Baldus, Édouard
Pont Saint-Bénézet, Avignon
Los 4016
Ergebnis (inkl. Aufgeld) *
1.500€ (US$ 1,724)
Pont Saint-Bénézet, Avignon. Ca. 1861. Albumen print, mounted to card. 21,2 x 28 cm (mount ca. 28,7 x 35 cm). Titled “Arles (Pont de St Benézé)” (sic); annotated “Avignon” in pencil and stamped “E. Baldus” in black ink below the image on the mount.
Some scuff marks, buckling, and slight signs of silver mirroring in the shadow areas; otherwise in very good condition.
Grande Pyramide vue de l'Est. 1870s. Albumen print. 28,8 x 42 cm. With the photographer's signature in the negative in lower right corner, as well as numbered and titled in the negative in lower left corner.
Émile Béchard produced some of the most evocative photographs of Egypt in the late 19th century. Unlike the large, highly commercial studios of Pascal Sébah, Félix Bonfils, Hippolyte Arnoux, and the Zangaki Brothers, Béchard’s practice was comparatively short-lived resulting in a more limited and consequently scarcer body of work. His photographs are distinguished by a restrained compositional elegance and quiet attention to light, scale, and atmosphere, lending his views of monuments and landscapes a contemplative quality that sets them apart from the more standardized tourist views of the period. – Some small tears and light handling creases; lower margin slightly uneven; otherwise a strong print with a rich brown tone in very good condition.
Reclining Nude. Circa 1855. Albumen print, mounted to board. 19,9 x 14,7 cm (mount 21,3 x 16 cm). With the number “146” etched into the negative in the lower margin.
Auguste Belloc, initially trained as a painter of miniatures and watercolors, turned to photography in the early 1850s, where he distinguished himself in daguerreotype practice and contributed to early experiments in color stereoscopy. He later became known for his carefully staged nude studies, which combine academic tradition with photographic precision. His work is now held in major public collections, including the Museum of Modern Art, the Metropolitan Museum of Art, the Musée d’Orsay, and the Museum of Fine Arts Boston. – Some surface irregularities, a few scuff marks, otherwise in good condition.
Female nude. 1850s. Albumen print. 20,2 x 14,8 cm. With number "187" etched into the negative in the lower margin.
Some scuff marks and light fading; otherwise in near excellent condition.
Bisson frères
View of the Mer de Glace glacier, Mont Blanc massif
Los 4021
Ergebnis (inkl. Aufgeld) *
1.250€ (US$ 1,437)
View of the Mer de Glace glacier, Mont Blanc massif. 1860. Large-format albumen print, mounted to card. 23,4 x 39,5 cm (mount 40,6 x 55,5 cm). With the photographers' studio stamp in red ink below the image on the mount.
This photograph belongs to the celebrated Alpine campaign undertaken by Bisson Frères in the late 1850s and early 1860s, among the earliest sustained efforts to photograph the high Alps at extreme altitude. Depicting the Mer de Glace glacier framed by the jagged peaks of the Mont Blanc massif, the image emphasizes the vast scale and geological drama of the glacial landscape. Characteristic of the Bissons’ work, it combines topographical precision with a Romantic sensibility, playing a key role in establishing mountain photography as both scientific record and aesthetic expression. – Some handling creases and foxing on the mount; some scuff marks; otherwise a strong print in very good condition.
Kalmouks (from the series “Collection Anthropologique du Prince Roland Bonaparte”). 1883. 19 albumen prints, mounted to board. Each between ca. 14,5 x 9,8 and 11,5 x 17,5 cm or reverse (mounts ca. 24 x 18 cm or reverse). Each mount with number stamp and numbered in black ink in the upper left corner; “Collection Prince Roland Bonaparte” blindstamp embossed in the lower right corner of the mount, and the series title stamped below the image on the mount. Presented in original blue portfolio with decorative framing and gilt-embossed title, together with a loose table of contents.
Roland Bonaparte assembled the Collection Anthropologique du Prince Roland Bonaparte in the late 1880s as part of a large-scale project to systematically photograph ethnic groups from around the world. Produced in collaboration with scientific institutions such as the Société d’Anthropologie de Paris, the series follows contemporary anthropometric conventions, presenting subjects in standardized frontal and profile poses against neutral backgrounds, often with stamped identifiers. Although depicting non-European populations, many photographs were taken in Europe in the context of ethnographic exhibitions rather than in the subjects’ places of origin. The present group focuses on members of the Kalmyk (Oirat Mongol) population of southern Russia, emphasizing physiognomy, dress, and bodily typologies in line with the classificatory aims of late 19th-century anthropology. – Edges of the portfolio slightly rubbed, with minor soiling; mounts with foxing and toning; some prints with light surface scuffing and fading; overall in good to very good condition.
Hindous (from the series “Collection Anthropologique du Prince Roland Bonaparte”). 1883. 9 albumen prints, mounted to board. Each between ca. 14,8 x 9,8 and 20 x 14,4 cm (mounts ca. 31,5 x 40,8 cm). Each mount with number stamp and numbered in black ink in the upper right corner; the series title stamped below the image on the mount. Presented in original green portfolio with decorative framing and gilt-embossed title, together with a loose table of contents.
This series records named individuals identified as Hindu domestic servants, with each sitter listed by age and occupation in the accompanying table of contents. – Edges of the portfolio slightly rubbed, with some scuff marks and soiling; mounts with foxing; some prints with foxing, surface scuffing, and fading; overall in good condition.
Hottentots (from the series “Collection Anthropologique du Prince Roland Bonaparte”). 1883. 30 albumen prints, mounted to board. Each between ca. 19,5 x 9,5 and 23 x 17,5 cm or reverse (mounts ca. 31,5 x 41 cm or reverse). Each mount with number stamp in black ink in the upper left corner; “Collection Prince Roland Bonaparte” blindstamp embossed in the lower margin of the mount, and the series title stamped below the image on the mount. Presented in original turquoise portfolio with decorative framing and gilt-embossed title.
The photographs in this series depict men and women labeled “Hottentots,” a now-obsolete and derogatory term historically applied to Khoikhoi and related Khoisan-speaking peoples of southern Africa. Presented in standardized frontal, profile, and rear views, the images follow contemporary anthropometric conventions and reflect the racialized classificatory frameworks through which human bodies were recorded and interpreted in late 19th-century European anthropology. – Edges of the portfolio rubbed, with some scuff marks; mounts with minor foxing along the edges; some prints with surface scuffing and fading; overall in good to very good condition.
Flower study. Ca. 1855. Varnished salted paper print, mounted to card. 37 x 44,5 cm (mount 45 x 54,5 cm).
Originally trained as a textile designer, Adolphe Braun turned to photography in 1853, initially producing detailed studies of flowers for his publication Fleurs photographiées, conceived as source material for wallpaper and fabric designs. The project was an immediate success, earning Braun a medal at the 1855 Exposition Universelle in Paris, and an album of the photographs was presented to Empress Eugénie. By the early 1860s, Braun had expanded his practice to include topographical views throughout Europe and, soon after, large-scale photographic reproductions of works of art, establishing his firm as one of the most important and prolific photographic publishing enterprises of the 19th century. – Lower left and right corners of the mount torn; some handling creases, some fading along the edges of the print and a few small ink stains; otherwise in good condition.
Magnolia. Ca. 1855. Varnished salted paper print, mounted to card. 28 x 22,8 cm (mount 38,4 x 29,4 cm). Framed under glass in wooden frame.
Some handling creases; lower left and right corners of the mount torn; some fading along the edges of the print and a few small ink stains; otherwise in good condition.
Braun et Cie.
View of the Alcázar, Sevilla
Los 4029
Ergebnis (inkl. Aufgeld) *
1.375€ (US$ 1,580)
View of the Alcázar, Sevilla. Circa 1890. Mammoth-plate carbon print. 38 x 48 cm.
Following the death of Adolphe Braun in 1877, the firm of Braun et Cie developed into one of Europe’s leading art-photography publishers, working closely with major institutions to document paintings, sculpture, and architecture. Its photographs were produced in standardized formats for use in museum catalogues, educational albums, and scholarly study, significantly broadening access to works of art. Renowned for the exceptional quality and stability of its carbon prints, the firm also issued stereoscopic and panoramic views, reflecting a highly systematic and technically advanced approach to photographic production and distribution. – Margins slightly uneven; some very light handling creases; otherwise a strong print in near excellent condition.
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Galerie Bassenge
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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