Fischer, Arno: Fashion photos, Moscow Fashion photos, Moscow (Krymsky bridge). 1967. 2 vintage gelatin silver prints. 30 x 23,8 cm and 18,6 x 29,5 cm. Each with Sibylle paper label and protective cover sheet attached to the verso. In 1962 Arno Fischer became part of the editorial team of Sibylle which was the most popular and almost only lifestyle magazine in the GDR, primarily dedicated to fashion. The magazine was unique in the GDR because its photographers were able to freely develop their artistic activities despite the authoritarian regime. – Corners slightly bumped, slight buckling in edges, a few light handling creases, one print with stronger crease near left edge, otherwise in good condition. Lit.: Published in: Sibylle issue 5, 1967. Fischer, Arno: Fashion photos, Moscow Fashion photos, Moscow (Krymsky bridge). 1967. 2 vintage gelatin silver prints. 30 x 23,8 cm and 18,6 x 29,5 cm. Each with Sibylle paper label and protective cover sheet attached to the verso. In 1962 Arno Fischer became part of the editorial team of Sibylle which was the most popular and almost only lifestyle magazine in the GDR, primarily dedicated to fashion. The magazine was unique in the GDR because its photographers were able to freely develop their artistic activities despite the authoritarian regime. – Corners slightly bumped, slight buckling in edges, a few light handling creases, one print with stronger crease near left edge, otherwise in good condition. Lit.: Published in: Sibylle issue 5, 1967.
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Marconi, Gaudenzio: Male nude (Attributed to). Male nude. Circa 1875. Albumen print. 17,5 x 23,8 cm. Mounted to thin, light blue card (slightly soiled, traces of use, backed tears) with ruled line in brown crayon. Marconi was a Swiss/Italian photographer who later worked in France and Belgium. His high quality nudes, such as the one offered here, were famous and sought after by many artists. Rodin especially appreciated his photographs. – Some surface scuff marks, otherwise in good condition. Marconi, Gaudenzio: Male nude (Attributed to). Male nude. Circa 1875. Albumen print. 17,5 x 23,8 cm. Mounted to thin, light blue card (slightly soiled, traces of use, backed tears) with ruled line in brown crayon. Marconi was a Swiss/Italian photographer who later worked in France and Belgium. His high quality nudes, such as the one offered here, were famous and sought after by many artists. Rodin especially appreciated his photographs. – Some surface scuff marks, otherwise in good condition.
Zeppelin: Images of LZ 126 Graf Zeppelin Photographer: Werksphotographie Friedrichshafen. Images of LZ 126 Graf Zeppelin. 1929. 20 vintage gelatin silver prints. Each circa 16 x 22 cm. Each mounted along upper edge to board with title printed below the image on the mount, in original half canvas portfolio (edges time-stained, foxing on inside, lower right corner bumped), with text leaf (edges frayed) and gilt/white-stamped title LZ 126 20 Originalphotographien vom Amerika-Luftschiff. Some prints with light discoloration from unwashed fixer, otherwise most in very good condition. Zeppelin: Images of LZ 126 Graf Zeppelin Photographer: Werksphotographie Friedrichshafen. Images of LZ 126 Graf Zeppelin. 1929. 20 vintage gelatin silver prints. Each circa 16 x 22 cm. Each mounted along upper edge to board with title printed below the image on the mount, in original half canvas portfolio (edges time-stained, foxing on inside, lower right corner bumped), with text leaf (edges frayed) and gilt/white-stamped title LZ 126 20 Originalphotographien vom Amerika-Luftschiff. Some prints with light discoloration from unwashed fixer, otherwise most in very good condition.
Koenig, Wilmar: Portraits 1981-1983 Portraits 1981-1983. 21 vintage selenium toned gelatin silver prints. Each circa 49 x 37,5 cm. 12 signed and dated, 8 signed, dated and editioned (edition of 6 + 4 a.p.) by the photographer in pencil on the verso. 1 framed under glass in original silver-plated frame. The portraits in this group were taken by Wilmar Koenig between 1981-1983. They were exhibited at the Galerie Fahnemann, Fasanenstr. 61, Berlin. The catalogue states that the prints were made in a one-time edition of 6 + 4 artist proofs. This group is the nearly complete series (25) which is rare. One print is framed in the original silver-plated exhibtion frame Wilmar Koenig chose. – Some corners bumped, slight edge wear, some with slight discoloration in edges, some with light handling marks, one with traces of previous mounting on the verso, otherwise most in good to very good condition. Lit.: Florian Ebner/Felix Hoffmann/Inka Schube/Thomas Weski (eds.). Werkstatt für Photographie 1976-1986. London 2016, ill. pp. 204-209. Wilmar Koenig. Galerie Fahnemann Berlin 1984, exhibition catalogue, several illustrated. Koenig, Wilmar: Portraits 1981-1983 Portraits 1981-1983. 21 vintage selenium toned gelatin silver prints. Each circa 49 x 37,5 cm. 12 signed and dated, 8 signed, dated and editioned (edition of 6 + 4 a.p.) by the photographer in pencil on the verso. 1 framed under glass in original silver-plated frame. The portraits in this group were taken by Wilmar Koenig between 1981-1983. They were exhibited at the Galerie Fahnemann, Fasanenstr. 61, Berlin. The catalogue states that the prints were made in a one-time edition of 6 + 4 artist proofs. This group is the nearly complete series (25) which is rare. One print is framed in the original silver-plated exhibtion frame Wilmar Koenig chose. – Some corners bumped, slight edge wear, some with slight discoloration in edges, some with light handling marks, one with traces of previous mounting on the verso, otherwise most in good to very good condition. Lit.: Florian Ebner/Felix Hoffmann/Inka Schube/Thomas Weski (eds.). Werkstatt für Photographie 1976-1986. London 2016, ill. pp. 204-209. Wilmar Koenig. Galerie Fahnemann Berlin 1984, exhibition catalogue, several illustrated.
Thiemann, Elsa: Detail studies (Pineapple; Tortoise shell) Detail studies (Pineapple; Tortoise shell). 1930s. 2 vintage ferrotyped gelatin silver prints on ivory paper. Each circa 18 x 12,5 cm. 1 with photographer's stamp, each with estate stamp and 1 annotated by the photographer in pencil on the verso. In the 1930s-40s Elsa Thiemann made detail studies of various everyday objects which were also published in magazines as "Rätselbilder" (mystery images). – A few light handling marks, otherwise in very good condition. Lit.: Annemarie Jaeggi/Margot Schmidt (eds.). Elsa Thiemann: Fotografin, Bauhaus und Berlin. Berlin 2004, see pp. 62-67. Provenance: From the estate of the photographer. Thiemann, Elsa: Detail studies (Pineapple; Tortoise shell) Detail studies (Pineapple; Tortoise shell). 1930s. 2 vintage ferrotyped gelatin silver prints on ivory paper. Each circa 18 x 12,5 cm. 1 with photographer's stamp, each with estate stamp and 1 annotated by the photographer in pencil on the verso. In the 1930s-40s Elsa Thiemann made detail studies of various everyday objects which were also published in magazines as "Rätselbilder" (mystery images). – A few light handling marks, otherwise in very good condition. Lit.: Annemarie Jaeggi/Margot Schmidt (eds.). Elsa Thiemann: Fotografin, Bauhaus und Berlin. Berlin 2004, see pp. 62-67. Provenance: From the estate of the photographer.
Florschuetz, Thomas: Untitled. 20.v.86/II (1-3) Untitled. 20.V.86/II (1-3, triptych). 3 vintage gelatin silver prints. Each circa 46,5 x 46,5 cm (49,7 x 49,7 cm). Each signed, titled, editioned E.A. and annotated and 1 also dedicated to Wilmar Koenig by the photographer in pencil on the verso. Pinholes in corners of margins, a few light handling marks, corners/edges slightly bumped, otherwise in very good condition. Florschuetz, Thomas: Untitled. 20.v.86/II (1-3) Untitled. 20.V.86/II (1-3, triptych). 3 vintage gelatin silver prints. Each circa 46,5 x 46,5 cm (49,7 x 49,7 cm). Each signed, titled, editioned E.A. and annotated and 1 also dedicated to Wilmar Koenig by the photographer in pencil on the verso. Pinholes in corners of margins, a few light handling marks, corners/edges slightly bumped, otherwise in very good condition.
Smith, J. Burlington: Himalayas Himalayas. Circa 1900. Large-format carbon print. 43 x 54,5 cm. Signed in the negative in lower left, flush-mounted to board. One longer backed crack in upper right, a few light surface scuff marks, otherwise a rich tonal print in very good condition. Provenance: Günter Heil Collection Smith, J. Burlington: Himalayas Himalayas. Circa 1900. Large-format carbon print. 43 x 54,5 cm. Signed in the negative in lower left, flush-mounted to board. One longer backed crack in upper right, a few light surface scuff marks, otherwise a rich tonal print in very good condition. Provenance: Günter Heil Collection
Krolow, Wolfgang: Chamissoplatz, Berlin Chamissoplatz, Berlin. 1980s. Vintage gelatin silver print. 18 x 23,8 cm. Signed, dedicated and dated by the photographer in ink and photographer's stamp on the verso. This is the only print of this atmospheric image taken by Krolow in his neighborhood and the negative no longer exists. – A few light pressure marks, otherwise in very good condition. Krolow, Wolfgang: Chamissoplatz, Berlin Chamissoplatz, Berlin. 1980s. Vintage gelatin silver print. 18 x 23,8 cm. Signed, dedicated and dated by the photographer in ink and photographer's stamp on the verso. This is the only print of this atmospheric image taken by Krolow in his neighborhood and the negative no longer exists. – A few light pressure marks, otherwise in very good condition.
Heidersberger, Heinrich: Witwen "Witwen" (Widows). 1950s.Vintage ferrotyped gelatin silver print on Agfa-Portriga-Rapid paper. 23,7 x 29,7 cm. Signed and titled by the photographer in pencil and photographer's 318 wolfsburg schloss stamp on the verso. Small surface spot in right mid section and upper left, a few light spots in left area, otherwise in very good condition. Heidersberger, Heinrich: Witwen "Witwen" (Widows). 1950s.Vintage ferrotyped gelatin silver print on Agfa-Portriga-Rapid paper. 23,7 x 29,7 cm. Signed and titled by the photographer in pencil and photographer's 318 wolfsburg schloss stamp on the verso. Small surface spot in right mid section and upper left, a few light spots in left area, otherwise in very good condition.
Werkstatt für Photographie: Selection of posters of exhibtions at the Werkstatt für Photographie Selection of exhibition posters in conjunction with the Werkstatt für Photographie. 1975-1984. 11 offset posters. Various sizes between 92 x 59 cm, 58 x 43 cm and 70 x 101 cm. Includes seminal posters of exhibitions at the Werkstatt für Photographie such as: Michael Schmidt "Senioren in Berlin", UBhf Möckernbrücke 1975; Wilmar Koenig and Jürgen Frisch, VHS Kreuzberg 1977; Baltz, Deal, Gohlke, Shore, Toth, VHS Kreuzberg 1978; Group exhibition, VHS Kreuzberg 1980 (2); Group exhibition, DGfPh Cologne 1980; André Gelpke, VHS Kreuzberg 1982; Urs Lüthi, VHS Kreuzberg 1983; Wilmar Koenig, Graz 1984 (2) and M. Leupold, A. Hentschel, A. Leupold, Thomas Florschuetz "z.Zt." Bauhaus Dessau 1986 (signed). – Some with light traces of use, Bauhaus Dessau poster with timestaining in edges, otherwise most in very good condition. – With: Generics +++. Group catalogue from the ‹Bezüge II› art project. Limited edition of 500, this copy a.e. 29/80. 54 pp. 60 x 42 cm. 1983. - Self published on the occasion of the project "Bezüge II" [Relations II], organized by the Neuer Berliner Kunstverein and ter Hell, Berlin, May-June 1983. Lit.: Florian Ebner/Felix Hoffmann/Inka Schube/Thomas Weski (eds.). Werkstatt für Photographie 1976-1986. London 2016, ill. pp. 369-371. Werkstatt für Photographie: Selection of posters of exhibtions at the Werkstatt für Photographie Selection of exhibition posters in conjunction with the Werkstatt für Photographie. 1975-1984. 11 offset posters. Various sizes between 92 x 59 cm, 58 x 43 cm and 70 x 101 cm. Includes seminal posters of exhibitions at the Werkstatt für Photographie such as: Michael Schmidt "Senioren in Berlin", UBhf Möckernbrücke 1975; Wilmar Koenig and Jürgen Frisch, VHS Kreuzberg 1977; Baltz, Deal, Gohlke, Shore, Toth, VHS Kreuzberg 1978; Group exhibition, VHS Kreuzberg 1980 (2); Group exhibition, DGfPh Cologne 1980; André Gelpke, VHS Kreuzberg 1982; Urs Lüthi, VHS Kreuzberg 1983; Wilmar Koenig, Graz 1984 (2) and M. Leupold, A. Hentschel, A. Leupold, Thomas Florschuetz "z.Zt." Bauhaus Dessau 1986 (signed). – Some with light traces of use, Bauhaus Dessau poster with timestaining in edges, otherwise most in very good condition. – With: Generics +++. Group catalogue from the ‹Bezüge II› art project. Limited edition of 500, this copy a.e. 29/80. 54 pp. 60 x 42 cm. 1983. - Self published on the occasion of the project "Bezüge II" [Relations II], organized by the Neuer Berliner Kunstverein and ter Hell, Berlin, May-June 1983. Lit.: Florian Ebner/Felix Hoffmann/Inka Schube/Thomas Weski (eds.). Werkstatt für Photographie 1976-1986. London 2016, ill. pp. 369-371.
Hajek-Halke, Heinz: Vogeluhr "Vogeluhr" (Bird clock). 1967. Vintage large-format gelatin silver print on thick paper. 59,5 x 47 cm. Signed and dated in lower right and editioned Fassung2/Auflage 7 in lower left by the photographer in ballpoint pen; titled by the photographer in ink, photographer's Bln-Grunewald, Hagen Strasse 32 copyright stamp and Lichtgraphik stamp (therein numbered 2/7) on the verso, hinge-mounted in mat. Heinz Hajek-Halke's very complex and unique later work (Lichtgraphiken) can be seen as a form of photographic painting. He employed numerous techniques using mutiple exposures, reworking negatives and combining negatives in many variations. – Corners bumped, some creases in upper edge, a few light handling marks, otherwise a rich tonal print in very good condition. Lit.: Michael Ruetz/Rolf Sachsse (eds.). Heinz Hajek-Halke. Der Alchemist. Göttingen 2012, see ill. p. 70 (dated 1966). Hajek-Halke, Heinz: Vogeluhr "Vogeluhr" (Bird clock). 1967. Vintage large-format gelatin silver print on thick paper. 59,5 x 47 cm. Signed and dated in lower right and editioned Fassung2/Auflage 7 in lower left by the photographer in ballpoint pen; titled by the photographer in ink, photographer's Bln-Grunewald, Hagen Strasse 32 copyright stamp and Lichtgraphik stamp (therein numbered 2/7) on the verso, hinge-mounted in mat. Heinz Hajek-Halke's very complex and unique later work (Lichtgraphiken) can be seen as a form of photographic painting. He employed numerous techniques using mutiple exposures, reworking negatives and combining negatives in many variations. – Corners bumped, some creases in upper edge, a few light handling marks, otherwise a rich tonal print in very good condition. Lit.: Michael Ruetz/Rolf Sachsse (eds.). Heinz Hajek-Halke. Der Alchemist. Göttingen 2012, see ill. p. 70 (dated 1966).
Cumming, Robert H.: Wilmar Koenig 1952 "Wilmar Koenig 1952". 1982. Ink drawing on Diane Arbus Werkstatt für Photgraphie offset poster. 60 x 45 cm. Titled, signed and dated by R.Cumming in lower image edge and dedicated to Wilmar Koenig Wilmar, Thanks for all the help, etc. und soweider by R. Cumming in ink in lower margin. Some light soiling and scratch marks, especially in margins, lower part folded back, otherwise in good condition. Cumming, Robert H.: Wilmar Koenig 1952 "Wilmar Koenig 1952". 1982. Ink drawing on Diane Arbus Werkstatt für Photgraphie offset poster. 60 x 45 cm. Titled, signed and dated by R.Cumming in lower image edge and dedicated to Wilmar Koenig Wilmar, Thanks for all the help, etc. und soweider by R. Cumming in ink in lower margin. Some light soiling and scratch marks, especially in margins, lower part folded back, otherwise in good condition.
Singh, Raghubir: After Crossing the Luni River, Barmer, Rajasthan "After Crossing the Luni River, Barmer, Rajasthan". 1975/printed circa 1985. Dye transfer print. 24,2 x 37,2 cm (41,5 x 51,2 cm). Singh was born in Jaipur to an aristocratic Rajput family. His grandfather was commander-in-chief of the Jaipur armed forces, his father a Thakur or feudal landowner of Khetri (Rajasthan). After independence, the family lost influence and much of its wealth. As a student he discovered "Beautiful Jaipur", Cartier-Bresson's little-known book published in 1948, which aroused his interest in photography. Today he is regarded as one of the great pioneers of early color photography alongside important photographers such as William Eggleston, Stephen Shore, Joel Sternfeld and Joel Meyerowitz. Singh's work documents Indian culture and the changing times the country has faced. Singh's works have primarily been shown in major American institutions, such as the Metropolitan Museum of Art, Museum of Modern Art, Tate Modern, and many others. He has published more than fourteen books on India and received numerous international awards. A print of this image is in the Metropolitan Museum of Art, New York. – Light handling mark in lower right in margin, otherwise a fine print in excellent condition. Singh, Raghubir: After Crossing the Luni River, Barmer, Rajasthan "After Crossing the Luni River, Barmer, Rajasthan". 1975/printed circa 1985. Dye transfer print. 24,2 x 37,2 cm (41,5 x 51,2 cm). Singh was born in Jaipur to an aristocratic Rajput family. His grandfather was commander-in-chief of the Jaipur armed forces, his father a Thakur or feudal landowner of Khetri (Rajasthan). After independence, the family lost influence and much of its wealth. As a student he discovered "Beautiful Jaipur", Cartier-Bresson's little-known book published in 1948, which aroused his interest in photography. Today he is regarded as one of the great pioneers of early color photography alongside important photographers such as William Eggleston, Stephen Shore, Joel Sternfeld and Joel Meyerowitz. Singh's work documents Indian culture and the changing times the country has faced. Singh's works have primarily been shown in major American institutions, such as the Metropolitan Museum of Art, Museum of Modern Art, Tate Modern, and many others. He has published more than fourteen books on India and received numerous international awards. A print of this image is in the Metropolitan Museum of Art, New York. – Light handling mark in lower right in margin, otherwise a fine print in excellent condition.
Beyer, Karol: Faubourg de Cracovie, Warsaw "Faubourg de Cracovie", Warsaw. 1860s. Albumenized salt print with rounded corners. 21,3 x 29 cm. Mounted to ornamental studio board (soiled/toned in edges, small tears) with photographer's name and title printed below the image on the mount. From the portfolio Vues de Varsovie - Widokim Warszawy. Small tear in upper edge and retouched lines in lower left, a few light surface scuff marks, otherwise in very good condition with strong tones. Lit.: Danuta Jackiewicz. Karol Beyer 1818-1877, Warsaw 2012. Beyer, Karol: Faubourg de Cracovie, Warsaw "Faubourg de Cracovie", Warsaw. 1860s. Albumenized salt print with rounded corners. 21,3 x 29 cm. Mounted to ornamental studio board (soiled/toned in edges, small tears) with photographer's name and title printed below the image on the mount. From the portfolio Vues de Varsovie - Widokim Warszawy. Small tear in upper edge and retouched lines in lower left, a few light surface scuff marks, otherwise in very good condition with strong tones. Lit.: Danuta Jackiewicz. Karol Beyer 1818-1877, Warsaw 2012.
Wendlandt, Kurt: Turmfigur (Lichtgrafik/Original-Solarisation) "Turmfigur" (Lichtgrafik/Original-Solarisation). 1959 (?). Unique vintage solarized gelatin silver print. 52,5 x 40,5 cm. Signed and dated in lower edge, mounted to brown board, titled by the photographer in ink below the image on the mount The German painter, printmaker, photographer, author and illustrator Kurt Wendlandt was among the most creative artists of postwar West Germany. Since his studies at the State Academy of the Arts 1937-43, his artistic development was continuously interrupted, also due to a war injury. After the war he finally was able to work again and he began experimenting with many transparent materials; in 1958 he produced his first Lichtgrafken. Heinz Hajek-Halke was a close friend and both artitsts were part of the avantgarde "Lichtgrafik" scene of Berlin in the 1960s. Because Wendlandt neglected his commercial promotion, his photographs are hardly known. Nevertheless his light graphics and other works can be found in many museums and collections today. – Minimal handling marks, otherwise in very good condition. Provenance: The estate of Kurt Wendlandt. Wendlandt, Kurt: Turmfigur (Lichtgrafik/Original-Solarisation) "Turmfigur" (Lichtgrafik/Original-Solarisation). 1959 (?). Unique vintage solarized gelatin silver print. 52,5 x 40,5 cm. Signed and dated in lower edge, mounted to brown board, titled by the photographer in ink below the image on the mount The German painter, printmaker, photographer, author and illustrator Kurt Wendlandt was among the most creative artists of postwar West Germany. Since his studies at the State Academy of the Arts 1937-43, his artistic development was continuously interrupted, also due to a war injury. After the war he finally was able to work again and he began experimenting with many transparent materials; in 1958 he produced his first Lichtgrafken. Heinz Hajek-Halke was a close friend and both artitsts were part of the avantgarde "Lichtgrafik" scene of Berlin in the 1960s. Because Wendlandt neglected his commercial promotion, his photographs are hardly known. Nevertheless his light graphics and other works can be found in many museums and collections today. – Minimal handling marks, otherwise in very good condition. Provenance: The estate of Kurt Wendlandt.
Gloeden, Wilhelm von: Nude youths on terrace with Naples harbor view in background Nude youths on terrace with Naples harbor view in background (double exposure). 1900. Vintage large-format salt print on laid paper. 24,2 x 30,2 cm. Signed and dated by the photographer in the negative in lower right, photographer's stamp on the verso. Some light marks in sky area, minimal paper loss in upper right corner, otherwise in very good condition. Gloeden, Wilhelm von: Nude youths on terrace with Naples harbor view in background Nude youths on terrace with Naples harbor view in background (double exposure). 1900. Vintage large-format salt print on laid paper. 24,2 x 30,2 cm. Signed and dated by the photographer in the negative in lower right, photographer's stamp on the verso. Some light marks in sky area, minimal paper loss in upper right corner, otherwise in very good condition.
Barney, Tina: "The Churchyard" (Wilmar Koenig) from the series 'The Europeans' "The Churchyard" (Wilmar Koenig) from the series 'The Europeans'. 2004. Chromogenic print on Kodak Professional Endura paper. 25 x 20,5 cm. Signed and dated by the photographer in ballpoint pen on the verso. Light handling mark in lower portion, otherwise in very good condition. Lit.: The Europeans. Photographs by Tina Barney. Göttingen 2005, ill. plate 184. Barney, Tina: "The Churchyard" (Wilmar Koenig) from the series 'The Europeans' "The Churchyard" (Wilmar Koenig) from the series 'The Europeans'. 2004. Chromogenic print on Kodak Professional Endura paper. 25 x 20,5 cm. Signed and dated by the photographer in ballpoint pen on the verso. Light handling mark in lower portion, otherwise in very good condition. Lit.: The Europeans. Photographs by Tina Barney. Göttingen 2005, ill. plate 184.
AWZ P 70 Automobile: Advertising photos for early automobile production in the GDR for VEB Automobilwerk Zwickau (AWZ P 70) Advertising photos for early automobile production in the GDR for VEB Automobilwerk Zwickau (AWZ P 70). 1950s. 10 vintage chromogenic prints and 6 vintage gelatin silver prints. Most circa 17,5 x 22 cm. Most with Bernstein Farbenfotografie Leipzig studio stamp on the verso. The curious "P 70" car was produced in East Germany between 1955-1959. The body consisted of a wooden skeleton construction with a newly developed and stable Duroplast cladding. This made the car light and durable. The modified construction was based on the former IFA F8 model, which was also built in Zwickau until 1955. The photos offered here were primarily intended as advertising material for visitors to the Leipzig Trade Fair 1955/56. Also includes images of an early Trabant model. – Colors shifted in chromogenic prints, otherwise in very good condition. AWZ P 70 Automobile: Advertising photos for early automobile production in the GDR for VEB Automobilwerk Zwickau (AWZ P 70) Advertising photos for early automobile production in the GDR for VEB Automobilwerk Zwickau (AWZ P 70). 1950s. 10 vintage chromogenic prints and 6 vintage gelatin silver prints. Most circa 17,5 x 22 cm. Most with Bernstein Farbenfotografie Leipzig studio stamp on the verso. The curious "P 70" car was produced in East Germany between 1955-1959. The body consisted of a wooden skeleton construction with a newly developed and stable Duroplast cladding. This made the car light and durable. The modified construction was based on the former IFA F8 model, which was also built in Zwickau until 1955. The photos offered here were primarily intended as advertising material for visitors to the Leipzig Trade Fair 1955/56. Also includes images of an early Trabant model. – Colors shifted in chromogenic prints, otherwise in very good condition.
Küss, Ferdinand: Still life with pineapple, peaches, grapes, apples, a fig, a plum, a walnut and framed picture Still life with pineapple, peaches, grapes, apples, a fig, a plum, a walnut and framed picture. 1860s. Albumen print in oval. Circa 30,5 x 24,8 cm. Flush-mounted to board, mounted to photographer's studio board (soiled, especially in edges, light foxing), photographer's blindstamp below image on the mount. Born in Vienna, Ferdinand Küss was a successful painter known for his artfully composed still lifes. He later turned to photography and founded his first studio in Vienna in 1859. The still life offered here shows a strong painterly composition and most likely served as a model for a painting. – Some surface scuffing, several retouched spots, otherwise a strong print in good condition. Lit.: Otto Hochreiter/Timm Starl (eds.) Geschichte der Fotografie in Österreich Band II. Bad Ischl 1983, see p. 145. Küss, Ferdinand: Still life with pineapple, peaches, grapes, apples, a fig, a plum, a walnut and framed picture Still life with pineapple, peaches, grapes, apples, a fig, a plum, a walnut and framed picture. 1860s. Albumen print in oval. Circa 30,5 x 24,8 cm. Flush-mounted to board, mounted to photographer's studio board (soiled, especially in edges, light foxing), photographer's blindstamp below image on the mount. Born in Vienna, Ferdinand Küss was a successful painter known for his artfully composed still lifes. He later turned to photography and founded his first studio in Vienna in 1859. The still life offered here shows a strong painterly composition and most likely served as a model for a painting. – Some surface scuffing, several retouched spots, otherwise a strong print in good condition. Lit.: Otto Hochreiter/Timm Starl (eds.) Geschichte der Fotografie in Österreich Band II. Bad Ischl 1983, see p. 145.
Koenig, Wilmar: From the series "Gotteshäuser" Wittstock, St. Marien and Mosque, Iran, from the series "Gotteshäuser". 1995, 2007. 2 chromogenic prints 1 on Kodak paper. Each circa 55 x 43,5 cm (64 x 50 cm). Each signed, dated and editioned A.P. by the photographer in ink in lower right corner/edge, 1 also titled, each mounted in mat. First print with light handling mark in upper area, second print with light presure mark in left area, otherwise in very good condition. Lit.: Wilmar Koenig. Gotteshäuser. Fotografien seit 1990. Photo Edition Berlin, both illustrated. Koenig, Wilmar: From the series "Gotteshäuser" Wittstock, St. Marien and Mosque, Iran, from the series "Gotteshäuser". 1995, 2007. 2 chromogenic prints 1 on Kodak paper. Each circa 55 x 43,5 cm (64 x 50 cm). Each signed, dated and editioned A.P. by the photographer in ink in lower right corner/edge, 1 also titled, each mounted in mat. First print with light handling mark in upper area, second print with light presure mark in left area, otherwise in very good condition. Lit.: Wilmar Koenig. Gotteshäuser. Fotografien seit 1990. Photo Edition Berlin, both illustrated.
Chalip, Jakov: The Hardship of Retreat "The Hardship of Retreat". 1941/printed 1960s. Large-format ferrotyped gelatin silver print. 41 x 59,6 cm. Mounted to board, with exhibition label below the image on the mount. A few light handling creases, some irregularities to ferrotype surface, otherwise in good condition. Chalip, Jakov: The Hardship of Retreat "The Hardship of Retreat". 1941/printed 1960s. Large-format ferrotyped gelatin silver print. 41 x 59,6 cm. Mounted to board, with exhibition label below the image on the mount. A few light handling creases, some irregularities to ferrotype surface, otherwise in good condition.
Florschuetz, Thomas: Untitled. 9.VIII.87, 1-2 Untitled. 9.VIII.87, (1-2, diptych). 2 vintage gelatin silver prints. Each circa 46,5 x 46,5 cm (49,7 x 49,7 cm). Each signed, titled, editioned E.A. and annotated and 1 also dedicated to Wilmar Koenig by the photographer in pencil on the verso. A few light handling marks, corners/edges slightly bumped, otherwise in very good condition. Florschuetz, Thomas: Untitled. 9.VIII.87, 1-2 Untitled. 9.VIII.87, (1-2, diptych). 2 vintage gelatin silver prints. Each circa 46,5 x 46,5 cm (49,7 x 49,7 cm). Each signed, titled, editioned E.A. and annotated and 1 also dedicated to Wilmar Koenig by the photographer in pencil on the verso. A few light handling marks, corners/edges slightly bumped, otherwise in very good condition.
Dutch India / Indonesia: Landscapes Photographer: Woodbury & Page (studio active 1857-1908), Gustave Richard Lambert (1846-1907). Landscapes. 1870s-1890s. 10 albumen prints (1 hand-colored), some with rounded corners. Various sizes, most circa 25 x 20 cm. 1 mounted to board. The images show a Batak house in West Sumatra, jungle views with waterfalls, landscapes and a group of lumber workers. – Some light handling marks/surface scuff marks, some buckled, some repaired tears, otherwise most in very good condition with strong contrasts. Provenance: Günter Heil Collection Dutch India / Indonesia: Landscapes Photographer: Woodbury & Page (studio active 1857-1908), Gustave Richard Lambert (1846-1907). Landscapes. 1870s-1890s. 10 albumen prints (1 hand-colored), some with rounded corners. Various sizes, most circa 25 x 20 cm. 1 mounted to board. The images show a Batak house in West Sumatra, jungle views with waterfalls, landscapes and a group of lumber workers. – Some light handling marks/surface scuff marks, some buckled, some repaired tears, otherwise most in very good condition with strong contrasts. Provenance: Günter Heil Collection
Strässer, Herbert: Photo collage Photo collage. 1950s. Collage with photo cutouts from magazines/books. 86 x 61 cm. Monogrammed by the artist in pencil lower right corner; estate stamp on the verso. A few light handling marks, otherwise in very good condition. Provenance: From the estate of the artist. Strässer, Herbert: Photo collage Photo collage. 1950s. Collage with photo cutouts from magazines/books. 86 x 61 cm. Monogrammed by the artist in pencil lower right corner; estate stamp on the verso. A few light handling marks, otherwise in very good condition. Provenance: From the estate of the artist.
Werkstatt für Photographie: Complete catalogue series published by the Werkstatt für Photographie Complete catalogue series published by the Werkstatt für Photographie. 1978-1986. 9 illustrated catalogues. Various sizes between 27 x 21,5 cm and 18,5 x 25 cm. The group includes: "Junge französische Photographen" 17. April-19. Mai 1978; "Werkstatt für Photographie der VHS Kreuzberg - Photographien der Hörer und Dozenten" 23. April-18. Mai 1979 (F. Denkeler stamp); "Michael Schmidt und Schüler" 21. Jan.-22. Feb. 1980 (F. Denkeler stamp); "Notizen aus einer Stadt - Thomas Leuner" 21. April-16. Mai 1980; "Friedhelm Denkeler, Werkstatt für Photographie der VHS Kreuzberg" 2.Nov.-4. Dec. 1981 (signed and dedicated by F. Denkeler); "Werkstatt für Photographie der VHS Kreuzberg, Arbeiten '81" 1.März-26. März 1982; "Werkstatt für Photographie der VHS Kreuzberg '83" 24. Okt.-25.Nov. 1983 (signed and dedicated by F. Denkeler); "Fotografie aus Berlin 1984", exhibition in New York, Washington D.C., University of California, Riverside 1985; "DDR Foto, Freunde der Werkstatt für Fotografie" 1986. For more work by photographers of and from the circle of the Werkstatt für Photographie, see our catalogue: Works from the Wilmar Koenig Collection. – Some with light traces of use, otherwise most in very good condition. Lit.: Florian Ebner/Felix Hoffmann/Inka Schube/Thomas Weski (eds.). Werkstatt für Photographie 1976-1986. London 2016, ill. pp. 366-67. Werkstatt für Photographie: Complete catalogue series published by the Werkstatt für Photographie Complete catalogue series published by the Werkstatt für Photographie. 1978-1986. 9 illustrated catalogues. Various sizes between 27 x 21,5 cm and 18,5 x 25 cm. The group includes: "Junge französische Photographen" 17. April-19. Mai 1978; "Werkstatt für Photographie der VHS Kreuzberg - Photographien der Hörer und Dozenten" 23. April-18. Mai 1979 (F. Denkeler stamp); "Michael Schmidt und Schüler" 21. Jan.-22. Feb. 1980 (F. Denkeler stamp); "Notizen aus einer Stadt - Thomas Leuner" 21. April-16. Mai 1980; "Friedhelm Denkeler, Werkstatt für Photographie der VHS Kreuzberg" 2.Nov.-4. Dec. 1981 (signed and dedicated by F. Denkeler); "Werkstatt für Photographie der VHS Kreuzberg, Arbeiten '81" 1.März-26. März 1982; "Werkstatt für Photographie der VHS Kreuzberg '83" 24. Okt.-25.Nov. 1983 (signed and dedicated by F. Denkeler); "Fotografie aus Berlin 1984", exhibition in New York, Washington D.C., University of California, Riverside 1985; "DDR Foto, Freunde der Werkstatt für Fotografie" 1986. For more work by photographers of and from the circle of the Werkstatt für Photographie, see our catalogue: Works from the Wilmar Koenig Collection. – Some with light traces of use, otherwise most in very good condition. Lit.: Florian Ebner/Felix Hoffmann/Inka Schube/Thomas Weski (eds.). Werkstatt für Photographie 1976-1986. London 2016, ill. pp. 366-67.
Steiner, André: Swimmer on rock Swimmer on rock. 1930s. Vintage ferrotyped gelatin silver print. 24 x 18,2 cm. Photographer's/copyright stamp with pictogram on the verso. A few light handling marks, corners slightly worn, otherwise in very good condition. Steiner, André: Swimmer on rock Swimmer on rock. 1930s. Vintage ferrotyped gelatin silver print. 24 x 18,2 cm. Photographer's/copyright stamp with pictogram on the verso. A few light handling marks, corners slightly worn, otherwise in very good condition.
Moscow: Views of Moscow and surroundings Photographer unknown. Views of Moscow and surroundings. 1860s/70s. 5 albumen prints. Each circa 20 x 25 cm and 25 x 20 cm. Each mounted to board (slightly soiled), annotated in pencil on mount verso. One can date these photos by the stage of construction theTrinity Church Ostankino is shown in on one photo. From 1877-1880 the church underwent a general restoration and a new bell tower was added on. – Some light scuff marks, a few small surface pit marks, otherwise in very good condition with strong contrasts. Moscow: Views of Moscow and surroundings Photographer unknown. Views of Moscow and surroundings. 1860s/70s. 5 albumen prints. Each circa 20 x 25 cm and 25 x 20 cm. Each mounted to board (slightly soiled), annotated in pencil on mount verso. One can date these photos by the stage of construction theTrinity Church Ostankino is shown in on one photo. From 1877-1880 the church underwent a general restoration and a new bell tower was added on. – Some light scuff marks, a few small surface pit marks, otherwise in very good condition with strong contrasts.
Fischer, Arno: East Berlin East Berlin. 1957. Vintage gelatin silver print. 29 x 16,7 cm. Signed, titled and dated by the photographer in pencil on the verso. Some surface scuff marks, a few light creases, corners bumped, otherwise in good condition. Fischer, Arno: East Berlin East Berlin. 1957. Vintage gelatin silver print. 29 x 16,7 cm. Signed, titled and dated by the photographer in pencil on the verso. Some surface scuff marks, a few light creases, corners bumped, otherwise in good condition.
Barker, George: Niagara Falls Niagara Falls. Circa 1888. Mammoth collodion paper print. 49,5 x 59,2 cm. Mounted to board. Some surface scuff marks, a few light dents, slight silver mirroring in edges, otherwise a large attractive print in very good condition. Barker, George: Niagara Falls Niagara Falls. Circa 1888. Mammoth collodion paper print. 49,5 x 59,2 cm. Mounted to board. Some surface scuff marks, a few light dents, slight silver mirroring in edges, otherwise a large attractive print in very good condition.
Bourne, Samuel und Shepherd, Charles: Views of India Views of India. 1860s. 15 albumen prints. Each circa 22 x 28 cm. Most with photographer's name and titles/numbers in the negative in lower left/right corner, each mounted to board (soiled in edges, corners slightly bumped, foxing), annotated in ink in German below the images on the mount. In leather portfolio. The images include: The Burning Ghat (Benares) 1169, Darjeeling. Group of Bhooteas 1904 and View from the Terrace of the Hooseinabad, Lucknow 1051. – Some with slight fading, especially in edges, some light scuff marks, a few with light foxing, otherwise many in very good condition and with strong contrasts. Lit.: Ulrich Pohlmann/Dietmar Siegert (eds.). Samuel Bourne - Sieben Jahre Indien. Munich 2001, ill. pp. 2 (title image), 167, 180, 212. Bourne, Samuel und Shepherd, Charles: Views of India Views of India. 1860s. 15 albumen prints. Each circa 22 x 28 cm. Most with photographer's name and titles/numbers in the negative in lower left/right corner, each mounted to board (soiled in edges, corners slightly bumped, foxing), annotated in ink in German below the images on the mount. In leather portfolio. The images include: The Burning Ghat (Benares) 1169, Darjeeling. Group of Bhooteas 1904 and View from the Terrace of the Hooseinabad, Lucknow 1051. – Some with slight fading, especially in edges, some light scuff marks, a few with light foxing, otherwise many in very good condition and with strong contrasts. Lit.: Ulrich Pohlmann/Dietmar Siegert (eds.). Samuel Bourne - Sieben Jahre Indien. Munich 2001, ill. pp. 2 (title image), 167, 180, 212.
Gloeden, Wilhelm von: Young male nudes on terrace with trellis Young male nudes on terrace with trellis. 1900. Vintage large-format carbon print. 30 x 39,6 cm. Signed an dated 4/3 09 by the photographer in blue crayon in lower right corner, flush-mounted to linen. A few light brown spots in upper portion, some retouched spots in lower area, corners slightly worn, otherwise in very good condition. Gloeden, Wilhelm von: Young male nudes on terrace with trellis Young male nudes on terrace with trellis. 1900. Vintage large-format carbon print. 30 x 39,6 cm. Signed an dated 4/3 09 by the photographer in blue crayon in lower right corner, flush-mounted to linen. A few light brown spots in upper portion, some retouched spots in lower area, corners slightly worn, otherwise in very good condition.
Wendlandt, Kurt: Studie zur Apokalypse (Lichtgrafik) "Studie zur Apokalypse" (Lichtgrafik). 1967. Unique vintage solarized gelatin silver print. 35 x 28 cm. Titled, annotated and dated by the photographer in pencil on the verso. Minimal nick to emulsion in lower right corner, two light handling marks in lower area, otherwise in very good condition. Provenance: The estate of Kurt Wendlandt. Wendlandt, Kurt: Studie zur Apokalypse (Lichtgrafik) "Studie zur Apokalypse" (Lichtgrafik). 1967. Unique vintage solarized gelatin silver print. 35 x 28 cm. Titled, annotated and dated by the photographer in pencil on the verso. Minimal nick to emulsion in lower right corner, two light handling marks in lower area, otherwise in very good condition. Provenance: The estate of Kurt Wendlandt.
Gloeden, Wilhelm von: Two male nudes on bench Two male nudes on bench. 1900. Vintage large-format albumen print. 28 x 37,5 cm. Photographer's stamp and mark in blue crayon on the verso. Some handling marks in edges, one repaired small tear in left edge, a few light spots in lower corners, otherwise in very good condition. Gloeden, Wilhelm von: Two male nudes on bench Two male nudes on bench. 1900. Vintage large-format albumen print. 28 x 37,5 cm. Photographer's stamp and mark in blue crayon on the verso. Some handling marks in edges, one repaired small tear in left edge, a few light spots in lower corners, otherwise in very good condition.
Ottoman Empire: Types of the Ottoman Empire Types of the Ottoman Empire. Circa 1865. 30 cdv albumen prints. Mounted to 2 sides of 2 boards. Some with light fading in edges, otherwise in good to very good condition with strong tones. Ottoman Empire: Types of the Ottoman Empire Types of the Ottoman Empire. Circa 1865. 30 cdv albumen prints. Mounted to 2 sides of 2 boards. Some with light fading in edges, otherwise in good to very good condition with strong tones.
Rheims, Bettina: Untitled (Baby seal) Untitled (Baby seal). 1982/printed later. Gelatin silver print on Agfa paper. 24 x 19,7 cm (30,2 x 23,7 cm). Limitation stamp and annotated and dated by the photographer in ink on the verso. Crease mark in left upper area, light pressure mark in left margin, otherwise in good condition. Lit.: Bettina Rheims. Animal. Munich 1994, ill. plate 12. Rheims, Bettina: Untitled (Baby seal) Untitled (Baby seal). 1982/printed later. Gelatin silver print on Agfa paper. 24 x 19,7 cm (30,2 x 23,7 cm). Limitation stamp and annotated and dated by the photographer in ink on the verso. Crease mark in left upper area, light pressure mark in left margin, otherwise in good condition. Lit.: Bettina Rheims. Animal. Munich 1994, ill. plate 12.
Gibson, Ralph: Mary-Ann in Sardinia, from the series "Infanta" "Mary-Ann in Sardinia", from the series "Infanta". 1980/printed later. Gelatin silver print. 31,8 x 21 cm (35,5 x 27,5 cm). Corners bumped, a few light pressure marks, otherwise in very good condition. Lit.: Ralph Gibson. Deus ex Machina. Cologne 1999, ill. p. 435. Gibson, Ralph: Mary-Ann in Sardinia, from the series "Infanta" "Mary-Ann in Sardinia", from the series "Infanta". 1980/printed later. Gelatin silver print. 31,8 x 21 cm (35,5 x 27,5 cm). Corners bumped, a few light pressure marks, otherwise in very good condition. Lit.: Ralph Gibson. Deus ex Machina. Cologne 1999, ill. p. 435.
Schmölz, Karl Hugo: Detail of Kölner Opernhaus Detail of the Neues Opernhaus, Cologne, architect Wilhelm Riephahn (1889-1963). 1957. Vintage ferrotyped gelatin silver print. 24 x 30,2 cm. Photographer's stamp and number in crayon on the verso. Slight buckling in lower edge, two light handling marks in upper left, some irregularities in ferrotype surface, otherwise in very good condition. Lit.: R. Mißelbeck/W. Hagspiel (eds.). Köln-Ansichten. Fotografien von Karl Hugo Schmölz, 1947-1985. Cologne 1999, ill. p. 49. Schmölz, Karl Hugo: Detail of Kölner Opernhaus Detail of the Neues Opernhaus, Cologne, architect Wilhelm Riephahn (1889-1963). 1957. Vintage ferrotyped gelatin silver print. 24 x 30,2 cm. Photographer's stamp and number in crayon on the verso. Slight buckling in lower edge, two light handling marks in upper left, some irregularities in ferrotype surface, otherwise in very good condition. Lit.: R. Mißelbeck/W. Hagspiel (eds.). Köln-Ansichten. Fotografien von Karl Hugo Schmölz, 1947-1985. Cologne 1999, ill. p. 49.
Gossage, John: From the series "Gardens" From the series "Gardens". 1973-77. 2 vintage gelatin silver prints on Agfa paper. 18 x 27 cm (24 x 30,5 cm). Each signed and titled by the photographer in pencil on the verso. Edges slightly curled, one print with light fold mark in upper white margin, otherwise fine tonal prints in very good condition. Gossage, John: From the series "Gardens" From the series "Gardens". 1973-77. 2 vintage gelatin silver prints on Agfa paper. 18 x 27 cm (24 x 30,5 cm). Each signed and titled by the photographer in pencil on the verso. Edges slightly curled, one print with light fold mark in upper white margin, otherwise fine tonal prints in very good condition.
Schmidt, Michael: Berlin 61 "Berlin 61". 1980. Vintage gelatin silver print on Agfa paper. 20,1 x 28,5 cm (23,7 x 30,4 cm). Signed, titled and dated by the photographer in pencil and photographer's/copyright stamp on the verso. A print of this image is in the collection of the Museum für Kunst und Gewerbe, Hamburg. – A few light bumps in edges, otherwise a fine tonal print in excellent condition. Schmidt, Michael: Berlin 61 "Berlin 61". 1980. Vintage gelatin silver print on Agfa paper. 20,1 x 28,5 cm (23,7 x 30,4 cm). Signed, titled and dated by the photographer in pencil and photographer's/copyright stamp on the verso. A print of this image is in the collection of the Museum für Kunst und Gewerbe, Hamburg. – A few light bumps in edges, otherwise a fine tonal print in excellent condition.
Gloeden, Wilhelm von: Young male nudes by fountain Young male nudes by fountain. 1900. Vintage large-format albumen print. 27,5 x 37,8 cm. Photographer's stamp and mark in pencil on the verso. Some handling marks in edges, crease mark in upper left corner, some repaired tears in lower edge, light foxing spot in upper sky area, otherwise in very good condition. Gloeden, Wilhelm von: Young male nudes by fountain Young male nudes by fountain. 1900. Vintage large-format albumen print. 27,5 x 37,8 cm. Photographer's stamp and mark in pencil on the verso. Some handling marks in edges, crease mark in upper left corner, some repaired tears in lower edge, light foxing spot in upper sky area, otherwise in very good condition.
Werkstatt für Photographie: Selection of posters of exhibtions at the Werkstatt für Photographie Selection of exhibition posters in conjunction with the Werkstatt für Photographie. 1977-1985. 9 offset posters. Various sizes between 59 x 69 cm and 55 x 42 cm. This group of posters consists mainly of exhibitions of visiting photographers who exhibited at the Werkstatt für Photographie. They include: George Tice, VHS Kreuzberg 1977; Robert Adams, VHS Kreuzberg 1979; Ralph Gibson, VHS Kreuzberg 1979 (signed); Lewis Baltz, VHS Kreuzberg 1980; Stephen Shore, VHS Kreuzberg 1980; Paul Caponigro, VHS Kreuzberg 1980; Diane Arbus, VHS Kreuzberg 1981; Larry Clark, VHS Kreuzberg 1981; John Gossage, VHS Kreuzberg 1982; Larry Fink, VHS Kreuzberg 1983; William Eggleston, VHS Kreuzberg 1983 and Lewis Baltz, VHS Kreuzberg 1985. – Some with light traces of use, otherwise most in very good condition. Lit.: Florian Ebner/Felix Hoffmann/Inka Schube/Thomas Weski (eds.). Werkstatt für Photographie 1976-1986. London 2016, ill. pp. 369-371. Werkstatt für Photographie: Selection of posters of exhibtions at the Werkstatt für Photographie Selection of exhibition posters in conjunction with the Werkstatt für Photographie. 1977-1985. 9 offset posters. Various sizes between 59 x 69 cm and 55 x 42 cm. This group of posters consists mainly of exhibitions of visiting photographers who exhibited at the Werkstatt für Photographie. They include: George Tice, VHS Kreuzberg 1977; Robert Adams, VHS Kreuzberg 1979; Ralph Gibson, VHS Kreuzberg 1979 (signed); Lewis Baltz, VHS Kreuzberg 1980; Stephen Shore, VHS Kreuzberg 1980; Paul Caponigro, VHS Kreuzberg 1980; Diane Arbus, VHS Kreuzberg 1981; Larry Clark, VHS Kreuzberg 1981; John Gossage, VHS Kreuzberg 1982; Larry Fink, VHS Kreuzberg 1983; William Eggleston, VHS Kreuzberg 1983 and Lewis Baltz, VHS Kreuzberg 1985. – Some with light traces of use, otherwise most in very good condition. Lit.: Florian Ebner/Felix Hoffmann/Inka Schube/Thomas Weski (eds.). Werkstatt für Photographie 1976-1986. London 2016, ill. pp. 369-371.
Gloeden, Wilhelm von: Young male nude contemplating flower Young male nude contemplating flower. Circa 1900. Albumen print. 22,5 x 16,8 cm. Photographer's stamp and number 1918 in blue crayon on the verso. Minimal fading in edges, some light handling marks, traces of previous mounting on the verso, otherwise a rich dark print in very good condition. Provenance: Robert Lebeck Collection Gloeden, Wilhelm von: Young male nude contemplating flower Young male nude contemplating flower. Circa 1900. Albumen print. 22,5 x 16,8 cm. Photographer's stamp and number 1918 in blue crayon on the verso. Minimal fading in edges, some light handling marks, traces of previous mounting on the verso, otherwise a rich dark print in very good condition. Provenance: Robert Lebeck Collection
Jacobi, Lotte: Photogenic abstraction; Vulture Photogenic abstraction; Vulture. 1946/printed later. 2 photo postcards. Each circa 13,3 x 8,7 cm. Each signed by the photographer in pencil below the image in the margin. Encouraged by Leo Katz, in the early 1940s Lotte Jacobi began experimenting with making photographs without a camera. It was Katz who coined the term "Photogenics" for these renditions of paths of light and for him these images were true "original" art objects, devoid of the reproducible nature of normal photographs. Jacobi's photogenics follow the new concepts in the visual arts of the time and were included in such avantgarde exhibitions as In and Out of Focus in 1948 and Abstraction in Photography in 1951, both at the Museum of Modern Art in New York, as well as in the second Subjektive Fotografie exhibition in 1954 in Saarbrücken. – A few light pressure marks, otherwise in very good condition. – With: Self-portrait of Lotte Jacobi. 1940s. Gelatin silver print. 35,2 x 27,8 cm. Signed by the photographer in pencil in lower right corner and copyright in the negative in lower left corner. - Slightly buckled in upper edge, a few light handling marks, otherwise in good condition. Lit.: Marion Beckers/Elisabeth Moortgat. Atelier Lotte Jacobi - Berlin, New York. Berlin 1997. ill. pp. 191-192 (similar photogenics). Jacobi, Lotte: Photogenic abstraction; Vulture Photogenic abstraction; Vulture. 1946/printed later. 2 photo postcards. Each circa 13,3 x 8,7 cm. Each signed by the photographer in pencil below the image in the margin. Encouraged by Leo Katz, in the early 1940s Lotte Jacobi began experimenting with making photographs without a camera. It was Katz who coined the term "Photogenics" for these renditions of paths of light and for him these images were true "original" art objects, devoid of the reproducible nature of normal photographs. Jacobi's photogenics follow the new concepts in the visual arts of the time and were included in such avantgarde exhibitions as In and Out of Focus in 1948 and Abstraction in Photography in 1951, both at the Museum of Modern Art in New York, as well as in the second Subjektive Fotografie exhibition in 1954 in Saarbrücken. – A few light pressure marks, otherwise in very good condition. – With: Self-portrait of Lotte Jacobi. 1940s. Gelatin silver print. 35,2 x 27,8 cm. Signed by the photographer in pencil in lower right corner and copyright in the negative in lower left corner. - Slightly buckled in upper edge, a few light handling marks, otherwise in good condition. Lit.: Marion Beckers/Elisabeth Moortgat. Atelier Lotte Jacobi - Berlin, New York. Berlin 1997. ill. pp. 191-192 (similar photogenics).
Kavafyllakis, Steve: Sacrifice to a Minor Deity # 1 "Sacrifice to a Minor Deity # 1". 1996. Selenium toned gelatin silver print. 35,5 x 45,5 cm. Mounted to board, signed, dated, copyrighted and editioned 1/100 by the photographer in pencil below the image on mount. A few light pressure marks, otherwise a fine tonal print in near excellent condition. Kavafyllakis, Steve: Sacrifice to a Minor Deity # 1 "Sacrifice to a Minor Deity # 1". 1996. Selenium toned gelatin silver print. 35,5 x 45,5 cm. Mounted to board, signed, dated, copyrighted and editioned 1/100 by the photographer in pencil below the image on mount. A few light pressure marks, otherwise a fine tonal print in near excellent condition.
Ahrendts, Leopold: View of Palais von der Osten View of "Palais von der Osten" (built 1736), Unter den Linden 4. Late 1850s. Salt print with rounded corners. 19,5 x 16,3 cm. Mounted to board (soiled on verso, toning). As of 1835 this building belonged to Frederike von Hanover, the sister of Queen Luise of Prussia. After her death her husband, the Duke of Cumberland, sold it and the Ministry of Cultural and Medical Affairs moved into the building (demolished in 1883). To the right of the building the famous Hotel Royal can be seen, where the student Ferdinand Cohen-Blind checked in on May 5, 1866 and two days later, not far from the hotel, made an assasination attempt on Otto von Bismarck. A later guest was Mark Twain, who stayed at the Hotel Royal on his third European tour in 1891. – A few light surface scuff marks in lower right, otherwise a rich, dark print in very good condition with a strong reddish-brown tone. Lit.: Eberhard Mayer-Wegelin. Berlin als Residenzstadt. Photographien von Leopold Ahrendts 1854-1870. Munich 2018, ill. p. 159. Ahrendts, Leopold: View of Palais von der Osten View of "Palais von der Osten" (built 1736), Unter den Linden 4. Late 1850s. Salt print with rounded corners. 19,5 x 16,3 cm. Mounted to board (soiled on verso, toning). As of 1835 this building belonged to Frederike von Hanover, the sister of Queen Luise of Prussia. After her death her husband, the Duke of Cumberland, sold it and the Ministry of Cultural and Medical Affairs moved into the building (demolished in 1883). To the right of the building the famous Hotel Royal can be seen, where the student Ferdinand Cohen-Blind checked in on May 5, 1866 and two days later, not far from the hotel, made an assasination attempt on Otto von Bismarck. A later guest was Mark Twain, who stayed at the Hotel Royal on his third European tour in 1891. – A few light surface scuff marks in lower right, otherwise a rich, dark print in very good condition with a strong reddish-brown tone. Lit.: Eberhard Mayer-Wegelin. Berlin als Residenzstadt. Photographien von Leopold Ahrendts 1854-1870. Munich 2018, ill. p. 159.
Japan: Landscapes and temples of Japan Photographer: Baron Raimund Stillfried-Ratenicz (1839-1911) and others. Picturesque views of landscapes and temples of Japan. Circa 1900. 32 albumen prints. Each circa 19 x 24 cm. Most with number and title in lower edge in the negative. Each mounted to board (soiled and time-stained in edges) in contemporary folder. Some faded, some with light scuff marks, otherwise most in good to very good condition. Japan: Landscapes and temples of Japan Photographer: Baron Raimund Stillfried-Ratenicz (1839-1911) and others. Picturesque views of landscapes and temples of Japan. Circa 1900. 32 albumen prints. Each circa 19 x 24 cm. Most with number and title in lower edge in the negative. Each mounted to board (soiled and time-stained in edges) in contemporary folder. Some faded, some with light scuff marks, otherwise most in good to very good condition.
Bubley, Esther: Seismograph worker, Texas Seismograph worker, Texas. 1945/printed 1960s/70s. Gelatin silver print. 27,8 x 35,4 cm. Signed by the photographer in pencil and annotated/number notations in pencil on the verso. Corners slightly bumped, light crease in upper left corner, otherwise in very good condition. Bubley, Esther: Seismograph worker, Texas Seismograph worker, Texas. 1945/printed 1960s/70s. Gelatin silver print. 27,8 x 35,4 cm. Signed by the photographer in pencil and annotated/number notations in pencil on the verso. Corners slightly bumped, light crease in upper left corner, otherwise in very good condition.
Eggleston, William: Madrid Madrid. 2004. Chromogenic print on Fujicolor Crystal Archive paper. 55 x 37 cm (60 x 51 cm). A few light handling marks, otherwise in very good condition. Lit.: Alexander Tolnay (ed.). Double Exposure. Fotografien von William Eggleston & Wilmar Koenig. Berlin 2004, ill. unpaginated. Eggleston, William: Madrid Madrid. 2004. Chromogenic print on Fujicolor Crystal Archive paper. 55 x 37 cm (60 x 51 cm). A few light handling marks, otherwise in very good condition. Lit.: Alexander Tolnay (ed.). Double Exposure. Fotografien von William Eggleston & Wilmar Koenig. Berlin 2004, ill. unpaginated.
Photochromes: Egyptian views Views of Cairo and the Sakkara pyramid. 1890s. 5 photochromes. Circa 21 x 27 cm. Each with gilt-stamped title in French, number and logo P.Z. within the image, mounted to boards (foxing). Some with light foxing, some light scuff marks, one with spot, otherwise in very good condition and with bright colors. Photochromes: Egyptian views Views of Cairo and the Sakkara pyramid. 1890s. 5 photochromes. Circa 21 x 27 cm. Each with gilt-stamped title in French, number and logo P.Z. within the image, mounted to boards (foxing). Some with light foxing, some light scuff marks, one with spot, otherwise in very good condition and with bright colors.
A .750 CALIBRE FLINTLOCK MUSKET FOR THE EAST INDIA COMPANY BY TWIGG, THE LOCK DATED 1780 with tapering sighted barrel struck with East Indian Company, Ordnance and inspector's marks at the breech (rubbed), signed dated lock with the mark of Lieutenant-Colonel Edward Windus, W crowned, full stock, and regulation brass mounts, including side-plate, trigger-guard and three ramrod-pipes, with its iron ramrod and bayonet, the latter marked and dated en suite (light surface rust) 98.2 cm; 38 5/8 in barrel See Harding 1997, p. 279.
AN INFANTRY OFFICER'S SPADROON, CIRCA 1780 with curved fullered blade double-edged towards the point, iron hilt comprising quillon, outer-guard filled with a diamond-shaped panel, knuckle-guard and cushion-shaped pommel, and fluted hardwood grip (the iron parts with surface rust and light pitting) 66.8 cm; 26 1/4 in blade
A GERMAN ZISCHÄGGE, MID-17TH CENTURY with hemispherical one-piece skull embossed with six radiating ribs, fitted at its apex with a pierced finial and foliate washer, and at its brow with a flat ogival peak, pierced at its rear with a rectangular hole to accommodate a sliding nasal-bar secured at the brow by a rectangular staple and locking-screw (restored), at its nape with a broad ogival neck-guard of three upward-overlapping lames, and at its sides with pendant cheek-pieces (restored), the main edges of the helmet formed throughout with plain inward turns (the surface showing patches of light pitting and minor denting) 23.0 cm; 9 in high Provenance Robin Wigington, Arbour Antiques, 7th January 1989.
AN AMERICAN PRESENTATION CIVIL WAR SWORD BY W. H. HORSTMANN & SONS, PHILADELPHIA, CIRCA 1865-70 with pipe-backed blade etched with laurel foliage, a tent, the motto 'E.Pluribus Unum', an American eagle, a US shield on a trophy-of-arms and oak foliage above the maker's details on one face and similar designs including a native American warrior on the reverse, the back-edge etched 'Iron Proof' (very small chips, patches of staining and light pitting), brass hilt comprising a pair of scrolling frontal bars joining the knuckle-guard, the latter rising to a cap pommel, decorated throughout with foliage in low relief and retaining traces of gilding, vertically fluted nickel grip, in its original steel scabbard with brass mounts boldly engraved with foliage on the front, the locket and middle-band fitted with a ring for suspension, and the latter with presentation inscription (the scabbard with areas of light pitting and patinated overall) 89.5 cm; 35 1/4 in blade The presentation inscription reads: 'Presented to Col. Geo. Gray by the Officers of the Mich. 6th Cavalry'. On 12th December 1862 the Michigan Cavalry Brigade was formed in Washington D.C. with Colonel George Gray commanding the 6th Regiment. In July the following year Gray fought with Brigadier General George A. Custer at the Battle of Gettysburg. Custer recalls the ability of Colonel Gray and the men of the 6th Cavalry in his action report: 'The 6th Michigan Cavalry rendered very good service by guarding both my right and left flank: also by supporting Battery 'M' under a very hot fire from the enemy's battery. Colonel Gray, commanding the regiment, was constantly seen wherever his presence was most needed and is deserving of special mention.'
A 1796 PATTERN LIGHT CAVALRY OFFICER'S SWORD of regulation type, with curved blade broadening towards the tip, etched and gilt on a blued panel over the lower portion with trophies, the crowned Royal arms and the cutler's name 'H. Osborn' on one face and with foliage, the crowned Royal cypher 'GR' and trophies on the other, iron hilt comprising scrolling quillon, bevelled knuckle-guard and langets (the former with an old repair), faceted back-strap and pommel, and wire-bound leather-covered grip with a faceted iron collar at the base, in its iron scabbard (small dents) with two split rings for suspension 80.0 cm; 31 1/2 in blade
A 1796 PATTERN LIGHT CAVALRY OFFICER'S SWORD of regulation type, with curved blade broadening and double-edged towards the tip (small edge nicks), etched with foliage and 'Osborn Warranted' on one face (rubbed), iron hilt comprising scrolling quillon, bevelled knuckle-guard, a pair of langets, faceted back-strap and pommel, and leather-covered grip (small losses, wire binding missing), with an iron collar at the base, in its iron scabbard, perhaps the original, stamped 'Osborn & Gunby, Birmingham' and 'RHA 464' for Royal Horse Artillery, and with two split rings for suspension 83.0 cm; 32 3/4 in blade
A PAIR OF VICTORIAN EQUERRY'S PISTOL HOLSTERS Two leather holsters, each with pleated blue cloth covers of the pattern worn by ADCs and equerries to the Queen, or members of the Royal Family. Edged with a double row of three-quarter inch gold oakleaf lace, showing a narrow light of scarlet cloth between the rows, and bearing a Guelphic crown in gold embroidery above the Garter; within the Garter, the VR cypher on scarlet backing between oakleaf sprays. A plain gilt button to secure a flounce (2)
A 1788 PATTERN LIGHT CAVALRY SABRE of regulation type, with curved fullered blade double-edged towards the tip, etched 'Gill Warranted' on one side at the forte and 'WYC No. 54' on the other, iron hilt (areas of pitting), grip with later leather covering, in its iron scabbard engraved 'WYC No. 54' for Westmorland Yeomanry Cavalry 81.5 cm; 32 1/8 in blade
A FINE .900 CALIBRE PERCUSSION RIFLE FOR LARGE GAME BY W. G. RAWBONE PATENTEE AND MANUFACTURER, CAPE TOWN, NO. 2591, CIRCA 1865 with heavy octagonal barrel rifled with ten broad grooves, struck with Birmingham and black powder proof marks beneath the breech, the top flat matted, incised with a long slender sighting line terminating in a blued fore-sight at the muzzle and the rear terminal with a recessed circular panel (silver lining missing), folding back-sight of two blued leaves to 300 yards, signed 'W. G. RAWBONE PATENTEE AND MANUFACTURER' within a frame of Greek key behind, scroll-engraved case-hardened breech struck with the gold-lined barrelsmith's mark, scroll-engraved bolster with engraved platinum plug (each side of the top flat with areas of light pitting), scroll-engraved case-hardened tang, border-and scroll-engraved signed case-hardened lock fitted with hammer en suite, half-stock with chequered grip (light bruising), inlaid with a small engraved German silver scroll on the left, scroll-engraved blued iron mounts (small areas of light pitting and wear) comprising trigger-guard, butt-plate, fore-end, rear ramrod-pipe and barrel bolt escutcheons, two further ramrod-pipes, the rear with a loop for a sling (the other sling swivel missing), and original brass-tipped wooden ramrod 81.5 cm; 32 1/8 in barrel William George Rawbone (1809-93) is recorded as a gunmaker with workshops in Birmingham, England, Cape Town, South Africa and, latterly, in Toronto, Canada. In 1862 his patent no. 2530 was granted for '..... improvements in gun barrels, and in machinery to be employed in effecting [them]..... a sighting line formed on the top of the barrels, or the mid-rib, by fixing silver wire in a square groove therein.....'
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