Tom Waits Bleecker St. near Bowery. 1986. Vintage gelatin silver print. 30,5 x 45,2 cm (40,5 x 50,4 cm). Signed, titled and dated by the photographer in pencil on the verso.
Slightly buckled in side edges, otherwise a fine tonal print in very good condition.
Greene, Milton H.
Marilyn Monroe (from the "Black Sitting")
Los 4152
Schätzung
1.200€ (US$ 1,333)
Marilyn Monroe (from the "Black Sitting"). 1956. Large-format gelatin silver print, printed 1979. 48,5 x 40 cm. Photographer's "Authentic Original Photograph by: Milton H. Greene" stamp, therein signed and dated by the photographer in ink on the verso.
Milton H. Greene rose to prominence as a fashion photographer in the 1940s and 1950s, with work featured in Harper’s Bazaar and Vogue. He went on to photograph some of the most iconic figures of the era, including Elizabeth Taylor, Frank Sinatra, Audrey Hepburn, Grace Kelly, Ava Gardner, Sammy Davis Jr., Catherine Deneuve, Marlene Dietrich, and Judy Garland. His close professional relationship with Marilyn Monroe led to the founding of Marilyn Monroe Productions, a bold move to give her greater control over her career. Greene and Monroe collaborated on more than 50 photo sessions, including the celebrated "Black Sitting", from which the photograph offered here originates. – Slight buckling, a few minimal nicks in edges, otherwise in very good condition.
Lit.: Joshua Greene (ed.). Milton's Marilyn. Munich: Schirmer/Mosel, 1998, ill. p. 158 ff. (images from the same sitting).
Hamm, Manfred
View from Große Neugierde towards Babelsberg,Glienicke
Los 4153
Schätzung
600€ (US$ 667)
View from Große Neugierde towards Babelsberg, Glienicke. 1999. Vintage gelatin silver print. 26,5 x 19,8 cm (30,2 x 23,7 cm). Signed by the photographer as well as negative number in pencil on the verso.
Manfred Hamm was born in Cainsdorf near Zwickau and trained as an advertising and theater photographer in Ulm and Munich from 1961-1963. Between 1965-1967, he traveled extensively through Australia and Southeast Asia before settling in Berlin in 1967, where he worked as an assistant to Ben Wargin at Galerie S until 1970. From that point on, Hamm worked as a press photographer for various magazines, and in 1977, he published his first photo book, Berlin - Landschaft einer Stadt. – A few light handling dents, otherwise in very good condition.
Lit.: Michael Seiler,Manfred Hamm (eds.). Inzenierte Landschaften: Blicke ins preussische Arkadien. Berlin: Transit, 1999, ill. p. 142.
Sagrada Familia; Feigenblatt. 1962. 2 vintage ferrotyped gelatin silver prints. 26 x 23,3 cm and 29,4 x 23 cm. Each mounted to board, signed, titled and dated by the photographer in pencil below the image on the mount.
Günter Hildehagen is known for his intense portraits which often show people outside of "normal" society but his portfolio also features more graphic, abstract works such as the photographs offered here. Between 1958-1960 he completed an apprenticeship with Pan Walther and from 1961-1965 he studied with Otto Steinert. – Mounts with toning in edges, prints with minimal surface scuffing and light surface irregularities to ferrotype surface, otherwise in very good condition.
Wartesaal Düsseldorf. 1981. Chromogenic print on Kodak-Professional paper, printed 1991. 40,2 x 51,7 cm (50,8 x 61 cm). Signed, dated and numbered "30/30" by the artist in ink on the verso, mounted in upper corners in mat.
The German photographer Candida Höfer is renowned for her meticulously composed, large-scale color photographs of public and institutional interiors. Her work captures the psychological and aesthetic dimensions of spaces such as libraries, museums, theaters, and zoological gardens, often devoid of human presence. By focusing on the architecture and design of these environments, Höfer invites viewers to contemplate the cultural and historical significance embedded within these spaces. – Buckled in upper right corner from mounting, mostly in margin, otherwise in very good condition.
Lit.: Photographische Sammlung, SK Stiftung Kultur, Köln, eds. Candida Höfer: Orte, Jahre. Photographien 1968-1999. Munich: Schirmer/Mosel, 1999, ill. p. 45.
Symmetrische Scheiben. 1970s. Chromogenic print. 50 x 49,5 cm. Signed by the photographer in pencil in lower right corner; titled and annotated by the photographer in pencil and photographer's label on the verso.
The German photographer Marta Hoepffner developed her innovative Farbinterferenzbilder (color interference images) from the mid-1960s onward. These experiments investigate the optical properties of polarized light through layered, geometric compositions. Informed by Bauhaus principles and the aesthetics of the New Vision movement, her work represents a distinctive synthesis of scientific inquiry and visual abstraction. Her striking images position Hoepffner as a significant figure in postwar kinetic and light-based art. – A few light surface scuff marks, more visible in raking light, small backed paper loss in upper edge, otherwise in very good condition.
Lit.: Eva Scheid, ed. Lichtbilder: Bilder des Lichts. Marta Hoepffner: Fotokünstlerin und Pädagogin. Hofheim am Taunus: 1997, see pp. 50–67.
Brigitte Behrens, Ulrika Jäger. “Lichtbilder: Bilder des Lichts. Marta Hoepffner und Ihm Schoffers.” In: Die Frauenfeder, no. 2, Drumlin Verlag, Weingarten, 1986, pp. 135-175.
Winter scene. 1960s. Vintage large-format gelatin silver print. 59,5 x 49,5 cm. Photographer's label affixed in lower right corner; photographer's stamp on the verso.
A few backed tears and nicks in edges, surface scratch in upper right, otherwise in very good condition.
Berlin (combination print from two negatives). 2000. Vintage gelatin silver print. 25,8 x 38,7 cm. Signed and dated by the photographer in pencil on the verso.
Konrad Hoffmeister studied photography and reproduction techniques in Magdeburg before serving as an assistant and lecturer at the Academy of Fine Arts in Berlin-Weißensee from 1953-1956. Beginning in 1957, he worked as a freelance photographer in East Berlin. He produced images for theater, television, magazines, and advertising, while also pursuing independent artistic projects. Among these is his notable portrait series "Ansichten zu Deutschland" (Views of Germany). Hoffmeister’s work has been exhibited internationally and remains a significant contribution to postwar German photography. – Retouched spot in upper mid area, a few minimal pressure marks, otherwise in very good condition.
Untitled from the series "Tokyo and my Daughter". 2005-2006. Chromogenic print mounted on dibond. 80 x 100 cm. Signed and editioned "1/3" by the artist in black marker on the verso.
This and the following two photographs are from Takashi Homma’s series "Tokyo and my Daughter", a contemplative body of work that captures the Japanese capital through understated, often impersonal topographical views. Homma presents Tokyo’s everyday architecture - residential façades, commercial streets, and construction sites - with cool detachment and formal clarity. These urban scenes are interspersed with images of a young girl introduced as his daughter (though she is actually the daughter of a friend), subtly challenging assumptions of authorship and intimacy. Through this juxtaposition of borrowed affection and dispassionate observation, Homma offers a portrait of Tokyo that is at once analytical and quietly lyrical. – Small scratch in top left corner, otherwise in near excellent condition.
Lit.: Takashi Homma. Tokyo and my Daughter. Zürich: Nieves, 2006, (unpaginated).
Untitled from the series "Tokyo and my Daughter". 2005/2006. Chromogenic print mounted on dibond. 42 x 54 cm. Signed and editioned "1/5" by the artist in black marker on the verso; with gallery label.
Small scratch in lower left corner, some very light scuff marks, otherwise in near excellent condition.
Lit.: Takashi Homma. Tokyo and my Daughter. Zürich: Nieves, 2006, (unpaginated).
Untitled from the series "Tokyo and my Daughter". 2005/2006. Chromogenic print mounted on dibond. 54 x 42 cm. Signed and editioned "1/5" by the artist in black marker on the verso; with gallery label.
Some light scuff marks, otherwise in near excellent condition.
Lit.: Takashi Homma. Tokyo and my Daughter. Zürich: Nieves, 2006, (unpaginated).
Horst P. Horst
Mainbocher Corset, Paris, August 11, 1939
Los 4162
Schätzung
8.000€ (US$ 8,889)
Mainbocher Corset, Paris, August 11, 1939. Gelatin silver print, printed later. 50,5 x 40,3 cm. With the photographer’s blind stamp below the image on recto; signed, titled, and dated in pencil on the verso, mounted to mat.
Taken in Paris on the eve of World War II, Mainbocher Corset (August 11, 1939) remains one of the most iconic images in the history of fashion photography. Commissioned by French Vogue, the photograph shows the back of a model adjusting a satin corset by Mainbocher, rendered in luminous chiaroscuro that recalls classical sculpture. With its perfect balance of form and shadow, sensuality and restraint, the image transcended its commercial origins to become a lasting symbol of poise and vulnerability. Widely reproduced in books and exhibitions, it endures as a defining work of 20th-century photography - elegant, enigmatic, and forever marked by the fragility of its moment. – Some buckling along the edges of print, otherwise in near excellent condition.
Provenance: Camera Work Gallery, Berlin; acquired from the above by the present owner.
Lit.: Nancy Hall-Duncan. The History of Fashion Photography. New York: Alpine Book Company, 1979, ill. p. 65.
Valentine Lawford. Horst: His Work and His World. New York: Alfred A. Knopf, 1984, ill. p. 184.
Martin Kazmaier, ed. Horst: Sixty Years of Photography. London: Thames & Hudson, 1996, ill. pl. 8.
German mailman, Weimar Republic. Circa 1930. Vintage gelatin silver print. 23 x 17,2 cm. Mounted to black card, mounted to cream colored board, signed by the photographer in pencil below image on the mount.
Lotte Jacobi is renowned for her intimate and engaging portraits, utilizing dramatic lighting and composition to capture the true essence of her subjects. This whimsical portrait of a mailman "on the job" was likely commissioned to be published in one of the many popular magazines of the day. Jacobi's fusion of artistic vision and technical prowess has established her as a significant and celebrated figure in the history of photography. – Minimal oxidation mirroring in dark areas, otherwise in very good condition.
Valle Stura, Italy. 1963. Vintage gelatin silver print. 25 x 20 cm. Photographer's/copyright stamp, signed by the photographer in ink and annotated in pencil on the verso.
Born in Germany, Clemens Kalischer emigrated to the United States, where he studied art and established himself as a photojournalist and art photographer. His most recognized body of work is a powerful series documenting displaced persons arriving in New York City from postwar European refugee camps in 1947 and 1948. Combining humanistic sensitivity with documentary rigor, Kalischer’s photographs capture the emotional weight of migration and transition in the aftermath of World War II. – Small nicks in edges, small creases in upper right corner, otherwise a rich tonal print in very good condition.
The artist Gerhard Richter. Circa 1978. Vintage gelatin silver print on Agfa paper. 14,9 x 18,3 cm. Signed by the photographer in pencil, titled in ink and with photographer's/copyright stamps on the verso.
Apart from working as a chronicler and essayist, since 1976 Benjamin Katz has practiced as a freelance photographer. Actively involved in the German art scene, he often portrays artists, patrons, and other participants of cultural events. – Lower left corner slightly bumped, otherwise a fine tonal print in very good condition.
Lit.: Peter Feierabend, ed. Benjamin Katz: Souvenirs. Cologne: Könemann, 1996, ill. p. 301.
Krüger, Karl
Advertising photo for Lufthansa (Junkers Ju 90)
Los 4166
Schätzung
600€ (US$ 667)
Advertising photo for Lufthansa (Junkers Ju 90). Circa 1935. Vintage gelatin silver print. 25 x 21 cm. Mounted to original card, signed and titled by the photographer in ink below the image on the mount.
This image shows the Junkers Ju 90, the last civilian passenger aircraft built in Dessau for Lufthansa. At the outbreak of World War II, all eleven aircraft in Lufthansa’s fleet were requisitioned by the German Luftwaffe for military use. – Mount slightly soiled, some buckling from mounting, otherwise in very good condition.
Lit.: Brian Walter. Junkers - ein Pionier der Luftfahrt. Erfurt: Sutton, 1997.
Der gestohlene Degen, Leopoldville. 1960. Gelatin silver print, printed later. 25,3 x 37,5 cm (30,5 x 40,5 cm). Signed, titled and dated by the photographer in felt-tip pen, with the photographer’s stamp on the verso.
Taken during Congo’s independence festivities, this photograph captures the moment a young Congolese man snatches the ceremonial sword from King Baudouin - a powerful and unplanned gesture that came to symbolize the collapse of colonial rule. Widely published, it became one of Robert Lebeck’s most iconic images and a defining document of 20th-century decolonization. – Some buckling along the edges of the prints; otherwise in near excellent condition.
Lit.: Tete Böttger, ed. Robert Lebeck: Vis-à-vis. Steidl/Arkana: Göttingen, 1999, ill. p. 88.
Romy Schneider in Berlin. 1976. Gelatin silver print, printed later. 25,3 x 37 cm (30,2 x 40,2 cm). Signed, titled and dated by the photographer in felt-tip pen, with the photographer’s stamp on the verso.
Photographer Robert Lebeck shared a close friendship with the actress Romy Schneider, whom he portrayed on numerous occasions - capturing not only her vivacious charm but also moments of striking vulnerability. – Some minor signs of retouching, along with a few light pressure marks and handling creases; otherwise in near excellent condition.
Lit.: Tete Böttger, ed. Robert Lebeck: Vis-à-vis. Steidl/Arkana: Göttingen, 1999, ill. p. 244.
Young men in water. 1949. Vintage ferrotyped gelatin silver print on doubleweight Agfa-Brovira paper. 21,2 x 28,8 cm. Annotated in pencil on the verso.
Herbert List, a prominent German photographer, is renowned for his innovative contributions to 20th century photography. His seamless blending of classicism and modernism creates visually arresting images that often evoke an air of surrealism. His expertise to capture moments of stillness and poetic elegance is particularly evident in his outdoor images.
– Some irregularities to ferrotype surface, more visible at an angle, otherwise in very good condition.
Rome. 1950s. Vintage ferrotyped gelatin silver print on doubleweight Agfa-Brovira paper. 23,1 x 29,5 cm. Estate stamp, therein negative number in pencil on the verso.
Edges slightly curled, two stronger handling dents in upper left area, a few surface irregularities more visible at an angle, one light handling dent in lower right, otherwise in very good condition.
Rome. 1950s. Vintage ferrotyped gelatin silver print on doubleweight Agfa-Brovira paper. 29,5 x 24 cm. Agency stamp, therein titled and with number in pencil on the verso.
Edges slightly curled, corners bumped, a few light handling dents, a few surface irregularities, more visible at an angle, one light handling dent in lower right, otherwise in very good condition.
List, Herbert
Reason for Divorce: the Trumpet, Oktoberfest, Munich
Los 4172
Schätzung
1.200€ (US$ 1,333)
Reason for Divorce: the Trumpet, Oktoberfest, Munich. 1950s. Vintage ferrotyped gelatin silver print on doubleweight Agfa-Brovira paper. 21,8 x 29,2 cm. Photographer's stamp and annotated in pencil on the verso.
Some surface irregularities to ferrotype surface, otherwise in good condition.
Lehnartz, Klaus
Reconstruction of the Schauspielhaus, Gendarmenmark with Deutscher Dom
Los 4173
Schätzung
500€ (US$ 556)
Reconstruction of the Schauspielhaus, Gendarmenmarkt with Deutscher Dom. 1964. Vintage gelatin silver print. 16,6 x 22,6 cm. Photographer's stamp and annotated by the photographer in pencil on the verso.
The German photojournalist Klaus Lehnartz was known for his perceptive and wide-ranging documentation of postwar society. His work spans political events, street life, and cultural moments, with a particular focus on Berlin during the period of German division. Through a clear visual language and keen observational eye, Lehnartz captured the shifting identity of the city and its people at a pivotal time in history.
– Irregular ferrotype surface, otherwise in very good condition.
Larmes. 1930. Gelatin silver print on Agfa paper, printed 1991. 19,7 x 26,8 cm (23,5 x 30,3 cm). Griffelkunst and ADAGP Man Ray Trust copyright stamps on the verso.
Minimal buckling in upper/lower edges, light handling dent in upper left, otherwise in very good condition.
Lit.: Jean-Hubert Martin, ed. Man Ray: Photographs. London: Thames and Hudson, 1991, ill. p. 84.
Rayographs. 1921-1923. 3 gelatin silver prints on Agfa paper, printed 1978. Each circa 29,5 x 22,5 cm (43 x 34 cm). Each with Griffelkunst edition stamp, Man Ray’s signature stamp and rayograph stamp, as well as signed and dated in pencil by the estate executor on the verso; each print mounted along upper edge to gray board, Griffelkunst stamp on mount verso.
Man Ray created his “rayographs” without a camera, placing everyday objects - such as thumbtacks, wire, and circular forms - directly onto photosensitized paper and exposing them to light. While he had previously photographed ordinary items, these unique, otherworldly images elevated his status to that of one of the leading avant-garde artists of his time. Oscillating between abstraction and representation, the rayographs introduced a radically new visual language that anticipated the dreamlike visions of the Surrealist writers and painters, who soon embraced him. – Rich tonal prints in near excellent condition.
Lit.: Jean-Hubert Martin, ed. Man Ray: Photographs. London: Thames and Hudson, 1991, ill. pp. 140–141.
Juliet. 1945. 2 gelatin silver prints on Agfa paper, printed 1991. Each circa 26 x 20,5 cm (30 x 24 cm). Griffelkunst and ADAGP Man Ray Trust copyright stamps on the verso.
Minimal buckling in side edges, otherwise in very good condition.
Lit.: Jean-Hubert Martin, ed. Man Ray: Photographs. London: Thames and Hudson, 1991, ill. p. 84.
Mantz, Werner
Schule Köln-Zollstock, architect Helmuth Wirminghaus
Los 4177
Schätzung
900€ (US$ 1,000)
Schule Köln-Zollstock, architect Helmuth Wirminghaus. 1929. 2 vintage gelatin silver prints, 1 on matte paper. 17,2 x 20,7 cm and 22,5 x 17 cm. Each with photographer’s stamp and copyright stamp, annotated in pencil on the verso.
Werner Mantz was one of the foremost photographers of the Neues Bauen movement, documenting Cologne’s modernist architecture of the 1920s with striking clarity and precision. After opening his own studio in 1921, he initially focused on portraiture, photographing notable intellectuals, artists, and politicians. From 1926 onward, Mantz received major commissions from leading architects such as Wilhelm Riphahn, Peter Franz Nöcker, and Caspar Maria Grod - key figures in implementing Konrad Adenauer’s progressive housing policies for a modern Cologne. His architectural photographs, often published in Bauwelt, Die Form, and Bauwarte, are marked by their stark objectivity and geometric rigor. With their deserted streets and pristine façades, these images elevated Cologne’s architectural identity and helped cement its reputation as a center of avant-garde design. – One print with small ink spot in sky area and a few light handling dents, the other print in near excellent condition.
Lit.: Compare: Museum Ludwig. Werner Mantz (exhibition catalog). Cologne: Verlag der Buchhandlung Walther König, 2000, p. 198 ff.
Gil, Towel (Gil Latour for twen). 1963. Gelatin silver print, printed later. 39,5 x 29,7 cm. Signed, titled and dated by the photographer in pencil on the verso.
From the 1960s through the 1980s, Charlotte March was among the leading international fashion photographers. Her work for magazines such as twen, Stern, Harper’s Bazaar, Vanity Fair, Elle, and Vogue conveyed an emancipatory spirit, capturing the energy of a new lifestyle and the cultural shifts that defined the 1960s. – A few minimal handling dents, otherwise in very good condition.
Woman with cigarette. 1989. Gelatin silver print, printed 1990s. 31 x 21,5 cm. Photographer's stamp and dated in pencil on verso.
Sven Marquardt trained as a photographer and cameraman at the DEFA studios before making a name for himself with publications in magazines like Sonntag and Das Magazin in the mid-1980s. He worked as a fashion photographer for Sibylle, alongside Roger Melis and Arno Fischer, gaining recognition for his documentation of the GDR's subculture. Following German reunification, he turned to working as a bouncer at the renowned Berghain club, becoming an emblematic figure of the club culture scene. He has participated in numerous exhibitions and continues his photography work today. – Corners slightly bumped, a few light handling dents, otherwise in very good condition.
Young man. 1988. Gelatin silver print, printed 1990s. 31 x 21,5 cm. Photographer's stamp and dated in pencil on verso.
A few dents from verso, otherwise in very 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