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Click here to subscribeBESWICK; six Beatrix Potter figures comprising 'Tommy Brock', 'Miss Moppet', 'Mrs Rabbit', 'Mrs Flopsy Bunny', 'Mrs Tittlemouse', 'Peter Rabbit' (6).Additional InformationTommy Brock is an oval back stamp, Mrs Rabbit is an oval back stamp but is lacking most of her umbrella, Peter Rabbit has had one ear broken off and glue repaired and there is a chip to the tip of both ears.
A 19th century flintlock pistol, with 8" barrel stamped to the top 'D+XVI', further stamped with indistinct proof marks, the lock plate stamped with 'GR' below a crown cipher and further stamped 'Tower' with additional broad arrow stamp and fitted to a stained walnut stock and mounted with brass furniture, the trigger guard stamped 'D' over 16 and the lock back strap probably later inscribed 'Notts Yeomanry', and fitted with a hinged steel ramrod, overall length 39cm.Provenance: The Captain Allan Marshall Collection.Additional InformationThere are various areas of rubbing to the stock with further surface damage around the trigger. There is a split around the back of the stock towards the pommel which appears to have been pinned. The mechanism holds in the half cocked position and fires from the fully cocked position and there are various nicks and minor dents to the pommel.
Mappin and Webb Silver tray engraved "Presented to D.G.M.Bernard by The Foreign Staff of Messrs. Jardine Matheson & Co. Ltd Hong Kong on the Occasion of his marriage 16th Nov 1922", 62.5 x 45.5cm, 88oz 2494gm, hallmarked and makers stamp verso. Sir Dallas Gerald Mercer Bernard (1888-1975)Managing Director of Jardine Matheson from 1928 to 1942Chairman of the Hongkong Shanghai Banking CorporationDirector and Deputy Governor of the Bank of England 1949-54High Sheriff of the County of London 1942-43Lieutenant of the City of LondonChairman of the British Bank in the Middle East 1954-65Chairman of the Jordan Currency Board 19541st Baronet Bernard of Snakemoor in the County of Southampton (created 1954)The tray was a gift on the occasion of his wedding to Betty Addis on November 16, 1922He was also on the legislative council for Hong Kong in the 1920s, even becoming an unofficial member of the ExecutiveTo be sold on behalf of the Woking and Sam Beare Hospices
Make & Model: Ssangyong Korando ELX4Date of Reg: AU14 XMCColour: Redcc: 1998MoT: 09-03-2022Fuel Type: DIESELMileage: 47kTransmission: MANUALSummary: 3 Registered keepers - Last keeper since March 2017. 1 Service stamp + 1 Service invoice.Vehicle Check Sheet: https://angliacarauctions.co.uk/umbraco/surface/auction/GetVehicleCheckSheet?id=147334
Simon Wiesenthal signed 6x4 black and white photo and a set of four stamp block featuring Wiesenthal. Simon Wiesenthal KBE (31 December 1908 - 20 September 2005) was a Jewish Austrian Holocaust survivor, Nazi hunter, and writer. He studied architecture and was living in Lwow at the outbreak of World War II. He survived the Janowska concentration camp (late 1941 to September 1944), the Kraków-P?aszów concentration camp (September to October 1944), the Gross-Rosen concentration camp, a death march to Chemnitz, Buchenwald, and the Mauthausen-Gusen concentration camp (February to 5 May 1945). Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Keith Vaughan (British, 1912-1977)Antonio and Sebastian bears studio stamp (on the reverse)oil and ink on paper laid to card31 x 37 cm. (12 1/4 x 14 5/8 in.)Executed in 1938Footnotes:ProvenanceGeoffrey BeeneSotheby's New York, The Collection of Geoffrey Beene, 23-24 September 2005, lot 29, where acquired by the present ownerPrivate Collection, U.K.ExhibitedAscot, Austin/Desmond Fine Art, Keith Vaughan, Paintings, Gouaches, Watercolours and Drawings 1936-1976, 1987, cat.no.8London, Thomas Agnew & Sons, Keith Vaughan, Retrospective, 14 November-14 December 1990, cat.no.24London, Osborne Samuel, Keith Vaughan, Paintings and Drawings, 24 May-23 June 2007, cat.no.2LiteratureAnthony Hepworth and Ian Massey, Keith Vaughan, The Mature Oils 1946-1977, Sansom & Company, Bristol, 2012, p.13 (ill.b&w)Vaughan's Antonio and Sebastian is derived from Shakespeare's Twelfth Night where both romantic and erotic qualities may be detected in the pair's relationship: Antonio: If you will not murder me for my love, let me be your servant...But, come what may, I do adore thee so, that danger shall seem sport...(Act II, scene 1)Sebastian: Antonio, O my dear Antonio! How have the hours rack'd and tortured me, since I have lost thee! (Act V, scene 1)At the start of the play a storm causes a shipwreck from which Antonio rescues Sebastian. Vaughan seems to be representing the Illyrian coast in the aftermath, judging by the darkened sky, the dead figure on the beach and the presence of the boats. The older Antonio appears to be protective of the younger Sebastian which is in keeping with the play's narrative. Both are traced in simple black pen and ink outline against the whiteness of the building at the left. This is one of Vaughan's earliest works in oil paint and his interpretation of the subject and handling of materials, including the viscosity of the paint and the manner in which forms are traced into the wet pigment, are influenced by the work of Christopher Wood. His palette is limited to sepias, ochres, whites and black, helping to determine the intensity of the painting's mood.We are grateful to Gerard Hastings for preparing this catalogue entry.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Keith Vaughan (British, 1912-1977)Two Bathers bears studio stamp (lower right)pencil24.8 x 19 cm. (9 3/4 x 7 1/2 in.)Executed c. 1965Footnotes:ProvenanceThe Artist's Estate, from whom acquired by the present ownerPrivate Collection, U.K.The subject of 'bathers' appears more frequently than any other in Vaughan's work. Throughout his life he depicted boys on beaches or bathing in rivers and estuaries. He first showed an interest in the subject in the early 1930s when he took a series of photographs in the male enclosure of Hampstead Ponds and continued to paint, draw and photograph swimmers in his own garden in Essex until the end of his life. In the present work two young men dangle their legs over the side of an embankment in a moment of relaxation. They are at one with nature and appear to be in some sort of woodland or rocky setting. Although it does not directly relate to any known oil paintings, the composition is typical of Vaughan's concern for integrating the human form within a landscape setting and he produced several variations on this theme over the course of his career.We are grateful to Gerard Hastings for preparing this catalogue entry.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Keith Vaughan (British, 1912-1977)Assembly of Figures bears partial studio stamp (lower left)pencil22.2 x 25 cm. (8 3/4 x 9 3/4 in.) Executed c. 1959Footnotes:ProvenancePeter AdamThe Artist's Estate, from whom acquired by the present ownerPrivate Collection, U.K.ExhibitedLondon, Menier Gallery, Visions and Recollections: Keith Vaughan and Prunella Clough, 15 April-2 May 2014, cat.no.106, p.105 (ill.)Over the course of twenty-five years Vaughan produced nine major paintings to which he applied the title Assembly of Figures. The first dates from 1952 and the last was completed in 1976. There are many related gouache and pencil studies of which this is one. It came from the collection of Peter Adam, one of Vaughan's closest friends and was found in its present condition in the artist's studio after his death. The Assemblies share certain pictorial characteristics. For example, the protagonists are invariably male and are presented to the viewer nude or semi-nude. This makes identification of the individual, his social class or profession, impossible to ascertain. The settings are beachscapes or semi-abstracted landscape environments, whereby figure and location are melded together into a coherent composition – despite few specific clues to indicate where they are. Nor can we interpret the precise activities the figures engage in or for what purpose their coming together has taken place. Vaughan does not help matters by distilling facial features and disguising genitalia; he considered both these anatomical details to be 'the attention grabbers' and thought they exerted a considerable pull on the eye of the viewer. Gestures are generally of an anti-dramatic type and psychological expressions are virtually non-existent. The lack of narrative clarity is intentionally restricted to engender pictorial ambiguity and generate a quality of enigmatic uncertainty.We are grateful to Gerard Hastings for preparing this catalogue entry.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
George Platt Lynes (American, 1907-1955)Study from the Ballet 'Orpheus' hand stamp 'George Platt Lynes' (on the reverse)gelatin silver print19 x 23.5cm (7 1/2 x 9 1/4in).Executed c. 1948Footnotes:ProvenanceThrockmorton Fine Art, New YorkFor further information on this lot please visit Bonhams.com
Sir William Reid Dick (British, 1878-1961)A bronze figure of 'The Catapult' or 'Slingshot Boy', the nude figure twisting to the right and aiming his catapult, the naturalistic base signed and dated W. Reid Dick 1911, mounted on veined green marble rectangular plinth base, the figure 63cm. high (24 13/16in high), 67cm high (26 3/8in high) overall.Footnotes:ProvenanceChristie's, Furniture, Works of Art & Carpets, 13th September 2005, lot 263Reid Dick first exhibited his bronze of 'The Catapult' or 'The Slingshot' as it was alternatively known at the Royal Academy in 1911. Measuring 60cm high, this large scale version was first cast by the Italian founder Giovanni Galizia at the Parlanti foundry and is now in the Bradford City Art Gallery, Cartwright Hall. Later reductions in two sizes, 60cm and a smaller and more common 33cm high were cast by Galizia in his own foundry although the model was subsequently cast after the first world war by other foundries. The Victorian Web states that examples of the large size cast measuring 60cm high are rare, citing the Bradford example as being the only known recorded example of this size held in a British public collection. The present bronze measuring 63cm high is however evidently rarer still, as it corresponds in height with an apparently unique bronze figure of the same subject sold in these rooms as lot 297, 4 November 2015, Fine English Furniture, Sculpture & Works of Art, sale 22305, which had direct provenance to the sculptor and family descendants. This figure was marked with the foundry stamp for the Morris Singer Foundry, dating it to no earlier than 1927 when the foundry firms of Morris and Singer merged. In addition the surface of this figure, much like the present lot, had a distinctive Verdigris green tone which apparently was Reid Dick's preferred surface finish for patination when he oversaw the casting and finishing process. As such, it is possible that the present lot, although unmarked, may also date from the same period. LiteratureD. Wardleworth, William Reid Dick, Sculptor, Ashgate, p.160H. Granville Fell, Sir William Reid Dick, KCVO, RA, London, 1945, pl. 2J. Cooper, Nineteenth Century Romantic Bronzes: French, English and American Bronzes 1830-1915, Devon, 1975, pp. 97-8B. Read, J. Barnes and A. Kader, Leighton and his Sculptural Legacy: British sculpture 1875–1930, London, 1996, p.56This lot is subject to the following lot symbols: AR TPAR Goods subject to Artists Resale Right Additional Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Mike Disfarmer (American, 1884-1959)Two Pals with Cigarettes printed posthumously, blind stamped 'The Disfarmer Collection - Authorized Edition' (lower right), 'The Disfarmer Collection' hand stamp and numbered in pencil '14/75' (on the reverse) gelatin silver print18.5 x 31.5cm (7 5/16 x 12 3/8in). (sheet 27 x 35cm (10 3/4 x 13 3/4in)).Executed in 1944For further information on this lot please visit Bonhams.com
Herbert List (German, 1903-1974)Untitled studio stamp 'Foto Herbert List' (on the reverse)gelatin silver print28.5 x 23.5cm (11 1/4 x 9 1/4in).This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Horst P. Horst (German/American, 1906-1999)Portrait of a handsome man (Fred) bears an inventory number in the negative, hand stamp 'Photographed by Horst' and signed 'Horst' (on the reverse)gelatin silver print 25.4 x 20.3cm (10 x 8in).Executed c. 1940Footnotes:ProvenanceSwann Galleries, New YorkFor further information on this lot please visit Bonhams.com
Abdulnasser GHAREM (Arabie saoudite 1973)The Stamp (Inshallah), 2012Sérigraphie en couleurs 149 x 117 cm Epreuve signée, titrée et numérotée 23/25 Provenance : E.O.A. Project, Londres Bibliographie : Edge of Arabia, Contemporary Art from the Kingdom of Saudi Arabia, Edward Booth-Clibborn, London, 2012, reproduit page 137 View from Inside, Contemporary Arab Photography Video and Mixed Media Art, Fotofest, Houston, Texas, 2014, reproduit page 54 Abdulnasser Gharem, Booth-Clibborn Editions, 2011, reproduit page 176 Abdulnasser Gharem, Edge of Arabia, in partnership with Ayyam Gallery, 08/10-08/11/2013, reproduit page 18 We need to talk, Edge of Arabia, jeddah, 20/01-19/02/2012, reproduit page 52-53
British India/Pakistan -- Photographer: Fred Bremner (1863-1941). Various military and industrial scenes as well as landscapes and villages. 1880s-90s. 6 albumen prints. Most circa 20,5 x 28,5 cm. 2 with photographer's name in the negative, 1 with photographer's stamp on the verso, some annotated in pencil on the verso, 2 mounted.Some faded, especially in edges, some handling/scuff marks, otherwise most in good condition.Provenance: Günter Heil Collection
Gloeden, Wilhelm von -- Young male in toga with young male nude in landscape. 1900. Vintage large-format albumen print. 36,5 x 28 cm. Photographer's stamp and number 93 in blue crayon on the verso. This and the following lot are unusually large albumen prints by von Gloeden. – Some spotting as well as light foxing spots in upper area, some handling marks, otherwise in very good condition.
Gloeden, Wilhelm von -- Three male nudes and boy on terrace. Circa 1900. Vintage large-format, sepia-toned salt print. 28 x 38,7 cm. Signed and dated by the photographer in the negative in lower right; photographer's stamp and number 224 and other numbers in pencil on the verso. This image was also printed in reverse by von Gloeden as an albumen print. – Some fading in edges, some repaired tears in lower edge, otherwise in very good condition.
Plüschow, Guglielmo -- Male portrait. Circa 1900. Albumen print. 22,5 x 16,5 cm. Number 6863 in blue crayon and photographer's stamp on the verso. Some fading in edges, a few light handling marks, otherwise in good condition.Lit.: Ulrich Pohlmann (Text). Guglielmo Plüschow. Ein Photograph aus Mecklenburg in Italien. Grevesmühlen 1995, ill. unpaginated (variant).
Architecture -- Photographer: Paul W. John. Karstadt department store, Hermannplatz, Berlin. 1927-29. Vintage gelatin silver print. 15,7 x 11,5 cm. Photographer's stamp and annotated in pencil on the verso. The German architect Philipp Schaefer built the Karstadt department store between 1927-1929, opening it to the public in 1929. His most famous building, it was considered modern and novel in part due to its direct connection to the subway station below. Surprisingly this large department store was barely damaged during WWII. It was, however, demolished by the NS in 1945 so the Soviet troops would not be able to plunder its food supplies. – One small indentation spot in lower left, otherwise in excellent condition.
Architecture -- Photographer: Sasha Stone (1895-1940). Front side of the German Pavilion at the World's Fair in Barcelona, designed by Mies van der Rohe. 1929. Vintage gelatin silver print. 15,5 x 22,8 cm. Berliner Bild Bericht agency stamp on the verso, mounted along upper edge to black paper.A rare documentation of the extremely modern, streamlined design by Mies van der Rohe of the German Pavilion for the World's Fair in Barcelona 1929. The structure was van der Rohe's first major work which was unfortunately torn down after the exhibition. – Some light surface rubbing, a few indentation marks, some handling marks, otherwise in good condition.Lit.: Vitra Design Museum (ed.). Mies van der Rohe. Möbel und Bauten in Stuttgart, Barcelona, Brno (exhibition catalogue). Weil am Rhein 1998.
[*] Berlin -- Photographer: Usa Borchert. Selected views of postwar Berlin. Circa 1949. 10 vintage ferrotyped gelatin silver prints on Agfa-Brovira paper. Each circa 24 x 18 cm. 7 with photographer's stamp and annotated in pencil on the verso.The images show postwar Berlin with its many ruins, Trümmerfrauen and includes two self-portraits. Usa Borchert was the wife of Eric Borchert, the star photographer at the Berliner Illustrirte Zeitung. He published the standard book on war photography under the National Socialists titled "Entscheidende Stunden. Mit der Kamera am Feind" in 1941, but he fell shortly later in North Africa in Tobruk in 1942. – Some corners bumped, some with creases, one with tear, otherwise in good to very good condition.
Brill, Fritz -- "Freie Form". 1951. Vintage gelatin silver print. 28 x 22 cm. Photographer's stamp, address Hofgeismar and exhibition label attached to the verso, mounted in upper corners to board, photographer's stamp, signed and annotated by the photographer in ballpoint pen on mount verso.A few small spots, otherwise in very good condition.
Dietrich, Marlene -- Photographer: Ultraphon. Marlene Dietrich with Curt Bois and others at the dance hall of the "Victoria-Garten" Berlin, Wilmersdorf Wilhelmsaue 114/115. 1930. 2 vintage gelatin silver prints. Each circa 17,7 x 23,2 cm. Each with agency stamp, annotated in ink/pencil/red crayon and with layout marks on the verso.A very rare document of the heyday of German entertainment in the early 1930s. It shows Curt Bois together with Marlene Dietrich (1930) during a recording session for the international "Ultraphon" AG in Berlin, Wihelmsaue. The "Ultraphon" AG was liquidated a short time later and taken over by "Telefunken". Marlene Dietrich went to Hollywood at the end of 1930, and Curt Bois took a difficult road to emigration in 1933 via Vienna, London, Zurich, Paris and finally to the USA. With the support of Thomas Mann, he returned to Germany in 1950. – Each with stronger horizontal creases, some oxidation mirroring, one with some painting for publication and tear in upper left corner as well as two small holes from staple.
F.S.A. -- Photographer: Walker Evans (1903-1975). "Main Street, Greensboro, Alabama". 1936/printed 1970s by the Library of Congress. Ferrotyped gelatin silver print on Kodak paper. 20,5 x 25,3 cm. Number notations in pencil as well as Reproduced from the collection of the Library of Congress stamp on the verso. Some handling marks/dents, some stronger in left side, otherwise in very good condition.
F.S.A. -- Photographer: Walker Evans (1903-1975). "Frank Tengle Family, Hale County, Alabama". 1936/printed 1970s by the Library of Congress. Ferrotyped gelatin silver print on Kodak paper. 20,5 x 25,3 cm. Annotated and with number notations in pencil as well as Reproduced from the collection of the Library of Congress and other archive stamp on the verso. Some handling marks/dents, creases in upper right corner, otherwise in good condition.Exhibition: "Die USA der dreißiger Jahre in Fotografien", Galerie Taube, Berlin Sept.4-Oct. 2,1976. Provenance: Galerie Taube, Berlin
Feininger, Lore -- Portrait of an unidentified dancer. Late1920s. Vintage gelatin silver print. 17 x 12.5 cm. Photographer's stamp and annotated in pencil on the verso. The German portrait and architectural photographer Lore Feininger was the first daughter of the German-American painter Lyonel Feininger. In 1918, Lore Feininger began studying painting at the University for Fine Arts in Berlin. She then apprenticed with the portrait photographer Suse Byk, a family friend in Berlin. After three years of training, she worked in the studio of the fashion and portrait photographer Karl Schenker until 1924. In 1927, she opened her own photo studio for portrait, architectural, and object photography. During this time, she made numerous portrait photographs of artists. Lore Feininger was bombed out twice in Berlin, and her photo lab and negative archive were completely destroyed in 1943. Photographs by Lore Feininger are in the collection of numerous museums, including the Museum Folkwang and the Museum of Modern Art. – Small loss of emulsion in right edge, otherwise a fine tonal print in very good condition.
Film Photography -- Film set scenes and theater advertising. 1920s. 6 vintage ferrotyped gelatin silver prints. Each circa 12 x 16 cm. 2 with press text label and agency stamp and some annotated Ufa in marker and in pencil on the verso.One of the most interesting images shows the photomontage advertising at the Gloria Palast theater, Berlin for the premiere of "The Blue Angel". The press text reads: "The largest photos in the world. On the occasion of the premiere of the new Jannings film 'The Blue Angel', enlarged photos of scenes from the film were joined together as a photomontage and were placed at the entrance. Our photo shows one of the pictures, which is 14 square meters large. It attracted a lot of attention, as it was projected on a single transparent screen. Up to now photographic enlargements of this magnitude had only been done as single parts which were then put together." (translated from the German). The set scenes are of the film "Rasputin and the Empress" (1932) with John Barrymore and several unidentified UFA and Gaumont films. – Minimal traces of use, one with strong tear (backed) in lower edge and creases, otherwise in good condition.
Film Photography -- Photographer: Karl Ewald (1904-1969). Stills from the silent films "Schiff der verlorenen Menschen" (Maurice Tourneur, 1929) and "Tartuff" (Friedrich Wilhelm Murnau,1926). 11 vintage ferrotyped gelatin silver prints. Each circa 22 x 28,3 cm. Each with photographer's stamp and annotated in pencil on the verso.Born in Berlin in 1904 Karl Ewald learned the photographer's trade at an early age, and as a film enthusiast he quickly found access to the major film studios. He worked as a freelance photographer for Ufa,Tobis, Badal, Terra as well as for other film companies. In his studio in Neukölln he portrayed stars and starlets and famous actors e.g. Marlene Dietrich, Rosa Valetti, Magda Schneider, Adele Sandrock, Jenny Yugo, Marianne Hoppe, Paul Wegener, Hans Albers, Gustav Fröhlich, Luis Trenker, Heinz Rühmann, Gustav Gründgens and many others.Karl Ewald was one of the still photographers on Josef von Sternberg's film "The Blue Angel". The famous photo of Marlene Dietrich sitting on a barrel (the scene does not appear in the film) is said to be by Karl Ewald. In 1943 he was drafted into the Wehrmacht and spent 1945-1948 in captivity. In 1949 he moved to Munich, where the film industry had re-established itself. There Ewald worked in the studios of Bavaria and for other film companies. These film stills show Marlene Dietrich at the very start of her career in the 1929 silent film "Schiff der verlorenen Menschen" and Emil Jannings in "Tartuff" (1926). – Corners bumped, some chemical discoloration spots, some oxidation mirroring, mostly in edges, otherwise in good condition.
Gandhi/Rolland -- Photographer: Rodolphe Schlemmer (1878-1972). Romain Rolland, Mahatma Gandhi and Mirabehn (Madeleine Slade) at Villa Olga, Rolland's home in Villeneuve, Switzerland. 1931. Vintage oil pigment print. 22,5 x 24,2 cm. Mounted to chamois card (foxing and staining), signed by the photographer in ink below the image on the mount; copyright stamp on mount verso.Romain Rolland was a lifelong pacifist. He protested against the First World War in "Au-dessus de la Mêlée" (1915) and in "Above the Battle" (1916). In 1924, his biography on Gandhi, in which he described Gandhi as one of the greatest figures of 20th century, contributed to the Indian nonviolent leader's reputation. The two men were friendly towards each other and met in 1931. The Swiss photographer Rodolphe Schlemmer completed an apprenticeship as a photographer in Geneva. He then worked for several years with Fred Boissonnas, with whom he planned to open studios in St. Petersburg, Barcelona, Paris and Budapest. In 1910, Schlemmer set up a studio in Montreux, which was experiencing a tourist boom at the time. He catered to an upscale clientele and maintained relationships with personalities from politics and culture, namely Romain Rolland, Rabindranath Tagore and Mahatma Gandhi. Schlemmer created numerous portraits and landscapes and mastered the techniques of the carbon print, the gum bichromate print and other fine hand-crafted processes which established his reputation.
Fischer, Arno -- Portrait of the actresses Angelika Domröse, Jutta Hoffmann and Anne Katrin Bürger. 1960s/printed later. Vintage ferrotyped gelatin silver print on doubleweight paper. 40 x 30,3 cm. Photographer's stamp and collection stamp on the verso.A few handling creases near right edge and some irregularities to ferrotype surface, otherwise in good condition.
Heyden, Bernd -- Photo story of a young couple in East Germany. 1970s. 14 vintage gelatin silver prints on doubleweight paper. 29,5 x 23 cm. 8 with photographer's B. Heyden, 1055 Berlin, Am Friedrichshain 19c stamp 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. This group comprises a photo story involving a young couple riding on a motorcycle and having fun in the countryside. – Slightly curled in edges, corners slightly bumped, a few handling dents, one photo (illustrated) with layout marks near upper edge and near right edge, otherwise in good condition.
Schulze Eldowy, Gundula -- From the series "Berlin in einer Hundenacht". 1983-1986. 3 vintage gelatin silver prints on carte postale. Each circa 10,3 x 14,8 cm and 14 x 10,2 cm. Each with photographer's stamp and 1 also signed by the photographer in pencil on the verso.Some corners slightly bumped, otherwise in very good condition.
Steinberg, Uwe -- Dessau. Circa 1963/printed later. Gelatin silver print. 27 x 39,5 cm. Photographer's stamp and annotated in pencil on the verso.Born in Breslau, Uwe Steinberg moved to Dessau in 1959 where he did an apprenticeship at the ADN-Zentralbild (GDR central press agency). In the 1970s he was a photojournalist for the NBI magazine in Berlin. He later also studied at the Leipzig Art Academy. In 1982 he was the head of the photography department in the Berlin VBK, the central artist association. – In excellent condition.
Gyger, Emanuel -- Near Adelboden. 1930s. Vintage gelatin silver print. 29,5 x 19,5 cm. Signed and titled by the photographer in pencil in lower corners; photographer's stamp on the verso.Light fold in upper right corner, otherwise a fine tonal print in near excellent condition.Lit.: Paul Hugger. Das Berner Oberland und seine Fotografen. Thun 1995.
Gyger, Emanuel / Arnold Klopfenstein -- Alpine views: "Portjengrat"; "Nadelhorn. Der Dom"; "Bei Saas-Fee". 1930s. 3 vintage (2 brown-toned) gelatin silver prints. Each circa 20 x 29,5 cm. Each signed and titled by the photographer in ink in lower corners; each with number stamp and Photographische Werkstätte Emanuel Gyger, Adelboden printed on the verso.Arnold Klopfenstein started an apprenticeship with Emanuel Gyger in 1914, eventually becoming his business partner in 1928. He was a trained mountaineer and often took longer hikes with E. Gyger, when he made his picturesque alpine views. Klopfenstein and Gyger worked together very closely and their images are often indistinguishable from one another. – One print with light handling mark in upper left corner, one with oxidation mirroring in dark areas and edges, one with crease in lower left corner, otherwise beautiful tonal prints in very good condition.Lit.: Paul Hugger. Das Berner Oberland und seine Fotografen. Thun 1995.
Heidersberger, Heinrich -- Rhythmogramms. 1950s. 3 vintage ferrotyped gelatin silver prints on Agfa-Portriga-Rapid and Agfa paper. 23,7 x 17,5 cm. Each with photographer's stamp with archive number in pencil and signed by the photographer in pencil on the verso.Minimal nicks in edges, otherwise in very good condition.
Industrial Photography -- Photographer: C. Leiterholdt. Industrial views of pipe production, Düsseldorf. 1920s/30s. 12 vintage large-format gelatin silver prints. Each circa 17 x 23 cm. Each with photographer's stamp and annotated in pencil on the verso.Corners bumped, a few photos with nicks in edges, slight oxidation mirroring in edges, a few photos with stronger oxidation, otherwise in good condition.
Keetman, Peter -- "(Augen-)Blick". 1961. Vintage ferrotyped gelatin silver print on doubleweight Agfa paper. 30 x 23 cm. Signed, titled and dated by the photographer as well as number in pencil and photographer's stamp on the verso.Light buckling, a few small retouched spots, otherwise in very good condition.
Kessels, Willy -- Microphone. 1932. Vintage gelatin silver print. 24,8 x 16,8 cm. Photographer's blindstamp in lower right; photographer's stamp and annotated in pencil on the verso. Hinge-mounted in mat.Willy Kessels attended the Ecole des Beaux Arts in Gent and then moved to Brussels, where he worked as a sculptor and architectural draftsman in the 1920s. He began his photographic career in 1929, seeing photography as a modern means of representation. Kessels was very active during the 1920s-1930s, and his photo montages, aerial views, angles and use of light illustrate the modern movement of Belgian photography at the time. His attractive nudes also are a large part of his oeuvre. – A rich beautiful print in near excellent condition.
Klemm, Barbara -- Delhi, India. 1982. Gelatin silver print. 28,8 x 40,5 cm. Signed, titled and dated by the photographer in pencil and photographer's/copyright stamp on the verso.A few light handling marks, slightly buckled in side edges, retouched spot, otherwise a fine tonal print in very good condition.
Lebeck, Robert -- "Leopoldville. Belgisch-Kongo". 1960. 1 vintage gelatin silver print and 10 gelatin silver press prints on RC Stern magazin paper. 20,2 x 25,2 cm and 30,2 x 23,6 cm. Vintage print with photographer's stamp and annotated by the photographer in pencil on the verso; press prints with Stern copyright/credit stamp and watermark logo on the verso.Apart from a rare vintage print of this iconic image by Robert Lebeck of an African man stealing the Belgian King's saber in 1960, this lot also includes an exceptional set of images showing various scenes of the act and the arrest of the man. – Vintage print with stronger creases near right and left edge, layout marks in lower margin, other prints with handling marks, otherwise in good condition.
Lehnert & Landrock -- Female nudes, Tunis. Circa 1910. 2 vintage reddish-brown toned matte gelatin silver prints on structured chamois paper. Each circa 18 x 24 cm and reverse. Each with photographer's logo and number in the negative in lower right/left and with photographer's reproduction limitation stamp on the verso.Corners slightly bumped, some fading in edges, otherwise strong prints in very good condition.
Lehnert & Landrock -- Female nudes, Tunis. Circa 1910. 2 vintage reddish-brown toned matte gelatin silver prints on structured chamois paper. Each circa 24 x 18 cm. Each with photographer's logo and number in the negative in lower right/left and with photographer's reproduction limitation stamp on the verso.Corners slightly bumped, some fading in edges, otherwise strong prints in very good condition.
Lehnert & Landrock -- Female nudes, Tunis. Circa 1910. 2 vintage reddish-brown toned matte gelatin silver prints on structured chamois paper. Each circa 24 x 18 cm. Each with photographer's logo and number in the negative in lower right/left and with photographer's reproduction limitation stamp on the verso.Corners slightly bumped, some fading in edges, otherwise strong prints in very good condition.
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![[*] Berlin -- Photographer: Usa Borchert. Selected views of postwar Berlin. Circa 1949. 10 vintage ferrotyped gelatin silver](https://cdn.globalauctionplatform.com/7d1a1ea4-b052-48e9-a52b-ad2e00903413/fab31696-18c8-4b4a-88ab-ad2e00a27a4e/468x382.jpg)
