Masquerade. 1970s. Chromogenic print, printed 1980s. 39,2 x 28,5 cm. Numbered "2/20" and signed in black ink in lower margin of print, numbered in pencil on the verso.
Small thumb mark in left margin of print, otherwise in near excellent condition.
E 9 (from the series "Eingebrannte Bilder"). 1997. Gelatin silver print. 40 x 30,3 cm. Signed and dated by the photographer in pencil on the verso.
Since the 1990s, Ernst Volland has focused on the artistic reinterpretation of historical photographs and iconic images from contemporary history. His series "Eingebrannte Bilder" (Branded Images), developed over several years and exhibited at the German Historical Museum in Berlin, transforms familiar photographs embedded in Germany’s collective memory. By deliberately blurring and distorting these images, Volland challenges viewers to confront their visual assumptions, turning once recognizable scenes into enigmatic visual puzzles. – Diagonal crease in upper left corner, small crease in left edge, otherwise in good condition.
Lit.: Ernst Volland. Eingebrannte Bilder, Plakate, Cartoons, Buntstiftbilder, Fakes, Dokumente. Berlin 2018, ill. p. 32.
E 8 (from the series "Eingebrannte Bilder"). 1997. Gelatin silver print. 30 x 40,1 cm. Signed and dated by the photographer in pencil on the verso.
Edges slightly curled, light dent near upper edge, otherwise in very good condition.
Lit.: Ernst Volland. Eingebrannte Bilder, Plakate, Cartoons, Buntstiftbilder, Fakes, Dokumente. Berlin 2018, ill. p. 30.
Andy Warhol. 1978. Polaroid in wooden frame. 10,8 x 8,8 cm (27,5 x 25,5 cm). Signed on recto below the image, titled dated and copyrighted in black ink on the verso of the frame.
In the late 1970s and early 1980s, Michel Waxmann captured the gritty realities of American life - from Bronx street gangs to desolate California motels - while also documenting intimate moments within New York’s vibrant art scene, including rare encounters with cultural icons such as Andy Warhol, who was at the height of his influence at the time.
– Some scuff marks, two small stains, otherwise in near excellent condition.
Couple. 1990s. Large-format pigment print, printed later. 82 x 99 cm (111 x 92,5 cm). Framed under glass in wooden frame (some foxing on frame support).
Bruce Weber’s photographic work is defined by its rich, sensuous imagery that transcends the lines between fashion, portraiture, and documentary. Known for his evocative black-and-white photographs, Weber captures his subjects with a striking blend of intimacy, nostalgia, and idealized beauty - often infused with a subtle yet unmistakable homoeroticism. Over the span of his career, Weber has left a lasting imprint on both commercial and fine art photography through iconic campaigns and editorial collaborations that have redefined the aesthetics of desire and masculinity. – Small round mounting marks, with a few very light foxing spots in the upper and lower corners and mid-section; otherwise, a strong print in very good condition.
Weber, Doris Martha
Smoke and Steam; Iron for Industry; Sunlit Steam.
Los 4279
Ergebnis (inkl. Aufgeld) *
1.500€ (US$ 1,667)
Smoke and Steam; Iron for Industry; Sunlit Steam. Circa 1945. 3 vintage gelatin silver prints on structured paper. 2 circa 48 x 39 cm and 1 40,2 x 39 cm. Each mounted to board (some traces of use), 2 signed and titled by the photographer in pencil below the image on the mount; 2 annotated in ink and various exhibition stamps on mount verso.
In 1953 Doris Martha Weber was awarded the "Stuyvesant Peabody Memorial Award for the Greatest Service to Pictorial Photography" by the Photographic Society of America. Five of her industrial images are in the collection of the Smithsonian Institute. Her atmospheric work is exemplary of 1940s American industrial photography. – A few scuff/scratch marks, a few small spots, minimal edge wear, otherwise fine tonal prints in very good condition.
Wim Wenders: Photos. Views of Australia.1977 and 1988. 26 Cibachrome prints, 7 chromogenic prints on Kodak Professional paper, and 1 gelatin silver print on RC paper, all printed in the 1990s. Most prints circa 10 x 30 cm (18 x 30 cm), 6 circa 10 x 29,5 cm (24 x 30,4 cm), 4 circa 13 x 30 cm (21,5 x 30 cm), and 1 at 12,5 x17,5 cm. 4 prints bear gallery press labels with typed titles and dates on the verso; one with copyright label by Donata Wenders (portrait of Wim Wenders) on the verso.
Wim Wenders’ photographs of the United States and Australia reflect his cinematic sensibility, capturing vast, often desolate landscapes with a striking use of color and composition. His vivid, saturated tones contrast with scenes of decay and emptiness, giving them quiet intensity and emotional depth. This group of photographs served as model prints for the publication Wim Wenders: Photos, which accompanied an exhibition organized by the Goethe-Institut, Munich in 1996. Most are Cibachrome prints, distinguished by their exceptional color richness. – A few light surface scratch marks, more visible at an angle, a few small dents, nine with discoloration in lower right corner, otherwise in very good condition with bright colors. With: A copy of the book Wim Wender: Photos. (Cover of case time-stained in edges).
Provenance: Private collection, gift of the photographer.
Lit.: Wim Wenders: Photos. Heidelberg 1995, publication accompanying Goethe-Institut exhibition, (all illustrated).
Wiedenhöfer, Kai
Palestinian boy playing with a horsetail at the beach of Gaza City
Los 4288
Ergebnis (inkl. Aufgeld) *
500€ (US$ 556)
Palestinian boy playing with a horsetail at the beach of Gaza City. 1994. Matted gelatin silver print. 24 x 30,2 (50 x 40 cm). Stamped "No. 0853" along with printed copyright label affixed to the verso.
In the 1990s, Kai Wiedenhöfer lived in Gaza and photographed daily life with rare intimacy, earning the nickname Habib al-Shaab (“friend of the people”). Fluent in Arabic and deeply embedded in the community, he documented the quiet resilience of Palestinians amid the turbulence between the first and second Intifadas. His series, later published as "Perfect Peace", offers a humanistic and empathetic portrayal of a society enduring the weight of occupation. – Some light foxing and remnants of mounting tape; otherwise in very good condition.
World War I
Documentation album of a German soldier during WWII
Los 4294
Ergebnis (inkl. Aufgeld) *
4.000€ (US$ 4,444)
Documentation album of a German soldier during WWI. Circa 1914-17. Circa 43 vintage gelatin silver prints and 1 postcard. Various sizes, most 13 x 18 cm and smaller. Most mounted in photo corners to album pages (some wear), each with caption in white ink in German on the mount, some loose. Bound in contemporary imitation leather album (slight wear, edges rubbed, binding loose), with painted Iron Cross in upper left corner.
This historically significant album opens with images documenting the deployment of “Feldflieger Abteilung 57” in Galicia, including views of locations, personnel, and aircraft. The second section is of particular interest, featuring rare photographs of “FFA 300,” the aviation unit deployed in support of the Ottoman Empire. Among the highlights is a photograph showing Turkish General Ahmed Djemal (Cemal Pasha) alongside General Kreß von Kressenstein during an “FFA 300” parade. – Some photos with silver mirroring in edges, some with edge wear, a few faded, otherwise in good condition.
Photographer: Martin Badekow (1896-1983). Berlin after WWII. 1946. 5 vintage gelatin silver press prints, some on Ortho-Brom paper. Each circa 18 x 24 cm. 4 with typed caption in upper left corner; 4 with photographer's studio stamp on the verso.
These photographs capture the extensive devastation Berlin endured during World War II, revealing the scale of destruction that reshaped the city’s urban landscape. – Some creases, curled in edges, one slightly discolored, otherwise in good condition.
X-ray of flowers. 1930s. Vintage gelatin silver print. 27 x 22 cm. Mounted to original board (some traces of use, tear in upper right corner), Agfa company logo embossed in lower left corner.
In very good condition.
Industrial images (2 solarisations). 1960s. 5 vintage ferrotyped gelatin silver prints on Agfa-Portriga-Rapid paper. Each between 26 x 20,7 cm and 29,5 x 20,5 cm. 4 with photographer's stamp, 2 annotated by the photographer in pencil on the verso.
Hartmut Zickmantel was a lecturer in photography at the Cologne Werkkunstschulen. The photographs offered in this group were probably taken in the 1960s, as part of his work for DEMAG AG (formerly Jünkerather Gewerkschaft) in Jünkerath/Eifel. – Some corners bumped, a few small handling dents, surface scratches, otherwise in good condition.
[*]: Regelbesteuert gemäß Auktionsbedingungen. [^]: Ausgleich von Einfuhr-Umsatzsteuer.
* Alle Angaben inkl. 25% Regelaufgeld ohne MwSt. und ohne Gewähr – Irrtum vorbehalten.
Galerie Bassenge
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Montag bis Donnerstag, 10–18 Uhr,
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Telefon: +49 30 8938029-0
Fax: +49 30 8918025
E-Mail: info (at) bassenge.com
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© 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