Jacoby, Max
Crowds lined up on Joachimsthaler Str. during John F. Kennedy's visit to Berlin
Los 4181
Schätzung
1.000€ (US$ 1,111)
Crowds lined up on Joachimsthaler Str. during John F. Kennedy's visit to Berlin. 1963. Vintage gelatin silver print on Agfa paper. 22 x 29,8 cm. 2 photographer's/copyright stamps and annotated in pencil on the verso.
In 1937, Jewish photographer Max Jacoby fled his hometown of Koblenz for Argentina. A position as a camera assistant to photographer Georges Friedmann offered a new beginning. Alongside other émigré photographers, he co-founded the artist group "La Carpeta de los Diez". In 1957, Jacoby returned to Berlin, where he continued working as a freelance photographer, capturing portraits of workers, artists, beggars, and politicians, as well as documenting both political events and everyday life in the divided city. – Some buckling, otherwise in very good condition.
Photographer unknown. Views of Jüterbog. Circa 1905-08. 61 toned gelatin prints (some possibly platinum prints). Various sizes between circa 16 x 22 and 8 x 23 cm. Mounted to boards (some time-stained in edges), annotated in ink below/above images on board. Bound in canvas album (edges rubbed, some spots) with screw binding, handwritten dated dedication in ink on front flypaper.
Exceptionally fine and atmospheric views of Jüterbog, capturing the character and charm of the town at the turn of the 20th century. – Some surface scuff marks, otherwise most prints in good to very good condition.
Kaiserbesuch Constantinople 1917
The visit of Kaiser Wilhelm II to Constantinople
Los 4183
Schätzung
800€ (US$ 889)
Photographer: Bild- und Filmamt (BUFA). Images of Kaiser Wilhelm II's visit to Constantinople. 1917. 12 vintage gelatin silver prints. Each circa 17 x 23 cm. Some with number in the negative in lower corners; inserted in photo corners on modern card with printed title "Türkei" "Kaiserbesuch".
This interesting group of photographs documents Kaiser Wilhelm II’s visit to Constantinople in October 1917, where he met with his wartime ally, Sultan Mehmed V of the Ottoman Empire. The series of twelve images captures key moments from the visit, including a grand military parade across the Galata Bridge, accompanied by a ceremonial Janissary Corps in traditional dress. Another photograph features the Kaiser alongside the Sultan, surrounded by Ottoman dignitaries and high-ranking military officials, offering a rare visual record of this symbolic display of alliance during World War I. – Some areas of light discoloration, otherwise in very good condition.
Volkswagenwerk. 1953. 5 gelatin silver prints, printed 1990s. Each 25,8 x 25,2 cm (50,2 x 40,4 cm). Each signed by the photographer in black ink on the verso.
Peter Keetman’s 1953 series Volkswagenwerk offers a strikingly modernist view of the Volkswagen factory, transforming car parts and assembly lines into rhythmic, abstract compositions. Blending industrial subject matter with formal experimentation, the series exemplifies Keetman’s role in the postwar Fotoform movement and how he redefined the aesthetic potential of industrial photography. These attractive photographs are unique prints with unusually wide margins, which Keetman only printed once in this format. – Some very light handling creases and minor buckling along margins, otherwise all in very good condition.
Lit.: Holger Broeker (ed.). Peter Keetman: Volkswagenwerk 1953. Bielefeld, 2003, ill. pp. 21, 29, 63, 87 and 99.
Tulip. Circa 1996. Chromogenic print on Agfa paper. 30 x 20,2 cm. Signed by the photographer in black pen on the verso.
Some surface irregularity in right area, more visible in raking light, otherwise in very good condition.
Kesting, Edmund
Dancer with projected profile of Gret Palucca
Los 4186
Schätzung
500€ (US$ 556)
Dancer with projected profile of Gret Palucca. 1940s. Vintage warm-toned gelatin silver print on heavy chamois paper. 30 x 24 cm. Signed by Gerda Kesting in ballpoint pen on the verso.
Edmund Kesting studied art in Dresden and developed a growing interest in photography after 1925. He became particularly drawn to experimental techniques, including double exposures, photograms, and negative montages, which became central to his innovative visual style. – In very good condition.
Provenance: Estate of the Bauhaus artist Peter Keler
Bei Duisburg. 1949. Vintage ferrotyped gelatin silver print on Leonar paper. 23 x 29,5 cm. Photographer's/copyright stamp, "Hannes Kilian Archiv" stamp, negative number in pencil and dated by Gundel Kilian in pencil on the verso.
After attending trade school, Hannes Kilian completed a three-year photography program in Switzerland. Between 1933 and 1938, he lived in Naples and Paris before returning to Germany, where he began working as a freelance photojournalist. Drafted as a war photographer in 1941, he resumed his freelance career after 1945, contributing to publications such as Time, Picture Post, Die Zeit, Stuttgarter Illustrierte, Der Spiegel, Stern and Vogue. – A few handling dents, slight buckling in lower edge, a few surface scratches, otherwise in good condition.
Oberhausen. 1955. Vintage ferrotyped gelatin silver print on Agfa paper. 17,8 x 23,3 cm. Photographer's/copyright stamp, negative number in pencil and annotated by Gundel Kilian in pencil on the verso.
A few handling dents, a few surface scratches, some scratches in the negative in upper sky area, corners slightly bumped, otherwise in good condition.
Securitas from the "Prosecuritas" series. 1986. Ferrotyped gelatin silver print on Agfa paper, printed 1988. 52 x 61 cm. Signed and dated by the photographer in ink on the verso. From an edition by Griffelkunst.
The photography and media artist Jürgen Klauke is known for his critical and confrontational view of normed social behavioral patterns. In works ranging from highly minimalistic to strongly excessive, and also at times surrealistic scenes, his photographs reflect on the basic conditions of paranoid existence. – Several handling creases, a few stronger, especially in left area, a few retouched spots, otherwise in good condition.
Lit.: Hans-Michael Herzog. Jürgen Klauke: Prosecuritas. Ostfildern 1994.
Georgian tourist, Moscow. 1959. Gelatin silver print. 37.2 × 24.8 cm. Signed and titled by the photographer in blue felt-tip pen on the verso; numbered “33” in red crayon, with additional annotations in pencil by another hand on the verso.
William Klein’s work in Moscow, produced during a visit in 1959 and later published in his photobook Moscow (1964), offers a bold, idiosyncratic portrait of Soviet life at the height of the Cold War. With his trademark wide angles, dynamic compositions, and preference for spontaneous, often chaotic street scenes, Klein captured parades, public gatherings, and daily routines - rendering a vision that felt both grand and intimate. Unlike traditional propaganda imagery, his photographs convey a sense of irony, humanity, and curiosity, presenting Moscow not as an ideological symbol but as a living, complex city. – Corners slightly bumped, with some handling creases and traces of a removed label on the verso; otherwise in good condition.
Provenance: Robert Lebeck collection
Lit.: William Klein. Moscow (Mockba). Paris, 1964.
Métal. After photographs by Germaine Krull. 35 x 25,5 cm. Original illustrated half cloth portfolio in linen slipcase. 30 x 23,6 cm. 64 black and white photographs on plates. Text in German, English and French. Ann and Jürgen Wilde, Cologne and Zuelpich, 2002/2003.
Martin Parr/Gerry Badger, The Photobook, vol 1, page 95. Special edition with original photo by Germaine Krull. Limited to 50 copies; here no "10/50". Photo (Shell, 1929/printed 1978, 16 x 21,3 cm) originally signed and stamped by Krull. Brilliant reprint of the legendary photobook Métal, published by Librairie de Arts Decorativs, Paris in 1928. – In excellent condition. Photo with retouched spot in upper left corner and lower left.
Lange, Dorothea
Abandoned church in cutover area, Boundary County, Idaho
Los 4192
Schätzung
800€ (US$ 889)
Abandoned Church in Cutover Area, Boundary County, Idaho. 1939. Gelatin silver print, printed 1940s. 20,7 x 25,5 cm. With typewritten title, location, and date; FSA copyright stamp and Culver Pictures, Inc. reproduction stamp on the verso, along with annotations in ballpoint pen and pencil.
This photograph by Dorothea Lange features a solitary, weathered church set against a backdrop of cleared forestland, approximately two miles south of the Canadian border. The image highlights the desolation following extensive logging activities, reflecting the economic and environmental challenges of the era. Lange’s work with the Farm Security Administration aimed to document rural hardships during the Great Depression, and this photograph serves as a poignant testament to the impact of industrial practices on both communities and landscapes. – One of the stamps on the verso is faintly visible through the print. Corners are bumped, with some scuff marks, handling creases, and creases in the upper and lower right corners, otherwise in good condition.
Berlin, Mitte. 1958. Gelatin silver print, printed 1970s. 23 x 17,4 cm. Photographer's label, signed, dated and titled by the photographer in pencil on the verso.
The German photojournalist Klaus Lehnartz contributed considerably to the field by skillfully documenting a wide range of subjects, from political events to everyday life. His portrayal of Berlin's evolving landscape during the German division is notable. – Crease in lower corners, a few light handling dents, otherwise in very good condition.
Two Tunisian girls. After 1904. Vintage brown-toned matte gelatin silver print. 29,7 x 38,8 cm (38 x 47,5 cm). Photographer's logo in the negative in lower right corner. In ornamental wooden frame.
Lehnert & Landrock were a photographic duo known for their studio and landscape work in North Africa during the early 20th century, particularly in Tunisia and Egypt. Their images, ranging from posed portraits and genre scenes to architectural studies and desert landscapes, catered to a European audience fascinated by Orientalist themes. While often celebrated for their technical refinement and atmospheric composition, their work also reflects the colonial gaze, staging local people and settings in ways that aligned with Western ideals of exoticism, beauty, and cultural otherness. – Some light smudge marks. otherwise in near excellent condition.
Steel factory, Düsseldorf. 1914. 8 vintage platinum prints. Each circa 24 x 30 cm. Mounted to brown board, most with photographer's blind stamp on mount recto; most with photographer's label on mount verso.
Emil Lichtenberg, active in Honnef and Düsseldorf between the 1910s-1930s, primarily documented architecture, including office buildings, interiors and factories, but he also made many fine portraits, especially in the 1910s. He was a member of the GDL (Society of German Photographers) and used various high-quality photographic processes. The majority of his prints show fine craftsmanship. – Fine tonal prints in near excellent condition.
Italy. Late 1950s. Vintage ferrotyped gelatin silver print on Agfa-Brovira doubleweight paper. 23,8 x 30,2 cm. Photographer's/copyright stamp on the verso.
The German photographer Herbert List was a major figure in 20th-century photography, known for his refined visual language that combined classical aesthetics with the modernist sensibilities of his time. Deeply influenced by his background in art history and his exposure to Surrealism and the Bauhaus movement, List created images that often imbued everyday subjects with a dreamlike or metaphysical quality. His work spans still lifes, architectural studies, and portraits - many of which reflect a quiet, contemplative mood, displaying a fascination with form, light and shadow. – Edges slightly curled, corners minimally bumped, a few small indentations, otherwise in very good condition.
List, Herbert
School children, Martinique, Fonds Lahaye
Los 4197
Schätzung
2.000€ (US$ 2,222)
School children, Martinique, Fonds Lahaye. 1957. Vintage gelatin silver print on Agfa-Brovira doubleweight paper. 18,7 x 29 cm. Estate stamp, therein negative number in pencil as well as layout notes in pencil on the verso.
Herbert List's extensive travels as a photographer allowed him to capture the spirit of diverse cultures, transforming everyday scenes into timeless visual narratives. He published several books with images from these trips such as Caribia which depict people of the Caribbean Islands. This image is from that series. – Some creases in lower right edge/corner, otherwise in very good condition.
Lit.: Herbert List. Caribia. Ein photographisches Skizzenbuch von den Caribischen Inseln. Hamburg 1958, ill. p. 71.
Pablo Picasso, Paris. 1948. Gelatin silver print, printed 1981. 23,3 x 34,5 cm (30,3 x 40,5 cm). Photographer's estate stamp, therein editioned "5/15" and signed by Max Scheler in ink on the verso.
Some signs of retouching, light buckling in edges, otherwise a strong print in near excellent condition.
Lit.: Max Scheler/Matthias Harder (eds.). Herbert List. The Monograph. Munich 2000, ill. p. 205 (image from the same sitting).
Wild horses, Kenya. 1964. Gelatin silver print, printed later. 19,7 x 29,5 cm (30,3 x 40,3 cm). Photographer's blind stamp in lower margin; signed and titled by the photographer in pencil, as well as photographer's/copyright stamp and reproduction limitation stamp on the verso.
From 1963-1967, Ulrich Mack worked as a photojournalist for Quick magazine in Munich and contributed to twen under the direction of art director Willy Fleckhaus. During this period, he photographed prominent writers, politicians, artists, and musicians. His international breakthrough came in 1964, with a photo essay on wild horses in Kenya. It was published in twen under the title Mondo Cavallo and earned him first prize in the “Most Artistic Press Photo” category at the World Press Photo Awards. In 1967, Mack joined Stern in Hamburg, and from 1973 onward, he worked as a freelance photographer, producing films for NDR and creating advertising campaigns. – Corners slightly bumped, a few light dents in margins, otherwise a fine tonal print in very good condition.
Ruhrgebiet. 1959. Gelatin silver print, printed 1986. 30 x 20,3 cm (40,2 x 30,5 cm). Photographer's blind stamp in lower margin; signed and titled by the photographer in pencil, as well as photographer's/copyright stamp and reproduction limitation stamp on the verso.
A fine tonal print in excellent condition.
Honorine Deschrijver. 1925. Vintage gelatin silver print on double-weight chamois paper. 27,2 x 22,2 cm (38 x 28,5 cm). Mounted to board (slightly soiled), signed "Man Ray Paris" below the image on the mount.
Often referred to as the “Coco Chanel of the North,” Deschrijver was a leading figure in the Belgian fashion scene, known for merging Modernist and Surrealist aesthetics into her designs. She founded Norine in Brussels, a couture house celebrated for its bold artistic collaborations, which brought contemporary art into the realm of fashion. In this portrait, Man Ray employs his signature soft focus and dramatic lighting, emphasizing her refined yet enigmatic presence. The image not only highlights her elegance, but also situates her within the avant-garde cultural circles that shaped early 20th-century art and design. – Some light scuff marks, small surface irregularities and signs of oxidation along edges, otherwise in very good condition.
Man Ray
Le violon d’Ingres (1924), Larmes (ca. 1930), Group photo of the DADA group (ca. 1922), Self-Portrait (1932), Erotique voilée (1933), Julliet (1945).
Los 4202
Schätzung
600€ (US$ 667)
Le violon d’Ingres (1924), Larmes (ca. 1930), Group photo of the DADA group (ca. 1922), Self-Portrait (1932), Erotique voilée (1933), Juliet (1945). 6 gelatin silver prints, printed 1991. Each circa 26 x 20 cm (30,2 x 24,2 cm). Each with “Griffelkunst” and “ADAGP Man Ray Trust” copyright stamps on the verso.
Some light handling creases and minimal buckling along edges, otherwise in very good condition.
In Between (Self-Portrait). 1986. Vintage gelatin silver print flush-mounted to board. 37 x 37 cm (43,2 x 38,8 cm). Numbered "11" in pencil on the verso.
Hans van Manen, born in 1932 in Nieuwer-Amstel, Netherlands, is internationally recognized as one of the grand masters of contemporary ballet. In addition to his illustrious career as a dancer and choreographer, van Manen is also an accomplished photographer. His photographic work has been published in book form and exhibited internationally. – A fine large exhibition print in excellent condition.
Lit.: Hans van Manen. Portrait. Houten 1986, ill. (unpaginated).
Landschaft im Revier. 1961. Large-format vintage ferrotyped gelatin silver print. 50 x 60 cm. Mounted to board and matted, signed, titled and dated by the photographer in ballpoint pen on mount verso.
In 1957, Guido Mangold began studying photojournalism under Otto Steinert at the School of Arts and Crafts in Saarbrücken. A year later, he followed Steinert to the Folkwang School in Essen, where he graduated in 1960, with a degree and the Folkwang Achievement Award. He began his professional career in 1961, as a photographer for the United States Information Service (USIS) in Bad Godesberg, before leaving in 1962, to travel through Southeast Asia on assignment for the aid organization Misereor, documenting local cultures. In 1963, he joined Quick magazine as a staff photojournalist, traveling extensively, and from 1966 onward, he worked freelance for leading German publications such as twen, Eltern, Playboy, Jasmin, and Stern. – Some surface scuff/scratch marks, some stronger near lower edge and two scratches in mid area, discolored spots in left black area at mid level and lower corner, some retouched spots, some light spots in sky area which appear to be foxing which are more transparent in darker areas and very light brown in upper right.
Mark, Mary Ellen
Martin Sheen and Dennis Hopper / Marlon Brando as Kurtz in Apocalypse Now
Los 4205
Schätzung
1.000€ (US$ 1,111)
Martin Sheen and Dennis Hopper / Marlon Brando as "Kurtz" in Apocalypse Now. 1976-1977. 2 gelatin silver prints, printed 1980s. 27,9 x 35,5 cm. Each with the photographer's "Photography by Mary Ellen Mark, from Lee Gross, Inc." stamp along with pencil annotations and label with printed title affixed to the verso.
Mary Ellen Mark’s behind-the-scenes photographs from Apocalypse Now are among the most compelling and atmospheric set photography ever taken on a film production. Shot during the troubled and now-legendary 1976-77 filming of Francis Ford Coppola’s Vietnam War epic in the Philippines, her images document not just the making of a movie, but the psychological and physical extremes endured by its cast and crew. – Some minor handling creases and pressure marks, otherwise in near excellent condition.
Neue Messe, Leipzig. 2002. Cibachrome print. 48,5 x 60 cm (60,5 x 70,5 cm). Signed, titled and dated by the photographer in felt-tip pen on the verso.
Olaf Martens is a distinguished German photographer renowned for his provocative imagery that juxtaposes the glamorous aesthetics of lifestyle magazines with elements of irony and the bizarre. He studied photography at the Academy of Visual Arts (HGB) in Leipzig from 1985-1992, under Wolfgang G. Schröter and Helfried Strauß. His work has been featured in international publications and exhibitions, and is included in collections, such as the Goetz Collection and the F.C. Gundlach Collection. – In excellent condition.
ND-Gebäude, Berlin. 2002. Cibachrome print. 40 x 58,2 cm (60,3 x 70,4 cm). Signed, titled and dated by the photographer in felt-tip pen on the verso.
In excellent condition.
Osterputz. 1939. Gelatin silver print, printed 1960s. 24 x 18 cm. Agency labels and annotated in pencil on the verso.
Crease in upper left corner, a few small indentation spots, otherwise in good condition.
McBride, Will
Mike und Andere schmießen Wasser beim Waschen Schule Schloß Salem
Los 4209
Schätzung
2.200€ (US$ 2,444)
Mike und Andere schmeißen Wasser beim Waschen, Schule Schloß Salem. 1963. Gelatin silver print, printed 1990. 53,5 x 36 cm (60,5 x 50 cm). Signed, titled and dated by the photographer in pencil on the verso.
Buckled in upper area, otherwise in very good condition.
Lit.: Will McBride. I, Will McBride. Cologne 1997, ill. p. 203 (image from the same series).
Arbeiter, Ost-Berlin. 1956. Gelatin silver print, printed later. 32,4 x 48,5 cm (40,5 x 50,5 cm). Signed, titled and dated by the photographer in pencil on the verso.
A few light handling dents, more in lower area, otherwise in very good 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
Datenschutzerklärung
© 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