Leigh Bowery: Season VI, Look 31. March 1992. Digital color print on Fuji Crystal Archive paper. 37 x 30,2 cm. With loose typed print label, signed by the photographer in ink and editioned "2/10".
Fergus Greer began his career in 1987 as a studio assistant, working with photographers such as Richard Avedon before becoming studio manager and assistant to Terence Donovan. In 1988 he met the performance artist Leigh Bowery, initiating a close collaboration that lasted until Bowery’s death in 1994. During this period, Greer also established himself through commercial and editorial commissions, contributing to publications including The Sunday Times Magazine, Vanity Fair, Fortune, The New York Times Magazine, and The New Yorker. In 1997, he relocated to Los Angeles, further expanding his international reputation as a portrait photographer. His sitters range from royalty and artists to actors, musicians, politicians, and athletes. His work has been recognized with two solo exhibitions at the National Portrait Gallery in London (2001 and 2006), which also holds a significant group of his portraits.
Portrait of Maxim Gorky. 1928/29. Vintage gelatin silver print. 27,7 x 11,8 cm. Signed and annotated by the photographer in ink and annotated by another hand in pencil on the verso.
Maxim Gorky (born Alexei Maximovich Peshkov) was a central figure in Russian and Soviet literature and a committed advocate of socialist ideals. Nominated five times for the Nobel Prize in Literature, he rose to prominence through works shaped by his early years of hardship and extensive travels across the Russian Empire, during which he held a wide range of jobs. These formative experiences informed his literary voice and subject matter. Gorky maintained close ties with leading contemporaries such as Leo Tolstoy and Anton Chekhov, both of whom he later reflected upon in his memoirs.
African Mask, Ivory Coast. 1929. Vintage gelatin silver print on chamois paper. 28,6 x 21,5 cm. Annotated in French and with layout notes in pencil on the verso.
Paul Guillaume was among a generation of dealers who embraced Cubism shortly before the First World War. He opened his first gallery in February 1914 at 6, rue de Miromesnil in Paris, promoting artists such as Giorgio de Chirico, André Derain, Jacques Lipchitz, Henri Matisse, Amedeo Modigliani, Francis Picabia, and Chaïm Soutine. After the exile of Daniel-Henry Kahnweiler during the war, he emerged as a key figure in the Cubist market. He later moved to 59, rue La Boétie and developed a strong interest in African sculpture, which he both collected and promoted, organizing exhibitions, lending works internationally, and publishing on the subject. Photographers such as Man Ray documented pieces from his collection. The present photograph, depicting an African mask formerly in Guillaume’s collection, was likely used for publication in La Sculpture nègre primitive by Paul Guillaume and Thomas Munro (Paris: G. Crès et Cie., 1929, pl. 6; photographer not credited).
Romy mit Kreuz, Hamburg. 1962. Gelatin silver print, printed 1980s. 39 x 30,2 cm (sheet 50,3 x 40 cm). Signed, titled and dated by the photographer in pencil on the verso.
Spanning several decades, the career of F.C. Gundlach is a testament to his exceptional sense of composition, mastery of light, and an unwavering commitment to elegance. His work reflects the essence of post-war Germany, including its evolving fashion and culture, effectively bridging the realms of photography and art. Gundlach's iconic fashion images and portraits of celebrities have left an enduring mark on the industry, establishing him as a respected and influential figure in the realm of photography.
Literatur: Published in: Film und Frau, no. 11, 1962, ill. p. 10 (“Die andere Romy Schneider”).
Klaus Honnef and Hans-Michael Koetzle, eds. F.C. Gundlach: Das fotografische Werk. Göttingen: Steidl, 2008, ill. p. 270.
Op-Art Design, Athen, Brigitte Bauer. 1966. Gelatin silver print. 35,4 x 30,7 cm (sheet 50,5 x 40,5 cm). Signed, titled and dated in pencil on the verso.
Störung. 1971. Archival pigment print, printed later. 30 x 39,5 cm (sheet 40 x 50 cm). Signed, titled, dated and editioned "I/V" by the photographer in pencil in lower margin.
Throughout his career, Robert Häusser consistently showed an extraordinary talent for capturing the quintessence of his subjects, whether they were people, landscapes, or still lifes. His photography is marked by a pervasive sense of timelessness, achieved through a particular dedication to detail and a keen eye for composition.
Literatur: Robert Häusser. Photographische Bilder: Werkübersicht der Jahre 1941-1987 (exhibition catalog). Stuttgart 1988, ill. p. 99.
Unwirkliche Landschaft. 1980. Archival pigment print, printed later. 30 x 37 cm (sheet 40 x 50 cm). Signed, titled, dated and editioned "II/V" by the photographer in pencil in lower margin.
Literatur: Robert Häusser. Photographische Bilder: Werkübersicht der Jahre 1941-1987 (exhibition catalog). Stuttgart 1988, ill. p. 91.
Female nude on rocky beach. 1930/31. Vintage gelatin silver print, tipped to original card and hinge-mounted to mat. 15,3 x 23,8 cm (mount 25 x 27,5 cm). Signed by the photographer in pencil below the image on mount recto.
Raoul Hausmann’s nude photographs from the late 1920s-early 1930s, mark a shift from his Dada practice toward a more lyrical and experimental engagement with the human body. Often set in natural coastal landscapes, his figures are integrated into their surroundings, emphasizing movement, light, and texture rather than idealized form. Through unconventional cropping and a sense of immediacy, these works reflect the broader currents of New Vision photography while retaining a distinctly personal and exploratory character.
Berlin, Eberswalder Str. 1982. Vintage gelatin silver print. 29,4 x 19,8 cm. Signed, titled, and dated by the photographer in pencil in the lower margin.
Harald Hauswald’s photographic practice is defined by a direct and unembellished documentary approach, through which he recorded everyday life in the GDR from the late 1970s onward. Moving through East Berlin as both participant and observer, he captured scenes of daily routine, youth culture, and urban decay, revealing the tensions between official ideology and lived reality.
Heidersberger, Heinrich
Feierabendhalle Farbwerke Hoechst, Frankfurt
Los 4193
Schätzung
1.200€ (US$ 1,364)
Feierabendhalle Farbwerke Hoechst, Frankfurt. 1963. Vintage ferroytped gelatin silver print on Agfa-Portriga paper. 18 x 24,2 cm. Photographer's stamp and annotated in pencil on the verso.
The German photographer Heinrich Heidersberger is best known for his architectural and industrial images, which helped shape the visual language of postwar modernism in West Germany. His work is characterized by precise, graphic compositions and a strong sense of form, while his experimental practice - most notably the abstract “rhythmograms” - reveals a parallel interest in movement and light.
Literatur: Bernd Rodrian and Benjamin Heidersberger, eds. Heinrich Heidersberger: Architekturphotographie 1952-72. Göttingen: Steidl, 2000, ill. p. 53.
Photographer: Hans W. Mende (b. 1948). Aktion mit Evelyn Steiger, February 1981. 4 vintage gelatin silver prints, printed 1986. Each circa 39,8 x 29,8 cm. Each signed, annotated and dated by the artist on the verso.
Barbara Heinisch is a transdisciplinary German process painter whose work combines painting and performance, often in collaboration with artists from dance and music. Trained at the Kunstakademie Düsseldorf under Joseph Beuys and later at the Hochschule der Künste Berlin as a master student of Karl Horst Hödicke, she developed a practice merging expressive figuration with gestural traces of movement. From the mid-1970s, she began staging performative painting actions, marking a decisive shift in her work, including early “self-discovery” actions (1975), Blindportrait (1976), and her first fully developed transdisciplinary process paintings in 1977.
Young male nude with outstretched arm. 1950s. Vintage ferrrotyped gelatin silver print on Leonar paper. 30,2 x 24 cm. Photographer's copyright/studio label on the verso.
After returning from Soviet captivity in 1947, the German photographer and art historian Konrad Helbig devoted his work to the study and photographic documentation of Mediterranean cultures. While best known for his architectural and travel photography, he also produced intimate studies of young male nudes, often in Sicily. These photographs, situated within the tradition of Wilhelm von Gloeden and Guglielmo Plüschow, were revealed only after his death.
Literatur: Wolfgang von Wangenheim, ed. Konrad Helbig: Ragazzi. Heidelberg: Braus, 2000.
Paul Newman. 1961. Gelatin silver print, printed later. 42 x 30 cm (sheet 50,8 x 40,7 cm). Signed, dated, and editioned “3/10” in pencil on the verso; with gallery label attached to the frame verso. Framed under glass in wooden frame.
Dennis Hopper is celebrated not only as an actor and filmmaker but also as a sharp-eyed chronicler of American counterculture. His portraits capture friends, artists, and cultural icons amid fleeting moments with cinematic intensity. Hopper’s photographs distill the spirit of a turbulent era through raw composition, quiet spontaneity, and a deep connection to his subjects.
Provenienz: Acquired by the present owner from Galerie Thaddäus Ropac
Andy Warhol. 1963. Gelatin silver print, printed later. 39 x 28 cm (sheet 50,8 x 40,7 cm). Signed, dated, and editioned “4/10” in pencil on the verso; with gallery label attached to the frame verso. Framed under glass in wooden frame.
Provenienz: Acquired by the present owner from Galerie Thaddäus Ropac
Imans, Pierre
Mannequin for the Salon des Artistes Decorateurs
Los 4198
Schätzung
600€ (US$ 682)
Mannequin for the Salon des Artistes Décorateurs. 1930. Gelatin silver print, mounted to card. 21,8 x 16,8 cm (mount 30,7 x 26,8 cm). Red ink stamp “Pierre Imans Mannequins d’Art Paris” in upper right corner of the print; “Salon des Artistes Décorateurs 1930” printed below the image on the mount; printed caption on mount verso.
Pierre Imans’s mannequins epitomize the modernist spirit of interwar Paris, when display design embraced new materials, streamlined forms, and a distinctly contemporary aesthetic. Trained in the tradition of wax mannequins, he moved toward new materials and more abstracted figures characterized by elongated proportions, stylized anatomy, and poised, theatrical gestures. The present mannequin reflects this later phase, combining restrained modeling with classical references: the pose and the arrow in the raised hand evoke Diana (Artemis), linking modern display design to a longer sculptural tradition while adapting it to the functional demands of the 1930s.
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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
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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