Photographer unknown. Images of the Yoruba tribe. 1910s. 26 vintage gelatin silver prints. Various sizes between circa 15 x 12 cm and smaller. Mounted to album pages and bound together in patterned canvas album with cord binding.
This album contains rare photographic documents of the settlement area of the Yoruba tribe in Nigeria and Benin (1910s), as well as some later photographs from the same area from the 1930s. The early photos show portraits of various chiefs or medicine men as well as cult objects and dance masks. – Some faded, otherwise in good condition.
Two German aviation documentation albums. 1920s-30s. Circa 248 vintage gelatin silver prints mounted to card, with typed and handwritten caption labels in German on the mounts. Various sizes between 8 x 10,5 cm, 12 x 17 cm and 7 x 12,5 cm. Bound in 2 contemporary cardboard albums (traces of use, especially around edges and back cover) with cord binding.
These two richly illustrated and unique documentation albums from the 1920s and 1930s were likely compiled by an unknown member of the international and German aviation scene during the interwar period. The photographs capture daring flight exercises and feats by well-known pioneers in their latest aircraft designs, as well as documenting spectacular flight records and numerous fatal crashes. The aviation enthusiasm of the 1920s is vividly reflected in the variety of aircraft, with around 40 different types depicted across these albums. A small group of rare photographs provides a fascinating overview of the Raab-Katzenstein aircraft factory and its associated flying school in Kassel. These albums are especially notable for their rare portraits of prominent figures in aviation, such as Prof. Junkers, Thea Rasche, Gerhard Fieseler, Ernst Udet, Clarence D. Chamberlin, Günter von Hünefeld, Willi Stöhr, Kurt Katzenstein, Arno Loose, Otto Könnecke, and many others.
– Some faded, some with traces of use, a few with mirroring in edges, otherwise most in good to very good condition.
Storm in Iceland. 1986. Gelatin silver print. 29,5 x 44 cm (35 x 49,5 cm). Signed, titled and dated by the photographer in pencil on the verso.
Light handling dent in upper left, otherwise a fine tonal print in very good condition.
Les Halles, Paris. 1960. Vintage ferrotyped gelatin silver print. 23 x 29,5 cm. Photographer's stamp and annotated by the photographer in pencil/ink on the verso.
Handling creases throughout, stronger around edges.
Views of Potsdam. 1930s. 2 vintage large-format gelatin silver prints on ivory paper. 30 x 35 cm and 40,5 x 30,5 cm. Both signed and titled in pencil below image on mount, annotated in pencil on the verso.
Corners minimally bumped, some traces from previous mounting, otherwise fine tonal prints in very good condition. With: 2 additional vintage gelatin silver prints by Baur with views of the Garrison Church in Potsdam.
Photographer: Germin (Gerhard Mingram, 1910-2001). The Beatles in the Hamburg Star Club. 1961. 3 later ferrotyped gelatin silver prints. Each circa 18 x 23,7 cm. Each signed, dated and titled by the photographer in pencil on the verso.
Bumped corners, some irregularities to ferrotype surface, otherwise in good condition.
Bellmer, Hans
Hans Bellmer Photographies (Images from the "Poupée" series)
Los 4097
Schätzung
7.500€ (US$ 8,065)
Hans Bellmer Photographies (Images from the "Poupée" series). 1930s. 10 gelatin silver prints, printed 1983. Each circa 25,5 x 26 cm (35 x 29 cm). Each with photographer's facsimile signature blindstamp below image in margin; each with photographer's name stamp, editioned "26/50" in ink and "Tirage original realisé par Roger Vulliez" stamp on the verso, loosely mounted in window mats (a few loose). In original black cloth clamshell box with applied lace and pink stamped title Hans Bellmer (corners/edges rubbed, writing on cover with light scratch/rubbing, otherwise in very good condition), 2 text leaves. Galerie Francois Petit, Paris 1983.
Hans Bellmer is renowned for his innovative contributions to Surrealism, notably his La Poupée series which explores themes of desire, sexuality, and the subconscious. This collection comprises ten posthumous prints made from Bellmer's original negatives by Roger Vulliez, with the agreement of the rights holders, who numbered and marked them with a dry stamp, along with wet stamps on the verso. These prints provide insight into Bellmer's surreal universe, reflecting the essence of his provocative imagery. – Photos mounted in edges to mats (a few loose), otherwise photos in excellent condition.
Femme à la bicyclette. 1946. Gelatin silver print, printed later. 12,7 x 12,7 cm. Annotated "Bellmer" by another hand in pencil on verso.
Some light scuff marks and finger prints, otherwise in near excellent condition.
Provenance: Galerie Sydow to the present owner.
Bellmer, Hans
Scènes erotiques (Femme au bidet/La croix gamahuchée)
Los 4099
Schätzung
1.200€ (US$ 1,290)
Scènes erotiques (Femme au bidet/La croix gamahuchée). 1946. 2 gelatin silver prints, printed later. Each 12,7 x 12,7 cm. Annotated "Bellmer" by another hand in pencil on verso.
Minimal scuff marks, small trace of discoloration with silver mirroring on lower margin of one print, otherwise both in near excellent condition.
Provenance: Galerie Sydow to the present owner.
Blumenfeld Color. 1940-1950. 10 dye transfer prints, printed 1984. Each between 30 x 20 cm and 32 x 26 cm (sheet size 47 x 39.5 cm). Each with estate stamp, signed by F.C. Gundlach in pencil and numbered 27/50 on verso. Includes double sheet with title, table of contents, and imprint. Edition PPS Galerie F.C. Gundlach Hamburg. Presented in red linen clamshell box.
Erwin Blumenfeld was a pioneering fashion photographer known for his innovative use of color in the mid-20th century. His work often featured dramatic lighting, unconventional compositions, and creative techniques such as solarization, distortion, and double exposures. His images were prominently featured in major fashion magazines like Vogue and Harper’s Bazaar, significantly shaping the visual language of fashion photography during this period and leaving a lasting impact on the field. – In excellent condition.
Dryopteris filix (Wurmfarn). 1928. Gelatin silver print, printed from the original negative in 2000. 30,6 x 23,8. Karl Blossfeldt/Archiv Wilde copyright stamp; Numbered 42/50, annotated and signed by Jürgen Wilde in pencil on verso.
In excellent condition.
Kabul, Afghanistan. 1993. Cibachrome print. 21 x 32 cm (38 x 48 cm). Framed under glass in wooden frame (slightly scratched), signed, titled, dated and annotated by the photographer in pencil on frame verso.
Roman Bezjak, born in 1962 in Ptuj, SR Slovenia/Yugoslavia, is a renowned documentary photographer. After studying photography in Dortmund, he worked on photo essays for various German print media, including the Frankfurter Allgemeine Zeitung, from 1989-1999, earning the German Photography Award in 1996. Since 2000, he has been a professor of photography at Bielefeld University of Applied Sciences and has held numerous solo exhibitions globally. – In excellent condition.
Nude, Hampstead. 1952. Gelatin silver print mounted to board, printed 1970s. 34,3 x 29 cm (51 x 40,5 cm). Signed in felt-tip pen below image on board.
Bill Brandt’s nude photography is distinguished by its dramatic lighting and innovative compositions. Created primarily in the mid-20th century, Brandt’s nudes challenge conventional notions of beauty and femininity, often emphasizing the abstract and sculptural qualities of the human form. His significant contributions to the genre left a lasting impact on the exploration of light, shadow, and form in the depiction of the nude. – Minimal surface scratches in upper portion of print, some traces of previous mounting on corners of board, otherwise in excellent condition.
Lit.: Brandt, Bill. Bill Brandt: Nudes 1945-1980. London: Gordon Fraser, 1982. Ill. pl. 9.
Brandt, Bill. Bill Brandt: Shadow of Light. London: Gordon Fraser, 1984. Ill. p. 125.
Bill, Jay and Nigel Warburton. The Photography of Bill Brandt. New York: Harry N. Abrams, 1999. Ill. p. 303.
Brandt, Bill. Brandt Nudes: A New Perspective. London: Thames & Hudson, 2012. Ill. p. 59.
Felsen Roppeviller, Nordelsass II. 1974. Gelatin silver print. 33,7 x 30,5 cm. Signed and annotated in pencil on the verso.
Monika von Boch was a German photographer known for her work in industrial photography and her experimental use of light and form. Trained at the Folkwangschule in Essen, she was influenced by the Bauhaus style and became a member of the fotoform group, which promoted subjective photography in post-war Germany. Her work blends documentary precision with abstract composition, making her a key figure in German post-war photography. – Some light scuff marks and handling creases, otherwise in excellent condition.
Views of old Danzig. 1920s. 7 vintage toned gelatin silver prints on strong paper. 11 x 16 cm. Each with photographer's blindstamp in lower right corner, mounted to original cream card (minimal traces of use), each with number stamp in upper right corner of mount.
Jan Bułhak was one of the most influential photographers in Poland between 1918-1939. He began photographing around 1905 and worked as an assistant to Hugo Erfurth in Dresden circa 1910-1911. In 1912, Bułhak opened his own studio in Wilno, Poland, and later lectured at Wilno University, where he became the head of the Institute of Photography in the Department of Fine Arts (1919-1939). In 1927, he co-founded the Wilno Photo-Club, followed by the Polish Photo-Club in 1929, where he also served as chairman. Highly active in the photography community, Bułhak exhibited in 174 fine art photography salons in Poland and internationally. Most of his photographs were destroyed during the war, making his vintage work exceptionally rare and seldom seen outside of Poland. – Fine tonal prints in near excellent condition.
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Galerie Bassenge
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Telefon: +49 30 8938029-0
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E-Mail: info (at) bassenge.com
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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