"Paris-neuf, ou, Rêve et réalité". 1861. 6 albumen prints mounted to album pages. 7 x 7 cm (24,2 x 14,5 cm). Titled and captioned above and below the image in black ink. Edition Durino & Mercer, Paris.
Charles Soullier’s photographs from "Paris-neuf, ou Rêve et réalité" offer a richly detailed visual account of Paris during the transformative years of the Second Empire. Working with the albumen process, Soullier captured iconic sites such as the Pont-Neuf, Place de la Concorde, and the Arc de Triomphe du Carrousel with remarkable clarity and compositional precision, often emphasizing perspective, texture, and the subtle effects of light and atmosphere. Produced in the early 1850s, these photographs document a city in flux - on the cusp of Baron Haussmann’s sweeping urban renovations. Soullier’s images go beyond straightforward documentation, conveying a quiet lyricism and a contemplative sensibility that present the city not only as a symbol of modernity and progress but also as a space steeped in memory and architectural tradition. The work reflects both a technical mastery of early photographic methods and a nuanced vision of Paris as it straddled past and future. – Some prints lightly faded, otherwise all in good to very good condition.
Photographer: Emil Herbruger (1808-1894). Views of Guatemala and Panama. 1860s, album compiled ca. 1876. 24 albumen prints with rounded corners, mounted to album boards. Most circa 20 x 24 cm. Annotated in pencil below images on the mount; bound in full-canvas album with gilt-embossed title "Amerika 1875-1877".
The German-born photographer Emil (Emilio) Herbruger emigrated to the United States in 1834 and first traveled to Latin America in 1841, working as a photographer in Cuba, Mexico, and Central America. Between 1849-1851, he was active in Colombia, where he also gained recognition as a composer and music teacher. From 1852-1857, inspired by the explorations of Alexander von Humboldt, Herbruger traveled through Peru and Brazil. He later settled in Guatemala, where he produced numerous cartes-de-visite portraits and ethnographic photographs of Indigenous communities. In Panama, portrait photography also became a lucrative line of work. This rare album attests to Herbruger’s mastery of the medium and offers a valuable visual record of the people and cultures of Central America in the mid-19th century. – Some faded in edges, otherwise in very good condition and many with strong contrasts.
Photographer unknown. Views of Samoa, Fiji, and New Guinea. Late 1890s-early 1900s. 12 gelatin silver prints, mounted to boards. Each ca. 15,5 x 20 cm ( 22 x 28 cm) or reverse. Each with handwritten caption in black ink on the mount.
This group of photographs offers a rich visual record of life in the German colonial Pacific during the late 19th and early 20th centuries. Likely taken by a missionary-affiliated or ethnographic photographer, the images depict a variety of subjects including Samoan families and women in ceremonial dress, Fijian schoolchildren in front of a thatched classroom, local architecture such as a bamboo church, and the construction of a large traditional meeting house. Other scenes include local converts and indigenous pastors, formal group portraits, and a canoe landing on the beach in the former German protectorate of New Guinea. – Some soiling and foxing of boards, some fading and signs of oxidation along the margins of a number of prints, otherwise all in good to very good condition.
Views of Rio de Janeiro. 1860s. 25 albumen prints, some with rounded corners. Each ca. 19,5 x 24,5 cm or reverse.
This cohesive group of photographs offers a rare visual record of Rio de Janeiro in the mid-19th century, attributed to the French-born photographer Théophile Auguste Stahl. The views range from prominent landmarks, such as the Imperial Military Academy at Praia Vermelha, the Arsenal da Marinha, and Glória Hill, to sweeping panoramas of the city’s hills and coastline. Several images highlight the urban development of central neighborhoods like Santa Teresa, while others emphasize the dramatic natural setting of Guanabara Bay with Sugarloaf Mountain and Corcovado in the distance. Stahl’s precise compositions convey both the architectural ambition and evolving topography of imperial Rio during a period of dynamic transformation. – Some very light scuff marks, minimal foxing as well as a small tear on one print and light fading along the edges of some prints, otherwise all strong tonal prints in near excellent condition.
Stevenson, Robert Louis
Portraits of Robert Louis Stephenson etc.
Los 4095
Schätzung
800€ (US$ 889)
Photographer: John Davis and unknown. Portraits of Robert Louis Stephenson, etc. Circa 1890. 4 albumen prints, mounted on both sides of board. Various sizes between 21 x 13,7 cm and 19 x 23,5 cm. Some annotated in ink below the image on the mount.
Two photographs in this group feature Robert Louis Stevenson in Samoa - one alongside his wife Fanny, together with local sailors and Samoan villagers - the other shows him with high chief Tuimalealiifano Si’ualo. Also included is a portrait of King Malietoa Laupepa, attributed to John Davis and taken around 1890, as well as a striking image of the German naval vessel SMS Adler shipwrecked in Apia Harbor following the 1889 cyclone. – Mounts slightly time-stained and soiled. Prints with a few light scratch marks, otherwise in good condition.
Sumatra, Western
Ethnographic Studies of the Mentawai People
Los 4096
Schätzung
1.500€ (US$ 1,667)
Photographer: Christiaan Benjamin Nieuwenhuis (1863-1922). Ethnographic studies of the Mentawai People, Western Sumatra. Circa 1895-1905. 8 albumen prints, mounted to board. Each 22,2 x 16 cm (26,4 x 20 cm). Most annotated in pencil on the verso.
This group of photographs by Christiaan Benjamin Nieuwenhuis, taken circa 1895-1905, represents a rare and significant visual record of the Mentawai people of Western Sumatra at the turn of the 20th century. Produced during Nieuwenhuis’s service in the Dutch East Indies, the images reflect the colonial-era ambition to document and classify Indigenous cultures through photography. Beyond their ethnographic purpose, these photographs are among the earliest known visual representations of Mentawai society and thus form an important historical source for the study of material culture, body ornamentation, and pre-missionary lifeways in the Mentawai Islands. – Some light fading, scuff-marks and a few creases to one print, otherwise all in good to very good condition.
Switzerland
Views of Switzerland and Alpine landscapes
Los 4097
Schätzung
2.000€ (US$ 2,222)
Photographer: Frith's Series and others. Schweizer Reise August-September 1884 (Views of Switzerland and Alpine landscapes). 1870s-early 1880s. 120 albumen prints. Each circa 10 x 15 cm or reverse. Mounted 2 to each album page, captioned in ink in German below images, bound in green canvas album with black-stamped title Paul Bercht Schweizer-Reise August-September 1884.
The album includes a wide-ranging selection of city and landscape views from Switzerland and surrounding regions, among them Zurich, Lucerne, Brunnen, Axenstein, the Axenstrasse, the Gotthard Railway, Andermatt, the Rhône and Grindelwald Glaciers, Wengernalp, Mürren, Bad Leuk and the Gemmi Pass, Monte Rosa, Breithorn, Chamonix with Mont Blanc, the Mer de Glace (several views), Zermatt with the Matterhorn, Vernayaz, Montreux, Nyon, Geneva, Fribourg, Bern, Basel, and Strasbourg Cathedral. The album was most likely compiled by the Berlin banker Paul Bercht (1847-1899), whose name is stamped on the cover. – Edges of album worn, canvas rippled, pages buckled and some with light foxing, some prints with light fading in edges, first prints with slight insect damage, otherwise most with strong tones and in good to very good condition.
Street Life in London. 1877-1878. 12 Woodburytypes, mounted to original boards. Each ca. 11,5 x 9 cm (27 x 21 cm) or reverse. Printed title below image on mount, all with red printed border lines.
This group of photographs comes from Street Life in London (1877-78), a photojournalistic series by John Thomson in collaboration with writer Adolphe Smith. Each image depicts a representative figure from London’s working class, including cabmen, street musicians, chair menders, and vendors of ginger beer and secondhand goods. Taken on location and presented with short explanatory texts in the original publication, the photographs were intended to document the city’s informal economies and daily street life. – Some minor scuff marks, otherwise all in near excellent condition.
Togo
The Bremen factory and the German mercantile community in Little Popo (Aného), Togo
Los 4099
Schätzung
500€ (US$ 556)
Photographer unknown. The Bremen factory and the German mercantile community in Little Popo (Aného), Togo. 1882-84. 4 albumen prints. Each circa 14 x 21 cm. Each mounted to board (23,5 x 29,5 cm), 3 with original captions in ink in German on the mounts.
These photographs were taken in Little Popo (present-day Aného, Togo), then the principal port on the so-called ‘Slave Coast’ between French-controlled Dahomey (now Benin) and the British Gold Coast (now Ghana), prior to the region’s formal annexation by Germany in 1884. They prominently feature the trading premises of the Bremen firm F.M. Vietor. One image shows its agents alongside representatives of other German trading houses active in Little Popo, all identified in the accompanying caption. Several of these men - including F. Reimann, H.F.A. Eccarius, and Heinrich Randad - were involved in negotiating trade agreements with local chiefs from 1882, laying the groundwork for German colonial expansion. Randad would later be appointed the first commissioner of what became known as the Togoland Protectorate. – Boards with foxing, a few prints slightly faded, two with small white spots, otherwise in good condition.
Toruń
St. John's Church, Toruń, Poland; Views of Danzig
Los 4100
Schätzung
900€ (US$ 1,000)
Photographer: Eduard Flottwell (1811-1862) and A. Ballerstaedt. St. John’s Church, Toruń and views of Danzig. 1861, 1870s. 3 albumen prints. 24,5 x 18,5 cm and 24,5 x 17 cm. Each mounted to board. Flottwell’s blind stamp and Ballerstaedt’s studio stamp below the image on the mount.
This small group of architectural views includes a finely detailed photograph of St. John’s Church in Toruń by Eduard Flottwell, one of the earliest photographers active in the region. The remaining views, taken by A. Ballerstaedt in the 1870s, depict historic landmarks in Danzig (now Gdańsk), including richly ornamented façades and civic buildings. Together, the prints offer early photographic documentation of Northern Poland’s Gothic and Renaissance architectural heritage. – Boards slightly soiled and with light foxing. Torun print with rubbed surface spot in upper right, a few light scuff marks, otherwise a rich tonal print in very good condition.
Lit.: Ireneusz Witold Dunaijski. Photography in Danzig 1839-1862. 2013, ill. p. 222.
Photographer unknown. Stephansdom, Vienna seen from the West. Mid-1870s. Mammoth albumen print. 56 x 77 cm (mount 68 x 88 cm). Mounted to board (soiled, some traces of use).
An unusually large and finely detailed albumen print depicting the south façade of St. Stephen’s Cathedral (Stephansdom) in Vienna, taken from Stephansplatz. The image captures the intricate Gothic architecture of the cathedral with striking clarity, including the soaring spire and patterned tile roof. In the foreground, several horse-drawn omnibuses operated by the Neue Wiener Omnibus-Gesellschaft, founded in 1872, highlight the emergence of organized urban transport in late 19th-century Vienna.
– Some surface scuff/scratch marks, horizontal line in upper area, water spot in mid area, otherwise in good condition.
Shopping #3. 1999. Cibachrome print, mounted to mat. 50,8 x 61 cm (70 x 80 cm). Signed and editioned "1/10" in black marker on verso.
In her series “Shopping” (1997-1999), Merry Alpern turns a hidden lens on the performative rituals of luxury retail - high‑end department stores, fitting rooms, and shopping galleries become stages for gestures of desire, hesitation and surveillance. By photographing anonymous shoppers through discreet cameras, she exposes the subtle choreography of consumer culture: the tension between private impulse and public display within spaces framed by wealth and voyeurism. A print from this edition is held in the collection of the Whitney Museum of American Art. – Some light scuff and pressure marks, otherwise in near excellent condition,
Felix in his bedroom, Berlin. 1995. Gelatin silver print. 60,7 x 50,8 cm. Signed, titled, dated and editioned "3/5" in pencil on the verso.
David Armstrong was an American photographer best known for his intimate, emotionally resonant portraiture. Emerging in the late 1970s alongside his close friend Nan Goldin and the Boston School of photography, he developed a signature style marked by natural light, shallow depth of field, and a quiet, contemplative atmosphere. His portraits - often of friends, lovers, and fellow artists - convey deep trust and vulnerability, capturing fleeting expressions and introspective moments. Felix in his bedroom, Berlin, taken during Armstrong’s travels in Europe, exemplifies his remarkable sensitivity to the inner lives of his subjects. – A few handling creases, otherwise in near excellent condition.
Armstrong, David
José Maria and Scott in the Tiergarten, Berlin
Los 4104 [*]
Schätzung
1.000€ (US$ 1,111)
José Maria and Scott in the Tiergarten, Berlin. 1992. Gelatin silver print. 60,7 x 50,8 cm. Signed, titled, dated and editioned "AP 2" in pencil on the verso.
A few handling creases, otherwise in near excellent condition.
Architecture
Selected images of marble and stone works incorporated in commercial buildings in Berlin and Hamburg
Los 4105
Schätzung
1.500€ (US$ 1,667)
Photographers: Emil Leitner (1887-1953) and A. Dittmer. Selected images of marble and stone works incorporated in commercial buildings in Berlin and Hamburg. 1900-1920s. 12 vintage, large-format platinum prints. Various sizes between circa 39 x 29 cm and 20,5 x 26,5 cm. Some with photographer's blind stamp in lower corners.
This group of platinum prints documents the stone and marble work of former commercial buildings in Berlin and Hamburg, highlighting the materials and craftsmanship that defined their façades and interiors. – A few photos with oxidation mirroring in edges, otherwise in very good condition.
Photographer unknown. Public Architecture in the Third Reich. 1930s. 21 vintage gelatin silver prints. Each circa 16 x 21,5 cm or reverse. Each mounted to thick card with printed number on the verso, in original cloth presentation portfolio with "Zeiss Spiegellicht, Zeiss Ikon" stamped in black in upper left corner.
This portfolio comprises technically elaborate photographs documenting state-sponsored architecture and public spaces in Nazi Germany during the 1930s. Included are exterior and interior views of buildings such as the Deutschlandhalle, Reich Aviation Ministry, Sportpalast, and the German Pavilion at the 1937 Paris World’s Fair, as well as images of the Zeppelinfeld in Nuremberg and Unter den Linden decorated for Mussolini’s state visit. The inclusion of several night views and formal compositions suggests that the prints were likely produced for internal or promotional presentation purposes. The photographs offer visual insight into the regime’s use of architecture and spectacle to project power, ideology, and national identity. – Slight foxing in edges of mounts, a few prints with disoloration spots, most in very good condition.
Architecture
Architectural models for Mussolini's Rome plan
Los 4107
Schätzung
500€ (US$ 556)
Photographer unknown. Architectural models for Mussolini-era urban planning in Rome. 1930s. 5 vintage gelatin silver prints. Each circa 16 x 21,5 cm. Two with number in negative, each mounted to paper, some with typewritten caption label on mount verso.
These photographs document architectural models created as part of Fascist-era plans to reshape Rome during the 1930s. According to inscriptions on the mounts, the models represent a proposed but unrealized ministry building situated near the Aurelian Wall. While this specific project was not executed, the images reflect broader ambitions of Benito Mussolini’s regime to impose monumental buildings on the fabric of ancient Rome - a process that often entailed large-scale demolitions and controversial interventions in the city’s historic landscape. – Some oxidation mirroring in edges, otherwise in good condition.
Lit.: Harald Bodenschatz, Daniela Spiegel, eds. Städtebau für Mussolini. Berlin: Dom, 2022.
Nude self-portraits. Circa 1925. 2 vintage reproduction gelatin silver prints by the artist. 10 x 14,5 cm and 14,5 x 10 cm. Each signed in the negative in lower left; one annotated in pencil on the verso.
In the 1920s, Marta Astfalck-Vietz, who collaborated with photographer Heinz Hajek-Halke on a series of experimental “Combi-Phots”, also created numerous self-portraits in varying settings and costumes, exploring themes of identity, performance, and theatricality. Much of her archive was lost during the 1943 bombing of Berlin, and her work remained largely forgotten until it was rediscovered by Janos Frecot, then head of the photography department at the Berlinische Galerie. A major retrospective followed in 1991. While most of her commercial photography is presumed lost, the surviving works were later donated to the Berlinische Galerie. – Minimal oxidation mirroring in edges, otherwise in very good condition.
Lit.: Janos Frecot , ed. Marta Astfalck-Vietz - Photographien 1922-1935. Berlin: Berlinische Galerie, 1991.
Berlin im Licht
Views of buildings illuminated for 'Berlin im Licht'
Los 4109
Schätzung
25.000€ (US$ 27,778)
Photographer: Martin Höhlig (1882-1948). Views of buildings and locations in Berlin illuminated for the project “Berlin im Licht” 1928. 100 vintage, ferrotyped gelatin silver prints on ivory paper. Each circa 22,5 x 16,5 cm and 16,5 x 22,5 cm (Album: 25,5 x 36 cm). Some with number in lower right corner in the negative, inserted in album pages, each captioned in white crayon below the image on the mount. Presented in original full brown leather album with gilt-stamped title "Berlin im Licht" on front cover, in modern slipcase.
In collaboration with various business organizations and lighting companies - including AEG, Siemens & Halske, and Osram - the city of Berlin launched a visionary publicity campaign for electric light advertising and urban illumination under the slogan Berlin im Licht (Berlin Alight), held from October 13 to 16, 1928. The event attracted nationwide attention and was widely regarded as a celebration of modern urban life. Composer Kurt Weill even contributed a song titled "Berlin im Licht" for the occasion.
Already in the early 1920s, designer Walter Dexel had begun developing fluorescent lighting for advertising purposes. From 1926 onward, he worked in Frankfurt, designing illuminated signage that aimed to integrate harmoniously with architectural façades. His work included large-scale rooftop lettering, illuminated phone booths, and advertising columns - reflecting the growing interest in using electric light as both a functional and aesthetic element in architecture and marketing.
To document the Berlin im Licht initiative, more than one hundred night photographs were produced. These images, reflecting the principles of the Neue Sachlichkeit (New Objectivity) movement, capture a wide range of locations and lighting installations across the city. The collection offered here comprises a complete set of this photographic series - an important and rare visual record. Only a few such complete albums are known to exist, including one in the collection of the Stiftung Stadtmuseum Berlin, which was exhibited in 2008 and contains many of the photographs offered here.
The series includes views of modern commercial architecture, such as the department stores Kaufhaus des Westens (KaDeWe) and Michels & Cie. on Kurfürstendamm (both designed by Johann Emil Schaudt); the main branch of Michels & Cie. on Leipziger Straße; the furrier C.A. Herpich & Söhne on Leipziger Straße (Erich Mendelsohn); and several branch offices of Hermann Tietz (Hertie).
Further images document illuminated retail displays, signage, and advertising columns - including the Berlin im Licht column at Großer Stern and the well-known Persil column at Potsdamer Platz. Also represented are cinemas such as the Ufa-Pavillon at Nollendorfplatz (Oskar Kaufmann), the Ufa-Palast on Hardenbergstraße, and the Titania-Palast in Steglitz (Schoffler, Schlönbach & Jacobi). The album also includes hotels like the Excelsior near Anhalter Bahnhof (Otto Rehnig), and entertainment venues such as Potsdamer Platz with Haus Vaterland (Franz Schwechten) and the Columbia Tanz-Cabaret. – Slight toning in edges of album pages; binding edges and corners slightly rubbed with a few light surface scratches. All photographs with light pressure marks in corners from album slits, some with silver mirroring in edges and corners, some with light handling marks/creases, a few with surface scuff marks, otherwise most in good to very good condition.
Lit.: Franziska Nentwig, ed. Berlin im Licht. Berlin: Stiftung Stadtmuseum Berlin, 2008, ill. pp. 2 and 224-236.
Fred Richter. Die Weltstadt im Licht: Berliner Nachtfotografien von Martin Höhlig aus den Jahren 1925 bis 1932. Quedlinburg: Edition Lichtblick, 2019, many illustrated.
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 German-born photographer whose radical experimentation and technical mastery helped redefine fashion photography in the 20th century. After early involvement with Dada and photo collage, he moved to Paris in the 1930s and later to New York, where he became a leading contributor to Vogue, Harper’s Bazaar, and Life. Renowned for his innovative darkroom techniques - including solarization, multiple exposures, mirror reflections, and distortions - Blumenfeld infused his images with surreal elegance and psychological depth. His striking fashion and nude studies, celebrated for their bold compositions and daring use of color, bridged avant-garde art and commercial photography, establishing him as one of the most influential image-makers of his era.
– In excellent condition.
Bruce of L.A.
Three winners of bodybuilding contest, Muscle Beach, Santa Monica: Charles Collras, Hossein Shokouh und Jerry Boily; Nude of John Manning
Los 4111
Schätzung
500€ (US$ 556)
Three winners of bodybuilding contest, Muscle Beach, Santa Monica: Charles Collras, Hossein Shokouh und Jerry Boily; Nude of John Manning. 1958. 2 vintage gelatin silver prints, 1 ferrotyped. Each circa 25 x 20,5 cm. One with photographer’s stamp, both annotated in ink and pencil on the verso.
Bruce Bellas, widely known as Bruce of L.A., was a pioneering photographer of the male physique and nude form during the 1950s and 1960s. In 1956, he founded The Male Figure, a magazine dedicated to showcasing his work and that of fellow physique photographers. Bellas’ images stood out for their polished aesthetic, playful compositions, and often camp-inflected sensibility - blending eroticism, performance, and humor in ways that anticipated later queer visual culture. – Minimal edge wear, ferrotyped photo with slight surface irregularity, otherwise in good condition.
Ein Loch in der Mauer, Berlin-Kreuzberg. 1962. Gelatin silver print, printed later. 24,5 x 36,8 cm (30,3 x 40,5 cm). Signed, titled and dated by the photographer in pencil, as well as photographer's copyright stamp on the verso.
Norbert Bunge was active in the field of photography for over five decades, both as a freelance photojournalist and as a tireless advocate for the work of overlooked and historically significant photographers. Through his Berlin gallery, argus fotokunst, he curated numerous exhibitions, with a particular focus on socially engaged photography and the visual culture of East Germany. – A few small retouched spots, otherwise in excellent condition.
Lit.: Mathias Bertram, ed. Norbert Bunge. Fotografien. Lehmstedt: Leipzig 2017, ill. p. 14.
Burtynsky, Edward
Shipbreaking # 38, Chittagong, Bangladesh
Los 4113
Schätzung
8.000€ (US$ 8,889)
Shipbreaking # 38, Chittagong, Bangladesh. 2001. Chromogenic print. 86 x 68 cm (104 x 86 cm). Signed, titled, dated and editioned "9/10" by the photographer on label on the verso, framed under museum glass in wooden frame.
Edward Burtynsky’s "Shipbreaking" series (2000) examines the vast and hazardous process of dismantling decommissioned cargo ships on the beaches of South Asia, primarily in Alang, India, and Chittagong, Bangladesh. The series emerged from the photographer’s long-standing interest in industrial landscapes and environmental transformation. Prompted by new regulations following the Exxon Valdez oil spill, Burtynsky became intrigued by the fate of obsolete single-hulled tankers and cargo ships - monolithic structures too massive for conventional scrapyards. His photographs depict immense ship carcasses looming over laborers who, with minimal equipment and safety measures, manually break down these steel giants for salvage.
Through large-scale, formally composed color images, Burtynsky captures the tension between the epic scale of global industry and the human effort required to sustain it. The stripped hulls, rust-streaked surfaces, and scattered debris evoke both the sublime and the tragic, portraying shipbreaking as both a monumental act of recycling and a stark reminder of economic disparity and environmental degradation. As with much of Burtynsky’s work, the Shipbreaking series invites reflection on the hidden costs of globalization and the fragile balance between progress and exploitation. – In excellent condition.
Providence. 1984. Dye transfer print, printed 1980s. 24,4 x 36,7 cm. Unsigned, with printer's stamp on the verso.
Harry Callahan’s color photographs, produced in the later years of his career, are widely celebrated for their vivid, introspective, and often abstract qualities. Exploring a wide range of subjects - from landscapes and cityscapes to portraiture - Callahan used color to add a new dimension of depth and emotional resonance, further enriching his already distinguished body of work. – In excellent condition.
Untitled. 1984. Dye transfer print, printed 1980s. 24,4 x 36,7 cm. Unsigned, with printer's stamp on the verso.
In excellent condition.
Photographer: Mei Li Photo Studio, Peking; Kang-Sing Chiao, Peking. Views of the Summer Palace, Peking, China. 1900-1920. 5 vintage hand-colored gelatin silver prints. Circa 25 x 38 cm and reverse. 4 with photographer's studio stamp and some annotated in pencil on the verso.
This group of finely hand-colored prints offers sweeping views of the Summer Palace in Peking (Beijing), capturing pavilions, bridges, and lakeside scenes that reflect the site’s imperial splendor. Likely produced for the early 20th-century export market, the photographs stand out for their rich tonality and delicate hand-coloring. – Some prints with toning in edges, a few with small spots, otherwise in very good condition with fine hand-coloring.
Christenberry, William
Green Warehouse, Newbern, Alabama
Los 4117
Schätzung
1.200€ (US$ 1,333)
Green Warehouse, Newbern, Alabama. 1997. Pigment print, printed later. 28 x 35,5 cm (43,2 x 55,2 cm). Signed, titled, and dated in ballpoint pen on the verso.
A pioneer of Southern vernacular photography, William Christenberry developed a quietly powerful visual language rooted in the landscapes, architecture, and cultural memory of his native Alabama. Revisiting the same humble structures over decades, he documented their gradual decay with a profound sense of personal connection and historical awareness. Green Warehouse, Newbern, Alabama exemplifies his meditative approach - merging documentary clarity with painterly sensitivity and a deep reverence for place and passage of time. – Some light scuff marks, a few stains on margins of prints, otherwise in near excellent condition.
Album of German East Africa. Circa 1910. Circa 96 vintage gelatin silver prints. Each circa 8 x 10 cm and reverse. Mounted in brown album window mats, bound in contemporary linen canvas album (23 x 28 cm).
This album, likely compiled by a German colonial official or settler around 1910, offers a visual record of life in the territory of German East Africa (present-day Tanzania, Burundi, and Rwanda) during the final years of German rule. The photographs include scenes of big-game hunting with displays of animal trophies, as well as depictions of local communities, traditional dwellings, and landscapes. While shaped by a colonial gaze, the images provide historical insight into the region’s social and environmental conditions during a period of foreign occupation. – Edges of album rubbed, some photos with foxing, some faded, otherwise most in good condition.
Photographer: Martin Höhlig (1882-1948). Interior of the Dornier Do X. 1922/23. 4 vintage gelatin silver prints. Each 17 x 23 cm. Two with photographer’s stamp and three annotated in pencil on the verso.
The Dornier Do X, produced in 1929 by the Dornier company in Germany, was the largest, heaviest, and most powerful flying ship of its time. Conceived by Claude Dornier in 1924, the project began in late 1925 and culminated in its completion in June 1929. – Some oxidation mirroring in edges, a few small handling dents, corners slightly bumped, otherwise most in very good condition.
Dutton, Allen A.
Surrealistic collages: The Gobi Caravan; Sibo Lethum; Lustus Espiritus
Los 4120
Schätzung
750€ (US$ 833)
Surrealistic collages: The Gobi Caravan; Sibo Lethum; Lustus Espiritus. 1972-73. 3 vintage gelatin silver prints. Each circa 20 x 24,5 cm (26 x 35,5 cm). Each signed, titled and dated by the photographer in felt-tip pen in lower right corner; annotated and monogrammed by the photographer in pencil on the verso.
Born in 1922 in Kingman, Arizona, Allen Dutton studied painting and sculpture at the Art Center School in Los Angeles. He held a variety of teaching posts in public schools in Arizona, before joining the art department at Phoenix College in 1960, where he taught photography and later served as head of the department until 1982. Between 1963-1964, he studied with Minor White and has acknowledged this time to be one of the greatest influences in his photographic development. His work is in the collections of the Museum of Modern Art, Bibliothèque Nationale in Paris and the Corcoran Gallery in Washington DC. – One print with surface irregularity, all with some handling dents, slight buckling in edges, otherwise in good condition.
[*]: Regelbesteuert gemäß Auktionsbedingungen. [^]: Ausgleich von Einfuhr-Umsatzsteuer.
* Alle Angaben inkl. 25% Regelaufgeld ohne MwSt. und ohne Gewähr – Irrtum vorbehalten.
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
© 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