Elizabeth II, Queen
Princess Elizabeth training as an ATS officer, learning how to change a truck wheel
Los 4121
Schätzung
900€ (US$ 968)
Photographer: Paul Popper (1933-1969, Popperfoto agency). Princess Elizabeth training as an ATS officer, learning how to change a truck wheel. April 12, 1945. Vintage warm-toned, large-format gelatin silver print. 38 x 30,2 cm. Typed press text label with Imperial War Museum note on the verso.
Corners bumped, pinholes in corners, stronger crease in upper left corner, a few light handling dents, otherwise in very good condition.
Brasilia. 1961. Gelatin silver print, printed later. 20,5 x 30,5 cm (27,9 x 35,5 cm). Signed in ink in lower right corner of recto; signed and annotated in pencil on verso.
Elliott Erwitt is celebrated for his candid, often humorous black-and-white photographs that capture the subtleties of human nature and everyday life. His work spans a wide range of subjects, from personal, intimate moments to significant historical events, always marked by his sharp attention to detail and his ability to find warmth and wit in ordinary scenes. Dogs are a recurring subject in Erwitt's photography, often portrayed with the same empathy and humor he applies to his human subjects, capturing their personalities and quirks in a charming and relatable way. – Corners slightly bumped, some very light handling creases and scuff marks, otherwise in very good condition.
Evans, Walker
Roadside Stand, Vicinity Birmingham, Alabama
Los 4123
Schätzung
600€ (US$ 645)
Roadside Stand, Vicinity Birmingham, Alabama. 1936. Gelatin silver print, printed later from the original negative. 32,5 x 39,5 cm. "Walker Evans, gelatin silver print from the original negatives" stamp and annotated in pencil on the verso.
Minimal handling dent in lower right, otherwise in very good condition.
Evans, Walker and Russell Lee
Cattlemen at auction of prize beef stears and breeding stock, San Angelo, Texas; Bayou, Louisiana; Abandonded ante-bellum plantation house, Vicksburg, Mississippi
Los 4124
Schätzung
500€ (US$ 538)
Cattlemen at auction of prize beef steers and breeding stock, San Angelo, Texas, 1940; Bayou, Louisiana, 1939; "Abandoned ante-bellum plantation house, Vicksburg, Mississippi" , 1936. 3 ferrotyped gelatin silver prints/printed 1970s. Each circa 20,5 x 25,3 cm. Each annotated and with number notations in pencil as well as "Reproduced from the collection of the Library of Congress" and other archive stamps on the verso.
Walker Evans and Russell Lee’s work for the Farm Security Administration (FSA) was crucial in shaping the visual narrative of rural America during the Great Depression. Through their photographs, they captured the hardships faced by individuals and communities, portraying the economic and social struggles of the time. Their combined efforts provided a comprehensive and impactful depiction of the era, offering an enduring record that not only informed public understanding but also influenced the development of documentary photography as a tool for social awareness and historical preservation. – A few handling marks/dents, small creases, otherwise in good condition.
Provenance: Galerie Taube, Berlin
Exhibition: "Die USA der dreißiger Jahre in Fotografien", Galerie Taube, Berlin Sept.4-Oct. 2,1976.
Lit.: Roy Stryker/Nancy Wood. In This Proud Land: America, 1935-1943 as seen in the FSA photographs. New York 1973, ill. pp. 34 and 75.
Evans, Walker and Russell Lee
Boarding House, Birmingham, Alabama; Lunch time at an all-day community sing, Pie Town, New Mexico; Birmingham Boarding House, Alabama
Los 4125
Schätzung
500€ (US$ 538)
Boarding House, Birmingham, Alabama, 1936; Lunch time at an all-day community sing, Pie Town, New Mexico, 1940. 2 ferrotyped gelatin silver prints/ printed 1970s. Each circa 20,5 x 25,5 cm. Each annotated and with number notations in pencil as well as "Reproduced from the collection of the Library of Congress" and other archive stamp on the verso.
A few handling marks/dents, otherwise in good condition.
Provenance: Galerie Taube, Berlin
Exhibition: "Die USA der dreißiger Jahre in Fotografien", Galerie Taube, Berlin Sept.4-Oct. 2,1976.
Lit.: Roy Stryker/Nancy Wood. In This Proud Land: America, 1935-1943 as seen in the FSA photographs. New York 1973, ill. p. 128.
The artist Elvira Bach. 1982. Large-format Fine Art print on Hahnemühle paper, printed 2024. 38,3 x 50,3 cm (50 x 60 cm). Signed, dated and with print info by the photographer in ink on the verso. From an edition of 5 + 2 a.p.
In excellent condition with strong colors.
Untitled (photogram). 1949. Vintage unique gelatin silver print. 12,4 x 11 cm. Mounted to board, signed and dated by the photographer in ink on mount verso, mounted in mat.
Born in 1923, Lois Field grew up in Patterson, NJ. After her studies at the Newark School of Fine and Industrial Arts and at the Student’s League in New York City she was dissatisfied, when a friend, mentioned a man who taught at the Institute of Design in Chicago (formerly the New Bauhaus). It was the artist, Myron Kozman, whom Field married in 1948. She became a graduate of the class of 1952 from the Institute of Designand pursued an art career as an accomplished visual artist (in painting and photography. – A few nicks in edges, a few indentations, small scratch near lower edge, otherwise in good condition.
Provenance: Christie's. Light, Volume and Form: Photographs from the Shalom Shpilman Collection, May 24-June 2, 2016, lot 52.
Scene from the film "Metropolis" showing the Heart Machine. 1926/27. Vintage gelatin silver print. 16,5 x 23 cm. Ufa logo in the negative in lower right corner.
Although "Metropolis" did not enjoy the expected success during its premiere, audiences were impressed with the technical tricks and visual effects which remain an iconic element of cinematography today. This film still shows the Heart Machine, which is the city's power generator in the film. Its destruction leads to a hydraulic breakdown and flood of the worker's city. – Some small handling marks and one stronger diagonal crease in lower area, some mirroring in edges, paper loss in lower left corner, otherwise in good condition.
The Lines of My Hands. 125 p. with 30 p. booklet insert and numerous black and white photographs. 35.5 x 26.5 cm. Original black cloth covered boards (two light marks on front cover) with black cloth slipcase with photograph mounted on. Tokyo, Yugensha/Kazuhiko Motomura, 1972.
Parr and Badger. The Photobook Vol. I,. p. 261. The Open Book. Hasselblad Center. pp. 286-289. First Japanese edition of Frank's "coveted photobook (which) has been published in three completely different versions. The most renowned edition (ours) was published in 1972 in Japan by Yugensha, Tokyo, the first of a trio of notable books in deluxe format designed by Kohei Sugiura and sponsored by Motomura." (Parr and Badger). – Excellent copy.
Flower Is. 112 p. with 81 offset black and white photographs. 34.2 x 25,1 cm. Original grey cloth covered boards with grey cloth slipcase with photograph "Champs-Elysees 1950" mounted on cover. Tokyo, Yugensha/Kazuhiko Motomura, 1987.
Parr and Badger. The Photobook.Vol. I, p. 264. Auer Collection p. 670. First and only edition of 500 copies (folio). The second of three books that Robert Frank produced with Kazuhiko Motomura. Unlike The Lines of My Hand, Flower Is was never published abroad. It is more of a stream-of-consciousness work in memoriam to his daughter Andréa who was killed in a plane crash in Guatemala in 1974. With only 500 copies printed this book is rare. – Excellent copy.
New York City. 1963. Vintage gelatin silver print. 24 x 16 cm (24,8 x 18,5 cm). Signed by the photographer in pencil, photographer's copyright stamps, agency stamp and annotations in pencil/ink on verso.
The American photographer Leonard Freed captured compelling images of Harlem and Brooklyn, particularly during the Civil Rights Movement of the 1960s. He skillfully documented the vibrant and complex life of the Harlem community, emphasizing its people, culture, and the social and political issues of the time. – Corners minimally bumped, a few light handling dents/indentations, otherwise in very good condition.
Lit.: Leonard Freed. Black in White America. New York 2010.
Wall Street, New York. 1960s. Vintage gelatin silver print. 60 x 49,5 cm. Photographer's Buenos Aires stamp and signed by the photographer in pencil on the verso.
Corners slightly bumped, slight edge wear, two small tears upper left, otherwise in very good condition.
Fashion photos. 1989. 2 vintage gelatin silver prints. 27,5 x 18,5 cm (30 x 24 cm).
The East German fashion photographer Hartmut Beil was a student of Arno Fischer. Among other subjects he photographed the peace movement in the former GDR and many of his fashion photos were published in magazines such as Sibylle. – Several dents and handling creases, otherwise in good condition. With: Sibylle magazine, issue 5, 1990 (both images illustrated).
Lit.: Sibylle, 1990, issue 5, ill. pp. 34 and 36.
Bergemann, Sibylle
Outdoor scenes in Arno Fischer's garden
Los 4134
Schätzung
900€ (US$ 968)
Outdoor scenes in Arno Fischer's garden. 1990s. 2 vintage Polaroid photos. Each circa 10,5 x 9 cm. Each with handwritten label on verso.
Sibylle Bergemann rose to prominence as a significant figure in the field of East German photography, demonstrating a remarkable ability to capture the lives of everyday citizens during the Berlin Wall era. Her unique talent resided in her skill to evoke deep emotions and craft compelling stories within her photographs, effortlessly blending artistic expression with the authenticity of documentary photography. Bergemann's Polaroid snapshots possess a distinctive charm, expertly capturing the spontaneity of transient moments. – Both prints with slight fading/discoloration, some light soiling in margins, otherwise in good condition.
Model. 1990s. Vintage polaroid photo. 11 x 8,5 cm. Handwritten label on verso.
Some light surface rubbing, more visible at an angle, otherwise in very good condition.
Borchert, Christian
Regenschauer am S-Bahnhof Nöldnerplatz
Los 4136
Schätzung
1.200€ (US$ 1,290)
Regenschauer am S-Bahnhof Nöldnerplatz. 1971. Gelatin silver print, printed later. 18,8 x 28,8 cm (20,2 x 29,8 cm. Signed, titled and dated by the photographer in pencil and photographer's/copyright and Galerie om Alten Museum edition label (2/30) on verso.
Regenschauer am S-Bahnhof Nöldnerplatz is one of Christian Borchert's most iconic images and was taken outside his studio window. – Corners slightly bumped, one light handling dent lower right, otherwise in very good condition.
Lit.: Karl Gernot Kuehn. Caught. The Art of Photography in the German Democratic Republic. Berkeley 1997, ill. p. 114.
From the series "Die Galeristen". 1991. 3 vintage ferrotyped gelatin silver prints. Each circa 24 x 18 cm. Each titled by the photographer in ink in lower margin; each signed and dated by the photographer in ink on the verso.
Slight irregularities to ferrotype surface, corners with small creases, a few handling marks, otherwise in good condition.
Two boys with dogs, Berlin. 1978-80. Vintage gelatin silver print . 25,5 x 30 cm (28 x 42 cm). Mounted to board, photographer's stamp on mount verso.
Detlef Christel studied photography at the Hochschule für Grafik und Buchkunst Leipzig from 1976-1981. Following his education, he worked as a photojournalist for the magazine Freie Welt from 1982-1991, with a strong emphasis on documenting the lives of children in the former GDR as they transitioned into adulthood. His candid portrayals of everyday moments capture the emotional and social situations of his subjects, providing a nuanced perspective on life in East Germany during a period of profound political and social change. – Some light scuff marks and surface irregularities, otherwise in very good condition.
Kids, Berlin. 1978-80. 3 vintage ferrotyped gelatin silver prints. Each between 21 x 19 cm and 23 x 21 cm. Each with photographer's stamp on verso.
Some surface scuff marks, otherwise in excellent condition.
Kids, Berlin. 1978-80. 3 vintage ferrotyped gelatin silver prints. Each ca. 29 x 21 cm. Photographer's stamp on verso.
Some minor surface scuff marks, otherwise in excellent condition.
Fischer, Arno
Ostberlin, Besuch von N.S. Chruschtschow (Leninallee)
Los 4141
Schätzung
900€ (US$ 968)
Ostberlin, Besuch von N.S. Chruschtschow (Leninallee). 1957. Gelatin silver print on doubleweight paper, printed 1980s. 23,6 x 34,2 cm. Signed, annotated and dated (1958) by the photographer in pencil as well as photographer's stamp on the verso.
Arno Fischer's documentary-style photographs of both East and West Berlin offer a timeless glimpse into the challenges and resilience of the city's inhabitants during this period. They represent valuable historical records as well as works of art. – Light crease in upper left corner, corners bumped, retouched spot and small dent in upper left, otherwise a strong print in very good condition.
Lit.: Elke aus dem Moore/Matthias Flügge (eds.). Arno Fischer. Fotografie (exhibition catalog). Ostfildern 2009, ill. p. 52.
Müritz-DDR. 1956. Gelatin silver print, printed 1990s. 27,5 x 42,2 cm (36,5 x 48,5 cm). Titled, signed and dated by the photographer in pencil on the verso.
A few light handling dents, traces of previous mounting on verso, otherwise in very good condition.
Lit.: Elke aus dem Moore/Matthias Flügge (eds.). Arno Fischer. Fotografie (exhibition catalog). Ostfildern 2009, ill. p. 65.
West-Berlin, Kurfürstendamm. 1958. Gelatin silver print on doubleweight paper, printed 1980s. 23,2 x 34,2 cm. Signed and dated by the photographer in pencil and photographer's stamp on the verso.
A few minimal dents, otherwise a strong print in very good condition.
Lit.: Elke aus dem Moore/Matthias Flügge (eds.). Arno Fischer. Fotografie (exhibition catalog). Ostfildern 2009, ill. p. 36.
Fashion photographs, Berlin. 1960s. 2 vintage gelatin silver prints hinge-mounted to board. Each circa 40 x 30 cm (50 x 40 cm).
Some buckling, light pressure marks and handling creases, otherwise in very good condition.
Provenance: From the estate of Arno Fischer.
Fashion photographs, Berlin. 1960s. 2 vintage gelatin silver prints hinge-mounted to board. Each circa 40 x 30 cm (50 x 40 cm).
Some buckling, light pressure marks and handling creases, otherwise in very good condition.
Provenance: From the estate of Arno Fischer.
Fashion photographs, Budapest. 1960s. 2 vintage gelatin silver prints hinge-mounted to board. Each circa 40 x 30 cm (50 x 40 cm).
Some buckling, scuff marks and creases on one print, the other with buckling and traces of previous mounting, otherwise both in good to very good condition.
Provenance: From the estate of Arno Fischer.
Leipzig. 1983. Archival pigment print on Hahnemühle Baryta paper, printed 2017. 28,8 x 43,5 (32,8 x 48,2 cm). Photographer's copyright stamp as well as signed, titled and dated by the photographer in pencil on verso.
Gerhard Gäbler is known for his black and white photographs documenting everyday life in the GDR. Originally trained as a chemist, he later studied photography, turning his lens to his immediate environment and capturing life under communist rule in all its nuances. His work is featured in collections such as the Museum of Fine Arts, Houston, and the International Center of Photography. – In excellent condition.
Lit.: Gerhard Gäbler. Zeit ohne Wiederkehr: Fotografien 1978-1989. Leipzig: Lehmstedt Verlag, 2015. ill. p. 16.
Leipzig. 1988. Archival pigment print on Hahnemühle Baryta paper, printed 2017. 28,8 x 43,5 (32,8 x 48,2 cm). Photographer's copyright stamp as well as signed, titled and dated by the photographer in pencil on verso.
In excellent condition.
Lit.: Gerhard Gäbler. Zeit ohne Wiederkehr: Fotografien 1978-1989. Leipzig: Lehmstedt Verlag, 2015. ill. p. 94.
Gerhard Gäbler. Ostbad: Fotografien. Text by Günter Kunert. Hamburg: Edition Braus, 1993. ill. cover.
Insel Usedom, Ostsee. 1985. Archival pigment print on Hahnemühle Baryta paper, printed 2017. 28,8 x 43,5 (32,8 x 48,2 cm). Photographer's copyright stamp as well as signed, titled and dated by the photographer in pencil on verso.
In excellent condition.
Lit.: Gerhard Gäbler. Zeit ohne Wiederkehr: Fotografien 1978-1989. Leipzig: Lehmstedt Verlag, 2015. ill. p. 55.
Altenburg. 1983. Archival pigment print on Hahnemühle Baryta paper, printed 2017. 17,2 x 44,4 (32,8 x 48,2 cm). Photographer's copyright stamp as well as signed, titled and dated by the photographer in pencil on verso.
In excellent condition.
Lit.: Gerhard Gäbler. Zeit ohne Wiederkehr: Fotografien 1978-1989. Leipzig: Lehmstedt Verlag, 2015, ill. pp. 24-25.
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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