Mongolian horse breeders. 1960s. Vintage large-format gelatin silver print. 48,9 x 38,8 cm. Photographer's/agency stamp and annotated in crayon/ballpoint pen on the verso.
Stronger horizontal crease in upper portion, a few light handling dents, corners bumped, a few nicks in edges and a few retouched spots, otherwise in good condition.
Kraftwerk Jänschwalde. 1990. Large-format gelatin silver print, printed later. 33 x 49,5 cm (45,2 x 59,4 cm). Photographer's stamp as well as signed, titled and dated by the photographer in pencil on the verso.
The German photographer Thomas Kläber studied at the Hochschule für Grafik und Buchkunst Leipzig (HGB). His first larger body of work was titled "Landleben", and is a series he continued over the years. He depicted country life in the GDR in authentic and often moving portraits as well as landscapes and architecture of more remote areas. – Some handling creases, especially in lower portion, corners slightly bumped, otherwise in good condition.
Untitled (from the series "Presa di Coscienza della Natura"). 1970s. Vintage gelatin silver print. 21,7 x 31,9 cm. Annotated in pencil, "Mario Giacomelli via Mastai 24 Senigallia" copyright stamp on the verso.
Mario Giacomelli’s "Presa di Coscienza della Natura" (1976-1980) is a striking departure from his earlier human-focused work, embracing abstract aerial landscapes to explore the dynamic relationship between nature and artistic expression. Through high-contrast black-and-white photography, he transforms plowed fields and furrowed earth into gestural, painterly compositions, emphasizing movement, rhythm, and the impermanence of human intervention. By intensifying contrasts in post-production, Giacomelli blurs the line between photography and painting, evoking themes of time, transformation, and the cyclical nature of existence. This series stands as one of his most experimental and poetic, reinforcing his mastery of abstract landscape photography. – Some minor edge wear and light handling creases, otherwise in near excellent condition.
Untitled (from the series "Presa di Coscienza della Natura"). 1970s. Vintage gelatin silver print. 17,2 x 30,6 cm. Annotated in pencil, "Mario Giacomelli Via F.lli Bandiera 25 Senigallia" copyright stamp on the verso.
Corners slightly bumped, some light handling creases and signs of silver mirroring, otherwise in near excellent condition.
Untitled (from the series "Presa di Coscienza della Natura"). 1970s. Vintage gelatin silver print. 16,5 x 32 cm. Annotated in pencil, "Mario Giacomelli via Mastai 24 Senigallia" copyright stamp on the verso.
Corners slightly bumped, some minor edge wear and light handling creases, otherwise in near excellent condition.
Bruce in his car, NYC. 1981. Cibachrome print, printed 1990s. 50,8 x 61 cm. Signed by the photographer in felt-tip pen on the verso.
The American photographer Nan Goldin is renowned 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 early 1980s. 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 very light scuff marks and minimal surface irregularities, otherwise in near excellent condition.
Goldin, Nan
Michael Raberg and Geno in the Paris Bar, X-Mas
Los 4156
Nachverkaufspreis
1.800€ (US$ 2,000)
Michael Raberg and Geno in the Paris Bar, X-Mas. 1991. Cibachrome print, printed 1990s. 43,5 x 66 cm. Signed, titled and dated by the photographer in felt-tip pen on the verso.
This image was included in the most recent iteration of Nan Goldin’s slideshow The Ballad of Sexual Dependency, presented as part of her retrospective This Will Not End Well at the Neue Nationalgalerie. – Some very light scuff marks, small handling dents in left and right margins, otherwise in very good condition.
Photographer: Walter Remy. Nan by Walter Remy. 1992. Chromogenic print. 26,5 x 39,4 cm. Signed, titled and dated by Nan Goldin in felt-tip pen on the verso.
Some very light scuff marks, otherwise in excellent condition.
Christa im Saga Nerz, Hamburg. 1970. Large-format gelatin silver print, printed later. 104 x 124 cm (114,5 x 134,5 cm). Signed, titled and dated on the verso. Framed under acrylic glass in large wooden frame.
Not examined outside the frame. Fastened to the support with nails in all four corners; slightly buckled due to the weight, otherwise in very good condition.
Lit.: Klaus Honnef (ed.). F.C. Gundlach. Modewelten, Photographien 1950 bis heute. Berlin 1985, ill. p. 203 (variant).
Marilyn Monroe (Life cover sitting). 1952. Gelatin silver print, printed later. 35,2 x 27,8 cm (50,7 x 40,4 cm). Photographer's copyright stamp on the verso. Hinge-mounted to mat.
A few small retouched spots, otherwise in very good condition.
Lit.: Jane Halsman Bello/Steve Bello (eds.). Philippe Halsman: Eine Retrospektive. Zurich 1998, unpaginated.
Anti-Reagan Demo, Berlin. June 11, 1982. Gelatin silver print, printed later. 25 x 35,5 cm (30,5 x 40,3 cm). Photographer's/copyright stamp as well as signed, titled and dated by the photographer in pencil on the verso.
In excellent condition.
Henle, Fritz
Stadio dei Marmi, Foro Mussolini, Rome
Los 4172
Nachverkaufspreis
300€ (US$ 333)
Stadio dei Marmi, Foro Mussolini, Rome. 1930s. Vintage gelatin silver print on Agfa-Brovira paper. 18,3 x 16,5 cm. Photographer's stamp, several agency stamps and annotated in pencil and blue crayon on the verso.
The sports complex Foro Italico, formerly Foro Mussolini, was built between 1928-1938 under the design of Enrico Del Debbio and, later, Luigi Moretti. Inspired by the Roman forums of the imperial age, its design is a preeminent example of Italian Fascist architecture instituted by Mussolini. The purpose of the prestigious project was to host the Olympic Games of 1944, to be organized by fascist Italy and held in Rome. – Corners bumped, a few small retouched spots, otherwise in good condition.
Holdt, Hanns
The dancer Sent M'Ahesa (Elsa von Carlberg)
Los 4175
Nachverkaufspreis
600€ (US$ 667)
The dancer Sent M'Ahesa (Elsa von Carlberg, 1883-1970), Munich. 1913/14. Matte gelatin silver print, printed circa 1928. 29,8 x 23,8 cm. Annotated in pencil on the verso.
Born in Riga, Elsa von Carlberg moved to Berlin in 1905 to complete her high school education and to enroll in dance lessons. She then studied philosophy and history in Munich and became interested in Egyptology. In 1909, she made her stage debut at the Munich Künstlerhaus with Egyptian dances such as "Lotus Flower" and "Dance of the Moon Goddess", giving herself the exotic stage name Sent M'Ahesa. With her eccentric costumes and geometrically composed movements, her dances did not correspond to the usual graceful ideal of beauty, but she was nevertheless very successful until the 1920s. She ended her dance career in 1932 and moved from Munich to Sweden, working there as a translator and author. – Some toning in side and upper edges, corners slightly bumped, minimal mirroring in lower edge, some stains on verso in upper edge, otherwise in very good condition.
Lit.: Fritz Winther. Körperbildung als Kunst und Pflicht. Munich 1914, illustrated.
Gloria Vanderbilt, NY. 1941. Platinum palladium print, printed later. 47 x 38,5 cm (61 x 51 cm). Signed by the photographer and copyright stamp as well as annotated by another hand. AP of an edition of 25 (only 10 printed).
Horst P. Horst’s photography is renowned for its sophisticated elegance and careful attention to detail, particularly in his portraits of Hollywood icons, fashion models, and cultural figures. His masterful use of dramatic lighting and sculptural composition, influenced by classical art, imparts a timeless quality to his work. Horst’s innovative approach has left a lasting impact on fashion photography, blending elements of surrealism and classicism to create images of enduring allure. – Light discoloration in margins, otherwise in excellent condition.
Industrial Photography / Blohm & Voss
Blohm & Voss shipyard docks
Los 4180
Nachverkaufspreis
600€ (US$ 667)
Blohm & Voss shipyard docks. 1881-1909. 13 collodion prints mounted to album pages, Each 23,5 x 31,5 cm (34 x 42 cm). Each with "Blohm & Voss Kommanditengesellschaft auf Aktien" stamp along with date in negative in lower margin. Presented in large-format, oblong folio, textured, khaki-brown cloth with decorative silver and gilt stamping to the front cover, featuring the title “Blohm & Voss Hamburg 1881-1909.”
This album presents a visual chronicle of Blohm & Voss’ shipbuilding operations between 1881-1909. It includes panoramic views of the Hamburg docks, construction scenes of both naval and civilian ships, and detailed documentation of dry dock engineering. Together, the photographs reflect the firm’s technological ambition and its central role in Imperial Germany’s maritime industry. – Some fading and signs of silver mirroring along edges of some prints, otherwise all in good condition.
Kesting, Edmund
Dancer with projected profile of Gret Palucca
Los 4186
Nachverkaufspreis
400€ (US$ 444)
Dancer with projected profile of Gret Palucca. 1940s. Vintage warm-toned gelatin silver print on heavy chamois paper. 30 x 24 cm. Signed by Gerda Kesting in ballpoint pen on the verso.
Edmund Kesting studied art in Dresden and developed a growing interest in photography after 1925. He became particularly drawn to experimental techniques, including double exposures, photograms, and negative montages, which became central to his innovative visual style. – In very good condition.
Provenance: Estate of the Bauhaus artist Peter Keler
Bei Duisburg. 1949. Vintage ferrotyped gelatin silver print on Leonar paper. 23 x 29,5 cm. Photographer's/copyright stamp, "Hannes Kilian Archiv" stamp, negative number in pencil and dated by Gundel Kilian in pencil on the verso.
After attending trade school, Hannes Kilian completed a three-year photography program in Switzerland. Between 1933 and 1938, he lived in Naples and Paris before returning to Germany, where he began working as a freelance photojournalist. Drafted as a war photographer in 1941, he resumed his freelance career after 1945, contributing to publications such as Time, Picture Post, Die Zeit, Stuttgarter Illustrierte, Der Spiegel, Stern and Vogue. – A few handling dents, slight buckling in lower edge, a few surface scratches, otherwise in good condition.
Securitas from the "Prosecuritas" series. 1986. Ferrotyped gelatin silver print on Agfa paper, printed 1988. 52 x 61 cm. Signed and dated by the photographer in ink on the verso. From an edition by Griffelkunst.
The photography and media artist Jürgen Klauke is known for his critical and confrontational view of normed social behavioral patterns. In works ranging from highly minimalistic to strongly excessive, and also at times surrealistic scenes, his photographs reflect on the basic conditions of paranoid existence. – Several handling creases, a few stronger, especially in left area, a few retouched spots, otherwise in good condition.
Lit.: Hans-Michael Herzog. Jürgen Klauke: Prosecuritas. Ostfildern 1994.
Georgian tourist, Moscow. 1959. Gelatin silver print. 37.2 × 24.8 cm. Signed and titled by the photographer in blue felt-tip pen on the verso; numbered “33” in red crayon, with additional annotations in pencil by another hand on the verso.
William Klein’s work in Moscow, produced during a visit in 1959 and later published in his photobook Moscow (1964), offers a bold, idiosyncratic portrait of Soviet life at the height of the Cold War. With his trademark wide angles, dynamic compositions, and preference for spontaneous, often chaotic street scenes, Klein captured parades, public gatherings, and daily routines - rendering a vision that felt both grand and intimate. Unlike traditional propaganda imagery, his photographs convey a sense of irony, humanity, and curiosity, presenting Moscow not as an ideological symbol but as a living, complex city. – Corners slightly bumped, with some handling creases and traces of a removed label on the verso; otherwise in good condition.
Provenance: Robert Lebeck collection
Lit.: William Klein. Moscow (Mockba). Paris, 1964.
Métal. After photographs by Germaine Krull. 35 x 25,5 cm. Original illustrated half cloth portfolio in linen slipcase. 30 x 23,6 cm. 64 black and white photographs on plates. Text in German, English and French. Ann and Jürgen Wilde, Cologne and Zuelpich, 2002/2003.
Martin Parr/Gerry Badger, The Photobook, vol 1, page 95. Special edition with original photo by Germaine Krull. Limited to 50 copies; here no "10/50". Photo (Shell, 1929/printed 1978, 16 x 21,3 cm) originally signed and stamped by Krull. Brilliant reprint of the legendary photobook Métal, published by Librairie de Arts Decorativs, Paris in 1928. – In excellent condition. Photo with retouched spot in upper left corner and lower left.
Two Tunisian girls. After 1904. Vintage brown-toned matte gelatin silver print. 29,7 x 38,8 cm (38 x 47,5 cm). Photographer's logo in the negative in lower right corner. In ornamental wooden frame.
Lehnert & Landrock were a photographic duo known for their studio and landscape work in North Africa during the early 20th century, particularly in Tunisia and Egypt. Their images, ranging from posed portraits and genre scenes to architectural studies and desert landscapes, catered to a European audience fascinated by Orientalist themes. While often celebrated for their technical refinement and atmospheric composition, their work also reflects the colonial gaze, staging local people and settings in ways that aligned with Western ideals of exoticism, beauty, and cultural otherness. – Some light smudge marks. otherwise in near excellent condition.
Italy. Late 1950s. Vintage ferrotyped gelatin silver print on Agfa-Brovira doubleweight paper. 23,8 x 30,2 cm. Photographer's/copyright stamp on the verso.
The German photographer Herbert List was a major figure in 20th-century photography, known for his refined visual language that combined classical aesthetics with the modernist sensibilities of his time. Deeply influenced by his background in art history and his exposure to Surrealism and the Bauhaus movement, List created images that often imbued everyday subjects with a dreamlike or metaphysical quality. His work spans still lifes, architectural studies, and portraits - many of which reflect a quiet, contemplative mood, displaying a fascination with form, light and shadow. – Edges slightly curled, corners minimally bumped, a few small indentations, otherwise in very good condition.
List, Herbert
School children, Martinique, Fonds Lahaye
Los 4197
Nachverkaufspreis
1.800€ (US$ 2,000)
School children, Martinique, Fonds Lahaye. 1957. Vintage gelatin silver print on Agfa-Brovira doubleweight paper. 18,7 x 29 cm. Estate stamp, therein negative number in pencil as well as layout notes in pencil on the verso.
Herbert List's extensive travels as a photographer allowed him to capture the spirit of diverse cultures, transforming everyday scenes into timeless visual narratives. He published several books with images from these trips such as Caribia which depict people of the Caribbean Islands. This image is from that series. – Some creases in lower right edge/corner, otherwise in very good condition.
Lit.: Herbert List. Caribia. Ein photographisches Skizzenbuch von den Caribischen Inseln. Hamburg 1958, ill. p. 71.
Pablo Picasso, Paris. 1948. Gelatin silver print, printed 1981. 23,3 x 34,5 cm (30,3 x 40,5 cm). Photographer's estate stamp, therein editioned "5/15" and signed by Max Scheler in ink on the verso.
Some signs of retouching, light buckling in edges, otherwise a strong print in near excellent condition.
Lit.: Max Scheler/Matthias Harder (eds.). Herbert List. The Monograph. Munich 2000, ill. p. 205 (image from the same sitting).
Wild horses, Kenya. 1964. Gelatin silver print, printed later. 19,7 x 29,5 cm (30,3 x 40,3 cm). Photographer's blind stamp in lower margin; signed and titled by the photographer in pencil, as well as photographer's/copyright stamp and reproduction limitation stamp on the verso.
From 1963-1967, Ulrich Mack worked as a photojournalist for Quick magazine in Munich and contributed to twen under the direction of art director Willy Fleckhaus. During this period, he photographed prominent writers, politicians, artists, and musicians. His international breakthrough came in 1964, with a photo essay on wild horses in Kenya. It was published in twen under the title Mondo Cavallo and earned him first prize in the “Most Artistic Press Photo” category at the World Press Photo Awards. In 1967, Mack joined Stern in Hamburg, and from 1973 onward, he worked as a freelance photographer, producing films for NDR and creating advertising campaigns. – Corners slightly bumped, a few light dents in margins, otherwise a fine tonal print in very good condition.
Neue Messe, Leipzig. 2002. Cibachrome print. 48,5 x 60 cm (60,5 x 70,5 cm). Signed, titled and dated by the photographer in felt-tip pen on the verso.
Olaf Martens is a distinguished German photographer renowned for his provocative imagery that juxtaposes the glamorous aesthetics of lifestyle magazines with elements of irony and the bizarre. He studied photography at the Academy of Visual Arts (HGB) in Leipzig from 1985-1992, under Wolfgang G. Schröter and Helfried Strauß. His work has been featured in international publications and exhibitions, and is included in collections, such as the Goetz Collection and the F.C. Gundlach Collection. – In excellent condition.
ND-Gebäude, Berlin. 2002. Cibachrome print. 40 x 58,2 cm (60,3 x 70,4 cm). Signed, titled and dated by the photographer in felt-tip pen on the verso.
In excellent condition.
Osterputz. 1939. Gelatin silver print, printed 1960s. 24 x 18 cm. Agency labels and annotated in pencil on the verso.
Crease in upper left corner, a few small indentation spots, otherwise in good condition.
McBride, Will
Mike und Andere schmießen Wasser beim Waschen Schule Schloß Salem
Los 4209
Nachverkaufspreis
2.000€ (US$ 2,222)
Mike und Andere schmeißen Wasser beim Waschen, Schule Schloß Salem. 1963. Gelatin silver print, printed 1990. 53,5 x 36 cm (60,5 x 50 cm). Signed, titled and dated by the photographer in pencil on the verso.
Buckled in upper area, otherwise in very good condition.
Lit.: Will McBride. I, Will McBride. Cologne 1997, ill. p. 203 (image from the same series).
Arbeiter, Ost-Berlin. 1956. Gelatin silver print, printed later. 32,4 x 48,5 cm (40,5 x 50,5 cm). Signed, titled and dated by the photographer in pencil on the verso.
A few light handling dents, more in lower area, otherwise in very good 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
Datenschutzerklärung
© 2024 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
© 2022 Galerie Gerda Bassenge