Becher, Bernd and Hilla
Hochofen, Hainer Hütte, Siegen
Los 4092
Nachverkaufspreis
7.000€ (US$ 7,527)
"Hochofen, Hainer Hütte, Siegen". 1961/printed 1971. Vintage large-format ferrotyped gelatin silver print. 39,5 x 30 cm. Mounted to original board, signed by the photographers in pencil on mount verso, framed under glass in wooden frame.
The German conceptual artists and photographers Bernd and Hilla Becher, worked as a collaborative duo. They are renowned for their extensive series of photographic images, or typologies, of industrial buildings and structures. As the founders of the "Becher School" or the Düsseldorf School of Photography, they influenced generations of documentary photographers and artists in Germany and abroad. By the mid-1960s they arrived at a preferred presentational mode: the images of structures with similar functions were then displayed side by side often in grids of six, nine or fifteen to invite viewers to compare their forms and designs based on function, regional idiosyncrasies, or the age of the structures. The Bechers used the term "typology" to describe these ordered sets of photographs.
While the Bechers are primarily known for their typological series, single images, such as the one offered here, stand out. This image is of particular interest as it was taken in Bernd Becher's birthplace Siegen in 1961, coinciding with the year of Bernd and Hilla Becher's marriage. – Minimal surface scuff mark in upper left sky area, only visible in raking light, otherwise a fine tonal print in near excellent condition.
Provenance: Private Collection, Siegen
Lit.: Susanne Lange. Was wir tun, ist letzlich Geschichten erzählen... Bernd und Hilla Becher. Eine Einführung in Leben und Werk. Munich 2005, ill. plate 7, p. 104.
Ariane Grigoteit (ed.). Bernd & Hilla Becher. Mainz 1998, ill. p. 83.
Bellmer, Hans
Hans Bellmer Photographies (Images from the "Poupée" series)
Los 4093
Nachverkaufspreis
6.000€ (US$ 6,452)
"Hans Bellmer Photographies" (Images from the "Poupée" series). 1930s/printed 1983. 10 gelatin silver prints. Each circa 25,5 x 26 cm (35 x 29 cm). Each with photographer's facsimile signature blindstamp below image in margin; each with photographer's name stamp editioned 26/50 in ink and Tirage original realisé par Roger Vulliez stamp on the verso, losely mounted in window mats (a few loose). In original black cloth clamshell box with applied lace and pink stamped title Hans Bellmer (corners/edges rubbed, writing on cover with light scratch/rubbing, otherwise in very good condition), 2 text leaves. Galerie Francois Petit, Paris 1983.
Hans Bellmer is renowned for his innovative contributions to Surrealism, notably his La Poupée series which explores themes of desire, sexuality, and the subconscious. This collection comprises 10 posthumous prints made from Bellmer's original negatives by "Roger Vulliez after agreement of the rights holders who numbered them and marked them with a dry stamp," along with wet stamps on the verso. These prints provide insight into Bellmer's surreal universe, encapsulating the essence of his provocative imagery. – Photos mounted in edges to mats (a few loose), otherwise photos in excellent condition.
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.
"Artificial pubic hair". 1990. Vintage gelatin silver print. 21 x 18,5 cm. Signed, titled, dated and numbered 1/1 by the photographer in ink on verso, framed under glass in wooden frame (a few scratches).
Born in Amsterdam, Paul Blanca's interest in photography began after he met Eva Veldhoen, daughter of painter Aat Veldhoen. Blanca initially used a small, color camera before transitioning to black and white photography with a 6 x 6 cm Hasselblad camera. In the 1980s, he gained recognition for his violent self-portraits, inspired by the works of Robert Mapplethorpe and Andres Serrano. Mapplethorpe himself once stated: "Paul Blanca is my only competitor." – A few small spots in negatve in lower right corner, otherwise in very good condition.
Blau, Tom
John Lennon and Yoko Ono in N.Y.
Los 4098
Ergebnis (inkl. Aufgeld) *
375€ (US$ 403)
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.
Portrait. 1997. Large-format chromogenic print on Kodak Professional paper. 72 x 52,5 cm. Signed, dated and editioned 1/3 by the photographer in ink on the verso.
Katharina Bosse, born in Finland and raised in southern Germany, studied photography and film at Bielefeld University of Applied Sciences and Arts. Following her education, she spent two years in Cologne working on artistic projects and magazine commissions. From 1997 to 2003, she resided in New York, where she continued her artistic pursuits and produced work for prestigious publications such as The New Yorker and The New York Times Magazine. Bosse's work is included in collections at institutions such as the Museum of Fine Arts Houston, the Centre Pompidou in Paris, and the Museum of Modern Art in New York. – Some light handling dents, otherwise in very good condition.
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.
"Lotte (Auge)". 1928/printed 1980. Matte gelatin silver print on Agfa paper. 30,5 x 40 cm (32 x 41,5 cm). Edition stamp, signed by Lotte Burchartz in felt-tip pen and editioned 79/100 on the verso.
Born in 1887, Max Buchartz studied at the Kunstgewerbeschule Elberfeld and the Kunstakademie Düsseldorf. He moved to Weimar in 1921 and in 1926 was appointed professor at the Folkwangschule where he worked until 1933 teaching graphic design, typography and photography. This image was included in the Film und Foto exhibition in Stuttgart 1929 and two years later in 1931 it was used as an enlarged mural to greet visitors at the exhibition Das Lichtbild in Essen. It has since become an icon of modern photography. – Minimal traces of previous mounting on verso, otherwise in excellent condition.
Lit.: Film und Foto, p. 56, cat. no. 148, ill. p. 44.
Franz Roh/JanTschichold. foto-auge/oeil et photo/photo-eye. Stuttgart 1929, ill. plate 31.
Van Deren Coke. Avant Garde Photography in Germany 1919 - 1939, Munich 1982, ill. plate 23.
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.
Cartier-Bresson, Henri
French forced laborers beating their former German guards in Dessau
Los 4104
Nachverkaufspreis
4.500€ (US$ 4,839)
Liberated forced laborers beating their former guards in Dessau. 1945. Vintage gelatin silver print on Agfa paper. 16,5 x 24,5 cm. Photographer's/copyright stamp, several archive stamps, layout marks and annotated Les deportes libre frappents sur les gardiens in pencil/red ink on the verso.
In 1945, many former forced laborers gathered in Dessau to prepare for their return to their home countries. It was precisely at this time that Henri Cartier-Bresson was in Dessau and photographed the events with his Leica. Many famous images were taken in the destroyed city on 12 rolls of films, but only a few of them are world-famous icons today. The vintage photograph offered here is one of the great rarities from this series and is widely unknown. It shows the outburst of rage of former prisoners who recognize some of their tormentors. – Several small retouched spots, creases in lower corners, upper corners bumped, small discoloration spot in upper right, stronger indentation marks in lower right from pressing on verso.
Georges Braque. 1944/printed later. Gelatin silver print. 24 x 35,5 cm. Signed and dedicated by the photographer in ink as well as photographer's blindstamp in lower margin, framed under glass in wooden frame.
Henri Cartier-Bresson is perhaps best known for his candid street photography and his founding role in the Magnum agency. However, his portrait work is also highly significant and shows his ability to capture the essence of his subjects with both intimacy and depth. In his portrait work, Cartier-Bresson had the rare gift of making the subjects forget the camera's presence, resulting in candid and revealing photographs, characterized by their simplicity and honesty. – Some retouched spots, otherwise in very good condition.
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.
Cartier-Bresson, Henri
Claude Lévi-Strauss
Los 4107
Ergebnis (inkl. Aufgeld) *
750€ (US$ 806)
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).
Planes over the Reichstag, Berlin. April 1945/printed early 1990s. Gelatin silver print. 30 x 40 cm. Signed by the photographer in pencil on verso.
Jewgeni Chaldej, a Soviet photojournalist, is renowned for his photographs documenting the capture of Berlin by Soviet troops on May 2, 1945, marking the end of World War II in Europe. His images, particularly the iconic scene of the Soviet flag being raised on the Reichstag building, have become crucial visual records of this historic moment. – Top margin slightly rubbed, some buckling, otherwise in good condition.
Lit.: Ernst Volland/Heinz Krimmer (eds.). Von Moskau nach Berlin. Bilder des russischen Fotografen Jewgeni Chaldej. Berlin 1999, ill. p. 70.
Photographer: Reinhold Lessmann (1915-2004). Advertising photo for Kubald seatbelt. Late 1950s. Vintage tricolor Duxochrome print. 23,5 x 17,5 cm. Photographer's studio stamp on the verso.
A few light surface scratches, traces of previous mounting on the verso, edges curled, otherwise in very good condition and with bright colors.
Curtis, Edward Sheriff
The Vanishing Race, Navaho
Los 4111
Nachverkaufspreis
6.000€ (US$ 6,452)
"The Vanishing Race, Navaho". 1904. Orotone. 27,5 x 35 cm. Signed in the plate by the photographer in lower right and copyright signet in lower left within the image, in original studio wooden frame (some traces of use) and and printed text label (some paper loss) on frame verso.
Edward Sheriff Curtis was a pioneering American photographer and ethnologist celebrated for his comprehensive documentation of the Indigenous peoples of North America. His magnum opus, "The North American Indian," stands as a monumental photographic and ethnographic study, capturing the culture and traditions of over 80 Native American tribes during the early 20th century. Curtis dedicated decades of his life to this ambitious project, traveling extensively across the United States to document the daily lives, ceremonies, and customs of Indigenous communities. Through his evocative photographs and detailed ethnographic notes, Curtis sought to preserve and honor the rich cultural heritage of Native American tribes, providing future generations with invaluable insights into their way of life. In addition to his extensive photographic work, Curtis is also renowned for his innovative technique known as the "Orotone" process, in which photographic images were printed onto glass plates coated with a fine layer of gold pigment, adding a luminous and ethereal effect to his work and further enhancing its impact. – A few surface irregularities, otherwise in near excellent condition.
Lit.: Edward S. Curtis. The North American Indian. Vol. 1: The Apache. The Jicarillas. The Navaho, Cambridge 1907, ill. plate 1.
Christopher Cardozo (ed.). Native Nations. First Americans as seen by Edward S. Curtis, Boston 1993, ill. p. 122.
Christopher Cardozo. Edward S. Curtis. The Great Warriors, New York 2004, ill. p. 7.
"The Fisherman, Wisham". 1904. Orotone. 35 x 27,5 cm. Signed in the plate by the photographer in lower right and copyright signet in lower left within the image, in original studio frame (some traces of use, scratches) and printed text label as well as photographer's studio label on frame verso.
One minimal chip in glass in upper left edge, not visible when framed, a few small irregularities, otherwise in near excellent condition.
Lit.: Christopher Cardozo. Native Nations: First Americans as Seen by Edward S. Curtis. Boston 1993.
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.
D'Ora, Madame
Fashion study with skis
Los 4114 [*]
Ergebnis (inkl. Aufgeld) *
525€ (US$ 565)
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.
Drtikol, Frantisek
"Le rire" (Female nude with skull)
Los 4115
Nachverkaufspreis
3.000€ (US$ 3,226)
"Le rire" (Female nude with skull). Circa 1913. Vintage gelatin silver print. 23,2 x 29,3 cm. Photographer's Bromografia and address stamp in the negative in lower left corner.
At the beginning of the century, Frantisek Drtikol was part of the international pictorialist movement. During this period, he created a number of photographs using very elaborate techniques and pigment processes. He often combined female nudes in expressive gestures and movements with dramatic lighting. With this image, Drtikol succeeded in transforming the seriousness and gravity of the Memento Mori motif into a light and cheerful scene. – Light handling dents throughout, slight mirroring in edges, a few small retouched spots, small creases in lower right corner, traces of previous mounting on verso, otherwise a rich, atmospheric print in very good condition.
Lit.: Zuzana Fortova. Frantisek Drtikol: photographe, peintre, mystique. Prague 1998, ill. pl. III/2 (bromoil pigment print).
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.
El Lissitzky
Agitation board in front of a factory in Vitebsk
Los 4118 [*]
Nachverkaufspreis
4.000€ (US$ 4,301)
Agitation board in front of a factory in Vitebsk. 1919. Vintage gelatin silver print. 9,4 x 10 cm. Number 256 in pencil on verso. Hinge-mounted to mat.
El Lissitzky's photographs of agitation boards in Vitebsk capture the fervent spirit of early Soviet propaganda, employing bold graphics and slogans designed to inspire revolutionary zeal. Through dynamic compositions and striking typography, Lissitzky captures the fusion of art and politics, illuminating the power of visual communication in mobilizing the masses. These images serve as poignant documentation of a pivotal moment in history, highlighting Lissitzky's role as both artist and political advocate during the tumultuous early years of the Soviet Union. – Some light silver mirroring in dark areas of print, some traces of previous mounting on verso, otherwise a strong print in very good condition.
Lit.: Sophie Lissitzky-Küppers. El Lissitzky, Maler, Architekt, Typograf, Fotograf: Erinnerungen, Briefe, Schriften. Dresden, 1967. ill. pl. 42,
Victor Malsy. El Lissitzky: Konstrukteur, Denker, Pfeifenraucher, Kommunist. Mainz, 1990. ill. p, 69.
El Lissitzky
Soviet Display at the International Hygiene Exhibition in Dresden
Los 4119 [*]
Nachverkaufspreis
900€ (US$ 968)
Soviet Display at the International Hygiene Exhibition in Dresden. 1930. Vintage gelatin silver print on carte postale. 9 x 13,8 cm. Annotated by another hand in pencil on verso. Hinge-mounted to mat.
Some small scratches in lower margin of print, some traces of previous mounting, otherwise in 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.
Film Photography
Stills from "Marthe Richard au service de la France"
Los 4121
Nachverkaufspreis
350€ (US$ 376)
Stills from the French film "Marthe Richard au service de la France", directed by Raymond Bernard. 1937. 30 vintage matte brown-toned gelatin silver prints. Each circa 29,5 x 39,5 cm. Most with Paris Film Production in the negative in lower left corner, inserted in album pages, bound together in contemporary reptile patterned cloth album (inner joint torn) with chord binding.
A comprehensive album with a wide selection of large-format and technically superb film stills/publicity portraits featuring the main stars Erich von Stroheim, Edwige Feuillère, Jean Galland and Marcel André. – Photos in very good to excellent condition.
[*]: Regelbesteuert gemäß Auktionsbedingungen. [^]: Ausgleich von Einfuhr-Umsatzsteuer.
* 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
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