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Katalog Fotografie des 19. - 21. Jahrhunderts » Abteilung Photographie
Fotografie des 19. - 21. Jahrhunderts Auktion 109, Mi., 31. Mai, 14.00 Uhr


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Kapitel 20th Century and Contemporary Photography / Fotografie des 20. und 21. Jahrhunderts (Lose 4094 - 4364) » Kapitelwahl

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Hauptbild Beschreibung Status
Hensky, Herbert
Mongolian horse rider

Los 4184

Mongolian horse rider. 1960s. Vintage semi-glossy gelatin silver print. 39 x 48,5 cm. Photographer's stamp and annotated in red/grey crayon and blue/black ink on the verso.

Some handling and fold/crease marks in mid portion, small tear in upper edge with tape residue on verso, otherwise in good condition.

Provenance: From the estate of the photographer.

Schätzpreis
€ 500   (US$ 555)


Höfer, Manuela
Old textile factory, Pößnek, (GDR)

Los 4185

Old textile factory, Pößnek (GDR). 1991/printed 2003. Cibachrome print. 50,5 x 77,8 cm. Signed, dated and annotated by the photographer in black marker on the verso.

In excellent condition.

Schätzpreis
€ 900   (US$ 999)


Höfer, Manuela
Toned photogram

Los 4186

Toned photogram. 1997. Unique blue/green toned photogram. 23 x 22 cm. Signed and dated by the photographer in pencil on the verso.

Some crease marks, otherwise in good condition.

Schätzpreis
€ 600   (US$ 666)


Höfer, Manuela
Plant photograms (triptych)

Los 4187

Plant photograms (triptych). 2013. 3 unique, selenium toned gelatin silver prints (photograms). Each circa 40,5 x 30,3 cm. Each signed and dated by the photographer in pencil on the verso.

A few corners slightly bumped, a few small nicks in edges, one with light crease in corner, otherwise in excellent condition.

Schätzpreis
€ 1.000   (US$ 1.110)


Hoepffner, Marta
Streifen Konkret I

Los 4188

"Streifen Konkret I" (Interferenzbild in polarisiertem Licht). 1978. Chromogenic print on Kodak paper. 30,2 x 30 cm. Signed and dated by the photographer in ink in lower right corner; titled and annotated by the photographer on the verso, mounted along upper edge to card (some crease marks), titled by the photographer in pencil below the image on the mount; annotated by the photographer in pencil on mount verso.

As of the mid-1960s Marta Hoepffner began making a series of "Farbinterferenzbilder", such as this and the following lot, which she created using so-called "variochromatic light objects". – Writing on verso shines through slightly to recto in lower left corner, otherwise in very good condition.

Lit.: Eva Scheid (ed.). Lichtbilder - Bilder des Lichts. Marta Hoepffner. Fotokünstlerin und Pädagogin. Hofheim am Taunus 1997.

Schätzpreis
€ 2.000   (US$ 2.220)


Hoepffner, Marta
Räumliche Strukturen II

Los 4189

"Räumliche Strukturen II". 1979. Chromogenic print on Kodak paper. 20,7 x 20,4 cm. Mounted in upper edge to card, signed, titled and dated by the photographer in pencil below the image on the mount.

A few light scuff marks in upper corners, otherwise in very good condition.

Provenance: From the photographer to the present owner in 1984.

Lit.: Eva Scheid (ed.). Lichtbilder - Bilder des Lichts. Marta Hoepffner. Fotokünstlerin und Pädagogin. Hofheim am Taunus 1997.
Brigitte Behrens/Ulrika Jäger. "Lichtbilder - Bilder des Lichts. Marta Hoepffner und Ihm Schoffers" in: Die Frauenfeder No 2, Drumlin Verlag, Weingarten 1986, p. 135-175.

Schätzpreis
€ 2.000   (US$ 2.220)


Horst, Horst P.
Clara Potter at home

Los 4190

Clara Potter at home. 1938. Vintage ferrotyped contact gelatin silver print. 25,4 x 20,3 cm. Photographer's and date stamp May 3, 1938 on the verso.

Corners bumped, small crease in lower left corner, otherwise in very good condition.

Schätzpreis
€ 500   (US$ 555)


Horvat, Frank
Tree in winter, from the series "Portraits of T...

Los 4191

Tree in winter, from the series "Portraits of Trees" (1976 - 1982). 1979. Vintage fresson print. 19,9 x 30 cm (31 x 41,2 cm). Signed by the photographer in pencil in lower right in margin.

In the 1970s the gradual disappearance of the magazines Horvat worked for and the necessity to adapt his work for the surviving ones with the taste of a less sophisticated audience led Horvat to search for new ways of working. He decided to start working as an author, rather than as a free-lance contributor. As he himself stated: "to 'be my own client'. My first personal project, on which I worked for several years, was ‘Portraits of Trees’". – Light handling mark in right margin, otherwise in very good condition.

Lit.: John Fowles. The Tree. New York 1979, illustrated.

Schätzpreis
€ 1.000   (US$ 1.110)


Hütte, Axel
Greenwich

Los 4192

"Greenwich". 1992. Chromogenic print on Fujicolor paper. 28,5 x 43,5 cm (33,8 x 47 cm). Signed, titled and numbered 31 by the photographer in black marker on the verso. Mounted in upper corners in mat.

In excellent condition.

Errata: From an edition of 30 + 3 a.p.

Schätzpreis
€ 1.000   (US$ 1.110)


Hujar, Peter
Portrait of John Heys as Diana Vreeland

Los 4193

Portrait of John Heys as Diana Vreeland. Early 1980s. Vintage gelatin silver print. 48 x 32 cm (50,3 x 40,4 cm). Signed by the photographer in ink and annotated by John Heys in pencil on the verso.

Peter Hujar and the Soul of the Portrait
Of Ukranian background, Peter Hujar grew up on a farm in New Jersey and was raised by his grandparents. At the age of twelve, he went to New York to live with his mother and received his first camera at age thirteen. His first subjects were animals on the farm when he went back for visits and animals remained a subject for his camera throughout his life. Lisette Model and August Sander were strong influences in his work, which explains his moving in the direction of portraiture. Hujar had an intuitive understanding of composition and posing. His early work as a fashion photographer was how he first earned a living with photography. Predominantly working in black and white and with a medium format camera, he usually preferred the controlled environment of his studio or other indoor spaces. Many of his sitters were uninhibited in front of the camera, ranging from casual acquaintances to close friends and intimate lovers.
Hujar’s subjects often have remarkable physical presence as he portrayed theater actors, singers, transvestites, writers, eccentrics as well as New York personalities of the cultural and fashion world. Even in his celebrity portraits a part of the soul of the sitter and often a vulnerability shows through. He took many types of portraits: people in costume, people relaxing, people at home, people with and without makeup, people (both clothed and unclothed) in his East Village studio with its signature painted, crack-ridden concrete floor and white walls. The names of his sitters included: John Waters, Divine, Andy Warhol, Susan Sontag, Diana Vreeland, Peggy Lee, John Heys, Paul Thek, Merce Cunningham, Robert Wilson, Fran Lebowitz, Ethyl Eichelberger, David Wojnarowicz and William Burroughs to name only a few. He portrayed downtown New York from the late 1960s until his death in 1987 by engaging its people in a private, one-to-one conversation with the camera.
The following private collection of Peter Hujar photographs comprises an array of portraits, most of the actor, director and writer John Heys. He and Peter Hujar had a special and very close relationship. In the book accompanying an exhibition at Paul Kasmin Gallery, Jan. 28 – Feb. 27, 2016 “Peter Hujar: Lost Downtown”, the executor of Hujar’s estate, Stephen Koch noted: “Every now and then, Hujar the portraitist would fall in love with some face and presence that he would never tire of photographing. This is what happened with John Heys. There are countless portraits and pictures…”. Many of the portraits offered here express how Hujar often scratched below the surface of his subjects. They emanate an essence, a cachet, a special moment, a lingering facet of a personality. Such early vintage photographs printed by Hujar himself as the following lots are rare on the art market.
Hujar’s photographs are in numerous public collections including the Museum of Modern Art, the Metropolitan Museum of Art and the Whitney Museum, New York, as well as the Art Institute of Chicago, the Stedelijk Museum, Amsterdam, the Fotomuseum Winterthur and other European institutions.
– Some handling/indentation marks, especially in right portion, corners/edges slightly bumped, otherwise a fine tonal print in good condition.

Provenance: Directly from Peter Hujar to the present owner.

Schätzpreis
€ 5.000   (US$ 5.550)



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