Mexico. 1982. Dye transfer print, printed later. 24,4 x 36,7 cm (sheet 44,5 x 56,8 cm). Unsigned.
Literatur: Dirk Luckow and Sabine Schnakenberg, eds. Harry Callahan (exhibition catalog). Heidelberg: Kehrer, 2013, ill. p. 212.
Untitled. 1970s-1980s. Dye transfer print, printed later. 24,4 x 36,7 cm (sheet 44,5 x 56,8 cm). Unsigned.
Chaldej, Jewgeni
Atop the Brandenburg Gate, Berlin, April 1945
Los 4123
Schätzung
2.500€ (US$ 2,874)
Atop the Brandenburg Gate, Berlin, April 1945. 3 gelatin silver prints forming a panoramic view, printed 1990s. Each ca. 30,2 x 40,5 cm. 2 signed by the photographer in pencil on the verso.
Jewgeni Chaldej, a Soviet photojournalist, is renowned for his photographs documenting the capture of Berlin by Soviet troops on May 2, 1945, marking the end of World War II in Europe. His images, particularly the iconic scene of the Soviet flag being raised on the Reichstag building, have become crucial visual records of this historic moment. This more unusual panoramic format of the image Atop the Brandenburg Gate gives a sweeping view including Pariser Platz and the famous Adlon Hotel, all in a state of ruin at the end of World War II.
Literatur: Ernst Volland and Heinz Krimmer, eds. Von Moskau nach Berlin. Bilder des russischen Fotografen Jewgeni Chaldej. Berlin: Parthas, 1999, ill. p. 72 (variant).
Sevastopol, May 1944. Gelatin silver print, printed 1990s. 26 x 40 cm (sheet 30,3 x 40,3 cm). Signed by the photographer and annotated in another hand in pencil on the verso.
In this more hopeful image of WWII, Chaldej captured a group of sunbathers resting among the war ruins of Sevastopol.
Literatur: Ernst Volland and Heinz Krimmer, eds. Von Moskau nach Berlin. Bilder des russischen Fotografen Jewgeni Chaldej. Berlin: Parthas, 1999, ill. pp. 34-35.
Woman and cat. 1930s. Vintage sepia toned gelatin silver print, mounted to original board. 17,5 x 23,5 cm (mount 22,5 x 26 cm). Signed by the photographer in pencil in lower right corner on the mount.
Born into a wealthy Jewish family in Berlin, Hans Casparius initially pursued acting rather than joining his family's textile business. He appeared in minor roles in silent films, working with directors such as G.W. Pabst, who encouraged him to take up photography on film sets. Casparius subsequently established himself as a professional photographer, producing production stills for films such as The Threepenny Opera, Pandora's Box and Diary of a Lost Girl. He was also active as a photojournalist, capturing numerous street scenes that vividly document everyday life and the atmosphere of Berlin during the interwar period.
China
Documentation of the construction of the first German iron and steel factory (Dingler AG) in Hankow-Hanjang (Wuhan), China
Los 4126
Schätzung
2.000€ (US$ 2,299)
Photographer unknown. Documentation of the construction of the first Chinese iron and steel factory in Hankow-Hanjang (Wuhan), China under the supervision of the German company Dingler AG. 1906-09. 12 collodion paper and 5 gelatin silver prints. Most circa 21 x 28 cm, some smaller. 1 mounted to original studio board, some annotated and dated in German in ink on the verso.
An extensive collection documenting the construction of an early Chinese iron and steel works under the supervision of the German company Dingler AG. The photographs show various stages of construction, including unfinished blast furnaces, the interior of the central steam engine building and a general view of the foundations with three Chinese architects and the German construction manager on site. The collection also includes a view of Hankow harbor, offering further insight into the industrial development of the region in the early 20th century.
Les Géantes, Camargue, France. 1978. Gelatin silver print, printed 1980s. 18 x 27 cm (sheet 23,8 x 29,5 cm). Photographer's/copyright stamp and numbers in pencil on the verso.
Lucien Clergue is particularly renowned for his artistic nude photography, often depicting female figures against the natural landscapes of the Camargue. By positioning his subjects in water or on sandy beaches, he explored the interplay of light, shadow and reflections, emphasising the sculptural qualities of the human form.
Design / German Gas Stations
Presentation album of Die BV Grosstankstellen von RK Mannheim
Los 4128
Schätzung
750€ (US$ 862)
Die BV-Großtankstellen von RK Mannheim im Jahre 1952. Presentation album documenting petrol stations in southwestern Germany, dedicated to Director Hörning. 1950s. 57 vintage gelatin silver prints (42 ferrotyped), all on various Agfa papers. Inserted in photo corners or mounted with photo stickers to album pages. Various sizes between circa 8 x 13 cm and 17 x 23,5 cm. Many with stamps of various photographic studios and some with numbers in ink on the verso. All captioned in ink below the images on the album pages. Bound in original half-leather album with gilt-lettered inscription "Raab Karcher G.m.b.H. Mannheim".
This collection features striking contemporary photographs showing the iconic mid-century architecture of regional gas stations, sleek vintage Aral fuel pumps, and the burgeoning car culture along the vital transit routes connecting Darmstadt, Mannheim, Heidelberg, and Kaiserslautern. The images beautifully capture the architectural aesthetics of the era - characterized by sweeping cantilevered roofs and vibrant neon lighting - while offering detailed views of station facades and car care bays. Beyond the exterior design of the stations, the album provides a rare socio-historical glimpse into daily life, mobility, and the rapid Americanization of the Rhine-Main-Neckar region. This is highlighted by scenes featuring gas station attendants at work, alongside customer rest areas set against typically West German mid-century interiors. Defined by their functional clarity, these photographs represent a comprehensive documentation of transport history, mid-century modern design, and regional German topographics.
Photographer: Otto Skowraneck (1865-1944). Olga Desmond: Schwertertanz. (Olga Desmond´s Sword Dance). 1908. Original half-cloth folding portfolio with introduction text by Max Thielert and 11 vintage gelatin silver prints (each ca. 22 x 14,5 cm). NPG publisher's logo in lower left. Each mounted to loose boards of the "Neue Photographische Gesellschaft A. G., Steglitz-Berlin" (35,8 x 24,7 cm).
Olga Desmond, known as “Prussia’s Nude Venus,” was a Berlin dancer and actress who gained notoriety for her pioneering nude performances. In 1907, she and Karl Vanselow established the “Berlin Beauty Evenings,” in which tableaux vivants inspired by classical antiquity were recreated, often with performers appearing nude or covered only in body paint. In 1909, her performances at Berlin’s Wintergarten were banned by the police, causing a scandal that even reached the Prussian Landtag. Desmond later performed across Europe and pursued a career in film and theater. As her style of statuary dance was eclipsed by modern expressive dance in the late 1920s, her career declined; after 1933, she lived in poverty and worked as a cleaning woman in Berlin until her death in 1964.
Dienes, André de
Marilyn Monroe, Hotel Bel Air, Los Angeles
Los 4130
Schätzung
750€ (US$ 862)
Marilyn Monroe, Hotel Bel-Air, Los Angeles. 1953. Gelatin silver print, printed later. 25,4 x 20 cm. Photographer's "1401 Sunset Plaza Drive, Hollywood, Calif. 90069" stamp on the verso.
André de Dienes was a prominent Hungarian-American photographer known for his early glamor, nude, and landscape photography, and most famously for launching the modeling career of Marilyn Monroe. In 1945, de Dienes was the first professional photographer who hired 19-year-old Norma Jeane Baker, an aspiring model. Fascinated by her raw talent, he took her on a road trip across California, Nevada, and New Mexico. Their professional relationship evolved into a brief romantic affair and a lasting friendship. He continued to photograph her when she became known as Marilyn Monroe in 1946, 1952 and 1953.
Literatur: André de Dienes. Marilyn mon Amour: The Private Album of André de Dienes. London: Bracken, 1993, ill. unpaginated.
Max Liebermann. 1927. Vintage gelatin silver print. 22,5 x 16,7 cm. Archive stamp and annotated in pencil on the verso.
This portrait of Max Liebermann is from the same year in which Dührkoop took an official commemorative portrait for his 80th birthday.
Egorov, Vasily V.
Nikita Khrushchev and Fidel Castro with Khrushchev's grandsons
Los 4132
Schätzung
500€ (US$ 575)
Nikita Khrushchev and Fidel Castro with Khrushchev's grandsons. 1964. Ferrotyped gelatin silver print, printed later. 30,8 x 40 cm. Annotated in ink and pencil on the verso.
Vasily V. Egorov was a prominent Soviet photojournalist, renowned for his political and documentary photography. Over a career spanning more than four decades as a special correspondent for TASS, he documented major historical events, leading political and cultural figures and everyday life in more than 40 countries. The present photograph captures an informal moment between two of the most influential political figures of the Cold War.
Portrait of the artist Heinrich Zille (1858-1929). 1922. Vintage large-format gelatin silver print. 59 x 39 cm. Photographer's stamp on the verso. Hinge-mounted along the upper edge in a mat.
This unusually large print, possibly intended for exhibition, brings together two prominent figures of German art: the photographer Hugo Erfurth and the artist Heinrich Zille. Both were renowned for their perceptive depictions of people. Zille was particularly known for his drawings of working-class life in Berlin, capturing the social realities and hardships of the city's tenement districts. Erfurth, meanwhile, established himself as one of Germany's leading portrait photographers, celebrated for his expressive portraits of artists, intellectuals and cultural figures, often employing the bromoil process.
Literatur: Bodo von Dewitz and Karin Schuller-Procopovici, eds. Hugo Erfurth 1874-1948. Photograph zwischen Tradition und Moderne. Cologne: Wienand, 1992, ill. p. (bromoil print).
Erfurth, Hugo
The art critic and historian Will Grohman
Los 4134
Schätzung
900€ (US$ 1,034)
The art critic and historian Will Grohmann (1887-1968). Circa 1919. Vintage sepia-toned matte gelatin silver print, mounted to black paper and subsequently to brown paper. 22,3 x 16,3 cm. Photographer's blindstamp in the lower right corner.
Will Grohmann was a prominent German art critic and historian who played a significant role in promoting modern and abstract art in 20th-century Europe. Often referred to as the "godfather of modernism", he championed avant-garde movements and maintained close relationships with numerous leading artists of his time. He published important monographs on artists such as Ernst Ludwig Kirchner, Wassily Kandinsky, Paul Klee and Willi Baumeister, contributing significantly to the critical reception and recognition of modern art.
Literatur: Bodo von Dewitz and Karin Schuller-Procopovici, eds. Hugo Erfurth 1874-1948. Photograph zwischen Tradition und Moderne. Cologne: Wienand, 1992, ill. p. 339 (bromoil print).
Otto Dix. 1950. Vintage gelatin silver print on Agfa-Brovira paper. 29,3 x 23,8 cm. Photographer's/copyright "Berlin-Wilmersdorf, Kaiser-Platz 1" stamp and number stamp on the verso.
Primarily known for his portrait photography, Fritz Eschen photographed a wide range of prominent figures, including industrialists, artists, politicians, actors, writers and scientists. Rather than relying on conventional studio settings, he frequently portrayed his subjects in their familiar surroundings - at work, in their studios or offices, or at home. His approach emphasised the relationship between individuals and their environments, resulting in intimate, often informal portraits that reveal both the character of his sitters and their professional and personal lives.
Eschen, Fritz
Renée Sintenis modelling her sculpture "Knabe mit Querflöte"
Los 4136
Schätzung
600€ (US$ 690)
Renée Sintenis modelling her sculpture Knabe mit Querflöte. 1952. Vintage gelatin silver print on Agfa-Brovira paper. 29,3 x 23,8 cm. Photographer's/copyright "Berlin-Wilmersdorf, Kaiser-Platz 1" stamp, number stamp and annotated in ink/pencil on the verso.
Evans, Walker
Untitled (Tenant farmer's daughter, Hale County, Alabama)
Los 4137
Schätzung
1.200€ (US$ 1,379)
Untitled (Tenant farmer's daughter, Hale County, Alabama). 1936. Large-format, matte gelatin silver print, printed 1970s by the Library of Congress from the original negative. 28 x 35 cm. "Reproduced from the collection of the Library of Congress" stamp and number notations in pencil on the verso. Taped to linen window front mat.
Walker Evans’ work for the Farm Security Administration (FSA) was instrumental in shaping the visual record of rural America during the Great Depression. His photographs captured the stark realities faced by individuals and communities, portraying economic hardship and social dislocation with clarity and empathy. Working alongside other FSA photographers, Evans helped create a lasting documentary of the era - one that not only deepened public awareness but also helped define documentary photography as a powerful vehicle for social insight and historical preservation.
Literatur: John T. Hill. Walker Evans: Lyric Documentary. Göttingen: Steidl, 2006, ill. p. 176.
John T. Hill and Gilles Mora. Walker Evans: Der unstillbare Blick. Munich: Schirmer/Mosel, ill. p. 204.
Corner Store, Marion, Alabama. 1936. Gelatin silver print, printed later from the original negative. Ca. 24,7 x 18,9 cm (sheet 35,6 x 27,5 cm). Estate stamp, Library of Congress archive number and annotated, titled and dated in pencil on the verso.
A variant print of this image titled Thigpens Groceries and Hardware Store, Marion, Alabama is in the collection of The Metropolitan Museum of Art, New York.
Senorita at a Café, Havana. 1933. Gelatin silver print, printed 1988 from the original negative by Brian Graham. 28 x 16,5 cm (sheet 35,5 x 27,7 cm). Annotated in pencil by another hand, as well as with “Walker Evans - Gelatin silver print from the original negative” stamp and authentication label on the verso.
Feininger, Andreas
Portrait of Lyonel Feininger, Dessau
Los 4140
Schätzung
2.000€ (US$ 2,299)
Portrait of Lyonel Feininger, Dessau. 1928. Vintage gelatin silver print, mounted along upper edge to original card. 22,2 x 16 cm (mount 29,8 x 21 cm). "Feiningerfoto" stamp and annotated in pencil on the verso; signed and annotated "Photo Andreas Feininger 1928" by Lyonel Feiniger in ink on mount verso
Andreas Feininger began studying at the Bauhaus in 1922, completing his training in the carpentry workshop in 1925. He subsequently studied architecture in Weimar and Zerbst, while developing an interest in photography during his time in Dessau, encouraged by his neighbor and Bauhaus teacher László Moholy-Nagy. In 1936, he moved to Sweden, where he devoted himself to photography professionally. He emigrated to the United States in 1939 and joined the staff of Life magazine in 1943, remaining there until 1962. The present portrait depicts his father, the painter and Bauhaus master Lyonel Feininger, during his time in Dessau.
Ships on the East River, New York. 1940. Gelatin silver print, printed from the original negative 2010. 30,8 x 39,7 cm (sheet 40 x 50 cm). Griffelkunst edition stamp on the verso.
Literatur: Andreas Feininger. New York in the Forties. New York: Dover 1978.
Female nude study; Fashion photo. Circa 1925. 2 vintage gelatin silver prints, 1 ferrotyped. Each circa 22 x 16 cm. 1 with photographer`s blind stamp in the lower right corner; each annotated in pencil on the verso.
Pepa Feldscharek graduated from the Graphische Lehr- und Versuchsanstalt in Vienna in 1918 and co-founded a photographic studio with fellow graduate Melanie Heller in 1920. From 1922 onwards, she ran the studio independently, specialising in fashion, dance and portrait photography. Her work appeared regularly in leading illustrated magazines, including Die Bühne, Moderne Welt, Die Dame, Berliner Illustrirte Zeitung, Wiener Magazin and Münchner Illustrierte Presse. Following the annexation of Austria in 1938, she fled Nazi persecution due to her Jewish heritage and emigrated to the United States, adopting the name Josefine Schreier. She eventually settled in Gloucester, Massachusetts, where she died in 1962.
Film Photography
Brigitte Helm as the Maschinenmensch in the film 'Metropolis'
Los 4143
Schätzung
900€ (US$ 1,034)
Brigitte Helm as the "Maschinenmensch" in the film Metropolis. 1926. Vintage ferrotyped gelatin silver print. 12 x 16,5 cm. Annotated in ink and pencil, "Historia-Photo" agency stamp and layout marks in pencil on the verso.
Fritz Lang's Metropolis, released in 1927, was a commercial disappointment despite an elaborate publicity campaign, which included painting the façade of the Ufa-Pavillon at Nollendorfplatz in Berlin silver for the film's screening. Nevertheless, its groundbreaking special effects and futuristic visual design established it as a landmark of cinema history. The present photograph depicts Brigitte Helm as the "Maschinenmensch" (Machine-Man), a robot created in the likeness of Maria, the workers' leader, whom Helm also portrayed. The robot's distinctive appearance became one of the film's most recognizable images and featured prominently in its promotional material.
Scene from the film Metropolis. 1926. Vintage ferrotyped gelatin silver print. 20 x 18 cm.
Photographer: Hans Natge (1893-1976). Scenes from the film Faust. 1926. 34 vintage gelatin silver prints on chamois paper. Each ca. 12,8 x 16,8 cm and reverse.
Hans Natge was among the leading German film photographers of the 1920s-1940s. His early work was influenced by Pictorialism, and he experimented with various pigment processes. His photographs from F.W. Murnau's Faust (1926) demonstrate his distinctive approach to film photography, capturing the atmospheric lighting, dramatic compositions and expressive visual language of German Expressionist cinema. Most of the images in the present set depict the principal actors Gösta Ekman and Emil Jannings.
Film Photography
Scenes form the film "Am Rande der Welt"
Los 4146
Schätzung
500€ (US$ 575)
Photographer: Hans Natge (1893-1976). Scenes from the film Am Rande der Welt. 1927. 26 vintage gelatin silver prints on ivory paper. Each ca. 11,2 x 16 cm and reverse.
Am Rande der Welt (At the Edge of the World) is a 1927 German silent anti-war film directed by Karl Grune, starring Albert Steinrück, William Dieterle and Brigitte Helm. It was shot at the Babelsberg Studios in Berlin. Robert Neppach oversaw the film's art direction and designed the sets. The film was so heavily cut by the management of UFA that Grune tried to have his name removed from the credits and publicly criticized them in an open letter.
Film Photography
Douglas Fairbanks and Mary Pickford visit the UFA studios, Babelsberg
Los 4147
Schätzung
500€ (US$ 575)
Photographer unknown. Douglas Fairbanks and Mary Pickford visit the UFA studios, Babelsberg. 1924. 6 vintage gelatin silver prints on ivory paper. Each ca. 12,5 x 17 cm and reverse.
The iconic and widely popular film couple Mary Pickford and Douglas Fairbanks visited the Babelsberg Studios (then UFA studios) in Potsdam-Babelsberg during their European tour in 1924. They visited the historic Babelsberg film lots, meeting prominent German film figures and actors, such as Emil Jannings. This marked their first trip to Germany together, bridging the golden age of Hollywood and Weimar-era German cinema.
Brennendes Berlin (Wedding Humboldthain). 1943. Gelatin silver print, printed 1980s. 16,4 x 25,3 cm (sheet 19,2 x 26,7 cm). Signed and annotated by the photographer in pencil and photographer's stamp on the verso.
Arno Fischer’s documentary photographs of East and West Berlin from the 1950s-1960s offer a nuanced view of the city during a period of division and transformation. Marked by observational clarity and a sensitivity to everyday life, they capture both the challenges and resilience of its inhabitants and function as both historical records and autonomous works of art. This is Fischer’s earliest photograph taken at age 16 in his Berlin neighborhood where he was born.
Literatur: Elke aus dem Moore and Matthias Flügge, eds. Arno Fischer: Fotografie (exhibition catalog). Ostfildern: Hatje Cantz, 2009, ill. p. 29.
Ost-Berlin, Unter den Linden. 1956. Gelatin silver print, printed later. 15 x 22 cm (18 x 24 cm). Signed by the photographer in pencil on the verso.
Literatur: Elke aus dem Moore (ed.). Arno Fischer: Fotografie (exhibition catalog). Ostfildern: Hatje Cantz, 2009, ill. p. 33.
Finkelstein, Nat
Andy Warhol working on Campell's Soup silkscreen with assistant at the Factory
Los 4150
Schätzung
750€ (US$ 862)
Andy Warhol working on Campbell's Soup silkscreen with assistant at the Factory. Circa 1968. Ferrotyped gelatin silver print on RC paper, printed later. 23,5 x 16 cm (25,2 x 20,2 cm ). Photographer's copyright stamp on the verso.
Nat Finkelstein studied photography under Alexey Brodovitch, art director of Harper's Bazaar, and worked as a photojournalist for the Black Star and PIX agencies, documenting New York's political and cultural subcultures during the 1960s. In 1964, he began photographing Andy Warhol's Factory, capturing its artists, personalities and creative activities over several years. His photographs from this period constitute an important visual record of New York's avant-garde scene. The present image shows Warhol working on a silkscreen featuring his iconic Campbell's Soup motif, which gained prominence with his 1962 series. Warhol's use of silkscreen printing, a technique borrowed from commercial production, enabled the serial repetition of images and became a defining feature of his artistic practice.
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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
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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