Maguerite and grass. 1930s. Vintage gelatin silver print on doubleweight ivory paper. 29,8 x 21,5 cm. Photographer's stamp on the verso.
Minimal silver mirroring in lower edge, otherwise a fine, warm-toned print in very good condition.
Berlin Night Views
Series of Berlin night views
Los 4095
Ergebnis (inkl. Aufgeld) *
500€ (US$ 538)
Photographer/agency. Bruno Schroeter. Series of Berlin night views. Late 1920s. 19 vintage ferrotyped gelatin silver prints. Each 13 x 18 cm, one 16,5 x 23 cm. Each with agency stamp(s) and annotated in pencil/ink, some also with typed caption label on the verso.
An attractive and comprehensive collection titled "Berlin bei Nacht", comprising views of Berlin at night showing many facades with illuminated advertising. – Edges slightly curled, some corners bumped, otherwise in very good condition.
Beuys, Joseph
Joseph Beuys' installation "Das Rudel" (The pack) (1969) at the Neue Galerie, Kassel, and "Honigpumpe am Arbeitsplatz" at the Dokumenta 6, Kassel 1977
Los 4096
Ergebnis (inkl. Aufgeld) *
750€ (US$ 806)
Photographer unknown. Contact sheet of Joseph Beuys' installations "Das Rudel" (1969) at the Neue Galerie, Kassel, and "Honigpumpe am Arbeitsplatz" at the Dokumenta 6, Kassel 1977. Vintage gelatin silver print. 24 x 31 cm. Signed by Joseph Beuys in ballpoint pen in upper left.
Handling dents and creases throughout, some nicks in edges.
John Lennon and Yoko Ono in New York. 1969. Vintage gelatin silver print 30,2 x 20,6 cm. Several agency stamps, typed press text label on the verso.
Buckled in upper and lower edges, corners bumped, a few small dents in upper left, otherwise in good condition.
Blossfeldt, Karl
Urformen der Kunst. Photographische Pflanzenbilder (Portfolio edition)
Los 4099
Ergebnis (inkl. Aufgeld) *
1.063€ (US$ 1,142)
"Urformen der Kunst. Photographische Pflanzenbilder". Edited and with an introduction by Karl Nierendorf. XVII, 1 l. (Text brochure) and 120 loose plates in rotogravure after photographs. 31,5 x 24 cm. Green orig.-canvas portfolio with gilt-stamped spine and cover title (spine rubbed, writing in marker [rubbed] on front cover). Berlin, Ernst Wasmuth, 1929.
"Urformen der Kunst" ("Art Forms in Nature") is a seminal work by German photographer Karl Blossfeldt, first published in 1928. The book, as well as the portfolio edition offered here, features a collection of close-up photographs of plant forms, displaying their intricate structures and patterns. Blossfeldt meticulously captured botanical specimens, often using a homemade camera with high magnification, revealing the beauty and complexity of nature's designs and presenting them as works of art in their own right. – Some plates with slight edge wear and creases, one with tear in margin, one with stronger vertical crease, a few with light toning/soiling/foxing in margins.
Lit.: Heidtmann 14471 and 7293.
Brassaï
Alberto Giacometti in his studio
Los 4101
Ergebnis (inkl. Aufgeld) *
1.500€ (US$ 1,613)
Alberto Giacometti in his studio. 1965/printed later. Gelatin silver print. 30 x 23,7 cm. Signed by the photographer in ink in margin lower right; photographer's/copyright stamp and number notations in pencil on verso.
This is the last portrait of Alberto Giacometti in his studio, taken in 1965 by Brassai. – A few small retouched spots, small handling crease in upper area, slight buckling in edges, otherwise a fine tonal print in very good condition.
Cape Cod. Circa 1972. Gelatin silver print. 24,3 x 24,5 cm (27,8 x 30,2 cm). Signed by the photographer in pencil in margin lower right.
Harry Callahan was born in Detroit, Michigan and started photographing in 1938. In 1946, he was appointed by László Moholy-Nagy to teach photography at the Institute of Design in Chicago. By the time he retired in 1977, he was teaching at the Rhode Island School of Design. His technical method was to go out almost every morning, walk the city he lived in and take numerous pictures. He then spent almost every afternoon making proof prints of that day's best negatives. Yet, in spite of all his activity, Callahan, by his own estimates, produced no more than half a dozen final images a year. – Small retouched spot, minimal diagonal scuff line in upper sky area, only visible at an angle, one minimal handling dent upper right, corners minimally bumped, otherwise a fine tonal print in near excellent condition.
Lit.: The Museum of Modern Art. Harry Callahan. New York 1976/77, ill. p. 192.
Harry Callahan. Water's Edge. New York 1980, ill. p. 47.
Double Vision: Photographs from the Strauss Collection. University Art Museum, Long Beach 2000, ill.
Roland Barthes. 1963/printed later. Gelatin silver print. 35,5 x 24 cm. Signed and dedicated by the photographer in ink as well as photographer's blindstamp in lower margin, framed under glass in wooden frame.
Some retouched spots, otherwise in very good condition.
Claude Lévi-Strauss.1963/printed later. Gelatin silver print. 35,5 x 24 cm. Signed and dedicated by the photographer in ink as well as photographer's blindstamp in lower margin, framed under glass in wooden frame.
Slight handling dent in lower right, otherwise in very good condition.
Chaldej, Jewgeni
Atop the Berlin Reichstag, May 2, 1945
Los 4108
Ergebnis (inkl. Aufgeld) *
1.000€ (US$ 1,075)
"Atop the Berlin Reichstag, May 2, 1945". 1945/printed later. Gelatin silver print. 22,7 x 30,5 cm. Signed and titled by the photographer in pencil on the verso.
An interesting document, which Chaldej himself commented on: "Early in the morning on May 2, 1945, I entered it (the Reichstag). I was surrounded by horrendous noise, Russians and Germans were all shouting in horrible confusion ... A pleasant young soldier came up to me. I had a red flag in my hand. He said, 'Lieutenant, davai, let's hurry up and climb onto the roof with the flag' ... We started out, but all the stairs were badly damaged. When we finally got up the Reichstag was on fire. ...We found a long pole. I spent lots of time trying out different compositions. I took one picture from the left, but that wasn't any good. I wanted Berlin to be clearly visible in the picture. Then I said, 'Boys, go and stand over there and raise the flag ... then try over there'. There were three of them. One was from the Ukraine, the other from Machatshkala in Dagestan and the third was a Russian. ... I shot a whole roll of film, 36 shots." (cited in Volland/Krimmer, p. 151). – Light fold mark in lower left, otherwise in very good condition.
Lit.: Ernst Volland/Heinz Krimmer (eds.). Von Moskau nach Berlin. Bilder des russischen Fotografen Jewgeni Chaldej. Berlin 1999, ill. pp. 65-67 (images from the same series).
Dance Photography
Scene from "Der Weg" choreographed by Mary Wigman
Los 4113
Ergebnis (inkl. Aufgeld) *
500€ (US$ 538)
Photographer: Herbert Volwahsen (1906-1988) and Charlotte Rudolph (1896-1983). Scene from the dance pantomime "Der Weg" (1932) and "Totenmal" (1930), both choreographed by Mary Wigman. 2 vintage gelatin silver prints. 10,2 x 14,5 cm and 8,7 x 13,5 cm. Rudolph photo with photographer's blind stamp in lower left corner; each annotated in pencil on the verso.
One image depicts a scene from the pantomime dance "Der Weg," choreographed by Mary Wigman in 1932 and photographed by the sculptor Herbert Volwahsen. The other photo captures a scene from "Totenmal" in 1930, photographed by the prominent German dance photographer Charlotte Rudolph, who documented dancers like Mary Wigman, Vera Skoronel, and Gret Palucca in the 1920s-1930s. Tragically, her studio was destroyed during the bombing of Dresden on February 13, 1945. – Minimal mirroring in edges, minimal nicks in edges, otherwise in very good condition.
Lit.: Rudolf Bach. Das Mary Wigman Werk. Dresden 1933, ill. ("Totenmal", variant).
Christiane Kuhlmann. Charlotte Rudolph. Tanzfotografie 1924-1939. Göttingen 2004.
Fashion study with skis. ca. 1930. Gelatin silver print. 21,3 x 14,4 cm (38,5 x 27 cm). Photographer's studio stamp in negative, mounted to board, photographer's studio blindstamp on the mount.
Dora Kallmus, professionally known as Madame d'Ora, was a prominent Austrian photographer in the early 20th century. Born in Vienna in 1881, she became renowned for her sophisticated and groundbreaking portraits of prominent individuals in art, fashion, and society. Her studio in Vienna emerged as a focal point for avant-garde artists, and her work stood out for its innovative use of light and composition, capturing the essence of the interwar period. – Corners of mount slightly bumped, some silver mirroring, otherwise in very good condition.
Photographer: Hänse Herrmann (active in Berlin 1910s). Portrait of the actress Tilla Durieux. Circa 1910. Vintage matte gelatin silver print. 21,5 x 16 cm. Photographer's blindstamp in lower right corner.
A few retouched spots, slightly faded, otherwise in very good condition.
Edgerton, Harold
Bobby Jones Multiflash Golf Swing
Los 4117
Ergebnis (inkl. Aufgeld) *
2.500€ (US$ 2,688)
"Bobby Jones Multiflash Golf Swing". 1938. Vintage gelatin silver press print. 13 x 16,2 cm. Typed German press text label affixed to the verso.
Harold Edgerton, known for his pioneering work in stroboscopic photography, revolutionized the way we perceive high-speed events with his invention of the electronic flash. The Atlantic photo agency stamp on the verso indicates that this print was most likely used for its first German publication in 1939. An image from this same series is in the collection of SFMOMA. – Some light surface scratches, otherwise in very good condition.
Entartete Kunst
Proscription postcards showing works in the "Entartete Kunst" (Degenerate Art) exhibition
Los 4120
Ergebnis (inkl. Aufgeld) *
750€ (US$ 806)
Proscription postcards showing works in the "Entartete Kunst" (Degenerate Art) exhibition. 1937. 2 vintage gelatin silver photo postcards. Each circa 9 x 14 cm.
The "Entartete Kunst" (Degenerate Art) exhibition holds historical significance as a symbol of the suppression of artistic freedom, censorship of modern art, and the persecution of artists during the era of National Socialism in Germany. Among the displayed works was Otto Dix's haunting portrayal of four wounded veterans, "Die Kriegskrüppel" (1920), considered a masterpiece of the New Objectivity movement. Unfortunately it went missing in the aftermath of the exhibition. – Small nicks in edges, a few small rubbed spots, Dix photo with light bend mark in lower left, otherwise in very good condition.
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* Alle Angaben inkl. 25% Regelaufgeld ohne MwSt. und ohne Gewähr – Irrtum vorbehalten.
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
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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