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.
Chaldej, Jewgeni
Yascha the Reindeer, September 1941
Los 4154
Ergebnis (inkl. Aufgeld) *
625€ (US$ 718)
Yascha the Reindeer, September 1941. Gelatin silver print, printed later. 29,8 x 39,5 cm. Signed by the photographer in pencil on the verso.
Slightly buckled, corners slightly bumped, light handling dent in lower left, otherwise in very good condition.
Lit.: Ernst Volland and Heinz Krimmer, eds. Jewgeni Chaldej: Der bedeutende Augenblick. Leipzig: Neuer Europa Verlag 2008, ill. pp. 48-49.
Christoph, Henning
Bloody Sunday, Corner of William Street and Rosville Street, Londonderry, January 30, 1972
Los 4155
Ergebnis (inkl. Aufgeld) *
625€ (US$ 718)
Bloody Sunday, Corner of William Street and Rosville Street, Londonderry, January 30, 1972. Gelatin silver print on Agfa paper, printed 2000. 31 x 46,3 cm (sheet 39,8 x 49,8 cm). Title label below image in margin; signed, dedicated and dated by the photographer in pencil on the verso.
Henning Christoph, born near Leipzig in 1944, emigrated to the United States with his family in 1950. He studied journalism and anthropology at the University of Maryland and worked as a photographer for Gannett Newspapers in New York before returning to Germany in 1967 to study under Otto Steinert at the Folkwang School in Essen. Since 1969, he has worked as a freelance photojournalist for international publications including Life, Time, Newsweek, The New York Times, Le Figaro, Geo, and Stern. His socially engaged reportages address subjects ranging from the relationship between people and technology to marginalized communities, migrant workers, and religious life; he has received numerous honors, including six World Press Photo awards. – A few small nicks in edges, otherwise in very good condition.
Lit.: Henning Christoph and Shawn Christoph. Irland - Irrland: Reportagen aus dem nordirischen Bürgerkrieg. Trier: Spee 1978.
Railroad Crossing. 1984. Cibachrome print, printed 1985, mounted in photo corners in the original mat. 19,7 x 19,7 cm (sheet 25,4 x 20,3 cm). Signed, titled, dated, and editioned “4/25” by the photographer in ink on the verso; signed, dated, titled, and numbered by the photographer in pencil on the mat cover.
Robert Cottingham is known for his paintings and prints depicting the urban American landscape, with a particular focus on building façades, neon signage, movie marquees, railroad heralds, and storefronts. Although often associated with Photorealism, Cottingham has consistently rejected the label, positioning himself instead within a broader tradition of American realism, alongside artists such as Stuart Davis, Charles Demuth, Edward Hopper, and Charles Sheeler. Beginning in the late 1960s, he incorporated photography into his working process as a tool for observation and composition, while maintaining a primary interest in the subject matter itself - often described as Americana. – A few surface scuff marks in black margins, otherwise in very good condition.
Dassonville, William E.
San Francisco skyline
Los 4158
Ergebnis (inkl. Aufgeld) *
625€ (US$ 718)
San Francisco skyline with Eucalyptus trees (# 318). Ca. 1925. Vintage gelatin silver print on Charcoal Black paper, matted. 8,8 x 11,4 cm (sheet 17 x 20,4 cm). Annotated “318” in ink in the lower margin; annotated in pencil on the verso.
William Dassonville, a photographer and trained chemist, was known for producing his own photographic papers and emulsions in pursuit of specific aesthetic effects. A one-time neighbor of Ansel Adams, he developed the distinctive “Charcoal Black” paper, valued for its rich tonal depth and used by Adams until 1933. – Very small black fiber in right portion of sky area; margins with minimal toning in edges, otherwise a fine tonal print in very good condition.
Lit.: Peter E. Palmquist. William E. Dassonville: California Photographer (1879-1957). Nevada City: Carl Mautz Publishing, 1999, ill. p. 65 (similar image).
Demand, Thomas
Untitled (Detail of studio stage background for the show "Was bin ich?")
Los 4160
Ergebnis (inkl. Aufgeld) *
1.500€ (US$ 1,724)
Untitled (Detail of Studio Stage Background for the Show “Was bin ich?”). 1997. Chromogenic print on Fujicolor Crystal Archive paper, printed 2001. 39 x 60 cm. Signed and editioned “AP IV” by the photographer in felt-tip pen on the verso.
Thomas Demand is known for constructing life-sized models from paper and cardboard, which he then photographs. These meticulously crafted replicas of everyday interiors produce images that appear uncannily real while subtly undermining their own authenticity. His work engages with themes of representation, memory, and perception, questioning the reliability of images in an increasingly mediated world. The present print is one of ten produced but never distributed, intended for the unrealized portfolio westwärts on the occasion of an exhibition at the Kunstmuseum Bonn. The project, which was to include works by DAAD scholarship holders Franz Ackermann, Karin Sander, Anke Doberauer, and Heiner Schilling, was abandoned when Schilling did not contribute. Untitled (Detail of Studio), 1997, is based on a photograph of a 1970s television set used for the German game show Was bin ich?, hosted by Robert Lembcke. – A few surface scuff marks and a couple of small handling creases, otherwise in near excellent condition.
Erfurth, Hugo
Portrait of the artist Käthe Kollwitz
Los 4163
Ergebnis (inkl. Aufgeld) *
750€ (US$ 862)
Portrait of the artist Käthe Kollwitz (1867-1945). 1925. Cropped reproduction gelatin silver print, printed 1960s. 29,5 x 21 cm. Photographer's blindstamp on original print visible in lower right.
A print of this image is in the collection of the Städel Museum, Frankfurt and the Museum für Kunst & Gewerbe, Hamburg. – In excellent condition.
Evans, Walker
Farmer's Kitchen, Hale County, Alabama
Los 4164
Ergebnis (inkl. Aufgeld) *
1.063€ (US$ 1,221)
Farmer's Kitchen, Hale County, Alabama. 1936. Gelatin silver print, printed later from the original negative by Brian Graham. 40 x 28,8 cm (sheet 42,2 x 31,1 cm). Annotated by another hand in pencil as well as "Walker Evans - Gelatin silver print from the original negative" stamp on the verso.
Walker Evans’ work for the Farm Security Administration (FSA) was instrumental in shaping the visual record of rural America during the Great Depression. His photographs captured the stark realities faced by individuals and communities, portraying economic hardship and social dislocation with clarity and empathy. Working alongside other FSA photographers, Evans helped create an enduring documentary archive that not only heightened public awareness but also established documentary photography as a powerful medium for social insight and historical record. – Light crease in lower portion, otherwise in very good condition.
Lit.: John T. Hill. Walker Evans: Lyric Documentary. Göttingen: Steidl, 2006, ill. p. 182.
John T. Hill and Gilles Mora. Walker Evans: Der unstillbare Blick. Munich: Schirmer/Mosel, 1993, ill. p. 206.
Evans, Walker
Citizen in Downtown Havanna
Los 4165
Ergebnis (inkl. Aufgeld) *
1.250€ (US$ 1,437)
Citizen in Downtown Havana. 1933. Gelatin silver print, printed 1988 from the original negative by Brian Graham. 28 x 15,2 cm (sheet 30 x 23,6 cm). Annotated in pencil by another hand, as well as with “Walker Evans – Gelatin silver print from the original negative” stamp and authentication label on the verso.
In excellent condition.
Lit.: John T. Hill and Gilles Mora. Walker Evans: Der unstillbare Blick. Munich: Schirmer/Mosel, 1993, ill. p. 85.
Maria Morris Hambourg et al. Walker Evans. New York: Metropolitan Museum of Art, 2000, ill. pl. 38.
Feininger, Andreas
New York und Chicago in den Vierziger Jahren
Los 4167
Ergebnis (inkl. Aufgeld) *
750€ (US$ 862)
New York und Chicago in den Vierziger Jahren. 1940-41. 6 gelatin silver prints, printed later from the original negatives. Each ca. 24,5 x 19 cm (sheet 30 x 24 cm). Each with Griffelkunst edition stamp on the verso. Presented in original half-canvas folder with illustrated text brochure.
In excellent condition.
Lit.: Andreas Feininger. New York in the Forties. New York: Dover Publications, 1978.
Fietz, Helga
The artist Max Beckmann (1884-1950) in his studio, Amsterdam
Los 4168
Ergebnis (inkl. Aufgeld) *
3.000€ (US$ 3,448)
The artist Max Beckmann (1884-1950) in his studio, Amsterdam. 1938. Vintage gelatin silver print on Gravura paper, mounted along the upper edge to original cream-colored card. 11,5 x 7,7 cm. Photographer’s stamp on the verso.
Best known for her iconic portraits of Max Beckmann, Helga Fietz also photographed numerous other artists throughout her career. In addition to portraiture, she developed a particular affinity for the horses of Iceland, a subject she returned to often and which featured prominently in several published volumes of her work. – A strong print in excellent condition.
Lit.: Carla Schulz-Hoffmann and Judith C. Weiss, eds. Max Beckmann: Retrospektive. Munich: Städtische Galerie im Lenbachhaus, 1984.
Photographer: Friedrich Hermann Emil Kiesel (1877-1943). The actress Anna May Wong (1905-1961). Circa 1928. Vintage ferrotyped gelatin silver print. 22,6 x 17 cm. Photographer's studio reproduction limitation stamp on the verso.
In 1928, Anna May Wong traveled to Berlin in pursuit of more progressive film roles, hoping to escape the stereotyped casting that had defined her career in Hollywood. During this period, she also worked in London and Paris, where critics and audiences responded to her with notable enthusiasm. When Wong returned to the United States in 1930, she did so with an expanded artistic profile and growing international acclaim. – Slightly faded in lower edge, small nicks in edges, a few light surface scratches, more visible at an angle, otherwise in good condition.
Müritz-DDR. 1956. Gelatin silver print, printed 1980s. 28 x 38,8 cm. Signed in ink and stamped by the photographer on the verso.
Arno Fischer’s documentary photographs of East and West Berlin from the 1950s-1960s offer a nuanced view of the city during a period of division and transformation. Marked by observational clarity and a sensitivity to everyday life, they capture both the challenges and resilience of its inhabitants and function as both historical records and autonomous works of art. One of Fischer’s most iconic images, this print bears an older letter stamp on the verso indicating an earlier print date. – Slightly buckled, fold crease in lower edge, a few light pressure marks, signature on verso with slight impression to recto, otherwise in very good condition.
Lit.: Elke aus dem Moore and Matthias Flügge, eds. Arno Fischer: Fotografie (exhibition catalog). Ostfildern: Hatje Cantz, 2009, ill. p. 65.
Ost Berlin, Friedrichshain. 1956. Gelatin silver print, printed later. 16,8 x 26 cm (sheet 21,8 x 29,2 cm). Signed, annotated and dated by the photographer in pencil as well as "Edition argus fotokunst" stamp, therein numbered "3/10" on the verso.
Light dent in lower margin, otherwise in excellent condition.
Lit.: Elke aus dem Moore and Matthias Flügge, eds. Arno Fischer: Fotografie (exhibition catalog). Ostfildern: Hatje Cantz, 2009, ill. p. 49.
West Berlin. 1957. Gelatin silver print, printed later. 16,8 x 26 cm (sheet 22,3 x 29,3 cm). Signed, annotated and dated by the photographer in pencil as well as "Edition argus fotokunst" stamp, therein numbered "3/10" on the verso.
In excellent condition.
Lit.: Elke aus dem Moore and Matthias Flügge, eds. Arno Fischer: Fotografie (exhibition catalog). Ostfildern: Hatje Cantz, 2009, ill. p. 40.
GDR Uprising June 17, 1953
Uprising East Berlin, Leipziger Straße and Potsdamer Platz. June 17, 1953
Los 4175
Ergebnis (inkl. Aufgeld) *
438€ (US$ 503)
Distributor: Max Schirner agency. Uprising East Berlin, Leipziger Straße and Potsdamer Platz. June 17, 1953. 1 vintage ferrotyped gelatin silver press print and 1 ferrotyped gelatin silver print, printed 1983. Each ca. 17 x 22 cm. One print with magazine archive stamp, therein annotated in ink and one with press text printed on the verso.
The uprising of 1953 in East Germany began with a strike by East Berlin construction workers on June 16 and escalated into a widespread revolt against the GDR government the following day. In Berlin, the protests were violently suppressed by Soviet tanks and the Volkspolizei, yet unrest continued, with demonstrations in more than 500 towns and villages. – Handling creases, one with layout mark in red crayon in left edge.
Goldin, Nan
Self-portrait after finger operation, Berlin
Los 4176
Ergebnis (inkl. Aufgeld) *
4.750€ (US$ 5,460)
Self-portrait after finger operation, Berlin. 1991. Cibachrome print. 46 x 61,5 cm. Signed, titled, dated, and dedicated “For my sweet Mr Remy” in black marker on the verso.
The American photographer Nan Goldin is known for her deeply personal and raw visual narratives that delve into themes of love, gender, domesticity, and sexuality. Her seminal work, The Ballad of Sexual Dependency (1986), is a poignant documentation of her “chosen family,” capturing the post-punk and gay subcultures of New York City during the late 1970s and into the early 1990s. Goldin’s style is characterized by an informal, snapshot aesthetic, often portraying private moments in intimate settings such as cluttered kitchens, downtown bars, and disheveled beds. Her adept use of color accentuates the emotional essence of each moment. Beyond her photographic endeavors, Goldin has been an active voice in art and activism, addressing critical issues such as the HIV/AIDS epidemic and the opioid crisis. She currently resides and works between New York City, Berlin, and Paris. – Some scuff marks and two small handling creases, otherwise in good condition.
Goldin, Nan
Jimmy Paulette after the Parade, New York
Los 4177
Ergebnis (inkl. Aufgeld) *
2.500€ (US$ 2,874)
Jimmy Paulette after the Parade, New York. 1991. Cibachrome print, printed 1990s. 50,7 x 61 cm. Signed by the photographer in felt-tip pen on the verso.
Finger marks and minimal handling dent in right side, a few minimal finger marks in left side, otherwise in very good condition.
Lit.: Nan Goldin, David Armstrong and Walter Keller, eds. The Other Side. Zurich: Scalo 2000, ill. p. 63.
Suzanne on her bed. 1983. Cibachrome print. 50,8 x 61 cm. Signed and dedicated “Für Gudrun mit meine bessen” in black marker on the verso.
Some scuff marks, otherwise in very good condition.
Goldin, Nan
James at a Jean Colonna fitting, Paris
Los 4180 [*]
Ergebnis (inkl. Aufgeld) *
2.500€ (US$ 2,874)
James at a Jean Colonna fitting, Paris. 1995. Cibachrome print. 60,5 x 45,2 cm. Signed and editioned "AP I" by the photographer in felt-tip pen on the verso. Framed under glass in wooden frame.
Nan Goldin’s "James King: Supermodel" series offers a raw, intimate portrayal of teenage model Jaime (James) King, who rose to prominence in the mid-1990s - a transitional moment between the height of the supermodel era and the rise of the so-called “heroin chic” aesthetic. At just sixteen, King was thrust into a fashion world marked by unattainable beauty ideals, the fetishization of youth, and the glamorization of drug culture. Goldin’s photographs avoid mythologizing this milieu; instead, they lay bare its emotional and psychological costs, capturing moments of vulnerability, fatigue, and the loss of innocence. This particular image of James King formed part of Goldin’s 1995 body of work on the model, though it was not included in the final portfolio of the same name. – Some scuff marks and minor handling dents; light crease in the lower right corner; otherwise in near excellent condition.
[*]: Regelbesteuert gemäß Auktionsbedingungen. [^]: Ausgleich von Einfuhr-Umsatzsteuer.
* Alle Angaben inkl. 25% Regelaufgeld ohne MwSt. und ohne Gewähr – Irrtum vorbehalten.
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