WestLicht Photographica Auction

Transcription

Photographica Auction
Photographs Vienna, November 22nd, 2013
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
zimm@westlicht.com
Michael Kollmann (Fotobücher / Photobooks)
kollmann@westlicht.com
Administrator
Peter Jakadofksy
jakadofsky@westlicht.com
Verrechnung / Client Accounting
Andreas Schweiger
schweiger@westlicht.com
For general enquiries about this auction,
email should be addressed to
auction@westlicht.com
WestLicht Photographica Auction
Westbahnstraße 40, 1070 Wien, Österreich
Tel.: +43 1 523 56 59
Fax: +43 1 523 13 08
Fotografie
Photographs
November 22nd, 2013
9. WestLicht Foto-Auktion
Freitag, 22. November 2013
18 h (MEZ)
Vorbesichtigung
Montag, 11. bis Freitag, 22. November
14–18 h
und nach Vereinbarung
9th WestLicht Photo Auction
Friday, November 22nd, 2013
6 pm (CET)
Viewing
Monday, 11th to Friday, November 22nd
2 pm–6 pm
and by appointment
www.westlicht-auction.com
Photographica Auction
Photographs
1001
LOUIS DAGUERRE (1787–1851)
Léocardie Cotte, 1844
Sixth-plate daguerreotype, in original octagonal
paper mat and period metal frame
Annotated “Ce portrait est celui de Madame
Maugé, née Léocardie Cotte, agée 5 ans à
cette époque en 1844 fait à Neuilly au chateau
par Daguerre lui même” in an unidentified hand
in ink on the frame backboard, above numerical
notations in ink, most likely referring to the
exposure times calculated by Daguerre himself
€ 12,000 / € 20,000–25,000
4
„Fait par Daguerre lui même“ (Von Daguerre selber aufgenommen) – so steht es auf der Rückseite des Originalrahmens
dieser Sechstel-Platte in alter Handschrift geschrieben. Das
Porträt, eine Außenaufnahme, zeigt die 5-jährige Dorothée
Léocardie Cotte (1839–1914), aufgenommen 1844 im Schloss
Neuilly. Das Schloss in der Nähe von Paris war seit 1819 im
Besitz der Familie d’Orleans, aus der der letzte französische
König Louis-Philippe I, der von 1830 bis 1848 regierte,
hervorkam. Der Vater des Mädchens, Laurent Alexandre
Cotte (1806–1865) war nachweislich während dieser Zeit
unter Louis-Philippe als Ball-Intendant und „Officier de
bouche“ tätig (Union, décès: Acte de décès – Cotte Laurent
Alexandre – Archives départementales de Paris – Microfilm).
Louis Daguerre hatte ebenfalls eine Beziehung zu Schloss
Neuilly, denn sein Schwiegervater Mr. Smith war dort als
„Intendant“ tätig. All das spricht dafür, dass es sich bei dieser
Daguerreotypie wirklich um ein Original von Daguerre
handelt und die Information auf der Rückseite authentisch
ist. Interessant auch eine weitere, numerische Beschriftung
auf der Rückseite. Sie stammt eventuell von Daguerre persönlich. Die Zahlenfolgen könnten sich auf seine Belichtungszeiten beziehen. Die Daguerreotypie aus einer französischen
Privatsammlung bietet dem zukünftigen Besitzer die einzigartige Möglichkeit ein Original vom Erfinder des ersten ver
marktbaren fotografischen Verfahrens zu besitzen.
(Viele der Informationen wurden gemeinsam mit
Monsieur Jacques Roquencourt erarbeitet.)
“Fait par Daguerre lui même” (taken by Daguerre himself) is
written on the back of the original of this 1/6 plate in old
handwriting. The portrait, an exterior shot, shows the five
year old Dorothée Léocardie Cotte (1839–1914), photographed
in 1844 at Castle Neuilly. The castle, in close proximity to
Paris, was in possession of the family d’Orleans, from which
the last French king Louis-Philippe I, who reigned from 1830
until 1848, originated. The girl’s father, Laurent Alexandre
Cotte (1806–1865) had verifiably been working as ball-
intendent and “Officier de bouche” under Louis-Philippe
(Union, décès: Acte de décès – Cotte Laurent Alexandre – Archives
départementales de Paris – Microfilm). Louis Daguerre himself
had relations to Castle Neuilly, as his father-in-law had
been working there as an “intendent”. All of this leaves the
impression that this daguerreotype is indeed an original and
that the information on the back of it is authentic. Of further
interest is a numbering of a different cast on the back that
might be attributed to Daguerre personally. The columns of
numbers might relate to exposition times. This daguerreotype, from a French private collection, offers the prospective
proprietor a unique possibility to own an original by the
inventor of the first marketable photographic technique. (Much of the information has been gleaned in collaboration with Monsieur Jacques Roquencourt.)
5
1002
Attributed to CHARLES NÉGRE (1820–1880)
Gipsabgüsse von Reliefs des Parthenons / Plaster casts of Parthenon friezes,
before 1845
Half-plate daguerreotype, in original
pitch-pine frame
€ 26,000 / € 50,000–60,000
6
Die museale Daguerreotypie in originalem Kieferrahmen ist
dem französischen Maler und Fotopionier Charles Nègre
zugeschrieben. Die Zuschreibung basiert auf der Existenz
einer weiteren, fast identen Platte im J. Paul Getty Museum
in Los Angeles, bei der lediglich der Ausschnitt minimal
variiert. (Inv. Nr. 97 XT.11, vgl. Le daguerreotypie français.
Un objet photographique, Paris 2003, p. 292, cat: 213). Zu
sehen sind Gipsabgüsse vom Ost- und Westfries des
Parthenon, darüber eine, bzw. zwei (Getty-Platte), MiniaturInterpretationen des Parthenon-Fries von John Henning
(1771–1851). Die hohe Aufnahmequalität, die Plattengröße
und die meisterhafte Beleuchtung beider Daguerreotypien
lassen den Schluss zu, dass es sich nur um ein und denselben
Schöpfer handeln kann. Die Relieffiguren sind mit Finesse
und Präzision ins Licht getaucht; die Qualität der Tiefen
wirkung, ihre Klarheit und Schärfe – eine wunderschöne frühe
Hommage an die damals noch neue Technik der Daguerreo
typie. „Die antiken Formen scheinen auf eine Miniatur-
Enzyklopädie reduziert zu sein, von der sich die jungen
Künstler inspirieren lassen konnten, während sie die ideale
Welt der Vergangenheit betrachteten.“ (Eugenia Parris).
Charles Nègre, der 1839 dem Atelier von Paul Delaroche i n
Paris beigetreten war, wurde schon früh von seinem Mentor
aufgefordert die Fotografie für seine Kompositionen zu ver
wenden. Er machte sich als einer der ersten mit der Technik
der Daguerreotypie vertraut. Mitte des 19. Jahrhunderts
befanden sich in den meisten europäischen Museen Gips
abgüsse antiker Skulpturen und Reliefs, so auch in Paris.
Sie waren im Akademiekontext als Studienobjekte sehr
gefragt. Die vorliegende Daguerreotypie kann als eine Art
Vorahnung für die kurz darauf folgende Vermarktung und
Verbreitung der Kunstschätze dieser Welt durch die Fotografie, gedeutet werden.
The museum daguerreotype, in its original pine frame, is
attributed to the French painter and photography pioneer
Charles Nègre. The attribution is based on the existence of
a further, almost identical plate in the J. Paul Getty Museum
in Los Angeles, of which the framing varies only minimally.
(Inv. Nr. 97 XT.11, vgl. Le daguerreotypie français. Un objet
photographique, Paris 2003, p. 292, cat: 213). Plaster casts
of the East and West frieze under one or two (Getty plate)
miniature interpretations of John Hennings’ (1711–1851)
Parthenon-Frieze are visible. The high quality, the size of
the plates and the masterful lighting of both daguerreotypes
lead to the conclusion that they were shot by the same creator.
The relief figures are immersed in light with precision and
finesse; the quality of the depth effect and their clarity are a
wonderful homage to the still new technique of daguerreotype, at that time. “The antique forms seem to be reduced to
a miniature-encyclopedia that was able to inspire young
artists while they took a look at the ideal world of the past.”
(Eugenia Parris). Charles Nègre, who in 1839 joined the studio
of Paul Delaroche in Paris, was encouraged to use the technique of photography early on by his mentor. He was one of
the first to familiarize himself with the technique of the
daguerreotype. In the mid 19th century, plaster casts of antique
sculptures and reliefs could be found in most European
museums, including Paris. They were very popular as objects
to study in the context of the academy. This daguerreotype
can be understood as a premonition of the marketing and
the distribution of the art of the world through photography
that followed shortly afterwards.
7
1003
ANONYMOUS GERMAN
PHOTOGR APHER
Frau Senatorin Josefine Fleischmann und
Tochter, Hamburg c. 1845
Half-plate daguerreotype, original mat
with gilt border pasted to glass
Annotated in an unidentified hand in
pencil on the reverse
€ 600 / € 1,000–1,200
PROVENANCE Private Collection Hamburg
1004
ANONYMOUS GERMAN
PHOTOGR APHER
Die Brüder Stechow / The brothers
Stechow, c. 1848
Quarter-plate daguerreotype, original
wood frame
Annotated “Sechs Brueder Stechow
(Spandau). Original etwa aus d. J. 1848...
Von Tante Edith Stechow 1929 erhalten”
in an unidentified hand in ink on the
reverse
€ 400 / € 600–800
Das Adelsgeschlecht „von Stechow” stammt aus Spandau, damals ein
Vorort von Berlin. Da zu diesem Zeitpunkt lediglich nur an die neun
Daguerreot ypisten in Berlin gemeldet
waren, sind frühe Aufnahmen aus dieser
Gegend sehr selten. /
The aristocratic family “von Stechow”
originates from Spandau, once a suburb
of Berlin. As there were only around
nine registered daguerrotypists in Berlin
at that time, early photographs from this
area are extremely rare.
8
1005
TRUTPERT SCHNEIDER UND SÖHNE
(active 1847–1921)
Familie auf Veranda / Family on porch,
c. 1856
Stereo daguerreotype, hand-coloured visible
mat openings
each c. 6,8 × 4,8 cm (2.7 × 1.9 in)
Embossed “STEREOSCOP VON T. SCHNEIDER
UND SOEHNE” in the mat, in original leather
case with built-in stereo viewer
€ 1,600 / € 3,000–4,000
LITER ATURE Leif Geiges (ed.), T. Schneider &
Söhne, Freiburg 1989; Die Kunst und Magie
der Daguerreotypie. Sammlung Bosshard,
Brugg 2006, p. 149pp.
9
Das deutsche Atelier Trutpert Schneider & Söhne machte sich vor allem
mit den Stereo-Daguerreotypien einen Namen und sicherte sich durch
ihre stimmungsvollen Aufnahmen einen bedeutenden Platz in der Foto
geschichte. Als Wanderfotograf portraitierten sie in den 1850er und
1860er Jahren den wohlhabenden Adel und die Bourgeoisie Mittel- und
Osteuropas. Im Gegensatz zur damals üblichen Verwendung spezieller
Stereokameras mit zwei Objektiven, entstanden die Aufnahmen bei
den Schneiders durch seitliches Verschieben einer Kamera auf einem
Spezialstativ. Beide Aufnahmen wurden nacheinander belichtet, teilweise
auf einer Platte, indem die jeweilige Plattenhälfte abgedeckt wurde, und
teilweise auf zwei getrennten Platten. Die Aufnahmen weichen deswegen
oft stark ab, was zu einem überhöhten Stereo-Effekt führt. Zum Betrachten
ihrer Stereo-Aufnahmen lieferten die Schneiders ihren Kunden flache,
in jede Manteltasche passende Etuis mit ausklappbarem Stereobetrachter
für die bequeme und schnelle Betrachtung unterwegs.
The German studio Trutpert Schneider & Sons established their reputation
mainly with stereo daguerreotypes and secured a remarkable place in
photography history with their atmospheric photographs. As wandering
photographers, they portrayed the wealthy aristocracy and the bourgeoisie
of Middle and Eastern Europe in the 1850s and 1860s. In contrast to the use
of special stereo cameras at that time, the Schneiders’ photographs were
produced by moving the camera to the side on a special tripod. Both
photographs were exposed after each other, sometimes on the same plate,
by covering one side of it. The photographs often vary strongly, producing
an excessive stereo-effect. To view their photographs, the Schneiders
offered flat cases that fitted into every coat pocket and included an extendable stereo device for a comfortable and quick look at the photographs.
1006
1007
10
1006
1007
1008
J. W. PFLÜGER (ed.)
Japan, 1880s
Group of 30 hand-coloured albumen
prints, all mounted on original
album pages, pages covered with
different fabrics, lacquer album
with broken hinge
each c. 18 × 25,5 cm (7.1 × 10.0 in)
comes with a smaller Japanese
lacquer album comprising 13 handcoloured albumen prints
≤ 1006
FELICE BEATO (1832–1909)
Lastenträger / Hill Coolie & Geisha,
Japan 1860s
Pair of beautiful hand-coloured albumen
prints, both mounted on original cardboard
26 × 20 cm (10.2 × 7.9 in Hill Coolie),
28 × 22 cm (11 × 8.7 in)
One with typographic label (referring to
the original recto side of the album) on
the reverse
€ 1,500 / € 2,500–3,000
LITER ATURE Felice Beato in Japan,
Münchner Stadtmuseum (ex. cat), Munich
1991, p. 163. (Hill Coolie), p. 182. (Geisha)
≤ 1007
FELICE BEATO (1832–1909)
Kendoˉ -Fechter / Kendoˉ -Fencers & Geishas,
Japan 1860s
Pair of beautiful hand-coloured albumen
prints, both mounted on original cardboard
19 × 24,5 cm (7.5 × 9.6 in Swordsmen),
25,5 × 20 cm (10 × 8 in Geishas)
Both with typographic label (referring to
the original recto sides of the albums)
on the reverse
€ 1,500 / € 2,500–3,000
11
€ 1,800 / € 3,500–4,000
1009
ANONYMOUS PHOTOGR APHER
Maria-Theresien-Straße mit
Anna-Säule, Innsbruck c. 1910
Photochrom
41 × 52 cm (16.1 × 20.5 in)
no. 3160 Photoglob
seltenes großformatiges Photochrom /
rare large format photochrom
€ 600 / € 1,000–1,200
1010
Altstadt mit Festung Hohensalzburg,
Salzburg c. 1910
Photochrom
42,5 × 52 cm (16.7 × 20.5 in),
no. 3093 Photoglob
seltenes großformatiges Photochrom /
rare large format photochrom
€ 600 / € 1,000–1,200
12
1011
DOMENICO BRESOLIN (1813–1899) &
CARLO PONTI (1820–1893)
Ansichten von Venedig / Views of Venice,
1860s
24 Albumen prints, mounted on cardboard
each c. 27 × 35 cm (10.6 × 13.8 in)
Five photgoraphs attributed to Bresolin
Some of them with the “PONTI, RIVA DEI
SCHIAVONI” blindstamp of Bresolin’s
successor Ponti in the margin, the majority
annotated in an unidentified hand in pencil
on the reverse
€ 3,600 / € 7,000–8,000
13
Moriz Nähr
Moriz Nähr (auch Moritz Nähr), Haus- und Hoffotograf der
Wiener Secession, geboren 1859, Ausbildung als Maler,
betreibt ab 1890 ein Atelier in Wien, stellt erstmals 1891 aus,
in seiner Frühzeit Landschafts- und Genrestudien und
Stadtansichten aus Wien, arbeitet mit Edeldruckverfahren
und dokumentiert das Leben um die Jahrhundertwende,
1908 wird er von Thronfolger Franz Ferdinand zum erz
herzöglichen Kammerfotografen ernannt; Nähr betätigt
sich seit deren Gründung als offizieller Reproduktions
fotograf für die Wiener Secession, porträtiert deren
Mitglieder, allen voran Gustav Klimt, fotografiert in den
Künstlerateliers und Ausstellungen, schafft wichtige
Dokumente oft verlorener Arbeiten, die noch erhaltenen
Negative befinden sich in der Nationalbibliothek.
Moriz Nähr (or Moritz Nähr), regular photographer of the
Vienna Secession, born 1859, studied painting, had a studio
in Vienna from 1890, first exhibition 1891, landscape and
genre studies as well as city panoramas of Vienna, worked
with fine art printing processes and documented the life
around the fin de siècle, nominated as chamber photo
grapher of Franz Ferdinand, the heir to the throne. From
the beginning Nähr worked as the official reproduction
photographer for the Vienna Secession, made portraits
of all the members, mainly Gustav Klimt, took photos of
the studios and at exhibitions and produced important
documents of lost work. Remaining negatives can be found
in the National Library.
1012
MORIZ NÄHR (1859–1945)
Matzleinsdorfer Platz und
Straßenszene / and street scene,
Vienna c. 1900
2 Vintage platinum prints
each c. 21 × 26 cm (8.3 × 10.2 in)
One of them annotated in an unidentified
hand in pencil on the reverse
€ 1,600 / € 2,500–3,000
14
1013
Das Beethoven-Denkmal von / The Beethoven Monument by Max Klinger,
Secession, Vienna 1902
Woodburytype, Vintage, mounted
on original cardboard
38 × 29 cm (15.0 × 11.4 in)
€ 1,200 / € 2,000–2,500
In dem Jahrzehnt vor 1900 gestaltete
Max Klinger eine großformatige Plastik
Beethovens, dargestellt als olympische
Gottheit mit nacktem Oberkörper.
Ausgestellt zum ersten Mal 1902 in
Wien – in einem eigenen Raum des
Sezessionsgebäudes, der von Gustav
Klimt mit einem Figuren-Fries dekoriert
worden war. In der Öffentlichkeit löste
diese ungewöhnliche Arbeit allgemeine
Empörung aus. Erst Jahre später konnte
Klinger sein Denkmal an die Stadt
Leipzig verkaufen.
In the decade before 1900, Max Klinger
designed a large-format sculpture of
Beethoven, presented as an olympic
god with a bare upper body. It was first
exhibited in 1902 in Vienna – in a
separate room of the Secession that
was decorated with a figure-frieze by
Gustav Klimt. The unusual work caused
a public outrage. It was only years later
that Klinger was able to sell his artwork
to the city of Leipzig.
1014
Max Klinger ‘Christus am Olymp’,
Secession, Vienna 1902
Vintage platinum print
21 × 26,8 cm (8.3 × 10.6 in)
gezeigt in der dritten Ausstellung
der Secession, 1899, danach von der
Österreichischen Galerie erworben
(Belvedere) / shown at the third Secession
exhibition in 1899, later acquired
by the Österreichische Galerie
(Belvedere)
€ 1,200 / € 2,000–2,500
15
1015
Gustav Mahler, Hofoper, Vienna 1907
Gelatin silver print, printed 1920s
19,3 × 14,4 cm (7.6 × 5.7 in)
€ 1,500 / € 2,500–3,000
1016
Im Wiener Prater, Stegreifbühne /
Impromptu stage, Vienna c. 1905
Gelatin silver print, mounted on
original cardboard
15,6 × 11,5 cm (6.1 × 4.5 in)
Annotated in an unidentified hand
in pencil on the reverse
Josef Engelhart, Franz Hohenberger,
Franz Jaschke, Kasperniks [?],
Emerick Fechter
€ 600 / € 1,000–1,200
16
1017
Fünf Gemälde von / Five paintings of Gustav Klimt,
Vienna c. 1902–1910
5 Vintage silver prints, three of them sepia toned
Sizes vary: majority c. 22 × 16 cm (8.7 × 6.3 in)
€ 3,000 / € 5,000–6,000
Interessantes Konvolut, bestehend aus fünf seltenen
Vintage-Originalabzügen von Moriz Nähr; wichtige
Reproduktionen verschollener, verbrannter oder
veränderter Gemälde Gustav Klimts.
— ‚Der Kuss‘ Originalzustand, 1908, bevor es der
Staat ankaufte und Klimt Änderungen bzw. Korrekturen anordnete
— ‚Die Musik‘, 1945 im Schloss Immendorf verbrannt
— Schmalwand: Mittelteil des Beethoven-Frieses
von Gustav Klimt: ‚Die feindlichen Gewalten‘,
drei Gorgonen (links), Typhoeus, das Ungeheuer
(Mitte), Allegorien der Wollust, Unkeuschheit und
Unmäßigkeit (rechts)
— ‚Malcesine am Gardasee‘, 1945 im Schloss
Immendorf verbrannt, es gehörte der Familie Lederer
die von den Nazis enteignet wurden.
— ‚Wasserschlangen II‘, 1940 im Dorotheum ver
steigert und galt bis 2013 offiziell als verschollen
Interesting collection, containing five rare vintage
prints by Moriz Nähr: important reproductions of
lost, burned or changed paintings of Gustav Klimt.
— ‘The Kiss’ in its original condition, 1908, before
the state purchased the painting and Klimt was
asked to make changes and corrections.
— ‘The Music’, burned at Castle Immendorf in 1945.
— Narrow wall: Middle part of the Beethoven Frieze
by Gustav Klimt: ‘The Hostile Forces’, three Gorgons
(left), Typhoeus, the monster (middle), allegories of
lust, unchastity and immoderacy (right).
— ‘Malcesine am Gardasee’, burned at Castle
Immendorf in 1945, belonged to the family Lederer
who had their possessions expropriated by the Nazis.
— ‘Watersnakes II’, auctioned in 1940 at the
Dorotheum and until 2013 considered officially lost.
17
1018
‘Die große Pappel II (Aufsteigendes
Gewitter)’, 1903
Vintage silver print
27 × 20,7 cm (10.6 × 8.1 in)
Painting by Gustav Klimt, reproduced on
easel in the garden of Klimt‘s studio.
€ 1,800 / € 3,000–4,000
18
Das Gemälde befindet sich heute
in der Sammlung Leopold, Wien. /
The paining is located in the
The Leopold Collection, Vienna.
1019
HEINRICH KÜHN (1866–1944)
Hans im Gras / Hans in a meadow, c. 1906
Bromoil transfer print
23 × 30 cm (9.1 × 11.8 in)
€ 5,000 / € 8,000–10,000
LITER ATURE Heinrich Kühn (1866–1944)
Photographien, Innsbruck 1978, p. 31;
Heinrich Kühn. An Exhibition of One Hundred
Photographs, Cologne 1981, p. 41.
1020
EDWARD STEICHEN (1879–1973)
Lilac Budes, 1906
Photogravure on Japanese paper,
printed 1906 for Camera Work 14
20,5 × 15,8 cm (8.1 × 6.2 in)
€ 500 / € 800–1,000
LITER ATURE Alfred Stieglitz, Camera Work.
The Complete Illustrations 1903–1917,
Cologne 1997, p. 273.
19
1021
GEORGE HENRY SEELEY (1880–1955)
‘Blotches of Sunlight and Spots of Ink’,
1907
Photogravure, printed 1907 for
Camera Work 20
20,7 × 15,7 cm (8.1 × 6.2 in)
€ 500 / € 800–1,000
LITER ATURE Alfred Stieglitz,
Camera Work. The Complete Illustrations
1903–1917, Cologne 1997, p. 368.
1022
ALFRED STIEGLITZ (1864–1946)
‘The Swimming Lesson’, 1906
14,7 × 23 cm (5.8 × 9.1 in)
€ 500 / € 800–1,000
1903–1917, Cologne 1997, p. 592.
20
1023
JULIA MARGARET CAMERON (1815–1879)
‘Ellen Terry, at the age of sixteen’, 1864
Diameter c. 16 cm (6.3 in)
€ 500 / € 800–1,000
1903–1917, Cologne 1997, p. 687.
1024
ANNE BRIGMAN (1869–1950)
‘Stardust’, c. 1910
Vintage silver print, double-mounted
on original cardboard
24,5 × 19,7 cm (9.6 × 7.8 in)
Signed and annotated “For a ‘Stardust’
child” by the photographer in ink in
the image lower left, signed by her
in pencil on the mount, titled by her in
€ 6,000 / € 10,000–12,000
LITER ATURE A Poetic Vision.
The Photographs of Anne Brigman,
p. 51.
21
1025
LEWIS HINE (1874–1940)
Kinderarbeiter / Child labourers,
c. 1910
11 × 16,3 cm (4.3 × 6.4 in)
in pencil on the reverse, numbered
“3880” most likely by Hine himself
€ 1,800 / € 3,000–3,500
1026
LEWIS HINE (1874–1940)
Kinder auf einer Baumwollplantage / Children at a cotton plantation, c. 1910
10,8 × 15,8 cm (4.3 × 6.2 in)
Annotated “Cotton #412” and diverse
numerical notations most likely by
the photographer in ink on the reverse
€ 1,800 / € 3,000–3,500
22
1027
VERL AG R. LECHNER
Bau der / Construction of the ‘Sängerhalle’,
Vienna 1928
Large format album with 307 Vintage silver
prints, album cover with gilt embossment,
in original album case
photographs each c. 16,5 × 23 cm (6.5 × 9.1 in),
album size 44 × 59 × 7 cm (17.3 × 23.2 × 2.8 in)
€ 2,000 / € 4,000–5,000
Die Sängerhalle wurde ab Jänner 1928
von der Firma Chromy und Schönthaler
für das 10. Sängerbundesfest im Wiener
Prater auf der Jesuitenwiese erbaut. Der
Holzhallenbau war mit einem Grundriss
von 21.000 m2 (190 Meter Länge, 110 Meter
Breite) und einem Fassungsraum für
75.000 Menschen, der damals größte in
Europa. Das Album liefert mit seinen
über 300 Fotografien ein wichtiges Zeit
dokument dieses ehrgeizigen architekto
nischen Projekts, das nur ein paar Jahre
später wieder abgetragen wurde.
The construction of the Sängerhalle
(Singers Hall) started in January 1928.
It was built on the Jesuitenwiese in the
Viennese Prater by the company Chromy
and Schönthaler. Its wooden hall con
struction with a ground plan of 21.000 m²
(190 meters in length, 120 meters in width)
and a holding capacity of 75.000 people
was the biggest in Europe at the time.
With its 300 photographs the album
represents an important document of
this ambitious architectural project, which
was demolished after only a few years.
1028
RUDOLF KOPPITZ (1884–1936)
Ausgewählte Studien / Selected studies,
1920–1934
7 Vintage silver prints, carte postale,
each framed
each c. 9 × 9 cm (3.5 × 3.5 in)
Each with the photographer‘s blindstamp
in the margin and his studio stamp on
the reverse, three of them titled by Koppitz
in pencil in the margin
€ 900 / € 1,500–2,000
Mutter und Kind / Mother and Child,
Heuernte in Tirol / Hayharvest in Tyrol,
‘Schwarzsee mit Kaisergebirge’,
‘Peterskirche’, Rome, ‘Sellajoch,
Dolomiten’, ‘Winterzauber’ – Murtaler,
Steiermark
23
1029
Bewegungsstudie / Movement Study, 1925
Vintage silver print, carte postale, framed
13 × 9,4 cm (5.1 × 3.7 in)
Photographer‘s blindstamp in the margin,
his studio stamp on the reverse
€ 3,200 / € 5,000–6,000
LITER ATURE Monika Faber (ed.), Rudolf Koppitz.
1884–1936, Vienna 1995, cover and p. 83;
Monika Faber (ed.), Rudolf Koppitz. Photogenie,
Vienna 2013, p. 133.
1031
‘Verzweiflung’, 1928
1030
‘Akt’, 1928
Vintage silver print, carte postale,
framed
12,5 × 9,4 cm (4.9 × 3.7 in)
Photographer’s blindstamp in the
margin, titled by the photographer
in pencil in the margin, his studio
stamp on the reverse
Vintage silver print, carte postale, framed
13,8 × 6,5 cm (5.4 × 2.6 in)
Photographer’s blindstamp in the margin,
LITER ATURE Monika Faber (ed.),
€ 1,800 / € 3,000–3,500
Rudolf Koppitz. Photogenie, Vienna
2013, p. 140.
LITER ATURE Monika Faber (ed.),
Rudolf Koppitz. 1884 –1936, Vienna 1995,
p. 75; Monika Faber (ed.), Rudolf Koppitz.
Photogenie, Vienna 2013, p. 123.
24
€ 1,600 / € 2,800–3,200
1032
ANDRÉ KERTÉSZ (1894–1985)
‘Satiric Dancer’, Paris 1926
27 × 20,4 cm (10.6 × 8 in)
Photographer’s blindstamp in the margin,
initialized by the photographer in pencil
on the reverse
€ 3,000 / € 6,000–8,000
25
LITER ATURE André Kertész. Photographe,
Musée Jacquemart-André, Paris 1987, p. 58;
André Kertész. A Lifetime of Perception,
New York 1982, p.152; André Kertész in
Paris. Photographien 1925–1936, Munich
1992, plate 31.
1033
‘Distortion #93’, Paris 1933
Gelatin silver print, printed early 1980s
28 × 20,2 cm (11 × 8 in)
Photographer‘s blindstamp in the margin
lower right
€ 600 / € 1,000–1,200
LITER ATURE André Kertész. Photographe,
Musée Jacquemart-André, Paris 1987, p. 86.
1034
PIERRE BOUCHER (1908–2000)
‘Superposition, nu et plume’, 1932
Gelatin silver print, printed 1991
24,9 × 18,1 cm (9.8 × 7.1 in)
Signed by the photographer in ink in
the margin, photographer’s stamp
with handwritten date and print date
on the reverse
€ 400 / € 700–900
26
1035
LOTTE JACOBI (1896–1990)
Claire Bauroff, Berlin c. 1928
23,5 × 17,2 cm (9.3 × 6.8 in)
Signed by the photographer in pencil
in the image lower right
€ 1,800 / € 2,800–3,200
LITER ATURE Kelly Wise (ed.),
Lotte Jacobi, 1978, p. 153.
1036
FR ANZ LÖW Y (1883–active until 1938)
Bertl Komauer, Vienna c. 1924
22 × 11 cm (8.7 × 4.3 in)
Photographer’s stamp and “Schule Bertl
Komauer” stamp on the reverse, annotated
“Johann Sebastian Bach, Präludium b-Moll”
in an unidentified hand in ink on the reverse
€ 400 / € 600–800
27
1037
1038
ALFRED CHENEY JOHNSTON (1885–1971)
Frau mit Turban / Woman with turban, c. 1910
ALFRED CHENEY JOHNSTON (1885–1971)
Mildred Klaw, 1920s
33,5 × 26 cm (13.2 × 10.2 in)
Photographer’s stamp on the reverse
31,4 × 23 cm (12.4 × 9.1 in)
Photographer’s stamp on the reverse, annotated
in an unidentified hand in ink on the reverse
€ 800 / € 1,500–2,000
€ 800 / € 1,500–2,000
1039
NICOL A PERSCHEID (1864–1930)
Mädchenporträt / Portrait of a girl, 1920s
Vintage silver print, original wood frame
diameter c. 23 cm (9 in)
Erfinder des Weichzeichners /
Inventor of the soft focus lens
€ 500 / € 800–1,000
LITER ATURE James E. Cornwall,
In vornehmen Kreisen – Nicola Perscheid,
p. 35.
28
1040
FR ANTISEK DRTIKOL (1883–1961)
Ein Konvolut aus 100 Aktstudien / A collection of 100 nude studies,
c. 1915–30
100 Vintage silver prints, contact prints,
mounted on 4 sheets of paper
Sheet 1 — c. 32 × 26,5 cm, 25 photographs,
each c. 5 × 4 cm
Sheet 2 — c. 32 × 26 cm, 49 photographs,
mounted on recto and verso, each c. 5 × 4 cm
Sheet 3 — c. 29,8 × 21 cm, 20 photographs,
each c. 5 × 4 cm
Sheet 4 — c. 21,2 × 26,6 cm, 6 photographs,
each c. 5 × 4 cm
Most of the photographs are numbered
in the negative, some numbered in Roman
numerals
€ 18,000 / € 30,000–40,000
LITER ATURE František Drtikol, Pracouní kniha
fotografií, hrsgg. v. Stanislav Doležal,
Anna Fárová, Prague 2006, s. P. (Faksimile of
a work book with numerous identical images);
František Drtikol, Z frotografického archivu,
exhibition of Drtikol’s work books, Museum
of Decorative Arts Prague, 5.9.–24.11.2013,
curated by Jan Mlcoch.
29
1040 — Sheet 4
Für seine Arbeitsbücher fertigte Drtikol kleine Bildchen seiner – meist mit
großformatigen Kameras aufgenommenen – Fotografien an. Dafür pinnte
er Kontaktabzüge mit (teils auch auf den Bildchen sichtbaren) Reißzwecken
an eine Wand und fotografierte Zusammenstellungen von jeweils vier bis
zehn Werken. Diese Aufnahmen, deren Glasnegative im Format 16,3 × 12 cm
heute im Prager Kunstgewerbemuseum [Museum of Decorative Arts] auf
bewahrt werden und anhand derer über Tausend seiner Fotografien dokumentiert sind, nannte Drtikol „vzorníky“ [dt. Probeblätter; engl. samplers].
Durch Zerschneiden der Kontaktabzüge dieser „vzorníky“ erhielt er jene
kleinformatigen Bildchen, die in verschiedenen Papiersorten und Zusammen
stellungen eine zentrale Basis für die Reflexion und Entwicklung seiner
Arbeit darstellten. Die angebotenen Blätter mit insgesamt 100 Bildern bieten
einen tiefen Einblick in seine wichtigste Schaffensphase in der Aktfotografie
zwischen ca. 1915 und 1930. Die Kompositionen umspannen stilistisch die
gesamte Bandbreite seiner gestalterischen Meisterschaft von Kunstfotografie
und Prager Symbolismus bis zum Art Deco.
For his workbooks, Drtikol produced tiny pictures of the photographs he
took, mostly with large-format cameras. In order to do so, he pinned contact
prints (sometimes the pins were even visible on the tiny pictures) to the wall
and took photographs of arrangements of four to ten works. He called these
photographs “vzorníky“ (samplers), the glass negatives of which, in the
format 16.3 × 12 cm, are kept at the Museum of Decorative Arts, Prague and
document more than a thousand of his photographs. By cutting the contact
prints of these “vzorníky“ he got the small format pictures that, on different
sorts of paper and in different arrangements, represent a central basis for
the reflection and the development of his work. The offered pages, with
100 pictures in total, provide a deep insight into his most important creative
period of nude photography between 1915 and 1930. The compositions
encompass stylistically the full range of his artistic mastery, ranging from
art photography and Prague symbolism to Art Deco.
1040 — Sheet 2
30
1040 — Sheet 2 verso
31
1040 — Sheet 3
32
1040 — Sheet 1
33
1041
1042
AUGUST SANDER (1876–1964)
Rheinische Winzerin, 1910–1914
19,6 × 13,8 cm (7.7 × 5.4 in)
Cologne, 1937
Photographer’s copyright stamp
on the reverse
€ 2,800 / € 4,000–5,000
Vintage silver print, mounted on original paper
21,5 × 13,8 cm (8.5 × 5.4 in)
Signed and dated by the photographer in pencil
on the mount, photographer’s “AUG. SANDER,
LICHTBILDNER, CÖLN-LINDENTHAL,
DÜRENERST.201” label on the reverse
€ 2,200 / € 3,500–4,000
1043
Försterkind / Forester’s child, Westerwald, 1931
Gelatin silver print, printed 1990 by Gerd Sander
59 × 43 cm (23.2 × 16.9 in)
With the blindstamp “Aug. Sander Köln Lindenthal”
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. 5/12
€ 5,000 / € 10,000–12,000
LITER ATURE August Sander. Menschen ohne Maske,
Text by Gunther Sander and Golo Mann, Luzern,
Frankfurt 1971, plate 31.
34
35
Russische Fotografien aus
der Sammlung Borodulin
Russian Photographs from
the Borodulin Collection
Die Sammlung Borodulin wurde zum größten Teil vom russischen Fotografen Lev Borodulin aufgebaut. Die meisten der
Fotografien erhielt er direkt von Kollegen wie Alpert, Chalip,
Baltermants, Markov-Grinberg, Shagin, Chaldej und deren
Familien. In der Redaktion der Wochenillustrierten Ogoniok
(Ogonyok), dem russischen Pendant zu Life, teilte sich Lev
mit Dimitri Baltermants eine Dunkelkammer. Die bekanntesten russischen Fotografen wurden bei Ogoniok publiziert,
aus dessen Archiv ein wichtiger Teil der Fotografien in
Borodulins Sammlung kam. Ein weiterer Teil der Sammlung
kam über Anatoly Fomin, bzw. Iskusstvo, dem größten
Verlagshaus für Kunst und Fotografie, in die Sammlung.
Lev Borodulin war ein Freund des Chefredakteurs Anatoly
Fomin. Fomin war Kunsthistoriker und Autor zahlreicher
Fotobücher, er bereitete vor seinem Tod ein Buch über
Rodchenko vor und verwendete häufig originale Fotografien
als Vorlagen für seine Publikationen. In den 1990er-Jahren
übergab e r seine Archive an Lev Borodulin.
The Borodulin Collection was built up to a large extent by
Russian photographer Lev Borodulin. He received most
of the photographs directly from photographer colleagues
such as Alpert, Chalip, Baltermants, Markov-Grinberg, Shagin
or Chaldej, or from their families. He shared a darkroom with
Dimitri Baltermants in the editorial office of weekly magazine
Ogoniok (Ogonyok), the Russian equivalent of Life. Wellknown Russian photographers were published there and an
important part of the Borodulin Collection comes from their
archives. Another important part of the collection was
acquired through Anatoly Fomin, respectively Iskusstvo,
the largest publishing house of art and photography books
in the USSR. Lev Borodulin was a friend of chief editor
Anatoly Fomin. Fomin was an art historian and author of
many photographic books and before his death he prepared
a book about Rodchenko. He often used original photographs
for his publications. In the 1990s he gave his archives to
Lev Borodulin.
1044
ALEX ANDER RODCHENKO (1891–1956)
Poet Vladimir Mayakovsky in einer Redaktion / in editorial office, Moscow 1927
Gelatin silver print, printed before 1938
29,8 × 22,1 cm (11.7 × 8.7 in)
Photographer’s studio stamp and Izvestia (Iswestija)
publishing stamp on the reverse, annotated in
English and Russian in pencil on the reverse,
blacklight tested
€ 8,000 / € 15,000–20,000
PROVENANCE Lev Borodulin Collection,
Izvestia Archive
36
37
1045
Poet Sergei Tretyakow, 1925
Gelatin silver print, printed before 1938
24 × 17,8 cm (9.4 × 7 in)
Photographer‘s studio stamp and notations
in Russian on the reverse, blacklight tested
€ 6,000 / € 10,000–12,000
LITER ATURE Alexander Lavrentiev (ed.),
Alexander Rodchenko. Photography 1924–1954,
Cologne 1995, p. 95; Alexander Rodchenko.
Revolution in Photography, Moscow 2008, p. 57.
38
1046
Pionier mit Trompete / Pioneer with trumpet, 1930
26,7 × 23,7 cm (10.5 × 9.3 in)
Photographer’ studio stamp and Iskusstvo publishing stamp
on the reverse, annotated in Russian on the reverse
€ 5,000 / € 9,000–10,000
Iskusstvo Publishing House
Cologne 1995, cover; Alexander Rodchenko.
39
1047
‘Kolonna Dinamo’, 1935
15 × 23 cm (5.9 × 9.1 in)
Photographer‘s studio stamp, Isskustvo publishing
stamp and diverse notations in Russian on the reverse,
blacklight tested
€ 6,000 / € 10,000–12,000
Der Sportklub ‚Dynamo‘, 1935
Ehe die Kolonnen der Demonstranten und Sportler den
Roten Platz erreichten, mußten sie von der OkhotnyriadStraße nahe dem Historischen Museum nach links
einschwenken. Dieser Moment der Richtungsänderung
wurde von Rodchenko eingefangen. /
The Dynamo sports club, 1935
Before entering Red Square, columns of demonstrators
and sportsmen had to turn to the left from Okhotnyriad
Street near the Historical Museum. This moment of the
change in direction was captured by Rodchenko.
Iskusstvo Publishing House
Cologne 1995, p. 155; Alexander Rodchenko.
40
1048
ARK ADIJ SAJCHET (1898–1959)
Bahnhof / Train Station, Kiev 1936
29,7 × 21,9 cm (11.7 × 8.6 in)
Two exhibition stamps on the reverse,
annotated in an unidentified hand in
pencil (Russian) on the reverse
€ 1,400 / € 2,500–3,000
PROVENANCE Lev Borodulin Collection
1049
MARK MARKOV- GRINBERG (1907–2003)
Selbstporträt mit Leica / Self-portrait with Leica,
Moscow 1937
31 × 23,2 cm (12.2 × 9.1 in)
Signed by the photographer in ink in the margin
and dedicated by his granddaughter in the
margin, photographer‘s stamp and Borodulin
Collection label on the reverse
€ 800 / € 1,500–2,000
41
1050
1051
JAKOV CHALIP (1908–1980)
Konzert auf dem Kriegsschiff / Concert on
the battleship ‘Marat’, 1936
JAKOV CHALIP (1908–1980)
‘Baltic Fleet’, 1938
33,2 × 22,2 cm (13.1 × 8.7 in)
Photographer’s stamp and Iskusstvo publishing
stamp on the reverse, diverse notations in Russian
and German on the reverse
€ 800 / € 1,500–2,000
29,2 × 19,2 cm (11.5 × 7.6 in)
Photographer’s stamp and diverse notations
in Russian and English on the reverse
€ 900 / € 1,500–2,000
1052
DMITRI BALTERMANTS (1912–1990)
Fischer / Fisherman, 1960s
30 × 23 cm (11.8 × 9.1 in)
Photographer’s name stamp (Russian),
Borodulin Collection stamp and Ogoniok
magazine stamp on the reverse, diverse
notations in Russian and English on the reverse
€ 1,600 / € 2,500–3,000
Ogoniok
42
1053
DMITRI BALTERMANTS (1912–1990)
‘Attack!’, Ostfront 2. Weltkrieg / Eastern front WW II, 1941
19,5 × 29,7 cm (7.7 × 11.7 in)
Photographer’s name stamp (Russian),
Borodulin Collection stamp and Ogoniok
stamp on the reverse, diverse annotations
in unidentified hand in pencil (Russian)
on the reverse
€ 1,500 / € 2,500–3,000
1054
JEWGENI CHALDEJ (1917–1997)
‘Auf dem Berliner Reichstag’ (Raising the
Soviet flag over the Reichstag), 1945
Gelatin silver print, printed c. 1980
20,4 × 28,9 cm (8.0 × 11.4 in)
on the reverse
€ 1,200 / € 2,000–2,500
43
Ogoniok
1055
EDWARD WESTON (1886–1958)
‘Nautilus Shell’, 1927
Gelatin silver print, printed in the 1970s
by Cole Weston
24 × 18,3 cm (9.4 × 7.2 in)
“NEGATIVE BY Edward Weston, PRINT BY…”
stamp, signed by Cole Weston, on the
reverse, annotated by Cole Weston in
€ 3,000 / € 5,000–6,000
LITER ATURE Gilles Mora (ed.) Edward Weston,
Forms of Passion, New York 1995, p. 151;
Edward Weston, The Flame of Recognition,
New York 1965, p. 25; The Art of Edward Weston,
New York 1932, p. 39.
1056
EDWARD WESTON (1886–1958)
‘Dunes, Oceano’, 1936
Gelatin silver print, printed in the 1970s
by Cole Weston
19 × 24,3 cm (7.5 × 9.6 in)
“NEGATIVE BY Edward Weston, PRINT BY…”
stamp, signed by Cole Weston, on the
reverse, annotated by Cole Weston in pencil
on the reverse
€ 2,600 / € 4,000–5,000
LITER ATURE Fifty Photographs: Edward Weston,
p. 13; Edward Weston, The Flame of Recognition,
New York 1965, p. 45; Edward Weston, Fifty
Years, p. 168; Edward Weston, Forms of Passion,
p. 211; Edward Weston, Life Work, Pennsylvania
2003, p. 72.
44
1057
ANSEL ADAMS (1902–1984)
‘Portfolio V, #9, White Stump, Sierra Nevada,
California’, c. 1936
Gelatin silver print, mounted on
original cardboard, printed later
49 × 33 cm (19.3 × 13.0 in)
Signed and numbered by the photographer
in pencil on the mount, photographer’s
portfolio stamp with handwritten title and
date on the reverse
€ 8,000 / € 16,000–20,000
1058
ANSEL ADAMS (1902–1984)
‘Bridal Veil Fall, Yosemite Valley’, 1927
Gelatin silver print, mounted on portfolio
cardboard, printed by Alan Ross in 1995
23,8 × 19,1 cm (9.4 × 7.5 in)
“Special Edition PHOTOGRAPHS BY
ANSEL ADAMS” stamp, The Ansel Adams
Gallery stamp and “Printed by Alan Ross”
€ 800 / € 1,500–2,000
45
1059
HEINZ HAJEK-HALKE (1898–1983)
‘Blütende Erde’ (Lichtgraphik), c. 1950
Gelatin silver print, printed later
37,5 × 29 cm (14.8 × 11.4 in)
Photographer‘s copyright stamp and
his “Lichtgraphik” stamp on the reverse,
titled by him in ink on the reverse
€ 800 / € 1,400–1,800
1060
NATHAN LERNER (1913–1997)
‘Eye in window’, New York 1943
33,5 × 37 cm (13.2 × 14.6 in)
Signed, titled and dated by the
photographer in pencil on the reverse
€ 1,200 / € 2,000–2,500
46
1061
BRETT WESTON (1911–1993)
New York, 1940s
27,2 × 35,2 cm (10.7 × 13.9 in)
Photographer’s “This is an Original
Brett Weston Photograph, Printed by
The Photographer, Authenticated
by The Brett Weston Estate (...)” estate
stamp with signature of archive manager
Christian Keesee on the reverse
€ 1,500 / € 2,500–3,000
1062
WEEGEE (1899–1968)
Akt in Badewanne / Nude in bath tube,
New York c. 1950
27 × 22 cm (10.6 × 8.7 in)
Photographer’s circular “CREDIT PHOTO
BY WEEGEE THE FAMOUS” stamp on
the reverse
€ 1,000 / € 1,800–2,000
47
1063
ROLF L ANTIN
Leni Riefenstahl bei Filmaufnahmen für / directing ‘Olympia’,
Berlin 1936
3 Vintage silver prints
sizes vary: 12 × 17 (4.7 × 6.7 in) –
17 × 23 cm (6.7 × 9 in)
One of them signed by the photo
grapher on the reverse, one with
annotations in an unidentified hand
on the reverse
€ 1,200 / € 2,000–2,500
Rolf Lantin war bereits seit den 1930erJahren Standfotograf von Leni Riefenstahl.
Einige Fotografien aus „Schönheit im
olympischen Kampf“ stammen von ihm,
wie erst vor kurzem nachgewiesen wurde.
Nach dem Krieg arbeitete er weiter als
Standfotograf für Riefenstahl, bevor er
Anfang der 1970er-Jahre nach Hollywood
ging. / Rolf Lantin was working as still
photographer for Leni Riefenstahl since
the 1930s. Not long ago it was shown
that several photographs published in
famous book “Schönheit im olympischen
Kampf” were actually taken by himself.
After the war Lantin continued working
for Riefenstahl, in the early 1970s he
moved to Hollywood.
1064
LENI RIEFENSTAHL (1902–2003)
Japanische Athleten beim Aufwärmen / Japanese athletes warming up (from the
portfolio ‘Olympia’),
Berlin 1936
Vintage silver print, mounted on
original cardboard
27,7 × 22,3 cm (10.9 × 8.8 in)
€ 1,800 / € 3,000–4,000
48
1065
Japanische Schwimmerin / Japanese
Swimmer (from the portfolio ‘Olympia’),
Berlin 1936
original cardboard
27,6 × 22,6 cm (10.9 × 8.9 in)
€ 1,800 / € 3,000–4,000
1066
Japanischer Schwimmer / Japanese Swimmer
(from the portfolio ‘Olympia’), Berlin 1936
original cardboard
28,7 × 22,1 cm (11.3 × 8.7 in)
€ 1,800 / € 3,000–4,000
49
1067
Hideko Maehata (from the portfolio
‘Olympia’), Berlin 1936
Vintage silver print, mounted on original
cardboard
22,5 × 29 cm (8.9 × 11.4 in)
€ 1,800 / € 3,000–4,000
Gewinnerin im 200-m-Brustschwimmen /
Winner of the 200-m-breast-stroke
LITER ATURE Leni Riefenstahl, Schönheit
im Olympischen Kampf, Berlin 1937,
p. 219.
1068
LOTHAR RÜBELT (1901–1990)
Jesse Owens, Olympische Sommerspiele / Olympic Summer Games,
Berlin 1936
17 × 22,8 cm (6.7 × 9.0 in)
Photographer’s stamp and diverse
notations, also regarding the camera
used (Contax Sonnar 5 cm) in ink
and pencil on the reverse
€ 1,200 / € 2,000–2,500
50
1069
Olympische Sommerspiele / Olympic Summer
Games, Berlin 1936
Sizes vary: 15 × 12 (5.9 × 4.7 in) – 17 × 23 cm
Some with typographic label on the front,
one with “Aufnahme mit Zeiss Ikon Camera”
stamp on the reverse, some with handwritten
and typographic annotations on the reverse
€ 1,200 / € 2,000–2,500
Japanische Athleten: Oshima – Japanischer
Meister im Weitsprung, Japanische Flaggenträger, Japanische Schwimmer beim Training,
Die Japanische Speerwurfmeisterin
Jamamoto, Olympiaflaggen /
Japanese athletes: Oshima – Japanese long
jump champion, Athletes carrying the
Japanese flag, Japanese swimmers at the
training, Japanese javenile throw champion
Jamamoto, Olympic flags
51
1070
LOL A ÁLVAREZ BR AVO (1907–1993)
‘Hommage a Salvador Toscano’, 1950s
Gelatin silver print, printed 1960s,
mounted on cardboard
18,2 × 22,8 cm (7.2 × 9.0 in)
on the mount, titled by her in pencil
on the reverse
€ 2,400 / € 4,000–5,000
1071
LOL A ÁLVAREZ BR AVO (1907–1993)
Maria, c. 1950
Gelatin silver print, printed 1950s,
mounted on original cardboard
23,6 × 19,2 cm (9.3 × 7.6 in)
on the mount
€ 2,000 / € 3,500–4,000
52
1072
CARL VAN VECHTEN (1880–1964)
Frida Kahlo, 1932
32,7 × 24,2 cm (12.9 × 9.5 in)
Photographer‘s New York studio stamp
on the reverse, annotated and dated
in an unidentified hand in pencil and ink
on the reverse
€ 1,600 / € 2,500–3,000
1073
MAN R AY (1890–1976)
Juliet Browner und / and Dorothea Tanning,
1940s
10 × 7,5 cm (3.9 × 3 in)
€ 2,000 / € 3,500–4,000
PROVENANCE Collection Juliet Man Ray
53
Alfred Eisenstaedt
Alfred Eisenstaedt, Pionier des modernen Fotojournalismus, Schöpfer
mancher der berühmtesten Ikonen der Fotogeschichte, war sicherlich
einer der produktivsten Dokumentarfotografen des 20. Jahrhunderts.
Einige seiner schönsten Aufnahmen konnten in dieser Auktion
versammelt werden. Alle Fotografien kommen aus dem Nachlass der
Familie Eisenstaedt, sind signiert, gestempelt und die meisten davon
von Eisenstaedt eigenhändig beschriftet.
Alfred Eisenstaedt, pioneer of modern photo journalism and creator
of some of the most famous icons of photo history, was one of the most
productive documentary photographers of the 20th century. Some of
his most beautiful photographs have been assembled for this auction.
All of them come from the Eisenstaedt Family Estate and are signed
and stamped, most of them are annotated by Eisenstaedt himself.
1898 in Dieschau, heute Polen, geboren; 1906 Umzug nach Berlin, erste
Kodak Kamera mit Rollfilm; 1916–18 Kriegsdienst, danach bis 1925
Handel mit Gürteln und Knöpfen in Weimar. Später Hinwendung
zum Journalismus und Arbeit als Freelance Fotograf. 1930–1934
Reportagen vom politischen Parkett, Konferenzen in Den Haag, Genf
und Lausanne, das erste Treffen mit Mussolini, 1931 erste Leica, 1935
in die USA emigriert, 1936–1972 exklusiv tätig für die neu gegründete
Illustrierte Life. Für sie fotografierte er über drei Jahrzehnte mehr als
2500 Reportagen, die Großen der Welt, Bildberichte aus Politik,
Wissenschaft, Kultur und Alltag.
1898 born in Dieschau in today’s Poland; 1906 moved to Berlin, first
Kodak camera with roll film; 1916–18 war service, afterwards business
with belts and buttons in Weimar. Later turned towards journalism
and worked as freelance photographer; 1930–1934 political reportages,
conferences in Den Haag, Geneva and Lausanne, first meeting with
Mussolini; 1931 bought his first Leica; 1935 immigrated to the USA;
1936–1972 exclusive work for the newly founded magazine Life for
which he photographed more than 2500 reportages: the great people
of the world, politics, science, culture and everyday life.
1075
ALFRED EISENSTAEDT (1898–1995)
Adolf Hitler und / and Benito Mussolini,
Venice June 1934
22,7 × 34 cm (8.9 × 13.4 in)
Signed by the photographer in ink in the margin,
his “LIFE PHOTO BY ALFRED EISENSTAEDT”
stamp on the reverse, annotated by Eisenstaedt in
ink on the reverse: “When Hitler arrived in Venice
for his first meeting with Mussolini, the national
anthems are played. Between Hitler and Mussolini
is German ambassador to Italy Ulrich von Hassell
who was later ascended as one of the initiators of
the bomb attack to kill Hitler. Right of Mussolini with
raised arm and in black Faschist uniform is Italian
ambassador Count Cerutti, right of him in rain coat
German Foreign Minister Constantin von Neurath”.
€ 1,400 / € 2,000–2,500
PROVENANCE Eisenstaedt Family Estate
54
1074
‘V-J Day Kiss’, Times Square, New York 1945
31,8 × 22,9 cm (12.5 × 9.0 in)
Signed by the photographer in ink
in the margin, his “PHOTO BY ALFRED
EISENSTAEDT” stamp on the reverse
€ 9,000 / € 16,000–18,000
LITER ATURE Alfred Eisenstaedt, Witness
to our Time, New York 1966, p. 117;
Alfred Eisenstaedt, The Eye of Alfred
Eisenstaedt, London 1969, p. 57.
55
1076
‘Drum Major, University of Michigan’, 1951
40,8 × 50,8 cm (16.1 × 20.0 in)
his “PHOTO BY ALFRED EISENSTAEDT” stamp on
the reverse large format print
€ 3,000 / € 5,000–6,000
LITER ATURE Alfred Eisenstaedt, Remembrances,
New York 1999, p. 72-73; Alfred Eisenstaedt,
Eisenstaedt on Eisenstaedt, New York 1985, p. 76.
Eisenstaedt hatte sich nie auf ein bestimmtes
Gebiet festgelegt, er lichtete Personen der Zeit
geschichte ab, politische Reportagen, wie auch
völlig unbekannte Menschen in humorvollen
ausgelassenen Situationen. Ein perfektes Beispiel
ist der „Drum Major“, vorliegend als großformatiger Print aus den 1970er-Jahren. Die Aufnahme
entstand im Herbst 1950 bei der Probe einer
Marschkapelle am Rasen der Universität von
Michigan, der sich spontan eine Reihe von
Kindern anschloss. Mit nach hinten geneigten
Köpfen und nach oben gerissenen Beinen
versuchten sie den Gang des probenden Drum
Majors zu imitieren. Publiziert am 30. Oktober
1950 im Life Magazine ist er ein typisches Beispiel
einer nicht inszenierten Ikone, eines festgehaltenen überschwänglichen Moments und eine
wunderschöne „Ode an die Fröhlichkeit“.
Eisenstaedt never focused on a specific field; he
produced political reportages and photographs of
people from contemporary history, as well as
photographs of completely unknown people in
amusing, exuberant situations. A perfect example
is the “Drum Major”, available as a large-format
print from the 1970s. The photograph originates
from 1950, from the rehearsal of a marching band
at the University of Michigan, where a number
of children spontaneously joined the band. With
their heads high and legs raised, they try to
imitate the gait of the rehearsing Drum Major.
Published on the 30th of October 1950 in Life
Magazine, the Drum Major is a typical example
of a non-staged icon, of a captured exuberant
moment, a wonderful “Ode to Happiness”.
56
57
1077
‘Students in Polk County, Iowa, raising
the flag’, 1943
32,4 × 24,5 cm (12.8 × 9.6 in)
Signed by the photographer in ink in the
margin, his “PHOTO BY ALFRED EISENSTAEDT” stamp on the reverse, titled by
Eisenstaedt in ink on the reverse
€ 1,000 / € 1,800–2,200
1078
‘Forum Mussolini’, Rome 1933
17,5 × 23,9 cm (6.9 × 9.4 in)
in the margin, his signed “LIFE MAGAZINE”
copyright stamp on the reverse
€ 1,000 / € 1,800–2,200
Frühe, vor Eisenstaedts Emigration von
Berlin in die USA entstandene Aufnahme,
erschienen am Cover der Berliner Illustrirten
Zeitung, 9.7.1933 /
Early Eisenstaedt photograph, taken before
his emigration from Berlin to the USA,
published on 9.7.1933 on the cover of the
Berliner Illustrirten Zeitung
58
1079
‘A monk surveys the damage done by
American bombs to the Abbey of Monte
Cassino’, 1947
31,9 × 24,5 cm (12.6 × 9.6 in)
margin, his “PHOTO BY ALFRED EISENSTAEDT” stamp on the reverse, titled by
Eisenstaedt in ink on the reverse
€ 1,200 / € 2,000–2,500
LITER ATURE Alfred Eisenstaedt, Witness to
our time, New York 1966, p. 134.
1080
‘Card Players at the Île de la Cité’,
Paris 1963
22,1 × 31,8 cm (8.7 × 12.5 in)
in the margin, his “PHOTO BY
ALFRED EISENSTAEDT” stamp on
the reverse, titled by Eisenstaedt
in ink on the reverse
€ 1,000 / € 1,800–2,200
59
1081
‘Nutcracker Ballet rehersal at the
Opéra de Paris’, 1930
45,5 × 32 cm (17.9 × 12.6 in)
his “PHOTO BY ALFRED EISENSTAEDT”
stamp on the reverse, titled by Eisenstaedt
€ 4,000 / € 7,000–8,000
60
LITER ATURE Alfred Eisenstaedt,
Remembrances, New York 1999, p. 33.
1082
‘Weathervane in Vermont’, early 1940s
27 × 25,5 cm (10.6 × 10.0 in)
ALFRED EISENSTAEDT” stamp
on the reverse, titled by Eisenstaedt
€ 1,000 / € 1,800–2,200
1083
‘Shaker Village Home, Hancock,
Massachusetts’, 1974
32 × 21,9 cm (12.6 × 8.6 in)
ALFRED EISENSTAEDT” stamp
on the reverse, titled by Eisenstaedt
€ 1,000 / € 1,800–2,200
61
1084
Präsident Clinton und Familie / President Clinton and Family,
Martha’s Vineyard 1993
Gelatin silver print
21,6 × 31,5 cm (8.5 × 12.4 in)
his “PHOTO BY ALFRED EISENSTAEDT” stamp
on the reverse
€ 800 / € 1,200–1,600
Eisenstaedts letzte Fotografie, aufgenommen
mit 94 Jahren kurz vor seinem Tod für das
People Magazine, zeigt die Familie des US
Präsidenten Clinton, in der Granary Gallery,
West Tisbury, Martha’s Vineyard. Als Bill
Clinton von Eisenstaedt als Dankeschön
für das Shooting eine Fotografie angeboten
wurde, wählte er den „Drum Major“.
Eisenstaedt’s last photograph, shot for People
magazine when he was 94 years old and
shortly before his death, shows the family of
US president Clinton in the Granary Gallery,
West Tisbury, Martha’s Vineyard. When
Eisenstaedt offered Clinton a photograph as
a thank you for the shoot, he chose the
“Drum Major”.
1085
Albert Einstein, Princeton 1949
22,8 × 17,8 cm (9 × 7 in)
in the margin, his “PHOTO BY ALFRED
EISENSTAEDT” stamp on the reverse
€ 1,000 / € 2,000–2,500
LITER ATURE Alfred Eisenstaedt,
Witness to our time, New York 1966, p. 119.
62
1086
WERNER BISCHOF (1916–1954)
‘Shinto Priests in the courtyard of
the Meiji Temple’, Tokyo 1951
c. 26 × 33,6 cm (10.2 × 13.2 in)
Credited in an unidentified hand
€ 4,000 / € 7,000–8,000
LITER ATURE Marco Bischof (ed.),
Werner Bischof. Bilder, Zurich 2006,
p. 242–243; Marco Bischof (ed.),
Werner Bischof. His Life and Work,
Zurich 1999, p. 162–163.
1087
WERNER BISCHOF (1916–1954)
Vietnam, 1951
2 Gelatin silver prints, printed 1970s
17 × 25 (6.7 × 9.8 in) and 24,9 × 16,7 cm
Both with the photographer’s agency
stamp and numerical notations and
other stamps on the reverse
€ 2,000 / € 3,500–4,000
63
Gymnastik am Bahnsteig / Practicing gymnastics
at the platform
Der Zug „La Rafale“ von Saigon
nach Nha trang / The train “La Rafale” from
Saigon to Nha trang
Der Vintage-Print, authentifiziert von Martine Franck in einem
beiliegenden Brief, zeigt einen Eunuchen des Kaiserhofs der letzten
Dynastie. Kastrierte Palasteunuchen gehörten vor allem in China
zum kaiserlichen Hofstaat und verrichteten in strengen Hierarchien
verschiedenste Tätigkeiten. Entstanden ist die bekannte Aufnahme
auf Cartier-Bressons Chinareise, die er ab Ende 1948 im Auftrag von
Life Magazine durchführte um den turbulenten Übergang der
Kuomintang-Regierung zu den Kommunisten zu dokumentieren.
The vintage-print, authenticated by Martine Franck in an attached
letter, shows a eunuch of the imperial court during the last dynasty.
Mainly in China, castrated palace eunuchs belonged to the imperial
court and performed different tasks in strict hierarchies. The well
known shot originated from Cartier-Bresson‘s travels through China
at the end of 1948, when Life Magazine commissioned him to document the turbulent transition from the Kuomintang government to
the Communists.
64
1088
HENRI CARTIER-BRESSON (1908–2004)
Eunuch der letzten Kaiserdynastie / Eunuch of
the Last Chinese Imperial Dynasty, Peking 1948
23,6 × 16,3 cm (9.3 × 6.4 in)
Photographer’s Magnum distribution and diverse
credit stamps, annotations and labels on the reverse,
blacklight tested, comes with letter of authorization,
signed by Martine Franck in October 2008
€ 6,000 / € 10,000–12,000
LITER ATURE The World of Henri Cartier-Bresson,
London 1968, p. 185; Henri Cartier-Bresson:
Photographer, 1979, p. 65; Henri Cartier-Bresson.
The Man, The Image and The World, 2003, p. 284;
Wer sind Sie, Henri Cartier-Bresson?, Munich 2003,
p. 286.
65
1089
Pferderennen / Horse race, Warsaw, Poland
1950s
30 × 21 cm (11.8 × 8.3 in)
Photographer’s agency stamp on
the reverse, annotated in an unidentified
hand in faded pencil on the reverse
€ 1,500 / € 2,500–3,000
1090
Greenwich Village, New York c. 1960
16,6 × 24,7 cm (6.5 × 9.7 in)
Photographer’s agency stamp,
“a.b.c. press” stamp, “Zondagsvriend”
stamp and diverse notations on t
he reverse
€ 1,200 / € 2,000–2,500
66
1091
Zelle in einem Mustergefängnis / Cell in a model
prison, New Jersey 1975
35,8 × 24,2 cm (14.1 × 9.5 in)
Signed by the photographer in ink in the margin
€ 4,000 / € 7,000–8,000
67
LITER ATURE Henri Cartier-Bresson.
Seine Kunst – Sein Leben, Munich 1997,
p. 234; Wer sind Sie, Henri Cartier-Bresson?,
Munich 2003, p. 232.
1092
London, 1965
19,2 × 28,9 cm (7.6 × 11.4 in)
Photographer’s copyright stamp and
diverse notations on the reverse
€ 1,800 / € 3,000–3,500
Zeitungsverkäufer am Tag von
Winston Churchills Begräbnis / Newspaper seller on the day of
Winston Churchill‘s funeral
1093
W. EUGENE SMITH (1918–1978)
‘The Pacific Campaign’, 1943
15,2 × 19 cm (6.0 × 7.5 in)
Credited by the photographer’s estate
€ 1,200 / € 2,000–2,500
Zweiter Weltkrieg: Ein US Navy Flieger
landet am Flugzeugträger USS Bunker Hill
während eines Luftangriffs über den
Pazifischen Inseln, die von den Japanern
besetzt waren. /
World War II. US Navy plane landing on
the flightdeck of the USS Bunker Hill
aircraft carrier during an air-raid on the
Pacific islands, occupied by the Japanese.
68
1094
ROBERT CAPA (1913–1954)
US Soldaten Zweiter Weltkrieg / US Soldiers World War II, c. 1944
24,6 × 16,7 cm (9.7 × 6.6 in)
Photographer‘s agency stamp with
handwritten credit on the reverse
€ 800 / € 1,400–1,600
1095
CORNELL CAPA (1918–2008)
Peru, 1958
25,6 × 17,3 cm (10.1 × 6.8 in)
Photographer’s agency stamp, “a.b.c. press”
stamp and diverse notations on the reverse
€ 600 / € 1,000–1,200
Schuljunge schaut auf ein Porträt von
Unabhängigkeitskämpfer Simon Bolivar / Schoolboy looking up at portrait of
independence fighter Simon Bolivar
69
1096
GEORGE RODGER (1908–1995)
‘The Royal Executioner of the Bunyoro
tribe with his symbolic axe’, Uganda 1954
25 × 17,5 cm (9.8 × 6.9 in)
“STORY NO.” stamp and Label with
typographic inscription on the reverse
€ 900 / € 1,500–2,000
LITER ATURE Humanity and Inhumanity.
The Photographic Journey of
George Rodger, London 1994, p. 281;
Carole Nagger (ed.), George Rodger en
Afrique, Paris 1984, p. 90.
1097
GEORGE RODGER (1908–1995)
‘The Challenger, Kao-Nyaro Tribesman,
Kordofan’, South Sudan 1949
25 × 19,5 cm (9.8 × 7.7 in)
Photographer’s agency stamp and
“STORY NO.” stamp on the reverse
€ 900 / € 1,500–2,000
LITER ATURE Humanity and Inhumanity.
The Photographic Journey of
George Rodger, London 1994, p. 211;
Carole Nagger (ed.), George Rodger en
Afrique, Paris 1984, p. 152.
70
1098
ERNST HA AS (1921–1986)
Südostasien / Southeast Asia, 1950s
29,5 × 21 cm (11.6 × 8.3 in)
Photographer’s agency stamp
on the reverse
€ 1,200 / € 2,000–2,500
1099
MARC RIBOUD (* 1923)
General Francisco Franco, Cuelgamuros,
Spain 1959
25,5 × 16,6 cm (10.0 × 6.5 in)
“a.b.c. press” stamp and numerical
€ 800 / € 1,600–2,000
Einweihung des Mausoleums zu Ehren
der Opfer des Spanischen Bürgerkriegs
durch General Francisco Franco /
Inauguration by General Francisco Franco
of the Mausoleum in honour of the victims
of the Spanish Civil War
71
1100
Eiffelturm / Eiffel Tower, Paris 1964
16,6 × 21,5 cm (6.5 × 8.5 in)
“A.B.C. Press” stamp, deleted
unidentified stamp and numerical
€ 800 / € 1,400–1,600
1101
Zuschauer beim Eiffelturm / Visitors at the Eiffel Tower,
Paris 1964
16,5 × 25 cm (6.5 × 9.8 in)
“A.B.C. Press” stamp, “Zondagsvriend”
stamp and numerical stamp
on the reverse
€ 800 / € 1,600–2,000
“High in the wind-blown steelwork of the 1,080 foot Eiffel Tower, the city of Paris
breathtakingly spread out below, a dreamy Frenchman put a fresh coat of paint
on the third tallest structure in the world. To help keep him from slipping he wore
rope-soled cloth shoes. But otherwise, as he gracefully wielded his brush and
languidly bent to the paint pot hung on the girder below, he maintained his dizzy
perch only with a one-handed grip and a firm faith.”
— “Blitheful on the Eiffel”, Life Magazine, 3. August 1953
Mit diesen stimmungsvollen Worten wurde „Der Maler am Eiffelturm“ 1953 als
erste Fotografie Ribouds im Life Magazine publiziert. Sie zog die Aufmerksamkeit
von Robert Capa auf sich, der den Franzosen daraufhin einlud, ein Mitarbeiter
von Magnum zu werden. Die Aufnahme des Malers Zazou, vorliegend als groß
formatiger signierter Print, wurde zu einem Synonym für Leichtigkeit und einer
Ikone des joie de vivre.
With these atmospheric words, “The Painter on the Eiffel Tower” was the first
photograph of Riboud to be published in Life Magazine, in 1953. It drew the
attention of Robert Capa, who invited the Frenchman to be a contributor to
Magnum. The photograph of the painter Zazou, available as a signed large-format
print, became synonymous for lightness and an icon of the joie de vivre.
72
1102
‘Le Peintre de la Tour Eiffel’, Paris 1953
50 × 40 cm (19.7 × 15.7 in)
Signed, annotated and dated by
the photographer in ink in the margin,
€ 4,000 / € 7,000–8,000
73
LITER ATURE Marc Riboud, 50 Years of
Photography, Paris 2004, p. 53; Magnum
Stories, London 2004, p. 386; Marc Riboud,
Portfolio, Munich 2001, cover and plate 8;
Marc Riboud, Photographs at Home and
Abroad, 2000, cover.
“The painter, known as Zazou,
is at ease, I felt dizzy and I
closed my eyes every time he
bent over to dip his brush.”
— Marc Riboud
1103
Anti-Vietnam Demonstration,
Washington D.C. 1967
19,6 × 29,5 cm (7.7 × 11.6 in)
Signed and annotated by the photographer
in ink on the reverse, his crossed out
agency stamp and “collection roger doloy”
€ 2,400 / € 4,000–5,000
LITER ATURE Marc Riboud, 50 Years of
Photography, Paris 2004, p. 80-81;
Marc Riboud, Portfolio, Munich 2001,
plate 74.
74
Die viel zelebrierte Antikriegsikone, vorliegend als seltener
Vintage-Print, entstand am 21. Oktober 1967 während
des „Marsch auf das Pentagon“, bei dem mehr als 100,000
Menschen den Rückzug der US Truppen aus Vietnam
forderten. Unter ihnen auch die 17-jährige Jan-Rose Kasmir,
die sich vor eine Reihe der Amerikanischen Nationalgarde
stellt, die das Pentagon-Gebäude bewachen. Auf der
einen Seite die Army, die Gewehre gehoben, die Bajonette
angebracht, auf der anderen Seite die junge Demonstrantin
mit nichts mehr als einer Blume in der Hand. Die vielfach publizierte Fotografie wurde zu einem Symbol der
Flower-Power-Bewegung.
This much celebrated anti-war icon, available as a rare
vintage print, was taken on the 21st of October 1967 during
the “March towards the Pentagon”, where more than 100,000
people demanded the retreat of US troops from Vietnam.
Among them was the 17-year old Jan-Rose Kasmir, standing
in front of a phalanx of the National Guard protecting the
Pentagon. On the one side is the Army, raised guns, bayonets
applied; on the other side, the young protester with nothing
more than a flower in her hand. This widely published photograph became a symbol of the Flower Power movement.
1104
Vietnam, 1969
2 Gelatin silver prints, printed 1975,
exhibition prints
27,8 × 18,5 (10.9 × 7.3 in) and 43,7 × 28,6 cm
Both signed by the photographer in ink
in the margin, both annotated in an
unidentified hand in pencil on the reverse
€ 2,400 / € 4,000–5,000
— Verkündung von Ho Chi Minhs letztem Willen / Proclamation of Ho Chi Minhs last will,
North Vietnam, Phat Diem, 1969
— Witwe am Begräbnis ihres Mannes / Widow at the funeral of her husband, Saigon, 1969
1105
DMITRI KESSEL (1902–1995)
Arbeiter ziehen ein Boot ans Ufer / Workers dragging a boat,
Yang-Tse River, China 1946
26,1 × 34,3 cm (10.3 × 13.5 in)
Titled and annotated in an unidentified
hand in ink in the left margin
€ 800 / € 1,500–2,000
75
1106
ALLEN GINSBERG (1926–1997)
Selbstporträt mit Robert Frank /
Self-portrait with Robert Frank,
New York January 1984
27,8 × 35,2 cm (10.9 × 13.9 in)
Artist proof, signed, dated and annotated
extensively by the photographer in ink
in the margin
€ 2,600 / € 5,000–6,000
76
The caption reads: “Robert Frank in his studio
first floor in old brick house on Bleeker Street
near Bowery making dust-jacket portrait for my
Collected Poems 1947–1980, I’d requested him
to take his still Camera out of retirement —.
“I guess it continues work we did before, so it’s ok.”
he said holding up a Polaroid 195 that gives
a negative. Peter Orlovksy took my Olympus XA
and roamed the back room, this is what he saw,
January 1984.”
1107
ROBERT FR ANK (* 1924)
Kind an Leine / Child with Leash,
New York 1953
16,6 × 22,8 cm (6.5 × 9 in)
Photographer’s “LIFE PHOTO BY
ROBERT FRANK”, Life reproduction
stamp and date stamp (AUG 17 1953)
on the reverse
€ 7,000 / € 12,000–15,000
1108
WILLIAM KLEIN (* 1928)
New York, 1960
27 × 22 cm (10.6 × 8.7 in)
Photographer‘s copyright stamp
and “VIVA” agency stamp with
credit on the reverse
€ 2,500 / € 4,000–5,000
77
1109
1110
INGE MOR ATH (1923–2002)
New York, 1958
Untitled (from the series ‘Saul Steinberg
Masks’), New York 1959
25 × 16,7 cm (9.8 × 6.6 in)
Photographer’s agency stamp, two
“a.b.c. press” stamps, numerical stamp
and diverse notations on the reverse
25 × 16,6 cm (9.8 × 6.5 in)
“a.b.c. press” stamp, “Zondagsvriend”
stamp and numerical stamp on the reverse
€ 700 / € 1,200–1,400
€ 1,600 / € 3,000–3,500
1111
Arthur Miller, Paris 1961
29,5 × 19,5 cm (11.6 × 7.7 in)
Photographer’s agency stamp and
numerical stamp on the reverse,
€ 800 / € 1,400–1,600
78
1112
ERICH LESSING (* 1923)
Ernst Haas mit / with Leica M3, 1956
22 × 14,5 cm (8.7 × 5.7 in)
Signed by the photographer on
the reverse, his copyright agency stamp,
diverse notations and other stamps
on the reverse
€ 1,200 / € 2,000–2,500
Magnum-Kollege Ernst Haas im Flüchtlingscamp Andau, Österreich, während der
Ungarischen Revolution /
Magnum colleague Ernst Haas, covering
the Hungarian Revolution, in a refugeecamp
in Andau, Austria
1113
Nova Huta, Poland 1956
14,5 × 21,7 cm (5.7 × 8.5 in)
Signed by the photographer on
the reverse, his copyright agency stamp,
€ 900 / € 1,500–2,000
79
1114
Ungarische Revolution / Hungarian Revolution,
Budapest 1956
each c. 30 × 20 cm (11.8 × 7.9 in)
Each signed by the photographer on the reverse,
each with his copyright agency stamp and diverse
notations on the reverse
€ 2,200 / € 4,000–5,000
— Janos Mesz „Janos mit dem Holzfuß“, einer
der Anführer der Aufständischen von der
Corvin-Gruppe, auf dem Platz der Republik / Janos Mesz “Janos of the wooden leg”, one of the
leaders of the insurgent’s group of Corvin Lane,
standing on Republic Square. October 30th, 1956.
— Sowjetische Panzerabwehrkanone,
von Revolutionären erobert und mit dem
Ungarischen Wappen bemalt / Soviet antitank defence cannon captured by
insurgents, who have painted the Hungarian
national emblem on it.
— Jubelnde Mengen während des vorgetäuschten
Sowjetischen Rückzugs aus Budapest vom
29. bis 30. Oktober / Happy crowds during the feigned Soviet retreat
from Budapest on October 29th and 30th
80
1115
Ungarische Revolution / Hungarian Revolution,
Budapest 1956
each c. 34 × 24 cm (13.4 × 9.4 in)
Each signed by the photographer on the reverse
or in the image, each with his copyright agency
stamp and diverse notations on the reverse
€ 2,800 / € 5,000–6,000
— Brot wird zu den Aufständischen
des Corvin Camps gebracht / Bread is brought to the insurgents of
the Corvin lane camp
— Bewaffnete Revolutionäre in einem Auto / Armoured revolutionaries in car
— Die Leiche eines AVO-Mitglieds
(Ungarischer Geheimdienst) / The dead body of an AVO member
(Hungary’s State Security Agency)
— gelynchter Revolutionär /
Lynched revolutionist
— Ein enthusiastischer Aufständischer zitiert
Petöfi, den Dichter der Revolution, vor einem
zerbrochenen Schaufenster des Sowjetischen
Buchgeschäfts in der Vaci utca. Kommunistisches
Propagandamaterial und Bücher werden
verbrannt / An enthusiastic insurgent recites Petöfi,
the revolution's poet the in the broken
shopwindow of the Soviet bookstore
in Vaci utca. Communist propaganda material
is burnt
LITER ATURE Erich Lessing, Vom Festhalten der
Zeit. Reportage-Fotografie 1948–1973, Vienna
2002, p. 372pp (some of them published).
81
1116
HARRY CALL AHAN (1912–1999)
Eleanor, California 1947
Gelatin silver print, contact print on
20,3 × 12,2 cm (8 × 4.8 in) paper,
printed 1960s
11,7 × 8,6 cm (4.6 × 3.4 in)
Signed by the photographer with
a stylus in the black contact margin
€ 3,000 / € 6,000–8,000
82
PROVENANCE The contact print was acquired by
the current owner, a Japanese private collector,
at an American auction in the late 1960s
LITER ATURE Aperture Masters of Photography,
Harry Callahan, New York 1976, cover; Nicholas
Callaway / Anne Kennedy (ed.), Eleanor, Carmel
1984, p. 7; Sarah Greenough (ed.), Harry Callahan,
National Gallery of Art Washington 1996, p. 81;
John Szarkowski (foreword), Harry Callahan.
The Photographer at Work, Center for Creative
Photography Tucson 2006, fig. 5; Emmet Gowin (ed.),
Eleanor, High Museum of Art Atlanta 2007, pl. 10.
1117
BILL BR ANDT (1904–1983)
‘London (Nude with Bent Elbow)’, 1952
34,2 × 29,7 cm (13.5 × 11.7 in)
in the margin
€ 7,000 / € 12,000–15,000
83
LITER ATURE Bill Brandt, Perspective of
Nudes, London 1961, pl. 26; Ian Jeffrey (ed.),
Bill Brandt. Photographs 1928-1983, London
1993, p. 172; Bill Brandt, Shadow of Light,
1977, pl. 79; The Photography of Bill Brandt,
New York 1999, cover.
1118
FR ANZ HUBMANN (1914–2007)
Heimito von Doderer, Vienna 1966
24 × 18 cm (9.4 × 7.1 in)
Photographer‘s copyright stamp on the
reverse, annotated by the photographer
€ 800 / € 1,200–1,500
LITER ATURE Hans Schaumberger (ed.),
Zeitgenossen, Zeitgenossen. Franz Hubmann
Photographien 1950–1980, Vienna / Munich
1984, p. 47.
1119
FR ANZ HUBMANN (1914–2007)
Pablo Picasso und der Kunsthändler / and art dealer Daniel-Henry Kahnweiler,
Villa La Californie, Cannes July 1957
17,3 × 23,7 cm (6.8 × 9.3 in)
Photographer’s stamp on the reverse,
annotated by the photographer in
€ 1,200 / € 1,800–2,000
LITER ATURE Margit Zuckriegl / Gerald Piffl
(ed.), Franz Hubmann, Photograph, Vienna
2001, p. 52–53; Hans Schaumberger (ed.),
Zeitgenossen, Zeitgenossen, Franz Hubmann.
Photographien 1950–1980, Vienna / Munich
1984, p. 109; Franz Hubmann, Das Photo
graphische Werk, Vienna / Munich 1999,
p. 40–41 (same series).
84
1120
JACQUES -HENRI L ARTIGUE
(1894–1986)
Pablo Picasso, Cannes 1955
28 × 26,5 cm (11 × 10.4 in)
Signed and annotated by
the photographer in pencil
on the reverse
€ 1,500 / € 2,200–2,400
1121
YOUSUF K ARSH (1908–2002)
Pablo Picasso, 1954
RC-print, mounted on original cardboard,
printed later
37 × 28,7 cm (14.6 × 11.3 in)
in the margin, his copyright stamp and
“CORK GALLERY” stamp on the reverse
€ 1,500 / € 2,200–2,400
LITER ATURE Yousuf Karsh, Helden aus
Licht und Schatten, Berlin 2000, p. 79.
85
1122
YOUSUF K ARSH (1908–2002)
Albert Einstein, 1948
RC-print, mounted on original cardboard,
printed later
23 × 25,2 cm (9.1 × 9.9 in)
in the margin, his copyright stamp and
“CORK GALLERY” stamp on the reverse
€ 1,200 / € 2,000–2,200
LITER ATURE Yousuf Karsh, Helden aus
Licht und Schatten, Berlin 2000, p. 70.
1123
SABINE WEISS (* 1924)
Alberto Giacometti, Paris 1954
Gelatin silver print, mounted on original
cardboard, printed 1970s
29,6 × 19,6 cm (11.7 × 7.7 in)
on the mount
€ 600 / € 1,000–1,200
86
1124
DAVID DOUGL AS DUNCAN (* 1916)
‘Self-Portrait: U.S.A.’, 1968/1969
A comprehensive photo archive consisting of
114 Vintage silver prints (majority c. 10 × 14 in,
74 mounted on cardboard, 40 loose prints,
many with annotations and inscriptions by
Duncan, one signed, four stamped), 8 contact
sheets, a large format maquette of the book
with annotations by Duncan and a signed and
dedicated book
€ 36,000 / € 60,000–80,000
87
Eindrucksvolles und umfangreiches Los eines Fotoarchivs
zu David Douglas Duncans Buch Self-Portrait: U.S.A.
(Harry N. Abrams Inc., New York 1969) bestehend aus
114 Vintage-Prints, einer Maquette des Buchs, acht Kontaktabzügen und einem signierten Buch. Life Fotograf Duncan
dokumentierte in Self-Portrait: U.S.A. die Nominierungs
parteitage der Republikaner und Demokraten von 1968 in
Miami Beach und Chicago. Er fing die zwei so unterschiedlichen Conventions, den blutigen Konflikt in Chicago und
die bizarre karnevalsartige Atmosphäre in Miami Beach,
mit großer Sensibilität ein.
Die 114 Silbergelatine-Abzüge im repräsentativen
10 × 14 inch Format (ca. 34 × 24 cm) zeigen viele der besten
Aufnahmen des Buchs, in seltenen Fällen auch Variationen
eines Motivs. 74 Fotografien sind locker auf Karton unter
aufklappbarer Schutzfolie montiert, 40 lose. Die meisten der
Vintage-Prints sind rückseitig oder am Karton mit der
Seitennummer des Buchs beschriftet. Eine der Fotografien
ist im Rand von Duncan signiert, vier rückseitig gestempelt.
Spannend die vielen Notizen und Anmerkungen Duncans,
die er in manchen Fällen mit rotem Buntstift auf den
Fotografien selbst oder deren Schutzumschlägen notiert
hat (zum Beispiel „OK as sample“, „More detail“, „Retouch
wall“ oder „Replacement page 234“). Sie zeigen welche
Stellen beschnitten, retuschiert, dunkler oder heller
gehörten und geben einen interessanten Einblick in die
Arbeitsweise dieses großen Bildjournalisten. Die losen
Seiten der Maquette (gefaltete Doppelseiten zu je 35 × 55 cm)
sind im Hardcover-Einband des Buchs zusammengefasst.
Auf drei zusätzlichen größeren Doppelseiten des Modells
befinden sich Notizen von Duncan mit rotem und gelbem
Stift und seine Initialen „DDD“. Seine Anmerkungen lauten
zum Beispiel: „Give me everything possible on this edge
in order to move gutter as much as possible to left.“
88
Spectacular lot of a comprehensive photo archive on David
Douglas Duncan’s book Self-Portrait: U.S.A. (Harry N.
Abrams Inc., New York 1969) consisting of 114 Vintage silver
prints, a maquette of the book, eight contact sheets and a
dedicated book. Life photographer Duncan documented the
two National Conventions of the Republicans and Democrats in Miami Beach and Chicago in 1968. He captured the
bloody conflict in Chicago and the bizarre carnival-like
atmosphere of Miami Beach to great effect.
The 114 enlarged 10 × 14 inch photographs (c. 34 × 24 cm)
show some of the best images appearing in the book, in few
cases variations of one image. 74 prints are mounted on
cardboard under a hinged transparency film and 40 prints
are loose. One of the photographs is signed in the image
and four are stamped. Most of them are inscribed on the
back or on the mount with the page number of the finished
book. Many of these images or transparency film feature
annotations made by Duncan personally in red or black
pencil (for example, “OK as sample”, “More detail”,
“Retouch wall” or “Replacement page 234”). On some
prints Duncan drew arrows, lines or circles around small
details in the image to indicate what was to be cropped or
eliminated in the final print. They give us an interesting
insight in the working method of this great photo journalist.
The unbound, oversized pages of the maquette (folded
double pages, each c. 35 × 55 cm) are laid into the hardcover
cover of the book. Three additionally double-pages are
inscribed by Duncan with his notes and initials in pen.
His notations read, for example: “Give me everything
possible on this edge in order to move gutter as much as
possible to left”.
89
1125
1126
PHILIPPE HALSMAN (1906–1979)
Marilyn Monroe, 1952
‘Marilyn listening to music’, 1952
28,3 × 21,6 cm (11.1 × 8.5 in)
Photographer’s “Halsman / Marilyn, Copyright
Philippe Halsman ©81, Edition Number 133
[handwritten] / 250” stamp on the reverse
32,6 × 25,1 cm (12.8 × 9.9 in)
€ 900 / € 1,600–1,800
€ 800 / € 1,500–1,800
1127
BRUCE DAVIDSON (* 1933)
Marilyn Monroe in ‘The Misfits’, 1960
24,3 × 16 cm (9.6 × 6.3 in)
“THE MISFITS” stamp and serial number
stamp on the reverse, diverse notations
in ink and pencil on the reverse
€ 800 / € 1,500–2,000
90
1128
‘Marilyn jumping’, 1952
25,3 × 33 cm (10 × 13 in)
€ 1,200 / € 2,000–2,500
1129
TAZIO SECCHIAROLI (1925–1998)
Gina Lollobrigida in ‘Buona Sera Mrs. Campbell’,
1968
29,7 × 19,7 cm (11.7 × 7.8 in)
Photographer’s stamp and “V.I.P.” agency
stamp on the reverse, annotated in an
unidentified hand in ink on the reverse
€ 800 / € 1,400–1,600
91
1130
1131
Sophia Loren und / and Marlon Brando
in ‘A Countess from Hong Kong’
Elsa Martinelli in ‘La decima vittima’, 1965
32 × 23,5 cm (12.6 × 9.3 in)
Photographer’s stamp and two Cosmo
Press agency stamps on the reverse
21,5 × 23,7 cm (8.5 × 9.3 in)
Photographer’s stamp and date stamp
on the reverse
€ 600 / € 1,000–1,200
€ 800 / € 1,400–1,600
1132
WILLIAM WOODFIELD (1928–2001)
Janet Leigh mit ihrer Tochter / with her
daughter Jamie Lee Curtis
33,3 × 25,8 cm (13.1 × 10.2 in)
“GLOBE PHOTOS” stamp with handwritten
credit on the reverse, annotated in an
€ 500 / € 800–1,000
92
1133
Richard Avedon und / and Sophia Loren,
Rome 1966
13 × 19,2 cm (5.1 × 7.6 in)
annotated in an unidentified hand in ink
on the reverse
€ 600 / € 1,000–1,200
1134
PIERLUIGI PR ATURLON (1924–1999)
Anita Ekberg, Leica I, 1960s
23,7 × 30,2 cm (9.3 × 11.9 in)
€ 800 / € 1,500–2,000
93
1135
MARIO GIACOMELLI (1925–2000)
‘Felicità raggiunta, si cammina
di Eugenio Montale’, 1992
30 × 40 cm (11.8 × 15.7 in)
Photographer’s stamp and series
stamp on the reverse, dated by him
€ 1,600 / € 2,500–3,000
LITER ATURE Alistair Crawford (ed.),
Mario Giacomelli, New York 2001, p. 4.
1136
‘Presa di coscienza sulla natura
(On being aware of nature)’, 1969
29,2 × 39,2 cm (11.5 × 15.4 in)
dated by the photographer in ink
on the reverse
€ 1,600 / € 2,500–3,000
94
1137
‘Lo non ho mani che mi accarezzino
il volto’ (There are no hands to caress
my face), Pretini 1962
27,8 × 39,7 cm (10.9 × 15.6 in)
Signed and dated by the photographer
in ink on the reverse, his stamp and series
€ 2,400 / € 4,000–5,000
1138
‘Lo non ho mani che mi accarezzino
il volto’ (There are no hands to caress
my face), Pretini 1961–1963
28,4 × 39,5 cm (11.2 × 15.6 in)
Signed by the photographer in ink in
the image lower right and on the reverse,
his stamp and series stamp on the reverse
€ 2,400 / € 4,000–5,000
95
Vier Jahre nach der kubanischen Revolution von 1959 schickte Magnum René
Burri mit dem Auftrag nach Kuba, Ernesto „Che“ Guevara anlässlich eines
Interviews für das auflagenstarke, amerikanische Magazin Look zu foto
grafieren. Che Guevara, als Präsident der Nationalbank und Industrie
minister der nach Fidel Castro zweitmächtigste Mann auf Kuba, hatte die
amerikanische Starjournalistin Laura Bergquist persönlich auf die Zuckerinsel eingeladen, damit sich diese vor Ort ein eigenes Bild von den Erfolgen
der Revolution machen sollte. Die Atmosphäre des Gesprächs zwischen Che
und der provozierend fragenden Reporterin wird Burri rückblickend als
„angespannt“ bezeichnen. Ihm selbst wird Che gleich zu Beginn barsch die
Bitte abschlagen, die Jalousien öffnen zu dürfen, um die Lichtsituation im
Raum zu verbessern. Auch wird er Burri während des dreistündigen Interviews, bei dem dieser sechs Filme belichten wird, keines Blickes würdigen.
Burri wird später über die Entstehung seiner berühmtesten Aufnahme resümieren: „Ich konnte alle seine Eigenschaften ablichten, Charme, Überzeugungskunst und Wut. Aber kein einziges Mal hat er in die Kamera geschaut.“
Four years after the Cuban revolution in 1959, Magnum sent René Burri to
Cuba to take photographs of Ernesto “Che“ Guevara during an interview for
the widely circulated American magazine Look. As President of the National
Bank and Minister of Industry, Che Guevara had personally invited American star-journalist Laura Bergquist to the Sugar Island so that she could form
her own opinion about the success of the revolution. In retrospect, Burri
would describe the atmosphere of the talk between Che and the provocatively
questioning reporter as “tense“. Right at the start, Che denied Burri the request
to open the blinds to enhance the lighting situation in the room. Furthermore,
he would not deign to look at Burri during the six hour interview, in which
the photographer exposed six rolls of film. Later, Burri recalled the genesis
of his most famous shot: “I could expose all of his characteristics: charm, power
of persuasion and anger. But he did not look into the camera one single time.“
1139
Kordas berühmtestes Werk und eine Ikone des 20. Jahrhunderts ist die am
öftesten reproduzierte Fotografie der Welt – allerdings immer in einer
fragmentierten Version. In diesem Fall handelt es sich um ein seltenes,
unbeschnittenes Original. Die Aufnahme entstand am 5. März 1960 bei einem
Gedenkgottesdienst am Friedhof von Havanna, am Vortag sind 81 Kubaner
bei einer Explosion umgekommen. Fidel Castro hielt eine leidenschaftliche
Rede, die Korda für Revolución fotografierte. Zufällig erschien Che Guevara
im Fokus seines 90-mm-Objektivs. Aus circa sechs Metern Entfernung schoss
er zwei Fotos, ein Hochformat und ein Querformat mit seiner Leica M2, eine
Sekunde später war Che wieder verschwunden. Die angebotene Fotografie
ist jene erste Aufnahme, die Che Guevara umrahmt von einer Palme und
einer anonymen Silhouette zeigt.
Korda’s best known photograph became an icon of the 20th century and is
the most frequently reproduced picture worldwide. But the famous image
is a fragmented version of the original shoot. In this case we are able to
present a rare, un-cropped original. The picture was taken on the 5th of
March 1960, during a memorial service at the cemetery of Havana. The day
before 81 Cuban citizens had been killed in an explosion. Fidel Castro held a
passionate speech that was captured by Korda for the newspaper Revolución.
By coincidence Che Guevara appeared in front of his 90 mm lens. From a
distance of approximately six meters, he took two pictures, one upright
format and one landscape format with his Leica M2, only a second later Che
was gone again. The photographic print on offer is the first of the two shots
that shows Che Guevara framed by a palm tree and a silhouette.
1140
96
RENÉ BURRI (* 1933)
Che Guevara, Cuba 1963
19 × 28 cm (7.5 × 11 in)
Photographer’s copyright stamp
on the reverse
€ 2,400 / € 4,000–5,000
LITER ATURE René Burri, Photographs,
London 2004, p.226–227; W. Norton & Co.,
In Our Time: The World As Seen by
Magnum Photographers, 1989, p. 287.
ALBERTO KORDA (1928–2001)
‘Guerrillero Heroico’, Havana March 1960
25,2 × 32,8 cm (9.9 × 12.9 in)
€ 3,000 / € 5,000–6,000
LITER ATURE Alberto Korda, A Revolutionary
Lens, Chicago 2000, cover and p. 47;
Saul Corrales / Carlos Torres Cairo (ed.),
Che Guevara. By the Photographers of
the Cuban Revolution, 2006, p. 16;
Christophe Loviny (ed.), Korda sieht Kuba,
Munich 2003, p. 77.
97
1141
Che Guevara, 1961
33,5 × 25,7 cm (13.2 × 10.1 in)
Signed, annotated and dated by the
€ 800 / € 1,500–2,000
1142
Che Guevara, Havana, March 29th, 1961
31,6 × 25,8 cm (12.4 × 10.2 in)
Photographer’s “FOTO DE STUDIOS
KORDA, Calle 21 No. 15, Apto. 2-B, 32-0853”
€ 1,500 / € 2,500–3,000
98
1143
Robert Doisneau mit / with Nikon F.
40,5 × 30 cm (15.9 × 11.8 in)
€ 800 / € 1,500–2,000
1144
ROBERT DOISNEAU (1912–1994)
Paris, c. 1940
23,3 × 20,5 cm (9.2 × 8.1 in)
Photographer’s stamp on the reverse
€ 800 / € 1,400–1,600
99
1145
DAN BUDNIK (* 1933)
Die Berliner Mauer / The Berlin Wall, 1961
each c. 25 × 17 cm (9.8 × 6.7 in)
Each with photographer‘s copyright stamp,
“A.B.C. PRESS SERVICE” stamp and date stamp
(neg. number) on the reverse
€ 800 / € 1,500–2,000
1146
LUIS MARDEN (1913–2003)
Barsch-Fischen / Shad Fishing, Hudson
River, New York, c. 1941
cardboard
19,6 × 24,3 cm (7.7 × 9.6 in)
Photographer’s field notes and stamps
on the reverse, editors’ notations on
the mount
€ 800 / € 1,500–2,000
PROVENANCE National Geographic
Image Collection
100
1147
DAVID S. BOYER (1914–1992)
Ross Ice Shelf, Little America, Antarctica,
1957
Vintage silver print, mounted
on cardboard
17,8 × 24,6 cm (7 × 9.7 in)
Photographer’s field notes and
stamps on the reverse
€ 800 / € 1,500–2,000
Wissenschaftler laden bei 20 Grad minus
Eisstücke in die Kühlkammer /
Scientists storing ice cores in cooling
chamber at 20 below zero
Image Collection
LITER ATURE Work, National Geographic
Society, Washington 2006, p. 346.
Das Fotomuseum WestLicht zeigt ab dem
6. Dezember 2013 frühe Fotografien aus
dem legendären Bildarchiv von National
Geographic. Die weite Welt ins heimische
Wohnzimmer zu holen, war seit ihrer
Gründung im Jahr 1888 Mission der Zeitschrift. Die Ausstellung präsentiert eine
Auswahl fotografischer Highlights von
den Anfangstagen des Magazins bis in die
1950er-Jahre.
From 6 December 2013 WestLicht will be
showing early photography from the
legendary archive of National Geographic.
Since its founding in 1888, it has been the
magazine’s mission to bring the world into
its readers’ living rooms. The exhibition
will present a selection of photographic
highlights from the beginnings of the
magazine up to the 1950s.
1148
JUSTIN LOCKE
Santa Fe de La Laguna, Mexico, 1949
Vintage silver print, mounted on cardboard
21 × 19,6 cm (8.3 × 7.7 in)
Photographer’s field notes and stamps on
the reverse, “Photographer’s Selection”
stamp and editors’ notations on the mount
€ 800 / € 1,500–2,000
Taraskan Indianermädchen schöpfen
während der Trockenzeit Wasser aus einem
Brunnen / Tarascan Indian girls scoop
fountain water during dry season
Image Collection
101
1149
LEONARD FREED (1929–2006)
Naples, Italy 1958
24 × 16 cm (9.4 × 6.3 in)
on the reverse, his “LATER PRINT”
€ 1,500 / € 2,500–3,000
LITER ATURE Leonard Freed, Photo
graphies 1954–1990, Paris 1991, p. 42.
1150
RICHARD K ALVAR (* 1944)
96 Rue de Richelieu, Paris 1974
18 × 27,2 cm (7.1 × 10.7 in)
Photographer‘s copyright stamp
and two of his agency stamps on
the reverse
€ 600 / € 1,000–1,200
102
1151
HAROLD E. EDGERTON (1903–1990)
‘Milk Drop Coronet’, c. 1957
Chromogenic print, printed 1970s
49,7 × 39,7 cm (19.6 × 15.6 in)
on the reverse
€ 2,400 / € 4,000–5,000
LITER ATURE Stopping Time.
The Photographs of Harold Edgerton,
New York 1987, p. 127.
103
Harold E. Edgerton, Erfinder des elektronischen Blitzes, suchte sein Leben
lang nach der ästhetischen Vollkommenheit und der idealen Verbindung
von Kunst und Technologie. Eine der berühmtesten Fotografien „Milk
Drop Coronet“ zeigt die zierliche, einer Krone ähnlichen Form; erzeugt
durch das Auftreffen eines Tropfens Milch auf einer mit einer dünnen
Milchschicht versehenen Platte. Der auftreffende Tropfen katapultiert die
Milch in ein Diadem und verwandelt sich in eine flüssige Plastik, die nur
durch Edgertons fotografisches Genie sichtbar wird.
Harold E. Edgerton, inventor of the electronic flash, searched his whole life
for aesthetic perfection and the ideal combination of art and technology.
One of his most famous photographs, “Milk Drop Coronet’”, shows a
delicate form, similar to a crown, produced by a drop of milk falling on
a plate covered with a thin layer of milk. The drip catapults the milk into
a tiara and transforms it into a liquid sculpture that is then visualized by
Edgerton’s photographic genius.
1152
Városligetben, Budapest 1984
19,3 × 24,6 cm (7.6 × 9.7 in)
Signed, annotated and dated by the
€ 1,000 / € 1,800–2,000
Der Abzug ist der einzig bekannte
Vintage-Print und kommt aus der
Sammlung von János Bodnár. /
The print is the only known vintage
print and comes from the collection
of János Bodnár.
1153
Budapest, June 1971
16,5 × 24,6 cm (6.5 × 9.7 in)
dated and numbered by the photographer
in ink on the reverse, diverse notations on
the reverse
€ 1,400 / € 2,000–2,200
Der Abzug ist der einzig bekannte
Vintage-Print und kommt aus der
Sammlung von János Bodnár. /
The print is the only known vintage
print and comes from the collection
of János Bodnár.
104
1154
‘From my Window’, New York 1985
Cibachrome, printed in the 1990s
from 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.
1155
LUIGI GHIRRI (1943–1992)
Portfolio Modena, c. 1973
Portfolio of 4 Vintage chromogenic prints
each c. 40 × 30 cm (15.7 × 11.8 in)
Das Portfolio wurde ca. 1984 von der
Stadt Modena herausgegeben. /
The portfolio was commissioned by
the Comune di Modena c. 1984.
€ 1,000 / € 1,800–2,000
105
1156
LUCIEN CLERGUE (* 1934)
‘Fleurs des Sables’ (Sandblumen /
Sand flowers), Camargue 1979
36 × 52,5 cm (14.2 × 20.7 in)
Signed and numbered by the photo
grapher in ink in the margin, signed
and annotated by him in ink on the
reverse, his copyright and edition
stamp on the reverse, edition no. 3/20
€ 1,200 / € 2,000–2,500
1157
FLORIs NEUSÜSS (* 1937)
Untitled, 1963
24,5 × 19 cm (9.6 × 7.5 in)
in ink in the image lower right, photo
grapher’s stamp with handwritten
address on the reverse
€ 1,400 / € 2,000–2,400
106
1158
EIKOH HOSOE (* 1933)
Kamaitachi, 1965
20,3 × 30,2 cm (8 × 12 in)
(Japanese) in the margin, signed,
titled and dated by him in pencil on
the reverse
€ 2,500 / € 4,000–5,000
LITER ATURE Eikoh Hosoe, Kamaitachi,
Aperture 2009, cover.
107
1159
1160
MIROSL AV TICHÝ (1926–2011)
Untitled (Two girls walking), c. 1975
Untitled (Woman in bikini), c. 1975
c. 18 × 9,7 cm (7.1 × 3.8 in)
c. 11,3 × 17,7 cm (4.4 × 7 in)
€ 800 / € 1,500–2,000
€ 800 / € 1,500–2,000
1161
Untitled (Woman eating), c. 1975
17,6 × 14,6 cm (6.9 × 5.7 in)
€ 800 / € 1,500–2,000
108
1162
JAN SAUDEK (* 1935)
‘Two women’, 1974
14,6 × 22 cm (5.7 × 8.7 in)
Numbered by Saudek in ink
on the reverse
€ 600 / € 1,000–1,200
PROVENANCE Collection Giuliana
Scimé, acquired directly from the artist
LITER ATURE Jan Saudek, Cologne 1998,
p. 95; Jan Saudek, Life, Love, Death &
Other Such Trifles, 1991, p. 157.
1163
JAN SAUDEK (* 1935)
Karolina 1973 – Karolina 1980
2 Vintage silver prints, mounted
on paper
paper size c. 20 × 30 cm (7.9 × 11.8 in)
Annotated and dated by the
photog rapher in white ink on
the paper, annotated “should be
sepia toned” in pencil between
the two images
€ 1,200 / € 2,000–2,500
PROVENANCE Collection Giuliana
Scimé, acquired directly from the artist
109
1164
JAN SAUDEK (* 1935)
Agnés, 1973
28,6 × 22,3 cm (11.3 × 8.8 in)
€ 1,600 / € 2,600–3,000
PROVENANCE Collection Giuliana Scimé,
acquired directly from the artist
LITER ATURE Jan Saudek, Cologne 1998,
p. 55.
1165
JAN SAUDEK (* 1935)
Susanne, 1979
cardboard, small parts hand coloured
c. 20 × 15 cm (7.9 × 5.9 in)
€ 1,200 / € 2,000–2,500
PROVENANCE Collection Giuliana Scimé,
acquired directly from the artist
110
1166
JAN SAUDEK (* 1935)
‘The Target, story of a soldier’, 1984
Vintage silver print, hand-coloured
29 × 39,5 cm (11.4 × 15.6 in)
image lower right, titled by him in ink in
the left upper image, his photographer’s
stamp with handwritten image date,
print date, image no. “306” and print
no. “23/50” on the reverse
€ 2,500 / € 4,000–5,000
LITER ATURE Jan Saudek, Cologne 1998;
Jan Saudek, Prague 1991, p. 109; Jan Saudek,
Life, Love, Death & Other Such Trifles, 1991,
p. 108.
111
1167
JAN SAUDEK (* 1935)
‘The End of the Film’, 1997
Sepia toned silver print, Vintage
16 × 13 cm (6.3 × 5.1 in)
Signed by the photographer
in ink in the black margin
€ 1,200 / € 2,000–3,000
LITER ATURE Jan Saudek,
Cologne 1998, p. 156.
1168
JAN SAUDEK (* 1935)
‘The Kiss’, 1985
Sepia toned silver print, Vintage
16 × 13 cm (6.3 × 5.1 in)
Signed by the photographer
in ink in the image lower right
€ 1,400 / € 2,000–3,000
112
1169
ROBERT MAPPLETHORPE (1946–1989)
Maybelle, New York 1981
cardboard
38,3 × 38,8 cm (15.1 × 15.3 in)
Signed, titled, dated and numbered by
the photographer in ink on the reverse,
estate stamp with stamped signature,
therein dated in pencil and signed by
the estate administrator in ink on the
reverse, edition no. 3/10
€ 6,000 / € 12,000–15,000
113
1170
HELMUT NEWTON (1920–2004)
Vogue, 1970s
Chromogenic print
34,1 × 22,7 cm (13.4 × 8.9 in)
“Copyright Vogue Studio” and
“Exhibition Print” stamp on
the reverse
€ 600 / € 1,200–1,500
1171
HELMUT NEWTON (1920–2004)
Big Nudes, Paris 1980
Vintage silver print, contact print
paper size 30,5 × 24,1 cm (12 × 9.5 in)
Initialized and numbered by the photo
grapher in ink in the upper margin
€ 2,400 / € 4,000–5,000
114
1172
NOBUYOSHI AR AKI (* 1940)
Kinbaku & Akt / Nude, c. 2000
2 Polaroids SX 70
Each polaroid signed by the photographer
in ink in the margin, one additionally
signed on the reverse
€ 600 / € 1,000–1,200
1173
NOBUYOSHI AR AKI (* 1940)
Untitled, c. 2000
Polaroid SX 70
in the margin
€ 400 / € 600–800
115
1174
IRVING PENN (1917–2009)
Mrs. Robert L. Bacon, New York c. 1950
cardboard
32,3 × 34 cm (12.7 × 13.4 in)
Photographer’s “Photograph by Penn”
stamp, Condé Nast copyright stamp,
handwritten notations and two
“a.i.friedman” stamps on the reverse
€ 3,000 / € 5,000–6,000
Frau von Robert Low Bacon (1884–1938),
Amerikanischer Politiker, Banker, Offizier
und Kongressabgeordneter in New York;
seltener gestempelter Vintage-Print /
Wife of Robert Low Bacon (1884–1938),
American politician, banker, Lieutenant
Colonel, and congressman from New York,
rare stamped vintage print
1175
IRVING PENN (1917–2009)
Marisa Berinson, 1960s
37,6 × 30,1 cm (14.8 × 11.9 in)
Photographer’s “Photograph by PENN”
stamp on the reverse, annotated in an
€ 2,000 / € 4,000–5,000
116
1176
SEBASTIÃO SALGADO (* 1944)
Fashion Show, 1990s
29,5 × 44 cm (11.6 × 17.3 in)
Photographer’s copyright blindstamp
in the margin
€ 1,200 / € 2,000–2,500
1177
PETER LINDBERG (* 1944)
Charlotte Rampling für / for Vanity Fair,
1987
Vintage silver print, press print
22,4 × 15,2 cm (8.8 × 6.0 in)
Credit Label and two publication labels
with typographic inscriptions on the
reverse, publicity print for the release
of ‘Peter Lindberg. Images of Women’
€ 600 / € 1,000–1,200
117
1178
MARIANA YAMPOLSK Y (1925–2002)
‘Peregrinos’, Mexico 1990
19 × 26 cm (7.5 × 10.2 in)
Signed, titled and dated by the photo
grapher in pencil on the reverse
€ 800 / € 1,500–2,000
1179
GR ACIEL A ITURBIDE (* 1942)
‘Mujer Angel-Districto de Sonora’,
Mexico 1980
22,8 × 32,2 cm (9.0 × 12.7 in)
Signed by the photographer in
€ 1,200 / € 2,000–2,500
118
1180
CRISTINA PIZA (* 1963)
‘Two sisters’, Havana, 1993
16,4 × 16,4 cm (6.5 × 6.5 in)
in pencil on the reverse, edition of 3
€ 400 / € 600–800
1181
CRISTINA PIZA (* 1963)
Rubén González, Havana 1995
16,4 × 16,4 cm (6.5 × 6.5 in)
in pencil on the reverse, edition of 3
€ 400 / € 600–800
119
1182
1183
MÁRIO CR AVO NETO (1947–2009)
José da Paixão, Salvador Bahia 1982
Eva Christensen, Bahia 1980
17,3 × 16,8 cm (6.8 × 6.6 in)
Photographer’s name stamp and typographic inscription on the reverse
17,5 × 17,1 cm (6.9 × 6.7 in)
Photographer’s name stamp on the
reverse, titled, annotated and dated
in an unidentified hand in pencil on
the reverse
€ 800 / € 1,500–2,000
€ 800 / € 1,500–2,000
1184
Argolo, 1982
18,2 × 18,2 cm (7.2 × 7.2 in)
Signed, annotated and numbered by
the photographer in pencil in the margin,
edition no. 8/25
€ 800 / € 1,500–2,000
120
1185
K ATK A PR ACKOVA (* 1977)
‘Fabric Sculpture’ (from the series
‘Dark in Light, Light in Dark’), 2006
58,2 × 38,8 cm (22.9 × 15.3 in)
Signed, dated, titled and numbered by
the photographer in pencil on the reverse,
edition no. 1/10
€ 900 / € 1,300–1,500
Born in in Handlová, Czechoslovakia;
2008–2009 Kunsthochschule Kassel,
Kunstwissenschaft, participating in various
workshops (Gregori Maiofis, Russia;
Ernestine Ruben, USA; Milota Havránková,
SK; Pavol Breier, SK; Kate Mellor, UK;
Markéta Luskačová, CZ; Annette Fournet,
USA…); Collections: Bibliothèque Nationale
de France, private collections in Austria,
Czech Republic, France, Germany, Iran,
Russia, Slovakia and USA; works and lives
in Prievidza, Slovakia.
1186
K ATK A PR ACKOVA (* 1977)
‘Running Shadow’ (from the series
‘Dark in Light, Light in Dark’), 2006
58,2 × 38,8 cm (22.9 × 15.3 in)
Signed, dated, titled and numbered
by the photographer in pencil on the
reverse, edition no. 1/10
€ 900 / € 1,300–1,500
121
1187
PHILLIP JONES (* 1951)
‘Logan Airport: 10 Minutes’, Boston 1999
Selenium toned gelatin silver print,
mounted on museum board
45 × 45 cm (17.7 × 17.7 in)
Signed, titled and numbered by the
photographer on label on the reverse,
edition no. 40/45
€ 800 / € 1,400–1,800
1188
PHILLIP JONES (* 1951)
‘Old Colony Bridge 2’, Boston 1999
Selenium toned gelatin silver print,
mounted on museum board
45 × 45 cm (17.7 × 17.7 in)
Signed, titled and numbered by the
photographer on label on the reverse,
edition no. 5/45
€ 800 / € 1,400–1,800
Born in Washington D.C., USA; lives and
works in Atlanta and Boston; studied at the
Corcoran School of Art, Antioch College
and Cooper Union; in 1973 he moved
to New York and worked in the television
industry. His short film Secrets won numerous awards and was exhibited at the
Whitney and Hirschhorn Museums. In 1979
he became a freelance artist working both
in set design for opera and medical
illustration. Exhibitions (selection):
The Lafayette Museum, The Hunter
Museum, The Boston Public Library,
The Boston Center for the Arts, the Federal
Reserve Gallery and Chatham Gallery.
122
1189
PETER BAUM (* 1939)
Arnulf Rainer, Vienna 1968
3 Gelatin silver prints, printed later
each c. 21 × 31 cm (8.3 × 12.2 in)
Each with the photographer’s copyright
stamp on the reverse, each signed,
annotated, dated and numbered by the
photographer in pencil on the reverse,
edition no. 7/12
€ 1,200 / € 2,000–2,500
1190
PETER BAUM (* 1939)
Joseph Beuys, Venice Biennial, 1980
31 × 21 cm (12.2 × 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. 5/12
€ 500 / € 800–1,000
LITER ATURE Carl Aigner (ed.), Peter Baum.
Photograph, Vienna 2004, p. 53.
123
LITER ATURE Carl Aigner (ed.),
Peter Baum. Photograph,
Vienna 2004, p. 37.
1191
1192
HORST A. FRIEDRICHS (* 1966)
‘Drive Style’, England 2013
HORST A. FRIEDRICHS (* 1966)
‘Drive Style’, England 2013
Pigment print
42 × 60 cm (16.5 × 23.6 in)
in ink on the reverse, his photographer‘s
Pigment print
42 × 60 cm (16.5 × 23.6 in)
in ink on the reverse, his photographer’s
€ 500 / € 800–1,000
€ 500 / € 800–1,000
1193
TONI ANZENBERGER (* 1969)
‘Kaffeehaus Pecorino’, Vienna 2000
Lambda print, framed
50 × 70 cm (19.7 × 27.6 in)
Signed, titled, dated and numbered by
the photographer in pencil on the matt,
edition no. 2/10
€ 600 / € 1,000–1,200
PROVENANCE Zeiss Archive
1194
ALENA ZHANDAROVA (* 1988)
‘The Girl with Cornflowers’
(from the series ‘City of Brides’)
Archival pigment print
30 × 45 cm (11.8 × 17.7 in)
Signed, titled, dated and
numbered by the photographer
in pencil on the reverse,
edition no. 1/5
€ 700 / € 1,000–1,200
LITER ATURE Alena Zhandarova,
The City of Brides, 2013.
124
Born in Ivonovo, Russia, lives
and works in Russia; studied
economics, but found her love
for photography; this way her
first series Cornflower tea and
concealing chocolate came up. Exhibited in Spain (NIU: contemporary art space, Barcelona),
Italy (Arte Laguna Art Prize
10.11, Venice), Australia (Captains of Industry, Melbourne),
UK (Getty Images Gallery,
London), USA (The A.D. Gallery,
University of North Carolina)
and Russia (Gallery Kino, Saint
Petersburg); 2011 Award winner
of the European Master of Fine
Art Photography.
FotoBücher
Photobooks
1195
WILLIAM HENRY FOX TALBOT
(1800–1877)
‘The Pencil of Nature’ Anniverserary
facsimile, New York: Hans P. Kraus Jr., 1989
Limited edition of 250 copies. Facsimile
(in 6 fascicles as originally issued) of
the first photographically illustrated book
to be published commercially.
€ 800 / € 1,200–1,500
1196
JAROSL AV RÖSSLER (1902–1990)
Edice Portfolio (2001), Nakladatelstvi
Paideia 2001
Strictly limited to 30 copies, edition no. 9/30,
8 pages with text, 6 with original gelatin
silver prints made from Jaroslav Rössler
negatives on Fomatone MG Classic photo
paper, 32,5 × 32,7 cm, photographs each
c. 20,3 × 19,7 cm (12.8 × 12.9 in), original linen
clothing with tipped-on gelatin silver print
(Self portrait of Jaroslav Rössler, 1923)
€ 1,200 / € 1,600–1,800
1197
EDWARD STEICHEN (1879–1973) &
CARL SANDBURG (1878–1967)
‘Steichen the photographer’, New York:
Harcourt, Brace, 1929
A crisp copy with beautiful bright gilt
embossment, limited edition of 925 copies,
edition no. 8/925, signed by Steichen and
Sandburg, 49 full-page sepia photographs,
31 × 24 cm (12.2 × 9.4 in)
“A sumptuous book which includes a broad
and cleverly sequenced array of Steichen’s
work. When the book was published
Steichen was probably the most famous
and best paid photographer in America.”
(A.Roth)
€ 1,600 / € 2,500–3,000
126
1198
HELMAR LERSKI (1871–1956)
‘Köpfe des Alltags’, Berlin: Verlag
Hermann Reckendorf, 1931
First edition, with the extremely scarce
original dustjacket, one of most important
and most sought-after photobooks ever
published, extremely rare
29,2 × 23 cm (11.5 × 9.1 in), 176 pages,
hardback with full black cloth wrapper
and spiral binding. 80 black and white
photographs
€ 1,500 / € 2,000–2,500
1199
VICTOR PALL A (1922–2006) &
COSTA MARTINS (1922–1996)
‘Lisboa. cidade triste e alegre’,
Lisboa: Circulo do Livro, 1959
First edition, 152 black and white photographs, hardcover, 28 × 22 cm (11.0 × 8.7 in)
“Lisboa is amongst the most complex of
modern photobooks in form and content,
it took three years to prepare, the authors
taking over 6,000 photographs… the
photographs of Palla and Martins are
graphic and exuberant, and the book is
superbly printed” (Parr & Badger).
€ 2,200 / € 2,800–3,600
127
1200
‘Les Européens’, Paris: Éditions Verve, 1955
First edition, 114 black and white photographs,
cover design by Joan Miró, 37 × 27,4 cm (14.6 × 10.8 in)
Eine wunderschöne Auswahl von 114 Fotografien
Henri Cartier-Bressons, aufgenommen zwischen
1950 und 1955. Die atemberaubenden großformatigen
Photogravüren sind Ergebnis der meisterhaften
Drucktechnik von Draeger Frère aus Paris. /
A beautiful selection of 114 photographs by
Henri Cartier-Bresson taken between 1950 and 1955.
The breath-taking large format photogravure are
the work of master printer Draeger Frère of Paris.
€ 2,000 / € 3,000–4,000
128
1201
BILL BR ANDT (1904–1983)
‘Perspective of Nudes’, London:
The Bodley Head, 1961
First edition, 90 black and white photographs, hardback with jacket,
90 pages, 27,5 × 23,5 cm (10.8 × 9.3 in)
“The series of nudes that Bill Brandt made
between 1947 and 1960 – brought to
triumphant fruition after he acquired an old
wide-angle camera – is justly renowned.”
(Parr & Badger)
€ 600 / € 1,000–1,200
1202
LUCIEN CLERgE (* 1934)
‘Toros Muertos’, Stuttgart:
Verlag Ernst Battenberg, 1962
First edition, book and extremely scarce
slipcase, both signed by Lucien Clergue,
book and slipcase in sensational mint
condition, hardback with white cloth spine
and card slipcase
26,3 × 26,3 cm (10.4 × 10.4 in), 52 pages,
30 black and white photographs, poem
and text by Jean Cocteau
€ 500 / € 700–900
1203
BARBAR A SCHULTEN
‘Madaus: Eine aufgeschlossene Firma’,
Cologne: Dr. Madaus & Co., 1969
With pop-up inserts, 1 colour fold-out
poster, 1 reader reply card and various
tipped-in ephemera in printed cardboard
slipcase, 29,5 × 23,5 cm (11.6 × 9.3 in),
72 pages, 8 pages text booklet, 120 black
and white photographs and 4 colour illus
trations, including 2 gatefolds.
“Fabulously designed book by German
pharmaceutical company Madaus, published
to commemorate their 50th anniversary,
one of the most spectacular company books
ever made, often compared with Warhol‘s
famous ‘Index’ Book.” (Parr & Badger)
€ 500 / € 800–900
129
1204
LISETTA CARMI (* 1924)
‘I Travestiti’, Rome: Essedi Editirci, 1972
First edition, hardback
32 × 24 cm (12.6 × 9.4 in), 164 pages,
146 black and white photos, texts
by Elvio Fachinelli and Lisetta Carmi,
extremely scarce in any condition
€ 700 / € 1,200–1,400
1205
BERND BECHER (1931–2007)
HILL A BECHER (* 1934)
‘Anonyme Skulpturen. Eine Typologie
technischer Bauten’, Düsseldorf: Art-Press
Verlag. Wittenborn & Co, 1970
The first book by the Bechers, signed by
Hilla Becher, with dustjacket in sensational
condition, one of the most influential
photobooks ever, hardback with full blue
cloth and jacket, 194 black and white
photographs
28 × 21,7 cm (11.0 × 8.5 in), 216 pages
€ 1,600 / € 2,200–2,600
130
1206
ARTIST & Photographs,
New York: Multiples, Inc., 1970
Mel Bochner / Christo / Jan Dibbets / Tom Gormley / Dan Graham / Douglas Huebler / Allan Kaprow / Michael Kirby / Joseph Kosuth / Sol Lewitt / Richard Long / Rober t Morris / Bruce Nauman / Dennis Oppenheim / Rober t Rauschenberg / Ed Ruscha / Rober t Smithson / Bernar Venet / Andy Warhol
€ 6,000 / € 10,000–12,000
131
A combination of both, exhibition and catalogue,
consisting of a box with various ephemera, texts,
images and multiples by nineteen leading artists
of the 1960s, box with cover design by Dan Graham.
33,5 × 33,5 × 9 cm
Complete copy of the box (all 19 pieces), including
Robert Rauschenberg’s “Revolver”, a complex
and rare plexiglass multiple of which only some
200 editions have been produced. Tom Gormley’s
“Red File Cabinet”, of which most examples were
reportedly accidentally destroyed and the hard to
find “Babycakes” by Ed Ruscha.
1207
ROBERT FRANK (* 1924)
‘The Lines of my Hand’, Zurich: Parkett / Der Alltag, 1989
Signed by Robert Frank, hardcover
32,5 × 25,5 cm (12.8 × 10.0 in), 200 pages,
in the publisher’s white paper-vellum
boards with printed design on front and
ink-stamped to spine, glassine wrapper
€ 300 / € 500–600
1208
JOHN GOSSAGE (* 1946)
‘Stadt des Schwarz’ Eighteen Photographs
of Berlin by John Gossage, Washington
D.C.: Loosestrife Editions, 1987
First and only edition, strongly limited
to 500 copies, edition no. 65/500,
signed by Gossage
46 × 33,8 cm (18.1 × 13.3 in), 24 pages,
hardback with full black cloth and original
silver gelatin print mounted on and
clear acetate jacket, 18 black and white
photographs
€ 900 / € 1,200–1,400
1209
WILLIAM EGGLESTON (* 1939)
‘William Eggleston’s Guide’, The Museum
of Modern Art, New York, 1976
First edition, signed by William Eggleston,
sensational, nearly mint condition
23,5 × 23,5 cm (9.3 × 9.3 in), 112 pages,
hardback with full black leatherette and
photograph mounted on, 48 colour
photographs and 1 black and white photograph, essay by John Szarkowski
€ 700 / € 1,000–1,200
132
1210
MARK STEINMETZ (* 1961)
Set aus vier signierten Fotobüchern /
Set of four signed photobooks
‘Summertime’ Nazarelli press,
first edition, hardcover,
1.000 copies, 2011
‘Greater Atlanta’ Nazarelli press,
1.000 copies, 2009
‘South East’ Nazarelli press,
1.000 copies, 2008
‘South Central’ Nazarelli press,
first edition, softcover,
500 copies, 2006
€ 600 / € 1,200–1,400
1211
JULIAN GERMAIN (* 1962)
‘For every minute you are angry
you lose sixty seconds of happiness’,
Göttingen: Steidl 2005
Special edition with print, limited to
25 copies only, edition no. 21/25,
signed book and signed c-type print,
housed in an embossed clothbound slipcase,
first edition, 72 pages, 40 colour plates
23,8 × 28 cm (9.4 × 11 in)
€ 1,400 / € 1,700–1,900
133
1212
EIKOH HOSOE (* 1933) & YUKIO MISHIMA (1925–1970)
‘Barakei’ (Killed by Roses), Tokyo: Shuei-sha, 1963
Deluxe first edition, limited to 1500 copies, signed by
Hosoe and Mishima, nearly fine hardback with cloth
in vinyl dustjacket and the publisher’s original cardboard
case with moderate wear, 43 black and white photographs,
4 colour illustrations on rice paper, 2 gatefolds, 98 pages
€ 2,000 / € 3,000–4,000
“In 1963, controversial author Yukio Mishima and photo
grapher Eikoh Hosoe put the finishing touches on their
masterful collaboration, part photographic performance,
part surreal portrait of Mishima as both iconoclast
and self-mythologist. […] one of the most infamous and
intriguing photo books of the twentieth century.”
(Aperture)
134
1213
KEN OHARA (* 1942)
‘One’, Tokyo: Tsukiji Shokan Publishing
Co. Ltd., 1970
The extremely scarce original edition from 1970
with super scarce dustjacket, signed and inscribed
by Ohara, fantastic condition, jacket text by Hiro
27,5 × 22,2 cm (10.8 × 8.7 in), 500 pages, paperback
with jacket, 500 black and white photographs
€ 900 / € 1,600–1,900
1214
DAIDO MORIYAMA (* 1938)
‘Kagerou’ (Day Fly), Tokyo: Haga Books, 1972
A nearly mint copy in slipcase with the original
glassine dust jacket and obi, a very scarce complete
copy, 26 × 18 cm (10.2 × 7.1 in), 114 black and white
images
€ 1,200 / € 1,600–1,800
“Moriyama’s scarce fourth book features some of his
most compelling nudes – many in bondage scenes –
ever published. While similar in theme to much of
Araki’s work, the figures in these photos are removed
from their context in the red-light districts of
Tokyo and set against earthy, organic backgrounds.
The images are somewhat grounded by a section
in the center of the book that reproduces contact
sheets showing images from the shoots. A rare
Moriyama item.” (Photo-Eye)
1215
KOHEI YOSHIYUKI (* 1946)
‘Document Kouen’ (Park Document),
Tokyo: Seven Sha, 1980
A near mint copy in dust jacket with the publisher’s
original red obi, as issued, first edition, 78 black
and white photographs, 25 × 21 cm (9.8 × 8.3 in)
€ 500 / € 900–1,200
“To make the book, Yoshiyuki trawled the Shinjuku
and Yoyogi parks in Tokyo, both notorious for
nocturnal sexual activity, and photographed the
‘goings-on’ with infrared flash, which enabled
him to get images in the dark without the flash
being visible. … [Document Park is] a brilliant piece
of social documentation, catching perfectly the
loneliness, sadness and desperation that so often
accompany sexual or human relationships in a big,
hard metropolis like Tokyo.” (Parr & Badger)
135
1216
TAKUMA NAKAHIRA (* 1938)
‘Kitaru Beki Kotoba no Tame Ni’ (For a language
to come), Tokyo: Inshokan Printing, 1970
Near mint in dust jacket, housed in the publisher’s
original slipcase with light toning and wear,
first edition, 30 × 21,1 cm (11.8 × 8.3 in)
€ 2,000 / € 4,000–5,000
“Along with Moriyama’s Shashin yo Sayonara his
book Kitaru Beki Kotoba no Tame ni marks the
apogee of the Provoke period.” (Parr & Badger)
136
1217
DAIDO MORIYAMA (* 1938)
‘Shashin yo Sayonara’ (Bye, bye Photography),
Tokyo: Shashin Hyoron-sha, 1972
A near mint copy in lightly used dust jacket,
first edition, softbound, 19 × 23 cm (7.5 × 9.1 in)
€ 2,000 / € 4,000–5,000
“Shashin yo Sayonara is the most extreme
monument of the Provoke period, indeed one
of the most extreme photobooks ever
published.” (Parr & Badger)
137
1218
KAZUO KITAI (* 1944)
‘Sanrizuka 1969 –1971’, Tokyo: Nora-sha,
1971
First edition, one of the most important
protest books ever published, published
as facsimile reprint in Martin Parr’s Protest
Box (Steidl, 2011), paperback
18 × 24,3 cm (7.1 × 9.6 in), 184 pages,
Photos in tritone
€ 500 / € 800–1,000
1219
IKKO NARAHARA (* 1931)
‘Europe: Where Time Has Stopped’
(Yoˉroppa: seishi shita jikan), Tokyo: Kajima
Kenkyujo Shuppan-kai, 1967
First edition, a fine copy in slipcase with
the publisher’s original outer plastic cover,
105 black and white images, 30 colour
images, printed in gravure, 30 × 20 cm
(11.8 × 7.9 in)
€ 700 / € 1,200–1,400
1220
IHEI KIMURA (1901–1974)
‘Pari’ (Paris), Tokyo: Nora-sha, 1974
First edition. Japanese photobook classic,
scarce, with the extrem scarce slipcase,
hardback with full white linen, card slipcase.
26,2 × 19 cm (10.3 × 7.5 in), 318 pages,
153 colour photographs, in double-page
spreads, 1 single-page colour photograph,
texts by Sasaki, Koji Taki and Shinji Obkuda.
€ 700 / € 900–1,200
138
Fotografenindex / Index of Photographers
ANONYMOUS PHOTOGR APHER 1003, 1004, 1009, 1010, 1069
ADAMS, ANSEL 1057, 1058
ÁLVAREZ BR AVO, LOL A 1070, 1071
ANZENBERGER, TONI 1193
AR AKI, NOBUYOSHI 1172, 1173
BALTERMANTS, DMITRI 1052, 1053
BAUM, PETER 1189, 1190
BE ATO, FELICE 1006, 1007
BECHER, BERND & HILL A 1205
BISCHOF, WERNER 1086, 11087
BOUCHER, PIERRE 1034
BOYER, DAVID S., 1147
BR ANDT, BILL 1117
BRESOLIN, DOMENICO 1011
BRIGMAN, ANNE 1024
BUDNIK, DAN 1145
BURRI, RENÉ 1139
CALL AHAN, HARRY 1116
CAMERON, JULIA MARGARET 1023
CAPA, CORNELL 1095
CAPA, ROBERT 1094
CARMI, LISET TA 1204
CARTIER-BRESSON, HENRI 1088, 1089, 1090, 1091, 1092, 1200
CHALDEJ, JEWGENI 1054
CHALIP, JAKOV 1050, 1051
CHENEY, ALFRED 1037, 1038
CLERGUE, LUCIEN 1156, 1202
CR AVO NETO, MÁRIO 1182, 1183, 1184
DAGUERRE, LOUIS 1001
DAVIDSON, BRUCE 1127
DOISNE AU, ROBERT 1143, 1144
DRTIKOL, FR ANTISEK 1040
DUNCAN, DAVID DOUGL AS 1124
EDGERTON, HAROLD E. 1151
EGGLESTON, WILLIAM 1209
EISENSTAEDT, ALFRED 1074, 1075, 1076, 1077, 1078, 1079,
1080, 1081, 1082, 1083, 1084, 1085
FR ANK, ROBERT 1107, 1207
FREED, LEONARD 1149
FRIEDRICHS, HORST A . 1191, 1192
GERMAIN, JULIAN 1211
GHIRRI, LUIGI 1155
GIACOMELLI, MARIO 1135, 1136, 1137, 1138
GINSBERG, ALLEN 1106
GOSSAGE, JOHN 1208
HA AS, ERNST 1098
HAJEK-HALKE, HEINZ 1059
HAL SMAN, PHILIPPE 1125, 1126, 1128
HINE, LEWIS 1025, 1026
HOSOE, EIKOH 1158
HUBMANN, FR ANZ 1118, 1119
ITURBIDE, GR ACIEL A 1179
JACOBI, LOT TE 1035
JONES, PHILLIP 1187, 1188
K ALVAR, RICHARD 1150
K ARSH, YOUSUF 1121, 1122
KERTÉSZ, ANDRÉ 1032, 1033, 1152, 1153, 1154
KESSEL, DMITRI 1105
KIMUR A, IHEI 1220
KITAI, K A ZUO 1218
KLEIN, WILLIAM 1108
139
KOPPITZ, RUDOLF 1028, 1029, 1030, 1031
KORDA, ALBERTO 1140, 1141, 1142
KÜHN, HEINRICH 1019
L ANTIN, ROLF 1063
L ARTIGUE, JACQUES -HENRI 1120
LERNER, NATHAN 1060
LERSKI, HELMAR 1198
LESSING, ERICH 1112, 1113, 1114, 1115
LINDBERG, PETER 1177
LOCKE, JUSTIN 1148
LÖW Y, FR ANZ 1036
MAPPLETHORPE, ROBERT 1169
MARDEN, LUIS 1146
MARKOV- GRINBERG, MARK 1049
MOR ATH, INGE 1109, 1110, 1111
MORIYAMA, DAIDO 1214, 1217
NÄHR, MORIZ 1012, 1013, 1014, 1015, 1016, 1017, 1018
NAK AHIR A, TAKUMA 1219
NAR AHAR A, IKKO 1219
NÉGRE, CHARLES 1002
NEUSÜSS, FLORIAN 1157
NEW TON, HELMUT 1170, 1171
OHAR A, KEN 1213
PALL A, VICTOR 1199
PENN, IRVING 1174, 1175
PERSCHEID, NICOL A 1039
PFLÜGER, J.W. 1008
PIZ A, CRISTINA 1180, 1181
PR ACKOVA, K ATK A 1185, 1186
PR ATURLON, PIERLUIGI 1134
R AY, MAN 1073
RIBOUD, MARC 1099, 1100, 1101, 1102, 1103, 1104
RIEFENSTAHL, LENI 1064, 1065, 1066, 1067
RODCHENKO, ALE X ANDER 1044, 1045, 1046, 1047
RODGER, GEORGE 1096, 1097
RÖSSLER, JAROSL AV 1196
RÜBELT, LOTHAR 1068
SAJCHET, ARK ADIJ 1048
SÃLGADO, SEBASTIAO 1176
SANDER, AUGUST 1041, 1042, 1043
SAUDEK, JAN 1162, 1163, 1164, 1165, 1166, 1167, 1168
SCHNEIDER, TRUDPERT UND SÖHNE 1005
SCHULTEN, BARBAR A 1203
SECCHIAROLI, TA ZIO 1129, 1130, 1131, 1133
SEELEY, GEORGE HENRY 1021
SMITH, W. EUGENE 1093
STEICHEN, EDWARD 1020, 1197
STEINMETZ, MARK 1210
STIEGLITZ, ALFRED 1022
TALBOT, WILLIAM HENRY FOX 1195
TICHÝ, MIROSL AV 1159, 1160, 1161
VAN VECHTEN, CARL 1072
WEEGEE 1062
WEISS, SABINE 1123
WESTON, BRET T 1061
WESTON, EDWARD 1055, 1056
WOODFIELD, WILLIAM 1132
YAMPOL SK Y, MARIANA 1178
YOSHIYUKI, KOHEI 1215
ZHANDAROVA, ALENA 1194
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 Saal
bieter erkennt jeder Bieter bei der Auktion die folgenden Versteigerungs
bedingungen ausdrücklich 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
Bestimmungen der §§ 284 a ff der Gewerbeordnung i.d.F. GRNov 1997
sowie nach den vorliegenden Versteigerungsbedingungen durchgeführt. Die Versteigerung erfolgt in fremdem Namen sowie für fremde
Rechnung. Erfüllungsort und Gerichtsstand ist Wien. Auch im Verhältnis
zu ausländischen Bietern ist österreichisches Recht maßgeblich.
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 con
ditions of sale. The auction will be conducted in our client’s name and
for our client’s account. Place of jurisdiction is Vienna. Austrian law is
also binding on all foreign bidders.
3. 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 entsprechend bewertet. WestLicht weist jedoch ausdrücklich darauf hin,
dass die Gegenstände als Sammlerstücke angeboten werden und der
Verkauf daher ohne Gewähr und Haftung für offene und versteckte
Mängel erfolgt. Irrtums- und Druckfehlerberichtigungen bleiben vor
behalten. Ebenso behält sich WestLicht-Auction das Recht vor, Berichtigungen der Beschreibung bis zur Versteigerung vorzunehmen. Eine Rück
nahme ersteigerter Artikel ist prinzipiell ausgeschlossen (siehe Punkt 12).
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. Die Besichtigung der zur Versteigerung vorgesehenen Objekte ist
innerhalb des im Katalog angeführten Zeitraumes möglich. Ist einem
Bieter die Besichtigung vor Ort jedoch nicht möglich, geben wir auf
Anfrage gerne eine präzisere Beschreibung des technischen und
optischen Zustandes. Diese Auskünfte erteilen wir sowohl telefonisch,
als auch schriftlich oder per E-Mail – zusätzlich Fotos können wir jedoch
nur per E-Mail zusenden. Bei der Besichtigung und während der Versteigerung ist größte Vorsicht zu empfehlen, da jeder Besucher für den
von ihm verursachten Schaden in vollem Umfang haftet.
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.
for bidders at WestLicht Photo Auctions (Peter Coeln GmbH)
5. Vor Versteigerungsbeginn können schriftlich (Brief, Fax, E-Mail oder
Online-Gebote über unsere Homepage) abgegeben werden. Schriftliche Kaufaufträge müssen dem Versteigerer bis spätestens 24 Stunden
vor Beginn der Versteigerung 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.
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. Alle im Katalog und in den Versteigerungsbedingungen angeführten
Preise verstehen sich in EURO. Bei diesen Preisen handelt es sich um
Startpreise und somit um die Mindestgebote. Untergebote können
nicht berücksichtigt werden. Bei differenzbesteuerten Objekten und
solchen, die im Namen und für Rechnung des Einbringers versteigert
werden, wird ein Aufgeld von 20 % inklusive der gesetzlichen Umsatz
steuer verrechnet. Bei Objekten, die der Vollbesteuerung unterliegen
(gekennzeichnet mit *), wird eine Käufergebühr von 17,5 % verrechnet.
Auf den Nettopreis werden 10 % Mehrwertsteuer hinzugerechnet.
Diese Mehrwertsteuer wird nicht verrechnet, wenn der Verkauf in ein
Nichtmitgliedsland der Europäischen Union (Drittland) erfolgt und der
6. All prices in the catalogue and in the conditions of sale are in
EUROS. These are the start prices and thus also the reserve price.
Offers under these prices cannot be taken into account. In the case
of lots subject to margin tax and such that are offered in the name
and for the account of the Consignor, a 20 % surcharge is charged,
including statutory VAT. With fully taxable lots (marked with the
symbol *) a 17,5 % buyer’s premium. 10 % VAT is added to the net
price. For this cases VAT will not be added if the sale is made to a
country which is not a member of the European Union (third country)
and the legal requirements are satisfied and proof of export is supplied. For lots won via live bidding services the buyer’s premium will
140
Ausfuhrnachweis in das Drittland erbracht wird. Bei Ersteigerung eines
Loses über eine Live-Bieter Plattform beträgt das Aufgeld 23 % vom
Hammerpreis. Im Falle einer mit uns vereinbarten Zahlung mit Kreditkarte wird zusätzlich eine Gebühr von 3 % der Gesamt summe verrechnet. Der Käufer haftet in diesem Fall für die Gültigkeit der Kreditkarte
und die Autor isierung des Kaufpreises durch die Kreditkartenfirma.
7. Die Versteigerung erfolgt in der Reihenfolge der Katalognumme
rierung. 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 versteigerter Gegenstände seitens des Versteigerers
ist ausgeschlossen. Mit dem Zuschlag geht die gesamte Haftung für
den Versteigerungsgegenstand sofort auf den Ersteher über. Das ersteigerte Los wird dem Ersteher jedoch erst nach vollständiger Bezahlung des Zuschlagpreises und des Aufgeldes, sowie anfallender Steuern
und Gebühren ausgehändigt. Wird vereinbart, den Gegenstand dennoch vor vollständiger Bezahlung auszuliefern, verbleibt der versteigerte Gegenstand bis zum vollständigen Forderungsausgleich Eigentum des Einlieferers.
10. Sofern keine anderen Vereinbarungen getroffen wurden, haben
Saalbieter das ersteigerte Gut nach Beendigung der Auktion abzuholen
und zu bezahlen. Bei Bezahlung durch Überweisung ist der Rechnungsbetrag sofort und inklusive aller Bankspesen fällig. Die Rechnungen
der schriftlich oder telefonisch ersteigerten Gegenstände werden nach
Beendigung der Auktion an den jeweiligen Höchstbieter verschickt.
Diese sind innerhalb von 8 Tagen nach Erhalt an den Versteigerer
ohne Abzug zu bezahlen. Bei Zahlungsverzug werden Verzugszinsen in
Höhe von 5 % über dem jeweiligen Basiszinssatz der Österreichischen
Nationalbank verrechnet. Ebenso ist die Zahlung per Nachnahme,
Postauftrag oder Bankscheck möglich – bei all diesen Zahlungsarten
übernimmt der Ersteher allfällige Spesen. Kosten für Verpackung,
Transport und Transportversicherung sind nicht inkludiert und werden
extra zur Verrechnung gebracht. Wir weisen jedoch darauf hin, dass
wir ausschließlich die Selbstkosten verrechnen und aufgrund unserer
Vereinbarung mit Transportfirmen für den Käufer günstige Transportund 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.
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 Versteige
rungsgegenstandes 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.
141
be 23 %. If agreement is reached with us to make payment with a
credit card an additional 3 % will be charged. The buyer is responsible
for the validity of the credit card and for the authorization of the
purchase price by the credit card company.
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
misrepresentation (except defects as described in paragraph 3) must
be reported immediately after the auction verbally or in writing not
more than 14 days thereafter. If the complaint is accepted as valid, the
buyer has a right to the re-payment of the purchase price and charges
upon simultaneous return of the auctioned object. No other claims
will be entertained.
13. After completion of the auction we are entitled to sell any nonauctioned items subject to the normal conditions of business in the
name of, and for the account of, the supplier.
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 unmittelbarer zeitlicher Nähe zur Aufnahme bzw. Produktion
des Negatives vom Fotografen selbst oder einer Person
seines Vertrauens angefertigt wurde. Exakte Datumsangaben
für die Positive sind nur in den seltensten Fällen bekannt.
Die Unterscheidung zwischen einem Vintage-Print und
einem später produzierten Abzug wird in Relation zur
Datierung des Negatives ausgedrückt, beispielsweise bei
einem Silbergelatineprint: 1920, Vintage silver print oder
1920, Gelatin silver print, printed later. Eine möglichst
präzise Datierung, zumindest das Jahr oder Jahrzehnt der
Entstehung wird für jedes Lot angegeben. Die Angaben
basieren auf dem Wissen des WestLicht-Expertenteams
zur Geschichte der jeweiligen Fotografie, ihrer Provenienz
und visueller Begutachtung. Für die Angaben kann keine
Gewähr übernommen werden.
MaSSangaben
Bei den Maßangaben folgen die Maße der Bildbreite
jenen der Bildhöhe. Sofern nicht anders angegeben,
beziehen sich diese Maße auf das tatsächliche Bildformat
ohne jegliche Ränder. Einige Fotografien werden im
Katalog ohne Rand abgebildet.
Prints
A vintage print is one made at roughly the same time as
the negative by the photographer himself or by a person
or procedure satisfactory to the photographer. Specific
dates of positive prints are rarely known. This distinction
between a vintage print and a print done considerably
later would be expressed with the date referring to the
production of the negative. In case of a gelatin silver print:
1920, Vintage silver print or 1920, Gelatin silver print,
printed later.The approximate date, year, or decade of
a positive print is given when possible, based on the
WestLicht’s knowledge of the history of the photograph,
its provenance, and our visual assessment of the
photograph’s physical characteristics. We don’t guarantee
the printing date of the photograph.
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: anna.zimm@westlicht.com
142
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:
anna.zimm@westlicht.com
Absentee Bid Form for WestLicht Photo Auction
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
www.westlicht-auction.com
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
Telephone bid form I ask WestLicht Auctions to contact me
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 con
ditions of sale as printed in the catalogue.
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
Signature
#
Lot no.
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 2013
Für den Inhalt verantwortlich / Responsibility for Contents
Peter Coeln
K atalog- und Textredaktion / Cataloguers
Anna Zimm
Michael Kollmann (Fotobücher / Photobooks)
Ariana Valladares (Mitarbeit / Assistance)
grafik Design / Graphic Design
Juliane Sonntag
Fotos und Bildbearbeitung / Reproduction and Image Editing
Peter Jakadofsky
Michael Lebeck
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.
144

WestLicht Photographica Auction

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