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.
NASA
View of Modular Equipment Transporter on the lunar surface taken from inside the Lunar Module, Apollo 14
Los 4244
Schätzung
750€ (US$ 852)
View of Modular Equipment Transporter on the lunar surface taken from inside the Lunar Module, Apollo 14. Feb. 6, 1971. Vintage chromogenic print. 18,5 x 17,8 cm (sheet 20,5 x 25 cm). Red "AS14-66-9340" number in upper left in margin; purple NASA logo and press text as well as "A Kodak Paper" watermark on the verso.
Literatur: Neil Pearson, ed. Apollo VII-XVII. Kempen: teNeues, 2018, ill. p. 182.
Photographer: John Young (1930-2018). Charles Duke at the rim of Plum Crater, Apollo 16. April 1972. Vintage chromogenic print on glossy Kodak RC paper. 20 x 25,5 cm. Purple NASA logo and press text on the verso.
Literatur: Terry Hope. Spacecam: Photographing the Final Frontier from Apollo to Hubble. Hove: Rotovision, 2005, ill. p. 27.
NASA
Astronaut Thomas K. Mattingly II, command module pilot, performs an extravehicular activity (EVA) during the Apollo 16 trans-Earth coast, Apollo 16
Los 4246
Schätzung
600€ (US$ 682)
Astronaut Thomas K. Mattingly II, command module pilot, performs an extravehicular activity (EVA) during the Apollo 16 trans-Earth coast, Apollo 16. April 25, 1972. Vintage chromogenic print. 17,5 x 24 cm (sheet 20,2 x 25,1 cm). Red "S-72-37001" number in upper left in margin; "A Kodak Paper" watermark on the verso.
Astronaut Thomas K. Mattingly II is assisted by astronaut Charles M. Duke Jr., the lunar module pilot, during an extravehicular activity. Mattingly is inspecting the Service Module’s SIM bay and retrieving film from the mapping and panoramic cameras.
NASA
Charles Duke, Lunar Grand Prix at Descartes Base, EVA 1, Apollo 16. April 1972
Los 4247
Schätzung
900€ (US$ 1,023)
Photographer: John Young (1930-2018). Charles Duke, Lunar Grand Prix at Descartes Base, EVA 1, Apollo 16. April 1972. Vintage large-format chromogenic print on Kodak paper. 26,2 x 34 cm. "A Kodak Paper" watermark on the verso.
In this image, the Lunar Rover is being tested by astronaut John Young during the Grand Prix run at the end of the first EVA at the Descartes landing site. Young is driving toward the Lunar Module, testing how the vehicle handles in the Moon’s one-sixth gravity, with dust clearly visible being thrown up by the wheels.
NASA
John Young Beyond LM Orion and Rover at Descartes Base, Apollo 16.
Los 4248
Schätzung
750€ (US$ 852)
Photographer: Charles Duke (b. 1935). John Young beyond LM Orion and Rover at Descartes Base, Apollo 16. April 1972. Vintage chromogenic print. 18 x 18 cm (sheet 20,2 x 25,2 cm). Red "AS16-107-17436" number in upper left in margin; "A Kodak Paper" watermark on the verso.
An excellent view of the Lunar Module Orion and the Lunar Roving Vehicle, photographed by astronaut Charles M. Duke Jr., lunar module pilot, during the first Apollo 16 extravehicular activity (EVA-1) at the Descartes landing site. Astronaut John W. Young, commander, can be seen directly behind the LRV. The lunar surface feature in the left background is Stone Mountain.
NASA
Harrison Schmitt in the LRV, Apollo 17. Dec. 11,1972
Los 4249
Schätzung
750€ (US$ 852)
Photographer: Eugene A. Cernan (1932-2017). Harrison Schmitt in the LRV, Apollo 17. Dec. 11, 1972. Vintage chromogenic print. 18 x 18 cm (sheet 20,2 x 25,1 cm). Red "AS17-134-20454" number in upper left in margin; "A Kodak Paper" watermark on the verso.
The image shows Harrison Schmitt seated in the Lunar Roving Vehicle at Station 9 (Van Serg Crater) during the third Apollo 17 extravehicular activity at the Taurus-Littrow landing site. It was taken by astronaut Eugene A. Cernan, Commander. Schmitt, Lunar Module Pilot and Cernan explored the moon while astronaut Ronald E. Evans, Command Module Pilot, remained with the Command and Service Modules in lunar orbit.
Literatur: Neil Pearson, ed. Apollo VII-XVII. Kempen: te Neues, 2018, ill. p. 267 (variant).
NASA
Harrison Schmitt in the LRV, Apollo 17. Dec. 11,1972
Los 4250
Schätzung
750€ (US$ 852)
Photographer: Eugene A. Cernan (1932-2017). Harrison Schmitt at Station 6 (base of North Massif) during the third Apollo 17 extravehicular activity (EVA-3). Apollo 17. Dec. 11, 1972. Vintage chromogenic print. 18 x 18 cm (sheet 20,2 x 25,1 cm). Red "AS17-146-22294" number in upper left in margin; "A Kodak Paper" watermark on the verso.
Scientist-astronaut Harrison H. Schmitt is photographed standing next to a large split boulder at Station 6 (base of North Massif) during the third Apollo 17 extravehicular activity (EVA-3) at the Taurus-Littrow landing site on the Moon. The Lunar Roving Vehicle (LRV) can be seen in the left foreground.
Apollo Soyuz Test Project ASTP. July 15-24,1975. Vintage chromogenic print on RC paper. 18 x 18 cm (sheet 20,2 x 25 cm). Red NASA number "AST-2-093" in upper left in margin; "A Kodak Paper" watermark and purple printed NASA text on the verso.
NASA
Astronaut Bruce McCandless floating untethered in space during the STS-41B mission, Challenger. Feb. 7,1984
Los 4252
Schätzung
750€ (US$ 852)
Astronaut Bruce McCandless floating untethered in space during the STS-41B mission, Challenger. Feb. 7, 1984. Vintage chromogenic print on RC paper. 19 x 19 cm (sheet 20,2 x 25 cm). "This Paper Manufactured by Kodak" watermark on the verso.
The Acropolis, general view of the Parthenon. 1930. Vintage brown-toned gelatin silver print, mounted to board. 21,6 x 15,7 cm. Signed by the photographer in ink in lower right on the mount. Mounted in mat.
The Greek photographer Elli Souyoultzoglou, who worked under the name Nelly, trained in Dresden under Hugo Erfurth and Franz Fiedler. She returned to Athens in 1924 and, in 1925, began photographing Greek refugees from Asia Minor. In 1926, she exhibited bromoil prints from this series in her studio under the title “The Sorrows of the Refugees.” She also produced numerous images of the Acropolis and the Parthenon.
Literatur: Matthias Harder. Nelly: Dresden, Athens, New York. Munich: Prestel, 2001, see plates 35-36 (similar images).
Photographer: Carlo Baravalle (1888-1958). Fishing in Harbor; Harbor. 1920s. 2 vintage gelatin silver prints, mounted to original boards. Each ca. 29,5 x 39,5 cm. Each signed by the photographer in pencil below the image on the mount; each with exhibition label (1929/1933) and annotated in pencil on mount verso.
Carlo Baravalle was an Italian lawyer, photographer, and civic figure based in Volpedo. Trained in law and active as a criminal defense attorney, he combined his professional career with wide-ranging interests, including photography and horticulture in the Curone and Grue valleys. A key figure in Italian pictorialist photography, he co-founded the Gruppo Piemontese per la Fotografia Artistica in 1921 with Stefano Bricarelli and Achille Bologna, and in 1924 helped relocate the journal Il corriere fotografico from Milan to Turin. He also served as mayor of Volpedo from 1914-1920, reflecting his strong engagement in local civic life.
Photographers: Will Cadby (1866-1937) and unknown. Child Study; Portrait of a Woman. Ca. 1910. 1 vintage gelatin silver print and 1 carbon print, both mounted to original paper/board. Each ca. 21 x 16 cm. 1 signed by the photographer in pencil in the lower left; 1 with an annotated label; each annotated “Matthies-Masuren Halle” in pencil on the mount verso.
Will Cadby began photographing in 1891 and quickly gained recognition, exhibiting from 1893 at venues such as the London Photographic Salon, the Photographic Society, and the Bristol International. He and his wife, Carine Cadby, both showed work at the 1894 London Salon and later collaborated on a series of children’s books illustrated with his photographs.
Platt Lynes, George
Reclining male Nude against wall in oval
Los 4256
Schätzung
1.200€ (US$ 1,364)
Reclining male nude against wall in oval. Circa 1949. Vintage gelatin silver print. 19 x 23,4 cm. Annotated in pencil on the verso. Framed under glass in silver frame.
George Platt Lynes is widely regarded as one of the leading photographers of the 20th century. While he achieved commercial success in fashion and portrait photography in New York, his artistic legacy is defined above all by his refined and often highly stylized studies of the male nude, produced from the 1930s until his death in 1955. Working in carefully staged studio settings, Lynes employed inventive lighting, precise posing, and controlled cropping to articulate both the physical form and the psychological presence of his subjects, resulting in images of striking formal elegance and intimacy.
Platt Lynes, George
The dancers Marie-Jeanne & Nicholas Magallanes; Orpheus ballet scene
Los 4257
Schätzung
1.200€ (US$ 1,364)
The Dancers Marie-Jeanne & Nicholas Magallanes; Orpheus, Ballet Scene. 1941; 1950. 2 gelatin silver prints, printed 2000/2005. 27,5 x 22,4 cm and 22 x 27,3 cm. Each with the photographer’s estate studio stamp, therein annotated in pencil and editioned “2/25” and “1/25” on the verso.
Eduardo Pos. No. 1. 1991. Toned gelatin silver print. 60,5 x 50,5 cm. Photographer's/copyright blindstamp in lower right corner, signed, titled, dated and numbered "1/10" by the photographer in pencil on the verso.
In 1972 Len Prince moved to New York City and began photographing professionally. His work, which was published in such magazines as Interview, Vanity Fair and InStyle, includes celebrity portraiture, fashion, nudes, still life and cityscapes. He often depicts his models in dynamic poses or employs expressive close-ups, giving his work an exceptional energy.
Berlin, Kreuzberg, Bergmannstrasse. 1983. Gelatin silver print, printed later. 25 x 37,5 cm (sheet 29 x 39,5 cm). Signed, titled and dated by the photographer in pencil and photographer's/copyright stamp on the verso.
For over four decades, Nelly Rau-Häring roamed the streets of Berlin with her camera. Born in Basel, she moved to the city in 1965 to study photography at the Lette Verein. Her work traversed both West and East Berlin, capturing everyday life through expressive portraits, shopfronts, and architectural panoramas. In addition to her street photography, she gained recognition for her press and advertising work, published in magazines such as Du and Die Horen. From 1992-1995, she taught at the Hochschule der Künste (Academy of the Arts) in Berlin.
Verwitterte Kreide. Ca. 1950. Vintage gelatin silver print on Agfa-Brovira paper. 16,5 x 22,4 cm. Photographer's "Renger-Patzsch, Wamel-Dorf über Soest I. W" studio stamp as well as titled in pencil on the verso.
Albert Renger-Patzsch was a central figure of New Objectivity photography in Germany, known for his precise, unsentimental approach in depicting the material world. His work focuses on plants, industrial structures, landscapes, and everyday objects, rendered with sharp detail and an emphasis on form, texture, and clarity.
Udo Lindenberg and Joseph Beuys, Bochum. 1982. Gelatin silver print, printed 2025. 30 x 45 cm (sheet 40 x 50,3 cm). Signed, copyrighted, dated, titled and editioned "14/24" by the photographer in pencil on the verso.
The photojournalist Karin Rocholl is well-known for her extensive portfolio of portraits featuring cultural figures. Her ability to establish a close rapport with her subjects often enables her to capture elusive and prominent individuals in a more authentic and unguarded moment. A significant portion of her work has been published in the pages of Stern magazine.
Literatur: Karin Rocholl. Prominente im Porträt: Der zweite Blick. Munich: Knesebeck, 2013.
Rössler, Jaroslav
Jaroslav Rössler. 10 Photographs 1923-1930, Portfolio 4
Los 4262
Schätzung
4.000€ (US$ 4,545)
Jaroslav Rössler. 10 Photographs 1923-1930, Portfolio 4. 10 gelatin silver prints, printed 1982 from the original negatives under the supervision of the photographer, mounted in photo corners in mats. Each ca. 24 x 23,4 cm (mounts 35,5 x 28 cm). Each signed by the photographer in pencil in the lower margin; each with portfolio stamp on the verso, therein numbered “23” (of 30). Presented in the original canvas clamshell box with text and colophon sheet. Rudolf Kicken Gallery, Cologne, 1982.
Jaroslav Rössler studied under the photographer Frantisek Drtikol in Prague from 1917-21, later working in his studio. In the late 1920s and early 1930s Rössler lived and worked in Paris, the period during which the images in the present portfolio were made.
The titles include: Cardboard Construction in Light and Shadows; Shapes in Light and Shadows; Enigmatic Relief in Cardboard; Still Life with Bowl; Light Well; Eifel Tower; Telephone Cables; January 25, Paris, 1927; Radio World and Glass Reflections.
Literatur: Josef Moucha, ed. Jaroslav Rössler: Abstract Photography 1923-1978. Chrudim: Galerie Art, 2005, ill. pp. 20, 23.
Nude with rock (double exposure). 1982. Gelatin silver print on Agfa paper. 31 x 46,5 cm (sheet 40,2 x 50,2 cm). Signed and editioned "4/15" by the photographer in ink on the verso.
Before photography became Ernestine Ruben’s main interest, completely different areas of art, especially dance and sculpture, shaped her life and work. Her photographic work shows clear traces of this. By means of reduction and minimalization, Ernestine Ruben finds her individual form of expression, which ranges from simple representation to total abstraction. Often only a second glance is able to unravel her composition of forms, her play with light and shadow of movement and counter-movement, of the human and the natural. Her work has been exhibited and collected extensively in Europe and Asia as well as the United States.
Choke. 1987. Gelatin silver print, mounted to overmat. 35,2 x 27,5 cm. Signed, editioned "3/15" by the photographer in ink and number in pencil on the verso.
Literatur: Jean-Luc Monterosso, Dirk Bennett, and Ann Morris. Ernestine Ruben: Photographien-Photographs-Photographies. Schaffhausen: Stemmle, 1989, ill. p. 17.
Che Guevara with cigar. 1963. Gelatin silver print, printed later. 37 x 47,2 cm (sheet 43,8 x 54 cm). Signed and dated by Roberto Salas in the lower margin; with “Salas, Cuba” and “Salas, Habana Cuba” copyright stamps embossed in the lower margin.
Solovki, White Sea, Russia. 1992. Pigment print on heavy vellum paper. 25 x 54,5 cm (sheet 48 x 77,5 cm). Signed, dated and annotated as artist proof by the photographer in pencil in lower margin. Framed under plexiglass in wooden frame.
The photographs of Pentti Sammallahti are imbued with the cool, subdued light of his native Finland. He began photographing at the age of eleven, influenced by his grandmother, a Swedish-born reportage photographer, and went on to develop a deeply personal visual language. His black-and-white images are marked by a quiet, almost timeless stillness, observing the coexistence of nature and human presence without imposing judgment or conflict; animals - especially dogs - recur as subtle protagonists within these landscapes. Blending documentary sensitivity with a poetic sensibility, Sammallahti’s work has influenced a generation of photographers and earned the admiration of Henri Cartier-Bresson, who included him among his one hundred favorite photographers for the inaugural exhibition of the Fondation Henri Cartier-Bresson in Paris.
Sammallahti, Pentti
Cilento, Italy (Dog and tire pile)
Los 4267
Schätzung
1.000€ (US$ 1,136)
Cilento, Italy (Dog and tire pile) 1999. Vintage gelatin silver print. 12,7 x 20,3 cm (sheet 19,1 x 27,5 cm). Signed and dated by the photographer in pencil in the margin lower right.
Düsseldorf/Rheinbrücke. 1982. Vintage gelatin silver print. 28 x 28 cm. Photographer's stamp, therein titled and dated in ink on the verso.
Rainer Maria Schopp captured life in Berlin, across Europe, and in the United States through often poetic and quietly observational images. He studied graphic design at the Hochschule der Künste Berlin from 1969-74, and from 1976 worked as a freelance photographer. In 1978, he joined the printing workshop of the Berufsverband Bildender Künstler (BBK) at the Künstlerhaus Bethanien; his promising career was cut short by his tragic death at the age of 47.
Literatur: Galerie Mönch Berlin, ed. Rainer Maria Schopp: Seitenblicke (exhibition catalogue). Berlin, 2020, ill. p. 5.
Berlin, Mahlsdorf, Pfingsten. 1991. Vintage gelatin silver print. 33,7 x 44,3 cm. Photographer's stamp, therein titled and dated in ink, number in pencil and gallery label on the verso.
Literatur: Galerie Mönch Berlin, ed. Rainer Maria Schopp: Seitenblicke (exhibition catalog). Berlin, 2020, ill. p. 4.
Aachen. 1975. Vintage gelatin silver print on Agfa paper. 21,5 x 31,5 cm (sheet 29,2 x 38,2 cm). Signed, titled and dated by the photographer as well as layout notes in pencil and photographer's stamp on the verso.
Born in Dortmund, Wilhelm Schürmann initially studied chemistry while practicing photography, to which he soon devoted himself professionally. From the 1970s, he held teaching positions and, in 1981, was appointed professor at RWTH Aachen University; between 1973-1977 he co-directed the Lichttropfen Gallery in Aachen with Rudolf Kicken. Working within the tradition of European and American street photography, his images incorporate elements of contemporary pop culture - everyday graphics, wallpaper, postcards, and fashion - as pictures within the picture. Often organized in open series, his work reflects an engaged view of society, foregrounding the coexistence of contradictions.
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Galerie Bassenge
Erdener Str. 5A
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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