Ronkholz, Tata
Düsseldorf-Flingen, Lindenstrasse 107
Los 4275
Ergebnis (inkl. Aufgeld) *
3.250€ (US$ 3,495)
"Düsseldorf-Flingen, Lindenstrasse 107" from the 'Trinkhallen' series. 1979. Vintage ferrotyped gelatin silver print on doubleweight paper. 30,8 x 40,3 cm. Titled, dated and annotated with archive number 160 by the photographer in pencil on the verso.
Tata Ronkholz, a significant figure associated with the Becher School and German objective photography in the 1970s and 1980s, is known for her documentation of urban scenes in the Rhineland and Ruhr region, providing a visual record of post-war architecture and urban development. She primarily depicted cities like Cologne, Düsseldorf, Essen, and others in the Rhine-Ruhr area. Her renowned series, "Trinkhallen" (drinking halls), which she began in 1978, features photographs of refreshment kiosks, in which she also integrated images of other shop window designs. Her photographic training began with her studies at the Kunstakademie in Düsseldorf under Professor Bernd Becher, later becoming part of the influential Becher School, alongside other distinguished artists such as Andreas Gursky, Candida Höfer, Axel Hütte, Thomas Ruff and Thomas Struth. – Minimal indentation in upper area, otherwise in near excellent condition.
"Köln, Merlotstrasse 2" from the 'Schaufenster' (Display window) series. 1980. Vintage ferrotyped gelatin silver print. 36 x 26 cm (40,2 x 31 cm). Annotated with archive number 228 by the photographer in pencil on the verso.
Some handling marks/creases, otherwise in very good condition.
Photogram. 1937-41. Vintage unique gelatin silver print. 9 x 12 cm. Signed and dated by the photographer in pencil on the verso, mounted in left edge to paper, hinge-mounted in mat.
Roszak met Laszlo Moholy-Nagy in New York in the late 1930s when he was teaching at the Design Laboratory, a WPA sponsored School of Industrial Arts. During this period of the late 1930s, Roszak was simultaneously experimenting with the photogram technique and incorporating elements of the constructions that were preoccupying him at the time. Only after Roszak’s death did knowledge become widespread, of a small but important group of photograms created by the sculptor in the 1930s. He created these unique prints without the aid of a camera- there are no negatives. He instead placed objects directly onto photographic paper and exposed them to light. – A few minimal surface blemishes, more visible at an angle, otherwise a fine tonal print in near excellent condition.
Provenance: Christie's. Light, Volume and Form: Photographs from the Shalom Shpilman Collection, May 24-June 2, 2016, lot 84.
Ruge, Willi
From the series "On the Avus with Caracciola"
Los 4280
Ergebnis (inkl. Aufgeld) *
8.750€ (US$ 9,409)
From the series "On the Avus with Caracciola". 1931. Vintage ferrotyped gelatin silver print. 14 x 20,3 cm (17,9 x 24,2 cm). Typed press text label with Willi Ruge's text and copyright note Fotoaktuell attached to the verso.
This rare image shows the Berlin Funkturm taken by Willi Ruge while in a race car with the famous driver Rudolf Caracciola on the Berlin Avus, the first European motor racetrack. This series was titled "On the Avus with Caracciola" published in the same year as his other famous series "I Photograph Myself During a Parachute Jump" for which Ruge actually jumped out of a plane with a parachute. Ruge was known for his photographic essays published in the magazines of the 1920s-30s, and he founded his own picture agency Fotoaktuell. Both a daredevil and photographer, he attempted to place the viewer in the center of the action and thus achieved truly innovative images. Sadly, his archive was destroyed during an air raid on Berlin in 1943, making his photographs very rare. – Corners bumped, creases/buckling throughout, backed tear in right edge and lower right corner.
Lit.: Ute Eskildsen. "Willi Ruge and Fotoaktuell: Adventures for the Press" in: Mitra Abbaspour/Lee Ann Daffner/Maria Morris Hambourg. Object: Photo. Modern Photographs. The Thomas Walther Collection 1909-1949, MOMA New York, see pp. 347-357.
Salgado, Sebastião
Outskirts of Guatemala City, Guatemala
Los 4281
Ergebnis (inkl. Aufgeld) *
3.500€ (US$ 3,763)
"Outskirts of Guatemala City, Guatemala". 1978. Vintage gelatin silver print. 37 x 55 cm (56 x 72 cm). Titled, dated and signed by the photograpjher in felt-tip pen in lower margin.
Sebastião Salgado's photography addresses the human condition and environmental issues through powerful black-and-white imagery. His work portrays marginalized communities, laborers, and the impacts of poverty and conflict with deep empathy and intimacy. In his images, Salgado creates narratives that provoke reflection and advocate for social justice and environmental conservation. – Slight buckling in edges, label on verso showing slightly through in upper right margin, otherwise in near excellent condition.
Lit.: An uncertain grace: Photographs by Sebastião Salgado. New York, 1990, p. 118-119, ill.
Other Americas. New York, 2015, p. 74-5, ill.
Schieron, Ernst
Kreisstudie; Work study (multiple exposure)
Los 4283
Ergebnis (inkl. Aufgeld) *
500€ (US$ 538)
"Kreisstudie"; Work study (multiple exposure). Circa 1928. 2 vintage gelatin silver prints. 12 x 17 cm and 18 x 12,8 cm. 1 annotated by the photographer in ink and paper label on the verso.
Corners slightly bumped, one with retouching, otherwise in good condition.
Schmidt, Michael
Image from the series "Waffenruhe" (Checkpoint Charlie)
Los 4285
Ergebnis (inkl. Aufgeld) *
3.250€ (US$ 3,495)
Image from the series "Waffenruhe" (Checkpoint Charlie). 1985. Vintage gelatin silver print. 28,2 x 33,6 cm (30 x 39,8 cm). Signed/copyrighted, dated and dedicated by the photographer in pencil on the verso.
Michael Schmidt embarked on his photographic career 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 Kreuzberg, Berlin. His "Waffenruhe" series is characterized by its stark, often desolate, urban landscapes showing Berlin in an empty, transitional state, evoking a sense of both beauty and desolation. His images of Berlin cemented his position as a key figure in the "New Topographic Movement" of German photography. – Edges slightly curled, corners slightly bumped, some staining in white margins, otherwise a fine tonal print in very good condition.
Lit.: Michael Schmidt. Fotografien seit 1965. Folkwang Essen 1995.
Siao, Eva
Images of Lhasa and the Potala Palace
Los 4289
Ergebnis (inkl. Aufgeld) *
2.250€ (US$ 2,419)
Images of Lhasa and Potala Palace. 1956/printed 1995. 9 ferrotyped gelatin silver prints on RC paper. Each between 20 x 30 cm and reverse. Each signed by the photographer in black felt-tip pen in lower left/right corner; each annotated in ballpoint pen on the verso.
The photographs offered in this and the following six lots are all taken by Eva Siao. Born Eva Sandberg into a Jewish family of doctors, the photographer was forced to flee Germany in the 1930s, and she eventually made her way to China via Sweden and the Soviet Union, where she met her second husband Emi Siao. During the Cultural Revolution, she and her husband were attacked and imprisoned by the Red Guards. Despite this, she remained committed to communist ideology until her death and supplied the agencies in Beijing, Moscow and the GDR with the photographic material they required. She was, however, also a sensitive artist who left behind a large oeuvre of impressive portraits and landscapes, far removed from any official propaganda.
In 1956, Eva Siao traveled to Tibet for the first time to photograph the country and its people, just four years after the "liberation" of Tibet from the "imperialist forces" by the Chinese People's Liberation Army. A second trip, this time on an official commission, took place in 1959.
The photographs taken on these trips are being offered here for the first time on the art market and are extremely rare. Fortunate circumstances enabled her photos to be exhibited in Berlin in 1995, with Eva Siao present. She herself was involved in this project and signed each of the exhibited photographs. Her entire photographic oeuvre is now in the Peter and Irene Ludwig Foundation in Cologne.
In addition to the famous views of the Potala Palace, this lot also includes a view of the Tashi Lhunpo Monastery from 1956, before its partial destruction by the Red Guards. It was restored in the 1980s with donations from religious Tibetans and the Chinese government. It is the traditional seat of the Panchen Lama. – In very good condition.
Siao, Eva
Views of Lhasa including street vendors, portraits as well as cloisters
Los 4292
Ergebnis (inkl. Aufgeld) *
1.875€ (US$ 2,016)
Views of Lhasa including street vendors, portraits as well as cloisters. 1956-59/printed 1995. 8 ferrotyped gelatin silver prints on RC paper. Each between 20 x 30 cm and reverse. Each signed by the photographer in black felt-tip pen in lower left/right corner; each annotated in ballpoint pen on the verso.
A few with flecks/lines in the negative, otherwise in very good condition.
Siao, Eva
Various Chinese propaganda photographs after the "Liberation" of Tibet
Los 4295
Ergebnis (inkl. Aufgeld) *
1.500€ (US$ 1,613)
Various Chinese propaganda photographs after the "Liberation" of Tibet. 1959/printed 1995. 9 ferrotyped gelatin silver prints on RC paper. Each between circa 20 x 30 cm and reverse. Each signed by the photographer in black felt-tip pen in lower left/right corner; each annotated in ballpoint pen on the verso.
In very good condition.
Lit.: Eva Siao/Harald Hauser. Sterne über Tibet. Leipzig 1961, some illustrated.
Tempelhof airport, Berlin. Early 1930s. 2 vintage gelatin silver prints on strong chamois paper. 24 x 18 cm and 18 x 24 cm. Each with photographer's/copyright/reproduction limitation stamps and 1 with typed press text label on the verso.
Alexander Stöcker's diverse portfolio encompassed aviation, sports and early 20th-century history. Many of his versatile photographs were published in the magazines of the day. – Corners minimally bumped, some small irregularities to ferrotype surface, otherwise in very good condition.
Stöcker, Alex
Great Balloon show on occasion Olympic Games
Los 4299
Ergebnis (inkl. Aufgeld) *
375€ (US$ 403)
The Great Balloon Show on the occasion of the Olympic Games, Tempelhof Airport, Berlin. 1936. Vintage gelatin silver print. 24 x 18 cm. Photographer's studio/copyright stamp on the verso.
In very good conditiön.
Lit.: Das Deutsche Lichtbild, 1937, ill. p.36.
Stöcker, Alex
Heinkel He 111 plane and Fokker plane at Tempelhof airport, Berlin
Los 4300
Ergebnis (inkl. Aufgeld) *
375€ (US$ 403)
Heinkel He 111 plane and Fokker plane at Tempelhof Airport, Berlin. 1935. 2 vintage ferrotyped gelatin silver prints on strong chamois paper. 24 x 18 cm and 18 x 24 cm. Each with photographer's/copyright/reproduction limitation stamps and each with typewrtitten caption labels on the verso.
Corners minimally bumped, some surface irregularities, a few light dents, otherwise in very good condition.
Stöcker, Alex
Potsdamer Platz at night, Berlin
Los 4301
Ergebnis (inkl. Aufgeld) *
750€ (US$ 806)
Potsdamer Platz at night, Berlin. Early 1930s. 2 vintage gelatin silver prints (1 ferrotyped) on strong chamois paper. Each circa 18 x 24 cm. Each with photographer's/copyright/reproduction limitation stamps and annotated in pencil on the verso.
Corners minimally bumped, otherwise in very good condition.
Sutkus, Antanas
Country Children Competition to the Art School, 2
Los 4303
Ergebnis (inkl. Aufgeld) *
500€ (US$ 538)
"Country Children Competition to the Art School, 2". 1969/printed 1990. Large-format matte gelatin silver print. 29,5 x 39,5 cm. Signed, titled and dated by the photographer in pencil on the verso.
Sutkus was one of the founding members of the "Association of Lithuanian Photographers" (1960) and in 1976 became a member of the "International Federation of Photographic Art in UNESCO". His poetic images of the Lithuanian village of his youth show a nostalgic and unique past. – In very good condition.
Provenance: Galerie Bodo Niemann
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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