Three Men on Seine Steps. 1931. Gelatin silver print, printed later, mounted to original board. 26,5 x 34 cm. Signed and dated by the photographer in black ink in the lower right; signed, titled, and dated in ink and pencil on mount verso.
Ilse Bing's move from her birth city Frankfurt to the avant-garde and surrealist scene in Paris marked the start of the most notable period of her career. She produced images in the fields of photojournalism, architectural photography, advertising and fashion, and her work was published in magazines such as Le Monde Illustrée, Harper's Bazaar and Vogue. In 1931, Bing's work was exhibited in both France and Germany. Her rapid success as a photographer, and her position as the only professional in Paris to use an advanced Leica camera, earned her the title "Queen of the Leica", coined by the critic and photographer Emmanuel Sougez, whom she met in 1931. – Traces of previous mounting on mount verso, otherwise a rich tonal print in excellent condition.
Lit.: Larisa Dryansky and Edwynn Houk. Ilse Bing. Photography Through the Looking Glass. New York: Abrams, 2006, ill. p. 125.
Pier, New York. 1936. Vintage gelatin silver print on Agfa-Brovira paper, mounted in corners to original board. 19 x 28 cm. Signed and dated by the photographer in white ink in lower right.
Mount with some foxing spots and traces of previous mounting on the verso; print lifting from the mount in the lower left corner, otherwise a rich tonal print in excellent condition.
Bauhausfotos portfolio. 1927-1931. 10 gelatin silver prints, printed 1993, hinge-mounted in mats. Each ca. 23,5 x 17,5 cm. Each photograph with portfolio stamp on the verso, therein numbered “23” (of 30). Presented in original canvas clamshell box with text and colophon sheet. Sabine Hartmann and Karsten Hitz (eds.) for Bauhaus-Archiv GmbH, Berlin, 1993.
The portfolio brings together key photographs by Marianne Brandt from her Bauhaus period, reflecting her experimental engagement with reflection, material, and self-representation. Several works - including Selbstportrait in der Kugel gespiegelt, Das Atelier in der Kugel I-II, and Selbstportrait mit Schmuck zum Metallischen Fest - explore the artist’s image through mirrored surfaces and spherical distortions, dissolving the boundary between subject and object. Complementary still lifes, such as Spiegelungen (Stilleben aus Metall und Glas) and Stilleben in der Metallwerkstatt, emphasize the interplay of light, texture, and industrial materials, while Bauhausbühne I-II document performative aspects of the Bauhaus stage. The group is completed by Selbstportrait, Doppelbelichtung, in which Brandt uses photographic superimposition to further destabilize a fixed sense of identity. Together, the works exemplify the innovative spirit of Bauhaus photography, combining formal experimentation with a probing exploration of perception and modern subjectivity. – Clamshell box with a few scuff marks and light pen marks; one print with more pronounced retouching, one with a few light pressure marks, otherwise prints in excellent condition.
Lit.: Marianne Brandt. Fotografien am Bauhaus. Ostfildern-Ruit: Hatje Cantz, 2003, ill. pp. 45, 47, 49, 51, 55, 57, 71, 82, 83 and front cover.
Bruguière, Francis Joseph
Experiment (multiple exposure)
Los 4145
Ergebnis (inkl. Aufgeld) *
1.625€ (US$ 1,868)
Experiment (multiple exposure). Ca. 1926. Vintage gelatin silver print on doubleweight paper. 23,8 x 18,3 cm.
Both an artist and a photographer, Francis Bruguière studied under Frank Eugene and was acquainted with Alfred Stieglitz. Between 1919-1927 he had a studio in New York while taking portraits for Harper's Bazaar, Vanity Fair and Vogue. In 1928, Bruguière moved his studio to London. In the same year he had a solo exhibition in Herbert Walden's avant-garde gallery Der Sturm in Berlin. He remained in London until 1937. – Silver mirroring along the edges in the shadow areas; some soiling and traces of previous mounting on the verso; corners bumped; small creases to the lower and upper left corners; a light spot to the upper right and a few spots to the lower right, otherwise in good condition.
Lit.: James Enyeart. Francis Bruguière: His Photographs and his Life. New York: Knopf, 1977, ill. plate 28.
Bruguière, Francis Joseph
Portrait study, Cynthia Fuller (multiple exposure)
Los 4146
Ergebnis (inkl. Aufgeld) *
750€ (US$ 862)
Portrait study, Cynthia Fuller (multiple exposure). 1929. Vintage gelatin silver print on doubleweight paper, mounted to mat. 23,8 x 18,6 cm.
Minimal silver mirroring in corners, a few pressure marks and light scratch marks, otherwise in good condition.
Robert Frank, Cape Breton. 1998. Gelatin silver print, printed later. 21,2 x 32 cm (sheet 27,5 x 35,5 cm). Signed, titled and dated by the photographer in pencil, as well as photographer's copyright stamp on the verso.
During his long career as a cameraman and photographer, Norbert Bunge developed close connections with a wide range of photographers. Among them was the otherwise reclusive Robert Frank, whom he met and photographed. – In excellent condition.
Lit.: Mathias Bertram, ed. Norbert Bunge: Fotografien. Leipzig: Lehmstedt 2017, ill. p. 124.
Male nude. Early 1930s. Vintage warm-toned gelatin silver print. 20 x 11 cm. Photographer's stamp on the verso.
Will Burgdorf began his career as a photographer in 1930, and by 1931, had established a studio at Lister Platz in Hanover. He specialized in portraiture and expressively posed nudes, often depicting his sitters with closed eyes, lending his images a distinctive sense of inward contemplation. With the outbreak of the Second World War, Burgdorf’s career came to an abrupt end, and he was reported missing in 1945. – Some oxidation mirroring in lower area and edge, otherwise in very good condition.
Callahan, Harry
Nude on Building, Providence
Los 4150
Ergebnis (inkl. Aufgeld) *
1.875€ (US$ 2,155)
Nude on Building, Providence. 1970. Dye transfer print, printed 1980s. 18,5 x 18,2 cm (sheet 23,7 x 20,9 cm). Signed by the photographer in pencil in lower margin.
Harry Callahan’s color photographs, produced in the later years of his career, are widely celebrated for their vivid, introspective, and often abstract qualities. Exploring a wide range of subjects - from landscapes and cityscapes to portraiture - Callahan used color to add a new dimension of depth and emotional resonance, further enriching his already distinguished body of work. – Traces of previous mounting on the verso along the upper edge; a few small spots, otherwise in very good condition.
Planes over the Reichstag, Berlin. April 1945. Gelatin silver print, printed early 1990s. 30 x 40 cm. Signed by the photographer in pencil on the verso.
Jewgeni Chaldej, a Soviet photojournalist, is renowned for his photographs documenting the capture of Berlin by Soviet troops on May 2, 1945, marking the end of World War II in Europe. His images, particularly the iconic scene of the Soviet flag being raised on the Reichstag building, have become crucial visual records of this historic moment. – Slightly buckled, some nicks in edges, otherwise in very good condition.
Lit.: Ernst Volland and Heinz Krimmer, eds. Von Moskau nach Berlin: Bilder des russischen Fotografen Jewgeni Chaldej. Berlin: Parthas 1999, ill. p. 70.
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Telefon: +49 30 8938029-0
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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