experten | specialists
Geschäftsführung | Management
David Bassenge
Graphik, Zeichnungen und Gemälde des 15.–19. Jh. Dr. Ruth Baljöhr – Leitung
+49 (0)30-893 80 29-17 david@bassenge.com
+49 (0)30-893 80 29-22 15th to 19th Century Prints, Drawings and Paintings
David Bassenge
Eva Dalvai
Lea Kellhuber
Nadine Keul
Harald Weinhold
Moderne und Zeitgenössische Kunst
Modern and Contemporary Art
Photographie | Photography
Buchabteilung, Autographen
Rare Books and Manuscripts
Autographen | Autograph Letters
Logistik Management | Logistics
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Repräsentanzen | Representatives
München
Rheinland
r.baljoehr@bassenge.com
+49 (0)30-893 80 29-17
david@bassenge.com
+49 (0)30-893 80 29-80
e.dalvai@bassenge.com
+49 (0)30-893 80 29-20
l.kellhuber@bassenge.com
+49 (0)30-893 80 29-21
n.keul@bassenge.com
+49 (0)30-893 80 29-13 h.weinhold@bassenge.com
Barbara Bögner – Leitung (in Elternzeit)
Katharina Fünfgeld
Simone Herrmann
Miriam Klug
Sonja von Oertzen
Laetitia Weißer
Jennifer Augustyniak – Leitung
Elmar F. Heddergott
Giovanni Teeuwisse
Dr. Markus Brandis – Leitung
Harald Damaschke
+49 (0)30-88 91 07 90 k.fuenfgeld@bassenge.com
+49 (0)30-88 91 07 93 s.herrmann@bassenge.com
+49 (0)30-88 91 07 92 m.klug@bassenge.com
+49 (0)30-88 91 07 91
s.v.oertzen@bassenge.com
+49 (0)30-88 91 07 94 l.weisser@bassenge.com
+49 (0)30-21 99 72 77 jennifer@bassenge.com
+49 (0)30-21 99 72 77 e.heddergott@bassenge.com
+49 (0)30-88 91 08 55 giovanni@bassenge.com
+49 (0)30-893 80 29-27
m.brandis@bassenge.com
+49 (0)30-893 80 29-24 h.damaschke@bassenge.com
Naomi Schneider +49 (0)30-893 80 29-48 n.schneider@bassenge.com
Stephan Schurr +49 (0)30-893 80 29-15 s.schurr@bassenge.com
Dr. Rainer Theobald +49 (0)30-4 06 17 42 r.theobald@bassenge.com
Ralph Schulz
Anika Bartens
+49 (0)30-893 80 29-16 r.schulz@bassenge.com
+49 (0)30-893 80 29-36 a.bartens@bassenge.com
Jenny Neuendorf +49 (0)30-893 80 29-33 j.neuendorf@bassenge.com
Harald Weinhold
+49 (0)151 - 1202 2201 muenchen@bassenge.com
Dr. Mayme Francis Neher +49 (0)175 - 204 63 23 info@mayme-neher.de
19 th century photography
anglo-egyptian war 1882
4001 Photographers: Maison Bonfils (1831-1885), Guillaume Berggren (1835-1929), Abdullah Frères (active 1858-1899), Luigi Fiorillo (1847-1898), Adelphoi Zangaki (active 1860-1880s) and unknown. Views of Constantinople, Palestine, Egypt, Malta and Gibraltar. 1880s-90s. Circa 95 albumen prints mounted to giltedged album pages. Each between 20 x 26 cm and reverse. Some with photographer‘s name and/or title in the negative in lower margin. Bound in green full leather album (binding loose).
750 €
This album features landscapes, por traits, and cityscapes from Constantinople, Palestine (Jerusalem), Egypt, and other locations. Of particular interest are several rare photographs from the Anglo-Egyptian War of 1882, including images of the Tel-elKebir battlefield and the ruins of Fort Ada near Alexandria. The album also contains numerous photographs of British warships and military ports, illustrating Britain’s naval dominance in the Mediterranean during the late 19th century.
4001
4001
4002, detail
ottomar anschütz (1846–1907)
4002* Horse rider jumping over a hurdle. 18851886. 16 albumen prints bound together as leporello (some foxing along edges of boards). Each ca. 7,6 x 9 cm (entire size 10,2 x 154 cm). Each embossed with the photographer‘s studio stamp in lower margin of prints as well as letterpress studio information on lower margin of boards.
6.000 €
Ottomar Anschütz is renowned for his pioneering work in motion photography and chronophotography. His high-speed sequences, capturing movement with remarkable precision, include studies such as horses in motion and birds in flight. Anschütz’s most famous invention, the Electrotachy scope, projected sequential photographs as moving images, playing a crucial role in the development of modern cinema and cementing his legacy in photographic technology. Complete photographic series of his motion studies, like the one presented here, are exceptionally rare
athens and constantinople
4003 Photographers: Dimitrios Constantinou (active 1850-1870), Pascal Sébah (1823-1886) and unknown. Views of Athens and Constantinople. 1870s-80s. 9 albumen prints mounted to board (slightly warped). Each 25 x 34 cm and smaller. Some with number and photographer‘s name in the negative in lower margin, each titled in ink below image on the mount.
600 €
The collection features views of Athens, depicting the Acropolis from various vantage points. Additionally, it includes two early photographs of Constantinople.
édouard baldus (1813–1889)
4004 Luxor Obelisk, Place de la Concorde, Paris. ca. 1855. Coated salted paper print mounted to board (minimal foxing). 18,9 x 27,5 cm (31,7 x 44 cm). Stamped „E. Baldus“ in black ink below image on mount.
1.200 €
Édouard Baldus, an important figure in 19th-century architecture and landscape photography, was instrumental in establishing photography as a vital tool for documenting and preserving architectural heritage. His images of Paris during the Haussmann renovation serve as invaluable historical records, capturing the city’s dramatic transformation during that time. Prints of this image are held in the collections of The Metropolitan Museum of Art, The J. Paul Getty Museum, and The New York Public Library.
4004
édouard baldus
4005 Arc de Triomphe du Carrousel, Tuilleries, Paris. ca. 1855. Albumen print mounted to board (minimal foxing). 20,8 x 27,8 cm (31,7 x 44 cm). Stamped „E. Baldus“ in black ink below image on mount, annotated „EB16“ and „Tuilleries“ in pencil on recto and verso.
1.200 €
This image shows the Arc de Triomphe du Carrousel in Paris, a victory arch commissioned by Napoleon I in 1806 to commemorate his military victories and honor the French army during the Napoleonic Wars. Prints of this image are held in the collections of the Getty Museum and the Library of Congress.
édouard baldus and achille quinet
(1813–1889, 1831–1907)
4006 Views of Paris: La Ste. Chapelle, Hotel de Cluny and Riverfront of the Grande Galerie du Louvre. 1857-1860s. 3 albumen prints. 28 x 20 cm, 19 x 24,5 cm and 21 x 28 cm. Mounted to card (slightly soiled in edges, foxing), each with photographer‘s signature stamp in lower right below image on mount.
500 €
henri béchard (active 1870s–1880s)
4007 Views of Egypt. 1870s. 4 albumen prints mounted to board. Each ca. 27 x 38 cm (35,2 x 46 cm). Each with photographer‘s signature in the negative in lower right corner, as well as numbered and titled in the negative in lower left corner.
600 €
Henri Béchard produced some of the most evocative photographs of Egypt. Unlike the more prolific studios of Sebah, Bonfils, Arnoux, and Zangaki, Béchard’s studio operated only during the 1870s and 1880s, making his works less common and highly sought after. The prints offered here are signed in the negative by H. (Henri) Béchard, though some are also signed by Émile Béchard, who may have been his brother or possibly even the same person.
4008 Views of Cairo. 1870s. 4 large-format albumen prints mounted to boards (edges bumped, slightly soiled). Each ca. 37 x 26 cm (63,5 x 41,5) or reverse. Signed, numbered and titled in negative in lower margin.
600 €
4007
4008
ludwig belitski (1830–1902)
4009 Glassware. Circa 1854. Salted paper print with cut corners mounted to original board (some foxing, light soiling in edges). 21,5 x 17,3 cm (46,2 x 34,2 cm). With embossed coat of arms on lower margin of image and number stamp in upper right corner of mount.
4.000 €
The Prussian baron Alexander von Minutoli (1806-87) frequently loaned his model collection to schools of applied arts. As the objects were often damaged during handling, he commissioned photographic reproductions for wider circulation. In 1853, Minutoli hired Ludwig Belitski, a photographer from Liegnitz in Silesia (now Legnica, Poland), to create these reproductions on paper. This significant commission earned Belitski international recognition and resulted in seven folio-sized volumes containing 663 plates, which garnered him awards in Brussels and Amsterdam in 1855 and 1856.
4009
berlin
4010 Photographers: Waldemar Titzenthaler (1869-1937), Hermann Rückwardt (1845-1919), F. Albert Schwartz (1836-1906), Lucien Levy (active 1890-1910) and unknown. Views of Berlin. 1870s-90s. 22 albumen prints. Various sizes, circa 21 x 27 cm and smaller. All but 1 mounted to board, a few with photographer‘s name/monogram on the mount.
400 €
The images include views of Friedrichstraße, Mühlendamm, villas in Tiergarten, the opening ceremony of the Bismarck Monument as well as other military ceremonies in the city.
bisson frères (active 1841–1864 )
4011 Cathédrale Sainte-Croix d‘Orléans. 1857. Large-format albumen print mounted to board (some foxing). 45,2 x 35,8 cm. Photographers‘s studio stamp in red ink below image on mount.
800 €
Bisson Frères, the pioneering photographic duo of Louis-Auguste and Auguste-Rosalie Bisson, gained renown for their largeformat images of architecture, landscapes, and historical monuments. They became particularly famous for their dramatic photographs of the French Alps, including the first successful photographic expedition to Mont Blanc in 1861. Known for their technical innovation and artistic composition, their work was instrumental in advancing photography both as an art form and a documentary tool.
4010
frédéric boissonnas (1858–1946)
4012 (Attributed to). View of the Parthenon. ca. 1910. Large-format carbon print mounted to board. 42,8 x 57,4 cm. Printed title below image on mount (cut off).
600 €
Frédéric Boissonnas was a pioneering Swiss photographer celebrated for his extensive documentation of Greece and the Mediterranean in the early 20th century. His work is distinguished by its meticulous composition, capturing the grandeur of ancient ruins, stunning landscapes, and local culture with a profound reverence for classical heritage. Boissonnas’ mastery of carbon printing resulted in images of exceptional tonal richness and lasting quality, solidifying his legacy as a seminal figure in the history of photography.
félix bonfils (1831–1885)
4013 Cedars of Lebanon. 1880s. 4 albumen prints. Each circa 27,5 x 21,5 cm. 3 with photographer‘s name, each with title and number in the negative in lower portion, mounted to thin card (traces of use, backed tears).
750 €
4012
4013
maison bonfils and unknown (active 1867–1918)
4014* Panoramas of Jerusalem and Bethlehem. 1890s. 5 albumen prints mounted as one 2-part and one 3-part panorama. 20,4 x 51,5 cm and 21 x 84 cm. One numbered and signed „Bonfils“ in negative in lower right corner, the other stamped in lower left corner of verso.
750 €
These two photographic panoramas depict significant landmarks in Jerusalem and Bethlehem, including the Dome of the Rock, Al-Aqsa Mosque, the Jewish Quarter and the Old City Walls, all seen from the Mount of Olives, as well as the Lutheran Christmas Church, the Church of the Nativity, and the Coptic Church of St. Mary in Bethlehem.
maison bonfils (active 1867–1918)
4015 Views of Palestine and Lebanon. 1890s. 30 photochromes mounted to album pages. Each ca. 16,4 x 22,4 cm (23,5 x 30,5 cm). Each titled and numbered in negative on lower left corner. Bound in leather-backed album with gilt-embossed title ReiseErinnerungen
300 €
(1823–1891)
4016 German-Danish War. 1864. Salted paper print. 17,5 x 21 cm. Mounted to original board (slightly soiled), w ith photographer‘s embossed stamp below the image on the mount.
900 €
This rare and well-preserved photograph captures a group of Prussian officers and soldiers, posing for a souvenir photo amid the destroyed trenches surrounding the village of Düppel. Similar to Roger Fenton and Matthew Brady, the photographer C.F. Brandt faced the challenge of capturing war images only after the fighting had ceased, as exposure times were still lengthy. An experienced photographer, Brandt participated in the International Photography Exhibition in Berlin in 1865, where he was awarded a medal for his exceptional landscapes.
Provenance: Robert Lebeck Collection
christian friedrich brandt
4016
brazil & portugal
4017 Photographers: Théophile Auguste Stahl (1828-1877) and Augusto Bobone (1852-1910). Views of Botanical Gardens, Rio; National Livestock exposition in Portugal, 1888. 1860s/80s. 3 albumen prints with rounded corners. Each circa 21,5 x 17 cm. Each mounted to board (slightly soiled, foxing), 2 with photographer‘s blind stamp on the mount in upper left corner.
500 €
Théophile Auguste Stahl is regarded as one of the most significant photographers in 19th-century Brazil. Born in Italy, he arrived in Brazil in 1853 and settled in Recife, where he established three studios. In 1858, he partnered with photographer and chemist Adolpho Schmidt and Hamburg painter Germano Wahnschaffe. The photographer’s blind stamp on the mounts indicates their joint venture, which operated until 1861.
4017
british military souvenir album
4018 Photographers: Dimitrios Constantinou (active 1858-1860s), Pascal Sébah (1823-1886), Hippolyte Arnoux (active ca. 1860-1890), Giorgio Sommer (18341914) and unknown. British military travel album showing warships, Mediterranean cities and harbors as well as West Indian islands. 1874-78. 52 albumen prints mounted to album pages (some soiled, partially loose, covers missing). Various sizes, most 23 x 29 cm and reverse, a few larger or smaller. Some with photographer‘s name and/or title in the negative in lower margin.
600 €
This souvenir album likely belonged to an officer of the HMS Topaze, possibly even its commander, Edward Hardinge. The Topaze, a 51-gun, three-masted frigate, was part of a British squadron that included other warships such as the Narcissus, Immortalité, Endymion, Doris, Charybdis, and several others. The photographs, some in large format, document key harbor cities visited by the squadron in the Mediterranean and Caribbean, including a striking panoramic view of Gibraltar. The album also features views of Palermo, Athens, Rhodes, Smyrna, Suez, Malta, as well as Ceylon, India, and the West Indies, including Trinidad and Jamaica. Notable group portraits of the ships’ crews are also included.
4019 Photographer unknown. Early view of Chemnitz. 1860s. Albumen print mounted to board (slightly soiled). 21,2 x 30,7 cm (31,5 x 43 cm). Annotated in pencil on mount.
300 €
chemnitz
4018
4019
claude-joseph désiré charnay (1828–1915)
4020 Andrian Mandrousso, Governor of Tamatave Province, Madagascar. 1863. Gold-toned albumen print from a wet collodion negative. 17,2 x 11,8 cm.
Mounted to board (foxing), annotated in pencil below the image on the mount.
1.200 €
Claude-Joseph-Désiré Charnay traveled to Madagascar in 1863 as part of a French scientific expedition to document the island’s native inhabitants and architecture. His photographs and writings were subsequently featured in the journal Le Tour du Monde
Lit.: Le Tour du Monde, vol. 2, 1864. Ill. p. 215.
Provenance: Robert Lebeck Collection
4020
china
4021 Photographer: Georges Auguste Morache (1837-1906). Portraits of high-ranking Chinese Imperial officials and views of Peking and surroundings. 1863-66. 27 albumen prints. Each between circa 16,5 x 21 cm and smaller. Each mounted to board (44 x 34 c m, slightly warped), each signed by the photographer in red ink below the image in lower right on mount; most extensively annotated in German in black ink and each with title and explanation by the photographer in red ink on mount verso, loose in contemporary half-linen card portfolio (some scuff marks, edges slightly rubbed, some traces of use, ties missing/torn).
20.000 €
Photographs by amateur photographer Dr. Georges Auguste Morache are among the earliest known views and portraits of people from Beijing. They are also extremely rare , as Dr. Morache had no commercial intentions; he was motivated primarily
by personal interest and certainly also the technical challenges of photography, which was still in its infancy at the time. He compiled his work into various thematic groups, which he later gifted to family members and friends. Among the 13 portrait photos, the images of high-ranking ministers and other dignitaries whose names and rank are mentioned on the verso by Morache are particularly interesting. The portraits show OuenSiang(?), the Foreign Minister and Vice-President of the Imperial Council; the Finance Minister and member of the Imperial Council; the Ambassador of Korea; a high-ranking Buddhist monk and several other civilian and military figures. The most well-known image is the portrait of Prince Gong, who was intermittently the most influential imperial official after the Second Opium War.
The few surviving photographs are now housed in museums and private collections, with those in the Stephan Loewentheil Historical Photography of China Collection in New York being particularly well-known. Another album, titled Vues de Pékin 1865-67, containing 29 photographs, signed on the title page, can be found at The Toyo Bunko Oriental Library in Tokyo (formerly part of the George Morrison Collection). The ethnologically focused Musée du quai Branly in Paris als o owns Morache’s photographs, and there is an additional bound album of approximately 40 photographs in a private British collection. Aside from these four extant portfolios, the collection offered here represents a fifth example. Unlike the photographs in the aforementioned collections, each image in this collection bears Morache’s signature on the front of the mount, although the reason for this is not entirely clear; he may have wished to prevent his work from being confused with that of other photographers in Beijing.
Dr. Morache studied surgery at the naval school in Brest, continued his medical education in Strasbourg, and then trained at the renowned Val-de-Grâce military hospital in Paris. His good reputation led to his appointment as a medical officer at the French legation in Peking. He traveled to China in 1863 with his wife and mother, who notably maintained a network among various personalities in Beijing and observed cultural and political life closely. Morache‘s mother recorded her experiences and observations in detail (in German) on the backs of the large mounts that accompany these photographs. This indicates that she likely had a German background. She was acquainted with the Countess of Stolberg-Stolberg, who introduced her to the family of Friedrich Viktor Strauss (1909-1899), later Viktor von Strauss und Torney. He was a well-known Protestant religious historian and translator and became particularly known for the first translation of the Tao Te King from Chinese into German. One can therefore safely assume that the text on the mounts of the photos are addressed directly to him.
Lit.: Édouard de Saint-Ours. The Photography of Dr. Georges Auguste Morache (18371908): A Selection from the Stephan Loewentheil Historical Photography of China Collection. Exhibition Catalogue. London, 2016.
Provenance: Descendants of Viktor von Strauss und Torney (1809–1899)
china
4022 Photographer: Milton M. Miller (1830-1899).
Laying of the foundation stone of Hong Kong City Hall. 1865. Albumen print. 19,5 x 25,5 cm. Mounted to board (slight foxing), annotated in pencil and ink below image on mount.
1.800 €
The old City Hall was the first building in Hong Kong not to serve as a government office; it was dedicated solely to municipal purposes. Today, it has been replaced by the Bank of China Building and The Hong Kong and Shanghai Banking Corporation Limited (HSBC Group). The early photograph featured here captures the ceremonial laying of the foundation stone in 1865, attended by festively dressed dignitaries and numerous onlookers. Construction commenced in 1866 on land provided by the government. The building, which included a theater and a library, was inaugurated on November 2, 1869, by HRH Prince Alfred, Duke of Edinburgh, during his visit to the colony. In 1933, the structure was partially demolished and was completely torn down in 1947 to make way for the new HSBC Group building.
Provenance: Robert Lebeck Collection
4022
4023
china/japan
4023* Photographers: Hyppolite Arnoux (active 1870-1890), Zangaki Brothers (active 1870-1900), Lai Afong (1838-1890), Charles William Wason (18541918), Felice Beato (1832-1909), Adolfo Farsari (18411898), Kusakabe Kimbei (1841-1934), and others. Travel abum with views of Egypt, China and Japan. 1880s. 88 albumen prints mounted to gilt-edged album page s (some foxing). Each ca. 22 x 28 cm or reverse. Most titled, numbered and/or signed in negative in lower margin. Bound in original lacquerwork album with ivory imitation and mother-of-pearl inlays (slightly chipped).
1.500 €
This album comprises a diverse array of historical landmarks from Egypt, China, and Japan. Notable photographs include views of the Kasr el Nil Bridge in Cairo, ships anchored at Por t Said, and various early depictions of Amoy (modern-day Xiamen) and Hong Kong. The collection also features images from British Weihaiwei, Port Arthur, and key locations in Japan, such as Nagasaki, Yokohama, and Kobe, accompanied by genre scenes that depict local customs and daily life. Likely compiled b y a German officer of the Imperial German Navy, the album offers a rich and varied visual narrative of life in the Far and Middle East during the late nineteenth century.
Lit.: Carmen Pérez González. From Istanbul to Yokohama: The Camera meets Asia 1839-1900. Köln, 2014. Ill. pp. 81, 235 and 239.
cologne
4024 Photographer unknown. Views of Cologne. Late 1870s. 5 albumen prints (1 large-format). Circa 22 x 26 cm and 47,5 x 41 cm. 1 annotated in pencil on the verso.
400 €
This group includes an oversized view of the interior of Cologne cathedral as well as an exterior view showing it while still under construction. The other images comprise views of Cologne.
constantinople
4025 Panorama of Constantinople from Galata Tower. Circa 1880. Panorama consisting of 10 albume n prints. Each circa 21 x 23 cm (entire size circa 21 x 190 cm). Numbers in ink in lower edge, mounted to original boards (slightly soiled, slight traces of use), bound together with linen tape at folds.
1.200 €
A large and complete panorama with a view from the Galata Tower over the Bosporus, from the Asian side of Üsküdar to the Topkapi Serail over the Golden Horn into the west of the city.
4024
4025
4025, detail
daguerreotypes
4026 Photographer: Louis Auguste Bisson (18141876). Mother and son. 1845. Sixth plate daguerreotype in wooden frame. 8,5 x 7 cm (19,5 x 17,5 cm). Photographer‘s initials embossed below image on mount. With original studio label, dated „juillet 1845“ in black ink on frame verso.
800 €
Louis-Auguste Bisson was a pioneering French photographer known for his early use of daguerreotypes in portrait photogr aphy. His detailed, high-quality images contributed to the rise of portraiture in mid-19th century France, and though he later became renowned for architectural photography, his work with daguerreotypes helped establish the medium’s popularity.
daguerreotypes
4027 Photographer: Eugène Vaillat (1804-1879). Young boy. 1850s. Quarter plate daguerreotype. 9,5 x 7,5 cm (15 x 12,5 cm). Signed in plate, sealed in glass black frame with gilt-lined window oval, annotated in black ink on frame verso.
600 €
Eugène Vaillat was a prominent French portrait photographer, particularly known for his work with daguerreotypes. Vaillat introduced a special technique in polishing the daguerreotype plates, which gave his images an exceptional clarity.
4026
4027
daguerreotypes
4028 Photographer unknown. Group portrait. 1850s. Quarter plate daguerreotype in leather case. 9 x 7 cm (12 x 9,5 cm).
750 €
4028
joseph daziaro (1831–1892)
4029 Views of Moscow. 1880s. 6 albumen prints (1 finely hand-colored) mounted to board. Each ca. 27,5 x 20,8 cm (30 x 23,2 cm). Each titled in ink below image, some annotated by another hand in pencil below image on mount.
600 €
J. Daziaro, founded by Giuseppe Daziaro in 1827, became a leading publisher and photographic studio in 19th-century Russia, renowned for its high-quality lithographs and photographs of Russian cityscapes, portraits, and cultural scenes. After Giuseppe’s death, the business was carried on by his son Joseph and later by his grandson Alexander, until it closed in 1918. The legacy of J. Daziaro endures through its significant contributions to Russian art and photography, with works held in prestigious collections such as the Getty Museum and the New York Public Library, and even referenced by literary figures such as Leo Tolstoy.
4030 (Attributed to). View of Moscow. 1880s. Hand-colored albumen print. 21,8 x 27,2 cm. Mounted to board (slight traces of use, small tear in left edge), annotated in ink in lower right.
400 €
4029
egypt
4031 Photographers : Pascal Sébah (1823-1886), Abdullah Frères (active 1858-1900), Luigi Fiorillo (active ca. 1850s-1880s). Views of Egypt. 1880s-1890s. 57 albumen prints mounted to gilt-edged album pages (slightly soiled, some foxing). Each ca. 21 x 27 cm (26 x 35,5 cm) or reverse. Each numbered, titled and signed in negative on lower portion of print. Bound in full-parchment album with gilt-embossed ornamentation.
500 €
This album comprises a variety of views of Cairo, featuring iconic landmarks such as the Pyramids of Giza, the Citadel, and the Mosques of Sultan Hassan, Sultan Barquq, and Muhammad Ali, along with the City of the Dead and the Mosque of Amr ibn al-As. It also captures scenes of daily life, including students studying the Qur’an and a muezzin calling to prayer. Additionally, the album contains photographs of several artifacts from the Grand Egyptian Museum in Cairo, as well as views of the Ezbekieh Gardens and the Palace of Gezira.
4031
4032 Portraits of husband and wife. 1850s. 2 handcolored salted paper prints in ornately carved wooden frames (slightly scratched). Each ca. 19 x 15,5 cm (37 x 31 cm). Photographer‘s studio stamp embossed on mount below image, one with photographer‘s label attached to frame verso, both annotated in blue ink on frame verso.
1.200 €
Hermann Seligmann Emden was a German copper engraver, lithographer, and photographer recognized for his contributions to early photography and credited with creating one of Germany’s first photographically illustrated books. He adeptly combined traditional printmaking techniques with innovative photographic methods, capturing a diverse range of subjects, including landscapes, architectural details, and portraits.
hermann emden (1815–1879)
dimitri ivanovich ermakov (1846–1916)
4033 Georgian Military Road. 1883. 30 albumen prints mounted to album pages (slightly soiled). Each between 10,7 x 13,8 cm and 13,2 x 21,7 cm (23,7 x 31,5 cm ). Each with photographer‘s embossed signature stamp in lower right corner of print and titled in pencil below image on mount. Bound in full-canvas album (corners rubbed) with gilt-stamped title Grusinische Militärstrasse Wladikawkas-Tiflis, Reise 1883 and small map from 1875 on the inside cover.
750 €
This 1883 album documents the Georgian Military Road, a his toric route through the Caucasus Mountains linking Vladikavkaz and Tbilisi. Photographed by Dmitri Ivanovich Ermakov, who began his career in 1868, the images capture dramatic landscapes, landmarks, and settlements along the route. Widely regarded as the foremost documentarian of Georgian life in the late 19th and early 20th centuries, Ermakov traveled extensively across the region. His legacy is partly preserved by the National Museum of Georgia, which houses a significant collection of his negatives.
ethnographic portraits
4034 Photographer unknown. Ethnographic portraits of various countries. 1890-1900. 6 albumen prints. Most circa 17 x 22 cm and reverse, some 13 x 10 cm. Each mounted to board (soiled, traces of use), annotated in ink in German on mount verso.
600 €
This intriguing collection of images features people from Borneo, „Deutsch-Neuguinea“, New Zealand, Africa and Siam.
4033 4034
francis frith (1822–1898)
4035 Egypt, Sinai and Palestine. 1862. Bound volume with a total of 37 albumen prints mounted to album pages (some foxing). Each circa 16 x 23 cm or reverse. The majority signed and numbered in negative, each with printed caption on mount. With contents, title and illustration on frontispiece. Bound in green leather-backed cloth album (corners rubbed, spine torn) with gold-embossed title on front cover (cover loose). William MacKenzie, London, Glasgow & Edinburgh, 1862.
1.500 €
Francis Frith, initially an apprentice in a cutlery business and later a partner in a grocery firm, shifted his focus to photography in the early 1850s. Between 1856 and 1860, he embarked on three expeditions to Egypt, Sinai, and Jerusalem, capturing striking images of ancient monuments using the wet collodion process. This Supplementary Volume to Egypt, Sinai, and Pales tine features some of his earliest photographs of iconic sites, including Cairo, the Pyramids at Giza, Thebes, Luxor, the temples at Karnak, as well as significant locations like Jerusalem, Damascus, Gaza, and Nubia. Frith’s work played a pivotal role in fueling the growing Western fascination with Egyptology and the region’s cultural heritage.
4035
vincenzo galdi (1871–1961)
4036 Portrait of a youth in Roman tunic. Circa 1900. Albumen print. 22,3 x 16,5 cm. Photographer‘s stamp, address „Via Campania lett: B Roma“ and number „1156“ in blue crayon on the verso.
750 €
Vincenzo Galdi was an Italian photographer and protégé of Wilhelm von Plüschow, celebrated for his contributions to nude photography. Originally a model in many of his mentor’s photographs, Galdi quickly gained a reputation as one of the most prolific and bold nude photographers in Naples and later in Rome during the late 19th century.
wilhelm von gloeden (1856–1931)
4037* Young male nude with a column capital. 1890s. Albumen print mounted to board. 17 x 23 cm (24 x 32 cm). Numbered „31“ in lower left corner.
1.500 €
Wilhelm von Gloeden was a German photographer known for his idealized depictions of 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. Lit.: Italo Zannier. Wilhelm von Gloeden Fotografie: Nudi, Paesaggi, Scene di Genere. Firenze, 2008. Ill. p. 116.
berend goos (1815–1885)
4038 Farmyard near Hamburg. 1857. 2 albumen prints with cut/rounded corners. Each circa 12 x 9,5 cm Each mounted to original board, each signed by the artist in ink in lower right on mount.
500 €
The German painter Berend Goos sold 64 of his works to the Hamburg Art Association (HH Kunstverein) in 1855, 1859, and 1864. He frequently photographed landscapes and rural scene s, using them as references for his paintings. – With: Berend Goos. Two pencil drawings and one oil sketch of clouds. 18531879. Some traces of use, some pinholes in corners, a few sp ots.
grand tour
4039 Photographers: Giorgio Sommer (1834-1918), Alfred Noack (1833-1895), Achille Mauri (1806-1883) and Francesco Bosetti (dates unknown). Travel albu m of the Grand Tour. 1890s. 110 albumen prints mounted to album pages (some loose). Each between 17,5 x 22,5 cm and 22 x 28 cm or reverse (36 x 45 cm). Some titled and numbered in negative on lower margin. Bound in richly carved full-leather album (some scratches on back cover, edges rubbed).
400 € 4039
4038
4038
grindelwald glacier
4040 Photographer: Charnaux frères (attributed to). Grotte de Grindelwald. 1860s. Gold-toned albumen print. 18,7 x 16 cm. Mounted to card, annotated in ink below the image on the mount.
500 €
The Grindelwald Glacier was one of the most breathtaking glacier formations in Switzerland, featuring towering ice structures and unusual shapes. By 1855, it had descended to the valley floor. In 1863, the Bernese company Schegg & Böhlen received a concession for commercial ice mining. The harvested ice blocks were transported to Interlaken and exported to Paris for use as a coolant.
andreas groll (1812–1872)
4041 Oriental rifles and pistols. ca. 1857. Albumen print with cut corners mounted to orignal album card (lower left corner torn). 20 x 28,8 cm (31,2 x 37,2 cm). Ruled in green ink around the image.
1.000 €
This photograph presents a collection of intricately decorated oriental firearms, including flintlock and matchlock rifles and pistols from the Ottoman Empire, Persia, Mughal India, and Afghanistan. Adorned with elaborate inlays and carvings, these weapons reflect the rich artistic traditions of their respective cultures and were likely part of the prestigious Ambras Collection, established by Archduke Ferdinand II in the 16th century. While functional, these firearms mostly served as ceremonial pieces and status symbols, highlighting the cultural exchange between the East and Europe during the 19th century.
4040
4042 Photographer: John Burke and William Baker (1843-1900, dates unknown), John Edward Saché (1824-1882). Views of India. 1870s. 11 albumen prints. Each 20,7 x 28 cm and smaller. Several with photographer‘s name and number in the negative in lower corners.
600 €
industrial photography
4043 Photographer: Chautauqua Photo Co. Views of Pittsburgh industry. Circa1900. 2 vintage collodion paper prints. 18 x 24 cm and 12 x 19 cm. Each mounted to board, 1 with company name in the negative in lower left, annotated in pencil in German on mount recto/verso.
300 €
india
4042
4043
william henry jackson (1834–1942)
4044 Grand Canyon of the Yellowstone. 1871/1872. Albumen print mounted to board. 33,3 x 24,7 cm. Titled in negative on lower margin; annotated in pencil by another hand, typewritten description on label attached to verso.
800 €
William Henry Jackson was a pioneering photographer celebrated for his extensive documentation of the American West in the late 19th century. His work with the U.S. Geological Survey resulted in some of the earliest images of Yellowstone, which were instrumental in its designation as the first national park. Known for his large-format and meticulously detailed landscapes, Jackson’s photographs captured the natural beauty and grandeur of iconic sites such as the Grand Tetons and Mesa Verde, making a lasting contribution to the visual heritage of the United States.
4045 Photographer: Baron Raimund StillfriedRatenicz (1839-1911), Felice Beato (1832-1909), Kusakabe Kimbei (1841-1932), and unknown. Japanese portraits. 1870s-90s. 28 hand-colored albumen prints. Each circa 24 x 20 cm. Some with number and title in lower corners in the negative, most mounted to board and matted.
1.200 €
Baron Raimund von Stillfried-Ratenicz, Felice Beato, and Kusakabe Kimbei were influential photographers who played key roles in documenting Japan during the late 19th century. Stillfried and Beato, both foreign photographers, captured the landscapes, architecture, and people of Japan, with Beato’s work
being among the first visual records of the country for Western audiences. Kusakabe Kimbei, a Japanese photographer who trained under Stillfried and Beato, became known for his handcolored images of traditional Japanese scenes, catering primarily to Western visitors during the Meiji period.This attractive group includes portraits of street sellers, monks, priests, geishas, wrestlers, tattooed men and craftsmen. The coloring is often exceptionally subtle and finely executed.
Lit.: Claudia Gabriele Philippe/Dietmar Siegert/Rainer Wick (eds.). Felice Beato in Japan: Photographien zum Ende der Feudalzeit 1863-1873. Heidelberg, 1991. Ill. p. 155, 160, 168 and 172. Alfried Wieczorek/Claude W. Sui (eds.). Ins Land der Kirschblüte: Japanische Reisefotografien aus dem 19. Jahrhundert. Heidelberg, 2011. Ill. p. 144 (Farmer with grass coat-Kimbei).
japan
4044
japan
4046 Photographer: Baron Raimund StillfriedRatenicz (1839-1911), Felice Beato (1832-1909), Kusakabe Kimbei (1841-1932) and unknown. Landscapes, temples and villages of Japan. 1860s-90s. 26 handcolored albumen prints. Each circa 22 x 29 cm. Some with number and title in lower corners in the negative, most mounted to board and mounted in mats. 1.200 €
Lit.: Claudia Gabriele Philippe/Dietmar Siegert/Rainer Wick (eds.). Felice Beato in Japan: Photographien zum Ende der Feudal zeit 1863-1873. Heidelberg, 1991. Ill. p. 45, 108 and 178.
japan
4047 Photographer: Baron Raimund StillfriedRatenicz (1839-1911), Felice Beato (1832-1909) and unknown. Japanese portraits. 1870s-90s. 22 handcolored albumen prints. Each circa 24 x 20 cm and reverse. Some with number and title in lower corners in the negative, most mounted to board and mounted in mats.
1.200 €
This attractive group includes portraits of farmers, teachers, Kendo fighters, geishas and musicians.
Lit.: Luke Gartlan. A Career of Japan. Baron Raimund von Stillfried and Early Yokohama Photography. Leiden/Boston 2016, ill. p. 201.
Claudia Gabriele Philippe/Dietmar Siegert/Rainer Wick (eds.). Felice Beato in Japan: Photographien zum Ende der Feudalzeit 1863-1873. Heidelberg, 1991. Ill. p. 151, 168 and 170.
4047
4047
japan
4048 Photographers: Felice Beato (1832-1909), Baron Raimund von Stillfried (1839-1911), or Adolfo Farsari (1841-1898). Trades of Japan. 1870s. 3 albumen prints matted and mounted in wooden frame. Each ca. 20 x 26 cm (42 x 52 cm). One numbered in negative in lower left margin.
600 €
These photographs show traditional Japanese artisans and street vendors from the Meiji era, engaged in their crafts such as umbrella-making, basket-weaving, and selling household items. The detailed composition and focus on daily life make these images a classic example of the Yokohama school style, popular among Western collectors at the time.
Lit.: Alfried Wieczorek and Claude W. Sui. Ins Land der Kirschblüte: Japanische Reisefotografie aus dem 19. Jahrhundert Berlin, 2011. Ill. p. 138.
4049 Photographer: Baron Raimund StillfriedRatenicz (1839-1911), Felice Beato (1832-1909) and unknown. Japanese landscapes, temples and villages. 1880s. 9 albumen prints. Each circa 20 x 24 cm and reverse. Some with number and title in lower corners in the negative, most mounted to board and mounted in mats.
800 €
Lit.: Luke Gartlan. A Career of Japan: Baron Raimund von Stillfried and Early Yokohama Photography. Leiden/Boston, 2016. Ill. p. 54 and 62.
4048
4049
japan
4050 Photographer: Baron Raimund StillfriedRatenicz (1839-1911), Felice Beato (1832-1909) and unknown. Ainu villages, Hokkaido and group portraits. 1880s. 7 (some hand-colored) albumen prints. Each circa 20 x 24 cm and reverse. Some with number and title in lower corners in the negative, most mounted to board and mounted in mats.
1.000 €
The indigenous Ainu people originally inhabited the main Japanese island of Honshu before being gradually pushed further north. They lived as hunters, gatherers, and fishers, cultivating a unique and independent culture. By the late 19th century, the Ainu faced increasing assimilation due to political pressure from the Meiji government. Today, only a small number of Ainu remain on the Japanese island of Hokkaido, the Kuril Islands, and Sakhalin. After enduring a long history of discrimination, their language, religion, and culture were officially recognized by the Japanese government in 2008. Historical records of Ainu culture are now rare, making this collection particularly significant. Of special interest are the photographs of their small settlements and group portraits depicting them in traditional clothing.
Lit.: Luke Gartlan. A Career of Japan: Baron Raimund von Stillfried and Early Yokohama Photography. Leiden/Boston, 2016. Ill. p. 138.
4050
japan
4051 Photographers: Kozaburo Tamamura (18561923) and Kusakabe Kimbei (1841-1934). Views of Tokyo. 1890s. 49 hand-colored albumen prints mounted to gilt-edged album boards. Each circa 20 x 26 cm (26 x 33 cm). Most with number and title in lower edge in the negative. Bound in black and gold silk album with chord binding (edges slightly worn).
600 €
This album features views of Mount Atago, Tokyo Imperial Palace, Prince Hotta’s Garden, Mukojima Garden, Shiba Toshogu Shrine, Kameido Tenjin Shrine, Sengaku Temple, Ueno and Asakusa, along with a two-part panoramic view of Tokyo (with some emulsion loss at the lower edge).
4052 Photographer unknown. Selected images of Japan. Circa 1900. 9 albumen prints (8 hand-colored). Circa 18,8 x 24 cm and reverse. Each mounted to both sides of board.
400 €
Several images depict the harvesting of tea plantations, while others show wrestlers, women dining, and the bustling harbor of Hankou, China.
japan
4052
gustave le gray (1820–1884)
4053 Brig on the Water (Brick au Claire de Lune) 1856. Albumen print. 31,5 x 40,5 cm. Photographer‘s re d signature stamp in lower right, mounted to board, matted and framed under museum glass in wooden frame.
20.000 €
Gustave Le Gray’s first exhibited seascape, Brig on the Water, is a seminal piece within his photographic career and was shown at a private meeting of the Photographic Society of London in November 1856, as well as several other venues that year and the following year. This image is considered one of his major masterpieces. The photograph’s striking composition, featuring a solitary ship against the sea and expansive sky, captivated viewers and critics alike, earning widespread acclaim for its technical mastery in capturing light and atmosphere. It quickly became a sensation across Europe, with 800 prints ordered within two months of its release, as noted in a London
printseller’s advertisement in The Times in November 1856. Le Gray‘s albumen prints, often toned with a gold chloride solution, as the print offered here, display a rich violet-purple hue that has contributed to their enduring beauty. Today, prints of this iconic image are housed in major collections worldwide, including the Musée d’Orsay, the Metropolitan Museum of Art, the Princeton University Art Museum, the National Gallery of Art in Washington, the Nelson-Atkins Museum, the Portland Museum of Art, and the Victoria and Albert Museum. Lit.: Gordon Baldwin, ed. Looking at Photographs: A Guide to Technical Terms. Los Angeles, 1991. IIll. p. 6.
Ken Jacobson. The Lovely Sea-View: A Study of the Marine Photographs Published by Gustave Le Gray, 1856-1858. Petches Bridge, 2001. Ill. title page, p. 8, and back cover.
Sylvie Aubenas. Gustave Le Gray, 1820-1884 . Los Angeles, 2002. Ill. pl. 128, p. 108.
Karen Hellman, ed. Real/Ideal: Photography in Mid-Ninete enthCentury France. Los Angeles, 2016. Ill. pl. 118.
georges leuzinger and albert frisch (1813–1892 and 1840–1918)
4054* Early views of Brazil and the Amazon. ca. 1865. 19 albumen prints mounted to board (slightly soiled, some foxing). Each ca. 19 x 23 cm or reverse (27 x 37) cm. Most numbered, titled and signed in negative on lower margin of print.
4.000 €
This selection of photographs by Albert Frisch and Georges Leuzinger represents some of the earliest photographic documentation of the Amazon region. In 1867, Frisch embarked on an expedition commissioned by Leuzinger’s studio in Rio de Janeiro, capturing images of indigenous peoples, natural landscapes, and scenes spanning from Manaus to the Peruvian border. Frisch’s use of photomontage and combination printing techniques adds a distinctive artistic quality to these photographs, while also serving as rare historical records of the Amazon.
mey & widmayer (active 1838–early 20th century)
4055 Siegestor, Munich. 1860. Albumen print mounted to board (some handling creases). 20,5 x 15 cm (39 x 30 cm). Photographer‘s studio stamp embossed in lower margin of mount; titled in lower margin, annotated by another hand in pencil on recto; typewritten description on label attached to verso.
500 €
Mey & Widmayer, established in Munich in 1838, initially focus ed on publishing and lithography before transitioning to photography in the course of the 1850s. The studio became renowne d for its meticulous documentation of Munich‘s architectural and cultural heritage. In addition to their photographic output, Mey & Widmayer produced detailed maps and prints, significantly contributing to Munich‘s cultural landscape during the 19th century.
4054
4055
max missmann (1874–1945)
4056 Views of Berlin. Circa 1904-1907. 7 collodion paper prints. Various sizes, between 17 x 23 cm and 23 x 29 cm. All with photographer‘s logo, negative number and date in the negative in lower right corner. Each with photographer‘s stamp, address Berlin S.O. 26, Kottbusserufer 57 on the verso; as well as with other stamps and annotations in pencil on the verso.
400 €
The views featured in this selection of photographs include notable landmarks such as the University of Berlin (now Humboldt University), Charlottenburg Castle, Charlottenburg City Hall, the Art Academy, the Technical University, and a scenic perspective of the Tiergarten.
monaco principality
4057 Photographer unknown. View of the Principalit y of Monaco. Circa 1880. 2-part albumen panoramic print. 21,5 x 57,5 cm. Title and number in lower edge in the negative, mounted to 2 boards (slight foxing soiling on verso), annotated in pencil below the image on the mount.
500 €
This early view of Monaco features the castle and the surrounding landscape. Monaco’s rise to a glittering tax haven began on February 2, 1861. In the treaty between Charles III and Emperor Napoleon III, Monaco lost 80% of its territory, but France guaranteed the sovereignty of the principality. The simultaneous abolition of the customs border led to an upswing in trade. As a result, France built a railroad line from Nice to Genoa and agreed to construct a station in Monaco in 1868. This development laid the foundation for growing tourism. Finally, in 1866, the casino was built in the Monte Carlo district. The revenues from the new casino were so significant that, in 1869, direct taxation on the still few residents could be abolished.
4056
4056
4057
eadweard muybridge (1830–1904)
4058 Animal Locomotion An Electrophotographic Investigation of Consecutive Phases of Animal Movements. 1872-1885. Bound volume with a total of 21 collotypes on plates. Each circa 46 x 60 cm. Each with printed caption, number and Muybridge‘s copyright on plate. Title page with dedication by Muybridge to „Sir Fredk Leighton Baron P.R.A. with the homage of the author June 1889“ and later dedication by Lord
Leighton „To Linley Sambourne from an old friend. July 22, 1896“ in pencil. Bound in half morocco, clothcovered album (corners rubbed, some scratches) gil t morocco cover label „Animal Locomotion. By Eadweard Muybridge. 1872-1885. Plates. University of Pennsylvania“. University of Pennsylvania, Philadelphia, 1887.
10.000 €
4058
Grolier, Truthful Lens, 123. Parr/Badger, The Photobook I, 52. This album features an important collection of Eadweard Muybridge’s groundbreaking “instantaneous photography,” a self-developed technique that enabled high-precision stop- motion images using an early rapid-acting shutter. Initially focusing on horses, Muybridge expanded his repertoire to include athletes, birds, lions, and camels, famously capturing the first image of a galloping horse with all four hooves off the ground in 1872. By 1885, he had amassed over 20,000 photographic negatives, comprising 781 sequential photo plates taken from multiple cameras positioned at carefully planned locations and angles, each illustrating a subject in continuous motion. Muybridge’s handwritten dedication on the title page to Frederic Leighton, one of Victorian England’s celebrated artists,
underscores the influence of his movement studies on contemporary artists such as Thomas Eakins, Frederic Remington, Ernest Meissonier, Edgar Degas, and the French inventor Étienne-Jules Marey. Notably, Leighton passed away in 1896, the same year he gifted this particular copy to his “old friend,” the renowned Punch cartoonist Edward Linley Sambourne. The complete eleven-part work Animal Locomotion contains 781 numbered plates. The accompanying Author’s Edition, offered here, featured a removable subscription leaf that allowed subscribers to choose their preferred plates, resulting in varied content across different sets. This copy includes plates 3, 133, 152, 174, 187, 214, 279, 289, 347, 408, 465, 471, 565, 616, 626, 647, 659, 710, 721, 739, and 755. The exceptionally fine collotypes were printed by the Photo-Gravure Company in New York.
nadar jeune
(Adrien Tournachon, 1825–1903)
4059 Cow of the Ayrshire Race. 1856. Varnished salted paper print mounted to board. 20,2 x 28,5 cm (30,5 x 47,3 cm). Photographer‘s signature stamp and negative number in the negative in lower right, titled „Kuh von der Ayrshire Race“ in black ink below the
image on the mount, numbered „M 86“ in pencil, Établissement Bovin label embossed onto top left corner of the mount.
800 €
Adrien Tournachon, the younger brother of Gaspard-Félix Tournachon (better known as Nadar), briefly collaborated with his brother after opening a photographic studio. However, competitive tensions arose in 1855, leading to a court ruling that Félix, the more accomplished photographer, was “the only, the true Nadar,” preventing Adrien from using the name “Nadar jeune.” In 1856 and 1860, Adrien photographed prize-winning livestock at Paris agricultural fairs, utilizing the faster collodion wet plate process instead of the slower paper negatives previously used. At the 1856 fair, he successfully produced over 120 negatives, around 50 of which were printed and included in an album presented to the minister of agriculture and commerce. The photograph offered here is printed using the vernis-cuit technique, where the paper is coated with layers of gelatin and tannin to give it the appearance of varnished leather.
netherlands
4060 Photographer unknown. Views of Rotterdam, Amsterdam, Haarlem and Antwerp. 1870s. 4 albumen prints. Each circa 15,7 x 19 cm. Each mounted to board (slightly soiled, slight foxing), each titled in ink below the images on the mount and annotated and dated in ink on mount verso.
400 €
90 th new york state legislature
1867
4061* Commemorative album for Samuel M. Purdy, member of the New York State Assembly 186768. Half leather album (some stronger moisture stains, especially on back cover, edges/corners rubbed) with owner‘s name Samuel M. Purdy gilt-stamped on the cover. With 140 mounted CDV-sized portraits, three larger portraits in oval (19 x 13.3 cm) from ca. 1867, a lithograph of Grover Cleveland and 2 unknown late portraits 1880s. With ca. 133 signatures in ink on the album pages below the images.
1.800 €
This album originates from the personal estate of Samuel M. Purdy of Westchester County, NY, who served in the New York State Assembly from 1867-68. The 1866 New York State election was held on November 6, with assembly members elected for one year and senators for two years. The album opens with a mounted lithograph of future U.S. President Grover Cleveland opposite the title page, followed by a larger portrait of Reuben E. Fenton, Governor of New York from 1865-68 and U.S. Senator from 1869-75. Other notable figures include Stewart L. Woodford, Lieutenant Governor of New York (1867-69), and Edmund L. Pitts, Speaker of the Assembly in 1867. Several CDV portraits are autographed in black ink, including prominent names like Ornon Archer, Stephen Baker, Samuel M. Barker, and others, documenting a wide array of political figures from the period. This album provides a rich historical record of New York State political leadership during the late 1860s.
4061
nineteenth century group portraits
4062 Photographers: Numa Blanc (1816-1897) and others. Group portraits. 1850s-1860s. 3 salted paper prints, 1 albumen print. 21 x 18 cm and smaller. Each mounted to original studio card (edges time-stained, some foxing spots), each annotated in pencil on mount.
300 €
north africa
4063 Photographers : Lehnert & Landrock (active 1904-1930), Neurdein Frères (active 1864-1919), Léon & Lévy (active 1864-1917), Phot Leroux (active 1900s1920s). Views of North Africa. 1890-1910s. 48 gelatin silver prints and 1 collotype print mounted to album pages. Each between 18 x 24 and 22 x 28 cm (30 x 35,5 cm). Most signed, titled and numbered in negative in lower margin, bound in green cardboard-backed album with cloth spine.
300 €
This album features notable North African landmarks, including the Al-Zaytuna Mosque in Tunis, the Roman Aqueducts of Zaghouan, and the St. Louis Cathedral in Carthage, along with the Mosque of the Sabres and the Mosque of Sidi Sahbi in Kairouan. Other significant landmarks include the Roman ruins of Djemila, the Arch of Trajan in Timgad, views of the Algiers waterfront, and the Notre Dame d’Afrique basilica.
4062
4063
north africa
4064 Photographers: Alexandre Bougault (18511911), Frères Garriques (active 1860s-1890s), and others. Views of North Africa. Late 1890s-early 1900s. 40 albumen and gelatin silver prints mounted to gilt-edged album pages (some foxing). Each between 12,3 x 18 cm and 23 x 39 cm (26 x 37 cm). Some with photographer‘s name and/or title in the negative in lower margin. Bound in green leather-backed album with gilt-embossed title Northern Africa 1908
400 €
This 1908 album provides a focused visual record of North Africa during the French colonial era, particularly Tunisia and Algeria. Featuring the work of photographers such as Alexandre Bougault and the Garrigues Frères, it captures key landmarks such as the Al-Zaytuna Mosque in Tunis, the Royal Hotel in Biskra, and the oases of Tozeur and Nefta. A notable inclusion is a portrait of Sadok Bey, the last ruler of the Beylik of Tunis.
4064
4064
kazumasa ogawa (1860–1929)
4065 Some Japanese Flowers. 1892-1896. 4 albums, containing a total of 36 collotypes on album pages (some loose). Each between 22 x 22 cm and 28 x 24 cm or reverse (40,5 x 27,5 cm). With printed title on interleaf or below image on mount. Bound in original album with silk cord binding (soiled, some creases and tears). Kelly and Walsh Edition, Yokohama.
1.800 €
Kazumasa Ogawa was a key figure in Meiji-era photography and printing, establishing Tokyo’s first photographic studio in 1884 and founding Japan’s leading collotype printing business in 1889. Renowned for his technical innovations and editorial contributions to photography journals, Ogawa gained particular acclaim for his botanical photography. His collotypes of flowers, characterized by meticulous detail and artistry, demonstrate a profound appreciation for floral subjects. Complete albums of Ogawa’s flower photographs, such as these four, are exceedingly rare
4066
ferdinando ongania (active 1880s–1910s)
4066 Calli et canali in Venezia. 1890-91. 39 héliogravures on chamois paper (slightly soiled, minimal foxing). Each ca. 33,5 x 23 cm or reverse (39 x 27,5 cm), Each with letterpress title and editor information above and below image.
600 €
Ferdinando Ongania was a prominent Italian publisher and photographer known for his detailed works on Venetian architecture. His series “Calli e Canali in Venezia” (1890-1891) meticulously documented Venice’s streets and canals, capturing both famous landmarks and lesser-known corners of the city. Blending artistic finesse with documentary precision, Ongania’s work provides a comprehensive visual record of Venice in the late 19th century.
Lit.: Helmut Gernsheim. Geschichte der Photographie. Die ersten hundert Jahre. Frankfurt a. M., 1983. Ill. p. 482.
ottoman empire
4067 Photographer: Pascal Sébah (1823-1886) and possibly others. Attractive and very comprehensive portrait album showing a wide range of people livin g in the Ottoman Empire. 1860s-1870s. Circa 400 cartes-de-visite sized albumen prints, mounted to album pages, each annotated in ink in French below the images on the mount (time-stained/soiled in edges), bound in contemporary half leather canvas album (edges rubbed/small tears, corners worn) with gilt embossed title Collection des Types et Costumes de la Turquie par Pascal Sebah
6.000 €
This exceptionally comprehensive album features portraits of nearly all the peoples and cultures within the Ottoman Empire around 1860-70, as well as neighboring regions under its influence. It vividly illustrates the remarkable diversity of the empire’s political, economic, and cultural life, including portraits of high-ranking officials, officers, and armed personnel in their various uniforms and attire. The collection also includes images of embassy staff, eunuchs, and dwarfs from the Sultan’s court, as well as priests and bishops representing the spectrum of Oriental Christian religions. Additional groups, such as dervishes, mullahs, sheikhs, street vendors, veiled women, farmers, Jews, musicians, pilgrims and beggars, further enrich this extraordinary album.
Lit.: Bahattin Öztuncay. The Photographers of Constantinople. Pioneers, studios and artists from 19th century Istanbul . Istanbul, 2006 (2nd edition). Ill. p. 494-499 (street sellers).
4067
ottoman empire
4068 Henri Béchard (active 1869-1890) and unknown. Types of the Ottoman Empire. Circa 1865. 23 cdv (3 larger) albumen prints. Some annotated in pencil below the image, each mounted to board.
500 €
4068
paris commune 1871
4069 Photographer: Ernest & Eugène Appert Imprisoned women of the Paris Commune Revolt; Protest by the National Guard on the occasion of the Prussian entry into Paris. 1871. 2 composite albumen prints. 21 x 17 cm and 15 x 21,1 cm. Each mounted to original board, with photographer‘s name and caption printed below image and first print with names of the detained women on the mount.
500 €
One of two photo collages by Ernest Appert features female participants of the Paris Commune at the Chantiers prison. Appert had previously photographed each of them individually and compiled their portraits into this single image. The names of approximately 200 women are printed on the mount.
4069
wilhelm plüschow (Guglielmo, 1852–1930)
4070* Nude study in doorway. 1890s. Abumen print mounted to board. 22,5 x 16 cm (32 x 24 cm). Numbered „28“ by another hand in pencil on lower right corner of mount.
1.500 €
Wilhelm (Guglielmo) Plüschow, a German photographer primarily active in Naples, Italy, is renowned for his nude studies of young men. While his work was controversial at the time due to its homoerotic themes, it made a significant contribution to the history of photography by incorporating the aesthetics of classical antiquity and romanticism. Despite facing legal challenges, Plüschow’s naturalistic and spontaneous style remained highly influential, shaping the trajectory of artistic nude photography in the late 19th and early 20th centuries.
4071* Nude study. 1890s. Abumen print mounted to board. 22,5 x 16 cm (32 x 24 cm). Numbered „29“ by another hand in pencil on lower right corner of mount.
1.500 €
wilhelm plüschow
4070
4071
4072 Photographers: Becker, C. Hertel (1832-1906), Stengel and unknown. Selected views of the Rhineland. 1880s. Circa 69 albumen prints and 8 collotypes. Each circa 21,7 x 28 cm and reverse. Several with photographer‘s name in the negative/stamped on verso, many annotated in pencil on the verso.
600 €
4073 Photographers: Robert Rive (1825-1889), Michele Mang (active 1860-1880s), and others. Views of Rome. 130 albumen prints mounted to album pages (some loose). Each between 9,3 x 14,3 cm and 20,4 x 27,2 cm (31,7 x 45,3 cm). Most signed, numbered and titled in negative in lower margin. Bound in parchment-backed album (some soiling) with gilt-embossed title and ornamentation.
400 €
rhineland
rome
4072
4073
russia
4074* Photographers : Vasily Gerasimovich Fedorov (1857-1924) and Alexander Mendelevich (dates unknown). Views of Kazan. 1890s. 16 albumen prints mounted to board (slightly soiled, some foxing). Each between 17 x 23 cm and 21,5 x 27,5 cm (23,5 x 31 cm and 24,5 x 34 cm). Most annotated in pencil on verso, 2
with the embossed photographer‘s signature stamp in lower margin of print, 1 with the publisher‘s copyright stamp on verso.
800 €
This collection of photographs features several significant landmarks in Kazan, Russia, such as the Annunciation Cathedral, Peter and Paul Cathedral, Kazan University, the Agricultural Palace, and the Church of the Exaltation of the Holy Cross. Also included are images of Liberty Square, the Kazan Kremlin, and a prominent view of the Alexander II Monument, which commemorates the Russian emperor’s reforms.
4075 Selected views of Nuremberg. 1870s/1880s/ printed 1880s. 9 albumen prints. Each circa 21 x 26,5 cm and reverse. 7 with photographer‘s blind stamp in lower left corner, 8 with stamped title and distributor stamp on the verso, 1 mounted to board
300 €
4074
4075
ferdinand schmidt (1840–1909)
siam
4076 Photographer: Robert Lenz (1864-1929).
Views and types of Siam. 1893-1907. 34 albumen and collodion paper prints mounted to gilt-edged album pages (some foxing and signs of previous mounting). Each between 15,5 x 21 cm and 21,5 x 29 cm (25,5 x 33,5 cm). Most numbered in negative, annotated in pencil above image on mount.
1.500 €
Robert Lenz, one of the most prolific photographers based in Southeast Asia during the late 19th and early 20th centuries, opened his Bangkok studio in 1893, quickly gaining renown and
securing the coveted role of court photographer for the Siamese royal family. His photographs, distributed as cabinet cards and postcards at the time, vividly documented the region’s architecture, culture, and people, including portraits of Thai royalty, nobility, and everyday citizens, as well as architectural and topographical views. This collection of photographs features landmarks such as Wat Phra Si Sanphet, Wat Saket, Wat Phra Kaew, Wat Pho, and Tham Khao Luang cave, alongside scenes of rural life, the royal elephant hunt, and King Rama V in a ceremonial palanquin during a procession.
Lit.: Joachim K. Bautze. Unseen Siam: Early Photography 18601910. Bangkok, 2016. Ill., p. 309, pl. 44; p. 313, pl. 59; p. 314, pl. 61; p. 322, pl. 88; p. 324, pl. 94.
pascal sébah (1823–1886)
4077 (Attributed to). Panorama of Cairo. 1870s. Panorama consisting of 6 albumen prints mounted to boards (soiled, larger tear in cover board). Each ca. 25 x 31 cm (63,5 x 209 cm overall).
2.200 €
This six-part panorama of Cairo, attributed to Pascal Sébah, depicts a sweeping view of the city’s historical and architectural landmarks, including such sites as the Muhammad Ali Mosque, the Cairo Citadel, the aqueduct, the northern cemetery, and the mosques of Sultan Hassan and al-Rifa’i among others.
pascal sébah
4078 Portraits of inhabitants of the Ottoman Empire. 1870s. 34 albumen prints. Each circa 14,2 x 10 cm. Most with title and/or number in lower left corner in the negative; annotated in pencil on verso.
750 €
Pascal Sébah was a pioneering photographer known for his detailed and impressive images of the Middle East and North Africa during the 19th century. Operating a studio in Istanbul, he specialized in both portraiture and landscape photography, capturing the diverse culture and architectural wonders of the Ottoman Empire. His work contributed significantly to We stern fascination with the Orient and remains a valuable resource for understanding the region’s history and heritage.
Lit.: Bahattin Öztuncay. The Photographers of Constantinople: Pioneers, studios and artists from 19th century Istanbul . Istanbul, 2006 (2nd edition).
Provenance: Robert Lebeck Collection
4078
giorgio sommer (1834–1914)
4079* Street vendor with children. 1880s. Handcolored albumen print mounted to board. 25 x 20 cm (30 x 23,5 cm). Numbered and signed in negative on lower margin of print, annotated in pencil on board.
400 €
Giorgio Sommer is widely recognized for his comprehensive documentation of Italian landscapes, architecture, and street scenes, with a particular focus on Naples. His carefully staged genre scenes, often featuring peasants and street vendors, were highly popular with tourists and today serve as invaluable visual records of 19th-century Italian life. Sommer’s works are held in major collections, including the Metropolitan Museum of Art and the J. Paul Getty Museum.
Lit.: Marina Miraglia, Pino Piantanida Ulrich Pohlmann and Dietmar Siegert. Giorgio Sommer in Italien: Fotografien 18571888. Heidelberg 1992, compare Neapolitan Costume SceneThe Night, ill. p. 112.
4080 Street scenes of Naples; Water carrier in Capri; Delousing scene, Naples. 1870s/80s. 4 albumen prints. Each ca. 20 x 26 cm or reverse. 3 with negative number and caption in the negative in lower edge, 1 with number „6156“ in lower left in negative, each mounted to board (some traces of use).
400 €
Lit.: Marina Miraglia/Pino Piantanida, et. al. Giorgio Sommer in Italien: Fotografien 1857-1888. Heidelberg, 1992.
4079
carol popp de szathmári (1812–1887)
4081 Buceciu la Sinaia (Bucegi Mountains near Sinaia). 1860s. Albumen print with rounded corners mounted to original board (slightly soiled). 29,8 x 34,8 cm (39 x 45,5 cm). Dedicated „Romania. Album Alu M.S. Domnitoriulu Carolu I‘“, titled „Buceciu la Sinaia“ and signed „C.Szathmari Fotografu“ on mount.
1.200 €
Carol Popp de Szathmári is recognized as one of the first war photographers, renowned for his documentation of the Crimean War and his landscape photography in Romania. This photograph, part of a larger album commissioned by Carol I of Romania, depicts the Bucegi Mountains near Sinaia, a town later known for Pele ș Castle, the summer residence of the Romanian royal family.
4081
félix teynard (1817–1892)
4082 Ile de Fileh. Édifice de l‘est - face latérale, vue du point D, (no. 89 „Egypte et Nubie“). 1851-52. Salted paper print from a calotype negative 1853-58. 29,1 x 36,9 cm. Crop marks and number 89 in the negative; number in red crayon on verso, hinge-mounted in mat.
2.500 €
The engineer and self-taught photographer Félix Teynard traveled through Egypt from late 1851-1852 with the goal of creating photographic images of architectural sites to supplement engravings made during the Napoleonic expeditions from 1809-1829. He used a large-format glass plate camera and employed the waxed paper negative technique invented by Gustave Le Gray. A total of 160 of his photographs were published in the album Égypte et Nubie: sites et monuments les plus intéressants pour l’étude de l’art et de l’histoire, with only 11 extant complete albums known today. Teynard’s photographs were received with great enthusiasm at the 1855 Paris World Exposition. This and the following two photographs show the complete negative, which are uncropped and unmounted, a rarity since such fragile paper negatives were typically mounted for distribution.
Lit.: Félix Teynard. Calotypes of Egypt: A Catalogue Raisonné New York 1992, ill. 89, p. 183.
4083 Médinet-Abou (Thebes). Constructions antérieures-vue générale, (no. 34 „Egypte et Nubie“). 1851-52. Salted paper print from a calotype negative 1853-58. 29,2 x 37 cm. Crop marks and number 34 in the negative; number in red crayon on verso, hinge-mounted in mat.
2.500 €
Lit.: Félix Teynard. Calotypes of Egypt: A Catalogue Raisonné. New York, 1992. Ill. 349, p. 169.
4084 Ile de Fileh. Vue générale prise du nord-ouest au point A , (no. 86 „Egypte et Nubie“). 1851-52. Salted paper print from a calotype negative 1853-58. 29 x 36,8 cm. Crop marks and number 86 in the negative; number in red crayon and annotations in ink on verso, hinge-mounted in mat.
2.000 €
Lit.: Félix Teynard. Calotypes of Egypt: A Catalogue Raisonné. New York, 1992. Ill. 86, p. 182.
4082
4083
unknown photographer
4085 Studio family portrait of young brothers and sisters. Early 1850s. Hand-painted salted paper print. 20,2 x 26 cm. Flush-mounted to board.
600 €
4085
venice
4086 Photographer: Carlo Naya (1816-1882), Carlo Ponti (1822-1893) and unknown. Views of Venice and steamers. 1855-1860s. 8 albumen prints. Circa 26 x 34,5 cm. Some with number/photographer‘s name in the negative in lower corners, 4 with Ponti‘s blindstamp below image on mount.
400 €
This collection features attractive views of the Venetian church Santa Maria Gloriosa dei Frari as well as four images of the steamers Baroda, Poonah, Il Duilio and Surat
4087 Photographer: Carlo Naya (1816-1882), Carlo Ponti (1822-1893) and J. Lanfranchini . Views of Venice. 1860s-1870s. 10 albumen and 2 salted paper prints. Circa 18 x 24 cm and smaller. Some with number/photographer‘s name in the negative in lower corner s, most mounted to board.
500 €
4086
4087
4088 Photographers: Oskar Kramer (1835-1892), A. Huber and unknown. Selected views of Vienna, Graz and Hopfgarten. 1870s/90s. Circa 7 albumen prints and 1 collodion paper print. Each circa 21,7 x 28 cm and reverse. All mounted to board, some with title and photographer printed below image on mount 500 €
whaling
4089 Photographer: M.G. Whaling in Norway. Circa 1880. Collodion paper print. 17 x 23 cm. Mounted to board (minimal foxing), annotated in pencil below the image on the mount.
400 €
x-ray photography
4090 Photographer: Friedrich Ernst Dorn (18481916). X-ray photograph of a hand. 1896. Vintage collodion paper print. 16,5 x 12 cm. Mounted to board, annotated by the photographer „Albrecht‘s Hand“ and by a later hand in ink on the verso.
900 €
The discovery of X-rays by Conrad Roentgen and capturing them on photographic plates in 1895 revolutionized medicine from then on. Another important scientist, Prof. Ernst Dorn, was experimenting with X-rays and radioactivity at the University of Halle at the same time. His small publication, offered here, appeared just six months after Roentgen‘s. His X-ray prints from 1896, one of which is offered here, are equally impressive. – With contemporary publication: Mitteilungen über RöntgenStrahlen von E. Dorn. Halle, 1896.
20 th century & contemporary photography
africa (nigeria and benin)
4091 Photographer unknown. Images of the Yoruba tribe. 1910s. 26 vintage gelatin silver prints. Various sizes between circa 15 x 12 cm and smaller. Mounted to album pages and bound together in patterned canvas album with cord binding.
900 €
This album contains rare photographic documents of the settlement area of the Yoruba tribe in Nigeria and Benin (1910s), as well as some later photographs from the same area from the 1930s. The early photos show portraits of various chiefs and medicine men as well as cult objects and dance masks.
4091
4091
aviation
4092 Two German aviation documentation albums. 1920s-30s. Circa 248 vintage gelatin silver prints mounted to card, with typed and handwritten caption labels in German on the mounts. Various sizes between 8 x 10,5 cm, 12 x 17 cm and 7 x 12,5 cm. Bound in 2 contemporary cardboard albums (traces of use, especially around edges and back cover) with cord binding.
1.200 €
These two richly illustrated and unique documentary albums from the 1920s – 1930s were likely compiled by an unknown member of the international and German aviation scene during the interwar period. The photographs capture daring flight exercises and feats by well known pioneers in their latest aircraft designs, as well as documenting spectacular flight records and numerous fatal crashes. The aviation enthusiasm of the 1920s is vividly reflected in the variety of aircraft, with around 40 different types depicted within these albums. A small group of rare photographs provides a fascinating overview of the Raab Katzenstein aircraft factory and its associated flying school in Kassel. These albums are especially notable for their rare portraits of prominent figures in aviation, such as Prof. Junkers, Thea Rasche, Gerhard Fieseler, Ernst Udet, Clarence D. Chamberlin, Günter von Hünefeld, Willi Stöhr, Kurt Katzenstein, Arno Loose, Otto Könnecke, and many others.
4092
4092
ragnar axelsson (b. 1958)
4093 Storm in Iceland. 1986. Vintage gelatin silver print. 29,5 x 44 cm (35 x 49,5 cm). Signed, titled and dated by the photographer in pencil on the verso.
600 €
paul almasy (1906–2003)
4094 Les Halles, Paris. 1960. Vintage ferrotyped gelatin silver print. 23 x 29,5 cm. Photographer‘s stamp and annotated by the photographer in pencil/ ink on the verso.
750 €
max baur (1898–1988)
4095 Views of Potsdam. 1930s. 2 vintage largeformat gelatin silver prints on ivory paper. 30 x 35 cm and 40,5 x 30,5 cm. Both signed and titled in pencil below image on mount, annotated in pencil on the verso.
900 €
With: 2 additional vintage gelatin silver prints by Baur with views of the Garrison Church in Potsdam.
the beatles
4096 Photographer: Germin ( Gerhard Mingram, 1910-2001). The Beatles in the Hamburg Star Club. 1961. 3 later ferrotyped gelatin silver prints. Each circa 18 x 23,7 cm. Each signed, dated and titled by the photo grapher in pencil on the verso.
400 €
4095
hans bellmer (1902–1975)
4097 Hans Bellmer Photographies (Images from the „Poupée“ series). 1930s. 10 gelatin silver prints, printed 1983. Each circa 25,5 x 26 cm (35 x 29 cm). Each with photographer‘s facsimile signature blindstamp below image in margin; each with photographer‘s name stamp, editioned „26/50“ in ink and „Tirage original realisé par Roger Vulliez“ stamp on the verso, loosely mounted in window mats (a few loose). In original black cloth clamshell box with applied lace and pink stamped title Hans Bellmer (corners/edges rubbed, writing on cover with light scratch/rubbing, otherwise in very good condition), 2 text leaves. Galerie Francois Petit, Paris 1983.
7.500 €
This collection comprises ten posthumous prints made from Bellmer‘s original negatives by Roger Vulliez, with the agreement of the rights holders, who numbered and marked them with a dry stamp, along with wet stamps on the verso.
4097
4097
4098 Femme à la bicyclette. 1946. Gelatin silver print, printed later. 12,7 x 12,7 cm. Annotated „Bellmer“ by another hand in pencil on the verso.
Provenance: Galerie Sydow to the present owner.
1.000 €
4099 Scènes erotiques (Femme au bidet/La croix gamahuchée) . 1946. 2 gelatin silver prints, printed later. Each 12,7 x 12,7 cm. Annotated „Bellmer“ by another hand in pencil on the verso.
Provenance: Galerie Sydow to the present owner.
1.200 €
4098
4099
erwin blumenfeld (1897–1969)
4100 Blumenfeld Color. 1940-1950. 10 dye transfer prints, printed 1984. Each between 30 x 20 cm and 32 x 26 cm (sheet size 47 x 39.5 cm). Each with estate stamp, signed by F.C. Gundlach in pencil and numbered „27/50“ on the verso. Includes double sheet with title, table of contents, and imprint. Edition PPS Galerie F.C. Gundlach Hamburg. Presented in red linen clamshell box.
10.000 €
Erwin Blumenfeld was a pioneering fashion photographer known for his innovative use of color in the mid 20th century. His work often featured dramatic lighting, unconventional compositions, and creative techniques such as solarization, distortion, and double exposures. His images were prominently featured in major fashion magazines like Vogue and Harper’s Bazaar, significantly shaping the visual language of fashion photography during this period and leaving a lasting impact on the field.
4100
karl blossfeldt (1865–1932)
4101 Dryopteris filix (Wurmfarn) . 1928. Gelatin silver print, printed from the original negative in 2000. 30,6 x 23,8. „Karl Blossfeldt / Archiv Wilde“ copyright stamp; Numbered 42/50, annotated and signed by Jürgen Wilde in pencil on the verso.
750 €
roman bezjak (b. 1962)
4102 Kabul, Afghanistan . 1993. Cibachrome print. 21 x 32 cm (38 x 48 cm). Framed under glass in wooden frame (slightly scratched), signed, titled, dated and annotated by the photographer in pencil on frame verso.
400 €
Roman Bezjak, born in 1962 in Ptuj, SR Slovenia/Yugoslavia, is a renowned documentary photographer. After studying photography in Dortmund, he worked on photo essays for various German print media, including the Frankfurter All gemeine Zeitung, from 1989 1999, earning the German Pho tography Award in 1996. Since 2000, he has been a professor of pho tography at Bielefeld University of Applied Sciences and has held numerous solo exhibitions globally.
bill brandt (1904–1983)
4103 Nude, Hampstead. 1952. Gelatin silver print mounted to board, printed 1970s. 34,3 x 29 cm (51 x 40,5 cm). Signed in felt-tip pen below image on board. 4.000 €
Bill Brandt’s nude photography is distinguished by its dramatic lighting and innovative compositions. Created primarily in the mid 20th century, Brandt’s nudes challenge conventional notions of beauty and femininity, often emphasizing the abstract and sculptural qualities of the human form. His significant contributions to the genre left a lasting impact on the exploration of light, shadow, and form in the depiction of the nude. Lit.: Brandt, Bill. Bill Brandt: Nudes 1945-1980. London: Gordon Fraser, 1982. Ill. pl. 9; Brandt, Bill. Bill Brandt: Shadow of Light. London: Gordon Fraser, 1984. Ill. p. 125; Bill, Jay and Nigel Warburton. The Photography of Bill Brandt. New York: Harry N. Abrams, 1999. Ill. p. 303; Brandt, Bill. Brandt Nudes: A New Perspective. London: Thames & Hudson, 2012. Ill. p. 59.
4103
monika von boch (1915–1993)
4104 Felsen Roppeviller, Nordelsass II. 1974. Gelatin silver print. 33,7 x 30,5 cm. Signed and annotated in pencil on the verso.
600 €
Monika von Boch was a German photographer known for her work in industrial photography and her experimental use of light and form. Trained at the Folkwangschule in Essen, she was influenced by the Bauhaus style and became a member of the fotoform group, which promoted subjective photography in post war Germany. Her work blends documentary precision with abstract composition, making her a key figure in German post war photography.
jan bulhak (1876–1950)
4105 Views of old Danzig. 1920s. 7 vintage toned gelatin silver prints on strong paper. 11 x 16 cm. Each with photographer‘s blindstamp in lower right corner, mounted to original cream card (minimal traces of use), each with number stamp in upper right corner of mount.
1.800 €
Jan Bulhak was one of the most influential photographers in Poland between 1918 1939. He began photographing around 1905 and worked as an assistant to Hugo Erfurth in Dresden circa 1910 1911. In 1912, Bulhak opened his own studio in Wilno, Poland, and later lectured at Wilno University, where he became the head of the Institute of Photography in the Department of Fine Arts (1919 1939). Most of his photographs were destroyed during the war, making his vintage work exceptionally rare and seldom seen outside of Poland.
4106 Manchester. 1976. Fine Art print, printed later. 29,5 x 42 cm. Signed, titled and dated by the photographer in pencil on the verso.
1.000 €
john bulmer (b. 1938)
4106
norbert bunge (1941–2024)
4107 Ein Loch in der Mauer, Berlin-Kreuzberg 1962. Gelatin silver print, printed later. 24,5 x 36,8 cm (30,3 x 40,5 cm). Signed, titled and dated by the photographer in pencil, as well as photographer‘s copyright stamp on the verso.
800 €
Norbert Bunge was active in photography for over five decades both standing behind the camera as a free lance photo journalist and promoting the photography of other important and often forgotten photographers. He often highlighted social
and East German photography in the many exhibitions he curated over the years in his Berlin gallery argus fotokunst. Lit.: Mathias Bertram (ed.). Norbert Bunge. Fotografien. Leipzig 2017, ill. p. 14.
4108 Die Mauer. Berlin, Bernauerstr. 1962. Gelatin silver print, printed later. 22 x 32 cm (30 x 40 cm). Signed, titled and dated by the photographer in pencil, as well as photographer‘s copyright stamp on the verso.
600 €
4107
4108
henri cartier-bresson (1908–2004)
4109 Peter and Paul‘s Fortress on the Neva River, Leningrad. 1973. Gelatin silver print, printed later. 23,7 x 36 cm (30,5 x 40,7 cm). Signed by the artist in black ink below image.
3.000 €
Henri Cartier Bresson’s photographs of Russia, taken during his visits in the 1950s and 1970s, offer a candid and intimate glimpse into Soviet life during a time of significant political and social tension. His images capture everyday moments with a sense of spontaneity, revealing both the ordinary routines and the subtle emotions of the people. Cartier Bresson’s hallmark “decisive moment” is evident as he freezes scenes of workers, children, and landscapes, creating a compelling narrative of life under Soviet rule at that time.
4109
jewgeni chaldej (1917–1997)
4110 Reichstag 2. Mai 1945 . 1945. Gelatin silver print, printed 1990s. 30,5 x 41 cm. Signed, titled and dated by the photographer in pencil on the verso.
800 €
Jewgeni Chaldej, a Soviet photojournalist, is renowned for his photographs documenting the capture of Berlin by Soviet troops on May 2, 1945, marking the end of World War II in Europe. His images, particularly the iconic scene of the Soviet flag being raised on the Reichstag building, have become crucial visual records of this historic moment.
Lit.: Volland, Ernst, and Heinz Krimmer, eds. Von Moskau nach Berlin: Bilder des russischen Fotografen Jewgeni Chaldej Berlin: Nicolai Verlag, 1999. Ill. p. 65.
4110
4111 Nürnberg. 1946. Gelatin silver print, printed 1990s. 24 x 30 cm. Signed, titled and dated by the photographer in pencil on the verso.
600 €
Lit.: Volland, Ernst, and Heinz Krimmer, eds. Von Moskau nach Berlin: Bilder des russischen Fotografen Jewgeni Chaldej Berlin: Nicolai Verlag, 1999. Ill. pp. 108 109.
children
4112 Photography agency: Conti-Press. Images of children at play. 1950s. 23 vintage ferrotyped gelatin silver prints. Various sizes, most circa 22 x 16 cm. Each with typed press text labels and stamps on the verso.
400 €
jewgeni chaldej
4111
4112
conningham & o‘brien (actve 1920s)
4113 Total eclipse of the sun, January 25, 1925. Vintage, large-format, warm-toned gelatin silver print. 33 x 26 cm. Dated in ink and photographer‘s stamp on the verso, mounted in mat.
5.000 €
4113
davidson (b. 1933)
4114 Girl Holding Kitten, London . 1960. Gelatin silver print, printed later. 32,5 x 22 cm (35,4 x 27,7 cm). Signed by the photographer and annotated in another hand in pencil on the verso.
1.200 €
This 1960 photograph by Bruce Davidson is part of his „England/Scotland“ series, produced during a Magnum commission. It exemplifies Davidson‘s profound humanist approach, capturing intimate moments of everyday life with striking emotional resonance. The series is particularly noted for its sensitive portrayal of British youth and urban environments, offering a vivid reflection of post war societal changes and the shifting landscape of 1960s Britain.
bruce
4114
lutz dille (1992–2008)
4115 MoMA, N.Y.C. 1959. Gelatin silver print, printed 2001. 28,8 x 38,5 cm (30,5 x 40 cm). Signed by the photographer in ink lower right within image; signed and dated by the photographer in pencil and with photographer‘s copyright stamp on the verso.
900 €
The German photographer Lutz Dille is known for his documentary and reportage style photography. His photographs often focus on the lives of ordinary individuals, including children, families, and workers, reflecting the social and cultural transitions of the time.
4116 Paris. 1951. Gelatin silver print, printed 2001. 22 x 28,5 cm (23,8 x 30,3 cm). Signed and dated by the photographer in ink lower right within image; signed, titled and dated by the photographer in pencil, with the photographer‘s copyright stamp and „argus fotokunst 9/12“ edition stamp on the verso.
500 €
robert doisneau (1912–1994)
4117 Photomontage of various interiors taken by Robert Doisneau, superimposed onto a building wall. 1950s. Vintage gelatin silver print. 30 x 21 cm. 3 photog rapher‘s/agency stamps and numbers in ink on the verso.
1.200 €
Robert Doisneau frequently utilized photomontage in his work, and the image presented here offers a captivating „view“ of the interior of a large apartment building in Paris. By combining photographs of various individuals in their apartments, Doisneau crafted this imaginative representation of communal living, blending multiple scenes into a singular, cohesive vision of life within the building.
4117
4119
harold edgerton (1903–1990)
4118 Squash Swing (Miss Workman) . 1930s. Vintage ferrotyped gelatin silver print on ivory paper. 19 x 24 cm. Annotated Miss Workman by the photographer in pencil on the verso.
3.000 €
Harold Edgerton was a pioneer in high speed photography, renowned for his use of stroboscopic techniques to capture moments too quick for the human eye to perceive. His work often focused on freezing dynamic motion, turning everyday activities such as sports and scientific phenomena into striking visual studies of movement.
4119 Ginger Ale being poured into a glass. 1930s. Vintage ferrotyped gelatin silver print on ivory paper. 24 x 19 cm. In original window mat (pinholes in corners) with typed caption text below the image in mat.
900 €
egypt
4120 Photographer: Günter R. Reitz. Salvage of Abu Simbel. 1966. Vintage ferrotyped gelatin silver print. 29,7 x 24 cm. Photographer‘s stamp, agency stamp and typed press text label on the verso.
500 €
Between 19641966 the German photographer Günter R. Reitz documented the salvage of the Abu Simbel Temple in Egypt. The twin statues of Abu Simbel were rescued from the rising waters of the Nile, during the construction of the Aswan High Dam. Abu Simbel was originally carved during the reign of Pharaoh Ramesses II in the 13th century BC. The rescue of the temples began in 1964, the entire site was cut into large blocks, dismantled and reassembled in a new location.
queen elizabeth ii
4121 Photographer: Paul Popper (1933-1969, Popperfoto agency). Princess Elizabeth training as an ATS officer, learning how to change a truck wheel. April 12, 1945. Vintage warm-toned, large-format gelatin silver print. 38 x 30,2 cm. Typed press text label with Imperial War Museum note on the verso.
900 €
4120
4121
elliott erwitt (1928–2023)
4122 Brasilia. 1961. Gelatin silver print, printed later. 20,5 x 30,5 cm (27,9 x 35,5 cm). Signed in ink in lower right corner of recto; signed and annotated in pencil on the verso.
1.500 €
Elliott Erwitt is celebrated for his candid, often humorous blackand white photographs that capture the subtleties of human nature and everyday life. His work spans a wide range of subjects, from personal, intimate moments to significant historical events, always marked by his sharp attention to detail and his ability to find warmth and wit in ordinary scenes. Dogs are a recurring subject in Erwitt‘s photography, often portrayed with the same empathy and humor he applies to his human subjects, capturing their personalities and quirks in a charming and relatable way.
4122
walker evans
(1903–1975)
4123 Roadside Stand, Vicinity Birmingham, Alabama. 1936. Later gelatin silver print from the original negative. 32,5 x 39,5 cm. „Walker Evans, gelatin silver print from the original negatives“ stamp and annotated in pencil on the verso.
600 €
walker evans and russell lee
4124 Cattlemen at auction of prize beef steers and breeding stock, San Angelo, Texas, 1940; Bayou, Louisiana, 1939; Abandoned ante-bellum plantation house, Vicksburg, Mississippi , 1936. 3 ferrotyped gelatin silver prints/printed 1970s. Each circa 20,5 x 25,3 cm. Each annotated and with number notations in pencil as well as „Reproduced from the collection of the Library of Congress“ and other archive stamps on the verso.
500 €
Walker Evans and Russell Lee’s work for the Farm Security Administration (FSA) was crucial in shaping the visual narrative of rural America during the Great Depression. Through their photographs, they captured the hardships faced by individuals and communities, portraying the economic and social struggles of the time. Their combined efforts provided a comprehensive depiction of the era, offering an enduring record that not only informed public understanding but also influenced the development of documentary photography as a tool for social awareness and historical preservation.
Lit.: Roy Stryker and Nancy Wood. In This Proud Land: America, 1935-1943 as seen in the FSA photographs. New York 1973, ill. pp. 34 and 75.
Exhibition: Die USA der dreißiger Jahre in Fotografien, Galerie Taube, Berlin Sept.4 Oct. 2,1976.
Provenance: Galerie Taube, Berlin
4125 Boarding House, Birmingham, Alabama, 1936; Lunch time at an all-day community sing, Pie Town, New Mexico, 1940. 2 ferrotyped gelatin silver prints/ printed 1970s. Each circa 20,5 x 25,5 cm. Each annotated and with number notations in pencil as well as „Reproduced from the collection of the Library of Congress“ and other archive stamp on the verso.
500 €
Lit.: Roy Stryker and Nancy Wood. In This Proud Land: America, 1935-1943 as seen in the FSA photographs. New York 1973, ill. p. 128.
Exhibition: Die USA der dreißiger Jahre in Fotografien, Galerie Taube, Berlin Sept.4 Oct. 2,1976.
Provenance: Galerie Taube, Berlin
4123
4125
4124
4127 Untitled (photogram). 1949. Vintage unique gelatin silver print. 12,4 x 11 cm. Mounted to board, signed and dated by the photographer in ink on mount verso, mounted in mat.
600 €
Born in 1923, Lois Field grew up in Patterson, NJ. After her studies at the Newark School of Fine and Industrial Arts and at the Student’s League in New York City a friend mentioned a man who taught at the Institute of Design in Chicago (formerly the New Bauhaus). It was the artist, Myron Kozman, whom Field married in 1948. She became a graduate of the class of 1952 from the Institute of Design and pursued an art career as an accomplished visual artist (in painting and photography.
Provenance: Christie‘s. Light, Volume and Form: Photographs from the Shalom Shpilman Collection, May 24June 2, 2016, lot 52.
4126 The artist Elvira Bach. 1982. Large-format Fine Art print on Hahnemühle paper, printed 2024. 38,3 x 50,3 cm (50 x 60 cm). Signed, dated and with print info by the photographer in ink on the verso. From an edition of 5 + 2 a.p.
800 €
film photography
4128 Scene from the film Metropolis showing the Heart Machine. 1926/27. Vintage gelatin silver print. 16,5 x 23 cm. Ufa logo in the negative in lower right corner.
750 €
Although Metropolis did not enjoy the expected success during its premiere, audiences were impressed with the technical tricks and visual effects which remain an iconic element of cinematography today. This film still shows the Heart Machine, which is the city‘s power generator in the film. Its destruction leads to a hydraulic breakdown and flood of the worker‘s city.
susanne esche
4126
4127
4128
lois field (1923–2012)
robert frank (1924–2019)
4129 The Lines of My Hands. 125 p. with 30 p. booklet insert and numerous black and white photographs. 35.5 x 26.5 cm. Original black cloth covered boards (two light marks on front cover) with black cloth slipcase with photograph mounted on. Tokyo, Yugensha/Kazuhiko Motomura, 1972.
3.000 €
Parr and Badger. The Photobook Vol. I,. p. 261. The Open Book. Hasselblad Center. pp. 286 289. First Japanese edition of Frank‘s „coveted photobook (which) has been published in three completely different versions. The most renowned edition (ours) was published in 1972 in Japan by Yugensha, Tokyo, the first of a trio of notable books in deluxe format designed by Kohei Sugiura and sponsored by Motomura.“ (Parr and Badger).
robert frank
4130 Flower Is. 112 p. with 81 offset black and white photographs. 34.2 x 25,1 cm. Original grey cloth covered boards with grey cloth slipcase with photograph „Champs-Elysees 1950“ mounted on cover. Tokyo, Yugensha/Kazuhiko Motomura, 1987.
3.500 €
Parr and Badger. The Photobook.Vol. I, p. 264. Auer Collection p. 670. First and only edition of 500 copies (folio). The second of three books that Robert Frank produced with Kazuhiko Motomura. Unlike The Lines of My Hand, Flower Is was never published abroad. It is more of a stream of consciousness work in memoriam to his daughter Andréa who was killed in a plane crash in Guatemala in 1974. With only 500 copies printed this book is rare
4129
4130
leonard freed (1929–2006)
4131 New York City. 1963. Vintage gelatin silver print. 24 x 16 cm (24,8 x 18,5 cm). Signed by the photographer in pencil, photographer‘s copyright stamps, agency stamp and annotations in pencil/ ink on the verso.
1.500 €
The American photographer Leonard Freed captured compelling images of Harlem and Brooklyn, particularly during the Civil Rights Movement of the 1960s. He skillfully documented the vibrant and complex life of the Harlem community, emphasizing its people, culture, and the social and political issues of the time.
(1910–2002)
4132 Wall Street, New York. 1960s. Vintage gelatin silver print. 60 x 49,5 cm. Photographer‘s Buenos Aires stamp and signed by the photographer in pencil on the verso.
1.200 €
Lit.: Leonard Freed. Black in White America. New York 2010.
4131
4132
jorge friedmann
hartmut beil (b. 1959)
4133 Fashion photos. 1989. 2 vintage gelatin silver prints. 27,5 x 18,5 cm (30 x 24 cm).
900 €
The East German fashion photographer Hartmut Beil was a student of Arno Fischer. Among other subjects he photographed the peace movement in the former GDR and many of his fashion photos were published in magazines such as Sibylle. – With: Sibylle magazine, issue 5, 1990 (both images illustrated). Lit.: Sibylle, 1990, issue 5, ill. pp. 34 and 36.
sibylle bergemann (1941–2010)
4134 Outdoor scenes in Arno Fischer‘s garden. 1990s. 2 vintage Polaroid photos. Each circa 10,5 x 9 cm. Each with handwritten label on verso.
900 €
4133
4134
4134
sibylle bergemann
4135 Model. 1990s. Vintage polaroid photo. 11 x 8,5 cm.
900 €
christian borchert (1942–2000)
4136 Regenschauer am S-Bahnhof Nöldnerplatz 1971. Gelatin silver print, printed later. 18,8 x 28,8 cm (20,2 x 29,8 cm. Signed, titled and dated by the photographer in pencil and photographer‘s/copyright and „Galerie am Alten Museum“ edition label „2/30“ on the verso.
1.200 €
„Regenschauer am S-Bahnhof Nöldnerplatz“ is one of Christian Borchert‘s most iconic images and was taken outside his studio window.
Lit.: Karl Gernot Kuehn. Caught. The Art of Photography in the German Democratic Republic. Berkeley 1997, ill. p. 114.
kurt buchwald (b. 1953)
4137 From the series „Die Galeristen“. 1991. 3 vintage ferrotyped gelatin silver prints. Each circa 24 x 18 cm. Each titled by the photographer in ink in lower margin; each signed and dated by the photographer in ink on the verso.
4137
detlef christel (1943–2018)
4138* Two boys with dogs, Berlin. 1978-80. Vintage gelatin silver print . 25,5 x 30 cm (28 x 42 cm). Mounted to board, photographer‘s stamp on mount verso.
400 €
Detlef Christel studied photography at the Hochschule für Grafik und Buchkunst Leipzig from 1976 1981. Following his education, he worked as a photojournalist for the magazine Freie Welt from 19821991, with a strong emphasis on documenting the lives of children in the former GDR as they transitioned into adulthood. His candid portrayals of everyday moments capture the emotional and social situations of his subjects, providing a nuanced perspective on life in East Germany during a period of profound political and social change.
detlef christel
4139* Kids, Berlin. 1978-80. 3 vintage ferrotyped gelatin silver prints. Each between 21 x 19 cm and 23 x 21 cm. Each with photographer‘s stamp on the verso.
4140* Kids, Berlin. 1978-80. 3 vintage ferrotyped gelatin silver prints. Each ca. 29 x 21 cm. Photographer‘s stamp on the verso.
400 €
arno fischer (1927–2011)
4141 Ostberlin, Besuch von N.S. Chruschtschow (Leninallee). 1957. Gelatin silver print on doubleweight paper, printed 1980s. 23,6 x 34,2 cm. Signed, annotated and dated (1958) by the photographer in pencil as well as photographer‘s stamp on the verso.
900 €
Arno Fischer‘s documentary style photographs of both East and West Berlin offer a timeless glimpse into the challenges and resilience of the city‘s inhabitants during this period. They represent valuable historical records as well as works of art. Lit.: Elke aus dem Moore/Matthias Flügge (eds.). Arno Fischer. Fotografie. Exhibition catalog. Ostfildern 2009, ill. p. 52.
4142 Müritz-DDR. 1956. Gelatin silver print, printed 1990s. 27,5 x 42,2 cm (36,5 x 48,5 cm). Titled, signed and dated by the photographer in pencil on the verso. 1.200 €
Lit.: Elke aus dem Moore/Matthias Flügge (eds.). Arno Fischer. Fotografie. Exhibition catalog. Ostfildern 2009, ill. p. 65.
4143 West-Berlin, Kurfürstendamm . 1958. Gelatin silver print on doubleweight paper, printed 1980s. 23,2 x 34,2 cm. Signed and dated by the photographer in pencil and photographer‘s stamp on the verso.
900 €
Lit.: Elke aus dem Moore/Matthias Flügge (eds.). Arno Fischer. Fotografie. Exhibition catalog. Ostfildern 2009, ill. p. 36.
4143
arno fischer
4144 Fashion photographs, Berlin. 1960s. 2 vintage gelatin silver prints hinge-mounted to board. Each circa 40 x 30 cm (50 x 40 cm).
600 €
Provenance: From the estate of Arno Fischer.
4145 Fashion photographs, Berlin. 1960s. 2 vintage gelatin silver prints hinge-mounted to board. Each circa 40 x 30 cm (50 x 40 cm).
600 €
Provenance: From the estate of Arno Fischer.
4146 Fashion photographs, Budapest. 1960s. 2 vintage gelatin silver prints hinge-mounted to board. Each circa 40 x 30 cm (50 x 40 cm).
Provenance: From the estate of Arno Fischer.
600 €
gerhard gäbler (b. 1952)
4147 Leipzig. 1983. Archival pigment print on Hahnemühle Baryta paper, printed 2017. 28,8 x 43,5 cm (32,8 x 48,2 cm). Photographer‘s copyright stamp as well as signed, titled and dated by the photographer in pencil on the verso.
800 €
Gerhard Gäbler is known for his black and white photographs documenting everyday life in the GDR. Originally trained as a chemist, he later studied photography, turning his lens to his immediate environment and capturing life under communist rule in all its nuances. His work is featured in collections such as the Museum of Fine Arts, Houston, and the International Center of Photography
Lit.: Gerhard Gäbler. Zeit ohne Wiederkehr: Fotografien 19781989. Leipzig, 2015. ill. p. 16.
4148 Leipzig. 1988. Archival pigment print on Hahnemühle Baryta paper, printed 2017. 28,8 x 43,5 cm (32,8 x 48,2 cm). Photographer‘s copyright stamp as well as signed, titled and dated by the photographer in pencil on the verso.
800 €
Lit.: Gerhard Gäbler. Zeit ohne Wiederkehr: Fotografien 19781989. Leipzig, 2015. ill. p. 94. Gerhard Gäbler. Ostbad: Fotografien. Text by Günter Kunert. Hamburg, 1993. ill. cover.
4148
gerhard gäbler
4149 Insel Usedom, Ostsee. 1985. Archival pigment print on Hahnemühle Baryta paper, printed 2017. 28,8 x 43,5 cm (32,8 x 48,2 cm). Photographer‘s copyright stamp as well as signed, titled and dated by the photographer in pencil on the verso.
800 €
Lit.: Gerhard Gäbler. Zeit ohne Wiederkehr: Fotografien 19781989. Leipzig, 2015. ill. p. 55.
4150 Altenburg. 1983. Archival pigment print on Hahnemühle Baryta paper, printed 2017. 17,2 x 44,4 cm (32,8 x 48,2 cm). Photographer‘s copyright stamp as well as signed, titled and dated by the photographer in pencil on the verso.
800 €
Lit.: Gerhard Gäbler. Zeit ohne Wiederkehr: Fotografien 19781989. Leipzig, 2015, ill. pp. 2425.
bernd heyden (1940–1984)
4152 Interior study. 1970s. Vintage gelatin silver print. 14,3 x 22,3 cm (22,5 x 30,2 cm). Annotated in pencil, with photographer‘s stamp on the verso.
400 €
Bernd Heyden was closely connected to and integrated in Prenzlauer Berg, Berlin, where he spent most of his life. A selftaught photographer, he initially trained as a woman‘s tailor and worked as an ironer, chauffeur and laboratory assistant, before being officially recognized as a photographer in 1974. Since 1967, he worked in the Club junger Fotografen (Club of Young Photographers) founded by Arno Fischer and Sibylle Bergemann. His photographs were rejected by former GDR officials as „trash can photography“, nonetheless they were highly valued by many of his colleagues.
4153 Industrial landscape. 1970s. Gelatin silver print, printed later. 21,5 x 33,2 cm (29,7 x 40 cm). Annotated in pencil on the verso.
500 €
herbert hensky (1910–2005)
4151 Vereinigungs-Parteitag 22.4.46, Admiralspalast. 1946. 2 vintage, large-format, ferrotyped gelatin silver prints. 32 x 29,4 cm and 54 x 41 cm. Each with photographer‘s/agency stamp and 1 annotated in blue pencil/pencil on the verso.
900 €
Herbert Hensky was a notable German photographer who became a prominent figure in the field during the mid 20th century. Known for his candid and evocative imagery, Hensky documented various facets of German society, ranging from everyday life in post war Berlin to important political events. The images offered here show Wilhelm Pieck and Otto Grotewohl at the Vereinigungs Parteitag between the East Berlin SPD and KPD. A variant of the image, showing Pieck and Grotewohl shaking hands, is in the collection of the Berlin DDR Museum.
4151
4152
4153
stefanie ketzscher (b. 1951)
4154 Untitled from the series „Dokumentation Leipzig-Altstadt II“. 1979. Gelatin silver print, printed later. 22 x 33,2 cm (28,2 x 37,5 cm). Signed and titled by the photographer in lower margin; annotated in pencil on the verso.
500 €
Lit.: Stefanie Ketzscher. Umgebung und Sonnenwende. Berlin, 2011.
sven marquardt (b. 1962)
4155 Two women. 1987. Vintage gelatin silver print. 21 x 30,3 cm. Photographer‘s stamp and dated in pencil on the verso.
900 €
Sven Marquardt trained as a photographer and cameraman at the DEFA studios before making a name for himself with publications in magazines like Sonntag and Das Magazin in the mid 1980s. He worked as a fashion photographer for Sibylle, alongside Roger Melis and Arno Fischer, gaining recognition for his documentation of the GDR‘s subculture. Following German
reunification, he transitioned to working as a bouncer at the renowned Berghain club, becoming an emblematic figure of the club culture scene. He has participated in numerous exhibitions and continues his photography work today.
4156 Nude. 1988. Vintage gelatin silver print. 31 x 21,2 cm. Photographer‘s stamp and dated in pencil on the verso.
900 €
4157 Blindfolded woman. 1989. Vintage gelatin silver print. 21 x 30,5 cm. Photographer‘s stamp and dated in pencil on the verso.
900 €
4158 Couple. 1990. Vintage gelatin silver print. 31,2 x 21,5 cm. Photographer‘s stamp and dated in pencil on the verso.
900 €
4159 Nude. 1991. Vintage gelatin silver print. 31,2 x 21,5 cm. Photographer‘s stamp and dated in pencil on the verso.
900 € 4154
4158
robert paris (b. 1962)
4160 Gaswerk Dimitroffstr., Berlin, before and after attempted demolition. 1983, 1984 and 1988.
3 vintage gelatin silver prints. 16 x 23,5 cm. Each with photographer‘s stamp and titled and dated by the photographer in ink/pencil on the verso.
800 €
In the 1980s, photographer Robert Paris roamed the decaying streets of East Berlin, documenting its crumbling facades, abandoned factories, and desolate squares. Through his lens, he sought to preserve the essence of a city on the brink of transformation, capturing its urban landscapes with a mix of nostalgia and stark realism. His photographs, filled with a sense of impermanence, not only reflect the physical decay of the surroundings but also foreshadow the impending fall of the GDR, making them a poignant historical record.
4161 Glienicker Brücke; Gleisdreieck, Berlin. 1988. 2 vintage gelatin silver prints. Each circa 15 x 22 cm. Each with photographer‘s stamp and titled and dated by the photographer in pencil on the verso.
€
4162 Brandmauer near Schöneweide, Berlin. 1980s. Vintage gelatin silver print. 24 x 16,4 cm. Each with photographer‘s stamp and titled and dated by the photographer in pencil on the verso.
500 €
4162
uwe steinberg (1942–1983)
4163 Untitled (Carousel). 1968. Vintage gelatin silver print. 21 x 29,7 cm. Photographer‘s stamp and annotated in pencil on the verso.
600 €
Uwe Steinberg utilized photography as an autonomous medium, even within the constraints of a socialist context. His extensive body of work, spanning various themes such as labor, daily life in the former GDR, and portraits of youths, serves as a testament to his discerning choice of subjects and his mastery of composition techniques. The image offered here was used in part on the cover of the book „Der Schimmel mit den blauen Augen“.
4164 S-Bahn Schönhauser Allee, East Berlin. Early 1970s. Vintage gelatin silver print. 24 x 18,3 cm (28 x 18,3 cm). Photographer‘s stamp and annotated in pencil on the verso.
600 €
4164
ulrich wüst (b. 1949)
4165 Magdeburg. 1982. Gelatin silver print hingemounted to mat. 14,5 x 20 cm (17 x 21,7 cm). Signed, titled, dated and numbered „5/10“ in pencil on the verso.
900 €
Ulrich Wüst intricately captured the urban landscapes and architectural motifs of the former GDR with exceptional detail and nuance. His photographs, characterized by stark compositions and muted tones, serve as poignant reflections on the built environment and societal dynamics of East Germany during the Cold War era. 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.
4166 Berlin. 1978. Gelatin silver print. 14,3 x 21,5 cm (16,7 x 23,6 cm). Titled and dated in pencil on lower left corner of recto; annotated in pencil on the verso.
750 €
Lit.: Ulrich Wüst. Stadtbilder/Cityscapes 1979-1985. Ostfildern, 2021, ill. p.116.
4167 Berlin. 1980. Gelatin silver print. 14,2 x 21,9 cm (16,7 x 23,6 cm). Titled and dated in pencil on lower right corner of recto; annotated in pencil, with archive stamp on the verso.
750 €
4168 Sculptural study. 1980s. Gelatin silver print. 14,6 x 22 cm (17 x 23,8 cm). With the photographer‘s stamp on the verso.
750 €
4169 Wismar. 1980s. Gelatin silver print. 18,5 x 27,6 cm (21,3 x 29,4 cm). Numbered, titled, dated and signed (?) by the photographer in pencil on the verso.
750 €
4167
4168
4169
gemeinde wien (modern residential housing)
4170 Photographer: Martin Gerlach (1879-1944) and others. Residential buildings of Gemeinde Wien. 1925-1930. 8 vintage, most ferrotyped gelatin silver prints. 23 x 17 cm and 17,5 x 23,3 cm. Each with photographer‘s stamp and annotated in pencil/red crayon on the verso.
400 €
After World War I, during Austria’s First Republic (1918 1934), the Social Democrats governed Vienna, creating what was known as „das rote Wien“ (“Red Vienna”). Their primary focus was on promoting social housing, known as „Gemeindebau“. The architectural photographs presented here feature typical residential buildings from the Gemeinde Wien in various city districts, including V. Bezirk (Reumannhof, 2 images), XIII. Bezirk (Hermeswiese), XV. Bezirk (Schmelz), XVII. Bezirk (Kongressplatz), XVIII. Bezirk (Lindenhof), and XX. Bezirk (Denisgasse/ Spaungasse). The collection also includes a photograph of an unrealized modern iron construction in Breslau (from the collection of Adolf Behne).
fritz getlinger (1911–1998)
4171 Joseph Beuys at „Straßenbahnhaltestelle“, 1976; Joseph Beuys in his studio in Kleve (2), 1970s. 3 vintage gelatin silver prints on RC paper. Each circa 23,5 x 17,5 cm. Each signed by the photographer in marker and with photographer‘s copyright stamp as well as edition number „1/18“ on verso.
600 €
One of the three photographs offered here shows the “Straßenbahnhaltestelle” (Tram Stop) at the corner of Nassauer Allee and Lindenallee in Kleve, 1976. In this image Joseph Beuys presents the crosssection of the tram line in front of the ‘Cupido Column’. The other images show Beuys in his studio with the wooden cross for the Büderich Memorial and at his window. The photographer Fritz Getlinger was closely associated with artists living and working in Kleve and cultivated contacts and friendships with Willy Maywald and Joseph Beuys. He made several portraits of Beuys and repeatedly documented the artist‘s activities with his camera.
4170 4171
mario giacomelli (1925–2000)
4172 Untitled, from the series ”Io non ho mani che mi accarezzino il volto”, 1961-1963. Gelatin silver print, printed later. 12,7 x 18 cm. Signed by the photographer in black ink in lower right corner; „Archivio Mario Giacomelli“ certificate of authenticity written in ballpoint pen and signed by Simone Giacomelli on the verso.
1.000 €
ulrich görlich (b. 1952)
4173 Untitled (Interior). 1979. Vintage gelatin silver print on Agfa paper. 17,7 x 23,8 cm (23,8 x 29,8 cm). Signed and dated by the photographer in pencil on the verso.
1.000 €
After attending the Technical University, Berlin, Ulrich Görlich studied with Michael Schmidt from 19721975 and directed the Werkstatt für Photographie in Kreuzberg from 1977 1982. As of 1991 he taught photography at the Applied Arts School in Zurich.
4172
4173
nan goldin (b. 1953)
4174 Kee in Bed, East Hampton N.Y. 1988. Cibachrome print. 27 x 39 cm (30,5 x 40,5 cm). Signed by the photographer in felt-tip pen and annotated by another hand on the verso.
1.000 €
Nan Goldin‘s work explores themes surrounding the LGBT community, intimacy, the HIV crisis, and the opioid epidemic. Her seminal work, „The Ballad of Sexual Dependency“ (1986), which includes this image, serves as a poignant documentation of postStonewall gay subculture, intertwined with intimate portrayals of Goldin‘s family and friends. Often compared to Diane Arbus and Larry Clark, Goldin‘s style embraces the informal, content driven aesthetic of the snapshot, with a focus on capturing private dramas in interior settings such as cluttered kitchens, downtown bars, and disheveled beds. Notably, her adept use of color serves as a catalyst for accentuating the emotional essence of each moment. Goldin resides and works in New York City, Berlin and Paris.
4175 Joey in my mirror, Hornstr., Berlin . 1992. Chromogenic print on Fujifilm paper 26 x 40,4 cm (30,4 x 45 cm). C/O edition label, therein signed by the photographer in ink and numbered (500 ex.) on the verso.
900 €
Lit.: Nan Goldin. The Other Side. Edited with David Armstrong and Walter Keller. Zurich 1992, ill. p. 123. Elisabeth Sussman (ed.). Nan Goldin. I‘ll Be Your Mirror. Zurich 1996, ill. p. 339.
4176 Amanda in the Locker Room, Berlin . 1993. Cibachrome print, printed 1996. 51 x 61 cm. Signed by the photographer in felt-tip pen on the verso.
1.800 €
4176
4177 James King: Supermodel . 1995. 12 cibachrome prints. Each ca. 40 x 50 cm. Presented in black clamshell box (slightly scratched) with embossed title, title page, index and introduction. Printer‘s proof copy. Fleet Edition, Hamburg.
15.000 €
Nan Goldin’s James King: Supermodel series provides an intimate, unvarnished look into the life of teenage model Jaime (James) King, who rose to prominence in the mid 1990s, during the transitional period between the supermodel era and the emergence of the “heroin chic” aesthetic. At just sixteen, King was already navigating the complex and often toxic world of fashion, where unattainable beauty standards, an obsession with youth, and the glamorization of drug use were pervasive.
Goldin’s portrayal resists 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. Goldin‘s photographs convey a deep connection and empathy for her subjects, integrating seamlessly with her signature style, marked by an unflinching, raw intimacy that captures the vulnerability and humanity of those closest to her. The series was published in a limited edition of 10 portfolios, along with 4 artist proofs. This particular copy is a printer’s proof, crafted under Goldin’s supervision to ensure the print quality prior to final production, making it a unique and valuable document.
Lit.: All images published in: Jennifer Egan, „James is a Girl“ The New York Times Magazine, February 4, 1996, pp. 26 38.
nan goldin
4177
4178 James at a Jean Colonna fitting, Paris. 1995. Cibachrome print. 60,5 x 45,5 cm. Signed by the photographer in felt-tip pen on the verso.
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.
4178
nan goldin
greg gorman (b. 1949)
4179 Male nudes. 1990s. 2 vintage gelatin silver prints. 17,6 x 12,2 cm and 24,3 x 19,7 cm (25,3 x 20,5 cm). First print monogrammed by the photographer in pencil on the verso; second print copyrighted by the photographer in pencil on the verso.
600 €
greene (b. 1942)
4180 Janis Joplin. 1966. Gelatin silver print, printed 1990s. 23,5 x 23 cm (35 x 28 cm). Signed by the photog rapher in ink in lower margin, matted and signed by the photographer in pencil on the mat.
600 €
4179
4180
herb
heinz hajek-halke (1898–1983)
4181 Heinz Hajek-Halke: 12 Reprints aus den Jahren 1927-1960 10 gelatin silver prints, printed 1978. Each circa 34 x 27 cm (40,5 x 30,5 cm). Each signed and numbered „15/28“ by the photographer in pencil below the image in the margin. Presented in original grey clamshell box (traces of use, edges rubbed) with printed colophon.
6.000 € 4181
Active during the early to mid 20th century, German photographer Heinz Hajek Halke was a true innovator, known for his imaginative and surreal compositions. His work often incorporated multiple exposures, photomontage, and innovative darkroom techniques to create visually striking and thought provoking images. He explored themes of abstraction, motion, and the intersection of reality and dreams, pushing the boundaries of traditional photography.
Galerie Werner Kunze (ed.). Heinz Hajek-Halke: Fotografie, Foto-Grafik, Licht-Grafik. Berlin 1978, ill. pp. 28, 29, 38 and 40. Heinz Hajek Halke. Form aus Licht und Schatten. Göttingen 2005, vol. I, ill. pp. 37, 44, 89, 112 (variant), 149, 177 and 178.
heinz hajek-halke
4182 Die üble Nachrede. 1932. Gelatin silver print, printed 1979. 35 x 28 cm (40,5 x 29,3 cm). Signed and inscribed „Rep.“ by the photographer in ink in lower right in margin; titled, editioned and annotated „ Repro von Michael Ruetz nach den besten Originalen“ by Heinz Hajek-Halke on the verso.
750 €
4183 Choreographische Botschaft. 1967. Vintage gelatin silver print. 39,7 x 30 cm. Signed by the photographer in felt-tip pen on verso; titled and annotated by the photographer in ballpoint pen on verso; photographer‘s „6701 Birkenheide/Pfalz, Auf der Heide 4“ copyright stamp and „Lichtgraphik“ edition stamp on the verso.
900 €
4184 Verbrannte Barmherzigkeit. 1969. Vintage gelatin silver print. 60 x 50 cm. Signed and dated by the photographer in ballpoint pen in lower margin; titled and annotated by the photographer in ballpoint pen, photographer‘s „6701 Birkenheide/Pfalz, Auf der Heide 4“ copyright stamp and „Lichtgraphik“ edition stamp on the verso.
1.200 €
peter hebler (b. 1950)
4185 Nach der Räumung, Winterfeldstraße 22.9.1981
Vintage matte gelatin silver print. 24,3 x 36 cm (30,5 x 40,5 cm). Photographer‘s copyright stamp as well as signed, titled and dated by the photographer in pencil on the verso.
400 €
4186 Punk Rocker. 1982. Matte gelatin silver print. 36 x 24,5 cm (40,5 x 30,5 cm). Photographer‘s copyright stamp as well as signed and dated by the photographer in pencil on the verso.
400 €
4185
candida höfer (b. 1944)
4187 Rijksarchief Limburg Maastricht I. 2003. Chromogenic print in linen portfolio. 21 x 27 cm. Signed by the photographer in pencil, titled, dated and numbered „53/100“ on label on the verso.
600 €
Candida Höfer is renowned for her large scale, meticulously composed photographs of public interiors, such as museums, theaters, and concert halls, which are strikingly devoid of human presence. Her series “Bibliotheken” highlights the serene and majestic interiors of libraries around the globe, capturing their architectural beauty and cultural significance through precise composition and natural light. Höfer’s acclaimed work has been exhibited in prestigious venues, including the Louvre, the Hermitage Museum, and the Museum of Modern Art (MoMA). She has received numerous accolades, notably representing Germany at the Venice Biennale in 2003 and being awarded the Käthe Kollwitz Prize in 2024.
Lit.: Candida Höfer. Bibliotheken. Berlin, 2005. ill. pl. 67.
4188 Portrait of the actor, author and cabaret comedian Werner Finck (1902-1978). 1940s. Vintage gelatin silver print. 14,8 x 11,2 cm. Photographer‘s/ copyright stamp and annotated in pencil on the verso.
400 €
Alongside artists such as Hans Deppe, Rudolf Platte, and Robert A. Stemmle, Werner Finck founded the cabaret Die Katakombe in 1929. Serving as the conferencier, Finck’s critical and subtly irreverent remarks about the National Socialists contributed to the cabaret’s success, making him an early thorn in their side. He often defied authority by daring Gestapo informers in the audience to write down every word he said. In 1935, the cabaret was closed down by Joseph Goebbels.
marta hoepffner (1912–2000)
4187
4188
thomas hoepker (1936–2024)
4189 View from Williamsburg, Brooklyn of Manhattan, September 11, 2001. Large-format archival pigment print, printed 2007. 50 x 74 cm. (60 x 90 cm). Signed and editioned „18/20“ by the photographer in ink and photographer‘s stamp on the verso.
8.000 €
This photograph, by acclaimed Magnum photographer Thomas Hoepker, sparked considerable debate upon its release. As a photojournalist acutely aware of the power of visual storytelling and the intense emotions it can evoke, Hoepker chose not to share the image immediately after September 11. He believed that its inherent ambiguity made it an inadequate representation of that day’s events. Rather than conveying indifference, Hoepker has explained that his aim was to capture the complexity of human responses to tragedy, highlighting how a single image can evoke diverse interpretations. Today, it stands as an iconic piece of photojournalism, representing a pivotal moment in global history.
Provenance: Robert Morat Galerie to the present owner.
horst p. horst
(Paul Horst Bohrmann, 1906–1999)
4190 Male Nude, Back Study, New York. 1952. Gelatin silver print on Agfa paper, printed later. 36,5 x 47,5 cm (40,4 x 50,4 cm). Signed by the photographer in pencil in lower margin; photographer‘s copyright stamp and annotated in pencil and red crayon by another hand on the verso, matted.
2.500 €
This strikingly abstract, modern nude exemplifies Horst P. Horst‘s masterful orchestration of light and shadow. The stark contrasts of black and white emphasize the sculptural quality of the model, whose solid form mirrors the compact mass of the stone on which he lies. This rare image is one of Horst‘s more minimalistic and abstract works, highlighting his ability to distill the human figure into a harmonious interplay of shape and texture.
Lit.: Boris von Brauchitsch (ed.). Enthüllungen . Berlin 2019, ill. p. 138.
ewald hoinkis (1897–1960)
4191 Refugees in Friedland, from the series „Flüchtlinge“. 1947. Vintage ferrotyped gelatin silver print on doubleweight paper. 28,4 x 21 cm. Photographer‘s stamp and annotated in pencil/ink on the verso.
500 €
Lit.: Ute Eskildsen (concept and text). Ewald Hoinkis. Fotografien 1924-60. Berlin 1988, ill. p. 136 (from the same series).
4192 Sri Ganga Singh, Maharajah of Bikaner. 1935. Vintage gelatin silver print. 31,4 x 20,8 cm. Signed and dated by the sitter in ink in lower right on recto, flush-mounted to board (traces of previous mounting on mount verso), annotated in pencil by another hand, photographer‘s studio stamp on mount verso.
400 €
This photograph shows Sri Ganga Singh Bahadur (1880 1943), the Maharaja of Bikaner, known for his progressive reforms and military leadership, including commanding the Bikaner Camel Corps during World War I. He played a significant role on the international stage, representing India at the Imperial War Cabinet and the League of Nations, leaving a lasting legacy through his contributions to his state and the Indian independence movement.
india
4191
4192
inventions 1950s/60s
4193 Photography agency: Conti-Press. Images of inventions for everyday use. 1950s/60s. 18 vintage ferrotyped gelatin silver prints. Various sizes, most circa 22 x 16 cm. Each with typed press text label and stamps on the verso.
400 €
lotte jacobi (1896–1990)
4194 Ballettschule Eduardowa. 1930. Vintage gelatin silver print. 16,7 x 16,2 cm. Signed in lower right corner of recto; photographer‘s copyright stamp and annotated in pencil on the verso.
500 €
Lotte Jacobi is renowned for her intimate and engaging portraits, utilizing dramatic lighting and composition to capture the true essence of her subjects. Her portfolio includes striking photographs of ballet dancers, in this case those from the Ballet School Eduardowa in early 1930s Berlin, which highlight the elegance and energy of their performances. Jacobi‘s fusion of artistic vision and technical prowess has established her as a significant and celebrated figure in the history of photography.
4195 Portraits of Brigitte Nielsen.1987. 2 vintage gelatin silver prints. Each circa 36,5 x 24,5 cm (39.4 x 27,7 cm) and reverse. Each signed/copyrighted by the photographer in ink and annotated in pencil by another hand on the verso.
400 €
4196 New York. 1970s. Vintage large-format gelatin silver print on Agfa paper. 40 x 26 cm. Photographer‘s/copyright stamp and annotated in pencil by the photographer‘s wife in ink on the verso.
900 €
tom jacobi (b. 1956)
4195
4196
max jacoby (1919–2009)
japan
4197 Photographer unknown. Images of Japanese ceremonies and parades. 1930s. 52 vintage gelatin silver prints. Circa 10 x 14 cm and reverse. Mounted to album pages annotated in Japanese in red ink and bound together in leather album (edges frayed) with cord binding.
500 €
4197
4197
jazz
4198 Photographer unknown. Sam Wooding and his Chocolate Kiddies Orchestra , performing at the Ufa-Palast in Berlin. 1928. Vintage sepia-toned gelatin silver print. 16,5 x 22,2 cm. „Ufa“ photo stamp and annotated in pencil on the verso.
1.200 €
In 1925, American jazz musician Sam Wooding brought his famous Chocolate Kiddies Orchestra to Berlin for the first time. They were the first large, all Black jazz band to perform in many major European cities, achieving lasting success with their „Hot Jazz“ style. This image captures the band on their third visit to Berlin, performing at the Ufa Palast theater in 1928. Lit.: Horst H. Lange. Jazz in Deutschland. Die Deutsche JazzChronik bis 1960. Hildesheim 1996, ill. p.271 (image from the same series).
william keck (1908–1995)
4199 Untitled (photogram). Circa 1939. Vintage unique gelatin silver print. 25,2 x 20,2 cm. Mounted in mat.
1.000 €
Provenance: Christie‘s. Light, Volume and Form: Photographs from the Shalom Shpilman Collection, May 24-June 2, 2016, lot 45.
4198
4199
peter keetman (1916–2005)
4200 Volkswagenwerk, Wolfsburg. 1953. Gelatin silver print, printed 1990s. 27 x 26 cm (50,3 x 40 cm). Signed by the photographer in ink on the verso. 1.200 €
This is a unique print with unusually wide margins which Keetman only printed once in this format.
Lit.: Holger Broeker (ed.) Kunstmuseum Wolfsburg. Peter Keetman - Volkswagenwerk 1953. Bielefeld, 2003, ill. p. 137.
4201 Photographer unknown ( Bildstelle VFWD ). John F. Kennedy, speaking in front of Rathaus Schöneberg, Berlin. 26.6.1963. Vintage ferrotyped gelatin silver print. 23,7 x 18 cm. Agency stamps and typed press text on the verso, mounted in upper edge to black card.
500 €
4200
4201
john f. kennedy (1917–1963)
andré kertész (1894–1985)
4202 Armonk, New York. 1941. Vintage gelatin silver print. 24,4 x 19,5 cm. Photographer‘s copyright stamp, signed, titled, numbered and dated by the photographer in pencil on the verso.
2.000 €
André Kertész’s photographs of rural New York and Vermont reflect his fascination with landscapes and everyday life in American communities. Taken in the early 1940s, this image captures the region’s charm through Kertész’s distinctive style, featuring an architectural structure amidst natural elements, illustrating the relationship between human habitation and the environment. Prints of this work are held in the collections of the Museum of Modern Art (MoMA) and the Centre Pompidou.
4202
jürgen klauke (b. 1943)
4203 So stell‘ ich mir die Liebe vor. 1977. 13 vintage chromogenic prints. 50 x 40 cm (sheet size), various image sizes. Each signed and editioned by the photographer in felt-tip pen on the verso. Includes double sheet with title, dedication, and imprint. Edition F.C. Gundlach & Jürgen Klauke Hamburg/Cologne. Presented in original cardboard box.
5.000 €
The photography and media artist Jürgen Klauke is known for his critical and confrontational view of normed sexual identities and social behavioral patterns. In works ranging from highly minimalistic to strongly excessive, and also at times surrealistic scenes, his photographs reflect on the basic conditions of paranoid existence. Using everyday materials as a means to produce images, the artist creates a concentrated look at the absurdity of life.
4203
jürgen klauke
4204 Desasteriöses Ich ‚Daseinsrenovierung‘. 1996. 8 gelatin silver prints. Each approximately 44 x 56 cm. Signed, titled, dated, and editioned „14/15“ by the photographer in felt-tip pen on verso of first print. Includes double sheet with title, imprint, signature, and edition number. Fleet Edition, Hamburg. Presented in original cardboard box. 6.000 €
With: Jürgen Klauke. Desasteriöses Ich ‚Daseinsrenovierung‘. 1996. Miniaturausgabe (miniature edition).
4204
barbara klemm (b. 1929)
4205 Chiniesche Mauer bei Peking, China. 1985. Gelatin silver print, printed 2013. 27 x 38,5 cm (30,4 x 40,2 cm). Photographer‘s/copyright „6 Frankfurt/ Main“ stamp as well as titled and dated by the photographer in pencil on the verso.
600 €
gustav gustavovich klutsis (1895–1938)
4206 Photographic reproduction of original photomontage designed for the first International Spartakiada in Moscow. 1928. Vintage gelatin silver print. 17,5 x 11,5 cm. Mounted to paper.
1.500 €
This iconic photomontage design from 1928, reproduced in this vintage photograph from the same year, was used for the global promotion of the first International Spartakiade in Moscow. The design was featured as a poster, subsequently printed on the front page of “Spartakiada” No. 3, 1928, and appeared on numerous postcards. The Spartakiade was essentially a communist counter event organized by the Soviet Union as an alternative to the 1928 Summer Olympics in Amsterdam.
4205
4206
viktor koláˇr (b. 1941)
4207 Ostrava. 1968. Vintage ferrotyped gelatin silver print. 17,5 x 23,8 cm. Photographer‘s stamp, titled and dated by the photographer in pencil on the verso.
400 €
Viktor Kolár was born in Ostrava, the son of a selftaught filmmaker and photographer. In 1953, he began taking photographs, and soon familiarized himself with the works of renowned photographers, particularly Henri Cartier Bresson. From the second half of the 1960s, he decided to devote himself fully to photography. In 1964, Kolár had his first solo exhibition. In October 1968, after the Warsaw Pact invasion of Czechoslova
kia, he emigrated to Canada, where he worked as an assistant in the Molybdemite mines and as a worker in the nickel smelters in Manitoba. From 1971 1973, he participated in documenting shopping malls in Montreal. In 1973, however, he returned to Czechoslovakia via Paris and London.
4208 Ostrava. 1974. Vintage ferrotyped gelatin silver print. 17,7 x 23,8 cm. Photographer‘s stamp, titled and dated by the photographer in pencil on the verso.
400 €
4207
4208
4209
4210
viktor koláˇr
4209 Ostrava. 1984. Vintage ferrotyped gelatin silver print. 16 x 23 cm. Photographer‘s stamp, titled and dated by the photographer in pencil on the verso.
400 €
4210 Ostrava. 1981/1984. 2 vintage ferrotyped gelatin silver prints. Each circa 18 x 23,8 cm. Each with photographer‘s stamp, titled and dated by the photographer in pencil on the verso.
500 €
4211 Ostrava. 1988. Vintage gelatin silver print. 27,2 x 39,5 cm. Signed, titled and dated by the photographer in pencil on the verso.
600 €
alberto korda (1928–2001)
4212 Guerillero heróico - Che Guevara, La Habana, March 5, 1960. Gelatin silver print, printed later. 26 x 38,8 cm (30 x 40,3 cm). Photographer‘s stamp and annotated in pencil/ink on the verso.
1.200 €
4212
jerzy kujawski (1921–1998)
4213 Untitled, (photogram). Circa 1949. Vintage, unique , large-format, hand-colored gelatin silver print. 44,7 x 29 cm. Mounted in mat.
1.200 €
Provenance: Bruce Silverstein Gallery, New York Christie‘s. Light, Volume and Form: Photographs from the Shalom Shpilman Collection, May 24June 2, 2016, lot 65.
4213
lou landauer (1897–1991)
4214 Abstract multiple exposure. 1940. Vintage gelatin silver print. 24 x 17,8 cm. Photographer‘s Jerusalem stamp and annotated „Jerusalem. Versuche ohne Linse 1940“ by the photographer in pencil on the verso.
400 €
Provenance: This and the following two lots from a descendant of the photographer to the current owner.
4215 Calla lilies. Circa 1940. Vintage gelatin silver print. 24 x 18 cm. Photographer‘s Jerusalem stamp and annotated „Kalla“ by the photographer in pencil on the verso.
400 €
4216 Spider web. 1945. Vintage matte gelatin silver print on strong paper. 24 x 30 cm. Annotated and dated by the photographer in pencil and photographer‘s Jerusalem stamp on the verso.
500 €
4214
4215
4216
robert lebeck (1929–2014)
4217 St. Pauli . 1961. Gelatin silver print, printed later. 25 x 37,5 cm (30,2 x 40,5 cm). Signed, titled and dated by the photographer in pencil and photographer‘s stamp on the verso.
900 €
russell lee (1903–1986)
4218 FSA client with three sons, Caruthersville, Missouri, 1938; North Dakota, 1937. 2 ferrotyped gelatin silver prints/printed 1970s. Each circa 20,5 x 25,5 cm. Each with „Reproduced from the collection of the Library of Congress“ stamp , a Stockholm exhibition stamp and annotations/layout marks in pencil on the verso.
500 €
Lit.: Roy Stryker and Nancy Wood. In This Proud Land: America, 1935-1943 as seen in the FSA photographs. New York 1973, ill. p. 103.
4219 Scene in an agricultural worker‘s shack town, Oklahoma, 1939; Pie Town, New Mexico,1940; Lafayette, Louisiana, 1938. 3 ferrotyped gelatin silver prints/ printed 1970s. Each circa 20 x 25 cm. Each with
„ Reproduced from the collection of the Library of Congress stamp“, a Stockholm exhibition stamp and annotations/layout marks in pencil on the verso.
500 €
A print of this image is in the collection of the National Gallery of Victoria, Australia.
Lit.: Roy Stryker and Nancy Wood. In This Proud Land: America, 1935-1943 as seen in the FSA photographs. New York 1973, ill. p. 37.
4220 Negro mother teaching children numbers and alphabet in home of sharecropper, Transylvania, Louisiana, 1939; Daughter of sharecroppers, New Madrid County, Missouri , 1938. 2 ferrotyped gelatin silver prints/printed 1970s. Each circa 20,5 x 25,5 cm. Each with „Reproduced from the collection of the Library of Congress“ stamp , a Stockholm exhibition stamp and annotations/layout marks in pencil on the verso.
500 €
With: A postcard of the first image printed by Galerie Taube in 1976 for the exhibition Die USA der dreißiger Jahre in Fotografien
Lit.: Roy Stryker and Nancy Wood. In This Proud Land: America, 1935-1943 as seen in the FSA photographs. New York 1973, ill. p. 143.
4217
4218
4219
4220
lehnert & landrock
(Rudolf Franz 1878–1948, Ernst Heinrich 1878–1966)
4221 Cairo and Tunis. Early 1900s. 1 panoramic rotogravure and 1 large format sepia-toned photogravure. Each ca. 30 x 60 cm and reverse. Each with photographer‘s studio stamp in negative in lower right corner, one titled „Cairo: The Tombs of the Califs“ in negative in lower left corner.
600 €
Lehnert & Landrock, the photographic duo of Rudolf Lehnert and Ernst Heinrich Landrock, gained renown in the early 20th century for their romanticized depictions of North Africa and the Middle East, particularly Tunisia and Egypt. Their work, blending artistic vision with technical precision, focused on idealized Orientalist themes, such as landscapes, architecture, and portraits in exoticized settings. Widely distributed as postcards, albums, and prints, their photographs played a key role in shaping Western views of the “Orient.”
nathan lerner (1913–1997)
4222 Eye in Mouth . 1939. Vintage ferrotyped gelatin silver print on thin ivory paper. 11 x 14 cm (13 x 17,5 cm). Signed, titled and dated by the photographer as well as number notations in pencil on the verso.
2.500 €
Nathan Lerner, born in Chicago in 1913 to Ukrainian immigrant parents, showed an early interest in art, attending painting courses at the Art Institute at the age of nine. By sixteen, he began using a camera to enhance his sense of composition. In 1935, Lerner embarked on a photo documentary project that would later become his renowned „Maxwell Street“ series. Two years later, the renowned sculptor Archipenko recommended Lerner to the New Bauhaus school, where he studied under László Moholy Nagy. Awarded a scholarship, Lerner was profoundly influenced by the school’s innovative atmosphere. During his time at the New Bauhaus, he conducted various artistic experiments, including luminous projections, cliché verre, photographing through viscous substances, solarizations, and light drawings with pen. His most significant contribution was the invention of the light box, which revolutionized photography by enabling artists to create abstract studies of objects and light.
Provenance: Shalom Shpilman Collection
4222
4223 Ostbahnhof # 01, Berlin . 1983. Vintage gelatin silver print. 25,5 x 24,5 cm (38,2 x 29 cm). Signed, titled, dated and editioned „03/20“ by the photographer in pencil on the verso.
500 €
Matthias Leupold has worked as a freelance photo artist in Berlin since 1985. His main interest has been artistic photography, especially scenic photography. For more than 35 years Leupold has exhibited his staged photographs internationally, participated in exhibitions at the Berlin National Gallery and the Academy of the Arts, and had solo exhibitions at the Bauhaus Dessau as well as the Villa Massimo in Rome. His work is in several public archives, e.g. the Photographic Collection of the Berlinische Galerie and the Bibliothèque Nationale, Paris. Lit.: Matthias Leupold. Die Vergangenheit hat erst begonnen. Szenische Photographien 1983-1999. Halle, 2003.
Provenance: This and the following lot directly from the photographer to the current owner.
4224 Hinterhof in Prenzlauer Berg #004 (multiple exposure). 1980s. Vintage gelatin silver print. 25,5 x 24,5 cm (39,5x 29 cm). Signed, titled, dated and editioned „08/20“ by the photographer in pencil on the verso.
500 €
matthias leupold (b. 1959)
4223
4224
manfred leve (1936–2012)
4225 Joseph Beuys. 1967-1984. 5 vintage gelatin silver prints. Between 18 x 24 cm and 24 x 31 cm. Each signed by the photographer in pencil and most titled and dated in felt-tip pen or pencil, with the photographer‘s copyright stamp on the verso.
750 €
The German photographer Manfred Leve produced an extensive documentation of the postwar art scene in the Rhineland. Leve‘s work is renowned for its candid and detailed portrayal of artists and their creative processes, particularly within the Fluxus movement and the broader avant garde community in Düsseldorf and Cologne.
el lissitzky (1890–1941)
4226 The Constructor. 1924/printed 1985. Gelatin silver print from the original glass plate negative on Agfa paper. 20,2 x 22,2 cm (40,5 x 30,8 cm). With „ griffelkunst“ edition stamp and photographer‘s signature stamp on the verso as well as annotated by another hand in pencil on the verso.
500 €
4225
herbert list (1903–1975)
4227 Young man on the beach. 1950s. Vintage gelatin silver print. 22,3 x 27,5 cm. Photographer‘s stamp and annotated in pencil/red crayon with layout notes on the verso.
2.000 €
The German photographer Herbert List made important contributions to 20th century photography. His seamless blend of classicism and modernism resulted in visually arresting images that at times evoke a sense of surrealism. List had a unique ability to capture moments of stillness and poetic elegance in his work.
4228 Caribbean boys. Circa 1958. Vintage gelatin silver print on Agfa-Brovira doubleweight paper. 19,7 x 28,7 cm. Estate stamp, therein negative number in pencil and layout noted/marks in pencil on the verso.
1.800 €
Lit.: Herbert List. Caribia. Ein photographisches Skizzenbuch von den Caribischen Inseln. Hamburg, 1958, ill. pp. 60 61 (variant).
4229 Girl with bananas, Jamaica. 1957 Vintage gelatin silver print on Agfa-Brovira doubleweight paper. 18,5 x 29 cm. Estate stamp, therein negative number in pencil on the verso.
1.800 €
4227
4228
mack (b. 1934)
4230 Image from the series „Stille“. 1979. Dye transfer print. 25,5 x 36 cm (44 x 53,7 cm). Signed and editioned „30/100“ by the photographer in pencil and photographer‘s blindstamp in lower margin; photographer‘s/copyright stamp, several edition stamps and pencil notations on the verso, hingemounted along upper edge in archival mat.
500 €
Ulrich Mack is known for his innovative contributions to photography, particularly in abstract and conceptual photography. In his work he explores the interplay of light, form, and texture, creating visually captivating and thought provoking compositions. In the powerful series „Stille, Weite, Ferne, Nähe“ („Silence, Expanse, Distance, Proximity“), he pays homage to nature and the world of objects through sumptuous color photrographs, emphasizing the silent grandeur of the environment, where water, wind, and light converge on the coastlines of Northern Germany and New England, USA.
ulrich
4230
sameer makarius (1924–2009)
4231 Buenos Aires. 1960s. Vintage gelatin silver print. 20,7 x 29,2 cm. Photographer‘s stamp and annotated in pencil on the verso.
500 €
malcolm x and muhammad ali
4232 Photographer unknown ( Associated Press ). Malcolm X with heavyweight boxing champion Muhammad Ali, New York City. 1964. Vintage ferrotyped gelatin silver press print. 23 x 18 cm. Printed press text label (folded) as well as additional paper label with archive annotations on the verso.
800 €
4231
4232
man ray (Emmanuel Rudnitzky, 1890–1976)
4233 Le violin d‘Ingres (1924); Palais de quatres heures (1932-1933); Marcel Duchamp (1916). 3 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 €
4234 Erotique voilée.1933. Gelatin silver print on Agfa paper, printed 1991. 24,4 x 17,5 cm (30,3 x 22,5 cm). With „Griffelkunst“ and „ADAGP Man Ray Trust“ copyright stamps on the verso.
400 €
4233
4233
guido mangold (b. 1934)
4235 Landschaft im Revier. 1961. Vintage, largeformat, 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.
1.000 €
In 1957, Guido Mangold began studying photojournalism with Otto Steinert at the School of Arts and Crafts (Saarbrücken). In 1958 he transferred with Otto Steinert to the Folkwang School in Essen, where he graduated in 1960 with a degree and the Folkwang Achievement Award. From 1961 onwards, he worked as a photographer for the United States Information Service (USIS) in Bad Godesberg. In 1962, he left the USIS to travel to Southeast Asia for several weeks on behalf of the aid organization Misereor, where he documented the local culture. Mangold received a contract with the magazine Quick in 1963, for which he traveled worldwide as a photojournalist. As of 1966 he worked as a freelancer for German magazines such as twen, Eltern, Playboy, Jasmin, Stern.
4235
willy maywald (1907–1985)
4236 Pablo Picasso. 1947. Gelatin silver print, printed 1989. 31 x 29 cm. Estate stamp and „Griffelkunst“ edition stamp, annotated by another hand in pencil, signed by Jutta Niemann in ink on the verso.
300 €
Lit.: Willy Maywald. Die Splitter des Spiegels. Eine illustrierte Autobiographie. Munich, 1985, ill. 57.
will mcbride (1931–2015)
4237 Ein Unfall mit Schadenfreude, Berlin ; Sommernachmittag am Rand von Krumme Lanke, Berlin 1956/57. 2 gelatin silver prints, printed later. 18,5 x 27,5 cm (24 x 30,2 cm) and 28,2 x 19 cm (30,2 x 24 cm).
Signed, titled and dated by the photographer in pencil on the verso.
600 €
The American German photographer Will McBride was renowned for his poignant and uncensored documentary photography. McBride‘s oeuvre often depicted themes of youth, sexuality, and the human condition, and he is known for his compassionate and genuine portrayal of his subjects. His photographs offer a compelling and unfiltered window into diverse facets of life, encompassing documentation of cultural and societal shifts.
Provenance: Directly from the photographer to the present owner.
4236
4237
will mcbride
4238 Die Mauer, Berlin . 1961. Gelatin silver print, printed later. 19,8 x 29,8 cm. Signed, titled and dated by the photographer in pencil on the verso.
750 €
Provenance: Directly from the photographer to the present owner.
4239 Bernauer Str., Berlin . 1962. Gelatin silver print printed later. 33 x 22,5 cm (37 x 25,5 cm). Annotated in pencil on the verso.
600 €
4238
4239
will mcbride
4240 Victor und Tana im Wasser bei München für twen -- ‚Zielos zu Wandern‘‘. 1963. Gelatin silver print, printed 2012. 49,4 x 32,5 cm (60,7 x 50,3 cm). Signed, titled and dated by the photographer in pencil on the verso.
1.200 €
Lit.: Will McBride. I, Will McBride. Cologne, 1997, ill. p. 203.
4241 Romy Schneider in Paris. 1964. Large-format gelatin silver print, printed later. 32,8 x 49 cm (50,5 x 61 cm). Signed, annotated and dated by the photographer in pencil on the verso.
1.000 €
Provenance: Directly from the photographer to the present owner.
4242 Mike und die Anderen schmeißen sich mit Wasser, Schule Schloß Salem . 1963. Gelatin silver print, printed 1990. 54 x 36 cm (61 x 51 cm). Signed, titled and dated by the photographer in pencil, editioned „1/12“ and collector‘s stamp on the verso.
2.500 €
Lit.: Kurt von Hammerstein/Björn Koll/Jan Künemund (eds.). Will McBride. Salem Suite. Berlin, 2014, ill. unpaginated.
4240
otto müller eibenstock (1898–1986)
4243 Photograms. Printed 1925, reworked circa 1981. 2 matted gelatin silver prints reworked with colored chalk and tempera. 37,5 x 25,5 cm and 27,5 x 37 cm (55,5 x 40,5 cm and reverse). Monogram in lower right corner; signed, annotated and dated by the artist in pencil on the verso, mounted with paper tape to overmat.
750 €
4244 Photographer: Neil Armstrong . Buzz Aldrin on the Moon, Apollo 11 ; Buzz Aldrin standing beside the U.S. flag, Apollo 11. July 1969. 2 chromogenic prints on RC paper, printed later. Each circa 20 x 20,1 cm. Each with „A Kodak Paper“ watermark on the verso.
600 €
In the first image Buzz Aldrin has just set up the Solar Wind Composition experiment as part of the Early Apollo Scientific Experiments Package (EASEP).
Lit.: Terry Hope. Spacecam, Photographing the Final Frontier from Apollo to Hubble. 2005, ill. p. 22.
4245 Photographer: Neil Armstrong . Buzz Aldrin sets up the Solar Wind Composition experiment, Apollo 11 ; Buzz Aldrin driving in core tube, Apollo 11 July 1969. 2 chromogenic prints on RC paper. Each circa 20 x 20,2 cm. Each with „A Kodak Paper“ watermark on the verso.
750 €
4246 Space Shuttle Discovery liftoff, April 28, 1991; View of Earth, from the Space Shuttle Atlantis, Nov.Dec. 1991. 2 chromogenic prints on Kodak Professional paper. Each circa 23 x 19,2 cm (25,2 x 20,2 cm). Each with NASA number „S39 (S)048“ and „S44-77-74“ and logo in upper margin; each with mimeographed caption on verso.
750 €
nasa
4243
4244
4245
new hebrides archipelago
4247 Photographer: Martin and Osa Johnson ( attributed to, 1884-1937, 1894-1953). Tribes of the New Hebrides. 1917/19. 13 vintage gelatin silver prints. Between circa 12 x 16 cm (10) and 18 x 25 cm (3). Most annotated in pencil in French on the verso.
900 €
This small collection of 13 photographs shows rare and early images of various tribes of the New Hebrides archipelago, which lies between the Solomon Islands and Fiji to the east of Australia. The natives are also known for their cannibalism, which was still practiced at this time. This collection includes some group portraits of the so called Big Nambas tribes of northern Malekula and two very rare images of the chief Nagapate of the Big Nambas. The special body ornaments of the men and women, which can be seen in several images, are particularly interesting. Another image shows a dancingground in the forest surrounded by ceremonial drums with carved faces. The photos were most likely taken by the famous American explorers and adventurers Osa and Martin Johnson, who can be seen in two of the photographs. Several of these images were illustrated in Martin Johnson‘s book CannibalLand
Lit.: Martin Johnson. Cannibal-Land. Adventures with a Camera in the New Hebrides. Boston, 1922. Ill. pp. 89 and 143.
4247
charles w. niedringhaus
4248 Untitled (photogram). 1939. Vintage, unique , large-format gelatin silver print. 35,2 x 27,4 cm. Mounted to board, mounted in mat.
1.800 €
Charles Niedringhaus graduated as one of five students in the first class of the Institute of Design in 1942. While still a student, he worked as an assistant to Institute Director László MoholyNagy in the basic product design workshop and assisted in two seminars on contemporary art and design issues. After graduation, Niedringhaus‘s expertise in furniture design and production quickly caught the attention of Hans Knoll, who was seeking talented designers for Knoll Associates. Niedringhaus‘s long and successful career with Knoll began in 1950 when he assisted Herbert Matter in the production of the Knoll Index of Designs.
Provenance: Estate of Charles W. Niedringhaus. Christie‘s. Light, Volume and Form: Photographs from the Shalom Shpilman Collection, May 24June 2, 2016, lot 64.
hilmar pabel (1910–2000)
4249 Album of reportage photos taken on various trips by Hilmar Pabel. Late 1950s/early 1960s. 48 vintage ferrotyped gelatin silver prints. Each circa 23 x 17 cm, 17 x 17 cm and 17 x 13 cm. Mounted on album pages, bound in contemporary green cloth album (slightly soiled, spine minimally faded). First page with handwritten dedication by Hilmar Pabel to his father for his 75th birthday in ball-point pen, signed and dated „1961“.
1.000 €
Hilmar Pabel was the first German reportage photographer to receive the “Kulturpreis für Photographie” in 1961. This album features an extraordinary collection of images from Pabel’s travels to various countries, including Saudi Arabia, where he captured King Saud and his favorite son, Prince Mashhur, as well as the wedding of King Hussein of Jordan and his Englishborn wife, Princess Muna, along with intimate family moments. The collection also includes photographs from Pabel’s trip to Africa, Pablo Picasso at the bullfights in Spain, and a renowned image of John F. Kennedy, Jacqueline Kennedy, Nikita Khrushchev, and his wife at a reception in Vienna in 1961. Many of these images have become iconic in the field of reportage photography.
4249
frank paulin (1926–2016)
4250 Untitled (photogram). 1947. Vintage unique gelatin silver print. 9,8 x 11,5 cm. Signed and dated by the photographer in ink and photographer‘s stamp on verso, mounted in mat.
900 €
The American artist and photographer Frank Paulin was born in Pittsburgh and grew up in New York City and Chicago. At the age of 16 in 1942, his photographic education began as an art apprentice at Whittaker Christiansen Studio, Chicago. In 1946, Paulin enrolled at the Institute of Design. By the end of the 1950s, Frank Paulin‘s educational résumé included studies at the New School under the renowned art director Alexey Brodovitch.
Provenance: Christie‘s. Light, Volume and Form: Photographs from the Shalom Shpilman Collection, May 24June 2, 2016, lot 50.
neue photographische gesellschaft berlin (active circa 1870–1910s)
4251 Trees in Reinhardswald (?). Circa 1902. 8 vintage matte gelatin silver prints. Each circa 30 x 40 cm and reverse. „Neue Photogr. Gesellsch. A.G. Berlin Steglitz 1902“ in the negative in lower left/right corner.
400 €
4250
4251
hans pieler (1951–2012)
4252 Zu Hause in Neufünfland. 1993. 10 cibachrome prints mounted to mat (some detached). Each 13,7 x 43 cm (30,5 x 51 cm), Each signed, dated and numbered „3/10“ below image on margin. Edition PPS Galerie Berlin. Presented in original clamshell box with printed colophon.
600 €
Hans Pieler was a German photographer known for his conceptual and documentary work, often exploring architectural and cultural themes. One of his notable series, „Zu Hause in Neufünfland,“ humorously portrayed families in North Rhine Westphalia in their domestic settings using a panorama camera, providing a unique view of everyday life in the region.
allen porter (1902–1987)
4253 Tabletop composition. 1948. Vintage unique gelatin silver print. 24,1 x 19,2 cm (25,2 x 20,1 cm). Signed, titled and dated by the photographer in pencil on verso, hinge-mounted in mat.
1.500 €
Allen Porter attended the School of Design (later the Institute of Design) from 1946–1949. The Institute of Design was originally founded as The New Bauhaus: Chicago School of Design in 1937 by László Moholy Nagy. It was established as the successor to the German Bauhaus, which had been dissolved in 1933 under pressure from the National Socialists. The school continued the Bauhaus philosophy of modernist, human centered design. In 1939, the school moved to a new location and was renamed the School of Design. It later merged with the Illinois Institute of Technology‘s College of Architecture, led by Bauhaus alumnus Mies van der Rohe, and in 1944, it was renamed the Institute of Design in Chicago.
Provenance: Christie‘s. Light, Volume and Form: Photographs from the Shalom Shpilman Collection, May 24June 2, 2016, lot 78.
4254 Photographer unknown. 20 vintage gelatin silver prints. Each circa 13 x 18 cm. Inserted in photo corners on album pages, in green calico album (some indentations) with cord binding.
900 €
This album contains photographic documents taken by an unknown amateur photographer during the Soviet Russian invasion of Czechoslovakia in 1968. The photographs were mainly taken in Prague, where desperate groups of people confronted the Russian tanks.
4254
4254
prague 1968
max pritikin (1916–2011)
4255 Leaves (photogram). 1946. Vintage unique gelatin silver print. 13,6 x 17,7 cm. Mounted to board, inscribed in ball point pen on mount verso, mounted in mat.
750 €
Provenance: Christie‘s. Light, Volume and Form: Photographs from the Shalom Shpilman Collection, May 24June 2, 2016, lot 79.
thies rätzke (b. 1977)
4256 Market, Shanghai. 2006. Large-format, unique C-Print, printed 2011. 90 x 60 cm (105 x 73 cm). Signed and stamped on the verso, framed under plexi glas in wooden frame.
1.000 €
Born in Kiel, the photographer Thies Rätzke studied photography with Dirk Reinartz. As of 2003 he worked as a freelance photographer and in 2020 founded his own agency with a focus on commercial and reportage photography. His extensive travelling has resulted in many global topics in his images.
4256
4255
reichstag berlin
4257* Documentation album of the demolition of the Reichstag Dome, Berlin. October-November 195 4. Circa 90 vintage ferrotyped gelatin silver prints and various newspaper clippings. Various sizes, between 17 x 23 cm and 11 x 9 cm and reverse. Mounted to album pages (some loose), many with captions below/beside the image on the mount, bound in 2 contemporary imitation leather albums (slight wear, one with loose cover) with embossed Berlin emblem on front cover.
500 €
otto reutter (1870–1931)
4258 Photographer: Reichard Lindner. The German cabaret singer and comedian Otto Reutter. Circa 1910. Vintage gelatin silver print. 19 x 12,5 cm. Signed, dated (1919) and dedicated by the sitter in ink in lower portion on recto, flush-mounted to cabinet card (slight traces of use) with photographer‘s embossed name below image, dedicated by Reutter in ink on mount verso.
400 €
4257
4258
leni
riefenstahl
(1902–2003)
4259 Nubian men. 1963. 2 ferrotyped gelatin silver prints on Agfa paper. Each ca. 30,5 x 39,5 cm. 1 with the photographer‘s production stamp on the verso, the other signed by the photographer on the verso. 1.000 €
In the later stages of her career, Leni Riefenstahl turned her focus to photography, capturing compelling images during her travels to Africa, including Sudan in the 1960s. Her work featured striking portraits of Nubian men and other indigenous groups, along with the region’s landscapes and customs. While her photography is widely admired for its aesthetic quality, it also attracted criticism due to concerns about her portrayal of these cultures, compounded by her controversial past association with Nazi propaganda.
william m. rittase (1894–1968)
4260 Locomotives. 1930s. 2 vintage gelatin silver prints. 27 x 34 cm and 25 x 34,5 cm. Each mounted to board (slightly soiled), each signed by the photographer in pencil in lower right on mount; each with photographer‘s stamp and one also annotated in pencil on mount verso.
800 €
The American photographer William Rittase was known for his industrial photographs that appeared in a number of publications during the 1930’s, most notably Fortune Magazine. His images often depicted the growing American manufacturing sector as well as the American worker. Rittase’s photographs were included in the exhibition „Murals by American Painters and Photographers“ at the Museum of Modern Art in New York in 1932. His work is also included in the collections of the Art Institute of Chicago, the Dallas Museum of Art and the Houston MFA.
4259
4260
karin rocholl
4261 Martin Wuttke as Arturo Ui . 1995. Cibachrome print. 32 x 21,5 cm (40 x 30). Signed, copyrighted, dated and titled by the photographer in felt-tip pen on label on the verso.
900 €
The photojournalist Karin Rocholl is well known for her extensive portfolio of portraits featuring cultural figures. Her ability to establish a close rapport with her subjects often enables her to capture elusive and prominent individuals in a more authentic and unguarded light. A significant portion of her work has been published in the pages of Stern magazine. In this portrait, she depicts actor Martin Wuttke as Arturo Ui in the renowned Bertolt Brecht play Der aufhaltsame Aufstieg des Arturo Ui.
4262 Martin Walser, Schloss Neuhardenberg. 2011. Gelatin silver print, printed 2016. 23 x 34,5 cm (30,2 x 40,2 cm). Signed, titled, dated and copyrighted by the photographer as well as signed by Martin Walser in pencil on the verso.
800 €
With: Brochure, Gedenkfeier für Martin Walser, 16. November 2023.
Lit.: Karin Rocholl. Der Zweite Blick. München, 2013. ill. p. 30 31.
tata ronkholz
(Roswita Tolle, 1940–1997)
4263 Düsseldorf, Bürgerstrasse 14 from the „Trinkhallen“ series. 1979. Vintage ferrotyped gelatin silver print on Agfa paper. 30,9 x 40,4 cm. Archive number „128“ annotated by the photographer in pencil on the verso.
2.500 €
Tata Ronkholz, a significant figure associated with the Becher School and German objective photography in the 1970s and 1980s, is known for her documentation of urban scenes in the
Rhineland and Ruhr regions, providing a visual record of postwar architecture and urban development. She primarily photographed cities such as Cologne, Düsseldorf, and Essen in the Rhine Ruhr area. Her renowned series „Trinkhallen“ (drinking halls), which she began in 1978, features images of refreshment kiosks, often incorporating other shop window designs. Ronkholz‘s photographic training began at the Kunstakademie Düsseldorf under Professor Bernd Becher, later joining the influential Becher School alongside notable artists such as Andreas Gursky, Candida Höfer, Axel Hütte, Thomas Ruff, and Thomas Struth.
4263
4264 Odenthal, Altenburger-Dom-Strasse 3 from the ‚Trinkhallen‘ series. 1982. Vintage ferrotyped gelatin silver print on Agfa paper. 28,6 x 39,4 cm. Archive number „332“ annotated by the photographer in pencil on the verso.
2.500 €
tata ronkholz
4264
arthur rothstein (1915–1985)
4265 Girl at Gee‘s Bend. 1937. Gelatin silver print, printed later. 27,6 x 35,5 cm. Stamped „Arthur Rothstein Photograph from the Collection of Grace Rothstein“ on the verso, titled and dated „Gee‘s Bend 1937“ in pencil on the verso, annotated by another hand in pencil on the verso.
2.500 €
Arthur Rothstein is renowned for his work with the Farm Security Administration during the Great Depression, capturing iconic images of rural poverty with a humanistic approach that conveyed dignity and resilience. His photographs not only documented the era’s struggles but also influenced public perception and policy by highlighting the harsh realities of poverty. One of his most celebrated images, Gee’s Bend, 1937, depicts the lives of African American sharecroppers in Alabama, capturing a moment of introspection and dignity amidst challenging conditions. Prints of this image are part of the collections at the Metropolitan Museum of Art, the J. Paul Getty Museum, the Cleveland Museum of Art, and the Birmingham Museum of Art.
willi ruge (1892–1961)
4266 Die Bombe ist ausgelöst.... 1942. Vintage ferrotyped gelatin silver print. 15 x 11,5 cm. Typed press text and collection/date stamp on the verso.
900 €
This image brings to mind Willi Ruge‘s series „I Photograph Myself During a Parachute Jump“ for which Ruge actually jumped out of a plane with a parachute. The text on the verso of this print reads: „Der Flugzeugführer hat seine Ju 88 gerade wieder abgefangen. Die körperliche Belastung, durch den Sturz flug hervorgerufen, ist doch deutlich auf seinem Gesicht erkennbar“. Ruge was known for his photographic essays published in the magazines of the 1920s30s, and he founded his own picture agency Fotoaktuell. Both a daredevil and photographer, he attempted to place the viewer in the center of the action and thus achieved truly innovative images. Sadly, his archive was destroyed during an air raid on Berlin in 1943, making his photographs very rare
august sander (1876–1964)
4267* Strassenarbeiter (Street workers) c. 1928; Monteur (Mechanic) 1929. 2 gelatin silver prints on Agfa paper, printed by Gunther Sander 1970s. 23,3 x 17,4 cm and 24 x 13,5 cm. Each annotated in felt-tip pen on the verso.
600 €
These images are part of group II, „Der Handwerker“ (Tradesmen), portfolio II/10 and II/11 of „Menschen des 20. Jahrhunderts“. They belong to August Sander‘s wide ranging venture to portray various people of German society and create a collection of types.
Lit.: Susanne Lange/Gabriele Conrath Scholl (eds.). August Sander. Menschen des 20. Jahrhunderts. Study volume. Munich, 2001, ill. pp. 122 and 124.
4266
4267
robert f. sargent (1923–2012)
4268 Into the Jaws of Death, June 6, 1944 . Ferrotyped gelatin silver press print, printed 1959. 18 x 22,8 cm. Several paper labels with handwritten and printed text, United Press International Photo agency stamp, date stamp (partially covered) and annotated in pencil and crayon on the verso.
3.000 €
A chief photographer‘s mate in the United States Coast Guard, Robert F. Sargent captured this iconic image during the troop landing phase of Operation Neptune, the naval component of the Operation Overlord Normandy invasion, commonly known as D Day. The photograph, one of the most reproduced from the D Day landings, shows soldiers from the U.S. Army’s 1st Infantry Division disembarking from an LCVP (Landing Craft, Vehicle, Personnel) launched from the U.S. Coast Guard crewed USS Samuel Chase at Omaha Beach. The image was famously referenced in the opening landing scene of the 1998 Hollywood film Saving Private Ryan
4268
michael schmidt (1945–2014)
4269 Berlin Wedding (Adolf-/Ecke Gerichtstraße) 1976/77. Vintage gelatin silver print on Agfa paper. 20,5 x 28 cm (23,8 x 30,3 cm). Signed, titled, dated and copyrighted by the photographer in pencil on the verso. Matted and in original artist‘s frame, photographer‘s copyright label on frame verso, therein titled and noted „Vintage v. 77“ by the photographer ink.
2.000 €
Michael Schmidt embarked on his lifelong photographic journey at the young age of 20. He is renowned for his contributions to socio documentary photography in Germany, characterized by a sober and reality based style. In 1976, Schmidt established the „Werkstatt für Photographie“ in Kreuzberg, Berlin. His notable „Berlin“ series depicts the city in an empty, transitional state and cemented his position as a key figure in the „New Topographic Movement“ of German photography until his untimely death in 2014.
Lit.: Michael Schmidt. Fotografien seit 1965. Essen, 1995, ill. p. 161.
4269
karl schenker (1886–1954)
4270* Leni Riefenstahl. 1923. Vintage gelatin silver print. 30 x 23,7 cm.
400 €
Karl Schenker gained recognition for his refined portraits of early 20th century European cultural figures. Among his subjects was Leni Riefenstahl, whom he photographed in the 1920s, prior to her involvement in Nazi propaganda. Schenker’s portraits of Riefenstahl highlight his talent for capturing glamour, contributing to her early cinematic image while predating the complexities of her later career.
friedrich seidenstücker (1882–1966)
4271 Elephant seal. Circa 1927. Vintage gelatin silver print mounted to board. 29 x 22,5 cm (40 x 30 cm). Photographer‘s studio stamp on the verso.
600 €
Lit.: Berlinische Galerie, Landesmuseum für Moderne Kunst, Fotografie und Architektur (ed.). Friedrich Seidenstücker: Von Nilpferden und anderen Menschen. Fotografien 1925-1958 Berlin, 2011. Ill. p. 135.
4270
4271
friedrich seidenstücker
4272 African penguins. 1930s. Vintage gelatin silver print mounted to board. Circa 19 x 14 cm. Photographer‘s studio stamp and copyright infor mation on the verso, annotated in pencil on verso of board.
500 €
Lit.: Bruno Schultz/Graf von Santeul, eds. Das Deutsche Lichtbild: Jahresschau 1935. Berlin, 1935. Ill. p. 106.
friedrich seidenstücker
4273 Rock partridge. 1930s. Vintage gelatin silver print. 18 x 13 cm. Annotated in pencil and photographer‘s studio stamp on the verso.
500 €
4272
4273
friedrich seidenstücker
4274 Kids, Zoologischer Garten, Berlin. 1928-1932. 6 vintage gelatin silver prints. Each between 10 x 15 cm and 13 x 18 cm. Photographer‘s studio stamp on the verso.
500 €
Lit.: Berlinische Galerie, Landesmuseum für Moderne Kunst, Fotografie und Architektur (ed.). Friedrich Seidenstücker: Von Nilpferden und anderen Menschen. Fotografien 1925-1958 Berlin, 2011. Ill. p. 143.
4275 The actor and photographer Julius Arnfeld at work at the Berlin Zoo. 1930s. Vintage gelatin silver print. 18 x 13 cm. Photographer‘s studio stamp and annotated in pencil on the verso.
500 €
Julius Arnfeld began his career as an actor, working at various theaters. In Breslau he directed at the Lobe Theater, among others, where he supported the young Heinz Rühmann. As a Jewish artist, he was banned from working in 1933, so he tried to survive as a photographer, with little success. In 1942 he was deported to the Theresienstadt ghetto. He survived the camp, but he sadly suffered the loss of his murdered family.
Lit.: Berlinische Galerie, Landesmuseum für Moderne Kunst, Fotografie und Architektur (ed.). Friedrich Seidenstücker: Von Nilpferden und anderen Menschen. Fotografien 1925-1958 Berlin, 2011. Ill. p. 107.
hans martin sewcz (b. 1955)
4276* Lebensmittelgeschäft, Ost-Berlin . 1986. Cibachrome print . 30,2 x 40,5 cm. Signed, titled, dated and numbered in black marker on the verso.
750 €
Hans Martin Sewcz studied at the Hochschule für Graphik und Buchkunst Leipzig from 19751981. In the late 1980s, his photography frequently focused on documenting the commercial displays of department stores and small businesses in the GDR,offering valuable insight into the commercial visual culture under communist rule.
Lit.: Georg C. Bertsch. SED Schönes Einheitsdesign. Cologne, 1990. Ill. pp. 4445.
4277* Gorbachev in East Berlin . 1987. Gelatin silver print mounted to Aludibond. 19,6 x 41,5 cm. Signed, titled, dated and numbered by the photographer in black marker on the verso.
900 €
This photograph by Hans Martin Sewcz captures Mikhail Gorbachev’s 1987 visit to East Berlin, featuring a motorcade of official vehicles. Sewcz’s technique of including film perforations underscores the processual nature of photography, while capturing the weight of this historically significant moment. Exhibition: „Aus nicht so ferner Zeit“, Mauer Mahnmal des Deutschen Bundestages, June 12 Sept. 10, 2010.
4276
4277
julius shulman (1910–2009)
4278 Case Study House #20, Altadena, California 1958. Chromogenic print, printed later. 40,5 x 51 cm (50,8 x 61 cm). Signed and dated „Julius Shulman 1958“ by the photographer in felt-tip pen on verso. 4.000 €
Julius Shulman was a key figure in architectural photography, known for capturing the beauty and functionality of midcentury modern design with precise composition and natural light. His work was instrumental in popularizing the modernist movement, particularly in Southern California. This photograph exemplifies his style, featuring a sleek, functional kitchen that embodies the clean lines and optimistic design ideals of post war America.
arthur siegel (1913–1978)
4279 Abstraction, Crystals. 1946. Vintage unique large-format gelatin silver print on ivory paper. 35,2 x 27,8 cm. Signed and dated in pencil on the verso, mounted in mat.
1.500 €
Arthur Siegel began photographing as a youth in the mid1920s. He studied at the University of Michigan before enrolling at the New Bauhaus at the Armour Institute, where he studied under the school‘s founder, László Moholy Nagy, and György Kepes until 1938. Siegel then worked as a photojournal
ist for the New York Times and took assignments for several decades. His photography was featured in numerous major exhibitions, including two solo shows at the Art Institute of Chicago and as part of the Image of America exhibit at the Museum of Modern Art. Siegel was known for his experimental use of color techniques, and from the 1950s onward, he often explored abstract uses of color as a form of expression. Provenance: Christie‘s. Light, Volume and Form: Photographs from the Shalom Shpilman Collection, May 24June 2, 2016, lot 69.
4279
arthur siegel
4280 Photogram #7. 1949. Vintage unique gelatin silver print. 25,2 x 20,2 cm. Mounted in mat.
1.500 €
Provenance: Phillips de Pury, New York, The Collection of Joshua P. Smith, October 16, 2003, Lot 128.
Bruce Silverstein Gallery, New York.
Christie‘s. Light, Volume and Form: Photographs from the Shalom Shpilman Collection, May 24June 2, 2016, lot 70.
4281 Untitled (photogram). 1949. Vintage unique gelatin
Provenance: Bruce Silverstein Gallery, New York.
1.500 €
Christie‘s. Light, Volume and Form: Photographs from the Shalom
Collection, May 24June 2, 2016, lot 71.
4281
4280
silver print. 25,3 x 20,3 cm. Mounted in mat.
Shpilman
raghubir singh (1942–1999)
4282 „After Crossing the Luni River, Barmer, Rajasthan“. 1975/printed circa 1985. Dye transfer print. 24,2 x 37,2 cm (43,5 x 55 cm). Unsigned, with printer‘s stamp and signed by the printer in pencil on the verso. 1.500 €
From an aristocratic Rajput family in Jaipur, Raghubir Singh had his initial encounter with photography as a student when he came across Henri Cartier Bresson‘s 1948 book, Beautiful Jaipur. This discovery ignited his passion for photography, leading to a remarkable body of work that captures the essence of Indian culture and the evolving landscapes of the country. Today, Singh holds a prominent place in the history of early color photography, alongside celebrated photographers like William Eggleston, Stephen Shore, Joel Sternfeld, and Joel Meyerowitz. He has published more than fourteen books on India and received numerous international awards. A print of this image is in the Metropolitan Museum of Art, New York.
4282
4283
raghubir singh
4283 India, Kashmir. Circa 1978/printed circa 1985. Dye transfer print. 24 x 37 cm (43,5 x 55 cm). Unsigned, with printer‘s stamp and signed by the printer in pencil on the verso.
1.500 €
4284 India, Kashmir. Circa 1978. Dye transfer print, circa 1985. 24,5 x 37,5 cm (42 x 55,5 cm). Unsigned, with printer‘s stamp and signed by the printer in pencil on the verso.
1.500 €
tijani-àdìgún sitou (1932–1999)
4285 Yoruba women. 1984. Gelatin silver print on baryta paper. 41 x 40,5 cm. Photographer‘s copyright stamp in red ink and annotated by another hand in pencil on the verso.
600 €
Tijani Àdìgún Sìtou was a distinguished West African photographer whose work, though less internationally known, ranks him among mid 20th century figures like Seydou Keïta and Malick Sidibé. Sìtou documented the cultural richness and social dynamics of his Yoruba heritage, capturing portraits that reflect dignity, pride, and familial bonds. Gaining wider recognition in the 1990s, his work provides a nuanced, authentic perspective that enriches the visual history of West African culture and complements the broader narrative of African photography.
max slevogt (1868–1932)
4286* Photographer unknown. Portraits of the painter Max Slevogt. Mid-1920s-1932. 8 vintage gelatin silver prints. Between 12,5 x 9 cm and 20,5 x 16,5 cm.
600 €
otto steinert (1915–1978)
4287 Die Bäume vor meinem Fenster II. 1956. Gelatin silver print on ivory paper. 14,3 x 17,7 cm (18 x 22 cm). Signed below image in brown ink (slightly faded), with the photographer‘s copyright stamp on the verso.
3.000 €
The German photographer Otto Steinert was a key figure in the Subjektive Fotografie movement, known for using experimental techniques to express emotional and abstract ideas rather than objective reality. His work, characterized by high contrast, multiple exposures, and unconventional angles, explores themes of light, shadow, and form, often crossing the boundary between photography and modern art. Steinert’s influence reshaped post war European photography, encouraging a more personal, subjective vision that celebrated artistic experimentation.
thomas struth (b. 1954)
4288 Paradies series. 2004. 5 digital color prints and 1 black and white digital print. Each circa 30,7 x 39 cm and 39 x 30,7 cm (33,4 x 48 cm and 48 x 33,4 cm ). Each with „Griffelkunst“ edition text printed on the verso. Each mounted in upper edge to archival board, with original card portfolio, inner flap signed by the photographer in pencil and with text page.
1.000 €
Thomas Struth’s Paradies series, created between 2000 and 2002, explores the relationship between humans and nature through large scale photographs of botanical gardens, park s, and tropical settings. By capturing the lush beauty of these environments and the interactions of people within them, Struth invites viewers to reflect on the balance between humanity and nature, as well as the idealized notions of paradise in contemporary society. The titles in this portfolio include Juquehy, São Francisco de Xavier, Yakushima, Daintree, Xi Shuang Banna and Yosemite National Park Lit.: Thomas Struth. New Pictures from Paradise. Dresden, 2002.
jock sturges (b. 1947)
4289 Danielle, Oud Heusten, the Netherlands. 1993. Gelatin silver print. 28 x 35,4 cm. Signed, titled, dated, copyrighted and editioned „6/10“ by the photographer in pencil on the verso.
900 €
Lit.: Jock Sturges. Radiant Identities. New York, 1994. Ill. p. 58 59.
k. takahashi
4290 Three companions. 1960s. 33 gelatin silver prints in linen-covered portfolio. Each between 10,3 x 16,2 cm and 18,5 cm x 28,5 cm (24 x 31 cm). Each signed „K. Takahashi“ below image.
1.200 €
This evocative photographic series by K. Takahashi offers an intimate portrayal of three elderly women, two of whom are blind, as they traverse rural Japan in the mid 20th century. Facing harsh conditions, the women rely on mutual support and resilience, guiding each other through rugged terrain while playing the shamisen in exchange for food and shelter. The collection is presented in an elegant portfolio featuring the kanji symbols for „goze,“ a term from the Edo period for blind female musicians who performed traditional music for their livelihood, a profession that became increasingly rare in modern Japan.
elsa thiemann (1910–1981)
4291 Design for wallpaper. 1930-31. Unique vintage ferrotyped gelatin silver print collage. 49,5 x 38,5 cm. Mounted to board (some wear, time-stained in edges), photographer‘s estate stamp and number „863“ in red crayon on mount verso.
1.500 €
Between 1929 1931, Elsa Thiemann’s formative years at the Bauhaus in Dessau were shaped by influential teachers such as Josef Albers, Joost Schmidt, and most notably Walter Peterhans, who guided her in photography. Her artistic development was heavily influenced by the New Objectivity
movement and the emphasis on advertising photography in her Bauhaus education, fostering her appreciation for structure and innovative composition. In 1930, she met her future husband, painter Hans Thiemann. After completing her studies, Elsa returned to Berlin in 1931 and pursued a career as a freelance press photographer until 1960, when she moved to Hamburg with her husband, who had been appointed a professor at the Hochschule für Bildende Künste.
Lit.: Annemarie Jaeggi/Margot Schmidt (eds.). Elsa Thiemann: Fotografin. Bauhaus und Berlin. Berlin, 2004. See pp. 18 27. Provenance: From the estate of the photographer
4291
miriam tölke (b. 1977)
4292 Foundling. 2021. Handmade Toyobo chinecollé print on Japanese Kochi paper, hand-painted. 20,5 x 14,6 cm (33 x 25 cm). Signed, editioned 3/6 and print information by the photographer in pencil on the verso. Limited edition of 6 + 2 AP.
1.400 €
Born in Bielefeld in 1977, Miriam Tölke began studying painting at the Art Academy in Stuttgart. She left school after passing a test assessing her talent and moved to Berlin in 2001 to work as an artist. By using found materials, she continuously works with an accute awareness of sustainability and recycling, which is in contrast to the glamorous illusory world of magazines she uses images from. Thus, in her act of cutting up and reassembling, one can recognize a spiritual process of deconstruction and transformation.
holger trülzsch and vera lehndorff (b. 1939)
4293 Geöffnete Haustüre, Paros. 1977. Dye transfer print, printed 1979. 21 x 27 cm (57,5 x 48,5 cm). Signed, titled, dated and numbered „49/75“ in pencil as well as artists‘ copyright stamp on verso.
900 €
The German photographer and painter Holger Trülzsch collaborated with the internationally celebrated supermodel Vera „Veruschka“ Lehndorff to produce a diverse and compelling body of work during the 1970s and 80s. The highlighted pieces are drawn from their collaborative body art project titled „Trans:figurations.“ These images prominently feature the colors of oxidation, such as rust, soot, and chalk, which are beautifully rendered in the dye transfer prints.
Lit.: Holger Trülzsch and Vera Lehndorff. Veruschka: Transfigurations. Boston, 1988.
Oxydationen. Vera Lehndorff & Holger Trülzsch . Museum für Kunst und Gewerbe Hamburg 1979.
4292
4293
adolf voigt & hans giebler (active 1950s – early 2000s)
4294* Surface of the Moon. 1964-1968. 30 vintage gelatin silver prints. Each 21 x 21 cm. Each with detailed information on the photograph‘s date, moon phase and location printed onto label on the verso.
900 €
The collaborative lunar photography project by Adolf Voigt and Hans Giebler was instrumental in astronomical observation during the height of the space race. Using the 12inch Bamberg Refractor telescope at the Wilhelm Foerster Observatory, they captured detailed images of the moon’s surface with a custom built camera, meticulously documenting its various phases. Conducted shortly before the Apollo 11 moon landing, their work not only provided valuable visual records but also heightened public interest in lunar exploration during this pivotal era in space history.
bruce weber (b. 1946)
4295 Rio de Janeiro. 1986. 2 gelatin silver prints mounted to mat. Each approximately 43 x 36 cm (49.7 x 42 cm). Each print signed, dated, titled, and numbered in pencil on the verso; titled, dated, numbered, and annotated in pencil on mat.
1.000 €
Bruce Weber‘s photographic practice is characterized by vivid and sensuous imagery, blending elements of fashion, portraiture, and documentary styles. His distinctive use of black and white photography captures subjects with an intimate, nostalgic, and often homoerotic aesthetic that has become iconic in both commercial and fine art photography. Frequently exploring themes of youth and natural beauty, Weber has made significant contributions to major fashion campaigns and publications.
dr. paul wolff (1887–1951)
4296 Rome. 1940s. Vintage ferrotyped gelatin silver print on doubleweight paper. 23,7 x 17,2 cm. Photographer‘s „Frankfurt am Main“ stamp, annotated in pencil and subject and agency label on the verso.
600 €
world war i
4297 Photographer: Bruno Reiffenstein (18681951) and unknown. Austrian soldiers engaged in various activities. 1916. 8 vintage bromoil and gum bichromate prints. Various sizes 21 x 25 cm and smaller. 1 signed by the photographer in ink in lower right corner, all but 1 mounted to board.
600 €
Bruno Reiffenstein was originally an architectural photographer. During WWI he worked for the Austrian Kriegspressequartier and produced these impressive images of Austrian soldiers during WWI.
world war ii
4298 Photographer: Willy van Heekern (18981989, attributed to). Views of destroyed Essen after bombing during WWII. 1944/45. Circa 62 vintage ferrotyped gelatin silver prints, most 17 x 12 cm, some larger circa 32 x 12 cm. Each image with typewritten caption below photo, mounted on one side on album pages, bound in canvas album (traces of use, 30 x 43 x 3 cm).
1.500 €
Provenance: Robert Lebeck Collection
4297
4298
count theodore zichy (1908–1987)
4299 Untitled (Legs with Jewelry). ca. 1948. Gelatin silver print. 30,5 x 25,6 cm.
400 €
Count Theodor Zichy, a Hungarian aristocrat, became a distinguished figure in mid 20th century photography, particularly in fashion and portraiture. Starting his career in the 1930s, Zichy quickly gained acclaim for his distinct style that blended elements of glamour and sensuality. His fascination with photographing women’s legs, often adorned with luxurious stockings or jewelry, became a hallmark of his work, emphasizing the aesthetic allure and subtle eroticism that defined his approach to fashion photography.
zickmantel (1917–2012)
4300 Industrial images. 1960s. 5 vintage gelatin silver prints on Agfa-Portriga-Rapid paper and AgfaBrovira paper. Each between 23,5 x 17,5 cm and 30,5 x 21 cm. 2 with photographer‘s stamp, 1 signed by the photographer in pencil on the verso.
750 €
hartmut
4299
4300
heinrich zille (1858–1929)
4301 Selected images of Berlin. 1898-1901. 6 gelatin silver prints, printed 1997. Each ca. 18 x 24 cm (24 x 30 cm). Print and griffelkunst edition information printed on the verso, as well as annotated in pencil on the verso.
400 €
The titles include: Aufbau der Schaubude „Die Rose aus dem Süden“; Frau auf einem Karusselpferd reitend ; Dieselbe Frau mit ihrem Kind im Arm; Zwei Frauen ziehen einen hochbeladenen Karren, Blick auf Charlottenburg; Frau mit Tragetasche und Reisigpäckchen, Blick Richtung Charlottenburg; Waisenstraße 18, der „Bullenwinkel“, neben dem Durchgang zur Neuen Friedrichstrasse.
Lit.: Enno Kaufhold. Heinrich Zille. Photograph der Moderne Munich, 1995. Ill. pp. 71, 128 and 191.
4302 Image from the portfolio Heinrich Zille. Aus dem Milljöh . Circa 1900. Ferrotyped gelatin silver print on Agfa doubleweight paper/printed 1975. 39 x 30 cm. Edition stamp with number „20/50“ on the verso.
300 €
4301
4302
heinrich zille
günther zint (b. 1941)
4303 Olaf Playing Football at the Berlin Wall . 1964. Later ferrotyped gelatin silver print on doubleweight paper. 25,7 x 35 cm (31,4 x 40,5 cm). Photographer‘s blindstamp in lower margin; signed by the photographer in pencil on the verso.
600 €
4303
A
Africa (Nigeria and Benin) 4091
Almasy, Paul 4094
Anglo Egyptian War 1882 4001
Anschütz, Ottomar 4002
Athens and Constantinople 4003
Aviation 4092
Axelsson, Ragnar 4093
B
Baldus, Édouard 4004 05
Baldus, Édouard and Achille Quinet 4006
Baur, Max 4095
Beatles, The 4096
Béchard, Henri 4007 08
Beil, Hartmut 4133
Belitski, Ludwig 4009
Bellmer, Hans 4097 99
Bergemann, Sibylle 413435
Berlin 4010
Bezjak, Roman 4104
Bisson frères 4011
Blossfeldt, Karl 4101
Blumenfeld, Erwin 4100
Boch, Monika von 4103
Boissonnas, Frédéric 4012
Bonfils, Félix 4013
Bonfils, Maison 4015
Bonfils, Maison and Unknown 4014
Borchert, Christian 4136
Brandt, Bill 4102
Brandt, Christian Friedrich 4016
Brazil & Portugal 4017
British Military Souvenir Album 4018
Buchwald, Kurt 4137
Bulhak, Jan 4105
Bulmer, John 4106
Bunge, Norbert 4107 08
C
CartierBresson, Henri 4109
Chaldej, Jewgeni 4110 11
Charnay, Claude Joseph Désiré 4020
Chemnitz 4019
Children 4112
China 402122
China/Japan 4023
Christel, Detlef 413840
Cologne 4024
Conningham & O‘Brien 4113
Constantinople 4025
D
Daguerreotypes 4026 28
Davidson, Bruce 4114
Daziaro, Joseph 4029 30
Dille, Lutz 411516
Doisneau, Robert 4117
E
Edgerton, Harold 411819
Egypt 4031, 4120
Elizabeth II, Queen 4121
Emden, Hermann 4032
Ermakov, Dimitri Ivanovich 4033
Erwitt, Elliott 4122
Esche, Susanne 4126
Ethnographic Portraits 4034
Evans, Walker 4123
Evans, Walker and Russell Lee 412425
F
Field, Lois 4127
Film Photography 4128
Fischer, Arno 414146
Frank, Robert 4129 30
Freed, Leonard 4131
Friedmann, Jorge 4132
Frith, Francis 4035
G
Gäbler, Gerhard 414750
Galdi, Vincenzo 4036
Gemeinde Wien (Modern Residential Housing) 4170
Getlinger, Fritz 4171
Giacomelli, Mario 4172
Gloeden, Wilhelm von 4037
Goldin, Nan 417478
Goos, Berend 4038
Görlich, Ulrich 4173
Gorman, Greg 4179
Grand Tour 4039
Greene, Herb 4180
Grindelwald Glacier 4040
Groll, Andreas 4041
H
HajekHalke, Heinz 418184
Hebler, Peter 418586
Hensky, Herbert 4151
Heyden, Bernd 415253
Hoepffner, Marta 4188
Hoepker, Thomas 4189
Höfer, Candida 4187
Hoinkis, Ewald 4191
Horst, Horst P. 4190
I
India 4042, 4192
Industrial Photography 4043
Inventions 4193
J
Jackson, William Henry 4044
Jacobi, Lotte 4194
Jacobi, Tom 4195
Jacoby, Max 4196
Japan 404552, 4197
Jazz 4198
K
Keck, William 4199
Keetman, Peter 4200
Kennedy, John F. 4201
Kertész, André 4202
Ketzscher, Stefanie 4154
Klauke, Jürgen 4203 04
Klemm, Barbara 4205
Klutsis, Gustav Gustavovich 4206
Koláˇr, Viktor 420711
Korda, Alberto 4212
Kujawski, Jerzy 4213
L
Landauer, Lou 421416
Le Gray, Gustave 4053
Lebeck, Robert 4217
Lee, Russell 421820
Lehnert & Landrock 4221
Lerner, Nathan 4222
Leupold, Matthias 422324
Leuzinger, Georges and Albert Frisch
4054
Leve, Manfred 4225
Lissitzky, El 4226
List, Herbert 422729
M
Mack, Ulrich 4230
Makarius, Sameer 4231
Malcolm X and Muhammad Ali 4232
Man Ray 423334
Mangold, Guido 4235
Marquardt, Sven 415559
Maywald, Willy 4236
McBride, Will 423742
Mey & Widmayer 4055
Missmann, Max 4056
Monaco Principality 4057
Müller Eibenstock, Otto 4243
Muybridge, Eadweard 4058
N
Nadar jeune 4059
NASA 424446
Netherlands 4060
New Hebrides Archipelago 4247
90th New York State Legislature 1867
4061
Niedringhaus, Charles W. 4248
Nineteenth Century Group Portraits 4062
North Africa 4063 64
O
Ogawa, Kazumasa 4065
Ongania, Ferdinando 4066
Ottoman Empire 4067 68
P
Pabel, Hilmar 4249
Paris, Robert 4160 62
Paris Commune 1871 4069
Paulin, Frank 4250
Photographische Gesellschaft Berlin, Neue 4251
Pieler, Hans 4252
Plüschow, Wilhelm 4070 71
Porter, Allen 4253
Prague 1968 4254
Pritikin, Max 4255
R
Rätzke, Thies 4256
Reichstag Berlin 4257
Reutter, Otto 4258
Rhineland 4072
Riefenstahl, Leni 4259
Rittase, William M. 4260
Rocholl, Karin 4261 62
Rome 4073
Ronkholz, Tata 4263 64
Rothstein, Arthur 4265
Ruge, Willi 4266
Russia 4074
S
Sander, August 4267
Sargent, Robert F. 4268
Schenker, Karl 4270
Schmidt, Ferdinand 4075
Schmidt, Michael 4269
Sébah, Pascal 407778
Seidenstücker, Friedrich 427175
Sewcz, Hans Martin 4276 77
Shulman, Julius 4278
Siam 4076
Siegel, Arthur 4279 81
Singh, Raghubir 428284
Sitou, TijaniÀdìgún 4285
Slevogt, Max 4286
Sommer, Giorgio 4079 80
Steinberg, Uwe 4163 64
Steinert, Otto 4287
Struth, Thomas 4288
Sturges, Jock 4289
Szathmári, Carol Popp de 4081
T
Takahashi, K. 4290
Teynard, Félix 408284
Thiemann, Elsa 4291
Tölke, Miriam 4292
Trülzsch, Holger and Vera Lehndorff 4293
U V
Unknown Photographer 4085
Venice 4086 87
Vienna 4088
Voigt, Adolf & Hans Giebler 4294
W Weber, Bruce 4295
Whaling 4089
Wolff, Dr. Paul 4296
World War I 4297
World War II 4298
Wüst, Ulrich 4165 69
X Z
Xray Photography 4090
Zichy, Count Theodore 4299
Zickmantel, Hartmut 4300
Zille, Heinrich 4301 02
Zint, Günther 4303
technical terms fachbegriffe
albumen print
Albuminabzug
annotated / by another hand bezeichnet / von fremder Hand attached / mounted befestigt / montiert
ballpoint pen
blindstamp
card / cardboard
collotype print
Kugelschreiber
Prägestempel
Karton / Untersatzkarton
Lichtdruck
colored koloriert
contact print
corner
crayon
Kontaktabzug
Ecke
Farbstift dated datiert
edge
Kante edition
Auflage
felttip pen
Filzstift ferrotyped hochglänzend framed gerahmt
gelatin silver print
Gelatinesilberabzug illustration / plate Abbildung ink
Tinte
inscribed / notations beschriftet
label
Etikett / Aufkleber left / right margin linker / rechter Rand mat / matted
Passepartout / unter Passepartout mounted aufgezogen, aufgewalzt
numbered / editioned nummeriert
original studio cardboard mount
OriginalAtelierkarton pencil
Bleistift
photographer’s stamp
Photographenstempel photogravure
Photogravüre
platinum print
Platinabzug printed later späterer Abzug
salted paper print
Salzpapierabzug signed signiert
stamp / stamped
Stempel / gestempelt tipped to mount auf die Unterlage geheftet titled betitelt toned getont
upper / lower margin
oberer / unterer Rand
abrasion, traces of Schleifspuren buckling gewellt bumped bestoßen
crease / light crease mark
Knick / Knickspur damaged lädiert edge wear
Gebrauchsspuren entlang der Kanten faded ausgeblichen foxing stockfleckig
glue, traces of Klebstoffreste handling crease
layout marks
oxidation mirroring
pen mark
Druckstellen / Gebrauchsspuren
Layoutmarkierungen
Aussilberung
Stiftspur pinholes Nadellöcher retouched spot
Retusche (punktuell) rubbed berieben scratch
Kratzer scuffmarks leichte Schleifspuren slightly soiled angestaubt smudge Schmierfleck soiled unfrisch / angeschmutzt spot / mark Fleck
tear / small tear
Riß, kleiner Einriß traces of previous mounting Montierungsreste traces of use Gebrauchsspuren
