Sheep in Montana. 1936. Vintage gelatin silver print mounted to mat. 27 x 34 ,8 cm (30,8 x 38 cm). Signed by the photographer in pencil in lower right corner below the image in the margin, titled and annotated in pencil on the verso.
In excellent condition.
Heinz Hajek-Halke painting Willi Ruge's wife. 1930s. Vintage ferrotyped gelatin silver print. 21,6 x 16,7 cm (37,5 x 26 cm). Mounted to original card; dedicated to Heinz Hajek-Halke and signed by the photographer in pencil below the image on the mount; annotated in pencil and collection stamp on mount verso.
Renowned for his daring aerial photography, Willi Ruge was a close friend of photographer and painter Heinz Hajek-Halke. In this image, Ruge adopts a similarly elevated perspective to capture Hajek-Halke as he portrays Ruge’s wife, reflecting their shared interest in experimental viewpoints and dynamic composition. – Some light handling creases and buckling from glue used for mounting, retouched scratch mark in left area, otherwise in good condition.
Spartacist uprising, Berlin. Jan. 5-12, 1919. 4 vintage gelatin silver prints. 8,7 x 14 cm (photo postcards) and 13 x 18 cm. Each annotated in pencil on the verso.
Willi Ruge was known for his dynamic photographic essays published in leading magazines of the 1920s-1930s, and he founded his own picture agency, Fotoaktuell. A daring innovator, he often combined his skills as a photographer and adventurer to place the viewer at the heart of the action, producing striking and original images. Tragically, much of his archive was destroyed during an air raid on Berlin in 1943, making surviving prints exceptionally rare. – A few light handling marks, one with some mirroring in dark areas, otherwise in good condition.
Lit.: Ute Eskildsen/Felix Hoffmann (eds.). Willi Ruge. Fotografien 1919-1953. Göttingen 2017, ill. p. 207.
Salas, Osvaldo
Con Hemingway (Fidel Castro with Ernest Hemingway)
Los 4244
Schätzung
1.000€ (US$ 1,111)
Con Hemingway (Fidel Castro with Ernest Hemingway). 1960. Gelatin silver print, printed circa 1980. 30 x 39,5 cm. Signed, titled and dated by the photographer in ink in lower margin, mounted to board (traces of use).
A few foldmarks from mounting, otherwise in good condition.
Portrait of a couple, Westerwald. Circa 1920. Vintage, toned matte gelatin silver print. 15 x 10,2 cm. Mounted to original board (a few minimal foxing spots), signed by the photographer in pencil below the image on the mount.
In this portrait August Sander captures a relaxed moment of a younger couple, their hands entwined and with a more open expression than often present in many of his other portraits. – A few nicks and slight mirroring in edges, otherwise in very good condition.
Provenance: Wortelkamp Collection
Männerverein (Men's club), Westerwald. 1930-1940. Vintage gelatin silver print. 12,2 x 17,3 cm. With the photographer’s ink line border, circular blind stamp “August Sander Cöln-Lindenthal” in the lower left, and “Aug. Sander Cöln-Lindenthal Dürenerstr. 201” studio stamp on the verso.
A print of this image is in the collection of the J. Paul Getty Museum, Los Angeles. – Small hole in upper right, corners slightly bumped, a few small nicks in edges, several small retouched spots, otherwise in good condition.
Provenance: Wortelkamp Collection
View of Rotterdam. 1930s. Vintage gelatin silver print. 17,5 x 23,8 cm. Photographer's blind stamp in lower left corner; photographer's "Köln-Lindenthal" studio stamp on the verso.
Corners slightly bumped, a few light handling dents, some scratches in the negative in upper right area, otherwise in very good condition.
Berlin-West. 1982. Vintage large-format gelatin silver print. 54 x 67 cm (83 x 93 cm). Signed, titled, numbered and dated by the photographer in pencil on the verso. Matted and framed in original artist's/museum frame produced for the Folkwang Museum, Essen; therein titled, numbered "2/6" and dated by the photographer in ink.
Michael Schmidt embarked on his lifelong photographic journey at the young age of 20, becoming 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 Berlin-Kreuzberg. His notable "Berlin series" depicts the city in an empty, transitional state, establishing his position as a major figure in the "New Topographic Movement" of German photography, until his untimely death in 2014. – Light buckling, otherwise a fine tonal print in excellent condition.
Provenance: Directly from the artist to the current owner.
Lit.: Michael Schmidt. Fotografien seit 1965. Folkwang Essen 1995, ill. front cover and pp. 112-113.
Untitled from the series "Frauen". 1998. Gelatin silver print. 30 x 20,2 cm (40 x 30 cm). Signed, copyrighted, dated and numbered "16/32" by the photographer in pencil on the verso.
Michael Schmidt’s series "Frauen" (1997–99) comprises 81 black-and-white photographs portraying young women in their twenties, captured in varying degrees of proximity, from intimate close-ups to full-body shots. Originally conceived for EXPO 2000 in Hanover, the series was later exhibited at the 6th Berlin Biennale in 2010. – In excellent condition.
Schadographie 24 b (photogram). 1960. Gelatin silver print on Copyline-P90 paper, printed 1970s. 15,5 x 11,5 cm. Signed by the photographer in ink in lower right corner; annotated in pencil on the verso.
In excellent condition.
Lit.: Museum Ludwig Köln. Photographie des 20. Jahrhunderts. Cologne, 1996, ill. p. 588.
Teufelsberg, Berlin. October 1990. Vintage gelatin silver print. 30 x 38 cm (34 x 41,8 cm). Photographer's stamp on the verso.
Rainer Maria Schopp captured life in Berlin, across Europe, and in the United States through often poetic and quietly observational images. He studied graphic design at the Hochschule der Künste Berlin from 1969-74, and from 1976 worked as a freelance photographer. In 1978, he joined the printing workshop of the Berufsverband Bildender Künstler (BBK) at the Künstlerhaus Bethanien; his promising career was cut short by his tragic death at the age of 47. – A few minimal handling dents, otherwise in very good condition.
Lit.: Galerie Mönch Berlin (ed.). Rainer Maria Schopp: Seitenblicke. Exhibition catalog, Berlin 2020, ill. p. 33.
Frankfurter Allee, Berlin. February 1991. Vintage gelatin silver print. 37 x 37 cm. Photographer's stamp, therein titled and dated in ink on the verso, mounted along upper edge to brown card.
In near excellent condition.
Lit.: Galerie Mönch Berlin (ed.). Rainer Maria Schopp: Seitenblicke. Exhibition catalog, Berlin 2020, ill. front cover.
John F. Kennedy in Berlin. 1963. Vintage gelatin silver print on Agfa paper. 19,4 x 29,4 cm. Titled and annotated in ball-point pen along with the photographer's copyright stamp and "Stern" archive stamps on the verso.
This photograph captures U.S. President John F. Kennedy during his historic visit to West Berlin on June 26, 1963, alongside Chancellor Konrad Adenauer and Mayor Willy Brandt. Taken near the Berlin Wall, the image symbolizes Western solidarity during a tense period of the Cold War. Kennedy’s visit culminated in his iconic “Ich bin ein Berliner” speech, affirming U.S. support for a divided Berlin. – Some scuff marks, traces of fixer and handling creases, otherwise in good condition.
Untitled (Elephant seal Roland). Circa 1938. Gelatin silver print on RC paper, printed later. 32,5 x 50,5 cm. Photographer's stamp on the verso.
Friedrich Seidenstücker studied mechanical engineering in Hagen from 1901-1903, continuing at the Königlich Technische Hochschule Charlottenburg in 1904, where he also pursued sculpture and photography. During World War I, he worked as an aircraft designer at Zeppelin-Bau AG in Potsdam. In 1918, he began studying sculpture under August Gaul at the Hochschule der Bildenden Künste, later working as a freelance sculptor and photographer in Berlin. He became known for his animal photography at the Berlin Zoological Garden, as well as street scenes and nude studies. In 1930, he joined Ullstein Verlag, with his work appearing in magazines such as die neue linie, Berliner Illustrirte Zeitung, Die Dame, Der Querschnitt and Die Woche. – Some creases and pressure marks, especially in edges and corners, otherwise in good condition.
Lit.: Berlinische Galerie, Landesmuseum für Moderne Kunst, Fotografie und Architektur (ed.). Friedrich Seidenstücker. Von Nilpferden und anderen Menschen. Fotografien 1925-1958. Ostfildern 2011, ill. p. 132.
Zebras at the Berlin Zoo. 1930s. 4 vintage gelatin silver prints. 30 x 23,8 cm and 18 x 13 cm. Each with photographer's stamp and annotated in pencil on the verso. Larger print mounted to board with photographer's stamp on mount verso.
Some surface pitting/scuff marks, larger print with some emulsion loss in edges/corners, otherwise in good condition.
Seidenstücker, Friedrich
Zoo visitors, Zoologischer Garten, Berlin
Los 4256
Schätzung
500€ (US$ 556)
Zoo visitors, Zoologischer Garten, Berlin. 1926-1930s. 5 vintage gelatin silver prints. Each circa 17,5 x 13 cm and smaller. Each with photographer's studio stamp and annotated in pencil on verso.
Corners slightly bumped, some scuff and pressure marks, otherwise in good condition.
Photographer: Lena Connell (1875-1949). George Bernard Shaw. 1909. Vintage gold-toned gelatin silver print. 13,5 x 8,5 cm. Mounted to original studio board.
Adelin Beatrice "Lena" Connell, also known professionally as Beatrice Cundy, was a British suffragette and a well-known photographer whose work is held in the National Portrait Gallery, London. – In excellent condition.
Sino-Japanese War
English album of the Second Sino-Japanese War
Los 4258
Schätzung
900€ (US$ 1,000)
German album of the Second Sino-Japanese War. 1937. Circa 102 vintage gelatin silver prints. Most circa 6 x 9 cm. Inserted in photo corners on black album pages (some wear), annotated in German in white ink below/above the images on the mount, handwritten title page 4 Monate Krieg Shanghai, bound in contemporary cloth album with cord binding.
This album was compiled by a German chronicler, likely a member of the German military mission, who visited the battlefields in and around Shanghai shortly after the outbreak of the Second Sino-Japanese War. The photographs document scenes of devastation, including damaged buildings, destroyed bridges and rail stations, and fallen Chinese and Japanese soldiers. Most of the images focus on the heavily affected Zhabei district and have detailed German captions and titles, identifying specific sites of destruction. – Some prints with oxidation mirroring, some with light staining/buckling, many in good to very good condition.
Skrein, Christian
Joseph Beuys with his installation "Raumplastik 10 x 12 m", Galerie St. Stephan, Grünangergasse, Vienna
Los 4259
Schätzung
2.000€ (US$ 2,222)
Joseph Beuys with his installation Raumplastik 10 x 12 m, Galerie St. Stephan, Grünangergasse, Vienna. 1968. Gelatin silver print, printed later. 49,5 x 48,7 cm. Signed and dated by the photographer in pencil on the verso, with number stamp, photographer’s copyright stamp, studio addresses in Vienna and Milan, and additional annotation in red ink.
This photograph captures Joseph Beuys with his 1968 installation Raumplastik 10 x 12 m at Galerie St. Stephan in Vienna - a pivotal work in his early exploration of space as sculptural material. In this piece, Beuys began to articulate his concept of “social sculpture,” using elemental materials like felt, fat, and wood to explore transformation and meaning beyond traditional aesthetics. – Stronger crease near lower edge, scuff mark in upper portion, a few light handling dents, corners slightly bumped, otherwise in good condition.
Lit.: Christian Skrein. 68 Künstler, Legenden, Fotografie. Vienna 2001, ill.p. 35.
Scherbentanz. 1948. Vintage gelatin silver print. 21,7 x 17 cm. With the photographer's copyright stamp on the verso.
Otto Steinert was a key figure in postwar German photography, known for his experimental approach that combined formal precision with abstraction, often exploring texture, shadow, and movement to redefine the expressive potential of the photographic image. – Some pressure marks and traces of previous mounting on the verso, otherwise in good condition.
Hochbahn, Berlin. 1928. Vintage ferrotyped gelatin silver print. 24,2 x 18,2 cm. With both photographers's copyright stamps (Berlin and Brussels) as well as numbered and annotated in pencil and red ink on the verso.
Sasha and Cami Stone were pivotal figures in Berlin’s vibrant photographic scene during the 1920s and early 1930s, known for their modernist approach that combined commercial, architectural, and artistic photography. Working within the New Objectivity movement and avant-garde design, they produced crisp, formally precise images that celebrated the geometry and dynamism of modern life - from industrial structures and urban landscapes to portraits and interiors. Their studio became a focal point for progressive visual culture in Weimar Berlin, reflecting the era’s fascination with technology, functionalism, and a new visual language. Following the rise of National Socialism, the Stones relocated from Berlin to Brussels in the early 1930s, where they continued their photographic work. – Corners slightly bumped, some scuff marks and small crease in top right corner, otherwise in very good condition.
Funkturm, Berlin. 1929. Vintage ferrotyped gelatin silver print. 23,2 x 17,4 cm. With both photographer's copyright stamps (Berlin and Brussels) as well as numbered and annotated in pencil and red ink on the verso. Hinge-mounted to mat.
Edges slightly rubbed; circular patterns in the emulsion layer and minor signs of silver mirroring in upper margin, otherwise in very good condition.
Sailor and Girl on Subway. 1940. Gelatin silver print, printed later. 35,5 x 28 cm. Signed in black ink and editioned with embossed number below the image on the margin.
Lou Stoumen’s work is characterized by its raw, documentary-style approach to street photography, capturing fleeting moments with a keen sense of storytelling. His images often focus on urban life, blending spontaneity with strong compositional awareness. Whether depicting wartime sailors, bustling city streets, or quiet, introspective scenes, Stoumen’s work conveys a sense of immediacy and intimacy, reflecting his background as both a photojournalist and filmmaker. – In excellent condition.
Images from the "Tokyo" series. 1998. 4 chromogenic prints on Kodak Professional paper. Each circa 29 x 21 cm. Each signed, dated and editioned "28/50" by the photographer in ink on the verso.
Beat Streuli is a Swiss visual artist renowned for his street portraiture, capturing anonymous urban citizens across global cities such as Sydney, Tokyo, Athens and New York. Streuli's photographs focus systematically on ordinary street dwellers, and the contemporary ‘flaneurs’ going about their daily business. The heterogeneity of the crowd, as the central component of the cultural dynamism of modernity, and the position of the individual in the crowd, lie at the core of Streuli's practice. He works with a variety of presentation media, from large-format color photographs, and installations of slide and video projections, to billboards and large-scale window installations on the facades of public buildings. – Some light handling dents, otherwise in good condition.
St. Vitus Cathedral. 1924-1928. Gelatin silver print, printed 1950s. 18,4 x 17,2 cm. Hinge-mounted in upper corners to grey-blue card, annotated in pencil on the verso.
Celebrated for his lyrical and atmospheric imagery, the Czech photographer Josef Sudek often captured Prague’s architecture, landscapes, and interiors with a deep sense of quiet and reflection. His photographs of landmarks like St. Vitus Cathedral exemplify his ability to transform monumental subjects into intimate, meditative compositions through masterful use of light and shadow. Combining romanticism with modernist sensitivity, Sudek’s work reveals a poetic vision grounded in place, memory, and mood. – A few light handling dents/bumps, otherwise a fine tonal print in very good condition.
Father's Cab. 1965. Vintage large-format matte gelatin silver print. 60 x 50 cm. Titled and dated in pencil on the verso.
Antanas Sutkus was a founding member of the "Association of Lithuanian Photographers" in 1960. He joined the "International Federation of Photographic Art" under UNESCO in 1976. His poetic black-and-white images often reflect a deep connection to the Lithuanian village of his youth, capturing a sense of nostalgia and a way of life now largely vanished. – Crease in lower right area and corner, some indentation marks in upper left, minimal edge wear, traces of previous mounting with some paper loss on verso.
Youngsters in Lithuania. Circa 1970. 2 vintage large-format matte gelatin silver prints. Circa 54 x 50 cm. One dated in pencil on the verso.
Some nicks and wear in corners and edges, one print with light brown stain in upper edge, traces of previous mounting with some paper loss on verso, otherwise rich dark prints in good condition.
The Mood. 1970. Vintage large-format matte gelatin silver print. 59,5 x 50 cm. Titled and dated in pencil on the verso.
Some nicks in corners and edges, slight creases upper left corner, traces of previous mounting with some paper loss on verso, otherwise a rich dark print in good condition.
Alone. 1975. Vintage large-format ferrotyped gelatin silver print. 57,3 x 50,4 cm. Titled and dated in pencil on the verso.
Some handling marks, backed tear in lower edge, traces of previous mounting with some paper loss on verso, glue stains from verso showing through in corners.
Séance Blanche I. 1970s. Gelatin silver print, printed 1980s. 40,7 x 30,3 cm. Numbered "5/20" and signed in pencil in lower margin of the print; annotated in pencil on the verso.
The German photographer Karin Székessy is known for her poetic nude studies and precisely staged compositions that often evoke a surreal, dreamlike quality. Using symbolic props and carefully arranged settings, her work challenges conventional representations of the female form with a distinctive, introspective tone. – Corner slightly bumped, some edge wear and small tear in lower margin, 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
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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