Stadtschloß, Berlin. 1856/57. Gold-toned salted paper print with rounded corners. 22 x 16,3 cm. Mounted to original board (slightly time-stained in edges, a few foxing spots).
Leopold Ahrendts began his career as a painter and lithographer in Dessau, eventually transitioning to photography in the mid-19th century. His photographic oeuvre encompasses urban landscapes and architectural views of Berlin, captured with a keen eye for composition and detail. His noteworthy contributions to the field earned him participation in international photographic exhibitions and widespread recognition as an architectural photographer. – Minimal fading in lower edge, a few light spots in negative in lower left corner, otherwise with strong tones and in very good condition.
Lit.: Eberhard Mayer-Wegelin/Sigrid Schulze. Berlin als Residenzstadt. Photographien von Leopold Ahrendts 1854-1870. Munich 2018, ill. p. 76 (variant from other side).
Ahrendts, Leopold
Lustgarten and Stadtschloß, Berlin
Los 4003
Ergebnis (inkl. Aufgeld) *
1.125€ (US$ 1,293)
Lustgarten and Stadtschloß, Berlin. 1856/57. Gold-toned salted paper print with rounded corners. 16,4 x 21,8 cm. Mounted to original board (slightly time-stained in edges, a few foxing spots).
Light faded spot in lower right, otherwise with strong tones and in very good condition.
Lit.: Eberhard Mayer-Wegelin/Sigrid Schulze. Berlin als Residenzstadt. Photographien von Leopold Ahrendts 1854-1870. Munich 2018, ill. p. 71.
Ahrendts, Leopold
Gendarmenmarkt, Berlin
Los 4004
Ergebnis (inkl. Aufgeld) *
1.250€ (US$ 1,437)
Gendarmenmarkt with farmer's market, Berlin. 1857/58. Albumen print with rounded corners. 18,5 x 21,3 cm. Photographer's stamp in lower left, mounted to original board (slightly time-stained in edges).
A few foxing spots in sky area, fading in lower edge, a few light scuff marks, otherwise with strong tones and in good condition.
Lit.: Jutta Reinke/Wolfgang Stemmer (eds.). Pioniere der Kamera. Das erste Jahrhundert der Fotografie 1840 - 1900. Die Sammlung Robert Lebeck. Worpswede 1987, ill. p. 190.
Eberhard Mayer-Wegelin/Sigrid Schulze. Berlin als Residenzstadt. Photographien von Leopold Ahrendts 1854-1870. Munich 2018, ill. p. 134.
Ahrendts, Leopold
Portal of the Zeughaus, Berlin
Los 4005
Ergebnis (inkl. Aufgeld) *
750€ (US$ 862)
Portal of the Zeughaus, Berlin. 1857. Gold-toned salted paper print with rounded corners. 21 x 16 cm. Mounted to original board (slightly time-stained in edges, a few spots, small tear in right edge).
Minimal fading in right edge, a few retouched spots in lower right corner, otherwise with strong tones and in very good condition.
Lit.: Eberhard Mayer-Wegelin/Sigrid Schulze. Berlin als Residenzstadt. Photographien von Leopold Ahrendts 1854-1870. Munich 2018, ill. p. 64.
Kronprinzenpalais, Berlin. Circa 1860. Gold-toned albumen print with rounded corners. 17,3 x 21,7 cm. Mounted to original board (slightly time-stained in edges).
Minimal fading in lower edge, a few minimal surface scuff marks, otherwise with strong tones and in very good condition.
Lit.: Eberhard Mayer-Wegelin/Sigrid Schulze. Berlin als Residenzstadt. Photographien von Leopold Ahrendts 1854-1870. Munich 2018, ill. p. 111.
Alinari, Fratelli
Panoramic view of Florence from San Miniato; Florence: Loggia dei Lanzi
Los 4007
Ergebnis (inkl. Aufgeld) *
750€ (US$ 862)
Panoramic view of Florence from San Miniato; Florence: Loggia dei Lanzi; Interior and exterior views of Palazzo Vecchio, Baptistry bronze door, San Miniato, Santa Maria Novella, Palazzo Pitti, the Dome. Circa 1854-60. 1 large-format, gold-toned albumen print (1 oval) and 1 large-format, gold-toned salted paper print and 8 albumen prints. 30,5 x 43 cm, 30,5 x 41 cm and circa 24 x 18 cm. Mounted to board (edges slightly time-stained and some spots), 1 with photographer's "Fratelli Alinari, Fotografi Firenze, via Nationale 8" blind stamp and 1 with "Fratelli Alinari, Fotografi Firenze Presso Luigi Bardi" below the image on the mount, smaller prints annotated in ink below the image on the mount.
The Fratelli Alinari photography studio, established in 1852 in Florence, Italy, is one of the world's oldest photographic companies. The studio's early focus was portraiture, and it later expanded its repertoire to capture Italy's cultural heritage, architecture, and historical landmarks. The extensive archive of daguerreotypes, albumen prints, and glass negatives produced by Fratelli Alinari during this period has played a crucial role in preserving and documenting Italy's rich artistic and cultural history. – In very good condition.
Lit.: Bodo von Dewitz/Dietmar Siegert/Karin Schuller-Procopovici (eds.). Italien sehen und sterben. Photographien der Zeit des Risorgimento (1845-1870). Cologne 1994, ill. p. 159.
Jutta Reinke/Wolfgang Stemmer (eds.). Pioniere der Kamera. Das erste Jahrhundert der Fotografie 1840-1900. Die Sammlung Robert Lebeck. Bremen 1987, ill. p. 111.
Anderson, James and Tommaso Cuccioni
View of St. Peter's Basilica; Fountain of St. Peter's Square; Interior of St. Peter's; Interior of Vatican
Los 4010
Ergebnis (inkl. Aufgeld) *
1.375€ (US$ 1,580)
View of St. Peter's Basilica; Fountain of St. Peter's Square; Interior of St. Peter's; Interior of Vatican. Early 1860s. 4 large-format albumen prints. 33,5 x 45,5 cm 39,5 x 31,7 cm, 29 x 38,7 cm and 32,5 x 45 cm. Each mounted to board (traces of use, some spots, slightly dusty), titled in Italian in ink below the image on the mount, Vatican print with "Fotografia Cuccioni, via Condotti 19, ROMA" blind stamp under the image on the mount.
Some minimal fading in edges, a few surface scuff marks, some retouched spots, Fountain print with foxing in sky area and light spots in lower right, otherwise in very good condition with strong violet-brown tones.
Lit.: Dorothea Ritter. Rom 1846-1870. James Anderson und die Maler-Fotografen, Sammlung Siegert. Munich 2005, ill. p. 63 (Interior St. Peter's).
Animal studies. 1888-89. 6 albumen prints mounted to board (edges rubbed, some smudge marks). Each circa 20,4 x 14,8 cm or reverse (27,7 x 35,3 cm). Each with photographer's name, date and location in the negative lower right.
Ottomar Anschütz was a German photographer, renowned for his advancements in high-speed and motion photography. In the 1880s, he developed fast shutters that captured images at 1/1000th of a second, allowing him to photograph rapid movements with unprecedented clarity. Among his notable works is a series of photographs featuring taxidermied animals in lifelike settings with painted backdrops and props to simulate their natural habitats. These images demonstrate his technical prowess as well as his dedication to blend scientific inquiry with artistic expression.
– A few minimal surface scuff marks/slight surface soiling, otherwise in very good condition.
Anschütz, Ottomar
Calvary horses with riders
Los 4015
Ergebnis (inkl. Aufgeld) *
500€ (US$ 575)
Cavalry horses with riders. 1883. Albumen print. 21 × 27,5 cm. With negative number in lower left corner of the image, annotations in pencil, and “M. Hessling Kunstverlag Leipzig, 11 Fürstenstr.” stamps on the verso.
Some handling creases, small tears along margins and discoloration in lower portion of print, otherwise in good condition.
Atget, Eugène
Marchande de café au lait, rue Mouffetard, 5ème arrondissement, Paris
Los 4016
Ergebnis (inkl. Aufgeld) *
2.250€ (US$ 2,586)
Marchande de café au lait, rue Mouffetard, 5ème arrondissement, Paris. Circa 1898. Albumen print. 22,6 x 18,1 cm. Annotated and numbered "3087" by the photographer in pencil on the verso.
Eugène Atget’s photographs of Paris at the turn of the 20th century form a remarkable visual archive of the city’s streets, architecture, and vanishing pre-modern spaces. While best known for his carefully composed urban vistas, he occasionally photographed street vendors, shopkeepers, and laborers. Whether capturing deserted boulevards or glimpses of daily life, his work transcends documentation, evoking a poetic sense of time and memory that profoundly influenced generations of photographers after him. – Small tear on upper margin, edges slightly uneven, otherwise in good condition.
Hunting trophy. 1860s. Albumen print mounted to board. 15,8 × 12 cm (17,3 × 20 cm). Annotated in pencil by another hand in lower left corner of the mount; with “Robert Lebeck” collection label and another albumen print, captioned in ink, affixed to the verso.
Captain N. Baily, a British photographer active in the 1860s, was a member of the Amateur Photographic Association. His work reflects the mid-19th-century fascination with still-life compositions, particularly those featuring game, fowl and fish - subjects popular among gentleman photographers, many of whom had military backgrounds and engaged in hunting as a pastime. Baily’s surviving photographs are marked by careful composition and keen attention to texture and detail.
Provenance: Robert Lebeck collection
Théâtre Romain à Arles. Circa 1855. Albumen print. 33,5 x 43 (44 x 55 cm). With title and negative number in lower margin of print, mounted to original card (some foxing and smudge marks, left margin torn), stamped "E. Baldus" in black ink below image on mount.
Édouard Baldus, a pivotal figure in 19th-century architecture and landscape photography, played a crucial role in establishing photography as a vital tool for documenting and preserving architectural heritage. Renowned for his expansive photographic campaigns across France, Baldus captured monuments, railway routes, and cityscapes that represent some of the era’s most striking architectural views. Prints of this image are in the collections of the Metropolitan Museum of Art, the National Gallery of Art, Washington and the Museum of Fine Arts, Houston. – Some foxing and light surface irregularities, otherwise a strong print in near excellent condition.
Barnard, George N.
Photographic Views of Sherman’s Campaign
Los 4022
Ergebnis (inkl. Aufgeld) *
750€ (US$ 862)
Photographic Views of Sherman’s Campaign. 1864. 2 albumen prints mounted to album pages (corners bumped, some light discoloration). Each 25,5 x 36 cm (41 x 51,5 cm). Each titled and captioned "Photo. from nature by G.N.Barnard" below the image on the mount.
George Norman Barnard was a pioneering American Civil War photographer, best known for his 1866 album Photographic Views of Sherman’s Campaign, which document the landscapes, fortifications, and destruction left in the wake of General William Tecumseh Sherman’s march through the American South. Using large-format albumen prints, Barnard captured battlefields, ruined railroads, and cities such as Atlanta, Savannah, and Charleston, creating some of the most striking visual records of the war’s impact. His work is notable for its technical precision, dramatic compositions, and historical significance, positioning him as one of the leading war photographers of the 19th century. – Some light scuff marks, otherwise in near excellent condition.
Lit.: George N. Barnard. Photographic Views of Sherman’s Campaign, from Negatives Taken in the Field. New York 1866.
Photographer: Emil Dux (1872-1954). Views of Mark Brandenburg. 1890s. 43 albumen prints. Each circa 11 x 16 cm. All mounted to board, annotated in ink on the mount, in original canvas box (edges with wear, cover loose).
This selection of photographs includes views of Alt Landsberg, Belzig, Brandenburg, Neumark, Crossen, Friedeberg, Gransee, Chorin, Lehnin, Heiligengrabe, Koenigsberg, Rheinsberg, Tangermünde and others. – Some surface scratches, some with fading in edges, otherwise in good condition.
Carjat, Étienne
Album de la Galerie Contemporaine: Biographies & Portraits
Los 4029
Ergebnis (inkl. Aufgeld) *
1.250€ (US$ 1,437)
Album de la Galerie Contemporaine: Biographies & Portraits. 1888. 12 Woodburytypes mounted on album pages (some light foxing). Each 23 x 18 cm (34 x 27 cm). With photographer’s name, sitter’s name, and publisher’s information below the image, along with a biographical text accompanying each portrait. Bound in contemporary cloth-backed album with gilt-embossed title and decorative ornamentation in black and blue (edges worn, some stains and scuff marks).
An essential chronicle of 19th-century French intellectuals, writers, and artists, this volume features Carjat’s iconic portrait of Charles Baudelaire, alongside those of other luminaries such as Edmond de Goncourt, Madame de Ségur and Viollet-le-Duc. – Some light scuff and pressure marks, otherwise all in excellent condition.
Photographer unknown. Views of China, including Shanghai, Peking, Tsingtao and others. Circa 1880-1900. Circa 69 vintage collodion paper and albumen prints. Various sizes between circa 13 x 18 cm and 21 x 28 cm. Mounted to album boards (some foxing), some annotated in German in pencil on album boards, bound in modern half-leather, green canvas album.
This album comprises images of monuments and temples, harbor scenes with war ships and daily rural life, as well as scenes from the Boxer Revolt. There are also portraits of two important dignitaries Zhang Zhidong (1837-1909) and Li Hongzhang (1823-1901). – Some prints with light surface rubbing or spots, some faded, most strong and clear images in very good condition.
Photographer unknown. Views of China, mostly Beijing. Circa 1900. Circa 70 vintage collodion paper prints. Various sizes between circa 18 x 26 cm, 11 x 16 and smaller. Mounted to album boards (some foxing), bound in black lacquer album with MOP inlay (pieces missing, inner binding loose).
This album was compiled around the time of the Boxer Revolt and shows many soldiers of various countries such as Russia, India and Germany, posing in front of temples and monuments in and around Beijing. Also includes images of Chinese craftsmen, street sellers as well as studio portraits. – Some prints with light surface rubbing or spots, some faded, many strong and clear images in very good condition.
Photographer unknown. Family portrait. 1840s. Half-plate daguerreotype in leather casing (slightly scratched). 20,5 x 18 cm.
Plate slightly scratched, some signs of oxidation along edges of plate, otherwise in good condition.
Photographer unknown. Brother and two sisters. 1850s. Quarter plate daguerreotype. 7 x 9 cm (13 x 15 cm). Sealed in glass black frame with gilt-lined window mat.
Some oxidation around edges and slightly into image, otherwise in good condition.
Emerson, Peter Henry
Coming home from the Marshes
Los 4041
Ergebnis (inkl. Aufgeld) *
1.250€ (US$ 1,437)
Coming home from the Marshes. ca. 1886. Platinum palladium print. 18,9 x 28,5 cm (29,1 x 41,5 cm). Mounted to board (slightly soiled), with the original printed tissue overlay and corresponding album page from Life and Landscape on the Norfolk Broads.
Peter Henry Emerson was an important figure in the development of naturalistic photography. Rejecting the sharp-focus precision of the time, he used selective focus and tonal subtleties to create images that mimicked human vision, blending documentary realism with artistic expression. His seminal work, Life and Landscape on the Norfolk Broads (1886), captures Fenland laborers and fishermen in their natural environment. Influenced by the Barbizon School and contemporary vision theories, he used platinum prints and photogravures to render soft, atmospheric images. Though Emerson later questioned photography’s artistic potential, his work influenced Pictorialism and remains a milestone in documentary and fine art photography. Prints of his images are housed in institutions such as the Minneapolis Institute of Art, LACMA, the National Gallery of Art, and the Museum of Fine Arts, Houston. – Some small stains, otherwise a fine tonal print in excellent condition.
Lit.: Peter Henry Emerson. Life and Landscape on the Norfolk Broads. London: 1886. ill. pl. 1.
Fenton, Roger
Officers and Men of the 8th Hussars
Los 4042
Ergebnis (inkl. Aufgeld) *
1.000€ (US$ 1,149)
Officers and Men of the 8th Hussars. 1855. Salted paper print mounted to board. 15,2 x 15,2 cm (16,8 x 17,2 cm). Titled in pencil on mount verso.
Roger Fenton played a pioneering role in war photography. Owing to a commission, he documented the Crimean War in 1855 through carefully staged images in a natural setting, emphasizing military discipline and camaraderie over combat. His portraits of regiments like the 8th Hussars, known for their role in the Charge of the Light Brigade, shaped public perception by highlighting heroism over hardship, in line with Victorian expectations. This approach set a precedent for war photography as both historical documentation and visual narrative, influencing future generations of photographers in their depiction of military conflict. Prints of this image are held in the Getty Museum, the Royal Collection Trust, and the Musée d’Orsay.
– Some light fading along edges, some light water stains, otherwise in very good condition.
Young faun. 1890s. Salted paper print. 26,5 x 20,2 cm. Numbered "1741" in blue crayon and photographer's "Taormina-Italia-Sicilia" studio stamp on the verso.
Wilhelm von Gloeden was a German photographer known for his idealized images depicting male nudes, often set in the natural landscape of Taormina, Sicily. His work, which evoked themes of classical antiquity, became famous for its aesthetic beauty and subtle homoeroticism, gaining recognition among art collectors in Europe. While controversial at the time for its subject matter, von Gloeden’s photography has since been recognized as pioneering in the fields of both art photography and the male nude genre. – Some light irregularities in negative and minimal foxing, otherwise a strong print in very good condition.
Portrait of a boy. 1890s. Albumen print. 22,5 x 16,8 cm. Numbered "2071" in blue crayon and photographer's "Taormina-Sicilia" studio stamp on the verso.
Some light handling creases and minimal fading along edges of print, otherwise in very good condition.
Lit.: Italo Zannier. Wilhelm von Gloeden. Fotografie Nudi, Paesaggi, Scene di genere. Florence 2008, ill. p. 129 (variant).
Greene, John Beasley
Isis Temple, Isle of Philae, Egypt
Los 4045
Ergebnis (inkl. Aufgeld) *
1.500€ (US$ 1,724)
Isis Temple, Isle of Philae, Egypt. Circa 1853-1854. Salted paper print. 22,7 x 29,4 cm (46 x 56,2 cm). Signed and numbered in the negative in lower margin, hinge-mounted to board
A leading figure in 19th-century photography, John Beasley Greene was one of the earliest archaeological documentary photographers. As a trained Egyptologist and an early practitioner of photography, Greene approached his work with a rigorous scientific methodology, using the camera to document ancient sites with remarkable precision. His photographs, often characterized by their spare, almost minimalist compositions, reflect a modern sensibility unusual for his time, emphasizing geometric forms, light, and shadow rather than merely serving as visual records. – Some smudge marks, some very light fading along edges of print, otherwise a strong tonal print in very good condition.
Greene, John Beasley
Mountain and Temple of Gerf Hussein, Egypt.
Los 4046
Ergebnis (inkl. Aufgeld) *
1.250€ (US$ 1,437)
Mountain and Temple of Gerf Hussein, Egypt. Circa 1853/54. Salted paper print mounted to board. 23,4 x 29,7 cm (40 x 56,7 cm). Signed and numbered in the negative on lower margin, annotated in pencil on the mount below the image.
Some smudge marks, some very light fading along edges of print, otherwise a strong tonal print in very good condition.
Gsell, Émile
Studio portrait of Governor Tan-Phu-Thu of Hai-Duong,Tonkin
Los 4047
Ergebnis (inkl. Aufgeld) *
1.875€ (US$ 2,155)
Studio portrait of Governor Tan-Phu-Thu of Hai-Duong, Tonkin. 1870s. Albumen print. 27,5 x 21 cm. Mounted to board.
The French photographer Émile Gsell worked in Southeast Asia and was the first photographer based in Saigon. He participated in at least three scientific expeditions and his images of Angkor Wat are some of the earliest of that site. He also took many portraits of natives, important dignitaries and official figures. – A few light surface scuff marks, some bumps from mounting, a few oxidation spots in lower right and upper left, some small retouched spots, otherwise a strong print in very good condition.
Lit.: Terry Bennett. Early Photography in Vietnam. Kent 2020, ill. p. 92.
Views of Egypt. 1860s. 2 albumen prints mounted to board (corners bumped, time-stained in edges). Each circa 24 x 31 cm (38 x 45 cm). Signed and numbered by the photographer in the negative in lower left corner; with title printed below the image on the mount.
Born in Berlin, Wilhelm Hammerschmidt was an established professional photographer, when he relocated to Cairo circa 1860. There, he founded the Hammerschmidt shop, a photographic studio and supply store that quickly became a hub for both local and visiting photographers. In 1861, he exhibited ten views of Egypt at the Société Française de Photographie in Paris, and became a member the following year. Hammerschmidt specialized in architectural views, costume portraits, and ethnographic studies, which he presented to international audiences, notably at the Exposition Universelle in Paris, in 1867. In addition to his extensive work in Egypt, he also photographed in Syria and Nubia. The photographs in this group include a striking view of the Nile cataracts near Aswan and the Tomb of the Califs on the outskirts of Cairo. – Some scuff marks, some fading in edges as well as traces of silver mirroring in shadow areas, otherwise in very good 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
Datenschutzerklärung
© 2026 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
© 2026 Galerie Gerda Bassenge