McBride, Will
Boys in Tree watching Football Game, Berlin
Los 4181
Schätzung
1.000€ (US$ 1,111)
Boys in Tree Watching Football Game, Berlin. 1956. Gelatin silver print, printed 1990s. 33,5 x 29,7 cm (50,5 x 41 cm). Signed, titled and dated by the photographer in pencil as well as photographer's stamp on the verso.
The American-German photographer Will McBride is celebrated for his candid and empathetic documentary work. From the start of his career, he focused on unvarnished depictions of youth, sexuality, and identity, offering a glimpse into the cultural and societal shifts of the postwar era. With a compassionate eye and deep trust in his subjects, McBride created photographs that remain striking for their honesty, intimacy, and emotional depth. – A few light handling dents in the margin, otherwise in very good condition.
Kriegsversehrter im Rollstuhl, Berlin. 1956. Gelatin silver print, printed 1990s. 37 x 54,5 cm (50,3 x 60,5 cm). Signed, titled and dated by the photographer in pencil as well as photographer's stamp on the verso.
Some handling dents, otherwise in good condition.
McBride, Will
Mike in the Shower (Mike wäscht sich wie auch die Anderen, Schule Schloß Salem)
Los 4183
Schätzung
2.800€ (US$ 3,111)
Mike in the Shower (Mike wäscht sich wie auch die Anderen, Schule Schloß Salem). 1963. Gelatin silver print, printed 1998. 54,5 x 35 cm (61 x 50,5 cm). Signed, titled, editioned "11/12" and dated by the photographer in pencil as well as collection stamp on the verso.
Slightly buckled, minimal handling dent in lower margin, otherwise in very good condition.
Provenance: Directly from the photographer to the present owner.
Lit.: Will Mc Bride. I, Will McBride. Cologne: Könemann, 1997, ill. p. 205.
Will McBride. Coming of Age: Photographs by Will McBride. New York: Aperture, 1999, ill. p. 29.
McBride, Will
Das Morgen Duschen, Schloss Schule Salem
Los 4184
Schätzung
2.500€ (US$ 2,778)
Das Morgen Duschen, Schloss Schule Salem. 1963. Gelatin silver print, printed 1990. 36 x 53,5 cm (50,5 x 60,5 cm). Signed, titled, dated and editioned "12/12" by the photographer in pencil and collector's stamp on the verso.
Buckled in side edges, otherwise in near excellent condition.
Provenance: Directly from the photographer to the present owner
McBride, Will
Adenauer & Kennedy in Bonn, Palais Schaumburg
Los 4185
Schätzung
900€ (US$ 1,000)
Adenauer & Kennedy in Bonn, Palais Schaumburg. 1963. Gelatin silver print, printed 1996. 31 x 46,5 cm (40,2 x 50,4 cm). Signed, titled and dated by the photographer in pencil on the verso.
A few light handling dents, some fold marks in lower margin, longer retouched diagonal lines in lower right area, otherwise in good condition.
McCartney, Linda
Paul - Long Island, Painting, East Hampton
Los 4186
Schätzung
1.200€ (US$ 1,333)
Paul - Long Island, Painting, East Hampton. 1990. Vintage gelatin silver print. 22,7 x 15,3 cm (25,2 x 20,2 cm). Printed copyright label on the verso.
Linda McCartney secured her first breakthrough as a photographer while working as an editorial assistant at Town & Country magazine. She documented a Rolling Stones promotional event aboard the SS Sea Panther, and the magazine was so impressed with her candid and relaxed photographs of the band that they published her images in an editorial feature. This first magazine commission was followed by many more. While photographing at the Fillmore East in New York City, she captured many iconic musicians including B.B. King, The Who, Janis Joplin, and Jimi Hendrix. Linda continued to work prolifically as a photographer throughout her life, documenting family life, landscapes, interiors, and portraits of artists. Her work is held in major public collections, including the National Portrait Gallery in London. – Corners slightly bumped, light indentation in lower left, otherwise in very good condition.
Lit.: Wolfgang Suttner, ed. Paul McCartney. Paintings. Siegen: Cantz, 1999, ill. p. 13.
Paul McCartney. Paintings. Boston: Little, Brown and Co., Bulfinch, 2000, ill. p. 51.
My Love, London. 1978. Chromogenic print on Kodak Professional paper. 20,2 x 25,3 cm. Agency stamp with photographer's name and numbers in pencil on label on the verso.
A few minimal handling dents, otherwise in very good condition.
Lit.: Linda McCartney. Roadworks: Photographs and Words. New York: Bulfinch Press, 1996.
Wolfgang Suttner, ed. Paul McCartney. Paintings. Siegen: Cantz, 1999, ill. p. 10.
Paul McCartney. Paintings. Boston: Little, Brown and Co., Bulfinch, 2000, ill. p. 16.
Berlin, Prenzlauer Berg. 1982. Vintage gelatin silver print. 18,5 x 27,5 cm (21 x 20,6 cm). Signed and dated by the photographer in pencil in lower margin; photographer's label and annotated in pencil on the verso.
Barbara Metselaar-Berthold studied social psychology at the Friedrich Schiller University in Jena from 1969-1971 before enrolling in photography at the Academy of Visual Arts Leipzig, where she completed her degree in 1976. She then moved to Berlin and established herself as a freelance photographer. In 1984, following her marriage to Dutch photographer Kees Metselaar, she was able to travel outside the GDR. Between 1985-1989, she worked as a lecturer and artistic associate, including at the Berlin University of the Arts. From 1991 onward, her focus shifted to documentary filmmaking and video essays, collaborating on various television productions. – In very good condition.
Mondhe, Papu Pramod
Wall Street Brokers Wearing Armani Suits
Los 4189
Schätzung
600€ (US$ 667)
Wall Street Brokers Wearing Armani Suits. 1994. Gelatin silver print on chamois paper. 24 x 36 cm (30 x 40 cm). Signed, titled and dated by the photographer in pencil on the verso.
Born in Düsseldorf in 1972, Mondhe studied graphic design at the Arts College in Bremen before training as a printer in the studio of his father, Nino Mondhe, where he mastered the art of dye transfer printing. After completing his studies, he began publishing his photographs in renowned magazines such as Geo, Merian, and Die Zeit. His enduring passion for photography is matched by his meticulous dedication to the craft of printing. – A few nicks in lower edge, otherwise a fine print in near excellent condition.
Moses, Stefan
Saul Steinberg, New York, from the series "Künstler machen Masken"
Los 4190
Schätzung
900€ (US$ 1,000)
Saul Steinberg, New York, from the series "Künstler machen Masken". 1965. Gelatin silver print on RC paper, printed later. 36,3 x 26,8 cm (40,3 x 30,3 cm). Signed, titled and dated by the photographer in pencil and photographer's stamp on the verso.
The German photographer Stefan Moses began his career in Breslau and later worked as a theater photographer in Weimar after World War II. From 1950, he was based in Munich, photographing for Stern magazine. His major series, "Deutsche" (West Germany) and "Abschied und Anfang" (East Germany), portrayed people in their professional roles and formed a lasting portrait of postwar German identity. In the following decades, he focused on portraiture, capturing cultural figures such as Thomas Mann, Erich Kästner, Theodor W. Adorno, Otto Dix, Max Frisch, and Martin Mayer. Since 2003, his work has been featured in major exhibitions across Europe. – A few light dents and surface irregularities in the mid-right and lower-left areas, more visible at an angle; a few small retouched spots; otherwise in good condition.
Lit.: Ulrich Pohlmann, Matthias Harder, eds. Stefan Moses: Die Monografie. Fotografien 1947 bis heute. Munich: Schirmer/Mosel, 2002, ill. p.151 (image from the same sitting).
NASA
Gemini XII: United Arab Republic - Saudi Arabia: Red Sea and Nile Valley
Los 4192
Schätzung
600€ (US$ 667)
Gemini XII: United Arab Republic - Saudi Arabia: Red Sea and Nile Valley. November 1966. Vintage chromogenic print. 20,2 x 20,2 cm. Red NASA number "S-66-63535" in margin, "A Kodak Paper" watermark on the verso.
This and the following vintage NASA photographs offer a striking visual record of the American space program during its most ambitious decades, from the Gemini missions of the 1960s to the Apollo moon landings and early shuttle flights. Produced as chromogenic prints from negatives made by astronauts using specially adapted Hasselblad and Nikon cameras, these images were distributed by NASA’s public affairs office to press outlets, government agencies, and educational institutions. – Crease in upper left corner, light handling dent in lower area, corners bumped, otherwise in very good condition.
Photographer: Neil Armstrong (1930-2012). Buzz Aldrin on the Moon, Apollo 11, July 1969. Vintage chromogenic print. 20,2 x 20,3 cm. "A Kodak Paper" watermark on the verso.
In this image Buzz Aldrin has just set up the Solar Wind Composition experiment as part of the Early Apollo Scientific Experiments Package (EASEP). – Small rubbed spot in lower left, otherwise in good condition.
Photographer: Neil Armstrong (1930-2012). Buzz Aldrin descending Apollo 11 LM ladder. July 1969. Vintage chromogenic print. 20,2 x 20,3 cm. "A Kodak Paper" watermark on the verso.
Slight fading in left dark area, otherwise in very good condition.
Photographer: Neil Armstrong (1930-2012). Buzz Aldrin and Lunar Module, Apollo 11. July 1969. Vintage chromogenic print. 20,2 x 20,3 cm. "A Kodak Paper" watermark on the verso.
A few rubbed spots in upper right, otherwise in very good condition.
NASA
Buzz Aldrin near the Lunar Module footpad, Apollo 11
Los 4196
Schätzung
600€ (US$ 667)
Photographer: Neil Armstrong (1930-2012). Buzz Aldrin near the Lunar Module footpad, Apollo 11. July 1969. Vintage chromogenic print. 20,2 x 20,2 cm. "A Kodak Paper" watermark on the verso.
"Our LM was sitting there with its black, silver, and bright yellow-orange thermal coating shining brightly in the otherwise colorless landscape. I had seen Neil in his suit thousands of times before, but on the Moon the unnatural whiteness of it seemed unusually brilliant" - Buzz Aldrin. – A few small spots in sky area, otherwise in very good condition.
Naval History
Launching of Gorch Fock (I), built by Blohm & Voss, Hamburg
Los 4197
Schätzung
500€ (US$ 556)
Launching of Gorch Fock (I), built by Blohm & Voss, Hamburg. May 3, 1933. Vintage gelatin silver print on doubleweight paper. 30 x 24 cm. Annotated in pencil on the verso.
The Gorch Fock was originally built in just 100 days as a training vessel for the German Reichsmarine prior to World War II. During the war, she was repurposed as a stationary office ship in Stralsund, before being officially reactivated on April 19, 1944. – Corners slightly bumped, some light handling dents, otherwise in good condition.
Glyptothek München. 1964. 2 gelatin silver test prints, printed later. Each circa 25 x 25 cm (33,5 x 30,5 cm). Photographer's stamp as well as signed and annotated by the photographer in pencil on the verso.
Floris Neusüss is widely recognized for his pioneering role in cameraless photography, particularly through his innovative use of the photogram. Beginning in the 1960s, he explored the human figure at life-size scale, creating bold, immersive images that challenged conventional notions of photographic representation. He was also fascinated by the sculptural figures in various museum collections of which he also made life-size photograms.These prints are more traditional photographs of the sculptures which he used in the successive process. – Corners slightly bumped, a few minor handling creases, otherwise in very good condition.
Photographer: Kurt Schraudenbach (1912-1967), Robert Bothner (1899-1967), F.X. Bartl. Neon Lights. 1950s. 3 vintage ferrotyped gelatin silver prints, 2 on Agfa-Brovira paper. Various sizes: 17 x 22 cm, 30 x 23,8 cm and 29 x 36,5 cm. Each with photographer's stamp and 2 annotated in pencil on the verso.
Dynamic and glowing views depicting the versatility of neon light advertising and display. – Two prints with some irregularities to ferrotype surface visible at an angle, some light scratch marks, otherwise in very good condition.
XI. Olympiade. Berlin 1936. 38 vintage gelatin silver press prints. Circa 18 x 24 cm. Each with typed press text affixed to lower edge.
Comprehensive collection of press photographs from the 1936 Summer Olympics in Berlin, offering a vivid visual record of the Games as both a sporting and propaganda spectacle. The photographs depict a wide range of disciplines - including track and field, gymnastics, swimming, and equestrian events - as well as opening and closing ceremonies, athlete portraits, and moments of national representation. Participants such as Jesse Owens during his world record long jump, Tajima Naoto at the triple jump event, for which he set a world record and Gerhard Stöck surrounded by his students (signed and dated) are shown. Produced for contemporary media distribution, these prints document not only athletic achievement but also the carefully staged grandeur of the Nazi regime’s international showcase. – Some traces of use, some with pinholes/creases in upper corners, a few with discoloration spots.
March; The Spring. 1995. 3 vintage toned gelatin silver prints. Each circa 22 x 22 cm. Each signed/copyrighted, titled, dated and editioned "1/10" and "3/10" as well as the photographer's stamp on the verso.
These poetic and delicate images by Ukrainian photographer Rita Ostrovskaya reflect her deeply personal approach to recording memory and identity. A central theme in her work is the preservation of Jewish life and culture in Ukraine, captured with quiet intimacy and nuance. Her photographs are represented in major public collections, including the San Francisco Museum of Modern Art. – In very good condition.
Adele Collins. 1958. Dye transfer print, printed late 1980s. 56 x 44 cm (58 x 48,2 cm). Unsigned, with printer's stamp on the verso.
From the 1930s until his death, Norman Parkinson was one of Britain’s leading portrait and fashion photographers. Influenced by Martin Munkacsi, he broke with convention by taking models out of the studio and into dynamic outdoor settings, helping to redefine British fashion photography. Between 1935 and 1940, he worked for Harper’s Bazaar and The Bystander, before beginning a long and influential association with Vogue in 1941. – In near excellent condition.
Male nude embraced. Early 1950s. Vintage gelatin silver print, hinge-mounted in upper edge in mat. 25,5 x 20,5 cm. With the photographer's studio stamp and "Collection of John Edward Rollins" stamp, as well as annotated by another hand in pencil on the verso.
George Platt Lynes was a pioneering figure in mid-20th-century photography, known for his highly stylized portraits, fashion images, and male nudes. Merging surrealist aesthetics with classical references and meticulous lighting, his work evokes a dreamlike sensuality and psychological depth. Lynes’s photographs are celebrated for their elegant eroticism and remain central to the history of queer visual culture and modern fine-art photography. – Some nicks and creases in edges, slightly buckled in upper/lower edges, two light spots in upper area, some toning and soiling on verso, otherwise in good condition.
Berlin, Charlottenburg, Fasanenstrasse. 1985. Gelatin silver print, printed later. 25,3 x 37,5 cm (29,5 x 39,2 cm). Photographer's/copyright stamp and annotated in pencil on the verso.
For over four decades, Nelly Rau-Häring roamed the streets of Berlin with her camera. Born in Basel, she moved to the city in 1965 to study photography at the Lette Verein. Her work traversed both West and East Berlin, capturing everyday life through expressive portraits, shopfronts, and architectural panoramas. In addition to her street photography, she gained recognition for her press and advertising work, published in magazines such as Du and Die Horen. From 1992-1995, she taught at the Hochschule der Künste (Academy of the Arts) in Berlin. – A few small retouched spots in upper left, otherwise in excellent condition.
Samozvery. 1926. Gelatin silver print, printed 1989. 30,3 x 23,8 cm. "Arkana Göttingen" edition stamp, therein numbered "34/50" and annotated in pencil on the verso.
In 1926, Alexander Rodchenko, in collaboration with his wife Varvara Stepanova, created a series of experimental photo illustrations for Samozvery, a children’s book by Sergei Tretjakov. Using artificial lighting and multiple exposures, Rodchenko animated Stepanova’s paper animal figures with striking visual dynamism. Although conceived as a pioneering work of Soviet avant-garde art for young readers, the project was never published and remained at the conceptual stage. – A few light indentation spots, a few minimal nicks in edges, otherwise in very good condition.
Lit.: Alexander Lavrentiev. Alexander Rodchenko - Photography 1924-1954. Cologne: Könemann, 1995. ill. p. 138.
Pioneer. 1930. Gelatin silver print, printed 1989. 30,3 x 23,8 cm. "Arkana Göttingen" edition stamp, therein numbered "34/50" and annotated in pencil on the verso.
Unconventional vantage points were a hallmark of Alexander Rodchenko’s photographic style. In this striking image, the head of a young “Pioneer” - a member of the Soviet youth organization - is captured from directly below, transforming the figure into an abstract, triangular composition. – A few small retouched spots, otherwise in very good condition.
Lit.: Alexander Lavrentiev. Alexander Rodchenko: Photography 1924-1954. Cologne: Könemann, 1995. ill. p. 146.
Sterne, 05h 12m/–70°. 1990. Granolithograph. 67,5 x 45 cm (89 x 65 cm). Printed title below the image in the margin; signed by the photographer in pencil on the verso and editioned “1/40”. Framed under plexiglass in wooden frame.
Fascinated by astronomy since childhood, Thomas Ruff eventually integrated this lifelong interest into his diverse photographic practice. In the early stages of his career, he was frustrated by the technical limitations that prevented him from photographing the night sky himself. In 1989, he acquired a set of negatives from the European Southern Observatory, taken using a specialized telescopic lens as part of a systematic effort to chart the visible universe. From this material, Ruff randomly selected star formations, reoriented their perspectives, and dramatically enlarged the images. The resulting works are guided solely by his visual criteria and bear no direct correspondence to observable reality.
This print is the first in a portfolio of eight granolithographs, published by Edition Schellmann, Munich/New York. – A few handling marks in upper area, some handling dents in lower right, a few light scuff marks in margins, otherwise in very good condition.
Salomon, Erich
Marlene Dietrich on the telephone with her daughter in Berlin from Hollywood 1930; Benito Mussolini, Heinrich Brüning, Dino Grandi, Julius Curtius, Hotel Excelsior in Rome 1931
Los 4208
Schätzung
750€ (US$ 833)
Marlene Dietrich on the telephone with her daughter in Berlin from Hollywood, 1930; Benito Mussolini, Heinrich Brüning, Dino Grandi, and Julius Curtius at the Hotel Excelsior, Rome, 1931. 2 gelatin silver prints, 1 ferrotyped and on Agfa-Brovira paper, printed 1960s. Each circa 18 x 24,5 cm. One with two agency stamps, photographer’s stamp, and annotated in pencil/marker on the verso; the other with typed press text and name stamp on the verso.
Born in Berlin, Erich Salomon studied zoology, mechanical engineering, and law at the University of Rostock before turning to photography almost by chance. In 1925, while working in the advertising department of the Ullstein publishing house, he purchased his first camera - an Ermanox. Its compact design allowed him to photograph discreetly in low light. His breakthrough came in 1928, when his images from a high-profile murder trial were published in the Berliner Illustrirte Zeitung, establishing his reputation as an innovative photojournalist. Salomon went on to document international diplomatic conferences and prominent cultural figures, including Marlene Dietrich and William Randolph Hearst at San Simeon. A Jewish émigré, he fled to the Netherlands in 1932, but was later captured following the Nazi occupation. In 1944, he was deported to Auschwitz, where he perished. – A few light handling marks/creases, corners slightly bumped, Excelsior print slightly buckled, otherwise in good condition.
Salomon, Erich
John F. Kennedy and his brother Joe Jr. at a party, London
Los 4209
Schätzung
750€ (US$ 833)
John F. Kennedy and his brother Joe Jr. at a diplomatic party, London. 1938. Ferrotyped gelatin silver print, printed 1960. 18,7 x 29,5 cm. Annotated/layout marks in pencil and ballpoint pen as well various agency stamps and Dutch press text label on the verso.
This image captures John F. Kennedy and his older brother Joe Jr. at a diplomatic party in London in 1938, during their father Joseph P. Kennedy’s tenure as U.S. Ambassador to the United Kingdom. – Some handling creases/dents, corners bumped.
Solovki, White Sea, Russia. 1992. Pigment print on heavy vellum paper. 37,5 x 89,5 cm (43 x 101 cm). Signed, dated and annotated as artist proof by the photographer in pencil below the image in the margin.
Pentti Sammallahti, a renowned Finnish photographer, joined the Helsinki Camera Club in 1964 while still a student. Though he later studied art history, musicology, and mathematics at the University of Helsinki, he did not complete his degree. From the mid-1970s onward, he taught photography and printing techniques in Lahti and at the University of Art and Design in Helsinki. An avid traveler, Sammallahti documented landscapes and daily life across Eastern Europe, Asia, Africa, and beyond - often using a custom panoramic camera. His images shift between intimate everyday scenes and quietly expansive, poetic vistas. In 2004, Henri Cartier-Bresson selected him as one of his 100 favorite photographers for the inaugural exhibition of the Fondation HCB in Paris. – Slightly buckled, otherwise a beautiful tonal print in excellent condition.
Solovki, White Sea, Russia. 1992. Pigment print on heavy vellum paper. 37,5 x 89,5 cm (43 x 101 cm). Signed, dated and annotated as artist proof by the photographer in pencil below the image in the margin; titled and dated in pencil on the verso.
Slightly buckled, otherwise a beautiful tonal print in excellent condition.
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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
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