Kesting, Edmund
Portrait of the art dealer Ludwig Gutbier
Los 4190
Schätzung
800€ (US$ 920)
Portrait of the art dealer Ludwig Wilhelm Gutbier (1873-1951). 1934. Vintage large-format gelatin silver print (double exposure). 40,5 x 29 cm. Signed and annotated "Foto-Komposition" by the photographer in ink in the lower margin; photographer's copyright stamp and further annotations in ink and pencil on the verso. Hinge-mounted in mat.
In 1893, Ludwig Wilhelm Gutbier succeeded his father, Adolf Ludwig Gutbier, as director of the Ernst Arnold Gallery in Dresden, which became one of Germany's leading galleries for modern art in the early 20th century. He organized a major exhibition of Impressionist art in 1899 and a presentation of works by artists of the Brücke group in 1910. Under his leadership, the Ernst Arnold publishing house was established in 1919, alongside a collection of graphic art. Following the gallery's closure due to financial difficulties in 1934, Gutbier reopened it in Munich in 1937, establishing business relationships with leading figures of the Nazi regime. The gallery was destroyed in 1944, and after the war, the American occupying forces confiscated his property and prohibited him from trading.
Photographer: Peter Preller (b. 1940). Martin Kippenberger, Hamburg. 1973-74. 6 unique polaroid color prints. 11 x 9 cm.
Made during Kippenberger's studies at the Hamburg Academy of Fine Arts, these Polaroids show the young artist at Peter Preller's interior design studio. One depicts him with the artist Ina Barfuss, another in front of a collaborative work by Barfuss and Thomas Wachweger, and a third with Ursula Sudeck, an editor of Schöner Wohnen.The images offer an early record of Kippenberger before his move to Berlin in 1978, where he co-founded "Kippenbergers Büro" with Gisela Capitain and became involved in the music and performance venue SO36. His later work, associated with the "Neue Wilde", is known for its irreverent wit and critical engagement with artistic and social conventions.
Klemm, Barbara
Fall der Mauer, Berlin, 10. November 1989
Los 4192
Schätzung
900€ (US$ 1,034)
Fall der Mauer, Berlin, 10. November 1989. Gelatin silver print, printed later. 19 x 27 cm (sheet 23,7 x 30,4 cm). Titled by the photographer in ink in the lower margin.
A leading German photojournalist, Barbara Klemm documented the political and social history of a divided Germany with a distinctive, observant eye. Taken the day after the opening of the Berlin Wall, this photograph records a pivotal moment in the peaceful transition that led to German reunification.
Literatur: Volker Rattemeyer, Mart Ehrich and Barbara Klemm. Mauerfall, 1989. Wädenswil: Nimbus, 2011, illustrated.
Berlin Mitte, 1992. Gelatin silver print, printed later. 19,3 x 28 cm (23,8 x 30,4 cm). Signed and titled in ink by the photographer in lower margin.
Abgestellte Vergangenheit, Moskau, 1991. Gelatin silver print, printed later. 19,3 x 28 cm (23,8 x 30,4 cm). Signed and titled in ink by the photographer in lower margin.
Tree-lined country road. 1929-32. Vintage gelatin silver print. 20,5 x 16,5 cm. Photographer’s “Foto H. Koch Halle/S” and estate stamp on the verso.
Heinrich Koch studied mural painting at the Bauhaus in Weimar and Dessau from 1922-1928 before working as an interior designer in Halle an der Saale until 1929. In 1930, he began studying photography under Hans Finsler at Burg Giebichenstein, subsequently becoming his assistant and succeeding him in 1932. Following the closure of the photography class by the National Socialists in 1933, Koch emigrated to Prague, where he died in a car accident in 1934.
Literatur: T. O. Immisch and Gunnar Lüsch, eds. Heinrich Koch: Photographien (1929-1934). Halle: Mitteldeutscher Verlag, 2002.
Kreuzberg, Berlin. 1974. Vintage ferrotyped large-format gelatin silver print on Agfa paper. 40,2 x 30,7 cm. Signed and dated by the photographer in pencil on the verso.
Dieter Kramer moved to Kreuzberg in 1968 and documented the district and its inhabitants over the following decades. His photographs trace its transformation from a working-class neighbourhood on the edge of West Berlin into a centre of protest, squatting and alternative culture.
Literatur: Dieter Kramer. Kreuzberg 1968-2013. Abbruch, Aufbruch, Umbruch. Berlin: Nicolai Verlag, 2013.
Maison de France, Berlin. Ca. 1950. Vintage gelantin silver print on Afga-Brovira paper. 39,7 x 29,8 cm. Photographer's blind stamp in lower left corner.
Alongside Arthur Köster and Emil Leitner, Max Krajewsky was among the leading architectural photographers working in Berlin. His extensive body of work combines technical precision with a keen sense of architectural form, providing an important record of the city's changing built environment. The Maison de France, opened in 1950 as a centre for Franco-German cultural exchange, was among the early postwar reconstructions on the Kurfürstendamm.
Kreuzberg, Berlin 1980s. 2 vintage gelatin silver prints. 39,8 x 26,7 cm and 30 x 40 cm. Each signed by the photographer in pencil and 1 also with photographer's stamp on the verso.
Wolfgang Krolow's photographs of Berlin are a visual chronicle of the city's ever-evolving identity and history. With a keen eye for capturing urban life, Krolow's images offer a compelling glimpse into its streets, architecture, and the people who inhabit them. His work often combines elements of documentary and street photography, portraying the city's rich cultural tapestry.
Krolow, Wolfgang
Portraits of the photographer Wolfgang Krolow
Los 4199
Schätzung
500€ (US$ 575)
Photographers: Ernst Volland and Peter Hebler. Portraits of the photographer Wolfgang Krolow. 1984/85. 2 gelatin silver prints, printed later. 40,3 x 30,4 cm and 18 x 23,9 cm. Each signed and titled by the photographer in pencil as well as with photographer's stamp on the verso, 1 also dated.
General Strike, San Francisco. 1934. Gelatin silver print, printed early 1970s. 34,2 x 26,5 cm (sheet 35,5 x 27,8 cm). Photographer's "1163 Euclid Avenue Berkeley, California" stamp and number in pencil on verso.
During the Great Depression, Lange turned from studio portraiture to photographing the social and economic hardship she encountered on the streets of San Francisco. Her images of breadlines and labour demonstrations established the direct, socially engaged approach that would define her documentary work. This photograph of the 1934 General Strike combines a strong sense of composition with close attention to the people and tensions surrounding the labour movement.That year, economist Paul Taylor, who later became Lange's second husband, used another of her photographs to illustrate an article on the strike in Survey Graphic. It marked the beginning of their professional and personal relationship.
Literatur: Robert Coles. Dorothea Lange: Photographs of a Lifetime. New York: Aperture 1982, ill. p. 47.
Therese Thau Heyman, Sandra S. Phillips and John Szarkowski. Dorothea Lange: American Photographs. San Francisco: SFMOMA, 1994, ill. pl. 10.
Anhalter Bahnhof, Berlin. 1957. Vintage ferrotyped gelatin silver print on Agfa-Brovira paper. 23,1 x 17,5 cm. 2 photographer's/copyright stamps and annotated as well as dated in pencil on the verso.
The German photojournalist Klaus Lehnartz was known for his perceptive and wide-ranging documentation of postwar society. His work spans political events, street life, and cultural moments, with a particular focus on Berlin during the period of German division. Through a clear visual language and keen observational eye, Lehnartz captured the shifting identity of the city and its people at a pivotal time in history.
Ecole des Garcons Mairie, France. 1950s. Vintage ferrotyped gelatin silver print on doubleweight Agfa-Brovira paper. 23,2 x 29,6 cm. Photographer's estate stamp and annotated in pencil on the verso.
The German photographer Herbert List was a major figure in 20th-century photography, known for his refined visual language that combined classical aesthetics with the modernist sensibilities of his time. Deeply influenced by his background in art history and his exposure to Surrealism and the Bauhaus movement, List created images that often imbued everyday subjects with a dreamlike or metaphysical quality. His work spans still lifes, architectural studies, and portraits - many of which reflect a quiet, contemplative mood, displaying a fascination with form, light and shadow.
Stairs, Victor Emmanuel Monument, Rome. Early 1950s. Vintage ferrotyped gelatin silver print on doubleweight Agfa-Brovira paper. 22,3 x 28,8 cm. Photographer's agency stamp, typed paper title label and annotated in pencil on the verso.
Auf dem Markt von Tenejapa, Mexico. 1958. Vintage gelatin silver print on doubleweight Agfa-Brovira paper. 22,3 x 28,8 cm. 2 photographer's stamps and annotated in pencil on the verso.
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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