Photographer unknown. Portraits of the painter Max Slevogt. Mid-1920s-1932. 8 vintage gelatin silver prints. Between 12,5 x 9 cm and 20,5 x 16,5 cm.
Max Slevogt was a renowned German painter and printmaker celebrated for his contributions to Impressionism and later explorations of Expressionism. His vibrant, atmospheric works often depict landscapes, gardens, and scenes of leisure, capturing the interplay of light and color. Slevogt, a key figure in the Berlin Secession, played a central role in shaping early 20th-century German art. The accompanying photographs capture intimate moments of his life, including him painting outdoors, close-up portraits, a bust of the artist, and his funeral procession, offering a poignant glimpse into his legacy. – Small scratch on one print, another with silver mirroring in edges, otherwise all in good to very good condition.
Die Bäume vor meinem Fenster II. 1956. Gelatin silver print on ivory paper. 14,3 x 17,7 cm (18 x 22 cm). Signed below image in brown ink (slightly faded), with the photographer's copyright stamp on the verso.
Otto Steinert was a German photographer and key figure in the Subjektive Fotografie movement, known for using experimental techniques to express emotional and abstract ideas rather than objective reality. His work, characterized by high contrast, multiple exposures, and unconventional angles, explores themes of light, shadow, and form, often blurring the boundary between photography and modern art. Steinert’s influence reshaped post-war European photography, encouraging a more personal, subjective vision that celebrated artistic experimentation. – Corners slightly bumped, some traces of previous mounting on verso, otherwise in near excellent condition.
Paradies series. 2004. 5 digital color prints and 1 black and white digital print. Each circa 30,7 x 39 cm and 39 x 30,7 cm (33,4 x 48 cm and 48 x 33,4 cm). Each with "Griffelkunst" edition text printed on the verso. Each mounted in upper edge to archival board, with original card portfolio, inner flap signed by the photographer in pencil and with text page.
Thomas Struth’s Paradies series, created between 2000 and 2002, explores the relationship between humans and nature through large-scale photographs of botanical gardens, parks, and tropical settings. By capturing the lush beauty of these environments and the interactions of people within them, Struth invites viewers to reflect on the balance between humanity and nature, as well as the idealized notions of paradise in contemporary society. The titles in this portfolio include Juquehy, São Francisco de Xavier, Yakushima, Daintree, Xi Shuang Banna and Yosemite National Park. – One print with a few small color irregularities, otherwise in excellent condition.
Lit.: Thomas Struth. New Pictures from Paradise. Dresden 2002.
Danielle, Oud Heusten, the Netherlands. 1993. Gelatin silver print. 28 x 35,4 cm. Signed, titled, dated, copyrighted and editioned "6/10" by the photographer in pencil on the verso.
One minimal handling dent near upper edge, otherwise a fine tonal print in excellent condition.
Lit.: Jock Sturges. Radiant Identities. New York 1994, ill. p. 58-59.
Three companions. 1960s. 33 gelatin silver prints in linen-covered portfolio. Each between 10,3 x 16,2 cm and 18,5 cm x 28,5 cm (24 x 31 cm). Each signed "K. Takahashi" below image.
This evocative photographic series by K. Takahashi offers an intimate portrayal of three elderly women, two of whom are blind, as they traverse rural Japan in the mid-20th century. Facing harsh conditions, the women rely on mutual support and resilience, guiding each other through rugged terrain while playing the shamisen in exchange for food and shelter. The collection is presented in an elegant portfolio featuring the kanji symbols for "goze," a term from the Edo period for blind female musicians who performed traditional music for their livelihood, a profession that became increasingly rare in modern Japan. – Some scuff marks and light discolouration on some prints, otherwise all in good to very good condition.
Design for wallpaper. 1930-31. Vintage unique ferrotyped gelatin silver print collage. 49,5 x 38,5 cm. Mounted to board (some wear, time-stained in edges), photographer's estate stamp and number "863" in red crayon on mount verso.
Between 1929-1931, Elsa Thiemann’s formative years at the Bauhaus in Dessau were shaped by influential teachers such as Josef Albers, Joost Schmidt, and most notably Walter Peterhans, who guided her in photography. Her artistic development was heavily influenced by the New Objectivity movement and the emphasis on advertising photography in her Bauhaus education, fostering her appreciation for structure and innovative composition. In 1930, she met her future husband, painter Hans Thiemann. After completing her studies, Elsa returned to Berlin in 1931 and pursued a career as a freelance press photographer until 1960, when she moved to Hamburg with her husband, who had been appointed a professor at the Hochschule für Bildende Künste. – Some retouched spots, a few light surface scuff marks, some pressure marks from mounting and some edge wear in individual prints, photos lifting off of mount in some areas, some mirroring in edges and corners, otherwise in good condition.
Provenance: From the estate of the photographer
Lit.: Annemarie Jaeggi/Margot Schmidt (eds.). Elsa Thiemann: Fotografin. Bauhaus und Berlin. Berlin 2004, see pp. 18-27.
Foundling. 2021. Handmade Toyobo chine-collé print on Japanese Kochi paper, hand-painted. 20,5 x 14,6 cm (33 x 25 cm). Signed, editioned 3/6 and print information by the photographer in pencil on the verso. .Limited edition of 6 + 2 AP.
Born in Bielefeld in 1977, Miriam Tölke began studying painting at the Art Academy in Stuttgart. She left school after passing a test assessing her talent and moved to Berlin in 2001 to work as an artist. By using found materials, she continuously works with an accute awareness of sustainability and recycling, which is in contrast to the glamorous illusory world of magazines she uses images from. Thus, in her act of cutting up and reassembling, one can recognize a spiritual process of deconstruction and transformation. – Traces of previous mounting on the verso, otherwise in excellent condition.
Trülzsch, Holger and Vera Lehndorff
Geöffnete Haustüre, Paros
Los 4293
Schätzung
900€ (US$ 968)
Geöffnete Haustüre, Paros.1977. Dye transfer print, printed 1979. 21 x 27 cm (57,5 x 48,5 cm). Signed, titled, dated and numbered "49/75" in pencil as well as artists' copyright stamp on verso.
The German photographer and painter Holger Trülzsch collaborated with the internationally celebrated supermodel Vera "Veruschka" Lehndorff to produce a diverse and compelling body of work during the 1970s and 80s. The highlighted pieces are drawn from their collaborative body-art project titled "Trans:figurations." These images prominently feature the colors of oxidation, such as rust, soot, and chalk, which are beautifully rendered in the dye transfer prints. – Slight buckling in upper portion, light pen mark and surface soiling in lower margin, otherwise in very good conditon.
Lit.: Lehndorff & Trülzsch, Veruschka, Trans-figurations, Bullfinch Press, 1988.
Oxydationen. Vera Lehndorff & Holger Trülzsch. Museum für Kunst und Gewerbe Hamburg 1979.
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 onto label on verso.
The collaborative lunar photography project by Adolf Voigt and Hans Giebler was instrumental in astronomical observation 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. Conducted shortly before the Apollo 11 moon landing, their work not only provided valuable visual records but also heightened public interest in lunar exploration during this pivotal era in space history. – Some very light surface scuff marks and finger prints, otherwise in excellent condition.
Rio de Janeiro. 1986. 2 gelatin silver prints mounted to mat. Each approximately 43 x 36 cm (49.7 x 42 cm). Each print signed, dated, titled, and numbered in pencil on verso; titled, dated, numbered, and annotated in pencil on mat.
Bruce Weber's photographic practice is characterized by vivid and sensuous imagery, blending elements of fashion, portraiture, and documentary styles. His distinctive use of black and white photography captures subjects with an intimate, nostalgic, and often homoerotic aesthetic that has become iconic in both commercial and fine art photography. Frequently exploring themes of youth and natural beauty, Weber has made significant contributions to major fashion campaigns and publications. – Some discoloration, some silver mirroring along edges of one print, otherwise in good condition.
Rome. 1940s. Vintage ferrotyped gelatin silver print on doubleweight paper. 23,7 x 17,2 cm. Photographer's Frankfurt am Main stamp, annotated in pencil and subject and agency label on the verso.
The German photographer Dr. Paul Wolff is best known for his pioneering work in portraiture and modern photographic techniques. His innovative approach to lighting and composition continues to influence the medium's evolution and secures his enduring legacy in the history of photography. – Corners bumped with some chipping to emulsion, some light surface scuff marks, otherwise in very good condition.
World War I
Austrian soldiers engaged in various activities
Los 4297
Schätzung
600€ (US$ 645)
Aviation
Photographer: Bruno Reiffenstein (1868-1951) and unknown. Austrian soldiers engaged in various activities. 1916. 8 vintage bromoil and gum bichromate prints. Various sizes 21 x 25 cm and smaller. 1 signed by the photographer in ink in lower right corner, all but 1 mounted to board.
Bruno Reiffenstein was originally an architectural photographer. During WWI he worked for the Austrian Kriegspressequartier and produced these impressive images of Austrian soldiers during WWI. – In very good condition.
World War II
Views of destroyed Essen after bombing during WWII
Los 4298
Schätzung
1.500€ (US$ 1,613)
Photographer: Willy van Heekern (1898-1989, attributed to). Views of destroyed Essen after bombing during WWII. 1944/45. Circa 62 vintage ferrotyped gelatin silver prints, most 17 x 12 cm, some larger circa 32 x 12 cm. Each image with typewritten caption below photo, mounted on one side on album pages, bound in canvas album (traces of use, 30 x 43 x 3 cm).
The photographer responsible for this meticulously compiled photographic documentation is most likely Willy van Heekern. Commissioned by the regional Luftgaukommando Münster, he was tasked with documenting the destruction of Essen "by the enemy" in 1943. Each image, though often barely recognizable due to the destruction, is carefully labeled, sometimes indicating the photographer's precise location. Several photographs show smoking and burning rubble, suggesting that they were taken shortly after the bombing raids. – Some buckling, otherwise in good condition.
Provenance: Robert Lebeck Collection
Untitled (Legs with Jewelry). ca. 1948. Gelatin silver print. 30,5 x 25,6 cm.
Count Theodor Zichy, a Hungarian aristocrat, became a distinguished figure in mid-20th-century photography, particularly in fashion and portraiture. Starting his career in the 1930s, Zichy quickly gained acclaim for his distinct style that blended elements of glamour and sensuality. His fascination with photographing women’s legs, often adorned with luxurious stockings or jewelry, became a hallmark of his work, emphasizing the aesthetic allure and subtle eroticism that defined his approach to fashion photography. – Corners bumped, some handling creases and light surface irregularities, otherwise in good condition.
Industrial images. 1960s. 5 vintage gelatin silver prints on Agfa-Portriga-Rapid paper and Agfa-Brovira paper. Each between 23,5 x 17,5 cm and 30,5 x 21 cm. 2 with photographer's stamp, 1 signed by the photographer in pencil on the verso.
Edges rubbed, a few small handling dents, surface scratches, otherwise in good condition.
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Telefon: +49 30 8938029-0
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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