Switzerland
Views of Switzerland and Alpine landscapes
Los 4097
Nachverkaufspreis
1.500€ (US$ 1,705)
Photographer: Frith's Series and others. Schweizer Reise August-September 1884 (Views of Switzerland and Alpine landscapes). 1870s-early 1880s. 120 albumen prints. Each circa 10 x 15 cm or reverse. Mounted 2 to each album page, captioned in ink in German below images, bound in green canvas album with black-stamped title Paul Bercht Schweizer-Reise August-September 1884.
The album includes a wide-ranging selection of city and landscape views from Switzerland and surrounding regions, among them Zurich, Lucerne, Brunnen, Axenstein, the Axenstrasse, the Gotthard Railway, Andermatt, the Rhône and Grindelwald Glaciers, Wengernalp, Mürren, Bad Leuk and the Gemmi Pass, Monte Rosa, Breithorn, Chamonix with Mont Blanc, the Mer de Glace (several views), Zermatt with the Matterhorn, Vernayaz, Montreux, Nyon, Geneva, Fribourg, Bern, Basel, and Strasbourg Cathedral. The album was most likely compiled by the Berlin banker Paul Bercht (1847-1899), whose name is stamped on the cover. – Edges of album worn, canvas rippled, pages buckled and some with light foxing, some prints with light fading in edges, first prints with slight insect damage, otherwise most with strong tones and in good to very good condition.
Togo
The Bremen factory and the German mercantile community in Little Popo (Aného), Togo
Los 4099
Nachverkaufspreis
350€ (US$ 398)
Photographer unknown. The Bremen factory and the German mercantile community in Little Popo (Aného), Togo. 1882-84. 4 albumen prints. Each circa 14 x 21 cm. Each mounted to board (23,5 x 29,5 cm), 3 with original captions in ink in German on the mounts.
These photographs were taken in Little Popo (present-day Aného, Togo), then the principal port on the so-called ‘Slave Coast’ between French-controlled Dahomey (now Benin) and the British Gold Coast (now Ghana), prior to the region’s formal annexation by Germany in 1884. They prominently feature the trading premises of the Bremen firm F.M. Vietor. One image shows its agents alongside representatives of other German trading houses active in Little Popo, all identified in the accompanying caption. Several of these men - including F. Reimann, H.F.A. Eccarius, and Heinrich Randad - were involved in negotiating trade agreements with local chiefs from 1882, laying the groundwork for German colonial expansion. Randad would later be appointed the first commissioner of what became known as the Togoland Protectorate. – Boards with foxing, a few prints slightly faded, two with small white spots, otherwise in good condition.
Toruń
St. John's Church, Toruń, Poland; Views of Danzig
Los 4100
Nachverkaufspreis
600€ (US$ 682)
Photographer: Eduard Flottwell (1811-1862) and A. Ballerstaedt. St. John’s Church, Toruń and views of Danzig. 1861, 1870s. 3 albumen prints. 24,5 x 18,5 cm and 24,5 x 17 cm. Each mounted to board. Flottwell’s blind stamp and Ballerstaedt’s studio stamp below the image on the mount.
This small group of architectural views includes a finely detailed photograph of St. John’s Church in Toruń by Eduard Flottwell, one of the earliest photographers active in the region. The remaining views, taken by A. Ballerstaedt in the 1870s, depict historic landmarks in Danzig (now Gdańsk), including richly ornamented façades and civic buildings. Together, the prints offer early photographic documentation of Northern Poland’s Gothic and Renaissance architectural heritage. – Boards slightly soiled and with light foxing. Torun print with rubbed surface spot in upper right, a few light scuff marks, otherwise a rich tonal print in very good condition.
Lit.: Ireneusz Witold Dunaijski. Photography in Danzig 1839-1862. Vol II, 2013, ill. p. 222.
Architecture
Selected images of marble and stone works incorporated in commercial buildings in Berlin and Hamburg
Los 4105
Nachverkaufspreis
1.200€ (US$ 1,364)
Photographers: Emil Leitner (1887-1953) and A. Dittmer. Selected images of marble and stone works incorporated in commercial buildings in Berlin and Hamburg. 1900-1920s. 12 vintage, large-format platinum prints. Various sizes between circa 39 x 29 cm and 20,5 x 26,5 cm. Some with photographer's blind stamp in lower corners.
This group of platinum prints documents the stone and marble work of former commercial buildings in Berlin and Hamburg, highlighting the materials and craftsmanship that defined their façades and interiors. – A few photos with oxidation mirroring in edges, otherwise in very good condition.
Photographer unknown. Public Architecture in the Third Reich. 1930s. 21 vintage gelatin silver prints. Each circa 16 x 21,5 cm or reverse. Each mounted to thick card with printed number on the verso, in original cloth presentation portfolio with "Zeiss Spiegellicht, Zeiss Ikon" stamped in black in upper left corner.
This portfolio comprises technically elaborate photographs documenting state-sponsored architecture and public spaces in Nazi Germany during the 1930s. Included are exterior and interior views of buildings such as the Deutschlandhalle, Reich Aviation Ministry, Sportpalast, and the German Pavilion at the 1937 Paris World’s Fair, as well as images of the Zeppelinfeld in Nuremberg and Unter den Linden decorated for Mussolini’s state visit. The inclusion of several night views and formal compositions suggests that the prints were likely produced for internal or promotional presentation purposes. The photographs offer visual insight into the regime’s use of architecture and spectacle to project power, ideology, and national identity. – Slight foxing in edges of mounts, a few prints with disoloration spots, most in very good condition.
Architecture
Architectural models for Mussolini's Rome plan
Los 4107
Nachverkaufspreis
350€ (US$ 398)
Photographer unknown. Architectural models for Mussolini-era urban planning in Rome. 1930s. 5 vintage gelatin silver prints. Each circa 16 x 21,5 cm. Two with number in negative, each mounted to paper, some with typewritten caption label on mount verso.
These photographs document architectural models created as part of Fascist-era plans to reshape Rome during the 1930s. According to inscriptions on the mounts, the models represent a proposed but unrealized ministry building situated near the Aurelian Wall. While this specific project was not executed, the images reflect broader ambitions of Benito Mussolini’s regime to impose monumental buildings on the fabric of ancient Rome - a process that often entailed large-scale demolitions and controversial interventions in the city’s historic landscape. – Some oxidation mirroring in edges, otherwise in good condition.
Lit.: Harald Bodenschatz, Daniela Spiegel, eds. Städtebau für Mussolini. Berlin: Dom, 2022.
Blumenfeld Color. 1940-1950. 10 dye transfer prints, printed 1984. Each between 30 x 20 cm and 32 x 26 cm (sheet size 47 x 39,5 cm). Each with estate stamp, signed by F.C. Gundlach in pencil and numbered "27/50" on verso. Includes double sheet with title, table of contents, and imprint. Edition PPS Galerie F.C. Gundlach Hamburg. Presented in red linen clamshell box.
Erwin Blumenfeld was a German-born photographer whose radical experimentation and technical mastery helped redefine fashion photography in the 20th century. After early involvement with Dada and photo collage, he moved to Paris in the 1930s and later to New York, where he became a leading contributor to Vogue, Harper’s Bazaar, and Life. Renowned for his innovative darkroom techniques - including solarization, multiple exposures, mirror reflections, and distortions - Blumenfeld infused his images with surreal elegance and psychological depth. His striking fashion and nude studies, celebrated for their bold compositions and daring use of color, bridged avant-garde art and commercial photography, establishing him as one of the most influential image-makers of his era.
– In excellent condition.
Burtynsky, Edward
Shipbreaking # 38, Chittagong, Bangladesh
Los 4113
Nachverkaufspreis
6.000€ (US$ 6,818)
Shipbreaking # 38, Chittagong, Bangladesh. 2001. Chromogenic print. 86 x 68 cm (104 x 86 cm). Signed, titled, dated and editioned "9/10" by the photographer on label on the verso, framed under museum glass in wooden frame.
Edward Burtynsky’s "Shipbreaking" series (2000) examines the vast and hazardous process of dismantling decommissioned cargo ships on the beaches of South Asia, primarily in Alang, India, and Chittagong, Bangladesh. The series emerged from the photographer’s long-standing interest in industrial landscapes and environmental transformation. Prompted by new regulations following the Exxon Valdez oil spill, Burtynsky became intrigued by the fate of obsolete single-hulled tankers and cargo ships - monolithic structures too massive for conventional scrapyards. His photographs depict immense ship carcasses looming over laborers who, with minimal equipment and safety measures, manually break down these steel giants for salvage.
Through large-scale, formally composed color images, Burtynsky captures the tension between the epic scale of global industry and the human effort required to sustain it. The stripped hulls, rust-streaked surfaces, and scattered debris evoke both the sublime and the tragic, portraying shipbreaking as both a monumental act of recycling and a stark reminder of economic disparity and environmental degradation. As with much of Burtynsky’s work, the Shipbreaking series invites reflection on the hidden costs of globalization and the fragile balance between progress and exploitation. – In excellent condition.
Providence. 1984. Dye transfer print, printed 1980s. 24,4 x 36,7 cm. Unsigned, with printer's stamp on the verso.
Harry Callahan’s color photographs, produced in the later years of his career, are widely celebrated for their vivid, introspective, and often abstract qualities. Exploring a wide range of subjects - from landscapes and cityscapes to portraiture - Callahan used color to add a new dimension of depth and emotional resonance, further enriching his already distinguished body of work. – In excellent condition.
Untitled. 1984. Dye transfer print, printed 1980s. 24,4 x 36,7 cm. Unsigned, with printer's stamp on the verso.
In excellent condition.
China
Views of the Summer Palace, Peking, China
Los 4116
Nachverkaufspreis
1.200€ (US$ 1,364)
Photographer: Mei Li Photo Studio, Peking; Kang-Sing Chiao, Peking. Views of the Summer Palace, Peking, China. 1900-1920. 5 vintage hand-colored gelatin silver prints. Circa 25 x 38 cm and reverse. 4 with photographer's studio stamp and some annotated in pencil on the verso.
This group of finely hand-colored prints offers sweeping views of the Summer Palace in Peking (Beijing), capturing pavilions, bridges, and lakeside scenes that reflect the site’s imperial splendor. Likely produced for the early 20th-century export market, the photographs stand out for their rich tonality and delicate hand-coloring. – Some prints with toning in edges, a few with small spots, otherwise in very good condition with fine hand-coloring.
Photographer: Martin Höhlig (1882-1948). Interior of the Dornier Do X. 1922/23. 4 vintage gelatin silver prints. Each 17 x 23 cm. Two with photographer’s stamp and three annotated in pencil on the verso.
The Dornier Do X, produced in 1929 by the Dornier company in Germany, was the largest, heaviest, and most powerful flying ship of its time. Conceived by Claude Dornier in 1924, the project began in late 1925 and culminated in its completion in June 1929. – Some oxidation mirroring in edges, a few small handling dents, corners slightly bumped, otherwise most in very good condition.
Epstein, Mitch
State General Department Store, Hanoi
Los 4122
Nachverkaufspreis
1.500€ (US$ 1,705)
State General Department Store, Hanoi. 1992. Chromogenic print on Kodak Professional Paper. 37,5 x 55,8 cm (51 x 61 cm). Signed, titled, dated, and editioned “1/20” in felt-tip pen on the verso.
Mitch Epstein’s work is deeply rooted in the exploration of place, often revealing the tensions between personal memory, cultural identity, and socio-political structures. Known for his nuanced use of color and his large-format approach, Epstein frequently documents environments undergoing transformation - be it in the American South, post-Soviet Vietnam, or post-industrial cities in the U.S. State General Department Store, Hanoi (1992) forms part of his early 1990s "Vietnam" series, a body of work that captures the quiet intricacies of daily life at a moment of profound political and economic transition. With its layered composition and muted tonalities, this image exemplifies Epstein’s ability to observe without exoticizing, offering instead a sensitive and formally rigorous reflection on the collision of tradition and modernity. – Corners slightly bumped; some light handling creases and a small fold mark in the lower margin; otherwise in near excellent condition.
Sakhara, Egypt. 1992. Chromogenic print on Kodak Professional Paper. 37,5 x 55,8 cm (51 x 61 cm). Signed, titled, and dated in felt-tip pen on the verso.
In this image of the Step Pyramid at Saqqara, Mitch Epstein adopts a restrained, contemplative approach, capturing the monument in soft, diffuse light that flattens detail and emphasizes tonal subtlety. Eschewing spectacle, he presents the structure as suspended in time - centered yet unmonumentalized - amid an empty, low-horizon landscape. The result is a quietly metaphysical meditation on history as fragile residue rather than grand narrative, a hallmark of Epstein’s work. – Some light handling creases and traces of previous mounting on verso, otherwise in near excellent condition.
Ehrhardt, Alfred
Trophon Geversianus-Magellanstraße
Los 4124
Nachverkaufspreis
700€ (US$ 795)
Trophon Geversianus-Magellanstraße. 1940/41. Inkjet print on glossy Monoprint R paper, printed 2011. 29,5 x 21 cm. "Alfred Ehrhardt Stiftung" stamp, therein editioned "1/30" on the verso. Hinge-mounted in mat and framed under glass in wood frame.
Widely recognized as a leading figure of New Objectivity photography, Alfred Ehrhardt was one of the most prolific and successful photographers among the former Bauhaus artists. Over the course of his career, he published more than twenty photo books and produced a series of visually striking films that explored modernity through the lens of 1920s avant-garde aesthetics. His experimental documentaries are now considered seminal works in the history of both cultural and scientific filmmaking. – A beautiful tonal print in excellent condition.
Lit.: Christine Hopfengart, Christiane Stahl, eds. Alfred Ehrhardt. Ostfildern-Ruit: Hatje Cantz, 2001, ill. p. 87.
Evans, Walker
Untitled (Tenant farmer's daughter, Hale County, Alabama)
Los 4125
Nachverkaufspreis
1.200€ (US$ 1,364)
Untitled (Tenant farmer's daughter, Hale County, Alabama). 1936. Large-format, matte gelatin silver print, printed 1970s by the Library of Congress from the original negative. 28 x 35 cm. "Reproduced from the collection of the Library of Congress" stamp and number notations in pencil on the verso. Taped to linen window front mat.
Walker Evans’ work for the Farm Security Administration (FSA) was instrumental in shaping the visual record of rural America during the Great Depression. His photographs captured the stark realities faced by individuals and communities, portraying economic hardship and social dislocation with clarity and empathy. Working alongside other FSA photographers, Evans helped create a lasting documentary of the era - one that not only deepened public awareness but also helped define documentary photography as a powerful vehicle for social insight and historical preservation.
– Some professional retouching in chin area, otherwise a fine tonal print in very good condition.
Lit.: John T. Hill. Walker Evans: Lyric Documentary. Göttingen: Steidl, 2006, ill. p. 176.
John T. Hill, Gilles Mora. Walker Evans: Der unstillbare Blick. Munich: Schirmer/Mosel, ill. p. 204.
Untitled (SBM) 11. 2022. Pigment print. 75 x 51 cm. Signed, dated and editioned "3/12" by the photographer in pencil below the image in the margin. Framed under glass in wooden frame.
Thomas Florschuetz is a prominent German photographer known for his abstract and experimental photographic work. His photographs explore themes of light, form, and texture, often reducing subjects to their essential, minimalist components. In the present image Florschuetz's subject is the landscape garden at Sítio Roberto Burle Marx in Rio de Janeiro. Here the relationship between space and surface plays an essential role and an interplay develops between the composition of shapes and gradations of black and white tones. – In very good condition.
Mabou Window. 1977. Gelatin silver print, printed 1988. 35,5 x 27,7 cm. Title "Mabou Window" scratched into the surface of the print. Signed, dated, and inscribed in black ink on the verso: “For Walter - till he visits the Window, NYC Aug. 9, 1988”; with an inventory number in pencil on the verso.
Taken from the window of his home in Mabou, Nova Scotia, Mabou Window (1977) exemplifies the quiet intensity and deeply personal tone that came to define Robert Frank’s later work. Following the critical success of The Americans, Frank turned away from traditional photojournalism to focus on his immediate surroundings, creating images charged with solitude, memory, and loss. The stark winter landscape, seen through a pane of old, distorted glass and partially framed by the window’s edge, evokes both physical and psychological distance. Often interpreted as a tribute to his daughter Andrea, who tragically died in a plane crash in 1974, the image resonates with themes of absence and mourning. This print, made in 1988, bears the scratched title on the surface and is dedicated in black ink on the verso: “For Walter - till he visits the Window, addressed to Swiss publisher and close friend Walter Keller. Variants of this print are held in the collections of the Museum of Modern Art, the Museum of Fine Arts, Houston, and the Art Institute of Chicago.
– Edges bumped, some buckling along the print edges, slight tear to the top left corner, crease to the lower right corner, as well as light handling creases and minor retouching visible on the surface; otherwise a strong print in very good condition.
Provenance: From the artist to Walter Keller, publisher of Scalo, Private Collection, Zurich.
Lit.: Robert Frank. The Lines of my Hand. Zurich: Parkett / Der Alltag, 1989, n.p.
E for Empire. 1995. Gelatin silver print. 27,8 x 35,4 cm. Signed, titled and dated on recto below the image; with a wriiten dedication "For Walter Keller and his E".
This print also bears a handwritten dedication to Walter Keller, the Swiss publisher and curator with whom the artist shared a close professional relationship. – Some light handling creases in the lower margin; otherwise a very strong print in near excellent condition.
Provenance: From the artist to Walter Keller, publisher of Scalo, Private Collection, Zurich.
James Joyce, Paris. 1939. Dye transfer print, printed later. 30,2 x 20,2 cm (46,3 x 35,5 cm). Signed by the photographer in felt-tip pen in lower margin, as well as copyright blind stamp in lower right corner; photographer's/copyright stamp on the verso. Hinge-mounted in mat.
The German-born French photographer and photojournalist Gisèle Freund was renowned for her documentary work and intimate portraits of writers and artists. She pioneered the use of the Leica camera for reportage and was among the first to employ Kodachrome and Agfacolor films for color portraits, capturing figures such as James Joyce, Virginia Woolf, and André Malraux with a uniquely candid style. Her contributions significantly shaped 20th-century photography, blending sociological insight with artistic expression. – Minimally buckled, lower right corner slightly bumped, otherwise in very good condition.
Lit.: Gisèle Freund. Photographien und Erinnerungen. Munich: Schirmer Mosel 1998, ill. p. 88.
Colette, Paris. 1939. Dye transfer print, printed later. 30 x 20,5 cm (46 x 35,5 cm). Signed by the photographer in felt-tip pen in lower margin; photographer's/copyright stamp on the verso. Hinge-mounted in mat.
Some buckling, otherwise in very good condition.
Lit.: Gisèle Freund. Photographien und Erinnerungen. Munich: Schirmer Mosel 1998, ill. p. 85.
Varieté clown. 1946. Vintage gelatin silver print. 25 x 17 cm. Photographer's credit stamp and annotated in pencil and crayon on the verso.
Small loss of emulsion in upper corners, traces of previous mounting in upper edge verso, a few light handling dents, otherwise in good condition.
Lit.: Gisèle Freund. Photographien und Erinnerungen. Munich: Schirmer/Mosel, 1998, ill. p. 190.
Leipzig, 6. Oktober 1989. Vintage gelatin silver print. 41 x 30,3 cm (50 x 40 cm). Signed, titled, and dated in pencil on the verso, with photographer’s copyright stamp.
Gerhard Gäbler is recognized for his nuanced black-and-white photographs documenting everyday life in the GDR during the 1970s and 1980s. With a quiet, observational approach, his images convey the social atmosphere of East Germany through understated but resonant detail. This particular photograph shows a woman cradling a bunch of bananas - a rare and highly sought-after commodity in the GDR - on the eve of the state’s 40th anniversary. Gäbler’s work is represented in major institutional collections, including the Museum of Fine Arts, Houston, and the International Center of Photography, New York.
– Some minimal handling creases as well as a few small tears on upper margin, otherwise in near excellent condition.
Gatewood, Charles
William Burroughs and Brion Gysin with the "Dreamachine"
Los 4142
Nachverkaufspreis
600€ (US$ 682)
William Burroughs and Brion Gysin with the "Dreamachine". 1972. Vintage gelatin silver print. 17 x 22,5 cm (28 x 35,3 cm). Photographer's stamp on the verso.
Charles Gatewood studied anthropology at the University of Missouri in the early 1960s before pursuing a career in photography, focusing on subcultures and unconventional lifestyles. Working as a freelance photographer from 1974 onward, he documented both the underground scene and prominent cultural figures such as William S. Burroughs and Bob Dylan. His images, often raw yet empathetic, form a compelling record of individuals and communities existing outside the mainstream. – Corners bumped, creases in corners in margins, tear in left edge in margin, otherwise in good condition.
Mann mit Hut. 1979. Vintage gelatin silver print on Agfa paper. 32,5 x 22 cm (38,7 x 29 cm). Signed, titled and dated by the photographer in pencil on the verso.
André Gelpke is a German-Swiss photographer and educator. From 1969-1975, he studied at the Folkwangschule Essen under Otto Steinert. In 1975, he co-founded the photo agency Visum alongside Rudi Meisel and Gerd Ludwig. Over time, Gelpke shifted his focus increasingly toward artistic photography and, together with figures like Heinrich Riebesehl and Michael Schmidt, played a key role in establishing photography as a recognized art form in Germany. – A few small retouched spots, otherwise in very good condition.
Goldin, Nan
James at a Jean Colonna fitting, Paris
Los 4148
Nachverkaufspreis
2.500€ (US$ 2,841)
James at a Jean Colonna fitting, Paris. 1995. Cibachrome print. 61,5 x 46,5 cm. Signed by the photographer in felt-tip pen on the verso.
Nan Goldin’s "James King: Supermodel" series offers a raw, intimate portrayal of teenage model Jaime (James) King, who rose to prominence in the mid-1990s - a transitional moment between the height of the supermodel era and the rise of the so-called “heroin chic” aesthetic. At just sixteen, King was thrust into a fashion world marked by unattainable beauty ideals, the fetishization of youth, and the glamorization of drug culture. Goldin’s photographs avoid mythologizing this milieu; instead, they lay bare its emotional and psychological costs, capturing moments of vulnerability, fatigue, and the loss of innocence. This particular image of James King formed part of Goldin’s 1995 body of work on the model, though it was not included in the final portfolio of the same name. – Light scuff marks and a small handling crease in the center of the print, visible only under raking light; otherwise in near excellent condition.
Robert Frank in New York. 1981. Vintage gelatin silver print from a polaroid negative. 30 x 23 cm (35,4 x 28 cm). Signed, titled and dated by the photographer in pencil on the verso.
Born in Canada, Brian Graham received his Bachelor of Arts from St. Francis Xavier University, Nova Scotia, in 1973. He moved to New York in 1981 to pursue photography and went on to assist and print for Robert Frank for over a decade. During this time, he also printed the archives of Allen Ginsberg - documenting the Beat era - as well as work from the Walker Evans Estate and Rosalind Fox Solomon. Graham has photographed across Africa, Europe, and the Americas, and has exhibited in New York, Berlin, and Lisbon. – A few small retouched spots, handling crease in upper left, slightly buckled in upper edge, otherwise a fine tonal print in very good condition.
Lit.: Brian Graham. Goin' Down the Road with Robert Frank. Göttingen: Steidl, 2023, ill. front cover.
Tom Waits Bleecker St. near Bowery. 1986. Vintage gelatin silver print. 30,5 x 45,2 cm (40,5 x 50,4 cm). Signed, titled and dated by the photographer in pencil on the verso.
Slightly buckled in side edges, otherwise a fine tonal print in very good condition.
Hamm, Manfred
View from Große Neugierde towards Babelsberg,Glienicke
Los 4153
Nachverkaufspreis
400€ (US$ 455)
View from Große Neugierde towards Babelsberg, Glienicke. 1999. Vintage gelatin silver print. 26,5 x 19,8 cm (30,2 x 23,7 cm). Signed by the photographer as well as negative number in pencil on the verso.
Manfred Hamm was born in Cainsdorf near Zwickau and trained as an advertising and theater photographer in Ulm and Munich from 1961-1963. Between 1965-1967, he traveled extensively through Australia and Southeast Asia before settling in Berlin in 1967, where he worked as an assistant to Ben Wargin at Galerie S until 1970. From that point on, Hamm worked as a press photographer for various magazines, and in 1977, he published his first photo book, Berlin - Landschaft einer Stadt. – A few light handling dents, otherwise in very good condition.
Lit.: Michael Seiler,Manfred Hamm (eds.). Inzenierte Landschaften: Blicke ins preussische Arkadien. Berlin: Transit, 1999, ill. p. 142.
Berlin (combination print from two negatives). 2000. Vintage gelatin silver print. 25,8 x 38,7 cm. Signed and dated by the photographer in pencil on the verso.
Konrad Hoffmeister studied photography and reproduction techniques in Magdeburg before serving as an assistant and lecturer at the Academy of Fine Arts in Berlin-Weißensee from 1953-1956. Beginning in 1957, he worked as a freelance photographer in East Berlin. He produced images for theater, television, magazines, and advertising, while also pursuing independent artistic projects. Among these is his notable portrait series "Ansichten zu Deutschland" (Views of Germany). Hoffmeister’s work has been exhibited internationally and remains a significant contribution to postwar German photography. – Retouched spot in upper mid area, a few minimal pressure marks, otherwise in very good condition.
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Galerie Bassenge
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Telefon: +49 30 8938029-0
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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