Untitled - WestLicht Photographica Auction

Transcription

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
T EL +43 1 523 56 59
FA X +43 1 523 13 08
[email protected]
10/06/2016
Wien
06/10/2016
Vienna
Fotografie
Photographs
14. WestLicht Foto-Auktion
Freitag, 10. Juni 2016
17 h (MESZ)
Vorbesichtigung
Montag, 30. Mai bis Freitag, 10. Juni
14 –18 h
und nach Vereinbarung
14th WestLicht Photo Auction
Friday, June 10th, 2016
5 pm (CEST)
Viewing
Monday, May 30th to Friday, June 10th
2 pm – 6 pm
and by appointment
29. WestLicht Kamera-Auktion
Samstag, 11. Juni 2016
11 h (MESZ)
29th WestLicht Camera Auction
Saturday, June 11th, 2016
11 am (CEST)
www.westlicht-auction.com
Photographica Auction
Photographs
1
MAISON ZACHARIE (active around 1850)
Boy with iron headrest, Paris c. 1850
Daguerreotype, in original octagonal paper mat,
newly sealed 1/4 plate
Photographer’s typographic studio label
(Boulevard Bonne Nouvelle, 3) with extensive
typographic description of his studio philosophy
on the reverse
€ 1.500 / € 2.500–3.000
Der daguerreotypierende Pariser Maler Zacharie ist in mehreren Standardwerken zur frühen Fotografie gelistet (vgl. unter anderen Janet E. Buerger,
French Daguerreotypes, 1989, S. 232 / René Perret, Collection Bosshard, 2006,
p. 49 / Le daguerréotype français, 2003, S. 95). Darin wird er immer wieder als
Verfechter der reinen Grautöne genannt. Seine Meinung hierzu hat er sogar
auf seinem Werbeetikett ausformuliert, das auch auf der Rückseite der vorliegenden Daguerreotypie angebracht ist. Eine Kolorierung appliziert er nur
auf spezielles Verlangen seiner Kundschaft. Er war der Ansicht, dass das
Aufbringen der Farbe die samtigen Grautöne und die feinen Abstufungen,
die gerade die Daguerreotypie ausmachen, verloren gingen. Zacharie arbeitete
stets auf einer Terrasse mit Tageslicht, was wunderbar stimmungsvolle
Porträts hervorbrachte.
The Parisian painter and daguerreotypist Zacharie is mentioned in several
reference books about early photography (e. g. Janet E. Buerger, French
Daguerreotypes, 1989, p. 232 / René Perret, Collection Bosshard, 2006, p. 49 / Le daguerréotype français, 2003, p. 95). These emphasise his preference of pure
grey-tones. His opinion about the matter is even recorded on his promotional
label on the reverse of this plate. It states that his daguerreotypes will only be
coloured upon explicit request of the customer. Zacharie was displeased with
the result of colouring as it eliminated the soft grey-tones and the delicate
graduations characteristic of daguerreotypes. He always worked on a terrace
in the natural light, which resulted in wonderfully atmospheric portraits.
4
Photographs from the Collection of Kaspar M. Fleischmann
2
S. FR ÄNKEL JUNIOR
Four siblings outdoors, Hamburg c. 1848
Daguerreotype, in the original octagonal paper
mat, newly sealed 1/4 plate Photographer’s
typographic studio label (label reading
“17 St. Pauli, von gr. Circus das ziebzehnte
Haus”) on the reverse
€ 1.500 / € 2.500–3.000
3
WILHELM VON GLOEDEN (1856–1931)
‘Cain’, Taormina c. 1900
Matt albumen print, printed in 1914
37,3 x 27,2 cm
Signed, dated (print date) and annotated by the
photographer in ink in the image, his photographer’s
stamp and handwritten numerical notations in pencil
on the reverse
LITER ATURE Ulrich Pohlmann (ed.), Wilhelm von
Gloeden, Sehnsucht nach Arkadien, Berlin 1987, p. 37;
Voir l’Italie et mourier, exhibition catalogue, Musée
d’Orsay, Paris 2009, p. 334.
€ 2.000 / € 3.000–4.000
5
Album der Banater Besitzungen
4
ANDREAS GROLL (1812–1872)
‘Album der Banater Besitzungen’, 1859–1862
26 Albumen prints, all mounted to the original
thin cardboards with title labels below the
image, 10 of them are signed by andreas groll,
in the original blue map with embossed title
each c. 24 × 32 cm (9.4 × 12.6 in)
PROVENANCE Private Collection, France
€ 20.000 / € 30.000–35.000
Images (according to title labels)
–Zigeunerlager
– Tagbau in Morawicza
– Puddlingshütte in Reschitza
– Werkstätte in Reschitza
– Eisenwerk in Dognacska
– Silberhütte in Dognacska
– Ansicht von Dognacska
– Ansicht von Kakowa
– Waldaufseher aus Krassowa
–
–
–
–
–
–
–
–
–
Judinasäge bei Steierdorf
Ansicht der Anina
Breunerschacht in Steierdorf
Amtsgebäude in Steierdorf
Kirche zu Franzdorf
Kramgebäude in der Szekul
Széchénschacht in Doman
Ansicht von Steierdorf
Elisabethastollen in Orawitza
–
–
–
–
–
–
–
–
Ansicht von Orawitza
Paraffinfabrik in Orawitza
Ansicht von Orawitza
Beewasserfall bei Szaszka
Holzkohlenfuhrwerk aus Rom. Szaszka
Löffelmühle in Mühlthale bei Szaszka
Obere Hütte und Kirche in D. Szaszka
Bahnhof in Bazias
Das vorliegende Album der Banater Besitzungen von Andreas
Groll beinhaltet 26 auf Karton montierte Albumin-Abzüge,
lose in der originalen Leinenmappe versammelt. Der sehr gute
Erhaltungszustand der Prints – nur einige wenige Blätter
weisen Ausbleichungen auf – lässt sich dadurch erklären, dass
sich das Album die meiste Zeit auf dem Dachboden seines
französischen Besitzers befand.
The present album of the so-called Banater Besitzungen
(Imperial estates in the Banat) by Andreas Groll contains 26
loose Albumen prints collected in a linen folder. The prints are
in a very good state – only a small number of them display
fading. Their exceptional condition is due to the condition they
were stored in, as the album was kept in its owner’s attic most
of the time.
Grolls Bildinventar aus dem Banat, dem Bergland nördlich von
Belgrad und südlich von Temesvar, zählt zu seinen heraus
ragendsten fotografischen Leistungen und ist den Pionierleistungen der Industriefotografie zuzurechnen. Entstanden sind
die insgesamt mehr als 70 bekannten Aufnahmen zwischen
1859 und 1861. Anlässlich der Weltausstellung in London 1862
wurden sie jedenfalls schon einem größeren Publikum
präsentiert. Beauftragt wurde das Fotoprojekt von der StEG.
Groll’s photo series of the Banat, the mountainous area north
of Belgrade and south of Timișoara, is considered one of his
most extraordinary photographic achievements and is widely
regarded a pioneering effort in industrial photography. The
photographs, which were commissioned by the Privileged
Austrian-Hungarian State Railway Company, were taken between
1859 and 1861. Shortly afterwards, they were shown to a larger
audience during the 1862 World’s Fair in London.
Die Staats-Eisenbahn-Gesellschaft (StEG) war eine Gründung
von Wiener Banken und der Société générale de Crédit mobilier de
Paris. Sie erwarb Anfang 1855 vom jungen Kaiser Franz Joseph
den gesamten Besitz im Banat. Im Banat wurden jeher Bodenschätze wie Kupfer, Blei, Gold und Kohle abgebaut. Ab der
Mitte des 19. Jahrhunderts verlagerte sich der Fokus auf Grund
der rasanten Entwicklung des Eisenbahnbaus auf den Abbau
von Eisen. Der Wiener Fotograf dokumentierte die wachsenden Anlagen, die Gruben-und Fabriksgebäude, die neue
Paraffinfabrik, Amts- und Verwaltungsgebäude und Arbeitersiedlungen. Außerdem hielt er die unterschiedlichen Mit
arbeiter in Gruppenporträts fest. Das vorliegende Konvolut
beinhaltet eine wunderbare Aufnahme der Waldaufseher aus
Krassowa. Des Weiteren ist eine Aufnahme eines „Zigeuner
lagers“ enthalten – ein Beweis dafür, dass sich Groll die
Freiheit nahm nicht nur auftragsrelevante Fotografien zu
machen. Größere Gruppen von Aufnahmen befinden sich in
der Albertina und im Technischen Museum (vormaliger Besitz
Eisenbahnmuseum). Das hier angebotene Album mit 26
Aufnahmen ist jedoch das größte bekannte Konvolut, das bis
dato auf dem freien Kunstmarkt angeboten wurde.
The State Railway Company had been founded by Viennese
banks and the Société générale de Crédit mobilier de Paris, which
acquired the entire estates in the Banat from the young
Emperor Franz Joseph. The area had long been a source of
natural resources such as copper, lead, gold and coal. In the
second half of the 19th century, the rapid increase in the
construction of railways led to a shift of focus towards iron
mining. Groll, who was based in Vienna, documented the
growing of the infrastructure, mine workings and factory
buildings, the new paraffin factory, the official buildings and
the workers’ estates. He also captured group portraits of the
many different people among the workers. This lot includes a
wonderful portrait of foresters from Krasowa. The collection
even includes pictures not directly related to Groll’s commission: a photograph of a gipsy settlement. The Albertina and the
Vienna Technical Museum are in possession of larger bodies of
photographs from this series. However, the album to be
auctioned is the largest known lot to ever be offered on the
open art market.
6
7
Photographs from the Collection
Albumof
der
Kaspar
Banater
M. Fleischmann
Besitzungen
8
9
Photographs from the Collection
Albumof
der
Kaspar
Banater
M. Fleischmann
Besitzungen
5
ANONYMOUS PHOTOGRAPHER
Sentenced to a slow death / Punished Chinamen,
c. 1870
2 Albumen prints, mounted on verso and
recto of album cardboard page
each c. 21 × 27,5 cm (8.3 × 10.8 in)
Titled “Zum langsamen Tod verurteilt / Bestrafte
Chinesen” in an unidentified hand in ink below the
image on the mount
€ 800 / € 1.400–1.600
10
6
A group of 9 historical images of China,
1884–1886
9 Albumen prints, all mounted to heavy blue
cardboards, including 3 spectacular panoramas
(two 2-part panoramas, one 3-part panorama)
mounted on doublepages, each annotated
in ink below the images on the mount each
c. 27 × 21 cm (10.6 × 8.3 in),
panoramas: 21 × 80 cm (1) and 21 × 50 cm (2)
– Hongkong harbour (panorama)
– Canton harbour (panorama)
– Canton (panorama)
– The red pagoda with parts of
the town walls from Canton
– Bazar street in Canton
– Reception room in a Chinese House in Canton
– Macao and the Chinese Temple in Macao
– Whampoa harbour near Canton
Ein Konvolut mit Fotografien von der Weltreise
S. M. Korvette Saida in den Jahren 1884–1886. /
A set of photographs taken at the world cruise
of S. M. Korvette Saida between 1884 and 1886.
€ 3.000 / € 5.000–6.000
11
7
HEINRICH KÜHN (1866–1944) /
HANS WATZEK (1848–1903) /
HUGO HENNEBERG (1863–1918)
‘Gummidrucke von H. Kühn, H. Watzek,
H. Henneberg’ 1902
Verlag Wilhelm Knapp Halle, edited by
Fritz Matthies-Masuren
20 Heliogravures, 25 Zinc gravures, each of
them mounted on paper inside the book
(c. 45 × 33 cm), book with linen cloth and gilt
letterpress title, the zinc gravures mounted
in text section (introduction by MatthiesMasuren), the heliogravures in image section,
each heliogravure covered with tissue paper
and signed by the respective photographer
in pencil in the margin, most of them signed in
the negative as well, the book numbered “8”
in pencil on the first title page, Victor Thonet
collection label inside
€ 15.000 / € 25.000–30.000
20 Heliogravures
Hugo Henneberg
Bach im Frühjahr / Creek in spring
Motiv aus Pommern / Pomeranian Motif
(LIT.: Camera Work 13, 1906)
Landschaft / Landscape
An der Amper / By the Amper
Villa Torlonia (LIT.: Camera Work 13, 1906)
Villa Falconieri (LIT.: Camera Work 13, 1906)
Heinrich Kühn
Selbstportrait / Self-portrait (Bildnis)
Abendsonne / Evening sun
Porträt einer alten Frau / Portrait of an old woman (Bildnis)
Aus der römischen Campagna / Roman Campagna
Wäscherin in der Düne / Washerwoman on the Dunes
Edeltrude (Bildnis)
Sicilianische Brigg / Sicilian brig
Holländisches Mädchen / Dutch girl
Hans Watzek
Alter Stadtgraben / Old moat
Wolken und Pappeln / Poplars and Clouds
Weisse Segel / The white sail (LIT.: Camera Work 13, 1906)
Schafe / Sheep (LIT.: Camera Work 13, 1906)
Porträt einer alten Frau / Portrait of an old woman (Bildnis)
Stillleben / Still life
12
Die Mappe mit 20 handsignierten Heliogravüren und 25 Zink
gravüren nach Gummidrucken von Henneberg, Kühn und Watzek
war die erste ausschließlich dem ‚Trifolium‘ gewidmete Publikation.
Herausgegeben wurde sie 1902 von Fritz Matthies-Masuren im
renommierten Wilhelm Knapp Verlag in Halle. Matthies-Masuren,
Künstler und Publizist, widmete sich ab 1898 vermehrt dem
Trifolium und war ein unermüdlicher Promotor des Gummidrucks;
der für ihn die technisch anspruchsvollste und künstlerisch wertvollste Methode der Kunstfotografie darstellte. Das gut erhaltene
und höchst seltene Exemplar kommt aus der privaten Bibliothek von
Victor Thonet und trägt die handschriftliche Nummerierung „8“.
Die Nr. 2 war das private Exemplar Heinrich Kühns; insgesamt
dürften nur wenige signierte Sammlerexemplare angefertigt worden
sein. Einige der darin vorkommenden Motive wurden ein paar Jahre
später (1906) dem internationalen Publikum in Camera Work 13
präsentiert.
The portfolio consisting of 20 signed heliogravures and 25 zinc
gravures after gum prints by Henneberg, Kühn and Watzek, was
the first publication dedicated entirely to the ‘Trifolium’. It was
issued in 1902 by Fritz Matthies-Masuren in the prestigious Wilhelm
Knapp Verlag in Halle. Matthies-Masuren, artist and writer, devoted
himself from 1898 to the Austrian Trifolium and was a tireless
promoter of the gum print, which was in his opinion the most
technically and artistically valuable method of art photography.
The well-preserved and rare copy comes from the private library of
Victor Thonet and bears the handwritten numbering “8”. The no. 2
was the private copy of Heinrich Kühn and it is believed that only
a few signed collector’s editions have been made. Some of the
appearing motifs were presented to an international audience in
Camera Work 13 in 1906.
13
8
HEINRICH KÜHN (1866–1944)
Still life with tomatoes, c. 1911
Photogravure, Vintage
16,6 × 23 cm (6.5 × 9.1 in) on
26 × 42,2 cm paper
same image Metropolitan Museum N.Y.
€ 4.000 / € 8.000–10.000
10 ≥
EUGÈNE ATGET (1857–1927)
Doorknocker, 5 Rue Bonaparte, Paris c. 1900
Albumen print from gelatin dry plate negative
17,7 × 22 cm (7 × 8.7 in)
Photographer’s “E. ATGET” address stamp on the
reverse, numbered “4461” (no. Atget) and titled by
the photographer in pencil on the reverse
Enamored of the city’s history, Atget, working
alone, built up a vast photographic archive of Paris’
old houses, shops, churches, and streets, as well as
its architectural ornamentation, including doors,
stairways, door knockers, and mantelpieces. The
print of the same image is also in the collection of
the Victoria & Albert Museum in London.
€ 1.600 / € 3.000–4.000
14
9
Hôtel de Roquelaire, 246 Boulevard
Saint-Germain, 1908
22,7 × 17,6 cm (8.9 × 6.9 in)
Numbered “5294” (no. Atget) and titled by
€ 1.400 / € 2.000–2.400
15
11
Fontaine du Marché Saint-Honoré, Paris 1903
22 × 17,8 cm (8.7 × 7 in)
Numbered “4687” (no. Atget) and titled by
€ 1.400 / € 2.000–2.400
12
Rue de Chantres, France April 1923
Gelatin silver print, printed in the 1930s
by Berenice Abbott
15,2 × 20 cm (6 × 7.9 in)
Annotated “Photo E. Atget, Col B. Abbott”
in an old handwriting on the reverse,
“Credit Halberstadt Collection” stamp
on the reverse
PROVENANCE This print was made by Abbott
prior to 1935 and given on loan to writer Ferdinand
Reyher (husband of Eileen Chang) about 1936/37.
Then it was in the Addison Gallery Atget show
in 1947. About 1950 the print was purchased by
Ernst Halberstadt (cousin of Reyher)
€ 1.800 / € 3.000–3.500
16
13
JACQUES -HENRI LARTIGUE
(1894–1986)
Monsieur Plitt teaching his dog Tupy
to jump over a stream, 1912
Gelatin silver print, printed later
16,4 × 19,2 cm (6.5 × 7.6 in)
Photographer’s sun blindstamp in
the image lower left, numbered
in pencil in the lower margin right (191),
from the English Language Portfolio,
the edition has never been completed
€ 1.200 / € 2.000–2.400
14
MARGARET BOURKE-WHITE
(1904–1971)
Front of a church, 1920s
Vintage silver print
24 × 19,3 cm (9.4 × 7.6 in)
Signed by the photographer in
pencil in the image lower right
€ 1.200 / € 2.000–2.400
17
AUGUST SANDER (1876–1964)
Portrait of a young man, Linz c. 1905
Vintage silver print, mounted on Sander’s
original studio cardboard
12 × 5 cm (4.7 × 2 in)
Photographer’s cardboard reading
“Aug. Sander, KunstAnstalt, LINZ A/D” and
“PRÄMIIRT STAATSMEDAILLE LINZ 1903”
actual size
15
16
TRUDE FLEISCHMANN (1895–1990)
Karl Kraus in his dressing gown, Vienna 1928
11 × 7,8 cm (4.3 × 3.1 in)
Signed by the photographer in pencil
in the margin, photographer’s blindstamp
in image lower right
LITER ATURE Anton Holzer, Frauke Kreutler (ed.),
Trude Fleischmann, Der selbstbewusste Blick,
Vienna 2011, p. 22 (same series).
€ 1.600 / € 3.000–4.000
18
actual size
€ 600 / € 1.000–1.200
actual size
17
Gustav Klimt at the pier of Villa Paulick II,
Seewalchen Austria 1912
8,8 × 11,6 cm (3.5 × 4.6 in)
LITER ATURE Agnes Husslein /
Alfred Weidinger (eds.), Gustav Klimt &
Emilie Flöge, Vienna 2012, p. 166.
(different cropping, herein dated c. 1910)
€ 2.400 / € 5.000–6.000
Gustav Klimt verbrachte von 1900 bis 1916 beinahe jede
Sommerfrische am Attersee und wurde häufiger Gast in der
Villa Paulick II. Zwar logierte er meist andernorts, weil er
zum Malen Ruhe brauchte, er kam aber so gut wie jeden Tag
hierher. Meistens begleiteten ihn seine Lebensgefährtin Emilie
Flöge und deren Familie. Auf dieser Fotografie sehen wir
ihn entspannt, einen legeren knittrigen Leinenanzug tragend,
am Steg der Villa lehnend.
Between 1900 and 1916, Gustav Klimt spent nearly all his
summer holidays at Lake Attersee, where he often visited
Villa Paulick II. Although he would usually stay somewhere
else in order to have the quietude he needed to paint, he would
come there nearly every day. He was usually accompanied
by his companion, Emilie Flöge, and her family. On this
photograph, we see Klimt, dressed in a casual, creased linen
suit, leaning against the villa’s footbridge.
19
18
FRANTISEK DRTIKOL (1883–1961)
‘Le Repos’, c. 1925
Vintage silver print, Bromografia on
blue toned paper (printed in 1930)
28,4 × 22,6 cm (11.2 × 8.9 in)
Stamped “4. Drtikol-Prague Bromografia”
in the image lower right in the negative
€ 2.000 / € 3.000–4.000
19
Draped nude with circle, 1928
rose toned paper
28,7 × 17,6 cm (11.3 × 6.9 in)
Stamped “109 Drtikol-Prague Bromografia”
in the image lower left in the negative
LITER ATURE Anna Fárová / Manfred Heiting (eds.),
Frantisek Drtikol. Photograph des Art Deco,
Munich 1986, p. 44 (same series); Vladimír Birgus
(ed.), Fotograf Frantisek Drtikol, 1994, plate 48
(same series).
€ 2.000 / € 3.000–4.000
20
20
Nude, 1923
blue toned paper (printed in 1930)
19 × 25,1 cm (7.5 × 9.9 in)
Stamped “67 Drtikol-Prague Bromografia”
in the image lower left in the negative
€ 2.000 / € 3.000–4.000
21
‘Žena ve světle’ (Woman in Light),
E. Beaufort, Prague 1930
First edition, hardcover with the very rare origninal
photo-illustrated dust jacket in unrestored
mint condition, 46 black and white photographs,
62 pages, 24 × 17 cm (9.4 × 6.7 in), original orange cloth
“These are quite clear artistic nudes, and they
remain extremely popular to this day”
(Gerry Badger, The Photobook: A History Vol. 1, p. 79.)
€ 6.000 / € 12.000–14.000
21
actual size
22
ANTON JOSEF TRČK A (1893–1940)
‘Aktstudie XI’, Vienna 1926
17,3 × 10,4 cm (6.8 × 4.1 in)
Annotated ”Foto Ringwerkstaetten”
and “XI” in an unidentified hand in
pencil on the reverse
€ 12.000 / € 20.000–25.000
22
23
RUDOLF KOPPITZ (1884–1936)
‘Bewegungsstudie’ (Movement Study), 1925
Half tone print, beautifully warm toned, printed
c. 1928, signed in the original negative
23,2 × 17,4 cm (9.1 × 6.9 in)
“Bewegungs Studie by Rudolf Koppitz from
the Royal Photographic Society Collection”
printed on the reverse
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.
€ 3.400 / € 6.000–7.000
24
NELLY (1899–1998)
The dancer Nikolska on the
Acropolis, Athens 1929
Vintage silver print, doublemounted to thin cardboard
27,8 × 37,8 cm (10.9 × 14.9 in)
Signed and annotated by the
photographer in pencil on
the mount, the photographer’s
blindstamp in the image lower
left and mount lower left,
copyright stamp on the reverse
LITER ATURE Matthias Harder (ed.),
Nelly. Dresden, Athens, New York,
Munich – London – New York 2001,
pl. 31 (variant image).
€ 3.000 / € 5.000–6.000
23
25
ATELIER ROBERTSON (1927–1933)
A group of four dance studies
(Niddy Impekoven, Ellinor Bahrdt,
Trude Engelhart, Ira Langenteels),
Berlin c. 1928
4 Vintage silver prints
each c. 20 × 14 cm (7.9 × 5.5 in)
Each with the photographer’s studio
stamp and handwritten annotations in
€ 800 / € 1.400–1.600
24
Robertson (geboren 1883 in Hamburg) übernahm 1927 das Atelier Lili Baruch
am Kurfürstendamm und avancierte zu einem der renommiertesten Porträtisten
der Stadt, vor allem von Schriftstellern, Künstlern und Politikern. Besonders
bekannt wurde er durch seine Aufnahmen moderner Tänzer und Tänzerinnen
wie Harald Kreutzberg, Vera Skoronel, Ellinor Bahrdt, Niddy Impekoven und
Mary Wigman. Als Jude durch den Machtantritt der Nationalsozialisten zur
Emigration gezwungen, ließ er sich in Kopenhagen nieder, floh 1943 nach Stockholm und lebte 1945 bis zu seinem Tod 1950 wieder in Dänemark.
Robertson, born 1883 in Hamburg, took over Lili Baruch’s studio space at Kurfürstendamm in 1927 and became one of the most renowned portraitists of Berlin,
especially among writers, artists and politicians. His portraits of modern dancers
such as Harald Kreutzberg, Vera Skoronel, Ellinor Bahrdt, Niddy Impekoven
and Mary Wigman were particularly acclaimed. Being Jewish, Robertson was
forced to emigrate when the National Socialist Party got into power. He settled
in Copenhagen but fled again in 1943 and went to Stockholm. In 1945, he returned
to Denmark, where he stayed until his death in 1950.
26
TRUDE FLEISCHMANN (1895–1990)
The dancer Tilly Losch, Vienna 1927/28
23 × 11 cm (9.1 × 4.3 in)
Photographer’s blindstamp in the image lower left,
her studio stamp and reproduction stamp on the
reverse, press label with typographic description on
the reverse (“Tilly Losch heiratet Dollarmillionär”)
LITER ATURE Anton Holzer / Frauke Kreutler (eds.),
Trude Fleischmann, Der selbstbewusste Blick,
Vienna 2011, p. 82.
€ 1.600 / € 3.000–4.000
27
MAURICE TABARD (1897–1984)
The dancer George Pomiès, Paris 1929
23 × 14,2 cm (9.1 × 5.6 in)
Photographer’s studio stamp on the reverse,
annotated in an unidentified hand in ink on
the reverse
€ 1.400 / € 2.000–2.400
25
28
WILHELM WILLINGER (1879–1943)
Wiener Werkstätte Fashion,
Vienna 1919
Vintage silver print, mounted to thin
cardboard with golden embossed
“Wiener Werkstätte” logo
20,7 × 15 cm (8.1 × 5.9 in)
Photographer’s stamp on the
cardboard reverse
€ 1.400 / € 2.000–2.400
29
NICKOLAS MURAY (1892–1965)
The dancer Helene Denizon, USA 1920s
23,8 × 18,7 cm (9.4 × 7.4 in)
Photographer’s studio stamp and
“Press Reference Dept.” stamp on the
reverse, handwritten annotations reading
“Helene Denzen 16 year old star of the
Fotine Ballet is exquisite in her dance
Papillon which she does to Grieg’s exquisite
music” on the reverse
€ 600 / € 1.000–1.200
26
30
ANDRÉ KERTÉSZ (1894-1985)
The dancer Clayton “Peg Leg” Bates, Paris 1929
12,7 × 17,7 cm (5 × 7 in)
Photographer’s studio and reproduction stamp
on the reverse, annotated in an unidentified hand
in ink on the reverse
Bates was an African American entertainer from
Fountain Inn, South Carolina. He lost a leg at the
age of 12 in a cotton gin accident. He subsequently
taught himself to tap dance with a wooden peg leg.
€ 1.800 / € 3.000–4.000
31
STUDIO MANASSÉ (1922–1938) /
OLGA WLASSICS (1896–1969)
‘Madame Bluebeard’
(Madame Blaubart), c. 1931
Vintage silver print, mounted to original
thin cardboard, framed
c. 19 × 15 cm (7.5 × 5.9 in)
Titled in block letters on the cardboard
below the image
LITER ATURE Geschichte der Fotografie
in Österreich, Bd. 1, Bad Ischl 1983,
p. 269; Monika Faber (ed.), Die montierte
Frau: Aktphotographien des Atelier
Manassé aus den 20er und 30er Jahren,
Vienna 1988, p. 140.
€ 800 / € 1.400–1.600
27
STUDIO MANASSÉ (1922–1938) /
OLGA WLASSICS (1896–1969)
Nude with veil, 1920s
Vintage silver print, post card
12,4 × 8,1 cm (4.9 × 3.2 in)
PROVENANCE Collection Manassé
€ 900 / € 1.400–1.600
33
‘NUS’, Daniel Masclet, Paris 1933
La Beauté de la Femme. Album du premier Salon
International du Nu photographique – Paris 1933
First edition, original heavy card covers with
red cord through the spine as issued, 96 black
and white photogravure plates by such
renowned photographers as Man Ray,
Moholy-Nagy, Harold Orne, Bertram Park,
Maurice Beck, Evansmith, E.-O. Hoppe,
Daniel Masclet, William Mortensen, George Platt
Lynes, Kalman Szollosy, and Verneuil, text in French
€ 800 / € 1.200–1.400
28
actual size
32
34
GERMAINE KRULL (1897–1985)
‘Der Akt – Zwanzig photographische
Aufnahmen weiblicher Körper nach
der Natur’ (The Nude Study – Twenty
photographs of the female body taken
after nature), Einhorn-Verlag, Dachau 1918
Rare half leather-bound edition limited to
only 50 copies, this is copy no. 46,
mint condition, hardcover, 30,3 × 40,4 cm
(11.9 × 15.9 in), 20 black and white
photogravures, each 16,3 × 24,5 cm,
printed on Japanese paper and mounted on
black cardboard, it also contains works by
Prof. J. Pèsci and W.v. Debeschitz-Kunowski
€ 6.000 / € 12.000–14.000
35
‘Etudes de nu’, Librairie des Artes
Décoratifs, Paris 1930
First edition, portfolio with orange paper,
buff paper spine and ties, 2 folded page
title sheets and 2 folded-page texts,
24 loose black and white photogravure plates,
22,5 × 16,2 cm (8.9 × 6.4 in), preface by
Jean Cocteau
€ 2.400 / € 4.000–5.000
29
36
MAN RAY (1890–1976)
Diaghilev’s Ballets, Jack in the
Box Ballet for Vogue, 1926
14,2 × 22,8 cm (5.6 × 9 in)
Two of the photographer’s studio
stamps on the reverse, annotated
in an unidentified hand in pencil on
the reverse
€ 4.000 / € 7.000–9.000
37
38
MAN RAY (1890–1976)
‘FACILE’, Editions G.L.M., Paris 1935
Poems by Paul Eluard and photographs by Man Ray,
first edition, copy no. 983/1000, original photo-illustrated
card portfolio, 18,3 × 24,4 cm (7.2 × 9.6 in), 24 pages,
unbound folded sheets with 12 heliogravures printed by
Breger, Facile is “one of the iconic French photobooks
of the 1930s... a landmark modernist book and an inspiration
to generations of graphic designers” (The Photobook:
A History, Vol. 1, pp. 104–105)
MAN RAY (1890–1976)
‘Portraits’, Sigbert Mohn Verlag, Güthersloh 1963
First German edition, signed by Man Ray, including
signed press print by Man Ray, book dedicated
to Marian Schwabik (Austrian photo expert):
“for Marian Schwabik very cordially Man Ray Cologne
1966”, hardcover with original photo-illustrated dust
jacket over grey cloth with red lettering on spine,
22,8 × 27,9 cm (9 × 11 in), numerous black and white
photographs, mint condition
€ 6.000 / € 8.000–10.000
€ 800 / € 1.200–1.400
30
39
MAN RAY (1890–1976)
Elsa Schiaparelli, Paris c. 1930
Gelatin silver print, printed in
the 1960s
25,8 × 19,1 cm (10.2 × 7.5 in)
pencil in the image lower right,
annotated in an unidentified hand
LITER ATURE Fritz Gruber (ed.),
Man Ray. Portraits, 1963, plate 10;
Clément Chéroux (ed.), Man Ray:
Portraits. Paris. Hollywood. Paris,
Paris 2010, p. 230.
€ 4.500 / € 8.000–10.000
Der in den USA geborene Surrealist Man Ray hat tausende
Fotografien und Negative hinterlassen, größtenteils Porträtaufnahmen, die in seinem Studio nach seiner Ankunft in Paris im
Jahre 1921 entstanden. Man Rays Klientel bestand aus Mitgliedern dadaistischer und surrealistischer Kreise, aus Künstlern,
Malern, Autoren, Aristokraten, und namhaften Vertretern
der Theater-und Modewelt. Die vorliegende Fotografie ist
ein perfektes Beispiel für die kühne Einfachheit, die seinen
weltweit hoch geschätzten Stil auszeichnet. Die Aufnahme
entstand, als Schiaparelli in Paris bereits als wegweisende
Modedesignerin erkannt worden war. Schiaparelli stand der
Avantgarde nahe und war bekannt für ihre Kollaborationen
mit surrealistischen Künstlern. Das Porträt gewährt uns einen
flüchtigen Blick auf eine nachdenklich wirkende Elsa. Die
geschwungene Diagonale trennt das Sujet vom Hintergrund.
Die kontrastreiche und überzeugende Komposition entstand
durch den Polarisationseffekt. Der vorliegende Abzug ist
signiert und wurde in den 1960ern geprintet.
American-born Surrealist Man Ray left behind thousands
of photo negatives, mostly portraits taken in his studio after
his arrival in Paris in 1921. Man Ray’s clientele was made up
of members of Dadaist and Surrealist circles, of artists and
painters, of writers and aristocrats, and paragons of the worlds
of fashion and theatre. The present portrait of Elsa Schiaparelli
is a perfect example of the bold simplicity of his highly
acclaimed style. It was taken when Schiaparelli was already
a known trail breaking fashion designer in Paris. Schiaparelli
closely intertwined with the avant-garde art world and
was known for her collaborations with surrealistic artists.
The portrait gives us a glimpse of the inner, contemplative
Elsa. The sloping diagonal separates the subject from the
background. The strong and contrasty composition is created
by solarisation. The beautiful print is signed and was made in
the 1960s.
31
40
HANS BELLMER (1902–1975)
‘La Poupée’ (The Doll), Editions G.L.M., Paris 1936
Printed in an edition of only 100 copies, softbound,
17 × 12,8 cm, 10 black and white vintage silver prints,
each 17 × 12,8 cm (6.7 × 5 in), mounted on beige-coloured
carton, bound-in; tan printed dust jacket, flaps glued
to plain boards, rose text and endpapers, this is one
of only 5 unnumbered artist proofs, collection note
on front page.
The most outstanding masterpiece of surrealism
photo books.
€ 20.000 / € 30.000–35.000
Der deutschstämmige surrealistische Künstler und Schrift
steller Hans Bellmer ist vor allem bekannt für die zwei
Puppen, die er währen der 1930er in Berlin schuf. Bellmer gilt
als das kontroverseste und sexuell fixierteste Mitglied des
surrealistischen Kreises. Inspiriert durch E.T.A. Hoffmanns
Olympia, der automatisierten Tochter des Dr. Coppelius aus
Hoffmanns bekannter Erzählung Der Sandmann, wurde diese
Puppe zum bizarren Ausgangspunkt für Bellmers Werk. Sie
war der grundlegende Impuls hinter zahllosen erotischen
Fotografien und Zeichnungen und inspirierte sein Opus
Magnum, das Fotobuch La Poupée. Wie die Puppe selbst, ist
Bellmers Buch eine seltsame Mischung kindlicher Unschuld
(rosa Paper, fragile Bindung und Umschläge) und perversen
Wahns (die verstümmelten und akribisch gesteuerten sexuellen
Figuren in den Fotografien). Bellmers Einfluss auf nachfolgende Bildschaffende wie Frederick Sommer, Ralph Eugene
Meatyard oder Cindy Sherman ist beachtlich. (The Photobook:
A History, Vol. 1, S. 106–107; The Book of 101 Books, S. 88)
32
German-born Surrealist artist and writer Hans Bellmer is most
famous for the two dolls he created in Berlin during the 1930s.
Bellmer is considered the most controversial and sexually
obsessed member of the Surrealist circle. Inspired by E.T.A.
Hoffmann’s Olympia, the automated daughter of Dr. Coppelius
in his famous tale The Sandman (1816), the doll became the
bizarre impetus for Bellmer’s work. It was the basic impulse
behind innumerable erotic photographs and drawings, and
inspired his opus magnum, the photo book La Poupée. Like the
doll itself, Bellmer’s book is a strange mixture of childlike
innocence (the pink paper, the delicate binding and wraps)
and perverse menace (the mutilated and utterly controlled
sexual fantasy figures in the photographs). Bellmer’s influence
on later image-makers, including Frederick Sommer,
Ralph Eugene Meatyard or Cindy Sherman, is substantial.
(The Photobook: A History, Vol. 1, pp. 106–107; The Book of 101
Books, p. 88)
33
41
adolph dE mEYEr (1868–1946)
Natica Nast, vogue, January 15th, 1920
Vintage silver print, warm-toned
24 × 19 cm (9.4 × 7.5 in)
Annotated “Condé Nast” in pencil,
most likely by the photographer,
on the reverse, the charming portrait
of magazine publisher Condé Montrose
Nast’s daughter Natica was originally
published in the January 1920 Vogue
€ 1.800 / € 3.000–3.400
42
JoSEF SudEK (1896–1976)
Three roses in glass vase, 1950s
Gelatin silver print, printed in the
1990s from the original negative
27,5 × 23 cm (10.8 × 9.1 in)
Prague House of Photography,
Sudek Portfolio
€ 1.600 / € 2.500–3.000
34
43
horSt p. horSt (1906–1999)
ginger rogers for vogue, Paris 1936
Vintage silver print, contact print
20 x 25,4 cm (7.9 x 10 in)
Annotated in an unidentified hand
in pencil on the reverse, image from
the cover shooting for Vogue
(Paris, November 1936 issue)
€ 1.600 / € 2.500–3.000
44
hEinrich hEidErSbErgEr (1906–2006)
‘Kleid aus Licht’ (Dress of Light), 1949
Vintage silver print, printed in 1951
23,7 × 18,1 cm (9.3 × 7.1 in)
Photographer’s stamp and several press and
date stamps on the reverse, label with
typed title on the reverse, several handwritten
notations in pencil on the reverse
LITER ATURE Tobias Hoffmann / Bernd Rodrian
(eds.), Ästhetik der Moderne. Fotografien von
Heinrich Heidersberger, 2007, p. 50.
€ 800 / € 1.400–1.600
35
45
PAUL WOLFF (1887–1951)
‘Ride on the Open Air Elevated’,
New York 1932
24,1 × 17,4 cm (9.5 × 6.9 in)
Photographer’s stamp with hand
written order number on the reverse,
“Schostal” agency label and various
notations in unknown hands on the
reverse
€ 800 / € 1.400–1.600
46
PAUL WOLFF (1887–1951)
S. S. Columbus, 1930s
17,3 x 23,8 cm (6.8 x 9.4 in)
Photographer’s “DR. PAUL WOLFF,
FRANKFURT AM MAIN” stamp with
his handwritten order number and
Wolff-Tritschler label on the reverse
€ 500 / € 800–1.000
36
47
LOU STOUMEN (1917–1991)
Strand Theater at Times Square,
New York 1940
Gelatin silver print, printed in the
late 1970s / early 1980s
30,6 × 22,9 cm (12 × 9 in)
Signed and numbered by the
photographer in ink in the margin,
edition no. 13/25
€ 1.400 / € 2.000–2.400
48
BEN HELLER (1913–2006)
34th Street 8th Avenue,
New York 1940s
18,6 × 23,6 cm (7.3 × 9.3 in)
Photographer’s agency stamp and
several credit stamps on the reverse
€ 700 / € 1.200–1.400
37
49
Leni Riefenstahl working on her film
‘Olympia’ – A set of 10 photographs, 1936
10 Vintage silver prints
each c. 24 × 18 cm (9.4 × 7.1 in), two prints
a bit smaller
Each of them with the “Olympia. Der Film
von den olympischen Spielen, Berlin 1936”
stamp on the reverse, the majority with
handwritten annotations in pencil and
further stamps on the reverse
€ 2.400 / € 4.000–5.000
38
50
ALFRED EISENSTAEDT (1898–1995)
Marlene Dietrich, Anna May Wong and
Leni Riefenstahl at a costume ball, Berlin 1928
17,6 × 28,2 cm (6.9 × 11.1 in)
Signed and extensively annotated by the photographer
in pencil and ink on the reverse, his early “ALFRED
EISENSTAEDT” name stamp on the reverse, this is the
only known vintage print of the image
LITER ATURE Alfred Eisenstaedt, Witness to
our Time, New York 1966, p. 25 (same series)
PROVENANCE Family Estate, Allan Leas
(nephew of Eisenstaedt)
€ 8.000 / € 14.000–18.000
Die Aufnahme der drei Ikonen Marlene Dietrich, Anna May
Wong und Leni Riefenstahl entstand 1928 auf dem Ball der
Berliner Kunstschule Reimann. Der 20-jährige Eisenstaedt
stand am Beginn seiner Karriere und hatte kurz zuvor seine
erste Fotografie an ein Magazin verkauft. Die drei Damen
hatten zwar bereits einen Namen, ihre großen Erfolge standen
jedoch noch vor ihnen. Zwei Jahre nach der Aufnahme gelang
Dietrich der Durchbruch mit Der blaue Engel. Was das so
unbekümmert wirkende Gruppenporträt so interessant macht,
ist die Tatsache, dass man die Gedanken an die politische
Zukunft und die unterschiedlichen politischen Haltungen der
Porträtierten kaum ausblenden kann. Dietrich war eine der
wenigen, die sich in Hollywood offen gegen die Nazis
aussprach. Riefenstahl hat sich später mit ihren Filmen in den
Dienst der Propaganda gestellt. Der rare Vintage-Print kommt
aus der Sammlung des Neffen von Eisenstaedt. Er sei ein
Lieblingsprint seines Onkels gewesen, der für ihn stets eine
Art Andenken an seine Zeit in Europa darstellte.
This photograph of the three icons Marlene Dietrich, Anna
May Wong and Leni Riefenstahl was taken in 1928 at a ball
held by Berlin art school Reimann. Eisenstaedt, aged 20 at
the time, was still a freshman in the field of professional
photography and had only very recently sold his first
photograph to a magazine. Although the three women had
already started to make a name for themselves, their biggest
successes were yet to come. Two years after the photo was
taken, Dietrich broke through with The Blue Angel. What
makes this casual looking portrait so interesting is that, as a
spectator, it is virtually impossible to ignore the later political
attitudes of the three – Dietrich was one of the few people in
Hollywood who openly criticised the German Nazi regime,
which contrasts with Riefenstahl’s contribution to Nazi
propaganda with her films. This rare vintage print comes from
the collection of Eisenstaedt’s nephew. According to him, this
photograph had always been one of his uncle’s favourite prints
and a kind of memory of his time in Europe.
39
51
HORST P. HORST (1906–1999)
Odalisque II, New York 1943
55,7 × 43,2 cm (21.9 × 17.0 in)
Photographer’s blindstamp in the margin;
signed, titled and dated by the photographer
in pencil on the reverse
LITER ATURE Susanne Brown (ed.), Horst.
Photographer of Style, London 2014,
Victoria & Albert Museum, p. 45.
€ 4.000 / € 7.000–8.000
52
Coco Chanel, Paris 1937
47 × 45,4 cm (18.5 × 17.9 in)
LITER ATURE Terence Pepper (ed.), Horst
Portraits: 60 Years of Style, London 2001,
pl. 32; Valentine Lawford (ed.) Horst:
His Work and His World, London 1984, p.154.
€ 3.600 / € 6.000–7.000
40
53
Lisa on Silk, New York 1940
55,9 × 41,7 cm (22 × 16.4 in)
LITER ATURE Susanne Brown (ed.), Horst.
Photographer of Style, London 2014,
Victoria & Albert Museum, p. 43.
€ 4.000 / € 7.000–8.000
41
54
Merry-go-round (from the series
‘Fêtes foraines’), Paris c. 1928
21,2 × 15 cm (8.3 × 5.9 in)
Two of the photographer’s copyright
stamps and “Mention Obligatoire”
stamp on the reverse, various
handwritten numerical notations in
LITER ATURE Magazine Vu, no. 4
(April 11, 1928), Fêtes foraines.
€ 1.800 / € 3.000–3.400
55
ILSE BING (1899–1998)
Marché aux puces, Paris 1932
Vintage silver print, mounted to the
original cardboard
22,8 × 33,4 cm (9 × 13.1 in)
Signed and dated by the photographer
in white and black ink in the image
lower left and right, signed and titled by
Bing in pencil on the reverse
€ 1.800 / € 2.500–3.000
42
56
WILLY RONIS (1910–2009)
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 x 21 cm
€ 1.400 / € 2.000–3.000
57
ERICA ANDERSON (1914-1976)
Albert Schweitzer, Lambaréne,
Gabun c. 1952
22,1 × 17,8 cm (8.7 × 7 in)
Dated and annotated in an unidentified hand
in pencil on the reverse, exhibition label on
the reverse of passepartout (Kunsthalle Wien)
LITER ATURE Anna Auer / Kunsthalle Wien (eds.),
Exodus from Austria. Emigration of Austrian
photographers 1920–1940, Vienna 1998, p. 59.
€ 800 / € 1.400–1.600
43
58
RENÉ GROEBLI (* 1927)
‘Magie der Schiene’ (Rail Magic), 1949
34,3 × 25,7 cm (13.5 × 10.1 in)
in pencil on the reverse, his copyright
and print stamp on the reverse
LITER ATURE René Groebli, Magie der
Schiene, Zurich 1949, cover.
* € 900 / € 1.400–1.600
59
60
‘Magie der Schiene’ (Rail Magic),
Kubus Verlag, Zurich 1949
First limited German original edition of 700 copies,
signed by René Groebli , no. 9/700, mint condition,
paperback with original dust jacket and (reprint)
bellyband, 18 × 24 cm (7.1 × 9.4 in), 8 folded sheets
loosely inserted as issued, 16 black and white photos
in exceptional printing quality
‘Das Auge der Liebe’ (The eye of love),
Turnus-Verlag, Zurich 1954
First original edition, signed by René Groebli ,
paperback (as issued) with dust jacket and
glassine jacket, mint condition, 21,5 × 30 cm
(8.5 × 11.8 in), 18 pages, 25 black and
white photographs by René Groebli, text by
Walter Gort Bischof
* € 600 / € 800–1.000
* € 600 / € 800–1.000
44
61
LOLA ALVAREZ BRAVO (1907–1993)
Frida Kahlo, Mexico 1940
22,6 × 18,3 cm (8.9 × 7.2 in)
Initialized by the photographer
€ 1.500 / € 2.000–3.000
62
ANTANAS SUTKUS (* 1939)
Marathon in the Universitets Street,
Vilnius 1959
Gelatin silver print, printed in
the 1990s
57,2 × 37,8 cm (22.5 × 14.9 in)
Signed, annotated and dated by the
photographer in pencil on the reverse
* € 1.200 / € 1.800–2.200
45
63
ANNE BIERMANN (1898–1933)
‘60 Fotos, 60 Photos, 60 Photographies. The literary
dispute about photography’, Klinkhardt Biermann
Verlag, Berlin 1930
First edition with the very rare red bellyband in mint
condition, perfect-bound stiff photo-illustrated
wrappers, 25 × 17 cm (9.8 × 6.7 in), 60 black and white
reproductions, text in German, English and French.
This second and final volume in the FOTOTEK series,
edited with an introduction by Franz Roh with design
and typography by Jan Tschichold, is an undisputed
highlight of the New Vision movement.
€ 2.400 / € 4.000–5.000
64
JINDRICH ST YRSK Y (1899–1942)
‘Na jehlách těchvvto dní’ (On the needles of
these days), FR Borový, Prague 1945
First trade edition in mint condition, softcover
21 × 15 cm (8.3 × 5.9 in), 28 black and white
photographs, original pictorial wrappers, black
cloth folding case, text by Jindřich Heisler,
design by Karel Teige. One of the most important
Czech surrealist publications
€ 1.900 / € 2.400–2.600
65
JAROMIR FUNKE (1896–1945)
‘Fotografie vidí Povrch’ (La photographie reflète
l’aspect des choses), Družstevní práce, Prague 1935
First edition, mint condition, soft cover 21 × 29,7 cm
(8.3 × 11.7 in), black and white reproductions, unpaged,
Photographs by students and professors at the École
nationale des métiers graphiques à Prague including:
Jaromir Funke, Josef Ehm, Antonin Danek, Rudolf
Gilbert, Zdenka Pickova, Otakar Hejzlar, edited by
Ladislav Sutnar and Jaromir Funke, text in Czech with
some French
€ 400 / € 600– 700
46
66
ALBERT RENGER-PATZSCH (1897–1966)
‘Eisen und Stahl’ (Iron and Steel), Verlag Hermann
Reckendorf, Berlin 1931
First edition, hardcover with the rare original photoillustrated 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.
Besides ‘Arbeit’ by Paul Wolff; ‘Deutsche Arbeit’ by
E. O. Hoppé and ‘Fabrik’ by Jacob Tuggener, this is one
of the most important German industry photo books. v
€ 3.000 / € 5.000–6.000
67
KELD HELMER-PETERSEN (1920–2013)
‘122 Farvefotografier’ (122 Colour Photographs),
Det Schonbergske Forlag, Copenhagen 1948
First edition, hardcover with rare dust jacket,
34 × 24,2 cm (13.4 × 9.5 in), 132 pages, 122 colour
photographs, observations by K. Helmer-Petersen,
essay by Svend Kragh-Jacobsen, cover design
and typography by Hoy Petersen, text in English
and Danish
* € 600 / € 800–1.000
68
WERNER GR ÄFF (1901–1978)
‘Es kommt der neue Fotograf!’ (Here comes the
new photographer!), Verlag Hermann Reckendorf,
Berlin 1929
First original edition, 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 photomontages
by Andreas Feininger, Werner Gräff, Man Ray,
Richter, El Lissitzky, Willi Baumeister, Herbert Bayer,
Renger-Patzsch, John Heartfield.
* € 1.800 / € 2.400–2.600
47
Alfred Eisenstaedt, der kurz nach seiner Emigration aus
Deutschland bei Life anfing, arbeitete an über 2.500 Aufträgen
und fotografierte mehr als 90 Titelblätter für das Wochen
magazin. Er wurde zum Chronisten eines ganzen Jahrhunderts. Im Jahr 1933 reiste Eisenstaedt nach Italien und hielt das
erste Treffen von Adolf Hitler und Benito Mussolini mit seiner
Kamera fest. Zwei Jahre später wurde Hitler Präsident. (Los 69)
Alfred Eisenstaedt started at Life shortly after emigrating from
Germany. He was put on over 2,500 assignments and took
the images for more than 90 front pages, which made him
a chronicler of an entire century. In 1933, he travelled to Italy
to capture the very first meeting of Adolf Hitler and Benito
Mussolini, which he shot from a few yards away. Two years
after Hitler became president. (Lot 69)
Bourke-White zählte 1936 zu den Gründungsmitgliedern von
Life. Von den vielen Fotografen erlebte kaum jemand mehr
im Zweiten Weltkrieg als die damals einzige Frau im Stab.
Bourke-White begleitete General George Pattons Dritte Armee
im Frühling 1945 auf ihrem geschichtenumwobenen Marsch
durch ein zusammenbrechendes Deutschland. Ihre Aufnahmen aus den befreiten Konzentrationslagern (Lot 77) sorgten
weltweit für Aufsehen und Erschütterung. Sie waren die ersten,
die einer bis dato völlig ungläubigen Öffentlichkeit, die gänzliche mörderische Natur der Konzentrationslager offenbarten.
Bourke-White was one of the founding members of Life in 1936.
She was the only woman among the staff, but saw more action
during World War II than most other photographers. Particularly her photographs from liberated German concentration
camps (Lot 77) received a lot of attention. The pictures were
made when Bourke-White accompanied General George
Patton’s Third Army on its storied march through a collapsing
Germany in the spring of 1945. They were the very first to
document for a largely disbelieving public, in America and
around the world, the wholly murderous nature of the camps.
Im Juni 1945 publizierte Life einen Artikel mit dem Titel ‚The
Battered Face of Germany‘, mit Luftaufnahmen von BourkeWhite (Lot 76). Die Fotografien zeigen die horrende Zerstörung
von Deutschland und enthüllen gleichzeitig die umfassende
Luftstrategie der Alliierten.
In early June 1945 Life published an article titled ‘The Battered
Face of Germany’, featuring photos made from the air by
Margaret Bourke-White (Lot 76). The pictures show the
devastation of Germany at its worst and reveal the overall
pattern of Allied air strategy.
Bourke-Whites Fotografien sind für den politisch und sozial
engagierten Journalismus beispielhaft. Ähnliches gilt für
W. Eugene Smith, der von 1939 bis 1942 einen Vertrag mit Life
hatte. Während des Zweiten Weltkrieges arbeitete er als
Kriegsberichterstatter im Südpazifik, wo er an einer Reihe
entsetzlicher Invasionen teilnahm. Wegen seiner Furchtlosigkeit wurde er „Wonderful Smith“ genannt. Im April 1945 hielt
er die Schlacht von Okinawa fest (Lot 72). Ein Granatsplitter
drang durch seine Wange. Die Verletzung zwang ihn zur
Rückkehr in die USA. In den folgenden zwei Jahren wurde er
mehrfach operiert. Im Laufe des Jahres 1946 begann er wieder
mit der Fotografie.
Bourke-White’s photographs are a pioneer’s work in the field
of socially and politically involved journalism. The same can
be said of W. Eugene Smith’s work, who had a contract with
Life between 1939 and 1942. During World War II, he worked as
a war correspondent in the South Pacific, where he witnessed
several horrible invasions. Due to his fearlessness, they
referred to him as “Wonderful Smith”. In 1945, he covered the
Battle of Okinawa (Lot 72). A piece of shrapnel pierced his
cheek, which forced him to return to the USA. In the following
two years, he had surgery several times. In 1946, he picked up
photography again.
Ein weiterer wichtiger Life-Reporter war Frank Scherschel, der
neben Robert Capa einer der sechs akkreditierten Fotografen
war, die bei der Landung der Alliierten in der Normandie
dabei waren (Lot 73).
48
Another important Life reporter was Frank Scherschel, who
was one of the six photographers alongside Robert Capa
who witnessed the Normandy landings of the Allies (Lot 73).
69
The first meeting of Hitler and Mussolini, 1934
Gelatin silver print, printed in the 1980s/1990s
24,5 × 18,5 cm (9.6 × 7.3 in)
“LIFE MAGAZINE Time Inc.” copyright stamp with
photographer’s name stamp and “LIFE PICTURES”
stamp on the reverse, credited and annotated
in ink in an unidentified hand on the reverse
* € 800 / € 1.200–1.400
70
MARGARET BOURKE-WHITE (1904–1971)
Joseph Stalin in his Kremlin office, Summer 1941
24 × 19,1 cm (9.4 × 7.5 in)
“LIFE MAGAZINE Time Inc.” stamp with handwritten
photographer’s credit on the reverse, annotated in
an unidentified hand in ink on the reverse
LITER ATURE The photographs of Margaret Bourke-White,
New York 1972, p. 143; Vicki Goldberg, Bourke-White:
A Retrospective, New York 1988, p. 85.
* € 600 / € 1.000–1.200
49
71
92nd Division, Fifth Army in Italy, 1945
23,8 x 17,6 cm (9.4 x 6.9 in)
“LIFE MAGAZINE Time Inc.” stamp with
handwritten photographer’s name and
“TIME LIFE” credit stamp on the reverse,
annotated in an unidentified hand in ink on
the reverse
* € 800 / € 1.200–1.400
72
W. EUGENE SMITH (1918–1978)
American Battle for Okinawa (World War II),
Japan 1945
3 Gelatin silver prints, printed in the 1970s
c. 18,5 × 18,5 cm (7.3 × 7.3 in) (2), 16 × 24 cm (1)
Each with the “LIFE MAGAZINE Time Inc.” stamp with
handwritten photographer’s credit and “LIFE PICTURES”
copyright and reproduction stamps on the reverse,
each credited and annotated in unidentified hands in
ink on the reverse
All three images were published in Life Magazine
(18.06.1945, p. 18) in the story “American Battle for
Okinawa. A Life photographer records the working day
of a foot soldier who helped win the island from the
Japs. 24 Hours with infantryman Terry Moore.”
* € 1.800 / € 3.000–3.500
50
73
FRANK J. SCHERSCHEL (1907–1981)
D-Day, Normandy, May 1944
each c. 23 × 19,5 cm (9.1 × 7.7 in)
Each with the “LIFE MAGAZINE Time Inc.” stamp with
handwritten photographer’s credit and “LIFE PICTURES”
copyright and reproduction stamps on the reverse,
each credited and annotated in unknown hands in ink
on the reverse. Annotations on the reverse reading:
Normandy Invasion – Channel Crossing Shuffleboard
on LCT, Men of Quartermaster Battalion waiting –
Re troop building for D-Day, Troops getting anchor
way instructions, Airforce soldiers boarding on
LCT in England to route to France-D-Day, Adam Kirp,
General Marshall and Dwight Eisenhower.
* € 2.000 / € 3.000–3.500
51
74
Hermann Göring sitting in a backyard
garden, as he is questioned by more
than 50 Allied war correspondents
after being taken prisoner, May 1945
18,9 × 18,9 cm (7.4 × 7.4 in)
photographer’s name stamp and
“LIFE PICTURES” credit stamp on the
reverse, annotated in an unidentified hand
LITER ATURE The photographs of
Margaret Bourke-White, New York 1972,
p. 148; Vicki Goldberg, Bourke-White:
* € 600 / € 1.000–1.200
75
Winston Churchill flashes his trademark
“V for Victory” sign, Liverpool 1951
23,8 × 19 cm (9.4 × 7.5 in)
“LIFE MAGAZINE” copyright stamp and
“LIFE PICTURES” stamp on the reverse,
credited and annotated in ink in an unidentified
hand on the reverse
LITER ATURE The Eye of Eisenstaedt,
London 1969, p. 65.
€ 600 / € 1.000–1.200
52
76
Destroyed Cologne, Hohenzollern Bridge,
April 1945
17,8 × 24 cm (7 × 9.4 in)
photographer’s credit and several labels on the
reverse, annotated in an unidentified hand in ink
on the reverse
* € 600 / € 1.000–1.200
77
The living Dead of Buchenwald, April 1945
16,8 x 23,9 cm (6.6 x 9.4 in)
photographer’s credit and “LIFE PICTURES” copyright
stamp and labels on the reverse, annotated in an
unidentified hand in ink on the reverse
LITER ATURE The photographs of Margaret Bourke-White,
New York 1972, p. 153; Vicki Goldberg, Bourke-White:
* € 800 / € 1.200–1.400
53
78
Supreme Court, Washington D. C. 1935
17,8 × 23,9 cm (7 × 9.4 in)
photographer’s name stamp and “TIME LIFE”
credit stamp on the reverse, annotated in
an unidentified hand in ink on the reverse
* € 800 / € 1.400–1.600
79
Katharine Hepburn, 1938
20,3 × 19 cm (8 × 7.5 in)
photographer’s credit and “LIFE PICTURES”
copyright stamp and various labels on the
reverse, annotated in an unidentified hand
* € 800 / € 1.400–1.600
54
80
Melon salesman and fiddler, USA 1936
16 × 23,8 cm (6.3 × 9.4 in)
credited and annotated in ink in
an unidentified hand on the reverse
€ 500 / € 800–1.000
81
‘Big Fish’, 1956
23,8 × 17,7 cm (9.4 × 7 in)
credited and annotated in ink in
an unidentified hand on the reverse
€ 500 / € 800–1.000
55
82
JEWGENI CHALDEJ (1917–1997)
Potsdam Conference: Winston Churchill,
Harry S. Truman and Joseph Stalin, 1945
19,8 × 29 cm (7.8 × 11.4 in)
Signed by the photographer in ink
on the reverse
PROVENANCE Howard Schickler, acquired
directly from the photographer in 1995
€ 800 / € 1.400–1.600
83
JEWGENI CHALDEJ (1917–1997)
Raising the Soviet flag over
the Reichstag, Berlin 1945
29 × 21 cm (11.4 × 8.3 in)
pencil on the reverse, a rare variant
of the famous icon
PROVENANCE Howard Schickler, acquired
directly from the photographer in 1995
€ 1.600 / € 2.000–3.000
56
84
ROBERT COHEN
Ho Chi Minh, September 16th, Paris 1946
13 × 18 cm (5.1 × 7.1 in)
Photographer’s agency stamp on the reverse, label with typographic description in French on the reverse Caption reading:
“Ho Chi Minh, president of the Republic of Vietnam, on the
platform of Gare de Lyon in Paris. He and Marius Moutet
agreed on a ceasefire in Paris.” (Moutet was a French Socialist
diplomat and colonial adviser, who served as Minister of the
Colonies in the 1930s and 1940s. Moutet was sympathetic to
Ho Chi Minh and advocated the independence of Vietnam)
€ 600 / € 1.000–1.200
85
AGENCE DALMAS
Nikita Chruschtschow,
Paris May 1960
20,9 × 27,8 cm (8.2 × 10.9 in)
Agency stamp on the reverse
€ 600 / € 1.000–1.200
57
86
ROBERT CAPA (1913–1954)
Landing of US soldiers near
Salerno, Italy 1943
Gelatin silver print,
printed in the 1970s
15,6 × 24 cm (6.1 × 9.4 in)
various handwritten numerical
notations (incl. neg. no. 43-1 C12-20)
* € 1.400 / € 2.000–2.400
87
PHILIP JONES GRIFFITHS (1936–2008)
Vietnam War, Yankee station in the South China Sea, 1971
22,4 × 33,4 cm (8.8 × 13.1 in)
Photographer’s agency stamp, Magnum archive stamp,
handwritten neg. no. (71-3-7/21) and annotation reading
“1971: Yankee station in the area in the South China Sea
where the United States comes position themselves for
bombing on Vietnam” in pencil on the reverse
* € 1.800 / € 3.000–3.500
58
88
PHILIP JONES GRIFFITHS (1936–2008)
Soldiers in ravaged village, Vietnam 1967
33,4 × 22,4 cm (13.1 × 8.8 in)
Photographer’s agency stamp, Magnum archive
stamp and handwritten neg. no. (67-23-181) in
* € 1.400 / € 2.000–2.400
89
GEORGE RODGER (1908–1995)
Dr. Albert Schweitzer, Lambaréné,
French Gabon 1951
25,4 × 18,7 cm (10 × 7.4 in)
Photographer’s agency credit stamp
and “abc press” stamp on the reverse
€ 1.200 / € 2.000–2.400
59
90
HANS SAEBENS (1895–1969)
Henri Cartier-Bresson, Hamburg 1953
4 Gelatin silver printes, printed later
each c. 30 × 20,5 cm (11.8 × 8.1 in)
Each with the photographer’s “HANS SAEBENS
ARCHIV WETZLAR” estate stamp on the reverse,
each numbered in pencil on the reverse,
edition no. 1/2
Die Serie entstand in Hamburg im Dezember 1952
oder Jänner 1953, als Cartier-Bresson an einer
Reportage über West-Deutschland arbeitete.
Cartier-Bresson ist mit seiner Leica III und einem
seltenen 5 cm Spiegelsucher-Prototyp portraitiert.
Eine der Aufnahmen wurde in Leica-Fotografie
(1953, Heft 1, S. 11–12) veröffentlicht. / The series
was taken in Hamburg in December 1952 or
January 1953, when Cartier-Bresson was working
on a reportage about life in West-Germany.
Cartier-Bresson is shown with his Leica III camera
and a rare 5 cm viewfinder prototype. One of the
four images was published in Leica-Fotografie
(1953, No. 1, pp. 11–12).
€ 1.200 / € 2.000–2.400
91
SÉBASTIEN BOFFREDO
Henri Cartier-Bresson with his Leica,
Place de la Bastille, Paris 1990
Gelatin silver print
27,5 × 18,5 cm (10.8 × 7.3 in)
Signed, annotated and numbered
by the photographer in pencil on the
reverse, edition no. 2/20
€ 600 / € 1.000–1.200
60
92
HENRI CARTIER-BRESSON (1908–2004)
Last Days of the Kuomintang, Shanghai
December 1948–January 1949
23,9 × 35,5 cm (9.4 × 14 in)
Signed by the photographer in ink in the
margin, his blindstamp in the margin
lower left, Fondation Henri Cartier-Bresson
stamp on the reverse
LITER ATURE Henri Cartier-Bresson,
Images à la sauvette, Verve 1952, p. 109;
Henri Cartier-Bresson, The Decisive
Moment, Paris 1952, pp. 109–110; Bonnefoy,
Henri Cartier-Bresson Photographe, Delpire
1979, p. 69; Montier, Henri Cartier-Bresson
L’art sans art, Flammarion 1995, p. 174;
De qui s’agit-il ? Henri Cartier-Bresson,
Bibliothèque nationale de France, Gallimard 2003, p. 309; Galassi, Henri CartierBresson. Un siècle moderne, The Museum
of Modern Art/Hazan, 2010, p. 113.
PROVENANCE Christie’s 2011, HCB : 100
photographies provenant de la Fondation
Henri Cartier-Bresson
* € 7.000 / € 12.000–14.000
Cartier-Bresson machte die aussagekräftigsten Aufnahmen der kommunistischen
Übernahme von China und der Geburtsstunde der Volksrepublik. China wurde
seit Juli 1946 vom Bürgerkrieg zwischen den Truppen des Kommunisten Mao
Tse-Tungs und den nationalistischen Streitkräften der Kuomintang unter General
Tschiang Kai Schek zerrissen. Als sich der Sieg der Kommunisten abzeichnete, sank
der Wert des Papiergeldes ins Bodenlose. Die Kuomintang entschieden 40g Gold
pro Person auszugeben, was zu einer Art Goldrausch im Dezember 1948 führte.
Die Aufnahme zeigt Einwohner Shanghais beim Eintauschen von Geld gegen Gold
vor einer staatlichen Bank. Die Polizei versuchte nur halbherzig wieder Ordnung
herzustellen. Zehn Menschen kamen in der Drängerei zu Tode. Die ikonische
Aufnahme blieb seither ein Symbol einer Massenpanik nach einem Regimewechsel.
Cartier-Bresson inkludierte sie in sein erstes Fotobuch, The Decisive Moment, aus
dem Jahre 1952. Der vorliegende signierte Print kommt ursprünglich aus dem
Archiv des Fotografen, und wurde 2011 vom aktuellen Besitzer in der Auktion
100 photographs from the Henri Cartier-Bresson Foundation erworben.
Cartier-Bresson took the most definitive photographs of the Communist takeover
of China and the birth of the People’s Republic. Since July 1946, China has been
torn apart by civil war between the Communist forces of Mao Tse-Tung and the
Nationalist Kuomintang forces of General Tchang Kai Chek. With the approach of
the Communist victory, the value of paper money plummeted. The Kuomintang
decided to distribute 40 grams of gold per person. A gold rush started in December
1948. The image shows Shanghai citizens at a government bank exchanging paper
money for gold. The police only made a gesture toward maintaining order. Ten
people were crushed to death. The iconic shot is a lasting symbol of crowds
panicked by the change of regime. Cartier-Bresson included it in his very first photo
book The Decisive Moment in 1952. The present signed print comes originally from
Cartier-Bresson’s archive and was acquired by the present owner in 2011 at the
auction 100 photographs from the Henri Cartier-Bresson Foundation.
61
93
HENRI CARTIER-BRESSON
(1908–2004)
Pamplona, San Fermines, July 1952
25,1 × 17,3 cm (9.9 × 6.8 in)
Photographer’s credit reproduction
stamp and several handwritten numerical
notations in pencil on the reverse
€ 2.000 / € 3.000–4.000
94
HENRI CARTIER-BRESSON
(1908–2004)
Deligny Bassin, Paris 1955
23,8 × 15,8 cm (9.4 × 6.2 in)
Photographer’s copyright stamp and
various handwritten notations in pencil
and ink on the reverse
LITER ATURE H.C.B. Seine Kunst –
Sein Leben, Munich 1995, p. 34.
€ 2.200 / € 4.000–4.500
62
95
Rome, 1951
16,3 × 24,1 cm (6.4 × 9.5 in)
Photographer’s copyright stamp on
the reverse
LITER ATURE Wer sind Sie, Henri Cartier-
Bresson?, Munich 2003, p. 123.
€ 2.400 / € 4.000–5.000
96
‘The decisive Moment’, New York:
Simon & Schuster in collaboration
with Éditions Verve of Paris, 1952
First original edition, hardcover with the
original dust jacket designed by Matisse,
unpaginated, 37 × 27,5 cm (14.6 × 10.8 in),
126 full-page black and white photographs
printed in photogravure.
The engravings and printings are the work of
the master printers Draeger Frères of Paris,
includes original caption booklet.
€ 900 / € 1.400–1.600
63
97
MARC RIBOUD (* 1923)
The painter Qi Baishi, 96 years old,
Beijing 1957
22,6 × 34,2 cm (8.9 × 13.5 in)
Photographer’s agency credit stamp and
several handwritten notations in pencil
on the reverse; the image was taken
shortly before the death of Qi Baishi, the
godfather of modern Chinese painting
LITER ATURE Marc Riboud. Into the Orient.
Editions Xavier Barral 2012, p. 26 (same
series).
€ 1.200 / € 2.000–2.400
98
Two women reading, Province of Gansu,
China 1957
20 × 30,2 cm (7.9 × 11.9 in)
Photographer’s agency stamp and two neg.
no. stamps (57 9 1175 13) on the reverse,
several handwritten notations in pencil on
the reverse
€ 1.200 / € 2.000–2.400
99
Two girls in the dormitory of the
factory where they use to work,
Kunming, China 1965
16,6 × 25 cm (6.5 × 9.8 in)
Photographer’s agency copyright credit
and several handwritten numerical
notations (incl. neg. no. 65-2-116-1a) on
the reverse
€ 1.600 / € 2.500–3.000
64
100
A couple getting divorced in Beijing, China 1965
16,8 × 25 cm (6.6 × 9.8 in)
Photographer’s agency copyright stamp and
several handwritten numerical notations
(incl. neg. no. 65-2-69/14) in pencil and ink
on the reverse
LITER ATURE Marc Riboud, Portfolio, Munich 2001,
pl. 73; Marc Riboud, The Three Banners of China,
London 1966, pp. 166–167.
Ein Scheidungsprozess, die Mitglieder des Gerichts
(Präsident, Beisitzender und zwei Stenographen)
empfehlen dem Paar das Zusammenleben wieder
aufzunehmen. Obgleich die Scheidung offiziell nach
dem Gesetz anerkannt ist, wurde sie nur sehr
beschränkt angewandt. / Divorce proceedings, the
members of the court (president, associate judge
and two stenographers) advise the couple to take up
their marriage again. Divorce was officially approved
by law, but it was executed only very limited.
€ 1.600 / € 2.500–3.000
65
101
ERICH LESSING (* 1923)
Chou En-Lai with a wagging finger,
Warsaw, Poland 1957
20,5 × 29,9 cm (8.1 × 11.8 in)
“Photo Magnum” stamp and typographic
“Chou En Lai” stamp on the reverse,
annotated “en Pologne” in pencil on
the reverse
* € 1.200 / € 2.000–2.500
102
Chou En-Lai visits Geraw car factory,
Poland 1957
20,5 × 29,9 cm (8.1 × 11.8 in)
several handwritten notations in pencil
on the reverse
* € 1.200 / € 2.000–2.500
66
103
IAN BERRY (* 1934)
Prague Spring, Russian soldier
relaxes next to a Russia Go Home
poster in Wenceslas Square,
Prague 1968
18,2 × 28 cm (7.2 × 11 in)
Photographer’s agency stamp,
numerical stamp. (No. 1009) and
handwritten notations in pencil
* € 1.400 / € 2.000–2.400
104
IAN BERRY (* 1934)
Prague Spring, Embarrassed
Russian soldier being harangued on
Wenceslas Square, Prague 1968
19,4 × 29 cm (7.6 × 11.4 in)
numerical stamp. (No. 1009) and
on the reverse
* € 1.200 / € 2.000–2.400
Magnum Fotograf Ian Berry verewigte den tschechischen
Widerstand während des sogenannten Prager Frühlings im
Jahre 1968 in seinen Aufnahmen. Der tschechoslowakische
Erste Sekretär Alexander Dubcek hatte zuvor eine Reform
begonnen, welche eine Welle des Protestes auslöste. Diese
endete erst, als die UdSSR im August desselben Jahres im
Land einmarschierte. Berry erreichte Prag an dem Tag, als die
Panzer des Warschauer Paktes einrollten und dokumentierte
als einziger ausländischer Fotograf das Geschehen. Berry
fotografierte die Ankunft der Panzer und die unvergesslichen
Szenen der gewaltsamen Proteste junger Tschechen gegen die
verwirrten russischen Soldaten. Viele davon kamen aus Asien
und waren bewusst im Dunklen darüber gelassen worden,
welches Land sie einnahmen. Berrys Arbeit in Prag gilt als
eines der wichtigsten fotohistorischen Dokumente dieses
weitreichenden Ereignisses.
Magnum photographer Ian Berry immortalised the Czech
resistance of the so-called Prague Spring in 1968. Czechoslovakia’s first secretary Alexander Dubcek began a period of
reform, which gave way to outright civil protest, only ending
when the USSR invaded the country in August of that year.
Berry arrived in Prague on the same day as the Warsaw Pact
tanks rolled in. He was the only foreign photographer present
to capture the momentous events of that day. Berry photographed the arrival of the tanks and the unforgettable sights of
young Czechs remonstrating with confused Russian soldiers,
many from Asia, who had deliberately been kept in the dark
about which country they were invading. His work in Prague
is regarded as one of the most important photo-historical
records of this major seismic event.
67
105
A fisherman takes a nap with his chicken,
Acapulco 1958
33,6 × 47 cm (13.2 × 18.5 in)
Signed by the photographer in pencil in
the margin; signed, annotated and dated by
LITER ATURE Marc Riboud, Portfolio, Munich
2001, pl. 36; Linda Gerdiner (ed.), Marc Riboud –
50 Years of Photography, Paris 2004, p. 133.
€ 2.600 / € 4.000–5.000
106
RENÉ BURRI (1933–2014)
Heidelberg (from his project
‘Die Deutschen / The Germans’), 1960
24,1 × 16 cm (9.5 × 6.3 in)
Photographer’s agency stamp and several
handwritten notations and indications of
measurements in pencil on the reverse
* € 2.400 / € 4.000–5.000
68
107
RENÉ BURRI (1933–2014)
‘Che Guevara y su tabaco’, Cuba 1963
Gelatin silver print, printed in the 1980s, framed
30 × 42 cm (11.8 × 16.5 in)
photographer in ink in the margin
LITER ATURE L. Bergquist, Most revealing Report on
Cuba since the missile Crisis, in: LOOK, April 9, 1963,
p. 27; W. Manchester (ed.), In our Time. The world as seen
by Magnum, London 1989, p. 287; Hans-Michael Koetzle,
René Burri. Fotografien, Berlin 2003, p. 226f.; Hans-M.
Koetzle, Photo-Icons 1827-1991, Cologne 2005, p. 264f.;
Saul Corrales/Carlos T. Cairo (ed.), Che Guevara. By the
Photographers of the Cuban Revolution, Havana 2006,
p. 115; Carlos T. Cairo et al. (eds.), René Burri. Un Mondo,
Valencia 2007, p. 59; Kirsten Lubben (ed.), Magnum
Contact Sheets, Munich 2011.
€ 4.000 / € 6.000–7.000
69
108
Café Hotel de la Porte, Paris 1965
16,3 × 23,7 cm (6.4 × 9.3 in)
Two of the photographer’s agency stamps
and date stamp on the reverse, handwritten
numerical notations in pencil on the reverse
€ 1.600 / € 2.500–3.000
109
BRUCE DAVIDSON (* 1933)
Paris, 1962
16 × 24,1 cm (6.3 × 9.5 in)
archive stamp and several handwritten notations (incl. neg. no)
€ 800 / € 1.400–1.600
70
110
ELLIOTT ERWITT (* 1928)
Paris, 1989
Gelatin silver print, printed in 2012, in the
original black Chanel wooden frame
c. 36,5 × 54,5 cm (14.4 × 21.5 in)
margin, exhibition print for the Chanel Nexus
Hall Photo Exhibition “Elliott Erwitt’s Paris”
in Tokyo, February 2012
LITER ATURE Elliott Erwitt’s Paris, Kempen 2010,
cover; Elliott Erwitt, Personal Best, Kempen
2006, p. 184.
* € 5.000 / € 8.000–10.000
111
Paris, 1952
Gelatin silver print, printed in 2012, in the
original black Chanel wooden frame
c. 44 × 29,5 cm (17.3 × 11.6 in)
Signed by the photographer in ink in the margin,
exhibition print for the Chanel Nexus Hall Photo
Exhibition “Elliott Erwitt’s Paris” in Tokyo,
February 2012
LITER ATURE Elliott Erwitt’s Paris, Kempen 2010, cover;
Elliott Erwitt, Personal Best, Kempen 2006, p. 379.
* € 2.800 / € 4.000–5.000
71
112
WERNER BISCHOF (1916–1954)
Barau, Meo (or Hmong) village, Indochina 1952
18,9 × 25,3 cm (7.4 × 10 in)
Photographer’s agency stamp, “a.b.c. press” stamp
and several handwritten numerical notations in
€ 1.600 / € 3.000–3.500
113
A young boy sells flowers in Sopot, the once
elegant spa near Gdansk, Poland 1956
24,8 × 17 cm (9.8 × 6.7 in)
Signed by the photographer in ink on the reverse,
his agency stamp, agency archive stamp and
handwritten neg. no. on the reverse
LITER ATURE Alistair Crawford (ed.), Erich Lessing.
Vom Festhalten der Zeit. Reportage-Fotografie
1948-1973, Vienna 2002, p. 80.
PROVENANCE directly from the photographer
€ 1.400 / € 2.000–2.400
72
114
Crowds welcoming General Charles De Gaulle,
Algiers 1958
16 × 23,8 cm (6.3 × 9.4 in)
Signed by the photographer in ink on the
reverse, his agency stamp and typographic
annotation reading “DIST. 121/74: BIRTH
OF THE ALGERIAN NATION: 20 YEARS AFTER
THE FIGHT BEGAN” on the reverse
LITER ATURE Jean-Jacques Jordi, Algérie.
De la guerre à l’indépendance 1957-1962,
Editions Quest-France, Rennes 2012, p. 33.
PROVENANCE directly from the photographer
De Gaulle’s first task as head of government was
to defuse the situation in Algeria. In a four-day
visit he tried to calm the Algerian population as
well as the French “colonies”. Algeria, 1958.
€ 1.800 / € 2.600–3.000
115
HIROJI KUBOTA (* 1939)
Anti-Vietnam-Demonstration,
Washington Monument, 1965
19,2 × 28 cm (7.6 × 11 in)
ink on the reverse, his agency
distribution stamp and date stamp
on the reverse, handwritten neg.
no. (65-3-5-20a) in pencil and ink
on the reverse
* € 1.200 / € 2.000–2.400
73
116
117
117
NICOLAS TIKHOMIROFF (1927–2016)
Orson Welles am Set von ‘Falstaff’,
Spain 1964
23,5 × 5,5 cm (9.3 × 14 in)
Photographer’s blindstamp in the
margin; signed by the photographer in
BRUCE DAVIDSON (* 1933)
Marilyn Monroe, Arthur Miller, Yves Montand and
Simone Signoret, Beverly Hills Hotel 1960
16,1 × 24,2 cm (6.3 × 9.5 in)
Photographer’s agency stamp, Magnum Photo
Library stamp and several handwritten notations
(incl. neg. no. 60-6-18) in pencil on the reverse
The quartet spent the summer of 1960 together in Beverly
Hills, where Miller wrote the script to the film ‘Let’s Make
Love’, starring Monroe und Montand. At that time the
marriage of Monroe was already in a crisis. It was rumoured
she had an affair with her leading man Montand.
* € 1.200 / € 2.000–2.400
€ 1.800 / € 3.000–3.500
116
74
118
INGE MORATH (1923–2002)
Marilyn Monroe having a dance with
Eli Wallach (‘The Misfits’), 1960
16,2 × 24 cm (6.4 × 9.4 in)
Photographer’s agency credit stamp, Magnum
Photo Library stamp and several handwritten
notations (incl. neg. no. 60-16-53) in pencil on
the reverse
€ 1.800 / € 3.000–3.500
119
Jayne Mansfield in her bathroom,
Sunset Boulevard, Hollywood 1959
30 × 20 cm (11.8 × 7.9 in)
neg. no. stamp and several other stamps
and annotations on the reverse
€ 1.400 / € 2.000–2.400
75
120
‘Drum Major, University of Michigan’, 1951
23,2 × 32,2 cm (9.1 × 12.7 in)
his “PHOTO BY ALFRED EISENSTAEDT” stamp
on the reverse, handwritten title by Eisenstaedt on
the reverse
LITER ATURE Eisenstaedt, Remembrances,
Massachusetts, 1990, p. 72–73; Alfred Eisenstaedt
(ed.), Eisenstaedt on Eisenstaedt. A self-portrait,
New York 1985, p. 76; Alfred Eisenstaedt,
Witness to our Time, New York 1966, p. 312-313;
The Eye of Eisenstaedt, London 1969, p. 60–61.
PROVENANCE Family Estate, Allan Leas
(nephew of Eisenstaedt)
€ 4.000 / € 6.000–8.000
“People who see this picture often ask me if I posed it, and
the answer is: No, it just happened. I was at the University of
Michigan at Ann Arbor in 1951, photographing the school’s
famous marching band (...) In the afternoon I saw the drum
major strutting along all alone. A group of children saw him,
and all of a sudden they ran out and began to mimic and
imitate him. It happened so very quickly I barely had time to
focus...The moral is, you have to be there. If you’re there and
react fast enough, it’s okay.” (Alfred Eisenstaedt)
76
121
‘Children at a Puppet Theatre’, Paris 1963
22,7 × 34,4 cm (8.9 × 13.5 in)
his “PHOTO BY ALFRED EISENSTAEDT” stamp
on the reverse, annotation reading “Children
watching Puppet Theatre in the Tuileries Garden
of Paris at the moment the dragon is slain” written
by Eisenstaedt on the reverse
LITER ATURE Alfred Eisenstaedt (ed.), Eisenstaedt
on Eisenstaedt. A self-portrait, New York 1985,
p. 105; Doris O’Neil, Eisenstaedt: Remembrances,
Boston 1990, p. 114–115.
PROVENANCE Family Estate, Allan Leas (nephew
of Eisenstaedt)
€ 7.000 / € 12.000–14.000
Nur wenigen Fotografen gelingt es solch einen Moment
überschwänglicher Freude, Angst und Begeisterung in
einem Bild einzufangen. Alfred Eisenstaedt machte diese
unvergessene Aufnahme, als er 1963 für eine Reportage
für Life in Paris war. Aus der ersten Reihe beobachtete
er Kinder bei einem Puppenspiel im Tuilerien-Park.
Der Schnappschuss zeigt den Moment als die Aufführung
„Der Heilige Georg und der Drachen“ ihren Höhepunkt
erreicht. Das mystische Biest wird erschlagen. Die Kinder
reißen vor Entsetzen ihre Münder auf und schreien vor
Aufregung. Eisenstaedts vielleicht schönste nicht-inszenierte Ikone gelangt als signierter Print aus dem Familienbesitz zur Auktion.
Only few photographers are capable of capturing such
intense joy, fear and enthusiasm in one single frame. Alfred
Eisenstaedt took this unforgotten photograph while on a
documentary assignment from Life in Paris in 1963. He was
observing children from the first row during a puppet play
at Tuileries Garden, as the play ‘St. George and the Dragon’
reached its climactic moment. Saint George slays the
dragon and the children open their mouths in shock. This
photograph may be Eisenstaedt’s most beautiful non-staged
icon. The signed print to be auctioned comes directly from
the family’s estate.
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122
ROBERT CAPA (1913–1954)
Pablo Picasso and his son Claude at
the beach, Côte d’Azur, August 1948
24,7 × 19,9 cm (9.7 × 7.8 in)
Photographer’s agency credit stamp
and numerical notations on the reverse
€ 1.800 / € 2.500–3.000
123
Bernard Buffet and his wife, 1961
16,7 × 24,6 cm (6.6 × 9.7 in)
Signed by the photographer in ink on
the reverse, his agency stamp and
handwritten neg. no. on the reverse
PROVENANCE directly from the
photographer
Painter Bernard Buffet and his wife
Annabel in their living room in
Château L’Arc, near Aix-en-Provence.
Behind him a portrait he painted of
his wife, in bathing suit and wide
brimmed straw hat. France, 1961.
€ 1.400 / € 2.000–2.400
78
124
BRASSAÏ (1899–1984)
Oskar Kokoschka, Paris 1931
22,2 × 17,6 cm (8.7 × 6.9 in)
Photographer’s copyright stamp on the
reverse, dedicated by Kokoschka in pencil
“Meiner lieben Tante Marie mit aller Liebe
Oskar, Paris Villa Camelias” (To my lovely
aunt Marie with all my love Oskar, Paris
Villa Camelias) on the reverse
€ 3.000 / € 5.000–6.000
79
125
FRANZ HUBMANN (1914–2007)
École de Paris – A comprehensive collection of 215 photographs
containing his most famous artist portraits, Paris 1950s
215 gelatin silver prints (211 images by Hubmann), printed in
the late 1960s
sizes vary, small format prints, majority c. 12 × 8 cm (4.7 × 3.1 in)
or 8 × 8 cm (3.1 × 3.1 in)
The prints were used as storyboard for Hubmann’s movie
École de Paris – Der Parnass der Kunst, which was featured
in Austrian TV in 1970, they are mounted on loose paper sheets
(A4 size), each photo series is accompanied by very personal
typographic notes, some written directly on the paper, some
on mounted labels, the notes were written by Hubmann,
telling his very personal stories of his meetings with the depicted
artists, the sheets also show Hubmann’s handwritten notes and
adjustments in pencil and ink
LITER ATURE Franz Hubmann, Pariser Parnass. Fotos zur
französischen Kunstszene der fünfziger Jahre, Graz 1970.
PROVENANCE Private Collection Vienna List of photographs
(number of prints): Pablo Picasso (36), Marc Chagall (23),
Le Corbusier (12), Hans Arp (3), Alberto Giacometti (1),
Georges Braque (3), Bernard Buffet (8), K. R. H. Sonderborg (17),
Georges Henri Adam (18), Zao Wou-Ki (11), Jean Tinguely (4)
(not by Hubmann), Alfred Manesier (7), Hans Hartung (7),
Marcel Gromaire (7), Alberto Magnelli (7), Antoine Pevsner (9),
Ossip Zadkine (20), Léopold Survage (10), Serge Charchoune
and Max Ernst (8), Sonja Delaunay (1), Wassily Kandinsky (2),
Frank Kupka (1)
€ 24.000 / € 40.000–50.000
Das umfassende Konvolut beinhaltet 215 Porträts und
Atelieraufnahmen von 22 verschiedenen Künstlern der Pariser
Schule. Es inkludiert nicht nur Hubmanns weltbekannte
Porträts von Picasso und Giacometti, sondern auch eine
Anzahl bis dato unveröffentlichter Aufnahmen. Die frühen
Silbergelatine-Prints sind auf Papier montiert und auf diesem
sorgfältig von Hubmann mit der Schreibmaschine oder Hand
beschriftet. Die Beschriftungen erzählen von seinen Zusammentreffen und Erfahrungen mit den abgebildeten Künstlern.
Die Abzüge entstanden Ende der 1960er-Jahre und dienten
Hubmann als Storyboard für seinen Fernsehfilm École de Paris,
der 1970 ausgestrahlt wurde. Die Dokumentation erzählt die
Geschichte des Pariser Parnass und ist ausschließlich mit
eingeblendeten Fotografien von Hubmann bebildert.
Hubmann schuf seinen Bildatlas zur Pariser Kunstszene in
den Jahren 1955 bis 1957. Alfred Schmeller, der damalige
Direktor des Museums des 20. Jahrhunderts in Wien, animierte
ihn zu diesem Projekt. Hubmann wollte die Großen der
Kunstgeschichte noch rechtzeitig porträtieren und es gelang
ihm diese respektvoll, aber sympathisch unbefangen einzufangen. Hubmann kam meist ohne Termin und stand überfallsartig vor den Türen der Künstler. Entstanden sind nicht
nur momenthafte Einzelporträts wie im Fall des scheuen
Giacometti, sondern auch umfassende Serien wie mit Picasso,
Chagall oder Le Corbusier. Das vorliegende Konvolut beinhaltet ganze 36 Prints aus dieser wichtigen Serie mit Picasso.
Diesen besuchte Hubmann in Begleitung seines Freundes, dem
Kunsthändler Daniel Henry Kahnweiler. Er hielt den entspannt wirkenden Weltstar inmitten seines Atelierchaos fest.
Le Corbusier, Zao Wou-Ki, Chagall und Buffet porträtierte er
im Umfeld ihrer Werke und künstlerischen Produktion.
Hubmann war zwar nicht der einzige Fotograf, der den
prominenten Künstlern in Paris nachstellte, aber seine
Aufnahmen zählen zu den intimsten und persönlichsten
Künstlerporträts der Fotogeschichte. Dass vorliegend gleich
mehr als 200 seiner Aufnahmen versammelt sind, kann nicht
hoch genug eingeschätzt werden.
80
This extensive lot contains 215 portraits of artists and their
studio spaces from the School of Paris. It includes not only
Hubmann’s world famous portraits of Picasso and Giacometti,
but also a number of unpublished shots. The gelatin silver
prints are mounted on paper and accompanied by detailed
notes written by Hubmann himself, both by hand and on
typewriter. The notes recount the numerous meetings with the
artists shown. The prints were made in the late 1960s and
served as a storyboard for Hubmann’s television movie École de
Paris, which premiered in 1970. The documentary tells the
story of the Paris Parnass and its entire visual material consists
exclusively of photographs taken by Hubmann.
Hubmann created his photographic map of the Parisian art
scene between 1955 and 1957 after Alfred Schmeller, the then
director of the Museum of the 20th century in Vienna, had
inspired him to do so. The idea was to capture the important
figures in art before it was too late and, indeed, Hubmann
succeeded. He captured the artists in a respectful yet pleasingly casual way. He would usually show up at the artists’
door steps unannounced and completely surprise them. The
results were not only single portraits, as in the case of the shy
Giacometti, but also extensive series, such as the portraits of
Picasso, Chagall or Le Corbusier. This collection contains an
impressive 36 prints of this important series with Picasso.
All of these were taken during a visit to Picasso together with
Hubmann’s friend and art dealer Daniel Henry Kahnweiler.
Hubmann captured a relaxed-looking Picasso surrounded by
his chaotic studio. The portraits of Le Corbusier, Zao Wo-Ki,
Chagall and Buffet were also taken in the midst of their studio
spaces and they show their works in progress.
Hubmann was by no means the only photographer who was
after the prominent artists of Paris, but his photographs are
among the most personal and intimate artist portraits in the
history of photography. The present collection contains an
astonishing number of more than 200 prints from the series,
which is highly extraordinary.
81
82
83
126
127
PHILIPPE HALSMAN (1906–1979)
‘Invisible Dalí’, New York 1954
32,8 × 25,1 cm (12.9 × 9.9 in)
Photographer’s “Halsman / Dalí Copyright,
Philippe Halsman ©81, Edition Number 132
[handwritten] /250” stamp on the reverse,
edition no. 117/250
‘Saul Steinberg mit Nasenmaske’ (from the series
‘Saul Steinberg Masks’), New York 1966
33,2 × 25,4 cm (13.1 × 10 in)
Signed, titled and numbered (neg. no. “66-14-1/15”)
by the photographer in pencil on the reverse
€ 1.600 / € 2.400–2.600
€ 1.200 / € 2.000–2.400
128
JESPER HOM (1931–2000)
Niki de Saint Phalle in front of
‘Tir tableau Dracula I’, Paris 1962
20,5 × 30,1 cm
Photographer’s copyright
20,5 × 30,1 cm (8.1 × 11.9 in)
€ 600 / € 1.000–1.200
84
129
ULRICH MACK (* 1934)
Friedensreich Hundertwasser,
Hochschule für Bildende Künste,
Hamburg 1959
Vintage silver print, large format print
59 × 49 cm
Signed, annotated and dated by
the photographer in ink on the reverse,
his blindstamp in the margin and
copyright stamp on the reverse
€ 2.000 / € 3.000–4.000
Die persönliche Kamera-Ausrüstung
von Ulrich Mack wird in unserer
Kamera-Auktion am 11. Juni versteigert. /
The private camera equipment of
Ulrich Mack will be auctioned in our
camera sale on June 11th:
www.westlicht-auction.com
130
PETER BAUM (*1939)
Friedensreich Hundertwasser, Vienna 1972
44,7 × 30 cm (17.6 × 11.8 in)
Photographer’s copyright stamp on the
reverse, signed, annotated and dated by the
photographer in pencil on the reverse
€ 800 / € 1.400–1.600
85
131
Oskar Werner, Vienna 1954
23,8 × 18,1 cm (9.4 × 7.1 in)
Photographer’s copyright stamp
on the reverse
€ 1.500 / € 3.000–3.400
132
‘Drei Halbstarke vor einem Sportplatz in der Wiener Vorstadt’
(Three teenagers at a sports area
in the suburbs), Vienna 1950s
29,5 × 23,8 cm (11.6 × 9.4 in)
Two photographer’s stamps (copyright
and address stamp) on the reverse,
handwritten numerical notations in
€ 1.200 / € 2.000–2.400
86
133
ROY SCHATT (1909–2002)
James Dean (‘Torn Sweater Series’),
New York 1954
22,3 × 33,2 cm (8.8 × 13.1 in)
Photographer’s studio stamp
on the reverse
PROVENANCE Elaine Schatt, New York
€ 1.800 / € 3.000–3.500
134
ROY SCHATT (1909–2002)
James Dean with his Rolleiflex
camera, New York 1954
33,3 × 26,4 cm (13.1 × 10.4 in)
Photographer’s studio stamp
on the reverse
PROVENANCE Elaine Schatt, New York
€ 1.800 / € 3.000–3.500
87
135
DENNIS STOCK (1928–2010)
James Dean at a dance lesson with
Eartha Kitt, New York 1955
23,9 × 33,8 cm (9.4 × 13.3 in)
Photographer’s agency credit stamp and
Magnum archive stamp on the reverse, handwritten notations in pencil on the reverse
LITER ATURE Dennis Stock, James Dean,
Editions de la Martinière 2005, pp. 106–107.
* € 2.400 / € 4.000–4.500
136
DENNIS STOCK (1928–2010)
‘James Dean’, Editions de
la Martinière, Paris 2005
French edition, signed by Dennis Stock ,
inscribed „For Regina“, hardcover with
dust jacket, 33,2 × 26,5 cm, 128 pages,
black and white photographs
33,2 × 26,5 cm (13.1 × 10.4 in)
€ 800 / € 1.200–1.400
88
137
JEANLOUP SIEFF (1933–2000)
Lyame Daydé (from the series ‘Danse’),
Paris 1960
24 × 35,7 cm (9.4 × 14.1 in)
Photographer’s stamp on the reverse,
annotated in an unidentified hand in ink
on the reverse, label with notations referring
to book project (title ‘Danse’, page. no.,
format) on the reverse
LITER ATURE Jeanloup Sieff, Eintritt frei.
Tanz, Lausanne 1963, p. 44–45.
* € 2.000 / € 3.000–4.000
138
Sophia Loren und Anthony Perkins,
Paris 1962
30,2 × 20,8 cm (11.9 × 8.2 in)
neg. no. stamp (62 3 2 28) on the reverse
* € 2.400 / € 4.000–4.500
89
139
FRANK HORVAT (* 1928)
Strip-Tease, Paris late 1950s
16,6 × 24,6 cm (6.5 × 9.7 in)
Label (notations on label referring to book
‘Strip-T’, page no., photo no. and format)
on the reverse, annotated in an unidentified
hand in pencil on the reverse
LITER ATURE Frank Horvat, Eintritt frei.
Strip-Tease, Lausanne 1963, p. 86/87.
* € 2.600 / € 4.000–5.000
140
FRANK HORVAT (* 1928)
Offstage, Strip-Tease, Paris late 1950s
24,6 × 16,1 cm (9.7 × 6.3 in)
Label (notations on label referring to
book ‘Strip-T’, page no., photo no. and format) on the reverse, annotated
the reverse
LITER ATURE Frank Horvat, Eintritt frei.
Strip-Tease, Lausanne 1963, p. 32.
* € 2.600 / € 4.000–5.000
90
141
WILLIAM KLEIN (* 1928)
‘Three Greek Heirettes’, Greece 1963
15,5 × 23,2 cm (6.1 × 9.1 in)
Photographer’s Paris studio stamp
on the reverse
* € 2.400 / € 4.000–5.000
91
142
CHRISTER STRÖMHOLM
(1918–2002)
Gina & Nana, Place Blanche,
Paris 1963
Gelatin silver print, printed
in the 1970s
28 × 21,3 cm (11 × 8.4 in)
Signed, annotated and dated
(print date) by the photographer
in pencilon the reverse
LITER ATURE Christer Strömholm,
Vännerna från Place Blanche (Friends
from Place Blanche), 1983, back cover;
Christer Strömholm, Les Amies de
Place Blanche, Aman Iman 2012, p. 12.
€ 2.600 / € 4.000–5.000
92
In den späten 1950er-Jahren ließ sich Strömholm an der Place Blanche im Pariser Vergnügungsviertel Pigalle nieder. Die nächsten
Jahre lebte er Tür an Tür mit Transsexuellen,
Transvestiten und männlichen Prostituierten.
Strömholm adaptierte deren Rhythmus,
nachts packte er seine Pfeife, die Leica und
einige Rollen der legendären schwarz-weißen
Tri-X Filme ein und begleitete seine neuen
Freunde bei ihren nächtlichen Streifzügen
durch die Straßen von Paris. Er arbeitete auch
bei diesen Szenen ausschließlich mit vorhandenem Licht, so dass das Milieu zwar Bestandteil seiner Bilder ist, Details jedoch zumeist
im Dunkel verschwinden. Liebevoll nannte
er sie seine „Freundinnen“, Gina und Nana,
Sylvia und Suzanne, um nur einige zu nennen.
Strömholms Aufnahmen folgen keinem voyeuristischen oder lauernden Blick, sondern
sprechen von großem Respekt, Nähe und
wachsender Vertrautheit. „These are images
of people whose lives I shared and whom
I think I understood“, so beschreibt er seine
lange unveröffentlichten Bilder.
In the late 1950s, Strömholm moved to Place
Blanche in Pigalle, the Paris nightclub district.
For the next years, he lived door to door
with transsexuals, transvestites and male
prostit utes. Strömholm adapted to their
rhythm: at night he packed up his pipe, his
Leica and a few rolls of the legendary black-andwhite Tri-X films and accompanied his new
friends on their nightly forays into the streets
of Paris. Shooting these scenes, he worked
exclusively with available light, so that
the milieu is part of his images, but most of
its details disappear in the darkness. He
affectionately called them his “girlfriends”,
Gina and Nana, Sylvia and Suzanne, to
name but a few. Strömholm’s images are not
voyeuristic or preying, but speak of great
respect, closeness and a growing intimacy.
“These are images of people whose lives
I shared and whom I think I understood,”
thus he described his pictures, which long
remained unpublished.
143
144
143
144
GARRY WINOGRAND (1928–1984)
Untitled (from ‘Women Are Beautiful’), New York 1969
Gelatin silver print, printed in 1981
22,3 × 33,2 cm (8.8 × 13.1 in)
Signed and numbered by the photographer
in pencil on the reverse, edition no. 29/80,
from the Portfolio ‘Women are Beautiful’
(Edition RFG Publishing Inc., New York)
GARRY WINOGRAND (1928–1984)
Untitled (from ‘Women are Beautiful’), New York 1971
22,3 × 33,3 cm (8.8 × 13.1 in)
in pencil on the reverse, edition no. 29/80,
from the Portfolio ‘Women are Beautiful’
(Edition RFG Publishing Inc., New York)
LITER ATURE Garry Winogrand, Women are Beautiful,
LITER ATURE Garry Winogrand, Women are Beautiful,
New York, 1975, s. p
New York, 1975, s. p
€ 2.000 / € 3.000–4.000
€ 2.600 / € 4.000–5.000
93
145
MARIO GIACOMELLI (1925–2000)
Scanno, 1957
29,8 × 39,5 cm (11.7 × 15.6 in)
Photographer’s stamp and Scanno series stamp
on the reverse, dated by the photographer in ink
on the reverse
LITER ATURE John Szarkowski (ed.), Looking at
Photographs. 100 Pictures from the Museum of
Modern Art, New York 1973; Alistair Crawford
(ed.), Mario Giacomelli, New York 2001, p. 295;
Alessandra Mauro (ed.), Mario Giacomelli.
The Black is waiting for the White, Rome 2009,
p. 148-149.
€ 2.600 / € 4.000–5.000
146
MARIO GIACOMELLI (1925–2000)
Puglia, 1958
Gelatin silver print, printed 1980s,
framed
39,6 × 30,4 cm (15.6 × 12 in)
Signed by the photographer in ink on
the reverse, his photographer’s stamp
on the reverse
LITER ATURE Alistair Crawford (ed.),
Mario Giacomelli, New York 2001
€ 1.400 / € 2.000–2.400
94
147
GIANNI BERENGO GARDIN (* 1930)
‘Venezia, il vaporetto’, 1960
26,3 × 38,3 cm (10.4 × 15.1 in)
margin, two of the photographer’s
Milano copyright stamps and “Vera Fotografia” stamp on the reverse, annotated
by the photographer in ink on the
reverse
PROVENANCE acquired by the present
owner directly from the photographer
LITER ATURE Hans-Michael Koetzle,
Augen Auf. 100 Jahre Leica, Berlin 2014,
p. 5; Gianni Berengo Gardin, Fotografo
1953–1990, Udine 1990, p. 41.
€ 1.800 / € 3.000–4.000
Seine Tätigkeit als Fotoreporter begann
Oskar-Barnack-Preisträger Gianni
Berengo Gardin Mitte der 1950er Jahre bei
der Wochenzeitung Il Mondo. Sein Talent
besteht häufig darin, uns die Dinge
ungeschminkt und ungekünstelt zu
übermitteln, so wie sie sind, noch roh und
unbearbeitet. Die vorliegende Fotografie
ist Gianni Berengo Gardins wohl berühmtestes Motiv, entstanden auf dem Vapo
retto, einer Art Omnibus auf dem Wasser –
in Venedig das am meisten benutzte
Verkehrsmittel. Die Bildfindung überzeugt durch ihre Komplexität, das
Miteinander von Durchblicken, Ausblicken oder Spiegelungen, die für die Dauer
eines Wimpernschlags ein fast schon
surreales Miteinander formen.
A winner of the Oskar Barnack Prize,
Gianni Berengo Gardin began his career
as a photo reporter for the weekly
newspaper Il Mondo in the mid-1950s.
Often, his talent consists in conveying an
unadorned and non-artificial image of
things – as they are, in the raw and
unprocessed. The present photograph is
presumably Gianni Berengo Gardin’s most
famous motif, taken on a vaporetto, a kind
of water omnibus – the most frequentlyused mode of transportation in Venice.
The image is convincing in its complexity,
the concurrence of perspectives, vistas
and reflections which form an almost
surreal conglomerate for the duration of
a second.
95
148
‘Inghilterra’, 1977
Gelatin silver print, printed later (in 2006)
26,3 × 38,2 cm (10.4 × 15 in)
margin, two of the photographer’s Milano
copyright stamps and “Vera Fotografia”
stamp on the reverse, annotated by the
photographer in ink on the reverse
96
LITER ATURE Gianni Berengo Gardin,
Fotografo 1953–1988, Udine 1988, cover
and p. 83
PROVENANCE acquired by the present
owner directly from the photographer.
€ 1.800 / € 3.000–4.000
150
BURK UZZLE (* 1938)
‘Wall with paint and man’
(from ‘All American’), 1970s
18,7 × 28,2 cm (7.4 × 11.1 in)
LITER ATURE Burk Uzzle, All American,
Aperture New York 1985, s. p.
€ 1.400 / € 2.000–2.400
≤ 149
Quartiere Forcella, Napoli 1960
25,8 × 37,8 cm (10.2 × 14.9 in)
two of the photographer’s Milano copyright stamps
and “Vera Fotografia” stamp on the reverse,
annotated by the photographer in ink on the reverse
LITER ATURE Hans-Michael Koetzle (ed.), Augen Auf.
100 Jahre Leica, Berlin 2014, p. 253; Gianni Berengo
Gardin, Fotografo 1953–1990, Udine 1990, p. 87
PROVENANCE acquired by the present owner
directly from the photographer.
€ 1.600 / € 3.000–4.000
97
151
MARIO ALGAZE (* 1947)
‘Cotton Candy, San Angel’,
Mexico 1981
26,2 × 33,6 cm (10.3 × 13.2 in)
Photographer’s studio stamp and
date stamp on the reverse, dedicated
by the photographer to his sister
Barbara in ink on the reverse
€ 1.200 / € 2.000–2.400
152
HARRY CALLAHAN (1912–1999)
Cuzco, Peru 1974
23,3 × 23 cm (9.2 × 9.1 in)
Signed by the photographer with
a stylus in the margin
LITER ATURE Aperture Masters
of Photography, Harry Callahan,
New York 1976, p. 164.
€ 2.400 / € 3.500–4.500
98
153
ULRICH MACK (* 1934)
Wild horses, Kenya 1964
Gelatin silver print, printed later (c. 2010)
20 × 29,7 cm (7.9 × 11.7 in)
Photographer’s blindstamp in the margin, signed
and dated by the photographer in pencil on the
reverse, his copyright stamp on the reverse
LITER ATURE Ulrich Mack, Pferde, Bern 1966.
21-22; Hans-Michael Koetzle (ed.), twen. Revision
einer Legende, Munich 1995, p. 98-99.
€ 1.400 / € 2.000–2.400
Ulrich Mack erlangte mit seinem Fotoessay über Wildpferde in
Kenia internationale Anerkennung. Mack begleitete damals als
Bildreporter ein Team von Filmemachern um den Regisseur
Gualtiero Jacopetti (Africa Addio) in die afrikanische Steppe.
Ausgerüstet mit einer Leica M2, wartete er auf die Herde, als
die von Kenianern zusammengetriebenen Tiere plötzlich auf
ihn zugaloppierten. Statt davonzulaufen, machte der Fotograf
wie in Trance genau 35 Aufnahmen – mitten aus der Herde
heraus, die ihn einkreiste, ohne ihn freilich niederzutrampeln.
Die Fotografien wurden unter dem Titel Mondo Cavallo in der
von Willy Fleckhaus gestalteten Jugendzeitschrift twen
(Nr. 4/1964) veröffentlicht. Für die Reportage erhielt Mack den
renommierten World Press Photo Award in nicht weniger als
vier Kategorien. In der Kamera-Auktion am 11. Juni 2016
werden die persönlichen Kameras von Ulrich Mack
versteigert.
Ulrich Mack’s photo essay about wild horses in Kenya brought
him international recognition. At the time, Mack was
accompanying a team of filmmakers surrounding director
Gualtiero Jacopetti (Africa Addio) to the African steppe as a
photo reporter. Equipped with a Leica M2, he had been
awaiting the herd when the animals, herded together by
Kenyans, suddenly galloped towards him. Instead of running
away, the photographer took exactly 35 pictures, as if in a
trance – from the midst of the herd, which surrounded him
without trampling him. The photographs were published
under the title Mondo Cavallo by the youth magazine twen
(No. 4/1964) edited by Willy Fleckhaus. For this feature, Mack
received the renowned World Press Photo Award in no less
than four separate categories. Ulrich Mack’s private cameras
will be auctioned on June 11th, 2016 at WestLicht.
99
154
LUCIEN CLERGUE (1934–2014)
‘Nu de la mer’, 1971
Vintage silver print, large format print
50,4 × 58,5 cm (19.8 × 23 in)
Signed by the photographer in the image
lower right, signed, titled and dated by
the photographer in ink on the reverse,
his studio and edition stamp on the
reverse, projected as an edition of 20,
edition no. 2/20
€ 2.400 / € 4.000–5.000
155
LUCIEN CLERGUE (1934–2014)
‘Nu de la mer’, 1971
Vintage silver print, large format
print
50,4 × 58,5 cm (19.8 × 23 in)
Signed by the photographer in the
image lower right, signed, titled
and dated by the photographer
in ink on the reverse, his studio and
edition stamp on the reverse,
projected as an edition of 20,
edition no. 1/20
€ 2.400 / € 4.000–5.000
100
156
ELFIE SEMOTAN (* 1941)
Helen Dubova for Serge Kirchhofer, 1969
Vintage silver print, unique large format print
54,8 × 40,8 cm (21.6 × 16.1 in)
Signed by the photographer in pencil
on the reverse
€ 1.400 / € 2.000–3.000
Nach ihrer Karriere als Model begann
Semotan um 1969 gemeinsam mit John Cook
ihre Karriere als Werbe- und Modefotografin.
Die vorliegende Aufnahme ist eine ihrer
ersten Arbeiten. / After her career as a
model, Semotan started to work as a fashion
and advertising photographer together
with John Cook in 1969. The present shot is
one of her very first commissional works.
157
HELMUT NEWTON (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
101
158
RICHARD AVEDON (1923–2004)
Audrey Hepburn with her son Sean,
1960
20,3 × 20,0 cm (8.0 × 7.9 in)
Photographer’s distribution stamp
and press stamp on the reverse
€ 1.400 / € 2.000–2.400
159
SAGIPRESS
Richard Burton with his daughter
Kate, Switzerland 1958/59
25,5 × 20,3 cm (10 × 8 in)
Various press stamps (Sagipress, VisaDistribution) on the reverse, annotated
the reverse
€ 500 / € 800–1.000
102
160
Alfred Hitchcock and his terrier
Sarah, January 1976
24,9 × 20,3 cm (9.8 × 8 in)
Various date stamps (1976, 1983),
press labels and stamps and
€ 1.200 / € 1.800–2.200
161
SEPP DREISSINGER (* 1946)
Thomas Bernhard, Am Graben,
Vienna 1988
26,7 × 17,8 cm (10.5 × 7 in)
Photographer’s copyright label
on the reverse
€ 600 / € 1.000–1.200
103
162
TOM KELLEY (1914–1984)
‘Marilyn Monroe on Red Velvet’
Pose #1, 1949
Long life archival print, mounted
on aluminium, printed later
68 × 53 cm (26.8 × 20.9 in)
photographer’s estate executor in white
ink in the image, edition no. 115/300
PROVENANCE Photographer’s Estate
€ 1.200 / € 2.000–3.000
163
PHIL STERN (1919–2014)
Marilyn Monroe, Children’s Benefit at
Shrine Auditorium, Los Angeles 1953
Gelatin silver print, printed in the late 1960s
32,7 × 23,4 cm (12.9 × 9.2 in)
photographer in pencil on the reverse,
his copyright and reproduction stamp
on the reverse
€ 1.400 / € 2.000–2.500
104
164
ANDRÉ DE DIENES (1913–1985)
Marilyn Monroe (‘Army blanket sitting’),
San Diego 1946
32 × 27,8 cm (12.6 × 10.9 in)
Photographer’s studio stamp on the reverse
€ 1.400 / € 2.000–2.400
165
‘Marilyn jumping’, 1952
25,3 × 33 cm (10 × 13 in)
Photographer’s “Halsman / Marilyn,
Copyright Philippe Halsman ©81, Edition
Number 128[handwritten] / 250” estate
€ 1.200 / € 2.000–2.500
105
166
BERT STERN (1929–2013)
The Last Sitting – A comprehensive collection
of photographs, Los Angeles 1962
56 large format prints – 28 gelatin silver prints –
28 chromogenic prints, the majority printed in 1992,
10 chromogenic prints from the Last Sitting Box
printed in the 1980s (Ed. of 250)
each c. 60 × 50 cm (23.6 × 19.7 in)
The majority of the prints signed and stamped
by the photographer on the reverse, 18 prints
only stamped and not signed, two prints hand
coloured by Stern
PROVENANCE acquired by the present owner
directly from the photographer
E XHIBITIONS Marilyn Monroe. In Fotografien
von George Barris, Allan Grant, Milton H. Greene,
Tom Kelley, Leif-Eric Nygard und Bert Stern –
THE LAST SITTING
€ 60.000 / € 100.000–120.000
Bert Stern war nicht der erste Fotograf, der Marilyn fotografierte, aber der letzte. Die Aufnahmen, die im späten Juni 1962
in drei Fotositzungen entstanden, sollten später als The Last
Sitting in die Fotogeschichte eingehen.
Bert Stern was not the first photographer who Marilyn Monroe
posed for, but indeed the last one. In late June of 1962, the
two had a shooting which would later be famously known as
The Last Sitting.
Marilyn stand zahllosen Fotografen zuvor Modell, aber
niemand fing sie so direkt, nahe und unbefangen ein wie Stern.
Den Auftrag für das legendäre Shooting erteilte die amerikanische Vogue. Um dem Sitting einen guten Rahmen zu geben,
mietete der 26-jährige Fotograf die Suite Nr. 261 im Bel-AirHotel in Los Angeles und verwandelte sie in ein provisorisches
Studio. Monroe kam fünf Stunden zu spät, aber sie hörte dann
auf Sterns Regie. Accessoires wie Schmuck und transparente
Tücher kommen zum Einsatz und werden perfekt in Szene
gesetzt. Zwölf Stunden dauert diese erste Sitzung. Marilyn
trinkt Champagner und zieht sich letztendlich ganz aus. Stern
fotografierte in Schwarz-Weiß und Farbe. Es entstehen
lebendige und unglaublich charismatische Aufnahmen.
Marilyn had worked with countless photographers, but no
one had captured photographs as direct, close and casual as
Stern did. The famous shooting was commissioned by the
American magazine Vogue. In order to have a special working
environment, Stern rented suite no. 261 at the Los Angeles
Bel-Air-Hotel, which he converted into an impromptu studio.
Monroe was five hours late but respected Stern’s directions
after that. Accessories such as jewellery and scarfs are cleverly
put to use. The first sitting lasts for twelve hours. Marilyn
drank champagne and ends up completely undressed. Stern
takes pictures in colour and in black-and-white, which turn out
extremely lively and charismatic.
Zurück in New York zeigt Stern den Redakteuren von Vogue
die Kontaktabzüge. Man ist angetan, aber die Akte waren der
Modezeitschrift zu gewagt. Man brauche mehr „schwarzweiße Modeseiten“ hieß es. Das Bel-Air-Hotel wird für drei
weitere Tage gebucht, diesmal sogar ein ganzer Bungalow.
Am ersten Tag entstehen die wunderbar grafisch wirkenden
Schwarz-Weiß-Fotografien von Marilyn im Ballkleid. Desweiteren machte Stern die bekannten Aufnahmen von Marilyn,
wie sie sich im Bett räkelt. Am nächsten Tag erscheint Marilyn
nicht zum Shooting. Am dritten Tag wird wieder fotografiert.
Stern fotografiert Marilyn diesmal liegend von oben.
Ein paar Tage später lässt sich die Schauspielerin die Kontaktabzüge zeigen. Mit transparentem Filzstift durchkreuzt sie die,
die ihr nicht gefallen. Die Dias zerkratzt sie mit einer Haar
nadel. Vier Wochen später ist Marilyn tot. Die Fotografien, die
als Hommage an den Leinwandstar gedacht waren, wurden
zum Nachruf und erschienen posthum in der Vogue.
Das vorliegende Konvolut beinhaltet 56 großformatige
Prints – 28 Silbergelatine-Abzüge und 28 Chromogenic Prints.
Alle Fotografien sind von Stern signiert oder gestempelt. Der
Großteil der Prints wurde 1992 angefertigt.
106
Back in New York, the editors at Vogue love the photos but
think they are too daring. They say Vogue needs more
“black-and-white fashion pages”. So the Bel-air-Hotel is booked
for another three days, this time even an entire bungalow.
On the first day, they take the characteristic, graphic-looking
photographs of Marilyn in a ball gown and of her rolling
around in bed. On the next day, Marilyn does not show up at
the set. On the third day, the session continues and Stern takes
pictures of Marilyn from above as she is lying on the ground.
A few days later, Marilyn is shown the contact prints. She
crosses out the ones she does not like with a transparent felt
tip pen and scratches the slides she does not like with a
hairpin. Four weeks later, Marilyn is dead. The photographs,
which were originally intended as homage to the film star,
are now published as a posthumous tribute in Vogue.
This lot contains 56 large format photographs – 28 gelatin silver
prints and 28 chromogenic prints. All prints, the majority of
which was made in 1992, are signed or stamped by Stern.
107
108
109
167
Hanna Schygulla and Rainer Werner Fassbinder
(‘Berlin Alexanderplatz’), April 1980
each c. 24 × 16 cm (9.4 × 6.3 in)
Each with the “LIFE MAGAZINE Time Inc.”
stamp with handwritten photographer’s credit
and “LIFE PICTURES” copyright and reproduction
stamps and labels on the reverse, each credited
and annotated in unknown hands in ink on the
reverse
* € 1.200 / € 2.000–2.400
168
LUC FOURNOL (1931–2007)
Audrey Hepburn, 1962
Archival pigment print on aluminium,
printed later, framed
74,5 × 55,3 cm (29.3 × 21.8 in)
the margin
€ 800 / € 1.400–1.600
110
169
WILL MCBRIDE (1931–2015)
Andy Warhol in the Factory,
Union Square, New York 1969
35,4 × 53,2 cm (13.9 × 20.9 in)
Signed, annotated, dated and dedicated
by the photographer in pencil on the
reverse
* € 900 / € 1.400–1.600
170
JEAN-PIERRE FIZET (* 1941)
Romy Schneider, 1970s
Gelatin silver print, printed later, framed
87,5 × 61,8 cm (34.4 × 24.3 in)
in pencil on the reverse, his stamp on the
€ 1.000 / € 1.600–1.800
111
171
ANDREW KENT
Tony Mascia, Corinne Schwab,
David Bowie, Iggy Pop, Pat Gibbons,
Berlin, April 9th, 1976
23,7 × 16,3 cm (9.3 × 6.4 in)
Annotated and credited in an unidenti
fied hand in ink on the reverse
Highlights of Kent’s career were his
shoots with David Bowie. He went
on a six-month tour with the performer
in 1976 and another in 1978. Iggy Pop
is another favorite artist with whom he
has toured.
€ 700 / € 1.200–1.400
172
LUC FOURNOL (1931–2007)
Louis Armstrong, November 1955
58 × 78 cm (22.8 × 30.7 in)
Photographer’s stamp on the reverse,
signed by the photographer in pencil
€ 800 / € 1.400–1.600
112
173
ASTRID KIRCHHERR (* 1938)
The Beatles (George Harrison,
Stuart Sutcliffe, John Lennon),
Germany 1960
30,4 × 24,4 cm (12 × 9.6 in)
Signed by the photographer
* € 900 / € 1.400–1.600
174
GÜNTER ZINT (* 1941)
The Beatles arriving at Hamburg
Airport (‘Bravo Blitztournee’), 1966
29 × 28,4 cm (11.4 × 11.2 in)
Photographer’s print stamp on
the reverse
* € 600 / € 1.000–1.200
113
175
ALLAN TANNENBAUM (* 1945)
John Lennon & Yoko Ono, SoHo Gallery,
New York 1980
Archival pigment print, printed later, framed
30,5 × 20 cm (12 × 7.9 in)
in pencil on the reverse, photographer’s
stamp on the reverse, edition no. 7/50
€ 500 / € 900–1.000
176
PATRICK MORIN (1928–2002)
Brigitte Bardot & Michel Piccoli in
‘Le Mépris’, 1963
40 × 30 cm (15.7 × 11.8 in)
Signed by the photographer in ink
on the reverse, typographic annotations
on the reverse, edition no. 17/30
500 / € 800–1.000
114
177
NAN GOLDIN (* 1953)
‘Siobhan Sleeping with a Cat, N.Y’, 1993
Cibachrome, mounted on original
cardboard
39,5x 59 cm (15.6 × 23.2 in)
Signed, titled, dated and numbered by the
photographer in pencil on the reverse,
edition no. 1/5
€ 2.600 / € 4.000–5.000
179
CINDY SHERMAN (* 1954)
‘Untitled Film Stills’, Schirmer & Mosel,
Munich 1990
First German edition, signed by Cindy Sherman ,
dedicated on first blank page by the artist:
“To Lauren. Cindy Sherman”, hardcover with dust
jacket, 34 × 26 cm (13.4 × 10.2 in), 40 pages with
black and white photographs, 11 pages with text,
essay by Arthur C. Danto
* € 400 / € 600– 700
178
ANDRÉ RAU (* 1957)
Isabella Rossellini, c. 1995
Gelatin silver print, framed
58 × 46 cm (22.8 × 18.1 in)
Signed by the photographer
€ 700 / € 1.000–1.200
115
180
OLIVO BARBIERI (* 1954)
Chianti, 1983
C-print, Vintage
33,9 × 43 cm (13.3 × 16.9 in)
photographer in pencil in
the margin, Margini collection
blindstamp in the margin
€ 1.200 / € 2.000–2.400
181
Fiesole, 1987
C-print, Vintage
26,8 × 33,8 cm (10.6 × 13.3 in)
photographer in ink in the margin,
Margini collection blindstamp in
the margin
€ 1.200 / € 2.000–2.400
116
182
‘La Source’, 1982
C-print, Vintage
20,1 × 20,1 cm (7.9 × 7.9 in)
Signed, annotated and numberd by
the photographer in ink in the margin,
edition no. 1/50, two “Collezione di
Fotografie. Roberto Margini” stamps
and collection stamp on the reverse
€ 900 / € 1.400–1.600
183
LUIGI GHIRRI (1943–1992)
Reggio Emilia, 1981
Polaroid SX-70
c. 7,9 × 7,9 cm (3.1 × 3.1 in)
photographer in ink on the
reverse, beautiful preserved
polaroid in strong colours
€ 2.000 / € 3.000–4.000
117
184
FRANCO FONTANA (* 1933)
Houston People, 1985
Chromogenic print
28,4 × 43,4 cm (11.2 × 17.1 in)
Signed, dated and annotated by
the photographer in ink in the margin,
dedicated in ink on the reverse to
Giuliana Scime
€ 1.200 / € 2.000–3.000
185
FRANCO FONTANA (* 1933)
‘Piscine’ (from ‘Swimming Pools’),
1983
Chromogenic print, in original
mount
12,2 × 18,1 cm (4.8 × 7.1 in)
Signed and dated by the
photographer in pencil on
the mount, numbered ‘I su V’
€ 800 / € 1.400–1.600
118
186
SANDY SKOGLUND (* 1946)
‘Coat Hangers’, 1980
Cibachrome print, framed
65,4 × 83,2 cm (25.7 × 32.8 in)
Signed, dated, titled and numbered
€ 2.000 / € 3.000–4.000
187
TAKEUCHI TOSHINOBU (* 1943)
Roaring Sea, Japan c. 2000
C-print, Diasec, framed
42,7 × 57,7 cm (16.8 × 22.7 in)
Signed and annotated (Japanese)
by the photographer on the
passepartout
€ 800 / € 1.400–1.600
119
188
ANDERS PETERSEN (* 1944)
‘Polsk Stripper’, 1983
30,2 × 23,8 cm (11.9 × 9.4 in)
Photographer’s copyright stamp
and numerical stamp on the
reverse, annotated in an unidentified hand in pencil on the reverse
€ 900 / € 1.400–1.600
189
ANDERS PETERSEN (* 1944)
‘Gröna Lund’, Fyra Förläggare,
Helsingborg 1973
First original edition, signed by
Anders Petersen , outstanding first
publication by the artist, hardcover,
28 × 20,7 cm (11 × 8.1 in) cm, 124 pages,
123 black and white photos, text by
Jan Stolpe
* € 500 / € 700– 800
190
Kr ass Clement (* 1946)
‘Skygger Af Øjeblikke’, Christian Erichsens
Forlag, Copenhagen 1978
First original Danish edition, signed by
Krass Clement, 25,8 × 22 cm (10.2 × 8.7 in),
hardcover, 63 pages, 52 black and white
photographs, very important and hard to find
first book by Krass Clement
* € 700 / € 900–1.000
120
191
MIROSLAV TICHÝ (1926–2011)
Untitled, c. 1975
14 × 18 cm (5.5 × 7.1 in)
Annotated in an unidentified hand
€ 600 / € 1.000–1.200
192
MIROSLAV TICHÝ (1926–2011)
Untitled, c. 1975
14 × 18 cm (5.5 × 7.1 in)
Annotated in an unidentified
hand in pencil on the reverse
€ 700 / € 1.200–1.400
121
193
MARTIN PARR (* 1952)
The Last Resort (New Brighton,
Merseyside), 1983–1986
Chromogenic print
42,3 × 51,9 cm (16.7 × 20.4 in)
Signed, annotated and dated
by the photographer in ink on
the reverse
LITER ATURE Martin Parr,
The Last Resort, 2009, cover.
€ 2.800 / € 4.000–5.000
≥
194
MARTIN PARR (* 1952)
‘Boring’ – A set of 6 photographs,
Oregon 2000
6 C-prints
each c. 19 × 15 cm (4 × 6 in)
All of them signed by the photographer
Martin Parr visited the town Boring
in Oregon, United States of America,
in May 2000 and made 448 individual
views of the town.
€ 1.400 / € 2.000–2.400
122
195
MASSIMO VITALI (* 1944)
Cagliari (red umbrella), 1995
Chromogenic print, framed
150 × 188 cm (59.1 × 74 in)
on label on the reverse, edition no. 1/9,
beautiful print in strong colours
LITER ATURE Massimo Vitali, Landscape
with Figures, Göttingen 2004, p. 21
PROVENANCE Collection J. F. Ponsold,
acquired directly from the artist.
€ 16.000 / € 24.000–26.000
123
196
MARIO SCHMOLK A (* 1975)
Carmen, 2003
C-print, mounted on aluminium
130 × 100 cm (51.2 × 39.4 in)
Signed, titled, numbered and dated
LITER ATURE Mario Schmolka, Intense,
Cologne 2005, cover.
€ 2.000 / € 3.000–4.000
197
NOBUYOSHI ARAKI (* 1940)
Untitled (Kinbaku), 1990s
Gelatin silver print, framed
40 × 32 cm (15.7 × 12.6 in)
€ 3.000 / € 5.000–6.000
198 ≥
NOBUYOSHI ARAKI (* 1940)
A set of 9 Polaroids, Japan c. 2010
9 Polaroids SX 70 (Impossible)
each 8 × 7,6 cm (3.1 × 3 in)
Each signed by the photographer
in black ink in the margin
PROVENANCE Norton Gallery, Tokyo
€ 3.000 / € 5.000–6.000
124
125
199
K ACPER KOWALSKI (* 1977)
Harsh Winter # 9, Poland 2010
Diasec (matte, varnished), mounted on alu dibond
70 × 105 cm (27.6 × 41.3 in)
in ink on the reverse, edition no. 1/7
* € 4.000 / € 5.000–6.000
126
201
REN HANG (* 1987)
Untitled (# 57)
C-print
67 × 100 cm (26.4 × 39.4 in)
photographer in ink on label
on the reverse, edition no. 1/10
€ 4.000 / € 6.000–7.000
202
REN HANG (* 1987)
‘野生(Wild) Posterbook’, dienacht
Publishing, Leipzig 2015
野生 is a large format collection of unbound
posters, signed by Ren Hang , book size:
posters folded to 28 × 40 cm, open size
56 × 40cm (22 × 15.7 in), printed on strong paper,
held together by a banderole, 60 colour photos
on 96 pages
€ 200 / € 300– 400
≤ 200
K ACPER KOWALSKI (* 1977)
Composition #17 (from the series
‘Toxic Beauty’), Poland 2011
Diasec (matte, varnished), mounted on
alu dibond
70 × 105 cm (27.6 × 41.3 in)
in ink on the reverse, edition no. 1/7
Born in 1977, Kacper Kowalski is a graduate
of the Technical University of Gdańsk, where
he studied architecture. After having worked
in architecture for four years, he devoted
himself entirely to flying and photography.
Both as a pilot and a photographer, he takes
aerial pictures of natural and urban environments of his native Poland. He has received
numerous awards, including the World Press
Photo award (2009, 2014, 2015), the Picture of
the Year International (POYi) award (2012,
2014, 2015), and many others.
* € 4.000 / € 5.000–6.000
127
203
JOSEF POLLEROSS (* 1963)
Refugees on the way to Kaudakar,
Chai Tea House, Afghanistan 1988
19,2 × 43,2 cm (7.6 × 17 in)
the photographer in pencil on
the reverse
€ 600 / € 1.000–1.200
204
JOSEF POLLEROSS (* 1963)
Refugee camp near Luetta, Mauli
Sab’s daughter, Pakistan 1988
28 × 41 cm (11 × 16.1 in)
the photographer in pencil on
the reverse
€ 600 / € 1.000–1.200
128
205
ALAIN KELER (* 1945)
Ethiopia (from ‘Rain in Ethiopia’), 1985
39,5 × 26,5 cm (15.6 × 10.4 in)
The picture was taken in a refugee camp
in Korem, North Ethiopia. With his series
Alain Keler won the Word Press Photo Award
in 1986 and the Paris Match Award in 1986.
€ 700 / € 1.200–1.400
206
PLATON ANTONIOU (* 1968)
Heinz Fischer, New York 2009
Inkjet print
51 × 61 cm (20.1 × 24 in)
in ink in the margin, edition no. 1/20
Im Auftrag des New Yorker hat Platon im September
2009 während der Hauptversammlung der Vereinten
Nationen in New York eine einmalige politische
Porträtreihe geschaffen. In nur fünf Tagen fotografierte
er in seinem improvisierten Studio im UNO-Gebäude
am East River mehr als hundert Staats- und Regierungs
chefs. Die Serie wurde 2012 im Fotomuseum WestLicht
in der Auss tellung Gesichter der Macht gezeigt. /
Commissioned by the New Yorker, Platon made a
unique series of political portraits during the 2009
UN-general assembly in New York. In only five days
he photographed more than hundred heads of
government in a makeshift studio at the UN-building on
the East River. The series was shown in the exhibition
The Faces of Power in WestLicht Photo Museum in 2012.
€ 1.800 / € 3.000–4.000
Bitte – Danke!
Heinz Fischer im Porträt
Ausstellung vom 16. Juni bis 8. Juli 2016
mit Auktion für einen guten Zweck
im Fotomuseum WestLicht
Mehr Infos unter www.westlicht.com
129
207
VOLKER HEINZE (* 1959)
‘Ahnung’ (Foreboding), Dirk Nishen,
Berlin 1989
First limited original edition of 800 copies,
signed by Volker Heinze , mint condition,
hardcover with black cloth spine,
30 × 25,3 cm (11.8 × 10 in), 28 pages, 16 colour
photographs, ‘Ahnung’ among ‘Waffenruhe’
by Michael Schmidt and ‘Stadt des Schwarz’
by John Gossage rounds off the Berlin trilogy
close before the fall of the Berlin wall
* € 700 / € 900–1.000
208
WILLIAM Eggleston (* 1939)
‘For now’, Twin Palms Publishers,
Santa Fe 2010
Special limited signed slipcase edition of
100 copies, signed by William Eggleston ,
no. 56/100, still originally shrink-wrapped
in publisher’s plastic foil, never opened,
hardcover with dustcover and orange
linen slipcase, 30,5 × 31,5 cm (12 × 12.4 in),
144 pages, 87 colour photographs
* € 500 / € 700– 800
209
JOSEF KOUDELK A (* 1938)
‘Invaze’, Torst, Prague 2008
First original Czech edition, signed by
Josef Koudelka , stiff printed wrapper
produced from recycled card stock (variant
from the American edition), 296 pages,
24,5 × 32 cm (9.6 × 12.6 in), 250 black and
white reproductions
€ 800 / € 1.200–1.400
130
210
HIROSHI SUGIMOTO (* 1948)
‘Theaters’, Sonnabend Sundell Editions
and Eyestorm, New York 2000
First edition, out of print, signed by
Hiroshi Sugimoto, hardcover in specially
designed cardboard slipcase covered in silver
paper, 28 × 30,5 cm (11 × 12 in), 224 pages
with 96 quadratone black and white photographs,
beautifully printed using drytrap offset printing
on Mohawk Superfine Smooth Eggshell 100lb
paper, by Meridian Printing, Rhode Island
* € 300 / € 400– 500
211
TARYN SIMON (* 1975)
‘An American Index of the Hidden and
Unfamiliar’, Steidl, Göttingen 2007
First edition, signed by Taryn Simon ,
hardcover clothbound, 25,5 × 34 cm (10 × 13.4 in),
152 pages with 73 colour photographs
€ 300 / € 400– 500
131
132
ALGA ZE, MARIO 151
ALVAREZ BR AVO, LOL A 61
ANDERSON, ERICA 57
ANONYMOUS PHOTOGR APHER 5, 6, 17, 49
ANTONIOU, PL ATON 206
AR AKI, NOBUYOSHI 197, 198
ATGET, EUGÈNE 9, 10, 11, 12
AVEDON, RICHARD 158
BARBIERI, OLIVO 180, 181, 182
BAUM, PETER 130
BELLMER, HANS 40
BERENGO GARDIN, GIANNI 147, 148, 149
BERRY, IAN 103, 104
BIERMANN, ANNE 63
BING, IL SE 55
BISCHOF, WERNER 112
BOFFREDO, SÉBASTIEN 91
BOURKE-WHITE, MARGARET 14, 70, 71, 76, 77, 78
BR ASSAÏ 124
BURRI, RENÉ 106, 107
CALL AHAN, HARRY 152
CAPA, ROBERT 86, 122
CARTIER-BRESSON, HENRI 92, 93, 94, 95, 96
CHALDEJ, JEWGENI 82, 83
CLEMENT, KR ASS 190
CLERGUE, LUCIEN 154, 155
COHEN, ROBERT 85
DAVIDSON, BRUCE 109, 117
DE DIENES, ANDRÉ 164
DE MEYER, ADOLPH 41
DREISSINGER, SEPP 161
DRTIKOL, FR ANTISEK 18, 19, 20, 21
EGGLESTON, WILLIAM 208
EISENSTAEDT, ALFRED 50, 69, 75, 79, 80, 81, 120, 121, 167
ERWIT T, ELLIOT T 110, 111, 138
FIZET, JE AN-PIERRE 170
FLEISCHMANN, TRUDE 16, 26
FONTANA, FR ANCO 184, 185
FOURNOL, LUC 168, 172
FR ÄNKEL JUNIOR, S. 2
FUNKE, JAROMIR 65
GHIRRI, LUIGI 183
GIACOMELLI, MARIO 145, 146
GOLDIN, NAN 177
GR ÄFF, WERNER 68
GRIFFITHS, PHILIP JONES 87, 88
GROEBLI, RENÉ 58, 59, 60
GROLL, ANDRE AS 4
HAL SMAN, PHILIPPE 126, 160, 165
HANG, REN 201, 202
HEIDERSBERGER, HEINRICH 44
HEINZE, VOLKER 207
HELLER, BEN 48
HELMER-PETERSEN, KELD 67
HOM, JESPER 128
HORST, HORST P. 43, 51, 52, 53
HORVAT, FR ANK 139, 140
HUBMANN, FR ANZ 125, 131, 132
JOSEF TRČK A, ANTON 22
KELER, AL AIN 205
KELLEY, TOM 162
KENT, ANDREW 171
KERTÉSZ, ANDRÉ 30
KIRCHHERR, ASTRID 173
KLEIN, WILLIAM 141
KOPPITZ, RUDOLF 23
KOUDELK A, JOSEF 209
KOWAL SKI, K ACPER 199, 20 0
KRULL, GERMAINE 34, 35, 54
KUBOTA, HIROJI 115
KÜHN, HEINRICH 7, 8
L ARTIGUE, JACQUES -HENRI 13
LESSING, ERICH 101, 102, 113, 114, 123
MACK, ULRICH 129, 153
MANASSÉ, STUDIO 31, 32
MCBRIDE, WILL 169
MOR ATH, INGE 118, 119, 127
MORIN, PATRICK 176
MUR AY, NICKOL AS 29
NELLY 24
NEW TON, HELMUT 157
PARR, MARTIN 193, 194
PETERSEN, ANDERS 188, 189, 190
POLLEROSS, JOSEF 203, 204
R AU, ANDRÉ 178
R AY, MAN 36, 37, 38, 39
RENGER-PATZSCH, ALBERT 66
RIBOUD, MARC 97, 98, 99, 10 0, 105, 108
ROBERTSON, ATELIER 25
RODGER, GEORGE 89
RONIS, WILLY 56
SAEBENS, HANS 90
SANDER, AUGUST 15
SCHAT T, ROY 133, 134
SCHERSCHEL, FR ANK 73
SCHMOLK A, MARIO 196
SEMOTAN, ELFIE 156
SHERMAN, CINDY 179
SIEFF, JE ANLOUP 137
SIMON, TARYN 211
SKOGLUND, SMITH, W. EUGENE 72
STERN, BERT 166
STERN, PHIL 163
STOCK, DENNIS 135, 136
STOUMEN, LOU 47
STRÖMHOLM, CHRISTER 142
ST YRSK Y, JINDRICH 64
SUDEK, JOSEF 42
SUGIMOTO, HIROSHI 210
SUTKUS, ANTANAS 62
TABARD, MAURICE 27
TANNENBAUM, ALL AN 175
TICHÝ, MIROSL AV 191, 192
TIKHOMIROFF, NICOL AS 116
TOSHINOBU, TAKEUCHI 187
UZZLE, BURK 150
VITALI, MASSIMO 195
VON GLOEDEN, WILHELM 3
WILLINGER, WILHELM 28
WINOGR AND, WOLFF, PAUL 45, 46
Z ACHARIE, MAISON 1
ZINT, GÜNTER 174
133
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137
telephone Bid Form for WestLicht Photo Auction
Lot no.
Title
Lot no.
Title
Absentee Bid Form for WestLicht Photo Auction
Date
Lot no.
Signature
Title
Lot no.
Title
140
141
Photographs from the Collection of Kaspar Notizen / Notes
M. Fleischmann
142
Verleger und Her ausgeber / Editor and Publisher
WestLicht Auction, Peter Coeln GmbH,
Westbahnstraße 40, 1070 Wien / Vienna, Austria
Copyright
Peter Coeln GmbH, Wien / Vienna 2016
Für den Inhalt ver antwortlich / Responsibility for Contents
Peter Coeln
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Michael Kollmann (Fotobücher / Photobooks)
gr afik Design / Gr aphic Design
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Fotos und Bildbe arbeitung / Reproduction and Image Editing
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Druck / PRint
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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
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Photographica Auction
Photographs
143
LOT 62 ANTANAS SUTKUS, Marathon in the Universitets Street, Vilnius 1959

Untitled - WestLicht Photographica Auction

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