Die Mauer, Berlin (The Wall, Berlin). 1961. Gelatin silver print, printed later. 18,8 x 28 cm (23,8 x 30,2 cm). Signed, titled and dated by the photographer in pencil on the verso.
Corners bumped, a few minimal handling marks, minimal tear in right edge, otherwise in very good condition.
Provenance: Directly from the photographer to the present owner.
Konrad Adenauer, Rhöndorf. 1964. Vintage ferrotyped gelatin silver print on Agfa paper. 20,2 x 30 cm. Signed, titled and dated by the photographer in pencil as well as agency stamp on the verso.
Corners bumped, a few handling dents, otherwise in good condition.
Provenance: Directly from the photographer to the present owner.
Paul and Willem de Kooning, East Hampton. 1983. Chromogenic print on Kodak Professional paper. 25,3 x 20,2 cm. Printed estate label on the verso, mounted to black board.
Linda McCartney secured her first breakthrough as a photographer while working as an editorial receptionist at Town and Country magazine. She documented a Rolling Stones promotional event, and the magazine was so impressed with her candid, intimate and relaxed photographs of the band, that they published her images in an editorial feature. This first magazine commission was followed by many more. While working as the house photographer at the Fillmore East in New York City, she photographed many iconic musicians including: B.B. King, The Doors, Frank Zappa, The Beach Boys, The Who, The Kinks and Jimi Hendrix. Linda continued to work prolifically as a photographer throughout her life, documenting family life, landscapes and the natural world, interiors, social documentary and portraits of artists. Her work is in the National Portrait Galleries of both the UK and the USA. – A few light handling dents, otherwise in very good condition with bright colors.
Lit.: Wolfgang Suttner (ed.) Paul McCartney. Paintings. Ostfildern 1999, ill. p. 13.
Nude descending the staircase. 1942. Vintage gelatin silver print. 25 x 19 cm (56 x 50 cm). "Gjon Mili / The Richard Checani Collection" stamp on the verso. Framed under glass in wooden frame.
Gjon Mili’s work is renowned for its groundbreaking use of high-speed and stroboscopic photography, capturing motion in ways previously unseen. Working with Harold Edgerton at MIT, Mili developed lighting techniques that revolutionized the depiction of movement. His collaboration with artists like Pablo Picasso and Martha Graham, along with his dynamic images for Life magazine, transformed sports, dance, and performance photography, expanding the artistic possibilities of capturing motion in a single frame. Richard Checani was the photographer's nephew and legal heir. – Some very light scuff marks, otherwise in near excellent condition. With: Certificate of authenticity from Howard Greenberg Gallery.
Modotti, Tina
Diego Rivera Mural, Palacio Nacional, Mexico City
Los 4215
Schätzung
1.800€ (US$ 2,000)
Diego Rivera Mural, Palacio Nacional, Mexico City. Circa 1930. Vintage gelatin silver print. 11,5 x 9,2 cm (35,6 x 28 cm). Signed by the photographer in felt-tip pen in lower right corner, with the photographer's copyright stamp and annotations in pencil on the verso. Hinge-mounted to mat.
Tina Modotti’s photograph of Diego Rivera’s mural at the Palacio Nacional exemplifies her role as a major documentarian of Mexico’s post-revolutionary mural movement. An Italian-born photographer and political activist, Modotti worked closely with Rivera and other artists to capture the social and political ideals embedded in their art. Her images not only preserve Rivera’s monumental frescoes but also reflect her deep commitment to the cultural and revolutionary spirit of 1920s Mexico. Through her photography, Modotti transformed documentation into a powerful tool for historical preservation and political engagement. – Some light scuff marks and handling creases, otherwise in very good condition.
Storefront, Mexico City. 1930s. Vintage gelatin silver print. 13,2 x 8 cm (35,6 x 28 cm). Signed by the photographer in black ink in lower right corner, with the photographer's copyright stamp and annotations in blue crayon and pencil on the verso. Hinge mounted to mat.
Tina Modotti’s architectural studies from the late 1920s and early 1930s explore the geometric and structural essence of Mexico’s urban and industrial landscapes. Emphasizing clean lines, sharp contrasts, and the interplay of light and shadow, her photographs reveal the modernity and functionality of the built landscape. More than straightforward documentation, these images reflect Modotti’s awareness of architecture as both a social and economic force, shaping and mirroring the lives of those who inhabit it. – Some light pressure marks, black spots in the negative, signs of oxidation in shadow areas, otherwise in very good condition.
Stockholm, Quai. 1928-1931/printed 1994. 2 gelatin silver prints, printed 1994 and 2004. 22,5 x 16 cm (25,2 x 20,2 cm) and 28 x 20 cm (40 x 29,8 cm). 1 annotated in pencil and 1 initialed by Hattula Moholy-Nagy in pencil as well as Griffelkunst edition text printed on the verso.
One with a few pressure marks in left edge, otherwise in very good condition.
Lit.: Jeanine Fiedler (ed.). Moholy Album. Perspektivwechsel auf den Fotostrecken der Moderne. László Moholy-Nagys schwarzweißfotografische Arbeiten 1924-1937. Göttingen 2018, ill. pp. 35 and 196.
Moholy-Nagy, László
Licht-Raum-Modulation images and others
Los 4218
Schätzung
750€ (US$ 833)
"Licht-Raum-Modulation" images and others. 1930-1946/. 4 gelatin silver prints, printed 1994 and 2005 from the original negatives. 3 circa 25 x 19 cm (30,2 x 24 cm, 40 x 30 cm) and 1 40 x 30,2 cm (50,5 x 41 cm). Each monogrammed by Hattula Moholy-Nagy in pencil and with Griffelkunst edition text printed on the verso.
The images include: Licht-Raum-Modulator – Detail, Berlin (1930); Kinetische Skulptur, London (1936); Wire Sculpture, Somonauk (1946); and an untitled work from 1935-37, (An Outline of the Universe). – In excellent condition.
Lit.: Jeanine Fiedler (ed.). Moholy Album. Perspektivwechsel auf den Fotostrecken der Moderne. László Moholy-Nagys schwarzweißfotografische Arbeiten 1924-1937. Göttingen 2018, ill. pp. 21 and 28.
Joseph Beuys, Neue Pinakothek, Munich. 1968. Gelatin silver print on Agfa paper, printed later. 23,5 x 34 cm (30,5 x 40,3 cm). Signed, annotated and dated by the photographer in pencil/blue crayon and photographer's stamp on the verso.
The German photographer Stefan Moses trained in Breslau, later working as a theater photographer in Weimar after the end of WWII. As of 1950, Moses worked for Stern magazine in Munich. He documented people in their professions in West Germany (Deutsche) and later in East Germany (Abschied und Anfang). In the following years, he devoted himself to portrait photography. He produced numerous illustrated books and photographed personalities such as Thomas Mann, Erich Kästner, Theodor W. Adorno, Otto Dix, Max Frisch and Martin Mayer. His life's work has been shown in various European exhibitions since 2003. – A few small very light dents, otherwise in near excellent condition.
Günther Uecker, Studio Düsseldorf. 1971. Gelatin silver print, printed later. 34 x 50 cm (44 x 58,5 cm). Signed by the photographer in blue crayon and photographer's stamp as well as annotated and dated in pencil by another hand on the verso.
A few small smudges in white margin, otherwise in near excellent condition.
Lit.: Ulrich Pohlmann/Matthias Harder (eds.). Stefan Moses. Die Monografie. Fotografien 1947 bis heute. Munich 2002, ill. p.159 (variant).
Full body silhouettes. 1984. 3 vintage gelatin silver prints on Agfa paper. Each between 21,8 x 20 cm and 34 x 16 cm (40 x 30 cm). Each signed in felt-tip pen and photographer's stamp on the verso.
Floris Neusüss is widely recognized for his pioneering role in cameraless photography, particularly through his innovative use of the photogram. Beginning in the 1960s, he explored the human figure at life-size scale, creating bold, immersive images that challenged conventional notions of photographic representation. His experimental approach often involved applying photographic chemicals by hand, sometimes with a sponge, introducing painterly textures and dynamic gestures to the process. – Some handling creases and fixer stains on the verso of one print, otherwise all in good to very good condition.
Vier Blütenfotogramme. 1997. 4 gelatin silver prints in Griffelkunst portfolio (some small stains), printed 1998. Each 42 x 29,8 cm. Each signed and dated by the photographer in felt-tip pen on the verso.
In addition to his remarkable body photograms, Neusüss left a lasting impression with his flower photograms, in which he placed flowers directly on photosensitive paper, exposing them to light to create visually striking compositions. – One print (tulip) with light fold mark in upper elft, otherwise in very good condition.
Test shot from the set of "The Seven Deadly Sins: Anger, Greed, Gluttony, Envy, Sloth, Lust and Pride" project, commissioned by the Italian magazine Amica. 1982. Vintage Polaroid print. 7,2 x 9,4 cm (8,5 x 11 cm).
In 1982, Helmut Newton was commissioned by the Italian fashion magazine Amica to create a photographic series interpreting the "Seven Deadly Sins: Anger, Greed, Gluttony, Envy, Sloth, Lust, and Pride". This project exemplified Newton’s signature style-combining eroticism, elegance, and psychological intensity. The shoot took place in Milan and featured elaborate, cinematic staging that merged fashion photography and art. A notable anecdote from the "Gluttony" shoot involves model Sylvia Gobbel, who posed with a kilo of caviar, highlighting Newton’s playful yet provocative approach. The resulting images, including vintage Polaroid test prints, are now considered rare artifacts of Newton’s creative process and have been featured in retrospectives such as the “Legacy” exhibition. – Some minimal surface scuff marks and small spots, otherwise in very good condition.
Test shot from the set of "The Seven Deadly Sins: Anger, Greed, Gluttony, Envy, Sloth, Lust and Pride" project, commissioned by the Italian magazine Amica. 1982. Vintage Polaroid print. 7,2 x 9,4 cm (8,5 x 11 cm). Annotated "Newton '82" in ball-point pen in right margin.
Some minimal surface scuff marks and small spots, otherwise in very good condition.
Violin makers patterns. 1941. Vintage gelatin silver print. 19 x 24,2 cm (34,2 x 35,5 cm). Mounted to board (some traces of previous mounting); signed and titled in pencil below the image on the mount; photographer's copyright stamp on mount verso.
Arnold Newman was a pioneering American photographer known for his mastery of environmental portraiture, as well as his striking compositions in still life, abstract, and documentary photography. While best known for capturing artists, politicians and cultural figures, his broader work also explored form, light and spatial relationships with the same careful attention to composition. – Some minimal surface irregularities, otherwise in excellent condition.
Children in Berlin. 1962. Vintage gelatin silver print on Agfa paper. 23,7 x 29,7 cm. Signed by the photographer in ink and annotated in pencil on the verso.
Elisabeth Niggemeyer was born in Bochum in 1930. After training as a photographer in Munich, she began documenting cities in the 1950s. Her first stops were Munich, London and Bonn. In 1957, she moved to Berlin and in 1964, together with Gina Angreß and Wolf Jobst Siedler, she published the photo book Die gemordete Stadt (The Murdered City), a portrayal of Berlin's urban development in transition at the time. – Slightly buckled, otherwise in very good condition.
Female nudes. 1930s. 5 vintage ferrotyped gelatin silver prints on Agfa-Brovira paper. Each circa 17,5 x 23,5 cm. Photographer's/copyright stamp and annotated in red crayon on the verso.
Heinz von Perckhammer, a Tyrolean photographer, gained recognition for his evocative images of China in the 1920s, notably his series of Chinese nudes and street scenes in Beijing. His nude portraits are distinguished by their refined elegance, blending classical aesthetics with contemporary sensibilities. – Corners minimally bumped, edges slightly curled, otherwise in very good condition.
Male nudes; Peking Summer Palace. 1930s. 3 vintage ferrotyped gelatin silver prints, 2 on Agfa-Brovira paper. Each circa 21,5 x 16 cm and 23,5 x 17,5. 2 with photographer's/copyright stamp and 1 with typed press text on the verso.
A few slight handling dents, edges slightly curled, otherwise in very good condition.
Anatomiesaal in der Akademie, Dresden. 1945. Vintage gelatin silver print. 29,7 x 24,4 cm. Photographer's copyright stamp as well as titled and annotated by the photographer in pencil.
Richard Peter Senior’s photographs of Dresden after World War II offer a powerful visual record of the city’s destruction and its slow recovery. Working in the immediate aftermath of the bombings, he documented ruins, survivors, and the fractured urban landscape with a clear, unsentimental eye. His images convey both the scale of devastation and the resilience of everyday life, serving as a poignant chronicle of a city grappling with the consequences of war. – Some light handling creases and minimal surface irregularities, otherwise in very good condition.
Lit.: Richard Peter. Dresden: Eine Kamera klagt an, Ein historisches Dokument. Dresden 1949.
Verwandlung. Silber. 2007. Pigment print. 47,5 x 39,5 cm (59,5 x 50 cm). Signed and editioned "15/20" by the photographer in black marker in lower margin.
Edges slightly curled, minor crease in lower left corner, otherwise in very good condition.
Ted Starkowski. 1951. Vintage gelatin silver print. 19,2 x 24 cm. With the photographer's studio stamp and "Collection of John Edward Rollins"stamp, as well as annotated by another hand in pencil on the verso.
George Platt Lynes’ is known for his highly stylized, theatrical approach to portraiture, fashion, and male nudes, blending surrealism, classical influences, and precise lighting. Among his notable models was Ted Starkowski, whose striking physique and expressive presence made him a frequent subject in Lynes’ exploration of the male form. His photographs often feature dreamlike compositions and a refined sense of eroticism, cementing his legacy as an important figure in mid-20th-century fine art and queer photography. – Edges slightly rubbed, some very light handling creases and traces of previous mounting, otherwise in very good condition.
Ella Fitzgerald in Eden's Saloon. 1961. Gelatin silver print, printed later. 38,5 x 47,5 cm. Signed, titled and dated by the photographer in black ink below the image in margin.
This lively photograph by Uwe Rau captures jazz icon Ella Fitzgerald surrounded by fans at the Eden Saloon in Berlin, 1967. A famous venue in West Berlin’s vibrant jazz scene, the Eden Saloon drew American artists during a time when culture served as soft diplomacy in a politically divided city. Fitzgerald beams at the center of a tightly packed, adoring crowd, embodying both her magnetic presence and the deep enthusiasm for jazz in postwar Germany. – In excellent condition.
Miles Davis at the Berliner Jazztage. 1969. Gelatin silver print, printed later. 33,8 x 42,8 cm. Signed, titled and dated by the photographer in black ink below the image in margin.
This photograph by Hamburg-based photographer Uwe Rau captures jazz legend Miles Davis performing at the Berliner Jazztage in 1969. Founded in West Berlin in 1964, the Berliner Jazztage (Berlin Jazz Days) was established to “document, support, and validate trends in jazz, and to mirror the diversity of creative musical activity.” Emerging in the years after the Second World War, when Germany was still divided between East and West, this festival served as a means of uniting people through jazz music. – Two light handling dents in lower and left margin, otherwise in near excellent condition.
Reichmann, Vilém
Alles fließt, from the series 'Makroterie'
Los 4234
Schätzung
500€ (US$ 556)
Alles fließt, from the series 'Makroterie'. 1976. Large-format gelatin silver print, printed 1989. 27 x 37,8 cm. Signed, titled and dated by the photographer in pencil on the verso.
The Czech photographer Vilem Reichmann was interested in how objects could change meaning, when taken out of context or photographing in such a way that the object becomes a surrealistic abstraction. – Some handling dents, corners slightly bumped, traces of previous mounting on the verso, otherwise in good condition.
Lit.: Zdenek Primus (ed.). Vilém Reichmann. Fotografien. Berlin 1990.
Agave. 1930s. Gelatin silver print on Agfa paper, likely vintage. 22.8 × 17 cm. Signed and titled by the artist in red ballpoint pen, with additional annotations in pencil and red felt-tip pen on the verso.
Albert Renger-Patzsch, a central figure in the early 20th-century New Objectivity movement, championed a photographic style rooted in clarity, precision, and formal rigor. His work reveals a deep appreciation for the structural beauty of both natural and industrial subjects, emphasizing their inherent design without romanticization. In his botanical studies, he brought the same disciplined attention to detail, highlighting the sculptural and expressive qualities of plants through a lens of objective observation. – Edges slightly rubbed, some light surface irregularities and handling creases, otherwise in good condition.
Lit.: Ann Wilde, Jürgen Wilde, and Rainer Stamm (eds.). Die Welt der Pflanze: Photographien von Albert Renger-Patzsch und aus dem Auriga-Verlag. Ostfildern-Ruit, 1998.
Angler im Möhnedschungel. Circa 1950. Vintage gelatin silver print on Agfa-Brovira paper. 16,6 x 22,6 cm. Photographer's "Renger-Patzsch, Wamel-Dorf über Soest I. W" studio stamp as well as title and annotations in pencil and crayon on the verso.
Corners slightly bumped, small surface irregularity, otherwise in very good condition.
Ries, Henry
Protest demonstration at the Platz der Republik, Berlin
Los 4237
Schätzung
750€ (US$ 833)
Protest demonstration at the Platz der Republik, Berlin. Sept. 9, 1948. Ferrotyped gelatin silver print on doubleweight paper, printed later. 31 x 27 cm. 2 photographer's/copyright stamps, photographer's "The New York Times" copyright stamp and annotated by the photographer in marker and ink on the verso.
Born in Germany, Henry Ries emigrated to the United States as a young man, where he volunteered for service during World War II and served as a photographer in the Army Air Forces. Following the war, he became editor and chief photographer for the OMGUS Observer, an American weekly published in Berlin. He later worked as a European photojournalist for The New York Times and Time magazine, documenting postwar Europe with a keen eye for historical and cultural change. – A few light surface scratches, several handling dents, corners bumped, some edge wear in left edge, crease in upper right corner, otherwise in good condition.
Lit.: Katrin Peters-Klaphake/Dieter Vorsteher (eds.) Brennpunkt Berlin: Die Blockade 1948/49. Der Fotojournalist Henry Ries. Berlin 2008, ill. p. 76.
Untitled (Woman with cat). Circa 1930. Vintage gelatin silver print with rounded corners. 15,6 x 20,2 cm. Photographer's estate stamp on the verso.
This photograph by Franz Roh, an important figure in the New Objectivity movement, features a woman - likely his wife Juliane - holding a cat before a mirror. The composition plays with reflection and gaze, blending intimacy with subtle surrealism. It exemplifies Roh’s interest in photography as a medium of psychological depth and visual experimentation. – Some scuff marks, light creases and traces of previous mounting, otherwise in good condition.
Provenance: The estate of Franz Roh
Lit.: Ubu Gallery. Franz Roh: Photography & Collage from the 1930s. Exhibition catalogue. New York, 2006, ill. p. 39 (variant).
Renata. 1930s. 2 vintage ferrotyped gelatin silver prints. Each circa 17,5 x 12,6 cm. Each with photographer's stamp on the verso.
Werner Rohde studied at the Burg Giebichenstein Kunstgewerbeschule near Halle, where he was encouraged by his professor Hans Finsler to study photography. Rohde participated in the groundbreaking Film und Foto exhibition in 1929, in Stuttgart, showing seven of his photographs. He often used his wife Renata as a model, as in the photos offered here. – Minor surface irregularities, some handling creases/dents, traces of previous mounting on verso, otherwise in good condition.
Lit.: Folkwang Museum (ed.). Werner Rohde. Fotografien 1925-1937. Berlin 1992.
Rockland, ME. 1937. Gelatin silver print, printed later. 20,5 x 30,5 cm (27,8 x 35,5 cm). Signed by the photographer in pencil lower right, below the image in the margin; titled and dated on the verso. Hinge-mounted to mat.
Arthur Rothstein was a deeply influential American photographer, whose work is characterized by visual precision, narrative strength, and a lasting social consciousness. Over a career spanning more than four decades, he created a vast and varied body of work, from iconic images of the Dust Bowl and rural America for the Farm Security Administration, to editorial and institutional photography later in life. Across these contexts, Rothstein maintained a keen eye for composition and a strong sense of empathy, capturing not only the hardships and resilience of his subjects, but also the quiet, often overlooked moments of everyday life that as a whole form a rich portrait of the 20th-century American experience. – In excellent condition.
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Galerie Bassenge
Erdener Str. 5A
14193 Berlin
Öffnungszeiten:
Montag bis Donnerstag, 10–18 Uhr,
Freitag, 10–16 Uhr
Telefon: +49 30 8938029-0
Fax: +49 30 8918025
E-Mail: info (at) bassenge.com
Impressum
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© 2024 Galerie Gerda Bassenge
Galerie Bassenge
Erdener Str. 5A
14193 Berlin
Öffnungszeiten:
Montag bis Donnerstag, 10–18 Uhr,
Freitag, 10–16 Uhr
Telefon: +49 30 8938029-0
Fax: +49 30 8918025
E-Mail: info (at) bassenge.com
Impressum
Datenschutzerklärung
© 2022 Galerie Gerda Bassenge