Sébah, Pascal and Policarpe Joaillier
Panorama de Constantinople pris de la Tour de Galata
Los 4091
Schätzung
800€ (US$ 920)
Panorama de Constantinople pris de la Tour de Galata. Circa 1895. 10 albumen prints, mounted to original card and joined in concertina folds. Each circa 25 x 33,5 cm (overall size circa 25 x 340 cm). Housed in the original red cloth portfolio with gilt-stamped title and ornamentation.
This panorama offers a sweeping view of late nineteenth-century Constantinople, extending from Galata and Pera across the Bosphorus to Üsküdar and along the Golden Horn. Among the principal landmarks visible are Topkapi Palace, Hagia Sophia, the Sultan Ahmed and Süleymaniye Mosques, the Beyazıt Tower and the Galata Bridge, set amid the city’s densely built quarters and busy waterways.
Literatur: Bodo von Dewitz, ed. An den süssen Ufern Asiens (exhibition catalog). Cologne: Museum Ludwig, 1988, ill. p. 164, (variant in foldout supplement).
Views of Naples, Pompeii and environs. 1860s-1870s. 40 albumen prints, mounted to album pages. Each ca. 20 x 24,5 cm. Some numbered and titled at lower edge. Bound in a contemporary red canvas album with the gilt-stamped title "Napoli e Pompei" on the front cover.
Giorgio Sommer is renowned for his extensive documentation of Italy’s landscapes and archaeological sites, particularly of Rome, Pompeii, and Naples. His photographs of landmarks such as the Colosseum, the Forum Romanum, Mount Vesuvius, and the ruins of Pompeii played an important role in preserving and sharing Italy’s cultural heritage. Apart from views of Naples, this album offers a compelling visual record of Pompeii, featuring its public baths, the amphitheater, the temples of Mercury and Isis, the villa of Diomedes, and plaster casts of victims of the eruption. Also features the well-known images The Spaghetti Eaters and Delousing Scene.
Literatur: Marina Miraglia, Pino Piantanida, Ulrich Pohlmann and Dietmar Siegert., eds. Giorgio Sommer in Italien: Fotografien 1857-1888. Heidelberg: Braus, 1992, ill. pp. 82, 84, 98, 104, 119, 130, 133, 144, 145 and dustjacket cover (Vesuvius eruption).
Pompeii Photographed. Early 1860s. 26 albumen prints, individually mounted to captioned cards. Each ca. 17 x 23,7 cm or reverse (cards 34 x 46,5 cm). Printed captions beneath the photographs; accompanied by 4 pp. of printed title, contents and descriptive text, with the imprint “London: William Mackenzie, Paternoster Row. Glasgow and Edinburgh.” Presented loose, as issued, in the original blind- and gilt-stamped green cloth portfolio, titled “POMPEII PHOTOGRAPHED” (overall size 48 x 35,5 x 2 cm).
An uncommon English-language portfolio from Sommer’s early survey of the Vesuvian sites. The sequence leads through Pompeii’s streets, temples and public spaces, extending to frescoes, reliefs and plaster casts, and thus from monumental architecture to evidence of Roman daily life and the eruption of Vesuvius. Its English descriptive text turned the photographs into a portable archaeological guide for the Victorian Grand Tour market.
The portfolio comprises 24 views of Pompeii and 2 of Herculaneum. Although the contents leaf lists 24 subjects, the present 26-print collation includes additional and variant views.
Photographer: Joseph Daziaro (active 1832-1918), William Carrick (1827-1878), and others. Souvenir album of St Petersburg. 1880s-90s. Ca. 100 albumen prints, mounted recto and verso to gilt-edged album leaves. Various sizes between 21 x 26 cm and 9,5 x 5,5 cm, or reverse. Some numbered in the negative; most annotated in ink in French below the images on the mounts. Bound in a contemporary blue full-canvas album with the gilt-embossed title “Souvenir de St. Petersbourg” on the front cover.
A wide-ranging souvenir album combining views of St Petersburg’s principal monuments and public spaces with scenes of markets and everyday life. Numerous portraits of peasants, monks, merchants and regional costumes belong to the ethnographic mode closely associated with Carrick’s studio, although individual attributions remain tentative.
Literatur: David Elliott. Photography in Russia. 1840-1940. London: Thames & Hudson,1992, see pp. 130-131 (comparable images of peasants by Carrick).
Articles of China. 1844. Salted paper print from a calotype paper negative, printed 1846, mounted to card. 12 x 16,7 cm (mount 24 x 29,8 cm).
Published as one of the original Talbotypes issued with The Art-Union, vol. VIII, no. 91 (London: Palmer & Clayton, June 1846), this carefully ordered still life of porcelain demonstrates the descriptive precision of Talbot’s negative-positive process. Its balanced arrangement of decorative objects foregrounds photography’s potential as an exact means of visual record.
Égypte et Nubie: sites et monuments les plus intéressants pour l’étude de l’art et de l’histoire. 1851-52. 4 salted paper prints from paper negatives, printed 1853-58, each mounted to an original printed mount. Each 24 x 31 cm (mount 39,5 x 50,8 cm). Titled in the printed mounts: "Tâfah (Taphis) - Ruines de constructions à assises courbes," pl. 113; "Île de Fîleh (Philæ) - Premier pylône - Vue prise de la plate-forme de la colonnade orientale en P," pl. 97; "Erment (Hermonthis) - Vue générale des ruines - Temple et mammisi," pl. 69; and "Deuxième cataracte - Rocher d’Abouçir - Rapides et îlots granitiques," pl. 160. With the photographer, printer and publisher imprints: "Félix Teynard phot."; "Imp. phot. de H. de Fonteny et Cie, f. à Paris en 1851, r. St Nicolas d’Antin, 72"; and "Publié par Goupil et Cie éditeurs, Paris, Londres, Berlin, New York."
A civil engineer by training, Teynard travelled through Egypt and Nubia in 1851-52 to make a systematic photographic survey of ancient monuments and the Nile landscape. Issued by Goupil in installments and finally as a 160-plate atlas, Égypte et Nubie was conceived as a photographic complement to the Description de l’Égypte. The present plates range from the ruins at Tâfah, Philae and Erment to the granite landscape of the Second Cataract, exemplifying Teynard’s measured, architecturally attentive approach.
Venezuela
Piaroa people thatching a roof, Orinoco River basin, Venezuela
Los 4097
Schätzung
500€ (US$ 575)
Photographer unknown. Piaroa people thatching a roof, Orinoco River basin, Venezuela. 1880s. Albumen print, mounted to an album board with 4 smaller albumen prints of Normandy on the verso. 23 x 17,3 cm. Inscribed in ink below the image on the mount: “Atures, indiens Piaroas.”
The Piaroa people, known among themselves as the Huottüja or De'aruhua, are an Indigenous people of South America, who primarily live in the middle Orinoco Basin in present-day Colombia and Venezuela. Since the Piaroa first encountered missionaries and European explorers around 1780, they have maintained an autonomous society with many small, self-governed villages built over a very wide area. Ethnologists and linguists from the 18th century misidentified the Huottuja as three different tribes belonging to the Saliban family, the Ature, Piaroa, and Quàqua, in actuality were three different regional dialects of the same Piaroa ethnic group from the north, center and south.
Portrait of Friedrich Jung (born 3 November 1829). Ca. 1860. Hand-colored salted paper print, mounted to board. Ca. 20 x 16,5 cm. Matted in a contemporary grey mat and framed under glass in a Biedermeier style wooden frame.
Originally trained as a draughtsman and lithographer, Vogel established a photographic portrait studio in Frankfurt in 1846. He is best known for his portraits of prominent figures associated with the Frankfurt National Assembly of 1848 and members of the Austrian imperial family.
Watkins, Carleton E.
El Capitan 3300 ft., Yo-Semite Valley, No. 7.
Los 4099
Schätzung
8.000€ (US$ 9,195)
(Attribued to). El Capitan, 3,300 ft., Yo-Semite Valley, No. 7. 1865-66. Mammoth-plate albumen print, printed ca. 1872, mounted to original board. 51,8 x 40 cm (mount 71,2 x 55,7 cm). With printed title, number and publisher’s imprint beneath the image: “Thomas Houseworth & Co.” and “No. 9 Montgomery St. San Francisco.”
A leading photographer of the American West, Carleton E. Watkins created his celebrated Yosemite views during expeditions of 1861 and 1865-66, using a custom mammoth-plate camera to record the valley’s monumental formations with extraordinary detail. Watkins’s early Yosemite photographs helped shape public appreciation of the region in the years surrounding the 1864 Yosemite Grant, the legislative precursor to the National Park System. Houseworth’s later issue under its own name demonstrates the broad commercial circulation of Watkins’s Yosemite views, whose large-format clarity established a defining nineteenth-century image of the American West.
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.
Pflanzenformen (Plant Studies). 1930s. 6 gelatin silver prints, printed in 2010 from the original negatives. Each circa 24,8 x 18,8 cm (30,5 x 24 cm). Each with Griffelkunst edition text printed on the verso. In original half-canvas portfolio with accompanying text brochure.
Karl Blossfeldt's meticulous studies of plants reveal the intricate structures, patterns and geometries found in nature. Originally conceived as teaching material for his students at the Berlin School of Applied Arts, his photographs gained wider recognition with the publication of Urformen der Kunst in 1928. Through close-up views and neutral backgrounds, Blossfeldt transformed botanical specimens into sculptural forms, bridging the fields of photography, art and design. The present portfolio was published by Griffelkunst in 2010, using the original negatives.
Borchert, Christian
Porträt Familie M. (Dipl.-Ing für Elektrotechnik; Ökonom), Cottbus
Los 4116
Schätzung
600€ (US$ 690)
Porträt Familie M. (Dipl.-Ing für Elektrotechnik; Ökonom), Cottbus 1983. Vintage gelatin silver print. 12,8 x 17,9 cm. Titled and dated by the photographer in pencil and with photographer's stamp on the verso.
This photograph belongs to Christian Borchert's extensive long-term project “Familienporträts” (Family Portraits), which captured diverse social environments in East Germany between the 1970s-1990s. Distancing himself from official state propaganda, Borchert focused on the subtle reality of domestic life, using precise compositions and natural lighting to reveal the unique social status, personal taste, and psychological dynamics of each family within their private spaces.
Literatur: Gosbert Adler and Wilmar Koenig, eds. DDR Foto: Freunde der Werkstatt für Fotografie, Berlin: Heenemann, 1985, ill. p. 50.
Spiegelung; Gestrüpp. 1936, 1949. 2 gelatin silver prints, printed later. Each circa 24 x 29,8 cm. Each signed, titled and dated by the photographer in ballpoint pen, with photographer's Hofgeismar stamp on the verso.
Fritz Brill studied commercial graphic design at the Kunstgewerbeschule in Berlin and attended Johannes Itten's school, where he developed an interest in photography. After working as a graphic designer in Herbert Bayer's studio, he increasingly turned to photography as of 1932 but his career was interrupted by World War II. Following the war, he settled in Hofgeismar, near Kassel, where he resumed his photographic work and held his first post-war exhibition in 1949. In the early 1950s, he established the "Institut für Photoanalyse" in Hofgeismar together with his wife Hedwig. Alongside his photographic work, he produced documentary films and remained active in industrial and advertising photography.
Brill, Fritz
Organic salt structure; Synthetic penicillin (micro photographs)
Los 4118
Schätzung
500€ (US$ 575)
Organic salt structure; Synthetic penicillin (micro photographs).1952/1956. 2 vintage chromogenic prints. 23 x 17 cm and 21,5 x 26,3 cm. Each mounted to board, signed by the photographer in pencil below the image on the mount; each signed and dated by the photographer in ballpoint pen as well as photographer's Hofgeismar stamp, and 1 with typed label on the verso.
Petersplatz mit Obelisk. 1962. Gelatin silver print, printed later. 24,3 x 36,6 cm (sheet 30,5 x 40,4 cm). Signed, titled and dated by the photographer in pencil, as well as photographer's copyright stamp on the verso.
Active for over five decades in the field of photography as a freelance photojournalist, documentary filmmaker and cameraman, Norbert Bunge was also a tireless advocate for the work of overlooked and historically significant photographers. Through his Berlin gallery, he curated numerous exhibitions, with a particular focus on socially engaged photography and the visual culture of East Germany. His own photographs were published in such magazines as Spiegel, Quick and Merian.
Literatur: Mathias Bertram (ed.). Norbert Bunge. Fotografien. Leipzig: Lehmstadt, 2017, ill. pp. 24-25.
Providence. 1984. Dye transfer print, printed 1980s. 24,4 x 36,7 cm (sheet 44 x 55,5 cm). Unsigned, with printer's stamp on the verso.
Harry Callahan’s color photographs, produced in the later years of his career, are widely celebrated for their vivid, introspective, and often abstract qualities. Exploring a wide range of subjects - from landscapes and cityscapes to portraiture - Callahan used color to add a new dimension of depth and emotional resonance, further enriching his already distinguished body of work. A print of this image is in the collection of MoMA, New York.
Literatur: Keith F. Davis. Harry Callahan: New Color Photographs 1978-1987. Kansas City: Hallmark Cards, Inc., 1988, ill. p. 104.
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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