Australia / New Zealand
Indigenous people, nature and landscapes of Australia and New Zealand
Los 4003
Ergebnis (inkl. Aufgeld) *
3.968€ (US$ 4,267)
Photographer: Burton Brothers, Ebenezer Caney (1846-1910), Samuel White Sweet (1825-1886) and unknown. Views of indigenous people, nature and landscapes of Australia and New Zealand. 1880s. Circa 100 collodion paper prints. Each circa 16 x 20,5 cm. Many with title, number and photographer's name in the negative in lower corners, 2 with photographer's blindstamp in lower right, mounted to gilt-edged boards (time-stained/dusty in edges, warped, some with foxing), annotated in ink/pencil below the images on the mounts, bound in full leather album (edges rubbed, a few tears and spots) with gilt-tooling and gilt-stamped title Views of Australia on front cover (25 x 31 cm).
Photos buckled/curled from mounting, a few with crease marks, otherwise most in good to very good condition and with strong contrasts.
Photographer unknown. Views of Austria. 1860s. 28 large-format albumen prints. Each circa 24 x 33 cm and smaller. Mounted to red-edged album boards (time-stained in edges and some foxing), bound in contemporary red leather album (rubbed in edges, scuff marks, soiled) with gilt-embossed monogram L.C. on front cover.
Five photos show the Semmeringbahn circa ten years after completion. Other images show Salzburg, Gmunden, Gastein, Berchtesgaden, Dürnberg, Ischl, Salzburg and Graz. The views of Vienna with the new Ringstr. and other sites are especially interesting. – Some photos with light surface scuff marks, otherwise in good to very good condition.
Apple blossoms. 1850s. Varnished albumen print with rounded corners. 35,5 x 30,5 cm. Mounted to card.
Some spotting from glue in edges, otherwise a strong print in very good condition.
Braun, Adolphe
Various flowers and ferns
Los 4007 [*]
Ergebnis (inkl. Aufgeld) *
434€ (US$ 467)
Various flowers and ferns. 1850s. Varnished albumen print with rounded corners. 37 x 31 cm. Mounted to card.
Some mirroring in left edge towards upper area, otherwise in very good condition.
Chrysanthemums. 1850s. Albumen print. 40 x 49 cm. Mounted to board.
Soiled/foxing in edges, some scuff marks, otherwise in good condition.
Bresolin, Domenico
Early views of Venice
Los 4010
Ergebnis (inkl. Aufgeld) *
1.054€ (US$ 1,133)
Early views of Venice. 1855. 7 large-format salt prints. Each circa 27 x 35 cm. Each with photographer's blindstamp in lower left in image/on mount, each mounted to thin card (some buckling), each with caption label in lower right on mount.
In the 1850s Domenico Bresolin was one of the most important coworkers of Carlo Ponti but also published his photos under his own name. He was one of the last Venetian photographers to work with salt prints up until the late 1850s. Photos with his blindstamp are quite rare as he only used his own stamp 1854/55. – Some lighter, otherwise in good condition.
Lit.: Bodo von Dewitz/Dietmar Siegert/Karin Schuller-Procopovici (eds.). Italien Sehen und Sterben. Photographien der Zeit des Risorgimento (1845 - 1870). Cologne 1994, see p. 278.
Views of India and Ceylon. 1860s-1870s. 5 albumen prints. Each circa 16 x 23 cm and larger. Each mounted to board, annotated in ink below images on mount.
A few with small spots, one with stronger discoloration spot in upper right, otherwise in very good condition and with strong contrasts.
Cartes-de-visite Album
A large cdv collection of portraits, landscapes and villages
Los 4015
Ergebnis (inkl. Aufgeld) *
471€ (US$ 507)
Various photographers. A large cdv collection of portraits, landscapes and villages. 1860s-1910s. Circa 180 albumen cartes-de-visite prints and 27 tin types as well as postcards inserted in album (some loose).
Comprehensive and interesting collection of cartes-de-visite, mainly portraits but also landscapes, village views and other curiosities. – Most in good to very good condition.
Photographer: Lai Afong (c. 1859-1941, attributed to). Group portraits. 1880s/90s. 3 albumen prints. Each circa 21,5 x 27,5 cm. Each mounted to board.
This group includes a portrait of two richly dressed Chinese women in a studio, a fortune teller and a court scene. – Some light surface scuffing, otherwise in good condition.
Views of China. Circa 1890-1900. 11 vintage collodion paper prints. Each circa 21 x 28 cm. Some titled in negative; some annotated in ink on the verso.
The images include Canton, Fouchow and Macao. – Traces of use, some tears in edges (some backed), handling creases.
Constantinople
Panorama of Constantinople
Los 4020
Ergebnis (inkl. Aufgeld) *
2.728€ (US$ 2,933)
Photographer unknown. Panorama of Constantinople from the Galata Tower, consisting of 10 single unmounted prints. 1870s. 10 albumen prints. Each circa 24 x30 cm and slightly smaller, entire size circa 24 x 273 cm. Unmounted, each annotated with number in pencil on the verso.
Together the 10 individual prints form a wide panorama with a view over the Galata district, the Golden Horn, the Bosporus to Üsküdar in the south of the city. Producing such a large panorama of Constantinople was very costly and cumbersome. The photographer had to spend one or two days on the Galata Tower together with his assistants. He might have to repeat the procedure if the weather changed or one or more shots failed. – Each print with foxing in sky area, handling creases, a few small tears in edges, otherwise with strong contrasts and in good condition.
Daguerreotypes
Portrait of a distinguished man holding a letter
Los 4021
Ergebnis (inkl. Aufgeld) *
372€ (US$ 400)
Photographer: Henry Pollock (b. 1810, active 1849-89). Portrait of a distinguished man holding a letter. Early 1850s. Quarter-plate daguerreotype with gilt ornamental surround with stamped photographer's name and location (BALTo), behind glass in leather case with red velvet lining and embossed flower ornaments on front and back cover.
Pollock was among the early daguerreotypists in Baltimore. Among the local photographers, he was the most renowned and respected. His distinguished and opulently furnished studio rooms, and especially the separate dressing room for ladies, were an attraction for the wealthy upper class in Baltimore. He used particularly high-quality lenses and large-format cameras that could shoot unusually large plate formats. His name (lower left) and Balt(imore) (lower right) are always stamped on his plain mounts. – A few light corrosion spots on plate, otherwise a clear image in very good condition.
Photographer unknown. Portrait of a man. Circa 1865. Pannotype. 8 x 7 cm (12,5 x 10,5 cm). Mounted in contemporary mat (slightly soiled).
The pannotype (pannus=linen) is a positive collodion image applied to a fine textile fabric (usually linen). These images were cheaper and more robust than the daguerreotypes or the later paper prints, but not as brilliant. They were invented c. 1853 by Jean Nicolas Truchelut and the technique was used by only a few photographers as the production was complicated and cumbersome. These types of images are very rare today. – A few small surface rubbed spots, otherwise in very good condition.
Du Camp, Maxime
Haute Egypte. Sortie de la Première Cataracte
Los 4023
Ergebnis (inkl. Aufgeld) *
496€ (US$ 533)
"Haute Egypte. Sortie de la Première Cataracte". 1849-51. Salt print (Blanquard-Evrard process). 16 x 20,5 cm. Mounted to original card (edges soiled) with title, photographer's and publisher's name printed above/below the image on the mount. Plate number 67. Hinge-mounted in mat.
A strong print in very good condition.
Lit.: Bodo von Dewitz/ Karin Schuller-Procopovici (eds.). Die Reise zum Nil. 1849 - 1850. Göttingen 1997, ill. p. 141.
"Thèbes. Palais de Karnak". 1849-51. Salt print (Blanquard-Evrard process). 16 x 20,5 cm. Mounted to original card (some light water stains in upper edge) with title, photographer's and publisher's name printed above/below the image on the mount. Plate number 36. Hinge-mounted in mat.
Light foxing spot in left edge, otherwise a strong print in very good condition.
Lit.: Bodo von Dewitz/ Karin Schuller-Procopovici (eds.). Die Reise zum Nil. 1849 - 1850. Göttingen 1997, ill. p. 106.
Photographer: Pascal Sebah (1823-1886), Francis Frith (1822-1898), Félix Bonfils (1831-1885), G. Saroledis and Zangaki. Views of Egypt. 1870s-90s. 12 albumen prints. Each circa 28 x 21 cm. Each with photographer's name and/or title in the negative in lower edge, mounted to board (warped).
Minimal scuff marks, some handling marks, some faded in edges, otherwise in good to very good condition.
Photographer: Pascal J. Sebah (1838-1910) and Felix Bonfils (1831-1885) ). Views of Egyptian temples. 1880s. 4 large-format albumen prints. Each circa 27,7 x 38 cm. Each wiith photographer's name and title in the negative in lower corners.
Slight pressure/handling marks, otherwise in very good condition with strong tones.
Ermakov, Dimitri N. and Unknown
Landscapes of Tiflis and surroundings
Los 4027
Ergebnis (inkl. Aufgeld) *
434€ (US$ 467)
Landscapes of Tiflis and surroundings.1880s. 12 albumen prints. Circa 13 x 20 cm. Some with captions in lower edge in the negative.
Dimitri Ermakov was active as a professional photographer as of 1868 and he travelled to various regions of Georgia, the Caucasus, Persia, Turkey and central Asia. Ermakov is the most important documentartist of Georgian life of the nineteenth and early twentieth century. A small part of Ermakov's negatives are in the collection of the National Museum of Georgia. – Some faded, otherwise in good condition.
Ermakov, Dimitri N. and Others
Landscapes of Tiflis and surroundings
Los 4028
Ergebnis (inkl. Aufgeld) *
744€ (US$ 800)
Views of landscapes, monuments and types of the Caucasus. 1890s. 10 large-format albumen prints. Circa 22 x 28 cm (some smaller). 2 with Ermakov's blindstamp in lower corner, mounted to board, 1 with printed title and photographer's name on mount, 2 with photographer's blindstamp, most annotated in ink on mount verso.
Some faded, otherwise in good condition.
Froissart, Louis-Antoine
Place de Cordelières, Lyon
Los 4029
Ergebnis (inkl. Aufgeld) *
1.240€ (US$ 1,333)
Place de Cordelières, Lyon. Early 1850s. Large-format salt print from a paper negative. Circa 25 x 31 cm (mount 46 x 60 cm). Mounted to thick card (some traces of use, soiled), with photographer's blindstamp below the image on the mount and annotated below the image in ink/pencil on the mount.
Some retouching in lower corners and hand painting in some areas, otherwise a well-preserved salt print in very good condition.
Photographer: Würthle & Spinnhirn. Panoramic view of Gastein. 1896. 3 albumen prints, mounted as a 3-part panorama on 3 boards (slightly soiled in edges, some creases) joined with linen tape, photographer's name printed in center of middle board. Each circa 16,5 x 21,5 cm (entire size: 16,5 x 65 cm).
A few light surface scuff marks, right photo with minimal nick in lower left corner, otherwise strong tonal prints in very good condition.
Youth with head band. 1890s. Albumen print flush-mounted to board. 23 x 16,7 cm.
A few minimal scuff marks, otherwise a strong print in very good condition.
Lit.: Wilhelm von Gloeden, Fotografie ritrovate dell' Instituto Statale d'Arte di Firenze 1899-1902. Florence 2000, p. 89. compare ill. 37 (variant).
Wilhelm von Gloeden. Fotografie Nudi, Paesaggi, Scene di genere. Florence 2008, ill. p. 133 (variant).
Hanfstaengl, Franz
Portrait of Clara Schumann, from "Album der Zeitgenossen" portfolio
Los 4032
Ergebnis (inkl. Aufgeld) *
744€ (US$ 800)
Portrait of Clara Schumann from "Album der Zeitgenossen" portfolio. 1857/printed 1970s. Gold-toned salt print (with cut corners) from the original collodion glass negative. 25,5 x 20,5 cm. Photographer's contemporary blindstamp in lower edge, signed by the photographer in the negative, mounted to modern board with ornamental borders and photographer's letterpress below the image on the mount.
A few small retouched spots, otherwise a rich dark print in near excellent condition.
Lit.: Heinz Gebhardt. Franz Hanfstaengl. Von der Lithographie zur Photographie. Munich 1984, all but one illustrated, unpaginated.
Photographer unknown. Glass market in Padua. 1850s. Lightly coated salt print. 26 x 33,5 cm. Mounted to thin card (slightly buckled, some spots), annotated in ink/pencil on mount.
Spot in sky area, otherwise in very good condition.
Japan
Landscapes, temples and portraits of people of Japan
Los 4035
Ergebnis (inkl. Aufgeld) *
496€ (US$ 533)
Photographer: Felice Beato (1832-1909), Kusakabe Kimbei (1841-1932) and others. Picturesque views of landscapes, temples and portraits of people of Japan. 1890s. 11 finely hand-colored albumen prints. Each circa 20,5 x 26 cm. Each flush-mounted to card, annotated in German in ink on the verso.
Some faded, some with light scuff marks, some creases, otherwise most in good condition.
Konstantinou, Dimitrios
General view of the Acropolis and the South Slope from the southwest; The west side of the Parthenon
Los 4037
Ergebnis (inkl. Aufgeld) *
1.364€ (US$ 1,467)
General view of the Acropolis and the South Slope from the southwest; The west side of the Parthenon. 1864/65. 1 salt print, 1 lightly albumenized salt print. Each circa 27 x 36,5 cm. Acropolis print signed by the photographer (Constantine) in the negative in lower left corner, each tipped in upper corners to paper (slightly soiled/worn), annotated in ink in lower right corner on mount.
The so-called "Fränkischer Turm" can be seen on the view of the Acropolis. The tower was torn down in 1875 with the financial support of Heinrich Schliemann. – Light fading in edges, some handling crease marks, a few light marks from glue in upper corners, otherwise in very good condition.
Lit.: Dorothea Ritter. Im Lichte des Helios. Griechenland in frühen Photographien aus der Sammlung Siegert. Munich 1999, ill. p. 64 (variant) and p. 80 (variant).
Konstantinou, Dimitrios
View of the Acropolis seen from the King's Palace; Frontal view of the Erechtion
Los 4038
Ergebnis (inkl. Aufgeld) *
2.232€ (US$ 2,400)
View of the Acropolis seen from the King's Palace; Frontal view of the Erechtion. Circa 1861. 1 lightly albumenized salt print, 1 salt print. Each circa 26,5 x 36,5 cm. Each tipped in upper corners to paper (slightly soiled/worn), annotated in ink in lower right corner on mount.
Some light handling crease marks, a few light marks from glue in upper corners, otherwise strong prints in very good condition.
Lit.: Bodo von Dewitz (ed.). Das Land der Griechen mit der Seele suchen. Photographien des 19. und 20. Jahrhunderts. Cologne 1990, ill. p. 87.
Dorothea Ritter. Im Lichte des Helios. Griechenland in frühen Photographien aus der Sammlung Siegert. Munich 1999, ill. p. 17 (variant).
Konstantinou, Dimitrios
View of the Acropolis seen from the King's Palace; Frontal view of the Erechtion
Los 4039
Ergebnis (inkl. Aufgeld) *
1.860€ (US$ 2,000)
(Attributed to). View of the Acropolis seen from the King's Palace garden; View of the Temple of Hephaestus, former Theseus Temple. Circa 1861. 2 lightly albumenized salt prints. Each circa 26,5 x 36,5 cm. Each tipped in upper corners to paper (slightly soiled/worn), annotated in ink in lower right corner on mount.
One with light fading in edges, some light handling crease marks, a few light marks from glue in upper corners, one also with a few light spots in sky area, otherwise in very good condition.
Views of San Francisco. 1873/74. 10 albumen prints. Each circa 13 x 20 cm. Each with number in the negative, each mounted to Boudoir cards (some with soiling in edges), 8 with photographer's name/publisher's name printed on mount; each with photographer's name and series tiltles printed on mount verso.
Oscar Victor Lange was a leading photographer and occasional landscape painter in the San Francisco Bay Area of California during the late 19th century. His work is typically credited as "O.V. Lange". He was born in Hoboken, New Jersey to German immigrants. Oscar received formal training as both an architect and artist. In 1873 Oscar moved to San Francisco and adopted the surname "Lange" while working with Ernest W. Newth making stereographs. In the 1880s, he opened his own studio and gallery on Market Street, moving to Montgomery Street in 1887. Lange's most widely photographed subjects were architectural and included structures in San Francisco, Oakland, the campus of the University of California, Berkeley, and the downtown section of Berkeley. He also photographed the workers of the Central Pacific and Southern Pacific railroad shops in Sacramento, California. – Some photos with light surface scuffing, a few with soiling/staining, otherwise strong prints in good to very good condition.
Two female water carriers. 1890s. Large-format gelatin silver print. 41 x 33 cm. Number, title and photographer's name in the negative in lower edge, sandwich-mounted in mat.
Lékégian opened his photographic studio rather late, circa 1887, and it continued well into the 20th century. Lékégian & Co was one of the last surviving major 19th century photographic studios in Egypt and when the larger touristic views of the 19th century became popular the studio also started developing tourists' own photographs. – In good condition.
Lit.: Ken Jacobson. Odalisques & Arabesques: Orientalist Photography 1839 - 1925. London 2007, see pp. 249-250.
Family portrait.1853/54. Salt print lightly painted over in ink. 24 x 20 cm. Mounted to card (soiled, some traces of use), photographer's blindstamp below the image on the mount.
After studying to be a chemist and pharmacist, Alois Löcherer started to experiment with the Talbotype. As of 1845 he began photographing professionally and his studio was one of the first in Munich. He made many portraits, as well as a series of the casting and installation of the Bavaria statue. Among his students were Moritz Eduard Lotze, Franz Hanfstaengl and Joseph Albert. – Some light foxing spots, otherwise in good condition.
Male nude. Circa 1870. Albumen print. 25 x 15,5 cm. Number 198 in the negative in lower area, mounted to board.
The Swiss/Italian photographer Gaudenzio Marconi later worked in France and Belgium. His high quality nude photographs, such as the one offered here, were famous and sought after by many artists. Rodin especially appreciated his photographs. – Some light surface scuff marks, otherwise a strong print in very good condition.
Marville, Charles
The Seven Mountains seen from the Ruins of Godesberg
Los 4046
Ergebnis (inkl. Aufgeld) *
1.116€ (US$ 1,200)
"The Seven Mountains seen from the Ruins of Godesberg". 1853. Salt print (Blanquard-Evrard process) from a paper negative. 25,5 x 36 cm. Mounted to original card (soiling in edges, some tears) with title, photographer's and publisher's name printed below the image on the mount.
Charles Marville began photographing in 1851. Over the next five years he made an extensive number of paper negatives of cathedrals, castles and cities, especially Paris. Over one hundred of his images were published by the photographer, printer and editor Blanquart-Evrard between 1851-1855. In 1856 Marville changed to glass negatives. – Slight fading in edges, otherwise in very good condition.
Lit.: Ulrich Pohlmann/Dietmar Siegert (eds.). Zwischen Biedermeier und Gründerzeit. Deutschland in frühen Photographien 1840-1890. Munich 2012, ill. p. 200.
Marville, Charles
View of Mainz from St. Stephan
Los 4047
Ergebnis (inkl. Aufgeld) *
1.240€ (US$ 1,333)
View of Mainz from St. Stephan. 1853. Salt print (Blanquard-Evrard process) from a paper negative. 24 x 35 cm. Mounted to original card (soiling in edges, repaired tear) with title, photographer's and publisher's name printed below the image on the mount.
Minimal fading in edges, repaired tear in upper skyline area, otherwise in good condition.
Neuhauss, Dr. Richard Gustav
Selected images from the "Wolken-Atlas" (Cloud Atlas)
Los 4048
Ergebnis (inkl. Aufgeld) *
2.480€ (US$ 2,667)
Selected images from the "Wolken-Atlas" (Cloud Atlas). 1889-1891. 5 albumen prints.1889/91. Each circa 11,3 x 19 cm. Each with Neuhauss' blindstamp in lower left corner, mounted to gilt-edged Boudoir cards (some nicks in edges) and annotated/dated in ink by Dr. Richard Gustav Neuhauss, Dr. R. Neuhauss, pract. Arzt, Berlin S.W. Dessauerstr. 16 stamp and KÖNIGL.PREUSS. METEROLOGISCHES INSTITUT BERLIN stamp as well as annotated in pencil in an unknown hand on mount verso.
Clouds have long been the subject of artists who have either used them as background and atmospheric embellishment or to give a symbolic frame to their subjects. As of the 18th century clouds became more a subject in their own right and artists began focusing on their various forms and characteristics. With the development of more precise scientific procedures they also became the subject of more detailed studies such as the images offered here by Dr. Richard Gustav Neuhauss. A German ethnologist, meteorologist, physician, anthropologist and scientific photographer, Neuhauss also photographed some of Otto Lilienthal's flight attempts as well as microscopic images of snow crystals. These images are both scientific documentation and an artistic rendition of an endlessly captivating subject. – Some minimal surface rubbing/scuffing, two with traces of faint ink line /writing along upper edge, one with two small surface spots in lower edge and lower left corner, otherwise in very good condition.
Lit.: Dr. R. Neuhaus. Die Photographie auf Forschungsreisen und die Wolkenfotographie. Wilh. Knapp Halle, 1912.
Portrait of the writer Victor Hugo (1802-1885). Circa 1878. Albumen print. 10,5 x 6,2 cm. Mounted on photographer's original cartes-de-visite mount, name and logo on recto and verso as well as vendor label on verso of mount.
In very good condition.
Photographer unknown. Niagara Falls. Circa 1900. Large-format brown-toned gelatin silver print. 50,2 x 41,7 cm. Flush-mounted to board.
A strong print in very good condition.
[*]: Regelbesteuert gemäß Auktionsbedingungen. [^]: Ausgleich von Einfuhr-Umsatzsteuer.
* Alle Angaben inkl. 24% 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
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© 2022 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