Photographers: James Anderson (1813-1877) & Goacchino Altobelli (1814-1878). Views of the Ponte Nomentano and the Ponte Rotto with the Capitol in the background. 1864-1870. 2 albumen prints. 23,8 x 35,8 cm and 27,7 x 36 cm. Both annotated and numbered in pencil on verso.
Minimal buckling as well as some light handling creases, otherwise in excellent condition.
Rome
View of the Capitol from the Forum Romanum; Trajan's Forum with Trajan's Column and the Church of Santa Maria di Loreto
Los 4063 [*]
Ergebnis (inkl. Aufgeld) *
688€ (US$ 739)
Photographers: James Anderson (1813-1877) and unknown. View of the Capitol from the Forum Romanum; Trajan's Forum with Trajan's Column and the Church of Santa Maria di Loreto. Circa 1865. 2 albumen prints. 29 x 40 cm and 30,2 x 38,8 cm. Both annotated and numbered in pencil on verso.
Minor buckling, handling creases and some discoloration, otherwise in good condition.
Photographer: Domenico Anderson (1854-1938). Views of Rome. 1890s-1900. Circa 108 albumen prints. Each circa 20 x 26 cm. Each with title and number and photographer's name in lower edge in the negative. Inserted in album board slits, bound in contemporary half leather album (some scratch marks, edges rubbed).
The son of the photography pioneer James Anderson (1813-1877), Domenico Anderson inherited his father's business and continued the firm in Rome. He is particularly known for his photographs of monumental architecture, Roman antiquities, church interiors, and religious art. After his death, his archive was acquired by the Fratelli Alinari archive in Florence. – Most prints with rich dark tones and in very good condition.
Salzmann, Auguste
Jerusalem, Mosqué d'Omar, coté Ouest
Los 4065
Nachverkaufspreis
1.200€ (US$ 1,290)
"Jerusalem, Mosqué d'Omar, coté Ouest". 1854. Salted paper print from paper negative. 23 x 33 cm. Mounted to original board, photographer's credit, title and publisher's name printed below the image on the mount. Printed by Blanquart-Evrard, framed under glass in wood frame.
Auguste Salzmann, born into a wealthy Alsatian family, embarked on a multifaceted career that intertwined painting, archaeology, and photography. His pioneering approach to using photography as a tool for archaeological research led him to Jerusalem in the mid-19th century, where he meticulously documented architectural details and excavation fragments, challenging prevailing scholarly debates. Salzmann's album "Jerusalem," published in 1856, stands as a testament to his harmonious blend of artistic vision and archaeological acumen, offering a visually rich and historically significant portrayal of the ancient city. – Minimal fading in left edge, a few very light spots in sky area, otherwise in very good condition.
Schliemann, Heinrich
Heinrich Schliemann
Los 4066 [*]
Ergebnis (inkl. Aufgeld) *
275€ (US$ 296)
Photographers: Samuel Lock (1822-1881) and George Whitfield (ca. 1832-1904). Heinrich Schliemann, from the series "Men of Mark". 1877. Woodburytype. 11,3 x 9 cm (27,2 x 20,5 cm). Titled and annotated on mount.
This portrait captures Heinrich Schliemann, the pioneering archaeologist celebrated for his excavations at Troy and Mycenae, which revolutionized our understanding of ancient civilizations. – Minimal buckling, otherwise in excellent condition.
Schopenhauer, Arthur
Portrait of Arthur Schopenhauer
Los 4067
Ergebnis (inkl. Aufgeld) *
3.000€ (US$ 3,226)
Photographer: Johannes Schäfer (1822-1885?). Portrait of Arthur Schopenhauer. 1859. Varnished albumen print. 16 x 13 cm. Flush-mounted to card, mounted in mat.
The portrait offered here is possibly mentioned in a letter from Gustav Brecht to Schopenhauer in 1859, where Brecht recalls the photographer Schaefer contacting Schopenhauer for consultation. The letter notes Brecht's instruction to avoid retouching Schopenhauer's face and to have Schaefer present the completed picture to him. Despite Schopenhauer's keen interest in photography's advancements, he favored older daguerreotypes over newer paper photographs, as he felt he appeared older in the latter. – Two pinholes near upper edge, some spots, upper left corner with some loss, a few rubbed spots, otherwise in good condition.
Sommer, Giorgio
Views of landscapes, sites and cities of southern Italy
Los 4068
Ergebnis (inkl. Aufgeld) *
625€ (US$ 672)
Views of landscapes, sites and cities of southern Italy. Mid-1850s. 19 albumen prints. Circa 19 x 25 cm and 6 cdvs and 4 cabinet format photos. Each mounted to card (some foxing).
Giorgio Sommer is celebrated for extensively documenting Italy's landscapes and archaeological sites, notably in Rome, Naples, and Pompeii. His photographs vividly capture Italy's cultural heritage, featuring iconic landmarks like the Colosseum, the Roman Forum, and the ruins of Pompeii, contributing significantly to the preservation and dissemination of Italy's rich history. Sommer's accomplishments in photography led to his appointment as the official photographer to King Victor Emmanuel II of Italy, solidifying his status as a prominent figure in the field.
– Some faded in edges, minimal surface scuffing, otherwise strong tonal prints in good condition.
The Colosseum. 1860s. Albumen print mounted to board (slightly stained). 28,2 x 38,2 cm (36,8 x 48,5 cm), Titled, numbered and photographer's name in negative in lower margin.
Some light oxidation along edges of print, otherwise a strong print in very good condition.
"Si traduce il francese". 1860s. Albumen print, 25,4 x 18,7 cm. Annotated by another hand in pencil on verso.
Some light creases, small tear in upper left corner, otherwise in good condition.
Lit.: Marina Miraglia, Daniela Palazzoli and Italo Zanner. Fotografia italiana dell'Ottocento. 1979. ill. p. 56.
Marina Miraglia, Pino Piantanida Ulrich Pohlmann and Dietmar Siegert. Giorgio Sommer in Italien: Fotografien 1857-1888. München, 1992. ill. p. 106.
Neapolitan woman. 1870s. Hand-colored albumen print. 25,4 x 19,7 cm (26,5 x 20,7 cm). With plate number in negative in lower margin, mounted to board.
Some creases, some buckling along edges of print, otherwise in good condition.
Sommer, Giorgio
Views of Naples, Pompeii and museum interiors
Los 4072
Ergebnis (inkl. Aufgeld) *
750€ (US$ 806)
Views of Naples, Pompeii and museum interiors. 1870s. 22 albumen prints. Each ca. 20 x 25 cm or reverse. Most with negative number and caption in the negative in lower edge.
Pressure marks from album slits in corners, some handling creases, some with fading in edges, otherwise in good condition and most with strong contrasts.
Lit.: Marina Miraglia/Pino Piantanida, et. al. Giorgio Sommer in Italien: Fotografien 1857-1888. Heidelberg 1992, ill. pp. 86, 88 and 135.
Switzerland
Souvenir album with views of Switzerland
Los 4073
Ergebnis (inkl. Aufgeld) *
438€ (US$ 470)
Various photographers. Souvenir album with views of Switzerland. 1860s-70s. Circa 181 albumen prints (most cdv and some cabinet cards) and 34 chromolithographs. Inserted in gilt-edged album window pages bound in full leather album (some scuff marks/scratches, edges rubbed), with gilt-stamped title Albert Jasse 1875.
This opulent album shows the main sights such as cities, landscapes and monuments of Switzerland, including some views of Northern Italy. The photographers include: F. Charnaux, R. Guler, N. Lotse, G. Sommer, F. Frith, A. Garcin, A. Gabler, R. Leuthold, Ad. Braun, R. Sohn, W. England, M. Vollenweider. – Some photos with surface scuff marks, otherwise with strong tones and in very good condition.
Syria & Palestine
Views of architecture in Syria and Palestine
Los 4074
Ergebnis (inkl. Aufgeld) *
375€ (US$ 403)
Photographer: A. Bonfils, S. Hakim and unknown. Views of architecture in Syria and Palestine. 1880s/90s. Circa 42 albumen and collotype prints. Most circa 25 x 21 cm and reverse. Some with photographer's name and/or title in the negative in lower corner, mounted to album boards (warped, soiling/foxing in edges), in contemporaray canvas portfolio with gilt-embossed title Photographien.
Some surface scuff marks, several faded, otherwise in good condition.
Unknown Photographer/James Holmes
Portrait of a woman
Los 4075
Nachverkaufspreis
300€ (US$ 323)
(English). Portrait of a seated young woman in fancy dress, holding a letter. Late 1850s. Vintage hand-colored salt print. Circa 14 x 11,5 cm. Signed by the painter J. Holms (sic) (1777-1860) in ink in lower right corner, flush-mounted to board, matted in contemporary red mat.
The painter and colorist James Holmes began attending the Royal Academy schools in 1796 and first exhibited at the Royal Academy in 1798. From 1798-1849 Holmes exhibited 21 paintings at the Royal Academy, including miniatures and portraits. In 1824 he became a founding member of the Society of British Artists, and a frequent exhibitor, chiefly in miniatures. – A few rubbed spots in edges, small loss in upper right corner, otherwise in excellent condition with very bright colors.
Unknown Photographer
Double studio portrait of two girls
Los 4076
Nachverkaufspreis
500€ (US$ 538)
Double studio portrait of two seated young girls holding hands. Early 1860s. Lightly hand-painted salted paper print. 21 x 17 cm. Flush-mounted to oval card (partially hand-colored with black crayon), in contemporary oval ornamental frame (34,5 x 30 cm).
Slight traces of use, otherwise a fine print in very good condition.
"Coffret á Bijoux de la Reine Anne d'Autriche"; "Cassette de Saint Louis 1226-1270". 1872/75. 2 vintage photochromes. Each circa 24 x 35 cm. Each sandwich-mounted in original mat (traces of use, corners slightly bumped, paper peeling) with gilt ornamental frame line, name of the photographer and title printed above/below the image.
These prints originate from the publication "Le Trésor Artistique de la France, Musée National du Louvre, Galerie d'Apollon." Vidal's early photochromes are prized for their rarity and historical significance, representing the earliest successful endeavor to reproduce objects in color with a remarkable three-dimensional quality that remained unmatched in subsequent color photography. Notably, they also mark the first instance of color illustrations being used in a photographic book, highlighting their pioneering role in the evolution of photography and publishing. – Both with minimal surface scuffing, one print with craquelure and small bubbles on left side, otherwise in good condition with vibrant colors.
Lit.: Helmut Gernsheim. Geschichte der Photographie. Berlin 1983.
Vidal, Léon
Plastron de la cuirasse du roi Henri II
Los 4078
Ergebnis (inkl. Aufgeld) *
500€ (US$ 538)
"Plastron de la cuirasse du roi Henri II". 1872/75. Vintage photochrome. 35 x 25,5 cm. Sandwich-mounted in original mat (traces of use, corners slightly bumped, edges toned) with gilt ornamental frame line, name of the photographer and title printed above/below the image.
This print originates from the publication "Le Trésor Artistique de la France, Musée National du Louvre, Galerie d'Apollon." – Minimal surface scuffing/ irregularities, a few creases in left edge, otherwise in very good condition with vibrant colors.
Lit.: Helmut Gernsheim. Geschichte der Photographie. Berlin 1983.
Photographer unknown. Stephansdom, Vienna seen from the West. Mid-1870s. Mammoth albumen print. 56 x 77 cm (mount 68 x 88 cm). Mounted to board (soiled, some traces of use).
An unusually large print depicting St. Stephen's Cathedral in Vienna. In the foreground one can see the carriages of the Neue Wiener Omnibus-Gesellschaft which was founded in 1872. – Some surface scuff/scratch marks, horizontal line in upper area, water spot in mid area, otherwise in good condition.
Ahern, John
Model street scene with skyscrapers and cars
Los 4080 [*]
Ergebnis (inkl. Aufgeld) *
875€ (US$ 941)
Model street scene with skyscrapers and cars. 1930s. Vintage gelatin silver print. 36,2 x 29,3 cm (43,8 x 36,2 cm). Mounted to board (corners slighly bumped), signed in pencil on mount verso.
A London insurance broker by trade, John H. Ahern was a polymath with a fervent interest in railway modeling, vintage cars, and photography. A Fellow of the Royal Photographic Society, his photographs often blended realism and illusion in deceptively realistic landscape and street scenes. Ahern's keen eye for detail and storytelling through his images left a lasting legacy, earning him recognition as a revered figure in both the photography and hobbyist communities. – Some scuff marks, some silver mirroring along edges of print, otherwise a strong print in good condition.
Floral still life. 1927. Vintage fresson print on silver paper. 21,5 x 16 cm. Signed and dated by the photographer in silver ink in lower right corner, framed under glass with silk, silver lined window mat in silver frame.
Laure Albin-Guillot frequently utilized the Fresson technique in her work, particularly for her floral and nature images. Developed by Théodore-Henri Fresson, the Fresson technique involves printing photographs using carbon pigment, resulting in rich blacks and subtle tones. This method endowed Albin-Guillot's photographs with a velvety surface and grainy texture, evoking the fine pictorialist quality characteristic of her compositions. – In very good condition.
Alpine Landscapes
Views of Brixsdal glacier, Norway
Los 4082
Nachverkaufspreis
300€ (US$ 323)
Photographer: Hans Breuer (1869-1961). Views of Brixsdal glacier, Norway. 1928. 2 vintage gelatin silver prints. Each circa 28 x 20 cm. One with photographer's blindstamp in lower right; each with photographer's stamp and annotated in pencil on the verso.
One photo with backed creases in corners, each with mirroring in dark areas and edges, otherwise in good condition.
"Lorna la rue". 1995. 9 chromogenic prints. Each circa 39 x 50,5 cm. Each signed and editioned 8/15 by the photographer in ink on the verso. In orignal green linen clamshell box with silver embossed title on cover, with numbered cover sheet (15+4 AE), Fleet Edition, Hamburg.
In near excellent condition.
Bondage. Circa 1990. Chromogenic print on Fujicolor Professional paper. 21 x 30,2 cm. Signed by the photographer in silver marker lower right. Mounted in mat window.
Nobuyoshi Araki's work is characterized by its provocative and often controversial exploration of themes such as sexuality, intimacy, and desire. His extensive oeuvre includes a wide range of subjects, from Tokyo street scenes to explicit bondage-inspired photographs, challenging societal norms and boundaries. – A few minimal handling dents, otherwise in near excellent condition.
Lit.: Nobuyoshi Araki. Araki. 40th Edition Cologne 2022, ill. unpaginated.
Applied Arts Exhibition, Monza
German designed objects at the International Applied Arts exhibition, Monza
Los 4085
Ergebnis (inkl. Aufgeld) *
813€ (US$ 874)
Photographer: Wanda von Debschitz-Kunowski (1870-1935) and unknown. German designed objects at the International Applied Arts exhibition, Monza. 1927. 19 vintage gelatin silver prints. Each circa 15,5 x 21,8 cm and reverse, some smaller. 2 with photographer's W. v. Debschitz-Kunowski, Wittenbergplatz 3a. stamp, 15 with Original-Foto durch die Leitung der deutschen Abteilung der Internationalen Kunstgewerbe-Ausstellung Monza 1927 stamp on the verso.
Wanda von Debschitz-Kunowski was one of the founding members of the "Deutscher Künstlerbund" (German Artists Association) in 1903, where she played a crucial role in promoting photography as a legitimate art form alongside painting and sculpture. Alongside her husband, Adolf Debschitz, she taught at the "School of Photography" in Munich, shaping the discourse around photography and its creative potential. – Some with bumped corners, some with mirroring in edges/corners, otherwise in good to very good condition.
Provenance: Robert Lebeck Collection
Architecture
Housing complex on the beach of Hoek van Holland
Los 4086 [*]
Nachverkaufspreis
300€ (US$ 323)
Photographer: Evert Marinus van Ojen (1886-1964). Housing complex on the beach of Hoek van Holland, designed by J.J.P. Oud (1890-1963). 1927. Vintage gelatin silver print. 15,2 cm x 22,2 cm. Annotated in pencil on verso.
Designed by J.J.P. Oud in the early 1920s, the housing complex on the beach of Hoek van Holland, known as the "Strand Wijk" (Beach District), is a significant example of Dutch modernist architecture. Intended for workers and their families, the complex emphasizes simplicity and functionality, incorporating modern architectural principles derived from the De Stijl movement and fostering community through integrated green spaces and communal areas. Today, it stands as an important landmark in Dutch architecture, attracting visitors interested in modernist housing concepts. – Small crease in lower right corner, some surface irregularities on recto and a few small traces of white paint on verso, otherwise in good condition.
Lit.: Ludwig Hilberseimer. Groszstadtarchitektur. Stuttgart 1927, ill. p. 45, pl. 94.
Ludwig Hilberseimer. Internationale neue Baukunst im Auftrag des Deutschen Werkbundes. Stuttgart 1928, ill. p. 10.
Walter Dexel. Das Wohnhaus von heute. Leipzig 1928, ill. p. 69, pl. 46.
Siegfried Giedion. Befreites Wohnen: 86 Bilder. Zürich and Leipzig 1929, ill. p. 35.
Martien DeVletter, Ed Taverne and Cor Wagenaar, J.J. P. Oud 1890-1963: The Complete Works. Amsterdam 2001, ill. p. 266.
Architecture
Housing projects in Brno
Los 4087 [*]
Ergebnis (inkl. Aufgeld) *
500€ (US$ 538)
Photographer: Rudolf Sandalo Jr. (1899–1958). Housing projects in Brno, designed by Bohuslav Fuchs (1895-1972), 1926-27. 2 vintage gelatin silver prints. 12,3 x 23,2 cm and 22,4 x 16,7 cm. Each with photographer's studio stamp, typewritten caption and architect's name stamped on verso. Hinge-mounted to board.
Rudolf Sandalo Jr., the proprietor of Atelier de Sandalo, established himself as a prominent figure in architectural photography, particularly renowned for capturing Czechoslovakian functionalist architecture of the 1920s and 1930s. His studio, initially focused on portrait photography, gained international acclaim under his leadership, producing iconic images of buildings like the Villa Tugendhat by Mies van der Rohe. Sandalo's meticulous compositions skillfully highlighted the structural and aesthetic qualities of modernist designs, shaping the perception of architecture both locally and abroad. – Some creases and minor surface irregularities, some traces of previous mounting, otherwise in good condition.
Architecture
German Pavilion at the World Exhibition in Barcelona
Los 4088 [*]
Ergebnis (inkl. Aufgeld) *
4.750€ (US$ 5,108)
Photographer: Sasha Stone (1895-1940). German Pavilion at the World Exhibition in Barcelona, designed by Ludwig Mies van der Rohe (1886-1969). 1928-1929. 2 vintage gelatin silver prints. 15,8 x 23 cm and 16 x 22,2 cm. One with Berliner Billd Bericht copyright stamp on verso; the other with Mies van der Rohe studio stamp, Berliner Billd Bericht copyright stamp and annotated in black ink on verso. Each hinge-mounted to mat.
Originally commissioned by Dr. Erich Raemisch on behalf of Deutsche Seide, Sasha Stone's photographs of the Barcelona Pavilion play a crucial role in capturing the essence of Ludwig Mies van der Rohe's architectural masterpiece, which was rebuilt in 1986 after its original demolition shortly after the 1930 World Exhibition. Serving as visual ambassadors, these images not only document the Pavilion's groundbreaking design and elemental aesthetics but also perpetuate Mies' vision of ideal architecture. These photographs were instrumental in driving the reconstruction campaigns of the Barcelona Pavilion, ensuring its legacy as a pioneering example of modern architecture. – Edges of prints slightly rubbed, some traces of previous mounting on verso, otherwise in good condition.
Architecture
Fallingwater, designed by Frank Lloyd Wright, Bear Run, Pennsylvania
Los 4089
Ergebnis (inkl. Aufgeld) *
1.875€ (US$ 2,016)
Photographer: Ezra Stoller (1915-2004). Fallingwater, designed by Frank Lloyd Wright, Bear Run, Pennsylvania.1935. Vintage gelatin silver print 1963. 26,3 x 20,2 cm. Photographer's studio stamp and layout/number notations in pencil/black crayon on the verso.
This photograph joins two of the most influential and important architects and architectural photographers of American Modernism. In his impressive photographs Ezra Stoller captured structures that have shaped the cultural memory of the equally iconic structures they document. Shooting both in color and black-and-white, Stoller was exceptionally attuned to the buildings and spaces he photographed, framing them with precise attention to vantage point, lighting conditions, and the unique qualities of their form. The architect Frank Lloyd Wright was known for his innovative and organic structures and Fallingwater is considered one of his most important projects. – Corners bumped and with a few small creases, some handling dents/indentations, otherwise in very good conditioin.
Auto Union
Auto Union streamlined racing car
Los 4090
Ergebnis (inkl. Aufgeld) *
688€ (US$ 739)
Photographer unknown. Auto Union streamlined racing car type C. 1937. Large-format vintage gelatin silver print. 30 x 39,5 cm. In original mat.
The evocative design of the new 1937 Auto Union Type C Streamline racing car caused quite a stir on the auto scene. This car was specially designed for top speeds on the Avus racetrack in southwest Berlin. Bernd Rosemeyer, one of the most popular race car drivers of his time, drove this model and was killed in a racing accident in 1938 when a gust of wind caused his car to overturn at high speed. – Minimal mirroring in dark areas, minimal toning in edges, otherwise in very good condition.
(Attributed to). Car images. 1930s. 2 vintage gelatin silver prints. 18 x 24 cm and 15,5 x 22 cm. 1 annotated on the verso.
One image shows the front of the service car of the Persian Embassy, Berlin. – Some mirroring in dark areas, otherwise in very good condition.
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* 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