New York. 1970s. Vintage large-format gelatin silver print on Agfa paper. 40 x 26 cm. Photographer's/copyright stamp and annotated in pencil photographer's wife in ink on the verso.
Slightly buckled, otherwise in very good condition.
Photographer unknown. Images of Japanese ceremonies and parades. 1930s. 52 vintage gelatin silver prints. Circa 10 x 14 cm and reverse. Mounted to album pages annotated in Japanese in red ink and bound together in leather album (edges frayed) with cord binding.
Some faded and with mirroring in edges, otherwise in good condition.
Photographer unknown. Sam Wooding and his Chocolate Kiddies Orchestra, performing at the Ufa-Palast in Berlin. 1928. Vintage sepia-toned gelatin silver print. 16,5 x 22,2 cm. "Ufa" photo stamp and annotated in pencil on the verso.
In 1925, American jazz musician Sam Wooding brought his famous Chocolate Kiddies Orchestra to Berlin for the first time. They were the first large, all-Black jazz band to perform in many major European cities, achieving lasting success with their "Hot Jazz" style. Their Berlin debut took place on May 25, 1925, at the Admirals-Palast. During their 1925 and 1926 tours, the band recorded with VOX and Grammophon. On their fourth visit in 1930, they performed live at Berliner Rundfunk radio in a program titled "Music from America," offering a wide spectrum of music that demonstrated the origins of Black jazz.
This image captures the band on their third visit to Berlin, performing at the Ufa-Palast theater in 1928. Their show, Die Schwarze Revue (The Black Revue), was part of the Ufa stage production, with a stage set designed by Rudi Feld, which likely influenced the design of the Nazi-era exhibit catalog for Entartete Musik (Degenerate Music) in the 1930s. This rare image is an important document of jazz history. – A few indentation spots, and light scratch in lower left, otherwise in near excellent condition.
Lit.: Horst H. Lange. Jazz in Deutschland. Die Deutsche Jazz-Chronik bis 1960. Hildesheim 1996, ill. p.271 (image from the same series).
Untitled (photogram). Circa 1939. Vintage unique gelatin silver print. 25,2 x 20,2 cm. Mounted in mat.
Slightly buckled, mirroring around edges, traces of previous mounting on the verso, some small nicks in edges, otherwise in good condition.
Provenance: Christie's. Light, Volume and Form: Photographs from the Shalom Shpilman Collection, May 24-June 2, 2016, lot 45.
Volkswagenwerk, Wolfsburg. 1953. Gelatin silver print, printed 1990s. 27 x 26 cm (50,3 x 40 cm). Signed by the photographer in ink on verso.
This is a unique print with unusually wide margins which Keetman only printed once in this format. – Small retouched spot in sky area, small nick in upper edge, light handling dent in right margin, otherwise in very good condition.
Lit.: Holger Broeker (ed.) Kunstmuseum Wolfsburg. Peter Keetman - Volkswagenwerk 1953. Bielefeld, 2003, ill. p. 137.
Kennedy, John F.
John F. Kennedy speaking in front of Rathaus Schöneberg, Berlin
Los 4201
Schätzung
500€ (US$ 538)
Photographer unknown (Bildstelle VFWD). John F. Kennedy, speaking in front of Rathaus Schöneberg, Berlin. 26.6.1963. Vintage ferrotyped gelatin silver print. 23,7 x 18 cm. Agency stamps and typed press text on the verso, mounted in upper edge to black card.
Several creases/dents, corners bumped, otherwise in good condition.
Armonk, New York. 1941. Vintage gelatin silver print. 24,4 x 19,5 cm. Photographer's copyright stamp, signed, titled, numbered and dated by the photographer in pencil on verso.
André Kertész’s photographs of rural New York and Vermont reflect his fascination with landscapes and everyday life in American communities. Taken in the early 1940s, this image captures the region’s charm through Kertész’s distinctive style, featuring an architectural structure amidst natural elements, illustrating the relationship between human habitation and the environment. Prints of this work are held in the collections of the Museum of Modern Art (MoMA) and the Centre Pompidou. – Some small surface scratches and edge wear, top right corner slightly bumped, otherwise in near excellent condition.
Lit.: André Kertész. Americana. New York: Mayflower Books, 1979. n.p.
So stell' ich mir die Liebe vor. 1977. 13 vintage chromogenic prints. 50 x 40 cm (sheet size), various image sizes. Each signed and editioned by the photographer in felt-tip pen on verso. Includes double sheet with title, dedication, and imprint. Edition F.C. Gundlach & Jürgen Klauke Hamburg/Cologne. Presented in original cardboard box.
The photography and media artist Jürgen Klauke is known for his critical and confrontational view of normed sexual identities and social behavioral patterns. In works ranging from highly minimalistic to strongly excessive, and also at times surrealistic scenes, his photographs reflect on the basic conditions of paranoid existence. Using everyday materials as a means to produce images, the artist creates a concentrated look at the absurdity of life. – Colors slightly shifted, some light handling marks, otherwise in good condition.
Klauke, Jürgen
Desasteriöses Ich "Daseinsrenovierung"
Los 4204
Schätzung
6.000€ (US$ 6,452)
Desasteriöses Ich 'Daseinsrenovierung'. 1996. 8 gelatin silver prints. Each approximately 44 x 56 cm. Signed, titled, dated, and editioned "14/15" by the photographer in felt-tip pen on verso of first print. Includes double sheet with title, imprint, signature, and edition number. Fleet Edition, Hamburg. Presented in original cardboard box.
Some light handling crease, some edge wear, otherwise in very good condition. With: Jürgen Klauke. Desasteriöses Ich 'Daseinsrenovierung'.1996. Miniaturausgabe (miniature edition).
Chinesische Mauer bei Peking, China. 1985. Gelatin silver print, printed 2013. 27 x 38,5 cm (30,4 x 40,2 cm). Photographer's/copyright "6 Frankfurt/Main" stamp as well as titled and dated by the photographer in pencil on the verso.
Barbara Klemm, the highly acclaimed German photojournalist, has made many contributions to the field of documentary photography. Her work not only captures historical events but also provides a valuable glimpse into the intricacies of Cold War politics and diplomacy, leaving a lasting impact on the field. – Slightly buckled, otherwise in very good condition.
Klutsis, Gustav Gustavovich
Photographic reproduction of original photo collage designed for the first international Spartakiada in Moscow
Los 4206
Schätzung
1.500€ (US$ 1,613)
Photographic reproduction of original photomontage designed for the first International Spartakiada in Moscow. 1928. Vintage gelatin silver print. 17,5 x 11,5 cm. Mounted to paper.
This iconic photomontage design from 1928, reproduced in this vintage photograph from the same year, was used for the global promotion of the first International Spartakiade in Moscow. The design was featured as a poster, subsequently printed on the front page of “Spartakiada” No. 3, 1928, and appeared on numerous postcards. The Spartakiade was essentially a communist counter-event organized by the Soviet Union as an alternative to the 1928 Summer Olympics in Amsterdam. – Some dents/handling marks, corners bumped, small loss in lower left corner corners slightly bumped, otherwise in good condition.
Ostrava. 1968. Vintage ferrotyped gelatin silver print. 17,5 x 23,8 cm. Photographer's stamp, titled and dated by the photographer in pencil on the verso.
Viktor Kolár was born in Ostrava, the son of a self-taught filmmaker and photographer. In 1953, he began taking photographs, and soon familiarized himself with the works of renowned photographers, particularly Henri Cartier-Bresson. From the second half of the 1960s, he decided to devote himself fully to photography. In 1964, Kolář had his first solo exhibition. In October 1968, after the Warsaw Pact invasion of Czechoslovakia, he emigrated to Canada, where he worked as an assistant in the Molybdemite mines and as a worker in the nickel smelters in Manitoba. From 1971-1973, he participated in documenting shopping malls in Montreal. In 1973, however, he returned to Czechoslovakia via Paris and London. – Some irregularities to ferrotype surface, a few handling dents, otherwise a fine tonal print in good condition.
Ostrava. 1974. Vintage ferrotyped gelatin silver print. 17,7 x 23,8 cm. Photographer's stamp, titled and dated by the photographer in pencil on the verso.
Corners minimally bumped, some irregularities to ferrotype surface, otherwise a fine tonal print in good condition.
Ostrava. 1984. Vintage ferrotyped gelatin silver print. 16 x 23 cm. Photographer's stamp, titled and dated by the photographer in pencil on the verso.
Some irregularities to ferrotype surface, a few light handling dents, two stronger in right area, otherwise a fine tonal print in good condition.
Ostrava. 1981/1984. 2 vintage ferrotyped gelatin silver prints. Each circa 18 x 23,8 cm. Each with photographer's stamp, titled and dated by the photographer in pencil on the verso.
Corners minimally bumped, some irregularities to ferrotype surface, some handling dents, otherwise fine tonal prints in good condition.
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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