Fotografie des 19. – 21. Jahrhunderts (Katalog nur online verfügbar)

Feher, Emeric
Baigneurs
Los 4126

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500€ (US$ 568)

Details

Baigneurs. 1935. Gelatin silver print, printed later. 20,2 x 21,5 cm. Photographer's stamp on the verso.

Emeric Fehér was an Austro-Hungarian-born photographer, who became a Yugoslav citizen in 1919 and obtained French nationality in 1939. Best known for his use of the square 6 x 6 cm format, Fehér produced a distinctive body of modernist work, marked by clarity and compositional balance. From 1933-1939, he was associated with the Paris-based Alliance Photo agency founded by Maria Eisner. His photographs are held in major collections, including the Centre Pompidou, and have been featured in numerous exhibitions. – Slightly buckled in edges, light handling dent in lower left, otherwise in very good condition.

Exhibition: "Bauhaus Photographie", Arles 7.7.-30.9.1983

Fiedler, Franz
Narre Tod, Mein Spielgesell
Los 4127

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3.500€ (US$ 3,977)

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Portfolio series: “Narre Tod, Mein Spielgesell”. Circa 1922. 10 vintage gelatin silver prints. Various sizes, between 21 x 14 cm, 15,5 x 15 cm and 14,5 x 20,2 cm. Each mounted to colored card, with printed title page. Presented in original half-linen portfolio with gilt-stamped title label "Narre Tod, Mein Spielgesell" on front cover.

Franz Fiedler’s portfolio series “Narre Tod, Mein Spielgesell”, published circa 1922, presents a striking sequence of images depicting a nude female figure interacting with a skeleton - an allegorical meditation on the interplay between life and death. Prints from this series were produced in varying quality and are often encountered with notable fading and a soft, brownish hue. The present set, however, stands out for its exceptional tonal richness and clarity, offering a far more refined visual impression than typically seen. – Title page with slight foxing and toning. Portfolio edges rubbed, with some fading and soiling. Some photos with oxidation mirrroring in edges, a few with slight buckling, otherwise in very good to near excellent condition.

Fietz, Helga
The artist Max Beckmann (1884-1950) in his studio, Amsterdam
Los 4128

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5.500€ (US$ 6,250)

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The artist Max Beckmann (1884-1950) in his studio, Amsterdam. 1938. Vintage gelatin silver print on Gravura paper. 7,3 x 10,8 cm. Mounted along upper edge to original cream-colored card, photographer's stamp on mount 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. – Minimal spots on card; otherwise a strong print in excellent condition.

Lit.: Carla Schulz-Hoffmann, Judith C. Weiss, eds. Max Beckmann: Retrospektive. Munich: Städtische Galerie im Lenbachhaus, 1984.

Film Photography
Stills from the German silent film Herzog Ferrentes Ende, directed by Paul Wegener
Los 4129

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875€ (US$ 994)

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Photographer: Mac Walten (Max Gruenthal, 1872-1936). Stills from the German silent film Herzog Ferrantes Ende, directed by Paul Wegener and Rochus Gliese. 1922. 25 vintage matte gelatin silver prints. Each circa 26,5 x 21 cm and reverse. All but one mounted to board, each signed by the photographer in pencil below the image on the mount.

This striking group of film stills from the early German silent film Herzog Ferrantes Ende exemplifies the aesthetics of German Expressionist cinema in the early 1920s. Although set in the Middle Ages, the film’s art direction by Walter Reimann - renowned for his work on The Cabinet of Dr. Caligari - embraces a distinctly modern, expressionist visual style. Paul Wegener stars in the title role of Duke Ferrantes and co-directed the film alongside Rochus Gliese. – Mounts slightly dusty and with traces of previous mounting on verso, some photos with silver mirroring in edges, otherwise most are strong, tonal prints in very good condition.

Provenance: The estate of Austrian artist and puppeteer Richard Teschner (1879-1948).

Film Photography
The actor Sabu in his role as Prince Azim in the film The Drum
Los 4130

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500€ (US$ 568)

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Photographer unknown. The actor Sabu in his role as Prince Azim in the film The Drum. 1938. Vintage ferrotyped gelatin silver print. 25,3 x 20 cm. Number in the negative in lower left; archive stamps and annotated in pencil on the verso.

Sabu Dastagir, born Selar Sabu in 1924 in India, rose to international fame under the mononym Sabu, becoming one of the first South Asian actors to achieve stardom in Western cinema. Discovered at age 13 by documentary filmmaker Robert Flaherty, he made his screen debut as an elephant driver in the British film Elephant Boy (1937). His natural charisma and screen presence quickly led to leading roles, including The Drum (1938), produced by Alexander Korda, and most memorably as Abu in the Technicolor fantasy classic The Thief of Bagdad (1940). Frequently cast in exoticized roles, Sabu captivated audiences in both Britain and the United States with his grace, beauty, and quiet strength, becoming a defining screen presence of the 1930s and 1940s. – A few light handling dents, corners slightly bumped, remnants of previous mounting on the verso, otherwise in very good condition.

Fischer, Arno
Ostberlin, Friedrichstr. Ecke Unter den Linden
Los 4131

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875€ (US$ 994)

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Ostberlin, Friedrichstr. Ecke Unter den Linden. 1959. Gelatin silver print on doubleweight paper, printed 1980s. 27.5 x 42 cm (33.7 x 46.5 cm). Signed, dated, and annotated by the photographer in pencil, with photographer’s stamp and collection stamp on the verso.

Arno Fischer’s documentary-style photographs of East and West Berlin offer a poignant and enduring portrait of life in a divided city. Capturing everyday moments with empathy and precision, his images reflect both the hardships and quiet resilience of its inhabitants. They stand both as compelling historical documents and refined works of photographic art. – Some handling creases, corners bumped, a few small retouched spots, otherwise in good condition.

Frank, Robert
Film stills from Energy and How to Get It
Los 4134 [*]

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10.625€ (US$ 12,074)

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Film stills from Energy and How to Get It. 1981. 2 gelatin silver prints. 35,5 x 27,8 cm. Signed and titled in blue ink; cropping marks in blue crayon on the recto; inventory number in pencil on the verso.

These two prints are film stills from Robert Frank’s satirical pseudo-documentary Energy and How to Get It (1981), made in collaboration with Rudy Wurlitzer and narrated by William S. Burroughs. The film blends fiction, absurdist humor, and social commentary, following a fictional inventor’s efforts to promote a mysterious new energy source. Characterized by Frank’s raw, high-contrast visual style, the images reflect the film’s disorienting mix of industrial landscapes, mysticism, and critique of American ambition and technological hubris. – Corners bumped, some creases and small tears along edges of prints; otherwise strong prints in very good condition.

Friedlander, Lee & Jim Dine
Photographs and Etchings
Los 4139

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3.750€ (US$ 4,261)

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Photographs and Etchings. 1969. 17 gelatin silver prints by Lee Friedlander and 16 etchings by Jim Dine. Each between 12 x 18 and 18 x 26 cm or reverse (46 x 76 cm). Housed in original black faux-leather clamshell box with embossed title (entire size 49 x 80 x 3 cm). Published by Petersburg Press, London, in an edition of 75 plus 15 artist’s proofs.

In this unusual pairing of mediums and sensibilities, Photographs and Etchings brings together Lee Friedlander’s sharply observed street photography with Jim Dine’s gestural, psychologically charged etchings. Rather than illustrating or responding to each other, the works inhabit parallel registers - Friedlander’s formal precision counterbalanced by Dine’s raw mark-making - offering a dual meditation on surface, structure, and subjectivity in the American visual landscape of the late 1960s. The portfolio reads less as collaboration than as a deliberate juxtaposition, allowing two distinctive artistic voices to echo, interrupt, and refract across the page. – Some edge wear and small tear on top right corner of clamshell box. Some light chemical staining from the printing process, along with smudge marks and a small tear to one folio; otherwise all in very good condition.

Gäbler, Gerhard
Berliner Mauer, 11. 11.1989
Los 4141

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1.250€ (US$ 1,420)

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Berliner Mauer, 11.11.1989. 1989. Vintage gelatin silver print. 28,5 x 41 cm (39,8 x 49,8 cm). Signed, titled, and dated in pencil below the image on recto; signed, titled, dated, and editioned in pencil, with photographer’s copyright stamp on the verso.

Taken just two days after the fall of the Berlin Wall, this photograph captures the charged atmosphere of hope and uncertainty as East German border guards stand watch above crowds of jubilant Berliners gathered at the Brandenburg Gate - transforming a former symbol of division into a stage for reunification. – Some buckling and a few small tears along the margins of the print; a few pressure marks and surface irregularities; otherwise in very good condition.

Giacomelli, Mario
Untitled, from the series ”Io non ho mani che mi accarezzino il volto”
Los 4144

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1.000€ (US$ 1,136)

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Untitled, from the series ”Io non ho mani che mi accarezzino il volto”, 1961-1963. Gelatin silver print, printed later. 12,5 x 18 cm. Signed by the photographer in black ink in lower right corner; signed by the photographer in pencil on the verso.

Mario Giacomelli’s work "Io non ho mani che mi accarezzino il volto" (1961-1963) is a seminal series capturing the playful yet contemplative lives of young seminarians, blending motion and stillness to reflect the tension between spiritual devotion and human yearning. Characterized by Giacomelli’s distinctive high-contrast black-and-white style, the series transforms everyday scenes into abstract, almost surreal compositions, highlighting his ability to transcend traditional documentary photography. – In excellent condition.

Giacomelli, Mario
Untitled
Los 4145

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1.375€ (US$ 1,563)

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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.

Part of Giacomelli’s late-career series “Presa di Coscienza della Natura” (Awareness of Nature), this photograph exemplifies the Italian master’s distinctive approach to landscape - marked by graphic abstraction, lyrical contrasts, and an emotional engagement with the land. Shot from above, the plowed fields and furrowed earth become near-calligraphic marks, echoing both environmental cycles and the photographer’s inner reflection on humanity’s relationship with nature. – Corners slightly bumped, some minor edge wear and light handling creases, otherwise in near excellent condition.

Goldin, Nan
Jimmy Paulette after the Parade, New York
Los 4146

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2.500€ (US$ 2,841)

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Jimmy Paulette after the Parade, New York. 1991. Cibachrome print, printed 1990s. 50,8 x 61 cm. Signed by the photographer in blue marker on the verso.

Nan Goldin is an American photographer 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 light scuff marks, small handling crease in right margin, otherwise in near excellent condition.

Lit.: Nan Goldin, David Armstrong, and Walter Keller, eds. The Other Side. Zurich: Scalo, 1992, ill. p. 63.

Goldin, Nan
Amanda in the Locker Room, Berlin
Los 4147

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1.875€ (US$ 2,131)

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Amanda in the Locker Room, Berlin. 1993. Cibachrome print, printed 1990s. 51 x 61 cm. Signed and titled by the photographer in black and blue marker on the verso.

Some light scuff marks, small handling crease in left margin, otherwise in near excellent condition.

Goldin, Nan
Honda Bros in Cherry Blossom Storm, Tokyo
Los 4149 [*]

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4.500€ (US$ 5,114)

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Honda Bros in Cherry Blossom Storm, Tokyo. 1994. Chromogenic print. 61 x 50,8 cm. Signed, titled, dated, and dedicated “For my beloved Walter, one of the truest eyes I know” in black marker on the verso.

Nan Goldin first traveled to Japan in the early 1990s, creating a series of portraits and scenes that capture the country’s vibrant subcultures, intimate encounters, and fleeting moments of beauty. Merging her diaristic style with a keen sensitivity to Japanese culture, this body of work reveals Goldin’s deep engagement with her subjects and surroundings. Honda Bros in Cherry Blossom Storm is emblematic of this work - imbued with motion, color, and emotion, it evokes both personal tenderness and poetic transience. – Long superficial scratch along the lower edge of the print, limited to the black border outside the image area; otherwise in near excellent condition.