Berlin. 1978. Gelatin silver print. 14,3 x 21,5 cm (16,7 x 23,6 cm). Titled and dated in pencil on lower left corner of recto; annotated in pencil on verso.
Corners slightly bumped, some minor indentation marks and signs of retouching, otherwise in very good condition.
Lit.: Ulrich Wüst. Stadtbilder/Cityscapes 1979-1985. Ostfildern: Hartmann Books, 2021, ill. p.116.
Berlin. 1980. Gelatin silver print. 14,2 x 21,9 cm (16,7 x 23,6 cm). Titled and dated in pencil on lower right corner of recto; annotated in pencil, with archive stamp on verso.
Corners slightly bumped, light ink stain on upper margin, otherwise in very good condition.
Sculptural study. 1980s. Gelatin silver print. 14,6 x 22 cm (17 x 23,8 cm). With the photographer's stamp on verso.
Corners and upper margin slightly bumped, otherwise in very good condition.
Wismar. 1980s. Gelatin silver print. 18,5 x 27,6 cm (21,3 x 29,4 cm). Numbered, titled, dated and signed (?) by the photographer in pencil.
Corners and upper margin slightly bumped, otherwise in very good condition.
Gemeinde Wien (Modern Residential Housing)
Residential buildings of Gemeinde Wien
Los 4170
Schätzung
400€ (US$ 430)
Photographer: Martin Gerlach (1879-1944) and others. Residential buildings of Gemeinde Wien. 1925-1930. 8 vintage, most ferrotyped gelatin silver prints. 23 x 17 cm and 17,5 x 23,3 cm. Each with photographer's stamp and annotated in pencil/red crayon on the verso.
After World War I, during Austria’s First Republic (1918-1934), the Social Democrats governed Vienna, creating what was known as "das rote Wien" (“Red Vienna”). Their primary focus was on promoting social housing, known as Gemeindebau. The architectural photographs presented here feature typical residential buildings from the Gemeinde Wien in various city districts, including V. Bezirk (Reumannhof, 2 images), XIII. Bezirk (Hermeswiese), XV. Bezirk (Schmelz), XVII. Bezirk (Kongressplatz), XVIII. Bezirk (Lindenhof), and XX. Bezirk (Denisgasse/Spaungasse). The collection also includes a photograph of an unrealized modern iron construction in Breslau (from the collection of Adolf Behne). – Most with a few minimal handling marks/creases in corners, one with stronger creases and tear in right edge, otherwise in very good condition.
Joseph Beuys at „Straßenbahnhaltestelle“, 1976; Joseph Beuys in his studio in Kleve (2), 1970s. 3 vintage gelatin silver prints on RC paper. Each circa 23,5 x 17,5 cm. Each signed by the photographer in marker and with photographer's copyright stamp as well as edition number "1/18" on verso.
One of the three photographs offered here shows the “Straßenbahnhaltestelle” (Tram Stop) at the corner of Nassauer Allee and Lindenallee in Kleve, 1976. In this image Joseph Beuys presents the cross-section of the tram line in front of the ‘Cupido Column’. The other images show Beuys in his studio with the wooden cross for the Büderich Memorial and at his window. The photographer Fritz Getlinger was closely associated with artists living and working in Kleve and cultivated contacts and friendships with Willy Maywald and Joseph Beuys. He made several portraits of Beuys and over the course of time repeatedly documented the artist's activities with his camera. – In very good condition.
Giacomelli, Mario
Untitled, from the series ”Io non ho mani che mi accarezzino il volto”
Los 4172
Schätzung
1.000€ (US$ 1,075)
Untitled, from the series ”Io non ho mani che mi accarezzino il volto”, 1961-1963. Gelatin silver print, printed later. 12,7 x 18 cm. Signed by the photographer in black ink in lower right corner; "Archivio Mario Giacomelli" certificate of authenticity written in ballpoint pen and signed by Simone Giacomelli on the verso.
Mario Giacomelli’s work Io non ho mani che mi accarezzino il volto (1961-1963) is a seminal series capturing the playful yet contemplative lives of young seminarians, blending motion and stillness to reflect the tension between spiritual devotion and human yearning. Characterized by Giacomelli’s distinctive high-contrast black-and-white style, the series transforms everyday scenes into abstract, almost surreal compositions, highlighting his ability to transcend traditional documentary photography. – Top left corner slightly bumped, otherwise in excellent condition.
Untitled (Interior). 1979. Vintage gelatin silver print on Agfa paper. 17,7 x 23,8 cm (23,8 x 29,8 cm). Signed and dated by the photographer in pencil on the verso.
After studying at the Technical University, Berlin, Ulrich Görlich studied with Michael Schmidt from 1972-1975 and directed the Werkstatt für Photographie in Kreuzberg from 1977-1982. As of 1991 he taught photography at the Applied Arts School in Zurich. – Lower corners minimally bumped, otherwise a fine tonal print in excellent condition.
Kee in Bed, East Hampton N.Y. 1988. Cibachrome print. 27 x 39 cm (30,5 x 40,5 cm). Signed by the photographer in felt-tip pen and annotated by another hand on verso.
Nan Goldin's work explores themes surrounding the LGBT community, intimacy, the HIV crisis, and the opioid epidemic. Her seminal work, "The Ballad of Sexual Dependency" (1986), which includes this image, serves as a poignant documentation of post-Stonewall gay subculture, intertwined with intimate portrayals of Goldin's family and friends. Often compared to Diane Arbus and Larry Clark, Goldin's style embraces the informal, content-driven aesthetic of the snapshot, with a focus on capturing private dramas in interior settings such as cluttered kitchens, downtown bars, and disheveled beds. Notably, her adept use of color serves as a catalyst for accentuating the emotional essence of each moment. Goldin resides and works in New York City, Berlin and Paris. – Some minimal scuff marks, otherwise in excellent condition.
Joey in my mirror, Hornstr., Berlin. 1992. Chromogenic print on Fujifilm paper. 26 x 40,4 cm (30,4 x 45 cm). C/O edition label, therein signed by the photographer in ink and numbered (500 ex.) on the verso.
In excellent condition.
Lit.: Nan Goldin. The Other Side. Edited with David Armstrong and Walter Keller. Zurich 1992, ill. p. 123.
Elisabeth Sussman (ed.). Nan Goldin. I'll Be Your Mirror. Zurich 1996, ill. p. 339.
Amanda in the Locker Room, Berlin. 1993. Cibachrome print, printed 1996. 51 x 61 cm. Signed by the photographer in felt-tip pen on the verso.
Minimal scuff marks visible in raking light, otherwise in excellent condition.
James King: Supermodel. 1995. 12 cibachrome prints. Each ca. 40 x 50 cm. Presented in black clamshell box (slightly scratched) with embossed title, title page, index and introduction. Printer's proof copy. Fleet Edition, Hamburg.
Nan Goldin’s James King: Supermodel series provides an intimate, unvarnished look into the life of teenage model Jaime (James) King, who rose to prominence in the mid-1990s, during the transitional period between the supermodel era and the emergence of the “heroin chic” aesthetic. At just sixteen, King was already navigating the complex and often toxic world of fashion, where unattainable beauty standards, an obsession with youth, and the glamorization of drug use were pervasive. Goldin’s portrayal resists romanticizing this environment, instead highlighting the emotional toll and psychological complexities of growing up in a world where innocence is often sacrificed for fame and glamour.
Goldin's photographs convey a deep connection and empathy for her subjects, integrating seamlessly with her signature style—marked by an unflinching, raw intimacy that captures the vulnerability and humanity of those closest to her. The series was published in a limited edition of 10 portfolios, along with 4 artist proofs. This particular copy is a printer’s proof, crafted under Goldin’s supervision to ensure the print quality prior to final production, making it a unique and valuable document. – Minimal scuff marks and small handling creases visible on some prints, otherwise all in near excellent condition.
Lit.: Published in: Jennifer Egan, "James is a Girl" The New York Times Magazine, February 4, 1996, pp. 26-38.
James at a Jean Colonna fitting, Paris. 1995. Cibachrome print. 60,5 x 45,5 cm. Signed by the photographer in felt-tip pen on the verso.
This photograph of James King was also part of Nan Goldin's 1995 series James King: Supermodel though it was not included in the portfolio of the same title. – Small spot visible in darker area of the print, minimal scuff marks, a pressure mark, and two small creases in upper and lower margins, otherwise, in very good condition.
Male nudes. 1990s. 2 vintage gelatin silver prints. 17,6 x 12,2 cm and 24,3 x 19,7 cm (25,3 x 20,5 cm). First print monogrammed by the photographer in pencil on the verso; second print copyrighted by the photographer in pencil on the verso.
Fine tonal prints in excellent condition.
Janis Joplin. 1966. Gelatin silver print, printed 1990s. 23,5 x 23 cm (35 x 28 cm). Signed by the photographer in ink in lower margin, matted and signed by the photographer in pencil on the mat.
In very good condition.
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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