Doug II. 1981. Archival pigment print. 24 x 36 cm (sheet 28,5 x 43 cm). Signed, titled and dated by the photographer in pencil on the verso.
Dan Kane's commitment to analog photography is an underlying current in his body of work. His exploration of the male human form as a terrain of shapes and contours is present throughout his work. Living in Berlin since 1983, Kane found many of his models there. The present image was taken in Ithaca, New York, a few years before he moved to Berlin. A print of this image is in the collection of the South Dakota Art Museum. – In excellent condition.
Lit.: Over a Hundred Thousand Images Later: Dan Kane, a Retrospective (exhibition catalogue). Brookings: South Dakota Art Museum, 2025, ill. p. 58.
Claudio. 2013. Solarized selenium toned gelatin silver print. 16,5 x 21,4 cm (sheet 20 x 25,1 cm). Signed, titled, dated, editioned "2/5" and copyrighted by the photographer in pencil on the verso.
A few nicks in edges/margins, otherwise a fine tonal print in near excellent condition.
Microphone. 1932. Vintage gelatin silver print, hinge-mounted in upper edge to mat. 24,8 x 16,8 cm. Photographer's blindstamp in lower right; photographer's stamp and annotated in pencil on the verso.
Willy Kessels attended the École des Beaux-Arts in Ghent before moving to Brussels, where he worked as a sculptor and architectural draftsman in the 1920s. He began his photographic career in 1929, embracing the medium as a modern form of visual expression. The high point of his production falls in the 1920s-1930s, and his photomontages, aerial views, dynamic angles, and use of light exemplify the modern movement in Belgian photography at the time. His refined nude studies also form a significant part of his oeuvre. – Light scuff mark in upper right, otherwise a rich tonal print in near excellent condition.
Biergarten. 1929-32. Vintage ferrotyped gelatin silver print on ivory paper, hinge-mounted along upper edge to mount. 24,3 x 18 cm. Photographer’s “Foto H. Koch Halle/S” stamp on the verso.
Heinrich Koch studied mural painting at the Bauhaus in Weimar and Dessau between 1922-1928, before working as an interior designer in Halle an der Saale until 1929. From 1930, he studied photography at Burg Giebichenstein under Hans Finsler, becoming his assistant and, in 1932, his successor. The photography class was closed in 1933 by the National Socialists, forcing Koch to emigrate to Prague, where he tragically died in a car accident in 1934. – Corners bumped, otherwise a fine tonal print in very good condition.
Lit.: T. O. Immisch and Gunnar Lüsch, eds. Heinrich Koch: Photographien (1929-1934). Halle: Mitteldeutscher Verlag, 2002.
Kreuzberg, Berlin. 1980. Vintage gelatin silver print on Agfa paper. 28 x 40,2 cm. Signed, titled and dated by the photographer in pencil on the verso.
In 1972, Wolfgang Krolow moved to Berlin, where he studied visual communication at the Berlin University of the Arts, specializing in photography and graphic design. From an early stage he devoted himself to socially critical photography. He photographically captured everyday cultural and social life in Berlin as well as the political conflicts during the height of the squatter movement and later during the fall of the Berlin Wall.
Translated with DeepL.com (free version) – Some handling creases throughout, otherwise in very good condition.
Lit.: Sigrid Heger, Andeas Homann and Rainer Wendling, eds. Kreuzberg die Welt: Fotografien von Wolfgang Krolow. Berlin: Assoziation-A, 2025, ill. pp. 118-119.
Brandenburg Gate. 1980s. Vintage gelatin silver print. 23,8 x 18 cm. Photographer's stamp on the verso.
Corner slightly bumped, some minimal scuff marks, otherwise a strong print in near excellent condition.
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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