Photographer unknown. Advertising photo for biscuits. 1920s/1930s. Vintage gelatin silver print. 24 x 17,8 cm.
Spiegelung, Rathaus Besigheim. Ca. 1955. Vintage gelatin silver print, mounted to board. 26,7 x 20,2. Photographer's stamp on mount verso.
Appelt, Dieter
Vergrasung der Hände No. 2 from the "Erinnerungsspur" series
Los 4126
Schätzung
2.000€ (US$ 2,273)
Vergrasung der Hände No. 2 from the "Erinnerungsspur" series. 1977-79. Large-format gelatin silver print on Agfa paper, printed later. 49,3 x 39,8 cm. Signed, titled, dated, dedicated and editioned "e.a." by the photographer in pencil as well as "Kicken Pauseback" label on the verso.
Born in 1935 in Niemegk, Germany, Dieter Appelt's artistic development did not encompass photography until later in his artistic career. In 1954, he enrolled at the Mendelssohn Bartholdy Akademie in Leipzig to study music and vocal studies. As of 1964, he studied photography at the University of the Arts in Berlin. While pursuing a career as a professional singer in the 1970s, he also began to receive attention for his photography, painting, and sculpture, which became notable through his use of monumental sequences and tableaux compositions. By employing long exposure times, multiple exposures, shadow and mirror compositions, in his images Appelt explored themes such as memory, time, transience, life, death, and recurrence.
From the "Ezra Pound" sequence. 1982. Large-format gelatin silver print on Agfa paper, printed later. 39,7 x 30,5 cm. Signed, titled, and dedicated by the photographer in ink as well as copyright stamp, therein annotated "Probe"and dated "1982" on the verso.
Untitled. 1990. Large-format gelatin silver print on Agfa paper, printed later. 40,3 x 30,2 cm. Signed, dedicated by the photographer in pencil as well as copyright stamp, therein editioned "e.a." on the verso.
Boris, NYC. 1997. Chromogenic print, hinge-mounted to board. 61 x 50,5 cm (mount 66 x 56 cm). Signed, titled, dated and editioned "2/5" in pencil on the verso. Framed under glass in wooden frame.
David Armstrong was an American photographer associated with the Boston School of photography, known for his intimate, emotionally resonant portraiture. Emerging in the late 1970s, alongside his close friend Nan Goldin, he developed a distinctive style defined by natural light, shallow focus, and a quiet, contemplative mood. His portraits - often of friends, lovers, and fellow artists - evoke a strong sense of trust and vulnerability, capturing fleeting expressions and introspective moments.
Sean at the Bowery, NYC. 1997. Chromogenic print, hinge-mounted to board. 61 x 50,5 cm (mount 66 x 56 cm). Signed, titled, dated and editioned "3/5" in pencil on the verso. Framed under glass in wooden frame.
Andrew, New Haven Green. 1997. Chromogenic print, hinge-mounted to board. 61 x 50,5 cm (mount 66 x 56 cm). Signed, titled, dated and editioned "3/5" in pencil on the verso. Framed under glass in wooden frame.
Photographers: Maurice-Louis Branger (1878-1950), Agence Rol (active 1904-1937). Early aviation and aeronautical experiments in France. Ca. 1908-1913. 13 gelatin silver press photographs. Each ca. 12,7 x 18 cm. With press-agency copyright stamps, including “Copyright - Reproduction interdite / M. Rol, 4, rue Richer, Paris IXe” and “Copyright / M. Branger, 5, rue Cambon, Paris,” as well as annotated in blue ink on the verso.
These photographs place French aviation at a moment when scientific research and public spectacle still overlapped, tracing the shift from tethered man-lifting kites to powered aircraft presented before large crowds as signs of technological progress. The images show early box-like biplanes, experimental seaplanes tested on open water, and unconventional designs such as Jérôme Donnet’s circular-wing Donnet Aéraptère, photographed during ground and taxi tests at Suresnes shortly before the First World War. Together, they document a period of intense experimentation, when multiple approaches to flight coexisted before aviation assumed a more standardized form.
Myrdalssandur, Iceland. 1996. Gelatin silver print. 20 x 42 cm (sheet 25,2 x 47,4 cm). Signed and titled by the photographer in pencil on the verso.
Ragnar Axelsson has spent decades traveling throughout the Arctic, developing a powerful body of documentary work focused on life in extreme environments. Widely published in outlets such as Life, National Geographic, Stern, and Time, his photographs are noted for their stark visual intensity and human depth. His work documents communities in Iceland and the broader Arctic whose traditional ways of life are increasingly threatened by climate change.
Cyclamen (multiple exposure). 1930s. Vintage gelatin silver print, mounted to black card. 12 x 8,5 cm (sheet 14,5 x 10,4 cm, mount 21 x 18 cm). Photographer's label below the image on the mount.
The German photographer Max Baur is known for his contribution to the New Objectivity movement in the early 20th century. His photography primarily focused on industrial subjects, architecture, and urban landscapes, characterized by precise composition and sharp lines. Baur also created exquisite flower still life photographs, displaying his versatility and artistic depth. Beigegeben: 2 negatives of a cyclamen image, likely by Max Baur.
Literatur: Stephan Steins, ed. Max Baur im Geist des Bauhaus: Fotografien 1925-1960. Zurich: Stemmle, 2001, ill. p. 70 (variant).
Cherry blossoms. 1940s. Vintage gelatin silver print on doubleweight ivory paper. 30 x 21,6 cm. Photographer's copyright stamp on the verso,
Beaton, Cecil
Mick Jagger in the film "Performance" with Anita Pallenberg
Los 4136
Schätzung
600€ (US$ 682)
Mick Jagger with Anita Pallenberg in the film Performance. 1968. Vintage gelatin silver print. 23,2 x 28,3 cm. 2 agency stamps and label with typed press text on the verso.
Known for his glamorous celebrity portraits, Cecil Beaton also photographed on film sets. This image shows a very young Mick Jagger in his first screen role in Performance. Shot in 1968 but released only in 1970, the film was initially withheld by Warner Bros. due to its sexual content and graphic violence. Though it received mixed reviews at the time, it has since been reassessed as a highly influential and innovative work of the 1970s, featuring one of the most notable screen performances by a rock musician.
Hochöfen (Blast Furnaces). 1971. Collotype. 45 x 32 cm. Signed and numbered "98/300" by the photographers in pencil in lower margin, number notation in pencil on the verso.
Bernd and Hilla Becher, the influential German conceptual artists and photographers, collaborated throughout their careers to document industrial architecture with remarkable precision and consistency. They are best known for their extensive typologies of structures such as water towers, blast furnaces, and framework houses, often presented in grids to highlight formal similarities and regional variations. Their work, characterized by its objective style and conceptual rigor, significantly influenced the development of contemporary photography and led to the founding of the Düsseldorf School of Photography, shaping the practices of subsequent generations of photographers.
Portrait of Martin Engels, Gera. Ca. 1928. Vintage ferrotyped gelatin silver print, mounted to board. 22,5 x 17,8 cm. Signed and annotated "Gera" by the photographer in pencil below the image on the mount; photographer's "d.w.b" stamp, therein numbered twice in pencil on the verso.
Aenne Biermann was a self-taught photographer whose work, though developed independently of the European avant-garde, aligns closely with the formal clarity and experimental spirit of modernism. Today, several of her images are regarded as icons of New Vision photography, and her work was included in the landmark Film und Foto exhibition in Stuttgart. Following her early death, much of her oeuvre was confiscated under National Socialism, and many prints and negatives remain lost. The present photograph, sent by Biermann to her friend Martin Engels, constitutes a rare and personal document within her oeuvre. Gertrud and Martin Engels, progressive educators and long-time neighbors of the Biermanns in Gera, were part of her close circle. Biermann frequently photographed the Engels family - particularly the children - and such images are now held in major international collections.
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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