Adam-Salomon, Antoine Samuel
Self-Portrait with Cello
Los 4001
Schätzung
1.200€ (US$ 1,333)
Self-Portrait with Cello. Circa 1860. Albumen print. 26,4 x 20,8 cm. Mounted to board, annotated in pencil on the verso.
Antoine Samuel Adam-Salomon was a pioneering French sculptor and photographer, who elevated portrait photography to an art form through his expert use of lighting, shadow, and composition. His portraits were renowned for their depth and sculptural quality, rivaling painting in richness and realism. In recognition of his achievements, he was awarded the Legion of Honor in 1870. – Some scuff marks, surface irregularities and signs of retouching, otherwise in good condition.
Stadtschloß, Berlin. 1856/57. Gold-toned salted paper print with rounded corners. 22 x 16,3 cm. Mounted to original board (slightly time-stained in edges, a few foxing spots).
Leopold Ahrendts began his career as a painter and lithographer in Dessau, eventually transitioning to photography in the mid-19th century. His photographic oeuvre encompasses urban landscapes and architectural views of Berlin, captured with a keen eye for composition and detail. His noteworthy contributions to the field earned him participation in international photographic exhibitions and widespread recognition as an architectural photographer. – Minimal fading in lower edge, a few light spots in negative in lower left corner, otherwise with strong tones and in very good condition.
Lit.: Eberhard Mayer-Wegelin/Sigrid Schulze. Berlin als Residenzstadt. Photographien von Leopold Ahrendts 1854-1870. Munich 2018, ill. p. 76 (variant from other side).
Lustgarten and Stadtschloß, Berlin. 1856/57. Gold-toned salted paper print with rounded corners. 16,4 x 21,8 cm. Mounted to original board (slightly time-stained in edges, a few foxing spots).
Light faded spot in lower right, otherwise with strong tones and in very good condition.
Lit.: Eberhard Mayer-Wegelin/Sigrid Schulze. Berlin als Residenzstadt. Photographien von Leopold Ahrendts 1854-1870. Munich 2018, ill. p. 71.
Gendarmenmarkt with farmer's market, Berlin. 1857/58. Albumen print with rounded corners. 18,5 x 21,3 cm. Photographer's stamp in lower left, mounted to original board (slightly time-stained in edges).
A few foxing spots in sky area, fading in lower edge, a few light scuff marks, otherwise with strong tones and in good condition.
Lit.: Jutta Reinke/Wolfgang Stemmer (eds.). Pioniere der Kamera. Das erste Jahrhundert der Fotografie 1840 - 1900. Die Sammlung Robert Lebeck. Worpswede 1987, ill. p. 190.
Eberhard Mayer-Wegelin/Sigrid Schulze. Berlin als Residenzstadt. Photographien von Leopold Ahrendts 1854-1870. Munich 2018, ill. p. 134.
Portal of the Zeughaus, Berlin. 1857. Gold-toned salted paper print with rounded corners. 21 x 16 cm. Mounted to original board (slightly time-stained in edges, a few spots, small tear in right edge).
Minimal fading in right edge, a few retouched spots in lower right corner, otherwise with strong tones and in very good condition.
Lit.: Eberhard Mayer-Wegelin/Sigrid Schulze. Berlin als Residenzstadt. Photographien von Leopold Ahrendts 1854-1870. Munich 2018, ill. p. 64.
Kronprinzenpalais, Berlin. Circa 1860. Gold-toned albumen print with rounded corners. 17,3 x 21,7 cm. Mounted to original board (slightly time-stained in edges).
Minimal fading in lower edge, a few minimal surface scuff marks, otherwise with strong tones and in very good condition.
Lit.: Eberhard Mayer-Wegelin/Sigrid Schulze. Berlin als Residenzstadt. Photographien von Leopold Ahrendts 1854-1870. Munich 2018, ill. p. 111.
Alinari, Fratelli
Panoramic view of Florence from San Miniato; Florence: Loggia dei Lanzi
Los 4007
Schätzung
900€ (US$ 1,000)
Panoramic view of Florence from San Miniato; Florence: Loggia dei Lanzi; Interior and exterior views of Palazzo Vecchio, Baptistry bronze door, San Miniato, Santa Maria Novella, Palazzo Pitti, the Dome. Circa 1854-60. 1 large-format, gold-toned albumen print (1 oval) and 1 large-format, gold-toned salted paper print and 8 albumen prints. 30,5 x 43 cm, 30,5 x 41 cm and circa 24 x 18 cm. Mounted to board (edges slightly time-stained and some spots), 1 with photographer's "Fratelli Alinari, Fotografi Firenze, via Nationale 8" blind stamp and 1 with "Fratelli Alinari, Fotografi Firenze Presso Luigi Bardi" below the image on the mount, smaller prints annotated in ink below the image on the mount.
The Fratelli Alinari photography studio, established in 1852 in Florence, Italy, is one of the world's oldest photographic companies. The studio's early focus was portraiture, and it later expanded its repertoire to capture Italy's cultural heritage, architecture, and historical landmarks. The extensive archive of daguerreotypes, albumen prints, and glass negatives produced by Fratelli Alinari during this period has played a crucial role in preserving and documenting Italy's rich artistic and cultural history. – In very good condition.
Lit.: Bodo von Dewitz/Dietmar Siegert/Karin Schuller-Procopovici (eds.). Italien sehen und sterben. Photographien der Zeit des Risorgimento (1845-1870). Cologne 1994, ill. p. 159.
Jutta Reinke/Wolfgang Stemmer (eds.). Pioniere der Kamera. Das erste Jahrhundert der Fotografie 1840-1900. Die Sammlung Robert Lebeck. Bremen 1987, ill. p. 111.
Anderson, James and Tommaso Cuccioni
View of the Colosseum; Arch of Constantine; Temple of Hercules Victor; Arch of Drusus
Los 4008
Schätzung
1.200€ (US$ 1,333)
View of the Colosseum; Arch of Constantine; Temple of Hercules Victor; Arch of Drusus. 1857-early 1860s. 4 large-format albumen prints. 33,5 x 45,5 cm 39,5 x 31,7 cm, 29 x 38,7 cm and 32,5 x 45 cm. Each mounted to board (traces of use, some spots, slightly dusty), titled in Italian in ink below the image on the mount, Drusus print with "Fotografia Cuccioni, via Condotti 19, ROMA" blind stamp under the image on the mount.
Born Isaac Atkinson in Blencarn, Cumberland, England, James Anderson initially pursued studying painting in Paris. In 1838, he relocated to Rome and embarked on a career in sculpture under the name James Anderson, which he kept professionally. Eleven years later, he ventured into photography, establishing a studio in Rome in 1853. He specialized in reproductions of works of art, frequently publishing catalogs of his work and also photographed views of Italy and antiquities. Throughout the 1860s, Anderson exhibited extensively. Following his passing, his son Domenico assumed control of the studio, which remained in the family's hands until the 1940s. – Colosseum print with some fading in edges in lower area, all with a few surface scuff marks, some retouched spots, some foxing in sky area, otherwise in very good condition with strong violet-brown tones.
Lit.: Dorothea Ritter. Rom 1846-1870. James Anderson und die Maler-Fotografen, Sammlung Siegert. Munich 2005, ill. p. 47 (Arch of Drusus, attributed to James Anderson).
Anderson, James and Unknown
Panoramic view of Roman Campagna to the Alban Hills, etc.
Los 4009
Schätzung
1.000€ (US$ 1,111)
Panoramic view of Roman Campagna to the Alban Hills; Views of Tivoli; San Benedetto convent, Subiaco; Panoramic view of Rome from Monte Mario; View of Rome over the Tiber River from Monte Aventino. Late 1850s. 3 large-format albumen panoramas and 3 albumen prints. 23 x 41 cm and 17 x 24 cm. Each mounted to thick card (soiled and time-stained in edges, some small tears), each annotated in ink below the image on the mount.
Campagna print with some foxing in sky area, a few light scuff marks, Monte Mario print with light foxing in sky area and some fading in lower edge. Rome over Tiber River print with larger retouched area in mid lower portion, some light surface scuffing, otherwise in good condition, smaller prints in very good condition.
Lit.: Dorothea Ritter. Rom 1846-1870. James Anderson und die Maler-Fotografen, Sammlung Siegert, Munich 2005, compare ill. p. 87 (similar image of Campagna).
Dietmar Siegert. Rom vor hundert Jahren. Photographien 1846-1890. Munich 1985, ill. p. 52 (foldout).
Anderson, James and Tommaso Cuccioni
View of St. Peter's Basilica; Fountain of St. Peter's Square; Interior of St. Peter's; Interior of Vatican
Los 4010
Schätzung
1.200€ (US$ 1,333)
View of St. Peter's Basilica; Fountain of St. Peter's Square; Interior of St. Peter's; Interior of Vatican. Early 1860s. 4 large-format albumen prints. 33,5 x 45,5 cm 39,5 x 31,7 cm, 29 x 38,7 cm and 32,5 x 45 cm. Each mounted to board (traces of use, some spots, slightly dusty), titled in Italian in ink below the image on the mount, Vatican print with "Fotografia Cuccioni, via Condotti 19, ROMA" blind stamp under the image on the mount.
Some minimal fading in edges, a few surface scuff marks, some retouched spots, Fountain print with foxing in sky area and light spots in lower right, otherwise in very good condition with strong violet-brown tones.
Lit.: Dorothea Ritter. Rom 1846-1870. James Anderson und die Maler-Fotografen, Sammlung Siegert. Munich 2005, ill. p. 63 (Interior St. Peter's).
The Arch of Titus, Rome. Circa 1860. Large-format albumen print. 39,5 x 30,2 cm. Mounted to board (slightly dusty), "Jos. Spithöver Roma" blind stamp in lower right corner of the mount, titled in Italian in ink below the image on the mount.
A few surface scuff marks, otherwise in very good condition with strong violet-brown tones.
Anderson, James
Statues of Niobide, Vatican; Sophocles, Laterna Museum and Mars, Villa Ludovisi
Los 4012
Schätzung
1.200€ (US$ 1,333)
Statues of "Niobide", Vatican; "Sophocles", Laterna Museum and "Mars", Villa Ludovisi. 1855-60. 3 large-format gold-toned albumen prints. Each circa 37 x 23 cm. Each mounted to board (traces of use, foxing, time-stained in edges), titled in Italian in ink below the image on the mount, each with "Jos. Spithoever, Roma" blind stamp in lower right corner of the mount.
James Anderson's rendition of sculpture is exceptional, likely due to his own experience as a sculptor. His images of sculpture far surpass other art reproductions of the time and stand out as individual works. The prints are gold-toned, giving them a rich, violet brown color that exceeds the quality of images found in travel albums of the time. – A few surface scuff marks, some retouched spots, otherwise in near excellent condition with strong violet-brown tones.
Anderson, James
Statues of "Diskobolus"; "Laocoon"; "Nilo", all Vatican
Los 4013
Schätzung
1.200€ (US$ 1,333)
Statues of "Diskobolus"; "Laocoon"; "River Nile", all Vatican. 1855-60. 3 large-format gold-toned albumen prints. Each circa 37,5 x 27,5 cm. Each mounted to board (traces of use, some foxing, time-stained in edges), titled in Italian in ink below the image on the mount, each with "Jos. Spithoever, Roma" blind stamp in lower right corner of the mount.
A few light surface scuff marks, some retouched spots, otherwise in near excellent condition with strong violet-brown tones.
Animal studies. 1888-89. 6 albumen prints mounted to board (edges rubbed, some smudge marks). Each circa 20,4 x 14,8 cm or reverse (27,7 x 35,3 cm). Each with photographer's name, date and location in the negative lower right.
Ottomar Anschütz was a German photographer, renowned for his advancements in high-speed and motion photography. In the 1880s, he developed fast shutters that captured images at 1/1000th of a second, allowing him to photograph rapid movements with unprecedented clarity. Among his notable works is a series of photographs featuring taxidermied animals in lifelike settings with painted backdrops and props to simulate their natural habitats. These images demonstrate his technical prowess as well as his dedication to blend scientific inquiry with artistic expression.
– A few minimal surface scuff marks/slight surface soiling, otherwise in very good condition.
Cavalry horses with riders. 1883. Albumen print. 21 × 27,5 cm. With negative number in lower left corner of the image, annotations in pencil, and “M. Hessling Kunstverlag Leipzig, 11 Fürstenstr.” stamps on the verso.
Some handling creases, small tears along margins and discoloration in lower portion of print, otherwise in good condition.
Atget, Eugène
Marchande de café au lait, rue Mouffetard, 5ème arrondissement, Paris
Los 4016
Schätzung
1.200€ (US$ 1,333)
Marchande de café au lait, rue Mouffetard, 5ème arrondissement, Paris. Circa 1898. Albumen print. 22,6 x 18,1 cm. Annotated and numbered "3087" by the photographer in pencil on the verso.
Eugène Atget’s photographs of Paris at the turn of the 20th century form a remarkable visual archive of the city’s streets, architecture, and vanishing pre-modern spaces. While best known for his carefully composed urban vistas, he occasionally photographed street vendors, shopkeepers, and laborers. Whether capturing deserted boulevards or glimpses of daily life, his work transcends documentation, evoking a poetic sense of time and memory that profoundly influenced generations of photographers after him. – Small tear on upper margin, edges slightly uneven, otherwise in good condition.
Atget, Eugène
Hôtel De Roquelaure, 246 Boulevard St. Germain, Paris
Los 4017
Schätzung
1.000€ (US$ 1,111)
Hôtel De Roquelaure, 246 Boulevard St. Germain, Paris. Circa 1906-1907. Albumen print. 21,7 x 17,7 cm. Titled and numbered "5314" by the photographer in pencil on the verso.
Slight crease in lower margin, upper margin slightly uneven, otherwise a strong tonal print in very good condition.
Photographer unknown. Views of Badenweiler. Circa 1900. 29 albumen prints. Each circa 17 x 23 and reverse. Mounted to boards (time-stained in edges, some dusty, slightly warped).
Some light surface scuff marks, some with light fading in edges, otherwise prints in good to very good condition.
Hunting trophy. 1860s. Albumen print mounted to board. 15,8 × 12 cm (17,3 × 20 cm). Annotated in pencil by another hand in lower left corner of the mount; with “Robert Lebeck” collection label and another albumen print, captioned in ink, affixed to the verso.
Captain N. Baily, a British photographer active in the 1860s, was a member of the Amateur Photographic Association. His work reflects the mid-19th-century fascination with still-life compositions, particularly those featuring game, fowl and fish - subjects popular among gentleman photographers, many of whom had military backgrounds and engaged in hunting as a pastime. Baily’s surviving photographs are marked by careful composition and keen attention to texture and detail.
Provenance: Robert Lebeck collection
Théâtre Romain à Arles. Circa 1855. Albumen print. 33,5 x 43 (44 x 55 cm). With title and negative number in lower margin of print, mounted to original card (some foxing and smudge marks, left margin torn), stamped "E. Baldus" in black ink below image on mount.
Édouard Baldus, a pivotal figure in 19th-century architecture and landscape photography, played a crucial role in establishing photography as a vital tool for documenting and preserving architectural heritage. Renowned for his expansive photographic campaigns across France, Baldus captured monuments, railway routes, and cityscapes that represent some of the era’s most striking architectural views. Prints of this image are in the collections of the Metropolitan Museum of Art, the National Gallery of Art, Washington and the Museum of Fine Arts, Houston. – Some foxing and light surface irregularities, otherwise a strong print in near excellent condition.
Avignon. Circa 1861. Albumen print. 31,3 x 42,5 cm (44 x 55 cm). Mounted to original card (some foxing, creases and tears), stamped "Avignon" and "E. Baldus" in black ink below image on mount.
Prints of this image are in the collections of the Metropolitan Museum of Art and the Museum of Fine Arts, Houston. – Some foxing, scuff marks, and light surface irregularities, along with slight signs of oxidation in the shadow areas, otherwise, in very good condition.
Barnard, George N.
Photographic Views of Sherman’s Campaign
Los 4022
Schätzung
800€ (US$ 889)
Photographic Views of Sherman’s Campaign. 1864. 2 albumen prints mounted to album pages (corners bumped, some light discoloration). Each 25,5 x 36 cm (41 x 51,5 cm). Each titled and captioned "Photo. from nature by G.N.Barnard" below the image on the mount.
George Norman Barnard was a pioneering American Civil War photographer, best known for his 1866 album Photographic Views of Sherman’s Campaign, which document the landscapes, fortifications, and destruction left in the wake of General William Tecumseh Sherman’s march through the American South. Using large-format albumen prints, Barnard captured battlefields, ruined railroads, and cities such as Atlanta, Savannah, and Charleston, creating some of the most striking visual records of the war’s impact. His work is notable for its technical precision, dramatic compositions, and historical significance, positioning him as one of the leading war photographers of the 19th century. – Some light scuff marks, otherwise in near excellent condition.
Lit.: George N. Barnard. Photographic Views of Sherman’s Campaign, from Negatives Taken in the Field. New York 1866.
Cairo and Thebes. 1862. 2 albumen prints mounted to board. 23,8 x 28,5 cm (29,4 x 33,9 cm) and 27 x 22 cm (31,2 x 26,9 cm). Signed, numbered, titled and dated in the negative in lower margin; annotations by another hand in pencil on the mount below the image.
In 1862, Francis Bedford was commissioned to accompany the Prince of Wales on a royal tour of the Eastern Mediterranean. He produced some of the earliest photographs of Egypt taken under official patronage. His images captured major archaeological sites such as the Pyramids of Giza, the Sphinx, Karnak, and the temples of Thebes and Philae, as well as scenes of daily life along the Nile. Technically refined and compositionally balanced, these photographs were later exhibited and published in Britain, and shaped Victorian perceptions of Egypt. – Some light fading, smudge marks and minimal foxing, otherwise in very good condition.
Prize animals. Circa 1857. Albumen print. 13,3 x 19,2 cm (25,6 x 33,2 cm). Photographer’s studio stamp in red ink in the lower left corner of print, mounted on board (some foxing and smudge marks), “Photographe de S.M. L’Empereur” embossed on the mount in lower margin.
Some scuff marks, otherwise a strong print in very good condition.
Views of India and Sri Lanka. 1860s. 21 albumen prints mounted to album boards. Each between 15,5 x 23 cm and 24,3 x 28,5 cm or reverse (34,5 x 42,8 cm). Most with photographer's name and/or negative number in the margins.
Samuel Bourne was a pioneering British photographer celebrated for his extensive documentation of 19th-century India and Sri Lanka. Between 1863-1870, he produced over 2,000 images capturing the subcontinent’s diverse landscapes, architectural marvels, and colonial infrastructure. This selection of photographs features scenic vistas and colonial-era landmarks across India and Sri Lanka, including Shimla and its Christ Church, the Qutb Minar in Delhi, the Marble Rocks at Jabalpur, the Colombo-Kandy railway in Sri Lanka, the Satkhanda Tower in Lucknow, as well as a view of Eden Gardens in Calcutta, alongside lush Himalayan forests, rivers, and hill stations. – Some fading, scuff and smudge marks, otherwise all in good to very good condition.
Photographer: Emil Dux (1872-1954). Views of Mark Brandenburg. 1890s. 43 albumen prints. Each circa 11 x 16 cm. All mounted to board, annotated in ink on the mount, in original canvas box (edges with wear, cover loose).
This selection of photographs includes views of Alt Landsberg, Belzig, Brandenburg, Neumark, Crossen, Friedeberg, Gransee, Chorin, Lehnin, Heiligengrabe, Koenigsberg, Rheinsberg, Tangermünde and others. – Some surface scratches, some with fading in edges, otherwise in good condition.
Two prints from the book Costumes de Suisse: "Canton de Schaffhouse"; "Canton d' Appenzell". 1870s. 2 delicately hand-colored albumen prints. Each circa 15 x 10 cm. Each mounted to original card (slight foxing), photographer's name, title and book title printed below/above the image on the mount. Matted.
Prints in very good condition.
Lit.: Maureen C. O'Brien/Mary Bergstein (eds.). Adolphe Braun. Image and Enterprise. London 2000, ill. p. 150 (uncolored variant of "Canton d' Appenzell").
Three King's Daughters Fair (Mary Peacock, Emily Peacock, Annie Chinery Cameron). 1873. Albumen print. 33,2 x 27,8 cm (44,2 x 37,7 cm). Mounted to modern board.
Julia Margaret Cameron’s Three Kings’ Daughters Fair embodies her pioneering vision of elevating photography into the realm of fine art. Drawing inspiration from the Pre-Raphaelite Brotherhood, Victorian poetry, and her close relationships with leading literary and artistic figures of her time, Cameron cultivated an aesthetic that was both intimate and transcendent. The title of this work originates from a ballad translated by Dante Gabriel Rossetti, whose romantic medievalism profoundly shaped Cameron’s approach. The photograph’s dreamlike quality - soft focus, luminous faces, and floral symbolism - evokes an allegorical reverie oscillating between portraiture and poetic myth. The sitters - Mary and Emily Peacock, along with Cameron’s daughter-in-law, Annie Chinery Cameron - were part of her creative circle, often posing as literary and mythological figures in her staged compositions. Their presence in this image extends beyond mere likeness, rather symbolizing vessels of narrative and sentiment, in keeping with Cameron’s belief that photography should aspire to the expressive depth of painting and poetry. At a time when photographic sharpness was equated with technical prowess, Cameron defied convention by embracing soft focus as a means of artistic interpretation. Her ethereal, often melancholic compositions prefigured the Pictorialism movement, challenging rigid definitions of the medium, and establishing her legacy as one of the 19th century’s most innovative photographers. – Some light surface irregularities and fading along edges of print, otherwise a strong print in near excellent condition.
Lit.: Mike Weaver. Julia Margaret Cameron 1815-1879. Farnham 1984, ill. p. 72.
Amanda Hopkinson. Julia Margaret Cameron. London 1986, ill. p. 135.
Julian Cox and Colin Ford. Julia Margaret Cameron: The Complete Photographs. Los Angeles 2003, ill. p. 237.
Carjat, Étienne
Album de la Galerie Contemporaine: Biographies & Portraits
Los 4029
Schätzung
1.200€ (US$ 1,333)
Album de la Galerie Contemporaine: Biographies & Portraits. 1888. 12 Woodburytypes mounted on album pages (some light foxing). Each 23 x 18 cm (34 x 27 cm). With photographer’s name, sitter’s name, and publisher’s information below the image, along with a biographical text accompanying each portrait. Bound in contemporary cloth-backed album with gilt-embossed title and decorative ornamentation in black and blue (edges worn, some stains and scuff marks).
An essential chronicle of 19th-century French intellectuals, writers, and artists, this volume features Carjat’s iconic portrait of Charles Baudelaire, alongside those of other luminaries such as Edmond de Goncourt, Madame de Ségur and Viollet-le-Duc. – Some light scuff and pressure marks, otherwise all in excellent condition.
Photographer: Colombo Apothecaries Company (active 1883-late 1920s). Botanical studies. 6 albumen prints. Each ca. 28 x 21 cm. Most signed and captioned in the negative in lower margin as well as some with "Apothecaries & Co. - Photographers - Colombo, Ceylon" blind stamp in lower right corner; annotations in pencil as well as "Dr. Arthur Berger" collection stamp on the verso.
This collection comprises botanical photographs produced by C. A. & Co., also known as the Colombo Apothecaries Company, a mercantile firm established in Colombo, Ceylon in 1883, by W.M. Smith and James Smith Finlay. The company expanded into photography by the early 1890s. They acquired the negatives of Charles T. Scowen & Co. and relocated their studio to Kandy with its favorable climate for photographic work. The images document tropical plant species, including Parmentiera cereifera (Candle Tree) and Corypha umbraculifera (Talipot Palm), each labeled with Latin names and specimen numbers. – Some light surface irregularities and handling marks, with occasional small tears and creases along the margins of a few prints, otherwise all in good to very good condition.
Provenance: Estate of Dr. Arthur Berger
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Galerie Bassenge
Erdener Str. 5A
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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