23,3 cm.

Photographer‘s/copyright stamp, negative number in pencil and annotated by Gundel Kilian in pencil on the verso.

600 €

162

4187

4188 163

4189

jürgen kl auke

w illi a m klein

(b. 1943)

(1926-2022)

4189

Securitas from the „Prosecuritas“ series.

1986. Ferrotyped gelatin silver print on Agfa paper, printed 1988. 52 x 61 cm. Signed and dated by the photographer in ink on the verso. From an edition

by Griffelkunst.

500 €

4190

The photography and media artist Jürgen Klauke is known for his critical and confrontational view of normed 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.

Lit.: Hans-Michael Herzog. Jürgen Klauke: Prosecuritas.

Ostfildern 1994.

William Klein’s work in Moscow, produced during a visit in 1959 and later published in his photobook Moscow (1964), offers a bold, idiosyncratic portrait of Soviet life at the height of the Cold War. With his trademark wide angles, dynamic compositions, and preference for spontaneous, often chaotic street scenes, Klein captured parades, public gatherings, and daily routines - rendering a vision that felt both grand and intimate.

Unlike traditional propaganda imagery, his photographs convey a sense of irony, humanity, and curiosity, presenting Moscow not as an ideological symbol but as a living, complex city.

Lit.: William Klein. Moscow (Mockba). Paris, 1964.

Provenance: Robert Lebeck collection

164

Georgian tourist, Moscow. 1959. Gelatin silver print. 37.2 x 24.8 cm. Signed and titled by the photographer in blue felt-tip pen on the verso; numbered “33” in red crayon, with additional annotations in pencil by another hand on the verso.

1.200 €

4190

165

4191

germ a ine krull

(1897-1985)

4191

Métal. After photographs by Germaine Krull.

35 x 25,5 cm. Original illustrated half cloth portfolio in linen slipcase. 30 x 23,6 cm. 64 black and white photographs on plates. Text in German, English and French.

Ann and Jürgen Wilde, Cologne and Zuelpich, 2002/2003.

1.800 € Martin Parr/Gerry Badger, The Photobook, vol 1, page 95.

Special edition with original photo by Germaine Krull. Limited to 50 copies; here no „10/50”. Photo (Shell, 1929/printed 1978, 16 x 21,3 cm) originally signed and stamped by Krull. Brilliant reprint of the legendary photobook Métal, published by Librairie de Arts Decorativs, Paris in 1928.

166

dorothea l a nge

(1895-1965)

4192

Abandoned Church in Cutover Area, Boundary County, Idaho. 1939. Gelatin silver print, printed 1940’s. 20,7 x 25,5 cm. With typewritten title, location, and date; FSA copyright stamp and Culver Pictures, Inc. reproduction stamp on the verso, along with annotations in ballpoint pen and pencil.

800 €

This photograph by Dorothea Lange features a solitary, weathered church set against a backdrop of cleared forestland, approximately two miles south of the Canadian border.

The image highlights the desolation following extensive logging activities, reflecting the economic and environmental challenges of the era. Lange’s work with the Farm Security Administration aimed to document rural hardships during the Great Depression, and this photograph serves as a poignant testament to the impact of industrial practices on both communities and landscapes.

4192

kl aus lehna rtz

(1936-2008)

4193

Berlin, Mitte. 1958. Gelatin silver print, printed 1970s. 23 x 17,4 cm. Photographer‘s label, signed, dated and titled by the photographer in pencil on the verso.

500 €

The German photojournalist Klaus Lehnartz contributed considerably to the field by skillfully documenting a wide range of subjects, from political events to everyday life. His portrayal of Berlin‘s evolving landscape during the German division is notable

4193 167

4194

lehnert & l a ndrock

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

4194

Two Tunisian girls. After 1904.

Vintage brown-toned matte gelatin silver print.

29,7 x 38,8 cm (38 x 47,5 cm). Photographer‘s logo in the negative in lower right corner. In ornamental wooden frame.

900 € Lehnert & Landrock were a photographic duo known for their studio and landscape work in North Africa during the early 20th century, particularly in Tunisia and Egypt. Their images, ranging from posed portraits and genre scenes to architectural studies and desert landscapes, catered to a European audience fascinated by Orientalist themes. While often celebrated for their technical refinement and atmospheric composition, their work also reflects the colonial gaze, staging local people and settings in ways that aligned with Western ideals of exoticism, beauty, and cultural otherness.

168

4195

emil lichtenberg

(1890-1971)

4195

Steel factory, Düsseldorf. 1914. 8 vintage platinum prints. Each circa 24 x 30 cm. Mounted to brown board, most with photographer‘s blind stamp on mount recto; most with photographer‘s label on mount verso.

1.200 €

Emil Lichtenberg, active in Honnef and Düsseldorf between the 1910s-1930s, primarily documented architecture, including office buildings, interiors and factories, but he also made many fine portraits, especially in the 1910s. He was a member of the GDL (Society of German Photographers) and used various high-quality photographic processes. The majority of his prints show fine craftsmanship.

169

4196

herbert list

(1903-1975)

4196

Italy. Late 1950s. Vintage ferrotyped gelatin silver print on Agfa-Brovira doubleweight paper.

23,8 x 30,2 cm. Photographer‘s/copyright stamp on the verso.

2.200 €

The German photographer Herbert List was a major figure in 20th-century photography, known for his refined visual language that combined classical aesthetics with the modernist sensibilities of his time. Deeply influenced by his background in art history and his exposure to Surrealism and the Bauhaus movement, List created images that often imbued everyday subjects with a dreamlike or metaphysical quality. His work spans still lifes, architectural studies, and portraits - many of which reflect a quiet, contemplative mood, displaying a fascination with form, light and shadow.

170

4197

herbert list 4197

School children, Martinique, Fonds Lahaye.

1957. Vintage gelatin silver print on Agfa-Brovira doubleweight paper. 18,7 x 29 cm. Estate stamp, therein negative number in pencil as well as layout notes in pencil on the verso.

2.000 €

Herbert List‘s extensive travels as a photographer allowed him to capture the spirit of diverse cultures, transforming everyday scenes into timeless visual narratives. He published several books with images from these trips such as Caribia which depict people of the Caribbean Islands. This image is from that series.

Lit.: Herbert List. Caribia. Ein photographisches Skizzenbuch von den Caribischen Inseln. Hamburg 1958, ill. p. 71.

171

4198

4199 172

4200

herbert list 4198

Pablo Picasso, Paris. 1948. Gelatin silver print, printed 1981. 23,3 x 34,5 cm (30,3 x 40,5 cm).

Photographer‘s estate stamp, therein editioned „5/15“ and signed by Max Scheler in ink on the verso.

900 €

Lit.: Max Scheler/Matthias Harder (eds.). Herbert List.

The Monograph. Munich 2000, ill. p. 205 (image from the same sitting).

ulrich m ack

From 1963 - 1967, Ulrich Mack worked as a photojournalist for Quick magazine in Munich and contributed to twen under the direction of art director Willy Fleckhaus. During this period, he photographed prominent writers, politicians, artists, and musicians. His international breakthrough came in 1964, with a photo essay on wild horses in Kenya. It was published in twen under the title Mondo Cavallo and earned him first prize in the “Most Artistic Press Photo” category at the World Press Photo Awards.

In 1967, Mack joined Stern in Hamburg, and from 1973 onward, he worked as a freelance photographer, producing films for NDR and creating advertising campaigns.

(1934-2024)

4199

Wild horses, Kenya. 1964. Gelatin silver print, printed later. 19,7 x 29,5 cm (30,3 x 40,3 cm).

Photographer‘s blind stamp in lower margin; signed and titled by the photographer in pencil, as well as photographer‘s/copyright stamp and reproduction limitation stamp on the verso.

900 €

4200

Ruhrgebiet. 1959. Gelatin silver print, printed 1986. 30 x 20,3 cm (40,2 x 30,5 cm). Photographer‘s blind stamp in lower margin; signed and titled by the photographer in pencil, as well as photographer‘s/ copyright stamp and reproduction limitation stamp on the verso.

900 € 173

4201

m a n ray

(Emmanuel Rudnitzky, 1890-1976)

4201

Honorine Deschrijver. 1925. Vintage gelatin silver print on double-weight chamois paper.

27,2 x 22,2 cm (38 x 28,5 cm). Mounted to board (slightly soiled), signed „Man Ray Paris“ below the image on the mount.

1.500 €

174

Often referred to as the “Coco Chanel of the North,” Deschrijver was a leading figure in the Belgian fashion scene, known for merging Modernist and Surrealist aesthetics into her designs.

She founded Norine in Brussels, a couture house celebrated for its bold artistic collaborations, which brought contemporary art into the realm of fashion. In this portrait, Man Ray employs his signature soft focus and dramatic lighting, emphasizing her refined yet enigmatic presence. The image not only highlights her elegance, but also situates her within the avant-garde cultural circles that shaped early 20th-century art and design.

m a n ray 4202

Le violon d’Ingres (1924), Larmes (ca. 1930), Group photo of the DADA group (ca. 1922), Self-Portrait (1932), Erotique voilée (1933), Juliet (1945). 6 gelatin silver prints, printed 1991. Each circa 26 x 20 cm ( 30,2 x 24,2 cm). Each with “Griffelkunst” and “ADAGP Man Ray Trust” copyright stamps on the verso.

600 €

4202

h a ns va n m a nen

(b. 1932)

4203*

In Between (Self-Portrait). 1986. Vintage gelatin silver print flush-mounted to board. 37 x 37 cm (43,2 x 38,8 cm). Numbered „11“ in pencil on the verso.

500 € Hans van Manen, born in 1932 in Nieuwer-Amstel, Netherlands, is internationally recognized as one of the grand masters of contemporary ballet. In addition to his illustrious career as a dancer and choreographer, van Manen is also an accomplished photographer. His photographic work has been published in book form and exhibited internationally.

Lit.: Hans van Manen. Portrait. Houten 1986, ill. (unpaginated).

4203 175

4204

guido m a ngold

m a ry ellen m a rk

(b. 1934)

(1940-2015)

4204

4205

Landschaft im Revier. 1961. Large-format vintage ferrotyped gelatin silver print. 50 x 60 cm.

Mounted to board and matted, signed, titled and dated by the photographer in ballpoint pen on mount verso.

900 € In 1957, Guido Mangold began studying photojournalism under Otto Steinert at the School of Arts and Crafts in Saarbrücken.

A year later, he followed Steinert to the Folkwang School in Essen, where he graduated in 1960, with a degree and the Folkwang Achievement Award. He began his professional career in 1961, as a photographer for the United States Information Service (USIS) in Bad Godesberg, before leaving in 1962, to travel through Southeast Asia on assignment for the aid organization Misereor, documenting local cultures.

In 1963, he joined Quick magazine as a staff photojournalist, traveling extensively, and from 1966 onward, he worked freelance for leading German publications such as twen, Eltern, Playboy, Jasmin, and Stern.

176

Martin Sheen and Dennis Hopper / Marlon Brando as „Kurtz“ in Apocalypse Now. 1976-1977. 2 gelatin silver prints, printed 1980’s.

27,9 x 35,5 cm. Each with the photographer‘s „Photography by Mary Ellen Mark, from Lee Gross, Inc.“ stamp along with pencil annotations and label with printed title affixed to the verso.

1.000 € Mary Ellen Mark’s behind-the-scenes photographs from Apocalypse Now are among the most compelling and atmospheric set photography ever taken on a film production.

Shot during the troubled and now-legendary 1976-77 filming of Francis Ford Coppola’s Vietnam War epic in the Philippines, her images document not just the making of a movie, but the psychological and physical extremes endured by its cast and crew.

4205 177

4206

4207 178

ol a f m a rtens

(b. 1963)

4206 Neue Messe, Leipzig. 2002. Cibachrome print.

48,5 x 60 cm (60,5 x 70,5 cm). Signed, titled and dated by the photographer in felt-tip pen on the verso.

900 € Olaf Martens is a distinguished German photographer renowned for his provocative imagery that juxtaposes the glamorous aesthetics of lifestyle magazines with elements of irony and the bizarre. He studied photography at the Academy of Visual Arts (HGB) in Leipzig from 1985-1992, under Wolfgang G. Schröter and Helfried Strauß. His work has been featured in international publications and exhibitions, and is included in collections, such as the Goetz Collection and the F.C. Gundlach Collection.

ol a f m a rtens 4207 ND-Gebäude, Berlin. 2002. Cibachrome print.

40 x 58,2 cm (60,3 x 70,4 cm). Signed, titled and dated by the photographer in felt-tip pen on the verso.

900 €

wa lter m a rtin

(active 1930s-1950s)

4208

Osterputz. 1939. Gelatin silver print, printed 1960s. 24 x 18 cm. Agency labels and annotated in pencil on the verso.

500 €

4208 179

4209

w ill mcbride

(1931-2015)

4209

Mike und Andere schmeißen Wasser beim Waschen, Schule Schloß Salem. 1963. Gelatin silver print, printed 1990. 53,5 x 36 cm (60,5 x 50 cm).

Signed, titled and dated by the photographer in pencil on the verso.

2.200 € Lit.: Will McBride. I, Will McBride. Cologne 1997, ill. p. 203 (image from the same series).

180

4210

w ill mcbride 4210

Arbeiter, Ost-Berlin. 1956. Gelatin silver print, printed later. 32,4 x 48,5 cm (40,5 x 50,5 cm). Signed, titled and dated by the photographer in pencil on the verso.

1.000 €

181

4211

4212

w ill mcbride 4211

Die Mauer, Berlin (The Wall, Berlin). 1961.

Gelatin silver print, printed later. 18,8 x 28 cm (23,8 x 30,2 cm). Signed, titled and dated by the photographer in pencil on the verso.

400 €

4212

Provenance: Directly from the photographer to the present owner.

Provenance: Directly from the photographer to the present owner.

182

Konrad Adenauer, Rhöndorf. 1964. Vintage ferrotyped gelatin silver print on Agfa paper.

20,2 x 30 cm. Signed, titled and dated by the photographer in pencil as well as agency stamp on the verso.

500 €

4213

linda mcca rtney

(1941-1998)

4213

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.

1.800 € Linda McCartney secured 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 band, that they published her images in an editorial feature. This first magazine

commission was followed by many more. 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.

Ostfildern 1999, ill. p. 13.

183

4214

gjon mili

(1904-1984)

4214

Nude descending the staircase. 1942. Vintage gelatin silver print. 25 x 19 cm (56 x 50 cm). „Gjon Mili / The Richard Checani Collection“ stamp on the verso.

Framed under glass in wooden frame.

1.500 € Gjon Mili’s work is renowned for its groundbreaking use of high-speed and stroboscopic photography, capturing motion in ways previously unseen. Working with Harold Edgerton at MIT, Mili developed lighting techniques that revolutionized the depiction of movement. His collaboration with artists like Pablo Picasso and Martha Graham, along with his dynamic images for Life magazine, transformed sports, dance, and performance photography, expanding the artistic possibilities of capturing motion in a single frame. Richard Checani was the photographer‘s nephew and legal heir. – With: Certificate of authenticity from Howard Greenberg Gallery.

184

tina modot ti

(1896-1942)

4215

Diego Rivera Mural, Palacio Nacional, Mexico City. Circa 1930. Vintage gelatin silver print.

11,5 x 9,2 cm (35,6 x 28 cm). Signed by the photographer in felt-tip pen in lower right corner, with the photographer‘s copyright stamp and annotations in pencil on the verso. Hinge-mounted to mat.

1.800 €

Tina Modotti’s photograph of Diego Rivera’s mural at the Palacio Nacional exemplifies her role as a major documentarian of Mexico’s post-revolutionary mural movement. An Italianborn photographer and political activist, Modotti worked closely with Rivera and other artists to capture the social and political ideals embedded in their art. Her images not only preserve Rivera’s monumental frescoes but also reflect her deep commitment to the cultural and revolutionary spirit of 1920s Mexico.

Through her photography, Modotti transformed documentation into a powerful tool for historical preservation and political engagement.

4216

4216

Storefront, Mexico City. 1930s. Vintage gelatin silver print. 13,2 x 8 cm (35,6 x 28 cm). Signed by the photographer in black ink in lower right corner, with the photographer‘s copyright stamp and annotations in blue crayon and pencil on the verso. Hinge mounted to mat.

1.500 €

4215

Tina Modotti’s architectural studies from the late 1920s and early 1930s explore the geometric and structural essence of Mexico’s urban and industrial landscapes. Emphasizing clean lines, sharp contrasts, and the interplay of light and shadow, her photographs reveal the modernity and functionality of the built landscape. More than straightforward documentation, these images reflect Modotti’s awareness of architecture as both a social and economic force, shaping and mirroring the lives of those who inhabit it.

185

l ászló moholy-nagy

(1895-1946)

4217

Stockholm, Quai. 1928-1931/printed 1994.

2 gelatin silver prints, printed 1994 and 2004. 22,5 x 16 cm (25,2 x 20,2 cm) and 28 x 20 cm (40 x 29,8 cm).

1 annotated in pencil and 1 initialed by Hattula Moholy-Nagy in pencil as well as Griffelkunst edition text printed on the verso.

400 €

Lit.: Jeanine Fiedler (ed.). Moholy Album. Perspektivwechsel auf den Fotostrecken der Moderne. László Moholy-Nagys schwarzweißfotografische Arbeiten 1924-1937. Göttingen 2018, ill. pp. 35 and 196.

4217

l ászló moholy-nagy 4218

„Licht-Raum-Modulation“ images and others.

1930-1946/. 4 gelatin silver prints, printed 1994 and 2005 from the original negatives. 3 circa 25 x 19 cm (30,2 x 24 cm, 40 x 30 cm) and 140 x 30,2 cm (50,5 x 41 cm). Each monogrammed by Hattula Moholy-Nagy in pencil and with Griffelkunst edition text printed on the verso.

750 €

4218 186

The images include: Licht-Raum-Modulator Detail, Berlin (1930); Kinetische Skulptur, London (1936); Wire Sculpture, Somonauk (1946); and an untitled work from 1935-37, (An Outline of the Universe).

Lit.: Jeanine Fiedler (ed.). Moholy Album. Perspektivwechsel auf den Fotostrecken der Moderne. László Moholy-Nagys schwarzweißfotografische Arbeiten 1924-1937. Göttingen 2018, ill. pp. 21 and 28.

4219

stefa n moses

(1928-2018)

4219

Joseph Beuys, Neue Pinakothek, Munich.

1968. Gelatin silver print on Agfa paper, printed later.

23,5 x 34 cm (30,5 x 40,3 cm). Signed, annotated and dated by the photographer in pencil/blue crayon and photographer‘s stamp on the verso.

900 €

The German photographer Stefan Moses trained in Breslau, later working as a theater photographer in Weimar after the end of WWII. As of 1950, Moses worked for Stern magazine in Munich. He documented people in their professions in West Germany (Deutsche) and later in East Germany (Abschied und Anfang). In the following years, he devoted himself to portrait photography. He produced numerous illustrated books and photographed personalities such as Thomas Mann, Erich Kästner, Theodor W. Adorno, Otto Dix, Max Frisch and Martin Mayer. His life‘s work has been shown in various European exhibitions since 2003.

187

4220

stefa n moses 4220

Günther Uecker, Studio Düsseldorf. 1971.

Gelatin silver print, printed later. 34 x 50 cm (44 x 58,5 cm). Signed by the photographer in blue crayon and photographer‘s stamp as well as annotated and dated in pencil by another hand on the verso.

1.200 € Lit.: Ulrich Pohlmann/Matthias Harder (eds.). Stefan Moses.

Die Monografie. Fotografien 1947 bis heute. Munich 2002, ill. p.159 (variant).

188

floris m. neusüss

(b. 1937)

4221

Full body silhouettes. 1984. 3 vintage gelatin silver prints on Agfa paper. Each between 21,8 x 20 cm and 34 x 16 cm (40 x 30 cm). Each signed in felt-tip pen and photographer‘s stamp on the verso.

750 €

Floris Neusüss is widely recognized for his pioneering role in cameraless photography, particularly through his innovative use of the photogram. Beginning in the 1960s, he explored the human figure at life-size scale, creating bold, immersive images that challenged conventional notions of photographic representation. His experimental approach often involved applying photographic chemicals by hand, sometimes with a sponge, introducing painterly textures and dynamic gestures to the process.

4221

floris m. neusüss 4222

Vier Blütenfotogramme. 1997. 4 gelatin silver prints in Griffelkunst portfolio (some small stains), printed 1998. Each 42 x 29,8 cm. Each signed and dated by the photographer in felt-tip pen on the verso.

750 € In addition to his remarkable body photograms, Neusüss left a lasting impression with his flower photograms, in which he placed flowers directly on photosensitive paper, exposing them to light to create visually striking compositions.

4222 189

4223

hel mut new ton

(1920-2004)

4223

Test shot from the set of „The Seven Deadly Sins: Anger, Greed, Gluttony, Envy, Sloth, Lust and Pride“ project, commissioned by the Italian magazine Amica. 1982. Vintage Polaroid print. 7,2 x 9,4 cm (8,5 x 11 cm).

2.000 € In 1982, Helmut Newton was commissioned by the Italian fashion magazine Amica to create a photographic series interpreting the „Seven Deadly Sins: Anger, Greed, Gluttony, Envy, Sloth, Lust, and Pride“. This project exemplified Newton’s signature stylecombining eroticism, elegance, and psychological intensity.

The shoot took place in Milan and featured elaborate, cinematic staging that merged fashion photography and art. A notable anecdote from the „Gluttony“ shoot involves model Sylvia Gobbel, who posed with a kilo of caviar, highlighting Newton’s playful yet provocative approach. The resulting images, including vintage Polaroid test prints, are now considered rare artifacts of Newton’s creative process and have been featured in retrospectives such as the “Legacy” exhibition.

190

4224

hel mut new ton 4224

Test shot from the set of „The Seven Deadly Sins: Anger, Greed, Gluttony, Envy, Sloth, Lust and Pride“ project, commissioned by the Italian magazine Amica. 1982. Vintage Polaroid print. 7,2 x 9,4 cm (8,5 x 11 cm). Annotated „Newton ’82” in ball-point pen in right margin.

2.000 €

191

4225

a rnold newm a n (1918-2006)

4225

Violin makers patterns. 1941. Vintage gelatin silver print. 19 x 24,2 cm (34,2 x 35,5 cm). Mounted to board (some traces of previous mounting); signed and titled in pencil below the image on the mount; with the photographer‘s copyright stamp on the verso.

1.800 €

Arnold Newman was a pioneering American photographer known for his mastery of environmental portraiture, as well as his striking compositions in still life, abstract, and documentary photography. While best known for capturing artists, politicians and cultural figures, his broader work also explored form, light and spatial relationships with the same careful attention to composition.

192

4226

elisa beth niggemey er

(1930-2025)

4226

Children in Berlin. 1962. Vintage gelatin silver print on Agfa paper. 23,7 x 29,7 cm. Signed by the photographer in ink and annotated in pencil on the verso.

500 €

Elisabeth Niggemeyer was born in Bochum in 1930. After training as a photographer in Munich, she began documenting cities in the 1950s. Her first stops were Munich, London and Bonn.

In 1957, she moved to Berlin and in 1964, together with Gina Angreß and Wolf Jobst Siedler, she published the photo book Die gemordete Stadt (The Murdered City), a portrayal of Berlin‘s urban development in transition at the time.

heinz von perckh a mmer

(1895-1965)

4227

Female nudes. 1930s. 5 vintage ferrotyped gelatin silver prints on Agfa-Brovira paper. Each circa 17,5 x 23,5 cm. Photographer‘s/copyright stamp and annotated in red crayon on the verso.

750 € Heinz von Perckhammer, a Tyrolean photographer, gained recognition for his evocative images of China in the 1920s, notably his series of Chinese nudes and street scenes in Beijing.

His nude portraits are distinguished by their refined elegance, blending classical aesthetics with contemporary sensibilities.

4227 193

heinz von perckh a mmer 4228

Male nudes; Peking Summer Palace. 1930s.

3 vintage ferrotyped gelatin silver prints, 2 on AgfaBrovira paper. Each circa 21,5 x 16 cm and 23,5 x 17,5.

2 with photographer‘s/copyright stamp and 1 with typed press text on the verso.

400 €

4228

rich a rd peter sr.

(1895-1977)

4229

Anatomiesaal in der Akademie, Dresden.

1945. Vintage gelatin silver print. 29,7 x 24,4 cm.

Photographer‘s copyright stamp as well as titled and annotated by the photographer in pencil.

800 €

4229 194

Richard Peter Senior’s photographs of Dresden after World War II offer a powerful visual record of the city’s destruction and its slow recovery. Working in the immediate aftermath of the bombings, he documented ruins, survivors, and the fractured urban landscape with a clear, unsentimental eye.

His images convey both the scale of devastation and the resilience of everyday life, serving as a poignant chronicle of a city grappling with the consequences of war.

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

ot to piene

(1928-2014)

4230 Verwandlung. Silber. 2007. Pigment print.

47,5 x 39,5 cm (59,5 x 50 cm). Signed and editioned „15/20“ by the photographer in black marker in lower margin.

600 €

george pl at t ly nes

(1907-1955)

4231

Ted Starkowski. 1951. Vintage gelatin silver print. 19,2 x 24 cm. With the photographer‘s studio stamp and „Collection of John Edward Rollins“stamp, as well as annotated by another hand in pencil on the verso.

1.200 €

George Platt Lynes’ is known for his highly stylized, theatrical approach to portraiture, fashion, and male nudes, blending surrealism, classical influences, and precise lighting. Among his notable models was Ted Starkowski, whose striking physique and expressive presence made him a frequent subject in Lynes’ exploration of the male form. His photographs often feature dreamlike compositions and a refined sense of eroticism, cementing his legacy as an important figure in mid-20th-century fine art and queer photography.

4230

4231 195

4232

4233 196

4234

u w e rau

v ilém reichm a nn

4232

Ella Fitzgerald in Eden‘s Saloon. 1961. Gelatin silver print, printed later. 38,5 x 47,5 cm. Signed, titled and dated by the photographer in black ink below the image in margin.

400 €

4234

This lively photograph by Uwe Rau captures jazz icon Ella Fitzgerald surrounded by fans at the Eden Saloon in Berlin, 1967.

A famous venue in West Berlin’s vibrant jazz scene, the Eden Saloon drew American artists during a time when culture served as soft diplomacy in a politically divided city. Fitzgerald beams at the center of a tightly packed, adoring crowd, embodying both her magnetic presence and the deep enthusiasm for jazz in post-war Germany.

The Czech photographer Vilem Reichmann was interested in how objects could change meaning, when taken out of context or photographing in such a way that the object becomes a surrealistic abstraction.

Lit.: Zdenek Primus (ed.). Vilém Reichmann. Fotografien. Berlin 1990.

(b. 1936 )

(1908-1991)

Alles fließt, from the series ‚Makroterie‘.

1976. Large-format gelatin silver print, printed 1989.

27 x 37,8 cm. Signed, titled and dated by the photographer in pencil on the verso.

500 €

4233

Miles Davis at the Berliner Jazztage. 1969.

Gelatin silver print, printed later. 33,8 x 42,8 cm.

Signed, titled and dated by the photographer in black ink below the image in margin.

400 €

This photograph by Hamburg-based photographer Uwe Rau captures jazz legend Miles Davis performing at the Berliner Jazztage in 1969. Founded in West Berlin in 1964, the Berliner Jazztage (Berlin Jazz Days) was established to “document, support, and validate trends in jazz, and to mirror the diversity of creative musical activity.” Emerging in the years after the Second World War, when Germany was still divided between East and West, this festival served as a means of uniting people through jazz music.

197

4235

198

4236

a lbert renger-patzsch (1897-1966)

4235*

Agave. 1930s. Gelatin silver print on Agfa paper, printed later. 22.8 x 17 cm. Signed and titled by the artist in red ballpoint pen, with additional annotations in pencil and red felt-tip pen on the verso.

1.200 €

Albert Renger-Patzsch, a central figure in the early 20th-century New Objectivity movement, championed a photographic style rooted in clarity, precision, and formal rigor. His work reveals a deep appreciation for the structural beauty of both natural and industrial subjects, emphasizing their inherent design without romanticization. In his botanical studies, he brought the same disciplined attention to detail, highlighting the sculptural and expressive qualities of plants through a lens of objective observation.

Lit.: Ann Wilde, Jürgen Wilde, and Rainer Stamm (eds.). Die Welt der Pflanze: Photographien von Albert Renger-Patzsch und aus dem Auriga-Verlag. Ostfildern-Ruit, 1998.

4236*

Angler im Möhnedschungel. Circa 1950.

Vintage gelatin silver print on Agfa-Brovira paper.

16,6 x 22,6 cm. Photographer‘s „Renger-Patzsch, Wamel-Dorf über Soest I. W“ studio stamp as well as title and annotations in pencil and crayon on the verso.

1.200 €

199

henry ries

(1917-2004)

4237

Protest demonstration at the Platz der Republik, Berlin. Sept. 9, 1948. Ferrotyped gelatin silver print on doubleweight paper, printed later.

31 x 27 cm. 2 photographer‘s/copyright stamps, photographer‘s „The New York Times“ copyright stamp and annotated by the photographer in marker and ink on the verso.

750 €

Born in Germany, Henry Ries emigrated to the United States as a young man, where he volunteered for service during World War II and served as a photographer in the Army Air Forces.

Following the war, he became editor and chief photographer for the OMGUS Observer, an American weekly published in Berlin.

He later worked as a European photojournalist for The New York Times and Time magazine, documenting postwar Europe with a keen eye for historical and cultural change.

Lit.: Katrin Peters-Klaphake/Dieter Vorsteher (eds.) Brennpunkt Berlin: Die Blockade 1948/49. Der Fotojournalist Henry Ries. Berlin 2008, ill. p. 76.

4237

4238 200

w erner rohde

(1906-1990)

4239

Renata. 1930s. 2 vintage ferrotyped gelatin silver prints. Each circa 17,5 x 12,6 cm. Each with photographer‘s stamp on the verso.

750 €

Werner Rohde studied at the Burg Giebichenstein Kunstgewerbeschule near Halle, where he was encouraged by his professor Hans Finsler to study photography. Rohde participated in the groundbreaking Film und Foto exhibition in 1929, in Stuttgart, showing seven of his photographs. He often used his wife Renata as a model, as in the photos offered here.

Lit.: Folkwang Museum (ed.). Werner Rohde. Fotografien 19251937. Berlin 1992.

4239

fra nz roh

(1890-1965)

4238

Untitled (Woman with cat). Circa 1930.

Vintage gelatin silver print with rounded corners.

15,6 x 20,2 cm. Photographer‘s estate stamp on the verso.

750 €

This photograph by Franz Roh, an important figure in the New Objectivity movement, features a woman - likely his wife Juliane - holding a cat before a mirror. The composition plays with reflection and gaze, blending intimacy with subtle surrealism.

It exemplifies Roh’s interest in photography as a medium of psychological depth and visual experimentation.

Lit.: Ubu Gallery. Franz Roh: Photography & Collage from the 1930s. Exhibition catalogue. New York, 2006, ill. p. 39 (variant).

Provenance: The estate of Franz Roh

4239 201

4240

a rthur rothstein (1915-1985)

4240*

Rockland, ME. 1937. Gelatin silver print, printed later. 20,5 x 30,5 cm (27,8 x 35,5 cm). Signed by the photographer in pencil lower right, below the image in the margin; titled and dated on the verso.

Hinge-mounted to mat.

1.000 €

Arthur Rothstein was a deeply influential American photographer, whose work is characterized by visual precision, narrative strength, and a lasting social consciousness. Over a career

202

spanning more than four decades, he created a vast and varied body of work, from iconic images of the Dust Bowl and rural America for the Farm Security Administration, to editorial and institutional photography later in life. Across these contexts, Rothstein maintained a keen eye for composition and a strong sense of empathy, capturing not only the hardships and resilience of his subjects, but also the quiet, often overlooked moments of everyday life that as a whole form a rich portrait of the 20th-century American experience.

4241

a rthur rothstein 4241*

Sheep in Montana. 1936. Vintage gelatin silver print mounted to mat. 27 x 34 ,8 cm (30,8 x 38 cm).

Signed by the photographer in pencil in lower right corner below the image in the margin, titled and annotated in pencil on the verso.

1.200 €

203

w illi ruge

(1892-1961)

4242

Heinz Hajek-Halke painting Willi Ruge‘s wife. 1930s. Vintage ferrotyped gelatin silver print.

21,6 x 16,7 cm (37,5 x 26 cm). Mounted to original card; dedicated to Heinz Hajek-Halke and signed by the photographer in pencil below the image on the mount; annotated in pencil and collection stamp on mount verso.

600 € Willi Ruge was a close friend of photographer and painter Heinz Hajek-Halke. In this image, Ruge adopts a similarly elevated perspective to capture Hajek-Halke as he portrays Ruge’s wife, reflecting their shared interest in experimental viewpoints and dynamic composition.

4242

4243 204

4244

w illi ruge 4243

Spartacist uprising, Berlin. Jan. 5-12, 1919.

4 vintage gelatin silver prints. 8,7 x 14 cm (photo postcards) and 13 x 18 cm. Each annotated in pencil on the verso.

500 € Willi Ruge was known for his dynamic photographic essays published in leading magazines of the 1920s and 1930s, and he founded his own picture agency, Fotoaktuell. A daring innovator, he often combined his skills as a photographer and adventurer to place the viewer at the heart of the action, producing striking and original images. Tragically, much of his archive was destroyed during an air raid on Berlin in 1943, making surviving prints exceptionally rare.

Lit.: Ute Eskildsen/Felix Hoffmann (eds.). Willi Ruge. Fotografien 1919-1953. Göttingen 2017, ill. p. 207.

osva ldo sa l as

(1914-1992)

4244

Con Hemingway (Fidel Castro with Ernest Hemingway). 1960. Gelatin silver print, printed circa 1980. 30 x 39,5 cm. Signed, titled and dated by the photographer in ink in lower margin, mounted to board (traces of use).

1.000 €

205

4245

august sa nder (1876-1964)

4245

Portrait of a couple, Westerwald. Circa 1920.

Vintage, toned matte gelatin silver print. 15 x 10,2 cm.

Mounted to original board (a few minimal foxing spots), signed by the photographer in pencil below the image on the mount.

2.000 € In this portrait August Sander captures a relaxed moment of a younger couple, their hands entwined and with a more open expression than often present in many of his other portraits.

Provenance: Wortelkamp Collection

206

4246

august sa nder 4246 Männerverein (Men‘s club), Westerwald.

1930-1940. Vintage gelatin silver print. 12,2 x 17,3 cm.

With the photographer’s ink line border, circular blind stamp “August Sander Cöln-Lindenthal” in the lower left, and “Aug. Sander Cöln-Lindenthal Dürenerstr. 201” studio stamp on the verso.

1.200 €

A print of this image is in the collection of the J. Paul Getty Museum, Los Angeles.

Provenance: Wortelkamp Collection

4247

View of Rotterdam. 1930s. Vintage gelatin silver print. 17,5 x 23,8 cm. Photographer‘s blind stamp in lower left corner; photographer‘s „Köln-Lindenthal“ studio stamp on the verso.

600 €

4247 207

4248

mich a el schmidt

(1945-2014)

4248

Berlin-West. 1982. Vintage large-format gelatin silver print. 54 x 67 cm (83 x 93 cm). Signed, titled, numbered and dated by the photographer in pencil on the verso. Matted and framed in original artist‘s/ museum frame produced for the Folkwang Museum, Essen; therein titled, numbered „2/6“ and dated by the photographer in ink.

6.000 €

208

Michael Schmidt embarked on his lifelong photographic journey at the young age of 20, becoming renowned for his contributions to socio-documentary photography in Germany, characterized by a sober and reality-based style. In 1976, Schmidt established the „Werkstatt für Photographie“ in BerlinKreuzberg. His notable „Berlin series“ depicts the city in an empty, transitional state, establishing his position as a major figure in the „New Topographic Movement“ of German photography, until his untimely death in 2014.

Lit.: Michael Schmidt. Fotografien seit 1965. Folkwang Essen 1995, ill. front cover and pp. 112-113.

Provenance: Directly from the artist to the current owner.

mich a el schmidt 4249*

Untitled from the series „Frauen“. 1998.

Gelatin silver print. 30 x 20,2 cm (40 x 30 cm).

Signed, copyrighted, dated and numbered „16/32“ by the photographer in pencil on the verso.

750 €

Michael Schmidt’s series „Frauen“ (1997-99) comprises 81 black-and-white photographs portraying young women in their twenties, captured in varying degrees of proximity, from intimate close-ups to full-body shots. Originally conceived for EXPO 2000 in Hanover, the series was later exhibited at the 6th Berlin Biennale in 2010.

4249

christi a n sch a d

(1894-1982)

4250*

Schadographie 24 b (photogram). 1960.

Gelatin silver print on Copyline-P90 paper, printed 1970s. 15,5 x 11,5 cm. Signed by the photographer in ink in lower right corner; annotated in pencil on the verso.

500 €

4250

Lit.: Museum Ludwig Köln. Photographie des 20. Jahrhunderts.

Cologne, 1996, ill. p. 588.

209

4251

4252 210

4253

ra iner m a ri a schopp

eberh a rd seeliger

(1950-1997)

(1914-1982)

4251

4253

Teufelsberg, Berlin. October 1990.

Vintage gelatin silver print. 30 x 38 cm (34 x 41,8 cm).

Photographer‘s stamp on the verso.

500 € Rainer Maria Schopp captured life in Berlin, across Europe, and in the United States through often poetic and quietly observational images. He studied graphic design at the Hochschule der Künste Berlin from 1969-74, and from 1976 worked as a freelance photographer. In 1978, he joined the printing workshop of the Berufsverband Bildender Künstler (BBK) at the Künstlerhaus Bethanien; his promising career was cut short by his tragic death at the age of 47.

Lit.: Galerie Mönch Berlin (ed.). Rainer Maria Schopp: Seitenblicke.

Exhibition catalog, Berlin 2020, ill. p. 33.

John F. Kennedy in Berlin. 1963. Vintage gelatin silver print on Agfa paper. 19,4 x 29,4 cm.

Titled and annotated in ball-point pen along with the photographer‘s copyright stamp and „Stern“ archive stamps on the verso.

400 €

This photograph captures U.S. President John F. Kennedy during his historic visit to West Berlin on June 26, 1963, alongside Chancellor Konrad Adenauer and Mayor Willy Brandt. Taken near the Berlin Wall, the image symbolizes Western solidarity during a tense period of the Cold War. Kennedy’s visit culminated in his iconic “Ich bin ein Berliner” speech, affirming U.S. support for a divided Berlin.

4252

Frankfurter Allee, Berlin. February 1991.

Vintage gelatin silver print. 37 x 37 cm. Photographer‘s stamp, therein titled and dated in ink on the verso, mounted along upper edge to brown card.

600 € Lit.: Galerie Mönch Berlin (ed.). Rainer Maria Schopp: Seitenblicke.

Exhibition catalog, Berlin 2020, ill. front cover.

211

4254

friedrich seidenstücker

(1882-1966)

4254

Untitled (Elephant seal Roland). Circa 1938.

Gelatin silver print on RC paper, printed later.

32,5 x 50,5 cm. Photographer‘s stamp on the verso.

500 €

Friedrich Seidenstücker studied mechanical engineering in Hagen from 1901-1903, continuing at the Königlich Technische Hochschule Charlottenburg in 1904, where he also pursued sculpture and photography. During World War I, he worked as an aircraft designer at Zeppelin-Bau AG in Potsdam. In 1918, he began studying sculpture under August Gaul at the Hochschule der Bildenden Künste, later working as a freelance sculptor and photographer in Berlin. He became known for his animal photography at the Berlin Zoological Garden, as well as street scenes and nude studies. In 1930, he joined Ullstein Verlag, with his work appearing in magazines such as die neue linie, Berliner Illustrirte Zeitung, Die Dame, Der Querschnitt and Die Woche.

Lit.: Berlinische Galerie, Landesmuseum für Moderne Kunst, Fotografie und Architektur (ed.). Friedrich Seidenstücker.

Von Nilpferden und anderen Menschen. Fotografien 1925-1958.

Ostfildern 2011, ill. p. 132.

212

friedrich seidenstücker 4255

Zebras at the Berlin Zoo. 1930s. 4 vintage gelatin silver prints. 30 x 23,8 cm and 18 x 13 cm. Each with photographer‘s stamp and annotated in pencil on the verso. Larger print mounted to board with photographer‘s stamp on mount verso.

600 €

4255

friedrich seidenstücker 4256

Zoo visitors, Zoologischer Garten, Berlin.

1926-1930s. 5 vintage gelatin silver prints. Each circa 17,5 x 13 cm and smaller. Each with photographer‘s studio stamp and annotated in pencil on verso.

500 €

4256 213

george berna rd sh aw

(1856-1950)

4257

Photographer: Lena Connell (1875-1949).

George Bernard Shaw. 1909. Vintage gold-toned gelatin silver print. 13,5 x 8,5 cm. Mounted to original studio board.

600 €

Adelin Beatrice „Lena“ Connell, also known professionally as Beatrice Cundy, was a British suffragette and a well-known photographer whose work is held in the National Portrait Gallery, London.

sino-ja pa nese wa r 4258

German album of the Second Sino-Japanese War. 1937. Circa 102 vintage gelatin silver prints.

Most circa 6 x 9 cm. Inserted in photo corners on black album pages (some wear), annotated in German in white ink below/above the images on the mount, handwritten title page 4 Monate Krieg Shanghai, bound in contemporary cloth album with cord binding.

900 €

This album was compiled by a German chronicler, likely a member of the German military mission, who visited the battlefields in and around Shanghai shortly after the outbreak of the Second Sino-Japanese War. The photographs document scenes of devastation, including damaged buildings, destroyed bridges and rail stations, and fallen Chinese and Japanese soldiers. Most of the images focus on the heavily affected Zhabei district and have detailed German captions and titles, identifying specific sites of destruction.

4257

4258 214

4259

christi a n skrein

(b. 1945)

4259

Joseph Beuys with his installation Raumplastik 10 x 12 m, Galerie St. Stephan, Grünangergasse, Vienna. 1968. Gelatin silver print, printed later. 49,5 x 48,7 cm. Signed and dated by the photographer in pencil on the verso, with number stamp, photographer’s copyright stamp, studio addresses in Vienna and Milan, and additional annotation in red ink.

2.000 €

This photograph captures Joseph Beuys with his 1968 installation Raumplastik 10 x 12 m at Galerie St. Stephan in Vienna – pivotal work in his early exploration of space as sculptural material. In this piece, Beuys began to articulate his concept of social sculpture, using elemental materials like felt, fat, and wood to explore transformation and meaning beyond traditional aesthetics.

Lit.: Christian Skrein. 68 Künstler, Legenden, Fotografie.

Vienna 2001, ill.p. 35.

215

ot to steinert

(1915-1978)

4260

Scherbentanz. 1948. Vintage gelatin silver print. 21,7 x 17 cm. With the photographer‘s copyright stamp on the verso.

1.200 €

Otto Steinert was a key figure in postwar German photography, known for his experimental approach that combined formal precision with abstraction, often exploring texture, shadow, and movement to redefine the expressive potential of the photographic image.

4260

sash a a nd ca mi stone

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

4261

Hochbahn, Berlin. 1928. Vintage ferrotyped gelatin silver print. 24,2 x 18,2 cm. With both photographers‘s copyright stamps (Berlin and Brussels) as well as numbered and annotated in pencil and red ink on the verso.

1.000 €

Sasha and Cami Stone were pivotal figures in Berlin’s vibrant photographic scene during the 1920s and early 1930s, known for their modernist approach that combined commercial, architectural, and artistic photography. Working within the New Objectivity movement and avant-garde design, they produced crisp, formally precise images that celebrated the geometry and dynamism of modern life - from industrial structures and urban landscapes to portraits and interiors. Their studio became a focal point for progressive visual culture in Weimar Berlin, reflecting the era’s fascination with technology, functionalism, and a new visual language. Following the rise of National Socialism, the Stones relocated from Berlin to Brussels in the early 1930s, where they continued their photographic work.

216

4261

4262

sash a a nd ca mi stone 4262

Funkturm, Berlin. 1929. Vintage ferrotyped gelatin silver print. 23,2 x 17,4 cm. With both photographer‘s copyright stamps (Berlin and Brussels) as well as numbered and annotated in pencil and red ink on the verso. Hinge-mounted to mat.

1.200 € 217

lou stoumen

(1917-1991)

4263

Sailor and Girl on Subway. 1940. Gelatin silver print, printed later. 35,5 x 28 cm. Signed in black ink and editioned with embossed number below the image on the margin.

600 €

Lou Stoumen’s work is characterized by its raw, documentarystyle approach to street photography, capturing fleeting moments with a keen sense of storytelling. His images often focus on urban life, blending spontaneity with strong compositional awareness. Whether depicting wartime sailors, bustling city streets, or quiet, introspective scenes, Stoumen’s work conveys a sense of immediacy and intimacy, reflecting his background as both a photojournalist and filmmaker.

4263

beat streuli

(b. 1957)

4264

Images from the „Tokyo“ series. 1998.

4 chromogenic prints on Kodak Professional paper.

Each circa 29 x 21 cm. Each signed, dated and editioned „28/50“ by the photographer in ink on the verso.

900 € Beat Streuli is a Swiss visual artist renowned for his street portraiture, capturing anonymous urban citizens across global cities such as Sydney, Tokyo, Athens and New York. Streuli‘s photographs focus systematically on ordinary street dwellers, and the contemporary ‘flaneurs’ going about their daily business. The heterogeneity of the crowd, as the central component of the cultural dynamism of modernity, and the position of the individual in the crowd, lie at the core of Streuli‘s practice.

He works with a variety of presentation media, from largeformat color photographs, and installations of slide and video projections, to billboards and large-scale window installations on the facades of public buildings.

218

4264

4265

josef sudek

(1896-1976)

4265

St. Vitus Cathedral. 1924-1928. Gelatin silver print, printed 1950s. 18,4 x 17,2 cm. Hinge-mounted in upper corners to grey-blue card, annotated in pencil on the verso.

1.000 €

Celebrated for his lyrical and atmospheric imagery, the Czech photographer Josef Sudek often captured Prague’s architecture, landscapes, and interiors with a deep sense of quiet and reflection. His photographs of landmarks like St. Vitus Cathedral exemplify his ability to transform monumental subjects into intimate, meditative compositions through masterful use of light and shadow. Combining romanticism with modernist sensitivity, Sudek’s work reveals a poetic vision grounded in place, memory, and mood.

219

4266

4267 220

a nta nas sutkus (b. 1939)

4266

Father‘s Cab. 1965. Vintage large-format matte gelatin silver print. 60 x 50 cm. Titled and dated in pencil on the verso.

600 €

Antanas Sutkus was a founding member of the „Association of Lithuanian Photographers“ in 1960. He joined the „International Federation of Photographic Art“ under UNESCO in 1976. His poetic black-and-white images often reflect a deep connection to the Lithuanian village of his youth, capturing a sense of nostalgia and a way of life now largely vanished.

4267

Youngsters in Lithuania. Circa 1970.

2 vintage large-format matte gelatin silver prints.

Circa 54 x 50 cm. One dated in pencil on the verso.

600 €

4268

a nta nas sutkus 4268

The Mood. 1970. Vintage large-format matte gelatin silver print. 59,5 x 50 cm. Titled and dated in pencil on the verso.

600 €

4269

Alone. 1975. Vintage large-format ferrotyped gelatin silver print. 57,3 x 50,4 cm. Titled and dated in pencil on the verso.

600 €

4269 221

4270

k a rin székessy

(b. 1939)

4270

Séance Blanche I. 1970s. Gelatin silver print, printed 1980s. 40,7 x 30,3 cm. Numbered „5/20“ and signed in pencil in lower margin of the print; annotated in pencil on the verso.

600 €

The German photographer Karin Székessy is known for her poetic nude studies and precisely staged compositions that often evoke a surreal, dreamlike quality. Using symbolic props and carefully arranged settings, her work challenges conventional representations of the female form with a distinctive, introspective tone.

222

k a rin székessy 4271

Masquerade. 1970s. Chromogenic print, printed 1980s. 39,2 x 28,5 cm. Numbered „2/20“ and signed in black ink in lower margin of print, numbered in pencil on the verso.

600 €

4271

k a rin székessy 4272

Kommunisten in Rom. 1967. Vintage matte gelatin silver print on Agfa paper. 36,5 x 29,5 cm.

Signed, titled, dated and editioned „4/20“ by the photographer in pencil on the verso.

400 €

4272 223

4273

peter thom a nn

(b. 1940)

4273

Bryor Mountain Wild Horse Ranch, Montana, USA (Hommage an Eadweard Muybridge). 2002.

Gelatin silver print, printed 2008. 42 x 60 cm. Signed by the photographer in ink in lower right corner in margin; photographer‘s/copyright stamp, therein signed, titled, editioned „2/6“ and dated by the photographer in pencil as well as annotated and additional stamp on the verso.

900 €

Peter Thomann studied photography under Dr. Otto Steinert at the Folkwang School in Essen, where he developed a strong foundation in visual composition and documentary style.

In 1968, he joined Stern magazine under contract, contributing a wide range of reportage. He is particularly renowned for his dynamic and expressive photographs of horses, which have become iconic within his broader journalistic work.

224

ernst voll a nd

(b. 1946)

4274

E 9 (from the series „Eingebrannte Bilder“).

1997. Gelatin silver print. 40 x 30,3 cm. Signed and dated by the photographer in pencil on the verso.

750 € Since the 1990s, Ernst Volland has focused on the artistic reinterpretation of historical photographs and iconic images from contemporary history. His series „Eingebrannte Bilder“ (Branded Images), developed over several years and exhibited at the German Historical Museum in Berlin, transforms familiar photographs embedded in Germany’s collective memory.

By deliberately blurring and distorting these images, Volland challenges viewers to confront their visual assumptions, turning once recognizable scenes into enigmatic visual puzzles.

Lit.: Ernst Volland. Eingebrannte Bilder, Plakate, Cartoons, Buntstiftbilder, Fakes, Dokumente. Berlin 2018, ill. p. 32.

4275 E 8 (from the series „Eingebrannte Bilder“).

1997. Gelatin silver print. 30 x 40,1 cm. Signed and dated by the photographer in pencil on the verso.

750 € Lit.: Ernst Volland. Eingebrannte Bilder, Plakate, Cartoons, Buntstiftbilder, Fakes, Dokumente. Berlin 2018, ill. p. 30.

4274

4275 225

4276

4277

michel wa x m a nn

(1937-2018)

4276

Andy Warhol. 1978. Polaroid in wooden frame. 10,8 x 8,8 cm (27,5 x 25,5 cm). Signed on recto below the image, titled dated and copyrighted in black ink on the verso of the frame.

600 €

4277 Andy Warhol. 1978. Polaroid in wooden frame. 10,8 x 8,8 cm (27,5 x 25,5 cm). Signed on recto below the image, titled dated and copyrighted in black ink on the verso of the frame.

600 €

In the late 1970s and early 1980s, Michel Waxmann captured the gritty realities of American life - from Bronx street gangs to desolate California motels - while also documenting intimate moments within New York’s vibrant art scene, including rare encounters with cultural icons such as Andy Warhol, who was at the height of his influence at the time.

This photograph shows Andy Warhol in front of two of his Shadow Paintings, which were first exhibited at the Heiner Friedrich Gallery in New York in 1979.

226

4278

bruce w eber

(b. 1946)

4278

Couple. 1990s. Large-format pigment print, printed later. 82 x 99 cm (111 x 92,5 cm). Framed under glass in wooden frame (some foxing on frame support).

1.500 €

Bruce Weber’s photographic work is defined by its rich, sensuous imagery that transcends the lines between fashion, portraiture, and documentary. Known for his evocative blackand-white photographs, Weber captures his subjects with a striking blend of intimacy, nostalgia, and idealized beauty often infused with a subtle yet unmistakable homoeroticism.

Over the span of his career, Weber has left a lasting imprint on both commercial and fine art photography through iconic campaigns and editorial collaborations that have redefined the aesthetics of desire and masculinity.

227

4279

doris m a rth a w eber

(1898-1984)

4279

Smoke and Steam; Iron for Industry; Sunlit Steam. Circa 1945. 3 vintage gelatin silver prints on structured paper. 2 circa 48 x 39 cm and 1 40,2 x 39 cm.

Each mounted to board (some traces of use), 2 signed and titled by the photographer in pencil below the image on the mount; 2 annotated in ink and various exhibition stamps on mount verso.

1.200 € In 1953 Doris Martha Weber was awarded the „Stuyvesant Peabody Memorial Award for the Greatest Service to Pictorial Photography“ by the Photographic Society of America. Five of her industrial images are in the collection of the Smithsonian Institute. Her atmospheric work is exemplary of 1940s American industrial photography.

228

4279

229

4280

w eegee

(Arthur Fellig, 1899-1968)

4280*

Sleeper in a Bar. 1939. Gelatin silver print, printed later. 35,4 x 27,8 cm. Photographer‘s „Weegee, 451 W 47 Street, New York, N.Y. 10036“ stamp and copyright stamp on the verso.

1.500 €

230

Weegee, born Arthur Fellig, was a pioneering photojournalist known for his stark, unflinching images of crime scenes, urban life, and street culture in 1930s and 1940s New York City.

Often arriving at scenes before the police, thanks to his selfinstalled police radio, he captured raw, flash-lit photographs that combined documentary immediacy with a gritty, noir aesthetic. His work not only defined an era of tabloid photography but also offered a visceral portrait of the city’s underbelly, blending sensationalism with a distinct visual style.

4281

w eegee 4281

Louis Armstrong. ca. 1955. Vintage gelatin silver print. 20,8 x 25,5 cm. With the photographer‘s copyright stamp on the verso; annotated by another hand in pencil.

1.200 €

Weegee’s bold, unfiltered style extended beyond documentary work to celebrity portraits, where he used the same dramatic lighting and direct approach to emphasize personality and presence. In this portrait of Louis Armstrong, Weegee applied this signature technique to highlight the musician’s expressive energy.

erh a rd w ehrm a nn

(b. 1930)

4282

4282

Joseph Beuys performing in Nuremberg.

1968. Vintage ferrotyped gelatin silver print on Leonar paper. 24 x 18 cm. Photographer‘s monogram blind stamp in lower left corner; signed, titled and dated in ink by the photographer and 3 photographer‘s/copyright stamps (2 glued over with photographer‘s later address label) on the verso.

500 € 231

4283

w im w enders

(b. 1945)

4283

Wim Wenders: Photos. Views of Australia.

1977 and 1988. 26 Cibachrome prints, 7 chromogenic prints on Kodak Professional paper, and 1 gelatin silver print on RC paper, all printed in the 1990s.

Most prints circa 10 x 30 cm (18 x 30 cm), 6 circa 10 x 29,5 cm (24 x 30,4 cm), 4 circa 13 x 30 cm (21,5 x 30 cm), and 1 at 12,5 x 17,5 cm. 4 prints bear gallery press labels with typed titles and dates on the verso; one with copyright label by Donata Wenders (portrait of Wim Wenders) on the verso.

1.000 €

232

Wim Wenders’ photographs of the United States and Australia reflect his cinematic sensibility, capturing vast, often desolate landscapes with a striking use of color and composition.

His vivid, saturated tones contrast with scenes of decay and emptiness, giving them intensity and emotional depth.

This group of prints served as model prints for the publication Wim Wenders: Photos, which accompanied an exhibition organized by the Goethe-Institut, Munich in 1996. Most are Cibachrome prints, distinguished by their exceptional color richness. – With: A copy of the book Wim Wender: Photos.

(Cover of case time-stained in edges.).

Lit.: Wim Wenders: Photos. Heidelberg 1995, publication accompanying Goethe-Institut exhibition. (all illustrated).

Provenance: Private collection, gift of the photographer.

4284

w im w enders 4284

Near Gordon Downs, South Australia. 1988.

Cibachrome print. 19,8 x 59 cm (36 x 61 cm). Signed, dated and dedicated by the photographer in marker below the image in margin.

1.500 € Lit.: Wim Wenders: Photos, Heidelberg 1995, ill. unpaginated.

Provenance: Private collection, gift of the photographer.

233

4285

kurt w endl a ndt

(1917-1998)

4285

Gestänge (Lichtgraphik, Doppelbelichtung).

1959. Unique vintage large-format gelatin silver print.

58,5 x 38 cm. Signed, titled and numbered „2/8 variabel“ by the photographer in ink in lower edge, mounted to board (71 x 54 cm), dated in pencil on mount verso.

1.500 € Kurt Wendlandt was a multifaceted artist – active in painting, printmaking, photography, writing and illustration – who emerged as a highly creative figure in postwar West Germany.

234

After studying at the State Academy of the Arts from 1937 to 1943, his practice was briefly interrupted by a war injury, but he resumed his artistic work after World War II. In 1958, he began experimenting with transparent materials, leading to his first Lichtgraphiken. His close friendship with Heinz Hajek-Halke placed both artists at the forefront of Berlin’s avant-garde Lichtgraphik movement in the 1960s. Though his work remained largely outside the commercial art world, Wendlandt’s light graphics and other creations are now held in numerous public and private collections.

Provenance: The estate of Kurt Wendlandt

4286

kurt w endl a ndt 4286

Hommage à Altdorfer III (Lichtgraphik und Zeichnung). 1979. Unique vintage large-format gelatin silver print with applied drawing elements.

35,5 x 49 cm. Sandwich-mounted in mat (50 x 65 cm), signed and titled by the photographer in pencil below the image on the mat; titled and dated by the photographer in marker and photographer‘s stamp on mat verso.

1.500 € Provenance: The estate of Kurt Wendlandt

235

robert w erling

(b. 1946)

4287

Ansel Adams, Carmel, California. 1984.

Gelatin silver print, printed later. 19 x 18,7 cm.

Sandwich-mounted in mat (warped in right edge), signed by the photographer in pencil below the image on mount; photographer‘s stamp and titled and dated by the photographer in pencil on mount verso.

500 €

4287

4288

236

4289

k a i w iedenhöfer

4290

sv en wolfga ng

(1966-2024)

(b. 1982)

4288

Palestinian boy playing with a horsetail at the beach of Gaza City. 1994. Matted gelatin silver print. 24 x 30,2 (50 x 40 cm). Stamped „No. 0853“ along with printed copyright label affixed to the verso.

600 €

4289

In the 1990s, Kai Wiedenhöfer lived in Gaza and photographed daily life with rare intimacy, earning the nickname Habib alShaab (“friend of the people”). Fluent in Arabic and deeply embedded in the community, he documented the quiet resilience of Palestinians amid the turbulence between the first and second Intifadas.

The Berlin-based photographer Sven Wolfgang concerns himself with the perception of things discovered in natural and urban landscapes, abandoned objects as well as unintentionally formed „sculptures“, organic as well as inorganic. In 2009, after training as a media designer, he moved from Leipzig to Berlin to study film. During his studies he discovered his fascination for photography and began mentoring in the studio of a Berlin artist where he became proficient in analog photography skills.

As of 2019, he studied at the New School of Photography, where he prepared his thesis and graduated in 2022. He has been working as a freelance photographer since 2014.

Jan. 2014. Gelatin silver print on Orwo paper.

27,8 x 27,4 cm (30,5 x 29,3 cm). Signed, titled, dated, editioned „4/10“ and copyrighted by the photographer in pencil on the verso.

600 €

4290

A Dancer in an Old House. 2016. Gelatin silver print. 26,6 x 26,8 cm (30,5 x 29,3 cm). Signed, titled, dated, editioned „2/4“ and copyrighted by the photographer in pencil on the verso.

600 €

237

4291

4292 238

4293

ga rry w inogra nd

dav id wong

(1928-1984)

(b. 1957)

4291*

4293

Venice, California from the series „Women are Better Than Men. Not Only Have They Survived, They Do Prevail“. 1979. Gelatin silver print, printed 1982. 22,7 x 33,9 cm (28 x 35,5 cm). Signed by the photographer in pencil on the verso. From the portfolio of the same title, D.E.P. Editions Inc. New York 1982.

1.000 € Garry Winogrand’s „Women Are Better Than Men. Not Only Have They Survived, They Do Prevail“ is a series of 15 gelatin silver prints taken between 1969-1980, demonstrating his mastery of candid street photography and his focus on the evolving roles of women during a transformative era in American culture.

Workers clean Mao Zedong‘s Portrait, at Tiananmen Square in Beijing before the Worker‘s Day Parade. April 27, 1992. Chromogenic print on Kodak paper. 22,7 x 15,3 cm (29,5 x 21 cm). Signed, annotated and dated by the photographer in ink on the verso.

500 € Provenance: Private collection, gift of the photographer.

4292* Beverly Hills, California from the series „Women are Better Than Men. Not Only Have They Survived, They Do Prevail“. 1980. Gelatin silver print, printed 1982. 22,7 x 33,9 cm (28 x 35,5 cm).

Signed by the photographer in pencil on the verso.

From the portfolio of the same title, D.E.P. Editions Inc. New York 1982.

1.000 € 239

4294

world wa r i 4294

Documentation album of a German soldier during WWI. Circa 1914-17. Circa 43 vintage gelatin silver prints and 1 postcard. Various sizes, most 13 x 18 cm and smaller. Most mounted in photo corners to album pages (some wear), each with caption in white ink in German on the mount, some loose. Bound in contemporary imitation leather album (slight wear, edges rubbed, binding loose), with painted Iron Cross in upper left corner.

600 €

240

This historically significant album opens with images documenting the deployment of “Feldflieger Abteilung 57” in Galicia, including views of locations, personnel, and aircraft. The second section is of particular interest, featuring rare photographs of “FFA 300,” the aviation unit deployed in support of the Ottoman Empire. Among the highlights is a photograph showing Turkish General Ahmed Djemal (Cemal Pasha) alongside General Kreß von Kressenstein during an “FFA 300” parade.

4295

4296

world wa r ii 4295

Photographer unknown. Large-scale air raid on Hamburg. 12.3.1941. Vintage gelatin silver print.

16 x 22,5 cm. Mounted to original board, annotated by the photographer in pencil below the image on the mount.

800 €

4296

Photographer: Martin Badekow (1896-1983).

Berlin after WWII. 1946. 5 vintage gelatin silver press prints, some on Ortho-Brom paper. Each circa 18 x 24 cm. 4 with typed caption in upper left corner; 4 with photographer‘s studio stamp on the verso.

600 € These photographs capture the extensive devastation Berlin endured during World War II, revealing the scale of destruction that reshaped the city’s urban landscape.

241

world wa r ii ya lta 4297

The Big Three Conference, Yalta. 1945.

Vintage ferrotyped gelatin silver print. 14 x 19,2 cm.

Typed press text label on the verso.

750 €

This rare photograph captures a moment in the conference room during the third meeting of the Three Powers at Livadia Palace, Yalta. Among those depicted are Marshal Joseph Stalin, M. Maisky, Admiral William Leahy, Secretary of State Edward Stettinius, advisor Harry Hopkins, and President Franklin D. Roosevelt. Held in February 1945, the Yalta Conference brought together the leaders of the United States, the United Kingdom, and the Soviet Union - Roosevelt, Churchill, and Stalin to discuss the postwar reorganization of Germany and Europe.

4297

x-ray photogra ph y 4298

X-ray of flowers. 1930s. Vintage gelatin silver print. 27 x 22 cm. Mounted to original board (some traces of use, tear in upper right corner), Agfa company logo embossed in lower left corner.

600 €

4298 242

h a rtmut zickm a ntel

(1917-2012)

4299

Industrial images (2 solarisations). 1960s.

5 vintage ferrotyped gelatin silver prints on AgfaPortriga-Rapid paper. Each between 26 x 20,7 cm and 29,5 x 20,5 cm. 4 with photographer‘s stamp, 2 annotated by the photographer in pencil on the verso.

750 € Hartmut Zickmantel was a lecturer in photography at the Cologne Werkkunstschulen. The photographs offered in this group were probably taken in the 1960s, as part of his work for DEMAG AG (formerly Jünkerather Gewerkschaft) in Jünkerath/ Eifel.

4299

piet zwa rt

(1885-1977)

4300

Untitled (The Book of PTT). Early 1930s.

Vintage ferrotyped gelatin silver print on Velox paper.

17,2 x 12,2 cm. Photographer‘s stamp and annotated in pencil on the verso. Matted and framed under glass.

600 € In 1930, Piet Zwart was commissioned to design The Book of PTT, an educational publication aimed at teaching Dutch schoolchildren how to use the postal system. To make the material engaging, he created two paper doll characters – ‘The Post’ and ‘J. Self’ – which he photographed and enhanced with chalk, ink and colored pencil. This image is part of that series, reflecting Zwart’s innovative fusion of photography, illustration and graphic design.

4300 243

index

A Abbott, Berenice 4075-76 Adam-Salomon, Antoine Samuel 4001 Ahrendts, Leopold 4002-06 Alinari, Fratelli 4007 Álvarez Bravo, Manuel 4077-78 Anderson, James 4011-13 Anderson, James and Tommaso Cuccioni 4008, 4010 Anderson, James and Unknown 4009 Anschütz, Ottomar 4014-15 Araki, Nobuyoshi 4079 Arbus, Diane 4080-81 Arnold, Eve 4082-83 Atget, Eugéne 4016-17 B Badenweiler 4018 Baily, Captain N. 4019 Baldus, Édouard 4020-21 Ballmer, Theo 4084 Barnard, George N. 4022 Bauer, Wilfried 4085 Baur, Max 4086-87 Beaton, Cecil 4088-89 Becher, Bernd and Hilla 4090-92 Bedford, Francis 4023 Bellon, Denise 4093 Bernhard, Ruth 4095 Bing, Ilse 4094 Bismarck Archipelago and Samoa 4096 Bisson, Louis-Auguste 4024 Bourke-White, Margaret 4097 Bourne, Samuel 4025 Brandenburg, Mark 4026 Braschler, Mathias and Monika Fischer 4098 Braun, Adolphe 4027 Bulhak, Jan 4099 Bunge, Norbert 4100 Burchartz, Max 4102 Bury, Claus 4101 C Callahan, Harry 4103-06 Cameron, Julia Margaret 4028 Capa, Robert 4136 Carjat, Étienne 4029 Cartier-Bresson, Henri 4107-08 Ceylon 4030 Charpie, Jean 4109 China 4031-32 Chochola, Václav 4110-11 Claasen, Hermann 4112 Cuccioni, Tommaso and James Anderson 4033 Curtis, Edward Sheriff 4113

244

D Daguerreotypes 4034-40 Deutsch- and British Ostafrika 4114 Deutsch Ostafrika and Kenya 4115 Divola, John 4116 Dvorak, Tomas 4117 Dziworski, Bogdan 4118-19 E Emerson, Peter Henry 4041 Erwitt, Elliott 4121 Evans, Walker 4120 F Faurer, Louis 4122 Feininger, Andreas 4123 Feldscharek, Pepa 4124 Fenton, Roger 4042 Film Photography 4125-27 Fink, Larry 4129-30 Fontana, Franco 4131 Förg, Günther 4128 Frajndlich, Abe 4132 Freund, Gisèle 4133-34 Friedmann, Georges 4135 G Gäbler, Gerhard 4138-39 Gatewood, Charles 4137 GDR 4140 Giacomelli, Mario 4151-53 Gloeden, Wilhelm von 4043-44 Goldin, Nan 4154-59 Gorman, Greg 4160 Green, John Beasley 4045-46 Gremmler, Karl Theodor 4161 Grosz, George 4162 Gsell, Émile 4047 Gundlach, F.C. 4163-65 H Halsman, Philippe 4166 Hamann, Johann 4167 Hamm, Manfred 4171 Hammerschmidt, Wilhelm 4048 Hanfstaengl, Franz and Others 4049 Hebler, Peter 4168-70 Heidelberg 4050 Henle, Fritz 4172 Hensky, Herbert 4141-43 Heyman, Ken 4173 Hill, David Octavius and Robert Adamson 4051 Höfer, Candida 4174 Hoffmeister, Konrad 4144 Holdt, Hanns 4175-76 Horst, Horst P. 4177-78

Hoyningen-Huene, George 4179 I India 4052-53 Industrial Photography / Blohm & Voss 4180 J Jacoby, Max 4181 Japan 4054-58 Jüterbog 4182 K Kaiserbesuch Constantinople 1917 4183 Keetman, Peter 4184-85 Kesting, Edmund 4186 Kilian, Hannes 4187-88 Kläber, Thomas 4145 Klauke, Jürgen 4189 Klein, William 4190 Krull, Germaine 4191 L Lange, Dorothea 4192 Laurent, Jean and Others 4059 Le Gray, Gustave 4060-61 Lehnartz, Klaus 4193 Lehnert & Landrock 4194 Leroux, Alexandre 4062 Lichtenberg, Emil 4195 List, Herbert 4196-98 M Mack, Ulrich 4199-4200 Man Ray 4201-02 Manen, Hans van 4203 Mangold, Guido 4204 Mark, Mary Ellen 4205 Martens, Olaf 4206-07 Martin, Walter 4208 McBride, Will 4209-12 McCartney, Linda 4213 Mili, Gjon 4214 Modotti, Tina 4215-16 Moholy-Nagy, László 4217-18 Mont-Saint-Michel 4063 Moses, Stefan 4219-20 Muybridge, Eadweard 4064 N Nadar jeune 4065 Neusüss, Floris M. 4221-22 Newman, Arnold 4225 Newton, Helmut 4223-24 Niggemeyer, Elisabeth 4226 Norway 4066 North Africa 4063-64

P Perckhammer, Heinz von 4227-28 Peter Sr., Richard 4229 Piene, Otto 4230 Platt Lynes, George 4231 Railway Accident Paris 4067 R Rau, Uwe 4232-33 Reichmann, Vilém 4234 Renger-Patzsch, Albert 4235-36 Ries, Henry 4237 Robertson, James & Felice Beato 4068 Roh, Franz 4238 Rohde, Werner 4239 Rothstein, Arthur 4240-41 Ruge, Willi 4242-43 S Salas, Osvaldo 4244 Sander, August 4245-47 Schad, Christian 4250 Schäfer, Rudolf 4146 Schmidt, Michael 4248-49 Schopp, Rainer Maria 4251-52 Sébah, Pascal 4069

Seeliger, Eberhard 4253 Seidenstücker, Friedrich 4254-56 Sewcz, Hans Martin 4147-48 Shaw, George Bernard 4257 Sino-Japanese War 4258 Skrein, Christian 4259 Sommer, Giorgio 4070-71 Steinert, Otto 4260 Stone, Sasha and Cami 4261-62 Stoumen, Lou 4263 Streuli, Beat 4264 Sudek, Josef 4265 Sutkus, Antanas 4266-69 Switzerland 4072 Székessy, Karin 4270-72 T V Thomann, Peter 4273 Volland, Ernst 4274-75

Weegee 4280-81 Wehrmann, Erhard 4282 Wenders, Wim 4283-84 Wendlandt, Kurt 4285-86 Werling, Robert 4287 Wiedenhöfer, Kai 4288 Winogrand, Garry 4291-92 Wolfgang, Sven 4289-90 Wong, David 4293 World Travel Album 4074 World War I 4294 World War II 4295-96 World War II Yalta 4297 Wüst, Ulrich 4149-50 X Z X-ray Photography 4298 Zickmantel, Hartmut 4299 Zwart, Piet 4300

W Watkins, Carleton 4073 Waxmann, Michel 4276-77 Weber, Bruce 4278 Weber, Doris Martha 4279

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246

technical terms

fachbegriffe

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

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

condition

zustand

abrasion, traces of buckling bumped crease / light crease mark chip / nick damaged detached discoloration dusty edge wear faded foxing frayed glue, traces of handling crease layout marks loose / torn oxidation mirroring pen mark pinholes retouched spot rubbed scratch scuff-marks slightly soiled smudge soiled spot / mark / stain tear / small tear time-stained traces of previous mounting traces of use traces of wear warped yellowing

Schleifspuren gewellt bestoßen Knick / Knickspur Absplitterung / Randkerbe lädiert gelöst Verfärbung angestaubt Gebrauchsspuren entlang der Kanten ausgeblichen stockfleckig ausgefranzt Klebstoffreste Druckstellen / Gebrauchsspuren Layoutmarkierungen lose / abgerissen Aussilberung Stiftspur Nadellöcher Retusche (punktuell) berieben Kratzer leichte Schleifspuren angestaubt Schmierfleck unfrisch / angeschmutzt Fleck Riß, kleiner Einriß altersbedingt verfärbt Montierungsreste Gebrauchsspuren Abnutzungsspuren verzogen vergilbt

247

V ER ST EIGERU NG S - BEDI NGU NGEN 1. Nicolaas Teeuwisse-Tilman Bassenge Foto-Auktionen GbR, nachfolgend Versteigerer genannt, versteigert als Kommissionärin im eigenen Namen und für Rechnung ihrer Auftraggeber (Kommittenten), die unbenannt bleiben. Die Versteigerung ist freiwillig und öffentlich im Sinne des § 383 III BGB. 2. Der Versteigerer behält sich das Recht vor, Nummern des Kataloges zu vereinen, zu trennen, außerhalb der Reihenfolge anzubieten oder zurückzuziehen.

3. Sämtliche zur Versteigerung kommenden Gegenstände können vor der Ver­steigerung besichtigt und geprüft werden. Die Sachen sind gebraucht. Erhaltungszustände der einzelnen angebotenen Arbeiten bleiben im Katalog in der Regel unerwähnt. Die Katalogbeschreibungen sind keine Garantien im Rechtssinne und keine vertraglich vereinbarten Beschaffenheitsangaben. Gleiches gilt für individuell angeforderte Zustandsberichte. Sie bringen nur die subjektive Einschätzung des Versteigerers zum Ausdruck und dienen lediglich der unverbindlichen Orientierung. Alle Gegenstände werden in dem Erhaltungszustand veräußert, in dem sie sich bei Erteilung des Zuschlages befinden. Soweit nicht in der Katalogbeschreibung explizit erwähnt, sind Rahmungen nicht bindender Bestandteil des Angebots. Der Käufer kann den Versteigerer nicht wegen Sachmängeln in Anspruch nehmen, wenn dieser seine Sorgfaltspflichten erfüllt hat. Der Versteigerer verpflichtet sich jedoch, wegen rechtzeitig vorgetragener, begründeter Mängelrügen innerhalb der Verjährungsfrist von 12 Monaten ab dem Zeitpunkt des Zuschlags seine Ansprüche gegenüber dem Einlieferer (Auftraggeber) geltend zu machen. Im Falle erfolgreicher Inanspruchnahme des Einlieferers erstattet der Versteigerer dem Erwerber den Kaufpreis samt Aufgeld. Die Haftung des Versteigerers auf Schadensersatz für Vermögensschäden – gleich aus welchem Grund – ist ausgeschlossen, es sei denn, dem Versteigerer fiele Vorsatz oder grobe Fahrlässigkeit zur Last. Die Haftung bei Verletzung von Leben, Körper und Gesundheit bleibt unberührt.

4. Der Zuschlag erfolgt nach dreimaligem Aufruf an den Höchst­ bieten­den. Der Versteigerer kann den Zuschlag verweigern oder unter Vor­behalt erteilen. Wenn mehrere Personen dasselbe Gebot abgeben und nach dreimaligem Aufruf kein höheres Gebot erfolgt, entscheidet das Los. Der Versteigerer kann den Zuschlag zurücknehmen und die Sachen erneut ausbieten, wenn irrtümlich ein rechtzeitig abgegebenes höheres Gebot übersehen worden ist oder wenn der Höchst­bietende sein Gebot nicht gelten lassen will oder sonst Zweifel über den Zuschlag bestehen.

5. Im Falle eines schriftlichen Gebotes beauftragt der Interessent den Versteigerer für ihn während der Versteigerung Gebote abzugeben. In schriftlichen Aufträgen ist bei Differenzen zwischen Nummer und Kennwort das Kennwort maßgebend.

6. Telefonische Gebote und Online-Direkt-Gebote über das Internet bedürfen der vorherigen Anmeldung beim Versteigerer und dessen Zustimmung. Für die Bearbeitung übernimmt der

Versteigerer jedoch keine Gewähr. Telefonische und OnlineGebote werden nur akzeptiert, wenn der Bieter bereit ist, den ihm zuvor mitgeteilten Mindestpreis des jeweiligen Loses zu bieten. Auch bei Nichtzustandekommen einer Verbindung gilt, dass für den Auktionator dieses Gebot in Höhe des Mindestpreises verbindlich ist. Für das Zustandekommen einer entsprechenden Telefon- oder Onlineverbindung übernimmt der Versteigerer keine Gewähr. Das Widerrufs- und Rückgaberecht bei Fernabsatzverträgen findet auf solche Gebote keine Anwendung (§ 312g Abs. 2 Nr. 10 BGB).

7. Mit der Erteilung des Zuschlages geht die Gefahr für nicht zu vertretende Verluste und Beschädigung auf den Ersteigerer über.

Das Eigentum an den ersteigerten Sachen geht erst mit vollstän­ digem Zahlungseingang an den Erwerber über.

8. Auf den Zuschlagspreis ist ein Aufgeld von 30% zu entrichten, in dem die Umsatzsteuer ohne separaten Ausweis enthalten ist (Differenzbesteuerung) oder ein Aufgeld von 25% auf den Zuschlag zzgl. der Umsatzsteuer (Regelbesteuerung) von z.Zt. 7% (Gemälde, Zeichnungen, Skulpturen, Graphiken, Bücher etc.) bzw. 19% (Handschriften, Autographen, Kunstgewerbliche Gegenstände, Siebdrucke, Offsets, Fotografien, etc.). Die im Katalog mit einem * gekennzeichneten Objekte unterliegen in jedem Fall der Regelbesteuerung (Aufgeld von 25% auf den Zuschlag zzgl. der Umsatzsteuer von z.Zt. 7% bzw. 19%). Bei den im Katalog mit einem ^ gekennzeichneten Objekten ist Einfuhrumsatzsteuer angefallen. In diesen Fällen wird zusätzlich zu einem Aufgeld von 27% (Differenzbesteuerung) die verauslagte Einfuhrumsatzsteuer in Höhe von z.Zt. 7% auf den Zuschlag erhoben.

Für bundesdeutsche Kunsthändler und Antiquare, die zum Vor­steuer­abzug berechtigt sind, kann die Gesamt­rech­nung auf Wunsch, wie bisher nach der Regelbesteuerung ausgestellt werden.

Von der Umsatzsteuer befreit sind Ausfuhrlieferungen in Dritt­ länder (außerhalb der EU) und – bei Angabe ihrer USt.-Identi­ fikations-Nr. bei Auftragserteilung als Nachweis der Berechtigung zum Bezug steuerfreier innergemeinschaftlicher Lieferungen – auch an Unternehmen in anderen EU-Mitgliedsstaaten, unter der Voraussetzung, dass sie für gewerblichen Gebrauch einkaufen.

Eine Korrektur nach Rechnungsstellung ist nicht möglich.

Alle anderen Käufe aus EU-Ländern unterliegen der Umsatzsteuer.

Ausländischen Käufern außerhalb der Europäischen Union wird die Umsatzsteuer erstattet, wenn binnen 4 Wochen nach der Auktion der deutsche zollamtliche Ausfuhrnachweis und der zollamt­ liche Einfuhrnachweis des entsprechenden Importlandes erbracht werden. Bei Versand durch uns gilt der Ausfuhrnachweis als gegeben. Bei Online-Live-Geboten über Internetplatt­formen erhöht sich das Aufgeld um die dort anfallende Transaktions­gebühr. Wäh­ rend oder unmittelbar nach der Auktion ausgestellte Rech­nun­­gen bedür­fen einer beson­de­ren Nachprüfung und eventueller Berichtigung; Irrtum vor­behalten.

Katalog- und Zusatzabbildungen dürfen nicht ohne Genehmigung verwendet werden. Reproduktionsrechte und digitale Dateien der Abbildungen können gegen Gebühr erworben werden.

Gegebe­nen­falls noch bestehende Urheberrechte Dritter bleiben davon unberührt und müssen u.U. gesondert eingeholt werden.

9. Die Auslieferung der ersteigerten Stücke erfolgt in unseren Ge­ schäftsräumen gegen Bezahlung. Kreditkarten (Mastercard, VISA, American Express), Schecks sowie andere unbare Zahlungen werden nur erfüllungshalber angenommen. Bankspesen/ Transaktionsge­bühren bzw. Kursverluste können zu Lasten des Käufers gehen. Die Auf­ bewahrung erfolgt auf Rechnung und Gefahr des Käufers. Der Versand wird gegen Vorabrechnung des Rechnungsbetrages ausgeführt. Die Versandspesen sowie die Kosten für Versicherung gegen Verlust und Beschä­digung gehen zu Lasten des Käufers. Übersteigen die tatsäch­lichen Versandkosten die vorab berechnete Pauschale, so wird die Differenz dem Käufer nachträglich in Rechnung gestellt.

10. Bei der Ausfuhr von Kulturgütern ist gem. der EG-Verordnung Nr. 116/2009 bzw. § 24 KGSG abhängig von Kategorie und Wert des Objekts ggf. eine Ausfuhrgenehmigung erforderlich. Aus Gründen des Artenschutzes können Objekte aus bestimmten, geschützten Materialien (u.a. Elfenbein, Schildpatt, Perlmutt und einige Korallenarten) besonderen Im- und Export­beschränkungen unterliegen. Zum Zwecke des Exports (insbesondere außerhalb der Europäischen Union) kann hierfür eine spezielle Ausfuhrgenehmigung gemäß der Verordnung (EG) Nr. 338/97 erforderlich sein. Entsprechende Ausfuhrgenehmigungen können nur unter strengen Bedingungen erteilt und ggf. auch gar nicht erlangt werden, auch kann der Import dieser Gegenstände in manche Staaten ein­geschränkt oder untersagt sein. Der Käufer ist selbst dafür verantwortlich, sich über etwaige Im- und Exportbeschränkungen zu informieren. Export und Import entsprechender Objekte erfolgen allein auf Rechnung und Gefahr des Käufers.

11. Der Zuschlag verpflichtet zur Abnahme. Der Kaufpreis ist mit dem Zuschlag fällig. Der Versteigerer ist berechtigt, falls nicht innerhalb von zwei Wochen nach der Versteigerung Zahlung geleistet ist, den durch den Zuschlag zustande gekommenen Kaufvertrag ohne weitere Fristsetzung zu annullieren, Verzugszinsen in

banküblicher Höhe – mindestens jedoch 1 % auf den Bruttopreis je angebrochenen Monat – zu berechnen und von dem Ersteigerer wegen Nichterfüllung Schadenersatz zu verlangen. Der Schadenersatz kann in diesem Falle auch so berechnet werden, dass die Sache in einer neuen Auktion nochmals versteigert wird und der säumige Käufer für einen Minder­erlös gegenüber der vorangegangenen Versteigerung einschließlich der Gebühren des Auktionshauses aufzukommen hat. Zu einem Gebot wird er nicht zugelassen, auf einen etwaigen Mehrerlös hat er keinen Anspruch.

12. Erfüllungsort und Gerichtsstand im vollkaufmännischen Verkehr ist Berlin. Es gilt ausschließlich deutsches Recht. Das UNAbkommen über Verträge des internationalen Warenkaufs (CISG) findet keine Anwendung.

13. Die im Katalog aufgeführten Preise sind Schätzpreise, keine Limite.

14. Der Nachverkauf ist Teil der Versteigerung, bei der der Interessent entweder telefonisch oder schriftlich (im Sinne der Ziffern 5 und 6) den Auftrag zur Gebotsabgabe mit einem bestimmten Betrag erteilt. Entsprechende Gebote behalten ihre Gültigkeit für 4 Wochen nach Abgabe.

15. Die Abgabe eines Gebotes in jeglicher Form bedeutet die Anerkennung dieser Versteigerungsbedingungen. Der Versteigerer nimmt Gebote nur aufgrund der vorstehenden Versteigerungs­ bedingungen entgegen und erteilt dementsprechend Zuschläge.

Kommissionäre haften für die Käufe ihrer Auftraggeber.

16. Sollte eine der vorstehenden Bestimmungen ganz oder teilweise unwirksam sein, so bleibt die Gültigkeit der übrigen davon unberührt.

David Bassenge, Geschäftsführer und Auktionator Dr. Markus Brandis, öffentlich bestellter u. vereidigter Auktionator Stand: Mai 2025

CON DI T IONS OF SA L E 1. Nicolaas Teeuwisse-Tilman Bassenge Foto-Auktionen GbR, subsequently called “the auctioneer” carries on business as commissionagent in its own name on behalf of its voluntary con­signors. This auction sale is a public one in the sense of § 383 III BGB. 2. The auctioneer reserves the right to combine, to split, to change or to withdraw lots before the actual final sale.

3. All objects put up for auction can be viewed and examined prior to the sale at the times made known in the catalogue. The items are used and sold as is. As long as not explicitly mentioned in the catalogue description, framing is not an inherent part of the offer. As a rule, the condition of the individual work is not given in the catalogue. Catalogue descriptions are made with as much care as possible, but the descriptions do not fall under the statutory paragraph for guaranteed legal characteristics. The same applies for individually requested condition reports. These also offer no legal guarantee and only represent the subjective assessment of the auctioneer while serv­ing as a non-binding orientation. The liability for damage to life, body or health shall remain unaffected. In case of a justified claim, however, he will accept the responsibility to make a claim for restitution on behalf of the buyer against the consignor within a period of 12 months, running from the fall of the hammer. In the event of a successful claim the auctioneer will refund the hammerprice plus premium.

4. The highest bidder acknowledged by the auctioneer shall be deemed the buyer. In case of identical bids the buyer will be deter­ mined by drawing lots. In the event of a dispute the auctioneer has the absolute discretion to reoffer and resell the lot in dispute. He may also knock down lots conditionally.

5. In the case of a written bid the bidder commissions the auctioneer to place bids on his behalf during the auction. In cases where there is a discrepancy between number and title in a written bid the title shall prevail.

6. Telephone and direct online bidding via the internet must be approved in advance by the auctioneer. The auctioneer cannot be held liable for faulty connections or transmission failure. In such a case the bidder agrees to bid the reserve price of the corresponding lot. For such bidding the regulations of long distance contracts do not apply (Fernabsatzverträge) [cf § 312g II,10 BGB].

7. On the fall of the auctioneer’s hammer title to the offered lot will pass to the acknowledged bidder. The successful buyer is obliged to accept and pay for the lot. Ownership only passes to the buyer when full payment has been received. The buyer, however, immediately assumes all risks when the goods are knocked down to him.

8. A premium of 30% of the hammer price will be levied in which the VAT is included (marginal tax scheme) or a premium of 25% of the hammer price plus the VAT of 7% (paintings, drawings, sculptures, prints, books, etc.) or 19% (manuscripts, autographs letters, applied arts, screen prints, offset prints, photographs, etc.) of the invoice sum will be levied (regular tax scheme). Buyers from countries of the European Union are subject to German VAT. Items marked with an * are subject to the regular tax scheme (premium of 25% of the hammer price plus the current VAT of 19%). Items marked with an ^ are subject to import duty. In these cases in addition to a premium of 27% (marginal tax scheme), the charged import tax of currently 7% will be added to the hammer price.

Exempted from these rules are only dealers from EU-countries, who are entitled, under their notification of their VAT ID-Number, to buy on the basis of VAT-free delivery within the European Union. Notification of VAT ID-Numbers must be given to the auctioneer before the sale.

For buyers from non EU-countries a premium of 25% will be levied.

VAT will be exempted or refunded on production of evidence of exportation within 4 weeks of the auction, or, if appropriate, importation to another country. This is taken as given when the dispatch is effected by us.

Live bidding through online platforms entails a transaction fee stipulated by the platform and will be added to the premium. Due to the work overload of the accounting department during auctions, invoices generated during or directly after an auction require careful revision and possible correction; errors excepted.

Catalogue images may not be used without permission. Repro­ duction rights and digital files can be acquired for a fee. Any copyrights of third parties that may still exist remain unaffected by this and may have to be obtained separately.

9. Auction lots will, without exception, only be handed over after pay­ment has been made. Credit cards (VISA, Mastercard, Ameri­can Express), checks and any other form of non-cash payment are accept­ed only on account of performance. Exchange rate risk and bank charges may be applicable. Storage and dispatch are at the expense and risk of the buyer. If the shipping costs exceed the lump sum on the invoice the outstanding amount will be billed separately.

10. According to regulation (EC) No. 116/2009 resp. § 24 KGSG, export license may be necessary when exporting cultural goods depending on the type or value of the object in question. For the purposes of wildlife conservation, it is necessary to obtain an export license according to regulation (EC) No. 338/97 when exporting objects made from certain protected materials (incl. ivory, tortoiseshell, mother-of-pearl and certain corals) out of the territory of the European Community. Export licenses for objects made of protected materials are only granted under strict conditions or may

not be granted at all. The import of such objects may be restricted or prohibited by certain countries. It is the buyer’s responsibility to inform himself, whether an object is subject to such restrictions.

Export and import of such objects are at the expense and risk of the buyer.

11. The buyer is liable for acceptance of the goods and for payment.

The purchase price shall be due for payment upon the lot being knocked down to the buyer. In case of a delayed payment (two weeks after the sale) the purchaser will be held responsible for all resultant damages, in particular interest and exchange losses. In case of payment default the auctioneer will charge interest on the outstanding amount at a rate of 1% to the gross price per month or part of month. In such an event the auctioneer reserves the right to annul the purchase contract without further notice, and to claim damages from the buyer for non-fulfilment, accordingly he can re-auction the goods at the buyer’s expense. In this case the buyer is liable for any loss incurred, the buyer shall have no claim if a higher price has been achieved. He will not be permitted to bid.

12. The place of fulfillment and jurisdiction is Berlin. German law applies exclusively; the UN-Treaty (CISG) is explicitly excluded.

13. The prices quoted after each lot are estimates, not reserves.

14. The after-sales is part of the auction in which the bidder places either by tele­phone or in written form (as stated in number 5 and 6) the order to bid a set amount. Corresponding bids are binding for 4 weeks after submission.

15. By making a bid, either verbally in the auction, by telephone, written by letter, by fax, or through the internet the bidder confirms that he has taken notice of these terms of sale by auction and accepts them. Agents who act on behalf of a third party are jointly and separately liable for the fulfillment of contract on behalf of their principals.

16. Should one or the other of the above terms of sale become wholly or partly ineffective, the validity of the remainder is not affected. In the event of a dispute the German version of the above conditions of sale is valid.

David Bassenge, auctioneer Dr. Markus Brandis, attested public auctioneer As of May 2025

joh n vaugh a n. Marsha Hunt for „Hair“. 1968. Vintage gelatin silver print.

to be sol d in ou r fa l l auct ion 2025

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

h e rau sge be r

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Bassenge Photoauktionen GbR

k ata lo g bea rbe i t u ng layo u t & sat z

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Jennifer Augustyniak, Giovanni Teeuwisse

Clara Schmiedek

bassenge | Erdener Straße 5a, 14193 Berlin, Germany Online catalogues: www.bassenge.com