Solovki, White Sea, Russia. 1992. Pigment print on heavy vellum paper. 37,5 x 89,5 cm (43 x 101 cm). Signed, dated and annotated as artist proof by the photographer in pencil below the image in the margin; titled and dated in pencil on the verso.
Slightly buckled, otherwise a beautiful tonal print in excellent condition.
Schensky, Franz
Sea view with sailboat and ship; View of Helgoland from the sea
Los 4212
Schätzung
400€ (US$ 444)
(Attributed to). Sea view with sailboat and ship; View of Helgoland from the sea. Circa 1910. 2 vintage toned carbon prints. Each 15,5 x 21,5 cm.
A few surface irregularities, sailboat image with some paper loss in upper left corner, otherwise fine tonal prints in very good condition.
Schensky, Franz
Sea view with wave; Helgoland in rough seas
Los 4213
Schätzung
500€ (US$ 556)
Sea view with wave; Helgoland in rough seas. Circa 1910. 2 vintage green-toned carbon prints. Each 16 x 21,7 cm. Wave image with photographer's blind stamp in lower right corner, each flush-mounted to board.
Richly toned and carefully composed, these atmospheric seascapes reflect Schensky’s early engagement with pictorial landscape photography along the North Sea coast. Known for his work on Helgoland, Schensky captured the island and its surrounding waters with poetic clarity, often emphasizing the interplay of sea, sky, and maritime life. – Helgoland print with some chips to emulsion in edges, scuff mark near left edge and a few bumps, otherwise fine tonal prints in very good condition.
Fishermen at sea. Circa 1910. Vintage carbon print. 26,5 x 38,5 cm. Photographer's blind stamp in lower right corner.
A few scuff marks and rubbing along edges, otherwise in very good condition.
Berlin, Alexanderplatz. 1994. Vintage gelatin silver print. 30,5 x 44,8 cm (35 x 48,2 cm). Signed, titled and dated by the photographer in pencil and photographer's label on the verso.
A few light handling dents, otherwise in very good condition.
"Ilford" Photomation fair stand. 1950s. Vintage gelatin silver print on doubleweight Agfa-Portriga paper. 13 x 22,2 cm. Photographer's (Hugo Schmölz) stamp on the verso.
Traces of previous mounting on the verso, otherwise in very good condition. With: Photo of a sketch design for the Ilford stand. - Some oxidation mirroring in edges.
Skiers on mountain, Bregenz. 1950s. Vintage ferrotyped gelatin silver print on Leonar paper. 24,2 x 18 cm. Photographer's "Lindau - Schachen, Badstrasse 3" stamp and annotated in pencil on the verso.
Slightly buckled, some handling creases/dents, crease in upper right corner, some surface irregularity to ferrotype surface in lower area, small spot in upper right, otherwise in good condition.
Sewcz, Hans Martin
Oranienburger Straße, Berlin; Tucholskystraße/Ecke Auguststraße, Berlin; Oranienburger Tor, Berlin
Los 4218 [*]
Schätzung
1.500€ (US$ 1,667)
Oranienburger Straße, Berlin; Tucholskystraße/Ecke Auguststraße, Berlin; Oranienburger Tor, Berlin. 1979. 3 panoramic gelatin silver prints, printed 2005-2007. Each circa 22 x 52,5 cm and 24 x 57 cm (32 x 60 cm). Each signed, titled, and dated by the photographer in pencil as well as with photographer's stamp on the verso.
Hans Martin Sewcz studied at the Academy of Visual Arts in Leipzig and is best known for his photographic exploration of East Germany and other former Eastern Bloc countries. His work has been widely exhibited and is held in major public and private collections, including the Berlinische Galerie, the Deutsches Historisches Museum, the Institut für Moderne Kunst in Nuremberg, and the Deutsche Bank Collection in Frankfurt am Main. – Some handling creases/dents, one print with drying paper on side edges, otherwise fine, tonal prints in good to very good condition.
Lit.: Marc Barbey, ed. Hans Martin Sewcz: Berlin-Mitte, Mai 1979. Berlin: Collection Regard, 2011, ill. pp. 24 and 38–39.
Sewcz, Hans Martin
Oranienburger Str., Kreuzung Tucholskystraße Berlin
Los 4219 [*]
Schätzung
1.500€ (US$ 1,667)
Oranienburger Straße/Kreuzung Auguststraße, Berlin; Große Hamburger Straße, Berlin; Große Hamburger Straße, Berlin. 1979. 3 panoramic gelatin silver prints, printed 2005-2007. Each circa 24 x 56,5 cm (32 x 61 cm). Each signed, titled, and dated by the photographer in pencil as well as photographer's stamp on the verso.
A few light handling creases/dents, one print with drying paper on side edges, otherwise fine, tonal prints in good to very good condition.
Lit.: Marc Barbey, ed. Hans Martin Sewcz: Berlin-Mitte, Mai 1979. Berlin: Collection Regard, 2011, ill. pp. 15, 16-17 and front cover.
Singh, Raghubir
After Crossing the Luni River, Barmer, Rajasthan
Los 4220
Schätzung
1.500€ (US$ 1,667)
After Crossing the Luni River, Barmer, Rajasthan. 1975. Dye transfer print, printed circa 1985. 24,4 x 37,2 cm (44,5 x 55,4 cm). Unsigned, with printer's stamp and signed by the printer in pencil on the verso.
Stemming from an aristocratic Rajput family in Jaipur, Raghubir Singh first encountered photography as a student when he discovered Henri Cartier-Bresson’s Beautiful Jaipur (1948). The book ignited a lifelong passion, inspiring a vivid and expansive body of work that captures the complexities of Indian life and landscape. Singh is now recognized as a pioneer of color photography, standing alongside William Eggleston, Stephen Shore, Joel Sternfeld, and Joel Meyerowitz. He published over fourteen books on India and received numerous international honors. A print of this image is held in the collection of the Metropolitan Museum of Art, New York. – A fine print in excellent condition.
India, Kashmir. Circa 1978. Dye transfer print, printed circa 1985. 24,4 x 37,2 cm (44 x 55,4 cm). Unsigned, with printer's stamp and signed by the printer in pencil on the verso.
A fine print in very good condition.
Srinagar, Kashmir. 1984. Dye transfer print, printed circa 1985. 24,4 x 37,2 cm (44,5 x 55,4 cm). Unsigned, with printer's stamp and signed by the printer in pencil on the verso.
A fine print in excellent condition.
Photographer: Hugo Erfurth (1 photo postcard) and unknown. Portraits of the painter Max Slevogt. Circa 1918. 15 vintage gelatin silver prints. Between circa 13,5 x 9 cm, 16 x 12 cm and 19 x 16 cm. Most mounted to card.
Max Slevogt was a leading figure in German Impressionism and an important contributor to the Berlin Secession. Renowned for his luminous landscapes and dynamic brushwork, he often depicted gardens, sunlight, and scenes of leisure. Over time, his work also engaged with elements of Expressionism. The present group of photographs includes images of Slevogt painting in his studio circa 1930, painting en plein air in 1918, a group portrait of Berlin Secession members, and views from his funeral - offering a rare visual chronicle of the artist’s life and legacy. – Some with silver mirroring in edges, otherwise in very good condition.
Hof, Schönhauser Allee 72. 1979. Gelatin silver print, printed later. 26,5 x 37,5 cm (30 x 40 cm). Photographer's stamp and annotated in pencil on the verso.
Uwe Steinberg approached photography as an autonomous artistic medium, even within the confines of the socialist system in the former GDR. His extensive body of work - ranging from scenes of labor and everyday life to portraits of youth - reflects both a keen eye for subject matter and a refined command of composition. – In excellent condition.
Swimmer. 1930s. Vintage ferrotyped gelatin silver print. 24 x 16,2 cm. Photographer's/copyright stamp and numbers in ink and red crayon on the verso.
After living in Budapest and Vienna, the Austro-Hungarian photographer André Steiner eventually settled in Paris, where he became known for his experimental and wide-ranging approach to photography. His avant-garde work spanned abstract compositions, photo experiments, nudes, scientific micro- and macrophotography, nature studies, and sports imagery - demonstrating both technical precision and a bold artistic vision. – Some nicks in edges, corners slightly worn, some light handling dents, traces of previous mounting on the verso, otherwise in good condition.
Maske einer Tänzerin. 1952. Vintage gelatin silver print on ivory doubleweight paper. 20,2 x 15,2 cm (23,7 x 18,5 cm). Signed by the photographer below image in margin in pencil.
The German photographer Otto Steinert was a decisive figure in the Subjektive Fotografie movement, known for using experimental techniques to express emotional and abstract ideas rather than objective reality. His work, characterized by high contrast, multiple exposures, and unconventional angles, explores themes of light, shadow, and form, often blurring the boundary between photography and modern art. Steinert’s influence reshaped post-war European photography, encouraging a more personal, subjective vision that celebrated artistic experimentation. This iconic image was featured on the cover of Otto Steinert's seminal photobook Subjektive Fotografie (1952). – Traces of previous mounting on verso, otherwise a strong print in near excellent condition.
Lit.: Otto Steinert. Subjektive Fotografie. Band I. Bonn: Brüder Auer, 1952, ill. front cover.
Fashion photograph for Pierre Cardin. 1969. Gelatin silver print. 34 x 34,4 cm (43 x 35,7 cm). With the photographer’s copyright stamp on the verso, therein numbered, titled, and dated.
This fashion photograph by Bert Stern, created in 1969 for Pierre Cardin, exemplifies the sleek futurism of late‑1960s haute couture and marks a pivotal moment in fashion photography. Stern captures a model in a powerful, statuesque pose against a minimal backdrop, emphasizing the sculptural silhouette and geometric forms that are characteristic of Cardin’s “space‑age” aesthetic. With dramatic lighting and a pristine composition, the image transforms a commercial assignment into a refined visual statement - where elegance meets experimentation, and form meets narrative restraint. – Some buckling along the margins of the print; some pressure marks and handling creases; small stain on the verso of the print; otherwise in very good condition.
Berlin street scene. Circa 1927. Vintage gelatin silver print. 22,7 x 16,4 cm. Photographers's copyright stamps (Berlin and Brussels) as well as numbered and annotated in pencil and red ink on the verso, hinge-mounted in upper edge in mat.
Sasha and Cami Stone were key figures in Berlin’s dynamic photographic culture of the 1920s and early 1930s, celebrated for their modernist approach that merged architectural, commercial, and fine art photography. Their studio served as a hub for avant-garde visual expression in Weimar Berlin, reflecting the era’s embrace of functionalism, technological progress, and a bold new photographic aesthetic. With the rise of National Socialism, the Stones emigrated to Brussels, where they continued their creative work in exile. – Corners slightly bumped, minimal oxidation mirroring in upper edge, otherwise in very good condition.
Berlin train station. Circa 1927. Vintage ferrotyped gelatin silver print. 17,5 x 23,5 cm. Photographers's copyright stamps (Berlin and Brussels) as well as numbered and annotated in pencil and red ink on the verso, hinge-mounted in upper edge in mat.
Corners bumped, lower right and upper left with small creases, some light handling dents, otherwise in good condition.
Views of Berlin. Circa 1928. 3 vintage ferrotyped gelatin silver prints. Each circa 17,8 x 23,5 cm and reverse. 1 with photographers's copyright stamps (Berlin and Brussels) as well as numbered and annotated in pencil and red ink and 2 with archive label, therein annotated in pencil on the verso.
Corners slightly bumped, slight buckling in edges, a few handling dents, otherwise in very good condition.
"Paradies" series. 2004. 5 color pigment prints and 1 black and white pigment print. Each circa 30,7 x 39 cm and 39 x 30,7 cm (33,4 x 48 cm and 48 x 33,4 cm). Each with Griffelkunst edition text printed on the verso. In original card portfolio, inner flap signed by the photographer in pencil and with text page.
Thomas Struth’s "Paradies" series, created between 2000-2002, explores the relationship between humans and nature through large-scale photographs of botanical gardens, parks, and tropical settings. By capturing the lush beauty of these environments and the interactions of people within them, Struth invites viewers to reflect on the balance between humanity and nature, as well as the idealized notions of paradise in contemporary society. The titles in this portfolio include: Juquehy, São Francisco de Xavier, Yakushima, Daintree, Xi Shuang Banna and Yosemite National Park. – In excellent condition.
Lit.: Thomas Struth. New Pictures from Paradise. Munich: Schirmer/Mosel, 2002.
La belle et la bête. 1976. Gelatin silver print, printed later. 50,7 x 40,7 cm. Signed in pencil in lower left corner of recto; verso with signature and inscribed “e.a.” (épreuve d’artiste).
Karin Székessy is renowned for her poetic nude studies and meticulously staged compositions that blend surrealism, symbolism, and sculptural form. Beginning in the 1960s, she developed a distinctive visual language marked by dreamlike interiors, symbolic props, and an introspective treatment of the female body. Often working in natural light and using long exposures, Székessy’s photographs evoke the stillness of Old Master paintings while challenging conventional representations of femininity. Her work occupies a unique place in postwar European photography, bridging fine art, fashion, and surrealist traditions. – Some light buckling along the edges of print, otherwise in excellent condition.
Nude. 1970s. Gelatin silver print, printed 2025. 52 x 42 cm. Signed and numbered “1/12” in pencil on the verso; with H²SF edition stamp.
This print was produced under the artist’s supervision shortly before her death. – In excellent condition.
Madame est seule. 1976. Cibachrome print. 51 x 61 cm. Accompanied by a certificate of authenticity signed by the artist.
This print is among only a few works the artist has produced in color. – Some scuff marks and surface abrasions along the left margin, otherwise in near excellent condition.
Good-bye Party Friends. 1991. Vintage matte gelatin silver print. 39,5 x 30 cm. Signed and dated by the photographer in pencil on the verso.
A poignant image by Lithuanian photographer Antanas Sutkus, Good-bye Party Friends reflects the atmosphere of political transition in the final days of the Soviet Union. Known for his humanist approach, Sutkus captured everyday life in Lithuania with emotional depth and psychological nuance. This photograph belongs to his ongoing exploration of identity, ideology, and social change at the margins of empire. – Slight edge wear, light smudge mark and a few light spots near right edge, otherwise in very good condition.
Unheimliche Straße. 1928. Gelatin silver print on Agfa paper, printed 1977. 30 x 23 cm. Signed, editioned "60/100" and dated by the photographer in pencil on the verso; mounted along upper edge to board, editioned "60/100", dated and signed as well as dedicated by the photographer in pencil below the image on the mount and annotated in pencil on mount verso.
Otto Umbehr, known as UMBO, was a key figure in early 20th-century avant-garde and modernist photography. The photograph offered here ranks among his most iconic images, though the original negative was lost early on. Only a few vintage prints of this work are known to exist. In 1977, UMBO rephotographed one of these rare prints and produced a small edition of high-quality prints, issued as the annual gift for members of the Kestner Gesellschaft. – Small retouched emulsion crack in lower right in edge, small retouched spot in mid upper area, otherwise in very good condition.
Lit.: Herbert Molderings. Umbo: Otto Umbehr 1902-1980. Düsseldorf: Richter, 1995, ill. plate 52.
Marsha Hunt for "Hair". 1968. Vintage gelatin silver print. 30,3 x 23,3 cm. With typewritten caption printed onto label attached to the verso, photographer's agency stamp as well as copyright stamps and cropping marks in blue marker on the verso.
This photograph features American actress and singer Marsha Hunt in costume for the groundbreaking rock musical Hair. An iconic figure of the era, Hunt inspired the Rolling Stones’ song “Brown Sugar” following a brief but passionate relationship with Mick Jagger, with whom she had a daughter. – A few handling marks, pressure marks and creases, light traces of red crayon, otherwise in good condition.
Photomontage images from the series "Das schöne Berlin" and "Das neue Gesicht Berlins". 1920s. 3 vintage gelatin silver photo postcards. Each circa 10,2 x 14,5 cm. Each with title and "Original-Handdruck aus der Sammlung Vennemann" as well as copyright text printed on the verso.
These dynamic and modern photomontages by Albert Vennemann reflect the energy and rapid transformation of Berlin into a cosmopolitan metropolis. Known as the “creator of the face of a cosmopolitan city,” Vennemann produced striking photo postcard series such as "Das schöne Berlin" (Beautiful Berlin) and "Das neue Gesicht Berlins" (The New Face of Berlin), in which he combined images of streets, train stations, commercial and industrial buildings into visionary urban compositions. Beyond his work as a commercial photographer, Vennemann supplied imagery for emerging forms of city marketing, including the Berlin advertising magazine Der Wochenspiegel (first published in 1925) and the tourism campaign "Jeder einmal in Berlin" (Everyone Once in Berlin). – Slight mirroring in edges and dark areas, otherwise in very good condition.
Tokyo Subway. 2004. Pigment print. 41 x 55 cm (67 x 79 cm). Matted and framed under glass in artist's wooden frame; signed, dated, titled and editioned "4/7" by the photographer in black marker on frame verso.
Born in Vancouver, British Columbia, Stephen Waddell grew up in a family deeply engaged in the arts. While studying at Simon Fraser University - where he took courses with Jeff Wall - he initially used photography as a sketching tool for his paintings. By the late 1990s, photography became his primary medium. Known for his painterly approach, Waddell brings a refined sensitivity to light and composition, often depicting people engaged in everyday activities within urban spaces. A flâneur at heart, he captures quiet, observational scenes that blur the line between documentary and fine art. His work has been widely exhibited and is held in major international collections. – In very good condition.
Untitled. 1997. 3 chromogenic photobooth-strips on PMI photographic passport paper. Each between 20,3 and 23 x 4 cm. 1 strip signed, dated and annotated "Bautzen, Galerie Budussin 24.I.97 - 25.II.97, Leipzig Kurt Eisner Str. 73 29.I.97 - 5.II.97" and "Mein Flug ins All , Leipzig, AOK Ritterstr. 16.10-10.12.97" by the photographer in ink on the verso.
Jan Wenzel has been taking photographs in photo booths since the early 1990s. The mechanics of the machine create a photographic event that lasts exactly 28 seconds. The tableaux, often consisting of several photo strips placed together, show imaginary spaces created by the rapid change between the individual shots. They are the result of a specific choreography with which objects were held in the machine. The dynamics of the images arise from minimal differences in how they connect. Referring to these tableaux works, Wenzel stated: “Each of my photos is the result of calculation, time constraints, self-control, and chance". – One strip with crease in lower portion, otherwise in very good condition.
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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