RD 23 NOVEMBER VIENNA, PHOTO AUCTION · RUDOLF KOPPITZ (1884–1936) ›Das Schwesterl‹, Austria c. 1928 Vintage silver print 27 × 29 cm (10.6 × 11.4 in) Photographer’s stamp

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Westbahnstraße 40, 1070 Vienna, Austria Tel.: +43 1 996 20 66 17

For general enquiries about this auction, email should be addressed to [email protected]

PROF. JOHANNES FABERgeb. 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 [email protected]

MICHAEL KOLLMANN (Fotobücher Photobooks)[email protected]

18. WESTLICHT FOTO-AUKTION 23. November 2018, 17 Uhr (MEZ)

VORBESICHTIGUNG Montag, 12. November bis Freitag, 23. November 14 –18h und nach Vereinbarung

18TH WESTLICHT PHOTO AUCTION November 23rd 2018, 5 pm (CET)

VIEWING Monday, November 12th to Friday, November 23rd 2– 6 pm and by appointment

33. WESTLICHT KAMERA-AUKTION 24. November 2018, 11 Uhr (MEZ)

33RD WESTLICHT CAMERA AUCTION November 24th 2018, 11 am (CET)

EXPERTENSPECIALISTS

WWW.WESTLICHT-PHOTO-AUCTION.COM

PHOTO AUCTION

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EADWEARD MUYBRIDGE (1830–1904) Horse and Rider (from ›Attitudes of Animals in Motion‹), 1881Albumen print, mounted on the original cardboard 16 × 22,2 cm (6.3 × 8.7 in) Photographer’s »1881 by Edw. J. Muybridge« copyright stamp on the mount

€ 4.000 / € 7.000–9.000

Der britische Fotograf Eadweard Muybridge gilt als Pionier auf dem Gebiet der visuellen Bewegungsstudien. Die Möglichkeit, Sekundenbruchteile einer Bewegung fest-zuhalten, entstammt einer Wette unter reichen Männern: nämlich, ob bei einem galoppierenden Pferd jemals alle vier Hufe zur Gänze in der Luft sind. Da so ein Moment mit bloßem Auge nicht wahrnehmbar ist, beauftragte Leland Stanford Eadweard Muybridge damit, sein Renn-pferd zu fotografieren. Dieser verwendete 24 Fotoapparate mit elektromagnetisch gesteuerten Verschlüssen, die mit über die Rennbahn gelegten Drähten verbunden waren und die Kameras auslösten, sobald das Pferd sie überschritt. Nachdem Muybridge den Beweis für die Wette erbracht hatte, führte er seine Bewegungsexperimente fort. Auf Stanfords Ranch in Palo Alto stellte er Fotosequenzen her – wieder hauptsächlich von Pferden – die 1881 in dem selbstgemachten Album The Attitudes of Animals in Motion im Eigenverlag erschienen. Der vorliegende Albuminabzug ist eine Originalseite aus diesem äußerst seltenen Album. Später, 1887, publizierte Muybridge sein bekannteres Portfolio Animal Locomotion, das mechanisch mit Licht- drucken hergestellt und in viel höherer Auflage veröffent-licht wurde.

The British photographer Eadweard Muybridge was a pioneer in visual studies of locomotion. The possibility for recording split-second movements originated from a rich man’s bet: whether or not a galloping horse ever had all four feet off the ground at any time during its stride. Because the unaided eye cannot see such an instantaneous event, Leland Stanford hired Eadweard Muybridge to photograph his racehorse. He used twenty-four cameras with electromagnetic shutters that were tripped by wires as an animal ran across a track. After Muybridge produced the proof to win the bet, he continued his motion experiments. At Stanford’s Palo Alto ranch, he captured photographic sequences, mainly of horses, that would appear in his 1881 privately published and handmade album The Attitudes of Animals in Motion. The present albumen print is an original page from this extremely rare album. Later, in 1887, Muybridge published his better-known portfolio Animal Locomotion, which was produced mechanically in a collotype technique and published in a much higher edition.

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EDWARD STEICHEN (1879–1973) ›Balzac – The Open Sky‹, 1911Photogravure on Japanese paper, printed 1911 for Camera Work nos. 34 / 35, tipped to the original leaf 20,9 × 15,9 cm (8.2 × 6.3 in)

LITERATURE Alfred Stieglitz, Camera Work. The Complete Illustrations 1903–1917, Cologne 1997, p. 562.

€ 800 / € 1.400–1.600

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EDWARD STEICHEN (1879–1973) Rodin, 1903Photogravure on Japanese paper, printed 1903 for Camera Work no. 2, tipped to the original leaf 21,2 × 16,2 cm (8.3 × 6.4 in)


€ 1.200 / € 2.000–2.400

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ALFRED STIEGLITZ (1864–1946) ›Going to the start‹, 1904Photogravure on Japanese paper, printed 1904 for Camera Work no. 12, tipped to the original leaf 21,3 × 19 cm (8.4 × 7.5 in)


€ 800 / € 1.400–1.600

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MORIZ NÄHR (1859–1945) Gustav Klimt, Vienna 1909Gelatin silver print, printed in the 1920s 16 × 11,2 cm (6.3 × 4.4 in)

LITERATURE Uwe Schögl / Hans-Peter Wipplinger (eds.), Moriz Nähr, Cologne 2018, p. 39; Agnes Husslein-Arco / Alfred Weidinger (eds.), Gustav Klimt & Emilie Flöge, Fotografien, Munich / Berlin / London / New York 2012, p. 110.

€ 4.000 / € 8.000–9.000

Die Beziehung von Gustav Klimt und Moriz Nähr ist von einer jahrelangen künstlerischen Wechselwirkung geprägt, die exemplarisch das Verhältnis zwischen dem Medium der Fotografie und der Bildenden Kunst der Wiener Moderne prägte. Moriz Nähr hat Gustav Klimt insgesamt in drei Porträtsitzungen fotografiert. Alle seine Aufnahmen entstanden im Großformat mit Glasnegativen und folgten klar der Intention der klassischen Künstlerinszenierung. Die vorliegende Aufnahme entstand am 8. Juli 1909 im Rahmen von Klimts Besuch auf der Internationalen Kunstschau in Wien. Nähr ergriff die Gelegenheit und porträtierte den Maler in einem der Innenhöfe. Es gingen acht Varianten aus dieser Sitzung hervor, von denen sich drei nur durch eine minimal veränderte Kopfhaltung unterscheiden. Die Glasnegative befinden sich größtenteils in der ÖNB, frühe Abzüge der Aufnahmen sind nur wenige bekannt, die meisten davon befinden sich in Privatbesitz.

The relationship between Gustav Klimt and Moriz Nähr was shaped by years of artistic interplay, which in turn also exemplified the relation between the medium of photography and modern art in Vienna. Moriz Nähr photographed Gustav Klimt in three sessions altogether. All shots were produced on glass plates in large format and clearly followed the intentions of the classical artist portrait. The present photo was taken on July 8th, 1909, during Klimt’s visit to the International Art Show in Vienna. Nähr used this opportunity to take the painter’s picture in one of the courtyards. Eight versions of the shooting emerged from this session, three of which differ only in the mini-mally altered position of the subject’s head. Today, most of the glass plates are in the Austrian National Library. Early prints are rare; the majority are privately owned.

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RUDOLF KOPPITZ (1884–1936) ›Das Schwesterl‹, Austria c. 1928Vintage silver print 27 × 29 cm (10.6 × 11.4 in) Photographer’s stamp on the reverse

LITERATURE Edition »Die Galerie«, Rudolf Koppitz, Vienna 1937, plate 23.

€ 2.200 / € 4.000–5.000

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WILHELM VON GLOEDEN (1856–1931) Boy with flute, Taormina 1904Albumen print, Vintage 22,4 × 16,8 cm (8.8 × 6.6 in) Photographer’s »W. von Gloeden, Taormina — Italia — Sicilia, 10 Mar 1904, Proprieta Artistica« stamp on the reverse

€ 1.200 / € 2.000–2.400

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HEINRICH KÜHN (1866–1944) Jelly jars and bottle, c. 1915Bromoil transfer print, Japanese paper 23,4 × 31 cm (9.2 × 12.2 in) Signed by the photographer in pencil in the right lower margin »Heinrich Kühn.«, inscribed in the left margin »6 1/2°, 5°, 1°«

LITERATURE Monika Faber (ed.), Heinrich Kühn, Die vollkommene Foto-grafie, Albertina, Vienna 2012, p. 211; Peter Weiermair (ed.), Heinrich Kühn. Photographie als Kunst, Innsbruck 2013, p. 67.

€ 5.000 / € 10.000–12.000

»Die beliebten Ausreden wie ›ungünstiger Standpunkt, schlechte Beleuchtung, nervöses Modell‹ gibt’s beim Stillleben nicht. Die Aufgabe geht nun dahin, mit allereinfachsten Mitteln, ohne jeden komplizierten Aufbau oder ›Arrangement‹, einzig mit ein paar Gegenständen, die wir gerade zur Hand haben, die bildmäßige Anordnung zu versuchen.« »Popular excuses such as ›bad angle, poor lighting, nervous model‹ don’t exist in still lifes. The task is just to try to create a pictorial composition with the simplest means, without any complex structure or arrangement, merely with a few objects that we happen to have at hand.« Heinrich Kühn, Technik der Lichtbildnerei,Halle a. d. Saale 1921, pp. 402– 403.

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ERNEST JAMES BELLOCQ (1873–1949) ›A Storyville Portrait‹, New Orleans 1911–1913Toned gelatin silver print, printed in the late 1960s by Lee Friedlander 20 × 25,4 cm (7.9 × 10 in) Lee Friedlander’s collection stamp and description stamp on the reverse

LITERATURE

John Szarkowski (ed.), E. J. Bellocq. Storyville Portraits, The Museum of Modern Art, New York 1970, pl. 25.

€ 2.000 / € 3.000–4.000

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NICKOLAS MURAY (1892–1965) Nude study of Martha Laber, 1925Vintage silver print, chlor-bromed 24,2 × 17,2 cm (9.5 × 6.8 in) Signed and dated by the photographer in ink in the image lower left and right

€ 1.400 / € 2.000–2.400

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EDWARD STEICHEN (1879–1973) Mrs. Peter F. Chambers, Vogue 1932Vintage silver print, contact print, chlor-bromed 25,2 × 20,2 cm (9.9 × 8 in) Photographer’s copyright stamp and Vogue archive stamp with handwritten title, date and credit in pencil on the reverse

€ 3.600 / € 7.000–8.000

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LOTTE JACOBI (1896–1990) Claire Bauroff, Berlin c. 1928Gelatin silver print, printed in the 1980s 23,5 × 17,2 cm (9.3 × 6.8 in) Signed by the photographer in pencil in the image lower right

LITERATURE Kelly Wise (ed.), Lotte Jacobi, 1978, p. 153.

€ 1.800 / € 2.800–3.400

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LOTTE JACOBI (1896–1990) Fashion study, Berlin c. 1928Vintage silver print 21,6 × 16 cm (8.5 × 6.3 in) Photographer’s studio stamp on the reverse

€ 600 / € 1.000–1.200

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FRANTIŠEK DRTIKOL (1883–1961) Composition No. 14, c. 1925Vintage silver print, Bromografia on toned paper (printed in the 1920s) 28,4 × 22,4 cm (11.2 × 8.8 in) Stamped »14. Drtikol-Prague Bromografia« in the image lower right in the negative

€ 2.400 / € 4.000–5.000

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ARTHUR BENDA (1885–1969) Nude study, Vienna 1930sVintage silver print 17 × 18,8 cm (6.7 × 7.4 in) Photographer’s stamp in the negative lower right, copyright and studio stamp on the reverse

€ 600 / € 1.000–1.200

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TRUDE FLEISCHMANN (1895–1990) The dancer Claire Bauroff, Vienna 1925Vintage silver print 10,4 × 7,8 cm (4.1 × 3.1 in) Photographer’s studio blindstamp in the margin lower left

LITERATURE Anton Holzer / Frauke Kreutler (eds.), Trude Fleischmann, Der selbstbewusste Blick, Vienna 2011, p. 104 ff. (same series).

€ 1.400 / € 2.500–3.000

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Claire Bauroff, die in den 1920er Jahren durch künstlerischen Nackttanz zum Bühnenstar avancier- te, ist eines der bekanntesten Modelle Fleischmanns. Die Serie von Aktaufnahmen, in denen sich Bauroff vollkommen nackt vor neutralem Hinter- grund in Fleischmanns Studio inszenierte, entstand 1925. Bei der Ausleuchtung des Körpers mied Fleischmann zu scharfe Kontraste, sie taucht ihr Modell in weiches Licht, die bräunliche Tönung des wunderbaren Abzugs unterstützt diesen Effekt zusätzlich.

One of Fleischmann’s best known models was Claire Bauroff, a Burlesque stage star from the 1920s. The series of nudes, in which Bauroff can be seen naked in front of a neutral backdrop in Fleischmann’s studio, was taken in 1925. Fleischmann was trying to avoid strong contrasts through lighting by immersing the model in soft light, the brown tone of this beautiful print is enhancing this effect as well.

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IMOGEN CUNNINGHAM (1883–1976) ›By the river‹, 1912Gelatin silver print, printed in the 1970s, mounted on original cardboard 31 × 22,2 cm (12.2 × 8.7 in) Signed and dated by the photographer in pencil on the mount, photographer’s label with handwritten title and stamp on the reverse

€ 2.400 / € 5.000–6.000

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ANNE BRIGMAN (1869–1950) ›Stardust‹, c. 1910Vintage 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 the photographer in pencil on the mount and titled on the reverse

€ 3.000 / € 6.000–7.000

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JACQUES-HENRI LARTIGUE (1894–1986) »Zissou takes off his ›ZYX 24‹«, Rouzat 1910Gelatin silver print, printed in the 1980s 21 × 29 cm (8.3 × 11.4 in) Signed by the photographer in ink in the margin, his blindstamp in the margin

LITERATURE Vicki Goldberg (ed.), Jacques-Henri Lartigue. Photographer, New York 1998, cover.

€ 1.800 / € 3.000–3.500

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JACQUES-HENRI LARTIGUE (1894–1986) Deauville, Daisy Speranza, 1916Gelatin silver print, printed in 1978 14,8 × 19 cm (5.8 × 7.5 in) Photographer’s sun blindstamp in the image lower left, numbered in pencil in the margin lower right (191), from the English Language Portfolio

€ 1.000 / € 2.000–2.400

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ANDRÉ KERTÉSZ (1894–1985) ›The Circus‹, Budapest 1920Gelatin silver print, printed in 1980 24,8 × 19,8 cm (9.8 × 7.8 in) Signed by the photographer in pencil on the reverse, from »A Hungarian Memory Portfolio«, published by Hyperion Press in 1980, unnumbered edition of 75

€ 2.000 / € 4.000–5.000

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AUGUST SANDER (1876–1964) ›Der Kunsthändler‹ (Art Dealer), Cologne 1927Gelatin silver print, printed in 1990 by Gerd Sander, large format print 58,8 × 43,9 cm (32.1 × 17.3 in)

With the »Aug. Sander Köln Lindenthal« blindstamp lower left, signed, dated and numbered by Gerd Sander in pencil on the reverse, edition no. 1 / 12

PROVENANCE Private Collection, acquired directly from the August Sander Estate

LITERATURE Die Photographische Sammlung / SK Stiftung Kultur Köln (ed.), August Sander. Menschen des 20. Jahrhunderts, Munich 2002, p. 490 (Group IV / The Businessman).

€ 4.500 / € 9.000–10.000

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AUGUST SANDER (1876–1964) ›Der Notar‹ (The Notary), Cologne 1924Gelatin silver print, printed in the 1960s by Gunther Sander 22,2 × 15,5 cm (8.7 × 6.1 in) Stamped with the »August Sander Lichtbildner / Köln-Lindenthal« address on the reverse

LITERATURE Die Photographische Sammlung / SK Stiftung Kultur Köln (ed.), August Sander. Menschen des 20. Jahrhunderts, Munich 2002, p. 411. (Group IV. The Judge and the Attorney)

€ 2.600 / € 4.000–5.000

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BRASSAÏ (1899–1984) ›Pistil d’une Tulipe‹, 1933Vintage silver print, mounted on the original cardboard 23,2 × 17,4 cm (9.1 × 6.9 in) Signed and dated by the photographer in pencil on the mount

€ 3.000 / € 5.000–6.000

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VICTOR KEPPLER (1904–1987) Raleigh cigarettes, 1928Gelatin silver print, printed in the 1970s 40,2 × 32,8 cm (15.8 × 12.9 in) Signed by the photographer in ink in the margin

€ 1.200 / € 2.000–2.400

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VICTOR KEPPLER (1904–1987) Eyeglasses, 1927Gelatin silver print, printed in the 1980s 24 × 18,5 cm (9.4 × 7.3 in) Signed and dated by the photographer in ink on the reverse

€ 600 / € 1.000–1.200

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JOSEF SUDEK (1896–1976) Still life (from ›Labyrinths‹), Prague 1965Vintage silver print 29,2 × 22,8 cm (11.5 × 9 in) Signed by the photographer in pencil in the black margin, annotated and dated by him in pencil on the reverse

€ 2.800 / € 5.000–6.000

Während des Zweiten Weltkriegs und auch danach schuf Josef Sudek eindringliche Prager Nachtszenen und Panora-men und vor allem seine berühmte Serie The Window of my Studio, die das auf seinen Garten blickende Fensterglas abbildet. Nach dem Krieg, in den 1960er- und 1970er- Jahren, entstanden auch Stillleben des überfüllten Atelier-interieurs, die sich zur Serie Labyrinths zusammenfügten. »Mein ganzes Leben bin ich schon von Unordnung um- geben«, erinnerte sich Sudek später in einem Interview. Dass er der Serie den Titel Labyrinths gab, zeugt jedoch klar von seiner Intention, diese »Unordnung« zu adeln, ihr einen Sinn zu geben. Das Weggeworfene, das Herkömm- liche, das Zerstörte – die kunstvolle Vision des Verfalls ist nicht so sehr Statement über etwas Bestimmtes als eine erfrischend spontane Zusammenstellung von Motiven, die dem Betrachter einen Moment stiller Kontemplation gewährt.

During and after World War Two, Josef Sudek created haunting nightscapes and panoramas of Prague and, most important, his famous The Window of my Studio series, picturing the window glass that led to his garden. After the war, in the 1960s and 1970s, Sudek went on to photograph still lifes of the crowded studio interior, which resulted in the Labyrinths series. »I’ve been surrounded by mess all my life«, Sudek would later recall in an interview, but having given the series the title of Labyrinths, he clearly wanted to ennoble this »mess« and give it purpose. The discarded, the ordinary, the destroyed — the artful vision of decay is not a statement about anything in particular but a refreshingly unprompted and beautiful array of images that allow the viewer to engage in quiet contemplation.

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LADISLAV EMIL BERKA (1907–1993) ›Skenice‹ (Glasses), 1931Vintage silver print 23 × 17,9 cm (9.1 × 7 in) Photographer’s name stamp and his handwritten credit in pencil on the reverse

€ 1.400 / € 2.500–3.000

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RALPH STEINER (1899–1986) Typewriter Keys, 1921–22Gelatin silver print, contact print, printed in the 1980s 20,4 × 15,3 cm (8 × 6 in) Signed and dated »1921–1922« by the photographer in pencil on the reverse

€ 2.000 / € 4.000–5.000

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ALEXANDER RODCHENKO (1891–1956) Cars on train, Moscow 1932Vintage silver print, contact print 10,3 × 7 cm (4.1 × 2.8 in) Borodulin collection stamp and several handwritten notations, most likely by the photographer, in pencil and ink (Cyrillic) on the reverse

€ 6.000 / € 10.000–12.000

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PAUL WOLFF (1887–1951) ›Converterbühne im Stahlwerk Röchling‹, c. 1928Vintage silver print 23,5 × 17,6 cm (9.3 × 6.9 in) Photographer’s stamp with handwritten order number, agency label and various notations in unidentified hands in pencil on the reverse

€ 1.400 / € 2.000–2.400

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PAUL WOLFF (1887–1951) ›So entsteht ein Auto‹, Heinrich Kleyer A.G. Self-published, Frankfurt am Main 1930First edition, first printing, the first and perhaps the best publication by Dr. Paul Wolff for industrial clients, beautiful paperback, 26,5 × 36 cm (10.4 × 14.2 in), 109 pages, text by Paul G. Erhardt in German, layout by Hans Breidenstein, overall very fine condition, many of the fine-screen halftone images are presented in photomontage.

* € 600 / € 900–1.000

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PAUL WOLFF (1887–1951) ›Arbeit!‹, Volk und Reich Verlag and H. Bechhold Verlagsbuch- handlung, Berlin / Frankfurt 1937First edition, first printing, with the rare original dust jacket and booklet, hardcover, 22,3 × 27,5 cm (8.8 × 10.8 in), 200 photos in photogravure printing, text by Dr. Paul Wolff and Alfred Tritschler, very well protected copy

Extremly hard to find with jacket, especially in this condition. Beside »Schwarzes Revier« by Heinrich Hauser, »Metal« by Germaine Krull, »Fabrik« by Jakob Tuggener and »Eisen und Stahl« by Albert Renger-Patzsch one of the best ever published photo books on industry.

* € 600 / € 900–1.000

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JAKOB TUGGENER (1904–1988) ›Arme der Arbeit‹ (Riveters at the Rhein harbour in Basel), 1947Gelatin silver print, printed in the 1960s 30,2 × 24 cm (11.9 × 9.4 in) Photographer’s stamp on the reverse

* € 2.000 / € 3.000–4.000

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JAKOB TUGGENER (1904–1988) ›Fabrik – Ein Bildepos der Technik von Jak Tuggener‹ Rotapfel-Verlag, Erlen 1943First original edition, hardcover, cloth bound with dust jacket, 95 black and white photo gravure plates, introduction by Arnold Burgaurer

Jakob Tuggener’s »Fabrik« is a milestone in the history of the photo book. Its 72 images, in the expressionist aesthetic of a silent movie, impart a skeptical view of technological progress.

€ 900 / € 1.400–1.800

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JAROSLAV RÖSSLER (1902–1990) Paris, 1926Gelatin silver print, printed in the late 1950s / early 1960s 20,3 × 16,8 cm (8 × 6.6 in) Signed and dated by the photo-grapher in ink on the reverse

PROVENANCE Acquired by the present owner from the collection of Anna Fárová in the late 1980s

€ 2.200 / € 4.500–5.000

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JAROSLAV RÖSSLER (1902–1990) Paris, c. 1930Gelatin silver print, printed in the late 1950s / early 1960s 16,4 × 22 cm (6.5 × 8.7 in) Annotated in an unidentified hand in pencil on the reverse


€ 2.800 / € 5.000–6.000

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JAROSLAV RÖSSLER (1902–1990) Paris, 1931Gelatin silver print, printed in the late 1950s / early 1960s 20,8 × 15,8 cm (8.2 × 6.2 in) Annotated and dated in an unidentified hand in ink on the reverse


LITERATURE Vladimír Birgus / Jan Mlcoch (eds.), Jaroslav Rössler. Czech Avant-Garde Photographer, 2004, plate 76.

€ 3.000 / € 5.000–6.000

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JAROSLAV RÖSSLER (1902–1990) Untitled (Gertruda Fischerová), 1924Gelatin silver print, printed in the late 1950s / early 1960s 19 × 17,9 cm (7.5 × 7 in) Signed and dated by the photographer in pencil on the reverse

LITERATURE Vladimír Birgus / Jan Mlcoch (eds.), Jaroslav Rössler. Czech Avant- Garde Photographer, 2004, plate 4; Vladimír Birgus (ed.), Jaroslav Rössler, Prague 2001, plate 4; Toni Stoos (ed.), Fotografie im Fokus. Die Sammlung Fotografis, Munich 2013, p. 91.

€ 2.000 / € 3.000–4.000

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JAROSLAV RÖSSLER (1902–1990) Untitled (Photo montage), Prague 1963–6420,4 × 18 cm (8 × 7.1 in) Vintage silver print 20,4 × 18 cm Signed by the photographer in pencil on the reverse, his Praha studio stamp on the reverse

LITERATURE Vladimír Birgus (ed.), Jaroslav Rössler. Photographs, ex. cat. Museum of Decorative Arts, Prague 2001, s.p.

€ 2.400 / € 5.000–6.000

Nach seiner Deportation aus Frankreich 1935 machte Jaroslav Rössler fast zwanzig Jahre lang kaum Fotos. Erst in der zweiten Hälfte der 1950er-Jahre kehrte er zum Kunstschaffen zurück. Rössler nahm seine Tätigkeit wieder auf, indem er sich erneut seiner alten Arbeit widmete, insbesondere der experimentellen Fotomontage. Ziel blieb für ihn eine geometrisch ausgeglichene Komposition mit starken Schatten. Er arbeitete oft mit einer Kombination aus Fotografien, Fotogrammen und Negativen, die er Jahre zuvor produziert hatte. Für Rössler wurde der Prozess der Bildbearbeitung allmählich wichtiger als der Akt des Fotografierens. Er verwendete oft, wie auch im vorliegenden Bild, die Sandwichmontagetechnik, für die er Strukturen, architektonische Fragmente, Masten, elektrische Kabel und andere urbane Zeichen moderner Zivilisation übereinan-derlegte. Bilder wie das vorliegende zeugen von Rösslers lebenslangem Interesse an der Anwendung abstrakter Konzepte in seinem kunstfotografischen Schaffen.

After being deported from France in 1935, Jaroslav Rössler took hardly any photographs for almost 20 years. He returned to his creative work in the second half of the 1950s. Rössler resumed working by continuing his older work, especially experimental photomontage. For him a geo-metrically harmonised composition with strong shadows was the lasting goal. He often worked with a combination of photographs, photograms and negatives he had taken years ago. For Rössler the process of manipulating an image became more important than the act of actually taking a picture. He often used the sandwich montage, like in the present photograph, for which he doubled structures, architectural fragments, poles, electric wires, and other urban signs of modern civilisation. Images like the present one prove Rössler’s lifelong interest in applying abstract tendencies to his creative photography.

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MAN RAY (1890–1976) Villa Noailles, c. 1926Vintage silver print 11,6 × 17,1 cm (4.6 × 6.7 in) Photographer’s »Rue Campagne Première Paris« stamp (M2 Steven Manford) on the reverse, signed / credited by the photographer in pencil on the reverse, annotated »No.1« in an unidentified hand in ink on the reverse

€ 3.400 / € 6.000–7.000

Diese ungewöhnliche Aufnahme zeigt den Garten der Villa Noailles, die der französische Kunstmäzen Charles de Noailles und seine Frau erbauen ließen. Entworfen wurde der Garten 1926 von den französischen Gebrüdern André und Paul Vera, ihres Zeichens Pioniere der kubistischen Gartengestaltung und des Art Deco. Das vorliegende von Man Ray stammende Foto ist das einzige noch existierende Dokument der Gartenanlage. Es war auch Charles de Noailles, der später Man Rays Film Les Mystères du Château de Dé (1929) finanzieren sollte, dessen Handlung sich um die Villa Noailles in Hyères dreht. Man Ray war angezogen von den formalen geometrischen Strukturen und der an die Lichtdispersion angelehnte Linienführung, die das sehr grafische und moderne Erscheinungsbild verantworten. Auf dem Verso dieses Originalabzugs prangt auch Man Rays erster Atelierstempel »31 bis, Rue Campagne Première«. Steven Manford zufolge kam dieser Stempel von 1922 bis Mitte der 1920er-Jahre zum Einsatz, was auch dem Aufnahmedatum entspricht.

This unusual photograph depicts the garden of Villa Noailles, which was commissioned by French art patron Charles de Noailles and his wife. The garden was designed in 1926 by the French brothers André and Paul Vera, who were pioneers of cubist garden design and the art deco style. The present photograph, taken by Man Ray, is the only surviving document of the installed garden. It was Charles de Noailles who later financed Man Ray’s film Les Mystères du Château de Dé (1929), which centers around Villa Noailles in Hyères. Man Ray was attracted by the formal geometric structure and the lines following optical ray diagrams, which resulted in this very graphic and modernistic shot. The vintage print bears his first »31 bis, Rue Campagne Première« studio stamp on the reverse. According to Steven Manford, this stamp was used from 1922 to the mid-twenties, which corresponds to the date of the photograph.

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Die vorliegende Fotografie ist Teil einer wichtigen Serie von Stühlen, die Robert Frank in Paris zwischen 1949 und 1950 schuf. Die Aufnahmen, die er dort als junger Fotograf machte, sind durchtränkt von seiner Liebe zu den Straßen, Cafés und ganz allgemein der Atmosphäre der Stadt. Sie wurden am 21. Mai 1951 im Magazin Life unter dem Titel »Speaking of Pictures: A Photographer in Paris Finds Chairs Everywhere« veröffentlicht. Es war das erste Mal, dass Franks Fotografien in einer weit gestreuten Publikation für die breite Öffentlichkeit zu sehen waren.

Im Text, der die Fotostory begleitete, war Folgendes zu lesen: »Als der 26-jährige Schweizer Fotograf Robert Frank vor eineinhalb Jahren in Paris war, machte er sich auf, um die Sehenswürdigkeiten der Stadt zu fotografieren. Nachdem er sein Atelier verlassen hatte, spazierte er durch den Luxemburggarten, wo er sich zu den endlos vielen, im gesamten Parkgelände verstreuten Stühlen hingezogen fühlte. Einige waren fein säuberlich in einer Reihe entlang den Pfaden und Brunnen angeordnet, andere waren unter schattenspendenden Bäumen zusammengewürfelt, während hie und da ein einzelner Stuhl ganz still dastand. ›Alle schienen auf irgendetwas zu warten‹, meinte Frank. Bald schon fielen ihm überall in Paris Stühle auf, und wo immer er auch war, fotografierte er sie – entlang der Champs Elysées, unter den Cafémarkisen, neben den Segelbootteichen. Als er nach New York aufbrach, hatte er über 100 Fotos von Stühlen im Gepäck, welche die betuliche, entspannte Lebensweise der Stadt Paris symbolisierten.«

The present photograph is one of a significant series of photographs of chairs made by Frank in Paris between 1949 and 1950. The images he took there as a young photographer are imbued with affection for the city’s streets, cafés, and atmosphere. They were published in the 21 May 1951 issue of Life with the title »Speaking of Pictures: A Photographer in Paris Finds Chairs Everywhere.« It was the first appearance of Frank’s pictures in a general- audience publication with wide distribution.

The text accompanying the photo story read: »When Robert Frank, a 26-year-old Swiss photographer, was in Paris a year and a half ago, he set out to photograph the sights of the city. On the way from his studio he walked through the Luxembourg gardens where he was attracted by the endless array of chairs that filled the park. Some were in tidy rows along the paths and fountains, others clustered under shady trees while here and there a single chair sat quietly by itself. ›They all seemed to be waiting for something,‹ says Frank. Soon he began to notice chairs all over Paris and wherever he went he photographed them — along the Champs Elysées, under the café awnings, beside the sailboat ponds. When he left for New York he took with him more than 100 photographs of chairs, which to him symbolize the leisurely, relaxed way of life in Paris. (…)«

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ROBERT FRANK (* 1924) ›Paris and the chairs, etc.‹, 1949/50Vintage silver print, mounted on cardboard 18,6 × 30,3 cm (7.3 × 11.9 in) Signed and dated (print date, 1952) by the photographer in ink on the reverse

* € 15.000 / € 25.000–30.000

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ILSE BING (1899–1998) ›All Paris in a Box‹, 1952Gelatin silver print, printed in 1994 28,6 × 25,3 cm (11.3 × 10 in) Signed by the photographer in white ink in the image lower left, signed, titled and dated (incl. print date) by the photographer in pencil on the reverse

€ 1.200 / € 2.000–2.400

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ILSE BING (1899–1998) Pont Alexandre III, Trocadero, Eiffel Tower, Paris 1935Gelatin silver print, printed in 1993 33,8 × 23,5 cm (13.3 × 9.3 in) Signed and dated by the photographer in white ink in the image lower left, signed, annotated and dated (incl. print date) by the photographer in pencil on the reverse

€ 900 / € 1.400–1.600

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ILSE BING (1899–1998) Avenue du Maine, Paris 1932Gelatin silver print, printed in 1987 22,8 × 34,2 cm (9 × 13.5 in) Signed and dated by the photographer in ink in the image lower left, signed, annotated and dated (incl. print date) by the photographer in pencil on the reverse

€ 1.400 / € 2.000–2.400

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ANSEL ADAMS (1902–1984) ›Half Dome, Merced River, Winter Yosemite National Park‹, California 1960Gelatin silver print, printed in the 1980s by Alan Ross, mounted on cardboard 19,2 × 24 cm (7.6 × 9.4 in) Edition stamp »Photographs of Yosemite by Ansel Adams« stamp on the reverse, printed from the original negative under the supervision of Ansel Adams

€ 1.200 / € 2.000–2.400

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AARON SISKIND (1903–1991) ›Chicago 10‹, 1957Gelatin silver print, printed in 1985 39 × 54,5 cm (15.4 × 21.5 in) Signed, titled and numbered by the photographer in ink in the margin, edition no. 9 / 15, from the portfolio »Chicago Facades 1952–1960«, published by Palm Press Inc., Littleton, Massachusetts

€ 2.200 / € 4.000–5.000

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BERENICE ABBOTT (1898–1991) ›Shoe Shine Parlor, Pearl Street‹ (from the ›Retrospective 1930-1960 Portfolio‹), New York 1936Gelatin silver print, printed in 1982, large format, mounted on the original cardboard 45 × 58 cm (17.7 × 22.8 in) Signed and numbered by the photographer in pencil on the mount, her stamp and title on the reverse, edition no. 34 / 40

€ 1.400 / € 2.500–3.000

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RUTH BERNHARD (1905–2006) ›Against the Light‹, 1951Gelatin silver print, printed in the 1960s, mounted on the original cardboard 25 × 30,4 cm (9.8 × 12 in) Signed (signature was done later) by the photographer in pencil on the mount, signed and titled by her on the reverse of mount

€ 2.400 / € 4.000–5.000

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JOCK STURGES (* 1947) ›Jock Sturges‹, Scalo, Zurich 1996Published in conjunction with a major exhibition at the Museum of Modern Art in Frankfurt, duotone prints, the limited edition contains a signed 11 × 14 in silver print of the cover image, in a fitted clam-shell box, limited to 60 copies, edition no. 3 / 60

* € 1.200 / € 2.000–2.500

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RENÉ GROEBLI (* 1927) ›Das Auge der Liebe‹ (The eye of love), 1953Gelatin silver print, printed in 1992 35,7 × 23,7 cm (14.1 × 9.3 in) Signed by the photographer in pencil on the reverse, his copyright stamp with handwritten edition no. and print stamp on the reverse, edition no. 3 / 7

PROVENANCE acquired by the present owner directly from the photographer

LITERATURE René Groebli, Das Auge der Liebe, Zurich 1954, s.p; René Groebli, Visionen. Photographien 1946–1991, Salenstein 1992, p. 89.

€ 1.800 / € 3.500–4.500

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RENÉ GROEBLI (* 1927) ›The Eye of Love‹, Press Centre Limited for Photography, London 1954English printing, SIGNED BY RENÉ GROEBLI, first edition, first printing, super scarce first English printing, strongly limited to 300 copies, paperback with dust jacket, 21,5 × 30 cm (8.5 × 11.8 in), 18 pages, 25 black and white photographs, text in English by Basil Burton

* € 600 / € 800–1.000

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BARBARA MORGAN (1900–1992) ›Pearl Primus, Speak to Me of Rivers‹, 1944Gelatin silver print, printed c. 1980 33,7 × 44,7 cm (13.3 × 17.6 in) Signed, titled and dated by the photographer in ink in the margin, signed and titled by the photographer in ink on the reverse

€ 1.800 / € 3.000–3.500

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BARBARA MORGAN (1900–1992) ›Spring on Madison Square‹, New York 1938Gelatin silver print, printed c. 1980 33,7 × 44,7 cm (13.3 × 17.6 in) Signed, titled and dated by the photographer in ink in the margin; signed, titled and dated by her in ink on the reverse

€ 2.600 / € 5.000–6.000

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YOUSUF KARSH (1908–2002) Woman behind veil, 1950sVintage silver print 24,4 × 24,2 cm (9.6 × 9.5 in) Signed by the photographer in white ink in the image lower left, his copyright credit stamp and Francis Robinson collection stamp on the reverse

€ 1.800 / € 3.000–3.500

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ERNEST BACHRACH (1900–1990) Katharine Hepburn, 1937Vintage silver print 24 × 19,3 cm (9.4 × 7.6 in) Photographer’s copyright stamp on the reverse

€ 800 / € 1.400–1.600

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KRYN TACONIS (1918–1979) Henri Cartier-Bresson with Leica, Paris 1953Gelatin silver print, printed in 1966 25,5 × 16,5 cm (10 × 6.5 in) Photographer’s name stamp, »Magnum Photos« stamp, date stamp (print date »1966«) and several notations in unknown hands on the reverse

€ 1.400 / € 2.000–2.400

»Timing is everything«. Geheimnisvoll, surreal und eines seiner berühmtesten Bilder: Um eine immense Wasserlache auf dem Pariser Place de l’Europe zu überwinden, springt ein Mann und wird von Henri Cartier-Bresson erfasst. Er richtete seine erste Leica, die er im gleichen Jahr in Marseille erworben hatte, durch einen Zaun am Bahnhof Saint-Lazare und als alles in Einklang war, drückt er ab. In keiner anderen Fotografie treffen Cartier-Bressons Bril-lianz und Instinkt für den richtigen Zeitpunkt so perfekt aufeinander. Neben den markanten Spiegelungen im Wasser, dessen Fläche und Tiefe nicht fassbar sind, treten hinter dem Gare Saint-Lazare noch weitere Details als Doppelgänger hervor: die verstreuten Metallringe, die Zirkusplakate im Hintergrund, die stilisierte Tänzerin und der »Springer«, beide wie ein Schattenriss, aber auch die Ringe und die kreisrunden Wellen, die – in der Fantasie des Betrachters fortgesetzt – eine Landung im Wasser evozieren.

Strukturiert durch ein verblüffendes Spiel geometrischer Formen, gilt diese Aufnahme als Meisterstück von Form und Licht und wurde nicht umsonst zum Inbegriff von Cartier-Bressons Credo des »entscheidenden Augenblicks«. Es bezeichnet die bewusste und doch intuitive Auswahl einer Szene, die perfekte Komposition, und revolutionierte die nachfolgende Lichtbildkunst des 20. Jahrhunderts.

»Timing is everything«. Mysterious, surreal and one of his most famous pictures: a man takes a leap in order to cross an immense puddle on the Place de l’Europe in Paris — and is fixed by Henri Cartier-Bresson. He pointed his first Leica, he had bought in Marseille the same year, through a fence behind Paris’ Saint-Lazare train station and saw these components all come together for a brief moment and clicked his shutter. Speed and instinct were at the heart of Henri Cartier-Bresson’s brilliance as a photographer. And never did he combine the two better than on this day in 1932. Apart from the characteristic reflections in the water, whose extent and depth are unfathomable, there are further doppelganger details behind the Gare Saint- Lazare: the metal rings strewn about, the circus posters in the background, the stylised dancer and the »jumper«, both seen like silhouettes, but also the rings and circular waves evoked by a water landing — in the imagination of the viewer.

Structured by a baffling interplay of geometrical forms, this image can be considered a masterpiece of form and light and the image would become a quintessential example of Cartier-Bresson’s »decisive moment«. It implies the con-scious yet intuitive selection of a scene, the credo of perfect composition, and helped chart the course for 20th century photography.

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HENRI CARTIER-BRESSON (1908–2004) ›Derrière la Gare Saint-Lazare‹, Paris 1932Gelatin silver print, printed in the 1990s 35,7 × 24,1 cm (14.1 × 9.5 in) Signed by the photographer in ink in the margin, his copyright blindstamp in the margin lower left

LITERATURE Lincoln Kirstein / Beaumont Newhall (eds.), The Photographs of Henri Cartier-Bresson, The Museum of Modern Art, New York 1947, p. 24; Henri Cartier-Bresson, Images à la Sauvette, Paris 1952, pl. 26; Yves Bonnefoy (ed.), Henri Cartier-Bresson, Photo- graphe, Paris 1979, pl. 14; Peter Galassi (ed.), Henri Cartier-Bresson: The Early Work, The Museum of Modern Art, New York 1987, p. 101; Vera Feyder / André Pieyre de Mandiargues / Henri Cartier-Bresson (eds.), Paris à vue d’oeil, Paris 1994, pl. 33; Jean-Pierre Montier (ed.), L’art sans art d’Henri Cartier-Bresson, Paris 1995, p. 96; Henri Cartier-Bresson, De qui s’agit-il? Paris 2003, p. 59.

* € 6.000 / € 10.000–12.000

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Es handelt sich um die wohl legendärste und am häufigsten reproduzierte Kriegsfotografie in der Geschichte: Capas The Falling Soldier, auch bekannt unter den Titeln Loyalist Militiaman at the Moment of Death oder Death of a Loyalist Soldier.

Als Verfechter der republikanischen Sache bereiste Capa im Auftrag des französischen Magazins VU die Front des Spanischen Bürgerkriegs. Der heroische Kampf der spanischen Bevölkerung gegen die Faschisten fand bei ihm großen Anklang. Mit seiner Leica fing er diesen republika-nischen Milizionär, von einer feindlichen Kugel getroffen, beim Niedersinken ein. Am 23. September 1936 veröffent-lichte VU das Foto auf einer Doppelseite. Später erreichte das Bild ein viel größeres Publikum mit seiner Veröffentli-chung in Life im Juli 1937. Die sechsseitige Fotostory wurde begleitet von einem Text von Ernest Hemingway, der auf die Bedeutung des Konflikts für die amerikanische Öffent-lichkeit einging. Das Erscheinen machte Capa sofort zu einem Star des Fotojournalismus und signalisierte einen Kurswechsel in der Meinung der Amerikaner über den Konflikt. Die Fotografie ist so kontrovers wie kaum eine zweite, da einige Kritiker am dokumentarischen Wert und an der Authentizität der Szene gezweifelt haben. Die Identifikation des sterbenden Milizionärs als der Anarchist Federico Borrell schien der Kontroverse den Wind aus den Segeln zu nehmen, aber die Spekulationen sind noch lange nicht verstummt.

Der vorliegende seltene Vintage-Abzug stammt ursprüng-lich aus dem Black-Star-Archiv in New York. Die Agentur Black Star wurde im Dezember 1935 gegründet und ver-sorgte unter anderem Magazine wie Life mit Fotografien. Es war auch diese Fotoagentur, für die Robert Capa während des Spanischen Bürgerkriegs arbeitete und die ihn bis 1938 vertrat. Danach wechselte er zur Agentur Pix.

Der Silbergelatineabzug wurde von den Restauratoren des Museo Reina Sofia in Madrid mit Schwarzlicht geprüft und untersucht. Das Fazit: Der Abzug entstand zwischen 1936 und 1938 – als Robert Capa noch für Black Star arbeitete – womit er zu den äußerst seltenen Vintages dieser Ikone zählt, eine der unvergesslichsten Fotografien unserer Bild-kultur. Vor kurzem wurde ein Vintage-Abzug in New York um 162.500 Dollar versteigert (Los 104, Phillips Fotoauktion, New York, 9. April 2018).

It is surely the most legendary and most frequently reproduced war photograph in the history: Capa’s Falling Soldier, also entitled Loyalist Militiaman at the Moment of Death or Death of a Loyalist Soldier.

A champion of the Republican cause, Capa travelled to the front of the Spanish Civil War while on assignment for the French magazine VU. The noble fight of Spanish citizens against the fascist forces resonated with him deeply. He captured this Republican militiaman with his Leica in mid-fall after being hit by an enemy bullet. On September 23, 1936 VU published the photo on a page spread. The image later reached a much larger audience when it appeared in Life in July 1937. The six pages photo story was accompanied by a text by Ernest Hemingway, addressing the seriousness of the conflict to the American public. Its appearance immediately made Capa a star of photojournalism and also signaled a shift in American opinion about the conflict. The image has been as contro-versial as few photographs in the world as critics have doubted the documentary value and authenticity of the scene. The tentative identification of the dying militiaman as an anarchist named Federico Borrell seemed to quell that controversy, but still the speculation has not ended.

The rare vintage print offered here originates from the Black Star archive in New York. The Black Star agency was founded in December 1935 and was also a photo supplier for magazines such as Life. It was the photo agency for which Robert Capa worked during the Spanish Civil War. Capa was represented by this agency until 1938. After that he joined Pix Agency.

The present gelatin silver print (fibre-base paper) was blacklight tested and examined by the conservators of the Museo Reina Sofia (Madrid). They concluded that this print was made between 1936 and 1938, when Robert Capa was still working for Black Star, and is therefore one of only a handful vintage prints left of this iconic image, which is undoubtedly one of the most unforgettable images in our visual culture. Recently, a vintage print sold for 162,500 dollars in New York (Lot 104, Phillips Photographs Auction, New York, 9 April 2018).

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ROBERT CAPA (1913–1954) ›The Falling Soldier‹ (Loyalist Militiamanat the Moment of Death), Córdoba front,September 5th, 1936

Vintage silver print 12,4 × 18,6 cm (4.9 × 7.3 in) Photographer’s »Black Star« stamp and several handwritten notations, most likely by the photographer, in pencil on the reverse

LITERATURE La Guerre Civile en Espagne, VU Magazine, 23.9.1936; Robert Capa, Death in Spain, Life Magazine, 12 July 1937; Robert Robert Capa / Gerda Taro (eds.), Death in The Making. Photographs by Robert Capa and Gerda Taro, New York 1938, cover; Richard Whelan (ed.), Robert Capa: The Definitive Collection, London 2001, p. 81; Cornell Capa / Richard Whelan (eds.), Robert Capa. Photographs, New York 1985, pp. 42–43.

€ 60.000 / € 100.000–120.000

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JEWGENI CHALDEJ (1917–1997) ›Raising the Soviet flag over Reichstag‹, Berlin, May 1945Gelatin silver print, printed in the early 1990s 29,2 × 21 cm (11.5 × 8.3 in) Signed by the photographer in pencil on the reverse

€ 1.400 / € 2.000–2.400

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JEWGENI CHALDEJ (1917–1997) Vienna, April 1945Gelatin silver print, printed in the 1980s 26 × 38 cm (10.2 × 15 in) Signed by the photographer in pencil on the reverse Sowjetisches Militär vor den Leichen von Nationalsozialisten, die in einem Park vor dem Parlament Selbstmord be- gangen haben. / Sovjet military officers in front of corpses of National Socialists who committed suicide in a park next to the Parliament.

€ 1.200 / € 2.000–2.400

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ANONYMOUS PHOTOGRAPHER Chaldej with camera man Roman Karmen and the poet Jewgeni Dolmatovski, Berlin, May 2nd, 1945Gelatin silver print, printed in the 1980s 38,4 × 26,2 cm (15.1 × 10.3 in) Signed by Chaldej in pencil on the reverse

€ 800 / € 1.400–1.600

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JEWGENI CHALDEJ (1917–1997) Joseph Stalin, Harry S. Truman and Winston Churchill during the Potsdam Conference, July 1945Gelatin silver print, printed in the 1990s, rare large format exhibition print 41,5 × 59,6 cm (16.3 × 23.5 in) Signed by the photographer in pencil on the reverse, his copyright stamp on the reverse

LITERATURE Evgenij Chaldej, Un grande fotografo di guerra, Solares Fondazione Culturale, Turin 2006, p. 94.

€ 2.000 / € 3.500–4.000

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HENRI CARTIER- BRESSON (1908–2004) Shanghai Port, September 1949Gelatin silver print, printed in the 1980s 24,1 × 16,3 cm (9.5 × 6.4 in) Photographer’s copyright stamp and Japanese collector’s stamp on the reverse »USS General W. H. Gordon« at Shanghai port. After their departure, the nationalists imposed a maritime blockade in Shanghai. After 5 months of blockade, a US ship, the »Gordon« reaches the port of Shanghai and picks up the foreigners wishing to leave the city.

€ 1.800 / € 3.000–3.500

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HENRI CARTIER- BRESSON (1908–2004) ›D’une Chine à l’autre‹, Robert Delpire, Paris 1954First original edition, hardcover, Bound in cloth and dust jacket, 21 × 27 cm (8.3 × 10.6 in), 144 black and white photographs printed in photogravure, text by Jean-Paul Sartre, edited by Robert Delpire

€ 500 / € 800–900

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HENRI CARTIER-BRESSON (1908–2004) ›Last Days of the Kuomintang‹, Shanghai, December 1948 – January 1949Gelatin silver print, printed in the late 1950s / early 1960s, 17 × 24,6 cm (6.7 × 9.7 in) Photographer’s »Mention obligatoire« stamp, copyright stamp and extensive description in French in ink on the reverse

LITERATURE Henri Cartier-Bresson, Images à la sauvette, Verve 1952, p. 109; Henri Cartier-Bresson, The Decisive Moment, Paris 1952, p. 109-110; Montier, Henri Cartier-Bresson L’art sans art, Flammarion 1995, p.174; De qui s’agit-il ? Henri Cartier-Bresson, Bibliothèque nationale de France, Gallimard 2003, p.309; Peter Galassi, Henri Cartier-Bresson. Un siècle moderne, The Museum of Modern Art / Hazan, 2010, p.113.

€ 2.800 / € 5.000–6.000

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Cartier-Bresson machte die aussagekräftigsten Aufnahmen der kommunistischen Übernahme von China und der Geburtsstunde der Volksrepublik. China wurde seit Juli 1946 vom Bürgerkrieg zwischen den Truppen des Kommunisten Mao Tse-Tungs und den nationalistischen Streitkräften der Kuomintang unter General Tschiang Kai Schek zerrissen. Als sich der Sieg der Kommunisten abzeichnete, sank der Wert des Papiergeldes ins Bodenlose. Die Kuomintang entschieden 40 g Gold pro Person auszugeben, was zu einer Art Goldrausch im Dezember 1948 führte. Die Auf-nahme zeigt Einwohner Shanghais beim Eintauschen von Geld gegen Gold vor einer staatlichen Bank. Die Polizei versuchte nur halbherzig wieder Ordnung herzustellen. Zehn Menschen kamen in der Drängerei zu Tode. Die ikonische Aufnahme, vorliegend als früher Abzug um 1960, blieb seither ein Symbol einer Massenpanik nach einem Regimewechsel. Cartier-Bresson inkludierte sie in sein erstes Fotobuch, The Decisive Moment, aus dem Jahre 1952.

Cartier-Bresson took the most definitive photographs of the Communist takeover of China and the birth of the People’s Republic. Since July 1946, China has been torn apart by civil war between the Communist forces of Mao Tse-Tung and the Nationalist Kuomintang forces of General Tchang Kai Chek. With the approach of the Communist victory, the value of paper money plummeted. The Kuomintang decided to distribute 40 grams of gold per person. A gold rush started in December 1948. The image shows Shanghai citizens at a government bank exchanging paper money for gold. The police only made a gesture toward maintaining order. Ten people were crushed to death. The iconic shot, present as early print from around 1960, is a lasting symbol of crowds panicked by the change of regime. Cartier-Bresson included it in his very first photo book The Decisive Moment in 1952.

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OSVALDO SALAS (1914–1992) Ernesto Che Guevara, Cuba 1953Gelatin silver print, printed in the 1980s 30,4 × 40,5 cm (12 × 15.9 in) Signed and annotated »Che« by the photographer in ink in the margin, his copyright label on the reverse

LITERATURE Osvaldo Salas, Kuba. Eine Revolution, Berlin 2004, p. 108.

€ 1.600 / € 3.500–4.000

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ERICH LESSING (1923–2018) Chou En-Lai, Poland 1957Vintage silver print 29,9 × 20,2 cm (11.8 × 8 in) »Photo Magnum« stamp and typographic »Chou En Lai« stamp on the reverse, annotated »en Pologne« in pencil on the reverse Chinese Prime Minister Chou En-Lai, on a state-visit to Poland, signed the visitors’ book at the Geran car-factory which produced the »Warszawa«, a Polish version of the only Soviet passenger car, the Pobieda. Warsaw, 1957

€ 1.400 / € 2.000–2.400

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ELLIOTT ERWITT (* 1928) ›The Kitchen Debate‹ (Nikita Khrushchev, Richard Nixon), Moscow, July 24th, 1959Vintage silver print 16,6 × 25,3 cm (6.5 × 10 in) Photographer’s agency stamp, neg no. stamp and several handwritten numerical notations on the reverse

LITERATURE »That famous debate in close-up pictures«, in: Life, August 3, 1959, p. 26–31; Sean Callahan (ed.), Elliott Erwitt. The Private Experience: Personal Insights of a Professional Photographer, Los Angeles 1974, p. 50f; Elliott Erwitt, Personal Exposures. Fotografien 1946–1988, Lausanne 1988 / Munich 2012, p. 65; EE 60 / 60. Fotografías de Elliott Erwitt, cat. Museo Nacional Centro de Arte Reina Sofia, Madrid 2002; Elliott Erwitt, Personal Best, New York / Kempen 2006, p. 260; Sequentially Yours, Elliott Erwitt, New York 2011; Magnum Contact Sheets, Munich 2011, p. 96 / 97.

€ 2.000 / € 4.000–5.000

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MARC RIBOUD (1923–2016) China, 1965Vintage silver print 16,8 × 25,2 cm (6.6 × 9.9 in) Photographer’s copyright agency stamp, press stamp and various handwritten numerical notations in ink on the reverse

€ 1.200 / € 2.000–2.400

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BARBARA KLEMM (* 1939) Beijing, 1985Gelatin silver print, printed in the 1990s 15 × 21,7 cm (5.9 × 8.5 in) Signed and dated by the photographer in pencil on the reverse, her copyright stamp on the reverse

€ 900 / € 1.600–1.800

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MARC RIBOUD (1923–2016) Divorce, Beijing 1965Gelatin silver print, printed in the 1990s 29 × 43,8 cm (11.4 × 17.2 in) Signed by the photographer in pencil in the margin, signed, annotated and dated by the photographer in pencil on the reverse

LITERATURE Marc Riboud, Portfolio, Munich 2001, pl. 73; Marc Riboud, The Three Banners of China, London 1966, p. 166–167.

Divorce proceedings, the members of the court (president, associate judge and two steno-graphers) advise the couple to take up their marriage again. Divorce was officially approved by law, but it was executed only very limited. / Ein Scheidungsprozess, die Mitglieder des Gerichts (Präsident, Beisitzender und zwei Stenographen) empfehlen dem Paar das Zusam-menleben wieder aufzunehmen. Obgleich die Scheidung offiziell nach dem Gesetz anerkannt ist, wurde sie nur sehr beschränkt angewandt.

€ 2.000 / € 3.500–4.000

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MARC RIBOUD (1923–2016) Building a bridge over the Chang Jiang river with Soviet co-operation, Hankou, China 1957Gelatin silver print, printed in the 2000s 29 × 43,5 cm (11.4 × 17.1 in) Signed by the photographer in pencil on the reverse, his Paris studio stamp on the reverse


€ 2.400 / € 4.000–5.000

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MAX SCHELER (1928–2003) A set of images of the Cultural Revolution, China 196722 Vintage silver prints each c. 30 × 20 cm (11.8 × 7.9 in) Each with the photographer’s Stern copyright stamp and numerical stamp on the reverse, some of them with handwritten notations in ink on the reverse

€ 3.400 / € 5.000–6.000

Als Schüler und Assistent von Herbert List begann Max Scheler seine Karriere als Fotograf im Deutschland der Nachkriegszeit. In Paris wurde Robert Capa auf seine fotografische Arbeit aufmerksam und lud ihn ein als Contributor für Magnum zu arbeiten. 1959 ging Scheler nach Hamburg und prägte dort als Chronist bedeutender Ereignisse zusammen mit Stefan Moses, Thomas Höpker und Robert Lebeck das Erscheinungsbild des Magazins Stern. Die politische Reportagearbeit brachte ihn 1967 nach China, als die Kulturrevolution bereits voll im Gange war. Drei Wochen lang bereiste Scheler mit einem Touristen-visum die Volksrepublik. Er dokumentierte ein Land im politisch-kulturellen Umbruch, doch diese Aufnahmen sind stets von einem humanistischen Interesse motiviert, was das vorliegende Konvolut aus 22 Vintage-Abzügen in jeder einzelnen Aufnahme so wunderbar bezeugt.

Max Scheler began his career as a photographer in postwar Germany, when he was a student and assistant of Herbert List. In Paris, his photographic works were brought to the attention of Robert Capa, who invited him to become a Magnum contributor. In 1959, Scheler moved to Hamburg, where he, together with Stefan Moses, Thomas Höpker, and Robert Lebeck became a huge influence on the ap-pearance of the magazine Stern as chroniclers of important events. Coverage of political affairs brought him to China in 1967, when the Cultural Revolution was already in full swing. For three weeks, Scheler traveled the People’s Republic on a tourist visa. He documented the country in times of cultural and political upheaval, but his pictures were always motivated by human interests, which is wonderfully evident in each of the 22 vintage prints con-tained in the present lot.

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ERICH LESSING (1923–2018) The American Sector in Divided Berlin, 1958Vintage silver print 29,8 × 20,2 cm (11.7 × 8 in) Photographer’s agency stamp, press and publication stamp (incl. date 1961) and various handwritten notations in ink and pencil on the reverse

€ 2.000 / € 3.500–4.000

76

INGE MORATH (1923–2002) Arcos de la Frontera, Cádiz 1954Gelatin silver print, printed in 1966 32,9 × 22,7 cm (13 × 8.9 in) Signed and annotated (incl. neg. no. »54-18-238 / 31«) by the photographer in pencil and ink on the reverse, her agency stamp with print date »1966« on the reverse

€ 1.800 / € 3.000–3.500

51

78

RENÉ BURRI (1933–2014) South America, 1958Vintage silver print 16,5 × 24,8 cm (6.5 × 9.8 in) Photographer’s agency stamp and handwritten neg. no. »58-15-1062 / 35A-36« in pencil on the reverse

* € 1.800 / € 3.500–4.000

77

ALFRED EISENSTAEDT (1898–1995) Neapolitan Boys, 1932Vintage silver print 18 × 24,2 cm (7.1 × 9.5 in) The Associated Press stamp, label with typographic description and handwritten annotations in pencil on the reverse

€ 1.400 / € 2.000–2.400

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80

HENRI CARTIER- BRESSON (1908–2004) Sfinos, Greece 1961Gelatin silver print, printed in the 1980s 16,2 × 24,1 cm (6.4 × 9.5 in) Photographer‘s coypright stamp and Japanese collector’s stamp on the reverse

LITERATURE Henri Cartier-Bresson: Photographer, London 1980, p. 44; Henri Cartier-Bresson: The Man, the Image and the World, London 2006, p. 235; Jean-Pierre Montier (ed.), Henri Cartier-Bresson and the Artless Art, London 1996, plate 48.

€ 2.400 / € 4.000–5.000

79

RENÉ BURRI (1933–2014) Leonforte, Italy 1956Gelatin silver print, printed in 2002 27,5 × 18,4 cm (10.8 × 7.2 in) Signed, annotated and dated by the photographer in pencil on the reverse

€ 1.800 / € 3.000–3.500

53

82

ELLIOTT ERWITT (* 1928) New York, 1974Gelatin silver print, printed in the 1990s 29,7 × 43,9 cm (11.7 × 17.3 in) Signed by the photographer in ink in the margin, signed, titled and dated by the photographer in pencil on the reverse


LITERATURE Elliott Erwitt, Snaps, London 2011, p. 205; William Manchester (ed.), In our Time. The world as seen by Magnum photographers, London 1989, p. 216; Elliott Erwitt, Personal Best, New York 2006, p. 406

€ 3.600 / € 6.000–7.000

81

INGE MORATH (1923–2002) Forty-eighth Street window washers, Rockefeller Center, New York 1958Gelatin silver print, printed in the 1990s 33 × 21,9 cm (13 × 8.6 in) Signed and annotated (incl. neg. no. »58-23-1837 / 7«) by the photographer in pencil on the reverse, her agency copyright label on the reverse

LITERATURE Kurt Kaindl (ed.), Inge Morath. Fotografien 1952–1992, Salzburg 1992, p. 124; Inge Morath. Das Leben als Photographin, Munich 1999, p. 108; Inge Morath, New York, Salzburg 2002, cover.

€ 1.800 / € 3.000–3.500

54

83

ELLIOTT ERWITT (* 1928) Bretagne, France 1960Archival pigment print, printed in the 2000s 29,5 × 44,3 cm (11.6 × 17.4 in) Signed by the photographer in ink in the margin, signed, titled and dated by the photographer in pencil on the reverse

PROVENANCE in focus Galerie, Cologne

LITERATURE Elliott Erwitt’s Kolor, Kempen 2013, p. 36–37.

* € 2.400 / € 4.500–5.000

84

ELLIOTT ERWITT (* 1928) Marilyn Monroe on the set of ›The Seven Year Itch‹, New York 1954Archival pigment print, printed in the 2000s 30,3 × 20,3 cm (11.9 × 8 in) Signed by the photographer in ink in the margin; signed, titled and dated by the photographer in pencil on the reverse


LITERATURE Elliott Erwitt’s Kolor, Kempen 2013, p. 101.

* € 1.800 / € 3.000–3.500

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85

MARC RIBOUD (1923–2016) Henri Cartier-Bresson and Elliott Erwitt, New York 1959Gelatin silver print, printed in the 2000s 29,5 × 44,4 cm (11.6 × 17.5 in) Signed, annotated and dated by the photographer in ink in the margin, his Paris studio stamp on the reverse


* € 2.800 / € 4.000–5.000

86

MARC RIBOUD (1923-2016) ›Les Peintres de la Tour Eiffel‹, Paris 19533 Vintage silver prints 25 × 18 cm (9.8 × 7.1 in) (2), 13 × 22,5 cm (1) Each with the photographer’s credit agency stamp, press stamp and handwritten credit on the reverse

€ 1.800 / € 3.000–3.500

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87

MARC RIBOUD (1923–2016) ›Le Peintre de la Tour Eiffel‹, Paris 1953Gelatin silver print, printed in the 1990s 36,2 × 24 cm (14.3 × 9.4 in) Signed by the photographer in pencil on the reverse, his Paris studio stamp on the reverse


LITERATURE Marc Riboud, 50 Years of Photo- graphy, Paris 2004, p. 53; Marc Riboud, Portfolio, Munich 2001, cover and plate 8; Marc Riboud, Photographs at Home and Abroad, 2000, cover.

* € 2.800 / € 4.500–5.000

»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 grace-fully 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)

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THOMAS HOEPKER (* 1936) Muhammad Ali, Chicago 1966Iris Print 22,9 × 15,1 cm (9 × 5.9 in) Signed by the photographer in ink on the reverse, his agency stamp on the reverse

€ 1.200 / € 2.000–2.400

Thomas Hoepker bekam 1966 vom Magazin Stern den Auftrag Muhammad Ali zu porträtieren und begleitete diesen über einen längeren Zeitraum. Dabei entstand ein einmaliges fotografisches Zeugnis des Ausnahmesportlers. Die vorliegende Fotografie, aufgenommen mit der Leica MP-88, zeigt Ali in konfrontierender Boxerpose direkt in die Kamera blickend, seine geballte Faust unmittelbar vor der Linse im Bildvordergrund. Hoepker selbst erinnert sich folgendermaßen an die Entstehung: »An einem anderen Abend, beim Training sieht […] der Champ mich abseits im Schatten stehen. Er kommt zu mir rüber und zielt mit der Faust auf meine Leica – links, ›bumm‹, rechts, ›bumm!‹, links! Das Licht ist miserabel, erbärmlich schwach. Ich versuche die Faust scharf zu kriegen, habe gerade mal drei Aufnahmen im Kasten, da tänzelt Ali zurück zu seiner Boxbirne.« Eine dieser drei Aufnahmen, vorliegend als signierter und großformatiger Abzug, wurde erst unlängst von Hoepker in seinem Archiv wiederentdeckt. Es zeigt Alis linke Faust im Dunklen und ganz bewusst ließ Hoepker das Negativ so wie es war, zerkratzt und unretouchiert. Für ihn ein Synonym für Alis dunkle und weniger sichtbare Seite, der er mit dieser Variante noch einmal ein Denkmal setzte.

In 1966 Thomas Hoepker was commissioned by the magazine Stern to portray Muhammad Ali, so he accom-panied Ali over a lengthy period of time. This resulted in unique photographic images of this exceptional athlete. The present photograph, taken with the Leica MP-88, shows Ali in a confrontational boxing pose, looking straight into the camera with his clenched fist directly in front of the lens in the foreground. Hoepker himself recalls its genesis: »During his training session on another evening the champ […] sees me standing on the sidelines, in the shadow. He comes over and aims his fist at my Leica — left, ›wham‹, right, ›wham!‹, left! The light is terrible, miserably low. I try to get the fist into focus, and just when I have only three images in the can, Ali prances back to his punching bag.« One of those three images, available as signed large format print, was only recently discovered by Hoepker in his archives. It shows Ali’s left fist in the dark. Hoepker left the negative like it was, unretouched and scratched. For Hoepker this variant is a good juxtaposition and synonym for Ali’s less known dark side.

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THOMAS HOEPKER (* 1936) ›Muhammad Ali (dark fist scratched)‹, Chicago 1966Gelatin silver print, printed in the 2000s 58,6 × 41,6 cm (23.1 × 16.4 in) Signed and numbered by the photographer in ink and pencil on the reverse, his studio stamp on the reverse, edition no. 7 / 20


LITERATURE Ulrich Pohlmann (ed.), Thomas Hoepker Photographien 1955–2005, Munich 2005, p. 60; Magnum Contact Sheets, Munich 2011, p. 158; Thomas Hoepker, Champ: Muhammad Ali, Berlin 2010, cover.

€ 4.500 / € 8.000–10.000

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91

FLIP SCHULKE (1930–2008) Muhammad Ali, Fifth Street Gym, Miami Beach, 1963Gelatin silver print, printed in the 1990s 47,8 × 32,8 cm (18.8 × 12.9 in) Signed and inscribed by the photographer’s wife Donna Schulke on the reverse, original lifetime print by Flip Schulke

LITERATURE Flip Schulke, Muhammad Ali: the Birth of a Legend. Miami 1961–1964, London 2000.

€ 2.000 / € 3.000–4.000

90

THOMAS HOEPKER (* 1936) ›Muhammad Ali (Ali jumping)‹, Chicago 1966Gelatin silver print, printed in the 2000s 41,2 × 59,2 cm (16.2 × 23.3 in) Signed and numbered by the photographer in ink and pencil on the reverse, his studio stamp on the reverse, edition no. 5 / 20


LITERATURE Thomas Hoepker, Photographien (1955–2005), Munich 2006, p. 58–59.

€ 3.600 / € 7.000–9.000

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92

HAROLD EDGERTON (1903–1990) Joe Louis vs. Billy Conn, June 18th, 1941Vintage silver print 34 × 26 cm (13.4 × 10.2 in) Photographer’s stamp on the reverse

€ 2.400 / € 4.000–5.000

Die vorliegende Aufnahme des historischen Boxkampfes zwischen Joe Louis und Billy Conn leitete eine neue Ära der Fotografie ein. Harold Edgerton, ein Pionier in der Nutzung rasch aufeinanderfolgender Blitzaufnahmen, dokumentierte den Kampf von seinem Posten direkt neben dem Ring. Mit seinem Hochgeschwindigkeitsstroboskop machte er dieses Nachtfoto, das die beiden Boxer perfekt einfängt. Das Bild, vorliegend als Vintage-Abzug, war das allererste Foto von einer nächtlichen Sportveranstaltung. Es ging an Zeitungen in ganz Amerika und sollte die Sportfotografie für immer verändern.

This photograph of the historic fight between Joe Louis and Billy Conn ushered a new era in photography. Harold Edgerton, who was a pioneer in using short duration electronic flashes, covered the fight from his command post situated directly at ringside. With his high-speed strobe he took the present night photo, which perfectly captures the two boxers. The image, available as a vintage print, was the first ever published photograph of a night-time sporting event. It was wired to newspapers across the United States and changed sports photography forever.

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ÉDOUARD BOUBAT (1923–1999) ›Les Amoureux‹, 1980sGelatin silver print, printed in the 1990s by Pierre Gassmann 37,2 × 24,5 cm (14.6 × 9.6 in) Signed by the photographer in ink on the reverse, his copyright stamp and print stamp on the reverse


* € 1.200 / € 2.000–2.400

94

MARIO GIACOMELLI (1925–2000) Dicembre, ›Presa di coscienza sulla natura (On being aware of nature)‹, 1955Gelatin silver print, printed in the 1980s 28,8 × 39,5 cm (11.3 × 15.6 in) Signed, annotated and dated (image and print date) by the photographer in ink on the reverse, his photographer‘s stamp on the reverse

LITERATURE Alister Crawford (ed.), Mario Giacomelli, New York 2001, p. 354.

€ 1.600 / € 2.500–3.000

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95

WILLY RONIS (1910–2009) Lorraine, 1954Gelatin silver print, printed in the 1980s 30 × 21,7 cm (11.8 × 8.5 in) Signed by the photographer in ink in the margin, his Paris studio stamp on the reverse


* € 1.800 / € 3.000–3.500

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96

ÉDOUARD BOUBAT (1923–1999) Parisian Girl, 1951Vintage silver print 37,2 × 24,5 cm (14.6 × 9.6 in) Photographer’s stamp, date stamp and several press labels with typographic descriptions on the reverse

€ 1.800 / € 3.000–3.500

97

WILLY RONIS (1910–2009) ›Caveau de la Huchette‹, Paris 1957»Caveau de la Huchette«, Paris 1957 Gelatin silver print, printed in the 1980s 21,8 × 30,4 cm (8.6 × 12 in) Signed by the photographer in ink in the margin, his Paris studio stamp on the reverse


€ 1.200 / € 2.000–2.500

99

DENNIS STOCK (1928–2010) Café de Flore, Paris 1958Gelatin silver print, printed in the 1990s 32,4 × 48 cm (12.8 × 18.9 in) Signed by the photographer in ink in the margin

€ 1.800 / € 3.000–3.500

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98

WILLY RONIS (1910–2009) ›Café de France, L’Isle-sur-la-Sorgue‹, 1979Gelatin silver print, printed in the 1980s 22,8 × 30,5 cm (9 × 12 in) Signed by the photographer in ink in the margin; annotated in an unidentified hand in pencil on the reverse


LITERATURE Paul Ryan (ed.), Willy Ronis (55), London 2002, p. 91; Willy Ronis, I Grande Fotografi, Milan 1983, cover.

* € 1.400 / € 2.000–2.500

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101

FRANK HORVAT (* 1928) Strip-Tease, Paris late 1950sVintage silver print 25 × 19,3 cm (9.8 × 7.6 in) Publication label with handwritten notations on the reverse

LITERATURE Frank Horvat, Eintritt frei. Strip-Tease, Lausanne 1963, p. 76.

* € 1.800 / € 3.000–3.500

100

FRANK HORVAT (* 1928) Strip-Tease, Paris late 1950sVintage silver print 16,9 × 24,4 cm (6.7 × 9.6 in) Publication label with handwritten notations on the reverse

LITERATURE Frank Horvat, Eintritt frei. Strip-Tease, Lausanne 1963, p. 132.

* € 1.600 / € 3.000–3.500

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102

JEANLOUP SIEFF (1933–2000) Claire Motte (from the series ›Danse‹), Paris 1960Vintage silver print 35,8 × 24 cm (14.1 × 9.4 in) Photographer’s stamp on the reverse, annotated in an unidentified hand in ink on the reverse, label with notations referring to book project (title »Danse«, page. no., format) on the reverse

LITERATURE Jeanloup Sieff, Eintritt frei.Tanz, Lausanne 1963, p. 152.

* € 1.600 / € 3.000–3.500

103

JEANLOUP SIEFF (1933–2000) Untitled (from the series ›Danse‹), Paris 196024,2 × 36 cm (9.5 × 14.2 in) Vintage silver print, 24,2 × 36 cm Photographer’s stamp on the reverse, annotated in an unidentified hand in ink on the reverse, label with notations referring to book project (title »Danse«, page. no., format) on the reverse

LITERATURE Jeanloup Sieff, Eintritt frei.Tanz, Lausanne 1963, p. 70.

* € 1.600 / € 3.000–3.500

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104

JEANLOUP SIEFF (1933–2000) ›Pierre-André Boutang déchirant une photo de mode‹, 1966Gelatin silver print, printed in the 1990s 35,2 × 23,8 cm (13.9 × 9.4 in) Signed, titled and dated by the photographer in pencil on the reverse, his name stamp on the reverse


LITERATURE Jeanloup Sieff, 40 Years of Photography, Paris 1990, p. 83.

* € 2.800 / € 5.000–6.000

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105

JEANLOUP SIEFF (1933–2000) Café de Flore, Paris 1975Gelatin silver print, printed in the 1990s 35,2 × 23,8 cm (13.9 × 9.4 in) Signed, titled and dated by the photographer in pencil on the reverse, his name stamp on the reverse


LITERATURE Jeanloup Sieff, 40 Years of Photography, Paris 1990, p. 173.

* € 2.800 / € 5.000–6.000

106

FRANK HORVAT (* 1928) ›Shoes and Eiffel Tower‹, 1974Gelatin silver print, printed in 1988 by Jules Steinmetz 20 × 29,9 cm (7.9 × 11.8 in) Signed and numbered by the photographer in ink in the margin, signed, annotated (incl. print information) and dated by him in pencil on the reverse, edition no. 3 / 30


€ 2.400 / € 4.000–5.000

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107

WEEGEE (1899–1968) Louella Parsons, Hollywood 1949Gelatin silver print, printed in the late 1950s / early 1960s 26,6 × 33,9 cm (10.5 × 13.3 in) Photographer’s circular »CREDIT PHOTO BY WEEGEE THE FAMOUS« stamp and his New York studio stamp on the reverse

€ 1.800 / € 3.000–4.000

108

WEEGEE (1899–1968) Couple, New York c. 1950Vintage silver print 25,7 × 30,5 cm (10.1 × 12 in) Photographer’s circular »CREDIT PHOTO BY WEEGEE THE FAMOUS« stamp on the reverse

€ 2.000 / € 3.500–4.500

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110

DENNIS STOCK (1928–2010) ›Jazzwelt. Jazz-Welt. Jazz Welt‹, Hatje Cantz, Stuttgart 1959First edition, first printing, SIGNED BY DENNIS STOCK, Linen-Edition with the super scarce dust jacket, published simultanously to the first American edition (Doubleday and Company), 22,5 × 28 cm (8.9 × 11 in), hardcover in linen with dust jacket, foreword by Dennis Stock, text by Nat Hentoff

* € 500 / € 800–900

109

DENNIS STOCK (1928–2010) James Dean, ›Moody New Star‹, New York 1955Vintage silver print 29,8 × 21 cm (11.7 × 8.3 in) Photographer’s agency stamp and negative no. stamp »56-7-16 / 9« in ink, handwritten notations in pencil on the reverse

LITERATURE »Moody New Star«, in: LIFE magazine, March 7, 1955, p. 125–128 (same series).

* € 2.800 / € 5.000–6.000

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112

PHILIPPE HALSMAN (1906–1979) Fernandel ›Volunteer‹, 1953Vintage silver print 30,5 × 25,5 cm (12 × 10 in) Photographer’s copyright studio stamp, publication stamp (1961) and numerical stamp on the reverse, annotated »Volunteer« by the photographer in ink in the margin

€ 900 / € 1.800–2.000

111

PHILIPPE HALSMAN (1906–1979) Fernandel, ›Surgeon‹, 1948Vintage silver print 30,6 × 25,5 cm (12 × 10 in) Photographer’s copyright studio stamp and publication stamp (1961) on the reverse, annotated »Surgeon« by the photographer in ink in the margin

€ 900 / € 1.800–2.000

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114

ROBERT LEBECK (1929–2014) Alfred Hitchcock, Hamburg 1960Gelatin silver print, printed in the 1990s 35,2 × 22,3 cm (13.9 × 8.8 in) Signed, annotated and dated by the photographer in ink on the reverse

€ 1.400 / € 2.000–2.400

113

PHILIPPE HALSMAN (1906–1979) Fernandel, ›Campus Intellectual‹ (from ›The Frenchman, A Photo-graphic Interview with Fernandel‹), 1948Vintage silver print 30,6 × 25,5 cm (12 × 10 in) Photographer’s copyright studio stamp, publication stamp (1961) and numerical stamp on the reverse, annotated »Campus Intellectual« by the photographer in ink in the margin

€ 900 / € 1.800–2.000

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115

BRUNO BERNARD (1912–1987) Norma Jean Baker, (Marilyn Monroe), 1946Chromogenic print, printed in the 1970s 43,2 × 26,5 cm (17 × 10.4 in) Photographer’s copyright stamp and signature on the reverse


* € 900 / € 1.400–1.600

116

PHILIPPE HALSMAN (1906–1979) ›Marilyn listening to music‹, 1952Gelatin silver print, printed in 1981 32,6 × 25,1 cm (12.8 × 9.9 in) Photographer’s »Halsman / Marilyn, Copyright Philippe Halsman © 81, Edition Number 74 [handwritten] / 250« stamp on the reverse, edition no. 74 / 250

€ 1.800 / € 3.000–3.500

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117

ANDRÉ DE DIENES (1913–1985) Marilyn Monroe (›Army blanket sitting‹), San Diego 1946Archival pigment print 48,2 × 38,2 cm (19 × 15 in) Photographer’s estate and edition stamp on the reverse, edition no. 137 / 200

€ 1.200 / € 2.000–2.400

118

ANDRÉ DE DIENES (1913–1985) Marilyn Monroe, Bel Air Hotel, Los Angeles 1953Gelatin silver print, printed in 1992 50,4 × 40,9 cm (19.8 × 16.1 in) Signed by the photographer’s wife in ink on the reverse, the photographer’s studio stamp on the reverse

* € 1.400 / € 2.000–2.400

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119

ELLIOTT ERWITT (* 1928) Marilyn Monroe, New York 1956Gelatin silver print, printed in the 1990s 20,3 × 30,3 cm (8 × 11.9 in) Signed by the photographer in ink in the margin, signed, titled and dated by the photographer in pencil on the reverse


LITERATURE Elliott Erwitt, Unseen, Kempen 2007, s.p.

€ 2.400 / € 4.000–5.000

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120

BERT STERN (1929–2013) Marilyn in Black Dress (›The Last Sitting‹), Los Angeles 1962Archival pigment print, printed in 2006 57,3 × 50 cm (22.6 × 19.7 in) Signed, annotated and dated by the photographer in pencil in the margin and on the reverse, photographer’s stamp on the reverse

€ 3.000 / € 5.000–6.000

121

WILL MCBRIDE (1931–2015) Romy Schneider, Paris 1964Gelatin silver print, printed in the 2000s 38 × 38 cm (15 × 15 in) Signed, annotated and dated by the photographer in pencil on the reverse

€ 1.400 / € 2.500–3.000

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123

INGE MORATH (1923–2002) Pablo Picasso, Paris 1958Gelatin silver print, printed in the 1980s 33,3 × 22,2 cm (13.1 × 8.7 in) Signed, annotated and numbered »58-4-1465 / 34« (neg. no.) by the photographer in pencil on the reverse

€ 1.800 / € 3.000–3.500

122

BRIAN BRAKE (1927–1988) Pablo Picasso and his son Claude at a bullfight, Vallauris, France 1955Vintage silver print 25 × 17,2 cm (9.8 × 6.8 in) Photographer’s agency stamp on the reverse

* € 1.200 / € 2.000–2.400

124

ROBERT CAPA (1913–1954) Pablo Picasso and Françoise Gilot, Golfe-Juan 1948Gelatin silver print, printed in the 1960s 19,5 × 19,1 cm (7.7 × 7.5 in) Photographer’s copyright distribution stamp and various handwritten notations in pencil on the reverse

LITERATURE Richard Whelan (ed.), Robert Capa. The Definitive Collection, London 2001, p. 479; Cornell Capa / Richard Whelan (eds.), Robert Capa. Photographs, 1985, p. 203.

* € 2.800 / € 5.000–6.000

78

Robert Capa besuchte seine Freunde Pablo Picasso und Françoise Gilot im August 1948 in Golfe-Juan an der fran-zösischen Riviera. Gilot lernte den 40 Jahre älteren Picasso im Alter von 21 Jahren während der deutschen Besatzungs-zeit in Paris kennen. Picasso war damals von seiner ersten Ehefrau Olga Stepanowna Chochlowa getrennt und gab seine Beziehung zu Dora Maar für sie auf. Ab 1948 lebten sie gemeinsam in Vallauris in Südfrankreich. Die Fotografie aus dem selben Jahr, vorliegend als früher Abzug aus den 1960er-Jahren, zeigt Picasso wie er die vorausgehende Gilot am Strand mit einem Sonnenschirm schützt und gehört mit ihrer spontan vermittelten Leichtigkeit zu den Ikonen Capas.

Robert Capa visited his friends Pablo Picasso and Françoise Gilot in August 1948 in Golfe-Juan on the French Riviera. Gilot met Picasso, forty years her senior, at the age of 21 during the German occupation in Paris. Picasso had been separated from his first wife, Olga Stepanovna Khokhlova, and subsequently left Dora Maar for Gilot. From 1948 on, they lived together in Vallauris in Southern France. The photograph from the same year, available here in an early print from the 1960s, shows Picasso protecting Gilot with a parasol, who strides ahead on the beach. Its breezy air of spontaneity makes it one of Capa’s iconic images.

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126

BERENICE ABBOTT (1898–1991) Edward Hopper (from the ›Retrospective 1930–1960 Portfolio‹), 1948Gelatin silver print, printed in 1982, large format, mounted on the original cardboard 58 × 45,7 cm (22.8 × 18 in) Signed and numbered by the photographer in pencil on the mount, her stamp and title on the reverse, edition no. 34 / 40

LITERATURE Berenice Abbott, Berenice Abbott: Photographs, New York 1970, p. 111.

€ 1.400 / € 2.500–3.000

125

HERBERT LIST (1903–1975) George Braque, Paris XII, 1948Vintage silver print 23,5 × 19 cm (9.3 × 7.5 in) Photographer’s stamp on the reverse, annotated in an unidentified hand in ink on the reverse

LITERATURE Max Scheler / Matthias Harder (eds.), Herbert List. Das Gesamtwerk, Munich 2000, p. 199.

€ 2.000 / € 3.000–4.000

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127

ARNOLD NEWMAN (1918–2006) Pablo Picasso, Vallauris, France 1954Gelatin silver print, early large format exhibition print from the 1960s 40,1 × 50,8 cm (15.8 × 20 in) Signed and numbered by the photographer in ink in the image lower right

LITERATURE One Mind’s Eye: The Portraits and Other Photographs of Arnold Newman, Oxford 1978, cover.

€ 4.000 / € 7.000–8.000

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128

BRUNO BARBEY (* 1941) Jean-Paul Sartre and Simone de Beauvoir, Paris 1969Vintage silver print 19,5 × 28,5 cm (7.7 × 11.2 in) Photographer’s agency stamp and various handwritten notations in pencil on the reverse

* € 900 / € 1.500–2.000

129

LOTTE JACOBI (1896–1990) Marc Chagall and his daughter Ida, c. 1945Gelatin silver print, printed in the 1980s 8,4 × 7 cm (3.3 × 2.8 in) Signed and numbered by the photographer in pencil in the margin, edition no. 119 / 120

€ 1.200 / € 2.000–2.400

82

130

ERNST HAAS (1921–1986) ›Einstein Thinking‹, Princeton, New Jersey 1951Gelatin silver print, printed in the 1990s by Igor Bakht 43 × 30 cm (16.9 × 11.8 in) »Printed by Igor Bakht« stamp on the reverse, annotated in an unidentified hand in pencil on the reverse

* € 1.400 / € 2.000–2.400

131

HERBERT LIST (1903–1975) Jacques Prévert, Paris 1949Gelatin silver print, printed in the 1980s 28,8 × 22,2 cm (11.3 × 8.7 in) Photographer’s estate stamp with handwritten title and date by Max Scheler on the reverse

€ 1.200 / € 2.000–2.400

83

132

ALEXANDER BECK Thomas Bernhard at his house in Obernathal, Austria 1988 Vintage silver print 23,6 × 35 cm (9.3 × 13.8 in) Photographer’s copyright label with typographic credit and notations on the reverse

€ 600 / € 1.000–1.200

133

SEPP DREISSINGER (* 1946) Thomas Bernhard, Bräunerstraße, Vienna 1988Vintage silver print 27,2 × 18,1 cm (10.7 × 7.1 in) Photographer’s copyright label on the reverse

€ 800 / € 1.400–1.600

84

134

HENRI CARTIER-BRESSON (1908–2004) Robert Rauschenberg, USA 1968Vintage silver print 16,8 × 24,8 cm (6.6 × 9.8 in) Photographer’s Mention obligatoire stamp, agency permission stamp and several handwritten notations in pencil on the reverse

€ 1.800 / € 3.000–3.500

135

RAINER FICHEL Martin Kippenberger, Hamburg 1984Gelatin silver print 25,5 × 37,7 cm (10 × 14.8 in) Signed by the photographer in pencil on the reverse, his label on the reverse

€ 800 / € 1.400–1.600

85

136

HARRY CALLAHAN (1912–1999) Eleanor, Indiana Beach, 1948Gelatin silver print, printed c. 1970 16,1 × 15,5 cm (6.3 × 6.1 in) Signed by the photographer in pencil in the lower right margin, titled and dated in an unidentified hand in pencil on the reverse

LITERATURE Harry Callahan, Water’s Edge, New York 1980, plate 13; Harry Callahan. The Photographer at Work, New Haven 2006, pl. 37.

PROVENANCE David Mirvish Gallery, Harry Callahan exhibition, 1977, original gallery passepartout with label comes with print

€ 2.800 / € 5.000–6.000

137

HARRY CALLAHAN (1912–1999) ›Water’s Edge‹, Callaway Editions, Connecticut 1980First edition, first printing, with the original dust jacket, hardback with full grey cloth and jacket, 27,5 × 34 cm (10.8 × 13.4 in), 68 pages, 52 black and white photo-graphs, including 1 gatefold, introductory poem by A. R. Ammons, afterword by Harry Callahan

LITERATURE Martin Parr / Gerry Badger, The Photobook. A History Vol II, London 2006, p. 33.

* € 300 / € 600–700

86

139

BRUCE DAVIDSON (* 1933) East 100th Street, New York 1966Gelatin silver print, printed in 1999 by Bruce Davidson 25,2 × 25,2 cm (9.9 × 9.9 in) Signed by the photographer in pencil on the reverse


€ 2.400 / € 4.000–5.000

138

BRUCE DAVIDSON (* 1933) East 100th Street, New York 1966Gelatin silver print, printed in 1999 by Bruce Davidson 22,8 × 28 cm (9 × 11 in) Signed by the photographer in pencil on the reverse


* € 2.400 / € 4.000–5.000

87

140

ELLIOTT ERWITT (* 1928) Rome, 1965Gelatin silver print, printed in the 1990s 23,9 × 16 cm (9.4 × 6.3 in) Signed by the photographer in pencil on the reverse

LITERATURE Elliott Erwitt, Snaps, London 2011, p. 89.

€ 1.800 / € 3.000–4.000

88

141

BURK UZZLE (* 1938) Untitled (from ›All American‹), 1970sVintage silver print 20,2 × 30,5 cm (8 × 12 in) Signed by the photographer in pencil on the reverse

€ 1.400 / € 2.000–2.400

142

BURK UZZLE (* 1938) Untitled (from ›All American‹), 1970sVintage silver print 20,2 × 30,5 cm (8 × 12 in) Signed by the photographer in pencil on the reverse

€ 1.400 / € 2.000–2.400

89

143

JOHN DAVIES (* 1949) Agecroft Power Station, Salford, Pendlebury, 1983Vintage silver print 25,8 × 37,1 cm (10.2 × 14.6 in) Signed, annotated and dated by the photo-grapher in pencil in the margin, »Pendlebury Powerstation (Agecroft)« label on the reverse

€ 1.800 / € 3.000–4.000

144

RICHARD MISRACH (* 1949) Untitled (Motel and Cactus), 1977Vintage chromogenic print 38,8 × 38,8 cm (15.3 × 15.3 in) Signed and dated by the photographer in ink in the margin

€ 2.400 / € 4.000–5.000

90

146 WILLIAM EGGLESTON (* 1939) ›William Eggleston’s Guide‹, The Museum of Modern Art, New York, 1976First edition, SIGNED BY WILLIAM EGGLESTON, sensational, 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

* € 600 / € 1.000–1.400

147

PAUL FUSCO (* 1930) ›RFK Funeral train‹, Magnum and Umbrage Editions, New York 2000Special edition with print, SIGNED BY PAUL FUSCO, perfect condition, 35,5 × 27,5 cm (14 × 10.8 in), first edition, first printing, hard-cover with original dust jacket, 130 pages, 54 colour photo-graphs, 28,6 × 18 cm, unsigned print in the original black box, text by Norman Mailer, Evan Thomas and Edward M. Kennedy in English

LITERATURE Martin Parr / Gerry Badger, The Photobook. A History, Vol II, London 2006, p. 46 / 47.

* € 800 / € 1.200–1.400

145

NEW TOPOGRAPHICS. PHOTOGRAPHS OF A MAN-ALTERED LANDSCAPENew York: International Museum of Photography at George Eastman House, Rochester, 1975 Robert Adams, Lewis Baltz, Bernd and Hilla Becher, Joe Deal, Frank Gohlke, Nicholas Nixon, John Schott, Stephen Shore, Henry Wessel. 2,500 copies only, first and only edition, softcover, 25,5 × 22,8 cm (10 × 9 in), 48 pages, 23 black and white photos and 3 colour reproductions. Each photographer became a position of influence in the history of photography. More than thirty years after its opening »New Topographics« still remains an exhibition of great impact and influence on western landscape photography.

* € 600 / € 1.000–1.200

91

148

ROY SCHATT (1909–2002) Joan Baez, c. 1960Vintage silver print, mounted on the original cardboard 29,2 × 21,6 cm (11.5 × 8.5 in) Photographer’s copyright stamp on the reverse

€ 1.800 / € 3.000–3.500

149

ASTRID KIRCHHERR (* 1938) John Lennon, Hamburg 1962Gelatin silver print, printed in the 1990s 40 × 29,6 cm (15.7 × 11.7 in) Signed by the photographer in pencil on the reverse

€ 1.200 / € 2.000–2.400

92

151

TAZIO SECCHIAROLI (1925–1998) Federico Fellini and Marcello Mastroianni on the set of ›8 1/2‹ (Otto e mezzo), 1963Vintage silver print 17,8 × 23,2 cm (7 × 9.1 in) Photographer’s stamp and hand-written notations in an unidentified hand in pencil on the reverse

€ 1.200 / € 2.000–2.400

150

ASTRID KIRCHHERR (* 1938) The Beatles (Pete Best, George Harrison, John Lennon, Paul McCartney, Stuart Sutcliffe), Germany 1960Gelatin silver print, printed in the 1990s 29,7 × 39,7 cm (11.7 × 15.6 in) Signed by the photographer in pencil on the reverse

€ 800 / € 1.400–1.600

93

152

MARY ELLEN MARK (1940–2015) ›Arles Pearce, Big Spring Rodeo‹, Texas 1991Vintage silver print 28,4 × 26,4 cm (11.2 × 10.4 in) Signed, titled and dated by the photographer in pencil on the reverse


LITERATURE Michael E. Hoffman (ed.), Mary Ellen Mark. American Odyssey. 1963–1999, New York 1999, p. 109.

* € 1.600 / € 2.500–3.000

153

LARRY FINK (* 1941) Moses Soyer’s Studio, New York 1957–58Gelatin silver print, printed in 1980 37,5 × 37,8 cm (14.8 × 14.9 in) Signed, numbered and dated by the photographer in ink in the margin, edition no. 2 / 15

€ 2.000 / € 3.500–4.000

94

154

PATRICK DEMARCHELIER (* 1943) Michael Douglas, New York 1985Gelatin silver print, printed in the 1990s 35,2 × 35,2 cm (13.9 × 13.9 in) Signed, annotated and numbered by the photographer in pencil on the reverse, his copyright and edition stamp on the reverse, edition no. 4 / 20

* € 1.800 / € 3.000–3.500

155

PATRICK DEMARCHELIER (* 1943) Robert Altmann, New York 1994Platinum print, printed in 1996 41 × 40,8 cm (16.1 × 16.1 in) Signed, dated and numbered by the photographer in pencil in the margin, annotated in an unidentified hand in pencil on the reverse, edition no. 2 / 5

* € 2.200 / € 4.000–5.000

95

156

GREG GORMAN (* 1949) ›Sisters Kissing‹, Los Angeles 1990Gelatin silver print 38 × 38 cm (15 × 15 in) Photographer’s copyright stamp with signature and handwritten notations in pencil on the reverse, edition no. 11 / 25


€ 1.800 / € 3.000–4.000

158

HELMUT NEWTON (1920–2004) Dalila Di Lazzaro for Karl Lagerfeld, 1977Vintage silver print, RC coated 30,2 × 20,5 cm (11.9 × 8.1 in) Stern copyright stamp with handwritten credit in ink on the reverse

€ 600 / € 1.000–1.200

157

HELMUT NEWTON (1920–2004) Dalila Di Lazzaro for Karl Lagerfeld, 1977Vintage silver print, RC coated 30,2 × 23,6 cm (11.9 × 9.3 in) Handwritten credit in ink on the reverse

€ 600 / € 1.000–1.200

96

159

RALPH GIBSON (* 1939) ›Woman’s Hand on Shoulder›, 1975Gelatin silver print, printed in the 1990s 31,4 × 20,6 cm (12.4 × 8.1 in) Signed and dated by the photographer in pencil on the reverse

LITERATURE Ralph Gibson, Deus ex Machina, Cologne 1999, p. 391.

* € 1.800 / € 2.500–3.000

160

RALPH GIBSON (* 1939) Nude, 1991Vintage silver print 32,7 × 21 cm (12.9 × 8.3 in) Signed and dated by the photographer in pencil on the reverse

€ 1.600 / € 2.500–3.000

97

162

FLORIS NEUSÜSS (* 1937) Untitled (Körper- auflösung, Feuer), Kassel 1977Vintage silver print 18,1 × 27,5 cm (7.1 × 10.8 in) Photographer’s copyright stamp on the reverse, annotated by the photographer in ink on the reverse

€ 900 / € 1.600–1.800

161

FLORIS NEUSÜSS (* 1937) ›1966 mit Künstlerge-päck Ab nach Kassel …‹, Kassel 1976Vintage silver print 23,8 × 29,2 cm (9.4 × 11.5 in) Photographer’s stamp on the reverse

€ 900 / € 1.600–1.800

98

163

FLORIS NEUSÜSS (* 1937) Barbie, (Photogram), 1993Gelatin silver print, autoreversal paper 44 × 32 cm (17.3 × 12.6 in) Signed and dated by the photographer in pencil on the reverse


* € 1.400 / € 2.000–2.500

99

164

WILLIAM KLEIN (* 1928) Cine Poster, Tokyo 1961Gelatin silver print, printed in the 1990s 46,2 × 32,3 cm (18.2 × 12.7 in) Signed, annotated and dated by the photographer in pencil on the reverse

LITERATURE William Klein, Tokyo, Paris 1964, p. 155.

€ 2.400 / € 4.000–5.000

165

WILLIAM KLEIN (* 1928) ›Tokio‹, Nannen-Verlag GmbH, Hamburg 1965First German edition, SIGNED BY WILLIAM KLEIN, hardcover, 35 × 26 cm (13.8 × 10.2 in), original dust jacket, 184 pages, printed in photogravure by Zokeisha / Tokyo, one of the famous four city-books by the artist, foreword by Richard Friedenthal, photos printed by Zokeisha / Tokyo, perfect condition, original dedication by the artist: »Happy Tokio. To Craig. All best. William Klein.«

* € 800 / € 1.400–1.600

100

166

DAIDO MORIYAMA (* 1938) Nakano (Poster), 1990Screen print on canvas 51,5 × 40 cm (20.3 × 15.7 in) Signed and numbered by the photographer in ink on the reverse, edition no. 3 / 3

€ 3.000 / € 6.000–7.000

101

168

MIROSLAV TICHÝ (1926–2011) Untitled, c. 1975Vintage silver print 18 × 13 cm (7.1 × 5.1 in) Annotated in an unidentified hand in pencil on the reverse

€ 800 / € 1.400–1.600

167

DAIDO MORIYAMA (* 1938) Buenos Aires, 2005Gelatin silver print, RC coated 34,3 × 41,7 cm (13.5 × 16.4 in) Signed by the photographer in pencil on the reverse, unique print, comes with certificate from the gallery

PROVENANCE Takayuki Ishii Gallery, Japan

€ 2.000 / € 3.000–4.000

102

169

THOMAS HOEPKER (* 1936) Bride on her wedding day, Jerez, Spain 1964Vintage silver print 28,6 × 19,3 cm (11.3 × 7.6 in) Photographer’s Stern copyright stamp, numerical stamp and several handwritten notations in pencil on the reverse

€ 1.400 / € 2.000–2.400

103

170

RUDOLF SCHWARZKOGLER (1940–1969) 6. Aktion, No. 43, 1966Photo by Michael Epp Gelatin silver print, printed 1980, mounted on the original thin cardboard 34,4 × 34,6 cm (13.5 × 13.6 in)

Photographer’s »Rudolf Schwarzkogler / 6. Aktion / wien 1966 / für die authenzitität / dieses photos:« stamp, signed by Edith Adam, on the reverse, from the Galerie Krinzinger portfolio »Aktionen Wien 1965 / 66« (edition of 40)

LITERATURE Eva Badura Triska / Hubert Klocker (eds.), Rudolf Schwarzkogler. Leben und Werk, Museum Moderner Kunst, Vienna 1992, p. 232.

€ 2.000 / € 3.500–4.000

171

RUDOLF SCHWARZKOGLER (1940–1969) 6. Aktion, No. 69, No. 43, 1966Photo by Michael Epp Gelatin silver print, printed 1980, mounted on the original thin cardboard 34 × 34 cm (13.4 × 13.4 in)

Photographer’s »Rudolf Schwarzkogler / 6. Aktion / wien 1966 / für die authenzitität / dieses photos:« stamp, signed by Edith Adam, on the reverse, from the Galerie Krinzinger portfolio »Aktionen Wien 1965 / 66« (edition of 40)

LITERATURE Eva Badura Triska / Hubert Klocker (eds.), Rudolf Schwarzkogler. Leben und Werk, Museum Moderner Kunst, Vienna 1992, p. 235.

€ 2.000 / € 3.500–4.000

104

173

EIKOH HOSOE (* 1933) ›Barakei‹(Killed by Roses), Aperture Foundation, New York 2008SIGNED twice BY EIKOH HOSOE, fantastic facsimile reprint of the legendary 1963 edition, perfect condition, sealed in the original publisher’s box, strongly limited to 500 numbered copies, edition no. 500 / 500, hard-cover with plastic jacket, slipcase and shipping box, 43 × 28 cm (16.9 × 11 in), 100 pages, 43 tritone illustrations, text in Japanese

LITERATURE Martin Parr / Gerry Badger, The Photobook. A History, Vol I, London 2004, p. 280–281. Hasselblad Center, The Open Book, p. 194–195.

* € 1.600 / 2.500–3.0000

172

EIKOH HOSOE (* 1933) ›Barakei‹ (Killed by Roses), 1961–62Vintage silver print 24 × 29,8 cm (9.4 × 11.7 in) Photographer’s copyright stamp and his Japanese copyright stamp on the reverse

LITERATURE Eikoh Hosoe / Yukio Mishima, Ba-Ra-Kei: Ordeal by Roses, New York 1985, s.p.

€ 2.800 / € 5.000–6.000

105

174

EIKOH HOSOE (* 1933) ›Man and Woman‹ #16, 1960Gelatin silver print, printed in the 1990s 24 × 29,8 cm (9.4 × 11.7 in) Signed and dated by the photographer in pencil in the margin, signed, titled and dated by the photographer in pencil on the reverse

LITERATURE Eikoh Hosoe, Man and Woman, Tokyo, 1961, s.p.

€ 1.800 / € 3.000–3.500

175

EIKOH HOSOE (* 1933) ›Man and Woman‹ (Otoko to Onna), Camera Art Inc., Tokyo 1961The first publication by Eikoh Hosoe, first edition, 23,7 × 18 cm (9.3 × 7.1 in), 34 black and white photographs, printed in photogravure, dust jacket, perfect condition

* € 800 / € 1.400–1.600

106

176

EIKOH HOSOE (* 1933) ›The bee and the woman‹, 1964Gelatin silver print, printed in the 1990s 33,8 × 33,2 cm (13.3 × 13.1 in) Signed and numbered by the photographer in pencil in the margin, signed, titled and dated by the photographer in pencil on the reverse, edition no. 7 / 50

€ 2.600 / € 5.000–6.000

177

EIKOH HOSOE (* 1933) ›American Kitchen‹, 1992Vintage silver print, mounted on the original cardboard 21,3 × 25,4 cm (8.4 × 10 in) Signed and annotated »A.P.« by the photographer in pencil in the margin, signed and annotated by him in pencil on the reverse (Japanese)

€ 2.400 / € 4.000–5.000

107

180

DAIDO MORIYAMA (* 1938) ›Inu no Toki‹ (The time of the dog, New York-Okinawa-Tokyo 1964–1983), Sakuhinsha, Tokyo, 1995First edition, SIGNED BY DAIDO MORIYAMA, 26 × 18 cm (10.2 × 7.1 in), edition of 1,500 strictly limited copies, 350 pages with black and white photographs, afterword by the photographer in Japanese and English

€ 400 / € 700–800

179

TAKUMA NAKAHIRA (1938–2015) ›Kitaru Beki Kotoba no Tame Ni‹ (For a language to come), Tokyo: Inshokan Printing, 1970Near 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) »Along with Moriyama’s Shashin yo Sayonara his book Kitaru Beki Kotoba no Tame ni marks the apogee of the Provoke period.« (Parr & Badger)

€ 2.600 / € 3.400–3.800

178

DAIDO MORIYAMA (* 1938) ›Color 2‹, Sokyusha, Tokyo 1999First edition, SIGNED BY DAIDO MORIYAMA, hardcover, in cardboard slipcase, 23,1 × 25,7 cm (9.1 × 10.1 in), edition of 600 strictly limited copies, contains a selection of Moriyama’s best colour work, includes a laid-in list of images with text in Japanese and English.

€ 800 / € 1.200–1.400

108

181

KEN DOMON (1909–1990) ›Hiroshima‹, Kenko-sha, Tokyo 1958First edition, hardcover, 34,7 × 25,5 cm (13.7 × 10 in), with full black cloth, dust jacket (with reproduction of painting by Miró), white card slipcase, 1 colour and 164 black and white photographs

€ 1.800 / € 2.600–3.000

183

LARRY SULTAN (1946–2010)/MIKE MANDEL (* 1950)First edition, first printing, hardcover, 23 × 24,7 cm (9.1 × 9.7 in), 72 pages, 59 black and white photographs, afterword by Robert F. Forth

LITERATURE Andrew Roth, Book of 101 Books, p. 240 / 241. Martin Parr, The Photobook. A History, Vol II, London 2006, p. 220 / 221.

* € 600 / € 1.000–1.200

182

DOUG RICKARD (* 1968) ›A New American Picture‹, White Press, 2010First edition, first printing, SIGNED BY DOUG RICKARD, perfect condition, strongly limited to 200 signed and numbered copies, edition no. 120 / 200, hardback with blue boards, 33 × 22 cm (13 × 8.7 in), 92 pages, 69 colour photographs, text by Helge Schlaghecke in English

LITERATURE Martin Parr / Gerry Badger, The Photobook. A History, Vol III, London 2014, p. 310 / 311.

* € 500 / € 700–800

109

184

HIROSHI SUGIMOTO (* 1948) ›Stanford Theatre‹, 1992Gelatin silver print, contact print 19,8 × 24,8 cm (7.8 × 9.8 in) comes with gallery certificate of authenticity

PROVENANCE Kohji Ogura Gallery, Japan

€ 1.800 / € 3.000–4.000

110

185

HIROSHI SUGIMOTO (* 1948) ›Imperial, Montreal‹, 1995Gelatin silver print, contact print 19,8 × 25 cm (7.8 × 9.8 in) comes with gallery certificate of authenticity

PROVENANCE Kohji Ogura Gallery, Japan

€ 1.800 / € 3.000–4.000

111

186

ROBERT FRANK (* 1924) Mabou, 1995Gelatin silver print 31,4 × 40,4 cm (12.4 × 15.9 in) Signed and annotated »North East South West« by the photographer in ink in the margin, annotated by the photographer inside two of the pictures in green ink

* € 6.000 / € 10.000–12.000

187

ROBERT FRANK (* 1924) Mabou Portfolio, 1971–19776 lithographs, sizes vary, largest one: 55 × 99 cm (22 × 39 in), majority c. 65 × 45 cm (18 × 27 in) Each signed and numbered by the photographer in pencil in the margin, edition of 10

* € 15.000 / € 20.000–25.000

1. Mabou Coal Mines

2. In Mabou — Wonderful Time — with June

3. Mailbox + Letters

4. Isn’t It Wonderful Just To Be Alive

5. A Monument to Electricity + Photography

6. Another World (Mabou Harbour, Nova Scotia)

112

1

2

5

63

4

The Americans brachte Frank einen beachtlichen Ruf, aber als das Buch veröffentlicht wurde, hatte er sich bereits von der Fotografie zum Filmschaffen abgewandt. Frank, der nur ungern berühmt wurde, kaufte sich 1970 Land in Mabou, Nova Scotia, und zog dorthin aus New York. Seine Arbeit begann sich zu diesem Zeitpunkt zunehmend auf persönliche Themen zu verlagern. Während er weiter-hin Filme drehte, kehrte Frank in den 1970er Jahren zur Standfotografie zurück und verwendete sie vor allem als zentrales Element in Collagearbeiten. Beeinflusst von seiner Erfahrung mit dem Film, begann er, mehrere Foto-grafien und Texte in komplexen, mehrschichtigen Arbeiten zu kombinieren. So entstand in dieser Zeit auch das vorliegende Portfolio Mabou, welches wahrscheinlich das letzte vollständige aus einer Auflage von 10 ist.

The Americans gave Frank a considerable reputation, but by the time the book was published, Frank had already turned away from photography to film making. Frank, who was reluctant to become famous, bought land in Mabou, Nova Scotia, in 1970 and moved out of New York. His work began to increasingly shift to personal issues at this time. While continuing to film, Frank returned to still photography in the 1970s, using it primarily as a key element in his collages. Influenced by his experience with film, he began to combine several photographs and texts in complex, multi-layered works. This is how the present portfolio Mabou was created. The present portfolio is probably the last complete of an edition of 10.

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188

NAN GOLDIN (* 1953) ›Joana and Aurèle in bed, Lutetia Hotel‹ Paris c. 2001Cibachrome, mounted on cardboard c. 68 × 98 cm (26.8 × 38.6 in) Signed, titled and numbered »3 / 15« by the photographer in ink on the reverse, edition no. 2 / 15

* € 3.400 / € 5.000–6.000

189

NAN GOLDIN (* 1953) ›Amanda in the shower‹, Hamburg 1992Cibachrome c. 44 × 64 cm (17.3 × 25.2 in) Signed, titled and annotated »A.P. I« by the photographer in ink on the reverse, dedicated to »Walter on his birthday. with my love. x« by the photographer in ink on the reverse

LITERATURE Nan Goldin, The Ballad of Sexual Dependency, New York 1986.

* € 3.400 / € 5.000–6.000

190

NAN GOLDIN (* 1953) ›Nan one month after being battered‹, 1984Cibachrome c. 40 × 59 cm (15.7 × 23.2 in) Signed and annotated »A.P.« by the photographer in ink on the reverse

LITERATURE Nan Goldin, The Ballad of Sexual Dependency, New York 1986, p. 83; Nan Goldin: I’ll be your Mirror, New York 1996, p.198.

* € 3.600 / € 6.000–8.000

114

Das vorliegende Selbstporträt ist ein Schlüsselbild im Werk Nan Goldins. Es zeigt die direkt in die Kamera blickende Künstlerin, ihr linkes Auge blutunterlaufen und geschwol-len, dunkle Blutergüsse verfärben die Haut rundherum und unter ihrem rechten Auge. Das Bild markiert das Ende einer langen Beziehung und den Höhepunkt in Goldins Diashow und Buch The Ballad of Sexual Dependency. Es ist auch in ihrer jüngeren Diashow All By Myself 1995–6 vertreten. Goldin meinte dazu: »Ich wollte ganz genau zeigen, wie meine Welt aussieht, ohne sie zu beschönigen. Es ist keine trostlose Welt, sondern eine, in der man sich des Schmerzes bewusst ist und in der es eine gewisse Int-rospektion gibt« (zitiert in The Ballad of Sexual Dependency, S. 6). Da sie keinen Zugang zu Dunkelkammern hatte und sich das Ausarbeiten nicht leisten konnte, begann sie, ihre fotografischen Porträts als Dias zu zeigen. Durch die wiederholte Präsentation wurde die Serie gewissermaßen editiert, ein Narrativ kristallisierte sich heraus. 1981 gab Goldin der Serie den Titel The Ballad of Sexual Dependency, frei nach der Ballade von der sexuellen Hörigkeit aus der Dreigroschenoper (1928) von Bertolt Brecht und Kurt Weill.

This self-portrait is a key image of Nan Goldin’s oeuvre. It shows the artist staring directly at the camera; her left eye intensely bloodshot and swollen, dark bruises on the skin around it and below her right eye. The picture marked the end of a long-term relationship and provides the emotional climax of Goldin’s slide show and book The Ballad of Sexual Dependency. It also appears in Goldin’s more recent slide show, All By Myself 1995–6. Goldin has said, »I want to show exactly what my world looks like, without glamorisation, without glorification. This is not a bleak world but one in which there is an awareness of pain, a quality of introspection« (quoted in The Ballad of Sexual Dependency, p. 6). She began showing her photographic portraits as slides when she did not have access to a dark-room and could not afford to have prints made. Through repeated showing, the series of slides underwent some editing and developed a narrative. In 1981, Goldin titled it The Ballad of Sexual Dependency, after »The Ballad of Sexual Obsession« in The Threepenny Opera (1928) by Bertolt Brecht and Kurt Weill.

115

116

191

DAVID ARMSTRONG (1954–2014) Vincent Gallo, c. 1998Chromogenic print, framed c. 60 × 50 cm (23.6 × 19.7 in) Signed by the photographer on the reverse

* € 1.800 / € 2.500–3.000

193

MIGUEL RIO BRANCO (* 1946) Monalisa, 1974Cibachrome, printed in 1986 48 × 33 cm (18.9 × 13 in) Signed and dated by the photographer in ink on the reverse

€ 1.800 / € 3.000–4.000

192

LARRY CLARK (* 1943 ) ›Teenage Lust‹, Self- published, New York 1987Second enlarged edition (16 pictures more than first edition), SIGNED BY LARRY CLARK, paperback, 22,6 × 29 cm (8.9 11.4 in), 148 pages, Inspiration for Clark’s movie »Kids«, outside and inside in fantastic condition Named by Andrew Roth as one of the 101 most influential photobooks of the 20th century (p. 244 / 245).

* € 500 / € 800–1.000

117

195

FRANCO FONTANA (* 1933) New York, 1997Polaroid transfer, photo collage unique 9,5 × 7,3 cm (3.7 × 2.9 in) Signed, annotated and numbered »1 / 1« by the photographer in pencil in the margin, his copyright stamp on the reverse

€ 800 / € 1.400–1.600

194

JAN SAUDEK (* 1935) Coca Cola, 1971Vintage silver print, hand-coloured 22 × 14,3 cm (8.7 × 5.6 in) Signed by the photographer in ink in the image lower right

€ 800 / € 1.400–1.600

197

ELFRIEDE MEJCHAR (* 1924) Still life ›III‹, 1970Gelatin silver print, printed in 1988 30 × 38,8 cm (11.8 × 15.3 in) Signed and dated by the photo-grapher in pencil on the reverse, her copyright studio stamp on the reverse

€ 800 / € 1.400–1.600

118

196

ELFRIEDE MEJCHAR (* 1924) ›Untitled (Flowers)‹, 1988-89Vintage silver print, mounted on the original cardboard 23 × 22 cm (9.1 × 8.7 in) Signed and dated by the photographer in pencil on the reverse

€ 600 / € 1.000–1.200

119

200

NOBUYOSHI ARAKI (* 1940) Untitled (from ›Erotos‹), 1993Gelatin silver print 35,5 × 43 cm (14 × 16.9 in) Signed by the photographer on the reverse

LITERATURE Nobuyoshi Araki, Erotos, Libro Port Publishing 1993, s.p.; Nobuyoshi Araki, Self-Life-Death, London 2005, p. 576.

* € 6.000 / € 10.000–12.000

198

NOBUYOSHI ARAKI (* 1940) ›KAORI‹, 201212 Prints each c. 70 × 46 cm (27.6 × 18.1 in) Prints made from 20 × 24 inch Polaroids Edition of 75 Signed by the photographer in ink on the cover sheet

€ 1.400 / € 2.000–2.500

199

NOBUYOSHI ARAKI (* 1940) ›Flowers and Jamorinsky‹, 2005/06Chromogenic print 61 × 77 cm (24 × 30.3 in) Signed by the photographer in ink on the reverse

€ 3.000 / € 5.000–6.000

120

121

201

JULIAN SCHNABEL (* 1951) Untitled (Hermann Nitsch, Vienna), 201850 × 60 cm (20 × 24 in) Signed and annotated by the photographer in ink the image

€ 9.000 / € 18.000–20.000

Das Porträt entstand im Rahmen der Ausstellung »Julian Schnabel. Polaroids« in der Galerie OstLicht in Wien. Hermann Nitsch wurde von Julian Schnabel mit einer seltenen 20 × 24 Inch Polaroid Land Kamera aus den 1970er Jahren fotografiert.

The portrait was taken as part of the exhibition »Julian Schnabel. Polaroids« at OstLicht Gallery in Vienna. Julian Schnabel photographed Hermann Nitsch with a rare 20 × 24 Inch Polaroid Land camera from the 1970s.

122

NAME OF ARTIST / DESCRIPTIONFor 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 Photographica Auction does not assume the responsibility for the contents of descriptive texts.

TITLESGenerally accepted titles for photographs have been put in quotation marks; in other cases, descriptive titles have been used.

PRINTSA vintage print is one made at roughly the same time as the negative by the photographer himself or by a person or procedure satisfactory to the photographer. Specific dates of positive prints are rarely known. This distinction between a vintage print and a print done considerably later would be expressed with the date referring to the production of the negative. In case of a gelatin silver print: 1920, Vintage silver print or 1920, Gelatin silver print, printed later. The approximate date, year, or decade of a positive print is given when possible, based on the WestLicht’s knowledge of the history of the photograph, its provenance, and our visual assessment of the photo graph’s physical characteris-tics. We don’t guarantee the printing date of the photograph.

MEASUREMENTSMeasurements are given height preceding width. Unless otherwise indicated dimensions given are those of the actual image size (excluding any margins). Some photo-graphs appear in the catalogue without margins illustrated.

FRAMING AND MATTINGPhotographs 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.

CONDITIONThe general practise is not to indicate condition or defects. Prospective bidders are urged to inspect lots at our public viewing or ask for a condition report at our auction department. For condition reports please contact: [email protected]

ZU- / BESCHREIBUNG DER OBJEKTEFür 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 WestLicht Photographica Auction keine Verantwortung.

TITELDie durch Publikationen und andere Quellen (wie eigen- händige Beschriftung der Fotografen) gesicherten Original-titel der Werke werden in Anführungszeichen angegeben; in den übrigen Fällen handelt es sich um beschreibende Titel.

DATIERUNG DER PRINTSAls Vintage-Print wird ein Abzug bezeichnet, der in un -mittelbarer zeitlicher Nähe zur Aufnahme bzw. Produktion des Negatives vom Fotografen selbst oder einer Person seines Vertrauens angefertigt wurde. Exakte Datumsanga-ben 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.

MASSANGABENBei 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.

RAHMUNG UND PASSEPARTOUTSDie 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.

ZUSTANDDer 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 Zustands- bericht anzufordern: [email protected]

GLOSSAR GLOSSARY

123

141,

BU

RK

UZZ

LE

ABBOTT, BERENICE 47, 126

ADAMS, ANSEL 46

ARAKI, NOBUYOSHI

198, 199, 200

ARMSTRONG, DAVID 191

BACHRACH, ERNEST 55

BARBEY, BRUNO 128

BECK, ALEXANDER 132

BELLOCQ, ERNEST JAMES 9

BENDA, ARTHUR 14

BERKA, LADISLAV EMIL 28

BERNARD, BRUNO 115

BERNHARD, RUTH 49

BING, ILSE 43, 44, 45

BOUBAT, ÉDOUARD 93, 96

BRAKE, BRIAN 122

BRANCO, MIGUEL RIO 193

BRASSAÏ 24

BRIGMAN, ANNE 18

BURRI, RENÉ 78, 79

CALLAHAN, HARRY 136, 137

CAPA, ROBERT 59, 124

CARTIER-BRESSON, HENRI 58, 64, 65, 66, 80, 134

CHALDEJ, JEWGENI 60, 61,

62, 63

CLARK, LARRY 192

CUNNINGHAM, IMOGEN 17

DAVIDSON, BRUCE 138, 139

DAVIES, JOHN 143

DE DIENES, ANDRÉ 117, 118

DEMARCHELIER, PATRICK 154, 155

DOMON, KEN 181

DREISSINGER, SEPP 133

DRTIKOL, FRANTIŠEK 15

EDGERTON, HAROLD 92

EGGLESTON, WILLIAM 146

EISENSTAEDT, ALFRED 77

ERWITT, ELLIOTT 69, 82, 83, 84,

119, 140

FICHEL, RAINER 135

FINK, LARRY 153

FLEISCHMANN, TRUDE 16

FONTANA, FRANCO 195

FRANK, ROBERT 42, 186, 187

FUSCO, PAUL 147

GIACOMELLI, MARIO 94

GIBSON, RALPH 159, 160

GOLDIN, NAN 188, 189, 190

GORMAN, GREG 156

GROEBLI, RENÉ 51, 52

HAAS, ERNST 130

HALSMAN, PHILIPPE 111, 112,

113, 116

HOEPKER, THOMAS 88, 89,

90, 169

HORVAT, FRANK 100, 101, 106

HOSOE, EIKOH 172, 173, 174, 175,

176, 177

JACOBI, LOTTE 12, 13, 129

KARSH, YOUSUF 56

KEPPLER, VICTOR 25, 26

KERTÉSZ, ANDRÉ 21

KIRCHHERR, ASTRID 149, 150

KLEIN, WILLIAM 164, 165

KLEMM, BARBARA 70

KOPPITZ, RUDOLF 6

KÜHN, HEINRICH 8

LARTIGUE, JACQUES-HENRI 19, 20

LEBECK, ROBERT 114

LESSING, ERICH 67, 75

LIST, HERBERT 125, 131

MAN RAY 41

MARK, MARY ELLEN 152

MCBRIDE, WILL 121

MEJCHAR, ELFRIEDE 196, 197

MISRACH, RICHARD 144

MORATH, INGE 76, 81, 123

MORGAN, BARBARA 53, 54

MORIYAMA, DAIDO 166, 167,

178, 180

MURAY, NICKOLAS 10

MUYBRIDGE, EADWEARD 1

NÄHR, MORIZ 5

NAKAHIRA, TAKUMA 179

NEUSÜSS, FLORIS 161, 162, 163

NEWMAN, ARNOLD 127

NEWTON, HELMUT 157, 158

RIBOUD, MARC 71, 72, 73, 85,

86, 87

RICKARD, DOUG 182

RODCHENKO, ALEXANDER 30

RONIS, WILLY 95, 95, 98

RÖSSLER, JAROSLAV 36, 37, 38,

39, 40

SALAS, OSVALDO 68

SANDER, AUGUST 22, 23

SAUDEK, JAN 194

SCHATT, ROY 148

SCHELER, MAX 74

SCHULKE, FLIP 91

SCHWARZKOGLER, RUDOLF 170, 171

SECCHIAROLI, TAZIO 151

SIEFF, JEANLOUP 102, 103,

104, 105

SISKIND, AARON 48

STEICHEN, EDWARD 2, 3, 11

STEINER, RALPH 29

STERN, BERT 120

STIEGLITZ, ALFRED 4

STOCK, DENNIS 99, 109, 110

STURGES, JOCK 50

SUDEK, JOSEF 27

SUGIMOTO, HIROSHI 184, 185

SULTAN, LARRY 183

TACONIS, KRYN 57

TICHÝ, MIROSLAV 168

SCHNABEL, JULIAN 201

TUGGENER, JAKOB 34, 35

UZZLE, BURK 141, 142

VON GLOEDEN, WILHELM 7

WEEGEE 107, 108

WOLFF, PAUL 31, 32, 33

FOTOGRAFENINDEX INDEX OF PHOTOGRAPHERS

WestLicht Photo Auction OstLicht GesmbH Absberggasse 27 / 1100 Vienna, Austria Tel.: +43 1 996 20 66-17 [email protected]

AUCTION VENUE: WestLicht. Museum for Photography Westbahnstraße 40 / 1070 Vienna, Austriawww.westlicht-photo-auction.com

I accept WestLicht Photo Auction to bid on my behalf on the following lots. Absentee bids must be received 24 hours prior to the start of the auction. The maximum bid price does not include the premium. I agree to be bound by the conditions of sale as printed in the catalogue.

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 favour 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 any commission or other charges. 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 4,000 and higher in steps of EUR 500. As a rule the starting price is the one listed in the

catalogue, as long as there are not several higher written bids at hand. The buyer’s premium for all items exported out of the European Community (E.C.) is 20 %. For items marked with *, sold and / or shipped within the E.C. the premium is 20 % plus VAT on hammer price and premium (13 % on photographs; 10 % on books). For all other items sold and / or shipped within the E.C. the premium is 24 % (including VAT). Invoices for successful bids made in writing or by telephone will be sent out to the respective highest bidders after the auction has ended. They have to be paid in full and without any deductions within eight days after reception. Telephone bids have to be confirmed in writing and are at the risk of the caller. WestLicht Photo Auction reserves the right to refuse absentee or telephone bids without disclosing the reason.

ABSENTEE BID FORM

First Name Second Name Customer No.

Street CountryCity, ZIP code

Fax EmailTel

Date Signature

Do not arrange shipping Shipping Airmail Courier Service

PAYMENT METHOD

VISA MASTERCARD Number Exp. Date

LOT NO. LOT NO.TITLE TITLEMAX. BID € * MAX. BID € *

BANK TRANSFER in € (all bank charges pre-paid and including shipping cost) Account name: OstLicht GmbH; Account number: 9317520, Bank: Raiffeisenlandesbank NOE-Wien AG, Michaelerplatz 3, A–1010 Vienna; Code: 32000 / Swift code: RLNWATWW / IBAN: AT59 3200 0000 0931 7520

* Not necessary for telephone bidders.

1 Mit der Abgabe eines schriftlichen oder telefonischen Kaufauftrages, eines Online-Gebots oder durch die persönliche Teilnahme als Saalbieter erkennt jeder Bieter bei der WestLicht Photo Auction die folgenden Versteigerungsbedingungen 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 Photo Auction streng vertraulich behandelt und nicht an dritte Person weitergegeben.

2 Die Versteigerung ist öffentlich und freiwillig und wird nach den Bestimmun-gen der §§ 284 a ff der Gewerbeordnung i.d.F. GRNov 1997 sowie nach den vorliegenden Versteigerungsbedingungen durchgeführt. Die Versteigerung erfolgt im eigenen Namen sowie auf eigene Rechnung. Erfüllungsort und Gerichtsstand ist Wien. Auch im Verhältnis zu ausländischen Bietern ist österreichisches Recht maßgeblich.

3 Die Schätzung und fachliche Bestimmung der Objekte erfolgt durch Experten der WestLicht Photo Auction, die bemüht sind den Zustand der Lose im Katalog so adäquat wie möglich zu beschreiben. Irrtums- und Druckfehlerberichtigungen bleiben vorbehalten. Ebenso behält sich WestLicht Photo Auction das Recht vor, Berichtigungen der Beschreibung bis zur Versteigerung vorzunehmen. Eine Rück-nahme ersteigerter Artikel ist prinzipiell ausgeschlossen (siehe Punkt 12).

4 Die Besichtigung der zur Versteigerung vorgesehenen Objekte ist innerhalb des im Katalog angeführten Zeitraumes möglich. Ist einem Bieter die Besichti-gung vor Ort jedoch nicht möglich, geben wir auf Anfrage gerne eine präzisere Beschreibung des optischen Zustandes. Diese Auskünfte erteilen wir sowohl telefonisch, als auch schriftlich oder per E-Mail – zusätzliche Fotos können wir jedoch nur per E-Mail zusenden. Während der Besichtigung und der Versteigerung haftet jeder Besucher für von ihm verursachte Schäden an den Losen in vollem Umfang.

5 Vor Versteigerungsbeginn können Gebote schriftlich (Brief, Fax, E-Mail) oder online 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 außer-dem 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 EURO 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 Photo Auction angerufen. Eine Garantie für das Zustandekommen der Telefonverbindung kann jedoch nicht gegeben werden. Nachdem sie sich mit einem Ausweis oder einer Kreditkarte legitimiert haben, erhalten Saalbieter vor Beginn der Auktion eine Bieternummer.

6 Der Kaufpreis besteht aus dem Zuschlagpreis (= Hammerpreis) zuzüglich Aufgeld.

Für Lose, die in Länder außerhalb der EU exportiert werden, beträgt das Premium 20 % (wenn über LIVEAUCTIONEERS geboten wurde 25 %).

Für Lose, die in der EU verbleiben, beträgt das Premium 24 % (wenn über LIVEAUCTIONEERS geboten wurde 30 %).

Auf Lose, die im Katalog mit * markiert sind, wird Mehrwertsteuer in Höhe von 13 % für Fotografien oder 10 % für Bücher auf Hammerpreis und Premium verrechnet (Vollbesteuerung), sofern sie in der EU verbleiben.

Nimmt ein Käufer mit Wohnsitz außerhalb der EU die ersteigerten Lose selbst in Staaten außerhalb der EU mit, wird ihm im Fall der Regelbesteuerung die Mehrwertsteuer erstattet, sobald er den österreichischen zollamtlichen Ausfuhr-nachweis vorlegt. Im Ausland anfallende Einfuhrumsatzsteuer und Zölle trägt der Käufer.

VERSTEIGERUNGSBEDINGUNGEN

Während oder unmittelbar nach der Auktion ausgestellte Rechnungen bedürfen der Nachprüfung; Irrtümer sind vorbehalten.

7 Die Versteigerung erfolgt in der Reihenfolge der Katalognummerierung. Maßgeblich ist der Katalogtext der gedruckten deutschen Ausgabe des Auktions- katalogs. Jedoch ist der Auktionator berechtigt, Katalognummern in der Verstei-gerung 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 zweit-höchsten Bieters liegt. Liegen mehrere gleiche schriftliche Höchstgebote vor, so wird zu Gunsten des zuerst eingelangten Gebotes entschieden. Das zugeschla-gene Gebot ist der Nettokaufpreis.

9 Das Eigentum der ersteigerten Ware geht erst nach vollständiger Bezahlung auf den Käufer über. Im Falle des Zuschlages verpflichtet sich der Ersteher zur Abnahme und Zahlung des von ihm ersteigerten Loses. Eine Rücknahme ver- steigerter Gegenstände seitens des Versteigerers ist ausgeschlossen. Mit dem Zuschlag geht die gesamte Haftung für den Versteigerungsgegenstand sofort auf den Ersteher über. Das ersteigerte Los wird dem Ersteher jedoch erst nach vollständiger Bezahlung des Zuschlagpreises und des Aufgeldes, sowie 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 Betrag sofort und netto inklusive etwaiger 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 netto ohne Abzug zu bezahlen. Bei Zahlungsverzug werden Verzugs-zinsen in Höhe von 5 % über dem Basiszinssatz der Österreichischen Nationalbank verrechnet. Bei allen Zahlungsarten übernimmt der Ersteher allfällige Spesen. Kosten für Verpackung, Transport und Transportversicherung sind nicht inkludiert und werden extra verrechnet. Wir weisen jedoch darauf hin, dass wir ausschließlich die Selbstkosten verrechnen und aufgrund unserer Vereinbarung mit Transport- firmen für den Käufer günstige Transport- und Versicherungstarife anbieten können. Jede Lagerung und Verpackung erfolgt jedoch grundsätzlich auf Gefahr des Käufers.

Für ersteigerte Gegenstände, die nach Ablauf von 30 Werktagen ab Rechnungs-datum nicht abgeholt worden sind, ist das Auktionshaus berechtigt, eine Lagergebühr von 1 €–10 € (je nach Größe und Wert) pro Tag und Gegenstand, zu erheben.

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 Nicht- erfüllung 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 offensichtliche Fehlbeschreibungen, müssen diese gleich nach der Auktion mündlich oder spätestens nach 14 Tagen schriftlich reklamiert werden. Wird die Reklamation als gültig anerkannt, hat der Ersteher bei gleich- zeitiger Rückgabe des Versteigerungsgegenstandes das Recht auf Erstattung des Kaufpreises und des Aufgeldes. Weitere Ansprüche können nicht geltend gemacht werden.

13 Nach abgeschlossener Auktion können wir nicht versteigerte Gegenstände zu den vorliegenden Versteigerungsbedingungen im Namen und für Rechnung des Einlieferers freihändig verkaufen.

für Bieter der WestLicht Photo Auktion (OstLicht GesmbH) Stand: 10.2018

128

1 By submitting an absentee or telephone bid, making an on-line 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 Photo Auctions in the strictest confidence and will not be passed on to third parties.

2 The auction is public and voluntary and will be conducted in accordance with the regulations set forth in paragraph 288 a ff of the Trade Regulations of 1997 and also in accordance with these conditions of sale. The auction will be conducted in our own name and account. Place of jurisdiction is Vienna. Austrian law is also binding on all foreign bidders.

3 The valuation and expert description of objects will be carried out by the experts of WestLicht Photo Auctions who will take all reasonable care to describe the condition of the lots in the catalogue as accurately as possible. All errors in the catalogue are excepted. WestLicht Photo Auctions also reserves the right to amend any description up to the time of auction. Auctioned items cannot be returned (see also paragraph 12).

4 Viewing of the objects intended for the auction is possible within the period stipulated in the catalogue. If it is not possible for a bidder to view an object in person, we will be happy to forward them a more detailed description of the opti-cal condition. This information may be given by telephone, in writing, or by email. Additional photos can only be sent by e-mail. During both viewing and the auction visitors and bidders should exercise the greatest of care since they will be responsible for any damage caused in full.

5 Written bids may be submitted prior to the start of the auction (by letter, fax, e-mail or an on-line offer through our home-page). 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 EURO 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 Photo Auctions before bidding starts on the relevant lots. However, there can be no guarantee that a telephone connection can, in fact, be made. After having been legitimated by means of an identification document or credit card, auction-room bidders will be given a bidder number before the auction starts.

6 The total purchase price consists oft the hammer price, the buyer’s premium and applicable VAT or amount in lieu of VAT at applicable rate. For items exported to Non EC countries, the premium is 20 % (if you use LIVEAUCTIONEERS: 25 %) For items not exported outside the EC the premium is 24 % (if you use LIVEAUCTIONEERS: 30 %) On items marked with * 13 % (for photographs) or 10 % (for books) will be added on hammerprice and premium for buyers within the EC. For property with * symbol VAT registered buyers from European Union (EU) contries may have the VAT refunded if they provide us with their VAT identification number when registering for bidding. Buyers taking property to a non EU country in person may have the VAT refunded if they provide evidence that the property has been removed to another country outside the EU in the form of a copy of customs export documention stamped by customs officers.

CONDITIONS OF SALE

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 »European Interbank Offered Rate« (EURIBOR) / 3 months. 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, trans-port 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.

The auction house is entitled to collect a storage fee of € 1–€ 10 (depending on the size and value) per day and item for items auctioned which have not been collected after the expiry of 30 business days from the date of the invoice.

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 auction-eer may require that either the contract be fulfilled or damages resulting from non-fulfillment 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 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 repayment of the purchase price and charges upon simultaneous return of the auctioned object. No other claims will be entertained.

13 After completion of the auction we are entitled to sell any non-auctioned items subject to the normal conditions of business in the name of, and for the account of, the supplier.

for Bidders at WestLicht Photo Auctions (OstLicht GesmbH) October 2018

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VERLEGER UND HERAUSGEBER EDITOR AND PUBLISHERWestLicht Photo Auction, OstLicht GmbH, Absberggasse 27, 1100 Vienna, Austria

COPYRIGHTOstLicht GmbH, Wien Vienna 2018

FÜR DEN INHALT VERANTWORTLICH RESPONSIBILITY FOR CONTENTSPeter Coeln

KATALOG- UND TEXTREDAKTION CATALOGUERSAnna Zimm Michael Kollmann (Fotobücher Photobooks)

GRAFIK DESIGN GRAPHIC DESIGNHammerAlbrecht (Daniel Hammer, Alexandra Varsek)

FOTOGRAF PHOTOGRAPHERMichael Kollmann

BILDBEARBEITUNG IMAGE EDITINGPixelstorm – Kostal & Schindler OG

DRUCK PRINTDruckerei Berger, Ferdinand Berger & Söhne Ges.m.b.H.

AUKTIONS-AUSSTELLUNG VIEWING AND EXHIBITIONRebekka Reuter

KONSERVATORIN CONSERVATORTaiyoung Ha

IMPRESSUMIMPRINT

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.

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Documents

RD 23 NOVEMBER VIENNA, PHOTO AUCTION · RUDOLF KOPPITZ (1884–1936) ›Das Schwesterl‹, Austria c. 1928 Vintage silver print 27 × 29 cm (10.6 × 11.4 in) Photographer’s stamp