Joseph Beuys. 1965. Gelatin silver print, printed 2015. 47,7 x 31 cm (sheet 51,2 x 40,5 cm). Signed, titled and dated in black ink in lower margin; annotated, dated and editioned "1/3" by the photographer in ink on the verso.
This photograph by Walter Vogel shows Joseph Beuys during his performance "Wie man dem toten Hasen die Bilder erklärt" (How to Explain Pictures to a Dead Hare) at the Galerie Schmela in Düsseldorf, 1965.
Literatur: Walter Vogel. Werkverzeichnis 1950-2010. Düsseldorf, 2009, ill. p. 26.
Surface of the Moon. 1964-1968. 30 vintage gelatin silver prints. Each 21 x 21 cm. Each with detailed information on the photograph’s date, moon phase, and location printed on label on the verso.
The collaborative lunar photography project by Adolf Voigt and Hans Giebler represents a significant contribution to astronomical imaging during the height of the space race. Using the 12-inch Bamberg-Refractor telescope at the Wilhelm Foerster Observatory, they captured detailed images of the moon’s surface with a custom-built camera, meticulously documenting its various phases.Their systematic approach, of recording the moon across a full lunation and annotating each image with detailed observational data, resulted in a comprehensive visual record that later formed the basis of the Berliner Mondatlas. The combination of scientific rigor with photographic clarity, render these images not only as important tools for observation, but also reflect the broader cultural fascination with lunar exploration in the years leading up to the Apollo missions.
WB 1 (from the series "Eingebrannte Bilder"). 1999. Gelatin silver print. 30 x 40 cm. Signed and dated by the photographer in pencil on the verso.
Since the 1990s, Ernst Volland has focused on the artistic reinterpretation of historical photographs and iconic images from contemporary history. His series "Eingebrannte Bilder" (Branded Images), developed over several years and exhibited at the German Historical Museum in Berlin, transforms familiar photographs embedded in Germany’s collective memory. By deliberately blurring and distorting these images, Volland challenges viewers to confront their visual assumptions, turning once recognizable scenes into enigmatic visual puzzles.
H & S (from the series 'Eingebrannte Bilder'). 2000. 2 gelatin silver prints. 38,6 x 25,3 cm (sheet 40,6 x 30,2 cm). Each signed, titled and dated by the photographer in pencil on the verso.
Literatur: Ernst Volland. Eingebrannte Bilder: Plakate, Cartoons, Buntstiftbilder, Fakes, Dokumente. Berlin: Hirnkost, 2018, ill. p. 49.
Cuyahoga Furnaces (Cleveland, Ohio). Late 1940s. Vintage large-format gelatin silver print, mounted to board. 48,8 x 39 cm. Signed and titled by the photographer in pencil below the image on the mount; annotated in ink and 4 exhibition stamps on mount verso.
In 1953 Doris Martha Weber was awarded the "Stuyvesant Peabody Memorial Award for the Greatest Service to Pictorial Photography" by the Photographic Society of America. Five of her industrial images are in the collection of the Smithsonian Institute. Her atmospheric work is exemplary of 1940s American industrial photography.
Provenienz: The estate of the photographer
Weegee
Brooklyn School Children see Gambler Murdered in Street
Los 4306
Schätzung
2.500€ (US$ 2,841)
Brooklyn School Children See Gambler Murdered in Street. 1941. Vintage ferrotyped gelatin silver print, hinge-mounted to overmat. 20,5 x 25,2 cm. Photographer’s stamp, 2 Museum of Modern Art labels/stamps pertaining to the Prints from the Photography Collection exhibition, August 6-24, 1952, and annotated in pencil on the verso. Framed under glass in wooden frame.
Weegee, born Arthur Fellig, was a prolific photojournalist known for his stark, unflinching images of crime scenes, urban life, and street culture in 1930s and 1940s New York City. Often arriving at scenes before the police, thanks to his self-installed police radio, he captured raw, flash-lit photographs that combined documentary immediacy with a gritty, noir aesthetic. His work not only defined an era of tabloid photography but also offered a visceral portrait of the city’s underbelly, blending sensationalism with a distinct visual style.
Literatur: Weegee (Arthur Fellig). Weegee’s New York: Reportagen eines legendären Photographen 1935-1960. Munich: Schirmer/Mosel, 2000, ill. p. 177 (there titled Their First Murder and dated ca. 1936).
Car wreck. 1930s. Gelatin silver press print. 18 x 22,8 cm. Annotated in black ink on the verso; with “Arthur Fellig, 5 Centre Market Place, New York City” copyright stamp (partly obscured by later agency label).
In his early work of the mid– to late 1930s, Weegee repeatedly turned his camera toward the aftermath of car crashes, treating them as both news events and stark urban tableaux. Photographed with harsh flash - often at night and within minutes of the incident - these images capture twisted metal, shattered glass, and the raw immediacy of catastrophe with an almost forensic clarity.
Zersprengte Form (hand-colored Lichtgraphik). 1972. Unique vintage large-format gelatin silver print on photo canvas, mounted to board. 58 x 41 cm (mount 65 x 49,6 cm). Signed, titled, and dated by the photographer in pencil in the lower margin.
Kurt Wendlandt was a multifaceted artist - active in painting, printmaking, photography, writing and illustration - who emerged as a highly creative figure in postwar West Germany. After studying at the State Academy of the Arts from 1937 to 1943, his practice was briefly interrupted by a war injury, but he resumed his artistic work after World War II. In 1958, he began experimenting with transparent materials, leading to his first Lichtgraphiken. His close friendship with Heinz Hajek-Halke placed both artists at the forefront of Berlin’s avant-garde Lichtgraphik movement in the 1960s. Though his work remained largely outside the commercial art world, Wendlandt’s light graphics and other creations are now held in numerous public and private collections.
Provenienz: The estate of Kurt Wendlandt
Erscheinung II (Lichtgraphik, Solarization). 1973. Unique vintage large-format gelatin silver print on photo canvas, mounted to board. 58 x 41 cm (mount 50 x 54,7 cm). Signed and titled by the photographer in pencil below the image on the mount.
Provenienz: The estate of Kurt Wendlandt
Evelyn Richter in Neukirch. 2000. Gelatin silver print on RC paper. 22,8 x 16 cm (sheet 27,8 x 21 cm). Signed, titled and dated by the photographer in pencil on the verso.
Marion Wenzel, a graduate of the prestigious East German Academy of Fine Arts Leipzig, has dedicated much of her photographic practice to capturing the profound transformations in the landscape, caused by coal mining in southern Leipzig since the early 1980s. In the present portrait she captures the photographer Evelyn Richter whose work played a formative role in GDR photography.
Ruhrkohle (Zeche im Ruhrgebiet). 1950s. Vintage ferrotyped gelatin silver print on Agfa paper, hinge-mounted along the upper edge to mat. 28,8 x 23 cm. Photographer’s stamp and annotated in marker/pencil on the verso.
Ludwig Windstosser is best known for his precise and visually refined photographs of architecture and the built environment. His work focuses on structural form, material, and spatial relationships, often isolating details to emphasize clarity and composition. Combining documentary intent with a strong formal sensibility, his images offer a considered view of architectural space in Germany and beyond.
Winogrand, Garry
Berverly Hills, California from the series 'Women are Better Than Men. Not Only Have They Survived, They Do Prevail'
Los 4312 [*]
Schätzung
1.200€ (US$ 1,364)
Beverly Hills, California from the series "Women are Better Than Men. Not Only Have They Survived, They Do Prevail". 1980. Gelatin silver print, printed 1982. 22,5 x 33,5 cm (sheet 28 x 35,5 cm). Signed by the photographer in pencil on the verso. From the portfolio of the same title, D.E.P. Editions Inc., New York 1982. Edition of 75.
Garry Winogrand’s "Women Are Better Than Men. Not Only Have They Survived, They Do Prevail" is a series taken between 1969-1980, demonstrating his mastery of candid street photography and his focus on the evolving roles of women during a transformative era in American culture. The series celebrates women’s individuality, aligning with its evocative title that suggests a commentary on gender dynamics. It remains a compelling document of its time, reflecting both Winogrand’s artistic vision and the evolving discourse on gender and society in the late 20th century. A print of this image is in the Whitney Museum of American Art, New York.
Winogrand, Garry
Berverly Hills, California from the series 'Women are Better Than Men. Not Only Have They Survived, They Do Prevail'
Los 4313 [*]
Schätzung
1.200€ (US$ 1,364)
Beverly Hills, California from the series "Women are Better Than Men. Not Only Have They Survived, They Do Prevail". 1980. Gelatin silver print, printed 1982. 22,5 x 33,5 cm (sheet size 28 x 35,5 cm). Signed by the photographer in pencil on the verso. From the portfolio of the same title, D.E.P. Editions Inc., New York 1982. Edition of 75.
Im Schatten des Umpires. 1929. Vintage ferrotyped gelatin silver print. 17,4 x 24,2 cm. Photographer's "Frankfurt am Main" stamp and "Schostal" label on the verso. Hinge-mounted along upper edge to mat.
The German photographer Dr. Paul Wolff is renowned for his pioneering role in advancing modern photographic techniques, particularly in the use of the Leica camera. A master of lighting and composition, he contributed to defining the aesthetics of 20th-century photography through both his portraits and dynamic reportage. His innovative vision and technical expertise left a lasting impact on the development of modern photography.
Wolff, Dr. Paul
Locomotives at Frankfurt main train station
Los 4315
Schätzung
1.500€ (US$ 1,705)
Locomotives at Frankurt main train station. 1929. Vintage ferrotyped gelatin silver print. 17,5 x 23,9 cm. Photographer's "Frankfurt am Main" stamp and "Wiener Photo-Kurier" stamp on the verso.
Wüst, Ulrich
DV Bahnhof von Wendisch-Priborn in Mecklenburg; Building front
Los 4316
Schätzung
800€ (US$ 909)
DV Bahnhof von Wendisch-Priborn in Mecklenburg / Building front. 1980. 2 vintage gelatin silver prints. 24 x 36 cm (sheet 28,2 x 39 cm). Each signed, 1 titled, dated, and dedicated by the photographer in pencil in the lower margin.
Ulrich Wüst visually captured the urban landscapes and architectural motifs of the former GDR with exceptional detail and nuance. His photographs, characterized by stark compositions and muted tones, serve as poignant reflections on the built environment and societal dynamics of East Germany during the Cold War era. Wüst's work offers a compelling visual narrative, referencing the complexities of history, memory, and social transformation within the urban fabric of the former GDR.
Berlin Mitte, Köpenicker Straße. 1995. Vintage large-format gelatin silver print. 32,5 x 46 cm (sheet 37,8 x 49 cm). Signed, titled and dated by the photographer in pencil on the verso.
Selected images. 1978. 4 vintage gelatin silver prints on Agfa paper, mounted in photo corners to black paper. Each ca. 27 x 18 cm (mounts ca. 30,2 x 23,8 cm). Each signed, and two dated, by the photographer in pencil below the image on the mount.
The Japanese photographer Gasho Yamamura developed a distinctive and highly poetic photographic language, often using extreme viewpoints and unconventional framing to produce images of striking, sometimes surreal intensity. His career was sadly cut short when he took his own life at the age of 47.
Hat fashion (Herpich). 1930s. Vintage ferrotyped gelatin silver print. 23,8 x 17,8 cm. Photographer's copyright stamp and "Schostal" agency label on the verso.
Yva (Else Neuländer-Simon) was one of the most successful fashion and commercial photographers in Germany during the interwar period. She opened her studio in Berlin in 1925, and collaborated with Heinz Hajek-Halke. Her work appeared in leading illustrated magazines such as Die Dame, Uhu, Elegante Welt, and the Berliner Illustrierte Zeitung, as well as in the landmark exhibition Film und Foto in Stuttgart in 1929. As a Jewish photographer, she was forced to close her studio in 1938, and was no longer permitted to work. In 1942, she and her husband were arrested and deported to a concentration camp, where she was murdered.
Industrial images (including 1 solarized print). 1960s. 5 vintage ferrotyped gelatin silver prints on Agfa-Brovira and Agfa-Brovira-Rapid paper. Each ca. 30 x 23 cm. 3 with photographer’s stamp and 1 annotated by the photographer in pencil on the verso.
Hartmut Zickmantel served as a photography lecturer at the Cologne Werkkunstschulen. The photographs in this group were likely taken in the 1960s as part of his commissioned work for DEMAG AG (formerly Jünkerather Gewerkschaft) in Jünkerath, located in the Eifel region.
Demonstration, Berlin. 1968. Vintage ferrotyped gelatin silver print on doubleweight paper. 30 x 39,7 cm. Signed by the photographer in felt-tip pen on the verso.
Günter Zint began his career in 1959 with an internship at the German Press Agency (DPA) in Frankfurt am Main, where he trained as a photojournalist and editor. He subsequently worked as a reporter for Quick and twen, spending time in Sweden and England before returning to Germany in 1964, and settling in Hamburg. From 1967 to 1971, he worked as a staff photographer for Der Spiegel, later continuing as a freelance photojournalist. Zint became particularly known for his photographs of musicians and bands at the Star-Club in Hamburg during the 1960s, capturing the energy of the emerging rock scene.
[*]: 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
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© 2026 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
© 2026 Galerie Gerda Bassenge