Fotografie des 19. – 21. Jahrhunderts (Katalog nur online verfügbar)

Aguado, Olympe
Studio portrait of a woman
Los 4001

Ergebnis (inkl. Aufgeld) ^*
2.500€ (US$ 2,874)

Details

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.
– A few handling creases and some foxing to the mount; print in excellent condition with strong tones.

Lit.: 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

Ergebnis (inkl. Aufgeld) ^*
1.500€ (US$ 1,724)

Details

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. – Faint crease in the upper left margin of the mount; vertical discoloration along the upper center of the mount; print in excellent condition with strong tones.

Lit.: 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

Ergebnis (inkl. Aufgeld) ^*
1.250€ (US$ 1,437)

Details

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. – Some buckling, handling creases and/or small tears on mounts. Some fading and scattered fading spots on the prints; otherwise in very good condition.

Lit.: 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.

Ahrendts, Leopold
Views of the Altes Museum, Berlin
Los 4004

Ergebnis (inkl. Aufgeld) ^*
750€ (US$ 862)

Details

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. – Mounts slightly soiled and/or torn. Some fading and scattered fading spots on the prints; otherwise in good condition.

Lit.: 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.

Algiers
Women of Algiers
Los 4005

Ergebnis (inkl. Aufgeld) ^*
1.125€ (US$ 1,293)

Details

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. – Some scuff marks as well as light foxing and fading on several prints, otherwise all in good to very good condition.

Alinari, Fratelli
Fonte Gaia, Piazza del Campo, Siena; Pisa Cathedral; Palazzo della Signoria, Perugia
Los 4006

Ergebnis (inkl. Aufgeld) ^*
1.000€ (US$ 1,149)

Details

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. – Boards with edges slightly time-stained and with foxing. Prints with some scattered spots; Perugia print with fading along the lower and left edges, Siena print with slight fading in the upper right edge, otherwise in very good condition.

Ambrotypes
Studio portrait of three children
Los 4007

Ergebnis (inkl. Aufgeld) ^*
375€ (US$ 431)

Details

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. – Edges of case slightly rubbed, one clamp missing; some small specks on glass surface as well as cracking on the verso of plate, otherwise in very good condition.

Anderson, James
Views of the Colosseum, Rome; Arch of Constantine, Rome
Los 4008

Ergebnis (inkl. Aufgeld) ^*
1.000€ (US$ 1,149)

Details

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. – Constantine print slightly faded in lower edge, both with some light surface scuffing, otherwise strong tonal prints in very good condition with a strong violet-brown tone.

Lit.: 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

Ergebnis (inkl. Aufgeld) ^*
1.250€ (US$ 1,437)

Details

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. – Some light creases to most mounts; the Cuccioni print with some foxing, a small tear in the lower margin, and slight fading along the edges; a few surface scuff marks and some retouched spots on the others; otherwise in near excellent condition with strong violet-brown tones.

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

Ergebnis (inkl. Aufgeld) ^*
1.500€ (US$ 1,724)

Details

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. – Some light foxing and time-staining to the mounts, with minor handling creases and slightly uneven margins; prints with some fading, occasional scuff marks, and light foxing to a few, otherwise strong tonal prints in near excellent condition.

Lit.: Dorothea Ritter. Rom 1846-1870: James Anderson und die Maler-Fotografen, Sammlung Siegert. Bönningheim: Braus/Wachter Verlag, 2005, ill. pp. 140-141.

Baldus, Édouard
Views of Paris
Los 4015

Ergebnis (inkl. Aufgeld) ^*
1.500€ (US$ 1,724)

Details

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. – A few prints with isolated light foxing spots in the sky area, light fading and minor scuff marks, otherwise, all prints with strong tones and in very good condition.