Daguerreotypes
Portrait of a mother with her daughter
Los 4031
Ergebnis (inkl. Aufgeld) *
1.500€ (US$ 1,705)
Photographer: Eduard Wehnert (1811-1847). Portrait of a mother with her daughter. Circa 1844. Quarter-plate daguerreotype (plate size circa 10 x 8 cm). With original gilt-highlighted ornamental paper surround with photographer's printed name, taped behind glass with gilt paper band.
In 1845, Eduard Wehnert married Bertha Wehnert-Beckmann, widely recognized as the first professional female photographer in Germany. Active in the early 1840s, she played a pioneering role in the history of photography. Daguerreotypes by Eduard Wehnert himself are exceedingly rare, and seldom appear on the market. – Some oxidation spots, otherwise in good condition.
Photographer: A. Ballerstaedt (active ca. 1865-1880). Views of Danzig. Ca. 1870s. 21 albumen prints, mounted to card. Each between 16 x 22 cm and 19 x 24 cm or reverse (28 x 37 cm). All with photographer’s blind stamp in lower margin: “A. Ballerstaedt / Danzig / Photograph. Atelier”; annotated in pencil on lower margin of recto as well as in black ink on verso in a contemporary hand.
A striking visual record of late 19th-century Danzig (now Gdańsk), this group includes views of significant civic and architectural landmarks of the historic Hanseatic city. Depicted are the Artus Court (Artushof), the Golden Gate (Langgasser Tor), the Great Armory (Großes Zeughaus), the Green Gate (Grünes Tor), the Old City Hall, and the Marienkirche from various perspectives, including panoramic views of the historic center. Many views are animated with horse-drawn carriages and passersby, offering a glimpse of urban life in the Prussian-era city. The photographs, distinguished by sharp detail and balanced compositions, reflect Ballerstadt’s skill in capturing both architectural grandeur and atmospheric cityscapes. – Minimal foxing on the mounts; some light fading on a few prints. Otherwise, all prints with strong tones and in near excellent condition.
Davey, Frank
Hawaiians eating a meal; Two Hawaiians with their boats, Diamond Head Beach, Oahu
Los 4033
Ergebnis (inkl. Aufgeld) *
875€ (US$ 994)
Hawaiins eating a meal; Two Hawaiians with their boats, Diamond Head Beach, Oahu. 1890s. 2 albumen prints. 18,2 x 23,7 cm. Each with number and caption in the negative in lower edge, each mounted to board.
London-born Frank Davey was a prolific photographer active in London, Paris, and later California. After leaving England in 1880, he eventually settled in Hawaii around 1897-1901, where he photographed Indigenous communities, island landscapes, and early surf culture. He is considered one of the first photographers to document surfing. – A few light surface scuff marks, otherwise in very good condition.
Lunar photographs. 1858-1859. 7 stereoscopic albumen prints, mounted on red mounts with yellow card stock. Each ca. 8,5 x 17,5 cm. Printed captions on recto with photographer credit and publisher imprint “Enlarged and published by Smith, Beck & Beck” or “Charles Panknin, London”; versos with printed explanatory text on some cards, including series number, date of negative, and in some cases, age of the moon and libration in longitude and latitude.
These remarkable stereoscopic lunar photographs stem from one of the most ambitious scientific imaging projects of the 19th century. Between 1858-1862, British astronomer Warren De La Rue - working at the Kew Observatory - used a custom-designed photoheliograph to capture detailed wet collodion negatives of the moon’s surface. The stereoscopic prints, produced by pairing negatives taken under different libration conditions, created a three-dimensional illusion of lunar topography when viewed through a stereoscope. Issued by leading scientific publishers such as Smith, Beck & Beck and Charles Panknin, the views were intended to make cutting-edge astronomical research accessible to both scientific and lay audiences. These photographs mark a seminal moment in the history of celestial observation and the broader popularization of scientific imagery in Victorian Britain. – Some light scuff marks on some prints and edge wear on mounts, otherwise all in very good condition with strong tonal range.
Fontane, Theodor
Portrait of Theodor Fontane
Los 4038
Ergebnis (inkl. Aufgeld) *
625€ (US$ 710)
Photographer: Emil Bieber (1878-1962). Portrait of Theodor Fontane. 1894. Vintage collodion print. 15 x 10,5 cm. Date stamp "1899" in lower right corner, mounted to board.
This portrait by Emil Bieber shows the novelist and poet Theodor Fontane, who died in 1898, in his final years. Likely taken in 1894, it is considered one of the last photographic likenesses of Fontane and reflects his established public persona at the end of a prolific literary life. The image captures the quiet dignity and introspection often associated with the author of Effi Briest and Der Stechlin.
– In very good condition.
Seated nude with doves. Ca. 1910. Albumen print. 20 x 13,2 cm. Photographer’s “Proprietà Artistica: Vincenzo Galdi, Via Sardegna, 55, Roma” studio stamp on the verso.
A refined example of Galdi’s exploration of the female nude, this photograph exemplifies the artist’s distinctive blend of classical poise and fin-de-siècle sensuality. Active in Rome during the early 1900s, Galdi developed a photographic language informed by Symbolist aesthetics and the visual heritage of his mentor, Guglielmo Plüschow. Here, the presence of doves adds an allegorical dimension to the sitter’s contemplative pose, underscoring Galdi’s interest in mythic and erotic themes rendered with formal clarity. – Slight buckling, light stains from previous mounting in corners, otherwise in very good condition with strong tonal range and well-preserved detail.
Galdi, Vincenzo
Standing nude with lilies
Los 4041
Ergebnis (inkl. Aufgeld) *
1.250€ (US$ 1,420)
Standing nude with lilies. Ca. 1910. Albumen print. 20,8 x 12,2 cm. Photographer’s “Proprietà Artistica: Vincenzo Galdi, Via Sardegna, 55, Roma” studio stamp in purple ink on the verso.
This elegant figure study shows a young woman standing nude and seen from behind, her form softly illuminated as she raises a stem of lilies. The composition exemplifies Galdi’s refined approach to the academic nude, combining classical motifs with a quiet eroticism. Active in Rome during the early 20th century, Galdi worked on the margins of academic respectability and is now recognized for his bold, sensuous style and for challenging the visual conventions of his time. – Minimal buckling along right edge, a few light handling marks, a few minimal spots in the negative, otherwise in good condition with strong tonal range.
Gloeden, Wilhelm von
Sicilian children with dog
Los 4042
Ergebnis (inkl. Aufgeld) *
1.000€ (US$ 1,136)
Sicilian children with dog. 1904. Albumen print. 22,4 x 17 cm. Photographer's "V. Von Gloeden / Taormina-Italia-Sicilia / Proprietà Artistica dell’Autore” studio stamp, therein dated “25 FEB 1904” in purple ink and handwritten inventory number “2145” in blue crayon on the verso.
An unusually intimate and psychologically nuanced portrait from von Gloeden’s lesser-known work in Taormina. While he is best remembered for his idealized male nudes referencing antiquity, this image reveals a more grounded, genre-oriented facet of his practice - one shaped by the ethnographic gaze, yet resisting its detachment. The naturalism of the children’s pose, their direct engagement with the camera, and the subtly staged setting speak to von Gloeden’s ability to merge local character with a distinctly pictorial sensibility. Works of this kind enrich our understanding of his broader project: not only to mythologize, but also to preserve the human texture of rural Sicilian life at the turn of the century. Another version of this print is held in the collection of the Art Institute of Chicago. – Minimal fading in left and lower edge, backed tear (ca 3,5 cm) in left edge, a few light foxing spots, otherwise in very good condition with strong tonal range and crisp detail.
Lit.: Ulrich Pohlmann. Wilhelm von Gloeden: Sehnsucht nach Arkadien. Berlin: Nishen, 1987, ill. p. 94.
Cain. Circa 1900. Large-format photogravure on strong vellum paper, mounted to board. 31,5 x 23,8 cm (49 x 35,7 cm). Signed by the photographer in pencil in the lower left margin below the image; title printed in the margin below the image.
One of von Gloeden’s most iconic and widely reproduced works, Cain stands out for its contemplative pose and allegorical weight. Blending classical references with fin-de-siècle symbolism, the image exemplifies the photographer’s refined use of natural light, idealized male form, and mythic undertones that helped shape his enduring legacy in art photography. – Board time-stained and soiled; some toning and light stains in margins; some discoloration spots; a few small white spots from insect damage in upper area; otherwise a beautiful print in very good condition.
Lit.: Ulrich Pohlmann. Wilhelm von Gloeden: Sehnsucht nach Arkadien. Berlin: Nishen, 1987, ill. p. 37.
Views of Egypt. 1860s. 20 albumen prints, mounted to board. Various sizes between circa 21,5 x 27,5 cm and larger. Most signed and numbered by the photographer in the negative in lower left/right corner; with title printed below the image on the mount.
Born in Berlin, Wilhelm Hammerschmidt was already an established professional photographer when he relocated to Cairo around 1860. There, he founded the Hammerschmidt studio and supply shop, which quickly became a central meeting point for both local and visiting photographers. In 1861, he exhibited ten views of Egypt at the Société Française de Photographie in Paris and became a member the following year. Hammerschmidt specialized in architectural views, costume portraits, and ethnographic studies, presenting his work to international audiences, notably at the Exposition Universelle in Paris in 1867. In addition to his extensive work in Egypt, he also photographed in Syria and Nubia. The present group includes a general view of Cairo, a view of the Nile, camel scenes, an Arabic coffee house, the Tombs of the Caliphs, various street scenes in Cairo, Egyptian temple ruins, and a view of Aswan. – Some surface scuff marks, some fading in edges as well as traces of silver mirroring in dark areas, otherwise in good condition.
Hamburg
View of St. Michaelis Church, Hamburg
Los 4048
Ergebnis (inkl. Aufgeld) *
250€ (US$ 284)
Photographer unknown. View of St. Michaelis Church, Hamburg. 1870s. Albumen print with rounded corners. 18 x 26,4 cm. Mounted to board.
A few light spots, otherwise in good condition.
Hill, David Octavius and Robert Adamson
A Selection of Portraits
Los 4049
Ergebnis (inkl. Aufgeld) *
2.500€ (US$ 2,841)
A Selection of Portraits. 1840s. 52 carbon prints, mounted to boards, printed 1915 by Jesse Bertram. Each circa 20 x 14 cm or reverse (39 x 27 cm). Each numbered in pencil by another hand on lower left corner of recto, and annotated in black ink on the verso. Presented in canvas-backed clamshell box with interleaf.
David Octavius Hill and Robert Adamson, pioneers of Scottish photography, formed a groundbreaking partnership in 1843, establishing Scotland’s first photography studio at Rock House on Calton Hill, Edinburgh. Renowned for their collaborative work, they produced approximately 3,000 calotypes over four years, capturing a diverse range of subjects, including notable Scottish figures, local landscapes, urban scenes, and the daily lives of Newhaven fishermen and their wives. Their innovative use of the calotype process and their artistic compositions significantly contributed to the early development of photography as an art form.
This group of 52 carbon prints, printed in 1915 by Jesse Bertram from the original calotype negatives, reflects the breadth and depth of Hill & Adamson’s vision. The selection includes expressive portraits of working-class sitters, women in traditional Scottish dress, and evocative scenes of Greyfriars Kirkyard and other Edinburgh locations. Among the most distinguished sitters depicted are the literary critic and historian Thomas Carlyle, the painter Horatio McCulloch, the Free Church leader Rev. Dr. Thomas Chalmers, and the artist John Henning. These images, deeply rooted in their time yet remarkably modern in their psychological intensity, stand as both historical documents and timeless works of photographic art. – Board slightly age-stained around the edges; prints all in near excellent condition with no signs of image deterioration.
Photographer unknown. View of Hong Kong Bay. Circa 1908. 4-part linen-backed albumen print panorama. 17,5 x 99 cm. Mounted on one side to board.
This expansive panorama captures the colonial-era waterfront of Hong Kong around 1900, viewed from across the harbor in Kowloon. Prominent landmarks such as the Hong Kong Club, City Hall with its clock tower, and the old General Post Office line the bustling Praya, backed by hillside residences ascending Victoria Peak. Chinese junks and European steamships animate the harbor, underscoring the city’s role as a key trade hub. The seamless composition offers a rare and richly detailed view of the city’s shoreline before major reclamation and redevelopment. – A few creases in left corners, minimal fading in edges, otherwise in very good condition.
Lit.: Dennis George Crow. Historic Photographs of Hong Kong & China 1860-1960. Los Angeles, 2000, ill. pp. 18-19.
Hungary
Views of Hungary (Bosnia and Herzegovina)
Los 4051
Ergebnis (inkl. Aufgeld) *
375€ (US$ 426)
Photographer: Josef Löwy (1834-1902). Views of Hungary (Bosnia and Herzegovina). 1880s. 5 albumen prints. Each circa 20,2 x 25,3 cm. Each mounted to board, with photographer's name and title printed below the image on the mount.
This compelling group by Viennese court photographer Josef Löwy features early documentary views from the Austro-Hungarian-occupied Balkans, including scenes from Zepče, Busovača, Sarajevo, and Kobila Glava near Ploča-Han. Produced during the 1880s, the photographs reflect Löwy’s characteristic attention to both landscape and architectural detail at a time of growing imperial interest in the region. – Boards slightly soiled, photos with a few small spots, light surface scuff marks, otherwise in very good condition.
India
Portraits of maharajas and rulers of India
Los 4055
Ergebnis (inkl. Aufgeld) *
6.250€ (US$ 7,102)
Photographers: Samuel Bourne (1834-1912) and Charles Shepherd (active 1850s-1870s). Portraits of maharajas and rulers of India. Circa 1875. 50 carte-de-visite albumen prints, mounted to original studio boards. Each ca. 10 x 7 cm. Most with photographer's logo on mount recto/verso; inserted in gilt-edged album window mats and bound in tooled full-leather album.
This remarkable album brings together fifty carte-de-visite portraits of Indian rulers, nobles, and officials, taken circa 1875 by the British photographers Samuel Bourne and Charles Shepherd. Compiled at the height of the British Raj, the collection offers an expansive survey of the political and dynastic landscape of princely India in the late 19th century. The portraits document a broad cross-section of regional powers - from major princely states to smaller, less documented territories - highlighting the diverse forms of leadership and governance that coexisted under British colonial rule. Often presented in official dress and courtly bearing, the individuals depicted reflect both the ceremonial authority and diplomatic stature associated with their positions.
We extend our gratitude to Joachim K. Bautze for the identification of the sitters.
The portraits include Nawab Kalb Ali Khan of Rampur; Maharaja Prithvi Singh of Kishangarh, Nawab Zorawar Muhammad Khan, Diwan of Palanpur; Maharaja Mansingh Rammalsingh of Dharangdhara / Dhrangadhra; Maharaja Rajendra Keshwar Singh of Bettiah; Maharao Shivdan Singh of Alwar; Nawab Mahabat Khan of Junagarh; Maharana Gambhir Singhji of Rajpipla; Nawab Muhammad Ismail Khan of Jaora; Maharaja Vakathsingh Dalelsingh of Lunawada; Shrimant Jaisinghrao Narayanrao Ghatge of Kagal Senior state; Shrimant Raghunath Sawant of Sawantwarree / Sawantwadi; Raja Gangadharrao Patwardhan of Miraj senior state; Maharana Banesingh Jaswantsingh of Wankaner; Maharaja Jung Bahadur, Prime Minister of Nepal; Sultan Kaikhusrau Jahan, Begum of Bhopal; HH Jaipur, Sawai Ram Singh; HH Mandi; Sir Pratap Singh, Maharaja of Idar, Regent of Jodhpur; Maharawal Jit Singhji of Chhota Udaipur; Maharaja Jaswant Singh of Bharatpur; Maharaja Hira Singh of Nabha; Amir Sher Ali Khan, Emir of Afghanistan; Raja Pratap Singh Bhawani Singh of Santrampur; Raja Raghuraj Singh of Rewa; Maharaja Sayajirao Gaekwad of Baroda; Vijayarama Gajapati Raju III, Maharaja of Vizianagram; Raja Hariharrao Lakshmanrao Patwardhan of Miraj Junior state; Shrimant Ram Chandra Rao Gopal of Jamkhandi; Raja Lakshman Singh of Shahpura; HH Faridkote; Thakur Waghji Ravaji of Morvi; Maharao Umed Singh II of Sirohi; Thakur Jaswantsingh Fatehsingh of Limbdi; Maharawal Mansinghji II of Baria; Maharaja of Bhavnagar; Dhundirajro Chintamanrao Patwardhan of Sangli; HH Jamnagar; Anand Rao Puar III, Maharaja of Dhar; Nawab Bismillah Khan Babi of Radhanpur; Maharaja Sir Ishwari Prasad Narayan Singh of Benares; Thakur Baojiraj Mehramanji of Rajkot; HH Faridkot and Sir Tanjore Madhav Rao, Diwan of Baroda. – A few faded, otherwise in very good condition.
India
H. H. the Rajah Saheb Narayan Rao Puar of Dewas-Junior
Los 4056
Ergebnis (inkl. Aufgeld) *
375€ (US$ 426)
Photographer unknown. H. H. the Raja Saheb Narayan Rao Puar of Dewas-Junior (1860-1892). 1880s. Albumen print, mounted to board. 25 x 18 cm. Number "2418" in lower area in the negative.
Some light surface irregularities, otherwise in very good condition.
Photographer: Uchida Kuichi (1844-1875). Nagasaki Harbor. 1872. Four-part, hand-colored albumen print panorama. 20 x 102,5 cm.
This rare hand-colored panorama of Nagasaki Bay, attributed to Uchida Kuichi, exemplifies the photographer’s refined approach to large-format topographic views during the early Meiji period. A leading figure of early Japanese photography, Uchida was renowned for his portraits of Emperor Meiji and for producing meticulously composed images for both Japanese elites and foreign clientele. Likely taken from Mt. Kazagashira, the view captures Nagasaki at a pivotal moment of transformation, with steamships in the harbor and a recently constructed factory visible at the right. Another copy of this panorama is in the collection of the Tokyo Photographic Art Museum. – Some minor scuff marks and minimal creases, as well as small surface loss to the upper left corner; otherwise a strong and finely colored print in near excellent condition.
Lit.: Terry Bennett. Photography in Japan: 1853-1912. North Clarendon, VT: Tuttle Publishing, 2006, ill. p. 80.
[*]: Regelbesteuert gemäß Auktionsbedingungen. [^]: Ausgleich von Einfuhr-Umsatzsteuer.
* Alle Angaben inkl. 25% Regelaufgeld ohne MwSt. und ohne Gewähr – Irrtum vorbehalten.
Galerie Bassenge
Erdener Str. 5A
14193 Berlin
Öffnungszeiten:
Montag bis Donnerstag, 10–18 Uhr,
Freitag, 10–16 Uhr
Telefon: +49 30 8938029-0
Fax: +49 30 8918025
E-Mail: info (at) bassenge.com
Impressum
Datenschutzerklärung
© 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