View of the former "von Hordt'sche Palais", Wilhelmstraße 69, at the corner of Unter den Linden. Early 1860s. Salted paper print with rounded corners. 16,8 x 20,5 cm. Mounted to board (strongly soiled).
Leopold Ahrendts began his career as a painter and lithographer in Dessau, eventually transitioning to photography in the mid-19th century. His photographic oeuvre encompassed urban landscapes and architectural views of Berlin, with an eye for composition and detail. His noteworthy contributions to the field earned him participation in international photographic exhibitions and widespread recognition as an architectural photographer. Between 1818 and 1834, the "von Hordtsche Palais," depicted in the image offered here, served as the Berlin residence of Ernst August (1771-1851), King of Hanover (1837-1851) and 1st Duke of Cumberland. Ernst August was married to Frederike of Mecklenburg-Strelitz, the sister of Queen Luise of Prussia. Ernst August's son, later King George V, spent most of his childhood in this residence. The house remained in the state depicted in this image until 1868. when a third floor was added. – Minimal fading in edges, a few scuff marks, small spot in upper sky area, otherwise in very good condition.
Provenance: The estate of Ernst August von Hannover, 3rd Duke of Cumberland
Lit.: Galerie Berinson (ed.). With a text by Sigrid Schulze. Leopold Ahrendts und die Frühzeit der Photographie in Berlin. Berlin 2011.
Eberhard Mayer-Wegelin. Berlin als Residenzstadt. Photographien von Leopold Ahrendts 1854-1870. Munich 2018, ill. p. 161.
View of "Palais von der Osten" (built 1736), Unter den Linden 4. Late 1850s. Salted paper print with rounded corners. 19,5 x 16,3 cm. Mounted to board (soiled on verso, toning), annotated in ink in lower edge on mount.
As of 1835 the building depicted here belonged to Frederike von Hanover, the sister of Queen Luise of Prussia. After her death her husband, the Duke of Cumberland, sold it and the Ministry of Cultural and Medical Affairs moved into the building (demolished in 1883). To the right of the building the famous Hotel Royal can be seen, where the student Ferdinand Cohen-Blind checked in on May 5, 1866 and two days later, not far from the hotel, attempted to assassinate Otto von Bismarck. A later guest was Mark Twain, who stayed at the Hotel Royal on his third European tour in 1891. – A few light surface scuff marks in lower right, otherwise a strong print in very good condition with a strong reddish-brown tone.
Provenance: The estate of Ernst August von Hannover, 3rd Duke of Cumberland
Lit.: Sigrid Schulze. "Leopold Ahrendts, Photograph" in: Galerie Berinson (ed.). Leopold Ahrendts (1825-1870) und die Frühzeit der Photographie in Berlin. Berlin 2011.
Eberhard Mayer-Wegelin. Berlin als Residenzstadt. Photographien von Leopold Ahrendts 1854-1870. Munich 2018, ill. p. 159.
Amazonia / Koch-Grünberg Expedition
Portraits and ethnographical studies of inigenous people of the Amazon region
Los 4003
Schätzung
1.200€ (US$ 1,290)
Photographer: George Huebner (1862-1935). Portraits and ethnographic studies of indigenous people of the Amazon region. 1903-05. 4 vintage collodion paper prints. Various sizes, 16 x 11,3 cm, 13 x 9 cm and 11,3 x 9,3 cm. 2 with number in negative in upper left corner; each annotated in pencil/crayon on the verso.
The German ethnologist and explorer Theodor Koch-Grünberg made valuable contributions to the study of indigenous peoples in South America, particularly the Pemon Indians of Venezuela and indigenous peoples of Brazil in the Amazon region. Koch travelled with photographer George Huebner to document the people he studied. In 1906, he published photogravures of the individuals he encountered on the expedition in his monumental work "Indianertypen aus dem Amazonasgebiet nach eigenen Aufnahmen während seiner Reise in Brasilien" (1906). A written account of his trip, including his study of the Baniwa, was published in two volumes in 1910-11 under the title "Zwei Jahre Unter den Indianern. Reisen in Nord-West Brasilien, 1903-1905". His descriptions of Brazilian tribes, illustrated with photographs, are still utilized by anthropologists and ethnologists today. Two of the photographs offered here were most likely included in one of Theodor Koch's publications, as they have notations referring to illustration numbers on the verso. – A few light handling marks/surface nicks, otherwise strong prints in very good condition.
Views of the Colosseum, Rome. Circa 1853. 2 albumen prints. 20 x 43 cm and 28 x 36 cm. Each mounted to card, titled in ink below the image on the mount.
Born Isaac Atkinson in Blencarn, Cumberland, England, James Anderson initially pursued studying painting in Paris. In 1838, he relocated to Rome and embarked on a career in sculpture under the name James Anderson, which he kept professionally. Eleven years later, he ventured into photography, establishing a studio in Rome in 1853. He specialized in reproductions of works of art, publishing frequent catalogues of his work, but he also photographed views of Italy and antiquities. His work gained recognition among his peers, particularly for his depictions of Rome. Throughout the 1860s, Anderson exhibited extensively. Following his passing, his son Domenico assumed control of the studio, and it remained in the family's hands until the 1940s. – Some light surface scuffing, otherwise strong tonal prints in very good condition.
Lit.: Dorothea Ritter. Rom 1846-1870. James Anderson und die Maler-Fotografen, Sammlung Siegert, Munich 2005, ill. p. 28.
Anderson, James
View over theTiber with St. Peter's; View of Castel Sant'Angelo; View of Rome from Ripetta
Los 4005
Schätzung
1.500€ (US$ 1,613)
View over the Tiber with St. Peter's; View of Castel Sant'Angelo; View of Rome from Ripetta. Circa 1853. 3 albumen prints. Circa 23,5 x 36,5 cm, 32 x 40,5 cm and smaller. Each mounted to board, 2 with Spithöver blindstamp in lower right corner on mount.
Slight surface scuff marks, otherwise in good to near excellent condition with strong violet brown tones.
Lit.: Dorothea Ritter. Rom 1846-1870. James Anderson und die Maler-Fotografen, Sammlung Siegert, Munich 2005, ill. p.78.
Anderson, James
Views of St. Peter's Basilica, St. Peter's Square
Los 4006
Schätzung
1.200€ (US$ 1,290)
Views of St. Peter's Basilica, St. Peter's Square. Circa 1855/60. 2 albumen prints. 27 x 37 cm and 21 x 42 cm. Mounted to card, titled in ink below the image on the mount, 1 with Spithöver blindstamp in lower right corner on mount.
In near excellent condition with strong violet brown tones.
Anderson, James
Panoramic view of the Forum Romanum with St. Peter's Basilica and the Temple of Saturn
Los 4007
Schätzung
1.200€ (US$ 1,290)
(Attributed to). Panoramic view of the Forum Romanum with St. Peter's Basilica and the Temple of Saturn. Circa 1857. Albumen print. 21,4 x 42,5 cm. Mounted to board (small tear in upper edge), titled in ink below the image on the mount.
A few surface scuff marks, minimal foxing spot upper right, otherwise in near excellent condition with a strong violet brown tone.
Anderson, James
Views to the Capitol Hill from the Forum Romanum, the Temple of Castor and Pollux in the foreground
Los 4008
Schätzung
1.200€ (US$ 1,290)
(Attributed to). Views to the Capitol Hill from the Forum Romanum, the Temple of Castor and Pollux in the foreground. Mid-1850s. 2 albumen prints. 31 x 41 cm and 20 x 26 cm. Each mounted to card, titled in ink below the image on the mount.
One print with a few light spots in lower area, one with some surface scuffing in upper edge, otherwise strong tonal prints in very good condition.
Anderson, James
View of Basilica of Maxentius and ruins of the Imperial Palace (interiors)
Los 4009
Schätzung
1.000€ (US$ 1,075)
View of Basilica of Maxentius and ruins of the Imperial Palace (interiors). Mid-1850s. 3 albumen prints. 22,8 x 30,3 cm and circa 29 x 21 cm. Each mounted to card (some foxing), titled in ink below the image on the mount.
View of the Maxentius Basilica, seen from Palatine Hill. In the foreground one can see part of the Farnese Gardens, which were later destroyed in the course of further excavations. – Some minimal surface scuffing, otherwise strong tonal prints in near excellent condition.
Anderson, James
Views of the Palazzo Senatorio on the Capitoline Hill, Piazza del Populo, the Spanish Steps with Santissima Trinità dei Monti, Fontana di Trevi, Basilica San Giovanni in Laterano
Los 4010
Schätzung
1.200€ (US$ 1,290)
Views of the Palazzo Senatorio on the Capitoline Hill, Piazza del Populo, the Spanish Steps with Santissima Trinità dei Monti, Fontana di Trevi, Basilica San Giovanni in Laterano. Circa 1860. 5 albumen prints. Circa 30,5 x 39,5 cm, 27,5 x 35,5 cm and smaller. Mounted to card, 2 with Spithöver blindstamp in lower right corner on mount.
In good to excellent condition with strong violet brown tones.
Lit.: Dorothea Ritter. Rom 1846-1870. James Anderson und die Maler-Fotografen, Sammlung Siegert, Munich 2005, compare ill. p. 51 and 68.
Meta Sudans with Temple of Venus, Rome. Circa 1858/60. Albumen print. 31 x 41 cm. Mounted to board, Spithöver blindstamp in lower right corner on mount.
Slight surface scuff marks, otherwise in near excellent condition with strong violet brown tones.
Atget, Eugène / Pierre Gassmann
Boutique rue Ste Foy 26, Paris
Los 4012
Schätzung
800€ (US$ 860)
"Boutique rue Ste Foy 26, Paris". 1903-04/printed 1977 from the original negative. Brown-toned contact gelatin silver print on thin photographic paper. 17,8 x 23,7 cm. Copyright stamp Négatif de la collection des archives photographiques des monuments historiques of the Bibliothéque Nationale, Pierre Gassmann's signature stamp with the year 1977 on the verso.
In 1977, Pierre Gassmann reprinted some of Atget's negatives for an exhibition, yielding astonishing results. Numerous negatives by Atget contained far more details and contrasts than were discernible in his own prints. Gassmann emphasized that these prints revealed what Atget himself had observed while capturing his photographs, but that could not be fully realized with the printing techniques he employed at the time. – Slightly buckled in lower and upper edge, otherwise in excellent condition.
Fontaine des Innocents. 1860s. Albumen print mounted to board (light moisture stain on right margin). 27 x 21,4 cm (40,5 x 29,5 cm). With title, plate number and photographer's signature embossed in lower margin.
A fine tonal print in near excellent condition.
Trajan's Column. 1858. Albumen print mounted to board. 45 x 32, 8 cm (51 x 38 cm). Photographer's embossed studio logo lower left; photographer's studio stamp below image on mount.
Bisson Frères was a prominent photographic studio established by the brothers Louis-Auguste Bisson and Auguste-Rosalie Bisson in Paris during the mid-19th century. Specializing in architectural and landscape photography, the studio gained widespread recognition for its high-quality images, meticulous composition, and technical excellence. The Bisson brothers were renowned for their large-format photographs, capturing iconic landmarks such as cathedrals, monuments, and landscapes across Europe. They were particularly known for their breathtaking views of the Alps, which depicted the grandeur and majesty of the mountain range. – Some handling creases, some foxing, otherwise a fine tonal print in good condition.
Arch of Constantine. 1858. Albumen print mounted to board. 35,2 x 43,8 cm (42,4 x 48 cm). Photographer's embossed studio logo lower left; photographer's studio stamp below image and on verso of mount.
Some handling creases, some foxing, otherwise a fine tonal print in good condition.
Ascending Mont Blanc. 1859. Large-format albumen print. 22,5 x 37,5 cm. Photographer's FBF blindstamp in lower left corner, flush-mounted to board, framed under glass in wooden frame.
A strong print in very good condition.
Lit.: Die Brüder Bisson. Aufstieg und Fall eines Fotografenunternehmens im 19. Jahrhundert. Munich 1999.
Photographers: Émile de la Bédollière (1812-1883) and Ildefonse Rousset (1817-1878). Le Bois de Vincennes, Bound album with a total of 25 albumen prints from glass-plate negatives and a map of the Bois de Vincennes. Each between 7,5 x 10,2 cm and 15,2 x 21,5 cm (31 x 25 cm). The majority with printed caption on mount. With title, publisher information and illustration on frontispiece. Bound in green leather-backed cloth (edges/corners rubbed) with gold-embossed title and illustration on front cover as well as the coat of arms of the city of Paris embossed on back cover. A. Lacroix, Verboeckhoven et Cie., Paris, 1866.
"Le Bois de Vincennes" is an attractive folio album capturing the beauty of Paris's largest public park, created under Emperor Napoleon III. Featuring 22 full-page albumen prints by photographer Ildefonse Rousset, the album comprises picturesque scenes such as waterfalls, landscapes, and architectural wonders within the park, complemented by descriptive text by Émile de la Bédollière. Bound in original pebbled green cloth with gilt decorations, the publication offers a visual journey through the enchanting landscapes of Le Bois de Vincennes, making it a treasured collector's item for lovers of Parisian history and photography. – Some foxing of pages, some prints slightly faded, otherwise in good condition.
Bonfils, Félix
Panorama of Constantinople from the Fire Tower of Beyazit
Los 4018
Schätzung
750€ (US$ 806)
Panorama of Constantinople from the Fire Tower of Beyazit. 1869. Panorama consisting of 6 albumen prints, unmounted and unattached. Each circa 21 x 28 cm. Each with title and number 560-565 in lower edge and 2 photos with photographer's name in the negative.
Félix Bonfils established a successful photographic studio in Beirut, Lebanon, in 1867 and gained widespread recognition for his stunning vistas capturing landscapes, architecture, and daily life across the Middle East, including Egypt, Palestine, Syria, and Lebanon. This particular panorama of Constantinople shows a sweeping view of the city. – A few areas slightly rubbed/worn in corners, some nicks/small paper losses in edges/corners, some creases, slightly time-stained in upper edge, otherwise in good condition.
Group of Bhutanese people, Darjeeling. Circa 1868. Albumen print mounted to board. 23 x 28,8 cm (24,3 x 30,3 cm). Annotated in pencil on lower margin of mount.
This image, originally part of one of six albums compiled during Prince Albert Edward's tour of the Indian subcontinent in 1875-1876, portrays five Bhutanese men and two Bhutanese women engaged in various activities in front of a building's doorway. The women are shown plaiting reeds, demonstrating a traditional craft of Bhutan. King Edward VII acquired a print of this image while he was the Prince of Wales, making the photograph a valuable historical artifact that enhances our understanding of 19th-century diplomatic relations and cultural exchange in the region. – Some slight discoloration along edges of print, otherwise in excellent condition.
Flower study. Circa. 1855. Varnished salted paper print. 31,4 x 37,2 cm (37,2 x 43,3 cm).
Trained originally as a fabric designer, Adolphe Braun embarked on his photography career in 1853, initially focusing on capturing flowers for a catalog titled Fleurs photographiées, with the intention of incorporating them into wallpaper and fabric designs. This venture proved highly successful, earning him a medal at the 1855 Paris Exposition Universelle, and he even presented an album of the photographs to Empress Eugénie of France. By the early 1860s, Braun shifted his focus to creating topographical views across Europe and later expanded into reproductions of artworks, establishing his studio as one of the world's largest publishers of such images. – Some handling creases and smudging of mount, some discoloration along edges of print, otherwise in good condition.
Nike of Samothrace (Winged Victory). Circa 1900. 1 vintage carbon print, 1 toned gelatin silver print. 46 x 37 cm and 57,5 x 43,5. Each mounted to board (1 flush-mounted), 1 with photographer's stamp below image on mount (traces of use).
Carbon print with a few light surface scuff marks/scratches, gelatin silver print with slight edge wear and bumped corners, otherwise rich dark prints in very good condition.
Lit.: Ulrich Pohlmann/Paul Mellenthin (eds.).Adolphe Braun - ein europäisches Photographie Unternehmen, Munich 2017, compare ill. p. 323.
Portrait of Gioachino Rossini. 1862/printed 1876. Woodburytype. 23,8 x 19,1 cm (35 x 26,7 cm). Signed by Gioacchino Rossini in ink in lower right corner. "Galerie Contemporaine", "Cliché Carjat" and "Goupil et Co" copyright stamp on lower margin of mount.
Étienne Carjat was a French journalist, caricaturist, and photographer known for his numerous portraits of French political, literary, and cultural figures. Through Carjat's lens, Rossini's expressive features and commanding presence are vividly portrayed, reflecting his status as one of the most esteemed composers of the 19th century. Notably, this particular print is signed by Rossini himself. – Some light scratches on surface of print, otherwise in very good condition.
Lit.: Galerie Contemporaine Litteraire, Artistique. Vol.3. Paris, 1876, n.p.
Photographer: Alfred W. A. Plâté & Co. (active 1890s-1940s). Views of Ceylon. Circa 1890-1910. 15 platinum prints. Each circa 23,8 x 29 cm. Each with photographer's studio stamp and plate number on verso.
Plâté & Co's photographic collection of Ceylon offers a comprehensive portrayal of the island's landscapes, cultural landmarks, and daily life, capturing its diverse geography from temples and imperial grounds to gardens, plantations, and bustling markets, providing glimpses into the region's rich heritage and natural splendor during the late nineteenth and early twentieth centuries. This selection includes iconic sites such as the Temple of the Sacred Tooth (Sri Dalada Maligawa), Kandy Lake (Kiri Muhuda), the Royal Botanical Gardens, The Dutch Canal, the Pettah Market in Colombo, and various landscapes from Sri Lanka's central province, including scenes of Adam's Peak (Sri Pada). – Corners slightly bumped, a small tear on one print and some light foxing on others, otherwise in good condition.
Chile/Argentina
Views of the Strait of Magellan and Sierra de Cordoba, Argentina
Los 4024 [*]
Schätzung
600€ (US$ 645)
Photographer unknown. Views of the Strait of Magellan and Sierra de Cordoba, Argentina. 1860s. 2 albumen prints mounted to board. 10,7 x 17,9 cm and 14,4 x 20,4 cm (30,4 x 40,2 cm).
Some light buckling and smudge marks on mount, otherwise in very good condition.
Photographer: Désiré François Millet (active in Paris, France circa 1840-1868). Studio portrait of a woman. 1855. Half-plate daguerreotype with gilt oval surround with photographer’s name in lower right, newly sealed behind glass, original paper label and handwritten text in French in ink on verso.
Slight oxidation in edges, a few light scratches on plate, otherwise in good condition.
Photographer: Carl Ferdinand Stelzner (1805-1894). Portrait of a finely dressed young woman. Circa 1845. Nearly half-plate, gold-toned daguerreotype (image size circa 10,5 x 8 cm, plate size circa 15 x 11 cm). With ornamental paper surround, taped behind glass.
As of 1830, Carl Ferdinand Stelzner worked as a miniaturist and portrait painter alongside his wife in Hamburg. In 1842, Stelzner opened a studio with Hermann Biow, but the partnership was dissolved in 1843. Renowned for his fine compositions and vivid portraits, which hold both artistic and historical significance, Stelzner was considered one of the finest German portraitists of his time, also known for his excellent group portraits. – Minimal oxidation in side edges, a few spots on cover glass, a few small spots on plate, otherwise a clear strong image in very good, near excellent condition.
Lit.: Bodo von Dewitz/Fritz Kempe. Daguerreotypien (from the series Dokumente der Photographie 2, Museum für Kunst und Gewerbe, Hamburg). Hamburg 1983, see ill. pp. 84 and 95 for Stelzner daguerreotypes with same mats.
Daguerreotype
Studio portrait of a mother with her eight children, Hamburg
Los 4027
Schätzung
1.500€ (US$ 1,613)
Photographer: Carl Ferdinand Stelzner (1805-1894). Studio portrait of a mother with her eight children, Hamburg. Circa 1848. Quarter-plate, gold-toned daguerreotype (image size circa 7 x 6 cm, plate size circa 11 x 8 cm). With original ruled paper surround, taped behind glass, photographer's yellow paper label on verso (traces of use).
Minimal oxidation in edges, two oxidation spots on plate, otherwise a clear strong image in very good condition.
Lit.: Bodo von Dewitz/Reinhard Matz (eds.) Silber und Salz. Zur Frühzeit der Photographie im deutschen Sprachraum 1839-1860, exhibition catalog Agfa Foto-Historama Cologne/Heidelberg 1989.
Photographer unknown (German). Portrait of a mother and daughter. Late 1850s. Half-plate ambrotype (17,6 x 16,5 cm), framed under glass in later wooden frame, handwritten text on frame verso.
Some oxidation and time-staining in corners, some fingerprints, otherwise in good condition. With: A photographic reproduction of the offered ambrotype. 1870s. Albumen print. 7 x 6,5 cm. Mounted to card.
Photographer unknown (probably English). Portrait of a man in plaid suit. Circa 1850. Half-plate daguerreotype opened and newly sealed with paper tape, plate stamp 40 in lower left corner.
Some oxidation in edges and around former mat window, a few minimal spots on plate, a few light finger prints in upper right corner, otherwise in good condition.
Daguerreotype
Portrait of Rodolphe de Taub at the age of 20
Los 4030
Schätzung
600€ (US$ 645)
Photographer: Samuel Heer (1811-1889). Portrait of "Rodolphe de Taub at the age of 20". 1855. Sixth-plate daguerreotype, in original glass cover with gilt paper mat, paper taped, original paper backing with photographer’s logo and name, in original slipcase with stand prop.
Samuel Heer was a Swiss tinsmith turned photographer who played a pioneering role in the development of daguerreotypes in Switzerland during the 19th century. – A few spots on plate, otherwise in good condition.
[*]: Regelbesteuert gemäß Auktionsbedingungen. [^]: Ausgleich von Einfuhr-Umsatzsteuer.
* Alle Angaben inkl. 24% 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
© 2022 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