McBride, Will
Schüler schmeißen Wasser beim Waschen, Schloß Schule Salem
Los 4229
Schätzung
2.200€ (US$ 2,500)
Schüler schmeißen Wasser beim Waschen, Schloß Schule Salem. 1963. Gelatin silver print, printed 1990. 36 x 53,5 cm (sheet 50,5 x 60,5 cm). Signed, annotated, dated and numbered "4/12" by the photographer in pencil and collection stamp on the verso.
Provenienz: Directly from the photographer to the present owner.
McBride, Will
Schüler waschen sich, Schule Schloss Salem
Los 4230
Schätzung
2.200€ (US$ 2,500)
Schüler waschen sich, Schule Schloss Salem. 1963. Gelatin silver print, printed 1990. 53,5 x 36 cm (sheet 60,5 x 50,5 cm). Signed, titled, dated and editioned "1/12" by the photographer in pencil and collector's stamp on the verso.
Provenienz: Directly from the photographer to the present owner
Hamburg. 1974. Gelatin silver print, printed 1990s, mounted to board. 39,2 x 26,3 cm (mount 60,5 x 50 cm). Signed, titled, and dated by the photographer in pencil below the image on the mount. Hinge-mounted in mat.
Paul with Easel. 1998. Chromogenic print on Fujichrome Professional paper. 25,3 x 20 cm. Printed copyright/estate label on the verso.
Linda McCartney achieved her breakthrough while working as an editorial assistant at Town & Country, when her candid photographs of a Rolling Stones promotional event were published as her first magazine commission. This led to further assignments, including work at the Fillmore East in New York, where she photographed musicians such as B.B. King, Janis Joplin, Jimi Hendrix, and members of The Who. Throughout her career, she worked across a wide range of subjects, from music and celebrity portraiture to family life, landscapes, and interiors. A particularly personal strand of her work centers on her husband Paul McCartney, often depicted in intimate, informal settings and at work as a painter. The present image, made toward the end of her life, belongs to this later phase; her photographs are now held in major public collections, including the National Portrait Gallery.
Provenienz: Private German collecton
Pantomime céleste. 1968. Vintage gelatin silver print, mounted to board. 13,5 x 11,7 cm (mount 36 x 31,5 cm). Titled in pencil on the verso, "Hanel Koeck Collection" stamp. Framed under glass in wooden frame.
Pierre Molinier developed a highly personal body of work centered on staged self-portraits and photomontages, using his own body as both subject and material. Closely aligned with Surrealism, his practice explores fetishism, gender ambiguity, and erotic desire through fragmentation, repetition, and theatrical mise-en-scène. Working largely outside institutional frameworks, Molinier blurred the boundary between artist and model, anticipating later developments in body art and performance-based photography.
Godemiche fétiche. 1970. Vintage gelatin silver print, mounted to board. 8,8 x 11,2 cm (mount 30,6 x 32,2 cm). Titled in pencil on the verso, "Hanel Koeck Collection" stamp. Framed under glass in wooden frame.
Rothenburg ob der Taube. 1930/31. Gelatin silver print, printed 1990s. 24,2 x 17,5 cm (sheet 39,2 x 29,5 cm). "Laszlo Moholy-Nagy - griffelkunst" stamp on the verso.
László Moholy-Nagy moved from Budapest to Berlin in 1920 with his wife, the artist Lucia Moholy. In 1923 he joined the Bauhaus in Weimar, where he initially co-taught the foundation course before becoming head of the metal workshop. Photography soon became central to his practice. Introduced to the medium by Lucia Moholy, he embraced experimental techniques to articulate the dynamism of modern urban life and developed the concept of a “New Vision,” aligned with broader modernist ideas of perception in the postwar era.
Literatur: Jeanine Fiedler, ed. Moholy Album: Perspektivwechsel auf den Fotostrecken der Moderne. László Moholy-Nagys schwarzweißfotografische Arbeiten 1924-1937. Göttingen: Steidl, 2018, ill. p. 141.
Photographer unknown. Portrait of the artist Wilhelm Morgner. Circa 1910. Vintage sepia-toned gelatin silver print. 22 x 16 cm.
In 1908, on the advice of Otto Modersohn, Wilhelm Morgner moved to Worpswede, where he studied with Georg Tappert, who introduced him to modern art and encouraged plein air painting; the two remained in close contact. After returning to Soest in 1909, Morgner established a studio and began exhibiting, and in 1910 he traveled to Berlin for further study with Tappert. His growing reputation led to publications in Der Sturm and Die Aktion, and participation in major exhibitions, including the Neue Secession in Berlin, the Blauer Reiter in Munich, and the Sonderbund in Cologne. Drafted in 1913, he was sent to the Western Front at the outbreak of the First World War and was killed near Langemark in Flanders in 1917 at the age of 26.
Lunar surface taken by Lunar Orbiter IV. 1967. Vintage gelatin silver print on RC paper. 61 x 51 cm. "NASA-LRC" and "IV-89M" in lower margin.
The whole Moon first seen from a perspective different from Earth, May 1967. Lunar Orbiter IV was the first of the five Lunar Orbiters to fly in a polar rather than a near equatorial orbit. After the success of the first three missions in mapping the near side equatorial region of the Moon to very high resolution, NASA decided to use the fourth orbiter to map the entire Moon at moderate resolution.
Lunar surface taken by Lunar Orbiter IV. 1967. Vintage ferrotyped gelatin silver print. 61 x 51 cm. "NASA-LRC" and "IV-143H2" in lower margin.
Photographer: William Anders (1933-2024). Earthrise from Apollo 8. December 24, 1968. Vintage gelatin silver print. 20,3 x 25,2 cm. NASA press text printed on the verso.
This celebrated image shows a black and white version of planet Earth rising above the bleached lunar horizon. The crew had completed three lunar orbits before emerging from the far side and witnessing this sight, surely one of the most astounding ever photographed. Anders stated "I was immediately almost overcome by the thought that here we came all this way to the Moon, and yet the most significant thing we're seeing is our own home planet, the Earth."
Literatur: Ron Schick and Julia Van Haaften. The View from Space: American Astronaut Photography 1962-1972. New York: Clarkson Potter, 1988, ill. p. 98 (in color).
NASA
The extended Saturn IVB stage as photographed from Apollo 7
Los 4240
Schätzung
750€ (US$ 852)
The extended Saturn IVB stage as photographed from Apollo 7. Oct. 11,1968. Vintage chromogenic print. 18 x 18 cm (sheet 20,2 x 25,1 cm). Red "AS7-3-1541" number in upper left in margin; "A Kodak Paper" watermark on the verso.
NASA
Buzz Aldrin with Neil Armstrong and Lunar Module reflected in his gold-plated visor
Los 4241
Schätzung
1.200€ (US$ 1,364)
Photographer: Neil Armstrong (1930-2012). Edwin "Buzz" Aldrin with Neil Armstrong and LM Eagle reflected in his gold-plated visor, Apollo 11. 1969. Vintage chromogenic color print on Kodak paper. 24 x 19,2 cm (sheet 25,2 x 20,4 cm). "65834-69" number stamp and "A Kodak Paper" watermark on the verso.
This is the most famous image of Edwin “Buzz” Aldrin on the Moon, taken by Neil Armstrong after the Apollo 11 landing. Armstrong’s reflection, together with the Lunar Module Eagle, is visible in Aldrin’s visor during their 2.5 hours on the lunar surface. The photograph was published on the covers of Life and National Geographic in August and December 1969.
Literatur: Andrew Chaikin. Space: A History of Space Exploration in Photographs. London: Easton Press, n.d., ill. p. 95.
Neil Pearson, ed. Apollo VII-XVII. Kempen: teNeues, 2018, ill. p. 125.
Photographer: Neil Armstrong (1930-2012). Buzz Aldrin standing beside the U.S. flag, Apollo 11, July 1969. Vintage chromogenic print. 20 x 25 cm. "A Kodak Paper" watermark on the verso.
Because the moon lacks any atmosphere the flag was stiffened with wire for this photograph so that it would appear to be fluttering in the breeze.
Literatur: Terry Hope. Spacecam: Photographing the Final Frontier from Apollo to Hubble. Hove: Rotovision, 2005, ill. p. 22.
Earth as seen by Apollo 11. July 1969. Vintage chromogenic print on RC paper. 20,2 x 25,5 cm. "A Kodak Paper" watermark on the verso.
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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