Masquerade. 1970s. Chromogenic print, printed 1980s. 39,2 x 28,5 cm. Numbered "2/20" and signed in black ink in lower margin of print, numbered in pencil on the verso.
Small thumb mark in left margin of print, otherwise in near excellent condition.
Kommunisten in Rom. 1967. Vintage matte gelatin silver print on Agfa paper. 36,5 x 29,5 cm. Signed, titled, dated and editioned "4/20" by the photographer in pencil on the verso.
Spot in lower edge of image and in margin, a few handling creases in lower margin, otherwise a rich tonal print in very good condition.
Thomann, Peter
Bryor Mountain Wild Horse Ranch, Montana, USA
Los 4273
Schätzung
900€ (US$ 1,000)
Bryor Mountain Wild Horse Ranch, Montana, USA (Hommage an Eadweard Muybridge). 2002. Gelatin silver print, printed 2008. 42 x 60 cm. Signed by the photographer in ink in lower right corner in margin; photographer's/copyright stamp, therein signed, titled, editioned "2/6" and dated by the photographer in pencil as well as annotated and additional stamp on the verso.
Peter Thomann studied photography under Dr. Otto Steinert at the Folkwang School in Essen, where he developed a strong foundation in visual composition and documentary style. In 1968, he joined Stern magazine under contract, contributing a wide range of reportage. He is particularly renowned for his dynamic and expressive photographs of horses, which have become iconic within his broader journalistic work. – In excellent condition.
E 9 (from the series "Eingebrannte Bilder"). 1997. Gelatin silver print. 40 x 30,3 cm. Signed and dated by the photographer in pencil on the verso.
Since the 1990s, Ernst Volland has focused on the artistic reinterpretation of historical photographs and iconic images from contemporary history. His series "Eingebrannte Bilder" (Branded Images), developed over several years and exhibited at the German Historical Museum in Berlin, transforms familiar photographs embedded in Germany’s collective memory. By deliberately blurring and distorting these images, Volland challenges viewers to confront their visual assumptions, turning once recognizable scenes into enigmatic visual puzzles. – Diagonal crease in upper left corner, small crease in left edge, otherwise in good condition.
Lit.: Ernst Volland. Eingebrannte Bilder, Plakate, Cartoons, Buntstiftbilder, Fakes, Dokumente. Berlin 2018, ill. p. 32.
E 8 (from the series "Eingebrannte Bilder"). 1997. Gelatin silver print. 30 x 40,1 cm. Signed and dated by the photographer in pencil on the verso.
Edges slightly curled, light dent near upper edge, otherwise in very good condition.
Lit.: Ernst Volland. Eingebrannte Bilder, Plakate, Cartoons, Buntstiftbilder, Fakes, Dokumente. Berlin 2018, ill. p. 30.
Andy Warhol. 1978. Polaroid in wooden frame. 10,8 x 8,8 cm (27,5 x 25,5 cm). Signed on recto below the image, titled dated and copyrighted in black ink on the verso of the frame.
In the late 1970s and early 1980s, Michel Waxmann captured the gritty realities of American life - from Bronx street gangs to desolate California motels - while also documenting intimate moments within New York’s vibrant art scene, including rare encounters with cultural icons such as Andy Warhol, who was at the height of his influence at the time.
– Some scuff marks, two small stains, otherwise in near excellent condition.
Andy Warhol. 1978. Polaroid in wooden frame. 10,8 x 8,8 cm (27,5 x 25,5 cm). Signed on recto below the image, titled dated and copyrighted in black ink on the verso of the frame.
This photograph shows Andy Warhol in front of two of his Shadow Paintings, which were first exhibited at the Heiner Friedrich Gallery in New York in 1979. – Some scuff marks and small stains, otherwise in near excellent condition.
Couple. 1990s. Large-format pigment print, printed later. 82 x 99 cm (111 x 92,5 cm). Framed under glass in wooden frame (some foxing on frame support).
Bruce Weber’s photographic work is defined by its rich, sensuous imagery that transcends the lines between fashion, portraiture, and documentary. Known for his evocative black-and-white photographs, Weber captures his subjects with a striking blend of intimacy, nostalgia, and idealized beauty - often infused with a subtle yet unmistakable homoeroticism. Over the span of his career, Weber has left a lasting imprint on both commercial and fine art photography through iconic campaigns and editorial collaborations that have redefined the aesthetics of desire and masculinity. – Small round mounting marks, with a few very light foxing spots in the upper and lower corners and mid-section; otherwise, a strong print in very good condition.
Weber, Doris Martha
Smoke and Steam; Iron for Industry; Sunlit Steam.
Los 4279
Schätzung
1.200€ (US$ 1,333)
Smoke and Steam; Iron for Industry; Sunlit Steam. Circa 1945. 3 vintage gelatin silver prints on structured paper. 2 circa 48 x 39 cm and 1 40,2 x 39 cm. Each mounted to board (some traces of use), 2 signed and titled by the photographer in pencil below the image on the mount; 2 annotated in ink and various exhibition stamps on mount verso.
In 1953 Doris Martha Weber was awarded the "Stuyvesant Peabody Memorial Award for the Greatest Service to Pictorial Photography" by the Photographic Society of America. Five of her industrial images are in the collection of the Smithsonian Institute. Her atmospheric work is exemplary of 1940s American industrial photography. – A few scuff/scratch marks, a few small spots, minimal edge wear, otherwise fine tonal prints in very good condition.
Sleeper in a Bar. 1939. Gelatin silver print, printed later. 35,4 x 27,8 cm. Photographer's "Weegee, 451 W 47 Street, New York, N.Y. 10036" stamp and copyright stamp on the verso.
Weegee, born Arthur Fellig, was a pioneering photojournalist known for his stark, unflinching images of crime scenes, urban life, and street culture in 1930s and 1940s New York City. Often arriving at scenes before the police, thanks to his self-installed police radio, he captured raw, flash-lit photographs that combined documentary immediacy with a gritty, noir aesthetic. His work not only defined an era of tabloid photography but also offered a visceral portrait of the city’s underbelly, blending sensationalism with a distinct visual style. – Corners bumped, some scuff marks and handling creases, otherwise in good condition.
Louis Armstrong. ca. 1955. Vintage gelatin silver print. 20,8 x 25,5 cm. With the photographer's copyright stamp on the verso; annotated by another hand in pencil.
Weegee’s bold, unfiltered style extended beyond documentary work to celebrity portraits, where he used the same dramatic lighting and direct approach to emphasize personality and presence. In this portrait of Louis Armstrong, Weegee applied this signature technique to highlight the musician’s expressive energy. – Some scuff marks and handling creases, otherwise in good condition.
Joseph Beuys performing in Nuremberg. 1968. Vintage ferrotyped gelatin silver print on Leonar paper. 24 x 18 cm. Photographer's monogram blind stamp in lower left corner; signed, titled and dated in ink by the photographer and 3 photographer's/copyright stamps (2 glued over with photographer's later address label) on the verso.
Slight traces of use, irregularities to ferrotype surface, traces of previous mounting on the verso, otherwise in good condition.
Wim Wenders: Photos. Views of Australia.1977 and 1988. 26 Cibachrome prints, 7 chromogenic prints on Kodak Professional paper, and 1 gelatin silver print on RC paper, all printed in the 1990s. Most prints circa 10 x 30 cm (18 x 30 cm), 6 circa 10 x 29,5 cm (24 x 30,4 cm), 4 circa 13 x 30 cm (21,5 x 30 cm), and 1 at 12,5 x17,5 cm. 4 prints bear gallery press labels with typed titles and dates on the verso; one with copyright label by Donata Wenders (portrait of Wim Wenders) on the verso.
Wim Wenders’ photographs of the United States and Australia reflect his cinematic sensibility, capturing vast, often desolate landscapes with a striking use of color and composition. His vivid, saturated tones contrast with scenes of decay and emptiness, giving them quiet intensity and emotional depth. This group of photographs served as model prints for the publication Wim Wenders: Photos, which accompanied an exhibition organized by the Goethe-Institut, Munich in 1996. Most are Cibachrome prints, distinguished by their exceptional color richness. – A few light surface scratch marks, more visible at an angle, a few small dents, nine with discoloration in lower right corner, otherwise in very good condition with bright colors. With: A copy of the book Wim Wender: Photos. (Cover of case time-stained in edges).
Provenance: Private collection, gift of the photographer.
Lit.: Wim Wenders: Photos. Heidelberg 1995, publication accompanying Goethe-Institut exhibition, (all illustrated).
Near Gordon Downs, South Australia. 1988. Cibachrome print. 19,8 x 59 cm (36 x 61 cm). Signed, dated and dedicated by the photographer in marker below the image in margin.
Some light surface scratches, only visible in raking light, minimal fading in lower margin, otherwise in very good condition with bright colors.
Provenance: Private collection, gift of the photographer.
Lit.: Wim Wenders: Photos, Heidelberg 1995, ill. unpaginated.
Wendlandt, Kurt
Gestänge (Lichtgraphik und Doppelbelichtung)
Los 4285
Schätzung
1.500€ (US$ 1,667)
Gestänge (Lichtgraphik, Doppelbelichtung). 1959. Unique vintage large-format gelatin silver print. 58,5 x 38 cm. Signed, titled and numbered "2/8 variabel" by the photographer in ink in lower edge, mounted to board (71 x 54 cm), dated in pencil on mount verso.
Kurt Wendlandt was a multifaceted artist - active in painting, printmaking, photography, writing and illustration - who emerged as a highly creative figure in postwar West Germany. After studying at the State Academy of the Arts from 1937 to 1943, his practice was briefly interrupted by a war injury, but he resumed his artistic work after World War II. In 1958, he began experimenting with transparent materials, leading to his first Lichtgraphiken. His close friendship with Heinz Hajek-Halke placed both artists at the forefront of Berlin’s avant-garde Lichtgraphik movement in the 1960s. Though his work remained largely outside the commercial art world, Wendlandt’s light graphics and other creations are now held in numerous public and private collections. – A few small nicks in edges and small paper loss in upper left corner, a few light handling dents, slight mark from glue on verso in upper right corner, otherwise in very good condition.
Provenance: The estate of Kurt Wendlandt
Hommage à Altdorfer III (Lichtgraphik und Zeichnung). 1979. Unique vintage large-format gelatin silver print with applied drawing elements. 35,5 x 49 cm. Sandwich-mounted in mat (50 x 65 cm), signed and titled by the photographer in pencil below the image on the mat; titled and dated by the photographer in marker and photographer's stamp on mat verso.
A few crease marks, otherwise in very good condition.
Provenance: The estate of Kurt Wendlandt
Ansel Adams, Carmel, California. 1984. Gelatin silver print, printed later. 19 x 18,7 cm. Sandwich-mounted in mat (warped in right edge), signed by the photographer in pencil below the image on mount; photographer's stamp and titled and dated by the photographer in pencil on mount verso.
A fine tonal print in excellent condition.
Wiedenhöfer, Kai
Palestinian boy playing with a horsetail at the beach of Gaza City
Los 4288
Schätzung
600€ (US$ 667)
Palestinian boy playing with a horsetail at the beach of Gaza City. 1994. Matted gelatin silver print. 24 x 30,2 (50 x 40 cm). Stamped "No. 0853" along with printed copyright label affixed to the verso.
In the 1990s, Kai Wiedenhöfer lived in Gaza and photographed daily life with rare intimacy, earning the nickname Habib al-Shaab (“friend of the people”). Fluent in Arabic and deeply embedded in the community, he documented the quiet resilience of Palestinians amid the turbulence between the first and second Intifadas. His series, later published as "Perfect Peace", offers a humanistic and empathetic portrayal of a society enduring the weight of occupation. – Some light foxing and remnants of mounting tape; otherwise in very good condition.
Jan. 2014. Gelatin silver print on Orwo paper. 27,8 x 27,4 cm (30,5 x 29,3 cm). Signed, titled, dated, editioned "4/10" and copyrighted by the photographer in pencil on the verso.
The Berlin-based photographer Sven Wolfgang concerns himself with the perception of things discovered in natural and urban landscapes, abandoned objects as well as unintentionally formed „sculptures“, organic as well as inorganic. In 2009, after training as a media designer, he moved from Leipzig to Berlin to study film. During his studies he discovered his fascination for photography and began mentoring in the studio of a Berlin artist where he became proficient in analog photography skills. As of 2019, he studied at the New School of Photography, where he prepared his thesis and graduated in 2022. He has been working as a freelance photographer since 2014. – A fine tonal print in excellent condition.
A Dancer in an Old House. 2016. Gelatin silver print. 26,6 x 26,8 cm (30,5 x 29,3 cm). Signed, titled, dated, editioned "2/4" and copyrighted by the photographer in pencil on the verso.
Edges slightly curled, otherwise a fine tonal print in excellent condition.
Winogrand, Garry
Venice, California from the series 'Women are Better Than Men. Not Only Have They Survived, They Do Prevail'
Los 4291 [*]
Schätzung
1.000€ (US$ 1,111)
Venice, California from the series "Women are Better Than Men. Not Only Have They Survived, They Do Prevail". 1979. Gelatin silver print, printed 1982. 22,7 x 33,9 cm (28 x 35,5 cm). Signed by the photographer in pencil on the verso. From the portfolio of the same title, D.E.P. Editions Inc. New York 1982.
Garry Winogrand’s "Women Are Better Than Men. Not Only Have They Survived, They Do Prevail" is a series of 15 gelatin silver prints taken between 1969-1980, demonstrating his mastery of candid street photography and his focus on the evolving roles of women during a transformative era in American culture. The series celebrates women’s individuality, aligning with its evocative title that suggests a commentary on gender dynamics. While praised for its raw and spontaneous portrayal of women in public spaces, it has also drawn critique for reflecting the male gaze, with some arguing that it objectifies its subjects rather than empowering them. Regardless of interpretation, the series remains a compelling document of its time, reflecting both Winogrand’s artistic vision and the evolving discourse on gender and society in the late 20th century. – Light traces of mounting in corners, minimal silver mirroring along print edges, otherwise in near excellent condition.
Winogrand, Garry
Beverly Hills, California from the series 'Women are Better Than Men. Not Only Have They Survived, They Do Prevail'
Los 4292 [*]
Schätzung
1.000€ (US$ 1,111)
Beverly Hills, California from the series "Women are Better Than Men. Not Only Have They Survived, They Do Prevail". 1980. Gelatin silver print, printed 1982. 22,7 x 33,9 cm (28 x 35,5 cm). Signed by the photographer in pencil on the verso. From the portfolio of the same title, D.E.P. Editions Inc. New York 1982.
Light traces of mounting in corners, minimal silver mirroring along print edges, otherwise in near excellent condition.
Wong, David
Workers clean Mao Zedong's Portrait, on Tiananmen Square in Beijing before the Worker's Day Parade
Los 4293
Schätzung
500€ (US$ 556)
Workers clean Mao Zedong's Portrait, at Tiananmen Square in Beijing before the Worker's Day Parade. April 27, 1992. Chromogenic print on Kodak paper. 22,7 x 15,3 cm (29,5 x 21 cm). Signed, annotated and dated by the photographer in ink on the verso.
A few light dents, scratch in left edge, otherwise in good condition.
Provenance: Private collection, gift of the photographer.
World War I
Documentation album of a German soldier during WWII
Los 4294
Schätzung
600€ (US$ 667)
Documentation album of a German soldier during WWI. Circa 1914-17. Circa 43 vintage gelatin silver prints and 1 postcard. Various sizes, most 13 x 18 cm and smaller. Most mounted in photo corners to album pages (some wear), each with caption in white ink in German on the mount, some loose. Bound in contemporary imitation leather album (slight wear, edges rubbed, binding loose), with painted Iron Cross in upper left corner.
This historically significant album opens with images documenting the deployment of “Feldflieger Abteilung 57” in Galicia, including views of locations, personnel, and aircraft. The second section is of particular interest, featuring rare photographs of “FFA 300,” the aviation unit deployed in support of the Ottoman Empire. Among the highlights is a photograph showing Turkish General Ahmed Djemal (Cemal Pasha) alongside General Kreß von Kressenstein during an “FFA 300” parade. – Some photos with silver mirroring in edges, some with edge wear, a few faded, otherwise in good condition.
Photographer unknown. Large-scale air raid on Hamburg. 12.3.1941. Vintage gelatin silver print. 16 x 22,5 cm. Mounted to original board, annotated by the photographer in pencil below the image on the mount.
Minimal mirroring in lower area, traces of previous mounting on mount verso, otherwise in very good condition.
Photographer: Martin Badekow (1896-1983). Berlin after WWII. 1946. 5 vintage gelatin silver press prints, some on Ortho-Brom paper. Each circa 18 x 24 cm. 4 with typed caption in upper left corner; 4 with photographer's studio stamp on the verso.
These photographs capture the extensive devastation Berlin endured during World War II, revealing the scale of destruction that reshaped the city’s urban landscape. – Some creases, curled in edges, one slightly discolored, otherwise in good condition.
The Big Three Conference, Yalta. 1945. Vintage ferrotyped gelatin silver print. 14 x 19,2 cm. Typed press text label on the verso.
This rare photograph captures a moment in the conference room during the third meeting of the Three Powers at Livadia Palace, Yalta. Among those depicted are Marshal Joseph Stalin, M. Maisky, Admiral William Leahy, Secretary of State Edward Stettinius, advisor Harry Hopkins, and President Franklin D. Roosevelt. Held in February 1945, the Yalta Conference brought together the leaders of the United States, the United Kingdom, and the Soviet Union - Roosevelt, Churchill, and Stalin - to discuss the postwar reorganization of Germany and Europe. The goal was to establish a framework for peace, collective security, and the self-determination of liberated nations. Though intended to shape a stable postwar order, the agreements reached at Yalta soon became a source of contention as the Cold War divided the continent. The conference took place in the Crimean palaces of Livadia, Yusupov, and Vorontsov. – Some handling dents/creases, traces of two punch holes in right edge, some mirroring in a few dark areas, otherwise in good condition.
X-ray of flowers. 1930s. Vintage gelatin silver print. 27 x 22 cm. Mounted to original board (some traces of use, tear in upper right corner), Agfa company logo embossed in lower left corner.
In very good condition.
Industrial images (2 solarisations). 1960s. 5 vintage ferrotyped gelatin silver prints on Agfa-Portriga-Rapid paper. Each between 26 x 20,7 cm and 29,5 x 20,5 cm. 4 with photographer's stamp, 2 annotated by the photographer in pencil on the verso.
Hartmut Zickmantel was a lecturer in photography at the Cologne Werkkunstschulen. The photographs offered in this group were probably taken in the 1960s, as part of his work for DEMAG AG (formerly Jünkerather Gewerkschaft) in Jünkerath/Eifel. – Some corners bumped, a few small handling dents, surface scratches, otherwise in good condition.
Untitled (The Book of PTT). Early 1930s. Vintage ferrotyped gelatin silver print on Velox paper. 17,2 x 12,2 cm. Photographer's stamp and annotated in pencil on the verso. Matted and framed under glass.
In 1930, Piet Zwart was commissioned to design The Book of PTT, an educational publication aimed at teaching Dutch schoolchildren how to use the postal system. To make the material engaging, he created two paper doll characters - ‘The Post’ and ‘J. Self’ - which he photographed and enhanced with chalk, ink and colored pencil. This image is part of that series, reflecting Zwart’s innovative fusion of photography, illustration and graphic design. – A few light handling dents, 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
Datenschutzerklärung
© 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