Parking lot, Memphis. 1980s. Chromogenic print on Kodak paper. 27 x 40,5 cm (40,5 x 51 cm). Signed by the photographer in ballpoint pen on the verso.
William Eggleston’s pioneering use of color photography elevated ordinary scenes into vivid, emotionally resonant works of art. With an instinctive eye for composition and tone, he turned everyday subjects - parking lots, storefronts, roadside signs - into quietly compelling studies of American life, capturing the poetry in the seemingly mundane. – One light handling dent in lower center, a few light surface scuff marks, otherwise in very good condition.
State General Department Store, Hanoi. 1992. Chromogenic print on Kodak Professional Paper. 37,5 x 55,8 cm (51 x 61 cm). Signed, titled, dated, and editioned “1/20” in felt-tip pen on the verso.
Mitch Epstein’s work is deeply rooted in the exploration of place, often revealing the tensions between personal memory, cultural identity, and socio-political structures. Known for his nuanced use of color and his large-format approach, Epstein frequently documents environments undergoing transformation - be it in the American South, post-Soviet Vietnam, or post-industrial cities in the U.S. State General Department Store, Hanoi (1992) forms part of his early 1990s "Vietnam" series, a body of work that captures the quiet intricacies of daily life at a moment of profound political and economic transition. With its layered composition and muted tonalities, this image exemplifies Epstein’s ability to observe without exoticizing, offering instead a sensitive and formally rigorous reflection on the collision of tradition and modernity. – Corners slightly bumped; some light handling creases and a small fold mark in the lower margin; otherwise in near excellent condition.
Sakhara, Egypt. 1992. Chromogenic print on Kodak Professional Paper. 37,5 x 55,8 cm (51 x 61 cm). Signed, titled, and dated in felt-tip pen on the verso.
In this image of the Step Pyramid at Saqqara, Mitch Epstein adopts a restrained, contemplative approach, capturing the monument in soft, diffuse light that flattens detail and emphasizes tonal subtlety. Eschewing spectacle, he presents the structure as suspended in time - centered yet unmonumentalized - amid an empty, low-horizon landscape. The result is a quietly metaphysical meditation on history as fragile residue rather than grand narrative, a hallmark of Epstein’s work. – Some light handling creases and traces of previous mounting on verso, otherwise in near excellent condition.
Trophon Geversianus-Magellanstraße. 1940/41. Inkjet print on glossy Monoprint R paper, printed 2011. 29,5 x 21 cm. "Alfred Ehrhardt Stiftung" stamp, therein editioned "1/30" on the verso. Hinge-mounted in mat and framed under glass in wood frame.
Widely recognized as a leading figure of New Objectivity photography, Alfred Ehrhardt was one of the most prolific and successful photographers among the former Bauhaus artists. Over the course of his career, he published more than twenty photo books and produced a series of visually striking films that explored modernity through the lens of 1920s avant-garde aesthetics. His experimental documentaries are now considered seminal works in the history of both cultural and scientific filmmaking. – A beautiful tonal print in excellent condition.
Lit.: Christine Hopfengart, Christiane Stahl, eds. Alfred Ehrhardt. Ostfildern-Ruit: Hatje Cantz, 2001, ill. p. 87.
Evans, Walker
Untitled (Tenant farmer's daughter, Hale County, Alabama)
Los 4125
Schätzung
1.500€ (US$ 1,667)
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.
– Some professional retouching in chin area, otherwise a fine tonal print in very good condition.
Lit.: John T. Hill. Walker Evans: Lyric Documentary. Göttingen: Steidl, 2006, ill. p. 176.
John T. Hill, Gilles Mora. Walker Evans: Der unstillbare Blick. Munich: Schirmer/Mosel, ill. p. 204.
Baigneurs. 1935. Gelatin silver print, printed later. 20,2 x 21,5 cm. Photographer's stamp on the verso.
Emeric Fehér was an Austro-Hungarian-born photographer, who became a Yugoslav citizen in 1919 and obtained French nationality in 1939. Best known for his use of the square 6 x 6 cm format, Fehér produced a distinctive body of modernist work, marked by clarity and compositional balance. From 1933-1939, he was associated with the Paris-based Alliance Photo agency founded by Maria Eisner. His photographs are held in major collections, including the Centre Pompidou, and have been featured in numerous exhibitions. – Slightly buckled in edges, light handling dent in lower left, otherwise in very good condition.
Exhibition: "Bauhaus Photographie", Arles 7.7.-30.9.1983
Portfolio series: “Narre Tod, Mein Spielgesell”. Circa 1922. 10 vintage gelatin silver prints. Various sizes, between 21 x 14 cm, 15,5 x 15 cm and 14,5 x 20,2 cm. Each mounted to colored card, with printed title page. Presented in original half-linen portfolio with gilt-stamped title label "Narre Tod, Mein Spielgesell" on front cover.
Franz Fiedler’s portfolio series “Narre Tod, Mein Spielgesell”, published circa 1922, presents a striking sequence of images depicting a nude female figure interacting with a skeleton - an allegorical meditation on the interplay between life and death. Prints from this series were produced in varying quality and are often encountered with notable fading and a soft, brownish hue. The present set, however, stands out for its exceptional tonal richness and clarity, offering a far more refined visual impression than typically seen. – Title page with slight foxing and toning. Portfolio edges rubbed, with some fading and soiling. Some photos with oxidation mirrroring in edges, a few with slight buckling, otherwise in very good to near excellent condition.
Fietz, Helga
The artist Max Beckmann (1884-1950) in his studio, Amsterdam
Los 4128
Schätzung
1.200€ (US$ 1,333)
The artist Max Beckmann (1884-1950) in his studio, Amsterdam. 1938. Vintage gelatin silver print on Gravura paper. 7,3 x 10,8 cm. Mounted along upper edge to original cream-colored card, photographer's stamp on mount verso.
Best known for her iconic portraits of Max Beckmann, Helga Fietz also photographed numerous other artists throughout her career. In addition to portraiture, she developed a particular affinity for the horses of Iceland, a subject she returned to often and which featured prominently in several published volumes of her work. – Minimal spots on card; otherwise a strong print in excellent condition.
Lit.: Carla Schulz-Hoffmann, Judith C. Weiss, eds. Max Beckmann: Retrospektive. Munich: Städtische Galerie im Lenbachhaus, 1984.
Film Photography
Stills from the German silent film Herzog Ferrentes Ende, directed by Paul Wegener
Los 4129
Schätzung
750€ (US$ 833)
Photographer: Mac Walten (Max Gruenthal, 1872-1936). Stills from the German silent film Herzog Ferrantes Ende, directed by Paul Wegener and Rochus Gliese. 1922. 25 vintage matte gelatin silver prints. Each circa 26,5 x 21 cm and reverse. All but one mounted to board, each signed by the photographer in pencil below the image on the mount.
This striking group of film stills from the early German silent film Herzog Ferrantes Ende exemplifies the aesthetics of German Expressionist cinema in the early 1920s. Although set in the Middle Ages, the film’s art direction by Walter Reimann - renowned for his work on The Cabinet of Dr. Caligari - embraces a distinctly modern, expressionist visual style. Paul Wegener stars in the title role of Duke Ferrantes and co-directed the film alongside Rochus Gliese. – Mounts slightly dusty and with traces of previous mounting on verso, some photos with silver mirroring in edges, otherwise most are strong, tonal prints in very good condition.
Provenance: The estate of Austrian artist and puppeteer Richard Teschner (1879-1948).
Film Photography
The actor Sabu in his role as Prince Azim in the film The Drum
Los 4130
Schätzung
600€ (US$ 667)
Photographer unknown. The actor Sabu in his role as Prince Azim in the film The Drum. 1938. Vintage ferrotyped gelatin silver print. 25,3 x 20 cm. Number in the negative in lower left; archive stamps and annotated in pencil on the verso.
Sabu Dastagir, born Selar Sabu in 1924 in India, rose to international fame under the mononym Sabu, becoming one of the first South Asian actors to achieve stardom in Western cinema. Discovered at age 13 by documentary filmmaker Robert Flaherty, he made his screen debut as an elephant driver in the British film Elephant Boy (1937). His natural charisma and screen presence quickly led to leading roles, including The Drum (1938), produced by Alexander Korda, and most memorably as Abu in the Technicolor fantasy classic The Thief of Bagdad (1940). Frequently cast in exoticized roles, Sabu captivated audiences in both Britain and the United States with his grace, beauty, and quiet strength, becoming a defining screen presence of the 1930s and 1940s. – A few light handling dents, corners slightly bumped, remnants of previous mounting on the verso, otherwise in very good condition.
Fischer, Arno
Ostberlin, Friedrichstr. Ecke Unter den Linden
Los 4131
Schätzung
750€ (US$ 833)
Ostberlin, Friedrichstr. Ecke Unter den Linden. 1959. Gelatin silver print on doubleweight paper, printed 1980s. 27.5 x 42 cm (33.7 x 46.5 cm). Signed, dated, and annotated by the photographer in pencil, with photographer’s stamp and collection stamp on the verso.
Arno Fischer’s documentary-style photographs of East and West Berlin offer a poignant and enduring portrait of life in a divided city. Capturing everyday moments with empathy and precision, his images reflect both the hardships and quiet resilience of its inhabitants. They stand both as compelling historical documents and refined works of photographic art. – Some handling creases, corners bumped, a few small retouched spots, otherwise in good condition.
Untitled (SBM) 11. 2022. Pigment print. 75 x 51 cm. Signed, dated and editioned "3/12" by the photographer in pencil below the image in the margin. Framed under glass in wooden frame.
Thomas Florschuetz is a prominent German photographer known for his abstract and experimental photographic work. His photographs explore themes of light, form, and texture, often reducing subjects to their essential, minimalist components. In the present image Florschuetz's subject is the landscape garden at Sítio Roberto Burle Marx in Rio de Janeiro. Here the relationship between space and surface plays an essential role and an interplay develops between the composition of shapes and gradations of black and white tones. – In very good condition.
Mabou Window. 1977. Gelatin silver print, printed 1988. 35,5 x 27,7 cm. Title "Mabou Window" scratched into the surface of the print. Signed, dated, and inscribed in black ink on the verso: “For Walter - till he visits the Window, NYC Aug. 9, 1988”; with an inventory number in pencil on the verso.
Taken from the window of his home in Mabou, Nova Scotia, Mabou Window (1977) exemplifies the quiet intensity and deeply personal tone that came to define Robert Frank’s later work. Following the critical success of The Americans, Frank turned away from traditional photojournalism to focus on his immediate surroundings, creating images charged with solitude, memory, and loss. The stark winter landscape, seen through a pane of old, distorted glass and partially framed by the window’s edge, evokes both physical and psychological distance. Often interpreted as a tribute to his daughter Andrea, who tragically died in a plane crash in 1974, the image resonates with themes of absence and mourning. This print, made in 1988, bears the scratched title on the surface and is dedicated in black ink on the verso: “For Walter - till he visits the Window, addressed to Swiss publisher and close friend Walter Keller. Variants of this print are held in the collections of the Museum of Modern Art, the Museum of Fine Arts, Houston, and the Art Institute of Chicago.
– Edges bumped, some buckling along the print edges, slight tear to the top left corner, crease to the lower right corner, as well as light handling creases and minor retouching visible on the surface; otherwise a strong print in very good condition.
Provenance: From the artist to Walter Keller, publisher of Scalo, Private Collection, Zurich.
Lit.: Robert Frank. The Lines of my Hand. Zurich: Parkett / Der Alltag, 1989, n.p.
Frank, Robert
Film stills from Energy and How to Get It
Los 4134 [*]
Schätzung
8.000€ (US$ 8,889)
Film stills from Energy and How to Get It. 1981. 2 gelatin silver prints. 35,5 x 27,8 cm. Signed and titled in blue ink; cropping marks in blue crayon on the recto; inventory number in pencil on the verso.
These two prints are film stills from Robert Frank’s satirical pseudo-documentary Energy and How to Get It (1981), made in collaboration with Rudy Wurlitzer and narrated by William S. Burroughs. The film blends fiction, absurdist humor, and social commentary, following a fictional inventor’s efforts to promote a mysterious new energy source. Characterized by Frank’s raw, high-contrast visual style, the images reflect the film’s disorienting mix of industrial landscapes, mysticism, and critique of American ambition and technological hubris. – Corners bumped, some creases and small tears along edges of prints; otherwise strong prints in very good condition.
E for Empire. 1995. Gelatin silver print. 27,8 x 35,4 cm. Signed, titled and dated on recto below the image; with a wriiten dedication "For Walter Keller and his E".
This print also bears a handwritten dedication to Walter Keller, the Swiss publisher and curator with whom the artist shared a close professional relationship. – Some light handling creases in the lower margin; otherwise a very strong print in near excellent condition.
Provenance: From the artist to Walter Keller, publisher of Scalo, Private Collection, Zurich.
James Joyce, Paris. 1939. Dye transfer print, printed later. 30,2 x 20,2 cm (46,3 x 35,5 cm). Signed by the photographer in felt-tip pen in lower margin, as well as copyright blind stamp in lower right corner; photographer's/copyright stamp on the verso. Hinge-mounted in mat.
The German-born French photographer and photojournalist Gisèle Freund was renowned for her documentary work and intimate portraits of writers and artists. She pioneered the use of the Leica camera for reportage and was among the first to employ Kodachrome and Agfacolor films for color portraits, capturing figures such as James Joyce, Virginia Woolf, and André Malraux with a uniquely candid style. Her contributions significantly shaped 20th-century photography, blending sociological insight with artistic expression. – Minimally buckled, lower right corner slightly bumped, otherwise in very good condition.
Lit.: Gisèle Freund. Photographien und Erinnerungen. Munich: Schirmer Mosel 1998, ill. p. 88.
Colette, Paris. 1939. Dye transfer print, printed later. 30 x 20,5 cm (46 x 35,5 cm). Signed by the photographer in felt-tip pen in lower margin; photographer's/copyright stamp on the verso. Hinge-mounted in mat.
Some buckling, otherwise in very good condition.
Lit.: Gisèle Freund. Photographien und Erinnerungen. Munich: Schirmer Mosel 1998, ill. p. 85.
Varieté clown. 1946. Vintage gelatin silver print. 25 x 17 cm. Photographer's credit stamp and annotated in pencil and crayon on the verso.
Small loss of emulsion in upper corners, traces of previous mounting in upper edge verso, a few light handling dents, otherwise in good condition.
Lit.: Gisèle Freund. Photographien und Erinnerungen. Munich: Schirmer/Mosel, 1998, ill. p. 190.
Photographs and Etchings. 1969. 17 gelatin silver prints by Lee Friedlander and 16 etchings by Jim Dine. Each between 12 x 18 and 18 x 26 cm or reverse (46 x 76 cm). Housed in original black faux-leather clamshell box with embossed title (entire size 49 x 80 x 3 cm). Published by Petersburg Press, London, in an edition of 75 plus 15 artist’s proofs.
In this unusual pairing of mediums and sensibilities, Photographs and Etchings brings together Lee Friedlander’s sharply observed street photography with Jim Dine’s gestural, psychologically charged etchings. Rather than illustrating or responding to each other, the works inhabit parallel registers - Friedlander’s formal precision counterbalanced by Dine’s raw mark-making - offering a dual meditation on surface, structure, and subjectivity in the American visual landscape of the late 1960s. The portfolio reads less as collaboration than as a deliberate juxtaposition, allowing two distinctive artistic voices to echo, interrupt, and refract across the page. – Some edge wear and small tear on top right corner of clamshell box. Some light chemical staining from the printing process, along with smudge marks and a small tear to one folio; otherwise all in very good condition.
Leipzig, 6. Oktober 1989. Vintage gelatin silver print. 41 x 30,3 cm (50 x 40 cm). Signed, titled, and dated in pencil on the verso, with photographer’s copyright stamp.
Gerhard Gäbler is recognized for his nuanced black-and-white photographs documenting everyday life in the GDR during the 1970s and 1980s. With a quiet, observational approach, his images convey the social atmosphere of East Germany through understated but resonant detail. This particular photograph shows a woman cradling a bunch of bananas - a rare and highly sought-after commodity in the GDR - on the eve of the state’s 40th anniversary. Gäbler’s work is represented in major institutional collections, including the Museum of Fine Arts, Houston, and the International Center of Photography, New York.
– Some minimal handling creases as well as a few small tears on upper margin, otherwise in near excellent condition.
Berliner Mauer, 11.11.1989. 1989. Vintage gelatin silver print. 28,5 x 41 cm (39,8 x 49,8 cm). Signed, titled, and dated in pencil below the image on recto; signed, titled, dated, and editioned in pencil, with photographer’s copyright stamp on the verso.
Taken just two days after the fall of the Berlin Wall, this photograph captures the charged atmosphere of hope and uncertainty as East German border guards stand watch above crowds of jubilant Berliners gathered at the Brandenburg Gate - transforming a former symbol of division into a stage for reunification. – Some buckling and a few small tears along the margins of the print; a few pressure marks and surface irregularities; otherwise in very good condition.
Gatewood, Charles
William Burroughs and Brion Gysin with the "Dreamachine"
Los 4142
Schätzung
800€ (US$ 889)
William Burroughs and Brion Gysin with the "Dreamachine". 1972. Vintage gelatin silver print. 17 x 22,5 cm (28 x 35,3 cm). Photographer's stamp on the verso.
Charles Gatewood studied anthropology at the University of Missouri in the early 1960s before pursuing a career in photography, focusing on subcultures and unconventional lifestyles. Working as a freelance photographer from 1974 onward, he documented both the underground scene and prominent cultural figures such as William S. Burroughs and Bob Dylan. His images, often raw yet empathetic, form a compelling record of individuals and communities existing outside the mainstream. – Corners bumped, creases in corners in margins, tear in left edge in margin, otherwise in good condition.
Mann mit Hut. 1979. Vintage gelatin silver print on Agfa paper. 32,5 x 22 cm (38,7 x 29 cm). Signed, titled and dated by the photographer in pencil on the verso.
André Gelpke is a German-Swiss photographer and educator. From 1969-1975, he studied at the Folkwangschule Essen under Otto Steinert. In 1975, he co-founded the photo agency Visum alongside Rudi Meisel and Gerd Ludwig. Over time, Gelpke shifted his focus increasingly toward artistic photography and, together with figures like Heinrich Riebesehl and Michael Schmidt, played a key role in establishing photography as a recognized art form in Germany. – A few small retouched spots, otherwise in very good condition.
Giacomelli, Mario
Untitled, from the series ”Io non ho mani che mi accarezzino il volto”
Los 4144
Schätzung
1.000€ (US$ 1,111)
Untitled, from the series ”Io non ho mani che mi accarezzino il volto”, 1961-1963. Gelatin silver print, printed later. 12,5 x 18 cm. Signed by the photographer in black ink in lower right corner; signed by the photographer in pencil on the verso.
Mario Giacomelli’s work "Io non ho mani che mi accarezzino il volto" (1961-1963) is a seminal series capturing the playful yet contemplative lives of young seminarians, blending motion and stillness to reflect the tension between spiritual devotion and human yearning. Characterized by Giacomelli’s distinctive high-contrast black-and-white style, the series transforms everyday scenes into abstract, almost surreal compositions, highlighting his ability to transcend traditional documentary photography. – In excellent condition.
Untitled (from the series "Presa di Coscienza della Natura"). 1970s. Vintage gelatin silver print. 16,5 x 32 cm. Annotated in pencil, "Mario Giacomelli via Mastai 24 Senigallia" copyright stamp on the verso.
Part of Giacomelli’s late-career series “Presa di Coscienza della Natura” (Awareness of Nature), this photograph exemplifies the Italian master’s distinctive approach to landscape - marked by graphic abstraction, lyrical contrasts, and an emotional engagement with the land. Shot from above, the plowed fields and furrowed earth become near-calligraphic marks, echoing both environmental cycles and the photographer’s inner reflection on humanity’s relationship with nature. – Corners slightly bumped, some minor edge wear and light handling creases, otherwise in near excellent condition.
Goldin, Nan
Jimmy Paulette after the Parade, New York
Los 4146
Schätzung
2.500€ (US$ 2,778)
Jimmy Paulette after the Parade, New York. 1991. Cibachrome print, printed 1990s. 50,8 x 61 cm. Signed by the photographer in blue marker on the verso.
Nan Goldin is an American photographer renowned for her deeply personal and raw visual narratives that delve into themes of love, gender, domesticity, and sexuality. Her seminal work, The Ballad of Sexual Dependency (1986), is a poignant documentation of her “chosen family,” capturing the post-punk and gay subcultures of New York City during the late 1970s and early 1980s. Goldin’s style is characterized by an informal, snapshot aesthetic, often portraying private moments in intimate settings such as cluttered kitchens, downtown bars, and disheveled beds. Her adept use of color accentuates the emotional essence of each moment. Beyond her photographic endeavors, Goldin has been an active voice in art and activism, addressing critical issues such as the HIV/AIDS epidemic and the opioid crisis. She currently resides and works between New York City, Berlin, and Paris. – Some light scuff marks, small handling crease in right margin, otherwise in near excellent condition.
Lit.: Nan Goldin, David Armstrong, and Walter Keller, eds. The Other Side. Zurich: Scalo, 1992, ill. p. 63.
Amanda in the Locker Room, Berlin. 1993. Cibachrome print, printed 1990s. 51 x 61 cm. Signed and titled by the photographer in black and blue marker on the verso.
Some light scuff marks, small handling crease in left margin, otherwise in near excellent condition.
James at a Jean Colonna fitting, Paris. 1995. Cibachrome print. 61,5 x 46,5 cm. Signed by the photographer in felt-tip pen on the verso.
Nan Goldin’s "James King: Supermodel" series offers a raw, intimate portrayal of teenage model Jaime (James) King, who rose to prominence in the mid-1990s - a transitional moment between the height of the supermodel era and the rise of the so-called “heroin chic” aesthetic. At just sixteen, King was thrust into a fashion world marked by unattainable beauty ideals, the fetishization of youth, and the glamorization of drug culture. Goldin’s photographs avoid mythologizing this milieu; instead, they lay bare its emotional and psychological costs, capturing moments of vulnerability, fatigue, and the loss of innocence. This particular image of James King formed part of Goldin’s 1995 body of work on the model, though it was not included in the final portfolio of the same name. – Light scuff marks and a small handling crease in the center of the print, visible only under raking light; otherwise in near excellent condition.
Goldin, Nan
Honda Bros in Cherry Blossom Storm, Tokyo
Los 4149 [*]
Schätzung
5.000€ (US$ 5,556)
Honda Bros in Cherry Blossom Storm, Tokyo. 1994. Chromogenic print. 61 x 50,8 cm. Signed, titled, dated, and dedicated “For my beloved Walter, one of the truest eyes I know” in black marker on the verso.
Nan Goldin first traveled to Japan in the early 1990s, creating a series of portraits and scenes that capture the country’s vibrant subcultures, intimate encounters, and fleeting moments of beauty. Merging her diaristic style with a keen sensitivity to Japanese culture, this body of work reveals Goldin’s deep engagement with her subjects and surroundings. Honda Bros in Cherry Blossom Storm is emblematic of this work - imbued with motion, color, and emotion, it evokes both personal tenderness and poetic transience. – Long superficial scratch along the lower edge of the print, limited to the black border outside the image area; otherwise in near excellent condition.
Robert Frank in New York. 1981. Vintage gelatin silver print from a polaroid negative. 30 x 23 cm (35,4 x 28 cm). Signed, titled and dated by the photographer in pencil on the verso.
Born in Canada, Brian Graham received his Bachelor of Arts from St. Francis Xavier University, Nova Scotia, in 1973. He moved to New York in 1981 to pursue photography and went on to assist and print for Robert Frank for over a decade. During this time, he also printed the archives of Allen Ginsberg - documenting the Beat era - as well as work from the Walker Evans Estate and Rosalind Fox Solomon. Graham has photographed across Africa, Europe, and the Americas, and has exhibited in New York, Berlin, and Lisbon. – A few small retouched spots, handling crease in upper left, slightly buckled in upper edge, otherwise a fine tonal print in very good condition.
Lit.: Brian Graham. Goin' Down the Road with Robert Frank. Göttingen: Steidl, 2023, ill. front cover.
[*]: Regelbesteuert gemäß Auktionsbedingungen. [^]: Ausgleich von Einfuhr-Umsatzsteuer.
* Alle Angaben inkl. 25% Regelaufgeld ohne MwSt. und ohne Gewähr – Irrtum vorbehalten.
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
© 2024 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
© 2022 Galerie Gerda Bassenge