Abramovic, Marina
Light Side/Dark Side, from the Exit Art portfolio Trance/Borders
Los 4100
Schätzung
2.500€ (US$ 2,874)
Light Side/Dark Side, from the Exit Art portfolio Trance/Borders. 2006. Resin-coated type laser-exposed print on Ilfospeed resin-coated digital paper. 40 x 44 cm (sheet 55,8 x 76,2 cm). Signed, dated and editioned "II/IVI AP" by the photographer in black ink below the image in the margin. Matted and framed under plexiglass in wooden frame.
Serbian conceptual and performance artist Marina Abramovic has explored body art, endurance art, the relationship between the performer and audience, the limits of the body, and the possibilities of the mind. Active for over four decades, she has been described as the "grandmother of performance art", turning performance into a recognized, mainstream art form, as she uses her own body as the primary medium. In the present work Light Side/Dark Side, Abramović explores the interplay of being both visible and hidden, which symbolizes the tension between lived experience and obscured vulnerable conditions, beauty and façade, strength and vulnerability, resilience and exposure, reflecting socially inscribed identity dualities imposed on human existence. Prints of this image are in the collections of several renowned museums such as the MoMA, New York and the Whitney Museum of American Art.
Adams, Ansel
Thunderstorm - Yosemite National Park, California
Los 4101
Schätzung
1.200€ (US$ 1,379)
Thunderstorm - Yosemite National Park, California. 1938. Gelatin silver print, printed in 1991 by Alan Ross from Adams's original negative, mounted to board. 19 x 24 cm. With the “Special Edition, Photographs of Yosemite By Ansel Adams” stamp and title on mount verso.
Made in 1938, this image belongs to Adams's sustained engagement with Yosemite, in which shifting weather became a means of exploring tonal depth, scale and formal clarity. The storm-darkened sky and precisely articulated landscape unite natural drama with the rigorous visual order central to his work. This special-edition print was made by Alan Ross, Adams's longtime assistant and master printer, from the original negative.
Photographer unknown. Épreuves de liaisons commerciales transsahariennes. 1932. 168 gelatin silver prints, mounted to gray-brown album pages with orange borders. Images between 6,5 x 10,7 and 14,2 x 24 cm (album pages 21 x 27,5 cm). Many captioned and dated in French in black ink on the mounts. Bound in original album, with printed title, itinerary, vehicle specifications and list of participants (overall size 21,5 x 29,5 x 2 cm).
An extensive documentaion of Saurer's participation in the 1932 trans-Saharan trials organized by the French colonial administration in Algeria to test diesel-powered commercial transport. Following preparations in Suresnes, the album traces the route from Algiers via Ghardaia, Timimoun, Adrar and Reggan to Gao, returning on March 29. Views of loading, refuelling, repairs, desert camps and vehicles crossing difficult terrain are interspersed with crews, local inhabitants, markets, mounted troops and river scenes at Gao, documenting both the expedition's logistical challenges and the communities encountered en route.
Yayoi Kusama, Hara Museum, Tokyo. 1992. Gelatin silver print, mounted to mat. 24 x 24 cm (sheet 35,3 x 27,8 cm). Signed and editioned "1/15" by the photographer in ink in the lower margin; photographer's label on mount verso, typed with title, date and edition number "1/15". Framed under glass in a wooden frame.
Shigeo Anzai was a leading recorder of postwar and contemporary art in Japan, producing an extensive visual archive of artworks, exhibitions, installations and performances. Alongside this documentary work, he made distinctive portraits of artists including Shuzo Takiguchi, Atsuko Tanaka, Tetsumi Kudo, Joseph Beuys and Isamu Noguchi. Often made in informal settings, these portraits avoid the monumental conventions of artist portraiture and register the individual presence of their subjects.
Untitled. 1990. 2 large-format gelatin silver prints on Agfa paper, printed later. 40,3 x 30,2 cm. Signed and dedicated by the photographer in pencil as well as copyright stamp, therein dated and editioned "e.a." on the verso.
Born in Niemegk in 1935, Dieter Appelt initially trained in music and vocal studies at Leipzig's Mendelssohn Bartholdy Academy before studying photography at the University of the Arts in Berlin from 1964. From the 1970s, his photography, painting and sculpture explored memory, time, transience and recurrence through extensive sequences, tableaux, long exposures, multiple exposures, shadows and mirrors.
Architecture
Selected images of marble and stone works incorporated in commercial buildings in Berlin and Hamburg
Los 4105
Schätzung
800€ (US$ 920)
Photographers: Emil Leitner (1887-1953) and A. Dittmer. Selected images of marble and stone works incorporated in commercial buildings in Berlin and Hamburg. 1900-1920s. 12 vintage, large-format platinum prints. Various sizes between circa 39 x 29 cm and 20,5 x 26,5 cm. Some with photographer's blind stamp in lower corners.
The group documents the use of stone and marble in major commercial and civic architecture in Berlin and Hamburg. It includes the light courts of the Hermann Tietz department stores at Alexanderplatz, Leipziger Straße/Dönhoffplatz and Hamburg's Jungfernstieg, as well as the Bavariahaus, Berlin shopfronts and the Inselbrücke, built in Franconian shell limestone.
Photographer unknown. Bauhaus School, Dessau. 1925-26. Vintage gelatin silver print, hinge-mounted to mat. 8 x 5,4 cm. Framed under glass in wooden frame.
Designed by Walter Gropius's private office and completed in 1926, the Bauhaus building in Dessau is a landmark of modern architecture. Its irregular, pinwheel-like plan separates the workshop, teaching, administration and studio wings, while the steel-and-glass curtain wall of the workshop wing became an emblem of the Neues Bauen. A print of this view, showing the canteen facade and studio building, is held by the Bauhaus-Archiv, Berlin.
Literatur: Roswitha Fricke and Egidio Marzona, eds. Bauhaus Photography. Cambridge: MIT Press, 1986, ill. p. 148.
The actress Greta Garbo (1905-1990), Plaza Hotel, New York. 1946. Gelatin silver print on doubleweight paper, printed later. 23,4 x 29,2 cm. Typed press text label and 2 agency stamps on the verso.
Known for his glamorous celebrity portraits, Cecil Beaton was a close friend of Greta Garbo and photographed her frequently. In May 1946, she visited his Plaza Hotel suite seeking a passport photograph. The request developed into an extended sitting, in which Beaton used natural light from the window and the suite's restrained furnishings to create a sequence of unusually intimate images. He sent a selection to Vogue, where they appeared later that year, prompting Garbo's anger at their publication. The series nevertheless remains a rare post-Hollywood record of the resolutely private actress; original prints are held by institutions including the National Portrait Gallery, London.
Odalisque. Garden Fashions. Circa 1968. Ferrotyped gelatin silver print, printed later. 20,5 x 25,2 cm. Typed press text label and agency stamp on the verso.
Beaton brought a theatrical sensibility to fashion photography, treating clothing, setting and pose as elements of a carefully constructed image. Drawing on his work for stage and film, his Vogue photographs combine decorative invention with a refined portrait sensibility.Here, the odalisque motif is placed in a garden setting, turning a fashion study into a scene of cultivated fantasy. The image typifies Beaton's elegant fusion of fashion, performance and artifice.
La Bouche. 1936. Hand-colored gelatin silver print, printed ca. 1970. 16,3 x 16,5 cm. Photographer's embossed signature in lower right. Presented loose in the deluxe edition of the exhibition catalog Hommage à Hans Bellmer (Galerie François Petit, Paris, 1975), no. 15 from an edition of 60.
Best known for his La Poupée photographs and sculptures, Bellmer developed a disquieting Surrealist vocabulary in which fragmented bodies were rearranged as sites of desire and psychic instability. This hand-colored image was probably intended for Les Jeux de la Poupée but omitted from the 1936 publication. The deluxe edition accompanied the posthumous exhibition Hommage à Hans Bellmer, held at Galerie François Petit, Paris, from November 26, 1975 to February 26, 1976.
Literatur: Centre Georges Pompidou, ed. Hans Bellmer: Photographe. Paris: Filipacchi, 1983, ill. p. 100.
Phillip Prodger. An Alternative History of Photography. Munich: Prestel, 2022, ill. p. 161.
Allerleirauh. 1988. Vintage gelatin silver print. 26,5 x 17,7 cm (sheet 28,6 x 20 cm). Signed, titled and dated by the photographer in pencil; 2 photographer's labels on the verso.
One of the most important photographers of the GDR, Bergemann worked across documentary, portrait and fashion photography. From 1970-1995, she contributed to the fashion and culture magazine Sibylle, where she developed an understated style that favored street settings and everyday spaces over studio glamor. Allerleirauh belongs to her 1988 series on the experimental East Berlin fashion, theater and performance collective of that name, whose unconventional costumes she treated as part of the city's lived environment.
Misia, Fado Singer, Lissabon. 2006. Chromogenic color print on Fujicolor Crystal Archive paper. 43,3 x 32 cm (sheet 46 x 50,6 cm). Signed by the photographer in black ink on verso.
In 2006, Bergemann travelled to Lisbon to photograph fado singers, among them Mísia (1955-2024), a pioneering figure in the renewal of the genre. The resulting portraits have an atmospheric, almost baroque quality, in which saturated color and theatrical setting evoke the emotional intensity and sense of tradition central to fado.
Photographers: Ewald Gnilka (1900-1969) (2), Werner Eckelt (1914-1990) (1), and unknown (3). Views of Berlin. 1930s-50s. 6 vintage gelatin silver prints, 4 ferrotyped and 1 printed on Agfa paper. Various sizes, ca. 18 x 24 cm and smaller. 3 with photographers' stamps; some annotated in pencil on verso.
The images include views of Berlin at night showing many facades with illuminated advertising.
Photographer: Sandro Becchetti (1935-2013). Joseph Beuys at the "Contemporanea" exhibition, Villa Borghese, Rome. 1973. Vintage gelatin silver print. 40,5 x 30 cm. Photographer's stamp and annotated in pencil on the verso.
One of Italy's leading postwar photojournalists, Becchetti documented social, political and cultural life from the late 1960s for publications including L'Espresso, Il Mondo, Il Messaggero, L'Unità and Paese Sera. His work for Il Messaggero established him as an important portraitist of his generation.Taken at "Contemporanea", the major multidisciplinary exhibition staged in the underground car park at Villa Borghese, this portrait shows Beuys in his characteristic felt hat and fur-trimmed coat, holding a eucalyptus branch.
Bing, Ilse
Vue de ma fenetre, 8 rue de Varenne, Paris
Los 4114
Schätzung
3.000€ (US$ 3,448)
Vue de ma fenetre, 8 rue de Varenne, Paris. 1935. Vintage gelatin silver print on Agfa-Brovira paper, hinge-mounted in corners to original board. 19 x 28,2 cm. Signed and dated by the photographer in white ink in the lower right; signed, titled, and dated in ink and pencil on mount verso.
Ilse Bing's move from her native Frankfurt to Paris marked the beginning of the most significant period of her career. Immersed in the city's avant-garde and Surrealist circles, she worked in photojournalism, architectural, advertising and fashion photography, with her images appearing in publications such as Le Monde Illustré, Harper's Bazaar and Vogue. By 1931, her work was being exhibited in both France and Germany. Her early success and pioneering use of the Leica camera earned her the title "Queen of the Leica", coined by the critic and photographer Emmanuel Sougez, whom she met in 1931.
Literatur: Larisa Dryansky and Edwynn Houk. Ilse Bing. Photography Through the Looking Glass. New York: Abrams, 2006.
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© 2026 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
© 2026 Galerie Gerda Bassenge