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Armband mit Zuchtperlkränzen und Diamanten Armband mit Zuchtperlkränzen und Diamanten Frankreich, um 1915 Gelbgold 750/- und Platin, getestet. Pariser Garantiestempel für Goldfeingehalt seit 1838. Ca. 114 Altschliffdiamanten, zus. ca. 1,10 ct. 48 weiße Zuchtperlen, D. ca. 4,32 - 4,45 mm, schönes Lüster. L. ca. 18,5. Ca. 30,2 g. SvP Armband mit Zuchtperlkränzen und Diamanten A bracelet with cultured pearl wreaths and diamonds France, circa 1915 Yellow gold 750/- and platinum, assayed. Paris guarantee stamp for fineness of gold since 1838. Approx. 114 old brilliant cut diamonds, totalling approx. 1.10 ct. 48 white cultured pearls, diameter approx. 4.32 - 4.45 mm, beautiful lustre. Length approx. 18.5. Ca. 30.2 g.

Brosche in Form eine Wildrosenzweiges mit Diamant und Fensteremail Brosche in Form eine Wildrosenzweiges mit Diamant und Fensteremail Frankreich, um 1900 Gelbgold 750/-, getestet. Garantiestempel für Exportgegenstände aus Gold seit 1879. Nr. 2930. 1 Altschliffbrillant von ca. 0,10 ct. Rosafarbenes Fensteremail, schwarze Farbe. Restaurierungen. Ca. 1,2 x 1,5 cm. Ca. 13,57 g. SvP Brosche in Form eine Wildrosenzweiges mit Diamant und Fensteremail A brooch in the shape of a wild rose branch with diamond and plique-à-jour enamel France, circa 1900 Yellow gold 750/-, hallmarked. Guarantee stamp for export items made of gold since 1879. Number 2930. 1 old brilliant cut diamond of approx. 0.10 ct. Pink plique-à-jour enamel, black colour. Restorations. Approx. 1.2 x 1.5 cm. Ca. 13.57 g.

"Le Port d'Anvers", 1883 "Le Port d'Anvers", 1883 Wohl Constantin Meunier (1831 Etterbeek bei Brüssel - 1905 Ixelles) Bronze, reliefiert. Hafenarbeiter  mit Pferd. Links unten sign. C. Meunier, 1883. In der Falz Gießerstempel: J. Petermann Fondeur Bruxelles. Auf Eichentafel mit Rahmen montiert. 45 x 55 cm. Literatur: Lemmonier, Camille, Constantin Meunier, Paris 1904. Kap. IV. S. 121 (Abb.) "Le Port d'Anvers", 1883 "Le Port d'Anvers", 1883 probably Constantin Meunier (1831 Etterbeek near Brussels - 1905 Ixelles) Bronze, relief decoration.Dock worker with horse. Signed C. Meunier, 1883 lower left. Foundry stamp: J. Petermann Fondeur Bruxelles. Mounted on an oak panel with frame. 45 x 55 cm. Literature: Lemmonier, Camille, Constantin Meunier, Paris 1904. Chapter IV. p. 121 (illustration)

Eugen Jettel Eugen Jettel 1845 Johnsdorf / Mähren - 1901 Lussingrande bei Fiume Holländische Landschaft mit Regenbogen (Holländische Landschaft mit Strichregen). R. u. signiert, Ortsbezeichnung Paris und 1884 datiert. Auf dem Keilrahmen Stempel des Leinwandherstellers P. Aprin, Paris. - Wachssiegel Galerie Charles Sedelmeyer, Paris. - Klebeetikett mit Bezeichnung und Nummerierung 10954. Öl auf Lwd. 90 x 125 cm. Doubliert. Rest. Rahmen. Eugen (Eugène) Jettel gilt als einer der Hauptvertreter des österreichischen Stimmungsrealismus. Nach dem Studium an der Wiener Akademie bei Albert Zimmermann wendet er sich von dessen Gebirgsmalerei ab und orientiert sich an der "paysage intime" der Schule von Barbizon, später wendet er sich der Haager Schule zu. 1870 reist er nach Frankreich und Holland. Weitere Reisen führen ihn nach Ungarn und Süditalien. Um 1873/4 übersiedelt Jettel nach Paris: Grund hierfür war das Angebot des Galeristen Charles Sedelmeyer, ihm jährlich eine hohe fixe Summe zu zahlen. Sedelmeyer kürzt diesen Betrag später erheblich, was Eugen Jettel in finanzielle Abhängigkeit bringt. Eugen Jettel lebt bis 1897 in Paris, im Jahr der Entstehung des vorliegenden Gemäldes, 1884, wohnte er 6 Rue Larochefoucauld. Seine Pariser Adresse ist Anlaufstelle für viele weitere Künstler, darunter Max Liebermann, Franz von Lenbach und Mihály Munkácsy. Die Gemälde seiner Pariser Zeit galten den Zeitgenossen als besonders subtil und stimmungsvoll. Provenienz: Galerie Charles Sedelmeyer, Paris. - Sammlung Rudolf Reichert, Wien. - C. J. Wawra, Wien, Auktion 14. Dezember 1922, Versteigerung der Sammlung Rudolf Reichert sen., Wien, Kat.-Nr. 32 "Regenschauer in Holland. Gegend bei Gissen-Nieuverkerk" (mit Abb. Taf. 20). - Privatsammlung Österreich. Literatur: Boetticher, Friedrich von, Malerwerke des Neunzehnten Jahrhunderts. Bd. I, 2. Leipzig 1941 (Reprint), S. 615, Nr. 27 "Holländische Landschaft mit Strichregen". - Fuchs, Heinrich, Eugen Jettel. Wien 1975, S. 161, WVZ-Nr. 245 "Holländische Landschaft mit Strichregen" (mit Abb.): mit min. abweichender Maßangabe 91,5 x 124 cm. Ausstellungen: LVII. Ausstellung der Kgl. Akademie der Künste, Berlin, 24. August - 19. Oktober 1884, Kat.-Nr. 320 "Holländische Landschaft mit Strichregen". - Charles Sedelmeyers Collection von Gemälden. Österreichische und ungarische in Paris lebende Künstler. Wien, Künstlerhaus, Oktober 1884 - 20. Januar 1885, Kat.-Nr. 21 "Der Strichregen Holland)". Eugen Jettel Eugen Jettel 1845 Johnsdorf / Moravia - 1901 Lussingrande near Fiume Dutch landscape with rainbow Signed, inscribed with place name Paris and dated 1884 lower right. Stamp of the canvas manufacturer P. Aprin, Paris on the stretcher. - Wax seal of the Galerie Charles Sedelmeyer, Paris. - Adhesive label with inscription and number 10954. Oil on canvas. 90 x 125 cm. Relined. Restored. Framed. Eugen (Eugène) Jettel is regarded as one of the main representatives of the Austrian 'Stimmungsrealismus'. 1873/4 Jettel moved to Paris, because he got an offer from the gallery owner Charles Sedelmeyer to pay him a high fixed sum each year for his paintings. Sedelmeyer later reduced this amount considerably, which made Eugen Jettel financially dependent. Eugen Jettel lived in Paris until 1897, in 1884, the year in which the present painting was finished, he lived at 6 Rue Larochefoucauld. His Paris address was the contact point for many other artists, including Max Liebermann, Franz von Lenbach and Mihály Munkácsy. His paintings of his Parisian period were regarded by his contemporaries as particularly subtle and atmospheric. Literature: Boetticher, Friedrich von, Malerwerke des Neunzehnten Jahrhunderts. Vol. I, 2. Leipzig 1941 (Reprint), p. 615, no. 27 'Holländische Landschaft mit Strichregen'. - Fuchs, Heinrich, Eugen Jettel [catalogue raisonné]. Vienna 1975, p. 161, no. 245 'Holländische Landschaft mit Strichregen' (ill.): with slightly different size 91,5 x 124 cm. Exhibitions: LVII. Ausstellung der Kgl. Akademie der Künste, Berlin, 24 August - 19 October 1884, cat. no. 320 'Holländische Landschaft mit Strichregen'. - Charles Sedelmeyers Collection von Gemälden. Österreichische und ungarische in Paris lebende Künstler. Vienna, Künstlerhaus, October 1884 - 20 January 1885, cat. no. 21 'Der Strichregen (Holland)'. Provenance: Galerie Charles Sedelmeyer, Paris. - Collection of Rudolf Reichert, Vienna. - C. J. Wawra, Vienna, auction 14 December 1922, auction of the collection of Rudolf Reichert sen., Vienna, catalogue number 32 "Regenschauer in Holland. Gegend bei Gissen-Nieuverkerk" (with illustration plate 20). - Private collection, Austria.

Paul (Hippolyte) Delaroche Paul (Hippolyte) Delaroche 1797 Paris - 1856 ebenda Figuren-, Kopf- und Handstudien zur Ausmalung der Kirche "La Madeleine" in Paris Zwei Gemälde. Rücks. jew. Leinwandstempel "Vallé & Bourniche / Seuls Elèves es succ. de / Belot / Rue de l'Arbre Sec °3". Öl auf Lwd. Je 66 x 55 cm. Rest. Rahmen besch. Studien eines sitzenden Mannes, verschiedener Männerköpfe und der Figur der büßenden Magdalena. Paul Delaroche gilt als der wichtigste Vertreter der Historien-Genremalerei in Frankreich und hat maßgeblich dazu beigetragen, diese als anerkannte Form der Salonmalerei zu etablieren. Seit ungefähr 1830 stand er in engem Kontakt mit der Maison Goupil und hatte so die Möglichkeit, seine Hauptwerke von den besten Reproduktionsstechern umsetzen zu lassen und sie in Form der Druckgraphiken verbreiten zu lassen. Goupil beauftragte schließlich auch Robert Jefferson Bingham, das Werk Delaroches zu fotografieren. Dies bedeutete die erste umfangreiche Dokumentation des Schaffen eines zeitgenössischen Künstlers, die sich an die posthume Retrospektive des Oeuvres Delaroches in der École des Beaux-Arts (1857) anschließen sollte. Bereits früh (ab 1822) hatte Paul Delaroche begonnen, seine Werke im Pariser Salon auszustellen. Mit meist dramatischen, emotionsbetonten biblischen und historischen Themen begeisterte er die Zeitgenossen, auch bereits etablierte Künstler wie z. B. Théodore Géricault waren voll des Lobes. In den Zeiten der Revolution von 1830 kommen Delaroche seine guten Beziehungen zum Haus Orléans sehr zustatten, mit den danach folgenden Ausstellungen im Salon kann er seine Bekanntheit und Anerkennung weiter steigern, 1832 wird er in einem ungewöhnlich jungen Alter in die Académie des Beaux-Arts aufgenommen. Seit 1833 leitet er an der École des Beaux-Arts eines der gefragtesten Ateliers seiner Zeit. Ein Jahr darauf, 1834, erhält er seinen bis dahin prominentesten Auftrag: Er soll einen Freskenzyklus für die neu gebaute Église de la Madeleine schaffen. Kurz darauf begibt er sich mit Künstlerfreunden auf eine Studienreise nach Italien, 1835 heiratet er Louise, die Tochter des berühmten Malers Horace Vernet. Noch in Rom wird ihm mitgeteilt, dass der zentrale Teil seines Auftrages für La Madeleine, die Gestaltung der Apsis, an Jules-Claude Ziegler vergeben wurde. Paul Delaroche zieht sich schließlich von diesem Projekt zurück. Delaroches künstlerischer Erfolg dauert jedoch an, zu seinen - mittlerweile auch internationalen - Auftraggebern gehören u. a. der Thronfolger, Henri duc d'Orléans sowie einer der berühmtesten Sammler seiner Zeit, Athanasius Raczynski. Sein berühmtestes, bis heute erhaltenes Werk entsteht ab 1837. In diesem Jahr erhält er den Auftrag, den "Hémicycle" im neu gebauten Palais der École des Beaux Arts auszumalen, sein monumentalstes Werk: Er stellt am Ort der Preisverleihungen der École die Künstler aller Zeiten dar und orientiert sich dabei selbstbewusst an berühmten Vorbildern wie Raffaels "Schule von Athen" und Ingres' "Apothéose d'Homer". Die beiden vorliegenden Gemälde mit Studien zur Gestaltung der sechs, hoch im Kirchenschiff anzubringenden Lünetten von La Madeleine gehen auf einen Auftrag vom 12. November 1833 zurück. Nach seiner Rückkehr aus Italien arbeitete er für kurze Zeit weiter an diesem Auftrag. Nachdem er den zuständigen Minister Adolphe Thiers jedoch nicht überzeugen konnte, den Auftrag für die Gestaltung der Apsis an Jules-Claude Ziegler zu widerrufen, zog er sich von diesem Projekt komplett zurück und erstattete dem Minister auch den beachtlichen Vorschuss von 20.000 Francs zurück. Im Pariser Louvre wird eine Serie undatierter Zeichnungen und Aquarelle aufbewahrt, die vom Künstler im Rahmen des ursprünglichen Projekts angefertigt worden waren. Die beiden vorliegenden Leinwandgemälde scheinen von tragender Bedeutung für das Projekt gewesen zu sein. Die individuellen Studien bärtiger Männer stehen in deutlichem Kontext mit den Zeichnungen des Louvre. Die überaus präzise Ausarbeitung der Studien erklärt Stephen Bann in einem für den Vorbesitzer erstellten Exposé mit der Tatsache, dass Paul Delaroche für das Projekt ausgesprochen skrupulös und detailversessen recherchierte. Der Künstler war sich seiner Verantwortung bezüglich des Auftrages für La Madeleine mehr als bewusst und wollte diesem bestmöglich gerecht werden. Im Projekt für den "Hémicycle" des Palais der Ècole des Beaux-Arts konnte Delaroche schließlich nur wenige Jahre nach seinem Ausstieg aus dem Madeleine-Projekt seine Vorliebe für authentische Kostüme und die Wiedergabe kleinster physiognomischer Details in sein bedeutendstes Werk einfliessen lassen. Vgl. zum Projekt der Ausgestaltung von La Madeleine: Bann, Stephen, Paul Delaroche - History Painted. London 1997, S. 13, 174-78. - Brunel, Georges, "Delaroche et le projet de la Madeleine" in Ausst.-Kat. Paul Delaroche - Un peintre dans l'histoire. Nantes, Musée des Beaux-Arts, 22. Oktober 1999 - 17. Januar 2000 u. a. Paris 1999, S. 87-103. Provenienz: 2015 aus französischem Privatbesitz erworben. - Privatsammlung. Paul (Hippolyte) Delaroche Paul (Hippolyte) Delaroche 1797 Paris - 1856 ibid. Studies for the Paintings in "La Madeleine", Paris Two paintings. Studies of a sitting man, different men's heads and the figure of the penitent Magdalene. Both with canvas stamp "Vallé & Bourniche / Seuls Elèves es succ. de / Belot / Rue de l'Arbre Sec °3" verso. Oil on canvas. Each 66 x 55 cm. Restored. Damage to frame. Paul Delaroche is regarded as the most important representative of history genre painting in France and he contributed considerably to establish it as a recognized species of painting. Paul Delaroche began early (from 1822) to exhibit his works in the Paris Salon. With mostly dramatic, emotionally charged biblical and historical subjects, he inspired his contemporaries; even established artists such as Théodore Géricault were full of praise. In the times of the revolution of 1830 Delaroche had good relations to the house of Orléans. With the following exhibitions in the Salon he was able to increase his fame and recognition. In 1832 he was admitted to the Académie des Beaux-Arts at an unusually young age. From 1833 he was head of one of the most popular studios of his time at the École des Beaux-Arts. One year later, in 1834, he received his hitherto most prominent commission: the creation of a fresco cycle for the newly built Église de la Madeleine. Shortly afterwards he went on a study trip to Italy with artist friends, 1835 he married Louise, the daughter of the famous artist Horace Vernet. While still in Rome, he was told that the central part of his commission for La Madeleine, the design of the apse, was awarded to Jules-Claude Ziegler. Paul Delaroche finally withdrew from this project. Delaroche's most famous work, which is still preserved today, was created in 1837: He received the commission to paint the 'Hémicycle' in the newly built Palais of the École des Beaux Arts, his most monumental work: At the site of the École's prize-giving ceremonies, he illustrated the most famous artists of all times, confidently following models such as Raphael's 'School of Athens' and Ingres' 'Apothéose d'Homer'. The two paintings in question, with studies for the six lunettes of La Madeleine, date back to a commission from 12 November 1833. After his r Full description on lot-tissimo.com

Johann Friedrich Voltz Johann Friedrich Voltz 1817 Nördlingen - 1886 München Moorlandschaft R. u. signiert. Rücks. Nachlass-Stempel sowie Etikett mit Nr. 32. Ölstudie auf Karton. 26 x 43 cm. Rahmen. Johann Friedrich Voltz Johann Friedrich Voltz 1817 Nördlingen - 1886 Munich Moorland landscape Signed lower right. Estate stamp and label with number 32 verso. Oil study on cardboard. 26 x 43 cm. Framed.

Süddeutsch Süddeutsch 19. Jh. Kartenspieler in der Gaststube Leinwand-Stempel A. Schutzmann, München. Öl auf Lwd. 69,5 x 57 cm. Rest. Besch. Rahmen besch. Süddeutsch South German School 19th century Card players in the inn Canvas stamp of A. Schutzmann, Munich. Oil on canvas. 69.5 x 57 cm. Restored. Damaged. Damage to frame.

Parure mit altägyptischen Skarabäen und Amuletten Parure mit altägyptischen Skarabäen und Amuletten Skarabäen und Amulette: Ägypten, Mittleres Reich, Neues Reich und Spätzeit. Fassung: Frankreich, um 1865 Gold 750/-, getestet. Französischer Garantiestempel für Exportgegenstände seit 1879, Juwelierpunze. Hämatit, Gneiss, Steatit, Karneol, Lapislazuli und Fayence. Ein Udjat-Auge als Anhänger fehlt. Die Schmuckstücke sind sehr gut erhalten. Collier: L. ca. 43 cm. Armband: L. ca. 19 cm. Ohrgehänge: L. ca. 5,8 cm. Ca. 203,7 g. Die Parure besteht aus einem Collier, einem Armband und einem Paar Ohrgehängen. 30 altägyptische Skarabäen und Amulette, darunter Udjat-Augen, Djed-Pfeiler, Bes und zahlreiche Skarabäen mit den Datierungen Mittleres Reich, Neues Reich und Spätzeit wurden von einem Pariser Goldschmied um 1865 meisterhaft gefasst. Die Zusammenstellung der sehr qualitätvollen altägyptischen Einzelstücke ist einzigartig. Alle Skarabäen und Amulette wurden von Dr. D. Wildung, ehem. Direktor der Staatl. Sammlung Ägyptischer Kunst München hinsichtlich ihres Materials, ihrer Darstellung und ihrer Originalität analysiert. Das Interesse an ägyptischer Kunst in Europa wurde durch die ägyptische Expedition Napoleons ab 1798 ausgelöst. Die an dieser Expedition teilnehmenden französischen Wissenschaftler und Künstler veröffentlichten ihre Forschungen und künstlerischen Ergebnisse in der Descriptions de L' Égypte. Das Resultat war eine vollständige Beschreibung Ägyptens, seiner Altertümer, aber auch seiner Natur und seines Alltagslebens. Als bedeutendster Fund von Kunstobjekten aus dieser Zeit gilt der Stein von Rosette, der 1799 im Nildelta entdeckt wurde. Dieser ermöglichte die Entzifferung der altägyptischen Hieroglyphen. Diese Forschungen und Entdeckungen lösten in Europa eine wahre Ägyptomanie aus. Daraufhin entstand hier ein großes Interesse an altägyptischen Kulturgütern. Die islamischen Herrscher hingegen zeigten wie auch die Bevölkerung nur wenig Interesse an der Hebung der Kunstschätze und erlaubten deren massenhafte Ausfuhr nach Europa. Bedeutende geschichtliche Ereignisse und Funde während des ganzen 19. Jahrhunderts gaben immer wieder neue Impulse für die Beschäftigung mit der altägyptischen Kultur. Die Eröffnung des Suez-Kanals 1869 war ein solcher Impuls. In dieser Zeit nahmen sich auch Goldschmiede des Themas an. Sie schufen Arbeiten mit von altägyptischen Vorbildern inspirierten Motiven oder es wurden, wie in diesem Fall, originale Amulette und Skarabäen in entsprechende antikisierende Goldfassungen gesetzt. Gutachten von Dr. D. Wildung, ehem. Direktor der Staatl. Sammlung Ägyptischer Kunst München, 09.02.1978. SvP Parure mit altägyptischen Skarabäen und Amuletten Parure with ancient Egyptian scarabs and amulets Scarabs and amulets: Egypt, Middle Kingdom, New Kingdom and Late Period. Setting: France, circa 1865 Gold 750/-, assayed. French guarantee stamp for export items since 1879, jeweller's hallmark. Haematite, gneiss, steatite, carnelian, lapis lazuli and Faience. A Udjat eye as pendant missing. The jewellery pieces are in very good condition. Necklace: length approx. 43 cm. Bracelet: length approx. 19 cm. Earrings: length approx. 5.8 cm. Approx. 203.7 g. Expert report by Dr. D. Wildung, former Director of the State Collection of Egyptian Art, Munich, 9 February 1978.

Franz Gräßel Franz Gräßel 1861 Obersasbach - 1948 Emmering b. Fürstenfeldbruck Enten am Bach Rücks. auf dem Keilrahmen Nachlass-Stempel. Öl auf Lwd. 50 x 61 cm. Rest., erg. Rahmen. Franz Gräßel Gräßel, Franz Ducks by the Stream Estate stamp on the stretcher verso. Oil on canvas. 50 x 61 cm. Restored, with additions. Framed.

Carl Spitzweg Carl Spitzweg 1808 München - 1885 ebenda Einsiedler mit Mädchen Rücks. Nachlass-Stempel (Lught 2308) in Schwarz. Öl auf Holz. 37,5 x 30 cm. Rest. Min. besch. Rahmen min. besch. "Bene vixit, qui bene latuit" / "Gut hat der sein Leben geführt, der sich gut verborgen hat" (Ovid, Tristia III, 4, 25) - Wenngleich aus der Antike stammend, fand sich dieser Leitspruch nicht selten an Klosterpforten. Und die klösterliche Abgeschiedenheit findet sich schließlich in (nahezu) perfekter Weise bei den Einsiedlern gelebt und durchlebt. Auf unserem Gemälde sitzt ein Eremit in seiner Felsengrotte bei einer Quelle, über dieser - an der Felswand - das Kreuz. Neben der Quelle zwei Blumentöpfe mit rot und weiß blühenden Blumen. Gerade noch war er in geistliche Lektüre und christliche Erbauung vertieft, als er aufhorcht: Am Eingang zu seinem Rückzugsort erscheinen zwei Mädchen, die Arme untergehakt, wohl amüsiert plaudernd. Was tun? Wer stört seine Kreise? Der Eremit - noch jung an Jahren - hebt seinen Kopf, sein Blick verrät höchste Aufmerksamkeit. Wird er überrascht oder rechnet er mit einem Besuch, der ihm Zerstreuung bereitet? Fast möchte man in Anbetracht der geschickt platzierten und im Sonnenlicht strahlenden Blumenstöcke bei den beiden sich nähernden Mädchen an das Grimm'sche Märchen von Schneeweißchen und Rosenrot denken, in welchem die Geschichte von zwei hinreißenden jungen Geschöpfen, wohl erzogen und auch im dunklen Wald stets von ihrem Schutzengel begleitet, erzählt wird. Wie wird wohl die gleich stattfindende Begegnung der Mädchen mit dem Einsiedler verlaufen? Auch auf diesem Gemälde brilliert Carl Spitzweg ein weiteres Mal mit seiner Kunst, mit vordergründig harmlos erscheinenden Darstellungen ein kompliziertes System von Emotionen und Beziehungs- und Handlungssträngen anzudeuten, das die Phantasie des Betrachters immer wieder auf ein Neues anregt und inspiriert. Literatur: Wichmann, Siegfried, Carl Spitzweg und die französischen Zeichner. Daumier - Grandville - Gavarni - Doré. Ausst.-Kat. München, Haus der Kunst, 23. November 1985 - 2. Februar 1986. Herrsching 1985, S. 502, Kat.-Nr. 749 (mit Farbabb. 749). - Wichmann, Siegfried, Carl Spitzweg. Verzeichnis der Werke - Gemälde und Aquarelle. Stuttgart 2002, S. 364, WVZ-Nr. 831 (mit Abb.): dort "um 1870" datiert. Provenienz: Privatsammlung Süddeutschland. Carl Spitzweg Carl Spitzweg 1808 Munich - 1885 ibid. Hermit with girls Estate stamp (Lught 2308) in black verso. Oil on panel. 37.5 x 30 cm. Restored. Minor damage. Minor damage to frame. 'Bene vixit, qui bene latuit' / 'Good has he led his life, who has hidden himself well' (Ovid, Tristia III, 4, 25). - Although originating from ancient times, this motto was often found at monastery gates. And the monastic seclusion is finally found in (almost) perfect manner lived and lived through by the hermit. On our painting a hermit is sitting in a rocky grotto. He was still immersed in spiritual reading when he listened attentively:At the entrance, two girls, their arms hooked underneath, appear, chatting. The hermit - still young in years - raises his head, his gaze betraying the highest degree of attention. Is he surprised or is he expecting a visit that will give him some distraction? In this work too, Carl Spitzweg once again impresses with his art of using seemingly harmless representations to suggest a complicated system of emotions and relationships, which constantly stimulates and inspires the viewer's imagination. Literature: Wichmann, Siegfried, Carl Spitzweg und die französischen Zeichner. Daumier - Grandville - Gavarni - Doré. Exhibition catalogue Munich, Haus der Kunst, 23 November 1985 - 2 February 1986. Herrsching 1985, p. 502, catalogue number 749 (with coloured illustration 749). - Wichmann, Siegfried, Carl Spitzweg. Verzeichnis der Werke - Gemälde und Aquarelle. Stuttgart 2002, p. 364, catalogue raisonmé 831 (with illustration): there dated "circa 1870". Provenance: private collection, South Germany.

Johann (Hans) Beckmann Johann (Hans) Beckmann 1809 Hamburg - 1882 ebenda Im Inntal R. u. signiert. Leinwand-Stempel A. Schutzmann, München. Öl auf Lwd. 88 x 126 cm. Rest. Besch. Rahmen besch. Johann (Hans) Beckmann Johann (Hans) Beckmann 1809 Hamburg - 1882 ibid. In the Inntal Signed lower right. Canvas stamp of A. Schutzmann, Munich. Oil on canvas. 88 x 126 cm. Restored. Damaged. Damage to frame.

Ring mit Brillant und Diamanten Ring mit Brillant und Diamanten Frankreich, 1970er Jahre PT 950/-, gestempelt. Französischer Garantiestempel für Gegenstände aus Platin seit 1912, Juwelierpunze. 1 Brillant von ca. 0,80 ct., TCA (L), VVS und 40 Diamanten im Baguetteschliff, zus. ca. 3,50 ct., W-TCR (H-J), IF-VVS. Ringgröße: 64. Ca. 17,21 g. Die Ringschiene wurde erweitert. SvP Ring mit Brillant und Diamanten A ring with diamonds France, 1970s Platinum 950/-, hallmarked. French guarantee stamp for items made of platinum since 1912, jeweller's hallmark. 1 brilliant cut diamond of approx. 0,80 ct., TCA (L), VVS and 40 baguette-cut diamonds, totalling approx. 3.50 ct., W-TCR (H-J), IF-VVS. Ring Size: 64. Ca. 17.21 g.

Heyden, Bernd: Landscape with tree shadows Landscape with tree shadows. 1980. Gelatin silver print. 14,6 x 21,7 cm (23,9 x 30 cm). Photographer's stamp, signed and dated by the photographer in pencil and Staatlicher Kunsthandel der DDR, Galerie im Alten Museum edition label, therein editioned 12/6 on the verso. Bernd Heyden was closely connected to and integrated in Prenzlauer Berg, Berlin, where he spent most of his life. The autodidact initially trained as a woman's tailor and worked as an ironer, chauffeur and laboratory assistant until he was admitted as a photographer in 1974. Since 1967 he worked in the Club junger Fotografen (Club of Young Photographers) founded by Arno Fischer and Sibylle Bergemann. His photographs were rejected by GDR officials as "trash can photography", nonetheless they were highly valued by many of his colleagues. – Buckling in lower/upper edge in margin, signature from verso presses through to recto (only visible at an angle) some pressure marks, otherwise in good condition. Heyden, Bernd: Landscape with tree shadows Landscape with tree shadows. 1980. Gelatin silver print. 14,6 x 21,7 cm (23,9 x 30 cm). Photographer's stamp, signed and dated by the photographer in pencil and Staatlicher Kunsthandel der DDR, Galerie im Alten Museum edition label, therein editioned 12/6 on the verso. Bernd Heyden was closely connected to and integrated in Prenzlauer Berg, Berlin, where he spent most of his life. The autodidact initially trained as a woman's tailor and worked as an ironer, chauffeur and laboratory assistant until he was admitted as a photographer in 1974. Since 1967 he worked in the Club junger Fotografen (Club of Young Photographers) founded by Arno Fischer and Sibylle Bergemann. His photographs were rejected by GDR officials as "trash can photography", nonetheless they were highly valued by many of his colleagues. – Buckling in lower/upper edge in margin, signature from verso presses through to recto (only visible at an angle) some pressure marks, otherwise in good condition.

Schmölz, Karl Hugo: View of St. Martin, Cologne View of the ruins of Groß St. Martin and St. Georg, Cologne. 1945. 2 vintage gelatin silver prints on Agfa-Portriga paper.Each circa 21 x 15,5 cm. Each with photographer's Karl Hugo Schmölz, Fotograf, Am Südpark 45, 5000 Köln 51 stamp and annotated in pencil on the verso. One print with small nicks in edges and traces of previous mounting on the verso, otherwise in very good condition. Lit.: R. Mißelbeck/W. Hagspiel (eds.). Köln-Ansichten. Fotografien von Karl Hugo Schmölz, 1947 - 1985. Cologne 1999. Schmölz, Karl Hugo: View of St. Martin, Cologne View of the ruins of Groß St. Martin and St. Georg, Cologne. 1945. 2 vintage gelatin silver prints on Agfa-Portriga paper.Each circa 21 x 15,5 cm. Each with photographer's Karl Hugo Schmölz, Fotograf, Am Südpark 45, 5000 Köln 51 stamp and annotated in pencil on the verso. One print with small nicks in edges and traces of previous mounting on the verso, otherwise in very good condition. Lit.: R. Mißelbeck/W. Hagspiel (eds.). Köln-Ansichten. Fotografien von Karl Hugo Schmölz, 1947 - 1985. Cologne 1999.

Wüst, Ulrich: Magdeburg, from the series "Stadtbilder" Magdeburg, from the series "Stadtbilder" 1979-1983. 1982. Vintage ferrotyped gelatin silver print. 17 x 22,5 cm. Photographer's stamp on the verso. Corners slightly bumped, buckled in edges, some irregularities to ferrotype surface, otherwise in good condition. Lit.: Gosbert Adler/Wilmar Koenig (eds.). DDR FOTO. Freunde der Werkstatt für Fotografie. Berlin 1985, ill. p. 88. Wüst, Ulrich: Magdeburg, from the series "Stadtbilder" Magdeburg, from the series "Stadtbilder" 1979-1983. 1982. Vintage ferrotyped gelatin silver print. 17 x 22,5 cm. Photographer's stamp on the verso. Corners slightly bumped, buckled in edges, some irregularities to ferrotype surface, otherwise in good condition. Lit.: Gosbert Adler/Wilmar Koenig (eds.). DDR FOTO. Freunde der Werkstatt für Fotografie. Berlin 1985, ill. p. 88.

Burchartz, Max: Lotte ( Auge) "Lotte (Auge)". 1928/printed 1980. Gelatin silver print on Agfa paper. 30,5 x 40 cm (32 x 41,5 cm). Edition stamp, signed by Lotte Burchartz in felt-tip pen and editioned 52/100 on the verso. Born in 1887, Max Buchartz studied at the Kunstgewerbeschule Elberfeld and the Kunstakademie Düsseldorf. He moved to Weimar in 1921 and in 1926 was appointed professor at the Volkwangschule where he worked until 1933 teaching graphic design, typography and photography. This image was included in the Film und Foto exhibition in Stuttgart 1929 and two years later in 1931 it was used as an enlarged mural to greet visitors to the exhibition Das Lichtbild in Essen. It has since become an icon of modern photography. – In excellent condition. Lit.: Film und Foto, p. 56, cat. no. 148, ill. p. 44. Franz Roh/JanTschichold. foto-auge/oeil et photo/photo-eye. Stuttgart 1929, ill. plate 31. Van Deren Coke. Avant Garde Photography in Germany 1919 - 1939, Munich 1982, ill. plate 23. Burchartz, Max: Lotte ( Auge) "Lotte (Auge)". 1928/printed 1980. Gelatin silver print on Agfa paper. 30,5 x 40 cm (32 x 41,5 cm). Edition stamp, signed by Lotte Burchartz in felt-tip pen and editioned 52/100 on the verso. Born in 1887, Max Buchartz studied at the Kunstgewerbeschule Elberfeld and the Kunstakademie Düsseldorf. He moved to Weimar in 1921 and in 1926 was appointed professor at the Volkwangschule where he worked until 1933 teaching graphic design, typography and photography. This image was included in the Film und Foto exhibition in Stuttgart 1929 and two years later in 1931 it was used as an enlarged mural to greet visitors to the exhibition Das Lichtbild in Essen. It has since become an icon of modern photography. – In excellent condition. Lit.: Film und Foto, p. 56, cat. no. 148, ill. p. 44. Franz Roh/JanTschichold. foto-auge/oeil et photo/photo-eye. Stuttgart 1929, ill. plate 31. Van Deren Coke. Avant Garde Photography in Germany 1919 - 1939, Munich 1982, ill. plate 23.

Russian War Photography: Selected images by Russian photographers during WWII Photographers: Max Alpert, Jewgeni Chaldej, Michail Trachmann and others. Selected images by Russian photographers during WWII. 1940s/printed 1960s. 6 gelatin silver prints (4 ferrotyped). Each circa 20 x 29 cm. 3 with photographer's stamp, most annotated in Russian on the verso. One image shows the historic meeting of Russian and American soldiers near Torgau on April 25,1945. – Some with creases in corners, handling marks, one with discoloration in edges, otherwise in good condition. Russian War Photography: Selected images by Russian photographers during WWII Photographers: Max Alpert, Jewgeni Chaldej, Michail Trachmann and others. Selected images by Russian photographers during WWII. 1940s/printed 1960s. 6 gelatin silver prints (4 ferrotyped). Each circa 20 x 29 cm. 3 with photographer's stamp, most annotated in Russian on the verso. One image shows the historic meeting of Russian and American soldiers near Torgau on April 25,1945. – Some with creases in corners, handling marks, one with discoloration in edges, otherwise in good condition.

Link, O. Winston: Hawksbill Creek Swimming Hole, Luray, Virginia, with No. 96 Northbound "Hawksbill Creek Swimming Hole, Luray, Virginia, with No. 96 Northbound". 1956/printed 1991. Gelatin silver print. 50,6 x 40,4 cm. Signed and dated by the photographer in pencil, annotations in pencil and photographer's reproduction limitation stamp on the verso. A fine tonal print in excellent condition. Link, O. Winston: Hawksbill Creek Swimming Hole, Luray, Virginia, with No. 96 Northbound "Hawksbill Creek Swimming Hole, Luray, Virginia, with No. 96 Northbound". 1956/printed 1991. Gelatin silver print. 50,6 x 40,4 cm. Signed and dated by the photographer in pencil, annotations in pencil and photographer's reproduction limitation stamp on the verso. A fine tonal print in excellent condition.

Paris, Helga: Ramona "Ramona". 1982/printed later. Gelatin silver print. 27,2 x 18,5 cm. Signed, titled and dated by the photographer in pencil and edition stamp on the verso. In excellent condition. – With: Helga Paris. Selected images. 1980s/printed 2006. 4 gelatin silver prints. Each circa 18,3 x 28 cm (30,2 x 40,5 cm). Each signed by the photographer in pencil and Griffelkunst edition text on the verso. - In very good condition. Paris, Helga: Ramona "Ramona". 1982/printed later. Gelatin silver print. 27,2 x 18,5 cm. Signed, titled and dated by the photographer in pencil and edition stamp on the verso. In excellent condition. – With: Helga Paris. Selected images. 1980s/printed 2006. 4 gelatin silver prints. Each circa 18,3 x 28 cm (30,2 x 40,5 cm). Each signed by the photographer in pencil and Griffelkunst edition text on the verso. - In very good condition.

Schäfer, Rudolf: Images from "Der Ewige Schlaf: Visages de morts" Images from "Der Ewige Schlaf: Visages de morts". 1988. 2 vintage gelatin silver prints. Each circa 23,2 x 17 cm (27,4 x 21,2 cm). Each with photographer's/copyright stamp on the verso. In very good condition. Lit.: Rudolf Schäfer. Der Ewige Schlaf - Visages de morts. Hamburg 1989, illustrated. Gosbert Adler/Wilmar Koenig (eds.). DDR FOTO. Freunde der Werkstatt für Fotografie. Berlin 1985, ill. pp. 65 and 67. Schäfer, Rudolf: Images from "Der Ewige Schlaf: Visages de morts" Images from "Der Ewige Schlaf: Visages de morts". 1988. 2 vintage gelatin silver prints. Each circa 23,2 x 17 cm (27,4 x 21,2 cm). Each with photographer's/copyright stamp on the verso. In very good condition. Lit.: Rudolf Schäfer. Der Ewige Schlaf - Visages de morts. Hamburg 1989, illustrated. Gosbert Adler/Wilmar Koenig (eds.). DDR FOTO. Freunde der Werkstatt für Fotografie. Berlin 1985, ill. pp. 65 and 67.

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.

Lartigue, Jacques-Henri: Bibi, Marseilles "Bibi, Marseilles". 1928/printed 1980s. Gelatin silver print. 19,7 x 33,7 cm (30,5 x 40,5 cm). Signed by the photographer in black ink lower right in margin and photographer's embossed monogram stamp lower left in margin. Corners minimally bumped, small spot in right margin near edge, otherwise in very good condition. Lartigue, Jacques-Henri: Bibi, Marseilles "Bibi, Marseilles". 1928/printed 1980s. Gelatin silver print. 19,7 x 33,7 cm (30,5 x 40,5 cm). Signed by the photographer in black ink lower right in margin and photographer's embossed monogram stamp lower left in margin. Corners minimally bumped, small spot in right margin near edge, otherwise in very good condition.

Baur, Max: View of Potsdam, Stadtschloß View of Potsdam, Stadtschloß, April 1945. Vintage large-format gelatin silver print. 29,8 x 39,9 cm. Photographer's/copyright stamp and annotated by the photographer in ink on the verso. Corners minimally bumped, otherwise fine tonal prints in very good condition. Lit.: Jutta Götzmann/Judith Granzow/Anja Tack (eds.). Potsdam, ein Paradies für meine Kamera. Max Baur. Fotografie. Berlin 2018, ill. p. 114, plate 55. Baur, Max: View of Potsdam, Stadtschloß View of Potsdam, Stadtschloß, April 1945. Vintage large-format gelatin silver print. 29,8 x 39,9 cm. Photographer's/copyright stamp and annotated by the photographer in ink on the verso. Corners minimally bumped, otherwise fine tonal prints in very good condition. Lit.: Jutta Götzmann/Judith Granzow/Anja Tack (eds.). Potsdam, ein Paradies für meine Kamera. Max Baur. Fotografie. Berlin 2018, ill. p. 114, plate 55.

Hebler, Peter: Street riots, Berlin Street riots, Berlin. June 11,1982. Vintage matte gelatin silver print. 24 x 35,8 cm (30,5 x 40,3 cm). Photographer's/copyright stamp as well as signed and dated by the photographer in pencil on the verso. In excellent condition. Hebler, Peter: Street riots, Berlin Street riots, Berlin. June 11,1982. Vintage matte gelatin silver print. 24 x 35,8 cm (30,5 x 40,3 cm). Photographer's/copyright stamp as well as signed and dated by the photographer in pencil on the verso. In excellent condition.

Schäfer, Rudolf: Statue heads Statue heads. 1980s. Vintage gelatin silver print. 17 x 23,2 cm (21,2 x 27,5 cm). Photographer's/copyright stamp on the verso. In very good condition. Schäfer, Rudolf: Statue heads Statue heads. 1980s. Vintage gelatin silver print. 17 x 23,2 cm (21,2 x 27,5 cm). Photographer's/copyright stamp on the verso. In very good condition.

Wüst, Ulrich: Untitled, from the series "Stadtbilder" Untitled, from the series "Stadtbilder" 1979-1983. Vintage ferrotyped gelatin silver print. 17 x 22,5 cm. Photographer's stamp on the verso. Slightly buckled in edges, some irregularities to ferrotype surface, otherwise in good condition. Wüst, Ulrich: Untitled, from the series "Stadtbilder" Untitled, from the series "Stadtbilder" 1979-1983. Vintage ferrotyped gelatin silver print. 17 x 22,5 cm. Photographer's stamp on the verso. Slightly buckled in edges, some irregularities to ferrotype surface, otherwise in 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. 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.

Wüst, Ulrich: Rostock, from the series "Stadtbilder" Rostock, from the series "Stadtbilder" 1979-1983. 1982. Vintage ferrotyped gelatin silver print. 17 x 22,5 cm. Photographer's stamp on the verso. Slightly buckled in edges, some irregularity to ferrotyped surface, otherwise in very good condition. Lit.: Gosbert Adler/Wilmar Koenig (eds.). DDR FOTO. Freunde der Werkstatt für Fotografie. Berlin 1985, ill. p. 94. Wüst, Ulrich: Rostock, from the series "Stadtbilder" Rostock, from the series "Stadtbilder" 1979-1983. 1982. Vintage ferrotyped gelatin silver print. 17 x 22,5 cm. Photographer's stamp on the verso. Slightly buckled in edges, some irregularity to ferrotyped surface, otherwise in very good condition. Lit.: Gosbert Adler/Wilmar Koenig (eds.). DDR FOTO. Freunde der Werkstatt für Fotografie. Berlin 1985, ill. p. 94.

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.

Seidenstücker, Friedrich: Puddle series; Woman washing stairs Puddle series; Woman washing stairs. 1930/28/printed later. 2 gelatin silver prints from the original negatives. 24 x 30,3 cm and 30,3 x 24 cm. bpk Berlin edition stamp, titled, dated and editioned 16/30 and17/30 in pencil on the verso. In excellent condition. Seidenstücker, Friedrich: Puddle series; Woman washing stairs Puddle series; Woman washing stairs. 1930/28/printed later. 2 gelatin silver prints from the original negatives. 24 x 30,3 cm and 30,3 x 24 cm. bpk Berlin edition stamp, titled, dated and editioned 16/30 and17/30 in pencil on the verso. In excellent condition.

Villers, André: Pablo Picasso, Cannes Pablo Picasso, Cannes. 1956/printed 2000. Gelatin silver print. 41,3 x 49,3 cm (50,5 x 58,5 cm). Signed by the photographer in ink in lower right in margin; signed, titled, dated and annotated "photo réalisé par moi-meme" by the photographer in ink and photographer's stamp on the verso. Small crease in left margin, lower right corner bumped, a few small retouched spots, otherwise a rich, tonal print in very good condition. Villers, André: Pablo Picasso, Cannes Pablo Picasso, Cannes. 1956/printed 2000. Gelatin silver print. 41,3 x 49,3 cm (50,5 x 58,5 cm). Signed by the photographer in ink in lower right in margin; signed, titled, dated and annotated "photo réalisé par moi-meme" by the photographer in ink and photographer's stamp on the verso. Small crease in left margin, lower right corner bumped, a few small retouched spots, otherwise a rich, tonal print in very good condition.

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).

Gossage, John: From the series "Berlin in the Time of the Wall" From the series "Berlin in the Time of the Wall". 1980s/90s. 3 gelatin silver prints on Kodak RC paper. Each 27,8 x 21,5 cm. Each with photographer's stamp on the verso. These three proof prints for the book "Berlin in the Time of the Wall" make an attractive group from the ten-year project, which Gossage took during the 1980s-1990s, showing the Berlin Wall and related images. The project is considered his masterwork and has often been referred to as one of the most important photobooks on landscape photography of the 1980s. For more photographs by John Gossage, see our catalogue: Works from the Wilmar Koenig Collection. – Corners minimally bumped, a few minimal handling marks, otherwise in very good condition. Gossage, John: From the series "Berlin in the Time of the Wall" From the series "Berlin in the Time of the Wall". 1980s/90s. 3 gelatin silver prints on Kodak RC paper. Each 27,8 x 21,5 cm. Each with photographer's stamp on the verso. These three proof prints for the book "Berlin in the Time of the Wall" make an attractive group from the ten-year project, which Gossage took during the 1980s-1990s, showing the Berlin Wall and related images. The project is considered his masterwork and has often been referred to as one of the most important photobooks on landscape photography of the 1980s. For more photographs by John Gossage, see our catalogue: Works from the Wilmar Koenig Collection. – Corners minimally bumped, a few minimal handling marks, otherwise in very good condition.

Werkstatt für Photographie: Group of work prints by photographers connected to the Werkstatt für Photographie Group of work prints by photographers connected to the Werkstatt für Photographie. 1979-1982. 4 gelatin silver prints (1 on RC paper) and 1 chromogenic print. Each circa 18 x 24 cm and smaller. 3 with photographer's stamp/label, 1 with typed label, 1 also signed by the photographer and 3 annotated "reproduction print" in ink on the verso. The photographers include: Gosbert Adler, Uschi Blume, Friedhelm Denkeler, Eva Maria Ocherbauer and Klaus-Peter Voutta. – Some corners minimally bumped, otherwise in very good condition. Lit.: Florian Ebner/Felix Hoffmann/Inka Schube/Thomas Weski (eds.). Werkstatt für Photographie 1976-1986. London 2016, ill. p. 187 (Blume), p. 211 (Denkeler), p. 266 (Voutta - variant). Werkstatt für Photographie: Group of work prints by photographers connected to the Werkstatt für Photographie Group of work prints by photographers connected to the Werkstatt für Photographie. 1979-1982. 4 gelatin silver prints (1 on RC paper) and 1 chromogenic print. Each circa 18 x 24 cm and smaller. 3 with photographer's stamp/label, 1 with typed label, 1 also signed by the photographer and 3 annotated "reproduction print" in ink on the verso. The photographers include: Gosbert Adler, Uschi Blume, Friedhelm Denkeler, Eva Maria Ocherbauer and Klaus-Peter Voutta. – Some corners minimally bumped, otherwise in very good condition. Lit.: Florian Ebner/Felix Hoffmann/Inka Schube/Thomas Weski (eds.). Werkstatt für Photographie 1976-1986. London 2016, ill. p. 187 (Blume), p. 211 (Denkeler), p. 266 (Voutta - variant).

Muthesius, Eckart / Gloucester Railway Carriage & Wagon Company: Interiors of railway wagons made by the Gloucester Railway & Carriage Company Interiors of railway wagons made by the Gloucester Railway Carriage & Wagon Company, most for the British colonies in Africa (Gold Coast Railway, Nigerian Railway, Trans-Zambezia Railway and Buenos Aires Western Railway). Circa 1900-1913. 8 vintage large-format gelatin silver and collodion paper prints. Each circa 28 x 36 cm. Each with company archive stamp (dated 1936) and several annotated in pencil on the verso. This interesting group of photographs shows various interiors of the wagons of British colonial railway lines with different functions and furnishings of the various wagons such as a kitchen, a billard room, an office, private cabins, a sleeping cabin, a dark room for photo development, all manufactured by the Gloucester Railway Carriage & Wagon Company. In 1936 the firm won the contract to build a 68 feet long air-conditioned carriage for the Maharajah of Indore to be designed by the German architect Eckart Muthesius which included a kitchen, servants quarters and a nursery. The architect used these photographs to help him in designing the interior of the carriage. – Traces of use in corners/edges, creases, a few small tears in edges. Provenance: Eckart Muthesius Archive Muthesius, Eckart / Gloucester Railway Carriage & Wagon Company: Interiors of railway wagons made by the Gloucester Railway & Carriage Company Interiors of railway wagons made by the Gloucester Railway Carriage & Wagon Company, most for the British colonies in Africa (Gold Coast Railway, Nigerian Railway, Trans-Zambezia Railway and Buenos Aires Western Railway). Circa 1900-1913. 8 vintage large-format gelatin silver and collodion paper prints. Each circa 28 x 36 cm. Each with company archive stamp (dated 1936) and several annotated in pencil on the verso. This interesting group of photographs shows various interiors of the wagons of British colonial railway lines with different functions and furnishings of the various wagons such as a kitchen, a billard room, an office, private cabins, a sleeping cabin, a dark room for photo development, all manufactured by the Gloucester Railway Carriage & Wagon Company. In 1936 the firm won the contract to build a 68 feet long air-conditioned carriage for the Maharajah of Indore to be designed by the German architect Eckart Muthesius which included a kitchen, servants quarters and a nursery. The architect used these photographs to help him in designing the interior of the carriage. – Traces of use in corners/edges, creases, a few small tears in edges. Provenance: Eckart Muthesius Archive

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.

Link, O. Winston: NW1107, Arcadia, Virginia, Bridge 425, August 4 "NW1107, Arcadia, Virginia, Bridge 425, August 4". 1956/printed 1999. Gelatin silver print. 40,7 x 50,6 cm. Signed and dated by the photographer in pencil, annotations in pencil and photographer's reproduction limitation stamp on the verso. A fine tonal print in excellent condition. Link, O. Winston: NW1107, Arcadia, Virginia, Bridge 425, August 4 "NW1107, Arcadia, Virginia, Bridge 425, August 4". 1956/printed 1999. Gelatin silver print. 40,7 x 50,6 cm. Signed and dated by the photographer in pencil, annotations in pencil and photographer's reproduction limitation stamp on the verso. A fine tonal print in excellent condition.

Film Photography: Scene from "Metropolis" Scene from the film "Metropolis". 1926/27. Vintage ferrotyped gelatin silver print. 21,3 x 28 cm (23,4 x 29,8 cm). Ufa logo and number 55 in the negative in lower left corner; Photo:Ufa reproduction limitation stamp and film title and actress stamp on the verso. Although "Metropolis" did not enjoy the expected success during its premiere, audiences were impressed with the technical tricks and visual effects which remain an iconic element of cinematography today. – Some handling creases in margins, corners bumped, slight soilng in white margins, some surface irregularities, slight oxidation mirroring in edges, otherwise in good condition. Film Photography: Scene from "Metropolis" Scene from the film "Metropolis". 1926/27. Vintage ferrotyped gelatin silver print. 21,3 x 28 cm (23,4 x 29,8 cm). Ufa logo and number 55 in the negative in lower left corner; Photo:Ufa reproduction limitation stamp and film title and actress stamp on the verso. Although "Metropolis" did not enjoy the expected success during its premiere, audiences were impressed with the technical tricks and visual effects which remain an iconic element of cinematography today. – Some handling creases in margins, corners bumped, slight soilng in white margins, some surface irregularities, slight oxidation mirroring in edges, otherwise in good condition.

Schmölz, Karl Hugo: Neu-St. Alban, Offenbachplatz, Cologne Neu-St. Alban, Offenbachplatz (1957-59), Cologne, architect Hans Schilling (1921-2009). 3 vintage gelatin silver prints. Each circa 23,5 x 17,5 cm. Photographer's stamp and annotated in pencil on the verso. Fine tonal prints in excellent condition. Lit.: R. Mißelbeck/W. Hagspiel (eds.). Köln-Ansichten. Fotografien von Karl Hugo Schmölz, 1947-1985. Cologne 1999, ill. p. 47. Schmölz, Karl Hugo: Neu-St. Alban, Offenbachplatz, Cologne Neu-St. Alban, Offenbachplatz (1957-59), Cologne, architect Hans Schilling (1921-2009). 3 vintage gelatin silver prints. Each circa 23,5 x 17,5 cm. Photographer's stamp and annotated in pencil on the verso. Fine tonal prints in excellent condition. Lit.: R. Mißelbeck/W. Hagspiel (eds.). Köln-Ansichten. Fotografien von Karl Hugo Schmölz, 1947-1985. Cologne 1999, ill. p. 47.

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.

Gregor, Wolfgang: Untitled Untitled. 1970s. 5 vintage gelatin silver prints. Each circa 15 x 22 cm (17,2 x 24,2 cm). Each with photographer's/copyright stamp on the verso. Some corners minimally bumped, otherwise rich, tonal prints in excellent condition. Lit.: Gosbert Adler/Wilmar Koenig (eds.). DDR FOTO. Freunde der Werkstatt für Fotografie. Berlin 1985, ill. pp. 16, 17, 18, 20. Gregor, Wolfgang: Untitled Untitled. 1970s. 5 vintage gelatin silver prints. Each circa 15 x 22 cm (17,2 x 24,2 cm). Each with photographer's/copyright stamp on the verso. Some corners minimally bumped, otherwise rich, tonal prints in excellent condition. Lit.: Gosbert Adler/Wilmar Koenig (eds.). DDR FOTO. Freunde der Werkstatt für Fotografie. Berlin 1985, ill. pp. 16, 17, 18, 20.

Mahler, Ute: Vater und Sohn, Zirkus Hein "Vater und Sohn, Zirkus Hein". 1975. Vintage semi-glossy gelatin silver print. 22,7 x 33,8 cm (29,5 x 39,2 cm). Signed and dated by the photographer in pencil in lower margin; titled by the photographer in pencil and archive stamp on the verso, mounted along upper edge in black paper folder. Buckled in edges, some soiling in margins, otherwise in good condition. Mahler, Ute: Vater und Sohn, Zirkus Hein "Vater und Sohn, Zirkus Hein". 1975. Vintage semi-glossy gelatin silver print. 22,7 x 33,8 cm (29,5 x 39,2 cm). Signed and dated by the photographer in pencil in lower margin; titled by the photographer in pencil and archive stamp on the verso, mounted along upper edge in black paper folder. Buckled in edges, some soiling in margins, otherwise in good condition.

Windstosser, Ludwig: Textile industry Textile industry. 1950s. Vintage ferrotyped gelatin silver print on Agfa paper. 29 x 23,2 cm. Photographer's stamp and annotated in pencil/black marker on the verso. Corners bumped, handling creases and scratch mark in upper left, a few indentation marks, otherwise in good condition. Windstosser, Ludwig: Textile industry Textile industry. 1950s. Vintage ferrotyped gelatin silver print on Agfa paper. 29 x 23,2 cm. Photographer's stamp and annotated in pencil/black marker on the verso. Corners bumped, handling creases and scratch mark in upper left, a few indentation marks, otherwise in good condition.

Mahler, Ute: Bauern, Thüringen "Bauern, Thüringen". 1974. Vintage semi-glossy gelatin silver print. 22,7 x 33,8 cm (29,5 x 39,2 cm). Signed and dated by the photographer in pencil in lower margin; titled by the photographer in pencil and archive stamp on the verso, mounted along upper edge in black paper folder. Buckled in edges, some soiling in margins, otherwise in good condition. Mahler, Ute: Bauern, Thüringen "Bauern, Thüringen". 1974. Vintage semi-glossy gelatin silver print. 22,7 x 33,8 cm (29,5 x 39,2 cm). Signed and dated by the photographer in pencil in lower margin; titled by the photographer in pencil and archive stamp on the verso, mounted along upper edge in black paper folder. Buckled in edges, some soiling in margins, otherwise in good condition.

Schäfer, Rudolf: Punkmädchen, Berlin. December 1981 "Punkmädchen, Berlin, December 1981". Vintage gelatin silver print. 17 x 23,1 cm (21,3 x 27,5 cm). Photographer's/copyright stamp on the verso. Rudolf Schäfer began his studies at the School for Advertising and Design in East Berlin and then trained as a film camera assistant at the GDR television station. Between 1974-1987, he worked as a freelance photographer, concentrating on press, advertising and fashion photography. From 1986-1989, he was a master student of Klaus Wittkugel and Ludwig Engelhardt at the Academy of Arts, Berlin. As of 1997-2017, he was a professor for photography at Burg Giebichstein Hochschule für Kunst und Design. – In very good condition. Lit.: Gosbert Adler/Wilmar Koenig (eds.). DDR FOTO. Freunde der Werkstatt für Fotografie. Berlin 1985, ill. p. 61. Schäfer, Rudolf: Punkmädchen, Berlin. December 1981 "Punkmädchen, Berlin, December 1981". Vintage gelatin silver print. 17 x 23,1 cm (21,3 x 27,5 cm). Photographer's/copyright stamp on the verso. Rudolf Schäfer began his studies at the School for Advertising and Design in East Berlin and then trained as a film camera assistant at the GDR television station. Between 1974-1987, he worked as a freelance photographer, concentrating on press, advertising and fashion photography. From 1986-1989, he was a master student of Klaus Wittkugel and Ludwig Engelhardt at the Academy of Arts, Berlin. As of 1997-2017, he was a professor for photography at Burg Giebichstein Hochschule für Kunst und Design. – In very good condition. Lit.: Gosbert Adler/Wilmar Koenig (eds.). DDR FOTO. Freunde der Werkstatt für Fotografie. Berlin 1985, ill. p. 61.

Schmidt, Michael: Berlin 61, Trümmer 79 "Berlin 61, Trümmer 79". 1979. Vintage gelatin silver print on Agfa paper. 20,2 x 22,6 cm (23,7 x 30,2 cm). Signed, titled, dated and dedicated by the photographer in pencil and photographer's/copyright stamp on the verso. A fine tonal print in excellent condition. Schmidt, Michael: Berlin 61, Trümmer 79 "Berlin 61, Trümmer 79". 1979. Vintage gelatin silver print on Agfa paper. 20,2 x 22,6 cm (23,7 x 30,2 cm). Signed, titled, dated and dedicated by the photographer in pencil and photographer's/copyright stamp on the verso. A fine tonal print in excellent condition.

Brandt, Marianne: Bauhausfotos Portfolio "Bauhausfotos" portfolio. 1927-31/printed 1993 from the original negatives. 10 gelatin silver prints. Each circa 23,5 x 17,5 cm. Each with portfolio stamp, numbered 25 (of 30), each hinge-mounted in mat, in original canvas clamshell box (a few scuff marks). Sabine Hartmann/Karsten Hitz (eds.) for Bauhaus- Archiv, Berlin 1993. The images include: Self-portrait, reflected in metal ball, 1928/29; Still life with Bahaus fabric, metal balls and corrugated board (self-portrait), 1928/29; The studio in the metal ball I (self-portrait), 1928/29; The studio in the metal ball II (self-portrait), 1928,/29; Self-portrait with jewelry for the "Metallisches Fest", 1929; Reflections (still-life with metal and glass), 1928/29; Still life in the metal workshop (grindstone and shavings), circa1927; Bauhaus Stage I, 1929; Bauhaus Stage II, 1929; Self-portrait, double exposure, 1930/31. – One print with stronger retouching, otherwise potos in excellent condition. Lit.: Marianne Brandt. Fotografien am Bauhaus. Ostfildern-Ruit 2003, ill. pp. 45, 47, 49, 51, 55, 57, 71, 82, 83 and front cover. Brandt, Marianne: Bauhausfotos Portfolio "Bauhausfotos" portfolio. 1927-31/printed 1993 from the original negatives. 10 gelatin silver prints. Each circa 23,5 x 17,5 cm. Each with portfolio stamp, numbered 25 (of 30), each hinge-mounted in mat, in original canvas clamshell box (a few scuff marks). Sabine Hartmann/Karsten Hitz (eds.) for Bauhaus- Archiv, Berlin 1993. The images include: Self-portrait, reflected in metal ball, 1928/29; Still life with Bahaus fabric, metal balls and corrugated board (self-portrait), 1928/29; The studio in the metal ball I (self-portrait), 1928/29; The studio in the metal ball II (self-portrait), 1928,/29; Self-portrait with jewelry for the "Metallisches Fest", 1929; Reflections (still-life with metal and glass), 1928/29; Still life in the metal workshop (grindstone and shavings), circa1927; Bauhaus Stage I, 1929; Bauhaus Stage II, 1929; Self-portrait, double exposure, 1930/31. – One print with stronger retouching, otherwise potos in excellent condition. Lit.: Marianne Brandt. Fotografien am Bauhaus. Ostfildern-Ruit 2003, ill. pp. 45, 47, 49, 51, 55, 57, 71, 82, 83 and front cover.

Baur, Max: Panoramic views of Potsdam Panoramic views of Potsdam. 1930s. 2 vintage large-format gelatin silver prints, 1 on Leonar paper. Each circa 29,8 x 39,9 cm. Each with photographer's/copyright stamp and annotated by the photographer in ink on the verso. Includes a view from the Garnisonkirche toward Hermannswerke and the Havel and a view from the Heiliggeistkirche. – Corners minimally bumped, otherwise fine tonal prints in very good condition. Lit.: Jutta Götzmann/Judith Granzow/Anja Tack (eds.). Potsdam, ein Paradies für meine Kamera. Max Baur. Fotografie. Berlin 2018, ill. pp. 52-53, plate 2. Baur, Max: Panoramic views of Potsdam Panoramic views of Potsdam. 1930s. 2 vintage large-format gelatin silver prints, 1 on Leonar paper. Each circa 29,8 x 39,9 cm. Each with photographer's/copyright stamp and annotated by the photographer in ink on the verso. Includes a view from the Garnisonkirche toward Hermannswerke and the Havel and a view from the Heiliggeistkirche. – Corners minimally bumped, otherwise fine tonal prints in very good condition. Lit.: Jutta Götzmann/Judith Granzow/Anja Tack (eds.). Potsdam, ein Paradies für meine Kamera. Max Baur. Fotografie. Berlin 2018, ill. pp. 52-53, plate 2.

Székessy, Karin: Female nude in field Female nude in field. 1970s. Vintage gelatin silver print on Agfa paper. 29,6 x 24 cm. Photographer's/copyright stamp and archive stamp on the verso. Edges slightly curled, otherwise a rich dark print in very good condition. Székessy, Karin: Female nude in field Female nude in field. 1970s. Vintage gelatin silver print on Agfa paper. 29,6 x 24 cm. Photographer's/copyright stamp and archive stamp on the verso. Edges slightly curled, otherwise a rich dark print in very good condition.

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.

Gregor, Wolfgang: Untitled Untitled. 1970s. 5 vintage gelatin silver prints. Each circa15 x 22 cm (17,2 x 24,2 cm). Each with photographer's/copyright stamp on the verso. Some corners minimally bumped, otherwise rich, tonal prints in excellent condition. Lit.: Gosbert Adler/Wilmar Koenig (eds.). DDR FOTO. Freunde der Werkstatt für Fotografie. Berlin 1985, ill. p. 21. Gregor, Wolfgang: Untitled Untitled. 1970s. 5 vintage gelatin silver prints. Each circa15 x 22 cm (17,2 x 24,2 cm). Each with photographer's/copyright stamp on the verso. Some corners minimally bumped, otherwise rich, tonal prints in excellent condition. Lit.: Gosbert Adler/Wilmar Koenig (eds.). DDR FOTO. Freunde der Werkstatt für Fotografie. Berlin 1985, ill. p. 21.

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.

Schmidt, Michael: Landkreis Lüchow-Dannenberg Landkreis Lüchow-Dannenberg. 1979. Vintage gelatin silver print on Agfa paper. 19,5 x 27 cm (23,8 x 30,4 cm). Signed, titled, dated and dedicated by the photographer in pencil and photographer's/copyright stamp on the verso. A fine tonal print in near excellent condition. Schmidt, Michael: Landkreis Lüchow-Dannenberg Landkreis Lüchow-Dannenberg. 1979. Vintage gelatin silver print on Agfa paper. 19,5 x 27 cm (23,8 x 30,4 cm). Signed, titled, dated and dedicated by the photographer in pencil and photographer's/copyright stamp on the verso. A fine tonal print in near excellent condition.

Lebeck, Robert: Mittagsgebet in einem Waisenhaus in Surabaja "Mittagsgebet in einem Waisenhaus in Surabaja". 1965/printed 1980. Gelatin silver print on Agfa paper. 37 x 25,2 cm (40,2 x 30 cm). Signed, titled, dated and copyrighted by the photographer in black ink and photographer's stamp on the verso. Crease in lower left corner in margin, corners slightly bumped, otherwise in very good condition. Lebeck, Robert: Mittagsgebet in einem Waisenhaus in Surabaja "Mittagsgebet in einem Waisenhaus in Surabaja". 1965/printed 1980. Gelatin silver print on Agfa paper. 37 x 25,2 cm (40,2 x 30 cm). Signed, titled, dated and copyrighted by the photographer in black ink and photographer's stamp on the verso. Crease in lower left corner in margin, corners slightly bumped, otherwise in very good condition.

Windstosser, Ludwig: Coal mining, Ruhrgebiet Coal mining, Ruhrgebiet. 1950s. 3 vintage ferrotyped gelatin silver prints on Agfa paper. Each circa 29 x 23,2 cm. Each with photographer's stamp and annotated in pencil (black marker) on the verso. Corners bumped, some retouched spots, a few small irregularities to ferrotype surface, otherwise rich glossy prints in very good condition. Windstosser, Ludwig: Coal mining, Ruhrgebiet Coal mining, Ruhrgebiet. 1950s. 3 vintage ferrotyped gelatin silver prints on Agfa paper. Each circa 29 x 23,2 cm. Each with photographer's stamp and annotated in pencil (black marker) on the verso. Corners bumped, some retouched spots, a few small irregularities to ferrotype surface, otherwise rich glossy prints in very good condition.

Borchert, Christian: Selected images Selected images. 1977-1983. 5 vintage gelatin silver prints. Each circa 16 x 23,7 cm. Each titled and dated by the photographer in pencil and with photographer's/copyright stamp on the verso. The titles include: "HO-Gaststätte 'Zum Stern', Berlin, 1982"; "Goldene Hochzeit, Tangermünde, 1983"; "Im Neubaugebiet Storkower Straße, Berlin, 1977"; "VEB Kombinat NARVA Berliner Glühlampenwerk, 1983"; "Porträt Familie M. (Dipl.-Ing für Elektrotechnik; Ökonom), Cottbus 1983". – Fine tonal prints in excellent condition. Borchert, Christian: Selected images Selected images. 1977-1983. 5 vintage gelatin silver prints. Each circa 16 x 23,7 cm. Each titled and dated by the photographer in pencil and with photographer's/copyright stamp on the verso. The titles include: "HO-Gaststätte 'Zum Stern', Berlin, 1982"; "Goldene Hochzeit, Tangermünde, 1983"; "Im Neubaugebiet Storkower Straße, Berlin, 1977"; "VEB Kombinat NARVA Berliner Glühlampenwerk, 1983"; "Porträt Familie M. (Dipl.-Ing für Elektrotechnik; Ökonom), Cottbus 1983". – Fine tonal prints in excellent condition.

Stankowski, Anton: Winterkleid "Winterkleid". 1934/printed later. Gelatin silver print on early RC paper. 30,2 x 23,7 cm. Estate stamp on the verso. Crease near upper edge, a few handling marks, otherwise in very good condition. Lit.: Anton Stankowski. Photographien ab 1927. Heimerdingen 1979, ill. p. 75. Provenance: From the photographer to the present owner. Stankowski, Anton: Winterkleid "Winterkleid". 1934/printed later. Gelatin silver print on early RC paper. 30,2 x 23,7 cm. Estate stamp on the verso. Crease near upper edge, a few handling marks, otherwise in very good condition. Lit.: Anton Stankowski. Photographien ab 1927. Heimerdingen 1979, ill. p. 75. Provenance: From the photographer to the present owner.

Engel, Werner: New York with Twin Towers by night New York with Twin Towers by night. 1980s. Vintage gelatin silver print on Agfa paper. 21 x 21,2 cm (30,2 x 33,7 cm). Signed by the photographer in black ink and photographer's/copyright stamp on the verso. A fine tonal print in very good condition. Engel, Werner: New York with Twin Towers by night New York with Twin Towers by night. 1980s. Vintage gelatin silver print on Agfa paper. 21 x 21,2 cm (30,2 x 33,7 cm). Signed by the photographer in black ink and photographer's/copyright stamp on the verso. A fine tonal print 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. 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.