WestLicht Photographica Auction

Transcription

Photographica Auction
Photographs Vienna, March 21st, 2014
Experten / Specialists
Prof. Johannes Faber,
geb. 1952, ist der Gründer der Galerie Johannes Faber in Wien,
Kunsthändler und Experte für klassische Fotografie; zahlreiche
Ausstellungen, Preise, Stipendien und Publikationen /
b. 1952, is the founder and director of Galerie Johannes Faber
in Vienna, art dealer and expert for classic photography;
numerous exhibitions, awards, scholarships and publications
Anna Zimm
[email protected]
Michael Kollmann (Fotobücher / Photobooks)
[email protected]
Administr ator
Peter Jakadofksy
[email protected]
Verrechnung / Client Accounting
Andreas Schweiger
[email protected]
For general enquiries about this auction,
email should be addressed to
[email protected]
WestLicht Photographica Auction
Westbahnstraße 40, 1070 Wien, Österreich
Tel.: +43 1 523 56 59
Fax: +43 1 523 13 08
[email protected]
Fotografie
Photographs
March 21st, 2014
10. WestLicht Foto-Auktion
Freitag, 21. März 2014
18 h (MEZ)
Vorbesichtigung
Samstag, 8. bis Freitag, 21. März
14–18 h
und nach Vereinbarung
10th WestLicht Photo Auction
Friday, March 21st, 2014
6 pm (CET)
Viewing
Saturday, 8th to Friday, March 21st
2 pm–6 pm
and by appointment
www.westlicht-auction.com
Photographs
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JOSEF MARIA EDER (1855–1944) /
EDUARD VALENTA (1857–1937)
‘Versuche über Photographie mittelst der
Röntgen’sche Strahlen’, Vienna 1896
15 Photogravures, Vintage, all mounted on thin
cardboard, in original map with gravure print,
title plate and introduction plates inside 12 negative
facsimiles and 3 positive images
sizes vary from 7 × 13,8 cm (2.8 × 5.4 in)
to 34,5 × 17,6 cm (13.6 × 6.9 in)
€ 18,000 / € 30,000–35,000
PROVENANCE Grisebach Germany, Lot 1533,
27.11.2008
Private Collection Baden b. Wien, Austria
LITER ATURE Photography. A short critical history,
The Museum of Modern Art, New York 1938, pl. 88;
Monika Faber / Klaus Albrecht Schröder (ed.),
Das Auge und der Apparat. Die Fotosammlung der
Albertina, Munich 2003, p. 165.
Im Jänner 1896, nur wenige Monate nach der bahnbrechenden
Entdeckung einer neuen Art von Strahlen durch den Mediziner
und Universitätsprofessors Wilhelm Conrad Röntgen 1895,
führen Josef Maria Eder und Eduard Valenta an der „k. u. k.
Graphischen Lehr-und Versuchsanstalt“ in Wien ihre ersten von
vielen Experimenten mit Röntgenstrahlen durch. Die unsichtbaren Strahlen schafften nicht nur neue Perspektiven und
Anwendungsgebiete in der modernen Wissenschaft, sondern
verhalfen auch der Fotografie zu neuen Möglichkeiten. Durch
das Durchleuchten von bisher verborgenen inneren Strukturen
entstand dieser Bildatlas „Versuche über Photographie mittelst
der Röntgen’schen Strahlen“. Die 15 fotografisch festgehaltenen,
gestochen scharfen Röntgenaufnahmen von Fischen, Amphibien
und Reptilien sind nicht nur ein spannendes wissenschaftliches
Zeugnis, sondern auf Grund ihrer perfekten PhotogravüreTechnik und Eleganz, in diesem Bereich die am meisten beachteten und reproduzierten Ikonen.
In 1895 the physician and university professor Wilhelm Conrad
Röntgen made his breakthrough discovery of a new type of rays.
Only a few months later in January 1896, Josef Maria Eder and
Eduard Valenta conducted their first of many experiments with
X-rays in the “k. u. k. Graphische Lehr-und Versuchsanstalt” in
Vienna. The invisible rays offered not only new perspectives and
applications in modern science, but also enabled the recording of
previously hidden inner structures. The portfolio “Versuche über
Photographie mittelst der Röntgen’schen Strahlen” is comprised
of 15 photographically captured, needle-sharp X-ray images
of fish, amphibians and reptiles. The images are not only an
exciting scientific testimony, but also due to their perfect photogravure technique and elegance, they are the most recognized
and reproduced icons in this field.
1. Hand einer 21 jährigen Frau (Faksimile des Negatives) /
Hand of a 21 year old woman (facsimile of the negative)
2. Hand eines 8 jährigen Mädchens (Faksimile des Negatives) /
Hand of an 8 year old girl (facsimile of the negative)
3. Hand eines 4 jährigen Kindes, an Rhachitis erkrankt (Faksimile des Negatives) / Hand of a 4 year old girl affected with rickets (facsimile of the negative)
4. Fuss eines 17 jährigen Jünglings mit verkrümmter Zehe (Faksimile des Negatives) / Foot of a 17 year boy with a crooked
toe (facsimile of the negative)
5. Tabelle der Durchlässigkeit von verschiedenen Substanzen gegen Röntgen-Strahlen (positives Bild) / Chart of permeability of
different substances for X-Rays (positive image)
6. Photographie von Cameen in Goldfassung (Faksimile des Negatives) / Photographs of cameos in gold setting (facsimile of the negative)
7. Grüne Eidechse (positives Bild) / Green lizard (positive image)
8. Chamaeleon cristatus (positives Bild / positive image)
9. Zwei Seefische (Faksimile des Negatives) / Two salt-water fish: Acanthurus nigros u. Zanclus cornutus Chameleon cristatus (facsimile of the negative)
10. Zwei Goldfische und ein Seefisch / Two goldfish and one salt-water fish (Christiceps argentatus)
11. Solfisch (Pleuronectes solea)
12. Frösche in Bauch- und Rückenlage (Faksimile des Negatives) /
Frogs in prone and supine position (facsimile of the negative)
13. Ratte (Faksimile des Negatives) / Rat (facsimile of the negative)
14. Neugeborenes Kaninchen (Faksimile des Negatives) /
Newborn rabbit (facsimile of the negative)
15. Aesculap-Schlange (Faksimile des Negatives) / Aesculap snake (facsimile of the negative)
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UNDERWOOD & UNDERWOOD
Stereoaufnahmen / Stereo views,
China c. 1900
89 stereo cards, the albumen prints
with rounded corners mounted
on distributors cardboard with
typographic inscriptions
€ 2,000 / € 3,500–4,000
Die 89 Stereo-Ansichten mit dazu
gehörigen präzisen typografischen
Beschriftungen bieten eine interessante Übersicht über die Situation in
China während des Boxeraufstands
(1899–1901). Die Bewegung gegen das
Christentum und den Imperialismus
Europas, Nordamerikas und Japans
führte zu kriegsähnlichen Zuständen.
Aufnahmen von christlich-asiatischen
Flüchtlingen, Exekutionen auf beiden
Seiten, militärischen Sujets, Gefangenenlagern, Alltagsszenen der Bevölkerung und Porträts von Diplomaten
und chinesischen Funktionären
geben eine traurige Bestandsaufnahme der damals vorherrschenden
Realität.
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The 89 stereo views with detailed
typographic inscriptions offer an
interesting and objective overview
of the situation in China during
the Boxer Rebellion (1899–1901).
The movement against Christianity
and the imperialisms of Europe,
North America and Japan led to
war-like conditions. Photographs of
Christian-Asian refugees, executions
on both sides, military subjects,
prison camps, scenes of everyday
life of the population and portraits
of diplomats and Chinese officials
provide a sad report of the prevailing
reality of that time.
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ANONYMOUS CHINESE
PHOTOGRAPHER
Frau mit Pferd / Woman with horse,
China 1860s
Albumen print, mounted on original
cardboard
17,6 × 22 cm (6.9 × 8.7 in)
Annotated in an unidentified hand in
pencil on the mount in the lower right,
illegible signature in the negative
left image area, perfect “chocolate”
condition
€ 800 / € 1,400–1,600
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ANONYMOUS PHOTOGRAPHER
Sommerpalast / Summerpalace,
Beijing c. 1910
8 Photochromes
each 16,5 × 22,5 cm (6.5 × 8.9 in)
€ 800 / € 1,400–1,600
Temple of Heaven, Summerpalace –
Arches Bridge, Summerpalace from
Dragon Temple Island, Summerpalace –
general view, Summerpalace – Marble
Bridge, Summerpalace – Marbleboat,
Summerpalace – main building,
Summerpalace – view from the east
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≤5
ANONYMOUS PHOTOGRAPHERS
Set aus 52 Photochromen / Set of 52 Photochromes,
Eastern Europe and Russia c. 1910
52 Photochromes (8 doublets)
each 16,5 × 22,5 cm (6.5 × 8.9 in)
Each with typographic descriptions
(title and image no. in French and Russian)
in the image lower left and right
€ 1,800 / € 3,000–3,500
The present photochromes feature an interesting
range of places (in sequence of quantity):
Moscow – Riga – Kiew – Warsaw – Crimea –
Georgia (Road Groussie) – Pjatigorsk – Kola Peninsula
sea images – Sebastopol- Livland landscapes –
Zarskoje – Archangelsk, and others.
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Moskwa mit Christi-Erlöser-Kathedrale / Moskva
with Chram Christa Spasitelja, Moscow c. 1910
rare large format photochrome
42 × 52 cm (16.5 × 20.5 in)
“Photochrom” stamp on the reverse
€ 800 / € 1,400–1,600
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Kreml / Kremlin, Moscow c. 1910
rare large format photochrome
42 × 52 cm (16.5 × 20.5 in)
€ 800 / € 1,400–1,600
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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
(17.7 × 13 in), book with linen cloth and gilt
letterpress title, the zinc gravures mounted in
text section (introduction by Matthies-Masuren),
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 Heliogravüren / Heliogravures
Hugo Henneberg
Villa Torlonia (LIT.: Camera Work 13, 1906) (3)
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 Falconieri (LIT.: Camera Work 13, 1906)
Heinrich Kühn
Sicilianische Brigg / Sicilian brig (1)
Selbstportrait / Self-portrait (Bildnis) (2)
Edeltrude (Bildnis) (4)
Wäscherin in der Düne / Washerwoman on
the Dunes (LIT.: Camera Work 13, 1906) (6)
Abendsonne / Evening sun
Porträt einer alten Frau / Portrait of an
old woman (Bildnis)
Holländisches Mädchen / Dutch girl
Aus der römischen Campagna /
Roman Campagna (LIT.: Camera Work 13, 1906)
Hans Watzek
Schafe / Sheep (LIT.: Camera Work 13, 1906) (5)
Weisse Segel / The white sail
Alter Stadtgraben / Old moat
Wolken und Pappeln / Poplars and Clouds
Porträt einer alten Frau / Portrait of an
old woman (Bildnis)
Stillleben / Still life
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Die Mappe mit 20 handsignierten Heliogravüren und 25
Zinkgravüren 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.
Kühns originale Stegemann Kamera wird am 22. März in der
WestLicht Kamera-Auktion versteigert.
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. MatthiesMasuren, 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 wellpreserved 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
only a few signed collector’s editions have been published.
Some of the appearing motifs were presented to an inter
national audience in Camera Work 13 in 1906. Kühn’s original
Stegemann camera will be auctioned on March 22nd in the
WestLicht camera auction.
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ERNEST JAMES BELLOCQ (1873–1949)
‘A Storyville Portrait’,
New Orleans 1911–1913
Toned gelatin silver print, printed in the
late 1960s by Lee Friedlander
20 × 25,4 cm (7.9 × 10 in)
Lee Friedlander’s collection stamp and
description stamp on the reverse
€ 2,000 / € 3,000–4,000
LITER ATURE E. John Szarkowski (ed.),
J. Bellocq. Storyville Portraits, The
Museum of Modern Art, New York 1970,
pl. 25.
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Der Stadtteil Storyville in New Orleans, war
nicht nur das Zuhause des Jazz, sondern
zwischen 1896 und 1917 eines der wenigen
legalisierten Rotlichtviertel der USA.
Bellocqs einzig erhaltenes Werkfragment
‚Storyville Portraits‘ wurde erst durch die
Prints von Lee Friedlander bekannt. Friedlander erwarb die 8 × 10 inch Glasnegative
1966 von einem Kunsthändler und fertigte in
den darauffolgenden Jahren meisterliche
Kontaktabzüge auf warmgetöntem Papier
an. 1970 widmete das New Yorker Museum
of Modern Art der Storyville-Serie eine
eigene Ausstellung.
The Storyville district in New Orleans was
not only the home of jazz, but also one of the
few legalized red-light districts in the United
States between 1896 and 1917. Bellocq’s only
surviving work, ‘Storyville Portraits’, is
known only through the distinctive prints
made by Lee Friedlander. Friedlander
bought the 8 × 10 inch glass negatives in 1966
from an art dealer and produced masterful
contact prints on warm toned paper in the
following years. In 1970 the Museum of
Modern Art in New York dedicated a solo
exhibition to the Storyville series.
12 ≥
RUDOLF KOPPITZ (1884–1936)
‘Frühling’ (Spring), 1923
Vintage silver print
14,2 × 21,3 cm (5.6 × 8.4 in)
Photographer’s blindstamp in the
image lower left, his studio stamp
on the reverse, titled most likely by
Koppitz on the reverse
€ 2,600 / € 4,000–5,000
PROVENANCE Family Estate Koppitz
LITER ATURE Monika Faber (ed.),
Rudolf Koppitz 1884-1936, Vienna
1995, p. 97.
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ADOLPH DE MEYER (1868–1946)
‘Guitar Player of Seville’, 1908
GEORGE HENRY SEELEY (1880–1955)
‘The black bowl’, 1907
Photogravure on Japanese paper,
printed 1908 for Camera Work 24
20,7 × 15,6 cm (8.1 × 6.1 in)
Photogravure, printed 1907 for Camera Work 20
20,5 × 15,5 cm (8.1 × 6.1 in)
€ 500 / € 800–1,000
€ 500 / € 800–1,000
LITER ATURE Alfred Stieglitz, Camera Work.
LITER ATURE Alfred Stieglitz, Camera Work.
The Complete Illustrations 1903–1917,
Cologne 1997, p. 43.
The Complete Illustrations 1903–1917, Cologne 1997,
p. 367.
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Liane Haid, Weissensee c. 1930
18 × 16,8 cm (7.1 × 6.6 in)
Photographer’s studio stamp on the reverse,
“Prof. R.” crossed out by his wife Anna and
replaced by her first name, but image was made
by Koppitz himself
€ 1,600 / € 3,000–3,500
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‘Mutter und Kind’ (Mother and child), 1925
16,5 × 13,5 cm (6.5 × 5.3 in)
Photographer’s studio stamp on the reverse,
annotations, most likely by the photographer,
in pencil on the reverse
€ 2,600 / € 4,000–5,000
LITER ATURE Monika Faber (ed.), Rudolf Koppitz
1884–1936, Vienna 1995, p. 71; Monika Faber (ed.),
Rudolf Koppitz. Photogenie, Vienna 2013, p. 130.
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actual size
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ILSE BING (1899–1998)
Laban Schule / Laban School, Frankfurt 1929
13,4 × 10,1 cm (5.3 × 4 in)
Signed and dated by the photographer in ink
in the image upper left, annotated most likely
by the photographer in pencil on the reverse
blacklight tested
€ 3,600 / € 5,000–6,000
PROVENANCE Serge Plantureux, Paris
Nach Studien der Mathematik, Physik und Kunstgeschichte
und vor ihrer Übersiedelung nach Paris (1930) beschäftigte
sich Bing mit fotojournalistischen Arbeiten in ihrer Heimatstadt Frankfurt. Der Choreograf und Tanztheoretiker Rudolf
von Laban, welcher die „Labanotation“, eine systematische
Analyse und Aufzeichnung menschlicher Bewegungen
begründete, gründete 1923 die erste Laban Schule in Hamburg,
weitere 24 Schulen, u. a. auch selbige in Frankfurt, deren
Tänzer Ilse Bing 1929 in dieser Studie festhielt, folgten. Das
Thema Tanz beschäftigt Bing auch noch in Paris, wo sie vielfältige Aufnahmen der Pariser Ballett- und Tanzszene machte.
After studies in mathematics, physics and art history, and
before moving to Paris in 1930, Ilse Bing engaged herself in the
creation of photojournalistic works in her hometown of Frankfurt. The choreographer and dance theoretician Rudolf von
Laban, who was a pioneer of “Labanotation” – a systematic
analysis and recording of human movement, founded the first
Laban dance school in Hamburg in 1923. The following alumni
opened 24 additional schools in Europe, including one in
Frankfurt whose dancers were documented by Ilse Bing in this
study of 1929. Bing continued to be concerned with the subject
of dance in Paris, where she made a variety of photographs of
the Parisian ballet and dance scene.
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PAUL WOLFF (1887–1951)
Venedig / Venice, 1932
2 Vintage silver prints
each c. 23,5 × 17 cm (9.3 × 6.7 in)
Each with the photographer’s “DR. PAUL WOLFF,
FRANKFURT AM MAIN” stamp and his
handwritten order number on the reverse,
each with Schostal agency label on the reverse
€ 2,400 / € 3,500–4,000
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JACQUES -HENRI LARTIGUE (1894–1986)
‘Farman au départ’, Combegrasse 1922
Gelatin silver print, printed c. 1980
16,6 × 36,2 cm (6.5 × 14.3 in)
Signed and annotated by the photographer
€ 1,200 / € 2,000–2,500
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JACQUES -HENRI LARTIGUE (1894–1986)
‘Renée à Ciboure’, 1930
33 × 24,5 cm (13 × 9.6 in)
Signed, titled and dated by the
photographer in pencil on the reverse
€ 1,200 / € 2,000–2,500
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ANDRÉ KERTÉSZ (1894–1985)
‘Distortion’, Paris c. 1933
Gelatin silver print, printed 1980s
19,6 × 27,8 cm (7.7 × 10.9 in)
Photographer’s blindstamp
in the margin lower right
€ 1,000 / € 1,500–2,000
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AUGUST SANDER (1876–1964)
‘Jungbauern (Young farmers)’, Westerwald 1914
AUGUST SANDER (1876–1964)
Handlanger (Bricklayer), Cologne c. 1928
Gelatin silver print, printed 1990 by Gerd Sander
58,8 × 52,9 cm (23.1 × 20.8 in)
With the “Aug. Sander Köln Lindenthal” blindstamp
lower left, signed and dated by Gerd Sander in pencil
on the reverse, stamped “August Sander Menschen
des 20. Jahrhunderts […]” with handwritten captions
on the reverse, edition no. 13/18
Gelatin silver print, printed 1990 by Gerd Sander
58,8 × 43,9 cm (23.1 × 17.3 in)
With the “Aug. Sander Köln Lindenthal”
blindstamp lower left, signed, dated and
numbered by Gerd Sander in pencil on the
reverse, edition no. 11/18
€ 12,000 / € 18,000–20,000
€ 10,000 / € 16,000–18,000
LITER ATURE August Sander, Antlitz der Zeit,
LITER ATURE August Sander, Antlitz der Zeit, Munich
1929, pl. 6; Gunther Sander (ed.), August Sander.
Menschen des 20. Jahrhunderts, Munich 1980, p. 13.
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Munich 1990 (reprint), cover; Gunther Sander (ed.),
August Sander, Menschen des 20. Jahrhunderts,
Munich 1980, p. 120; Manfred Heiting (ed.),
August Sander 1876–1964, Cologne 1999,
cover and p. 57.
Beide Aufnahmen sind Klassiker aus Sanders epochemachendem Bildatlas Menschen des 20. Jahrhunderts, in dem er
in perfekt arrangierter Porträtmanier eine systematische
Typologie der Gesellschaft der Weimarer Republik dokumentierte. Der ‚Handlanger‘, mit einem für Sander fast
untypischen dramatischen Lichteinsatz, ist eines seiner
kraftvollsten Porträts; ‚Jungbauern‘ sicherlich sein meist
diskutiertes. Immer wieder wird behauptet, die drei adrett,
aus heutiger Sicht vermeintlich „bürgerlich“, gekleideten
Herren befänden sich auf dem Weg zum Tanz in die Stadt.
Was jedoch auf den ersten Blick wie eine Momentaufnahme
wirkt, entstand wie alle Porträts Sanders in akribisch
geplanter Inszenierung. So scheinen die Männer zwar inne
zu halten, zwischen Stehenbleiben und Weitergehen, doch
der Fotograf hinter der Kamera ist als Bildkompositeur
deutlich spürbar. Beide Aufnahmen wurden von Sander
bereits 1929 für sein erstes Buch Antlitz der Zeit ausgewählt,
in dem er wichtige Hauptmotive als eine Art Vorboten für
das große Lebenswerk versammelte. Die ungewöhnlich
großformatigen Abzüge wurden 1990 von Gerd Sander in
einer kleinen Edition in exzellenter Manier geprintet.
Both photographs are classic images belonging to Sander’s
epochal pictorial atlas People of the 20th Century, in which
he gathered hundreds of perfectly arranged portraits of
people from different professions and levels of society to
document a cross-section of Weimar Germany. The ‘Handlanger’ (‘Bricklayer’), with Sander’s almost atypical
dramatic use of light, is arguably one of his most powerful
portraits; ‘Jungbauern’ (Young farmers) is definitely one of
his most discussed. It is repeatedly claimed that the three
preppy, from today’s perspective, or supposedly “bourgeois” dressed gentlemen, were on their way to a dance in
the city. However, what at first glance looks like a snapshot,
like all of Sander’s portraits, was in fact staged with meticulously precision. Thus, although the men seem to pause
between stopping and moving on, the photographer behind
the camera is clearly noticeable through the image composition. Both photographs were published in Sander’s first
book Antlitz der Zeit (Face of Our Time) in 1929, in which he
gathered important motives as a harbinger of his great life’s
work. The unusually large-format photographs were
printed in an excellent manner by Gerd Sander in a small
edition in 1990.
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WANDA WULZ (1903–1984)
‘Io + Gatto’ (Selbstporträt / Self-portrait), 1932
Gelatin silver print, printed early 1950s
29,4 × 23,5 cm (11.6 × 9.3 in)
Signed and titled “Io + Gatto, Fotografia
Wanda Wulz” by the photographer in ink
on the reverse, diverse other numerical
annotations in unknown hands on the reverse
* € 50,000 / € 80,000–100,000
PROVENANCE The Alinari Collection, Florence,
acquired from the daugther of Wanda Wulz
LITER ATURE La Trieste dei Wulz, Florence 1989,
p. 167; Cento Capolavori dalle Collezioni Alinari,
Florence 2003, p. 105; L’insistenza dello
sguardo. Fotografie italiane 1839–1989,
Florence 1989, cover.
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Wanda Wulz, Tochter einer angesehenen Fotografenfamilie
aus Triest, führte ab 1928 ihr eigenes Atelier. Neben ihrer
Arbeit als Porträtfotografin widmete sie sich vor allem in den
frühen 1930er Jahren der experimentellen Fotografie (Fotomontagen, Fotocollagen, Doppelbelichtungen, Stillleben).
1931 begegnet sie mit Filippo Tommaso Marinetti, einem
Propagandisten des Futurismus, fortan ist sie aktives
Mitglied dieser Bewegung. Mit der Aufnahme ‚Io + Gatto‘
(Ich + Katze) schuf Wulz aus einer Fotografie ihres Katers
Pippo (bei der das Negativ der Katze seitenverkehrt verwendet wurde) und einem Selbstporträt, eine der bekanntesten Doppelbelichtungen der Kunstgeschichte. 1932 stellte
Wulz die Fotografie bei der ‚Mostra Fotografica Futurista‘
in Triest aus, wo sie als Höhepunkt der Ausstellung gefeiert
wurde. Fotografien von Wanda Wulz sind extrem selten,
da sie sich ab den späten 1930er Jahren der Porträtmalerei
zuwandte. In den letzten Jahrzehnten sind nur fünf ihrer
Arbeiten bei Auktionen angeboten worden; jüngstens
‚Futurist Breakfast‘ aus der Sammlung von Margaret Weston
(Sotheby’s New York 25.04.2007, Lot 36). Die vorliegende Fotografie, in den frühen 1950er Jahren geprintet, kommt aus
der Sammlung Alinari in Florenz. Nur zwei weitere Abzüge
von ‚Io + Gatto‘ sind bekannt. Einer befindet sich in der
Sammlung des Metropolitan Museum (Sotheby’s New York,
Italian Futurist Photographs Sale, November 9, 1982, Lot 72,
vorher in der Sammlung von Giovanni Lista), der andere im
Museo Alinari in Florenz.
Wanda Wulz, daughter of a respected family of photographers
from Trieste, led her own studio from 1928. In the early 1930s,
in addition to her work as a portrait photographer, she con
centrated mainly on experimental photography (photo
montages, photo collages, double exposures, still life). In 1931,
she met Filippo Tommaso Marinetti, a propagandist of
Futurism, and from then on she was an active member of this
movement. Her self-portrait ‘Io + Gatto’ (Me + Cat), where she
superimposes a photograph of her cat Pippo on top of an
image of herself, is one of the most famous double exposures
in art history. In 1932, Wulz presented the photograph in the
‘Mostra Fotografica Futurista’ in Trieste, where it was hailed
as the highlight of the exhibition. Photographs of Wanda
Wulz are extremely rare, as in the late 1930s she turned to
portrait painting. In recent decades only five of her works
have been offered at auction, and the most recent being
‘Futurist Breakfast’ from the collection of Margaret Weston
(Sotheby’s New York 25.04.2007, Lot 36). The present photograph, printed in the early 1950s, comes from the Alinari
collection in Florence and was published several times in
this context. Only two other copies of ‘Io + Gatto’ are known,
one is located in the collection of the Metropolitan Museum
(Sotheby’s New York Italian Futurist Photographs Sale,
November 9, 1982, Lot 72, formerly collection Giovanni Lista),
the other one in the Museo Alinari in Florence.
23
23
CECIL BEATON (1904–1980)
Katharine Hepburn, 1935
23 × 20 cm (9.1 × 7.9 in)
Photographer’s “CECIL BEATON
PHOTOGRAPH” stamp and annotations
in an unidentified hand in ink on the
reverse
€ 1,400 / € 2,400–2,600
LITER ATURE Cecil Beaton’s Scrapbook,
London 1937, p. 31; Donald Albrecht
(ed.), Cecil Beaton. The New York Years,
p. 122 (variant cropping).
24
CECIL BEATON (1904–1980)
Greta Garbo, 1946
22,8 × 24,2 cm (9 × 9.5 in)
Photographer’s “CECIL BEATON
PHOTOGRAPH” stamp and notations
in an unidentified hand in ink on the
reverse
€ 1,800 / € 3,000–3,500
LITER ATURE Cecil Beaton, The Face
of the World. An international
Scrapbook, New York 1957, p. 177;
Donald Albrecht (ed.), Cecil Beaton.
The New York Years, p. 53; Philippe
Garner / David Alan Mellor (ed.), The
Essential Cecil Beaton. Photographien
1920–1970, Munich 2012.
24
25
HORST P. HORST (1906–1999)
‘Mainbocher Corset’, Paris 1939
Gelatin silver print, printed 1978
45,1 × 34,3 cm (17.8 × 13.5 in)
Signed, titled and dated by the photographer
on the reverse
€ 12,000 / € 20,000–24,000
LITER ATURE American Vogue, September 15,
1939; ‘C’était hier’, French Vogue, December 1939,
pp. 34–35; Nancy Hall-Duncan, The History of
Fashion Photography, Alpine Book Company
Inc. 1979, p. 65; Polly Devlin, Vogue Book of
Fashion Photography, London 1979, p. 46;
Valentine Lawford (ed.), Horst: His Work and His
World, Viking 1984, p. 184; Horst, Photographs
1931–1968, London 1985, s.p; Harrison and Bailey,
Shots of Style: Great Fashion Photographs,
Victoria and Albert Museum, 1985, cat. no. 71;
Martin Kazmaier (ed.), Horst: Sixty Years of
Photography, London 1991, pl. 8; Michael Koetzle,
Photo Icons: Volume 2, Taschen, 2002, pp. 38–45.
26
ALFRED EISENSTAEDT (1898–1995)
Marlene Dietrich, Berlin 1929
17,8 × 23,8 cm (7 × 9.4 in)
in the image lower left, his “PHOTO BY ALFRED
EISENSTAEDT” stamp and annotations by
Eisenstaedt in ink on the reverse
€ 3,000 / € 5,000–6,000
PROVENANCE Eisenstaedt Family Estate
LITER ATURE Alfred Eisenstaedt, Witness to
our Time, New York 1966, p. 25.
Marlene Dietrich am Beginn ihrer Karriere
auf einem Kunsthochschulball in Berlin;
zwei Jahre später machte sie ‚Der blaue
Engel‘ zu einem internationalen Star.
Marlene Dietrich, then at the beginning of
her movie career, attending an art school
ball in Berlin; two years later ‘The Blue
Angel’ made her an international star.
25
27
BERENICE ABBOTT (1898–1991)
‘Snuff Shop’, New York 1938
24,1 × 19,4 cm (9.5 × 7.6 in)
The photographer’s Federal Art Project
“Changing New York” stamp and caption stamp
with title, date and detailed annotations by
Abbott in pencil on the reverse
€ 8,000 / € 14,000–16,000
PROVENANCE Alex Novak Collection,
Philadelphia
Harry Lunn Collection, USA
LITER ATURE Bonnie Yochelson (ed.), Berenice
Abbott. Changing New York, Munich 1997, p. 90
and 348.
26
Zwischen 1935 und 1939 realisierte Abbott, gefördert vom Federal Art
Project, die großangelegte New York- Dokumentation Changing New York.
Die meisten Fotografien wurden mit einer Großformatkamera (8 × 10 in)
aufgenommen, so auch der vorliegende Vintage-Kontaktabzug. Auf der
Rückseite ist der Abzug akribisch von Abbott mit Titel, Ort, Negativnummer, Code und Datum versehen. Der Titel (‚Snuff Shop‘) bezieht sich
meist auf den Namen des abgebildeten Gebäudes, der Straße oder Sehenswürdigkeit, der Ort nennt die genaue Adresse. („113 Division Street,
Corner Orchard Street, Lower East Side New York“). Die Negative wurden
chronologisch durchnummeriert („# 277“). Der Code („III A“) bezieht sich
auf ein Themengebiet, dem die Fotografie zugeordnet wurde.
Between 1935 and 1939, Abbott worked on the extensive photographic
documentation of New York Changing New York. The project was funded by
the Federal Art Project. Most of the photographs from the series were
taken with a large format camera (8 × 10 inch), including the vintage
contact print on offer. On the reverse, Abbott meticulously marked this
print with the title, place, negative number, code and date. The title
(‘Snuff Shop’) usually refers to the name of the building, the street or the
landmark depicted in the image. The place always states the exact address
(“113 Division Street, Corner Orchard Street, Lower East Side New York”).
The negatives were numbered in chronological order (“# 277”). The code
(“III A”) refers to the subject area which the photograph was attributed to.
28
29
ROMAN VISHNIAC (1897–1990)
Schüler / School boys (from ‘The Vanished
World Portfolio’), 1940s
MICHAEL ‘MIKE’ DISFARMER (1884–1959)
Soldat und Mädchen / Soldier and Girl, c. 1945
Gelatin silver print, mounted on original
cardboard, printed in the 1970s
26,5 × 26,5 cm (10.4 × 10.4 in)
Signed by the photographer in pencil
on the mount below the image
Gelatin silver print, printed in the 1970s from
the original negative
30,2 × 19 cm (11.9 × 7.5 in)
Annotated in an unidentified hand in pencil
on the reverse
€ 600 / € 1,000–1,200
€ 1,200 / € 2,000–2,500
LITER ATURE Roman Vishniac, Polish Jews.
A Pictural Record, New York 1947, cover.
30
WEEGEE (1899–1968)
New York, c. 1950
25,7 × 30,5 cm (10.1 × 12 in)
Photographer’s circular “CREDIT PHOTO
BY WEEGEE THE FAMOUS” stamp on
the reverse
€ 2,400 / € 3,500–4,000
27
31
WILLY RONIS (1910–2009)
‘Les amoureux de la Bastille’, Paris 1957
24,5 × 36 cm (9.6 × 14.2 in)
Signed by the photographer in ink in
the margin, his copyright stamp and
annotations (including the print date)
in pencil and ink on the reverse
€ 2,000 / € 3,500–4,000
32
WILLY RONIS (1910–2009)
‘La rue Simon Bolivar’, Paris 1949
25,5 × 23 cm (10 × 9.1 in)
Signed by the photographer in ink in
the margin, his copyright annotations
(including the print date) in pencil on
the reverse
€ 1,400 / € 1,600–2,000
28
33
LUCIEN HERVÉ (1910–2007)
‘La cornette, vue depuis la tour de
St. Severin’, Paris 1948
25 × 26 cm (9.8 × 10.2 in)
on the reverse
€ 800 / € 1,500–2,000
34
ROBERT DOISNEAU (1912–1994)
‘L’Aéroplane de Papa’, Paris 1934
22,9 × 31 cm (9 × 12.2 in)
Signed by the photographer in ink
in the margin, titled, dated and annotated
by him in ink on the reverse
€ 1,500 / € 2,500–3,000
PROVENANCE Swann New York,
21.10.2008, Lot 178
LITER ATURE Galerie Claude Bernard (ed.),
Robert Doisneau, Paris 2000, pl. 13; Peter
Hamilton (ed.), Robert Doisneau. La vie d’un
photographe, Paris 1995, p. 59; Drei
Sekunden Ewigkeit – Photographien Robert
Doisneau, Munich 1980, p. 109.
35
‘Trio Sziget’, Raczkeve 1923
27,8 × 19,6 cm (10.9 × 7.7 in)
Photographer’s blindstamp in the margin
lower right, annotated in an unidentified
hand in pencil on the reverse
€ 800 / € 1,400–1,600
LITER ATURE André Kertész, Sixty Years
of Photography, London 1972, p. 48.
29
36
ALEXANDER RODCHENKO (1891–1956)
The Painter / Der Maler Alexander Shevchenko,
1924
Gelatin silver print, double exposure,
printed in the late 1950s
15,7 × 11,7 cm (6.2 × 4.6 in)
Photographer’s name stamp and Izvestia
archive stamp on the reverse, notations in
Russian in an unidentified hand on the reverse
€ 3,000 / € 5,000–6,000
PROVENANCE Borodulin Collection
LITER ATURE Alexander Lavrentiev (ed.),
Alexander Rodchenko. Photography 1924–1954,
Cologne 1995, p. 69; Alexander Rodchenko.
Revolution in Photography, Moscow 2008, p. 37;
Grigory Shudakov (ed.), Pioneers of Soviet
Photography, Paris 1983, p. 223.
37
‘The Samozvery’ (Die Samozvery), 1926
Gelatin silver print, press print from the 1950s
22,9 × 18,2 cm (9 × 7.2 in)
Photographer’s name stamp, Iskusstvo archive
stamp and notations in Russian in an
unidentified hand on the reverse
€ 2,000 / € 3,000–4,000
Cologne 1995, p. 138; Gerd Unverfehrt /
Tete Böttger, Rodtschenko Fotograf 1891–1956.
Bilder aus dem Moskauer Familienbesitz,
Götttingen 1989, p. 35.
Photo-Illustration für das Kinderbuch
von Sergej Tretjakow
Photo-illustration for the children’s book
by Sergei Tretyakov
30
actual size
38
‘The vase’ (Die Vase), 1928
Gelatin silver print, printed in the late 1950s
11,7 × 8,4 cm (4.6 × 3.3 in)
Photographer’s name stamp and notations in
€ 4,000 / € 7,000–9,000
Cologne 1995, p. 143; Grigory Shudakov (ed.),
Pioneers of Soviet Photography, Paris 1983, p. 67.
31
39
Malioutina, Moscow 1936
Vintage silver print, mounted on
original paper
17,8 × 12,6 cm (7 × 5 in)
Signed and dated by the photographer
in pencil in the margin, photographer’s
name stamp on the reverse of the print
€ 12,000 / € 22,000–24,000
PROVENANCE Serge Plantureux, Paris
40
Fencers / Fechterinnen, Moscow 1936
12,2 × 17,8 cm (4.8 × 7 in)
Photographer’s name stamp on the reverse
€ 2,000 / € 3,000–4,000
Alexander Rodchenko. Photography
1924–1954, Cologne 1995, p. 278; Alexander
Rodchenko. Revolution in Photography,
Moscow 2008, p. 190.
Fechterinnen auf einer Sportparade, jede
Sportart musste damals vertreten sein
Fencers at a sports parade, each sports club
had to be represented
32
41
Pionierin / Pioneer girl, c. 1930
Gelatin silver print, press print from
the 1960s
10,4 × 8,2 cm (4.1 × 3.2 in)
Photographer’s name stamp on
the reverse
€ 2,000 / € 3,000–4,000
LITER ATURE Grigory Shudakov (ed.),
Pioneers of Soviet Photography,
Paris 1983, p. 150.
42
Die Filmemacherin / The film maker Esther
Schub, 1924
11,3 × 8,5 cm (4.4 × 3.3 in)
Photographer’s name stamp, notations in
€ 2,000 / € 3,000–4,000
Alexander Rodchenko. Photography
1924–1954, Cologne 1995, p. 81 (same series);
Grigory Shudakov (ed.), Pioneers of Soviet
Photography, Paris 1983, p. 221.
33
43
MAX ALPERT (1899–1980)
Bau des Fergana-Kanals / Construction
site of the Fergana Grand Canal,
Uzbekistan 1939
23,7 × 34,8 cm (9.3 × 13.7 in)
Signed and annotated by the
photographer’s widow in pencil on
the reverse, his stamp and Borodulin
collection stamp on the reverse
€ 1,400 / € 2,000–2,400
44
MAX ALPERT (1899–1980)
Der erste Zug auf der Strecke der Turksib /
The first train of the Turkestan Siberian
railway, May 1930
37,7 × 29,5 cm (14.8 × 11.6 in)
Photographer’s stamp, news agency
stamps and Borodulin collection stamp
on the reverse
€ 800 / € 1,400–1,600
34
45
BORIS IGNATOVICH (1899–1976)
‘Baths’, Moscow 1935
29 × 19 cm (11.4 × 7.5 in)
Iskusstvo archive stamp and Borodulin
collection stamp on the reverse, annotated
and dated in an unidentified hand in ink
(Russian) on the reverse
€ 800 / € 1,400–1,600
LITER ATURE Gerd Ruge (ed.), Die
Sowjetunion zwischen den Kriegen 175
Photographien aus den Jahren 1917-1941,
Oldenburg 1981, p. 143; David Elliott (ed.),
Russische Photographie 1840–1940, p. 222.
46
ARK ADIJ SAJCHET (1898-1959)
Jugendlicher Komsomol / Komsomol youth
at the wheel, 1931
29 × 23 cm (11.4 × 9.1 in)
Iskusstvo archive stamp on the reverse,
annotated and dated in an unidentified
hand in pencil (Russian) on the reverse
€ 1,400/ € 2,000–2,500
Pioneers of Soviet Photography, Paris 1983,
p. 173; S. Morosow (ed.) Sowjetische
Fotografen 1917–1940, Berlin 1980, p. 101.
35
47
GEORGI ZELMA (1906–1984)
Arbeiterinnen / Working women, 1920s
26,5 × 39,3 cm (10.4 × 15.5 in)
Signed by the photographer in ink on
the reverse, his stamp, Borodulin
collection stamp and diverse notations
in Russian on the reverse
€ 800 / € 1,400–1,600
48
GEORGI ZELMA (1906–1984)
Stalingrad, 1943
26,5 × 38,8 cm (10.4 × 15.3 in)
the reverse, his stamp, Borodulin
collection stamp and diverse notations
in Russian on the reverse
€ 800 / € 1,400–1,600
LITER ATURE S. Morosow (ed.),
Sowjetische Fotografen 1941–1945,
Leipzig 1985, p. 143.
36
49
JAKOV CHALIP (1908–1980)
Torpedo-Schütze / Torpeo gunner,
c. 1935
28,5 × 41 cm (11.2 × 16.1 in)
Photographer’s stamp and Ogonyok
magazine stamp on the reverse, diverse
notations in unknown hands (Russian
and English) on the reverse
€ 2,000 / € 3,500–4,000
Pioneers of Soviet Photography, Paris
1983, p. 158; S. Morosow (ed.),
Sowjetische Fotografen 1917–1940,
Berlin 1980, p. 233.
Zwischen 1935 und 1936 arbeitete Chalip an seiner
Dokumentation ‚Baltic Fleet‘ und verbrachte in Zuge
dessen mehrere Monate auf Sowjetischen Kriegsschiffen. Bekannte Aufnahmen wie ‚On Guard Big
Gun‘, ‚Battleship Marat‘ oder der vorliegende ‚Torpedo
Gunner‘ entstanden. Nach dem Krieg war Chalip als
Freelancer für die Zeitschrift Ogonyok, deren Stempel
auch die Rückseite dieser Fotografie trägt, tätig.
Between 1935 and 1936 Chalip worked on his documentation ‘Baltic Fleet’. He spent several months
aboard the warships of the Soviet Fleet, producing
famous images like ‘On Guard Big Gun’, ‘Battleship
Marat’ or the present ‘Torpedo Gunner’. After the war
Chalip free lanced for the magazine Ogonyok, whose
stamp the reverse of the photograph carries.
37
50
Mark Markov-Grinberg (1907–2003) mit
Leica / with Leica, Briansky Front 1942
22 × 34,6 cm (8.7 × 13.6 in)
Signed Mark Markov-Grinberg in ink
in the margin and dedicated by his
granddaughter in the margin, his
photographer’s stamp and Borodulin
Collection stamp on the reverse
€ 800 / € 1,400–1,600
50
DMITRI BALTERMANTS (1912–1990)
‘Crossing the Oder’, December 1944
17,1 × 30,1 cm (6.7 × 11.9 in)
Photographer’s stamp and diverse
notations in Russian on the reverse
€ 1,400 / € 2,000–2,400
38
LITER ATURE Olga Sviblova (ed.),
Dmitri Baltermants (ex. cat. Maison
de la photographie de Moscou),
Moscow 2005, p. 38.
52
DMITRI BALTERMANTS (1912–1990)
‘Grief (Ditch of Kertsch)’, 1942
20,6 × 29 cm (8.1 × 11.4 in)
Photographer’s stamp, Ogonyok magazine
stamp and Borodulin collection stamp
on the reverse, diverse notations in Russian
on the reverse
€ 1,400 / € 2,000–2,500
LITER ATURE Mike Weaver / Daniel Wolf
(ed.), The Art of Photography 1839-1989,
Yale University, pl. 422, Naomi Rosenblum
(ed.), A World History of Photography,
Abbeville 1997, p. 481 (there titled
‘Identifying the Dead, Russian Front’);
Olga Sviblova (ed.), Dmitri Baltermants
(ex. cat. Maison de la photographie de
Moscou“), Moscow 2005, p. 15; S. Morosow
(ed.), Sowjetische Fotografen 1941–1945,
Leipzig 1985, p. 76–77.
Während des Zweiten Weltkriegs dokumentierte
Baltermants die größten Gefechte in der Ukraine, Russland (auch Stalingrad), Polen und Deutschland für die
kommunistische Parteizeitung Izvestia und die Zeitung
der Roten Armee Na Razgrom Vraga. Viele seiner
bekannten Fotografien, unter anderem ‚Attack‘, ‚Grief‘
und ‚On the Roads of War‘, wurden erst nach dem
Krieg in den 1960er Jahren veröffentlicht. ‚Grief‘ zeigt
die Folgen eines Nazi-Massakers an Zivilisten im
Krim-Dorf Kertsch und wurde erstmals 1965 in
Ogonyok publiziert, dessen Archivstempel auch die
Rückseite trägt. Baltermants arbeitete ab Kriegsende
für die russische Illustrierte Ogonyok, ab 1965 als deren
Bildredakteur.
During World War II Baltermants covered major battles
in the Ukraine, Russia (including Stalingrad), Poland
and Germany for the Communist Party newspaper
Izvestia and the Red Army newspaper Na Razgrom
Vraga. Many of his well-known images, including
‘Attack’, ‘Grief’ and ‘On the Roads of War’ were
published only after the war in the 1960s. ‘Grief’ documents the aftermath of a Nazi massacre in the Crimean
village of Kerch and remained unpublished until 1965,
when it appeared in Ogonyok magazine.After the war
Baltermants started working for Ogonyok, in 1965 he
became the magazine’s picture editor.
39
53
ANSEL ADAMS (1902–1984)
‘Sunday Afternoon Gathering,
Bear Valley’, California 1947
Dye transfer print, printed 1950s
34 × 59,2 cm (13.4 × 23.3 in)
Annotated and dated in an unidentified
hand in pencil on the reverse published
in 1947 for Fortune Magazine, essay
‘Gold Mining’
€ 6,000 / € 10,000–12,000
PROVENANCE Alex Novak Collection
40
54
ANSEL ADAMS (1902–1984)
‘Moon and Half Dome, Yosemite National
Park’, California 1960
Gelatin silver print, printed in the 1990s by
Alan Ross, mounted on original cardboard
23,9 × 19 cm (9.4 × 7.5 in)
Edition stamp “Photographs of Yosemite
by Ansel Adams” stamp on the reverse,
printed from the original negative by
Alan Ross, from an edition of 200
€ 1,400 / € 2,000–2,500
LITER ATURE Ansel Adams / Andrea G.
Stillman / Michael L. Fischer (ed.),
Yosemite. Ansel Adams, New York 1995,
p. 55; Ansel Adams / James Alinder /
John Szarkowski (ed.), Ansel Adams:
Classic Images, New York 1986, cover;
Ansel Adams, Yosemite and the Range
of Light, Boston 1982, pl. 115.
55
MINOR WHITE (1908–1976)
Devil’s Slide, Pacific, California 1948
Gelatin silver print, mounted on
original cardboard, printed in the 1970s
16,8 × 20,5 cm (6.6 × 8.1 in)
Signed and annotated by the
photographer in pencil on the mount
below image
€ 3,200 / € 5,000–6,000
LITER ATURE Peter C. Bunnell (ed.),
Eye That Shapes, Boston 1989, pl. 120;
Baldini, Minor White Life is like a
cinema still, 2000, p. 71.
41
56
LOLA ÁLVAREZ BRAVO (1907–1993)
Acapulco, c. 1950
Gelatin silver print, printed early 1980s
21,4 × 16,5 cm (8.4 × 6.5 in)
Photographer’s “FOTO LOLA ALVAREZ
BRAVO” reproduction stamp on the
reverse
€ 1,400 / € 2,000–2,500
57
MANUEL ÁLVAREZ BRAVO
(1902–2002)
‘Bicicletas en Domingo’, Mexico 1966
24 × 18 cm (9.4 × 7.1 in)
on the reverse, Geneva: Acorn Editions,
1979
€ 1,800 / € 3,000–3,500
58 ≥
MANUEL ÁLVAREZ BRAVO (1902–2002)
‘El Ensueño’ (Der Tagtraum / The Day
Dream), 1931
Gelatin silver print, mounted on original
cardboard, printed in the 1970s
24,5 × 18,4 cm (9.6 × 7.2 in)
in pencil on the mount below the image
€ 3,200 / € 5,000–6,000
LITER ATURE Manuel Alvarez Bravo, New
York 1987 (Aperture), p. 73; John Szarkowski,
Photography Until Now. The Museum of
Modern Art, New York 1989, p. 230; Manuel
Alvarez Bravo, The Museum of Modern Art,
New York 1997, p. 77 (variant cropping).
42
actual size
43
59
OSAMU SHIIHARA (1905–1974)
Still life # 306, 1935
35 × 28 cm (13.8 × 11 in)
Annotated in an unidentified hand
€ 4,000 / € 6,000–8,000
PROVENANCE Gallery MEM, Osaka
60
OSAMU SHIIHARA (1905–1974)
Still life # 382, 1935
35 × 28 cm (13.8 × 11 in)
€ 4,000 / € 6,000–8,000
PROVENANCE Gallery MEM, Osaka
44
61
BILL BRANDT (1904–1983)
‘Elbow and Knee’, East Sussex 1952
Gelatin silver print, printed in the 1960s
34,5 × 29,7 cm (13.6 × 11.7 in)
in the margin
€ 6,000 / € 10,000–12,000
PROVENANCE Sotheby’s New York Lot 155, 15.10.2008
LITER ATURE Bill Brandt, Perspective of Nudes, London
1961, p. 87; Bill Jay (ed.), The photography of Bill Brandt,
London 1999, p. 211; Lawrence Durrell / Mark HaworthBooth (ed.), Brandt Nudes – A new perspective, London
2012, p. 106.
45
62
BILL BRANDT (1904–1983)
Pablo Picasso, Cannes 1956
Gelatin silver print, printed in the 1960s
34,5 × 29,5 cm (13.6 × 11.6 in)
in ink in the margin
€ 4,000 / € 6,000–8,000
21.10.2008, Lot 1025
LITER ATURE Bill Brandt, Portraits,
London 1982, pl. 35; Bill Jay (ed.),
The Photography of Bill Brandt,
London 1999, p. 205.
63
LISELOTTE STRELOW (1908–1981)
Oskar Kokoschka, 1955
26,2 × 21 cm (10.3 × 8.3 in)
Photographer’s copyright stamp
on the reverse
€ 800 / € 1,400–1,600
46
64
GISÈLE FREUND (1908–2000)
Simone de Beauvoir, Paris 1948
C-print, printed in the 1970s on
Fujichrome paper
30 × 20 cm (11.8 × 7.9 in)
Photographer’s agency credit label
on the reverse
€ 1,000 / € 1,800–2,400
LITER ATURE Christian Caujolle (ed.),
Gisèle Freund Photographien,
Munich 1993, pl. 132.
65
PHILIPPE HALSMAN (1906–1979)
‘Dalí Skull’, New York 1954
31,2 × 25,8 cm (12.3 × 10.2 in)
Photographer’s “Halsman / Dalí Copyright,
Philippe Halsman ©81, Edition Number 114
[handwritten] / 250” edition stamp on
the reverse, edition no. 114/250
€ 800 / € 1,400–1,600
47
66
ROBERT FRANK (* 1924)
Lander, Wyoming 1955
32,7 × 21,6 cm (12.9 × 8.5 in)
in the lower margin, numbered “711” by him
in the upper margin, the Robert Frank archive
stamp on attached paper, signed, annotated
and dated by the photographert in ink on same
€ 10,000 / € 18,000–20,000
LITER ATURE Sarah Greenough (ed.), Looking in.
Robert Frank’s The Americans, Göttingen 2009,
p. 168 (view of Frank’s work prints).
48
67
ROBERT FRANK (* 1924)
‘Paris and the chairs, etc.’, 1949
13 × 25,2 cm (5.1 × 9.9 in)
Signed, titled and dated (print date “1951”)
by the photographer in ink on the reverse
€ 18,000 / € 30,000–35,000
PROVENANCE Sotheby’s New York, Lot 41,
15.10.2008 Houk Friedman Gallery, New York
LITER ATURE Tom Maloney (ed. ) U. S. Camera
Annual 1951 (New York, 1950), p. 142; Speaking of
Pictures: A Photographer in Paris Finds Chairs
Everywhere, Life, 21 May 1951, pp. 26–28; Robert
Frank, Black White and Things, Washington 1994,
p. 20; Robert Frank, Paris, Göttingen 2008,
unpaginated (variant cropping); Sarah Greenough
(ed.), Looking in. Robert Frank’s The Americans,
Göttingen 2009, p. 101.
‚Paris and the Chairs, etc.‘ ist eine Fotografie mit ungewöhnlich früher Publikationsgeschichte in Franks
Karriere. Mehrmals, meistens als Teil einer Sequenz,
wurde sie in den frühen 1950er Jahren veröffentlicht.
Am 21 Mai 1951 war sie Teil von Franks Debut in Life
(‚Speaking of Pictures: A Photographer in Paris Finds
Chairs Everywhere‘). Frank wählte sie außerdem für sein
erstes wichtiges Buchprojekt Black White and Things aus,
welches erst später im Jahr 1994 realisiert wurde. Weiters
veröffentlichte sie Tom Maloney 1951 in U. S. Camera
Annual. Franks frühe atmosphärische Fotografien aus
Paris, die auf Besuchen entstanden, nachdem er bereits in
die USA übersiedelt war, präsentieren sich romantisch
und verklärt. Sie stehen im Gegensatz zu seinen späteren
ungeschminkten Ikonen Amerikas.
‘Paris and the Chairs, etc.’, is an image with significant
early publication history in Robert Frank’s career. It was
published several times, mostly as part of a sequence,
in the early 1950s. On May 21st 1951, it was included in
Frank’s debut in Life (‘Speaking of Pictures: A Photographer
in Paris Finds Chairs Everywhere’). Frank also chose the
image for inclusion in his first major book project Black
White and Things, that was completed at the end of 1994.
Furthermore, it was published in Tom Maloney’s U.S.
Camera Annual in 1951. Frank’s early photographs of Paris,
which he captured during visits after he had already
moved to the United States, are unique within his body of
work for their atmospheric and romantic qualities. These
characteristics are notably absent from the far grittier
work Frank would produce in America later in the decade.
49
68
ROBERT DOISNEAU (1912–1994)
‘Mon œil’ (My eye / Mein Auge),
Paris 1945–1970
41 Gelatin silver prints
each c. 22 × 24 cm (8.7 × 9.4 in)
Unique maquette, comes with signed
letter of Robert Doisneau to the publisher
Gerard Gagnepain (1981), all prints
mounted on cardboard, each with the
handwritten image number on the mount,
typographic exemplary text mounted
inside
€ 18,000 / € 35,000–40,000
PROVENANCE Private Collection Paris
Galerie David Guiraud, Paris
Gerard Gagnepain (book designer)
50
Die Maquette des unpubliziert gebliebenen Foto-Buchs
‚Mon œil‘ (Mein Auge) besteht aus 41 originalen SilbergelatineAbzügen Robert Doisneaus. Die Aufnahmen entstanden
zwischen 1945 und 1970, viele davon sind typische Beispiele
für Doisneaus tragikomische Streiflichter aus dem Pariser
Alltag. Unter den Motiven befindet sich bekanntes, wie zum
Beispiel ‚Les chiens de la Chapelle, 1953‘ (# 25), ‚La cabine
téléphonique, Boulevard Raspail, 1958‘ (# 23), oder ‚Rue de
Rennes, 1944‘ (# 26), außerdem zwei interessante Porträts,
eines davon zeigt Doisneaus Concierge und engsten
Vertrauten Monsieur Barabé (# 30), das andere den Künstler
Tinguely (# 39). Begleitet wird die Maquette von einem
signierten Brief Doisneaus aus dem Jahr 1981. An seinen
Verleger und Buchdesigner Gerard Gagnepain schreibt er
leicht gekränkt und vergleicht sein Buch mit einem Kind,
das „nur vage erwünscht war vor seiner Geburt“.
The maquette of the unpublished photo-book ‘Mon oeil’
(my eye) consists of 41 original silver gelatin prints by Robert
Doisneau. The recordings were made between 1945–1970,
many of which are typical examples of Doisneau tragicomic
images from Parisian daily life. Among the motifs include
well known images, such as ‘Les chiens de la Chapelle, 1953’
(# 25), ‘La cabine téléphonique, Boulevard Raspail, 1958’ (# 23),
or ‘Rue de Rennes, 1944’ (# 26), and two interesting portraits,
one of which shows Doisneau’s concierge and closest con
fidant, Monsieur Barabe (# 30), the other is of the artist
Tinguely (# 39). A signed letter by Doisneau from the year
1981 accompanies the maquette. Doisneau writes to his
publisher and book designer Gerard Gagnepain, explaining
that he is easily offended and compares his book with a child
that was “only vaguely desired before his birth”.
51
69
MARIO GIACOMELLI (1925–2000)
Puglia, 1958
29,4 × 38,8 cm (11.6 × 15.3 in)
Two photographer’s stamps and his
series stamp on the reverse, dated by
him in ink on the reverse
€ 1,600 / € 2,500–3,000
LITER ATURE Alistair Crawford (ed.),
Mario Giacomelli, New York 2001,
p. 279, pl. 11 (same series)
70
‘Felicità raggiunta, si cammina di
Eugenio Montale’, 1992
30,3 × 40 cm (11.9 × 15.7 in)
Photographer’s stamp and series
stamp on the reverse, dated by him in
ink on the reverse
€ 1,200 / € 2,000–2,500
52
71
‘Presa di coscienza sulla natura
(On being aware of nature)’,
August 1992
24,9 × 32,9 cm (9.8 × 13 in)
Photographer’s stamp and his series
stamp on the reverse, annotated
and dated by him in ink on the
reverse
€ 1,800 / € 2,500–3,000
Mario Giacomelli, New York 2001,
p. 351.
72
MARIO GIACOMELLI
(1925–2000)
‘Presa di coscienza sulla natura
(On being aware of nature)’, 1992
30,3 × 39 cm (11.9 × 15.4 in)
Photographer’s stamp and his
series stamp on the reverse, dated
by him in ink on the reverse
€ 1,600 / € 2,500–3,000
LITER ATURE Alistair Crawford
(ed.), Mario Giacomelli, New York
2001, p. 318.
53
73
‘Fall, Shadows Grow Longer’,
Czechoslovakia 1927
26 × 34 cm (10.2 × 13.4 in)
Signed by the photographer in ink in the
margin, his “PHOTO BY ALFRED
EISENSTAEDT” stamp and his annotations
reading “This picture of a tennis player in
Johannisbach, Bohemia, started my career,
1927” by Eisenstaedt in ink on the reverse
€ 1,500 / € 2,500–3,000
LITER ATURE The Eye of Eisenstaedt,
London 1969, p. 13.
Im Urlaub in Johannisbach, heute Luková,
machte Eisenstaedt diese Aufnahme,
die auch seine erste Veröffentlichung
wurde. Er verkaufte das Foto für drei
Dollar an die deutsche Wochenzeitschrift
Der Weltspiegel. Die Erfahrung ermutigte
ihn, kurz darauf, 1928, wurde er freier
Mitarbeiter von The Associated Press.
While on holiday in Johannisbach, today
Luková, Eisenstaedt took this photograph,
which was also his first picture to be
published. He sold it for $ 3 to the German
weekly Der Weltspiegel. The experience
encouraged him, and shortly afterwards,
in 1928 he became a freelance photo
grapher of The Associated Press.
74
‘René Breguet, Ice Skating Waiter,
St. Moritz’, 1932
24,1 × 19,2 cm (9,5 × 7,6 in)
margin, two of his “PHOTO BY ALFRED
EISENSTAEDT” stamps on the reverse,
titled by Eisenstaedt in ink on the reverse
€ 2,000 / € 3,000–4,000
LITER ATURE Alfred Eisenstaedt, Witness to
our Time, New York 1966, p. 55; The Eye of
Eisenstaedt, London 1969, p. 29.
54
75
‘Opéra de Paris’ 1930
46,3 × 31,8 cm (18.2 × 12.5 in)
margin, his “PHOTO BY ALFRED
EISENSTAEDT” stamp on the reverse,
titled by Eisenstaedt in ink on the reverse
€ 3,600 / € 6,000–7,000
76
MARIO DE BIASI (* 1923)
‘Gli italiani si voltano’, Milano 1954
19,5 × 29,5 cm (7,7 × 11,6 in)
Credited and annotated by the
photographer in capitals on the reverse
€ 600 / € 1,000–1,200
55
77
ROBERT CAPA (1913–1954)
Ernest Hemingway, Sun Valley,
Idaho 1941
19,7 × 19 cm (7.8 × 7.5 in)
Photographer’s agency distribution
stamp and “Ernest HEMINGWAY”
stamp on the reverse
€ 2,000 / € 3,500–4,000
Ernest Hemingway, Mrs Howard Hawks
(aka Nancy Gross), Gary Cooper, “Slim”
Keith Hawks
78
ROBERT CAPA (1913–1954)
Omaha Beach, June 6th 1944
22 × 34 cm (8.7 × 13.4 in)
Photographer’s agency stamp,
date stamp (most likely refering
to the print date) and various
notations in ink on the reverse
€ 1,800 / € 3,000–3,500
Im Morgengrauen des 6. Juni 1944 wurde Capa mit der
ersten Welle alliierter Truppen am Omaha Beach (Deckname für einen der Landungspunkte auf der NormandieKüste) ausgeschifft. Seine bekanntesten Fotografien
entstanden in den darauffolgenden Stunden. Im Londoner
Büro von Life machte ein Assistent einen fatalen Fehler beim
Trocknen der Filme, wodurch die Fotografien unscharf
wurden. Nur elf (oft als „The Magnificent Eleven“
bezeichnet) der ursprünglich 106 Aufnahmen konnten
gerettet werden; zehn davon veröffentlichte Life am 19. Juni
1944. Die Unschärfe, im Magazin als „slightly out of focus“
bezeichnet, wurde hier jedoch mit der Aufregung des Fotografen erklärt. Capa nannte drei Jahre später in Anspielung
darauf seine Memoiren ‚Slightly out of focus‘.
56
In the gray of dawn on the 6th of June 1944 Capa disembarked together with the first wave of allied troops at
Omaha Beach (code name for one of the landing zones at
the Normandy coast). Some of Capa’s best known photographs were taken in the subsequent hours. Unfortunately
an assistant at the London office of Life made a mistake
while drying the negatives which turned the photographs
blurry. Only eleven (often referred to as “The Magnificent
Eleven”) of the original 106 exposures could be saved; ten of
which were published by Life on the 19th of June 1944. The
blurring of the image was noted as “slightly out of focus“,
which the magazine explained reflected the excitement of
the photographer. Capa made a reference to this three years
later by calling his memoirs ‘Slightly out of focus’.
79
HENRI CARTIER-BRESSON (1908–2004)
Hyde Park, London 1937
30,5 × 45,5 cm (12 × 17.9 in)
€ 10,000 / € 18,000–20,000
PROVENANCE Esther Woerdehoff
LITER ATURE Henri Cartier-Bresson,
Images à la Sauvette, Paris 1952, p. 30–31;
Jean Pierre Montier (ed.), Henri CartierBresson Seine Kunst – Sein Leben, 2002,
p. 182, pl. 182.
80
Torero, Mexico 1934
23,7 × 17 cm (9.3 × 6.7 in)
Signed by the photographer in ink on the
reverse, annotated in an unidentified
hand in pencil on the reverse
€ 2,600 / € 4,000–5,000
PROVENANCE Private Collection New York,
Mike Gallagher
57
≥
81
Sevilla, 1933
24 × 35,7 cm (9.4 × 14.1 in)
Signed by the photographer in ink and with
his copyright blindstamp in the margin
* € 4,000 / € 7,000–9,000
LITER ATURE Henri Cartier-Bresson, Images à la
Sauvette, Paris 1952, p. 13; Henri Cartier-Bresson,
The Decisive Moment, Simon and Schuster 1952,
pl. 13; Henri Cartier-Bresson, Aperture, New York
1976, p. 17; Henri Cartier-Bresson: Photographer,
Little, Brown and Co., 1979, pl. 90; Peter Galassi
(ed.), Henri Cartier-Bresson: The Early Work, The
Museum of Modern Art, New York 1987, p. 108;
Jean-Pierre Montier (ed.), Henri Cartier-Bresson
and the Artless Art, Little, Brown and Co. 1996,
p. 24; Henri Cartier-Bresson: The Man, The Image
and The World, London 2003, pl. 115, pp. 102–103;
Henri Cartier-Bresson: Scrapbook, Göttingen
2006, pp. 46–47, 115 (including 15 variants).
82 ∆
Mexico, 1964
24 × 35,7 cm (9.4 × 14.1 in)
Signed by the photographer in ink and
with his copyright blindstamp in the margin
* € 4,000 / € 7,000–9,000
83 ≥
Quai St. Bernard, Paris 1932
24,1 × 35,9 cm (9.5 × 14.1 in)
Signed by the photographer in ink and
with his copyright blindstamp in the margin
* € 4,000 / € 7,000–9,000
LITER ATURE Henri Cartier-Bresson. Seine
Kunst – Sein Leben, Munich 1999, p. 60;
Wer sind Sie, Henri Cartier-Bresson?,
Munich 2003, p. 232.
58
59
84
HENRI CARTIER-BRESSON
(1908–2004)
‘Train going to Ascot’, Waterloo
Station, London 1953
23,5 × 29,8 cm (9.3 × 11.7 in)
Two of the photographer’s agency
stamps and two “a.b.c. press” stamps
on the reverse, label with
typographic description on the
reverse
€ 2,400 / € 4,000–5,000
LITER ATURE Henri Cartier-Bresson,
Les Européens, Verve 1955, pl. 46;
The World of Henri Cartier-Bresson,
London 1968, p. 76.
85
(1908–2004)
New York City, 1954
16,8 × 25 cm (6.6 × 9.8 in)
Photographer’s credit stamp and
“a.b.c. press” stamp on the reverse
€ 1,600 / € 3,000–3,500
60
86
(1908–2004)
Shanghai, 1949
21,8 × 31,3 cm (8.6 × 12.3 in)
Photographer’s agency credit stamp,
“LIFE PHOTO BY CARTIER-BRESSON”
stamp and various numerical stamps
on the reverse, label with typographic
description and several handwritten
notations on the reverse
€ 6,000 / € 12,000–14,000
Henri Cartier-Bresson war beinahe ein Jahr (Dezember
1948 bis Oktober 1949) im Auftrag von Life in China
und dokumentierte die letzten Monate der KuomintangRegierung und die ersten Monate der Volksrepublik. Der
Datumsstempel (9 Oct 1949) auf der Rückseite bestätigt,
dass diese Aufnahme kurz nach der offiziellen Übernahme der Kommunisten entstand. Die rückseitige Presse
beschriftung („Students in Communist China are urged
to forego their books and their classrooms for banners
and parades whenever the Party calls“) erklärt, dass es
sich um Studenten handelt, die Pro-Mao Banner halten.
Henri Cartier-Bresson spent almost a year (December
1948 to October 1949) in China on contract for Life, documenting the final months of the Kuomintang administration and the first months of the People’s Republic. The
date stamp on the back of the photograph (9 Oct 1949)
confirms that this picture was taken shortly after the
Communist takeover. The press caption on the back
(“Students in Communist China are urged to forego their
books and their classrooms for banners and parades
whenever the party calls”) explains that it is students who
are holding the pro-Mao banners.
61
87
(1908–2004)
India, 1966
16,8 × 25 cm (6.6 × 9.8 in)
Photographer’s copyright stamp,
“a.b.c. press” stamp, archive stamp
“Gazet van Antwerpen” and various
notations on the reverse
€ 1,500 / € 2,500–3,000
88
JEAN-PHILIPPE CHARBONNIER
(1921–2004)
W. Eugene Smith mit zwei Rolleiflex
und zwei Leicas / with two Rolleiflex
and two Leica cameras, 1960s
20 × 20,3 cm (7.9 × 8 in)
on the reverse, annotated in
an unidentified hand in pencil on
the reverse
€ 1,400 / € 2,500–3,000
62
89
WERNER BISCHOF (1916–1954)
Kalkutta / Calcutta, April 1951
24,5 × 20,2 cm (9.6 × 8 in)
Photographer’s agency stamp and
various notations on the reverse
€ 1,400/ € 2,000–2,500
LITER ATURE Marco Bischof (ed.),
Werner Bischof. Bilder, Zurich 2006, p. 180;
Rosselina Bischof Burri / René Burri (ed.)
Werner Bischof, New York 1974, p. 37;
Marco Bischof / René Burri (ed.), Werner
Bischof 1916–1954, London 1990, p. 101.
Vom Ausland geliefertes Getreide wird
am Hafen von Kalkutta entladen. Bischofs
Fotostory über die Hungersnot in Indien
(publiziert in Life, Juni 1951) war sein
erster großer internationaler Erfolg.
Wheat sent by foreign countries is
unloaded at the port of Calcutta. Bischof’s
photo story covering the famine in India
(published in Life, June 1951) was his first
international success.
90
Kaesong, South Korea 1952
24 × 24 cm (9.4 × 9.4 in)
Photographer’s agency stamp on
the reverse
€ 2,200 / € 3,500–4,000
LITER ATURE Marco Bischof / René Burri
(ed.), Werner Bischof 1916-1954, London
1990, p. 180–181
Internationale Reporter berichten
über Waffenstillstand-Verhandlungen
während des Korea-Kriegs (1950–1953)
Reporters from the world press at
the ceasefire negotiations during the
Korean War (1950–1953)
63
91
Train La Rafale, Indochine 1952
25 × 19,3 cm (9.8 × 7.6 in)
Photographer’s agency stamp
and various notations in ink and
pencil on the reverse
€ 2,600 / € 5,000–6,000
64
92
Michiko Jinuma, Tokyo 1951
25 × 17,8 cm (9.8 × 7 in)
various annotations on the reverse
€ 1,800 / € 3,000–3,500
LITER ATURE Marco Bischof (ed.), Werner
Bischof. Bilder, Zurich 2006, p. 279.
Die Aufnahmen von Michiko sind Teil
einer Serie Bischofs, in der er das Leben
junger Japaner zwischen Orient und
Okzident mit seiner Kamera festhielt.
Michiko, eine Modestudentin, wird
einerseits in westlicher Kleidung, wie
in den vorliegenden zwei Aufnahmen
gezeigt, aber in anderen Fotografien im
patriarchalen Familienkontext.
The photographs of Michiko are part
of a series by Bischof, in which he
captures the lives of young Japanese
people between the Orient and the
Occident. Michiko, a fashion student,
is on the one hand wearing western
clothing, as shown in these two shots,
but in other photographs she is pictured
in a patriarchal family context.
93
Michiko Jinuma on her way to town,
Tokyo 1951
19,2 × 26,5 cm (7.6 × 10.4 in)
various notations in pencil and ink
on the reverse
€ 1,800 / € 3,000–3,500
65
94
INGE MORATH (1923–2002)
‘View from top of Rockefeller
Center’, New York 1958
16,7 × 25 cm (6.6 × 9.8 in)
image no. stamp and various
press stamps and notations on
the reverse
€ 1,500 / € 2,500–3,000
LITER ATURE Kurt Kaindl (ed.),
Inge Morath. New York, Salzburg /
Vienna 2002, p. 48–49.
95
‘Xian, Hua Qing Springs’,
China 1978
22,2 × 33,3 cm (8.7 × 13.1 in)
Signed, titled and numbered
(image no. “78-12-28/20”) by
the photographer in pencil and
ink on the reverse
€ 1,500 / € 2,500–3,000
LITER ATURE Arthur Miller /
Inge Morath, Chinese Encounters,
New York 1979; Inge Morath,
Photographs of China, cat. Grand
Rapids Art Museum, Michigan 1979;
Arthur Miller / Inge Morath,
In China, 1991.
66
96
MARC RIBOUD (* 1923)
Piccadilly Circus, London c. 1960
33,5 × 23 cm (13.2 × 9.1 in)
Photographer’s agency credit
stamp and label with typographic
description on the reverse
€ 1,800 / € 3,000–3,500
97
Frau in Hutgeschäft / Woman in
millinery shop, 1962
29,7 × 20 cm (11.7 × 7.9 in)
Photographer’s agency stamp
and various numerical stamps on
the reverse
€ 1,200 / € 2,000–2,500
67
98
Aufstände in Algerien / Uprising in Algeria,
January 1960
3 Gelatin silver prints, printed in the
late 1970s
each c. 30 × 20 cm (11.8 × 7.9 in)
Each with the photographer’s agency stamp
and image no. stamp on the reverse
€ 1,400 / € 2,200–2,400
Die drei Aufnahmen entstanden
während der „Woche der Barrikaden“, einer Revolte von französisch-algerischen Partisanen. Riboud
war damals zum ersten Mal in Algerien, reiste aber danach immer
wieder in das Land, und fing bis
1962 die entscheidenden Momente
des Unabhängigkeitskriegs ein.
The three images were taken during
the “Week of the Barricades”, a revolt
of French-Algerian partisans. Riboud
went to Algeria for the first time in
1960; he made regular trips through
out 1962 and captured the decisive
moments that led to the independence of the country.
99
Hanoi, Vietnam 1969
18,6 × 28 cm (7.3 × 11 in)
Signed by the photographer in
ink in the margin, annotated
in an unidentified hand in pencil
on the reverse
€ 1,200 / € 2,000–2,500
LITER ATURE Marc Riboud,
Portfolio, Munich 2000, p. 53.
68
100
Flüchtlingscamp / Refugee Camp,
Kinshasa 1961
each c. 25 × 16,5 cm (9.8 × 6.5 in)
Each with the photographer’s agency
stamp, “a.b.c. press” stamp and image
no. stamp on the reverse
€ 1,200 / € 2,000–2,400
LITER ATURE Marc Riboud, Portfolio,
Munich 2000, p. 39; Marc Riboud,
Meine Bilder sind Notizen – 100 Fotos
für die Pressefreiheit, Berlin 1998, p. 74
(same series).
101
GEORGE RODGER (1908–1995)
‘Wrestlers face each other before
a match, Kordofan’, Sudan 1949
24,5 × 38 cm (9.6 × 15 in)
annotations in an unidentified hand
on the reverse
* € 2,000 / € 3,000–,3500
LITER ATURE Humanity and
Inhumanity, The Photographic
Journey of George Rodger, London
1994, p. 204–205; Carole Nagger
(ed.), George Rodger en Afrique,
Paris 1984, p. 148–149.
Eine Versammlung des NubaStamms im Korongo Jebels
Gebirge. Die Nuba sind stolze
Ringer, ihr Stammes-Sport. Sie
bedecken sich mit Holzasche, um
beim Ringen Halt zu bekommen.
A gathering of the Nuba tribe in
the Korongo Jebels mountains.
The Nubas pride themselves as
wrestlers, their tribal sport. They
are powdered in wood ash so
they can get a grip of each other.
69
102
Henri Cartier-Bresson, Paris 1961
22,4 × 32,8 cm (8.8 × 12.9 in)
Signed, titled and numbered (image
no. “61-15-4/29” and “IM 574”) by
the photographer in pencil on the reverse,
her copyright agency label on the reverse
€ 2,600 / € 4,000–5,000
LITER ATURE Inge Morath. Das Leben als
Photographin, Kat. Kunsthalle Wien,
Munich (Vlg. Kehayoff) 1999, p. 158;
Inge Morath, Portraits. Introduction by
Arthur Miller, New York 1986, p. 84.
70
Inge Morath und Henri Cartier-Bresson kannten sich
zum Zeitpunkt der Aufnahme seit rund einem Jahrzehnt. Sie hatte 1949 als Redakteurin bei Magnum seine
Kontaktbögen studiert und war vor ihrer Aufnahme
als Vollmitglied 1955 seine Assistentin. Dieses Porträt
überzeugt durch den ausgewogenen Bildaufbau, der
das Augenmerk ganz auf den Dargestellten lenkt:
Cartier-Bresson im Dreiteiler, mit Kissen in grafischem
Muster neben sich – eine Aufgeräumtheit, die man
auch mit den Qualitäten seiner eigenen fotografischen
Arbeit verbindet. Im Gesichtsausdruck spiegelt sich das
Verhältnis von Fotografin und Modell: ein Mentor, der
auf seine emanzipierte Schülerin blickt.
Inge Morath and Henri Cartier-Bresson knew each
other about a decade at the time this photograph
was taken. While working as an editor at Magnum in
1949, Morath had studied his contact sheets and was
his assistant before her admission as a full member
in 1955. This portrait draws the eyes of the viewer
toward the sitter, through its balanced image structure:
Cartier-Bresson in three-piece, with graphic patterned
cushions next to him – a neatness which is also associated with the qualities of his own photographic work.
The expression reflects the relationship between
photographer and model: A mentor, who looks at his
emancipated student.
103
ELLIOTT ERWITT (* 1928)
David ‘Chim’ Seymour, Paris 1956
Vintage silver print, printed 1970s
24,4 × 16,2 cm (9.6 × 6.4 in)
Photographer’s agency stamp with
handwritten credit on the reverse
€ 1,800 / € 3,000–3,500
Magnum-Gründungsmitglied David
Seymour, aufgenommen von seinem
Kollegen Erwitt in der Nähe des
damaligen Pariser Agenturbüros
(Faubourg St. Honoré). Kurz danach,
am 10. November 1956, wurde „Chim“,
der nach Capas Tod 1954 die Präsidentschaft von Magnum übernommen hatte,
während einer Suez-Reportage von
ägyptischen Heckenschützen getötet.
Magnum founding member David
Seymour, taken by his colleague Erwitt
near the former Parisian agency office
(Faubourg St. Honoré). Upon Capa’s
death in 1954 “Chim” became president
of Magnum. Shortly after the picture
was taken, on 10 November, 1956 he was
killed by Egyptian sniper fire while on
assignment in the Suez.
104
RENÉ BURRI (* 1933)
Henri Cartier-Bresson posiert
mit seiner Leica M3 / posing with
his Leica M3
‘Frozen Seine river near Paris’,
1956
21,5 × 32 cm (8.5 × 12.6 in)
photographer in ink in the margin
€ 3,000 / € 5,000–6,000
71
105
Nicosia, Cyprus, 1959
24,5 × 15,6 cm (9.6 × 6.1 in)
Photographer‘s agency stamp,
“a.b.c. press” stamp and image
no. stamp on the reverse
€ 1,600 / € 2,500–3,000
Eine Frau wartet auf die Freilassung
ihres Sohns aus dem Gefängnis,
politischen Gefangenen wurde
Amnestie gewährt.
Woman waiting for the release
of her son from prison, political
prisoners are granted amnesty.
106
Chor der Roten Armee / Red Army
Choir, 1957
16,5 × 24,6 cm (6.5 × 9.7 in)
“a.b.c. press” and image no. stamp
on the reverse
€ 1,600 / € 2,500–3,000
72
107
China, 1964
each c. 16 × 24 cm (6.3 × 9.4 in)
Each with the photographer’s agency
stamp, handwritten neg. number
and diverse annotations in pencil and
ink on the reverse
* € 5,000 / € 8,000–10,000
Beide Fotografien entstanden im Zuge von Burris Life
Reportage über die Volksrepublik China im Jahr 1964.
– Provinz von Henan, eine Baumwoll-Kommune
in der Nähe von Luoyang. Kinder spielen
„Chinesische Mauer“.
– Familie Ching Chung Hwa isst unter Mao Tse Dungs Porträt zu Mittag. Die Familie lebt in der landwirtschaftlichen Kommune ‚Ma Cheo‘,
40 km von Shanghai entfernt, bestehend aus
6 700 Haushalten.
Both photographs were made in the course of Burris
Life reportage on the People’s Republic of China in 1964.
– Province of Henan, a Cotton Commune near Luoyang. Children are playing “The Great Wall”.
–The Ching Chung Hwa family is having lunch under Mao Tse Dung’s portrait. They live in the
agricultural commune of ‘Ma Cheo’, located 40 km from Shanghai and consiting of about 6700 households.
73
108
ERICH LESSING (* 1923)
Arbeiter in einem Bergwerk in / Workers
in a mine, Hlubina, Czechoslovakia 1956
30,3 × 20,2 cm (11.9 × 8 in)
on the reverse, his credit agency stamp
and various notations in ink and pencil
on the reverse
€ 1,200 / € 2,000–2,500
109
Krasic, Croatia 1952
25,2 × 17,5 cm (9.9 × 6.9 in)
the reverse, his credit agency stamp,
label and diverse notations in pencil
on the reverse
€ 900 / € 1,500–2,000
Die Haushälterin von Kardinal Alojzij
Stepinac füttert Hühner. Der Kardinal
wurde 1946 wegen Hochverrat zu
einer Haftstrafe verurteilt, übersiedelte aber 1951 in seine Heimatstadt
ins Exil, wo er fortan als stellvertretender Priester arbeitete.
The housekeeper of Cardinal Alojzij
Stepinac is feeding chicken. The
cardinal sentenced to a prison term
for high treason in 1946 was exiled
to his hometown Krasic in 1951, where
he worked as deputy-parish priest.
74
110
Ungarische Revolution / Hungarian
Revolution, Budapest 1956
15,5 × 22,8 cm (6.1 × 9 in) and
23 × 34 cm (9 × 13.4 in)
Each signed by the photographer on the
reverse, each with various copyright agency
stamps, labels and notations on the reverse
€ 1,800 / € 3,000–4,000
Die Ungarische Revolution begann mit
ersten Großdemonstrationen in Budapest
am 23. Oktober 1956, tagelang andauernde
Straßenkämpfe folgten. Vor dem besetzten
Hauptsitz der Ungarischen Kommunistischen Partei am Köztársaság Platz
verbrennen Revolutionäre rote Flaggen.
The Hungarian Revolution started with a
first mass-rally in Budapest on October 23,
1956, followed by days of streetfighting.
Outside the newly occupied headquarters
of the Hungarian Communist Party on
Köztársaság Square, revolutionaries burn
red flags.
Im kalten Winter nach der Ungarischen
Revolution mangelte es an Essen und Heizöl.
In einem ausgebrannten Geschäft verkauft
eine Frau Schmuck und anderen Nippes.
Aftermath of the Hungarian Revolution:
The winter of 1956 was bitterly cold, food and
fuel were scarce. In a burnt-out shop, a
woman sells her jewellery and other trinkets.
111
Folkdance Festival, Strasnice 1956
30 × 21,4 cm (11.8 × 8.4 in)
the reverse, his agency credit stamp
and various notations in pencil and ink
on the reverse
€ 900 / € 1,500–2,000
75
112
Dwight D. Eisenhower, Geneva 1955
25 × 16,7 cm (9.8 × 6.6 in)
Photographer’s agency credit stamp
on the reverse
€ 2,400 / € 4,000–5,000
Erich Lessing – Vom Festhalten der
Zeit, Vienna 2002, p. 234.
76
Erich Lessing, international durch seine Bildberichte vom politischen Parkett Nachkriegseuropas bekannt, schuf mit dieser
Aufnahme, vorliegend als Vintage-Print, eine seiner meist
publizierten Fotografien. Dwight D. Eisenhower wird auf dem
Genfer Flughafen vom Schweizer Präsidenten Max Petitpierre
empfangen. Eisenhower war gekommen um an der Genfer
Gipfelkonferenz (18. bis 23. Juli 1955) teilzunehmen, dem ersten
Treffen aller Staats- und Regierungschefs der vier Siegermächte
des Zweiten Weltkrieges (USA, UdSSR, Großbritannien und
Frankreich), da bei der Potsdamer Konferenz im Jahr 1945
Frankreich nicht vertreten war.
Erich Lessing, gained international recognition through his
picture reports from the political arena of postwar Europe. The
present vintage print is one of his most publicized photographs. Dwight D. Eisenhower is received at the Geneva
airport by Swiss President, Max Petitpierre. Eisenhower had
come to participate in the Geneva summit (18 to 23 July 1955),
the first meeting of all the leaders of the four victorious powers
of the Second World War (USA, USSR, UK and France), as
France was not represented at the Potsdam Conference in 1945.
113
Nikita Khrushchev besucht eine
Farm in der Nähe von Washington /
visits a farm in the vicinity of
Washington, 1959
22,2 × 29,3 cm (8.7 × 11.5 in)
image no. stamp and various
notations in ink and pencil on the
reverse
€ 1,400 / € 2,000–2,400
Die Aufnahme entstand während Khrushchevs zwölftägiger
USA-Reise im September 1959. Kurz nach seiner Ankunft
besuchte er mit dem Agrarminister Ezra Taft Benson (links im
Bild) eine Farm in Maryland. Lachend, einen Truthahn haltend,
beklagte er sich über das viel zu magere Tier. Es war seine erste
Reise in die USA und man hoffte auf eine positive Wendung
im Kalten Krieg. Ein paar Monate vorher besuchte Nixon die
Amerikanische Nationalausstellung in Moskau, hier entstand
auch Erwitts bekannte Aufnahme ‚Kitchen Debate‘.
The picture was taken during Khrushchev’s trip to the United
States in September 1959. Shortly after his arrival he visited
together with the Secretary of Agriculture Ezra Taft Benson
(left in the image) a farm in Maryland. He grabbed a turkey
and complained about the way too lean animal. It was his first
visit in the United States, the hope to achieve a turning point
in the Cold War was high. A few months before Erwitt’s well
known image ‘Kitchen Debate’ was made, when Nixon was in
Moscow to visit the American National Exhibition.
114
Nikita Khrushchev und / and
Richard Nixon, Moscow 1959
25 × 17 cm (98 × 6.7 in)
image no. stamp and diverse
notations in ink and pencil on
the reverse
€ 1,400 / € 2,000–2,400
77
115
DENNIS STOCK (1928–2010)
Nikita Khrushchev arrives at
airport, USA 1959
30 × 20 cm (11.8 × 7.9 in)
Photographer’s agency credit
€ 600 / € 1,000–1,200
116
LISL STEINER (* 1927)
Nat King Cole, Argentina 1957
33 × 23,5 cm (13 × 9.3 in)
Signed, annotated and dated by the
€ 600 / € 1,000–1,200
78
117
LISL STEINER (* 1927)
Bergräbnis von / Funeral John F. Kennedy,
Washington 1963
38 × 26 cm (15 × 10.2 in)
Signed, annotated and dated by the
€ 600 / € 1,000–1,200
118
JACQUES LOWE (1930–2001)
Robert Kennedy, c. 1958
29,5 × 21,7 cm (11.6 × 8.5 in)
on the reverse
€ 800 / € 1,400–1,600
79
119
SEBASTIÃO SALGADO (* 1944)
Serra Pelada Mine, Brasil 1986
Photogravure
37,8 × 25,5 cm (14.9 × 10 in)
Signed and numbered by the
photographer in pencil in the margin,
edition no. 7/100
€ 1,500 / € 2,000–3,000
120
LUCIEN CLERGUE (* 1934)
Jacques-Henri Lartigue, Aaron Siskind,
Manuel Álvarez Bravo, André Kertész,
Arles 1979
25 × 35,3 cm (9.8 × 13.9 in)
in the margin, signed, dated and
annotated by him in ink on the reverse
€ 1,500 / € 2,500–3,000
80
121
ROLF GILLHAUSEN (1922–2004)
Drei Männer vor einem Diagramm /
Three men in front of a chart, c. 1950
19 × 29,6 cm (7.5 × 11.7 in)
Stern copyright stamp and
“A.B.C. Press Service” stamp on
the reverse
€ 800 / € 1,400–1,600
122
LORD SNOWDON (* 1930)
‘Dame Agatha Christie’, 1974
20,3 × 20,2 cm (8 × 8 in)
Various press stamps and Camera Press
label with typographic descriptions
“Dame Agatha Christie at 83 at a small
writing desk she uses for her
correspondance” incl. photographer’s
credit on the reverse
€ 600 / € 1,000–1,200
81
123
EVE ARNOLD (1912–2012)
Marilyn Monroe, Los Angeles 1960
22,7 × 16 cm (8.9 × 6.3 in)
Photographer’s agency copyright stamp
and annotations in an unidentified hand
in ink on the reverse
* € 2,600 / € 4,000–5,000
LITER ATURE Gina Thomas, Eve Arnold.
Hommage, Munich 2012, p. 44–53.
124
Marilyn Monroe, 1955
31,7 × 24,5 cm (12.5 × 9.6 in)
Photographer’s agency stamp with
handwritten credit in an unidentified
hand on the reverse
€ 1,400 / € 2,000–2,400
82
125
BERT STERN (1929–2013)
‘Marilyn in Vogue’ (‘The Last Sitting’),
Los Angeles 1962
Iris pigment print, printed in 1994
57 × 50 cm (22.4 × 19.7 in)
in white pencil in the image, his copyright
stamp with print date (1994) and signature
in red pencil on the reverse, numbered
“# 552” in pencil on the reverse, comes
with signed, titled and numbered certificate
of authenticity
€ 2,600 / € 4,000–5,000
126
BERT STERN (1929–2013)
Marilyn Monroe (‘The Last Sitting’),
Los Angeles 1962
Chromogenic print, printed 1970s
48 × 48 cm (18.9 × 18.9 in)
Signed and numbered “55/250”
by the photographer in ink in the
image margin, edition no. 55/250
€ 1,400 / € 2,000–2,500
83
127
Clark Gable in ‘The Misfits’, 1960
25,3 × 16,5 cm (9.7 × 6.5 in)
image no. stamp and “A.B.C. Press
Service” stamp on the reverse
€ 800 / € 1,400–1,600
128
ERNST HAAS (1921–1986)
Clark Gable in ‘The Misfits’, 1960
17 × 23 cm (6.7 × 9.1 in)
image no. stamp and “A.B.C. Press
Service” stamp on the reverse
€ 1,400 / € 2,000–2,400
84
129
DENNIS STOCK (1928–2010)
James Dean, Fairmount, Indiana 1955
29,3 × 21,5 cm (11.5 × 8.5 in)
“DEAN James” stamp on the reverse,
various notations in pencil on
the reverse
€ 1,800 / € 3,000–3,500
James Dean posiert auf der Farm seines
Onkels Winslow mit einem Schwein;
publiziert am 7. März 1955 in Life
als Teil von Stocks Fotostory ‚Moody
New Star‘ (‚Newcomer mit Launen‘)
James Dean on the farm of his uncle
Marcus Winslow, posing with a pig;
the image was published in Life on
March 7th, 1955 as part of Stock’s photo
story ‘Moody New Star’.
130
BOB WILLOUGHBY (1927–2009)
Liz Taylor und / and Montgomery Clift
in ‘Suddenly Last Summer’, 1959
17 × 24,7 cm (6.7 × 9.7 in)
Photographer’s credit stamp
on the reverse
€ 800 / € 1,200–1,500
85
131
Marlene Dietrich im Aufnahmestudio von /
at the recording studio of Columbia
Records, New York 1952
29,5 × 24,5 cm (11.6 × 9.6 in)
Photographer’s agency stamp, image
no. stamp, Magnum Library stamp and
numerical notations on the reverse
* € 2,000 / € 3,000–4,000
LITER ATURE Brigitte Lardinois (ed.),
Eve Arnold’s people, London 2009, p. 27;
Gina Thomas (ed.), Eve Arnold Hommage,
Munich 2012, p. 37.
132
HORST P. HORST (1906–1999)
Marlene Dietrich, 1947
23 × 19,5 cm (9.1 × 7.7 in)
Two of the photographer’s “HORST” name
stamps and Condé Nast copyright stamp
on the reverse
€ 2,400 / € 4,000–5,000
LITER ATURE Vogue December Issue, 1947,
series with her daughter Maria Riva
86
133
134
Hanna Schygulla, c. 1980
Brautpaar / Bride and Groom, c. 1960
24,1 × 16,4 cm (9.5 × 6.5 in)
Photographer’s “PHOTO BY ALFRED
EISENSTAEDT” stamp on the reverse
24 × 16,4 cm (9.4 × 6.5 in)
Photographer’s agency and his agency
credit stamp on the reverse
€ 1,200 / € 2,000–2,500
€ 800 / € 1,400–1,600
135
TAZIO SECCHIAROLI (1925–1998)
Sophia Loren und / and Richard Avedon,
Rome 1966
RC-print, printed early 1980s
40,3 × 28,4 cm (15.9 × 11.2 in)
on the reverse
€ 500 / € 800–1,000
LITER ATURE Giovanna Bertelli, Sophia Loren.
Fotografien von Tazio Secchiaroli, Munich
2004.
87
136
FRANK HORVAT (* 1928)
Strip-Tease, Paris late 1950s
sizes vary: 39 × 26 cm (15.4 × 10.2 in) (1) –
39 × 19 cm (15.4 × 7.5 in) (2)
One with the photographer’s agency
stamp on the reverse, each with label
(notations on label refering to book
‘Strip-T’, page no., photo no. and format)
on the reverse
* € 8,000 / € 14,000–16,000
Rapha Temporel, Crazy Horse
Moulin Rouge
Strip-Tease Lido
Frank Horvat, von 1958 bis 1961 assoziiertes Mitglied bei Magnum, ist bekannt
für seine Modefotografie mit Leica in
journalistisch inspirierter Kleinbild
ästhethik. Horvat arbeitete zwischen
1962 und 1963 an seinem Buchprojekt
‚Strip-Tease‘. Publiziert wurde das Buch
1963 von Rencontre, Lausanne; die drei
vorliegenden Vintage-Prints, rückseitig
auf Labels mit Hinweisen zu Layout,
Seitenzahlen und Größe versehen,
waren Druckvorlagen.
Frank Horvat, between 1958 and 1961
associate member of Magnum, is well
known for his fashion photography with
Leica in journalistic, inspired 35 mm
aesthetic. Between 1962 and 1963 he
worked on his book project ‘Strip-Tease’,
which was published by Rencontre,
Lausanne in 1963. The three present
vintage prints were copy prints for this
book and are labeled on the reverse with
information on layout, page numbers
and size.
LITERATURE Frank Horvat, Eintritt frei.
Strip-Tease, Lausanne 1963, p. 36–37
(Moulin Rouge), p. 42–43 (Strip-Tease im
Lido), p. 142–143 (Rapha Temporel).
88
89
137
FRANK HORVAT (* 1928)
Fashion shot ‘Jardin des Modes’, c. 1957
24,3 × 19,9 cm (9.6 × 7.8 in)
Photographer’s “PHOTO FRANK HORVAT –
JARDIN DES MODES” magazine stamp
on the reverse
€ 2,600 / € 4,000–5,000
90
138
MELVIN SOKOLSK Y (* 1938)
‘Fly Elephants’ (Harper’s Bazaar),
Paris 1965
Gelatin silver print, printed later
21,2 × 21 cm (8.3 × 8.3 in)
Signed, titled and annotated by the
€ 1,200 / € 2,000–2,500
139
JESPER HOM (* 1931)
Romy Schneider und / and Alain Delon,
Paris 1958
30 × 20 cm (11.8 × 7.9 in)
Photographer’s copyright agency
€ 600 / € 1,000–1,200
91
140
MARY ELLEN MARK (* 1940)
Mona, 1970s
30,6 × 20,5 cm (12 × 8.1 in)
Photographer’s “MARY ELLEN MARK”
name stamp on the reverse
€ 1,800 / € 3,000–3,500
141
Warhol Factory, 1964
29,3 × 19,5 cm (11.5 × 7.7 in)
numerical notation in an unidentified
hand on the reverse
€ 1,200 / € 2,000–2,500
92
142
PHILIPPE HALSMAN (1906–1979)
Andy Warhol Portfolio, New York 1968
8 Chromogenic prints, portfolio printed
in 1989 in orange clamshell box with
gilt-lettered title
each c. 38 × 30 cm (15 × 11.8 in)
Each with the photographer’s “PHOTO
BY PHILIPPE HALSMAN” stamp and his
wife’s copyright stamp on the reverse,
each signed and numbered by
Halsman’s wife Yvonne in ink on the
reverse, edition no. 34/100
€ 6,000 / € 10,000–12,000
93
143
‘Nu de la mer’, 1959
59 × 49 cm (23.2 × 19.3 in)
photographer in ink on the reverse,
his studio and edition stamp
on the reverse, projected as an
edition of 20
€ 1,800 / € 3,000–3,500
144
‘Nu dans la fôret Calcinée’
(Akt in versteinertem Wald /
Nude in petrified forest), 1970
by Lucien Clergue
45,5 × 55,5 cm (17.9 × 21.9 in)
Signed, titled and numbered by the
his copyright studio stamp and
his edition stamp on the reverse,
edition of 20
€ 1,200 / € 2,000–2,400
94
145
Untitled (Schaumwelle / Water foam),
c. 1970
by Lucien Clergue
54 × 45,5 cm (21.3 × 17.9 in)
his copyright studio stamp and edition
stamp on the reverse, edition of 20
€ 1,200 / € 2,000–2,400
146
‘From my Window’, New York 1985
Cibachrome, printed in the 1990s from
an original Kertész dia slide
36 × 24 cm (14.2 × 9.4 in)
Authenticated, annotated and signed
by Mr. János Bodnár in pencil on
the reverse
€ 900 / € 1,500–2,000
LITER ATURE In the New York Apartment
of André Kertész, Budapest 2001, p. 34.
Unikat, aufgenommen im Juni 1985
in Kertész’ Wohnung mit der Kamera
und in Anwesenheit seines Freundes
János Bodnár.
Unique photograph, taken June 1985
in Kertész’ appartment with the
camera and in presence of his friend
János Bodnár.
95
147
HELMUT NEWTON (1920–2004)
Fashion shots, Paris 1970s
3 Polacolor prints, Vintage, mounted
together in original frame
each c. 10,8 × 8,5 cm (4.3 × 3.3 in)
Each initialized by the photographer
in ink on the reverse, signed and annotated
by him on the reverse of original frame
€ 6,000 / € 10,000–12,000
PROVENANCE Galerie Ernst Hilger, Vienna
148
PETER LINDBERG (* 1944)
Fashion for Vogue, Paris 1989
Vintage contact silver print contact
print paper size
30 × 24 cm (11.8 × 9.4 in)
Some images crossed or circled with
yellow and orange wax pencil most
likely by the photographer himself
€ 800 / € 1,200–1,500
96
149
IRVING PENN (1917–2009)
Amber Valetta, New York 1996
Gelatin silver print
26,7 × 26,7 cm (10.5 × 10.5 in)
Annotated and numbered in
an unidentified hand in pencil
on the reverse
€ 4,000 / € 7,000–8,000
PROVENANCE Cathleen Naundorf, Paris
Alexander Libermann Collection, New York
150
IRVING PENN (1917–2009)
Nude # 8, New York 1949
39,4 × 37,5 cm (15.5 × 14.5 in)
in pencil on the reverse, photographer’s
Condé Nast copyright stamp on the reverse,
the stamp reads “One of no more than
31 signed silver prints of this negative.
Each print differs somewhat from the others”
€ 5,000 / € 8,000–10,000
21.10.2008, Lot 246
LITER ATURE Earthly Bodies. Irving Penn
Nudes. 1949–50, The Metropolitan Museum
of Art, New York 2002.
97
153 ≥
CHRISTER STRÖMHOLM
(1918–2002)
Bikini, Sweden 1968
27,8 × 20,3 cm (10.9 × 8 in)
ink on the reverse, his fingerprint
€ 2,000 / € 3,000–4,000
PROVENANCE David Guiraud, Paris
151
MIROSLAV TICHÝ (1926–2011)
Untitled, c. 1975
c. 24 × 18 cm (9.4 × 7.1 in)
€ 800 / € 1,400–1,600
152
MIROSLAV TICHÝ (1926–2011)
Untitled, c. 1975
9 × 13 cm (3.5 × 5.1 in)
€ 600 / € 1,000–1,200
98
99
154
RALPH GIBSON (* 1939)
Frontal portrait (from the portfolio
‘If & (Silk)’), 1976
31,2 × 20,6 cm (12.3 × 8.1 in)
Signed and dated by the
photographer in pencil on
the reverse
* € 2,000 / € 3,000–4,000
155
RALPH GIBSON (* 1939)
Woman’s Face with Shadow
(from the portfolio ‘If & (Silk)’),
1974
31,3 × 20,6 cm (12.3 × 8.1 in)
* € 2,000 / € 3,000–4,000
LITER ATURE Ralph Gibson, Tropism,
New York 1987 (Aperture), p. 71.
100
156
SHOJI UEDA (1913–2000)
Vier Modeaufnahmen /
Four fashion shots, 1984/85
4 Vintage RC-prints
each c. 21 × 21 cm (8.3 × 8.3 in)
Each with date label on the reverse,
one annotated and credited in
an unidentified hand in pencil on
the reverse
€ 1,200 / € 2,000–2,500
101
157
MASAHISA FUK ASE (1934–2012)
Kanazawa, 1977
by Masato Seto
28,1 × 42,5 cm (11.1 × 16.7 in)
Photographer’s estate stamp with
handwritten notations in pencil
(English and Japanese) on the reverse
€ 2,400 / € 4,000–5,000
LITER ATURE Masahisa Fukase,
Ravens, Tokyo 1986, p. 73.
158
Wakkanai, 1978
by Masato Seto
28,2 × 42,3 cm (11.1 × 16.7 in)
Photographer’s estate stamp with
handwritten notations in pencil
(English and Japanese) on the reverse
€ 2,400 / € 4,000–5,000
LITER ATURE Masahisa Fukase,
Ravens, Tokyo 1986, p. 69.
102
159
‘Karasu-Ravens’, Tokyo: Sokyusha, 1986
A near fine copy, housed in the original
cardboard, slipcase signed by Fukase
in K anji , first edition, hardcover
25,7 × 25,7 cm (10.1 × 10.1 in)
black cloth covered boards as issued with
embossed image of a raven on front
board, 62 black and white photographs
printed in offset monotone, Japanese text
€ 4,400 / € 6,500–7,500
103
160
EIKOH HOSOE (* 1933)
Kamaitachi # 2, 1965
original cardboard
29 × 19,5 cm (11.4 × 7.7 in)
pencil in the margin
€ 1,800 / € 3,000–3,500
LITER ATURE Eikoh Hosoe, Kamaitachi,
Tokyo 1969, s. p.
161
original cardboard
29 × 19,5 cm (11.4 × 7.7 in)
pencil in the margin
€ 1,800 / € 3,000–3,500
LITER ATURE Eikoh Hosoe, Kamaitachi,
Tokyo 1969, s. p.
104
162
20,5 × 30,5 cm (8.1 × 12 in)
Japanese in ink in the margin,
signed, titled and dated by him
in pencil on the rerverse
€ 1,500 / € 2,500–3,000
LITER ATURE Eikoh Hosoe,
Kamaitachi, Tokyo 1969, s. p.
163
‘Kamaitachi’, Tokyo: Gendaishicho – Sha, 1969
First edition, hardback with original clear
acetate jacket, housed in white card slipcase
and in the original shipping carton, no. 0135
of 1000 limited editions, signed by Hosoe
in K anji
37,5 × 31 cm (14.8 × 12.2 in)
88 pages, 33 black and white gatefold
photographs printed in blue. Photos by Eikoh
Hosoe, dance by Tatsumi Hijikata, preface by
Shuzo Takiguchi, poem by Toyoichiro Miyoshi,
and design by Ikko Tanaka.
€ 4,000 / € 5,000–6,000
105
164
‘Man and Woman # 24’, 1960
15,4 × 25,4 cm (6.1 × 10 in)
Signed and dated (incl. dedication
date) by the photographer in pencil
in the margin, his blindstamp in the
margin lower left, titled and dated
by him in pencil on the reverse
€ 1,500 / € 2,500–3,000
165
‘Man and Woman’ (Otoko to Onna),
Tokyo: Camera Art Inc.,1961
The first publication by Eikoh Hosoe,
first edition, inscribed by Hosoe
in 1968
23,7 × 18 cm (9.3 × 7.1 in)
34 black and white photographs,
printed in photogravure, in nearly
mint dustjacket, housed in a lightly
used publisher’s slipcase
€ 1,000 / € 1,400–1,600
106
166
NOBUYOSHI ARAKI (* 1940)
Set aus 5 Polaroids / Set of 5 Polaroids,
Tokyo 1987
5 Polaroids SX 70
Each signed by the photographer
in ink in the margin
€ 4,000 / € 6,000–8,000
Selbstporträt / Self-portrait
‘From Winter to Spring’, 2004
Porträt der an Krebs erkrankten Poetin Minori
Miyata, die Araki über Monate fotografierte /
Portrait of poet Minori Miyata, who suffered from
breast cancer. Araki took many photographs of
her over a period of months
Untitled (Akt mit Sake / Nude with sake)
Arakis zerstörte Plaubel Makina 67 Kamera /
Araki’s destroyed Plaubel Makina 67 camera
Untitled (Stillleben / Still life)
107
108
167
ERNST HAAS (1921–1986)
‘Creation Portfolio’, New York 1982
(New York: Daniel Wolf Press, 1981–82,
an edition of 300)
A portfolio of 10 dye-transfer prints, each
mounted, each c. 50 × 34 cm (13 × 19.5 in)
signed in pencil on the mount, the portfolio
and copyright stamps on the reverse, in
individual wrappers with letterpress title
and date, 1962–81, printed in 1982; together
with printed title, introduction by Haas and
plate list missing, oblong folio, maroon linen
clamshell box with gilt-lettered leather label
‘Tobago’ 1968
‘Sicily’ 1965
‘New England’ 1973
‘Surtsey Volcano, near Iceland’ 1965
‘Arizona’ 1962
‘Lake Huntington, Kenya’ 1970
‘Nairobi, Kenya’ 1970
‘Island of Kyushu, Japan’ 1981
‘Kenya’ 1970
‘Vermont’ 1969
€ 8,000 / € 14,000–16,000
109
168
FLORIS MICHAEL NEUSÜSS (* 1937)
‘Neusüss verlässt den Schatten’,
Kassel 1976
29,5 × 20,5 cm (11.6 × 8.1 in)
Photographer’s stamp on the reverse
€ 1,400 / € 2,000–2,500
LITER ATURE Klaus Honnef (ed.), Floris
Neusüss. Nachtstücke. Fotogramme
1957–1997, Cologne 1997, p. 24.
169
FLORIS MICHAEL NEUSÜSS (* 1937)
‘Prinzip Fotogramm’, 1972
30,5 × 21,7 cm (12 × 8.5 in)
Photographer’s stamp on the reverse
€ 1,400 / € 2,000–2,500
110
170
OTTO STEINERT (1915–1978)
Selbstporträt / Self portrait, c. 1957
28,2 × 24 cm (11.1 × 9.4 in)
Exhibition stamp with handwritten
credit on the reverse
€ 800 / € 1,400–1,600
Ausstellungsprint aus ‚Das Foto
grafische Selbstportrait‘, kuratiert
1958 für die Photokina von Steinert.
Exhibition print from ‘The Photographic Self-portait’ curated by
Steinert for the Photokina in 1958.
171
DIETER APPELT (* 1935)
‘Autoportrait’ (from the series
‘Double-take’), 1986
22,8 × 18,2 cm (9 × 7.2 in)
Photographer’s studio, copyright date
stamp and “KICKEN – PAUSEBACK”
stamp on the reverse, annotated in an
unidentified hand in pencil on the
reverse
€ 600 / € 1,000–1,200
111
172
173
PETER BAUM (* 1939)
Niki de Saint Phalle, Linz 1981
PETER BAUM (* 1939)
Keith Haring, Venice Biennale 1984
31,2 × 21,2 cm (12.3 × 8.3 in)
Photographer’s copyright stamp on the reverse, signed,
annotated, dated and numbered by the photographer
with pencil on the reverse, edition no. 3/12
31,2 × 21,1 cm (12.3 × 8.3 in)
Photographer’s copyright stamp on the reverse, signed,
annotated, dated and numbered by the photographer
in pencil on the reverse, edition no. 4/12
€ 500 / € 800–1,000
€ 500 / € 800–1,000
LITER ATURE Carl Aigner (ed.), Peter Baum,
LITER ATURE Carl Aigner (ed.), Peter Baum,
Photograph, Vienna 2004, p. 115.
Photograph, Vienna 2004, cover.
174
GÜNTER BRUS (* 1938)
‘Zerreißprobe’, 1970
Vintage silver print, mounted
in passepartout
11,8 × 17,2 cm (4.6 × 6.8 in)
Signed, titled and dated by
the photographer in red ink
in the image
€ 1,200 / € 2,000–2,500
112
175
CINDY SHERMAN (* 1952)
Untitled, 1986
Chromogenic print
17,7 × 33 cm (7 × 13 in)
Signed, dated and numbered by the
edition no. 150/200
€ 800 / € 1,400–1,600
176
ALEC SOTH (* 1969)
‘Herman‘s Bed’, Kenner, Los Angeles
2002
Chromogenic print, printed in 2003
23,8 × 29,5 cm (9.4 × 11.6 in)
Signed, dated and numbered by
the photographer in ink on the reverse,
edition no. 25/50
€ 800 / € 1,400–1,600
113
177
IVA ZIMOVA (* 1956)
Afghanistan, 2000
26,3 × 39,3 cm (10.4 × 15.5 in)
Signed and annotated by
the photographer in pencil
on the reverse
* € 800 / € 1,400–1,600
178
DAVIN ELLICSON (* 1978)
‘Spring plowing in the hills
above Valeni’, Rumania 2003
21,7 × 33 cm (8.5 × 13 in)
Signed and numbered by
the photographer in pencil on
* € 500 / € 800–1,000
114
179
CRISTINA PIZA (* 1963)
Mirlandez (from ‘Habana Dreams’),
1995
18 × 27,4 cm (7.1 × 10.8 in)
pencil on the reverse, her credit
label on the reverse
* € 400 / € 600–800
180
CRISTINA PIZA (* 1963)
Ibrahim Ferrer, Havana 1999
14,2 × 21,6 cm (5.6 × 8.5 in)
Signed, annotated and dated by
the photographer in pencil on
the reverse
* € 400 / € 600–800
Ibrahim Ferrer am Paseo de la
Habana, aufgenommen während
eines privaten Shootings, einziger
existierender Silbergelatine-Abzug,
aus der Sammlung der Fotografin.
Ibrahim Ferrer on the Paseo de
la Habana taken during a private
session, print from the personal
collection of the photographer,
there is only one exisitng silver
gelatin print.
115
181
ANNET VAN DER VOORT (* 1950)
Vanitas, 2008/2009
Pigment print on Hahnemuehle
Photo Rag
70 × 50 cm (27.6 × 19.7 in)
photographer on the reverse rosa
blumen
* € 900 / € 1,400–1,600
182
ANNET VAN DER VOORT (* 1950)
Vanitas, 2011
Pigment print on Hahnemuehle
Photo Rag
70 × 50 cm (27.6 × 19.7 in)
photographer on the reverse
* € 900 / € 1,400–1,600
116
183
PETRA RAUTENSTRAUCH (* 1976)
‘Dearly Beloved’, 2007
C-print on alu-dibond / Diasec
90 × 90 cm (35.4 × 35.4 in)
edition no. 1/5
* € 1,400 / € 2,000–2,200
184
ALENA ZHANDAROVA (* 1988)
‘The Girl on the Cupboard’ (from the
series ‘City of Brides’), 2012
Archival pigment print
30 × 45 cm (11.8 × 17.7 in)
Signed, titled, dated and numbered
by the photographer in pencil on
* € 700 / € 1,000–1,200
LITER ATURE Alena Zhandarova,
The City of Brides, 2013.
117
185
BELA DOK A (* 1969)
‘The shadows of Havana’ (José y
Miriam), Havana 1996
29 × 43,3 cm (11.4 × 17 in)
Signed, titled, annotated and
numbered by the photographer in
pencil on the reverse, edition no. 1/9
* € 600 / € 1,000–1,200
186
TONI ANZENBERGER (* 1969)
Falco in seiner Wohnung / in his
apartment, Vienna 1996
38,5 × 59 cm (15.2 × 23.2 in)
Signed, annotated and numbered by
the photographer on the reverse,
edition no. 2/10
* € 900 / € 1,400–1,600
118
187
PHILLIP JONES (* 1951)
‘Antwerp 2’, 1998
Selenium toned gelatin silver print,
mounted on museum board
45 × 45 cm (17.7 × 17.7 in)
photographer on label on the reverse,
edition no. 24/45
* € 800 / € 1,400–1,800
188
FAUSTO GIACCONE (* 1943)
‘The Heron’, Cartagena de Indias 2010
30 × 40 cm (11.8 × 15.7 in)
artist proof 1/2
* € 800 / € 1,200–1,400
LITER ATURE Fausto Giaccone,
Macando, Edizione Postcard 2013, s. p.
119
189
ANDRES SERRANO (* 1950)
Eline (from the series ‘The History Of Sex’),
1996
Cibachrome
47,6 × 39,5 cm (18.7 × 15.6 in)
Signed and numbered by the photographer
in ink on the reverse, edition no. 45/50
€ 3,000 / € 5,000–6,000
LITER ATURE Andres Serrano, A History of
Sex, Groninger Museum 1997.
190
PIERRE & GILLES (* 1950 / * 1953)
‘Efrit’, 2013
Unique hand-coloured pigment print
on canvas, in the original artists’ frame
146 × 114 cm (57.5 × 44.9 in)
photographers in ink on the reverse,
Tony Ward for Life Ball 2013
€ 15,000 / € 25,000–30,000
120
Für den Life Ball 2013, der unter dem
Motto „1001 Nacht“ stand, inszenierten die beiden Künstler das amerikanische Fotomodell Tony Ward als
sagenumwobenen Dschinn für das
offizielle Plakat. Der Erlös dieses
Unikats kommt AIDS LIFE, dem
Trägerverein des Life Ball, zugute.
For the official poster of the Life Ball
2013, which was themed “1001 Nights”,
the two artists staged the American
fashion model Tony Ward as
legendary Djinn. The released price
of this unique photograph will be
donated to AIDS LIFE, the supporting
association of the Life Ball.
121
122
FotoBücher
Photobooks
191
ERICH MENDELSOHN (1887–1953)
‘Amerika: Bilderbuch eines Architekten’
(America: An Architect‘s Picturebook),
Berlin: Rudolf Mosse Buchverlag, 1926
The true first printing, published two
years before the more common second
printing, hardcover
34,5 × 24,3 cm (13.6 × 9.6 in)
228 pages, without dustjacket (as issued),
no slipcase, text by Erich Mendelsohn
€ 600 / € 800–1,000
192
EMIL O. HOPPE (1878-1972)
‘Deutsche Arbeit’ (German Industry),
Berlin: Verlag Ullstein, 1930
First edition, first printing, with the spectacular,
unique, reversible original dustjacket,
one of the rarest dustjackets, hardcover
27,5 × 22 cm (10.8 × 8.7 in)
128 pages, 92 sepia toned photographs in
photogravure printing
Together with “Eisen und Stahl” by Albert
Renger-Patzsch, “Arbeit” by Paul Wolff and
“Fabrik” by Jakob Tuggener one of the most
important books on industry photography.
€ 1,400 / € 1,800–2,200
193
WEEGEE (1899–1968)
‘Naked City’, New York: Essential Books, 1945
First edition, near mint copy, rare dust jacket
with only a couple of small fragments missing,
hardcover
23,4 × 16,4 cm (9.2 × 6.5 in)
239 black and white photographs
printed in photogravure.
€ 1,300 / € 1,800–2,200
124
194
MAN RAY (1890–1976)
‘Photographs by Man Ray 1920–1934
Paris’, Hartford Connecticut:
James Thrall Soby, 1934
True first edition of Man Ray’s first
photobook, inscribed and signed
by Man R ay on the title page,
original spiral bound, colourphotographic stiff paper wrappers,
25 × 31 cm (9.8 × 12.2 in)
Text in English, French and German,
104 rich heliogravures, copies with the
original title page are extremely rare
It contains poetry and essays by the
leading figures of the Dada and
Surrealist movements: André Breton,
Paul Éluard, Marcel Duchamp (written
under his famous pseudonym
“Rrose Selavy”) and Tristan Tzara.
€ 7,000 / € 14,000–16,000
125
195
WILLIAM KLEIN (* 1928) ‘Life is Good
and Good For You in New York: Trance
Witness Revels’, Paris: Editions du Seuil,
Album Petite Planète, 1956
First edition with full black cloth and dust
jacket, signed by William Klein ,
hardcover, 27,5 × 21,5 cm (10.8 × 8.5 in),
194 pages including the often missing
16 pages caption booklet. 188 black and
white photographs printed in
photogravure
“William Klein’s Life is Good & Good for
You in New York is regarded as one of the
most influential and ground-breaking
photo-books created in the last halfcentury. Published in 1956, its visual
energy captured the rough-and-tumble
streets of New York – a city Klein once
described as “the world capital of
anguish” – like no photo-book had done
before or since.” (J. Ladd)
€ 3,000 / € 5,000–6,000
126
196
NEW TOPOGRAPHICS. PHOTOGRAPHS
OF A MAN-ALTERED LANDSCAPE
New York: International Museum of
Photography at George Eastman House,
Rochester, 1975
Robert Adams, Lewis Baltz, Bernd and Hilla
Becher, Joe Deal, Frank Gohlke, Nicholas
Nixon, John Schott, Stephen Shore, Henry
Wessel. Super scarce exhibition catalogue
(2.500 copies only), first and only edition,
softcover
25,5 × 22,8 cm (10 × 9 in)
48 pages, 23 black and white photos and
3 colour reproductions
Each photographer in the “New Topographics”
has become positions an important figure in
the history of photography. More than thirty
years after its opening “New Topographics”
still remains an exhibition of great impact and
influence on western landscape photography.
€ 700 / € 900–1,200
197
JOSEF KOUDELK A (* 1938)
‘Limestone’, Paris: Èditions de la
Martinière, 2001
Hardcover with accordion fold-out page
attached to back cover with cardboard box
22,5 × 29,5 cm (8.9 × 11.6 in)
84 pages, 36 black and white photographs,
design by Xavier Barral, strongly limited
edition of 2000 copies only, here no. 966.
€ 600 / € 800–1,000
127
198
CHRISTER STRÖMHOLM (1918–2002)
‘Till minnet av mig själv’ (In memory of
myself), Stockholm: Nordisk Rotogravy, 1965
First edition, softcover as issued,
signed by Christer S trömholm ,
20 × 15 cm (7.9 × 5.9 in)
32 photos in black and white, 8 pages text,
very scarce first publication by the artist!
€ 900 / € 1,200–1,400
199
JITK A HANZLOVA (* 1958)
‘Rokytnik’, Museum Schloß Hardenberg, 1997
First edition, first printing, signed by
Jitka Hanzlova , published in a very
small edition of 700 copies, hardcover with
full orange cloth
28,2 × 21,3 cm (11.1 × 8.4 in)
84 pages, 42 colour photographs, text by
L. Fritz Gruber, extremely scarce!
€ 600 / € 800–1,000
200
MICHAEL SCHMIDT (* 1945)
‘Waffenruhe’, Berlin: Dirk Nishen Verlag, 1987
First edition, first printing, Schmidts most
famous and important book, softcover
as issued
30 × 26,5 cm (11.8 × 10.4 in)
84 pages with 39 black and white photos,
including one gatefold
€ 350 / € 500–700
128
201
VISIONAIRE NO 18: LOUIS VUITTON
PORTFOLIO, THE FASHION ISSUE
Nan Goldin, Jürgen Teller, Terry Richardson,
Mario Testino, u.a., New York: Visionaire
Publishing, 1996
50 loose signatures with belly band numbered
2171 in ink; contained in 4to. deluxe mono
grammed leather Louis Vuitton portfolio, first
edition, limited to 2,500 copies,
25,4 × 20,3 × 6 cm (10 × 8 × 2.4 in)
Louis Vuitton Visionaire Issue 18 was the first
all-out fashion special. Forty-four artists,
photographers, and image-makers were asked
to give their personal interpretation of clothing
selected from the collections of forty-five of
the world most innovative and influential
fashion designers. But the real surprise was the
packaging: A deluxe monogrammed portfolio
designed and produced specially for Visionaire
by Louis Vuitton.People went wild so that 3
weeks after the release the limited and
numbered edition of 2500 copies had been
sold out. It is among the most rare and soughtafter back issues.
€ 1,500 / € 2,000–2,500
202
VISIONAIRE NO 23: THE EMPEROR’S
NEW CLOTHES, K ARL LAGERFELD
New York: Visionaire Publishing Inc., 1997
Magazine / Art Portfolio / of 5000 numbered
copies, here no. 3068, 42 unbound tritone
photo prints measuring 36 × 29 cm
(14.2 × 11.4 in), brown velvet covers with
ribbon tie, inside a briefcase-style, hinged
wooden box with a paper label on front
Portraits of models and actors, all nudes,
subjects include supermodels Amber
Valletta, Linda Evangelista, and Karen Elson;
actors Rupert Everett, Julie Delpy, and
Demi Moore, industrial designer
Marc Newson; and New York City Ballet’s
principle dancer Nikolaj Hubbe.
€ 500 / € 700–900
129
203
YUTAK A TAK ANASHI (* 1935)
‘TOSHI HE’ – (Towards the City) Tokyo:
Izara Shobo (Selfpublished), 1974
First edition, containing two volumes
housed in folding, 30 × 44 cm (13 × 17.3 in)
box Vol. 1 28 × 41,9 cm (11 × 16.5 in)
Hardcover with convex aluminium disc
on front board, 63 black and white
photographs printed in photogravure,
Vol 2: 18,2 × 25,8 cm (7.2 × 10.2 in),
softcover, 53 photographs printed in
photogravure.
A very scarce provoke era masterwork
designed by Kohei Sugiera (Killed by
Roses, The Map, et al.) and cited in
Martin Parr and Gerry Badger’s
‘The Photobook: A History, vol. 1’
€ 2,200 / € 3,000–4,000
130
204
KEN DOMON (1909–1990)
‘Hiroshima’, Tokyo: Kenko-sha, 1958
First edition, hardcover
34,7 × 25,5 cm (13.7 × 10 in)
With full black cloth, dust jacket (with
reproduction of painting by Mirò),
white card slipcase and cardboard box,
1 colour and 164 black and white
photographs
€ 1,800 / € 2,400–2,800
205
K ATSUMI WATANABE
(1939–2006)
‘Shinjuku Thievery Story, 66-73’,
Tokyo: Bara Gaho-Sha, 1973
First edition,
18,5 × 12,3 cm (7.3 × 4.8 in)
128 black and white photographs
printed in offset monoton on yellow
paper, exceptionally crisp, near fine
copy, rare in this condition
€ 2,200 / € 2,800–3,400
131
206
‘Kinbaku Shamaki’, Tokyo: Aa Room, 2006
Limited edition, oblong leporello. no. 24
of 300 numbered copies, signed by
Araki as issued on a tipped-in sheet, a
fabulous association copy, one of the best
possible, printed over bondage pictures,
fine in photo-illustrated boards, string
bound slipcase
€ 400 / € 700–900
207
YOSHIO TAK ASE / NOBUYOSHI ARAKI
‘Benjo – Toilet’, Tokyo: Fukushu-shudan, 1971
First limited edition of 1000 copies
25,8 × 18,5 cm (10.2 × 7.3 in)
104 photographs printed in offset monotone,
the first of three books published by the fabled
Geribara 5, a group that followed in the
footsteps of Provoke. The group’s most famous
member was Nobuyoshi Araki. What follows
inside is a catalogue of gross Tokyo shit holes
and crude bathroom graffiti. Despite the
disgusting subject matter, the book is more
satiric celebration than a condemnation of
public sanitation! (Parr & Badger).
€ 1,300 / € 1,600–1,800
208
‘OKINAWA - Senchimentaru na Tabi Okinawa’
(Sentimental Journey continued)
Limited editon of 1000 copies,
with a self- portrait caricature
by Araki on the rear cover, softcover
12,7 × 18,2 cm (5 × 7.2 in)
200 black and white photographs printed
in offset monotone
€ 1,500 / € 2,000–2,500
132
209
‘Sentimental Journey’ (Senchimentaru
na Tabi), Tokyo: Self published, 1971
Limited edition of 1000 copies,
signed by Araki , softcover
24 × 24 cm (9.4 × 9.4 in)
in offset monotone, light wear to covers,
the rest nearly fine (without facsimile
letter) condition
€ 4,500 / € 5,500–6,500
210
DAIDO MORIYAMA (* 1938)
‘Nippon Gekijo Shashin-cho’ – (Japan:
A Photo Theatre), Tokyo: Muromachi Shobo,
1968
First edition, softcover with slipcase
20,9 × 22 cm (8.2 × 8.7 in)
in offset monotone
In the first photobook of Daido Moriyama, the
trademarks of Moriyama’s style, with grainy full
bleed images, are here already clearly defined.
€ 1,400 / € 1,800–2,200
133
Glossar der Termini
Glossary of Terms
Zu - / Beschreibung der Objekte
Name of Artist / Description
Für jedes Los wird der Fotograf in fett gedruckten Lettern
genannt. Auf Zuschreibungen, die Transkription von
Beschriftungen, Stempel und Datierung wurde größt
mögliche Sorgfalt verwandt. Für die Inhalte der deskriptiven
Bildbeschreibungen übernimmt der Veranstalter / Herausgeber keine Verantwortung.
For each lot the name of the photographer appears in
bold type heading. While every reasonable effort was
made to provide correct attributions, accurate tran
scriptions of inscriptions, stamps or dates, WestLicht
does not assume the responsibility for the contents of
descriptive texts.
Titel
Titles
Die durch Publikationen und andere Quellen (wie eigenhändige Beschriftung der Fotografen) gesicherten
Originaltitel der Werke werden in Anführungszeichen
angegeben; in den übrigen Fällen handelt es sich um
beschreibende Titel.
Generally accepted titles for photographs have been put
in quotation marks; in other cases, descriptive titles have
been used.
Datierung der Prints
Als Vintage-Print wird ein Abzug bezeichnet, der in un
mittelbarer zeitlicher Nähe zur Aufnahme bzw. Produktion
des Negatives vom Fotografen selbst oder einer Person
seines Vertrauens angefertigt wurde. Exakte Datumsangaben
für die Positive sind nur in den seltensten Fällen bekannt.
Die Unterscheidung zwischen einem Vintage-Print und
einem später produzierten Abzug wird in Relation zur
Datierung des Negatives ausgedrückt, beispielsweise bei
einem Silbergelatineprint: 1920, Vintage silver print oder
1920, Gelatin silver print, printed later. Eine möglichst
präzise Datierung, zumindest das Jahr oder Jahrzehnt der
Entstehung wird für jedes Lot angegeben. Die Angaben
basieren auf dem Wissen des WestLicht-Expertenteams
zur Geschichte der jeweiligen Fotografie, ihrer Provenienz
und visueller Begutachtung. Für die Angaben kann keine
Gewähr übernommen werden.
MaSSangaben
Bei den Maßangaben folgen die Maße der Bildbreite
jenen der Bildhöhe. Sofern nicht anders angegeben,
beziehen sich diese Maße auf das tatsächliche Bildformat
ohne jegliche Ränder. Einige Fotografien werden im
Katalog ohne Rand abgebildet.
Prints
A vintage print is one made at roughly the same time as
the negative by the photographer himself or by a person
or procedure satisfactory to the photographer. Specific
dates of positive prints are rarely known. This distinction
between a vintage print and a print done considerably
later would be expressed with the date referring to the
production of the negative. In case of a gelatin silver print:
1920, Vintage silver print or 1920, Gelatin silver print,
printed later.The approximate date, year, or decade of
a positive print is given when possible, based on the
WestLicht’s knowledge of the history of the photograph,
its provenance, and our visual assessment of the photo
graph’s physical characteristics. We don’t guarantee the
printing date of the photograph.
Measurements
Measurements are given height preceding width. Unless
otherwise indicated dimensions given are those of the actual
image size (excluding any margins). Some photographs
appear in the catalogue without margins illustrated.
Framing and matting
Photographs described as framed are sold in the frames
in which they have been offered. WestLicht does not take
responsibility for the appearance of the frames or mats,
nor for their conformity to proper standards of conservation.
R ahmung und Passepartouts
Die als gerahmt oder montiert angeführten Fotografien
werden als solche angeboten und verkauft. WestLicht
übernimmt keine Verantwortung für den Zustand der
mitgelieferten Passepartouts bzw. Untersatzkartons und
Rahmen, auch in Hinblick auf konservatorische Standards.
Zustand
Der Zustand der angebotenen Objekte wird im Allgemeinen
nicht im Katalog erfasst. Interessenten und Bieter werden
ersucht, den Zustand der Lots anlässlich der öffentlichen
Vorbesichtigung zu prüfen oder einen detaillierten
Zustandsbericht anzufordern: [email protected]
134
Condition
The general practise is not to indicate condition or
defects. Prospective bidders are urged to inspect lots a
t
our public viewing or ask for a condition report at our
auction department. For condition reports please contact:
[email protected]
Fotogr afenindex / Index of Photogr aphers
ABBOT T, BERENICE 27
ADAMS, ANSEL 53, 54
ALPERT, MA X 43, 44
ÁLVAREZ BR AVO, LOL A 56
ÁLVAREZ BR AVO, MANUEL 57, 58
ANONYMOUS PHOTOGR APHERS 3, 4, 5, 6, 7, 50
ANZENBERGER, TONI 186
APPELT, DIETER 171
AR AKI, NOBUYOSHI 166, 206, 207, 208, 209
ARNOLD, EVE 123, 124, 127, 131, 141
BALTERMANTS, DMITRI 51, 52
BAUM, PETER 172, 173
BE ATON, CECIL 23, 24
BELLOCQ, ERNEST JAMES 9
BING, IL SE 15
BISCHOF, WERNER 89, 90, 91, 92, 93
BR ANDT, BILL 61, 62
BRUS, GÜNTER 174
BURRI, RENÉ 104, 105, 106, 107
CAPA, ROBERT 77, 78
CARTIER-BRESSON, HENRI 79, 80, 81, 82, 83, 84, 85, 86, 87
CHALIP, JAKOV 49
CHARBONNIER, JE AN-PHILIPPE 88
CLERGUE, LUCIEN 120, 143, 144, 145
DE BIASI, MARIO 76
DE MEYER, ADOLPH 10
DISFARMER, MICHAEL ‘MIKE’ 29
DOISNE AU, ROBERT 34, 68
DOK A, BEL A 185
DOMON, KEN 204
EDER, JOSEF MARIA 1
EISENSTAEDT, ALFRED 26, 73, 74, 75, 133, 134
ELLICSON, DAVIN 178
ERWIT T, ELLIOT T 103, 113, 114
FR ANK, ROBERT 66, 67
FREUND, GISÈLE 64
FUK ASE, MASAHISA 157, 158, 159
GIACCONE, FAUSTO 188
GIACOMELLI, MARIO 69, 80, 71, 72
GIBSON, R ALPH 154, 155
GILLHAUSEN, ROLF 121
HA AS, ERNST 128
HAL SMAN, PHILIPPE 65, 142
HANZLOVA, JITK A 199
HERVÉ, LUCIEN 33
HOM, JESPER 139
HOPPE, EMIL O. 192
HORST, HORST P. 25, 132
HORVAT, FR ANK 136, 137
HOSOE, EIKOH 160, 161, 162, 163, 164, 165
IGNATOVICH, BORIS 45
JONES, PHILLIP 187
KERTÉSZ, ANDRÉ 19, 35, 146
KLEIN, WILLIAM 195
KOPPITZ, RUDOLF 12, 13, 14
KOUDELK A, JOSEF 197
KÜHN, HEINRICH 8
L ARTIGUE, JACQUES -HENRI 17, 18
LESSING, ERICH 108, 109, 110, 111, 112
LINDBERG, PETER 148
LOWE, JACQUES 118
MAN R AY 194
MARK, MARY ELLEN 140
MENDEL SOHN, ERICH 191
MOR ATH, INGE 94, 95, 96, 102
MORIYAMA, DAIDO 210
NEUSÜSS, FLORIS MICHAEL 168, 169
NEW TON, HELMUT 147
PENN, IRVING 149, 150
PIERRE & GILLES 190
PIZ A, CRISTINA 179, 180
R AUTENSTR AUCH, PETR A 183
RIBOUD, MARC 97, 98, 99, 100
RODCHENKO, ALE X ANDER 36, 37, 38, 39, 40, 41, 42
RODGER, GEORGE 101
RONIS, WILLY 31, 32
SAJCHET, ARK ADIJ 46
SALGADO, SEBASTIÃO 119
SANDER, AUGUST 20, 21
SCHMIDT, MICHAEL 200
SECCHIAROLI, TA ZIO 135
SEELEY, GEORGE HENRY 11
SERR ANO, ANDRES 189
SHERMAN, CINDY 175
SHIIHAR A, OSAMU 59, 60
SNOWDON, LORD 122
SOKOL SK Y, MELVIN 138
SOTH, ALEC 176
STEINER, LISL 116, 117
STEINERT, OT TO 170
STERN, BERT 125, 126
STOCK, DENNIS 115, 129
STRELOW, LISELOT TE 63
STRÖMHOLM, CHRISTER 153, 198
TAK ANASHI, YUTAK A 203
TICHÝ, MIROSL AV 151, 152
UEDA, SHOJI 156
UNDERWOOD & UNDERWOOD 2
VAN DER VOORT, ANNET 181, 182
VISHNIAC, ROMAN 28
WATANABE, K ATSUMI 205
WEEGEE 30, 193
WHITE, MINOR 55
WILLOUGHBY, BOB 130
WOLFF, PAUL 16
WUL Z, WANDA 22
ZELMA, GEORGI 47, 48
ZHANDAROVA, ALENA 184
ZIMOVA, IVA 177
135
Versteigerungsbedingungen
für Bieter bei der WestLicht Foto-Auktion (Peter Coeln GmbH)
Conditions of Sale
1. Mit der Abgabe eines schriftlichen oder telefonischen Kaufauftrages, eines
Online-Gebots oder durch die persönliche Teilnahme als Saalbieter erkennt
jeder Bieter bei der Auktion die folgenden Versteigerungsbedingungen aus
drücklich an. Die Versteigerungsbedingungen gelten sinngemäß auch für den
Nachverkauf. Bei Beanspruchungen aufgrund fehlerhafter Übersetzung ist der
deutsche Text der Versteigerungsbedingungen im gedruckten Katalog gültig.
Gebote und persönliche Daten der Bieter und Einbringer werden von
WestLicht-Auction streng vertraulich behandelt und keiner dritten Person
weitergegeben.
1. By submitting an absentee or telephone bid, making an online bid offer or
by personal participation in an action each and every bidder agrees to abide
by the following conditions of sale. These conditions also apply to subsequent
sales. Where there is a conflict of meaning due to errors of translation, the
German text, as printed in the auction catalogue, is binding. Commission bids
and personal information of those submitting lots for sale and bidders will
be dealt with by WestLicht Auctions in the strictest confidence and will not
be passed on to third parties.
2. Die Versteigerung ist öffentlich und freiwillig und wird nach den Bestimmun
gen der §§ 284 a ff der Gewerbeordnung i.d.F. GRNov 1997 sowie nach den
vorliegenden Versteigerungsbedingungen durchgeführt. Die Versteigerung
erfolgt in fremdem Namen sowie für fremde Rechnung. Erfüllungsort und
Gerichtsstand ist Wien. Auch im Verhältnis zu ausländischen Bietern ist
österreichisches Recht maßgeblich.
3. Die Schätzung und fachliche Bestimmung der Objekte erfolgt durch
Experten der WestLicht Foto-Auktion, die bemüht sind den Zustand
der Lose im Katalog so adäquat wie möglich zu beschreiben. Etwaige Fehler
oder Mängel der Versteigerungsgegenstände werden üblicherweise
ausgewiesen und alle Lose der international üblichen Form ents prechend
bewertet. WestLicht weist jedoch ausdrücklich darauf hin, dass die
Gegenstände als Sammlerstücke angeboten werden und d
er Verkauf daher
ohne Gewähr und Haftung für offene und versteckte Mängel erfolgt. Irrtumsund Druckfehlerberichtigungen bleiben vorbehalten. Ebenso behält sich
WestLicht-Auction das Recht vor, Ber ichtigungen der Beschreibung bis zur
Versteigerung vorzunehmen. Eine Rücknahme ersteigerter Artikel ist prinzipiell
ausgeschlossen (siehe Punkt 12).
4. Die Besichtigung der zur Versteigerung vorgesehenen Objekte ist innerhalb
des im Katalog angeführten Zeitraumes möglich. Ist einem Bieter die Besich
tigung vor Ort jedoch nicht möglich, geben wir auf Anfrage gerne eine
präzisere Beschreibung des technischen und optischen Zustandes. Diese
Auskünfte erteilen wir sowohl telefonisch, als auch schriftlich oder per E-Mail –
zusätzlich Fotos können wir jedoch nur per E-Mail zusenden. Bei der Besich
tigung und während der Ver steigerung ist größte Vorsicht zu empfehlen, da
jeder Besucher für den von ihm verursachten Schaden in vollem Umfang haftet.
5. Vor Versteigerungsbeginn können schriftlich (Brief, Fax, E-Mail oder OnlineGebote über unsere Homepage) abgegeben werden. Schriftliche Kaufaufträge
müssen dem Versteigerer bis spätestens 24 Stunden vor Beginn der Vers tei
gerung in gut leserlicher Form vorliegen. Um berücksichtigt zu werden, müssen
sie außerdem die genaue Anschrift des Auftraggebers, sowie das Höchstgebot
in EURO enthalten. Die darin genannten Preise gelten als Höchstpreise für den
Zuschlag, das Aufgeld wird im Falle des Zuschlages zusätzlich in Rechnung
gestellt. Wir führen schriftliche Gebote gewissenhaft aus, wobei das schriftliche
Höchstgebot nur dann ausgeschöpft wird, wenn andere schriftliche oder
mündliche Gebote im Saal dies im Interesse des Bieters notwendig machen.
Telefonische Gebote sind erst ab einem jeweiligen Loswert von EUR 500
möglich. Auch für diese Art des Bietens muss ein Auftrag spätestens 24 Stunden
vor der Auktion schriftlich beim Versteigerer vorliegen. Telefonbieter werden vor
Aufruf der gewünschten Lose von WestLicht-Auction angerufen. Eine Garantie
für das Zustandekommen der Telefonverbindung kann jedoch nicht gegeben
werden. Nachdem sie sich mit einem Ausweis oder einer Kreditkarte legitimiert
haben, erhalten Saalbieter vor Beginn der Auktion eine Bieternummer.
6. Der Kaufpreis besteht aus dem Zuschlagpreis (= Hammerpreis) zuzüglich
Aufgeld. Umlagen sowie die gesetzliche Mehrwertsteuer können
hinzukommen.
a) Regelbesteuerung: Lose, deren Startpreis im Katalog mit * gekennzeichnet
sind, unterliegen der Regelbesteuerung. Das Aufgeld beträgt in diesem Fall
20 %. Bei Lieferung innerhalb der EU (Europäische Union) wird dem Zuschlagpreis
und dem Aufgeld die gesetzliche Mehrwertsteuer von 10 % hinzugerechnet.
b) Differenzbesteuerung: Ohne gesonderte Kennzeichnung unterliegt der
Kaufpreis bei Lieferung innerhalb der EU (Europäische Union) der
Differenzbesteuerung (§ 24 UStG 1994). Auf den Zuschlagpreis wird ein Aufgeld
von 24% berechnet, in dem die Umsatzsteuer enthalten ist. Diese wird nicht
gesondert ausgewiesen.
c) Käufern, die zum Vorsteuerabzug berechtigt sind, kann auf Wunsch die
Rechnung nach der Regelbesteuerung ausgestellt werden. Der Wunsch ist bei
der Beantragung der Bieternummer anzugeben.
d) Keine Mehrwertsteuer wird berechnet, wenn die Lose in Staaten außerhalb
der EU (Europäische Union) oder in Staaten innerhalb der EU an Unternehmer
geliefert werden sollen, wenn diese ihre Umsatzsteuer-Identifikationsnummer
angegeben haben. Das Aufgeld beträgt in diesen Fällen 20%.
136
for bidders at WestLicht Photo Auctions (Peter Coeln GmbH)
2. The auction is public and voluntary and will be conducted in accordance with
the regulations set forth in paragraph 288a ff of the Trade Regulations of 1997
and also in accordance with these conditions of sale. The auction will be con
ducted in our client’s name and for our client’s account. Place of jurisdiction is
Vienna. Austrian law is also binding on all foreign bidders.
3. The valuation and expert description of objects will be carried out by the
experts of WestLicht Auctions who will take all reasonable care to describe the
condition of the lots in the catalogue as accurately as possible. Possible flaws
or defects in the objects on offer will normally be noted and the objects will be
evaluated according to normal international conventions. However WestLicht
Auctions explicitly draws your attention to the fact that the objects are offered
as collector’s items and that the sale of them gives rise to neither warranty nor
responsibility for any visible or invisible defects whatsoever. All errors in the
catalogue are excepted. WestLicht Auctions also reserves the right to amend
any description up to the time of auction. Auctioned items cannot be returned
(see also paragraph 12).
4. Viewing of the objects intended for the auction is possible within the period
stipulated in the catalogue. If it is not possible for a bidder to view an object in
person, we will be happy to forward them a more detailed description of the
technical and optical condition. This information may be given by telephone, in
writing, or by e-mail. Additional photos can only be sent by e-mail. During both
viewing and the auction visitors and bidders should exercise the greatest of
care since they will be responsible for any damage caused in full.
5. Written bids may be submitted prior to the start of the auction (by letter, fax,
e-mail or an online offer through our homepage). Written purchase orders must
reach the auctioneer at least 24 hours before the start of the auction and must
be clearly legible. In order to be taken into account they must also contain the
client’s exact address as well as their highest bid in EURO. The price specified
therein will be regarded as the highest hammer price. In the case of a
successful bid, all additional charges will be added to the bill. We carry out
written bids scrupulously, the highest bid designated therein only being made
use of when other offers (written or verbal in the auction rooms) make it
necessary to do so in the interest of the bidder. Telephone bids are only
possible on lots worth more than EUR 500 exclusive of charges. In the case of
telephone bids too, it is necessary that the intention to bid by phone be
deposited in writing with the auctioneer at least 24 hours prior to the auction.
Telephone bidders will then be called by WestLicht Auctions before bidding
starts on the relevant lots. However, there can be no guarantee that a
telephone connection can, in fact, be made. After having been legitimated by
means of an identification document or credit card, auction-room bidders will
be given a bidder number before the auction starts.
6. The total purchase price consists oft the hammer price, the buyer’s premium
and applicable VAT or amount in lieu of VAT at applicable rate.
a) Buyers Premium
The buyer’s premium is 20 % of the hammer price.
b) Regular Scheme: Where there ist the * symbol next to the start price,
VAT will be charged to the buyer, (currently at a rate of 10 % for photography
and books) on both the hammer price and the buyer’s premium.
c) Margin Scheme: Where there is no VAT symbol WestLicht Photographica
Auction is able to use the Margin Scheme and must bear VAT on the buyer’s
premium and hence will charge an amount in lieu of VAT (24 %). This amount will
form part of the buyer’s on our invoice and will not be separately identified.
d) For property with VAT symbol VAT registered buyers from European Union
(EU) contries may have the VAT refunded if they provide us with their VAT
identification number when registering for bidding.
e) Exports to non EU coutries will be exempt from VAT for property with VAT
Symbol, and so will be exports made by companies from other EU member
states if they state their VAT identification number.
Buyers taking property to a non EU country may have the VAT refunded if they
provide evidence that the property has been removed to another country
outside the EU in the form of a copy of customs export documention stamped
by customs officers.
f ) For lots won using a live bidding services the buyer’s premium will be 23 %.
Nimmt ein Käufer mit Wohnsitz außerhalb der EU die ersteigerten Lose selbst
in Staaten außerhalb der EU mit, wird ihm im Fall der Regelbesteuerung die
Mehrwertsteuer erstattet, sobald er den österreichischen zollamtlichen Aus
fuhrnachweis vorlegt. Im Ausland anfallende Einfuhrumsatzsteuer und Zölle
trägt der Käufer.
e) Bei Ersteigerung eines Loses über eine Live-Bieter Plattform beträgt das
Aufgeld 23 %.
f) Während oder unmittelbar nach der Auktion ausgestellte Rechnungen
bedürfen der Nachprüfung; Irrtümer sind vorbehalten.
7. Die Versteigerung erfolgt in der Reihenfolge der Katalognummer ierung.
Maßgeblich ist der Katalogtext der gedruckten deutschen Ausgabe des
Auktionskatalogs. Jedoch ist der Auktionator berechtigt, Katalognummern in
der Versteigerung zusammen zu fassen, zu trennen, heraus zu nehmen oder die
Reihenfolge zu verändern. Er kann Angebote ablehnen und einen bereits
erteilten Zuschlag aufheben, um den betreffenden Gegenstand weiter zu
steigern.
8. Gesteigert wird um ca. 10 % des Ausrufpreises. Der Ausrufpreis ist in der
Regel der im Katalog angeführte Startpreis, sofern nicht mehrere höhere
schriftliche Gebote vorliegen. In diesem Fall ruft der Auktionator zu Gunsten
des höchsten Bieters mit dem Betrag aus, der 10 % über dem schriftlichen
Gebot des zweithöchsten Bieters liegt. Liegen mehrere gleiche schriftliche
Höchstgebote vor, so wird zu Gunsten des zuerst eingelangten Gebotes
entschieden. Das zugeschlagene Gebot ist der Nettokaufpreis.
9. Das Eigentum der ersteigerten Ware geht erst nach vollständiger Bezahlung
auf den Käufer über. Im Falle des Zuschlages verpflichtet sich der Ersteher zur
Abnahme und Zahlung des von ihm ersteigerten Loses. Eine Rücknahme ver
steigerter Gegenstände seitens des Versteigerers ist ausgeschlossen. Mit dem
Zuschlag geht die gesamte Haftung für den Versteigerungsgegenstand sofort
auf den Ersteher über. Das ersteigerte Los wird dem Ersteher jedoch erst nach
vollständiger Bezahlung des Zuschlagpreises und des Aufgeldes, sowie an
fallender Steuern und Gebühren ausgehändigt. Wird vereinbart, den Gegen
stand dennoch vor vollständiger Bezahlung auszuliefern, verbleibt der ver
steigerte Gegenstand bis zum vollständigen Forderungsausgleich Eigentum
des Einlieferers.
10. Sofern keine anderen Vereinbarungen getroffen wurden, haben Saalbieter
das ersteigerte Gut nach Beendigung der Auktion abzuholen und zu bezahlen.
Bei Bezahlung durch Überweisung ist der Rechnungsbetrag sofort und
inklusive aller Bankspesen fällig. Die Rechnungen der schriftlich oder
telefonisch ersteigerten Gegenstände werden nach Beendigung der Auktion
an den jeweiligen Höchstbieter verschickt. Diese sind innerhalb von 8 Tagen
nach Erhalt an den Versteigerer o
hne Abzug zu bezahlen. Bei Zahlungsverzug
werden Verzugszinsen in Höhe von 5 % über dem jeweiligen Basiszinssatz der
Österreichischen Nationalbank verrechnet. Ebenso ist die Zahlung per
Nachnahme, Postauftrag oder Bankscheck möglich – bei all diesen Zahlungs
arten übernimmt der Ersteher allfällige Spesen. Kosten für Verpackung, T
rans
port und Transportversicherung sind nicht inkludiert und werden extra zur
Verrechnung gebracht. Wir weisen jedoch darauf hin, dass wir ausschließlich
die Selbstkosten verrechnen und aufgrund unserer Vereinbarung mit
Transportfirmen für den Käufer günstige Transport- und Versicherungstarife
anbieten können. Jede Lagerung und Verpackung erfolgt jedoch grundsätzlich
auf Gefahr des Käufers.
11. Bei Annahmeverweigerung oder Zahlungsverzug haftet der Ersteher für alle
daraus entstehenden Schäden und Folgekosten. Der Versteigerer kann in
diesen Fällen entweder Erfüllung des Kaufvertrages oder Schadenersatz
wegen Nichterfüllung des Kaufvertrages verlangen. Das Versteigerungsgut
kann auf Kosten des Erstehers nochmals versteigert werden. In diesem Fall
haftet der Ersteher für den Minderpreis und hat auf einen gegebenenfalls
erzielten Mehrerlös keinen Anspruch.
7. The lots will be auctioned in numerical order as listed in the catalogue.
The German text of the auction catalogue is binding. The auctioneer reserves
the right to group numbered lots together during the auction, to separate
them, to remove or to change the order as he sees fit. He may refuse an offer
and rescind an accepted bid in order to continue bidding.
8. Bids will be in increments of approx. 10 % of the starting price. As a rule the
start price is the one to be found in the catalogue unless there have been
higher, written bids. In this case the auctioneer will call a bid favoring the
highest bidder. This will be approx. 10 % higher than the written offer made by
the second highest bidder. Should there be more than one written, highest bid,
the lot will be awarded to the first to arrive. The hammer price is the net
purchase price.
9. Ownership of the goods only passes to the buyer after payment in full has
been made. When a lot is hammered down, the acquirer is obligated to accept
and pay for the lot for which he bid. In no circumstances will the auctioneer
accept the return of any lots. Once the hammer has fallen all risk with regard to
the article is transferred to the acquirer. However, the lot will only be delivered
to the acquirer after full payment of the hammer price including all taxes, fees
and charges due. Should agreement be reached to deliver the item before full
payment has been made, ownership of the article in question remains vested in
the supplier until payment has been made in full.
10. In the absence of an agreement to the contrary, at the end of the auction
bidders in the auction rooms must collect and pay for the lots they have
acquired. Where payment is to be made by bank transfer, the total purchase
price is due immediately together with any bank charges. Invoices for the items
acquired either in writing or by telephone will be sent to the highest bidder
immediately after the end of the auction. These must be paid within 8 days of
receipt, in full and without deduction. Where payment is delayed interest will
be due at a rate 5 % above the prevailing rate of the Austrian National Bank.
Payment may also be made by cash on delivery, money or postal order or
banker’s check. The acquirer accepts responsibility for all expenses involved in
these methods of payment. Costs relating to packing, transport and transport
insurance are not included and will be separately detailed on invoices. We
would also like to bring to your attention that we only invoice for packaging at
cost price and that because of agreements reached with transport companies
we can offer favorable transport and insurance rates. Nevertheless, storage
and packaging is at the buyer’s own risk.
11. In the case of refusal to accept delivery or late payment, the buyer is liable
for all damages and costs arising there from. In either of these cases the
auctioneer may require that either the contract be fulfilled or damages
resulting from non-fulfilment be paid. The lots may then be auctioned again at
the expense of the buyer. In this case the buyer is liable for the reserve price
and has no claim on any additional revenue made.
12. Auctioned items cannot be returned. However, any case of obvious mis
representation (except defects as described in paragraph 3) must be reported
immediately after the auction verbally or in writing not more than 14 days
thereafter. If the complaint is accepted as valid, the buyer has a right to the
re-payment of the purchase price and charges upon simultaneous return of
the auctioned object. No other claims will be entertained.
13. After completion of the auction we are entitled to sell any non-auctioned
items subject to the normal conditions of business in the name of, and for the
account of, the supplier.
12. Versteigerte Objekte werden prinzipiell nicht zurück genommen. Handelt
es sich jedoch um eine offensichtliche Fehlbeschreibungen, muss diese gleich
nach der Auktion mündlich oder spätestens nach 14 Tagen schriftlich reklamiert
werden. Wird die Reklamation als gültig anerkannt, hat der Ersteher bei
gleichzeitiger Rückgabe des Versteiger ungsgegenstandes das Recht auf
Erstattung des Kaufpreises und des Aufgeldes. Weitere Ansprüche können
nicht geltend gemacht werden.
13. Nach abgeschlossener Auktion können wir nicht versteigerte Gegenstände
zu den vorliegenden Versteigerungsbedingungen im Namen und für Rechnung
des Einlieferers freihändig verkaufen.
137
telephone Bid Form for WestLicht Photo Auction
WestLicht
Photographica
Auction
Westbahnstraße 40, 1070 Vienna, Austria
TEL +43 1 523 56 59 | FA X +43 1 523 13 08
[email protected]
First name
Surname
Client no.
Street
Post Code / ZIP and City
Country
Telephone
Fax
E-mail
Do not arrange shipping
Shipping:
Airmail
Courier ServIce
Payment Method
Creditcard:
VISA
Exp. Date
Mastercard Number
Bank transfer in € (all charges bank charges pre-paid, and including shipping costs)
Name of account: Peter Coeln Ges.m.b.H. | Account number: 2053338, Bank: Raiffeisen Niederösterreich-Wien AG,
Jasomirgottstraße 6 / Top 5, 1010 Vienna / Austria / Europe | Code: 32000 | IBAN: AT40 3200 0000 0205 3338 | Swift code: RLNWATWW
Telephone bid form I ask WestLicht Auctions to contact me by telep hone prior to the lots listed. This form must be recieved
24 hours prior t o the start of the auction. We cannot guarantee the telephone connection will be successfull. I agree to be bound
by the conditions of sale as printed in the catalogue.
Date
Lot no.
Signature
Title
Title
As a rule the starting price is the one listed in the catalogue, as long as
there are not several higher written bids on hand. | In addition to the
hammer price there are commission charges of 20 %. If agreement is
reached with us to make payment with a credit card an additional 3 % will
be charged. | Invoices for successful bids made in writing or by telephone
will be sent out to the respective high bidders after the auction has ended.
These invoices are to be paid to the auctioneers in full and without any
deductions within eight days. In cases of delayed payment, we will charge
5 % interest above the prevailing rate of the Austrian National Bank. |
Commission bids when placed by telephone have to be confirmed in writing
and are at the risk of the caller. WestLicht Auction reserves the right to
refuse absentee or telephone bids without disclosing the reason.
#
I agree to be bound by the conditions of sale as printed in the catalogue.
In the event that several bidders submitted identical highest bids, the
auctioneer will start by calling out a price in favor of the highest written bid
that is 10 % higher than the second highest written bid. The one that was
received first will be awarded the winning bid (unless on-site bids outbid
the highest written bid). | Written bids must be received at least 24 hours
before the start of the auction and they must contain the exact address
of the bidder along with the maximum bid exclusive of any commission
or other charges that will be paid if the bid is successful. All bids will be
executed as cheaply as possible up to the maximum price indicated for
each lot. | Bids will be increased in increments of 10 % of the starting price.
The bids for lots valued at EUR 2,000 and higher will be raised in steps
of EUR 200, lots valued at EUR 5,000 and higher in steps of EUR 500.
Lot no.
Absentee Bid Form for WestLicht Photo Auction
WestLicht
Photographica
Auction
Westbahnstraße 40, 1070 Vienna, Austria
TEL +43 1 523 56 59 | FA X +43 1 523 13 08
[email protected]
First name
Surname
Client no.
Street
Post Code / ZIP and City
Country
Telephone
Fax
E-mail
Do not arrange shipping
Shipping:
Airmail
Courier ServIce
Payment Method
Creditcard:
VISA
Exp. Date
Mastercard Number
Bank transfer in € (all charges bank charges pre-paid, and including shipping costs)
Name of account: Peter Coeln Ges.m.b.H. | Account number: 2053338, Bank: Raiffeisen Niederösterreich-Wien AG,
Jasomirgottstraße 6 / Top 5, 1010 Vienna / Austria / Europe | Code: 32000 | IBAN: AT40 3200 0000 0205 3338 | Swift code: RLNWATWW
Absentee bid form I accept WestLicht Auctions to bid on my behalf for the following lots. Absentee bids must be received
24 hours prior to the start of the auction. The maximum bid price does not include the premium. I agree to be bound by the conditions
of sale as printed in the catalogue.
Date
#
Lot no.
Signature
Title
I agree to be bound by the conditions of sale as printed in the catalogue.
In the event that several bidders submitted identical highest bids, the
auctioneer will start by calling out a price in favor of the highest written bid
that is 10 % higher than the second highest written bid. The one that was
received first will be awarded the winning bid (unless on-site bids outbid
the highest written bid). | Written bids must be received at least 24 hours
before the start of the auction and they must contain the exact address
of the bidder along with the maximum bid exclusive of any commission
or other charges that will be paid if the bid is successful. All bids will be
executed as cheaply as possible up to the maximum price indicated for
each lot. | Bids will be increased in increments of 10 % of the starting price.
The bids for lots valued at EUR 2,000 and higher will be raised in steps
of EUR 200, lots valued at EUR 5,000 and higher in steps of EUR 500.
Lot no.
Title
As a rule the starting price is the one listed in the catalogue, as long as
there are not several higher written bids on hand. | In addition to the
hammer price there are commission charges of 20 %. If agreement is
reached with us to make payment with a credit card an additional 3 % will
be charged. | Invoices for successful bids made in writing or by telephone
will be sent out to the respective high bidders after the auction has ended.
These invoices are to be paid to the auctioneers in full and without any
deductions within eight days. In cases of delayed payment, we will charge
5 % interest above the prevailing rate of the Austrian National Bank. |
Commission bids when placed by telephone have to be confirmed in writing
and are at the risk of the caller. WestLicht Auction reserves the right to
refuse absentee or telephone bids without disclosing the reason.
Impressum / Imprint
Verleger und Herausgeber / Editor and Publisher
WestLicht Auction, Peter Coeln GmbH,
Westbahnstraße 40, 1070 Wien / Vienna, Austria
Copyright
Peter Coeln GmbH, Wien / Vienna 2014
Für den Inhalt verantwortlich / Responsibility for Contents
Peter Coeln
K atalog - und Textredaktion / Cataloguers
Anna Zimm
Michael Kollmann (Fotobücher / Photobooks)
Kerstin Bauhofer (Mitarbeit / Assistance)
grafik Design / Graphic Design
Juliane Sonntag
Fotos und Bildbearbeitung / Reproduction and Image Editing
Peter Jakadofsky
Michael Lebek
Julia Grandegger
Frank Gottinger
Druck / PRint
Grasl FairPrint
Auktions -Ausstellung / Viewing And E xhibition
Rebekka Reuter
Konservatorin / Conservator
Taiyoung Ha
Vorbehaltlich Irrtümer, Satz- und Druckfehler.
Veröffentlichungen aus diesem Katalog bedürfen
der schriftlichen Genehmigung des Verlegers. / We can take no responsibility for any mistakes,
errors or omissions. Reproduction of all or any
part of this catalogue only with written permission
of the publisher.
140
141
Leica Sonderauktion
„100 Years of Leica“
Wetzlar, 23. Mai 2014
special Leica auction
“100 Years of Leica”
Wetzlar, MaY 23 rd , 2014
Im Jahr 1914 vollendete Oskar Barnack den ersten Prototyp
der Ur-Leica und meldete diesen zum Patent an.
In 1914 Oskar Barnack completed the first prototype of
the Ur-Leica, and applied it for a patent.
100 Jahre später präsentieren wir 100 Lose aus der LeitzTechnik-Geschichte und 100 Leica-Fotografien. Die Auktion
findet in Kooperation mit der Leica Camera AG anlässlich
der Eröffnung des neuen Leitz-Parks in Wetzlar am
23. Mai 2014 statt.
100 years later we present 100 lots from the Leitz technique
history and 100 Leica photographs. The auction will take place
in cooperation with Leica Camera AG on the occasion of
the opening of the new Leitz-Park in Wetzlar on May 23rd, 2014.
Der hochwertige Katalog mit über 400 Seiten voller spannender Überraschungen und Informationen zur Geschichte
der Firma Leitz und der Leica-Fotografie kann ab sofort
unter www.westlicht-auction.com bestellt werden.
Elliot t Erwit t, Magnum Press Card 1953
Leica MP Elliot t Erwit t
William Klein, Pachinko Doorman,
Tokyo 1961, Vintage silver print
Marc Riboud, Photoralley,
Japan 1958, Vintage silver print
René Burri, Tae Soe Dong,
South Korea 1961, Vintage silver print
Osk ar Barnack, Cologne 1914,
Vintage silver print, with Ur-Leica
142
The high-quality catalogue consisting of over 400 pages full
of exciting surprises and information on the history of the
company Leitz and Leica photography, can now be ordered
at www.westlicht-auction.com.
Michael Hoepker, Muhammad Ali,
Chicago 1966, Vintage silver print
143
Lithographie Leitz-Werke 1911
Stereoschiene M Prototyp
Leica MP Schwarzlack
Momentkamera
Fernglas 100 Jahre Leitz
Carl Kellner Mikroskop 1861
Elcan 1/90 mm U.S. Navy
Leica NY Rifle
Leica M6 Electronic
Leica M3 Oliv
Leica 250 Attrappe
Leica II Mod.D Luxus
Leica Holzdisplay
Leica M3 Prototyp
Lithography Leitz-Factory 1911
Stereo-Bar M Prototype
Leica MP Black Paint
Momentkamera
Binoculars 100 Years Leitz
Carl Kellner Microscope 1861
Elcan 1/90 mm U.S. Navy
Leica NY Rifle
Leica M6 Electronic
Leica M3 Olive
Leica 250 Dummy
Leica II Mod.D Luxus
Leica Wooden Display
Leica M3 Prototype

WestLicht Photographica Auction

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