Photographers: Charles Leinack (active 1850s-1860s), Alary & Geiser (active 1852-ca. 1864), A. Astorc (active 1860s), Eug. Jacquet (active ca. 1860s-1870s), L. Fragney (active ca. 1860s-1870s), Vve Plasse et Oberty (active 1860s), M. & Mme Prod’hom (active ca. 1865-1870), and others. People of Algeria. Late 1860s-1870s. 80 albumen prints, several hand-colored, mounted to carte-de-visite cards. Each ca. 10 x 6 cm. Several with photographers’ imprints on the recto or verso; most annotated in French in an unidentified hand on the verso.
This lot comprises a compelling group of 19th-century studio portraits depicting men, women and children from Algiers, Constantine, Bône, Biskra and surrounding regions, many shown in traditional dress within staged interiors. Period annotations identify the sitters as Kabyle, Ouled Naïl, Jewish, Arab and sub-Saharan, alongside military, social and occupational types. Produced for a European market, the photographs reflect the visual culture of colonial Algeria, combining ethnographic classification with the conventions of Orientalist studio photography.
Photographers: Charles Kroehle (1876-1902) and George Hübner (1862-1935). Indigenous Life in the Peruvian Amazon. 1888-91. 7 albumen prints. Each circa 15 x 22 cm. Most signed "Ch. Kroehle" or "Ch. Kroehle y Hübner" in the negative in the lower margin.
The German photographers Charles Kroehle and Georg Hübner are regarded as pioneers of photography in the Peruvian Amazon. Produced during their nearly three-year journey through eastern Peru from 1888 to 1891, these images belong to the earliest known photographic records of the Campa (Asháninka), Piro (Yine), Shipibo, Cashibo and other Indigenous peoples of the region. The series encompasses group portraits, river travel, hunting and village scenes, documenting varied forms of dress and ornament - including Western-style garments that may indicate contact with nearby European settlements and rubber plantations - as well as weaponry and dwellings. Particularly notable is the rare and well-known portrait of Kroehle and Hübner with Piro people from the Río Ucayali, gathered behind a hunted caiman. Beigegeben: 1 albumen print showing three Andean highlanders
Bears. 1889. 3 albumen prints from glass negatives. 19 x 14,8 cm and 14,5 x 19,8 cm. Each signed, located and dated "Ottomar Anschütz, Lissa (Posen) 1889" in the negative; with imprint "Ottomar Anschütz, Berlin. Selbstverlag." or "Ottomar Anschütz, Lissa (Posen). Selbstverlag." on verso.
Anschütz was among the pioneers of instantaneous photography. During the 1880s, he used a rapid focal-plane shutter to photograph living animals at the Breslau Zoological Garden and outdoors, achieving a sharpness and naturalness rarely seen in earlier zoological photography. Issued by the photographer as independent studies, these images were valued both as technical demonstrations and as models for artists, thus forming an important part of Anschütz’s work at the threshold of chronophotography.
Monkeys. 1886. 3 albumen silver prints from glass negatives. Each 19,5 x 14,7 cm. Each signed, located and dated "O. Anschütz, Lissa, Posen 1886" in the negative; each with imprint "Ottomar Anschütz, Berlin. Selbstverlag." on verso.
Three dynamic studies of live monkeys climbing ropes and branches.
Rue de la Parcheminerie. 1899. Albumen print. 21,8 x 17,8 cm. Titled "R. de la Parcheminerie" and numbered "3675" in pencil on the verso.
Eugène Atget’s photographs of Paris at the turn of the 20th century form a remarkable visual archive of the city’s streets, courtyards and fading pre-modern architecture. Often devoid of people, his images convey the traces of daily life through storefronts, signage and worn cobblestones. These understated urban views, rich in detail and atmosphere, reflect Atget’s quiet yet profound sensitivity to time, place and memory, and laid the groundwork for modern photographic approaches to the city. This early view of the commercial frontage and Louis XV façade at 29 rue de la Parcheminerie is characteristic of his attention to the overlooked textures of old Paris. Prints of this image are held by the Musée d’Orsay, Paris, and the Musée Carnavalet, Paris.
Atget, Eugène
Ancien couvent de l’Assomption, rue Cambon
Los 4006
Schätzung
1.200€ (US$ 1,379)
Ancien couvent de l’Assomption, rue Cambon. 1898. Albumen print. 17,7 x 22,2 cm. Titled "Couvent de l’Assomption, rue Cambon" and numbered "3580" in pencil on the verso; further pencil annotation "46".
Atget photographed the former Couvent des Filles-de-l’Assomption, on rue Cambon, shortly before its demolition in 1898. The keenly captured architecture is animated by the news kiosk, pasted notices, a pedestrian and horse-drawn carriage, joining documentary precision with a strong sense of the city’s passing street life. Prints of this view are held by the Musée d’Orsay, Paris, and the Musée Carnavalet, Paris.
Australia
Images of John William Lindt's home and photographic studio, the Hermitage,Narbethong, Victoria, Australia
Los 4007
Schätzung
2.000€ (US$ 2,299)
Photographer: John William Lindt (1845-1926) and others. Images of John William Lindt's home and photographic studio, the Hermitage, Narbethong, Victoria, Australia. 1880s-1890s. 31 albumen prints and 17 gelatin silver prints, some mounted to studio board, 3 albumen stereo views and 5 albumen cabinet cards. Most circa 15 x 20 cm and reverse, 18 x 20 cm, a few smaller, 2 panoramic views (12,5 x 32 cm). Some with title, number and photographer's name in the negative in lower edge; most annotated in pencil/ink on the verso.
John William Lindt was a German-born Australian landscape and ethnographic photographer, an early photojournalist and portraitist. After he had run away to sea at the age of seventeen, he deserted his vessel at Brisbane, and settled in Grafton, New South Wales by 1863. He worked for the photographer Conrad Wagner, whose studio he acquired in 1868 and established his own business. In 1876 he moved to Melbourne, where he opened a Collins Street studio and quickly gained recognition for his society and theatrical portraits, cityscapes and landscapes.
From ca. 1873, Lindt photographed Aboriginal people of the Clarence River region, outdoors and in the studio, using the demanding wet-collodion process. The latter compositions depict sitters in elaborate reconstructions of natural settings, surrounded by selected garments and implements, revealing the procedures by which the studio shaped its ethnographic imagery. In 1894, Lindt built The Hermitage at Blacks Spur, near Narbethong. It served as a residence, studio and guesthouse, where he moved a year later and lived there until his death in 1926.
Lindt traveled extensively in Australia and abroad, but he was particularly familiar with the mountainous forests between Healesville and Marysville. The present group offers a more private view of Lindt’s life, showing him with his family in the gardens and lush surroundings of The Hermitage, including a rare 1869 interior of his Grafton studio.
Provenienz: By descent to the current owner.
Photographer: John William Lindt (1845-1926). Studio portraits of Aboriginal Australians. 1873-76. 8 albumen prints, mounted to original board. Various sizes between circa 20 x 14 cm, 18 x 13, 15 x 20,5 cm, 13 x , 9,5 cm and 9 x 6 cm (2). Signed and titled by the photographer in ink below images on the mount; annotated and dated by the photographer in pencil on mount verso.
These studio portraits are mounted to their original board, which is signed and titled in ink by the photographer below the images on the mount. Passed on directly from the photographer by descent to the current owner, these objects are true artefacts of photographic history.
Provenienz: By descent to the current owner.
Australia
Views of military and merchant ships as well as military exercises
Los 4009
Schätzung
1.800€ (US$ 2,069)
Photographer: John William Lindt (1845-1926). Views of military and merchant ships as well as military exercises, Australia. 1878-1880s. 21 albumen prints, 2 mounted to studio board. Each circa 15 x 20 cm and reverse. Several with title, number and/or photographer's name in the negative in lower edge; most annotated in pencil on the verso.
The ships include the H.M.S. Nelson, S.S. Orient, S.S. Liguria, the May Queen and the training vessel Tsukuba with Japanese crew.
Provenienz: By descent to the current owner.
Australia
Views of rain forests and waterfalls in Australia
Los 4010
Schätzung
1.200€ (US$ 1,379)
Photographer: John William Lindt (1845-1926). Views of rain forests and waterfalls in Australia. 1880s. 30 albumen prints. Each circa 15 x 20 cm and reverse. Some with title, number and photographer's name in the negative in lower edge; most annotated in pencil on the verso.
This collection of picturesque views shows lush vegetation in and around Phantom Falls, St. Georges; Morley's Track and forests in Fernshaw; Erskine River; Watts River; Mosquito Flat; Batts Bend; Ovens River, Myrtleford and Stevenson Falls.
Provenienz: By descent to the current owner.
Vues de Paris en Photographie. 1850s-1860s. 26 albumen prints, mounted to album leaves. Each ca. 20 x 27 cm or reverse (mounts 31,5 x 42,5 cm). Each with the photographer’s “E. Baldus” stamp below the image on the mount. Bound in a contemporary full-leather folio album, the front board gilt-stamped “VUES DE PARIS / EN PHOTOGRAPHIE” around the arms of the City of Paris; spine with raised bands and gilt tooling.
A finely produced album comprising 26 large-format albumen prints of Parisian architecture and monuments by Édouard Baldus. Made in the 1850s and 1860s, at the height of Baldus’ career - when he was widely regarded as France’s leading architectural photographer - the album presents monumental views of Paris during its transformation under Napoleon III, captured with remarkable clarity and compositional precision. The photographs range from medieval and royal monuments to the architecture of the Second Empire, including Notre-Dame, the Arc de Triomphe, Place de la Concorde and the Louvre, as well as now-lost structures, such as the Palais de l’Industrie and the old Hôtel de Ville. The gilt title and City arms identify the volume as a prestige photographic record of the capital; a closely comparable album under the same title is preserved at the Metropolitan Museum of Art, New York.
Cathédrale Notre-Dame, façade ouest, Paris. 1857. Salted-paper print, mounted to card. 43,8 x 33,8 cm (mount 63,8 x 48,5 cm). Numbered "34" in the negative at lower right.
Taken from an elevated window in a neighboring building, this frontal view emphasizes the geometric order and sculptural richness of Notre-Dame’s west façade. It was produced during the cathedral’s nineteenth-century restoration, before Viollet-le-Duc’s spire was added, and belongs to Baldus’s numbered views of Paris monuments.
Literatur: Malcolm R. Daniel, with an essay by Barry Bergdoll. The Photographs of Édouard Baldus. New York: Metropolitan Museum of Art; Montreal: Canadian Centre for Architecture, 1994, ill. p. 188.
Baldus, Édouard
Plaster models and ornamental sculpture for the Nouveau Louvre
Los 4013
Schätzung
1.200€ (US$ 1,379)
Plaster models and ornamental sculpture for the Nouveau Louvre (Réunion des Tuileries au Louvre). 1855-57. 6 salted paper prints, mounted to original sheets. Varying sizes (mounts 31 x 45,5 cm). Numbered "793", "836", "851" and "859" in the negatives.
Baldus made this systematic photographic survey for Hector-Martin Lefuel’s vast project uniting the Louvre and Tuileries palaces. The group includes studies of sculptural models, reliefs, decorative panels and a pediment; no. 859 records Claude Leprêtre’s La Paix.
(Attributed to). Standing female nude. Circa 1855. Large-format salted paper print with slanted corners, mounted to board. 28 x 22,4 cm (mount 31,2 x 26 cm).
Auguste Belloc, initially trained as a painter of miniatures and watercolors, turned to photography in the early 1850s, when he distinguished himself in daguerreotype practice and contributed to early experiments in color stereoscopy. He later became known for his carefully staged nude studies, which combine academic tradition with photographic precision. His work is now held in major public collections, including the Museum of Modern Art, the Metropolitan Museum of Art, the Musée d’Orsay, and the Museum of Fine Arts Boston.
Photographer unknown. Germania monument at the Berlin victory parade, Lustgarten. 1871. 5 albumen stereo prints, mounted to orange card. Each ca. 8,7 x 17,8 cm. Publisher’s gilt imprint at left: “Kunstverlag Moser senior in Berlin”.
These cards depict the temporary Germania monument erected before the Berlin Palace for the entry of the victorious troops on 16 June 1871. The almost six-meter seated Germania embraces the allegorical figures of Alsace and Lorraine; the cylindrical base bears personifications of German rivers and a relief frieze of departing troops. The monument was a major element of the triumphal decorations staged along Berlin’s ceremonial route after the Franco-Prussian War.
Apse of Amiens Cathedral. Ca. 1855-1860. Albumen print, mounted to album card. 44 x 34 cm (mount 53,7 x 45,7 cm). Photographer's embossed stamp in lower left; printed title “Les Trois Ages” and imprints “Bisson Frères, Photog.” and “Victor Delarue, London.” on mount verso.
The Paris-based brothers Louis-Auguste and Auguste-Rosalie Bisson were noted for their large-format architectural photographs, publishing an extensive survey of European monuments between 1853 and 1862. This finely detailed view of Amiens Cathedral emphasizes its soaring buttresses, pinnacles and radiating chapels, with the statue of Pierre l’Ermite providing a sense of scale in the foreground.
Flower wreath. Circa 1855. Varnished salted paper print, mounted to thin card. 37,7 x 43 cm (mount 43,8 x 49,2 cm).
Originally trained as a textile designer, Adolphe Braun turned to photography in 1853 and soon began producing flower studies as models for textile, wallpaper and other decorative designs. Published in 1854, as Fleurs photographiées, the series won a medal at the 1855 Exposition Universelle in Paris and even attracted the admiration of Empress Eugénie, to whom Braun also presented an album of the photographs.
Flower study. Circa. 1855. Varnished salted paper print. 30,6 x 36,5 cm.
Flower study. 1854-1855. Albumen print, mounted to card. 24,8 x 29,7 cm (mount 29,5 x 39,2 cm). Numbered "2" in pencil at lower right of mount.
St. Moritz from the Johannisberg. Ca. 1870. Albumen print, mounted to card. 21,8 x 28 cm (mount 26 x 33 cm). Titled "St. Moritz taken from the Johannesberg." in ink below image.
This view belongs to Braun’s extensive Swiss landscape campaign, through which the photographer, already renowned for his flower studies, became a leading publisher of photographic travel views. Made for an expanding international market, these Alpine images balance topographical precision with the picturesque. The choice of St. Moritz reflects the growing prominence of the Engadine as a resort in the later nineteenth century; the seated figure in the foreground appears to be Braun’s brother.
Portraits of Russian types. 1860s. 12 albumen prints, mounted to original studio carte-de-visite. Each circa 9,5 x 5,5 cm. Several with number in the negative in lower right corner, bound as leporello in small grey canvas album with gilt-embossed title "Types Russes"on front cover.
The Scottish-Russian artist and photographer William Carrick was born in Edinburgh and raised in Kronstadt. In 1844, his family moved to St. Petersburg, where he enrolled at the Imperial Academy of Arts to study architecture. During a brief return to Edinburgh in 1857, Carrick met the photographic technician John MacGregor. The two returned to Russia together and established a studio in St. Petersburg, with MacGregor serving as Carrick’s assistant. Carrick quickly emerged as a pioneering photographer of Russian ethnographic subjects, documenting rural life with notable humanity and sensitivity. Popular with contemporary tourists, these images are now exceptionally rare.
Costume and Occupational Studies
Costume and occupational studies
Los 4022
Schätzung
600€ (US$ 690)
Photographer unknown. Costume and occupational studies. 1860s. 20 hand-colored albumen cartes-de-visite prints, mounted in mat frames and mounted to board. Each circa 10 x 6 cm. Collection stamp below images on the mount; cut out hand-written titles on mount verso.
Provenienz: Simon Moritz von Bethmann (1811-1877), Ludwig Simon Moritz von Bethmann (1844-1902) Collection
Photographers: Scowen & Co. (active 1876-1893), The Colombo Apothecaries Co. Ltd. (active ca. 1892-1920s), and unknown. Portraits and “Types” from Ceylon. 1880s–1900. 6 albumen prints. Various sizes between 26,3 x 21 cm and 22,3 x 29 cm. 3 prints credited in the negative “Scowen & Co., Ceylon”; 1 marked “C.A. Co. Ltd.”; 1 print numbered “773”. Handwritten captions include “Kandyan Chiefs & Ladies. Ceylon.” and “Brahman Man Woman”; the original caption "Veddahs" appears in the negative on one print.
The group includes formal portraits of Kandyan families and a young girl, a couple in ceremonial dress, a coffee picker, and a portrait of two Vedda men. It brings together commissioned or carefully staged portraiture with commercial images made for the late nineteenth-century travel market. The historical captions reflect the colonial vocabulary through which Ceylon’s communities were then marketed.
Photographers: Skeen & Co. (active 1860-1903), Scowen & Co. (active 1876-1893), and unknown. Views of Ceylon. 1880s. 13 albumen prints, mounted to boards. Each between 21 x 27,5 cm (mount 22,5 x 29,5 cm) and 21,5 x 28 cm (mount 25 x 31,5 cm). Some with the photographer’s credit and/or number printed in the negative; several mounts captioned in pencil, including “Ratnapura”, “Colombo from the Cathedral Tower”, “Kadugannawa Pass between Colombo and Kandy” and “Une rue à Colombo”.
A varied late nineteenth-century photographic itinerary through British Ceylon, including tea pluckers on an estate, a bathing scene at a stepped waterfall, a village street, Ratnapura river craft, Colombo harbor and street views, a temple complex, hill-country roads and a mahout with elephant. The selection combines scenic views made for circulation in the colonial travel market with depictions of transport, agricultural labor and local daily life.
Photographer: Johann Friedrich Wilh. Th. Roux (1806-1880). Portrait of a woman. 1852. Quarter-plate daguerreotype. With ornamental painted surround, taped behind glass, annotated and dated in ink as well as photographer's label affixed to the verso.
Johann Friedrich Wilhelm Theodor Roux was a prominent 19th-century German painter and early photography pioneer. He achieved widespread recognition for his vibrant pastel portraits before successfully expanding his artistic practice into daguerreotype photography. His works are preserved in the collection of the Landesmuseum Kassel.
Photographer: Carl Gustav Oehme (1817-1881). Portrait of an older woman. Mid-1850s. Quarter-plate daguerreotype, with gilt-lined paper surround; photographer's label, address "Jäger Str. No. 19" and annotated in ink /pencil on verso of daguerreotype, mounted under glass in contemporary ornamental wooden frame.
Carl Gustav Oehme was an early German photographer and apparatus builder. He studied the Daguerreotype process in Paris after meeting Louis Daguerre in 1840 and continued to produce daguerreotypes until 1862. The same year Oehme was awarded a medal at the World Exhibition in London.
Photographer: P. Langrené (active 1850s). Portrait of a boy. Ca. 1855. Daguerreotype. Plate 10 x 8 cm (frame 16 x 13,8 cm). Photographer’s printed advertising label affixed to frame verso. Framed under glass in an oval ebonized wood frame with brass liner.
Daguerreotypes
Stereoscopic portrait of a young man beside an urn of flowers
Los 4028
Schätzung
300€ (US$ 345)
Photographer unknown. Stereoscopic portrait of a young man beside an urn of flowers. Ca. 1855. 2 hand-colored daguerreotypes arranged as a stereoscopic pair. Overall 8,5 x 17,4 cm. Framed under glass in the original black passe-partout mount.
Samoans playing cards. 1894. Albumen print. 15,1 x 20 cm. Number and caption "SAMOANS PLAYING CARDS" in the negative along the lower edge.
John Davis was Samoa’s first resident commercial photographer, working in Apia from the 1870s until 1903. This motif is documented on a Davis cabinet card issued in Apia in 1894. The composed scene of four Samoan women at a card game exemplifies the views of local life produced for the late nineteenth-century visitor and export market.
The Crystal Palace at Sydenham. 1854. 3 albumen prints, printed early 1860s. 23,7 x 29 cm, 23 x 28 cm and 16,2 x 19,5 cm. Annotated in pencil on the verso.
This group comprises compelling views of the Crystal Palace at Sydenham shortly after its completion, including exterior views and a detailed study of John Bell’s allegorical sculpture Una and the Lion, which was displayed within the Palace’s grand halls.
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Galerie Bassenge
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Öffnungszeiten:
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Telefon: +49 30 8938029-0
Fax: +49 30 8918025
E-Mail: info (at) bassenge.com
Impressum
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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