Amazonia
Indigenous life in the Peruvian Amazon
Los 4006
Nachverkaufspreis
3.000€ (US$ 3,409)
Photographer: Charles Kroehle (1867-1902). Indigenous life in the Peruvian Amazon. 1890s. 7 albumen prints. Each ca. 15 x 22 cm. Some signed “Ch. Kroehle” in the negative in lower margin.
This group of photographs by Charles Kroehle documents daily life and ceremonial practices among Indigenous communities of the Peruvian Amazon, likely the Shipibo or related Panoan-speaking peoples. Included are multi-generational group portraits taken in forest clearings, family scenes before palm-thatched dwellings, and canoeing on the river. Other images depict hunters with spears, women with infants, a crocodile hunting scene showing Indigenous people with Charles Kroehle and Georg Huebner, as well as portraits of men with bow and arrows. Kroehle’s lens combines ethnographic observation with staged composition, offering insight into the colonial encounter and anthropological interests of the late 19th century. – Some fading, especially around the edges, light handling creases and minor surface irregularities, otherwise all in good to very good condition. With: 1 albumen print showing Andean highland people.
Equestrian training. 1884. 12 albumen prints. Each circa 14,7 x 19,5 cm. Each with photographer's blind stamp in lower right corner and number in the negative in lower left corner; each with photographer's stamp on the verso.
A striking series depicting a man in the process of training a horse, each image emphasizing the animal’s dynamic movement and muscular tension. The sequence captures subtle shifts in posture and gesture with remarkable clarity, conveying a strong sense of rhythm, control, and physical intensity. – Most with stronger foxing as well as fading in edges, some prints with small tears.
Views of Constantinople. 1870s-1890s. 16 albumen prints, mounted to boards. Each ca. 21 x 27 cm (31,5 x 39,5 cm) or reverse. All but one with titled negative number and photographer’s name “G. Berggren” in the negative in the lower margin.
A rich and varied group of late 19th-century views of Constantinople by the Swedish-born photographer Guillaume Berggren, who established one of the most successful studios in the city. The photographs include wide city panoramas and detailed views of key landmarks such as the Hagia Sophia, Dolmabahçe Palace, the Galata Bridge, and the city walls, as well as animated scenes of everyday life along the Bosphorus. Among them is a striking image of a large military formation assembled in front of the Nusretiye Mosque, offering a rare glimpse into the ceremonial practices of the Ottoman Empire. Characterized by strong compositions and crisp detail, Berggren’s images reflect both documentary precision and an eye for atmospheric and architectural nuance. – Some fading and light scuff marks on some prints as well as age stains on one print, otherwise all in good to very good condition.
Berggren, Guillaume
Panorama de Constantinople
Los 4017
Nachverkaufspreis
1.000€ (US$ 1,136)
Panorama de Constantinople. 1880s. Panorama comprising 8 albumen prints. Each circa 22 x 16 cm (entire size circa. 22 x 134 cm). Mounted to original boards, joined at the folds with linen tape, housed in the original burgundy half-leather and canvas portfolio with embossed title and ornamentation. With unidentified dedication in ink on rear endpaper.
Taken from an elevated vantage point in Galata - likely near or from the Galata Tower - this carefully sequenced panorama forms a sweeping vista of the city’s historic waterfront. Landmarks such as the Hagia Sophia, Topkapi Palace, Süleymaniye Mosque, Yeni Cami, Nuruosmaniye Mosque, and the distant Beyazit Tower appear in rich architectural detail, along with the shoreline of the Bosphorus and the densely layered urban fabric of the old city. – Boards slightly toned; portfolio slightly faded and worn. Some prints slightly faded in edges, some soiling in sky area, otherwise in good condition.
Photographers: Skeen & Co. (active ca. 1860-1890), Scowen & Co. (active ca. 1870-1890), and unknown. Portraits of Tamil dignitaries and Ceylonese subjects. 1880s. 5 albumen prints, some mounted to boards. Between 21 x 26 cm and 30,5 x 21,5 cm. Some with handwritten captions in pencil, one with the photographer’s studio information in the negative in lower margin.
This group features five portraits taken in colonial Ceylon during the late 19th century, depicting a range of individuals from different social backgrounds. Among them are Tamil dignitaries in formal attire, a woman adorned with traditional jewelry and textiles, and a Sinhalese chief from Kandy. The remaining portraits show locals in simpler dress, photographed in informal outdoor settings. – Some fading, some creases and pressure marks, otherwise all in good condition.
Photographers: Joseph Lawton (active ca. 1870-1900), Scowen & Co. (active ca. 1870-1890), C.A. & C. (active ca. 1880-1900), and unknown. Scenes and portraits from colonial Ceylon. 1880s-1890s. 5 albumen prints and 1 collodion print. Each ca. 22 x 28 cm. Some with the photographer's studio information in the negative in lower margin.
A varied group of images documenting late 19th-century Ceylon under British rule. Subjects include a Kandyan royal entourage, Tamil women seated by a stone wall, a European overseer with plantation workers, and a lively street in Colombo. Architectural views feature the Grand Oriental Hotel, Colombo harbor with anchored ships, and the Jetavanaramaya stupa at Anuradhapura. – Some fading, especially around the edges, some handling creases, otherwise all in good to very good condition.
Photographers: Lai Afong (ca. 1839-1890), Pun Lun Studio (active ca. 1864-1907), and unknown. Views of Hong Kong. 1880s. 11 albumen prints. Each between 19,5 x 25,5 cm and 21,5 x 27,5 cm. Some annotated in pencil on the verso.
This remarkable group of photographs captures main sites of colonial-era Hong Kong in the late 19th century, including Victoria Harbour, Queen’s Road Central, St. John’s Cathedral, the Zoological and Botanical Gardens, as well as the iconic stone steps of Pottinger Street with sedan chair and rickshaw bearers. Finely rendered in tone and detail, the prints exemplify the technical and compositional refinement of Lai Afong and Pun Lun - two of the most important studios active in Hong Kong at the time. – Some prints slightly faded, some with handling creases and small tears, otherwise all in good to very good condition.
Delamotte, Philip Henry
The Crystal Palace at Sydenham
Los 4035
Nachverkaufspreis
800€ (US$ 909)
The Crystal Palace at Sydenham. 1854. 3 albumen prints, printed early 1860s. 23,7 x 29 cm, 23 x 28 cm and 16,2 x 19,5 cm. Annotated in pencil on the verso.
This group comprises compelling views of the Crystal Palace at Sydenham shortly after its completion, including exterior views and an interior view featuring John Bell’s allegorical sculpture Una and the Lion, exhibited within the Palace’s grand halls.
– Minimal fading in edges, some light handling marks, otherwise strong prints in very good condition.
Exposition Universelle 1867
Views of the Exposition Universelle 1867
Los 4036
Nachverkaufspreis
400€ (US$ 455)
Photographer: Léon & Lévy (active ca. 1864-1890). Views from the Exposition Universelle, Paris. 1867. 77 albumen prints on carte-de-visite mounts. Each ca. 10,2 x 6,2 cm or reverse. Each with printed caption on the mount recto and studio stamp “Léon & Lévy, Succrs de Ferrier père & fils & Soulier, 113, Boulevard de Sébastopol, Paris. Vues Stéréoscopiques sur Verre de l’Exposition et de tous pays” on the verso.
This group of cartes-de-visite offers a richly detailed visual record of the Exposition Universelle of 1867, the second world’s fair held in Paris under Napoleon III. Organized on the Champ de Mars, the exhibition brought together over 50,000 exhibitors from across the globe, showcasing cutting-edge achievements in industry, agriculture, and the arts. The photographs document a wide array of national and thematic sections - including the Galerie du Travail, Beaux-Arts pavilions, and colonial displays such as the Galeries Algériennes - as well as highly detailed interior views of individual booths featuring machine tools, fine ceramics, taxidermied ostriches, ornamental zincwork, and more. Captured and distributed by the Parisian firm Léon & Lévy, these images were originally taken as glass stereoscopic negatives and later adapted to the popular carte-de-visite format for wide dissemination. – Some fading, scuff marks, and traces of silver mirroring in the shadow areas; otherwise all in good to very good condition.
Fenton, Roger
Generals and Regiments of the Crimean War
Los 4037
Nachverkaufspreis
3.000€ (US$ 3,409)
Generals and regiments of the Crimean War from Photographic Pictures of the Seat of War in the Crimea. 1855. 12 salted paper prints, mounted to card. Each between 13,3 x 15,6 cm and 20 x 14,4 cm (60 x 44,5 cm). With captions and printed credit line on the mount: “Photographed by R. Fenton. Manchester, Published by T. Agnew & Sons, March 25th, 1856. London, P. & D. Colnaghi & Co., Paris, Moulin 23, Rue Richer. New York, Williams & Co.”
This group of photographs originates from Roger Fenton’s landmark publication Photographic Pictures of the Seat of War in the Crimea, issued by Thomas Agnew & Sons in 1856. Taken in 1855 during Fenton’s official commission to document the Crimean War, the images depict officers, military encampments, and scenes of camp life with formal clarity and compositional restraint. Deliberately avoiding the depiction of violence or suffering, Fenton’s photographs embody the Victorian ideals of stoicism and dignified heroism, and were instrumental in shaping contemporary public perception of the war. Today, they are recognized as a foundational achievement in the history of war photography. – Some light foxing, soiling, handling marks, tears and edge wear to mounts. Some prints slightly faded, but overall fine tonal prints in good to very good condition.
Frith, Francis
Views of Egypt, Nubia, and the Holy Land
Los 4039
Nachverkaufspreis
1.000€ (US$ 1,136)
Views of Egypt, Nubia, and the Holy Land. 1856-1860. 13 albumen prints, mounted to original mounts. Each ca. 15,5 x 22,5 cm (31 x 43,5 cm). Each titled in letterpress below the image; most signed and dated “Frith Photo 1857” in the negative.
Francis Frith, originally a cutlery apprentice and later a grocer, turned to photography in the early 1850s. Between 1856 and 1860, he undertook three expeditions to Egypt, Sinai, Ethiopia, and Jerusalem, where he documented ancient sites using wet collodion glass plate negatives and produced albumen prints in a portable darkroom. This group of photographs includes architectural and landscape views from Cairo, Thebes, Luxor, and Nubia - including the Citadel of Cairo, the pyramids of Dahshur and Saqqara, the Great Temple of Luxor, Medinet Habu, and Abu Simbel - as well as scenes from Bethlehem and Nazareth. Characteristic of Frith’s large-format work, the photographs combine compositional clarity with archaeological precision and an evocative sense of place. His early travels marked a milestone in photographic travel documentation and appealed to both scholarly and popular Victorian audiences. – Some foxing to mounts and occasional light fading as well as signs of silver mirroring on some prints, otherwise strong tonal prints in near excellent condition. With: Accompanied by original letterpress album pages with printed descriptions of the sites depicted.
Gloeden, Wilhelm von
Portraits of youths, Taormina
Los 4043
Nachverkaufspreis
1.200€ (US$ 1,364)
Portraits of youths, Taormina. Circa 1890. 2 vintage albumen prints. 22,5 x 16,5 cm. Each mounted to board, annotated in pencil below image on mount.
A few minimal surface scratches, otherwise fine prints in very good condition.
Lit.: Ulrich Pohlmann. Wilhelm von Gloeden: Sehnsucht nach Arkadien. Berlin: Nishen, 1987, ill. p. 110.
Gloeden, Wilhelm von
Arcadian scene with a group of nude youths on terrace overlooking the sea
Los 4044
Nachverkaufspreis
1.200€ (US$ 1,364)
Arcadian scene with a group of nude youths on terrace overlooking the sea, Taormina. Circa 1890. Vintage albumen print. 16,5 x 23 cm. Mounted to board, annotated in pencil below image on mount.
Wilhelm von Gloeden is best known for his idealized photographs of nude Sicilian youths, staged in classical poses and settings around Taormina. Drawing on Greco-Roman aesthetics and pastoral themes, his work blends homoeroticism, ethnographic curiosity, and pictorial elegance, contributing to early discourses on photography as both fine art and social document. This image exemplifies his vision of an Arcadian Mediterranean idyll, rendered in soft tonality and harmonious composition. – A few light surface scratches, otherwise a fine print in very good condition.
Greene, John Beasley
Mortuary Temple of Ramesses III, Medinet Habu
Los 4046
Nachverkaufspreis
1.500€ (US$ 1,705)
Entrance to the second courtyard, Mortuary Temple of Ramesses III, Medinet Habu. 1854. Salted paper print, mounted to original card. 23,2 x 30 cm (47,4 x 61,7 cm). Signed and dated in the negative in lower right: “J.B. Greene 1854” and in lower left "I 31".
Photographed during Greene’s 1854 expedition to Upper Egypt, this image shows the monumental entrance to the second courtyard of the Mortuary Temple of Ramesses III at Medinet Habu, on the west bank of Thebes. The structure’s massive stone blocks and carved hieroglyphic reliefs are captured in Greene’s characteristic frontal style, emphasizing clarity and volume. The composition exemplifies Greene’s dual role as archaeologist and photographer, blending scientific intent with an eye for formal rigor and tonal subtlety. – Light surface rubbed spot, a few minimal spots in sky area; otherwise in very good condition with strong detail and well-preserved tones. Mount time-stained in edges.
Album d’Études-Poses. 1880s. 39 albumen prints, mounted to album pages. Each ca. 20,5 x 14 cm (30,5 x 24,5 cm). Bound in original half-cloth folio album with gilt-stamped title “Album d’Études-Poses” on the spine as well as printed publisher’s caption “A. Calavas Éditeur, - 68, Rue de Lafayette, PARIS.” on each mount.
This instructional album by Louis Igout was produced around 1880 as a visual aid for artists, sculptors, and illustrators aiming to master anatomy, gesture, and classical composition. Published by A. Calavas in Paris, the album features carefully posed nude studies of men, women, and children, referencing scenes from mythology, antiquity, and the Bible - including Cain and Abel, The Dying Gaul, Hercules and Antaeus, The Drunken Silenus, and the Cnidian Aphrodite, among others. Rendered with academic precision, the photographs served both as instructional models and as a catalogue from which artists could order enlarged prints tailored to their specific needs. A similar album is in the collection of the Metropolitan Museum, New York. – Some fading, especially around the edges, some scuff marks; a few prints with white spots; otherwise mostly strong in tone and in good to very good condition.
Photographer: Samuel Bourne (1834-1912). Views of India. 1860s. 10 albumen prints, mounted to original card. Each ca. 23 x 29,2 cm (31,5 x 36,5 cm). Some signed and numbered in the negative in lower left corner, some annotated in pencil below the image on the mount.
This group of ten photographs offers a representative selection of Samuel Bourne’s celebrated views from across North India, produced during his extensive travels for the firm Bourne & Shepherd. The images include architectural landmarks such as the Qutb Minar and Kashmir Gate in Delhi, the Residency in Lucknow, and Mughal tombs near Agra. Also featured are sweeping landscapes from Srinagar, the foothills of the Himalayas, and views along the rivers of Kashmir. Characterised by Bourne’s finely balanced compositions and clarity of tone, the prints reflect both documentary precision and an aesthetic sensitivity that contributed to his reputation as one of the foremost photographers of British India. – Some smudge/scuff marks, handling creases and fading, especially around the edges; mounts slightly worn, with some foxing, time-stained in edges. Overall in good to very good condition.
“The People of India”, edited by J. Forbes Watson. 1872. 30 oval and arch-topped albumen prints. Each circa 14 x 10 cm and larger. Each mounted to plate with printed caption below the image on the mount, accompanied by text pages. Published by the India Museum, London, 1872.
This group of photographs constitutes volume six of the eight-volume ethnographic series "The People of India", compiled between 1868-1875 under the direction of J. Forbes Watson and John William Kaye. Created in the wake of the 1857 Rebellion, the series aimed to visually and textually document the diverse peoples, castes, and occupations of British India for an English readership. The portraits - formal, frontal, and often richly detailed - offer a revealing, if colonial, perspective on the social taxonomy imposed by imperial ethnographers. – Some photos faded in edges, binding loose, spine frayed, some pages towards end with paper loss in edges, otherwise in good condition.
Lit.: J. Forbes Watson and John William Kaye. The People of India: A Series of Photographic Illustrations with Descriptive Letterpress of the Races and Tribes of Hindustan […]. Reprint in 2 volumes. Bath: Pagoda Tree Press, 2007.
Photographers: Baron Raimund Stillfried-Ratenicz (1839-1911), Felice Beato (1832-1909), Kusakabe Kimbei (1841-1932), and unknown. Japanese portraits. 1870s-90s. 28 hand-colored albumen prints, mounted to boards. Each circa 24 x 20 cm (36 x 28 cm). Some with number and title in lower corners in the negative.
Baron Raimund von Stillfried-Ratenicz, Felice Beato, and Kusakabe Kimbei were influential photographers who played key roles in documenting Japan during the late 19th century. Stillfried and Beato, both foreign photographers, captured the landscapes, architecture, and people of Japan, with Beato’s work being among the first visual records of the country for Western audiences. Kusakabe Kimbei, a Japanese photographer who trained under Stillfried and Beato, became known for his hand-colored images of traditional Japanese scenes, catering primarily to Western visitors during the Meiji period. This attractive group includes photographs of street sellers, monks, priests, geishas, wrestlers, tattooed men and craftsmen. The coloring is often exceptionally subtle and finely executed. – Several prints faded, particularly along the edges; some with light scuff marks, surface irregularities or minor spotting; otherwise most in good to very good condition.
Lit.: Claudia Gabriele Philippe, Dietmar Siegert, and Rainer Wick, eds. Felice Beato in Japan: Photographien zum Ende der Feudalzeit 1863-1873. Heidelberg: Edition Braus, 1991. Illustrated pp. 155, 160, 168, and 172.
Photographer unknown. Miyako-Odori dancing group in Kyoto. 1880s. Three-part, hand-colored albumen print panorama. 18,5 x 71,5 cm. With caption in the negative in lower margin; two prints numbered in the negative.
This hand-colored panorama presents a formal portrait of the Miyako-Odori, Kyoto’s celebrated annual spring dance performed by geiko and maiko of the Gion district since 1872. Composed of three seamlessly joined albumen prints, the image captures a staged performance in full regalia, with rows of dancers and musicians arranged in precise formation against an ornate folding screen. Likely intended for export during the late Meiji period, the photograph conveys both the stylized refinement of the Miyako Odori and the era’s growing interest in documenting traditional Japanese arts for an international audience. – A few small white spots, some creases and minor surface irregularities, traces of previous mounting on the verso, otherwise with strong tones, fine hand-coloring, and in very good condition.
Photographers: Baron Raimund von Stillfried-Ratenicz (1839-1911), Uchida Kuichi (1844-1875), Tamoto Kenzō (1832-1912), and unknown. Ainu people of Japan. 1870s-1890s. 10 mostly hand-colored albumen prints, mounted to boards. Each circa 20,5 x 26,5 cm or reverse (24,5 x 32 cm). Some with number and title in lower corners in the negative.
The indigenous Ainu people originally inhabited the main Japanese island of Honshu before being gradually pushed northward. Traditionally hunters, gatherers, and fishers, the Ainu developed a distinct and self-sufficient culture. By the late 19th century, assimilation efforts by the Meiji government threatened their way of life. Today, only a small number of Ainu remain on the Japanese island of Hokkaido, the Kuril Islands, and Sakhalin. After a long history of marginalization, their language, religion, and cultural practices were officially recognized by the Japanese government in 2008. Historical visual records of Ainu culture are scarce, making this group of photographs particularly valuable. Especially noteworthy are the images of small village scenes and group portraits showing traditional garments and hairstyles. – Some buckling of mounts, some scuff marks, light fading, as well as a tear on one print, otherwise all in good to very good condition.
Lit.: Luke Gartlan. A Career of Japan: Baron Raimund von Stillfried and Early Yokohama Photography. Leiden; Boston: Brill, 2016, ill. p. 138 (variant).
Photographer: Kusakabe Kimbei (1841-1932), attributed to. Selected genre scenes. 1880s. 3 hand-colored albumen prints. Each circa 20 x 26 cm and 26 x 20 cm.
In 1885, Kusakabe Kimbei - formerly an assistant and colorist for Felice Beato - acquired Beato’s Yokohama studio from Baron Raimund von Stillfried-Rathenicz, who had purchased it in 1877. From 1885-1910, Kimbei emerged as one of Japan’s leading commercial photographers, playing a pivotal role in shaping the visual identity of Meiji-era Japan and contributing significantly to the early history of photography in the country. – Some light handling marks, some pressure marks from album page slits in corners, minimal fading in edges, otherwise in very good condition.
Photographers: Adolfo Farsari (1841-1898) and others. Landscapes and portraits. 1890s. 22 hand-colored albumen prints. Each circa 21 x 27 cm. Some with title and number in the negative in lower margin.
This well-preserved group of hand-colored albumen prints offers a vibrant depiction of Meiji-period Japan, combining landscape views with a variety of portrait subjects. Among the highlights are outdoor scenes featuring geisha in traditional dress, captured in garden settings or temple courtyards, as well as more formal studio compositions. Particularly notable is a rare image of kabuki actors performing a stylized reenactment of seppuku (ritual suicide), reflecting the era’s theatrical and cultural traditions. Produced for the export market, these prints exemplify the refined coloring and compositional elegance characteristic of Yokohama studios such as that of Adolfo Farsari. – Several with minimal fading in edges, otherwise in good to very good condition with fine hand-coloring.
Maull & Polyblank
Portraits of British public figures
Los 4068
Nachverkaufspreis
1.000€ (US$ 1,136)
Portraits of British public figures. Circa 1857-1864. 4 Woodburytypes, mounted to card with printed gilt border. Each 20 x 14,8 cm (26,5 x 21,6 cm). Titled in pencil or ink by hand on the mount below the image; photographer’s credit printed on the mount: “Photographed by Maull & Polyblank, 55, Gracechurch Street and 187a, Piccadilly, London.”
This group of early photographic portraits by the London studio Maull & Polyblank features prominent figures of mid-Victorian public life. Among them are Sir Richard Owen, the pioneering comparative anatomist and founder of the Natural History Museum in London, shown with a fossil specimen; Sir William Sterndale Bennett, influential composer and Principal of the Royal Academy of Music; Lord Stanley, later the 15th Earl of Derby and a three-time British Foreign Secretary; and Charles Kean, celebrated Shakespearean actor and theater manager. Taken between 1857-1864, these portraits exemplify the studio’s ambition to create a visual pantheon of British cultural and political leadership. – Some minor scuff-marks and surface irregularities, otherwise very strong tonal prints in near excellent condition.
Taureau Landais. 1856. Varnished salted paper print, mounted to board. 19,6 x 27 cm (29,7 x 37 cm). Photographer’s signature stamp and number in the negative in lower right, titled “Taureau Landais” in black ink below the image on the mount, numbered “33” in pencil.
Adrien Tournachon, younger brother of the famed Nadar, briefly collaborated with him before a legal dispute in 1855 barred Adrien from using the name “Nadar jeune.” He later focused on documentary photography, notably producing over 120 collodion wet plate negatives of prize-winning livestock at the 1856 Paris agricultural fair, with around 50 included in a presentation album for the Minister of Agriculture. The present print was made using the vernis-cuit technique, which imparts a rich, varnished-leather appearance to the paper. – A few light pressure marks, slightly faded in some areas, otherwise a rich dark print in very good condition.
Photographer: Lutz & Witte (attributed to). Portrait of Prinz August von Württemberg. 1860s. Salted paper print, mounted to card with ornamental frame and gilded border. Ca. 14 x 19 cm. Signed by the sitter in ink on the mount: “Prinz August von Württemberg.”
This portrait depicts Prince August of Württemberg, a high-ranking military officer and uncle to King Karl I of Württemberg. Born into one of Germany’s most prominent royal families, August held influential positions within the Prussian army and played a notable role in 19th-century European military and court life. His composed, uniformed appearance reflects the formality and stature expected of a nobleman of his rank. – Some foxing to the mount, ornamental frame partly torn off. The image itself is well preserved and in good overall condition.
Rückwardt, Hermann
Berlin und seine Umgebung in Architektur, Landschaft und Plastik
Los 4083
Nachverkaufspreis
1.800€ (US$ 2,045)
Berlin und seine Umgebung in Architektur, Landschaft und Plastik (Format IV). 1879-1882. 69 albumen prints, mounted to boards. Each ca. 21,5 x 32 cm or reverse (36 x 49 cm). Each with photographer’s studio information, title, date, and architect’s name printed in letterpress below the image on the mount. Presented in original wooden box with leather covering, gilt tooling, and gilt-embossed title on the lid.
A comprehensive visual survey of Berlin in the late 19th century, this rare compilation presents a wide array of architectural and urban views, many of which depict structures no longer extant. Among the highlights are detailed exterior and interior photographs of the Stadtschloß, the Lustgarten with the old Domkirche, and several now-lost official buildings along Unter den Linden. The album further includes rare views of the historic bridges and canals around Fischerinsel, the monumental ensemble of the Museumsinsel, the Neue Synagoge on Oranienburger Straße, and the Kaiser-Passage with its famed Panoptikum. Also featured are tranquil scenes from the Tiergarten, the Flora in Charlottenburg, and several newly built railway stations, reflecting the city’s rapid modernization. Together, the images offer a richly detailed record of Berlin’s architectural heritage at a moment of imperial grandeur and transformation. – Several boards with small tears; a few prints with minimal edge fading, light surface abrasion, or small retouched spots. Otherwise, the prints are strong, with fine detail, and overall in good to very good condition.
Lit.: Märkisches Museum Berlin, ed. Berlin zwischen Residenz und Metropole: Photographien von Hermann Rückwardt 1871 - 1916. Berlin 1994.
Early views of Nuremberg. 1860s. 6 albumen prints, mounted to boards. Circa 25 x 27 cm and reverse (31 x 40). With handwritten caption in black ink below the image on mount.
This group of early views by Nuremberg-based photographer Georg Schmidt includes prominent architectural landmarks such as the Lorenzkirche, Hauptmarkt with the Schöner Brunnen, the Sebalduskirche, the Rathaus, and views toward the imperial castle. Taken from both street level and elevated vantage points, the images reflect Schmidt’s painterly eye and technical command of the albumen process during the early years of German photography. – Some fading, scuff marks, and rubbing on surface of prints, otherwise all in good to very condition.
Sébah, Pascal and Policarpe Joaillier
Panorama de Constantinople - Tour de Galata
Los 4086
Nachverkaufspreis
1.000€ (US$ 1,136)
Panorama de Constantinople pris de la Tour de Galata. Circa 1880. Panorama consisting of 10 albumen prints. Each circa 25 x 33,5 cm (entire size circa 25 x 340 cm). Mounted to original boards, bound together with linen tape at folds, in original red canvas portfolio with gilt-stamped title and ornament.
An unusually large panorama taken from the Galata Tower, offering a sweeping view across the Bosporus from the Asian shore of Üsküdar to the Topkapi Palace, extending over the Golden Horn and into the western quarters of the city. – Boards slightly toned with light foxing spots; portfolio slightly soiled and worn, spine professionally repaired. Some foxing, especially in sky areas; some areas slightly faded; red stain to upper corner of second board; otherwise in very good condition with strong contrasts.
Lit.: Bodo von Dewitz, ed. An den süssen Ufern Asiens (exhibition catalogue). Cologne: Museum Ludwig, 1988, ill. p. 164, (variant in foldout supplement).
"Paris-neuf, ou, Rêve et réalité". 1861. 6 albumen prints mounted to album pages. 7 x 7 cm (24,2 x 14,5 cm). Titled and captioned above and below the image in black ink. Edition Durino & Mercer, Paris.
Charles Soullier’s photographs from "Paris-neuf, ou Rêve et réalité" offer a richly detailed visual account of Paris during the transformative years of the Second Empire. Working with the albumen process, Soullier captured iconic sites such as the Pont-Neuf, Place de la Concorde, and the Arc de Triomphe du Carrousel with remarkable clarity and compositional precision, often emphasizing perspective, texture, and the subtle effects of light and atmosphere. Produced in the early 1850s, these photographs document a city in flux - on the cusp of Baron Haussmann’s sweeping urban renovations. Soullier’s images go beyond straightforward documentation, conveying a quiet lyricism and a contemplative sensibility that present the city not only as a symbol of modernity and progress but also as a space steeped in memory and architectural tradition. The work reflects both a technical mastery of early photographic methods and a nuanced vision of Paris as it straddled past and future. – Some prints lightly faded, otherwise all in good to very good condition.
South Pacific
Portraits and views from the South Pacific
Los 4093
Nachverkaufspreis
400€ (US$ 455)
Photographer unknown. Views of Samoa, Fiji, and New Guinea. Late 1890s-early 1900s. 12 gelatin silver prints, mounted to boards. Each ca. 15,5 x 20 cm ( 22 x 28 cm) or reverse. Each with handwritten caption in black ink on the mount.
This group of photographs offers a rich visual record of life in the German colonial Pacific during the late 19th and early 20th centuries. Likely taken by a missionary-affiliated or ethnographic photographer, the images depict a variety of subjects including Samoan families and women in ceremonial dress, Fijian schoolchildren in front of a thatched classroom, local architecture such as a bamboo church, and the construction of a large traditional meeting house. Other scenes include local converts and indigenous pastors, formal group portraits, and a canoe landing on the beach in the former German protectorate of New Guinea. – Some soiling and foxing of boards, some fading and signs of oxidation along the margins of a number of prints, otherwise all in good to very good condition.
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Galerie Bassenge
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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
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