Moses, Stefan
Günther Uecker, Studio Düsseldorf
Los 4220
Nachverkaufspreis
1.000€ (US$ 1,111)
Günther Uecker, Studio Düsseldorf. 1971. Gelatin silver print, printed later. 34 x 50 cm (44 x 58,5 cm). Signed by the photographer in blue crayon and photographer's stamp as well as annotated and dated in pencil by another hand on the verso.
A few small smudges in white margin, otherwise in near excellent condition.
Lit.: Ulrich Pohlmann/Matthias Harder (eds.). Stefan Moses. Die Monografie. Fotografien 1947 bis heute. Munich 2002, ill. p.159 (variant).
Full body silhouettes. 1984. 3 vintage gelatin silver prints on Agfa paper. Each between 21,8 x 20 cm and 34 x 16 cm (40 x 30 cm). Each signed in felt-tip pen and photographer's stamp on the verso.
Floris Neusüss is widely recognized for his pioneering role in cameraless photography, particularly through his innovative use of the photogram. Beginning in the 1960s, he explored the human figure at life-size scale, creating bold, immersive images that challenged conventional notions of photographic representation. His experimental approach often involved applying photographic chemicals by hand, sometimes with a sponge, introducing painterly textures and dynamic gestures to the process. – Some handling creases and fixer stains on the verso of one print, otherwise all in good to very good condition.
Test shot from the set of "The Seven Deadly Sins: Anger, Greed, Gluttony, Envy, Sloth, Lust and Pride" project, commissioned by the Italian magazine Amica. 1982. Vintage Polaroid print. 7,2 x 9,4 cm (8,5 x 11 cm).
In 1982, Helmut Newton was commissioned by the Italian fashion magazine Amica to create a photographic series interpreting the "Seven Deadly Sins: Anger, Greed, Gluttony, Envy, Sloth, Lust, and Pride". This project exemplified Newton’s signature style-combining eroticism, elegance, and psychological intensity. The shoot took place in Milan and featured elaborate, cinematic staging that merged fashion photography and art. A notable anecdote from the "Gluttony" shoot involves model Sylvia Gobbel, who posed with a kilo of caviar, highlighting Newton’s playful yet provocative approach. The resulting images, including vintage Polaroid test prints, are now considered rare artifacts of Newton’s creative process and have been featured in retrospectives such as the “Legacy” exhibition. – Some minimal surface scuff marks and small spots, otherwise in very good condition.
Ella Fitzgerald in Eden's Saloon. 1961. Gelatin silver print, printed later. 38,5 x 47,5 cm. Signed, titled and dated by the photographer in black ink below the image in margin.
This lively photograph by Uwe Rau captures jazz icon Ella Fitzgerald surrounded by fans at the Eden Saloon in Berlin, 1967. A famous venue in West Berlin’s vibrant jazz scene, the Eden Saloon drew American artists during a time when culture served as soft diplomacy in a politically divided city. Fitzgerald beams at the center of a tightly packed, adoring crowd, embodying both her magnetic presence and the deep enthusiasm for jazz in postwar Germany. – In excellent condition.
Reichmann, Vilém
Alles fließt, from the series 'Makroterie'
Los 4234
Nachverkaufspreis
350€ (US$ 389)
Alles fließt, from the series 'Makroterie'. 1976. Large-format gelatin silver print, printed 1989. 27 x 37,8 cm. Signed, titled and dated by the photographer in pencil on the verso.
The Czech photographer Vilem Reichmann was interested in how objects could change meaning, when taken out of context or photographing in such a way that the object becomes a surrealistic abstraction. – Some handling dents, corners slightly bumped, traces of previous mounting on the verso, otherwise in good condition.
Lit.: Zdenek Primus (ed.). Vilém Reichmann. Fotografien. Berlin 1990.
Agave. 1930s. Gelatin silver print on Agfa paper, likely vintage. 22,8 x 17 cm. Signed and titled by the artist in red ballpoint pen, with additional annotations in pencil and red felt-tip pen on the verso.
Albert Renger-Patzsch, a central figure in the early 20th-century New Objectivity movement, championed a photographic style rooted in clarity, precision, and formal rigor. His work reveals a deep appreciation for the structural beauty of both natural and industrial subjects, emphasizing their inherent design without romanticization. In his botanical studies, he brought the same disciplined attention to detail, highlighting the sculptural and expressive qualities of plants through a lens of objective observation. – Edges slightly rubbed, some light surface irregularities and handling creases, otherwise in good condition.
Lit.: Ann Wilde, Jürgen Wilde, and Rainer Stamm (eds.). Die Welt der Pflanze: Photographien von Albert Renger-Patzsch und aus dem Auriga-Verlag. Ostfildern-Ruit, 1998, ill. plate 1 and front cover.
Renger-Patzsch, Albert
Angler im Möhnedschungel
Los 4236 [*]
Nachverkaufspreis
1.000€ (US$ 1,111)
Angler im Möhnedschungel. Circa 1950. Vintage gelatin silver print on Agfa-Brovira paper. 16,6 x 22,6 cm. Photographer's "Renger-Patzsch, Wamel-Dorf über Soest I. W" studio stamp as well as title and annotations in pencil and crayon on the verso.
Corners slightly bumped, small surface irregularity, otherwise in very good condition.
Rockland, ME. 1937. Gelatin silver print, printed later. 20,5 x 30,5 cm (27,8 x 35,5 cm). Signed by the photographer in pencil lower right, below the image in the margin; titled and dated on the verso. Hinge-mounted to mat.
Arthur Rothstein was a deeply influential American photographer, whose work is characterized by visual precision, narrative strength, and a lasting social consciousness. Over a career spanning more than four decades, he created a vast and varied body of work, from iconic images of the Dust Bowl and rural America for the Farm Security Administration, to editorial and institutional photography later in life. Across these contexts, Rothstein maintained a keen eye for composition and a strong sense of empathy, capturing not only the hardships and resilience of his subjects, but also the quiet, often overlooked moments of everyday life that as a whole form a rich portrait of the 20th-century American experience. – In excellent condition.
Sheep in Montana. 1936. Vintage gelatin silver print mounted to mat. 27 x 34 ,8 cm (30,8 x 38 cm). Signed by the photographer in pencil in lower right corner below the image in the margin, titled and annotated in pencil on the verso.
In excellent condition.
Salas, Osvaldo
Con Hemingway (Fidel Castro with Ernest Hemingway)
Los 4244
Nachverkaufspreis
800€ (US$ 889)
Con Hemingway (Fidel Castro with Ernest Hemingway). 1960. Gelatin silver print, printed circa 1980. 30 x 39,5 cm. Signed, titled and dated by the photographer in ink in lower margin, mounted to board (traces of use).
A few foldmarks from mounting, otherwise in good condition.
Sander, August
Portrait of a couple, Westerwald
Los 4245
Nachverkaufspreis
1.800€ (US$ 2,000)
Portrait of a couple, Westerwald. Circa 1920. Vintage, toned matte gelatin silver print. 15 x 10,2 cm. Mounted to original board (a few minimal foxing spots), signed by the photographer in pencil below the image on the mount.
In this portrait August Sander captures a relaxed moment of a younger couple, their hands entwined and with a more open expression than often present in many of his other portraits. – A few nicks and slight mirroring in edges, otherwise in very good condition.
Provenance: Wortelkamp Collection
Sander, August
Männerverein (Men's club), Westerwald
Los 4246
Nachverkaufspreis
1.000€ (US$ 1,111)
Männerverein (Men's club), Westerwald. 1930-1940. Vintage gelatin silver print. 12,2 x 17,3 cm. With the photographer’s ink line border, circular blind stamp “August Sander Cöln-Lindenthal” in the lower left, and “Aug. Sander Cöln-Lindenthal Dürenerstr. 201” studio stamp on the verso.
A print of this image is in the collection of the J. Paul Getty Museum, Los Angeles. – Small hole in upper right, corners slightly bumped, a few small nicks in edges, several small retouched spots, otherwise in good condition.
Provenance: Wortelkamp Collection
Berlin-West. 1982. Vintage large-format gelatin silver print. 54 x 67 cm (83 x 93 cm). Signed, titled, numbered and dated by the photographer in pencil on the verso. Matted and framed in original artist's/museum frame produced for the Folkwang Museum, Essen; therein titled, numbered "2/6" and dated by the photographer in ink.
Michael Schmidt embarked on his lifelong photographic journey at the young age of 20, becoming renowned for his contributions to socio-documentary photography in Germany, characterized by a sober and reality-based style. In 1976, Schmidt established the "Werkstatt für Photographie" in Berlin-Kreuzberg. His notable "Berlin series" depicts the city in an empty, transitional state, establishing his position as a major figure in the "New Topographic Movement" of German photography, until his untimely death in 2014. – Light buckling, otherwise a fine tonal print in excellent condition.
Provenance: Directly from the artist to the current owner.
Lit.: Michael Schmidt. Fotografien seit 1965. Folkwang Essen 1995, ill. front cover and pp. 112-113.
Frankfurter Allee, Berlin. February 1991. Vintage gelatin silver print. 37 x 37 cm. Photographer's stamp, therein titled and dated in ink on the verso, mounted along upper edge to brown card.
In near excellent condition.
Lit.: Galerie Mönch Berlin (ed.). Rainer Maria Schopp: Seitenblicke. Exhibition catalog, Berlin 2020, ill. front cover.
Seidenstücker, Friedrich
Untitled (Elephant seal Roland)
Los 4254
Nachverkaufspreis
300€ (US$ 333)
Untitled (Elephant seal Roland). Circa 1938. Gelatin silver print on RC paper, printed later. 32,5 x 50,5 cm. Photographer's stamp on the verso.
Friedrich Seidenstücker studied mechanical engineering in Hagen from 1901-1903, continuing at the Königlich Technische Hochschule Charlottenburg in 1904, where he also pursued sculpture and photography. During World War I, he worked as an aircraft designer at Zeppelin-Bau AG in Potsdam. In 1918, he began studying sculpture under August Gaul at the Hochschule der Bildenden Künste, later working as a freelance sculptor and photographer in Berlin. He became known for his animal photography at the Berlin Zoological Garden, as well as street scenes and nude studies. In 1930, he joined Ullstein Verlag, with his work appearing in magazines such as die neue linie, Berliner Illustrirte Zeitung, Die Dame, Der Querschnitt and Die Woche. – Some creases and pressure marks, especially in edges and corners, otherwise in good condition.
Lit.: Berlinische Galerie, Landesmuseum für Moderne Kunst, Fotografie und Architektur (ed.). Friedrich Seidenstücker. Von Nilpferden und anderen Menschen. Fotografien 1925-1958. Ostfildern 2011, ill. p. 132.
Zebras at the Berlin Zoo. 1930s. 4 vintage gelatin silver prints. 30 x 23,8 cm and 18 x 13 cm. Each with photographer's stamp and annotated in pencil on the verso. Larger print mounted to board with photographer's stamp on mount verso.
Some surface pitting/scuff marks, larger print with some emulsion loss in edges/corners, otherwise in good condition.
Skrein, Christian
Joseph Beuys with his installation "Raumplastik 10 x 12 m", Galerie St. Stephan, Grünangergasse, Vienna
Los 4259
Nachverkaufspreis
1.500€ (US$ 1,667)
Joseph Beuys with his installation Raumplastik 10 x 12 m, Galerie St. Stephan, Grünangergasse, Vienna. 1968. Gelatin silver print, printed later. 49,5 x 48,7 cm. Signed and dated by the photographer in pencil on the verso, with number stamp, photographer’s copyright stamp, studio addresses in Vienna and Milan, and additional annotation in red ink.
This photograph captures Joseph Beuys with his 1968 installation Raumplastik 10 x 12 m at Galerie St. Stephan in Vienna - a pivotal work in his early exploration of space as sculptural material. In this piece, Beuys began to articulate his concept of “social sculpture,” using elemental materials like felt, fat, and wood to explore transformation and meaning beyond traditional aesthetics. – Stronger crease near lower edge, scuff mark in upper portion, a few light handling dents, corners slightly bumped, otherwise in good condition.
Lit.: Christian Skrein. 68 Künstler, Legenden, Fotografie. Vienna 2001, ill.p. 35.
Sailor and Girl on Subway. 1940. Gelatin silver print, printed later. 35,5 x 28 cm. Signed in black ink and editioned with embossed number below the image on the margin.
Lou Stoumen’s work is characterized by its raw, documentary-style approach to street photography, capturing fleeting moments with a keen sense of storytelling. His images often focus on urban life, blending spontaneity with strong compositional awareness. Whether depicting wartime sailors, bustling city streets, or quiet, introspective scenes, Stoumen’s work conveys a sense of immediacy and intimacy, reflecting his background as both a photojournalist and filmmaker. – In excellent condition.
Images from the "Tokyo" series. 1998. 4 chromogenic prints on Kodak Professional paper. Each circa 29 x 21 cm. Each signed, dated and editioned "28/50" by the photographer in ink on the verso.
Beat Streuli is a Swiss visual artist renowned for his street portraiture, capturing anonymous urban citizens across global cities such as Sydney, Tokyo, Athens and New York. Streuli's photographs focus systematically on ordinary street dwellers, and the contemporary ‘flaneurs’ going about their daily business. The heterogeneity of the crowd, as the central component of the cultural dynamism of modernity, and the position of the individual in the crowd, lie at the core of Streuli's practice. He works with a variety of presentation media, from large-format color photographs, and installations of slide and video projections, to billboards and large-scale window installations on the facades of public buildings. – Some light handling dents, otherwise in good condition.
St. Vitus Cathedral. 1924-1928. Gelatin silver print, printed 1950s. 18,4 x 17,2 cm. Hinge-mounted in upper corners to grey-blue card, annotated in pencil on the verso.
Celebrated for his lyrical and atmospheric imagery, the Czech photographer Josef Sudek often captured Prague’s architecture, landscapes, and interiors with a deep sense of quiet and reflection. His photographs of landmarks like St. Vitus Cathedral exemplify his ability to transform monumental subjects into intimate, meditative compositions through masterful use of light and shadow. Combining romanticism with modernist sensitivity, Sudek’s work reveals a poetic vision grounded in place, memory, and mood. – A few light handling dents/bumps, otherwise a fine tonal print in very good condition.
Father's Cab. 1965. Vintage large-format matte gelatin silver print. 60 x 50 cm. Titled and dated in pencil on the verso.
Antanas Sutkus was a founding member of the "Association of Lithuanian Photographers" in 1960. He joined the "International Federation of Photographic Art" under UNESCO in 1976. His poetic black-and-white images often reflect a deep connection to the Lithuanian village of his youth, capturing a sense of nostalgia and a way of life now largely vanished. – Crease in lower right area and corner, some indentation marks in upper left, minimal edge wear, traces of previous mounting with some paper loss on verso.
Kommunisten in Rom. 1967. Vintage matte gelatin silver print on Agfa paper. 36,5 x 29,5 cm. Signed, titled, dated and editioned "4/20" by the photographer in pencil on the verso.
Spot in lower edge of image and in margin, a few handling creases in lower margin, otherwise a rich tonal print in very good condition.
Thomann, Peter
Bryor Mountain Wild Horse Ranch, Montana, USA
Los 4273
Nachverkaufspreis
600€ (US$ 667)
Bryor Mountain Wild Horse Ranch, Montana, USA (Hommage an Eadweard Muybridge). 2002. Gelatin silver print, printed 2008. 42 x 60 cm. Signed by the photographer in ink in lower right corner in margin; photographer's/copyright stamp, therein signed, titled, editioned "2/6" and dated by the photographer in pencil as well as annotated and additional stamp on the verso.
Peter Thomann studied photography under Dr. Otto Steinert at the Folkwang School in Essen, where he developed a strong foundation in visual composition and documentary style. In 1968, he joined Stern magazine under contract, contributing a wide range of reportage. He is particularly renowned for his dynamic and expressive photographs of horses, which have become iconic within his broader journalistic work. – In excellent condition.
Andy Warhol. 1978. Polaroid in wooden frame. 10,8 x 8,8 cm (27,5 x 25,5 cm). Signed on recto below the image, titled dated and copyrighted in black ink on the verso of the frame.
In the late 1970s and early 1980s, Michel Waxmann captured the gritty realities of American life - from Bronx street gangs to desolate California motels - while also documenting intimate moments within New York’s vibrant art scene, including rare encounters with cultural icons such as Andy Warhol, who was at the height of his influence at the time.
– Some scuff marks, two small stains, otherwise in near excellent condition.
Andy Warhol. 1978. Polaroid in wooden frame. 10,8 x 8,8 cm (27,5 x 25,5 cm). Signed on recto below the image, titled dated and copyrighted in black ink on the verso of the frame.
This photograph shows Andy Warhol in front of two of his Shadow Paintings, which were first exhibited at the Heiner Friedrich Gallery in New York in 1979. – Some scuff marks and small stains, otherwise in near excellent condition.
Sleeper in a Bar. 1939. Gelatin silver print, printed later. 35,4 x 27,8 cm. Photographer's "Weegee, 451 W 47 Street, New York, N.Y. 10036" stamp and copyright stamp on the verso.
Weegee, born Arthur Fellig, was a pioneering photojournalist known for his stark, unflinching images of crime scenes, urban life, and street culture in 1930s and 1940s New York City. Often arriving at scenes before the police, thanks to his self-installed police radio, he captured raw, flash-lit photographs that combined documentary immediacy with a gritty, noir aesthetic. His work not only defined an era of tabloid photography but also offered a visceral portrait of the city’s underbelly, blending sensationalism with a distinct visual style. – Corners bumped, some scuff marks and handling creases, otherwise in good condition.
Louis Armstrong. ca. 1955. Vintage gelatin silver print. 20,8 x 25,5 cm. With the photographer's copyright stamp on the verso; annotated by another hand in pencil.
Weegee’s bold, unfiltered style extended beyond documentary work to celebrity portraits, where he used the same dramatic lighting and direct approach to emphasize personality and presence. In this portrait of Louis Armstrong, Weegee applied this signature technique to highlight the musician’s expressive energy. – Some scuff marks and handling creases, otherwise in good condition.
Joseph Beuys performing in Nuremberg. 1968. Vintage ferrotyped gelatin silver print on Leonar paper. 24 x 18 cm. Photographer's monogram blind stamp in lower left corner; signed, titled and dated in ink by the photographer and 3 photographer's/copyright stamps (2 glued over with photographer's later address label) on the verso.
Slight traces of use, irregularities to ferrotype surface, traces of previous mounting on the verso, otherwise in good condition.
Wenders, Wim
Near Gordon Downs, South Australia
Los 4284
Nachverkaufspreis
1.200€ (US$ 1,333)
Near Gordon Downs, South Australia. 1988. Cibachrome print. 19,8 x 59 cm (36 x 61 cm). Signed, dated and dedicated by the photographer in marker below the image in margin.
Some light surface scratches, only visible in raking light, minimal fading in lower margin, otherwise in very good condition with bright colors.
Provenance: Private collection, gift of the photographer.
Lit.: Wim Wenders: Photos, Heidelberg 1995, ill. unpaginated.
Wendlandt, Kurt
Gestänge (Lichtgraphik und Doppelbelichtung)
Los 4285
Nachverkaufspreis
1.200€ (US$ 1,333)
Gestänge (Lichtgraphik, Doppelbelichtung). 1959. Unique vintage large-format gelatin silver print. 58,5 x 38 cm. Signed, titled and numbered "2/8 variabel" by the photographer in ink in lower edge, mounted to board (71 x 54 cm), dated in pencil on mount verso.
Kurt Wendlandt was a multifaceted artist - active in painting, printmaking, photography, writing and illustration - who emerged as a highly creative figure in postwar West Germany. After studying at the State Academy of the Arts from 1937 to 1943, his practice was briefly interrupted by a war injury, but he resumed his artistic work after World War II. In 1958, he began experimenting with transparent materials, leading to his first Lichtgraphiken. His close friendship with Heinz Hajek-Halke placed both artists at the forefront of Berlin’s avant-garde Lichtgraphik movement in the 1960s. Though his work remained largely outside the commercial art world, Wendlandt’s light graphics and other creations are now held in numerous public and private collections. – A few small nicks in edges and small paper loss in upper left corner, a few light handling dents, slight mark from glue on verso in upper right corner, otherwise in very good condition.
Provenance: The estate of Kurt Wendlandt
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Galerie Bassenge
Erdener Str. 5A
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Öffnungszeiten:
Montag bis Donnerstag, 10–18 Uhr,
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Telefon: +49 30 8938029-0
Fax: +49 30 8918025
E-Mail: info (at) bassenge.com
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© 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