Ireland. 1965. Gelatin silver print, printed later. 20,5 x 30,5 cm (32,4 x 43,8 cm). Signed in ink in lower right corner; signed, titled and dated in pencil on the verso.
Elliott Erwitt is renowned for his keen observational eye and subtle wit, capturing fleeting moments of everyday life with clarity, humor, and empathy. Working primarily in black and white, his photographs blend documentary precision with a poetic sensibility, often revealing the absurd or touching elements of human behavior. Whether depicting street scenes, social gatherings, or quiet personal interactions, Erwitt’s work consistently reflects his deep understanding of the human condition and his talent for finding meaning in the mundane. – In excellent condition.
Faurer, Louis
56th Street Behind City Center on a Sunday
Los 4122 [*]
Schätzung
1.200€ (US$ 1,333)
56th Street Behind City Center on a Sunday. 1949. Gelatin silver print, printed later. 27,5 x 18,4 cm (35,2 x 27,7 cm). Signed and dated by the photographer in ink below the image in the margin.
The American photographer Louis Faurer was known for his deeply humanistic and often melancholic images of urban life, particularly in New York City and Philadelphia during the mid-20th century. Working primarily in black and white, he captured fleeting expressions, gestures, and moments of isolation among pedestrians, often using slow shutter speeds, blur, and unconventional angles to evoke emotional depth and psychological nuance. Though he worked commercially for fashion magazines like Harper’s Bazaar and Vogue, his personal street photography remains his most celebrated legacy, admired for its poetic and empathetic view of modern city life. – A fine tonal print in very good condition.
Lit.: Anne Wilkes Tucker. Louis Faurer. Houston 2002, ill. p. 140.
Feininger, Andreas
Gothic church portal (Domkirche Greifswald)
Los 4123
Schätzung
900€ (US$ 1,000)
Gothic church portal (Domkirche Greifswald). 1930s. Vintage ferrotyped gelatin silver print on Agfa-Brovira paper (negative print). 23,5 x 18 cm. Photographer's stamp and annotated by the photographer in pencil on the verso, with original card mount (traces of use), typed German text on mount; photographer's stamp on mount verso.
After leaving school at age 16 in 1922, Andreas Feininger enrolled at the Bauhaus, before he shifted his focus to architecture, studying first at the Staatliche Bauschule Weimar, and later at the Bauschule Zerbst. While in Zerbst, he developed a growing interest in photography, guided in part by Bauhaus teacher and neighbor László Moholy-Nagy. In 1936, Feininger abandoned architecture to pursue photography full-time, relocating to Sweden, and later immigrating to the United States in 1939. He went on to work as a staff photographer for Life magazine from 1943-1962, and became widely known for his photographic manuals, including The Complete Photographer.
The print offered here comes from the original dummy for Feininger’s 1939 book New Paths in Photography, published by American Photographic Publishing Co., Boston (plate 33). – Corners bumped, torn parts of paper on verso, some handling dents.
Female nude study; Portrait of a dancer. Circa 1925. 2 vintage gelatin silver prints. Each circa 20,7 x 15 cm. Each mounted to board (slightly dusty) and signed by the photographer in pencil below the image on the mount.
Pepa Feldscharek graduated from the Graphische Lehr- und Versuchsanstalt in 1918 and, in 1920, co-founded a photo studio in Vienna with fellow graduate Melanie Heller. From 1922 onward, she ran the studio independently, specializing in fashion, dance, and portrait photography, with her work regularly featured in leading magazines such as Die Bühne, Moderne Welt, Die Dame, Berliner Illustrirte Zeitung, Wiener Magazin and Münchner Illustrierte Presse. Due to her Jewish heritage, Feldscharek fled Austria in 1938, adopting the name Josefine Schreier. She emigrated to New York and eventually settled in Gloucester, Massachusetts, where she died in 1962. – Minimal mirroring in edges, a few small surface spots, otherwise in very good condition.
Photographer: Lotte Jacobi (1896-1990). The actress Anna May Wong (1905-1961). Circa 1928. Vintage gelatin silver print. 26 x 21,3 cm. Photographer's "Atelier Jacobi, Joachimsthaler Str. 5" studio and reproduction limitation/copyright stamp and number in red crayon on the verso.
In 1928, Anna May Wong arrived in Berlin seeking more progressive film roles and an escape from the stereotypical parts she had long been offered in Hollywood. She also spent time in London and Paris, where she was warmly received by critics and audiences alike. Wong returned to the United States in 1930, with an expanded artistic profile and growing international acclaim. – Light pressure line along right side, a few minimal spots, some fixer discoloration, otherwise in good condition.
Photographer: Freiherr Wolff von Gudenberg (1890-before 1961). Portrait of Marlene Dietrich. 1929. Vintage gelatin silver print. 22 x 16,8 cm. Annotated in ink and pencil as well as 2 agency stamps on the verso.
The verso of the photograph notes that it was taken in connection with the 1929 film Die Frau, nach der man sich sehnt (The Woman One Longs For), starring Marlene Dietrich, prior to her departure for Hollywood. – Some nicks in edges, corners bumped, some crease/indentation marks, crease in upper edge, otherwise in good condition.
Film Photography
Romy Schneider on the set of Bocaccio '70
Los 4127
Schätzung
500€ (US$ 556)
Photographer: Roger Fritz (1936-2021). Romy Schneider on the set of Bocaccio '70. 1962. Vintage gelatin silver print on Agfa paper. 29 x 18,2 cm. Photographer's stamp, agency stamps and annotated in pencil on the verso.
This photograph by Roger Fritz captures Romy Schneider in a moment of poised introspection on the set of Boccaccio ’70 (1962). With a keen sense for atmosphere, Fritz conveys the quiet tension behind the scenes, offering an intimate portrait of one of Europe’s most celebrated actresses at a pivotal point in her career. – Some edge wear, slight buckling as well as some creases in upper portion, corners bumped, otherwise in good condition.
Architectural views. 1986-1992. 6 gelatin silver prints, printed 1995. 55,3 x 39 cm (59,8 x 43,4 cm). Each signed and dated by the artist in pencil on the verso. From an edition by Griffelkunst.
This selection of photographs includes views of the clock at the George Poděbrady Church in Prague, the Lingotto building in Turin, the Palazzo dei Congressi and the Palazzo della Civiltà Italiana from the Esposizione Universale in Rome, the Casa del Fascio in Como, and the Villa Malaparte on Capri. – Some light buckling along egdes of prints, otherwise in excellent condition.
Lit.: Günther Förg. Fotografien 1982-1992. Ostfildern 1993, illustrated.
Untitled from the series "Moses Soyer". Circa 1960. Gelatin silver print on Agfa paper, printed later. 25 x 25 cm (32,8 x 22 cm), Signed, titled and dated in pencil on the verso.
Corners slightly bumped, some light surface irregularities, otherwise a strong tonal print in near excellent condition.
Untitled from the series "Beatniks". 1958. Gelatin silver print on Agfa paper. 25 x 25 cm (35,4 x 27,7 cm), Signed, titled and dated in pencil on the verso.
Larry Fink was an American photographer known for his intimate, flash-lit black-and-white images that captured the social rituals and unguarded moments of everyday life. His work spans from beatnik circles in the late 1950s to high-society parties and working-class gatherings, often blurring the line between documentary and staged photography. With a sharp eye for gesture and atmosphere, Fink revealed the emotional undercurrents of human interaction across class and cultural divides. – Some light surface irregularities and buckling along edges of print, otherwise in very good condition.
Praga. 1967. Cibachrome print, printed early 1990s. 43 × 27,8 cm. Signed, titled, and dated by the photographer in the lower margin; additionally signed, titled, and dated on the verso. Housed in a black ornamental paper portfolio, signed by the photographer in pencil on the front cover, with an inner window mat.
Franco Fontana's work is characterized by his mastery of color, abstraction, and minimalism. His vibrant and abstract compositions often reduce scenes and subjects to their essential forms and colors, creating visually striking and contemplative images. Fontana's innovative approach to color photography has earned him recognition as a pioneering figure in the field, known for his distinctive and influential work. – One light dent in lower right, otherwise in very good condition.
Jack Lemmon, Hollywood, California. 1996. Chromogenic print, printed 2000. 46 x 38 cm (51 x 40,7 cm). Signed, titled, dated and copyrighted by the photographer in felt-tip pen on the verso.
Abe Frajndlich is an American photographer who lives and works in New York City. He became internationally known in particular as a portraitist of celebrities, including important fellow photographers. As a photographer and reporter, Frajndlich worked for the Frankfurter Allgemeine Zeitung magazine, Life, Der Spiegel, the London Observer and the New York Times Magazine, among others. In addition to his journalistic assignments, he has achieved international recognition in the fields of portrait and nude photography in particular. – Handling dents throughout, especially in lower area, light liquid mark to surface in lower right.
Lit.: Abe Frajndlich. Porträts, Munich 2000, ill. front cover and p. 37.
Jean Cocteau in his apartment, Paris. 1939. Chromogenic print on Kodak Professional paper, printed later. 42,5 x 29 cm. Signed by the photographer in felt-tip pen in lower margin, as well as copyright blind stamp in lower right corner; photographer's/copyright stamp on the verso. Hinge-mounted in mat.
Gisèle Freund was a German-born French photographer and photojournalist renowned for her documentary work and intimate portraits of writers and artists. She pioneered the use of the Leica camera for reportage and was among the first to employ Kodachrome and Agfacolor films for color portraits, capturing figures such as James Joyce, Virginia Woolf, and André Malraux with a uniquely candid style. Her contributions significantly shaped 20th-century photography, blending sociological insight with artistic expression. – A few minimal dents and retouched spots, otherwise in very good condition.
Lit.: Gisèle Freund. Photographien und Erinnerungen. Munich 1998, ill. 112, p. 116.
Virginia Woolf, London. 1939. Dye transfer print, printed later. 30 x 20,5 cm (46 x 35,8 cm). Signed by the photographer in felt-tip pen in lower margin as well as copyright blind stamp in lower right corner; photographer's/copyright stamp and numbered "16/30" in pencil on the verso. Hinge-mounted to mat.
Slight soiling on the verso, otherwise in excellent condition.
Lit.: Gisèle Freund. Photographien und Erinnerungen. Munich 1998, ill. 97, p. 99.
Friedmann, Georges
Intersection of 42nd Street and 5th Ave., New York
Los 4135
Schätzung
1.000€ (US$ 1,111)
Intersection of 42nd Street and 5th Ave., New York. 1968. Vintage gelatin silver print. 49,5 x 59,7 cm. Photographer's Buenos Aires stamp and signed by the photographer in ballpoint pen on the verso.
Born in Miskolc, Hungary in 1910, master photographer Georges Friedmann (also known as György Friedmann, George Friedman, or Jorge Friedman) worked as a cameraman on film productions in London and Hollywood, and contributed photography to major magazines including Vu, Paris Match, Time, and Life until 1937. From 1939 onward, he lived in Buenos Aires, where he worked as a photo editor and publisher of illustrated magazines, most notably Atlántida. – Corners slightly bumped, Minimal mirroring in edges, otherwise in very good condition.
Russian Sector, Berlin. 1945. Gelatin silver print, printed 1960s. 35,7 x 27,8 cm. With the photographer's "Robert Capa- Magnum" credit stamp as well as press stamps and annotations in pencil on the verso.
In August and September 1945, renowned war photographer Robert Capa documented post-war Berlin, capturing over six hundred images that provide a poignant glimpse into the city’s state following World War II. The notable photograph offered here features an elderly man playing a barrel organ amidst the city’s ruins, with two Soviet soldiers standing nearby. The backdrop includes a bilingual sign reading “Reichstag” in German and Russian, indicating the location near the Reichstag building in the Soviet-occupied sector. This image condenses the stark contrasts of the time: resilience amid devastation, and the interplay between civilians and occupying forces during Berlin’s early reconstruction period. – A few scratches and handling creases, otherwise in very good condition.
Provenance: Robert Lebeck collection
William Burroughs. 1972. Gelatin silver print, printed 1980s. 25,2 x 18 cm (35,4 x 28 cm). Several photographer's stamps and annotations in pencil on the verso.
Charles Gatewood studied anthropology at the University of Missouri in the early 1960s before pursuing a career in photography, focusing on subcultures and unconventional lifestyles. Working as a freelance photographer from 1974 onward, he documented both the underground scene and prominent cultural figures such as William S. Burroughs and Bob Dylan. His images, often raw yet empathetic, form a compelling record of individuals and communities existing outside the mainstream. – Corners bumped, creases in corners in margins, one light handling dent lower right in image, otherwise in good condition.
Lit.: Michael Köhler (ed.). Burroughs. Eine Bild-Biographie. Berlin 1994, ill. p. 81.
Leipzig Hauptbahnhof. 1983. Vintage gelatin silver print. 29,2 x 41 cm (39,8 x 49,8 cm). Signed, titled, dated and editioned in pencil as well as photographer's copyright stamp on the verso.
Gerhard Gäbler, originally trained as a chemist, turned to photography to document everyday life in the GDR, capturing the subtleties of East German society under Communist rule. His black and white photographs, often taken in the context of his professional duties, offer a nuanced and intimate view of daily life in East Germany during the 1980s. His work is held in collections such as the Museum of Fine Arts, Houston, and the International Center of Photography, New York. – Corners slightly bumped, some light handling creases, otherwise in excellent condition.
Leipzig. 1981. Vintage gelatin silver print. 30,2 x 30,2 cm (49 x 39,8 cm). Signed, titled and dated in pencil as well as photographer's copyright stamp on the verso.
Minimal handling creases, otherwise in excellent condition.
Photographers: Franke, Schindler, Sindermann. Presentation box of views of the Palast der Republik, Berlin. 1973-1980s. Circa 47 vintage chromogenic prints. Circa 20 x 25 cm. Each but 3 mounted to board, in brown leather presentation box (edges rubbed, some water stains) with embossed title Palast der Republik.
This historical compilation presents interior and exterior views of the Palast der Republik (Palace of the Republic) in Berlin, spanning from its construction to the mid-1980s. Completed in 1976, the building served as the seat of the East German parliament, the Volkskammer, until 1990, while also functioning as a major cultural and social venue. Nicknamed the “People’s Palace,” it was located across Unter den Linden from Museum Island, on the former site of the Berlin Palace. It housed a wide array of facilities, including auditoria, galleries, a theater, cinema, numerous restaurants and bars, a discotheque, bowling alleys, a rooftop ice rink, and even a police station with an underground cellblock. – Most photos with shifted colors, otherwise in very good condition.
Hensky, Herbert
Rally after the founding of the GDR, Oct. 11, 1949
Los 4141
Schätzung
500€ (US$ 556)
Rally after the founding of the GDR, Oct. 11, 1949. Large-format gelatin silver print, printed 1950s. 38,5 x 49,8 cm. Photographer's/agency stamp and number notations in crayon on the verso.
Herbert Hensky was a German photojournalist known for his candid documentation of life in East Germany from the postwar period onward. His work captured everyday scenes and important political moments, including the iconic 1946 handshake between Wilhelm Pieck and Otto Grotewohl. Hensky’s photographs became emblematic of East German visual culture and are held in major institutions such as the Berlinische Galerie and the German Historical Museum. – Handling dents, some creases, backed tear lower right and upper left.
Exhibition opening, Berlin. 1960s. Vintage large-format gelatin silver print. 40 x 49,8 cm. Photographer's/agency stamp and estate stamp on the verso.
Some retouched spots in lower area, a few light handling dents, otherwise in good condition.
Mongolian horse breeders. 1960s. Vintage large-format gelatin silver print. 48,9 x 38,8 cm. Photographer's/agency stamp and annotated in crayon/ballpoint pen on the verso.
Stronger horizontal crease in upper portion, a few light handling dents, corners bumped, a few nicks in edges and a few retouched spots, otherwise in good condition.
Panoramic views of East Berlin: View of the Nikolaikirche, Rathaus, Marienkirche and Stadthaus; View from Rathaus of the Marienkirche with the Berliner Dom. 2 vintage ferrotyped gelatin silver prints. Each circa 24 x 30,3 cm. Each with photographer's studio stamp and signed by the photographer in pencil on the verso.
Some pitting to ferrotype surface, otherwise in very good condition.
Kraftwerk Jänschwalde. 1990. Large-format gelatin silver print, printed later. 33 x 49,5 cm (45,2 x 59,4 cm). Photographer's stamp as well as signed, titled and dated by the photographer in pencil on the verso.
The German photographer Thomas Kläber studied at the Hochschule für Grafik und Buchkunst Leipzig (HGB). His first larger body of work was titled "Landleben", and is a series he continued over the years. He depicted country life in the GDR in authentic and often moving portraits as well as landscapes and architecture of more remote areas. – Some handling creases, especially in lower portion, corners slightly bumped, otherwise in good condition.
Schäfer, Rudolf
Image from "Der Ewige Schlaf: Visages de morts"
Los 4146
Schätzung
1.000€ (US$ 1,111)
Image from "Der Ewige Schlaf: Visages de morts". 1988. Vintage gelatin silver print. 23,4 x 17,7 cm (41,3 x 30 cm). Signed, numbered and dated by the photographer in pencil below the image in margin.
Rudolf Schäfer’s "Der Ewige Schlaf (Eternal Sleep)" is a contemplative series of 13 black-and-white photographs, portraying deceased individuals, their bodies shrouded in white sheets to evoke the stillness of sleep. This quiet meditation on death blurs the line between repose and finality, capturing a haunting serenity. Schäfer invites viewers to confront mortality, projecting their own thoughts and fears onto these intimate post-mortem portraits. – In excellent condition.
Lit.: Rudolf Schäfer. Der Ewige Schlaf - Visages de morts. Hamburg 1989.
Gosbert Adler/Wilmar Koenig (eds.). DDR FOTO. Freunde der Werkstatt für Fotografie. Berlin 1985, ill. p. 67.
Karl Gernot Kuehn (ed.). Caught: The Art of Photography in the German Democratic Republic. Los Angeles, 1997, ill. p. 215.
Sewcz, Hans Martin
Auguststraße, Ecke Kleine Hamburger Straße, Berlin; In der Auguststraße, Berlin-Mitte; Linienstraße am Koppenplatz, Berlin
Los 4147 [*]
Schätzung
1.500€ (US$ 1,667)
Auguststraße, Ecke Kleine Hamburger Straße, Berlin; In der Auguststraße, Berlin-Mitte; Linienstraße am Koppenplatz, Berlin. 1979. 3 panoramic gelatin silver prints, printed 2005/2007. Each circa 24 x 58 cm (34 x 61 cm). Each signed, titled, and dated by the photographer in pencil as well as photographer's stamp on the verso.
Hans Martin Sewcz studied at the Academy of Visual Arts in Leipzig and is best known for his photographic exploration of East Germany and other former Eastern Bloc countries. His work has been widely exhibited and is held in major public and private collections, including the Berlinische Galerie, the Deutsches Historisches Museum, the Institut für Moderne Kunst in Nuremberg, and the Deutsche Bank Collection in Frankfurt am Main. Notably, his photographs were featured in the exhibition "Das Gesicht des XX. Jahrhunderts" at the Deutsches Historisches Museum in Berlin. – One print with drying paper on edges of print, otherwise in near excellent condition.
Lit.: Marc Barbey (ed.). Hans Martin Sewcz. Berlin-Mitte, Mai 1979. Berlin 2011, ill. pp. 8,10 and 32.
Sewcz, Hans Martin
Oranienburger Str., Kreuzung Tucholskystraße Berlin
Los 4148 [*]
Schätzung
1.500€ (US$ 1,667)
Auguststraße, Ecke Große Hamburger Straße, Berlin; Linienstraße mit Fernsehturm, Ost-Berlin; Linienstraße "Gerüstbau", Berlin. 1979. 3 panoramic gelatin silver prints, printed 2005/2007. Each circa 24 x 58 cm (34 x 61 cm). Each signed, titled, and dated by the photographer in pencil as well as photographer's stamp on the verso.
One print with minimal discoloration in left margin, otherwise in near excellent condition.
Lit.: Marc Barbey (ed.). Hans Martin Sewcz. Berlin-Mitte, Mai 1979. Berlin 2011, ill. pp. 8, 34 and 30.
Wüst, Ulrich
Berlin, from the series "Stadtbilder" 1979-1983
Los 4149
Schätzung
750€ (US$ 833)
Berlin, from the series "Stadtbilder" 1979-1983. 1982. Vintage gelatin silver print. 14 x 20 cm (17,5 x 22,5 cm). Photographer's stamp on the verso.
Ulrich Wüst visually captured the urban landscapes and architectural motifs of the former GDR with exceptional detail and nuance. His photographs, characterized by stark compositions and muted tones, serve as poignant reflections on the built environment and societal dynamics of East Germany during the Cold War era. Wüst's work offers a compelling visual narrative, referencing the complexities of history, memory, and social transformation within the urban fabric of the former GDR. – In excellent condition.
Lit.: Gosbert Adler/Wilmar Koenig (eds.). DDR FOTO. Freunde der Werkstatt für Fotografie. Berlin 1985, ill. p. 95.
Magdeburg, from the series "Stadtbilder" 1979-1983. 1982. Vintage ferrotyped gelatin silver print. 17 x 22,5 cm. Photographer's stamp on the verso.
Some irregularities to ferrotype surface, otherwise in very good condition.
Lit.: Gosbert Adler/Wilmar Koenig (eds.). DDR FOTO. Freunde der Werkstatt für Fotografie. Berlin 1985, ill. p. 88.
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Galerie Bassenge
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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
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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