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.
North American Indians
Portraits of members of the Nez Percé tribe and the Colville tribe
Los 4051 [*]
Ergebnis (inkl. Aufgeld) *
620€ (US$ 667)
Photographer unknown. Portrait of Indians of the Nez Percé tribe and the Colville tribe. Circa 1900. 4 sepia toned gelatin silver prints on doubleweight chamois paper. 34 x 21 cm and some smaller. Each mounted along upper edge to brown card and annotated in ink on mount under photo.
The images show the Indians in their traditonal costumes including an Indian chief of the Colville with his wife, a young Buck with a flute in Hereditary robes, a mother and child of the Nez Percé tribe and a fortune teller. – Strong tonal prints in very good condition.
Oppenheim, F. August
West portal of the Frauenkirche in Nuremberg
Los 4052
Ergebnis (inkl. Aufgeld) *
992€ (US$ 1,067)
West portal of the Frauenkirche in Nuremberg. Circa 1854. Large-format albumen print from a paper negative. 32 x 26 cm. Mounted to original board (slightly soiled, some traces of use), photographer's blindstamp, which is stamped over by the publisher H.(einrich) Schrag in lower right corner on the mount.
Oppenheim was one of the first German photographers to work with the calotype process. He learned the process with Gustave Le Gray and already used it in 1852 while in Spain. One year later he photographed the Acropolis and as of 1854 he worked in southern Germany. Oppenheim's photographic oeuvre is very small and only a few photographs have survived - very rare! – Minimal fading in edges, otherwise in very good condition with strong tones.
Ottoman Empire
Portraits of people of the Ottoman Empire
Los 4053
Ergebnis (inkl. Aufgeld) *
9.300€ (US$ 10,000)
Photographers: Abdullah Frères and Alphonse Rubellin. Attractive portrait album showing a wide range of people living in the Ottoman Empire. 1860s-1880s. 103 cartes-de-visite albumen prints, all with early photographer's logo (some hand-stamped), address and name and most titled and numbered in ink in contemporary hand on mount verso, inserted in album window mat boards (some damaged, slightly soiled), bound in contemporary tooled leather album (rubbed) with brass and glass ornaments (some missing) and brass clasp.
This extensive collection of cartes-de-visite portraits documents the vast cultural and ethnic diversity in the Ottoman Empire. 64 cartes-de-visite show various peoples of the Empire. Among them are Afghan, Algerian, Georgian, Greek, Persian, Turkish and Jewish people. Also includes a wide range of street sellers with their goods, beggars, warriors, Orthodox priests and other high-ranking persons such as Kececizade Mehmed Fuad Pasha (1814-1869). – Some faded, some light scuff marks, otherwise most in very good condition.
Lit.: Bahattin Öztuncay. The Photographers of Constantinople. Pioneers, studios and artists from 19th century Istanbul. Istanbul 2006 (2nd edition), ill. p. 380 and compare 494-499 (street sellers).
Photographer: Adolphe Braun (1812-1877). Paris Commune. 1870/71. 15 albumen prints. Each circa 25,5 x 20 cm and 20 x 25,5 cm. Each mounted to board (slightly soiled, time-stained in edges), with photographer's name and title Paris - 1871 printed in red below/above the image on mount.
The images show the ruins of the Palais des Tuileries (7), Château St. Cloud (4), Château d'Issy, Hotel de Ville (Paris), Château de Meudon, Caisse des Dépots, all heavily destroyed by fire. – Some surface scuff marks, many with strong contrasts and in very good condition.
Lit.: Ulrich Pohlmann/Paul Mellenthin (eds.). Adolphe Braun. Ein europäisches Photographie-Unternehmen und die Bildkünste im 19. Jahrhundert. Munich 2017, ill. pp. 270-277 (images from the same series and ill p. 275.)
Views of Venice. Early 1860s. 4 albumen prints and 3 salt prints. Various sizes, most circa 23 x 28 cm. Each mounted to board (slightly soiled), 3 with photographer's blindstamp and 3 annotated in ink below the image on the mount.
Some faded in edges, otherwise many with strong contrasts and in very good condition.
Portrait Album
Commemorative portrait album
Los 4056
Ergebnis (inkl. Aufgeld) *
2.728€ (US$ 2,933)
Commemorative portrait album. June 22, 1855. 16 salt prints. Each circa 17 x 13 cm. Each mounted in ornamental paper mat and bound in gilt-edged contemporary brown full leather gilt-tooled album with gilt-stamped caption Unserem Theuren Vater zum 22. Juni 1855 (edges minimally rubbed, spine loose from cover) on front cover, with silk fly leaves/endpapers.
The sitters in this album apparently belonged to a wealthy family (many are annotated in pencil on verso with sitters' names). This is also indicated by the album's opulence and the very fine portraits, which are unusually large for this time. – Some leaves loose, some photos breaking out of paper mat in areas. On the whole rich beautiful salt prints, many highlighted and finely overpainted by hand, most in near excellent condition in a well preserved album. Rare in this quality and condition.
Unknown photographer. Sámi family in front of their home. 1890s. Large-format collodion paper prrint. 23 x 29 cm.
Small backed tear in lower edge, a few minimal surface abrasions, otherwise in very good condition. With: Photochrome of Sami family in front of their home. 1890s. 16,5 x 22,5 cm.
Schaarwächter, Julius Cornelius
Group portrait of Emperor Wilhelm II's family
Los 4058
Ergebnis (inkl. Aufgeld) *
223€ (US$ 240)
Group portrait of Emperor Wilhelm II with his family.1896. Platinum print on Photo.Crayon paper. 20 x 12,5 cm. Mounted to original studio board with photographer's name printed below the image and signed and dated by Empress Augusta Victoria in pencil on the mount.
Schaarwächter already learned his trade from his father, as well as at the Gewerbeakademie with Hermann Vogel in Berlin. Since 1889, he held the title of "Hofphotograph seiner Majestät des Kaisers und Königs und Ihre Königlichen Hoheit der Frau Erbprinzessin von Sachsen-Meinigen, Prinzessin von Preußen". During the 1880s/90s, he was the most successful portrait photographer in Berlin. – In very good condition.
Nuremberg castle. 1850. Salt print. 25 x 20 cm. Mounted to board (slightly soiled), annotated in pencil below the image on mount.
Presumably inspired by the architectural drawings and etchings of the Nuremberg priest Christoph Jacob Wilder, Georg Schmidt began training at the Nuremberg Art School between 1828-1831 and he completed his schooling at the Munich Art Academy. From 1839 he settled in Nuremberg as an art and portrait painter. In 1846 he also set up a photographic studio and as of 1852 he referred to himself only as a photographer. The atmospheric salt paper prints by Georg Schmidt offered here and in the following two lots 4060-4061 are therefore among the earliest photographic city views of Nuremberg and are very rare today. – Fading in edges, otherwise in good condition.
Schmidt, Georg
Southern access to Nuremberg castle
Los 4060 [*]
Ergebnis (inkl. Aufgeld) *
1.240€ (US$ 1,333)
Southern access to Nuremberg castle. 1850. Salt print. 21 x 28,5 cm.
Some handling marks, otherwise 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
Impressum
Datenschutzerklärung
© 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