Camp de Châlons. Circa 1857. Albumen print 31,7 x 38,4 cm (52,5 x 68 cm). With photographer's signature stamp in red ink in lower right corner of print, mounted to board (some tears, slightly soiled) as well as photographer's studio stamp embossed onto mount below the image.
This photograph by Gustave Le Gray depicts Zouave soldiers in a military encampment. The Zouaves, a light infantry regiment in the French Army, were originally formed in 1831 from North African recruits but later included French soldiers. Known for their distinctive uniforms, featuring baggy trousers, short jackets, sashes, and turbans or fezzes, they became one of the most recognizable military units of the 19th century. Renowned for their bold fighting style and agility, Zouave regiments served in major conflicts such as the Crimean War (1853-1856), the Franco-Austrian War (1859), and the Franco-Prussian War (1870-1871), influencing similar units worldwide, including those in the American Civil War. – Some scuff and smudge marks, otherwise in very good condition.
Views of Algiers and Blidah. 1890s. 36 collotypes mounted on album pages (some light foxing and discoloration along the edges). Each ca. 23 x 29 cm or reverse. With number, title, and photographer’s name in the negative in lower margin. Bound in contemporary half-leather album with tortoiseshell-patterned paper cover (edges rubbed, spine frayed).
This album features views of renowned landmarks in Algiers, such as the Casbah and Notre-Dame d’Afrique, as well as the picturesque Koudiat and Mouzaïa regions of Blida, alongside a series of portraits depicting the local populace. – Some light creases, scuff and pressure marks, otherwise all in very good condition.
Mont-Saint-Michel
Abbaye du Mont Saint Michel - Crypte de l'Aquilon
Los 4063
Schätzung
600€ (US$ 667)
Photographer unknown. Abbaye du Mont-Saint-Michel - Crypte de l'Aquilon. 1880s. Albumen print. 32 x 25,8 cm. Mounted to board (slight foxing and soiling, corners bumped) with printed title below the image on the mount.
A few light surface scratches/scuff marks, otherwise a rich tonal print in very good condition.
Muybridge, Eadweard
Animal Locomotion. An Electrophotographic Investigation of Consecutive Phases of Animal Movements
Los 4064
Schätzung
3.000€ (US$ 3,333)
Animal Locomotion: An Electrophotographic Investigation of Consecutive Phases of Animal Movements. 1872-1885. 6 collotypes on plates. Each between 45 x 49 cm and 48,5 x 61,5 cm. Each with printed caption, plate number and Muybridge's copyright title.
Eadweard Muybridge was renowned for his groundbreaking work in motion studies. In 1878, he famously captured The Horse in Motion, a series demonstrating that during a horse’s gallop, all four hooves are off the ground simultaneously - a subject of debate at the time. Building on this success, Muybridge expanded his studies to include various animals and people, photographing over 100,000 images between 1884 and 1885. These efforts culminated in the 1887 publication Animal Locomotion, comprising 781 collotype plates that provided an unprecedented analysis of movement, influencing both scientific research and the arts. This selection of photographs features mostly human subjects from Muybridge’s Animal Locomotion series, including a toddler crawling (Plate 471), a man pushing a cart (Plate 393), two nude male wrestlers engaged in various holds and throws (Plate 529), a nude male throwing a ball (Plate 319), a nude male catching a ball (Plate 288), as well as a rider on a horse (Plate 578). – Edges of plates show time-staining, along with some tears and water stains; however, the images remain unaffected and are in very good condition.
Lit.: Eadweard Muybridge. Animal Locomotion: An Electro-Photographic Investigation of Consecutive Phases of Animal Movements, 1872-1885. Philadelphia 1887.
Nadar jeune
Prize-winning cows at the Paris agricultural fair
Los 4065
Schätzung
1.000€ (US$ 1,111)
Prize-winning cows at the Paris agricultural fair. 1856. 4 varnished salted paper prints. Each ca. 19,3 x 26,6 cm (29,9 x 47,2 cm). Photographer's studio stamp in lower margin of print, each mounted to board, printed title below the image on the mount.
Adrien Tournachon, younger brother of Gaspard-Félix Tournachon (Nadar), briefly collaborated with his brother before tensions led to a legal dispute in 1855, with Félix ultimately recognized as “the only, the true Nadar.” In 1856 and 1860, Adrien photographed prize-winning livestock at the Paris agricultural fair, using the collodion wet plate process. At the 1856 show, he produced over 120 negatives, printing around 50 for an album presented to the minister of agriculture and commerce. The photograph offered here is printed using the vernis-cuit technique, where the paper is coated with gelatin and tannin to create a varnished, leather-like surface. – A few light surface scratches and pressure marks, slightly faded in areas, otherwise mostly rich, dark prints in very good condition.
Photographer: Axel Lindahl (1841-1906), James Valentine (1815-1880) and Sköien. Selected views of Norway. 1880s. 4 albumen prints, 4 platinum prints, 6 collotypes. Various sizes between 21 x 28 cm, 30 x 19 cm and 16,5 x 23 cm. Most with title/number and photographer's name in lower right/left corner in the negative, Lindahl photos mounted to original ornamental board.
An attractive collection of views of landscapes and small towns in Norway as well as portraits of Lapp people. – Platinum prints with some foxing, some light handling creases, albumen prints with some spots, collotypes with creases and some tears in corners/edges, otherwise in good condition.
Railway Accident Paris
Railway accident, October 22, 1895, Montparnasse, Paris
Los 4067
Schätzung
500€ (US$ 556)
Photographer unknown. Railway accident, October 22, 1895, Montparnasse, Paris. Vintage collodion paper print. 14,3 x 10,5 cm. Annotated in pencil on the verso, hinge mounted in upper edge in mat.
On October 22, 1895, a train derailed at Paris’s Montparnasse station due to excessive speed, crashing through the station wall and falling onto the street below. While all passengers survived, a woman on the street was tragically killed. This photograph is notably rare. It shows a more distant perspective than commonly published images, and captures details such as the advertising column at right, which is not seen in most other views. – Some handling dents and bumps, otherwise in good condition.
Robertson, James & Felice Beato
Views of Constantinople
Los 4068
Schätzung
1.000€ (US$ 1,111)
Views of Constantinople. 1850s. 4 albumen prints. 26,2 x 31,2 cm (30,5 x 44 cm). All but one titled and signed in negative in lower edge, mounted to board (some light foxing and discoloration).
During the 1850s and 1860s, James Robertson and Felice Beato operated a prominent photography studio in Pera, the European quarter of Constantinople. Their collaboration began circa 1853, leading to the establishment of Robertson & Beato, one of the earliest commercial photography studios in the region. They were later joined by Beato’s brother, Antonio, expanding their photographic endeavors. Their extensive portfolio documented the city’s rich architectural heritage, diverse landscapes, and vibrant daily life, providing invaluable visual records of the Ottoman Empire during that era. – Some light scuff marks, one print slightly faded, otherwise all strong prints in near excellent condition.
Views of Constantinople and Pergamon. 1870s. 10 albumen prints. Each 21 x 27 cm (23,4 x 32,2 cm). Signed, dated and numbered in negative on lower edge of print, each mounted to board.
Pascal Sébah was known for his detailed and impressive images of the Middle East and North Africa during the 19th century. Operating a studio in Constantinople, he specialized in both portraiture and landscape photography, capturing the diverse culture and architectural wonders of the Ottoman Empire. His work contributed significantly to Western fascination with the Orient and remains a valuable resource for understanding the region’s history and heritage. This collection comprises views over the Bosporus with the Galata Bridge, the Bazaar of Üsküdar, the Acropolis of Pergamon as well as a number of interior views of the Hagia Sophia and the Blue Mosque. – Some light fading and foxing, otherwise in very good condition.
Views of Pompeii. 1860s. 28 albumen prints (2 hand-colored). Each ca. 10,4 x 14 cm (17,5 x 21 cm). Each numbered and titled in lower edge, mounted to album pages. Bound in contemporary gilt-tooled leather album with “Pompei” embossed on front cover.
Giorgio Sommer is renowned for his extensive documentation of Italy’s landscapes and archaeological sites, particularly of Rome, Pompeii, and Naples. His photographs of landmarks such as the Colosseum, the Forum Romanum, Mount Vesuvius, and the ruins of Pompeii played an importrant role in preserving and sharing Italy’s cultural heritage. This album offers a compelling visual record of Pompeii, featuring its public baths, the amphitheater, the temples of Mercury and Isis, the House of Marcus Lucretius, and several plaster casts of victims of the eruption. Also included are two hand-colored interior views. – Some light fading, otherwise all in very good condition.
Lit.: Marina Miraglia, Pino Piantanida, Ulrich Pohlmann and Dietmar Siegert. (eds.) Giorgio Sommer in Italien: Fotografien 1857-1888. Heidelberg, 1992, ill. pp. 126 and 135.
Selected views of Italy. 1860s. 21 albumen prints mounted to album pages (some foxing and time-stains). Each ca. 18 × 24 cm (30,5 × 37 cm). Most numbered and captioned in the negative in lower margin. With the photographer’s dry stamp “Sommer & Behles - Napoli, Monte di Dio 4 / Roma, Mario de Fiori, 28” on the lower right corner of the mounts, and a printed label “Sommer & Behles - Photographes - Naples / Rome” affixed to the verso of some mounts. Presented in contemporary oblong folio album bound in red cloth with embossed borders and gilt-stamped title “Ricordo del 1865” on the front cover.
This album includes views of the Piazza del Popolo, Castel Sant’Angelo, St. Peter’s Basilica, San Giovanni in Laterano, Piazza del Campidoglio, the Colosseum and the Forum Romanum in Rome. It also features views of Florence seen from the Boboli Gardens, alongside the Ponte Vecchio, Palazzo Pitti, Loggia dei Lanzi, Palazzo Vecchio, Piazza del Duomo with Giotto’s Campanile, and the Palazzo del Podestà. Additional photographs depict the Piazza del Campo, and Piazza del Duomo in Siena, as well as the Duomo and the Chiesa della Spina in Pisa. – Some scuff marks, time stains and light fading, otherwise all in good to very good condition.
Lit.: Marina Miraglia, Pino Piantanida, Ulrich Pohlmann and Dietmar Siegert. Giorgio Sommer in Italien: Fotografien 1857-1888. Heidelberg, 1992, ill. pp. 54, 64, 72 and 76.
Switzerland
French Souvenir album with views of Switzerland
Los 4072
Schätzung
750€ (US$ 833)
Photographer unknown. French souvenir album with views of Switzerland. 1880s. 30 albumen prints. Several with number and title in the negative in lower edge, mounted to gilt-edged boards (dusty at front of album), bound in full leather album (some scuff marks/scratches, edges rubbed) handmade decorative endpapers (Susse frères 31, Place de la bourse, Paris).
The views include a wide range of Swiss locations, featuring cityscapes and landscapes from Basel, Zurich, St. Gallen, Lucerne, Flüelen, Interlaken, the Wetterhorn, Grindelwald, Bern, Fribourg, Lausanne, Montreux and Lugano. – Some fading in edges, some surface scuff marks, otherwise several in good to very good condition.
Watkins, Carleton
The Vernal and Nevada Falls, from Glacier Point, Yosemite Valley
Los 4073
Schätzung
4.000€ (US$ 4,444)
The Vernal and Nevada Falls, from Glacier Point, Yosemite Valley. 1865/66. Mammoth albumen print from wet collodion negative. 40,3 x 52 cm. Mounted to board (top left corner torn), numbered and titled by the photographer in pencil on the mount verso.
Carleton Watkins’ majestic view of Yosemite Valley exemplifies his mastery of large-format landscape photography. Taken circa 1865/66, this composition captures the dramatic sweep of the Sierra Nevada, with Nevada and Vernal Falls cascading in the distance. Watkins’ pioneering use of the mammoth plate format, requiring 18 x 22 inch glass negatives, allowed for extraordinary detail and depth, reinforcing the sublime grandeur that helped inspire the conservation movement and the creation of Yosemite National Park in 1890. Prints of this image reside in the collections of the Smithsonian Museum, The Getty Museum, and the Metropolitan Museum. – Some minimal fading along left margin of print, otherwise a very strong tonal print in pristine condition.
World Travel Album
Views of various countries and portraits including from Jerusalem, Sumatra, Siak, Bangkok, Canton, Hong Kong, Shanghai, Amoy, Kiang, Nagasaki, Yokohama, Hiogo, Peru
Los 4074
Schätzung
3.000€ (US$ 3,333)
Photographers: Sylvester Dutton and Vincent Michaels (1824-1866, c. 1832-1864), Felice Beato (1832-1909), Shimooka Renjo (1823-1914), Ueno Hikoma (1838-1904), August Sachtler (c.1839-1873), Gustav Lambert (1846-1907) and others. Views of various countries such as Dutch India, China, Japan, Arabia and Peru. Circa 112 albumen prints. Various sizes between circa 6 x 8,5 cm, 22 x 26,5 cm and 24 x 34 cm. One print with photographer's name in lower edge in the negative, mounted to album boards (some foxing, time-staining), some annotated in German by Schmedes (?) in ink on album boards, bound in brown velvet album (some rubbed spots, back cover rubbed) with cut-out title "ALBUM" on blue paper background on front cover.
This rare and comprehensive album was compiled circa 1872 by German photographer and businessman Wilhelm Schmedes, who was working as an assistant at the Woodbury & Page studio in Batavia (present-day Jakarta) at the time. The album contains Schmedes’ handwritten notes indicating that the photographs were taken between 1869-1872. It is likely that Schmedes purchased these images from one of the officers of the Hertha when the vessel docked in Sumatra, as suggested by the inclusion of a portrait of the Sultan of Siak.
The collection comprises approximately 112 albumen prints, many dating from the 1860s, gathered during the voyage. It includes a large photograph of the Hertha’s crew and rare, large-format images from various destinations such as Plymouth, Bangkok, Canton, Hong Kong, Shanghai, Amoy, Nagasaki, Yokohama, and Lima. Notably, the album features very large portraits of the Sultan and Princess of Siak, as well as numerous carte-de-visite portraits of various indigenous peoples.
We extend our thanks to Joachim K. Bautze for attributing some of the Asian portraits in this album to August Sachtler and/or Gustav Lambert, and to Sebastian Dobson for identifying several Japanese views and carte-de-visite photographs. – Some prints faded, especially in edges, some with creases, buckling, a few with spots, many with strong contrasts and in good to very good condition.
Jean Cocteau with Gun. 1926. Gelatin silver print, printed later. 34 x 25,5 cm (67,5 x 52 cm). Mounted to board (some foxing), signed and editioned "41/60" in pencil on the mount below the image.
Edges slightly rubbed and torn in some places, otherwise in good condition.
Lit.: Berenice Abbott. Berenice Abbott: Photographs. New York 1970, ill. p. 18.
Abbott, Berenice
Theater & Amusement Service Employees Union, Local 54, 826 Seventh Avenue, New York, N.Y.
Los 4076
Schätzung
1.500€ (US$ 1,667)
Theater & Amusement Service Employees Union, Local 54, 826 Seventh Avenue, New York, N.Y. 1960s. Vintage gelatin silver print. 24,2 × 10 cm. With the photographer’s "50 Commerce Street" studio stamp, “Giorgio Cavaglieri Architect” stamp, cropping notes and label with typewritten caption affixed to the verso.
This photograph by Berenice Abbott reflects her later career focus on architectural documentation, produced as a commercial commission rather than a personal project. Known primarily for her artistic and documentary work, Abbott also undertook assignments for architects, designers, and institutions, applying her precisionist style to highlight modernist structures. The architect Giorgio Cavaglieri, whose stamp appears on the verso, was a pioneering figure in historic preservation and adaptive reuse, best known for restoring the Jefferson Market Library in Greenwich Village. – Edges rubbed, some scuff marks as well as traces of previous mounting. otherwise in good condition.
Álvarez Bravo, Manuel
Retrato de lo Eterno (Portrait of the Eternal)
Los 4077
Schätzung
2.500€ (US$ 2,778)
Retrato de lo Eterno (Portrait of the Eternal). 1935. Gelatin silver print, printed later. 25,2 x 20,2 cm. Signed "M. Alvarez Bravo. Mexico." in pencil on the verso.
This seminal work by Manuel Álvarez Bravo features Isabel Villaseñor, a distinguished poet, sculptor, and songwriter, who embodied female intellect and beauty in post-revolutionary Mexico. Villaseñor gazes into a handheld mirror, her long hair cascading around her, symbolizing themes of beauty, memory, and the passage of time. The image exemplifies Álvarez Bravo’s talent for transforming everyday scenes into profound reflections on universal themes, blending documentary realism with surrealist elements. – Two very light pressure marks, otherwise in excellent condition.
Lit.: Arthur Ollman and Nissan N. Perez. Revelaciones: The Art of Manuel Álvarez Bravo. San Diego 1990, ill. p. 4, cover.
Frederick Kaufman. Manuel Álvarez Bravo: Photographs and Memories. New York 1997, ill. p. 31.
A. D. Coleman. Manuel Álvarez Bravo: Masters of Photography. New York 1987, ill. p. 53.
Weston Naef. In Focus: Manuel Álvarez Bravo, Photographs from the J. Paul Getty Museum. Los Angeles 2001, ill. p. 51.
Álvarez Bravo, Manuel
Untitled (Salomé), from the portfolio "Diez Desnudos - Ten Nudes" (1980)
Los 4078
Schätzung
2.000€ (US$ 2,222)
Untitled (Salomé), from the portfolio "Diez Desnudos - Ten Nudes" (1980). 1980. Platinum palladium print, printed 1981. 24,9 x 30,6 cm. Mounted to board, signed "M. Alvarez Bravo. Mexico" in pencil on the mount below the image.
Manuel Álvarez Bravo’s "Diez Desnudos (Ten Nudes)" series exemplifies his distinctive approach to nude photography, characterized by subtlety, and a focus on form and composition rather than overt eroticism. This portfolio reflects his ability to intertwine elements of surrealism with Mexican cultural motifs, offering insight into his artistic philosophy and the cultural context of his time. – Lower right corner slightly bumped, some minor buckling along edges of print, otherwise in excellent condition.
Araki, Nobuyoshi
Untitled (Watermelon on the Rooftop)
Los 4079
Schätzung
5.000€ (US$ 5,556)
Untitled (Watermelon on the Rooftop). 1991. Gelatin silver print. 27 x 40,4 cm (35,5 x 43 cm). Signed by the photographer in pencil on the verso.
Nobuyoshi Araki is a prolific Japanese photographer whose work addresses themes of sexuality, intimacy, and mortality. Combining eroticism with fine art, his extensive oeuvre includes Tokyo street scenes, explicit bondage-inspired photographs, and deeply personal narratives. Araki’s distinctive style, characterized by its candidness and exploration of taboo subjects, has challenged societal norms and left a lasting impact on contemporary photography. – A fine tonal print in excellent condition.
Provenance: Galleria13, Reggio Emilia, Italy
Woman in her negligée, N.Y.C.. 1966. Gelatin silver print, printed 1972 by Neil Selkirk. 37 x 37 cm (50,5 x 40,5 cm). Edition stamp, therein signed, titled, dated and editioned "23/75" by Doon Arbus in ink, "The Estate of Diane Arbus" copyright stamp and reproduction limitation stamp on the verso. Framed under glass in wooden frame.
Diane Arbus’s Woman in Her Negligee, N.Y.C. exemplifies her signature approach to portraiture - unflinching, intimate, and psychologically charged. Arbus was drawn to individuals in moments of quiet self-presentation, capturing a raw, almost confrontational honesty that set her apart from her contemporaries. Her work redefined documentary photography, shifting it from objective observation to deeply personal engagement with her subjects. This image reflects her enduring interest in themes of identity, vulnerability, and the tension between public and private selves. Prints of this image are held in major institutional collections, including the Museum of Modern Art (MoMA), the Whitney Museum, the Museum of Contemporary Art (MOCA), Los Angeles, the Museum of Fine Arts, Houston as well as the Centre Pompidou in Paris. – A rich tonal print in excellent condition.
Lit.: Diane Arbus. Diane Arbus: An Aperture Monograph. New York 1972, unpaginated.
Charles Atlas. 1969. Gelatin silver print, printed 1985 by Neil Selkirk. 36 x 36 cm (50,5 x 40,5 cm). Edition stamp, therein signed, titled, dated and editioned "2/75" by Doon Arbus in ink, "The Estate of Diane Arbus" copyright stamp and reproduction limitation stamp on the verso. Framed under glass in wooden frame.
Diane Arbus’s Charles Atlas, 1969 is a striking portrait of the legendary bodybuilder and fitness icon, known for his role in popularizing physical culture in the early 20th century. Taken in Arbus’s raw and direct signature style, the photograph presents Atlas flexing in a defiant pose, yet the exaggerated low-angle perspective, harsh lighting, and stark tonal contrasts challenge traditional representations of strength and masculinity. Rather than glorifying his physique, Arbus’s image emphasizes the texture of his aging body, inviting reflection on time, physicality, and self-image. – Some creases, a small tear and buckling along margins of print, otherwise a rich tonal print in very good condition.
Arnold, Eve
Marilyn Monroe during the filming of The Misfits
Los 4082
Schätzung
1.500€ (US$ 1,667)
Marilyn Monroe during the filming of The Misfits. 1960. Chromogenic print on Fujicolor Professional paper, printed later. 48 x 32,2 cm. (50,5 x 40,5 cm). Label with photographer's signature stamp and copyright stamp on the verso.
Eve Arnold was an American photojournalist and the first woman to join Magnum Photos in 1951, becoming a full member in 1957. She is particularly renowned for her decade-long collaboration with Marilyn Monroe, capturing candid and intimate moments that revealed the actress’ vulnerability behind her public persona. Among these, her photographs from the set of The Misfits (1960) stand out, depicting Monroe during a challenging period in her life, and demonstrating Arnold’s empathetic approach to portraiture. – A few minimal handling dents, otherwise in very good condition.
Arnold, Eve
Clark Gable during the filming of The Misfits
Los 4083
Schätzung
1.500€ (US$ 1,667)
Clark Gable during the filming of The Misfits. 1960. Gelatin silver print, printed later. 48 x 33 cm. (51 x 41 cm). Photographer's signature stamp and copyright stamp on the verso.
In excellent condition.
Untitled (Beleuchtungsstudie). Circa 1930. Gelatin silver print, printed later. 24 x 30,5 cm. Signed in pencil on the verso.
In the late 1920s and 1930s, Theo Ballmer developed a body of photographic work closely aligned with the aesthetics of the New Typography and the emerging principles of modernist design. Strongly influenced by his training under Walter Peterhans at the Bauhaus and his engagement with the Constructivist movement, Ballmer’s photographs from this period often feature industrial objects, stark lighting, and carefully arranged compositions that emphasize form, texture, and geometric abstraction. – Some light scuff marks, otherwise in near excellent condition.
New York. 1984. 2 vintage gelatin silver prints on Agfa paper. Each 24 x 30,8 cm. Titled and dated in felt-tip pen as well as photographer's copyright stamp on the verso.
Wilfried Bauer was one of Germany’s most recognized reportage photographers. From 1964-1968, he worked as an assistant to Robert Häusser. As of 1969, he regularly contributed to the German newspaper Die Zeit. From 1976 onward, he worked as a freelance photographer for major publications including Stern, Der Spiegel, and FAZ-Magazin. In his later years, Bauer received fewer commissions and struggled with depression. In a final, tragic act, he destroyed his photographic archive in December 2005 before taking his own life. – Some light pressure marks and minimal buckling along the edges of both prints; a small dent and stain in the margin of one print, otherwise both in near excellent condition.
Tulips; Gladiolus. 1930s. 2 vintage gelatin silvers prints. Each 38,3 x 28,3 cm. Each flush-mounted to chipboard, photographer's label on mount verso.
The German photographer Max Baur is known for his contribution to the New Objectivity movement in the early 20th century. His photography primarily focused on industrial subjects, architecture, and urban landscapes, characterized by precise composition and sharp lines. Baur also created exquisite flower still life photographs, displaying his versatility and artistic depth. – A few minimal spots, a few corners slightly bumped, otherwise in good condition.
Maguerite and grass; Campanula. 1930s. 2 vintage gelatin silvers prints. 38,3 x 28,3 cm. Each flush-mounted to chipboard, photographer's label on mount verso.
One print with a few small spots, a few corners slightly bumped, otherwise in good condition.
Truman Capote, Bangkok, Thailand. 1958. Vintage gelatin silver print. 25,2 x 20,4 cm. Photographer's copyright stamp, "The Museum of the City of New York" stamp and annotations in pencil and felt-tip pen on the verso.
This portrait of Truman Capote by Cecil Beaton, taken in Bangkok, demonstrates Beaton’s ability to merge portraiture with a cinematic sense of atmosphere. Known for his glamorous celebrity portraits, he adopts a more organic approach here. The contrast between Capote’s delicate features and the oversized leaves reflects themes of vulnerability and control, nature and artifice. Captured just before Breakfast at Tiffany’s (1958), this remains one of the most evocative images of Capote at a defining moment in his career. – Corners bumped, with a small crease in the lower right corner and some surface irregularities, otherwise in good condition.
The artist Louise Nevelson. 1978. Vintage gelatin silver print on RC paper. 30,2 x 23,8 cm. Typed press text label and 2 agency stamps on the verso.
Corners bumped, creases in lower right/left corners, some handling dents, otherwise in good condition.
Becher, Bernd and Hilla
Hochofen, Hainer Hütte, Siegen
Los 4090
Schätzung
8.000€ (US$ 8,889)
Hochofen, Hainer Hütte, Siegen. 1961. Vintage large-format ferrotyped gelatin silver print, printed 1971. 39,5 x 30 cm. Mounted to original board, signed by the photographers in pencil on mount verso. Framed under glass in wooden frame.
Bernd and Hilla Becher, the influential German conceptual artists and photographers, collaborated throughout their careers to document industrial architecture with remarkable precision and consistency. They are best known for their extensive typologies of structures such as water towers, blast furnaces, and framework houses, often presented in grids to highlight formal similarities and regional variations. Their work, characterized by its objective style and conceptual rigor, significantly influenced the development of contemporary art and led to the founding of the Düsseldorf School of Photography, shaping the practices of subsequent generations of artists.
While the Bechers are primarily associated with their grid-based typologies, individual prints such as the one offered here hold particular significance. This photograph, taken in 1961 in Siegen, Bernd Becher’s birthplace, and in the year the couple married, is an early example of their iconic practice. – 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 letztlich 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.
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Galerie Bassenge
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Öffnungszeiten:
Montag bis Donnerstag, 10–18 Uhr,
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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