Konrad Adenauer in Cadenabbia. 1963. Vintage gelatin silver print on Agfa paper. 30 x 21,2 cm. Signed, titled and dated by the photographer in pencil and agency stamp on the verso.
Slight edge wear, corners bumped, otherwise in good condition.
Provenance: Directly from the photographer to the present owner.
McBride, Will
Russische Panzer gegenüber amerikanische in der Friedrichstr.
Los 4244
Ergebnis (inkl. Aufgeld) *
1.250€ (US$ 1,344)
"Amerikanische und russische Panzer stehen sich gegenüber, Berlin Friedrich Str.". 1961/printed later. Large-format gelatin silver print. 33,5 x 50 cm (50,5 x 60,7 cm). Signed, titled and dated by the photographer in pencil on the verso.
A few light handling marks/dents, otherwise in very good condition.
Provenance: Directly from the photographer to the present owner.
McBride, Will
Nach dem Licht schauen - Jungen beim Waschen, Schule Schloss Salem
Los 4245
Nachverkaufspreis
1.900€ (US$ 2,043)
"Nach dem Licht schauen - Jungen beim Waschen, Schule Schloß Salem". 1963/printed 1990. Gelatin silver print. 54 x 36 cm (61 x 51 cm). Signed, titled and dated by the photographer in pencil, editioned 9/12 and collector's stamp on the verso.
Buckled, minimal indentation spot and light fold mark in mid area, only visible at an angle, otherwise in very good condition.
Lit.: Will McBride. I, Will McBride. Köln 1997, ill. p. 205 (variant).
McBride, Will
Schüler schmeißen Wasser beim Waschen, Schloß Schule Salem
Los 4246
Ergebnis (inkl. Aufgeld) *
2.500€ (US$ 2,688)
"Schüler schmeißen Wasser beim Waschen, Schloß Schule Salem". 1963/printed later. Gelatin silver print. 36,5 x 53,5 cm (51 x 60,5 cm). Signed, annotated, dated and numbered 12/12 by the photographer in pencil and collection stamp on the verso.
Minimally buckled, otherwise in near excellent condition.
Provenance: Directly from the photographer to the present owner.
Linda Evangelista modelling. 1998. Gelatin silver print on RC paper. 35,4 x 27,8 cm. Annotated in pencil on the verso.
Handling dents throughout, otherwise in good condition.
Provenance: From the photographer to the present owner.
"Paul and Willem de Kooning, East Hampton". 1983. Chromogenic print on Kodak Professional paper. 25,3 x 20,2 cm. Printed estate label on the verso, mounted to black board.
Linda McCartney received her first breakthrough as a photographer while working as an editorial receptionist at Town and Country magazine. She documented a Rolling Stones promotional event and the magazine was so impressed with her candid, intimate and relaxed photographs of the Rolling Stones, that they published her images in an editorial feature. This first magazine commission was followed by many more. In the mid-sixties McCartney chronicled the musical revolution of the decade. While working as the house photographer at the Fillmore East in New York City, she photographed many iconic musicians including: B.B. King, The Doors, Frank Zappa, The Beach Boys, The Who, The Kinks and Jimi Hendrix. Linda continued to work prolifically as a photographer throughout her life, documenting family life, landscapes and the natural world, interiors, social documentary and portraits of artists. Her work is in the National Portrait Galleries of both the UK and the USA. – A few light handling dents, otherwise in very good condition with bright colors.
Lit.: Wolfgang Suttner (ed.) Paul McCartney. Paintings. Ostfildern1999, ill. p. 13.
Still life with Gladiolas. 1982. Vintage Fresson print on matte double-weight paper. 40 x 27,4 cm (55 x 39,8 cm). Signed by the photographer in pencil and photographer's Sheila Metzner, Photographer, Michel Fresson-Print blindstamp in lower margin; annotated by the photographer in pencil (Artist Proof) on the verso.
Sheila Metzner's unique photographic style has positioned her as a contemporary master in the worlds of fine art, fashion, portraiture, still life and landscape photography. Born in Brooklyn, she attended Pratt Institute, where she majored in Visual Communications, and was then hired by Doyle Dane Bernbach advertising agency as its first woman art director. While raising five children she continued to take pictures. Gallery shows and commercial clients soon followed. Her first commercial client was Valentino, followed by Elizabeth Arden, Perry Ellis, Shiseido, Fendi, Saks Fifth Avenue, Paloma Picasso, Victoria's Secret and Revlon. – In near excellent condition.
Still life with tulips and orchids. 1992. Vintage Fresson print on matte double-weight paper. 41,5 x 62,6 cm (60 x 80 cm). Monogrammed by the photographer in pencil and photographer's Sheila Metzner, Photographer, Michel Fresson-Print blindstamp in lower margin; signed and annotated "one of a kind" by the photographer in pencil on the verso.
A few light handling creases in upper left margin, edges curled, otherwise in near excellent condition.
Selected images. 1925-1932/printed 1993-1994. 7 gelatin silver prints. Each between 26,7 x 20 cm and 28,4 x 20 cm (40 x 30 cm). Each monogrammed by Hattula Moholy-Nagy in pencil and with Griffelkunst edition text printed on the verso.
Images in this portfolio include: Untitled (Ascona), 1925; Untitled (La Sarraz), 1928; Berliner Funkturm, 1928; Untitled (Skandinavienreise), 1930/1931; Akt (positiv/negativ), 1931; Hamburg im Gängeviertel während der Reichspräsidentenwahl, 1932; Untitled (Blumenphotogramm) n.d. – Some handling creases, otherwise in very good condition.
Lit.: Laszlo Moholy-Nagy. Photographies, photomontages, photogrammes. Paris 1998.
Montgomery Barron, Jeannette
Francesco Clemente, N.Y.C.
Los 4252
Nachverkaufspreis
300€ (US$ 323)
Francesco Clemente, N.Y.C. 1981. 2 vintage gelatin silver prints. Each circa 22,5 x 23 cm (35,3 x 28 cm). Each with photographer's/copyright stamp on the verso.
One print with several creases in right side, otherwise in good condition.
Sandro Chia, N.Y.C. 1982. Vintage gelatin silver print. 23,2 x 22,5 cm. Photographer's/copyright stamp on the verso.
Light stain in upper edge, otherwise in good condition.
Mosbacher, Aenne
Views of Palestine and Jerusalem
Los 4254
Ergebnis (inkl. Aufgeld) *
1.500€ (US$ 1,613)
Views of Palestine and Jerusalem. 1935/36. 40 vintage photo postcards. Each circa 10,5 x 14,7 cm and reverse. Each with title in Hebrew and German, number and photographer's name in the negative in lower margin. In original silver paper envelopes (traces of use) with topic titles.
Aenne Mosbacher began photographing in the mid-1920s and took part in the "Film und Foto" exhibition in Stuttgart in 1929, showing six photographs. During a visit to Palestine she took a series of views of the landscapes, people and architecture. These views, which were meant to encourage Jewish people to relocate to Palestine, were printed and distributed in Germany to show Palestine as both historically interesting and as an economically prospering country. Photographs by Aenne Mosbacher are extremely rare and this series as a set with the original presentation envelopes is a true gem of photo history. – Most in excellent condition.
Lit.: Klaus Honnef/Frank Weyers. Und sie haben Deutschland verlassen müssen. Fotografen und ihre Bilder 1928-1997. Cologne 1997, see pp. 348-349.
Wolfgang Kemp/Floris Neusüss (eds.). Kassel 1850 bis heute. Fotografien in Kassel - Kassel in Fotografien. Munich 1981, see p. 198-99.
Mueller, Otto
The artist Otto Mueller and his wife Maschka
Los 4255
Ergebnis (inkl. Aufgeld) *
750€ (US$ 806)
Photographer: Max Glauer (1867-1935). The artist Otto Mueller and his wife Maschka. 1928. Vintage sepia-toned matte gelatin silver print. 21,5 x 16 cm. Photographer's blindstamp in lower left corner; annotated in ink/pencil on the verso, mounted along right edge in window mat.
Pinholes in corners and upper edge, a few surface scuff marks, traces of previous mounting on verso, otherwise a rich, tonal print in very good condition.
Newton, Helmut
Gianni Versace, Lake Como, Italy
Los 4256
Ergebnis (inkl. Aufgeld) *
1.875€ (US$ 2,016)
Gianni Versace, Lake Como, Italy. 1994. Vintage chromogenic print. 37 x 30 cm. Signed, dedicated and dated by the photographer in red marker in upper and lower margins, framed under glass in wooden frame.
A few handling dents, minimal soiling in lower margin, otherwise in very good condition with bright colors.
Photograms. 1925-1928/printed 1993. 6 gelatin silver prints. Each between 17,8 x 12,5 cm and 23,2 x 17,5 cm (29,8 x 23,5 cm). Each with estate stamp, signed in pencil by Peter Nerlinger and Griffelkunst edition text printed on the verso.
During the early 1920s, Oskar Nerlinger was part of the circle associated with Berlin's "Der Sturm" gallery. He co-founded the group "Die Abstrakten" in 1926. Pioneering photograms with tissue paper in 1925, his works from this period are offered in this collection, some of which were exhibited at the notable 'Film und Foto' exhibition in Stuttgart in 1929. – Some light foxing on some prints, otherwise in good condition.
Selected works. 1930-1947. 3 vintage gelatin silver prints. Between 9,4 cm x 3,4 cm and 9,2 x 7 cm. 2 mounted to original card, both signed, titled and dated in pencil and ballpoint pen and photographer's stamp on mount verso.
Dorothy Norman, though better known for her writing and humanitarian efforts, made a significant but understated contribution to photography during the 1930s to the mid-1950s. Influenced by her close relationship with Alfred Stieglitz, she began taking photographs in 1931, capturing personal and intimate moments rather than pursuing professional assignments. Despite working alongside prominent photographers such as Margaret Bourke-White, Norman never identified herself as a photographer. The works in this selection include "Hunter College, 1930," "Church Waquoit, Massachusetts, VI, 1933," and "Barn Door, Lake George, 1947." – Edges of prints slightly rubbed, one print with traces of previous mounting on verso, otherwise in very good condition.
Lit.: Miles Barth. Intimate Visions: The Photographs of Dorothy Norman. San Francisco, 1993. ill. p. 73, 146.
Maria Callas. 1959/printed 2013. Gelatin silver print. 38 x 25,7 cm (40,5 x 30,3 cm). Signed and dated by the photographer in pencil and photographer's stamp on the verso.
Whether Sophia Loren, Marlene Dietrich, Hildegard Knef or Maria Callas, Peter Nürnberg photographed an array of internationally acclaimed stars. The image offered here was taken during a moment in music history, when Maria Callas gave her first ever solo concert in Germany at the Hamburg Musikhalle, in May 1959. She sang five arias that evening. Perhaps it is the most visually impressive photo of this event, when Peter Nürnberg captured the star soprano on her way to the concert: wrapped in a fur coat, her gaze confident. The cap of the bellboy from the Hotel Atlantic in the background points to the location. – In excellent condition.
Landscape. Circa 1964. Vintage ferrotyped gelatin silver print on Agfa paper. 29 x 39,3 cm. Signed by the photographer in ink on verso.
Detlef Orlopp's body of photographic work is dedicated to the vivid diversity of landscapes and faces. In the mid-1950s, Orlopp studied at the School of Arts and Crafts in Saarbrücken under Otto Steinert. Initially, the experimental methods and artistic concepts of the initiator of “Subjective Photography” greatly influenced him. However, Orlopp soon began to develop his own approach, transforming the surface of the landscape into a constructed and reduced image, without losing sight of the object. Mountain formations, icebergs and water surfaces, but also faces, are the recurring motifs in his work. From 1961-2000 he taught as a professor at the Werkkunstschule Krefeld. – Creases in upper left, some handling marks/dents, small crease in lower right corner with small emulsion loss, otherwise in good condition.
Penn, Irving
Steinberg in Nose Mask, New York
Los 4262
Ergebnis (inkl. Aufgeld) *
15.000€ (US$ 16,129)
"Steinberg in Nose Mask, New York". 1966/printed 1968. Platinum palladium print on strong Arches paper. 46 x 38 cm (56,5 x 46 cm). Signed, titled, dated and numbered 9/36 by the photographer in pencil, several edition/copyright stamps on the verso.
Irving Penn's oeuvre is distinguished by its elegance, simplicity, and meticulous attention to detail. Across his fashion photography, portraiture, and still life compositions, Penn captured the essence of his subjects with a minimalist aesthetic, often employing stark backdrops to accentuate their presence. Beyond his celebrated portraits, Penn's pioneering techniques and commitment to craftsmanship have firmly established him as one of the most influential photographers of the 20th century. His depiction of the American caricaturist Saul Steinberg, wearing a paper bag over his head, demonstrates his knack for conveying personality and intellect through unconventional means, highlighting not just the physical absence of Steinberg's face but also hinting at his inner world and artistic spirit. Penn's mastery of the Platinum-Palladium printing process, renowned for its rich tonal range and archival durability, bestowed his photographs with depth and a unique quality that continues to resonate within the realm of photography. Another print of this image resides in the esteemed collection of the Metropolitan Museum of Art. – Small backed tear in right margin, lower corner, otherwise a fine tonal print in near excellent condition.
Lit.: John Szarkowski. Irving Penn. The Museum of Modern Art, New York 1984, ill. pl. 143.
Irving Penn, Passage: A Work Record, New York 1991, ill. p. 158.
Sarah Greenough. Irving Penn: Platinum Prints, Washington, D.C. 2005, ill. pl. 43.
Magdalene Keaney. Irving Penn Portrait. London 2010, cover image.
Maria Morris Hambourg/Jeff L. Rosenheim. Irving Penn: Centennial. New York 2017, ill. pl. 183.
From the series "Transit". 1984. Fine art print. 24,3 x 30 cm (40,2 x 48 cm). Signed, dedicated and dated by the photographer in pencil on the verso.
A few light handling dents and light surface scuff marks, otherwise in very good condition.
Lit.: A. Ghandtschi/Mathias Harder (eds.). Hans Pieler / Wolf Lützen. Transit. Heidelberg 2014.
Platt Lynes, George
Nude against wall in oval
Los 4264
Ergebnis (inkl. Aufgeld) *
1.875€ (US$ 2,016)
Nude against wall in oval. Circa 1949. Vintage gelatin silver print. 23,4 x 19 cm. Annotated in pencil on verso.
Recognized today as one of the masters of 20th century photography, George Platt Lynes has influenced artists such as Robert Mapplethorpe and Herb Ritts. Although Lynes was commercially successful in New York fashion and portrait photography, his art practice is largely characterized today by his remarkable photographs of nude men, from the 1930s until his death in 1955. Inventive lighting, posing, and cropping techniques used within his carefully staged studio settings, enabled him to visually translate both the physical and psychological nuances of his subjects. – A few minimal nicks in edges, minimally buckled, otherwise in very good condition.
Photogram. Circa 1948. Vintage unique ferrotyped gelatin silver print. 17,2 x 12,2 cm. Mounted to board, signed by the photographer in pencil on mount verso, hinge-mounted in mat.
The American-Swiss photographer Allan Porter was also a journalist, editor, designer, and art director best known for his role as editor of Camera magazine. His eye for talent helped launch the career of many now-renowned photographers, namely Josef Koudelka, Stephen Shore and Sarah Moon amongst many others. Under his direction, Camera became one of the most important and widely read photography publications of its time, featuring the works of renowned photographers from around the world. – Some light surface scuffing, more visible at an angle, otherwise in very good condition.
Provenance: Christie's. Light, Volume and Form: Photographs from the Shalom Shpilman Collection, May 24-June 2, 2016, lot 77.
Potsdam
View from Jägerstr. to Charlottenstr. crossing, Potsdam
Los 4266
Nachverkaufspreis
500€ (US$ 538)
Photographer: Studio of Albrecht Meydenbauer (1834-1921). View from Jägerstr. to Charlottenstr. crossing, Potsdam. Circa 1900. Vintage gelatin silver print. 40 x 40 cm. Kgl. Pr. Messbild-Anstalt stamp, other stamps and annotated in pencil on the verso.
Messbild photographs are extremely accurate in their rendition of architectural detail; when the photograph is taken, the picture plane is 100% parallel to the object. Their accuracy allows architects to reproduce the true measurements of a building. – Oxidation mirroring in edges, some surface scuff marks, side edges curled, a few handling dents, a few small retouched spots, otherwise a tonal print in very good condition.
Lit.: Rudolf Meyer (ed.). Albrecht Meydenbauer. Baukunst in historischen Fotografien. Leipzig 1985.
Photogram. Circa 1931. Vintage unique ferrotyped gelatin silver print. 36 x 26,5 cm. Mounted along upper edge to mat.
Known for his experimental photographic work with light in the 1930s, the American modernist Edward Quigley started photographing at the young age of twelve. He joined the Photographic Society of Philadelphia in 1929, and opened his own studio a year later. He supported himself with innovative advertising and editorial work published regularly in magazines such as U.S. Camera and Photographie, while winning prizes in numerous salons for his experimental light abstractions, captured with the aid of prisms and lenses. Today, photographs by Edward Quigley are in the permanent collections of The San Francisco Museum of Modern Art, The Museum of Fine Arts, Boston, The Cleveland Museum of Art, and the Philadelphia Museum of Art. – Some light mirroring in upper portion, more visible at an angle, light dents in lower edge, light crease in upper edge near right, traces of previous mounting on the verso, otherwise in very good condition.
Provenance: Christie's. Light, Volume and Form: Photographs from the Shalom Shpilman Collection, May 24-June 2, 2016, lot 76.
Quigley, Edward W.
Building, New York
Los 4268 [*]
Ergebnis (inkl. Aufgeld) *
750€ (US$ 806)
Building, New York. 1932. Vintage gelatin silver print. 34,6 x 27 cm (49,2 x 40,2 cm). Mounted to board. Numbered 5860 in pencil and photographer's studio stamp on mount verso.
Edward W. Quigley's pioneering experiments with light abstraction distinguished him as a prominent modernist photographer of the 1930s. Quigley, however, also captured the essence of New York City through his lens, offering unique perspectives of its bustling streets, iconic landmarks, and vibrant energy. Despite being largely self-taught, Quigley's work garnered attention and acclaim, leading to exhibitions at prestigious institutions such as the J. Paul Getty Museum in Los Angeles and the Museum of Modern Art in New York City. – Small crease in right margin of print, some signs of retouching in upper right corner, otherwise in very good condition.
Rainer, Arnulf
From the series "Face Farce"
Los 4269
Ergebnis (inkl. Aufgeld) *
1.125€ (US$ 1,210)
From the series "Face Farce". 1970-71. Vintage ferrotyped gelatin silver print. 17,5 x 12,7 cm. Signed by the artist in ink in lower right.
Hardly any other artist has subjected himself to such relentless self-analysis in his works as Arnulf Rainer. In the transformations of his self in gestures and facial expressions with rigorous use of the body and in the overpainting of his images, he developed the principle of destruction as a strategy in the search for ever new forms. – Slight buckling in edges, a few handling marks, small nick in lower edge, otherwise in very good condition.
Gottfried Benn. 1956. 3 vintage ferrotyped gelatin silver prints on Agfa and Agfa-Brovira paper. Each circa 17,8 x 12,5 cm. Each with photographer's/copyright stamp on the verso.
A few small retouched spots, a few light handling dents, otherwise in good condition.
Günther Förg, Munich. 2001. Cibachrome print. 24 x 30 cm. Signed, titled, dated and dedicated by the photographer in ink on verso.
In very good condition.
Lit.: Dirk Reinartz. Künstler: 114 Porträts. Göttingen 1992, ill. unpaginated.
Resnick, Marcia
John Giorno, Laurie Anderson and William Burroughs, New York
Los 4272
Nachverkaufspreis
400€ (US$ 430)
John Giorno, Laurie Anderson and William Burroughs, New York. 1980. Vintage gelatin silver print. 22 x 32 cm (32,8 x 43,4 cm). Signed, titled and dated by the photographer in pencil below the image in the margin.
A native New Yorker, Marcia Resnick was part of the legendary Downtown art scene of the 1970s and 1980s. Her portraits of the era’s major cultural figures, such as Jean-Michel Basquiat, John Belushi and Susan Sontag, have contributed to the scene’s mythic status. – Slight surface soiling, otherwise in very good condition.
Resnick, Marcia
Peter Orlowsky, Gregory, Allen Ginsberg and William Burroughs at the Bunker, New York
Los 4273
Ergebnis (inkl. Aufgeld) *
500€ (US$ 538)
Peter Orlowsky, Gregory Corso, Allen Ginsberg and William Burroughs at the Bunker, New York. 1980. Vintage gelatin silver print. 32 x 22 cm (41,3 x 33 cm). Signed, titled and dated by the photographer in pencil below the image in the margin.
Buckling and creases in margins, tear in left edge, a few indentations in left area, otherwise in good condition.
[*]: 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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© 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