Schmölz, Karl Hugo
"Ilford" Photomation fair stand
Los 4216
Ergebnis (inkl. Aufgeld) *
750€ (US$ 852)
"Ilford" Photomation fair stand. 1950s. Vintage gelatin silver print on doubleweight Agfa-Portriga paper. 13 x 22,2 cm. Photographer's (Hugo Schmölz) stamp on the verso.
Traces of previous mounting on the verso, otherwise in very good condition. With: Photo of a sketch design for the Ilford stand. - Some oxidation mirroring in edges.
Sewcz, Hans Martin
Oranienburger Straße, Berlin; Tucholskystraße/Ecke Auguststraße, Berlin; Oranienburger Tor, Berlin
Los 4218 [*]
Ergebnis (inkl. Aufgeld) *
1.500€ (US$ 1,705)
Oranienburger Straße, Berlin; Tucholskystraße/Ecke Auguststraße, Berlin; Oranienburger Tor, Berlin. 1979. 3 panoramic gelatin silver prints, printed 2005-2007. Each circa 22 x 52,5 cm and 24 x 57 cm (32 x 60 cm). Each signed, titled, and dated by the photographer in pencil as well as with photographer's stamp on the verso.
Hans Martin Sewcz studied at the Academy of Visual Arts in Leipzig and is best known for his photographic exploration of East Germany and other former Eastern Bloc countries. His work has been widely exhibited and is held in major public and private collections, including the Berlinische Galerie, the Deutsches Historisches Museum, the Institut für Moderne Kunst in Nuremberg, and the Deutsche Bank Collection in Frankfurt am Main. – Some handling creases/dents, one print with drying paper on side edges, otherwise fine, tonal prints in good to very good condition.
Lit.: Marc Barbey, ed. Hans Martin Sewcz: Berlin-Mitte, Mai 1979. Berlin: Collection Regard, 2011, ill. pp. 24 and 38–39.
Sewcz, Hans Martin
Oranienburger Str., Kreuzung Tucholskystraße Berlin
Los 4219 [*]
Ergebnis (inkl. Aufgeld) *
1.500€ (US$ 1,705)
Oranienburger Straße/Kreuzung Auguststraße, Berlin; Große Hamburger Straße, Berlin; Große Hamburger Straße, Berlin. 1979. 3 panoramic gelatin silver prints, printed 2005-2007. Each circa 24 x 56,5 cm (32 x 61 cm). Each signed, titled, and dated by the photographer in pencil as well as photographer's stamp on the verso.
A few light handling creases/dents, one print with drying paper on side edges, otherwise fine, tonal prints in good to very good condition.
Lit.: Marc Barbey, ed. Hans Martin Sewcz: Berlin-Mitte, Mai 1979. Berlin: Collection Regard, 2011, ill. pp. 15, 16-17 and front cover.
Slevogt, Max
Portraits of the painter Max Slevogt
Los 4223
Ergebnis (inkl. Aufgeld) *
575€ (US$ 653)
Photographer: Hugo Erfurth (1 photo postcard) and unknown. Portraits of the painter Max Slevogt. Circa 1918. 15 vintage gelatin silver prints. Between circa 13,5 x 9 cm, 16 x 12 cm and 19 x 16 cm. Most mounted to card.
Max Slevogt was a leading figure in German Impressionism and an important contributor to the Berlin Secession. Renowned for his luminous landscapes and dynamic brushwork, he often depicted gardens, sunlight, and scenes of leisure. Over time, his work also engaged with elements of Expressionism. The present group of photographs includes images of Slevogt painting in his studio circa 1930, painting en plein air in 1918, a group portrait of Berlin Secession members, and views from his funeral - offering a rare visual chronicle of the artist’s life and legacy. – Some with silver mirroring in edges, otherwise in very good condition.
Swimmer. 1930s. Vintage ferrotyped gelatin silver print. 24 x 16,2 cm. Photographer's/copyright stamp and numbers in ink and red crayon on the verso.
After living in Budapest and Vienna, the Austro-Hungarian photographer André Steiner eventually settled in Paris, where he became known for his experimental and wide-ranging approach to photography. His avant-garde work spanned abstract compositions, photo experiments, nudes, scientific micro- and macrophotography, nature studies, and sports imagery - demonstrating both technical precision and a bold artistic vision. – Some nicks in edges, corners slightly worn, some light handling dents, traces of previous mounting on the verso, otherwise in good condition.
Maske einer Tänzerin. 1952. Vintage gelatin silver print on ivory doubleweight paper. 20,2 x 15,2 cm (23,7 x 18,5 cm). Signed by the photographer below image in margin in pencil.
The German photographer Otto Steinert was a decisive figure in the Subjektive Fotografie movement, known for using experimental techniques to express emotional and abstract ideas rather than objective reality. His work, characterized by high contrast, multiple exposures, and unconventional angles, explores themes of light, shadow, and form, often blurring the boundary between photography and modern art. Steinert’s influence reshaped post-war European photography, encouraging a more personal, subjective vision that celebrated artistic experimentation. This iconic image was featured on the cover of Otto Steinert's seminal photobook Subjektive Fotografie (1952). – Traces of previous mounting on verso, otherwise a strong print in near excellent condition.
Lit.: Otto Steinert. Subjektive Fotografie. Band I. Bonn: Brüder Auer, 1952, ill. front cover.
Berlin street scene. Circa 1927. Vintage gelatin silver print. 22,7 x 16,4 cm. Photographers's copyright stamps (Berlin and Brussels) as well as numbered and annotated in pencil and red ink on the verso, hinge-mounted in upper edge in mat.
Sasha and Cami Stone were key figures in Berlin’s dynamic photographic culture of the 1920s and early 1930s, celebrated for their modernist approach that merged architectural, commercial, and fine art photography. Their studio served as a hub for avant-garde visual expression in Weimar Berlin, reflecting the era’s embrace of functionalism, technological progress, and a bold new photographic aesthetic. With the rise of National Socialism, the Stones emigrated to Brussels, where they continued their creative work in exile. – Corners slightly bumped, minimal oxidation mirroring in upper edge, otherwise in very good condition.
Berlin train station. Circa 1927. Vintage ferrotyped gelatin silver print. 17,5 x 23,5 cm. Photographers's copyright stamps (Berlin and Brussels) as well as numbered and annotated in pencil and red ink on the verso, hinge-mounted in upper edge in mat.
Corners bumped, lower right and upper left with small creases, some light handling dents, otherwise in good condition.
"Paradies" series. 2004. 5 color pigment prints and 1 black and white pigment print. Each circa 30,7 x 39 cm and 39 x 30,7 cm (33,4 x 48 cm and 48 x 33,4 cm). Each with Griffelkunst edition text printed on the verso. In original card portfolio, inner flap signed by the photographer in pencil and with text page.
Thomas Struth’s "Paradies" series, created between 2000-2002, explores the relationship between humans and nature through large-scale photographs of botanical gardens, parks, and tropical settings. By capturing the lush beauty of these environments and the interactions of people within them, Struth invites viewers to reflect on the balance between humanity and nature, as well as the idealized notions of paradise in contemporary society. The titles in this portfolio include: Juquehy, São Francisco de Xavier, Yakushima, Daintree, Xi Shuang Banna and Yosemite National Park. – In excellent condition.
Lit.: Thomas Struth. New Pictures from Paradise. Munich: Schirmer/Mosel, 2002.
Good-bye Party Friends. 1991. Vintage matte gelatin silver print. 39,5 x 30 cm. Signed and dated by the photographer in pencil on the verso.
A poignant image by Lithuanian photographer Antanas Sutkus, Good-bye Party Friends reflects the atmosphere of political transition in the final days of the Soviet Union. Known for his humanist approach, Sutkus captured everyday life in Lithuania with emotional depth and psychological nuance. This photograph belongs to his ongoing exploration of identity, ideology, and social change at the margins of empire. – Slight edge wear, light smudge mark and a few light spots near right edge, otherwise in very good condition.
Unheimliche Straße. 1928. Gelatin silver print on Agfa paper, printed 1977. 30 x 23 cm. Signed, editioned "60/100" and dated by the photographer in pencil on the verso; mounted along upper edge to board, editioned "60/100", dated and signed as well as dedicated by the photographer in pencil below the image on the mount and annotated in pencil on mount verso.
Otto Umbehr, known as UMBO, was a key figure in early 20th-century avant-garde and modernist photography. The photograph offered here ranks among his most iconic images, though the original negative was lost early on. Only a few vintage prints of this work are known to exist. In 1977, UMBO rephotographed one of these rare prints and produced a small edition of high-quality prints, issued as the annual gift for members of the Kestner Gesellschaft. – Small retouched emulsion crack in lower right in edge, small retouched spot in mid upper area, otherwise in very good condition.
Lit.: Herbert Molderings. Umbo: Otto Umbehr 1902-1980. Düsseldorf: Richter, 1995, ill. plate 52.
Marsha Hunt for "Hair". 1968. Vintage gelatin silver print. 30,3 x 23,3 cm. With typewritten caption printed onto label attached to the verso, photographer's agency stamp as well as copyright stamps and cropping marks in blue marker on the verso.
This photograph features American actress and singer Marsha Hunt in costume for the groundbreaking rock musical Hair. An iconic figure of the era, Hunt inspired the Rolling Stones’ song “Brown Sugar” following a brief but passionate relationship with Mick Jagger, with whom she had a daughter. – A few handling marks, pressure marks and creases, light traces of red crayon, otherwise in good condition.
Tokyo Subway. 2004. Pigment print. 41 x 55 cm (67 x 79 cm). Matted and framed under glass in artist's wooden frame; signed, dated, titled and editioned "4/7" by the photographer in black marker on frame verso.
Born in Vancouver, British Columbia, Stephen Waddell grew up in a family deeply engaged in the arts. While studying at Simon Fraser University - where he took courses with Jeff Wall - he initially used photography as a sketching tool for his paintings. By the late 1990s, photography became his primary medium. Known for his painterly approach, Waddell brings a refined sensitivity to light and composition, often depicting people engaged in everyday activities within urban spaces. A flâneur at heart, he captures quiet, observational scenes that blur the line between documentary and fine art. His work has been widely exhibited and is held in major international collections. – In very good condition.
Untitled. 1997. 3 chromogenic photobooth-strips on PMI photographic passport paper. Each between 20,3 and 23 x 4 cm. 1 strip signed, dated and annotated "Bautzen, Galerie Budussin 24.I.97 - 25.II.97, Leipzig Kurt Eisner Str. 73 29.I.97 - 5.II.97" and "Mein Flug ins All , Leipzig, AOK Ritterstr. 16.10-10.12.97" by the photographer in ink on the verso.
Jan Wenzel has been taking photographs in photo booths since the early 1990s. The mechanics of the machine create a photographic event that lasts exactly 28 seconds. The tableaux, often consisting of several photo strips placed together, show imaginary spaces created by the rapid change between the individual shots. They are the result of a specific choreography with which objects were held in the machine. The dynamics of the images arise from minimal differences in how they connect. Referring to these tableaux works, Wenzel stated: “Each of my photos is the result of calculation, time constraints, self-control, and chance". – One strip with crease in lower portion, otherwise in very good condition.
Chicago. 1950. Gelatin silver print, printed later. 50 x 49,5 cm (60 x 60 cm). Photographer's estate stamp on the verso.
Minimal buckling, otherwise in excellent condition.
Provenance: From the estate of the photographer.
Sun deck. 1930s. Vintage ferrotyped gelatin silver print on doubleweight paper. 24 x 16,7 cm. Photographer's "Frankfurt am Main" stamp, photographer's "Wiener Photo-Kurier" stamp annotated in pencil and red/blue crayon on the verso.
The German photographer Dr. Paul Wolff is renowned for his pioneering role in advancing modern photographic techniques, particularly in the use of the Leica camera. A master of lighting and composition, he helped define the aesthetics of 20th-century photography through both his portraits and dynamic reportage. His innovative vision and technical expertise left a lasting impact on the development of modern photography. – Corners bumped with some chipping to emulsion, a few nicks in edges, some light surface scuff marks, otherwise in very good condition.
Paris. 1930s. Vintage ferrotyped gelatin silver print on doubleweight Agfa-Brovira paper. 23,5 x 17,7 cm. Photographer's "Frankfurt am Main" stamp, annotated in pencil and "Schostal" agency label with photographer's name on the verso.
Corners slightly bumped, some light surface scratches, 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