WestLicht Photographica Auction

Transcription

PHOTOGRAPHICA AUCTION
Photographs Vienna, November 21st, 2014
EXPERTEN / SPECIALISTS
Prof. Johannes Faber,
geb. 1952, ist der Gründer der Galerie Johannes Faber in Wien,
Kunsthändler und Experte für klassische Fotografie; zahlreiche
Ausstellungen, Preise, Stipendien und Publikationen /
b. 1952, is the founder and director of Galerie Johannes Faber
in Vienna, art dealer and expert for classic photography;
numerous exhibitions, awards, scholarships and publications
Anna Zimm
[email protected]
Michael Kollmann (Fotobücher / Photobooks)
[email protected]
ADMINISTR ATOR
Peter Jakadofksy
[email protected]
VERRECHNUNG / CLIENT ACCOUNTING
Andreas Schweiger
[email protected]
For general enquiries about this auction,
email should be addressed to
[email protected]
WestLicht Photographica Auction
Westbahnstraße 40, 1070 Wien, Österreich
Tel.: +43 1 523 56 59
Fax: +43 1 523 13 08
[email protected]
21/11/2014
Wien
11/21/2014
Vienna
FOTOGRAFIE
PHOTOGRAPHS
11. WestLicht Foto-Auktion
Freitag, 21. November 2014
18 h (MEZ)
VORBESICHTIGUNG
Montag, 27. Oktober bis Freitag, 21. November
14 –18 h
und nach Vereinbarung
11th WestLicht Photo Auction
Friday, November 21st, 2014
6 pm (CET)
VIEWING
Monday, 27th October to Friday, November 21st
2 pm – 6 pm
and by appointment
www.westlicht-auction.com
PHOTOGRAPHICA AUCTION
Photographs
Die Stereo-Daguerreotypie fand vor allem nach ihrer
Präsentation 1851 auf der Londoner Weltausstellung weite
Verbreitung. Die meist von Hand kolorierten Stereo-Akte
waren jedoch von Beginn an seltene Sammlerstücke und
keinesfalls Massenware. Sie folgten einem relativ
beschränkten Kanon von Bildtypen mit entsprechendem
Dekor und Requisiten, oftmals Boudoir-Szenen suggerierend, wie im Beispiel dieser erstrangig frivolen FußbadSzene. Nach Hochrechnungen sollen zwischen 1851 und
1860 um die vier- bis fünftausend solcher „Akademien“,
größtenteils in Paris, produziert worden sein. Natürlich ist
es schwierig, die genaue Anzahl einzuschätzen, da ja das
brisante Material oft unter dem Ladentisch verkauft wurde.
Die meisten Fotografen blieben anonym, auch bei unseren
zwei Akten ist eine Zuschreibung recht schwierig, da
eindeutige Studio- und Requisitenhinweise fehlen. Der
Doppelakt zeigt, dass ein weites Spektrum erotischer Fantasien angesprochen wurde, manchmal auch eine Ménage à
trois. Die Lichtführung und der Kontrast der beiden hellen
Körper zum dunklen Hintergrund schaffen eine besonders
moderne Anmutung. Die Poesie galt ganz den weiblichen
Rundungen und der weichen, porzellanenen Haut der
Modelle, die dezent und stilsicher koloriert ist.
4
Stereo daguerreotypes became popular especially after
being presented at the London World’s Fair in 1851. Most of
the hand-coloured stereo nudes were rare collector’s items
from the very beginning and by no means mass products.
They follow a relatively limited canon of image types,
using the corresponding décor and props, often suggesting
boudoir scenes, as in the example of this highly frivolous
footbath scene. It is estimated that between 1851 and 1860
about four to five thousand of such “Academies” were
produced, most of them in Paris. Of course it is difficult to
estimate the exact number, since the incriminating material
was often sold under the table. Most of the photographers
remained anonymous, and in the case of our two nudes it is
quite difficult to determine their authors, since the studio
and props offer no distinctive indication. The double nude
shows that the images addressed a broad range of erotic
fantasies, including threesomes. The lighting and contrast
between the two brightly illuminated bodies and the dark
background create a particularly modern atmosphere. The
poetry lies in the female curves and the models’ soft, chinadoll skin, coloured unobtrusively and with stylistic aplomb.
ANONYMOUS FRENCH
PHOTOGR APHER
Doppelakt / Two Nudes, Paris c. 1855
Stereodaguerreotype
Object size 8,4 × 17,1 cm (3.3 × 6.7 in)
≥
∫1
2
PROVENANCE Private Collection, France
ANONYMOUS FRENCH
PHOTOGR APHER
Akt mit Zigarette und Fußbad /
Nude with cigarette and foot bath,
Paris c. 1855
Stereodaguerreotype
object size 8,4 × 17,4 cm (3.3 × 6.9 in)
€ 5.000 / € 8.000–10.000
PROVENANCE Private Collection, France
€ 6.000 / € 10.000–12.000
5
actual size
3
EMIL ORLIK (1870–1932)
Die Schauspielerin / The actress
Alexa von Porembsky, c. 1925
Vintage silver print, contact print
11,6 × 8,5 cm (4.6 × 3.3 in)
Photographer’s estate stamp on
the reverse, unique photograph,
blacklight tested
PROVENANCE Galerie Bodo Niemann,
Berlin, acquired from Joachim Rágóczy,
who was the assistant of Orlik
€ 2.400 / € 4.000–5.000
6
actual size
4
EMIL ORLIK (1870–1932)
Die Schauspielerin / The actress
Lillian Gish, c. 1923
11,4 × 8,2 cm (4.5 × 3.2 in)
Photographer’s estate stamp on
the reverse, unique photograph,
blacklight tested
PROVENANCE Galerie Bodo Niemann,
Berlin, acquired from Joachim Rágóczy,
who was the assistant of Orlik
€ 2.400 / € 4.000–5.000
Vor einigen Jahren fand man im Nachlass von Joachim Rágóczy,
eine größere Anzahl kleinformatiger Kontaktabzüge, die von Orlik
aufgenommen wurden. Es handelt sich um bis dato unbekannte
Porträts und Einzelaufnahmen von wichtigen Künstlern und
Persönlichkeiten der Zwanziger Jahre, wie Marlene Dietrich, Albert
Einstein, Lillian Gish. Orlik verwendete die Fotografien sicherlich
teilweise als Probeaufnahmen, um die richtige Position seiner
Modelle im Studiolicht herauszufinden. Eine Vielzahl der Fotografien geht jedoch darüber hinaus, denn sie sind sicherlich mehr
als nur ein Hilfsmittel für einen Maler. Die Aktaufnahme von
Alexa von Porembsky, bekannt aus Fritz Langs Film Frau am Mond,
ist solch ein Beispiel. Von Lillian Gish existieren zwei Ölgemälde
Orliks, die Aufnahme steht deswegen wahrscheinlich in Zusammen hang mit dieser Porträtsitzung.
Several years ago, a large number of small-format contact prints
of images taken by Orlik were found among the estate of Joachim
Rágóczy. They showed portraits and individual photographs
of important artists and personalities of the 1920s, for example
Marlene Dietrich, Albert Einstein and Lillian Gish, and none of
the images were known previously. Orlik surely took some of the
photographs as experimental shots in order to find the right position
for his sitters in the studio lighting. Many of the photographs,
however, go beyond this purpose, because they are surely more
than a painter’s aid. The nude portrait of Alexa von Porembsky,
known for her role in Fritz Lang’s motion picture Frau am Mond,
is an example of this. There are two oil paintings of Lillian Gish
by Orlik, suggesting that the photograph might have something to
do with these portrait sessions.
7
5
ANONYMOUS PHOTOGR APHER
Gustav Klimt, Emilie Flöge, Therese Flöge
Paulick, Seewalchen Austria 1912
Vintage silver print
12,1 × 9 cm (4.8 × 3.5 in)
Annotated in an old handwriting “Resl,
Emilie, Gustav Klimt” in ink on the reverse
aufgfenommen vor der Villa Paulick am
Attersee, Ostern 1912 / taken in front of
the Villa Paulick at Attersee
€ 1.500 / € 2.500–3.000
actual size
6
RUDOLF EICKEMEYER (1862–1932)
Ruderboot mit afroamerikanischen Passagieren /
Rowboat with African-American Passengers, 1921
Vintage silver print, mounted on original cardboard
6,8 × 13,5 cm (2.7 × 5.3 in)
Initialized and dated by the photographer in orange
pencil on the mount
€ 1.200 / € 2.000–2.500
8
actual size
7
JACQUES -HENRI L ARTIGUE (1894–1986)
Renée Perle, Interlaken 1930s
8,6 × 5,7 cm (3.4 × 2.2 in)
Two of Renée Perle’s collection stamps
and a handwritten annotation in pencil
on the reverse
PROVENANCE Collection of the model
€ 1.400 / € 2.000–2.400
8
ADOLPH DE MEYER (1868–1946)
Chanel, Paris 1928
Gelatin silver print, mounted on original
Chanel christmas card dating from 1928
12 × 8,7 cm (4.7 × 3.4 in)
Signed by the photographer in pencil
in the image lower right
€ 1.800 / € 3.000–4.000
9
9
ANNE BRIGMAN (1869–1950)
‘Scene from ‘The end of a perfect day’’, c. 1915
Vintage silver print, double-mounted
on original cardboard
18,3 × 24 cm (7.2 × 9.4 in)
Signed by the photographer in pencil on the
mount, annotated by her in pencil on the reverse
€ 3.000 / € 6.000–8.000
10
ANNE BRIGMAN (1869–1950)
Frauenporträt / Portrait of a young lady, 1920
Vintage silver print, double-mounted on
original cardboard
24 × 19 cm (9.5 × 7.5 in)
Signed and dated “1920” by the photographer
in ink in the image
€ 1.800 / 3.000–4.000
10
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SAR AH CHOATE SEARS (1858–1935)
‘Mary’, 1907
Photogravure on Japanese paper,
printed 1907 for Camera Work 18
20,7 × 16,6 cm (8.1 × 6.5 in)
LITER ATURE Alfred Stieglitz, Camera Work,
The Complete Illustrations 1903–1917,
Cologne 1997, p. 348.
€ 400 / € 700–900
12
ADOLPH DE MEYER (1868–1946)
Still life, 1908
Photogravure, printed 1908 for
Camera Work 24
20,8 × 16,5 cm (8.2 × 6.5 in)
LITER ATURE Alfred Stieglitz, Camera Work,
The Complete Illustrations 1903–1917,
Cologne 1997, p. 432.
€ 700 / € 1.200–1.500
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13
TRUDE FLEISCHMANN (1895–1990)
Die Tänzerin / The dancer Katta Sterna,
Vienna c. 1925
22,2 × 8 cm (8.7 × 3.1 in)
Photographer‘s studio blindstamp in the image
lower left, her reproduction and studio stamp on
the reverse, annotated (most likely by the
photographer) in pencil on the reverse
LITER ATURE Anton Holzer, Frauke Kreutler (ed.),
Trude Fleischmann, Der selbstbewusste Blick,
Vienna 2011, p. 101.
€ 1.600 / € 2.500–3.000
14
FR ANTISEK DRTIKOL (1883–1961)
Ervina Kupferová as Salomé, c. 1925
19,5 × 15,8 cm (7.7 × 6.2 in)
Photographer‘s “COPYRIGHT DRTIKOL PR AGUE”
blindstamp in the image lower right, annotated in
an unidentified hand in pencil on the reverse
€ 700 / € 1.500–1.800
12
15
K A-FA STUDIO
Die Tänzerin / The dancer
Bertl Komauer, c. 1924
Vintage silver print, mounted on
original cardboard
18,0 × 16 cm (7.1 × 6.3 in)
Signed by the studio in pencil
on the mount, studio stamp on
the reverse
€ 400 / € 600–800
16
MADAME D’OR A (1881–1963)
‘Toque’ (Haube), Paris late 1920s
19,2 × 16,4 cm
Photographer‘s studio signature in
the original negative, photographer‘s
Paris reproduction stamp and several
handwritten notations (relating to
publication) in unknown hands on
the reverse
19,2 × 16,4 cm (7.6 × 6.5 in)
€ 400 / € 800–1.000
13
17
18 ≥
RUDOLF KOPPITZ (1884–1936)
‘Hedy Pfundmayr mit Elektramaske von
Richard Teschner’, c. 1928
23,4 × 14,5 cm (9.2 × 5.7 in)
Photographer‘s blindstamp in the image lower left,
his “Prof. Rudolf Koppitz, Photo-Werkstätte, Wien,
V. Zeinlhoferg. 8” stamp on the reverse
Photogenie, Vienna 2013, p. 145.
RUDOLF KOPPITZ (1884–1936)
Bewegungsstudie / Movement Study, 1925
Vintage silver print, large format, comes with
the original mount
32,7 × 24,3 cm (12.9 × 9.6 in)
Signed by the photographer in pencil on the
original mount, enclosed, his blindstamp in the
image lower left and his “Prof. Rudolf Koppitz,
Photo-Werkstätte, Wien, V. Zeinlhoferg. 8”
studio stamp and “Nachdruck verboten!” stamp
on the reverse
€ 1.800 / € 3.000–4.000
LITER ATURE Monika Faber (ed.), Rudolf Koppitz.
LITER ATURE Monika Faber (ed.), Rudolf Koppitz.
1884–1936, Vienna 1995, cover and p. 83;
Monika Faber (ed.), Rudolf Koppitz. Photogenie,
Vienna 2013, p. 133.
€ 25.000 / € 50.000 – 60.000
14
Die Bewegungsstudie ist sicherlich die bekannteste und am
häufigsten publizierte Arbeit der österreichischen Fotografie
aus den ersten Jahrzehnten des letzten Jahrhunderts. Das
Bild zeigt die russische Tanzgruppe der Solotänzerin der
Wiener Staatsoper Claudia Issatschenko, die vor allem für
den damals aufkommenden Ausdruckstanz bekannt war.
Drei schwarz gekleidete Frauen stehen – ein schützendes
schwarzes Dreieck bildend – hinter einer seitlich nach
rückwärts gebeugten nackten Tänzerin. Diese Studie stellt
die Verbindung zwischen Modernismus, Symbolismus und
dem Wiener Jugendstil in der Arbeit von Rudolf Koppitz
dar. Keine andere Fotografie erfasst die kulturellen Grundlagen besser, die die österreichische Avantgarde dieser Zeit
charakterisieren. Hier werden die graphische Stärke und
die Klarheit in der Komposition deutlich, die das modernistische Streben widerspiegeln, das in der Bildenden und
Angewandten Kunst von der Secession und der Wiener
Werkstätte eingeleitet wurde. Was aber die Qualität dieses
Bildes ausmacht, sind die geheimnisvolle Aura und die
symbolistische Sinnlichkeit der rätselhaften Gruppe von
vier Frauen.
Movement Study is surely the most widely published and
best known image in Austrian photography from the early
decades of the last century. The study of three dressed and
one undressed female dancers (the Russian dance group
Claudia Issatschenko from the Vienna State Opera) shows
the link between modernism, symbolism and the Viennese
Jugendstil in the work of Rudolf Koppitz. This is for good
reason, as no photograph better captures the cultural
strands that characterized the Austrian avant-garde at that
time. Here one can see a graphic strength and compositional clarity that reflects the modernist ambitions initiated
in the fine as in the applied arts by the Secession and by the
Wiener Werkstätte. But what gives the image its power is
the aura of mystery, of symbolist sensuality that resonates
through this enigmatic grouping of the three uniformly
coiffed and draped figures and the one single naked figure.
15
19
LOTHAR RÜBELT (1901–1990)
Suzanne Lenglen, Wiener Park Club,
1925
18,1 × 13,1 cm (7.1 × 5.2 in)
Photographer‘s copyright stamp on
the reverse, annotated in an
unidentified hand in ink on the reverse
€ 1.800 / € 3.000–3.500
20
PAUL WOLFF (1887–1951)
An Bord der Columbus / On board of
the Columbus, 1930s
11,2 × 23,8 cm (4.4 × 9.4 in)
Photographer’s stamp with handwritten
order number on the reverse, several
agency labels, stamps and various
notations in unknown hands on the reverse
€ 900 / € 1.500–2.000
16
21
ALFRED EISENSTAEDT (1898–1995)
‘Resting period of the Corps de Ballet at
the Grand Opéra de Paris’, 1930
Gelatin silver print, printed in the 1970s
26,6 × 34,1 cm (10.5 × 13.4 in)
Signed by the photographer in ink in the
margin, his “PHOTO BY ALFRED
EISENSTAEDT” stamp on the reverse,
titled by Eisenstaedt in ink on the reverse,
the intended cropping indicated by
Eisenstaedt in ink in the left image edge,
where his tripod is visible in the mirror
PROVENANCE Eisenstaedt Family Estate
€ 1.600 / € 3.000–3.500
22
GERMAINE KRULL (1897–1985)
Bal Musette I, Paris 1925
original cardboard
15,7 × 15,7 cm (6.8 × 6.8 in)
Photographer‘s copyright stamp
and several numerical notations on
the reverse
€ 1.500 / € 2.500–3.000
17
23
Joseph Goebbels, Geneva 1933
22,7 × 15,2 cm (8.9 × 6 in)
Signed by the photographer in ink in the margin,
extensiveley titled by Eisenstaedt in ink on the
reverse, “Hitler’s propaganda minister Dr. Joseph
Goebbels in Geneva, Sept. 1933. Bending over
Hitler’s interpreter Dr. Paul Schmidt and Goebbels
sec. Werner Naumann.”
PROVENANCE Eisenstaedt Family Estate
LITER ATURE Alfred Eisenstaedt, Witness to
our Time, New York 1966, p. 63; Monika Faber /
Janos Frecot (ed.), Portrait im Aufbruch,
Vienna 2005, p. 21.
€ 1.600 / € 3.000–3.500
Joseph Goebbels im Garten des Carlton
Hotels in Genf während seiner ersten
Auslandsreise als Hitlers Kultur- und
Propagandaminister im September 1933. /
Joseph Goebbels in the garden of the
Carlton Hotel in Geneva. It was his
first foreign trip as Hitler’s Minister of
Propaganda in September 1933.
24
ROMAN VISHNIAC (1897–1990)
‘The only way to make the bread palatable’,
Vienna 1938
26 × 20,5 cm (10.2 × 8.1 in)
Photographer’s New York studio stamp
and “Black Star” stamp on the reverse,
mounted label with typographic press
caption on the reverse, early and rare vintage
print dating from Vishniac’s documentation
of Vienna after Hitler ‘Anschluss’
LITER ATUTRE Roman Vishniac, A Vanished
World, Warsaw 1939, p. 117.
€ 1.800 / € 3.000–4.000
18
25
JEWGENI CHALDEJ (1917–1997)
Auf dem Berliner Reichstag /
Raising the Soviet flag over
the Reichstag, 1945
Gelatin silver print,
printed in the early 1980s
16 × 22,5 cm (6.3 × 8.9 in)
Signed by the photographer in ink
on the reverse
€ 1.200 / € 2.000–2.500
26
R ALPH MORSE (* 1917)
‘Love’ (Amerikanischer Soldat mit
englischer Freundin / American soldier
and his English girlfriend), Hyde Parc,
London May 1944
Vintage silver print, work print for the
‘The Family of Man’ exhibition
19,3 × 24,3 cm (7.6 × 9.6 in)
“The Family of Man“ exhibition stamp
and several handwritten notations in
pencil on the reverse
LITER ATURE The Family of Man,
ex. cat. Museum of Modern Art,
New York 1955, p. 7; Die großen
Life Photographen des 20. Jahrhunderts,
Munich 2004, p. 391.
€ 600 / € 1.000–1.200
19
27
WALKER EVANS (1903–1975)
‘Neighbor Jones Service’, 1936
17,1 × 22,9 cm (6.7 × 9 in)
Photographer‘s estate stamp with
handwritten archive numbers “XXI” and
“98” on the reverse, blacklight tested,
the stamp was devised in 1975 by
Harry Lunn who had purchased
5,500 Evans prints. Walker was too ill
to sign them all so they came up
with the stamp that is called the
„Estate Stamp“ or the „Lunn Gallery“
stamp or „Lunn Archive“ stamp.
€ 3.600 / € 6.000–7.000
Lola Álvarez Bravo wird als eine der Pionierfiguren der modernen Fotografie
in Mexiko anerkannt. Die Arbeit der Fotografin lässt sich am besten im
Kontext von Mexikos großer Post-Revolution und kultureller Renaissance,
die auch internationale Künstlerpersönlichkeiten wie Paul Strand,
Henri Cartier-Bresson, Tina Modotti und Edward Weston anzogen,
verstehen. Die 25 Fotografien im vorliegenden Los umspannen drei Jahrzehnte ihres Schaffens und fassen ihre wichtigsten Themengebiete
zusammen. Die Mehrheit der Aufnahmen stammt aus den 1940er und 1950er
Jahren und konzentriert sich auf zwei besonders lebendige Werkgruppen
ihrer Arbeit: Porträts und Straßenfotografie. Eine Fotografie zeigt Frida
Kahlo, eine ihr Schlafzimmer; das Los beinhaltet außerdem Porträts von
Ruth Rivera Marín (Diego Riveras Tochter), der Bildhauerin und Malerin
Isabel Villaseñor und von Alfa Henestrosas. Viele der Aufnahmen zeigen
Dokumentationen der indigenen Bevölkerung Mexikos, der Armut, des
Lebens auf der Straße, und der traditionellen Kultur. Die Mehrheit der Fotografien wurde in den frühen 1980er Jahren geprintet, es befinden sich jedoch
auch drei Vintages und vier sehr frühe Prints im Konvolut.
Lola Álvarez Bravo is recognised as one of the pioneers of modern photography in Mexico. The photographer’s work is best understood in the context
of Mexico’s important post-revolutionary cultural renaissance, which also
attracted international artist personalities such as Paul Strand, Henri CartierBresson, Tina Modotti and Edward Weston. The 25 photographs included in
the present lot span three decades of her work and summarise her most
important subjects and themes. The majority of the images is from the 1940s
and 1950s, concentrating on two particularly vivid groups within her work:
portraits and street photography. One photograph shows Frida Kahlo,
another her bedroom; the lot also includes portraits of Ruth Rivera Marín
(Diego Rivera’s daughter), the sculptor and painter Isabel Villaseñor and
Alfa Henestrosas. Many of the images document the Mexican indigenous
population, poverty, street life and traditional culture. The majority of
the photographs was printed in the early 1980s, but the lot also includes three
vintage prints and four very early prints.
20
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LOL A ÁLVAREZ BR AVO (1907–1993)
Selected Images, Mexico 1940s–1960s
25 Gelatin silver prints, the group
comprising 3 vintage silver prints,
4 prints from the 1950s and 1960s and
18 later prints from the 1980s
each c. 18 × 24 cm (7.1 × 9.4 in)
8 of the prints initialized by the
photographer in pencil on the reverse,
one with the photographer‘s copyright
stamp, some annotated in pencil
(most likely by the photographer) on
the reverse
PROVENANCE Private Collection, Italy,
acquired directly from the photographer
€ 12.000 / € 20.000–30.000
21
22
23
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WILLY RONIS (1910–2009)
Portfolio mit 12 Lichtdrucken /
Portfolio with 12 Collotype Plates, 1940s–1950s
Willy Ronis: Twelve collotypes with a text by Ronis,
Galerie Camera Obscura, no. 218 in an edition of 290,
two-point folio of Bakri ivory paper containing Macé’s
text, facsimile hand-written text by Ronis and
colophon, hand-numbered and signed by Ronis,
3 folios of the same paper, each containing additional
facsimile hand-written text plus 4 collotype
reproductions on 100 % cotton paper (12 total),
housed in green rag paper over board slipcase
each c. 26 × 21 cm (10.2 × 8.3 in)
€ 1.800 / € 2.500–3.000
30
Accra, Ghana 1955
16,3 × 24 cm (6.4 × 9.4 in)
Signed by the photographer in ink in
the margin, his “PHOTO BY ALFRED
EISENSTAEDT” stamp on the reverse,
titled by Eisenstaedt in ink on the
reverse
PROVENANCE Eisenstaedt Family
Estate
€ 900 / € 1.400–1.600
24
31
HERBERT LIST (1903–1975)
Mostro im Garten des Palazzo Orsini,
Bomarzo 1952
by Max Scheler
25,6 × 31,8 cm
handwritten title, ed. no. and date on
the reverse, signed by Max Scheler in
ink on the reverse, edition no. 6/15
LITER ATURE Max Scheler /
Matthias Harder (ed.), Herbert List.
Die Monographie, Munich 2000, p. 272.
Herbert List, cover.
25,6 × 31,8 cm (10.1 × 12.5 in)
€ 1.600 / € 2.500–3.000
32
LUCIEN CLERGUE (* 1934)
‘Les Gitans’ (Gypsies), 1957
Gelatin silver print, printed in 1982
35,8 × 24,2 cm (14.1 × 9.5 in)
in the margin, credited, titled and
dated by him in ink on the reverse
€ 600 / € 1.000–1.200
25
33
LOTHAR RÜBELT (1901–1990)
Wiener Kinder beim Fußballspielen,
Karl-Marx-Hof c. 1925
13 × 18,2 cm (5.1 × 7.2 in)
Photographer‘s copyright stamp and
label with typographic descriptions
on the reverse
€ 500 / € 800–1.000
34
BERENICE ABBOT T (1898–1991)
New Haven, Connecticut 1940s
Gelatin silver print, printed in the
1970s, mounted on original cardboard
19,1 × 24 cm (7,5 × 9,4 in)
Initialized by the photographer in
pencil on the mount, her “ABBOTT
VILL AGE, MAINE” stamp on the
reverse, annotated by her in pencil
on the reverse
€ 1.400 / € 2.000–2.500
26
35
BILL BR ANDT (1904–1983)
Barbary Castle, Wiltshire 1948
34,5 × 29,5 cm (13.6 × 11.6 in)
in the margin
€ 3.000 / € 5.000–6.000
36
‘Coal miner at his evening meal’,
Wiltshire 1948
34,5 × 29,5 cm (13.6 × 11.6 in)
in the margin
€ 3.000 / € 5.000–6.000
27
37
London, 1978
34,5 × 29,2 cm (13.6 × 11.5 in)
in the margin, annotated in an
unidentified hand in pencil on the
reverse, condition: chemical
treatment, fixation problems
€ 1.200 / € 2.000–3.000
38
RUTH BERNHARD (1905–2006)
Classic Torso, San Francisco 1952
original cardboard
24,2 × 18,5 cm (9.5 × 7.3 in)
Photographer‘s San Francisco
studio stamp on the reverse
PROVENANCE Bruce Silverstein,
New York
€ 3.000 / € 5.000–6.000
28
39
WEEGEE (1899–1968)
‘Herald Square – Looking North’
(Distortion), New York 1940s
24,5 × 19,4 cm (9.6 × 7.6 in)
Annotated by the photographer in
turquoise ink in the margin, his
circular “WEEGEE N.Y. C.” stamp on
the reverse
LITER ATURE Weegee by Weegee,
New York 1975, s.p.
€ 1.400 / € 2.000–2.500
40
WEEGEE (1899–1968)
Marilyn Monroe, Fly Eye View
(Distortion), New York 1952
20,3 × 25,4 cm (8 × 10 in)
Titled by the photographer in
turquoise ink in the margin, his
“PLEASE CREDIT, WEEGEE, FROM,
PHOTO-REPRESENTATIVES” stamp
on the reverse
€ 2.000 / € 3.500–4.000
29
41
WEEGEE (1899–1968)
‘Children’s Hour’ (Infrared
photograph), New York 1940
33 × 26,8 cm (13 × 10.6 in)
Photographer‘s “PLEASE CREDIT,
WEEGEE, FROM, PHOTOREPRESENTATIVES” stamp
and his Arthur Fellig studio stamp
on the reverse
€ 3.600 / € 5.000–6.000
42
WEEGEE (1899–1968)
Liebespaar im Kino / Lovers at the
movies (Infrared photograph),
Palace Theatre, New York 1945
27,1 × 33,1 cm (10.7 × 13 in)
Photographer‘s circular “CREDIT
PHOTO BY WEEGEE THE FAMOUS”
stamp and his “451 WEST 47th
STREET” New York studio stamp on
the reverse
LITER ATURE Michèle Auer / Michel Auer
(ed.), Weegee The Famous, Montpellier
2008, p. 157; Weegee‘s New York,
Munich 1982, p. 166.
€ 3.000 / € 5.000–6.000
30
43
LISET TE MODEL (1901–1983)
Sammy’s Bar at the Bowery,
New York 1940-44
Vintage silver print, work print for
the ‘The Family of Man’ exhibition
17,7 × 23,9 cm (7 × 9.4 in)
“The Family of Man“ exhibition
stamp and several handwritten
notations in pencil on the reverse
LITER ATURE The Family of Man,
ex. cat. Museum of Modern Art,
New York 1955, p. 113.
€ 800 / € 1.400–1.800
44
ANONYMOUS PHOTOGR APHERS
Two portraits of Weegee,
USA 1940s / Munich 1960
2 Vintage silver prints
each c. 17 × 17 cm (6.7 × 6.7 in)
One signed by Weegee in the image upper
right and annotated “To Rose Marie ‘A real
nice person’, Weegee Munich 1960”
€ 800 / € 1.400–1.800
31
45
JOSEF SUDEK (1896–1976)
Panorama, ‘Fotografische Skizzen’,
Prague 1967
c. 4 × 8 cm (1.6 × 3.1 in)
Signed and dated by the photographer
in pencil in the black margin
€ 1.000 / € 2.000–2.500
46
Panorama, Böhmerwald,
‘Fotografische Skizzen’, 1960s
5,4 × 10,7 cm (2.1 × 4.2 in)
Signed by the photographer in
pencil in the black margin
€ 1.000 / € 2.000–2.500
32
47
Pfauenfeder / Peacock Feather, Prague 1950
23,5 × 17,8 cm (9.3 × 7 in)
Annotated by Jan Strimpl (assistant of Sudek)
“Original photograph by Josef Sudek,
from my collection, Jan Strimpl” in pencil
on the reverse
PROVENANCE Collection Jan Strimpl, Prague
€ 4.000 / € 6.000–7.000
33
48
ROBERT CAPA (1913–1954)
Am Set von / On the set of ‘Decision before
Dawn’ (Entscheidung vor Morgengrauen),
Berlin 1950
2 Vintage silver prints, contact prints
paper size each c. 24 × 20 cm (9.4 × 7.9 in)
Each with the photographer‘s early agency
credit stamp on the reverse
PROVENANCE Private Collection, Los Angeles
€ 2.000 / € 3.000–4.000
49
ROBERT CAPA (1913–1954)
Drehpause / Shooting break
‘Decision before Dawn’
(Entscheidung vor Morgengrauen),
Berlin 1950
20,8 × 29 cm (8.2 × 11.4 in)
Photographer’s early agency stamp
and extensive handwritten notations
in Italian on the reverse
€ 1.200 / € 2.000–3.000
34
50
HENRI CARTIER-BRESSON
(1908–2004)
Am Set von / On the set of ‘Decision
before Dawn’ (Entscheidung vor
Morgengrauen), Berlin 1950
2 Vintage silver prints, contact prints
paper size each c. 24,5 × 20 cm
(9.6 × 7.9 in)
Each with the photographer‘s early
agency credit stamp on the reverse,
some contacts encircled in coloured
pencil
€ 2.000 / € 3.000–4.000
35
51
HENRI CARTIER-BRESSON (1908–2004)
Ahmedabad, India 1966
early 1990s
30 × 44,7 cm (11.8 × 17.6 in)
Signed by the photographer in ink and with
his copyright blindstamp in the margin
LITER ATURE Robert Delpire (ed.),
Henri Cartier-Bresson, Paris 1979, p. 81;
Henri Cartier-Bresson – Meine Welt, Luzern 1968 , p. 158;
Henri Cartier-Bresson in India, London 1987, plate 2.
€ 5.000 / € 9.000–10.000
52
Barrio Chino, Barcelona 1933
Photogravure, printed in the late 1980s
35,7 × 23,8 cm
Signed by the photographer in ink in the margin,
numbered “IV / XV” in pencil on the reverse
“The narrow street of Barcelona‘s roughest quarter
is the home of prostitutes, petty thieves and dope
peddlers. But I saw a fruit vendor sleeping against a
wall and was struck by the surprisingly gentle and
articulate drawing scrawled there.”
€ 1.600 / € 3.000–4.000
36
53
(1908–2004)
Beim Stierkampf / At a bull fight
(San Fermín festival), Pamplona
July 1952
17,2 × 25 cm (6.8 × 9.8 in)
Photographer’s reproduction credit
stamp on the reverse
€ 1.800 / € 3.000–3.500
54
WERNER BISCHOF (1916–1954)
Trivandrum, Kerala, India 1951
Vintage silver print, original period
exhibition print, mounted on “Family
of Man” exhibition wood board
51 × 57,5 cm (20.1 × 22.6 in)
Family of Man label with typographic
title and image no. on the image lower
right, “Museum of Modern Art” label
with handwritten exhibition title,
installation no. “311A” and artist‘s name
on the reverse, the print was part of
one of the circulating exhibition sets,
touring through Europe in the late
1950s and early 1960s.
€ 5.000 / € 10.000–12.000
37
55
Lai Chau, Indochina 1952
28,4 × 23 cm (11.2 × 9.1 in)
Photographer’s agency stamp on
the reverse
LITER ATURE Marco Bischof (ed.),
Werner Bischof. Bilder, Zurich 2006, p. 334.
Werner Bischof. Questions to My Father,
2004, s. p.
€ 1.600 / € 2.500–3.000
56
Imperial Garden, Tokyo 1951
Gelatin silver print, large format,
printed in the 1980s at Magnum
New York
59 × 42,5 cm (23.2 × 16.7 in)
Annotated “Magnum Studio N.Y.C”
in an unidentified hand in pencil on
the reverse
€ 1.400 / € 2.000–2.400
38
57
Die Tänzerin / The dancer Anjali Hora,
Bombay 1951
24,5 × 19 cm (9.6 × 7.5 in)
Photographer’s agency stamp and
several handwritten notations in ink
and pencil on the reverse
€ 1.200 / € 2.000–2.500
58
Michiko Jinuma, Tokyo 1951
25 × 17,8 cm (9.8 × 7 in)
various annotations on the reverse
€ 1.400 / € 3.000–3.500
39
59
Kinder beim Puppentheater /
Children watching a puppet show,
Tokyo 1951
Gelatin silver print, large format,
printed in the 1980s at Magnum
New York
42,5 × 59,5 cm (16.7 × 23.4 in)
Annotated “Magnum Studio N.Y.C”
the reverse
LITER ATURE Werner Bischof, Japan,
Zurich 1954, p. 63–64.
€ 1.400 / € 2.000–2.400
60
MARC RIBOUD (* 1923)
Kinder beim Puppentheater /
Children watching puppet show,
Peking 1957
21,5 × 30,2 cm (8.5 × 11.9 in)
several date and press stamps on the
revese, diverse handwritten notations
in pencil on the reverse
€ 1.500 / € 2.200–2.600
40
61
‘A street in Beijing as seen from inside
an antique dealer’s shop’, China 1965
Vintage silver print (printed in 1972)
16,7 × 24,1 cm (6.6 × 9.5 in)
Photographer’s copyright stamp, “The Concerned
Photographer” ICP stamp and label with typographic
quote by Riboud on the reverse
LITER ATURE Marc Riboud, Photo Poche;
Marc Riboud in China. 40 Years of Photography,
1997, s.p; Marc Riboud, The three banners of China,
Hamburg 1966, p. 90–91; Marc Riboud, 50 Years
of Photography, Paris 2004, p. 29; In our time.
The world as seen by Magnum Photographers, p. 362.
* € 1.500 / € 2.500–3.000
“The gold-lettered name of this shop means
‘prosperity.’ Private citizens come here to sell
family jewels or other objects. The prices are
fixed by the government. This scene has been
photographed in old Peking through the
window of a shop in Liu Li Chang, the street
long famous for its art and antique shops.
It is early summer and people live in the streets
at this time. That’s why you see women and
old men and children. They live and play a lot in
the street. And in the crowded streets it is very
difficult to take pictures without everybody
looking at you. When you keep walking, people
are all around you, and as soon as you have
your camera out, they gather around you.”
Marc Riboud
41
62
Nepal, 1956
20,4 × 28,6 cm (8 × 11.3 in)
Photographer’s agency stamp,
series no. stamp and several
handwritten notations including the
neg. no. “56-15-16-13A” on the reverse
* € 1.600 / € 2.500–3.000
63
Bhadgaon, Nepal 1956
34,1 × 22,4 cm (13.4 × 8.8 in)
Photographer’s credit agency stamp,
neg. no. “56-20-1” stamp and several
handwritten notations in pencil on
the reverse
* € 1.400 / € 2.500–3.000
42
64
‘Dans une rue de Pékin’, China 1957
20,3 × 29,7 cm (8 × 11.7 in)
several handwritten notations,
including neg. no., title and date,
€ 900 / € 1.500–1.800
65
RENÉ BURRI (* 1933)
Die Chinesische Mauer /
The Great Wall, China 1964
Gelatin silver print, printed in
the 1970s
16,5 × 24,5 cm (6.5 × 9.6 in)
“China” stamp and several
handwritten notations including
the neg. no. “64-6-18/23” on
the reverse
* € 1.400 / € 2.500–3.000
43
66
Bub beim Teppich-Weben /
Boy weaving a carpet, Egypt 1959
20,1 × 29,5 cm (7.9 x11.6 in)
several “A.B.C. Press” stamps on
the reverse, diverse handwritten
annotations incl. neg. no. on
the reverse
€ 1.200 / € 2.000–2.500
67
ERICH LESSING (* 1923)
Chou En Lai, Poland 1957
16,9 × 25,4 cm (7 × 10 in)
Signed by the photographer in pencil on
the reverse, several agency stamps and
a mounted label with typographic annotations
on the reverse, various handwritten numerical
notations on the reverse
€ 1.200 / € 2.000–2.500
44
Chinese Prime Minister Zhou Enlai in the
midst of the workers at the FSO car factory in
, during a state visit to Poland. FSO
produced the „Warszawa“, a Polish version of
the only Soviet passenger car, the „Pobeda“.
Zhou Enlai did not spend much time talking
to the workers, nor did he take much interest
in the factory. Warsaw, Poland, 1957.
68
MARGARET BOURKE-WHITE
(1904–1971)
Minenarbeiter / Gold Miners,
Johannesburg, South Africa 1950
24,1 × 18,2 cm (9.5 × 7.2 in)
“Minneapolis Sunday Tribune” newspaper
stamp, date stamp (print date) and label
from the “Walker Art Center” on the
reverse, annotations
in an unidentified hand including
photographer’s credit on the reverse
LITER ATURE Sean Callahan (ed.),
The Photographs of Margaret BourkeWhite, 1972, cover; Theodor M. Brown
(ed.), Margaret Bourke-White.
Photojournalist, New York 1972, p. 92;
Photographie des 20. Jahrhunderts.
Museum Ludwig Köln, Cologne 2007,
p. 73; Die großen Life Photographen des
20. Jahrhunderts, Munich 2004, p. 31.
€ 1.400 / € 2.000–2.500
Ende 1949 ging Bourke-White für Life einige Monate nach
Südafrika. In der Goldmine Robinson Deep nahe Johannesburg, bei glühender Hitze und fast 100 % Luftfeuchtigkeit,
mehr als 1 500 Meter tief, entstand diese Fotografie der
beiden schweißüberströmten Minenarbeiter – eine
Aufnahme, die die Fotografin selbst zu einem ihrer Lieblingsbilder erklärte, und die auch sicherlich eine der meist
publizierten ist. Die Fotografie, vorliegend als Presseprint
aus den frühen 1970er-Jahren, zierte als Aufhängerfoto ihre
Life-Reportage South Africa and Its Problem (September 18,
1950). Die dortige Caption identifizierte die Minenarbeiter
als mosambikanische Wanderarbeiter vom Stamm der
Ndau; die Namen konnte Bourke-White nie herauszufinden, sie wurden im Magazin lediglich als Minenarbeiter
Nr. 1139 und 5122 angeführt.
At the end of 1949, Bourke-White went to South Africa for
a few months to work for Life. This photograph of the two
sweat-drenched miners was taken at the gold mine
Robinson Deep near Johannesburg, amidst scorching
heat and 100 % humidity, more than 1,500 metres under the
earth – an image the photographer herself declared one of
her favourite pictures, it is certainly one of her most widely
published. The photograph, presented here as a press print
from the early 1970s, was the lead image for her Life photo
essay South Africa and Its Problem (September 18, 1950).
The caption identified the miners as itinerant workers from
the Ndau ethnic group in Mozambique; Bourke-White was
never able to find out their names, and they were referred
to in the magazine only as Miners No. 1139 and No. 5122.
45
69
Arbeitersiedlung / Working class housing (from
‘Die Deutschen / The Germans’), Ruhrgebiet 1961
24,8 × 17,1 cm (9.8 × 6.7 in)
Photographer’s agency stamp and several
handwritten notations including “61-28-20/32”
(neg. no.) in pencil on
the reverse
∆
LITER ATURE Hans-Michael Koetzle, René Burri
Photographies, Phaidon 2004, p. 262–263; René
Burri, Die Deutschen. Photographien 1957–1997,
Munich/Paris/London 1999, pl. 100. (variant image).
* € 1.200 / € 2.000–2.500
≥
70
MA X SCHELER (1928–2003)
Weltausstellung / World Exhibition,
Brussels 1958
2,2 × 20,7 cm (11.5 × 8.1 in)
“Stern” magazine stamp with
photographer’s credit on the reverse
€ 800 / € 1.400–1.800
46
71
INGE MOR ATH (1923–2002)
Yul Brynner, Italy 1958
25 × 16,7 cm (9.8 × 6.6 in)
Photographer’s agency stamp, one
“a.b.c. Press” stamp, neg. no. stamp
and numerical notations on the reverse
€ 900 / € 1.400–1.600
72
Fifth Avenue, New York 1958
16,7 × 24,9 cm (6.6 × 9.8 in)
Photographer’s agency stamp, “a.b.c.
press” stamp, neg. no. stamp and
several numerical handwritten
notations on the reverse
LITER ATURE Kurt Kaindl (ed.), Inge
Morath. New York, Salzburg / Vienna
2002, p. 70-71.
€ 900 / € 1.400–1.800
47
73
ERICH LESSING (* 1923)
Ungarische Revolution / Hungarian
Revolution, Budapest 1956
13 Gelatin silver prints, printed in 1981
each c. 14,5 × 22 cm (5.7 × 8.7 in)
Each signed by the photographer in pencil
on the reverse, each with typographic
annotations “Budapest‘s 25th Anniversary.
Aug 81” on the reverse, each with agency
stamps and archive stamps on the reverse,
rare distribution set printed on occasion of
the 25th anniversary of the Hungarian
Revolution, comes with signed book
PROVENANCE directly from the photographer
€ 7.000 / € 12.000–15.000
48
Captions reading: 1. The body of a fallen Soviet soldier on
József Boulevard. / 2. A dead AVH man, killed during the
storming of the Budapest headquarters of the Hungarian
Workers’ party, is decked out with a picture of Party Secretary
Mátyás Rákosi. / 3. Citizens queuing for food look at destroyed
tanks and dead Soviet soldiers in a Budapest street. / 4. A
Hungarian soldier, the red star on his cap replaced by the
Hungarian national emblem; a lorry with black flag collecting
bodies of Hungarian insurgents. The Hungarians buried their
own, but left the Soviets where they lay. / 5. Destroyed
armoured cars in Práter Street. / 6. Outside the newly occupied
Budapest headquarters of the Hungarian Communist Party,
insurgents and passers-by burn pictures of Party Secretary
Mátyás Rákosi. / 7. Outside the newly occupied Budapest
headquarters of the Hungarian Communist Party, insurgents
burn posters and leaflets. / 8. Armed rebels with a desecrated
flag on Köztársaság Square. They had cut the Soviet –produced
coat of arms of the People’s Republic out of the flag on
October 23. The tattered flag then became the symbol of the
revolution. / 9. The Stalin statue is demolished after being
overturned on Felvonulási Square (Parade Square) and dragged
downtown, near Blaha Lujza Square. / 10. Heavy Soviet T-34/85
tanks protect a street crossing on the Pest side of Kossuth
Bridge. These heavy tanks proved too unwieldy for downtown
battles, and many were destroyed or captured by the
insurgents. The visible markings on these tanks – 430, 433 and
442 – show they are Soviet armoured vehicles; the Hungarian
army did not have such tanks. / 11. A group of insurgents on
top of a lorry make their way through the streets of Budapest. /
12. and 13. During the feigned Soviet retreat from Budapest, on
October 29, crowds marched through the city.
74
MARIO DE BIASI
(1923–2013)
Ungarische Revolution /
Hungarian Revolution,
Budapest 1956
Gelatin silver print, printed
in the 1980s
29,5 × 19,5 cm (11.6 × 7.7 in)
Credited with the studio
address, titled and dated
by the photographer in ink
on the reverse
Was am 23. Oktober 1956 als Massendemonstration in
Budapest begann, entwickelte sich schnell zur Ungarischen Revoution. Erich Lessing war der erste ausländische Fotograf, der in Budapest ankam, und die kurz
andauernden Aufstände und deren Folgen dokumentierte. Die weltbekannten Bilder bringen sowohl die
Euphorie und Hoffnung der Anfangsphase, als auch die
Brutalität und den Schrecken der Niederschlagung der
Revolte zum Ausdruck. Das vorliegende seltene komplett
erhaltene Set aus 13 Silbergelatine-Abzügen wurde 1981
zum 25. Jubliäum der Revolution geprintet.
On October 23, 1956, what began as a mass rally in
Budapest quickly evolved into the Hungarian Revolution.
Erich Lessing was the first photographer to arrive in
Hungary, and documented the short-lived uprising and
its aftermath. These world-famous images bring to life
once more the hope and euphoria of the first days of the
revolt, so soon to be followed by the pain and punishment
of its brutal suppression. This rare complete set of 13
gelatin silver prints was printed in 1981, commemorating
the 25th anniversary of the Budapest uprising.
LITER ATURE Erich Lessing, Revolution in Hungary – The 1956
Budapest Uprising, London, 2006, p. 185 (1.), p. 187 (3.),
pp. 174–75 (4.), 191 (5.), pp. 182–83 (10.), pp. 134–35 (13.);
Thomas Reche (ed.) Erich Lessing, Anderswo, Nimbus Verlag,
Zurich 2014, p. 71 (1.), pp. 64–65 (10.).
€ 800 / € 1.400–1.600
49
Aus der Sammlung von Franz Hubmann
Wie kein anderer hat Franz Hubmann, der Zeit seines Lebens mit der Leica
fotografierte, es verstanden, den Klang der Straße aufzunehmen, und das
Wiener Leben mit seinen Kaffeehäusern, Bohémiens, Fiakern, Vergnügungsparks und Heurigen in seinen Bildern einzufangen. Hubmanns untrügliches
Gespür für den Augenblick brachte ihm den Ehrentitel „Henri Cartier-Bresson
Österreichs“ ein, aber natürlich war er ein Meister der Fotografie aus eigenem
Recht. Der „unbestechliche Chronist des Wesentlichen und vermeintlich Unwesentlichen“, wie André Heller ihn einmal nannte. Zu seinem Werk gehören
außerdem Porträts der internationalen Geistesgrößen seiner Zeit, von Picasso
über Braque bis Warhol (siehe Los 104, 105, 106, 107). 1954 schloss er sich der
Redaktion der gerade von Karl Pawek gegründeten Kulturzeitschrift magnum
an. Die Arbeit als deren Bildredakteur und Cheffotograf und die dezidiert
moderne bis avantgardistische Ausrichtung der Zeitschrift prägten nachhaltig
seine Fotografie.
In der Kulturzeitschrift magnum wurden u.a. Fotografien von Werner Bischof,
Otto Steinert, Max Scheler, William Klein, Thomas Hoepker, Frank Horvat,
Henri Cartier-Bresson, etc. publiziert. Hubmann befand sich stets in regen
Austausch mit seinen internationalen Fotografenkollegen, die ihn bei Gelegenheiten auch Prints schenkten und umgekehrt. Cartier-Bresson lernte Hubmann
1955 anlässlich der Ausstellung von Kokoschka in der Wiener Secession
kennen. Die Lose auf den kommenden Seiten kommen aus der privaten Sammlung Hubmanns. Alle Fotografien sind Vintage Prints. Hubmann erhielt sie
direkt von den jeweiligen Fotografen in den 1950er und frühen 1960er Jahren.
Aus Anlass des 100. Geburtstags von Franz Hubmann zeigt die Leica Galerie
Wien die Ausstellung SOUNDS OF VIENNA / 100 JAHRE FRANZ HUBMANN
(bis 17.01.2015).
From the Collection of Franz Hubmann
More than any other, Franz Hubmann, who used a Leica all his life, was an
expert at capturing the sound of the street in his images, and he became a
chronicler of Viennese life with its coffee houses, bohemians, horse-drawn
carriages, amusement parks and Heurigen wine bars. Hubmann’s unerring
instinct for the right moment earned him the courtesy title “Austria’s Henri
Cartier-Bresson” – but of course he was a master of photography in his own
right: the “incorruptible chronicler of the essential and supposedly inessential”,
as André Heller once described him. Among his work, we also find portraits
of the international artistic elite of his time, from Picasso to Braque and Warhol
(see lot 104, 105, 106, 107). In 1954 he joined the editorial board of the cultural
magazine magnum, which had just been founded by Karl Pawek. His work as
its picture editor and chief photographer and the magazine’s decidedly modern
to avant-garde orientation had a lasting influence on his photography.
The cultural magazine magnum published photographs by Werner Bischof,
Otto Steinert, Max Scheler, William Klein, Thomas Hoepker, Frank Horvat,
Henri Cartier-Bresson and others. Hubmann was in constant exchange with
his international photographer colleagues, who occasionally gave him prints
as presents, gifts he reciprocated. Hubmann met Cartier-Bresson in 1955 at
a Kokoschka exhibition at the Vienna Secession. The lots on the following
pages are from Hubmann’s private collection. All the photographs are vintage
prints; Hubmann received them directly from the photographers during the
1950s and early 1960s.
Commemorating Franz Hubmann’s 100th birthday, the Leica Gallery Vienna
presents the exhibition SOUNDS OF VIENNA / FRANZ HUBMANN AT 100
(through January 17, 2015).
50
75
FR ANZ HUBMANN (1914–2007)
‘Kettenkarussell im Prater’ (Flying
swing at Prater), Vienna c. 1960
18,4 × 24 cm (7.2 × 9.4 in)
Photographer‘s early studio stamp
and his later copyright stamp on
the reverse, annotated by him in
PROVENANCE Estate of
Franz Hubmann
LITER ATURE Margit Zuckriegl /
Gerald Piffl (ed.), Franz Hubmann,
Photograph, Vienna 2001, p. 90.
€ 1.200 / € 3.000–4.000
76
Vor einem Nachtlokal / In front of a night
club, Paris c. 1955
29,2 × 19,5 cm (11.5 × 7.7 in)
Photographer‘s reproduction stamp,
his agency stamp and numerical “#88”
stamp on the reverse, several handwritten
numerical notations in pencil on the reverse
PROVENANCE Collection of Franz
Hubmann, gift from Cartier-Bresson
€ 2.400 / € 4.000–5.000
51
77
Paris, c. 1950
29,5 × 20,5 cm (11.6 × 8.1 in)
Two of the photographer‘s early agency
credit stamps (one repainted) and two
numerical “#51” stamps on the reverse,
several handwritten numerical notations
PROVENANCE Collection of Franz Hubmann,
gift from Cartier-Bresson
€ 2.400/ € 4.000–5.000
78
(1908–2004)
Bois de Vincennes, Paris 1952
19,6 × 28,5 cm (7.7 × 11.2 in)
Photographer‘s reproduction stamp,
his agency stamp and numerical
“#88” stamp on the reverse, several
handwritten numerical notations in
€ 1.800 / € 3.000–4.000
52
79
FR ANK HORVAT (* 1928)
Strip-Tease, Le Sphinx, Pigalle,
Paris late 1950s
24,7 × 39,6 cm (9.7 × 15.6 in)
Photographer‘s credit stamp on
the reverse
Hubmann, gift from Frank Horvat
LITER ATURE Frank Horvat, Eintritt frei.
Strip-Tease, Lausanne 1963, p. 74.
€ 1.400 / € 2.500–3.000
80
FR ANK HORVAT (* 1928)
Strip-Tease, Le Sphinx, Pigalle,
Paris late 1950s
24,1 × 23 cm (9.5 × 9.1 in)
Photographer‘s credit stamp on
the reverse
Hubmann, gift from Frank Horvat
LITER ATURE Frank Horvat, Eintritt frei.
Strip-Tease, Lausanne 1963, p. 80.
€ 1.800 / € 3.000–4.000
53
81
‘Weinkost bei der Messe’ (Wine tasting
at the fair), Vienna 1962
24,1 × 17,9 cm (9.5 × 7 in)
Photographer‘s early studio stamp and his
later copyrigth stamp on the reverse,
annotated by him in pencil on the reverse
PROVENANCE Estate of Franz Hubmann
LITER ATURE Franz Hubmann,
Das Photographische Werk, Vienna /
Munich 1999, p. 134; Margit Zuckriegl /
€ 1.200 / € 2.000–3.000
82
(1908–2004)
Bologna, c. 1950
17 × 24,8 cm (6.7 × 9.8 in)
Photographer‘s reproduction
stamp and several handwritten
annotations in pencil on the
reverse
PROVENANCE Collection of
Franz Hubmann, gift from
Cartier-Bresson
€ 1.800 / € 3.000–4.000
54
83
(1908–2004)
Scanno, Abruzzo 1951
17,2 × 25,2 cm (6,8 × 9,9 in)
Photographer‘s reproduction stamp
on the reverse, several handwritten
annotations in pencil on the reverse
€ 1.800 / € 3.000–4.000
84
OT TO STEINERT (1915–1978)
‘Saarländische Landschaft’, 1950s
original cardboard
29,5 × 40,0 cm (11.6 × 15.7 in)
Credited and annotated by the
photographer in pencil on the reverse
Hubmann, gift from Otto Steinert
€ 2.000 / € 4.000–4.500
55
85
OT TO STEINERT (1915–1978)
‘Schlammweiher 2’ (Sludge Pond 2), 1953
Vintage silver print,
40,4 × 29,7 cm (15.9 × 11.7 in)
Photographer‘s copyright studio stamp
on the reverse
PROVENANCE Collection of Franz Hubmann,
gift from Otto Steinert
€ 2.400 / € 4.500–5.000
56
86
WILLIAM KLEIN (* 1928)
U-Bahn Station / Underground station,
Moscow 1959
40 × 27,2 cm (15.7 × 10.7 in)
Annotated and credited in an
reverse
Hubmann, gift from William Klein
LITER ATURE William Klein, Moskau,
Hamburg 1965, p. 121.
€ 3.000 / € 5.000–6.000
87
WILLIAM KLEIN (* 1928)
Candy Store, New York 1955
Gelatin silver print, printed in 1987 for
an exhibition in Tokyo
25 × 31,2 cm (9.8 × 12.3 in)
Signed, titled and dated (image date
and print date) by the photographer
LITER ATURE William Klein, New York:
Life is Good & Good For You In New
York, 1956, p. 140-141.
* € 2.400 / € 4.000–5.000
57
88
GIANNI BERENGO GARDIN (* 1930)
‘Parigi’ (Paris), 1954
22,7 × 18 cm (8.9 × 7.1 in)
Three of the photographer’s copyright
stamps on the reverse, several
handwritten annotations incuding title and
date on the reverse
LITER ATURE Gianni Berengo Gardin,
Fotografo 1953–1988, Udine 1988, p. 65.
€ 1.200 / € 2.000–2.500
89
‘Inghilterra’ (England), 1977
20,4 × 30,7 cm (8 × 12.1 in)
Photographer’s Milan studio stamp on
the reverse, annotated by the
photographer in ink on the reverse
LITER ATURE Gianni Berengo Gardin,
Fotografo 1953–1988, Udine 1988,
cover and p. 83.
€ 1.200 / € 2.000–2.400
58
90
Venezia, 1954
32,7 × 22,5 cm (12.9 × 8.9 in)
Photographer’s Milan studio stamp on
the reverse
LITER ATURE Gianni Bernego Gardin,
Venezia, Venice 2006, cover.
€ 1.400 / € 2.000–2.400
91
MARIO GIACOMELLI
(1925–2000)
‘Settembre nel mio paese’
(Presa di coscienza sulla natura /
On being aware of nature), 1976
29,6 × 39 cm (11.7 × 15.4 in)
Photographer’s copyright stamp on
the reverse, titled and dated by him
in ink on the reverse
LITER ATURE Alistair Crawford,
Mario Giacomelli, New York 2001,
p. 309.
€ 1.800 / € 2.400–2.800
59
92
MARIO GIACOMELLI (1925–2000)
‘Io non ho mani che mi accarezziano il volto’,
(There are no hands to caress my face),
Pretini 1961–63
Gelatin silver print, printed in the early 1980s
29,5 × 40,4 cm (11.6 × 15.9 in)
Signed by the photographer in ink in the image
lower left, signed and extensively annotated by
him in pencil on the reverse, his studio stamp
and series stamp on the reverse
LITER ATURE Alistair Crawford (ed.), Mario
Giacomelli, New York 2001, p. 226-227.
* € 3.000 / € 5.000–6.000
93
‘Nudi con gatti’, 1970s
25,4 × 27,4 cm (10 × 10.8 in)
Photographer’s copyright stamp on
the reverse
€ 1.200 / € 2.000–2.500
60
94
‘L’Infinito di Giacomo Leopardi’, 1986–88
each c. 40 × 30 cm (15.7 × 11.8 in)
Each with the photogapher’s copyright
stamp and the series stamp on the
reverse, each dated by Giacomelli in ink
on the reverse, the prints numbered in
sequence “1”, “2”, and “3” by the
photographer on the reverse
LITER ATURE Alistair Crawford, Mario
Giacomelli, New York 2001, p. 129 (two of
the images reproduced here).
€ 2.800 / € 5.000–6.000
61
95
DIANE ARBUS (1923–1971)
‘The King and Queen of a Senior Citizens
Dance‘, New York 1970
from ‘A Box of Ten Photographs’
by Neil Selkirk
37 × 37cm (14.6 × 14.6 in)
Signed, titled and dated by the
photographer‘s daughter, Doon Arbus, in
ink on the reverse (a diane arbus
photograph label), below that annotated
and numbered by Doon Arbus “The print is
part of a limited edition portfolio of ten
Diane Arbus photographs. 5/50”, Doon
Arbus reproduction stamp on the reverse,
comes with original interleaving tissue with
printed facsimile title and date
PROVENANCE Pentax Collection, Japan
LITER ATURE Diane Arbus, An Aperture
Monograph, New York 1972, s.p; Diane
Arbus / Elisabeth Sussman / Sandra Phillips /
Neil Selkirk and Jeff L. Rosenheim (ed.),
Diane Arbus: Revelations, Munich 2003,
p. 247.
€ 30.000 / € 50.000–70.000
62
Aus ‚A Box of Ten Photographs‘
Die folgenden vier Fotografien kommen aus dem Portfolio ‚A Box of Ten
Photographs‘. Diane Arbus begann 1969 mit der Arbeit und Konzeption
ihres einzigen Portfolios; es sollte ihre Arbeit als Fotografin repräsentieren
und diente für sie als klares Statement über ihre Fotografie. Die Box
enthält eine große Anzahl ihrer größten Ikonen, hervorzuheben sicherlich
die Identical Twins, Roselle, N. J. Man weiß, dass Arbus elf oder zwölf der
limitierten Boxen selber geprintet hat, kurz bevor sie 1971 starb. Verkauft
hat sie zu Lebzeiten aber nur eine gute Handvoll Boxen, das aber an teils
namhafte Sammler: 1/50 und 2/50 an Richard Avedon (eines als Geschenk
für dessen Freund Mike Nichols), 6/50 an Jasper Johns, 3/50 und 4/50
gelten als „verschollen“, aber verkauft, 5/50 an Bea Feitler, der Art Directorin von Harper‘s Bazaar (siehe hierzu Diane Arbus, Revelations, p. 220.).
Nach Arbus’ Tod wurden die von ihr bisher geprinteten Sets als Artist’s
Proofs behalten. Neil Selkirk vollendete die Edition von 50, bzw. begann
die Zählung nach Arbus‘ Tod und mit seiner Print-Ära neu ab 1/50. Die
vorliegenden Abzüge kommen aus der Box mit der frühen Selkirk Nr. 5/50
und stammen aus der Pentax Collection in Japan. Die Prints haben die
typischen soften Rändern, so wie sie Arbus ab ca. 1969 printete, und was
von Selkirk für das Portfolio beibehalten wurde. Die meisten der Portfolios A Box of Ten Photographs und Prints daraus haben längst ihren Weg
in Museen und wichtige Sammlungen gefunden, wo sie wahrscheinlich
auch bleiben werden. Diese Umstände, und die andauernde Relevanz von
Arbus‘ Arbeit, sind Schlüsselfaktoren dafür, dass auch Selkirks Prints
stetig an Bedeutung und Wert gewinnen.
96
‘Laura Morales, a Mexican dwarf in his
hotel room‘, New York 1970
Gelatin silver print, printed in 1973 by
Neil Selkirk
37,8 × 36,5 cm (14.9 × 14.4 in)
photographer‘s daughter, Doon Arbus, in
ink on the reverse (a diane arbus
photograph label), below that annotated
and numbered by Doon Arbus “The print
is part of a limited edition portfolio of ten
Diane Arbus photographs. 5/50”, Doon
Arbus reproduction stamp on the reverse,
comes with original interleaving tissue
with printed facsimile title and date
LITER ATURE Diane Arbus, An Aperture
Monograph, New York 1972, s.p; Diane
Arbus / Elisabeth Sussman / Sandra
Phillips / Neil Selkirk and Jeff L.
Rosenheim (ed.), Diane Arbus:
Revelations, Munich 2003, p. 66.
€ 30.000 / € 50.000–70.000
From ‘A Box of Ten Photographs‘
The following four photographs are taken from the portfolio ‘A Box of Ten
Photographs‘. Diane Arbus began to conceive and work on her only portfolio in 1969; it was to represent her work as a photographer and create a
clear statement about her photography. The box contains a large number of
her greatest icons, chief among them Identical Twins, Roselle, N. J. It is
known that Arbus printed eleven or twelve of the limited-edition boxes
herself shortly before she died in 1971. However, she only sold a handful of
the boxes during her lifetime, some of them to renowned collectors: 1/50
and 2/50 to Richard Avedon (one of them acquired as a present for his
friend Mike Nichols), 6/50 to Jasper Johns, 5/50 to Bea Feitler, the art
director of Harper’s Bazaar, while 3/50 and 4/50 are considered “lost” but
sold (cf. Diane Arbus, Revelations, p. 220). After Arbus’s death, the sets
printed by her so far were kept as artist’s proofs. Neil Selkirk completed the
edition of 50 – or rather, after Arbus’s death and with his prints, the
numbering was started anew at 1/50. The present prints are taken from the
box with the early Selkirk Number 5/50 and hail from the Pentax Collection
in Japan. The prints have the typical soft borders, just like Arbus printed
them starting in circa 1969; Selkirk maintained this printing method for the
portfolio. Most of the portfolios A Box of Ten Photographs and prints taken
from them have long found their way into museums and major collections,
where they are likely to remain. These circumstances and the lasting relevance of Arbus’s work are key factors for a steady increase in the importance and value of Selkirk’s prints.
63
Die Aufnahme Identical Twins ist sicherlich das Motiv, das am meisten mit Diane Arbus’
Werk assoziiert wird. Es zierte nicht nur das Cover ihres ersten monographischen Katalogs
(Aperture, New York 1972); Arbus selbst wählte es für ihre persönlich gestaltete Einladungskarte ihrer wichtigen Gruppenausstellung New Documents (Diane Arbus, Garry Winogrand,
Lee Friedlander) im Museum of Modern Art 1967, wo es auch erstmals ausgestellt wurde.
Das Doppelporträt verkörpert die wichtigsten Themen in ihrem Werk – ihre Faszination
für Kinder, und die Frage nach Abweichung und Identität. Arbus fotografierte die damals
7-jährigen Mädchen auf einer lokalen Weihnachtsparty in deren Heimatstadt Roselle.
Die Zwillinge posieren Seite an Seite auf dem Gehsteig vor der Knights of Columbus Veranstaltungshalle. Sie tragen grüne Kordkleider, weiße Strumpfhosen und Haarbänder. Tatsächlich offenbart sich in einer länger andauernden Betrachtung des Bildes, eine ganze Anzahl
an kleinen Unterschieden – im Ausdruck der Augen, dem Lächeln – einmal fragender und
einmal offener, dem Muster der Strumpfhosen, der Haltung, und der Frisur. In direkter, aber
liebevoller Art und Weise führt uns Arbus so hinter die vornehmlich identische Kulisse,
enthüllt zwei eigenständige Persönlichkeiten, und präsentiert uns eine tieferliegende Individualität. Durch die Augen und den Ausdruck kann jede der beiden eine andere Geschichte
erzählen. All das sind Gründe, warum dieses Schlüsselbild nie an Kraft verloren hat, und es
schafft ein länger andauerndes Interesse des Betrachters zu wecken.
The photograph Identical Twins is certainly the motif most often associated with Diane
Arbus’s work. It was not only reproduced on the cover of her first monographic catalogue
(Aperture, New York 1972); Arbus herself chose it for her personal invitation card to her most
important group exhibit New Documents (Diane Arbus, Garry Winogrand, Lee Friedlander)
at the Museum of Modern Art in 1967, where it was also first exhibited. The double portrait
embodies the most important themes of her oeuvre – her fascination with children and the
question of deviance and identity. Arbus photographed the girls, seven years old at the time,
at a local Christmas party in their hometown of Roselle. The twins posed side by side on
the sidewalk in front of the Knights of Columbus Hall. They wore green corduroy dresses,
white tights and hair ribbons. In fact, closer and extensive observation of the image reveals
quite a number of small differences – the expression of the eyes, the smile – one is more
questioning, the other more open – as well as the pattern of the girls’ tights, their posture
and hairdos. Thus, Arbus takes us directly, but lovingly behind the supposedly identical
exterior, revealing two independent personalities and presenting a deeper individuality.
Through their eyes and expression, each of the twins can tell a different story. All these are
reasons why this key image has never lost its power and why it manages to arouse the viewer’s
lasting interest.
“There are and have been and will be an infinite number of things on Earth. Individuals all
different, all wanting different things, all knowing different things, all loving different
things, all looking different… That is what I love: the differentness.” (Diane Arbus)
97
‘Identical Twins (Cathleen and Colleen), Roselle, N. J.‘, 1967
Gelatin silver print, printed in 1973 by Neil Selkirk
36,6 × 38 cm (14,4 × 15 in)
Signed, titled and dated by the photographer‘s daughter,
Doon Arbus, in ink on the reverse (a diane arbus photograph
label), below that annotated and numbered by Doon Arbus
“The print is part of a limited edition portfolio of ten Diane
Arbus photographs. 5/50”, Doon Arbus reproduction stamp
on the reverse
€ 40.000 / € 80.000–100.000
64
LITER ATURE Aperture, Diane Arbus, The Museum of Modern
Art 1972, cover; Diane Arbus, An Aperture Monograph, New
York 1972, cover; Photography Past Forward: Aperture at 50,
p. 90; Diane Arbus / Elisabeth Sussman / Sandra Phillips / Neil
Selkirk and Jeff L. Rosenheim (ed.), Diane Arbus: Revelations,
Munich 2003, pp. 182, 265 and 270-271; deCordova,
Presumed Innocence, pl. 51; High Museum of Art, Chorus of
Light: Photographs from the Sir Elton John Collection, p. 88;
Newhall, The History of Photography, p. 290; Oxford History
of Art, The Photograph, pl. 7.
65
98
‘A young family in Brooklyn going for a Sunday outing‘,
New York 1966
Gelatin silver print, printed in 1973 by Neil Selkirk
38,2 × 37,5 cm (15 × 14.8 in)
Signed, titled and dated by the photographer‘s daughter,
Doon Arbus, in ink on the reverse (a diane arbus
photograph label), below that annotated and numbered
by Doon Arbus “The print is part of a limited edition
portfolio of ten Diane Arbus photographs. 5/50”, Doon
Arbus reproduction stamp on the reverse, comes with
original interleaving tissue with printed facsimile title and
date
LITER ATURE Diane Arbus, An Aperture Monograph, New
York 1972, s.p; Diane Arbus / Elisabeth Sussman / Sandra
Phillips / Neil Selkirk and Jeff L. Rosenheim (ed.), Diane
Arbus: Revelations, Munich 2003, p. 8-9.
€ 30.000 / € 50.000–70.000
66
99
MARY ELLEN MARK (* 1940)
‘Young Boy with Mickey Mouse Ears,
Lutu Village, Yunna Province’, China
1985
22,9 × 33,9 cm (9 × 13.3 in)
LITER ATURE Mary Ellen Mark, 25 Years,
New York 1991, p. 113; Mary Ellen Mark,
Exposure, New York 2005, p. 204-205.
€ 2.400 / € 3.500–4.000
100
GARRY WINOGR AND (1928–1984)
‘Women are Beautiful’, New York 1971
Vintage sílver print
22,3 × 33,3 cm (8.8 × 13.1 in)
on the reverse, edition no. 55/80
PROVENANCE Private Collection, Paris
€ 4.000 / € 6.000–7.000
67
101
GARRY WINOGR AND (1928–1984)
‘Women are better than men. Not only
have they survived, they do prevail’, 1982
15 Vintage silver prints, printed in 1982
by the artist, published by D.E.P. Editions,
New York, each in passepartout, in
original box with numbered title plate
each c. 22,5 cm × 33,5 cm
Each signed by the photographer in
pencil on the reverse, edition no. 14/75,
the photographs date from 1978–80,
one exception dating from 1969
* 1969, New York City, New York *1980
Beverly Hills, California * 1979 Venice,
California * 1979 Beverly Hills, California
* 1976 Santa Monica, California * 1979
Beverly Hills, California * 1980 Beverly
Hills, California * 1980 Beverly Hills,
California * 1980 Beverly Hills, California
* 1978 Beverly Hills, California * 1978
Beverly Hills, California * 1976 Hutchinson,
Kansas *1979 Venice, California * 1977
Houston, Texas * 1979 Beverly Hills,
California
€ 12.000 / € 18.000–20.000
68
102
CHRISTER STRÖMHOLM
(1918–2002)
Suzanne & Sylvia, Hôtel Pierrot,
Paris 1962
18 × 24 cm (7.1 × 9.4 in)
Photographer‘s studio stamp with his
Drottninggatan (valid 1960-1966)
address and several handwritten notes
on the reverse, backside text in
Strömholm‘s handwriting: Transsexuals
1965, From the exhibition and book
„To the memory of myself“, Strömholm,
Christer, the print was used as
pressprint in 1965 for Strömholm‘s first
exhibition and book
PROVENANCE Christer Strömholm
Estate
LITER ATURE Christer Strömholm,
Les amies de Place Blanche – 2011 /
Aman Iman Ed., p. 135.
€ 4.000 / € 6.000–7.000
103
CHRISTER STRÖMHOLM (1918–2002)
Gina, Place Blanche, Paris 1963
13 × 25,5 cm (5,1 × 10 in)
on paper 24 × 31 cm
Signed by the photographer „CHR“ signature
on the reverse – unique cropping!
PROVENANCE Christer Strömholm Estate
LITER ATURE Christer Strömholm, Les amies
de Place Blanche - 2011 / Aman Iman Ed.,
p. 11, Christer Strömholm, POST SCRIPTUM –
2012 / Max Ström Ed., p. 61.
€ 4.000 / € 6.000–7.000
69
104
Georges Braque, Paris 1957
Gelatin silver print, printed in the 1970s,
early exhibition print
40 × 31,1 cm (15.7 × 12.2 in)
Signed by the photographer in black ink
in the image lower right, signed and
annotated by the photographer in ink on
the reverse, his copyright stamp on the
reverse
€ 1.400 / € 2.500–3.000
105
Oskar Kokoschka, Wiener Secession
1955
1970s, early exhibition print
30,5 × 40,2 cm (12 × 15,8 in)
Signed and annotated by the
photographer in ink on the reverse,
his copyright stamp on the reverse
Oskar Kokoschka at his opening in
the Secession / Oskar Kokoschka bei
seiner Ausstellungseröffnung in der
Secession
Munich 1999, p. 50-51.
€ 1.400 / € 2.500–3.000
70
106
Pablo Picasso, Villa La Californie, Cannes
1957
Gelatin silver print, printed in the 1970s,
early exhibition print
40,3 × 30,5 cm (15.9 × 12 in)
Signed by the photographer in black ink
in the image lower right, signed and
annotated by the photographer in ink on
the reverse, his copyright stamp on the
reverse
Photograph, Vienna 2001, p. 47 (variant
cropping).
€ 1.800 / € 3.000–3.500
107
Pablo Picasso, Villa La Californie,
Cannes 1957
18 × 17,7 cm (7.1 × 7 in)
Photographer‘s early studio stamp
and his later copyright stamp on the
reverse, annotated by him in ink on
the reverse
PROVENANCE Estate of Franz
Hubmann
Munich 1999, p. 45. (Flecken auch hier
im Bild)
€ 1.200 / € 2.000–3.000
71
108
DAVID DOUGL AS DUNCAN
(* 1916)
Picasso & Jacqueline, Villa La
Californie, Cannes 1957
1960s
23,7 × 34,4 cm (9.3 × 13.5 in)
Signed and dated (23 February
2008, signature date) by the
his copyright stamp on the reverse
LITER ATURE David Douglas
Duncan, Viva Picasso, Berlin 1980,
p. 80.
€ 2.400 / € 4.000–5.000
109
DAVID DOUGL AS DUNCAN
(* 1916)
Picasso & Jacqueline, Villa La
Californie, Cannes 1957
1960s
23,9 × 34,4 cm (9.4 × 13.5 in)
Signed and dated (23 February 2008,
signature date) by the photographer
in ink on the reverse, his copyright
LITER ATURE David Douglas Duncan,
Viva Picasso, Berlin 1980, p. 80.
€ 2.400 / € 4.000–5.000
72
110
111
Jean Cocteau, Paris 1948
29,8 × 22,7 cm (11.7 × 8.9 in)
handwritten title, ed. no. and date on the
reverse, signed by Max Scheler in ink on the
reverse, edition no. 12/15
Oskar Kokoschka, Rome 1951
27,8 × 21,2 cm (10.9 × 8.3 in)
Photographer‘s copyright stamp on the reverse, his estate
stamp, signed by Max Scheler, on the reverse, annotated in an
unidentified hand in pencil on the reverse
LITER ATURE Max Scheler / Matthias Harder (ed.), Herbert List.
LITER ATURE Max Scheler / Matthias Harder
Die Monographie, Munich 2000, p. 192.
(ed.), Herbert List. Die Monographie,
Munich 2000, p. 205.
€ 3.500 / € 5.000–6.000
€ 1.200 / € 2.000–2.500
112
Pablo Picasso, Paris 1948
by Max Scheler
29,6 × 23,3 cm (11.7 × 9.2 in)
handwritten title, ed. no. and date on
the reverse, signed by Max Scheler in
ink on the reverse, edition no. 8/15
LITERATURE Max Scheler / Matthias
Harder (ed.), Herbert List. Die
Monographie, Munich 2000, p. 203.
€ 1.200 / € 2.000–2.500
73
113
Le Corbusier, ‘Atelier 35 S’, Paris
1959
17 × 25,3 cm (6.7 × 10 in)
several handwritten notations “59 9
1 / 7” (neg. no.) and “Le Corbusier”
LITER ATURE René Burri, Le
Corbusier, Basel 1999, p. 169 (same
series).
* € 1.400 / € 2.500–3.000
114
Alfred Kubins Tisch / Alfred Kubin‘s
desk, Upper Austria 1951
Víntage silver print
20,7 × 24,9 cm (8.1 × 9.8 in)
photographer in pencil on the
reverse
LITER ATURE Franz Hubmann, Das
photographische Werk, Vienna,
Munich 1999, p. 54.
€ 900 / € 1.500–2.000
74
115
Saul Steinberg (from the series
‘Saul Steinberg Masks’),
New York 1959
20,1 × 29,8 cm (7.9 × 11.7 in)
the neg. no. “59-2-1805/24” on
the reverse, mounted label with
typographic legend on the
reverse
LITER ATURE Saul Steinberg
Masquerade. Photographs by
Inge Morath, Viking Studio
2000, s.p. (variant cropping).
* € 1.800 / € 3.000–3.500
116
Die Malerin / The painter Hedda
Sterne (from the series ‘Saul
Steinberg Masks’), New York
1959
20,1 × 30,2 cm (7.9 × 11.9 in)
the neg. no. “59-2-1803/12” on
the reverse
* € 1.800 / € 3.000–3.500
75
117
MICHAEL KENNA (* 1953)
Mont Saint Michel, Normandy 1991
Gelatin silver print
19 × 19,2 cm (7.5 × 7.6 in)
Signed, dated and numbered “20/45” by
the photographer in pencil on the mount,
signed, titled, dated and numbered by
him in pencil on the reverse, copyright
edition stamp on the reverse
€ 1.200 / € 2.000–2.500
118
DICK ARENTZ (* 1935)
Pisa, 1992
Platinum print, mounted on original
cardboard
16,8 × 41,5 cm (6.6 × 16.3 in)
Signed, dated, annotated and numbered
by the photographer in ink on the mount,
edition no. 9/50
€ 800 / € 1.400–1.800
76
119
ANDRÉ KERTÉSZ (1894–1985)
Fargo, North Dakota, June 17th, 1978
Vintage silver print, framed
24,7 × 17,8 cm (9.7 × 7 in)
Signed, annotated and dated by the
PROVENANCE Private Collection, Vienna,
the present photograph was hanging in
Kertész’s apartment on Washington Square,
New York, until his death.
LITER ATURE André Kertész, Americana,
New York 1979, p. 52.
€ 3.600 / € 5.000–6.000
120
ANDRÉ KERTÉSZ (1894–1985)
‘The white horse’, Poland 1959
Vintage silver print, exhibition print,
mounted on orginial cardboard, with the
original exhibition passepartout
24 × 34,8 cm (9.4 × 13.7 in)
Signed and dated “Oct 16, 1959” by the
photographer in pencil on the mount
PROVENANCE Collection of Hiroji
Kubota, gift from Kertész on occasion of
his exhibition in Tokyo in 1963, enclosed
a photograph of Kertész and Cornell Capa
at the opening and a letter of Kubota,
in which he writes about his friendship
to Kertész
* € 2.600 / € 4.000–5.000
77
121
TOM KELLEY (1914–1984)
‘Marilyn Monroe on Red Velvet’, 1949
Cibachrome, printed in 1982
99,1 × 76,2 cm (39 × 30 in)
Signed and numbered by the
edition no. 163/300 (Hugh Hefner
Edition 1982), the photograph was
published in 1953 for the centerfold
of the very first Playboy Magazine.
€ 4.000 / € 6.000–7.000
122
BERT STERN (1929–2013)
Marilyn Monroe (‘The Last Sitting’),
Hotel Bel-Air, Los Angeles 1962
Inkjet-print, printed in 1992, framed
37,5 × 55 cm (14.8 × 21.7 in)
Signed and annotated by
the photographer in pencil in
the margin
€ 1.500 / € 2.500–3.000
78
123
PHILIPPE HALSMAN (1906–1979)
‘Marilyn jumping’, 1952
25,3 × 33 cm (10 × 13 in)
Photographer’s “Halsman / Marilyn,
Copyright Philippe Halsman ©81, Edition
Number 138[handwritten] / 250” estate
€ 1.200 / € 2.000–2.500
124
PHILIPPE HALSMAN (1906–1979)
Anna Maria Alberghetti, 1961
35,2 × 27,2 cm (13.9 × 10.7 in)
Two of the photographer’s copyright
stamps on the reverse, annotated
the reverse
€ 800 / € 1.400–1.600
79
125
CAMER APHOTO
Mick & Bianca Jagger, Venice 1971
30,6 × 41,2 cm (12 × 16.2 in)
“CAMERAPHOTO, Venezia” copyright
stamp and date stamp (print date)
on the reverse, annotated in an
reverse
€ 900 / € 1.500–1.800
80
126
LENI RIEFENSTAHL (1902–2003)
Mick and Bianca Jagger, 1974
7 Chromogenic prints
each c. 60 × 50 cm (23,6 × 19,7 in)
Each signed by the photographer in ink
in the image, each numbered on the
reverse
PROVENANCE Peter Reichelt, the
former agent of Leni Riefenstahl
€ 12.000 / € 25.000–30.000
On September 29, 1974 the Sunday Times published a title story about
Mick and Bianca Jagger. Mick Jagger only agreed to this story
because the newspaper agreed to fulfil his great wish to be photographed by Leni Riefenstahl. Riefenstahl agreed and flew to
London. It was to be her last artistic commission. For the first time
ever, seven colour photographs by Leni Riefenstahl from this
legendary photo session are offered for sale here. Each of the photographs is signed by Riefenstahl. The prints, using Cibachrome paper,
were made under Ms. Riefenstahl’s supervision in Munich in the
1980s; they were made by Peter Reichelt, Leni Riefenstahl’s former
long-time agent and consultant. Since the 1990s, the present series
has been presented in more than 30 museums all over the world.
Am 29. September 1974 erschien in der Sunday Times eine Titelstory
über das Ehepaar Mick und Bianca Jagger. Mick Jagger willigte zu
dieser Story nur aus dem Grund ein, weil er seinen großen Wunsch
erfüllt bekam von Leni Riefenstahl fotografiert zu werden. Riefenstahl sagte zu und flog nach London. Es sollte ihre letzte künstlerische Auftragsarbeit werden. Zum ersten Mal überhaupt werden hier,
aus dieser legendären Fotosession, 7 Farbfotografien von Leni
Riefenstahl angeboten. Jede der Fotografien ist von Riefenstahl
signiert. Die Prints wurden unter der Aufsicht von Frau Riefenstahl
in den 1980er-Jahren in München auf Cibachrome-Papier hergestellt
und stammen von Peter Reichelt, dem ehemaligen jahrelangen
Agenten und Berater von Leni Riefenstahl. Seit den 1990er Jahren
wurde die vorliegende Serie in über 30 Museen weltweit präsentiert.
81
127
ROY SCHAT T (1909–2002)
‘James Dean, Walking on 68th Street’, New
York 1954
Gelatin silver print, printed later by Roy
Schatt
33,6 × 24,2 cm (13.2 × 9.5 in)
Photographer’s studio stamp on the
reverse, comes with signed certificate of
authenticity by Elaine Schatt explaining that
the print was printed by her husband in his
dark room
LITER ATURE Roy Schatt, James Dean - A
Portrait, 1982, back cover.
€ 1.800 / € 3.000–3.500
128
ASTRID KIRCHHERR (* 1938)
The Beatles (George Harrison, Stuart
Sutcliffe, John Lennon), Germany
1960
Gelatin silver print, printed later
31 × 23,8 cm (12.2 × 9.4 in)
on the reverse
€ 800 / € 1.200–1.500
82
129
ASTRID KIRCHHERR (* 1938)
Paul McCartney, Germany 1960
23,7 × 29,7 cm (9.3 × 11.7 in)
Signed by the photographer in pencil on
the reverse
€ 800 / € 1.200–1.500
130
WILL MCBRIDE (* 1931)
Tana & Victor, Munich 1965
c. 40 × 50 cm (15.7 × 19.7 in)
€ 900 / € 1.400–1.600
83
131
CHARLOT TE MARCH (1930–2005)
‘Donyale mit Goldohrringen’ (twen magazine), 1967
Gelatin silver print, printed in the early 1990s
29,8 × 29,1 cm (11.7 × 11.5 in)
Signed, titled and dated by photographer in pencil
on the reverse
LITER ATURE Photographie des 20. Jahrhunderts.
Museum Ludwig Köln, Cologne 2007, cover.
€ 1.200 / € 2.000–2.500
132 ≥
DAVID BAILEY (* 1938)
A Group of 10 Photographs, 1970s
each c. 35 × 25 cm (13.8 × 9.8 in)
One of them signed by the
photographer in ink in the margin
PROVENANCE Private collection,
England, acquired from a friend of
Bailey
€ 3.600 / € 5.000–6.000
84
85
133
WILL MCBRIDE (* 1931)
Romy Schneider, Paris 1963
c. 40 × 50 cm (15.7 × 19.7 in)
reverse
€ 900 / € 1.400–1.600
134
ROBERT LEBECK (1929–2014)
Romy Schneider, Berlin 1976
26 × 38,7 cm (10,2 × 15,2 in)
Signed, numbered and dated by the
his studio stamp on the reverse,
edition no. 14/30
LITER ATURE Robert Lebeck,
Augenzeuge, Munich 2984, p. 134.
€ 1.200 / € 2.000–2.500
86
135
R ALPH GIBSON (* 1939)
‘Woman’s Hand on Shoulder –
Brassiere’ (from the portfolio
‘If & (Silk)’), 1975
1990s
31,4 × 20,6 cm (12.4 × 8.1 in)
Signed and dated by the
reverse
LITER ATURE Ralph Gibson, Deus ex
Machina, Cologne 1999, p. 391.
* € 1.800 / € 2.600–3.000
136
‘Detail of breast’ (from the portfolio
‘If & (Silk)’), 1978
20,6 × 31,4 cm (8.1 × 12.4 in)
Signed and dated by the photographer
* € 1.800 / € 2.600–3.000
87
137
Mono Portfolio, 2013
10 Gelatin silver prints
each c. 36 × 24 cm (14.2 × 9.4 in)
Each signed, dated and numbered by
the photographer in ink in the margin,
edition no. 18/25, combined in a
luxurious leather case
€ 4.400 / € 7.000–8.000
138
EIKOH HOSOE (* 1933)
‘Ba-Ra-Kei: Ordeal by Roses #25’,
1962
28,9 × 20,4 cm (11.4 × 8 in)
in the margin, signed and annotated
by him in pencil on the reverse
* € 1.200 / € 1.800–2.000
88
139
DAIDO MORIYAMA (* 1938)
Untitled (from ‘Kariudo / Hunter’),
1972
RC-print, printed later
29,7 × 24,2 cm (11.7 × 9.5 in)
Signed by the photographer in
* € 1.800 / € 3.000–4.000
140
LUCIEN CLERGUE (* 1934)
‘Nu de la mer’, Camargue 1971
Vintage silver print, large format,
mounted on original paper, printed in
the 1970s
35,9 × 49 cm (14.1 × 19.3 in)
on the mount, signed by him in pencil
on the reverse, his studio stamp and
edition stamp on the reverse, edition
no. 11/20
€ 1.200 / € 2.000–2.500
89
141
JAN SAUDEK (* 1935)
’The Motherhood’, 1986
c. 18 × 12 cm
Titled and dedicated “To Lady Guiliana” by
the photographer in white ink in the image
PROVENANCE Collection Giuliana Scimé,
acquired directly from the artist
€ 800 / € 1.400–1.600
142
JAN SAUDEK (* 1935)
Praha, 1971
33,8 × 25,6 cm (13.3 × 10.1 in)
Signed by the photographer
in ink in the image lower right,
several handwritten notations
LITER ATURE CAMERA,
September 1971, Luzern.
€ 1.200 / € 2.000–2.500
90
143
144
MIROSL AV TICHÝ (1926–2011)
Untitled, c. 1975
20,7 × 13 cm (8.1 × 5.1 in)
Untitled, c. 1975
13 × 9 cm (5.1 × 3.5 in)
€ 500 / € 800–1.000
€ 400 / € 800–900
91
145
Untitled, c. 1975
c. 11,5 × 18 cm (4.5 × 7.1 in)
€ 400 / € 800–900
146
JAN SAUDEK (* 1935)
Stalingrad, 1956
13 × 15,8 cm (5.1 × 6.2 in)
Annotated and dated in
an unidentified hand in pencil
on the reverse
PROVENANCE Collection
Giuliana Scimé, acquired
directly from the artist
€ 600 / € 1.000–1.200
92
147
KIICHI ASANO (1914–1993)
Wajima Morning Market, Kyoto 1956
11,9 × 16,1 cm (4.7 × 6.3 in)
Photographer‘s stamp (Japanese)
and several Japanese handwritten
annotations on the reverse
LITER ATURE Kiichi Asano, Old
Kyoto, 1992, plate 13.
PROVENANCE Estate of Kiichi Asano
€ 1.200 / € 2.000–2.500
148
KIICHI ASANO (1914–1993)
In the Nishijin District, Kyoto 1953
11,9 × 16,1 cm (4.7 × 6.3 in)
Photographer‘s stamp (Japanese)
and several Japanese handwritten
annotations on the reverse
LITER ATURE Kiichi Asano, Old Kyoto,
1992, plate 37.
PROVENANCE Estate of Kiichi Asano
€ 1.200 / € 2.000–2.500
93
149
IRVING PENN (1917–2009)
Japanese Girl, New York 1980
39,2 × 39,2 cm (15.4 × 15.4 in)
Annotated in an unidentified hand in pencil
on the reverse
PROVENANCE Cathleen Naundorf Collection,
from the Alexander Libermann Collection
€ 3.600 / € 6.000–7.000
94
150
HELMUT NEW TON (1920–2004)
‘Cyberwoman #2’, 2000
25,3 × 33 cm (10 × 13 in)
Photographer‘s copyright
reproduction stamp on the reverse,
numbered in ink on the reverse,
edition no. 9/100, from the
Cyberwoman portfolio
€ 2.000 / € 3.000–3.500
151
HELMUT NEW TON (1920–2004)
Fashion for Vogue, early 1960s
paper size 25,3 × 20,7 cm (10 × 8,1 in)
Some of them initialized and numbered
(most likely by the photographer) in
white ink in the negative margins,
several handwritten annotations in
PROVENANCE Mehemed Fehmy Agha
Estate
€ 1.400 / € 2.000–2.500
95
152
ERNST HA AS (1921–1986)
‘Black-Eyed Susans’, 1984
Dye transfer print, Vintage, mounted
on original cardboard
31,8 × 48,5 cm (12.5 × 19.1 in)
Signed and annotated “Artist Proof”
by the photographer in pencil on the
mount, photographer‘s New York
studio and edition stamp on the
reverse, print comes from the
‘Flowers I’ portfolio, edition of 30
€ 2.400 / € 3.600–4.000
96
The present set of 25 Polaroids provides a fascinating cross
section of Araki’s multi-faceted oeuvre. Araki is certainly one
of today’s most productive photographers, restlessly and
constantly collecting images. The group consists of still lifes
(2), a cloudy sky (1), erotic flower photographs (6), staged
sexual fantasies and erotos (11) and images from the wellknown Kinbaku series (5). The group demonstrates clearly that
Araki’s photography is invariably devoted to the aesthetic
moment – whether the subject is a woman’s naked body or a
wilting flower. The Polaroids are framed individually and each
one is signed on the verso by Araki.
Das vorliegende Set von 25 Polaroids bildet einen spannenden
Querschnitt durch das vielfältige Œuvre Arakis. Araki ist
sicherlich einer der produktivsten Fotografen, ein ständig rastloser Bildersammler. Die Gruppe besteht aus Stillleben (2),
einem Wolkenhimmel (1), erotischen Blumenaufnahmen (6),
Inszenierung sexueller Fantasien und Erotos (11) und
Aufnahmen aus der bekannten Kinbaku-Serie (5). Klar sichtbar
wird in der Gruppe, dass Arakis Fotografie immer dem ästhetischen Moment verpflichtet ist – ob es sich nun um den
nackten Körper einer Frau oder eine welkende Blume handelt.
Die Polaroids sind einzeln gerahmt, und je rückseitig von
Araki signiert.
153
NOBUYOSHI AR AKI (* 1940)
Ein Set von 25 Polaroids / A set of
25 Polaroids, Japan 1990s
25 Polaroids SX 70, each framed
each 7,9 × 7 cm (3.1 × 2.8 in)
Each signed by the photographer in ink
on the reverse
PROVENANCE Private Collection, Salzburg;
originally from the Saatchi Gallery, London;
directly from Nobuyoshi Araki
€ 30.000 / € 40.000–50.000
97
98
99
154
JAN HNIZDO
Ferry Radax, Vienna 2007
large size Polaroid Polapan 20 × 24‘‘,
framed
24 × 20 in
Signed and dated by the photographer in
ink in the image lower right, signed by
Ferry Radax in ink in the margin
€ 1.500 / € 3.000–4.000
155
PETER BAUM (* 1939)
Arnulf Rainer – Kunstmesse Basel 1973 /
Ruprechtsberg 1988
2 Gelatin silver prints, printed later
each c. 31,2 × 21,1 cm (12.3 × 8.3 in)
Each with the photographer‘s copyright stamp
on the reverse, each signed, annotated, dated
and numbered by the photographer in pencil on
the reverse, edition no. 1/12
LITER ATURE Carl Aigner (ed.), Peter Baum,
Photograph, Vienna 2004, p. 39 (1973), p. 40
(1988, variant cropping).
€ 900 / € 1.500–2.000
100
156
TOM BARIL (* 1952)
‘Shells’, 1994
Gelatin silver print, printed in 1994,
mounted on original museum board
58,5 × 45,5 cm (23 × 17.9 in)
Signed and dated by the photographer in
pencil on the mount, his copyright stamp
with his handwritten notations relating to
print date, title and edition no. on the
reverse, edition of 15
€ 1.800 / € 3.000–3.500
157
FR ANK WHITE (* 1951)
‘Pear with Metal’, 2011
Selenium toned gelatin silver
print
46,4 × 57,8 cm (18.3 × 22.8 in) on
50 × 60 cm paper
Signed, dated and titled by the
* € 1.200 / € 1.800–2.000
101
158
R AFAL MIL ACH (* 1978)
‘Motel’ (from the series ‘In the Car with
R’), 2011
C-print, framed
80 × 100 cm (31.5 × 39.4 in)
edition no. 1/4
€ 1.500 / € 2.000–2.500
159
THOMAS RUFF (* 1958)
Untitled, 1991
C-print (photos: ESO), in original grey
edition folder
38 × 38 cm (15 × 15 in)
with astronomic data silkscreened on front
and reverse of transparent wrappers,
signed, dated and numbered by the
edition no. 12/50
Milky ways. Phantasmagoric photographs
of the night sky and its galaxies are
reversed into peppered white fields upon
which a single lode-star is pinpointed by
its astronomical data.
* € 1.400 / € 2.500–3.000
102
160
HERMAN VAN DEN BOOM (* 1950)
New Mexico, USA 1976
40 × 50 cm (15.7 × 19.7 in)
edition no. 1/20
* € 700 / € 1.000–1.200
161
HERMAN VAN DEN BOOM
(* 1950)
Texas, USA 1976
50 × 40 cm (19.7 × 15.7 in)
* € 700 / € 1.000–1.200
103
162
JOSEF POLLEROSS (* 1963)
Midtown, New York 1984
22,7 × 34,2 cm (8.9 × 13.5 in)
€ 600 / € 1.000–1.200
163
JOSEF POLLEROSS (* 1963)
Corniche, Cairo 1992
23,4 × 34,3 cm (9.2 × 13.5 in)
€ 600 / € 1.000–1.200
104
164
PHILLIP JONES (* 1951)
‘East Philadelphia’, 2003
Selenium toned gelatin silver print,
mounted on museum board
45 × 45 cm (17.7 × 17.7 in)
Signed, titled and numbered by the
photographer on label on the reverse,
edition no. 11/45
* € 800 / € 1.400–1.800
165
PHILLIP JONES (* 1951)
‘Bethlehem’, 2006
Selenium toned gelatin silver
print, mounted on museum board
45 × 45 cm (17.7 × 17.7 in)
Signed, titled and numbered by
the photographer on label on the
* € 800 / € 1.400–1.800
105
166
MARIO SCHMOLK A (* 1975)
DJI, 2005
C-print, mounted on alu
130 × 100cm (51.2 × 39.4 in)
Signed, titled, numbered and dated by
the photographer in ink on the reverse,
edition no. 3/3
LITER ATURE Mario Schmolka, Intense,
Cologne 2005, cover.
€ 2.000 / € 3.000–4.000
167
MARIO SCHMOLK A (* 1975)
Linda, 2004
C-print, mounted on alu
130 × 100 cm (51.2 × 39.4 in)
Signed, titled, numbered and dated by
the photographer in ink on the reverse,
edition no. 3/3
LITER ATURE Mario Schmolka, Intense,
Cologne 2005, s. p.
€ 2.000 / € 3.000–4.000
106
168
TONI ANZENBERGER (* 1969)
‘Stier-Pecorino’, Spain 1999
Lambda print, framed
70 × 100 cm (27.6 × 39.4 in)
Signed, titled, dated and numbered by
the photographer in pencil on the matt,
edition no. 2/10
* € 1.200 / € 1.600–1.800
169
TONI ANZENBERGER (* 1969)
‘Pecorino and the Little
Mermaid’, Copenhagen 2006
Lambda print, framed
50 × 70 cm (19.7 × 27.6 in)
Signed, titled, dated and
numbered by the photographer
in pencil on the matt, edition
no. 1/10
* € 700 / € 1.000–1.200
170
ELFIE SEMOTAN (* 1941)
Shopping, New Jersey 2003
Inkjet print on fine art paper, framed
50 × 60 cm (19.7 × 23.6 in)
Signed and numbered by
the photographer in pencil
on the reverse, edition of 25,
Edition 2006 – EIKON
€ 700 / € 1.000–1.200
107
171
BERND BECHER (1931–2007) / HILL A BECHER (* 1934)
‘Ansichten eines Wohnhauses in Birken bei Siegen’, 1971
8 Vintage silver prints, mounted and framed all together
each c. 24 × 18 cm (9.4 × 7.1 in)
Signed by Bernd Becher in pencil in the image lower right,
titled in the lower left, “Galerie Sonnabend, Paris” label
and “Galleria Lucio Amelio, Neapel” stamp on the reverse
of the frame
LITER ATURE Bernd & Hilla Becher, Fachwerkhäuser des
Siegener Industriegebietes, Munich 2000, p. 11.
€ 30.000 / € 50.000–60.000
108
FOTOBÜCHER
PHOTOBOOKS
109
110
172
FR ANTISEK DRTIKOL (1883–1961)
‘Les Nus de Drtikol’,
Paris: Librairie des arts décoratifs,
1929
First edition, 30 heliogravure plates of
Drtikol’s photographs of nudes,
loose in publisher’s cloth covers,
preface by Claude de Santeul,
image size c. 28 × 22 cm (11 × 8.7 in),
paper size 39,9 × 30 cm (15.7 × 11.8 in),
very rare in this mint condition
* € 12.000 / € 22.000 – 24.000
111
173
ALBERT RENGER-PATZSCH (1897–1966)
‘Die Welt ist schön’ (The World is Beautiful),
Munich: Kurt Wolff Verlag, 1928
First edition, first printing, with the scarce
original dust jacket, hardcover in full blue
linen with dustjacket, 29 × 22,3 cm (11.4 × 8.8 in),
100 black and white photographs
* € 1.400 / € 2.400–2.800
174
ALBERT RENGER-PATZSCH (1897–1966)
‘Eisen und Stahl’ (Iron and Steel),
Berlin: Verlag Hermann Reckendorf, 1931
First edition, hardcover with the rare original
photo-illustrated dust jacket, original blue cloth
spine and silver papered boards, 30,2 × 21,8 cm
(11.9 × 8.6 in), 96 pages, 97 black and white
photographs.
Beside Arbeit by Dr. Paul Wolff, Deutsche Arbeit
by E. O. Hoppé and Fabrik by Jakob Tuggener
one of the most important german industry
books.
* € 3.000 / € 5.000 – 6.000
175
WERNER GR ÄFF (1901–1978)
‘Es kommt der neue Fotograf!’, Berlin: Verlag
Hermann Reckendorf, 1929
First edition, first printing, very rare with
the original dust jacket, hardcover with full
orange cloth, 25,9 × 19,6 cm (10.2 × 7.7 in),
148 black and white photographs, with photos
and photo montage by Andreas Feininger,
Werner Gräff, Man Ray, Richter, El Lissitzky,
Willi Baumeister, Herbert Bayer, Renger-Patzsch,
John Heartfield.
* € 1.500 / € 2.500–3000
112
176
GIULIA PIRELLI & CARLO ORSI
‘Milano’, Milan: Bruno Alfieri Editore,
1965
First Edition, hardcover, original
illustrated boards, black cloth spine,
54 black and white photographs,
39 × 29,4 cm (15.4 × 11.6 in)
* € 700 / € 1.200 –1.600
177
LUCIANO D’ALESSANDRO (* 1933)
‘Gli Esclusi. fotoreportage da un’istituzione
totale’, Casa editrice il Diaframma, 1969
First edition, hardcover with dust jacket,
31,5 × 24,5 cm (12.4 × 9.6 in), 98 black and white
photographs, text by Sergio Piro
* € 800 / € 1.200 –1.600
178
KL AUS STAECK (* 1938)
‘Pornografie’, Frankfurt: Anabas-Verlag, 1971
First edition, first printing, SIGNED BY
KL AUS STAECK , softcover as issued,
25 × 20 cm (9.8 × 7.9 in), 388 pages,
“Pornografie is one of the most expressionistic
of artist’s books, a standout for a genre
in which it is generally considered cool to
be cool.” (Gerry Badger)
* € 600 / € 1.000 –1.200
113
179
LISET TE MODEL (1901–1983)
‘Sailor and Girl’ and the Aperture
Monograph ‘Lisette Model’, New York:
Aperture, 1979
Limited edition of only 300 numbered
copies, ed. no 286/300, a large monograph
with a preface by Berenice Abbott,
hardcover in cloth slipcase with original
gelatin silver print ‘Sailor and Girl’
BOOK AND PRINT SIGNED BY
LISE T TE MODEL , print size 48,3 × 40,4 cm
(19 × 15.9 in)
* € 1.500 / € 2.500–3.000
180
ROBERT FR ANK (* 1924)
‘Flowers Is’, Tokyo: Yugensha / Kazuhiko
Motomura, 1987
First limited edition of 500 unnumbered
copies, hardcover with full grey silk and
slipcase with halftone photograph mounted
on, with original shipping box, 34 × 25 cm
(13.4 × 9.8 in), 81 black and white photographs, text in English and Japanese.
“‘Flower Is’ is a memorial to his daughter,
Andrea, who was killed in an airplane crash
in Guatemala in 1974. This is one of the
least known of Robert Frank books.”
(Gerry Badger)
* € 2.200 / € 3.500–4.500
114
181
ANDREAS GURSK Y (* 1955)
‘Montparnasse’, Frankfurt: Portikus, 1995
First edition, box with a loose-leafe colour
photograph, 26 × 47,5 cm (10.2 × 18.7 in),
in a card portfolio, and 2 paperback books
(text part: 32 pages, 10 illustrations,
picture part: 30 illustrations in colour)
Published in conjunction with a 1995 exhibition
at Portikus Frankfurt am Main, this elegant,
ambitiously designed, oversized publication
is devoted to Andreas Gursky’s monumental
photograph of architect Jean Dubuisson’s
quarter-mile long Montparnasse housing block.
* € 2.200 / € 3.000 – 4.000
182
PAUL GR AHAM (* 1956)
‘a shimmer of possibilities’, Göttingen:
SteidlMACK, 2007
First Edition, 12 volumes, cloth covered
hardcovers, in publishers box as issued,
SIGNED BY PAUL GR AHAM , limited edition of
1,000 sets, 24,2 × 31,8 cm (9.5 × 12.5 in),
376 pages, 167 colour plates, Paris Photo Book
Prize 2011
* € 600 / € 800–1.000
115
183
WORKSHOP COLLEC TIVE
‘Workshop 1–8’, Tokyo: Photoworkshop,
1974–1976
Complete set of this hard to find publication series,
brand new copies without discoloration and wear,
Vol. 1–4 are unbound newspapers, 50 × 36 cm,
Vol. 5–8 are original stapled photox-illustrated
wrappers or folded broadside as issued,
28,5 × 14,4 cm, all in perfect condition,
“probably the most important serial publication in
the history of Japanese photography” (De Beaupré).
Workshop was founded by Moriyama, Araki, Hosoe,
Fukase, Tomatsu and Yokosuka, and includes
contributions and photographs from all the guiding
lights of contemporary Japanese photography:
Ken Domon, Yasuhiro Ishimoto, Kikuji Kawada,
Jun Morinaga, Ikko Narahara, and many others.
* € 7.000 / € 12.000 –14.000
116
184
NOBUYOSHI AR AKI (* 1940)
‘Oh Nippon (Oh Japan)’, Tokyo:
Miki Shuppan, 1971
First edition, stiff wrappers in photoillustrated dust jacket, photo-illustrated
endpapers, with numerous full-page
black and white photographs, printed in
photogravure, 27 × 21 cm (10.6 × 8.3 in)
A rare copy of Araki‘s first conventionally
published book! Stylistically similar to his
slightly earlier Xeroxed books.
* € 1.600 / € 2.500 –3.000
185
TAKUMA NAK AHIR A (* 1938)
‘Kitaru Beki Kotoba no Tame Ni’
(For a language to come),
Tokyo: Inshokan Printing, 1970
First Edition, softcover with dust jacket,
housed in the publishers original slipcase,
30 × 21,1 cm (11.8 × 8.3 in)
“Along with Moriyama’s Shashin yo
Sayonara his book Kitaru Beki Kotoba
no Tame ni marks the apogee of the
Provoke period.” (Parr & Badger)
* € 1.000 / € 1.500 –2.000
117
186
RINKO K AWAUCHI (* 1972)
‘Utatane’, Tokyo: Little More, 2001
First edition, first printing, SIGNED BY
RINKO K AWAUCHI , with the super scarce
true first bellyband, which was only
produced for the first copies, softcover
with dust jacket and bellyband,
24,3 × 19 cm (9.6 × 7.5 in), 132 pages,
129 colour photographs
In 2011 Martin Parr selected this book as
one of the most important 30 photobook
titles of the decade.
* € 500 / € 700 –900
187
MIYAKO ISHIUCHI (* 1947)
‘Suidobashi’, Tokyo: Tokyo Shika Daigaku
Showa 56, 1981
First edition, hardcover, clothbound with
title debossed in silver, no dust jacket as
issued, printed paper over board slipcase,
* € 500 / € 700–900
118
188
YASUHIRO ISHIMOTO (1921–2012)
‘Someday Somewehre’ (Aruhi Arutokoro),
Tokyo: Geibi Shuppan Sha, 1958
First Edition, black cloth, yellow spine and
dust jacket, SIGNED BY YASUHIRO
ISHIMOTO , hardcover, 28,5 × 22,9 cm
(11.2 × 9 in), 7 colour and 178 black and white
photographs, including various gatefolds and
fold-outs, and the original small booklet
containing messages by book designer
Ryuuichi Yamashiro, Taro Okamoto,
Ken Domon, and others, text in Japanese
and English
* € 2.500 / € 4.000 – 5.000
119
189
MAGNUM CONTAC T SHEETS
London: Thames & Hudson, 2011
SIGNED BY 26 MAGNUM
PHOTOGR APHERS:
Josef Koudelka, Alec Soth, Alex Webb,
Chien-Chi Chang, Paolo Pellegrin,
David Alan Harvey, Richard Kalvar,
Peter Marlow, Bruce Gilden, Susan Meiselas,
Paul Fusco, Christopher Anderson,
Thomas Hoepker, Thomas Dworzak,
Constantine Manos, Chris Steele-Perkins,
Eli Reed, Micha Bar-Am, Patrick Zachmann,
Bruno Barbey, Bruce Davidson, Martin Paar,
Jonas Bendiksen, Mikhael Subotzky,
Hiroji Kubota, Antoine D’Agata.
First edition, hardcover, 29,5 × 34,8 cm
(11.6 × 13.7 in), 450 images in colour/
black and white on over 508 pages reveal
how the very best shots are captured
and edited by Magnum photographers.
€ 1.400 / € 1.800–2.400
120
190
‘Die Deutschen’ (The Germans), Zurich:
Fretz&Wasmuth Verlag, 1962
First edition, SIGNED BY RENE BURRI ,
hardcover with full linen and dust jacket,
118,5 × 21 cm (7.3 × 8.3 in), 80 black and white
photographs in photogravure
René Burri’s Die Deutschen is widely acclaimed
as one of the best photobooks of the 1960s
* € 500 / € 800–1.000
191
JACOB AUE SOBOL (* 1976)
‘Sabine’, Self published/Politikens Forlag,
2004
First Greenlandic limited edition of 200
copies, SIGNED BY JACOB AUE SOBOL ,
hardcover, half-cloth, 23 × 34 cm (9.1 × 13.4 in),
first book by the young Danish Magnum
photographer
* € 300 / € 500–600
121
GLOSSAR DER TERMINI
GLOSSARY OF TERMS
ZU - / BESCHREIBUNG DER OBJEK TE
NAME OF ARTIST / DESCRIPTION
Für jedes Los wird der Fotograf in fett gedruckten Lettern
genannt. Auf Zuschreibungen, die Transkription von
Beschriftungen, Stempel und Datierung wurde größtmögliche Sorgfalt verwandt. Für die Inhalte der deskriptiven
Bildbeschreibungen übernimmt der Veranstalter / Herausgeber keine Verantwortung.
For each lot the name of the photographer appears in
bold type heading. While every reasonable effort was
made to provide correct attributions, accurate transcriptions of inscriptions, stamps or dates, WestLicht
does not assume the responsibility for the contents of
descriptive texts.
TITEL
TITLES
Die durch Publikationen und andere Quellen (wie eigenhändige Beschriftung der Fotografen) gesicherten
Originaltitel der Werke werden in Anführungszeichen
angegeben; in den übrigen Fällen handelt es sich um
beschreibende Titel.
Generally accepted titles for photographs have been put
in quotation marks; in other cases, descriptive titles have
been used.
DATIERUNG DER PRINTS
Als Vintage-Print wird ein Abzug bezeichnet, der in unmittelbarer zeitlicher Nähe zur Aufnahme bzw. Produktion
des Negatives vom Fotografen selbst oder einer Person
seines Vertrauens angefertigt wurde. Exakte Datumsangaben
für die Positive sind nur in den seltensten Fällen bekannt.
Die Unterscheidung zwischen einem Vintage-Print und
einem später produzierten Abzug wird in Relation zur
Datierung des Negatives ausgedrückt, beispielsweise bei
einem Silbergelatineprint: 1920, Vintage silver print oder
1920, Gelatin silver print, printed later. Eine möglichst
präzise Datierung, zumindest das Jahr oder Jahrzehnt der
Entstehung wird für jedes Lot angegeben. Die Angaben
basieren auf dem Wissen des WestLicht-Expertenteams
zur Geschichte der jeweiligen Fotografie, ihrer Provenienz
und visueller Begutachtung. Für die Angaben kann keine
Gewähr übernommen werden.
MASSANGABEN
Bei den Maßangaben folgen die Maße der Bildbreite
jenen der Bildhöhe. Sofern nicht anders angegeben,
beziehen sich diese Maße auf das tatsächliche Bildformat
ohne jegliche Ränder. Einige Fotografien werden im
Katalog ohne Rand abgebildet.
PRINTS
A vintage print is one made at roughly the same time as
the negative by the photographer himself or by a person
or procedure satisfactory to the photographer. Specific
dates of positive prints are rarely known. This distinction
between a vintage print and a print done considerably
later would be expressed with the date referring to the
production of the negative. In case of a gelatin silver print:
1920, Vintage silver print or 1920, Gelatin silver print,
printed later.The approximate date, year, or decade of
a positive print is given when possible, based on the
WestLicht’s knowledge of the history of the photograph,
its provenance, and our visual assessment of the photograph’s physical characteristics. We don’t guarantee the
printing date of the photograph.
ME ASUREMENTS
Measurements are given height preceding width. Unless
otherwise indicated dimensions given are those of the actual
image size (excluding any margins). Some photographs
appear in the catalogue without margins illustrated.
FR AMING AND MAT TING
Photographs described as framed are sold in the frames
in which they have been offered. WestLicht does not take
responsibility for the appearance of the frames or mats,
nor for their conformity to proper standards of conservation.
R AHMUNG UND PASSEPARTOUTS
Die als gerahmt oder montiert angeführten Fotografien
werden als solche angeboten und verkauft. WestLicht
übernimmt keine Verantwortung für den Zustand der
mitgelieferten Passepartouts bzw. Untersatzkartons und
Rahmen, auch in Hinblick auf konservatorische Standards.
ZUSTAND
Der Zustand der angebotenen Objekte wird im Allgemeinen
nicht im Katalog erfasst. Interessenten und Bieter werden
ersucht, den Zustand der Lots anlässlich der öffentlichen
Vorbesichtigung zu prüfen oder einen detaillierten
Zustandsbericht anzufordern: [email protected]
122
CONDITION
The general practise is not to indicate condition or
defects. Prospective bidders are urged to inspect lots at
our public viewing or ask for a condition report at our
auction department. For condition reports please contact:
[email protected]
FOTOGR AFENINDEX / INDEX OF PHOTOGR APHERS
ANONYMOUS PHOTOGR APHER 1, 2, 5, 44
ABBOT T, BERENICE 34
ÁLVAREZ BR AVO, LOL A 28
ANZENBERGER, TONI 169, 170
AR AKI, NOBUYOSHI 153
ARBUS, DIANE 95, 96, 97, 98
ARENTZ, DICK 118
ASANO, KIICHI 147, 148
AUE SOBOL, JACOB 121
BAILEY, DAVID 132
BARIL, TOM 156
BAUM, PETER 155
BECHER, BERND 171
BERENGO GARDIN, GIANNI 88, 89, 90
BERNHARD, RUTH 38
BISCHOF, WERNER 54, 55, 56, 57, 58, 59
BOURKE-WHITE, MARGARET 68
BR ANDT, BILL 35, 36, 37
BRIGMAN, ANNE 9, 10
BURRI, RENÉ 65, 66, 69, 113
CAMER APHOTO 125
CAPA, ROBERT 48, 49
CARTIER-BRESSON, HENRI 50, 51, 52, 53, 76, 77, 78, 82, 83
CHALDEJ, JEWGENI 25
CLERGUE, LUCIEN 32, 140
D´ALESSANDRO, LUCIANO 113
DE BIASI, MARIO 74
DE MEYER, ADOLPH 8, 12
D’OR A, MADAME 16
DOUGL AS DUNCAN, DAVID 108, 109
DRTIKOL, FR ANTISEK 14, 171
EICKEMEYER, RUDOLF 6
EISENSTAEDT, ALFRED 21, 23, 30
EVANS, WALKER 27
FLEISCHMANN, TRUDE 13
FR ANK, ROBERT 114
GIACOMELLI, MARIO 91, 92, 93, 94
GIBSON, R ALPH 135, 136, 137
GR ÄFF, WERNER 112
GR AHAM, PAUL 115
GURSK Y, ANDRE AS 115
HA AS, ERNST 152
HAL SMAN, PHILIPPE 123, 124
HNIZDO, JAN 154
HORVAT, FR ANK 79, 80
HOSOE, EIKOH 138
HUBMANN, FR ANZ 75, 81, 104, 105, 106, 107, 114
ISHIMOTO, YASUHIRO 116
ISHIUCHI, MIYAKO 118
JONES, PHILLIP 164, 165
K AWAUCHI, RINKO 118
KELLEY, TOM 121
KENNA, MICHAEL 117
KERTÉSZ, ANDRÉ 119, 120
KIRCHHERR, ASTRID 128, 129
KLEIN, WILLIAM 86, 87
KOPPITZ, RUDOLF 17, 18
KRULL, GERMAINE 22
L ARTIGUE, JACQUES -HENRI 7
LEBECK, ROBERT 134
LESSING, ERICH 67, 73
LIST, HERBERT 31, 110, 111, 112
MARCH, CHARLOT TE 131
MARK ELLEN, MARY 99
MCBRIDE, WILL 130, 133
MIL ACH, R AFAL 158
MODEL, LISET TE 43
MOR ATH , INGE 71, 72, 115, 116
MORIYAMA , DAIDO 139
MORSE, R ALPH 26
NAK AHIR A, TAKUMA 117
NEW TON, HELMUT 150, 151
ORLIK, EMIL 3, 4
PENN, IRVING 149
PIRELLI & CARLO ORSI, GIULIA 113
POLLEROSS, JOSEF 162, 163
RENGER-PATZSCH, ALBERT 112
RIBOUD, MARC 60, 61, 62, 63, 64
RIEFENSTAHL, LENI 126
RONIS, WILLY 29
RÜBELT, LOTHAR 19, 33
RUFF, THOMAS 159
SAUDEK, JAN 141, 142, 146
SCHAT T, ROY 127
SCHELER, MA X 70
SCHMOLK A, MARIO 166, 167
SE ARS CHOATE, SAR AH 11
SEMOTAN, ELFIE 168
STAECK, KL AUS 113
STEINERT, OT TO 84, 85
STERN, BERT 122
STRÖMHOLM, CHRISTER 102, 103
STUDIO, K A-FA 15
SUDEK, JOSEF 45, 46, 47
TICHÝ, MIROSL AV 143, 144, 145
VAN DEN BOOM, HERMAN 160, 161
VISHNIAC, ROMAN 24
WEEGEE 39, 40, 41, 42
WHITE, FR ANK 157
WINOGR AND, GARRY 10 0, 101
WOLFF, PAUL 20
WORKSHOP COLLECTIVE 116
123
VERSTEIGERUNGSBEDINGUNGEN
für Bieter bei der WestLicht Foto-Auktion (Peter Coeln GmbH)
CONDITIONS OF SALE
1. Mit der Abgabe eines schriftlichen oder telefonischen Kaufauftrages, eines
Online-Gebots oder durch die persönliche Teilnahme als Saalbieter erkennt
jeder Bieter bei der Auktion die folgenden Versteigerungsbedingungen ausdrücklich an. Die Versteigerungsbedingungen gelten sinngemäß auch für den
Nachverkauf. Bei Beanspruchungen aufgrund fehlerhafter Übersetzung ist der
deutsche Text der Versteigerungs bedingungen im gedruckten Katalog gültig.
Gebote und persönliche Daten der Bieter und Einbringer werden von
WestLicht-Auction streng vertraulich behandelt und keiner dritten Person
weitergegeben.
1. By submitting an absentee or telephone bid, making an online bid offer or
by personal participation in an action each and every bidder agrees to abide
by the following conditions of sale. These conditions also apply to subsequent
sales. Where there is a conflict of meaning due to errors of translation, the
German text, as printed in the auction catalogue, is binding. Commission bids
and personal information of those submitting lots for sale and bidders will
be dealt with by WestLicht Auctions in the strictest confidence and will not
be passed on to third parties.
2. Die Versteigerung ist öffentlich und freiwillig und wird nach den Bestimmungen der §§ 284 a ff der Gewerbeordnung i.d.F. GRNov 1997 sowie nach den
vorliegenden Versteigerungsbedingungen durchgeführt. Die Versteigerung
erfolgt in fremdem Namen sowie für fremde Rechnung. Erfüllungsort und
Gerichtsstand ist Wien. Auch im Verhältnis zu ausländischen Bietern ist
österreichisches Recht maßgeblich.
3. Die Schätzung und fachliche Bestimmung der Objekte erfolgt durch
Experten der WestLicht Foto-Auktion, die bemüht sind den Zustand
der Lose im Katalog so adäquat wie möglich zu beschreiben. Etwaige Fehler
oder Mängel der Versteigerungsgegenstände werden üblicher weise
ausgewiesen und alle Lose der international üblichen Form ent sprechend
bewertet. WestLicht weist jedoch ausdrücklich darauf hin, dass die
Gegenstände als Sammlerstücke angeboten werden und der Verkauf daher
ohne Gewähr und Haftung für offene und versteckte Mängel erfolgt. Irrtumsund Druckfehlerberichtigungen bleiben vor behalten. Ebenso behält sich
WestLicht-Auction das Recht vor, Berichtigungen der Beschreibung bis zur
Versteigerung vorzunehmen. Eine Rück nahme ersteigerter Artikel ist prinzipiell
ausgeschlossen (siehe Punkt 12).
4. Die Besichtigung der zur Versteigerung vorgesehenen Objekte ist innerhalb
des im Katalog angeführten Zeitraumes möglich. Ist einem Bieter die Besichtigung vor Ort jedoch nicht möglich, geben wir auf Anfrage gerne eine
präzisere Beschreibung des technischen und optischen Zustandes. Diese
Auskünfte erteilen wir sowohl telefonisch, als auch schriftlich oder per E-Mail –
zusätzlich Fotos können wir jedoch nur per E-Mail zusenden. Bei der Besichtigung und während der Versteigerung ist größte Vorsicht zu empfehlen, da
jeder Besucher für den von ihm verursachten Schaden in vollem Umfang haftet.
5. Vor Versteigerungsbeginn können schriftlich (Brief, Fax, E-Mail oder OnlineGebote über unsere Homepage) abgegeben werden. Schriftliche Kaufaufträge
müssen dem Versteigerer bis spätestens 24 Stunden vor Beginn der Ver steigerung in gut leserlicher Form vorliegen. Um berück sichtigt zu werden, müssen
sie außerdem die genaue Anschrift des Auftraggebers, sowie das Höchstgebot
in EURO enthalten. Die darin genannten Preise gelten als Höchstpreise für den
Zuschlag, das Aufgeld wird im Falle des Zuschlages zusätzlich in Rechnung
gestellt. Wir führen schriftliche Gebote gewissenhaft aus, wobei das schriftliche
Höchstgebot nur dann ausgeschöpft wird, wenn andere schriftliche oder
mündliche Gebote im Saal dies im Interesse des Bieters notwendig machen.
Telefonische Gebote sind erst ab einem jeweiligen Loswert von EUR 500
möglich. Auch für diese Art des Bietens muss ein Auftrag spätestens 24 Stunden
vor der Auktion schriftlich beim Versteigerer vorliegen. Telefonbieter werden vor
Aufruf der gewünschten Lose von WestLicht-Auction angerufen. Eine Garantie
für das Zustandekommen der Telefonverbindung kann jedoch nicht gegeben
werden. Nachdem sie sich mit einem Ausweis oder einer Kreditkarte legitimiert
haben, erhalten Saalbieter vor Beginn der Auktion eine Bieternummer.
6. Der Kaufpreis besteht aus dem Zuschlagpreis (= Hammerpreis) zuzüglich
Aufgeld. Umlagen sowie die gesetzliche Mehrwertsteuer können
hinzukommen.
a) Regelbesteuerung: Lose, deren Startpreis im Katalog mit * gekennzeichnet
sind, unterliegen der Regelbesteuerung. Das Aufgeld beträgt in diesem Fall
20 %. Bei Lieferung innerhalb der EU (Europäische Union) wird dem Zuschlagpreis
und dem Aufgeld die gesetzliche Mehrwertsteuer von 10 % hinzugerechnet.
b) Differenzbesteuerung: Ohne gesonderte Kennzeichnung unterliegt der
Kaufpreis bei Lieferung innerhalb der EU (Europäische Union) der
Differenzbesteuerung (§ 24 UStG 1994). Auf den Zuschlagpreis wird ein Aufgeld
von 24% berechnet, in dem die Umsatzsteuer enthalten ist. Diese wird nicht
gesondert ausgewiesen.
c) Käufern, die zum Vorsteuerabzug berechtigt sind, kann auf Wunsch die
Rechnung nach der Regelbesteuerung ausgestellt werden. Der Wunsch ist bei
der Beantragung der Bieternummer anzugeben.
d) Keine Mehrwertsteuer wird berechnet, wenn die Lose in Staaten außerhalb
der EU (Europäische Union) oder in Staaten innerhalb der EU an Unternehmer
geliefert werden sollen, wenn diese ihre Umsatzsteuer-Identifikationsnummer
angegeben haben. Das Aufgeld beträgt in diesen Fällen 20%.
124
for bidders at WestLicht Photo Auctions (Peter Coeln GmbH)
2. The auction is public and voluntary and will be conducted in accordance with
the regulations set forth in paragraph 288a ff of the Trade Regulations of 1997
and also in accordance with these conditions of sale. The auction will be conducted in our client’s name and for our client’s account. Place of jurisdiction is
Vienna. Austrian law is also binding on all foreign bidders.
3. The valuation and expert description of objects will be carried out by the
experts of WestLicht Auctions who will take all reasonable care to describe the
condition of the lots in the catalogue as accurately as possible. Possible flaws
or defects in the objects on offer will normally be noted and the objects will be
evaluated according to normal international conventions. However WestLicht
Auctions explicitly draws your attention to the fact that the objects are offered
as collector’s items and that the sale of them gives rise to neither warranty nor
responsibility for any visible or invisible defects whatsoever. All errors in the
catalogue are excepted. WestLicht Auctions also reserves the right to amend
any description up to the time of auction. Auctioned items cannot be returned
(see also paragraph 12).
4. Viewing of the objects intended for the auction is possible within the period
stipulated in the catalogue. If it is not possible for a bidder to view an object in
person, we will be happy to forward them a more detailed description of the
technical and optical condition. This information may be given by telephone, in
writing, or by e-mail. Additional photos can only be sent by e-mail. During both
viewing and the auction visitors and bidders should exercise the greatest of
care since they will be responsible for any damage caused in full.
5. Written bids may be submitted prior to the start of the auction (by letter, fax,
e-mail or an online offer through our homepage). Written purchase orders must
reach the auctioneer at least 24 hours before the start of the auction and must
be clearly legible. In order to be taken into account they must also contain the
client’s exact address as well as their highest bid in EURO. The price specified
therein will be regarded as the highest hammer price. In the case of a
successful bid, all additional charges will be added to the bill. We carry out
written bids scrupulously, the highest bid designated therein only being made
use of when other offers (written or verbal in the auction rooms) make it
necessary to do so in the interest of the bidder. Telephone bids are only
possible on lots worth more than EUR 500 exclusive of charges. In the case of
telephone bids too, it is necessary that the intention to bid by phone be
deposited in writing with the auctioneer at least 24 hours prior to the auction.
Telephone bidders will then be called by WestLicht Auctions before bidding
starts on the relevant lots. However, there can be no guarantee that a
telephone connection can, in fact, be made. After having been legitimated by
means of an identification document or credit card, auction-room bidders will
be given a bidder number before the auction starts.
6. The total purchase price consists oft the hammer price, the buyer’s premium
and applicable VAT or amount in lieu of VAT at applicable rate.
a) Buyers Premium
The buyer’s premium is 20 % of the hammer price.
b) Regular Scheme: Where there ist the * symbol next to the start price,
VAT will be charged to the buyer, (currently at a rate of 10 % for photography
and books) on both the hammer price and the buyer’s premium.
c) Margin Scheme: Where there is no VAT symbol WestLicht Photographica
Auction is able to use the Margin Scheme and must bear VAT on the buyer’s
premium and hence will charge an amount in lieu of VAT (24 %). This amount will
form part of the buyer’s on our invoice and will not be separately identified.
d) For property with VAT symbol VAT registered buyers from European Union
(EU) contries may have the VAT refunded if they provide us with their VAT
identification number when registering for bidding.
e) Exports to non EU coutries will be exempt from VAT for property with VAT
Symbol, and so will be exports made by companies from other EU member
states if they state their VAT identification number.
Buyers taking property to a non EU country may have the VAT refunded if they
provide evidence that the property has been removed to another country
outside the EU in the form of a copy of customs export documention stamped
by customs officers.
f ) For lots won using a live bidding services the buyer’s premium will be 23 %.
Nimmt ein Käufer mit Wohnsitz außerhalb der EU die ersteigerten Lose selbst
in Staaten außerhalb der EU mit, wird ihm im Fall der Regelbesteuerung die
Mehrwertsteuer erstattet, sobald er den österreichischen zollamtlichen Ausfuhrnachweis vorlegt. Im Ausland anfallende Einfuhrumsatzsteuer und Zölle
trägt der Käufer.
e) Bei Ersteigerung eines Loses über eine Live-Bieter Plattform beträgt das
Aufgeld 23 %.
f) Während oder unmittelbar nach der Auktion ausgestellte Rechnungen
bedürfen der Nachprüfung; Irrtümer sind vorbehalten.
7. Die Versteigerung erfolgt in der Reihenfolge der Katalognummerierung.
Maßgeblich ist der Katalogtext der gedruckten deutschen Ausgabe des
Auktions katalogs. Jedoch ist der Auktionator berechtigt, Katalognummern in
der Versteigerung zusammen zu fassen, zu trennen, heraus zu nehmen oder die
Reihenfolge zu verändern. Er kann Angebote ablehnen und einen bereits
erteilten Zuschlag aufheben, um den betreffenden Gegenstand weiter zu
steigern.
8. Gesteigert wird um ca. 10 % des Ausrufpreises. Der Ausrufpreis ist in der
Regel der im Katalog angeführte Startpreis, sofern nicht mehrere höhere
schriftliche Gebote vorliegen. In diesem Fall ruft der Auktionator zu Gunsten
des höchsten Bieters mit dem Betrag aus, der 10 % über dem schriftlichen
Gebot des zweithöchsten Bieters liegt. Liegen mehrere gleiche schriftliche
Höchstgebote vor, so wird zu Gunsten des zuerst eingelangten Gebotes
entschieden. Das zugeschlagene Gebot ist der Nettokaufpreis.
9. Das Eigentum der ersteigerten Ware geht erst nach vollständiger Bezahlung
auf den Käufer über. Im Falle des Zuschlages verpflichtet sich der Ersteher zur
Abnahme und Zahlung des von ihm ersteigerten Loses. Eine Rücknahme versteigerter Gegenstände seitens des Versteigerers ist ausgeschlossen. Mit dem
Zuschlag geht die gesamte Haftung für den Versteigerungsgegenstand sofort
auf den Ersteher über. Das ersteigerte Los wird dem Ersteher jedoch erst nach
vollständiger Bezahlung des Zuschlagpreises und des Aufgeldes, sowie anfallender Steuern und Gebühren ausgehändigt. Wird vereinbart, den Gegenstand dennoch vor vollständiger Bezahlung auszuliefern, verbleibt der versteigerte Gegenstand bis zum vollständigen Forderungsausgleich Eigentum
des Einlieferers.
10. Sofern keine anderen Vereinbarungen getroffen wurden, haben Saalbieter
das ersteigerte Gut nach Beendigung der Auktion abzuholen und zu bezahlen.
Bei Bezahlung durch Überweisung ist der Rechnungsbetrag sofort und
inklusive aller Bankspesen fällig. Die Rechnungen der schriftlich oder
telefonisch ersteigerten Gegenstände werden nach Beendigung der Auktion
an den jeweiligen Höchstbieter verschickt. Diese sind innerhalb von 8 Tagen
nach Erhalt an den Versteigerer ohne Abzug zu bezahlen. Bei Zahlungsverzug
werden Verzugszinsen in Höhe von 5 % über dem jeweiligen Basiszinssatz der
Österreichischen Nationalbank verrechnet. Ebenso ist die Zahlung per
Nachnahme, Post auftrag oder Bankscheck möglich – bei all diesen Zahlungsarten über nimmt der Ersteher allfällige Spesen. Kosten für Verpackung, Transport und Transportversicherung sind nicht inkludiert und werden extra zur
Verrechnung gebracht. Wir weisen jedoch darauf hin, dass wir aus schließlich
die Selbstkosten verrechnen und aufgrund unserer Vereinbarung mit
Transportfirmen für den Käufer günstige Transport- und Versicherungstarife
anbieten können. Jede Lagerung und Verpackung erfolgt jedoch grundsätzlich
auf Gefahr des Käufers.
11. Bei Annahmeverweigerung oder Zahlungsverzug haftet der Ersteher für alle
daraus entstehenden Schäden und Folgekosten. Der Versteigerer kann in
diesen Fällen entweder Erfüllung des Kaufvertrages oder Schadenersatz
wegen Nichterfüllung des Kaufvertrages verlangen. Das Versteigerungsgut
kann auf Kosten des Erstehers nochmals versteigert werden. In diesem Fall
haftet der Ersteher für den Minderpreis und hat auf einen gegebenenfalls
erzielten Mehrerlös keinen Anspruch.
7. The lots will be auctioned in numerical order as listed in the catalogue.
The German text of the auction catalogue is binding. The auctioneer reserves
the right to group numbered lots together during the auction, to separate
them, to remove or to change the order as he sees fit. He may refuse an offer
and rescind an accepted bid in order to continue bidding.
8. Bids will be in increments of approx. 10 % of the starting price. As a rule the
start price is the one to be found in the catalogue unless there have been
higher, written bids. In this case the auctioneer will call a bid favoring the
highest bidder. This will be approx. 10 % higher than the written offer made by
the second highest bidder. Should there be more than one written, highest bid,
the lot will be awarded to the first to arrive. The hammer price is the net
purchase price.
9. Ownership of the goods only passes to the buyer after payment in full has
been made. When a lot is hammered down, the acquirer is obligated to accept
and pay for the lot for which he bid. In no circumstances will the auctioneer
accept the return of any lots. Once the hammer has fallen all risk with regard to
the article is transferred to the acquirer. However, the lot will only be delivered
to the acquirer after full payment of the hammer price including all taxes, fees
and charges due. Should agreement be reached to deliver the item before full
payment has been made, ownership of the article in question remains vested in
the supplier until payment has been made in full.
10. In the absence of an agreement to the contrary, at the end of the auction
bidders in the auction rooms must collect and pay for the lots they have
acquired. Where payment is to be made by bank transfer, the total purchase
price is due immediately together with any bank charges. Invoices for the items
acquired either in writing or by telephone will be sent to the highest bidder
immediately after the end of the auction. These must be paid within 8 days of
receipt, in full and without deduction. Where payment is delayed interest will
be due at a rate 5 % above the prevailing rate of the Austrian National Bank.
Payment may also be made by cash on delivery, money or postal order or
banker’s check. The acquirer accepts responsibility for all expenses involved in
these methods of payment. Costs relating to packing, transport and transport
insurance are not included and will be separately detailed on invoices. We
would also like to bring to your attention that we only invoice for packaging at
cost price and that because of agreements reached with transport companies
we can offer favor able transport and insurance rates. Nevertheless, storage
and packaging is at the buyer’s own risk.
11. In the case of refusal to accept delivery or late payment, the buyer is liable
for all damages and costs arising there from. In either of these cases the
auctioneer may require that either the contract be fulfilled or damages
resulting from non-fulfilment be paid. The lots may then be auctioned again at
the expense of the buyer. In this case the buyer is liable for the reserve price
and has no claim on any additional revenue made.
12. Auctioned items cannot be returned. However, any case of obvious misrepresentation (except defects as described in paragraph 3) must be reported
immediately after the auction verbally or in writing not more than 14 days
thereafter. If the complaint is accepted as valid, the buyer has a right to the
re-payment of the purchase price and charges upon simultaneous return of
the auctioned object. No other claims will be entertained.
13. After completion of the auction we are entitled to sell any non-auctioned
items subject to the normal conditions of business in the name of, and for the
account of, the supplier.
12. Versteigerte Objekte werden prinzipiell nicht zurück genommen. Handelt
es sich jedoch um eine offensichtliche Fehlbeschreibungen, muss diese gleich
nach der Auktion mündlich oder spätestens nach 14 Tagen schriftlich reklamiert
werden. Wird die Reklamation als gültig anerkannt, hat der Ersteher bei
gleichzeitiger Rückgabe des Versteigerungsgegenstandes das Recht auf
Erstattung des Kaufpreises und des Aufgeldes. Weitere Ansprüche können
nicht geltend gemacht werden.
13. Nach abgeschlossener Auktion können wir nicht versteigerte Gegenstände
zu den vorliegenden Versteigerungsbedingungen im Namen und für Rechnung
des Einlieferers freihändig verkaufen.
125
TELEPHONE BID FORM for WestLicht Photo Auction
WESTLICHT
PHOTOGRAPHICA
AUCTION
Westbahnstraße 40, 1070 Vienna, Austria
TEL +43 1 523 56 59 | FA X +43 1 523 13 08
[email protected]
FIRST NAME
SURNAME
CLIENT NO.
STREET
POST CODE / ZIP AND CIT Y
COUNTRY
TELEPHONE
FA X
E-MAIL
DO NOT ARR ANGE SHIPPING
SHIPPING:
AIRMAIL
COURIER SERVICE
PAYMENT METHOD
CREDITCARD:
VISA
EXP. DATE
MASTERCARD NUMBER
BANK TR ANSFER IN € (all charges bank charges pre-paid, and including shipping costs)
Name of account: Peter Coeln Ges.m.b.H. | Account number: 2053338, Bank: Raiffeisen Niederösterreich-Wien AG,
Jasomirgottstraße 6 / Top 5, 1010 Vienna / Austria / Europe | Code: 32000 | IBAN: AT40 3200 0000 0205 3338 | Swift code: RLNWATWW
TELEPHONE BID FORM I ask WestLicht Auctions to contact me by tele phone prior to the lots listed. This form must be recieved
24 hours prior to the start of the auction. We cannot guarantee the telephone connection will be successfull. I agree to be bound
by the conditions of sale as printed in the catalogue.
DATE
LOT NO.
SIGNATURE
TITLE
I agree to be bound by the conditions of sale as printed in the catalogue.
In the event that several bidders submitted identical highest bids, the
auctioneer will start by calling out a price in favor of the highest written bid
that is 10 % higher than the second highest written bid. The one that was
received first will be awarded the winning bid (unless on-site bids outbid
the highest written bid). | Written bids must be received at least 24 hours
before the start of the auction and they must contain the exact address
of the bidder along with the maximum bid exclusive of any commission
or other charges that will be paid if the bid is successful. All bids will be
executed as cheaply as possible up to the maximum price indicated for
each lot. | Bids will be increased in increments of 10 % of the starting price.
The bids for lots valued at EUR 2,000 and higher will be raised in steps
of EUR 200, lots valued at EUR 5,000 and higher in steps of EUR 500.
LOT NO.
TITLE
As a rule the starting price is the one listed in the catalogue, as long as
there are not several higher written bids on hand. | In addition to the
hammer price there are commission charges of 20 %. If agreement is
reached with us to make payment with a credit card an additional 3 % will
be charged. | Invoices for successful bids made in writing or by telephone
will be sent out to the respective high bidders after the auction has ended.
These invoices are to be paid to the auctioneers in full and without any
deductions within eight days. In cases of delayed payment, we will charge
5 % interest above the prevailing rate of the Austrian National Bank. |
Commission bids when placed by telephone have to be confirmed in writing
and are at the risk of the caller. WestLicht Auction reserves the right to
refuse absentee or telephone bids without disclosing the reason.
ABSENTEE BID FORM for WestLicht Photo Auction
WESTLICHT
PHOTOGRAPHICA
AUCTION
Westbahnstraße 40, 1070 Vienna, Austria
TEL +43 1 523 56 59 | FA X +43 1 523 13 08
[email protected]
FIRST NAME
SURNAME
CLIENT NO.
STREET
POST CODE / ZIP AND CIT Y
COUNTRY
TELEPHONE
FA X
E-MAIL
DO NOT ARR ANGE SHIPPING
SHIPPING:
AIRMAIL
COURIER SERVICE
PAYMENT METHOD
CREDITCARD:
VISA
EXP. DATE
MASTERCARD NUMBER
BANK TR ANSFER IN € (all charges bank charges pre-paid, and including shipping costs)
Name of account: Peter Coeln Ges.m.b.H. | Account number: 2053338, Bank: Raiffeisen Niederösterreich-Wien AG,
Jasomirgottstraße 6 / Top 5, 1010 Vienna / Austria / Europe | Code: 32000 | IBAN: AT40 3200 0000 0205 3338 | Swift code: RLNWATWW
ABSENTEE BID FORM I accept WestLicht Auctions to bid on my behalf for the following lots. Absentee bids must be received
24 hours prior to the start of the auction. The maximum bid price does not include the premium. I agree to be bound by the conditions
of sale as printed in the catalogue.
DATE
LOT NO.
SIGNATURE
TITLE
I agree to be bound by the conditions of sale as printed in the catalogue.
In the event that several bidders submitted identical highest bids, the
auctioneer will start by calling out a price in favor of the highest written bid
that is 10 % higher than the second highest written bid. The one that was
received first will be awarded the winning bid (unless on-site bids outbid
the highest written bid). | Written bids must be received at least 24 hours
before the start of the auction and they must contain the exact address
of the bidder along with the maximum bid exclusive of any commission
or other charges that will be paid if the bid is successful. All bids will be
executed as cheaply as possible up to the maximum price indicated for
each lot. | Bids will be increased in increments of 10 % of the starting price.
The bids for lots valued at EUR 2,000 and higher will be raised in steps
of EUR 200, lots valued at EUR 5,000 and higher in steps of EUR 500.
LOT NO.
TITLE
As a rule the starting price is the one listed in the catalogue, as long as
there are not several higher written bids on hand. | In addition to the
hammer price there are commission charges of 20 %. If agreement is
reached with us to make payment with a credit card an additional 3 % will
be charged. | Invoices for successful bids made in writing or by telephone
will be sent out to the respective high bidders after the auction has ended.
These invoices are to be paid to the auctioneers in full and without any
deductions within eight days. In cases of delayed payment, we will charge
5 % interest above the prevailing rate of the Austrian National Bank. |
Commission bids when placed by telephone have to be confirmed in writing
and are at the risk of the caller. WestLicht Auction reserves the right to
refuse absentee or telephone bids without disclosing the reason.
IMPRESSUM / IMPRINT
VERLEGER UND HER AUSGEBER /
EDITOR AND PUBLISHER
WestLicht Auction, Peter Coeln GmbH,
Westbahnstraße 40, 1070 Wien / Vienna, Austria
COPYRIGHT
Peter Coeln GmbH, Wien / Vienna 2014
FÜR DEN INHALT VER ANT WORTLICH /
RESPONSIBILIT Y FOR CONTENTS
Peter Coeln
K ATALOG - UND TE X TREDAK TION /
CATALOGUERS
Anna Zimm
Michael Kollmann (Fotobücher / Photobooks)
GR AFIK DESIGN / GR APHIC DESIGN
Juliane Sonntag
FOTOS UND BILDBE ARBEITUNG /
REPRODUCTION AND IMAGE EDITING
Peter Jakadofsky
Michael Lebek
Andreas Böhm
DRUCK / PRINT
Grasl FairPrint
AUK TIONS -AUSSTELLUNG /
VIEWING AND E XHIBITION
Rebekka Reuter
KONSERVATORIN / CONSERVATOR
Taiyoung Ha
Vorbehaltlich Irrtümer, Satz- und Druckfehler.
Veröffentlichungen aus diesem Katalog bedürfen
der schriftlichen Genehmigung des Verlegers. /
We can take no responsibility for any mistakes,
errors or omissions. Reproduction of all or any
part of this catalogue only with written permission
of the publisher.
128

WestLicht Photographica Auction

Transcription

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