Stadtschloß, Berlin. 1856/57. Gold-toned salted paper print with rounded corners. 22 x 16,3 cm. Mounted to original board (slightly time-stained in edges, a few foxing spots).
Leopold Ahrendts began his career as a painter and lithographer in Dessau, eventually transitioning to photography in the mid-19th century. His photographic oeuvre encompasses urban landscapes and architectural views of Berlin, captured with a keen eye for composition and detail. His noteworthy contributions to the field earned him participation in international photographic exhibitions and widespread recognition as an architectural photographer. – Minimal fading in lower edge, a few light spots in negative in lower left corner, otherwise with strong tones and in very good condition.
Lit.: Eberhard Mayer-Wegelin/Sigrid Schulze. Berlin als Residenzstadt. Photographien von Leopold Ahrendts 1854-1870. Munich 2018, ill. p. 76 (variant from other side).
Ahrendts, Leopold
Lustgarten and Stadtschloß, Berlin
Los 4003
Ergebnis (inkl. Aufgeld) *
1.125€ (US$ 1,250)
Lustgarten and Stadtschloß, Berlin. 1856/57. Gold-toned salted paper print with rounded corners. 16,4 x 21,8 cm. Mounted to original board (slightly time-stained in edges, a few foxing spots).
Light faded spot in lower right, otherwise with strong tones and in very good condition.
Lit.: Eberhard Mayer-Wegelin/Sigrid Schulze. Berlin als Residenzstadt. Photographien von Leopold Ahrendts 1854-1870. Munich 2018, ill. p. 71.
Ahrendts, Leopold
Gendarmenmarkt, Berlin
Los 4004
Ergebnis (inkl. Aufgeld) *
1.250€ (US$ 1,389)
Gendarmenmarkt with farmer's market, Berlin. 1857/58. Albumen print with rounded corners. 18,5 x 21,3 cm. Photographer's stamp in lower left, mounted to original board (slightly time-stained in edges).
A few foxing spots in sky area, fading in lower edge, a few light scuff marks, otherwise with strong tones and in good condition.
Lit.: Jutta Reinke/Wolfgang Stemmer (eds.). Pioniere der Kamera. Das erste Jahrhundert der Fotografie 1840 - 1900. Die Sammlung Robert Lebeck. Worpswede 1987, ill. p. 190.
Eberhard Mayer-Wegelin/Sigrid Schulze. Berlin als Residenzstadt. Photographien von Leopold Ahrendts 1854-1870. Munich 2018, ill. p. 134.
Ahrendts, Leopold
Portal of the Zeughaus, Berlin
Los 4005
Ergebnis (inkl. Aufgeld) *
750€ (US$ 833)
Portal of the Zeughaus, Berlin. 1857. Gold-toned salted paper print with rounded corners. 21 x 16 cm. Mounted to original board (slightly time-stained in edges, a few spots, small tear in right edge).
Minimal fading in right edge, a few retouched spots in lower right corner, otherwise with strong tones and in very good condition.
Lit.: Eberhard Mayer-Wegelin/Sigrid Schulze. Berlin als Residenzstadt. Photographien von Leopold Ahrendts 1854-1870. Munich 2018, ill. p. 64.
Kronprinzenpalais, Berlin. Circa 1860. Gold-toned albumen print with rounded corners. 17,3 x 21,7 cm. Mounted to original board (slightly time-stained in edges).
Minimal fading in lower edge, a few minimal surface scuff marks, otherwise with strong tones and in very good condition.
Lit.: Eberhard Mayer-Wegelin/Sigrid Schulze. Berlin als Residenzstadt. Photographien von Leopold Ahrendts 1854-1870. Munich 2018, ill. p. 111.
Alinari, Fratelli
Panoramic view of Florence from San Miniato; Florence: Loggia dei Lanzi
Los 4007
Ergebnis (inkl. Aufgeld) *
750€ (US$ 833)
Panoramic view of Florence from San Miniato; Florence: Loggia dei Lanzi; Interior and exterior views of Palazzo Vecchio, Baptistry bronze door, San Miniato, Santa Maria Novella, Palazzo Pitti, the Dome. Circa 1854-60. 1 large-format, gold-toned albumen print (1 oval) and 1 large-format, gold-toned salted paper print and 8 albumen prints. 30,5 x 43 cm, 30,5 x 41 cm and circa 24 x 18 cm. Mounted to board (edges slightly time-stained and some spots), 1 with photographer's "Fratelli Alinari, Fotografi Firenze, via Nationale 8" blind stamp and 1 with "Fratelli Alinari, Fotografi Firenze Presso Luigi Bardi" below the image on the mount, smaller prints annotated in ink below the image on the mount.
The Fratelli Alinari photography studio, established in 1852 in Florence, Italy, is one of the world's oldest photographic companies. The studio's early focus was portraiture, and it later expanded its repertoire to capture Italy's cultural heritage, architecture, and historical landmarks. The extensive archive of daguerreotypes, albumen prints, and glass negatives produced by Fratelli Alinari during this period has played a crucial role in preserving and documenting Italy's rich artistic and cultural history. – In very good condition.
Lit.: Bodo von Dewitz/Dietmar Siegert/Karin Schuller-Procopovici (eds.). Italien sehen und sterben. Photographien der Zeit des Risorgimento (1845-1870). Cologne 1994, ill. p. 159.
Jutta Reinke/Wolfgang Stemmer (eds.). Pioniere der Kamera. Das erste Jahrhundert der Fotografie 1840-1900. Die Sammlung Robert Lebeck. Bremen 1987, ill. p. 111.
Anderson, James and Tommaso Cuccioni
View of St. Peter's Basilica; Fountain of St. Peter's Square; Interior of St. Peter's; Interior of Vatican
Los 4010
Ergebnis (inkl. Aufgeld) *
1.375€ (US$ 1,528)
View of St. Peter's Basilica; Fountain of St. Peter's Square; Interior of St. Peter's; Interior of Vatican. Early 1860s. 4 large-format albumen prints. 33,5 x 45,5 cm 39,5 x 31,7 cm, 29 x 38,7 cm and 32,5 x 45 cm. Each mounted to board (traces of use, some spots, slightly dusty), titled in Italian in ink below the image on the mount, Vatican print with "Fotografia Cuccioni, via Condotti 19, ROMA" blind stamp under the image on the mount.
Some minimal fading in edges, a few surface scuff marks, some retouched spots, Fountain print with foxing in sky area and light spots in lower right, otherwise in very good condition with strong violet-brown tones.
Lit.: Dorothea Ritter. Rom 1846-1870. James Anderson und die Maler-Fotografen, Sammlung Siegert. Munich 2005, ill. p. 63 (Interior St. Peter's).
Animal studies. 1888-89. 6 albumen prints mounted to board (edges rubbed, some smudge marks). Each circa 20,4 x 14,8 cm or reverse (27,7 x 35,3 cm). Each with photographer's name, date and location in the negative lower right.
Ottomar Anschütz was a German photographer, renowned for his advancements in high-speed and motion photography. In the 1880s, he developed fast shutters that captured images at 1/1000th of a second, allowing him to photograph rapid movements with unprecedented clarity. Among his notable works is a series of photographs featuring taxidermied animals in lifelike settings with painted backdrops and props to simulate their natural habitats. These images demonstrate his technical prowess as well as his dedication to blend scientific inquiry with artistic expression.
– A few minimal surface scuff marks/slight surface soiling, otherwise in very good condition.
Anschütz, Ottomar
Calvary horses with riders
Los 4015
Ergebnis (inkl. Aufgeld) *
500€ (US$ 556)
Cavalry horses with riders. 1883. Albumen print. 21 × 27,5 cm. With negative number in lower left corner of the image, annotations in pencil, and “M. Hessling Kunstverlag Leipzig, 11 Fürstenstr.” stamps on the verso.
Some handling creases, small tears along margins and discoloration in lower portion of print, otherwise in good condition.
Atget, Eugène
Marchande de café au lait, rue Mouffetard, 5ème arrondissement, Paris
Los 4016
Ergebnis (inkl. Aufgeld) *
2.250€ (US$ 2,500)
Marchande de café au lait, rue Mouffetard, 5ème arrondissement, Paris. Circa 1898. Albumen print. 22,6 x 18,1 cm. Annotated and numbered "3087" by the photographer in pencil on the verso.
Eugène Atget’s photographs of Paris at the turn of the 20th century form a remarkable visual archive of the city’s streets, architecture, and vanishing pre-modern spaces. While best known for his carefully composed urban vistas, he occasionally photographed street vendors, shopkeepers, and laborers. Whether capturing deserted boulevards or glimpses of daily life, his work transcends documentation, evoking a poetic sense of time and memory that profoundly influenced generations of photographers after him. – Small tear on upper margin, edges slightly uneven, otherwise in good condition.
Hunting trophy. 1860s. Albumen print mounted to board. 15,8 × 12 cm (17,3 × 20 cm). Annotated in pencil by another hand in lower left corner of the mount; with “Robert Lebeck” collection label and another albumen print, captioned in ink, affixed to the verso.
Captain N. Baily, a British photographer active in the 1860s, was a member of the Amateur Photographic Association. His work reflects the mid-19th-century fascination with still-life compositions, particularly those featuring game, fowl and fish - subjects popular among gentleman photographers, many of whom had military backgrounds and engaged in hunting as a pastime. Baily’s surviving photographs are marked by careful composition and keen attention to texture and detail.
Provenance: Robert Lebeck collection
Théâtre Romain à Arles. Circa 1855. Albumen print. 33,5 x 43 (44 x 55 cm). With title and negative number in lower margin of print, mounted to original card (some foxing and smudge marks, left margin torn), stamped "E. Baldus" in black ink below image on mount.
Édouard Baldus, a pivotal figure in 19th-century architecture and landscape photography, played a crucial role in establishing photography as a vital tool for documenting and preserving architectural heritage. Renowned for his expansive photographic campaigns across France, Baldus captured monuments, railway routes, and cityscapes that represent some of the era’s most striking architectural views. Prints of this image are in the collections of the Metropolitan Museum of Art, the National Gallery of Art, Washington and the Museum of Fine Arts, Houston. – Some foxing and light surface irregularities, otherwise a strong print in near excellent condition.
Barnard, George N.
Photographic Views of Sherman’s Campaign
Los 4022
Ergebnis (inkl. Aufgeld) *
750€ (US$ 833)
Photographic Views of Sherman’s Campaign. 1864. 2 albumen prints mounted to album pages (corners bumped, some light discoloration). Each 25,5 x 36 cm (41 x 51,5 cm). Each titled and captioned "Photo. from nature by G.N.Barnard" below the image on the mount.
George Norman Barnard was a pioneering American Civil War photographer, best known for his 1866 album Photographic Views of Sherman’s Campaign, which document the landscapes, fortifications, and destruction left in the wake of General William Tecumseh Sherman’s march through the American South. Using large-format albumen prints, Barnard captured battlefields, ruined railroads, and cities such as Atlanta, Savannah, and Charleston, creating some of the most striking visual records of the war’s impact. His work is notable for its technical precision, dramatic compositions, and historical significance, positioning him as one of the leading war photographers of the 19th century. – Some light scuff marks, otherwise in near excellent condition.
Lit.: George N. Barnard. Photographic Views of Sherman’s Campaign, from Negatives Taken in the Field. New York 1866.
Photographer: Emil Dux (1872-1954). Views of Mark Brandenburg. 1890s. 43 albumen prints. Each circa 11 x 16 cm. All mounted to board, annotated in ink on the mount, in original canvas box (edges with wear, cover loose).
This selection of photographs includes views of Alt Landsberg, Belzig, Brandenburg, Neumark, Crossen, Friedeberg, Gransee, Chorin, Lehnin, Heiligengrabe, Koenigsberg, Rheinsberg, Tangermünde and others. – Some surface scratches, some with fading in edges, otherwise in good condition.
Carjat, Étienne
Album de la Galerie Contemporaine: Biographies & Portraits
Los 4029
Ergebnis (inkl. Aufgeld) *
1.250€ (US$ 1,389)
Album de la Galerie Contemporaine: Biographies & Portraits. 1888. 12 Woodburytypes mounted on album pages (some light foxing). Each 23 x 18 cm (34 x 27 cm). With photographer’s name, sitter’s name, and publisher’s information below the image, along with a biographical text accompanying each portrait. Bound in contemporary cloth-backed album with gilt-embossed title and decorative ornamentation in black and blue (edges worn, some stains and scuff marks).
An essential chronicle of 19th-century French intellectuals, writers, and artists, this volume features Carjat’s iconic portrait of Charles Baudelaire, alongside those of other luminaries such as Edmond de Goncourt, Madame de Ségur and Viollet-le-Duc. – Some light scuff and pressure marks, otherwise all in excellent condition.
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* Alle Angaben inkl. 25% Regelaufgeld ohne MwSt. und ohne Gewähr – Irrtum vorbehalten.
Galerie Bassenge
Erdener Str. 5A
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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
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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