Studio portrait of a young woman. 1850s. Salted paper print, mounted to thin card. 22,5 x 16,5 cm (mount 37,5 x 30,5 cm). Annotated “par M. Aguado” in pencil in the lower margin of the mount.
Count Olympe-Clément-Auguste-Alexandre Aguado de las Marismas, was a Franco-Spanish photographer and socialite active primarily in the 1850s and 1860s, and among several early practitioners trained by Gustave Le Gray. Working from his studio on the Place Vendôme in Paris, he quickly moved beyond the daguerreotype, experimenting with paper negatives and collodion on glass, and became a founding member of the Société française de photographie in 1854. Born into a wealthy Spanish banking family, Aguado devoted considerable resources to photography, producing landscapes, portraits, and staged tableaux vivants that often playfully reflect the social conventions of the Second Empire.
Literatur: Sylvain Morand, ed. Olympe Aguado (1827-1894): Photographe. Strasbourg: Musées de Strasbourg, 1997.
Aguado, Olympe
Eugène Massol in the opera "The Wandering Jew"
Los 4002
Schätzung
1.200€ (US$ 1,364)
Eugène Massol in the opera The Wandering Jew. 1852. Salted paper print, mounted to card. 23,7 x 17,2 cm (mount 37,5 x 29,7 cm). Annotated “par M. Aguado” in pencil in the lower margin; publisher’s blindstamp “E B” with caduceus in the lower left corner.
This photograph depicts the baritone Eugène Massol in the role of Ashvérus in the opera The Wandering Jew.
Literatur: Sylvain Morand, ed. Olympe Aguado (1827-1894): Photographe. Strasbourg: Musées de Strasbourg, 1997.
Ahrendts, Leopold
Equestrian statue of Friedrich II. / Kronprinzenpalais / Brandenburger Tor
Los 4003
Schätzung
1.200€ (US$ 1,364)
Equestrian statue of Friedrich II / Kronprinzenpalais / Brandenburger Tor. 1860s. 3 albumen prints with rounded corners, mounted to card. Between 21,5 x 17,5 cm and 17 x 23 cm (mounts between 29,2 x 22,3 cm and 26,3 x 34,8 cm). Annotated in black ink below the image on the mounts.
Leopold Ahrendts began his artistic career as a painter and lithographer in Dessau, eventually transitioning to photography around the mid-19th century. His work as a photographer included urban landscapes and architectural views of Berlin, reflecting a keen eye for composition and detail. His significant contributions to the field led to his participation in international photographic exhibitions and widespread recognition as an architectural photographer.
Literatur: Hendrik Berinson, Natalia Kazmierczak, and Ira Plein, eds. Leopold Ahrendts (1825-1870) und die Frühzeit der Photographie. Berlin: Galerie Berinson, 2011, ill. pp. 17, 59 (variants).
Eberhard Mayer-Wegelin and Sigrid Schulze, eds. Berlin als Residenzstadt: Photographien von Leopold Ahrendts 1854-1870. Munich: Schirmer/Mosel, 2018, ill. pp. 111, 127.
Views of the Altes Museum, Berlin. 1860s. 2 albumen prints with rounded corners, mounted to card. 17,6 x 23 cm and 22,7 x 17,5 cm (mounts 23,5 x 34 cm and 28,2 x 23 cm). Annotated in black ink below the image on the mount.
This lot comprises a general view of the Altes Museum, likely taken from the roof of the Zeughaus, as well as a view of the sculpture Kämpfende Amazone by August Kiss (1802-1865) at the entrance of the museum.
Literatur: Hendrik Berinson, Natalia Kazmierczak, and Ira Plein, eds. Leopold Ahrendts (1825-1870) und die Frühzeit der Photographie. Berlin: Galerie Berinson, 2011, ill. p. 19.
Lothar de Maizière and Antonius Jammers, eds. Bevor Berlin zur Weltstadt wurde: Die Residenz in Fotografien von Leopold Ahrendts. Berlin: Verlagshaus Braun, 2001, ill. pp. 56, 58 (variants).
Eberhard Mayer-Wegelin and Sigrid Schulze, eds. Berlin als Residenzstadt: Photographien von Leopold Ahrendts 1854-1870. Munich: Schirmer/Mosel, 2018, ill. p. 90 (variant), 99.
Photographers: Alary & Geiser (active 1850s-1880s), Adolphe Clavier (1821-1894 ), Charles Leinack (active 1850s-1860s), Photographie Saharienne (active 1860s), B.B. Photographie Orientale (1862-1890), Claude-Joseph Portier (1841-1910), Eugène Hilaire Richan (active 1855-1870s). Women of Algiers. 1860s-1870s. 51 albumen prints, mounted to board. Each ca. 9,2 x 5,5 cm (mounts ca. 10,5 x 6,2 cm). Most with the photographer's studio information printed on the verso.
This lot comprises a compelling group of 19th-century studio portraits depicting women from Algiers and surrounding regions, shown in elaborate traditional dress within staged interiors. The sitters - identified as Moorish, Jewish, Kabyle, Ouled Naïl, and sub-Saharan - appear alone or in small groups, their attire and poses emphasizing ethnographic “types” over individual identity. Produced for a European market, the photographs reflect the visual culture of colonial Algeria, combining ethnographic curiosity with the conventions of Orientalist studio photography.
Alinari, Fratelli
Fonte Gaia, Piazza del Campo, Siena; Pisa Cathedral; Palazzo della Signoria, Perugia
Los 4006
Schätzung
1.000€ (US$ 1,136)
Fonte Gaia, Piazza del Campo, Siena; Pisa Cathedral; Palazzo della Signoria, Perugia. 1850s. 3 large-format, lightly albumenized salted paper prints, mounted to board. 26 x 34 cm, 34 x 26 cm, and 31,5 x 41,8 cm (mounts 46 x 61,5 cm). Each with the photographer’s “Fratelli Alinari, Fotografi Firenze Presso Luigi Bardi” embossed stamp below the image on the mount; each with a negative number in the lower right; two annotated in ink below the image on the mount.
The Fratelli Alinari photography studio, established in 1852 in Florence, is among the world’s oldest photographic companies. Initially focused on portraiture, the studio soon expanded its repertoire to capture Italy's cultural heritage, architecture, and historical landmarks. The extensive archive of daguerreotypes, albumen prints, and glass negatives produced by Fratelli Alinari during this period has played a crucial role in preserving and documenting Italy's rich artistic and cultural history. A print of the Perugia image in this group is in the Manfred Heiting Collection at the Museum of Fine Arts, Houston.
Studio portrait of three children. 1860s. Hand-colored ambrotype, housed in velvet-lined case with a gilt brass mat. 8,5 x 11,2 cm (case 11,5 x 14 cm).
This ambrotype presents a closely grouped studio portrait characteristic of mid-19th-century photography, in which gesture and coordinated dress emphasize familial bonds and the image’s sentimental function. The inclusion of small hand-held props reflects contemporary studio practice, serving both compositional needs and the practical demands of longer exposure times. Produced using the wet-collodion process on glass, ambrotypes offered a more accessible alternative to the daguerreotype and were widely favored for family portraiture from the 1850s onward.
Anderson, James
Views of the Colosseum, Rome; Arch of Constantine, Rome
Los 4008
Schätzung
1.000€ (US$ 1,136)
View of the Colosseum, Rome; Meta Sudans with Temple of Venus, Rome; Arch of Constantine, Rome. 1850s. 3 large-format albumen prints, mounted to card. 20 x 43 cm and 28 x 36 cm (mounts 45 x 59,5 cm). Each titled in ink below the image and 2 with partial "Spithöver" blindstamp in lower right corner on the mount.
Born Isaac Atkinson in Blencarn, Cumberland, England, James Anderson initially studied painting in Paris before relocating to Rome in 1838, where he first worked as a sculptor. Around 1849, he turned to photography and established a studio in Rome, specializing in reproductions of works of art as well as views of Italian monuments and antiquities. His work gained wide recognition, particularly for his depictions of Rome, and he exhibited extensively throughout the 1860s. After his death, the studio was taken over by his son Domenico and remained in the family until the 1940s.
Literatur: Dorothea Ritter. Rom 1846-1870: James Anderson und die Maler-Fotografen, Sammlung Siegert. Bönningheim: Braus/Wachter Verlag, 2005.
Anderson, James and Tommaso Cuccioni
Classical sculptures from the Vatican Museums, the Lateran Museum, Villa Ludovisi, and the Capitoline Museums
Los 4009
Schätzung
1.200€ (US$ 1,364)
Classical sculptures from the Vatican Museums, the Lateran Museum, Villa Ludovisi, and the Capitoline Museums: Apollo Belvedere, Meleager, Laocoön, Discobolus, Nike, Niobid, Marcus Aurelius, Sophocles, and Mars. 1855-1860. 9 large-format albumen prints, mounted to card. Each ca. 38,5 x 30 cm or reverse (mounts 64 x 48,5 cm or reverse). Each annotated in black ink below the image on the mount; most with the photographer’s or publisher’s stamp embossed in the margins of the mount.
James Anderson's rendition of sculpture is exceptional, likely due to his own experience as a sculptor. His images of sculpture far surpass other art reproductions of the time and stand out as individual works. The prints are gold-toned, giving them a rich, violet brown color that exceeds the quality of images found in travel albums of the time.
Anderson, James and Tommaso Cuccioni
Views of the Forum Romanum, the Arches of Titus and Septimius Severus, the Campidoglio, and the Villa Medici
Los 4010
Schätzung
1.500€ (US$ 1,705)
Views of the Forum Romanum, the Arches of Titus and Septimius Severus, the Campidoglio, and the Villa Medici. 1855-1860. 6 large-format albumen prints, mounted to card. Each between 39,5 x 30,5 cm and 33 x 46,5 cm (mounts 64 x 49 cm or reverse). All but one annotated in black ink below the image on the mount; most with the photographer’s or publisher’s stamp embossed in the margins of the mount.
Tommaso Cuccioni was active in Rome from ca. 1830 as a lithographer and print publisher, with a studio on the centrally located Via dei Condotti, a popular destination for affluent English tourists. Embracing photography in 1852, he began producing large-format views of Roman landmarks, offering a new and highly effective form of visual souvenir. Few of these early prints survive and such large-formats are rare.
Literatur: Dorothea Ritter. Rom 1846-1870: James Anderson und die Maler-Fotografen, Sammlung Siegert. Bönningheim: Braus/Wachter Verlag, 2005, ill. pp. 140-141.
Anderson, James and Tommaso Cuccioni
View of the Colosseum; Arch of Constantine; Temple of Hercules Victor; Arch of Drusus
Los 4011
Schätzung
1.200€ (US$ 1,364)
Views of the Colosseum, the Arch of Constantine, the Arch of Drusus, the Temple of Vesta, the Temple of Vespasian, and the Piazza di Monte Cavallo. 1857-early 1860s. 6 large-format albumen prints, mounted to card. Each between 30 x 41 cm and 36 x 53,5 cm or reverse (mounts 49 x 64 cm or reverse). All but one annotated in black ink below the image on the mount; most with the photographer’s or publisher’s stamp embossed in the margins of the mount.
Literatur: Dorothea Ritter. Rom 1846-1870: James Anderson und die Maler-Fotografen, Sammlung Siegert. Bönningheim: Braus/Wachter Verlag, 2005, ill. p. 47 (Arch of Drusus, attributed to James Anderson).
Anderson, James and Unknown
Panoramic view of Roman Campagna to the Alban Hills, etc.
Los 4012
Schätzung
750€ (US$ 852)
Panoramic view of Roman Campagna to the Alban Hills; Views of Tivoli and San Benedetto convent, Subiaco. Late 1850s. 1 Large-format albumen panorama and 2 albumen prints, mounted to card. 23 x 41 cm and 17 x 24 cm (mounts 45 x 59,5 cm). Each annotated in ink below the image on the mount.
Literatur: Dorothea Ritter. Rom 1846-1870: James Anderson und die Maler-Fotografen, Sammlung Siegert. Bönningheim: Braus/Wachter Verlag, 2005, compare ill. p. 87 (similar image of Campagna).
Anschütz, Ottomar
Imperial Military Maneuvers at Müncheberg / State visit of Umberto I to Berlin
Los 4013
Schätzung
1.500€ (US$ 1,705)
Album documenting the Imperial Military Maneuvers at Müncheberg and the state visit of Umberto I to Berlin with Kaiser Wilhelm II. 1888-1889. 118 albumen prints, mounted to album pages. Each ca. 10,2 x 14,4 cm (mounts 22 x 32,5 cm). Each with the photographer’s blind stamp in the lower right corner. Presented in half-leather album.
This album brings together views of the Imperial Maneuvers at Müncheberg (1888) and the state visit of King Umberto I of Italy to Berlin. The military photographs depict infantry, cavalry, and artillery in formation, maneuvers, and live-fire exercises. In contrast, the Berlin scenes record ceremonial receptions with elaborate decorations and large crowds. Together, the images provide a concise visual record of late 19th-century military display and imperial spectacle.
Photographer: Gustav Adolph Riemer (1842-1899). Aboriginal habitation. 1876. Stereoscopic albumen print, mounted to card. Each 7,8 x 7,8 cm (mount ca. 8,5 x 17,8 cm). Printed caption along the recto margin: “Photographie von G. Riemer, Zahlmeister S. M. S. ‘Hertha’. Verl. von J. F. Stiehm, Berlin 1884 / 342. Australien, King Georges Sound / Marine Reise S. M. S. ‘Hertha’ nach Ost-Asien und den Südsee-Inseln.” Numbered “56” in pencil on the verso.
Gustav Adolph Riemer was a German naval officer who served as a purser in the Prussian and later Imperial German Navy. He developed photography as a largely self-taught practice alongside his military career. Between 1874-1877 he took part in the world voyage of SMS Hertha, during which he produced an extensive body of photographs across East Asia, Micronesia, Australia, and the South Seas - many of them among the earliest visual records of these regions and their inhabitants.
Views of Paris. 1850s. 7 albumen prints, mounted to card. Each ca. 27 x 21 cm or reverse (mounts ca. 43,5 x 33,5 cm or reverse). Each with the photographer’s “E. Baldus” stamp below the image on the mount.
Édouard Baldus was a key practitioner of early architectural photography in France known for his meticulously detailed views that combine documentary precision with carefully structured compositions. This lot comprises views of the Sainte-Chapelle, La Trinité, Saint-Étienne-du-Mont, Assemblée nationale (Corps législatif), Saint-Augustin, Dôme des Invalides, and the Louvre seen from the Rue de Rivoli.
[*]: Regelbesteuert gemäß Auktionsbedingungen. [^]: Ausgleich von Einfuhr-Umsatzsteuer.
* Alle Angaben inkl. 25% Regelaufgeld ohne MwSt. und ohne Gewähr – Irrtum vorbehalten.
Galerie Bassenge
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Telefon: +49 30 8938029-0
Fax: +49 30 8918025
E-Mail: info (at) bassenge.com
Impressum
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© 2026 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
© 2026 Galerie Gerda Bassenge