Baalbeck. (Héliopolis) Grandes assises du temple du Soleil. 1859. Albumen print from a paper negative, mounted to card. 28 x 21,4 cm (mount 59,5 x 45,5 cm). Printed title and caption "Grandes assises du temple du Soleil."; numbered "36" at lower right.
Plate 36 from de Clercq’s Voyage en Orient. Villes, monuments, et vues pittoresques de Syrie, made during the 1859 archaeological expedition in Syria and Asia Minor led by Emmanuel-Guillaume Rey. Rather than presenting Baalbek as a panoramic ruin, de Clercq brings the camera close to its colossal foundation courses, making the ancient masonry’s scale, sequence and weathered surface the subject of the photograph. The unusually restrained composition is characteristic of his work: a precise archaeological record that also gives monumental architecture a striking formal presence.
Literatur: Rolf Mayer, ed. Louis de Clercq: Voyage en Orient (exhibition catalog). Stuttgart: Edition Cantz, 1989, ill. p. 90, fig. 36.
Karnak: South Propylon and Obelisks. 1850. 2 salted-paper prints from paper negatives, printed 1852, mounted to printed sheets. 16,2 x 19,8 cm (sheet 24,2 x 23,8 cm) and 20,2 x 14,8 cm (sheet 44,2 x 31,4 cm). Each with printed "THEBES.", "Maxime Du Camp", "Gide et Baudry, Editeurs." and "Imprimerie Photographique de Blanquart-Evrard, à Lille"; captioned "PALAIS DE KARNAK. PROPYLÉES DU SUD.", pl. 30, and "PALAIS DE KARNAK. LES OBÉLISQUES.", pl. 44.
Taken during Du Camp’s archaeological mission of 1849-51, these plates belong to Égypte, Nubie, Palestine et Syrie, the first photographically illustrated book published in France. The numbered Karnak views treat the temple complex as a systematic visual survey, each recording a discrete element of its ancient architecture. Printed as salted-paper positives from paper negatives at Blanquart-Évrard’s photographic press, they converted Du Camp’s expeditionary photographs into a reproducible published edition rather than singular travel images.
Ermakov, Dimitri Ivanovich
Georgia and the Georgian Military Road
Los 4033
Schätzung
3.000€ (US$ 3,448)
Georgia and the Georgian Military Road. 1880-1900. 14 albumen prints. Each between 17,7 x 24 cm and 21,5 x 27,5 cm. Several numbered and captioned in Cyrillic in the negatives, including "Коби" [Kobi], "Ананури" [Ananuri], "Ларс" [Lars] and "Мцхета" [Mtskheta].
A representative group combining market and workshop scenes, urban views of Tiflis, and landscapes along the Georgian Military Road. The commercial images depict vendors and craftsmen in front of their shops, while the topographical sequence follows the historic route through mountain valleys and gorges to Ananuri, Kobi, Lars and Mtskheta.
Forest of Fontainebleau. 1870-1874. 6 albumen prints from wet-collodion glass negatives, mounted on blue card. Each ca. 18,8 x 24,6 cm to 21 x 28,5 cm (mounts 35 x 51 cm). Most with faint "C. FAMIN PHOTOGRAPHE PARIS" blindstamp; numbered in the negatives and in pencil on the mounts, including 190, 202, 232, 245 and 258. Each mount stamped "PHOTOGRAPHIES ARTISTIQUES / A. FONCELLE / 3 QUAI MALAQUAIS."
Famin’s Fontainebleau photographs, issued from the 1860s, belong to a body of work that served both as landscape studies in their own right and as visual resources for painters working in and around Barbizon. This coherent selection concentrates on winding paths, monumental trees and quiet woodland interiors. The serial numbering and matching Foncelle mounts show the prints as part of Famin’s marketed series, rather than as later assembled views. Their shifting formats - from broad landscape studies to intimate vertical portraits of ancient trees - give the group both visual rhythm and a strong unity of place.
Fenton, Roger
Generals and Regiments of the Crimean War
Los 4035
Schätzung
2.500€ (US$ 2,874)
Generals and regiments of the Crimean War from Photographic Pictures of the Seat of War in the Crimea. 1855. 12 salted paper prints, mounted to card. Each between 13,3 x 15,6 cm and 20 x 14,4 cm (mounts 60 x 44,5 cm). With captions and printed credit line on the mount: "Photographed by R. Fenton. Manchester, Published by T. Agnew & Sons, March 25th, 1856. London, P. & D. Colnaghi & Co., Paris, Moulin 23, Rue Richer. New York, Williams & Co."
This group belongs to Roger Fenton’s landmark series Photographic Pictures of the Seat of War in the Crimea, published by Thomas Agnew & Sons in 1855-56. Made during Fenton’s expedition to the Crimea in 1855, the photographs portray officers, regiments, encampments and the ordered routines of military life. Deliberately avoiding the depiction of violence or suffering, Fenton’s photographs embody the Victorian ideals of stoicism and dignified heroism, and were instrumental in shaping contemporary public perception of the war. Today, they are recognized as a foundational achievement in the history of war photography.
Frith, Francis
Views of the Sphynx and the Great Pyramid Geezeh
Los 4036
Schätzung
1.500€ (US$ 1,724)
The Sphynx and Great Pyramid, Geezeh; The Sphynx, Geezeh. 1857. 2 albumen prints from wet-collodion glass negatives. 14,8 x 21,8 cm and 15,8 x 23 cm. Signed, dated and numbered in the negatives: “Frith E. No 71 1857” and “Frith 154”.
Originally a cutlery apprentice and later a grocer, Frith turned to photography in the early 1850s. Between 1856 and 1860, he undertook three major expeditions through Egypt and the Near East, making wet-collodion glass plate negatives in a portable darkroom and publishing the resulting albumen prints for an international audience. These two early Giza views belong to the foundational group from which Frith developed his celebrated Egyptian publications, combining compositional clarity with archaeological precision and an evocative sense of place. His work established a new model for photographic travel documentation, serving both scholarly interest in ancient monuments and the Victorian market for images of the Near East.
Seated nude with doves. Ca. 1910. Albumen print. 20,8 x 14,5 cm. Photographer’s studio stamp "Proprietà Artistica: Vincenzo Galdi, Via Sardegna, 55, Roma" and numbered "2421" in pencil on the verso.
Galdi’s studies of the female nude move deliberately between academic idealization and fin-de-siècle eroticism. In this poised studio composition, the seated model is accompanied by doves - traditional attributes of Venus - which lend the scene a lightly mythological register. The constructed pose and controlled illumination temper its sensuality with an almost sculptural clarity.
Female nude among foliage. Ca. 1900. Albumen print. 22,2 x 16,8 cm. Photographer’s "VINCENZO GALDI / Via Campania lett: B / ROMA" studio stamp and numbered "690" in pencil on the verso.
Galdi’s arrangement of foliage and patterned drapery creates a deliberately staged pastoral setting for the seated nude. The sitter’s relaxed, direct pose tempers the allusion to the academic life study with a strikingly modern intimacy, characteristic of Galdi’s Roman female nude studies.
Photographer: Étienne Carjat (1828-1906). Gioachino Rossini. 1862. Woodburytype, printed 1876, mounted to board. 23,8 x 19,1 cm (mount 34,4 x 25,2 cm). Printed below image: “Galerie Contemporaine, 126, boulevard de Magenta,” “Phot. Goupil et Cie.” and “Cliché Carjat, 10, rue Notre-Dame-de-Lorette”; titled “ROSSINI.”
Before opening his Paris studio in 1861, Étienne Carjat was active as a journalist and caricaturist, and became one of the most perceptive portraitists of Second Empire artistic and intellectual life. His direct, closely framed compositions focus on the sitter’s face, bearing and psychological presence. This expressive likeness presents Gioachino Rossini, among the nineteenth century’s most celebrated composers, in a deliberately unembellished setting that lends his gaze and features a quietly commanding force.
Literatur: Galerie contemporaine, littéraire, artistique. Vol. 3, no. 24. Paris: Ludovic Baschet, 1877, n.p.
Photographer: Étienne Carjat (1828-1906). Charles Baudelaire. Ca. 1863. Woodburytype, printed 1877, mounted to board. 23,2 x 18,2 cm (mount 34,2 x 25 cm). Printed upper margin: "GALERIE CONTEMPORAINE"; below image: "126, boul. Magenta. – Paris," "Phot. Goupil et Cie." and "Cliché Carjat et Cie."; titled "CH. BAUDELAIRE" and captioned "Né à Paris en 1821, mort en 1867."
Carjat photographed Baudelaire on several occasions, but this closely framed 1863 likeness became the poet’s canonical photographic image. Baudelaire praised the result in a letter to Carjat of 6 October 1863. Published nine years after the poet’s death in Goupil’s Galerie contemporaine, littéraire, artistique, it brought this intensely direct portrait to a broad public among the series’ leading literary, artistic and political figures.
Literatur: Galerie contemporaine, littéraire, artistique. 3rd year, no. 1. Paris: Ludovic Baschet, 1878, n.p.
Photographer: Gaspard-Félix Tournachon Nadar (1820-1910). George Sand. 1864. Woodburytype, printed ca. 1876, mounted to board. 23,1 x 17,1 cm (mount 29,7 x 22,5 cm). Printed below image: “Galerie Contemporaine” and “Cliché Nadar”; titled “GEORGE SAND.”
Made during Nadar’s developing friendship with Sand, this 1864 portrait belongs to a group of sittings in which the novelist took a close interest. Before one appointment, she wrote that Nadar would remake her portrait “until he succeeds.” Against a plain background, the image concentrates on her face and distinctive striped dress, conveying the strength and dignity for which the celebrated writer was admired. Sand subsequently made Félix and Ernestine Nadar her preferred portraitists.
Literatur: Galerie contemporaine, littéraire, artistique. 1st year, 2nd series, no. 37. Paris: Ludovic Baschet, 1876, n.p.
Youth with laurel wreath. Ca. 1900. Salted paper print. 22,6 x 16,8 cm. Photographer’s "W. VON GLOEDEN / TAORMINA (SICILIA)" studio stamp and numbered "1590" in blue crayon on the verso.
Throughout his Taormina work, Gloeden used local models, outdoor settings, drapery and classical attributes to create photographs that move between portraiture and tableau. Wreaths, antique costume and architectural props allowed contemporary sitters to assume idealized, timeless identities. This close study distills the characteristic tension in his work between the individual presence of the model and the classicizing fiction of the scene.
Gloeden, Wilhelm von
Elderly man and youth at fountain
Los 4043
Schätzung
1.200€ (US$ 1,379)
Elderly man and youth at fountain. 1902. Salted paper print, printed 1909 or later. 17,7 x 22,6 cm. Faint violet photographer’s "W. VON GLOEDEN / TAORMINA (SICILIA) / PROPRIETÀ ARTISTICA" studio stamp and "GRANDE MEDAGLIA D’ORO / DAL MINISTERO PUBBLICA ISTRUZIONE / 1909" award stamp on the verso; further pencil annotations.
The staged setting of white drapery, garden foliage and an ornate fountain belongs to Gloeden’s classically inflected Taormina tableaux. Costume, pose and architecture transform the scene into an idealized vision of an imagined Mediterranean past.
Gloeden, Wilhelm von
Almond trees in blossom at Monte Ziretto, Taormina
Los 4044
Schätzung
1.000€ (US$ 1,149)
Almond trees in blossom at Monte Ziretto, Taormina. 1903. Albumen print. 22,5 x 16,8 cm. Blue-violet studio stamp on verso: “W. VON GLOEDEN / TAORMINA (Sicilia) / PROPRIETÀ ARTISTICA”; pencil annotation in upper left on verso.
This view, cataloged by Gloeden as no. 2645, captures Monte Ziretto above Castelmola in the hills behind Taormina at the height of the almond blossom. The carefully placed figures animate the secluded path and transform the keenly observed Sicilian landscape into a pastoral vision - an evocative counterpart to the Arcadian figure compositions for which Gloeden is best known.
Literatur: Wilhelm von Gloeden - Guglielmo Plüschow - Vincenzo Galdi. Paradis Sicilien: Paysages, Portraits, Nus 1890-1905. Paris: Au Bonheur du Jour, 2008, ill. p. 12.
Two children with a kid goat. Ca. 1909. Albumen print. 21,7 x 16,9 cm. Numbered "2255" in blue pencil on the verso.
This photograph belongs to the ethnographic strand of Gloeden’s Taormina practice, in which local sitters were presented for an international audience through an idealized vision of Sicilian rural life.
Photographer unknown. Selected views of the Acropolis. Circa 1860s/70s. 6 albumen prints, mounted to board. Each between ca. 15 x 21 cm and 21 x 26,5 cm or reverse (mounts 32 x 44 cm or reverse).
The views include the Propylaea from the east, a general view of the Acropolis and the South Slope, the Parthenon, the Arch of Hadrian, the Erechtheion. An attractive group of views that give an early impression of the historic site.
Thèbes, Temple de Gournah. 1854. Salted paper print from a waxed paper negative, mounted to board. 23,5 x 29,5 cm (mount 39,8 x 57 cm). Signed in the negative at lower right; titled in ink on the mount at lower left.
During his 1853-54 journey along the Nile, Greene made one of the earliest sustained photographic surveys of Egyptian antiquities. Working from waxed paper negatives, he produced views in which the open foreground and broad expanse of sky give the ruin an exceptional formal clarity. This view depicts the columned remains of the Temple of Gournah on the west bank of Thebes.
Greene, John Beasley
Nubie. Speos de Sebouah, Pylones
Los 4048
Schätzung
1.200€ (US$ 1,379)
Nubie. Speos de Sebouah, Pylones.1853-1854. Salted paper print from a waxed paper negative, mounted to board. 23,2 x 30 cm (mount 39,8 x 55,8 cm). Signed and numbered "M. 7" in the negative in lower margin; titled in ink lower left on the mount.
This view records the pylon façade of the temple at Wadi es-Sebua, a Ramesside sanctuary dedicated to Amun-Ra and Ra-Horakhty. Its rigorous frontal composition and broad, unpopulated foreground exemplify Greene’s distinctly modern, archaeological approach to the Egyptian monument.
Hanfstaengl, Franz
Early views of Munich: Die Theatinerkirche und die Feldherrnhalle; Die neue Pinakothek; Das Siegesthor
Los 4049
Schätzung
1.200€ (US$ 1,379)
Early views of Munich: Die Theatinerkirche und die Feldherrnhalle; Die neue Pinakothek; Das Siegesthor . 1854. 3 large-format salted paper prints, each mounted to board. Each circa 31,5 x 38,3 cm. Each with title in the negative in lower corners, collection stamp, photographer's name printed and ornamental hand-painted title below the image on the mount.
These early views of Munich, taken in 1854, testify to Franz Hanfstaengl’s rapid adoption of the wet-collodion process. Frederick Scott Archer had published the process in March 1851 and exhibited examples at London’s Great Exhibition later that year. As one of its early German practitioners, Hanfstaengl exploited the new medium’s exceptional descriptive clarity as did many other international photographers.
Provenienz: Simon Moritz von Bethmann (1811-1877), Ludwig Simon Moritz von Bethmann (1844-1902) Collection
Literatur: Heinz Gebhardt. Franz Hanfstaengl. Von der Lithographie zur Photographie. Munich: C.H. Beck, 1984, ill. p. 136.
Photographers: Lai Afong (ca. 1839-1890), Pun Lun Studio (active ca. 1864-1907), and unknown. Views of Hong Kong. 1880s. 11 albumen prints. Each between 19,5 x 25,5 cm and 21,5 x 27,5 cm. Some annotated in pencil on the verso.
This group of photographs captures main sites of colonial-era Hong Kong in the late 19th century, including Victoria Harbour, Queen’s Road Central, St. John’s Cathedral, the Zoological and Botanical Gardens, as well as the iconic stone steps of Pottinger Street with sedan chair and rickshaw bearers.
Photographer: Samuel Bourne (1834-1912), Edward Taurines (active 1885-1902), Shepherd & Robertson, Skeen & Co. and unknown. Views and types of India and Ceylon. 1870s-1890s. 27 albumen prints, mounted to board. Each ca. 22 x 29 cm (mounts 32 x 39,5 cm) and reverse. Some signed and numbered in the negative in lower corners.
This group of photographs comprises a selection of atmospheric views of India and Ceylon as well as interesting depictions of people of those countries.
Literatur: Ludger Derenthal, Raffael Dedo Gadebusch, Katrin Specht, eds. Das koloniale Auge. Frühe Porträtfotografie in Indien. Leipzig: Koehler & Amelang, 2012, ill. pp. 126, 128, 150 and 154.
Photographer: Willoughby Wallace Hooper (1837-1912). Famine victims, Madras. 1876-1878. 5 albumen prints. Each 10 x 15,5 cm. Each with photographer's monogram and number in lower left corner in the negative.
A British army officer stationed in India, Willoughby Wallace Hooper also contributed photographs to the colonial survey The People of India (1868-75). His famine photographs are a powerful yet ethically complex record of the Great Famine of 1876-78, that affected large areas of southern and central India and caused more than 5,5 million deaths.
Photographer: Baron Raimund von Stillfried-Ratenicz (1837-1916). Japanese costume and genre studies. 1870s. 4 hand-colored albumen prints, mounted to card. Ca. 26,5 x 20,5 cm (mounts ca. 60,5 x 47,5 cm), or reverse. Later pencil annotations and inventory labels on versos.
These four prints are characteristic examples of Stillfried’s “costumes”: a modular stock of hand-colored genre subjects devised for the high-end Yokohama album trade. Developed during the first years of his independent practice, this repertoire combined repeatable compositions from glass negatives with painstaking hand-coloring by specialist studio staff, giving commercially issued photographs the finish and visual authority of singular objects. One print in this lot, Lady Writing, appears in Views and Costumes of Japan (ca. 1876), whose frontispiece explicitly distinguishes Stillfried as maker of the negatives from Stillfried & Andersen as printer and publisher.
Literatur: Hugh Cortazzi and Terry Bennett. Japan: Caught in Time. Reading: Garnet Publishing, 1994, ill. pp. 97, 105, and 108 (same studio backdrop on pp. 97 and 105).
Japan
Japan: Yokohama, Tokyo, Kamakura, Nikko, Kobe and environs
Los 4054
Schätzung
1.200€ (US$ 1,379)
Photographer: Usui Shūsaburō Studio (active ca. 1875-1894). Views of Japan: Yokohama, Tokyo, Kamakura, Nikko, Kobe and environs. 1880s. 48 hand-colored albumen prints, mounted to album leaves. Each ca. 20,8 x 25,2 cm or reverse (album pages 27,8 x 34,4 cm). Numbered and captioned in the negatives. Bound in contemporary black-lacquered boards with gilt and polychrome decoration; gilt page edges (overall size 29 x 37 x 4 cm).
The album traces a scenic itinerary from Yokohama through Tokyo and Kamakura to Nikko, before continuing to Kobe and the Osaka railway. It brings together panoramas, urban streets, temple and shrine complexes, Buddhist monuments, gardens, waterfalls, lakeside views and mountain settlements, with occasional figures animating the sequence. The selection moves deliberately between the treaty-port city, the capital, pilgrimage sites and celebrated resort landscapes, offering a comprehensive late-nineteenth-century image of Japan for the foreign traveller.
Photographers: Esaki Reiji (1845-1910), Shin-e-do, Kobe (active ca. 1894-1901). Japanese genre scenes and portraits. 1890s. 5 hand-colored albumen prints. Each ca. 26,2 x 20,4 cm or reverse. One with oval violet distributor’s stamp on verso: “PHOTOGRAPH DEPOT / SHIN-E-DO / KOBE JAPAN”; two captioned and numbered in the negatives: “1609 PLAYING GO” and “1517 GIRLS PLAYING KOTO AND SAMISEN”; one further print numbered “263”.
A cohesive group of Meiji-period export photographs, depicting women in kimono in a formal portrait and in carefully composed scenes of music, tea drinking and Go. The hand-coloring is remarkably delicate, reserving subtle accents for textiles, hair ornaments, furnishings and painted screens while preserving the soft tonal modelling of the albumen prints. Such photographs were made for the international souvenir market, presenting Japanese dress, domestic interiors and cultivated pastimes in a composed, decorative visual language.
John Milne and W.K. Burton. The Great Earthquake in Japan 1891. Photographs principally by William Kinninmond Burton (1856-1899), with contributions by Kin Miyashita (active late 19th century), Saburō Aoyama (active late 19th century), Kusakabe Kimbei (1841-1934) and Bokuyō Nakamura (active late 19th century). 5 l., 10 p., 30 photomechanical plates by Ogawa Kazumasa (1860-1929), each with accompanying text page, and 1 map. Images each ca. 22,5 x 28,5 cm. Bound in original emerald-green cloth album with gilt-stamped title on front cover. Yokohama: Lane, Crawford & Co., ca. 1893.
This scarce second edition is an important early photographic record of the Mino–Owari, or Nōbi, earthquake of 28 October 1891. The most powerful inland earthquake recorded in modern Japan, it devastated the provinces of Mino and Owari, killing more than 7,000 people and destroying some 140,000 buildings. The plates document collapsed bridges, buckled railway lines, ruined factories and hospitals, temporary shelters and displaced inhabitants, tracing the disaster’s impact on both traditional settlements and the modernizing infrastructure of Meiji Japan.
Ogawa’s finely printed photomechanical plates convey the scale and human consequences of the destruction with exceptional immediacy. Accompanying texts give detailed accounts of the damage to life and property, while the final plate extends the volume’s comparative scope through six views of earthquake damage in Manila and Italy.
Photographer: Fedor Schulze (1836-1908) and unknown. People of Java and Singapore. 1880s-1890s. 18 albumen prints, mounted to board. Each ca. 26 x 19,5 cm (mounts 40,5 x 31,5 cm) and reverse.
A compelling group of studio portraits from Java and Singapore, combining strong individual presence with the rich decorative language of late nineteenth-century commercial photography. German-born former KNIL officer Fedor Schulze established his Batavia studio in the 1890s, where he marketed “types and views” alongside his travel publications; the present selection is characteristic of this flourishing visual culture.
Konstantinou, Dimitrios and Unknown
Selected views of the Acropolis
Los 4058
Schätzung
1.200€ (US$ 1,379)
Selected views of the Acropolis. Circa 1865. 6 albumen prints, mounted to board. Each between ca. 28 x 39 cm and 21 x 26,5 cm or reverse (mounts 32,5 x 42 cm or reverse). 1 with photographer's name in the negative in lower left corner.
The group includes the Caryatid Porch and north portico of the Erechtheion, the west façade of the Parthenon and the Theatre of Dionysus, alongside close studies of sculptural detail, notably its honorary seats. Combining broad architectural views with more intimate observations, these photographs form an attractive early record of the Acropolis and its principal monuments.
Literatur: Dorothea Ritter. Im Lichte des Helios: Griechenland und frühe Photographien aus der Sammlung Siegert. Berlin: Umschau/Braus, 1999, ill. pp. 17, 80.
Claire L. Lyons, John K. Papadopoulos, Lindsey S. Stewart, and Andrew Szegedy-Maszak, eds. Antiquity & Photography: Early Views of Ancient Mediterranean Sites. London: Thames & Hudson, 2005, ill. p. 15.
Konstantinou, Dimitrios and Unknown
Sculptural fragments from the Acropolis
Los 4059
Schätzung
1.000€ (US$ 1,149)
Sculptural and architectural fragments from the Acropolis. 1865-70s. 8 albumen prints, mounted to board. Each between ca. 27 x 20,5 cm and 21 x 26,5 cm (mounts 32 x 47 cm or reverse).
Among the sculptural and architectural fragments depicted are a Palmyrene female funerary bust; a statue of Papposilenos; the proscenium of the Theatre of Dionysus; the Atarbos Base; a relief of a dancing Maenad; and the celebrated parapet relief from the Temple of Athena Nike, Nike Adjusting Her Sandal.
Views of Hamburg. 1881-84. 12 large-format albumen prints, mounted to board. Each ca. 23,5 x 31,7 cm (mounts ca. 32 x 40 cm). Each printed below the image: “Photographie von G. Koppmann & Co., Hamburg,” with a German title; dated in the print 1881, 1883 or 1884.
Georg Koppmann was one of Hamburg’s foremost documentary photographers and recorded the city’s transformation into a modern port on behalf of the municipal building authorities. This exceptional group concentrates on the old waterfront quarter around Bei den Mühren, Kannegiesserort and St Catherine’s Church: narrow streets, timber-framed houses, crowded quays and the Binnenhafen are observed with remarkable clarity. Made shortly before extensive demolition and redevelopment of the Speicherstadt, the views preserve a substantial section of old Hamburg that has since disappeared.
Literatur: Will Keller. Hamburg in frühen Photographien, 1848-1888: Sammlung Bokelberg. Hamburg: Verlag der Sammlung Bokelberg, 1980.
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Galerie Bassenge
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Telefon: +49 30 8938029-0
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E-Mail: info (at) bassenge.com
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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