Dubois de Nehaut, Louis-Pierre-Théophile
Military exercise at the Longchamp Hippodrome, Bois de Bologne
Los 4061
Schätzung
1.200€ (US$ 1,364)
Military exercise at the Longchamp Hippodrome, Bois de Bologne. 1857. Albumen print, mounted to card. 19,1 x 21,7 cm (mount 32,6 x 48,5 cm). Annotated "On fait sortir les curieux du terrain de maneuvres" in black ink below the image on the mount; photographer’s blindstamp in lower left corner of the print and below the image on the mount.
Chevalier Louis Pierre Dubois de Nehaut exemplifies the mid-19th-century amateur photographer, whose work reflects the early technical and aesthetic advances of the medium. Originally a magistrate in Lille, he settled in Brussels in 1851, where he pursued photography with an interest in movement, shifting light, and elevated viewpoints. The present photograph belongs to a series documenting the grand military review of the Imperial Guard held in June 1857 in the Bois de Boulogne on the occasion of the visit of the King of Bavaria. Taken on the Plaine de Longchamp, it captures the intersection of military spectacle and public leisure, with crowds gathered along the edges of the field as the terrain is cleared for maneuvers.
Du Camp, Maxime
Nécropole de Lycopolis; Vue générale d'Esneh
Los 4062
Schätzung
1.200€ (US$ 1,364)
Nécropole de Lycopolis; Vue générale d'Esneh. 1850. 2 salted paper prints (Blanquard-Evrard process). 16 x 21,2 cm and 14,4 x 21,5 cm (mounts ca 31 x 45 cm). Each mounted to original card with title, photographer's and publisher's name printed above/below the image on the mount. Plate numbers 12 and 64.
Maxime du Camp produced some of the earliest systematic photographic views of Egypt’s ancient monuments along the Nile, focusing on temples, tombs, and archaeological sites from Upper Egypt to Nubia. His images are characterized by carefully structured compositions that emphasize the scale and isolation of these ruins within the surrounding landscape. Working with early paper processes under demanding conditions, he used photography as a tool of documentation, creating images that balance topographical precision with a restrained, almost austere aesthetic.
Literatur: Bodo von Dewitz and Karin Schuller-Procopovici, eds. Die Reise zum Nil: 1849-1850. Göttingen: Steidl, 1997, ill. p. 76, 137.
Photographers: Hippolyte Arnoux (active 1860-1891), Félix Bonfils (1831-1885), Gabriel Lekegian (1853-1920), Pascal Sébah (1823-1886), Zangaki brothers (active 1860-1890s), and others. People of Egypt. 1870s-1880s. 43 albumen prints, mounted to board. Each between ca. 14,5 x 10,2 cm and 27,2 x 21,2 cm (mounts ca. 31,7 x 24 cm). Most numbered, titled, and signed in the negative in the lower margin.
This extensive group comprises studio portraits, staged outdoor compositions, and street scenes depicting men, women, and children presented as ethnographic “types” from Egypt, including dancers and musicians, water sellers, market vendors, craftsmen, donkey riders, Bedouins, camel drivers, shoe shiners, and sakkas along the Nile, as well as architectural views and interior scenes. The photographs originate primarily from Egypt and the eastern Mediterranean and reflect the visual conventions developed by commercial studios serving the European tourist and export market at the time.
Commemorative portrait album for Dr. W. Hertzberg, Elbing. 1858. 13 mostly oval salted paper prints, mounted to gilt-edged album pages with decorative frame lines. Each ca. 14,5 x 11,5 cm (mounts ca. 22 x 29 cm). Bound in contemporary red velvet album with gilt-stamped decorations and title.
This elaborately decorated commemorative album, dedicated to Dr. W. Hertzberg, Director der höheren Bürgerschule in Elbing, features a hand-drawn and handwritten title page and contains a compelling group of formal teacher portraits. At the beginning of the album is a particularly rare early view of Elbing, likely among the earliest known photographic representations of the town.
Ermakov, Dimitri Ivanovich
Construction of the Enzeli–Tehran Road
Los 4065
Schätzung
4.000€ (US$ 4,545)
Album documenting the construction of the Enzeli-Tehran Road. 1880s. 70 albumen prints, mounted to album pages. Each between 21,5 x 27 cm and 22,2 x 28,5 cm (mounts 49,5 x 33 cm). Each with the photographer’s embossed signature stamp in the lower right corner of the prints and numbered and titled in the negative in lower margin. Bound in red half-leather album with gilt-stamped title on the cover.
This album documents the construction and development of the Enzeli-Tehran road, a strategically important route linking the Caspian Sea to the Persian capital. The images capture dramatic landscapes, engineering works, and settlements along the route, including bridges, mountain passes, and caravan traffic. Built under Russian auspices in the late 19th century, the road served both commercial and military purposes within the broader context of imperial expansion in northern Persia. Widely regarded as one of the foremost documentarians of the Caucasus and adjacent regions, Ermakov traveled extensively across Georgia, Armenia, and Persia; his legacy is preserved by the National Museum of Georgia, which holds a significant collection of his negatives.
Bust of Dione at the British Museum. 1857. Salted paper print, mounted to original card. 32,5 x 24 cm (mount 58,3 x 41,8 cm). Printed annotations below the image on the mount.
In 1853, Roger Fenton was commissioned by the British Museum to photograph works from its collection, leading him to produce a series of images after classical sculpture in an open-air studio set up on the museum’s roof. Although unpaid, the project allowed Fenton to sell the prints independently, positioning these photographs within an emerging market for reproductions of canonical artworks and as tools for artistic study. The present image depicts Dione, a figure from Greek mythology often identified as a consort of Zeus and, in some traditions, the mother of Aphrodite.
Douarnenez, vue prise de la baie. Ca 1857. Albumen print, mounted to card. 20,4 x 27,2 cm (mount 34,6 x 46 cm). With the photographer’s blindstamp below the image on the mount and negative number inscribed in pencil. Annotated in pencil in lower left corner of the mount.
Charles Paul Furne was a French photographer and publisher active in the 1850s, working within the Furne family firm on early photographic surveys of France. His activities ranged from landscape views and urban surveys to large-scale publishing ventures, including a sustained photographic survey of Brittany undertaken in 1857-1858 with Henri Alexis Omer Tournier. While Furne’s work is less widely known today than that of contemporaries such as Édouard Baldus and Gustave Le Gray, it remains significant for its contribution to the development of early French landscape photography.
Female nude. Circa 1900. Albumen print. 22,2 x 16,5 cm. Photographer's "Via Campania lett: B Roma" studio stamp and number "974" in pencil on the verso.
Vincenzo Galdi was an Italian photographer and protégé of Wilhelm von Plüschow, known for his contributions to 19th-century nude photography. Having first appeared as a model in his mentor’s work, he soon established himself as a prolific and distinctive practitioner in Naples and later in Rome, developing a practice characterized by a direct and often unconventional approach to the genre.
Portrait of a youth in Roman tunic. Circa 1900. Albumen print. 22,3 x 16,6 cm. Photographer’s “Via Sardegna 55, Roma” stamp and number “1156” in pencil, as well as annotations in ballpoint pen on the verso.
Young boy with headband. 1890s. Albumen print, mounted to board. 22,5 x 16.2 cm (mount 35,5 x 28 cm).
Wilhelm von Gloeden is best known for his idealized photographs of nude Sicilian youths, staged in classical poses and settings around Taormina. Drawing on Greco-Roman aesthetics and pastoral themes, his work blends homoeroticism, ethnographic curiosity, and pictorial elegance, contributing to early discourses on photography as both fine art and social document.
Literatur: Italo Zannier. Wilhelm von Gloeden Fotografie: Nudi, Paesaggi, Scene di Genere. Florence: Alinari, 2008. ill. p. 133 (images from same sitting).
Gloeden, Wilhelm von
Young boy leaning on tree branch
Los 4071
Schätzung
1.200€ (US$ 1,364)
Young boy leaning on tree branch. 1900. Albumen print, mounted to board. 23 x 16,5 cm (mount 35,4 x 28 cm).
Literatur: Italo Zannier. Wilhelm von Gloeden Fotografie: Nudi, Paesaggi, Scene di Genere. Florence: Alinari, 2008. ill. p. 114 (variant).
Youth with headband. 1890s. Albumen print. 23 x 17,2 cm. Numbered “191” and annotated “Taormina” in pencil on the verso, as well as a partially visible copyright stamp.
Young boy in toga with headband. 1890s. 2 albumen prints. Each ca. 23 x 16,8 cm. Photographer's "Taormina Sicilia" studio stamp and/or annotated in pencil on the verso.
Gloeden, Wilhelm von
Three male nudes in Arcadian scene
Los 4074 [*]
Schätzung
1.200€ (US$ 1,364)
Three male nudes in Arcadian scene. Circa 1900. Salted paper print, mounted to board. 15,2 x 21,4 cm (mount 31 x 37,5 cm). Framed under glass in wooden frame.
Elegie. Circa 1900. Large-format photogravure on strong vellum paper, mounted to board. 26 x 32,7 cm (mount 33,3 x 38,5 cm). Signed by the photographer in pencil and title printed in the lower margin.
This atmospheric work Elegie by Wilhelm von Gloeden was taken during the same period as Cain, one of von Gloeden’s most iconic and widely reproduced works. Here the photographer also employs a sitter in a contemplative pose with allegorical weight. Blending classical references with fin-de-siècle symbolism, the image exemplifies the photographer’s refined use of natural light, idealized male form, and mythic undertones that helped shape his enduring legacy in art photography.
Literatur: Volker Janssen (ed.). Wilhelm von Gloeden, Wilhelm von Plüschow, Vincenzo Galdi: Italienische Jünglings-Photographien um 1900. Berlin: Janssen, 1991, ill. p. 32.
Italo Zannier (ed.), Wilhelm von Gloeden, Fotografie: Nudi. Paesaggi. Scene di Genere, Florence: Alinari, 2008, ill. p. 78.
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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