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Auction Description for Lempertz: Photography
Viewing Notes:
Cologne Saturday 26 November, 10 am - 4 pm Sunday 27 November, 11 am - 3 pm Monday 28 November - Thursday 1 December, 10 am - 5.30 pm Munich (selected items) St.-Anna-Platz 3 Tuesday 8 - Wednesday 9 November, 11 am - 6 pm Berlin (selected items) Poststraße 22 Friday 11 - Sunday 13 November, 11 am - 5 pm Brussels (selected items) Rue du Grand Cerf 6 Grote Hertstraat Wednesday 16. - Friday 18 November, 9.30 am - 5.30 pm

Photography (171 Lots)

by Lempertz


171 lots | 170 with images

December 2, 2016

Live Auction

Cologne, Germany

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Wilhelm Schneider, A couple drinking tea in a garden, probably in Moscow, 1861

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Description: Mounted under original gilt mat, blindstamped 'Stereoscop von T. Schneider und Soehne' below the images on the mat.This daguerreotype was shown in the exhibition mentioned below (cat. 278).

Condition Report: Slight oxidation mirroring along the mat openings.

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James Anderson and Giorgio Sommer, Views of Rom and Pompei, 1850s-1870s

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Description: Motifs et al:Anderson, 493 Piazza del PopoloAnderson, 648 Roma. Vaticano preso da Villa MediciAnderson, 519 Scalinata di Piazza di SpagnaAnderson, 178 S. PietroAnderson, 184 Roma. La Tribuna - Chiesa di S. PietroAnderson, 280 Il ColosseoAnderson, 438 Villa MediciAnderson, 489 Piazza NavonaAnderson, 477 Pantheon di AgrippaSommer, 1256 Pompei Casa della gran BalconoSommer, 1286 PompeiFurther images on request

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Samuel Boote, Samuel Rimathé, Views of Buenos Aires (Deutsches Hospital et al.) and Argentina, 1890s

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Description: 6 prints by Boote flush-mounted to studio card with printed name, the other prints by Boote and Rimathé with photographer's name and title in the lower negative. Few cards annotated in an unknown hand in ink below the image or on the reverse of the mount.The “Deutsche Hospital-Verein” was founded in Buenos Aires in 1867 with the goal of opening a hospital to tend to the then rapidly increasing community of German immigrants in Argentina. In the same year, donations to the fund were used to purchase a plot of land on what is now the Avenida Pueyrredón on the outskirts of Buenos Aires. Construction of the first two pavilions of the “Hospital Aleman” (German hospital), which housed 24 beds and still exist to this day, was completed in 1876. Further buildings, such as a nursing college, were to follow in 1880 and in the following years. The present images originate from the estate of Dr. Paul Beeck, who worked as a doctor at the Deutsches Hospital during the 1890s. They depict views of Buenos Aires and the surrounding area (31), views of the outside and interior of the hospital and its subsidiary buildings (19), and of the villa belonging to the head physician van Emster.Further images on request

Condition Report: Few prints slightly faded, few cards with foxing.

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Julia Margaret Cameron, Sir John Herschel, 1867

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Description: 'Autotype' blindstamp lower right. Flush-mounted to original card. Accompanied by original wooden frame, artist's studio label on the reverse of the frame."Shortly before her departure for Ceylon in 1975, Cameron approached the Autotype Company in Ealing, London, to make carbon prints of approximately seventy of her most successful images. [...] Carbon prints were highly regarded for their permanency, even density, and lustrous tones, and the Autotype Company, experts in the field, plied a very successful trade in them throughout the 1970s. The prints were made from positive transparencies created directly from Cameron's original negatives." (cited after Julian Cox/Colin Ford, Julia Margaret Cameron. The Complete Photographs, London 2003, p. 500).

Condition Report: Two folds in the lower image. Very slight foxing.

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Wilhelm von Gloeden, Untitled (Portrait of a boy), c. 1900

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Description: Photographer's stamp and negative number in crayon on the verso.

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Vincenzo Galdi, Untitled, c. 1900

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Description: Each with photographer's stamp and numbered in pencil on the verso.

Condition Report: Two prints with slight discoloration.

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Guglielmo (Wilhelm) Plüschow, Untitled, c. 1900

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Description: Photographer's stamp and numbered '6522' in crayon and pencil on the verso.

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Jean Eugène Auguste Atget, Tour du Collège de Fortet, rue Valette, 1899

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Description: Titled and negative number '9608' by the photographer in pencil on the verso.

Condition Report: Slightly faded along the edges. The upper left corner torn as well as small tear at the upper edge. Slight folds.

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Jean Eugène Auguste Atget, Brocanteur, 38 Rue Descartes, c. 1900

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Description: Numbered '65' and '573' in the negative lower right and left. Titled and illegibly numbered by the photographer in pencil on the verso.

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Jacques-Henri Lartigue, Liane de Lancy aux courses, 1911

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Description: Photographer's stamp as well as annotated by various unknown hands in pencil and crayon on the verso.

Condition Report: Slight traces of usage.

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Germaine Krull, Les Plumassières (from the series: Les Ouvrières de Paris), c. 1930

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Description: Each with photographer's and 'Agentur Schostal' stamps as well as annotated in an unknown hand in pencil and ink on the verso.

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Frantisek Drtikol, Untitled (Nudes), 1920s

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Description: Each with photographer's signet and numbered in the negative lower right and left resp.

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Frantisek Drtikol, Untitled (Nude with pearl necklace), 1920s

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Description: Photographer's signet and numbered '54' in the negative lower right.

Condition Report: Slight traces of usage and oxidation mirroring.

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Werner Rohde, Wachskopf, 1928

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Description: Photographer's stamp as well as annotated in an unknown hand in pencil on the verso.

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Werner Rohde, Clown and Clownesse, 1935

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Description: Signed, dated, titled, dedicated in pencil and photographer's stamp on the verso.

Condition Report: Fine retouchings and slight indentations.

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André Kertész, Satiric Dancer, 1926

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Description: Photographer's signature blindstamp in the margin lower left.

Condition Report: Fine retouchings.

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Paul Citroen, Schaufensterpuppe, 1928

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Description: Flush-mounted to card, signed in pencil below the image on the mount. Edition stamp as well as dated, titled and inscribed by Jürgen Wilde in pencil on the reverse of the mount.

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Josef Sudek, Untitled, 1929-36

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Description: Each with photographer's stamp on the verso.The present advertising shots were created in correlation with Sudek's work for the 'Druzstevni Prace' DP (Cooperative Work) an association that is close to Bauhaus in spirit and to which leading artists, designers, graphic artists, businessmen and publishers belonged. In addition to a gallery, the DP also operated a publishing house that printed the magazine Panorama, which focused on questions of modern product design. Ladislav Sutnar, director of DP from 1929-1939, was a typographer and - as was Sudek - a bookbinder by trade. Among other things, Sudek photographed the books designed by Sutnar and also took product and advertising shots for publications.

Condition Report: Each with oxidation mirroring along the edges.

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Lucia Moholy, Portrait Yella Curjel, c. 1929

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Description: Signed in pencil as well as numbered in an unknown hand in pencil on the verso.

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Umbo (Otto Umbehr), Portfolio, 1927-1930

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Description: Each signed in black or white ink lower right. Each with edition stamp, therein editioned in ink on the verso. Each matted. Together with two sided flyleaf, thereon numbered in felt tip pen and printed biographical information, titles and information about the edition, in original linen portfolio box.Edition of the Galerie Rudolf Kicken, Cologne. Copy 38 from an edition of 50 (+ 5 A.P.).The motifs:Selbst, c.1930Rut Maske, 1927Portrait W.B., 1928Kolja Wassilieff Malt Valeska Gert, 1928Träumende, 1928/29Pantoffeln, 1928/29Berliner Artistenschule, 1930Unheimliche Strasse, 1928Am Strand (Strandleben), 1928Clown Grock, 1928/29

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Max Baur, Schwerarbeit, 1930s

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Description: Paper label, therein titled and numbered in pencil, 'Schostal' label, therein reference number in pencil, as well as number stamp on the verso.

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Manassé (Adorian and Olga Wlassics), Untitled, 1920s

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Description: Photographer's studio and 'Wiener Photo-Kurier' stamps as well as numbered in pencil and crayon on the verso.

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Albert Renger-Patzsch, Kranke Äffchen, c. 1926

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Description: Inscribed 'Rhesus Affen' and numbered 'T 167' in pencil as well as photographer's and copyright stamps on the verso.

Condition Report: Few slight retouchings.

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Albert Renger-Patzsch, Orang Utan, c. 1928

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Description: Numbered 'T 149' in pencil as well as photographer's and copyright stamps on the verso.

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Albert Renger-Patzsch, Blüte einer Echinopsishybride, c. 1928

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Description: Photographer's and copyright stamps as well as annotated in an unknown hand in pencil on the verso.

Condition Report: Few slight retouchings.

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Albert Renger-Patzsch, Wegerich, c. 1924

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Description: Numbered in pencil '59', photographer's and copyright stamps as well as inscribed in an unknown hand in pencil on the verso.Werner Gräff chooses Wegerich by Renger-Platzsch as a successful example for the concerns of the 'new photographer' to enhance the expression of the quality of objects: ”Here, the material speaks for itself”. (cf. Werner Gräff, Es kommt der Neue Fotograf!, Berlin 1929, pp. 92).

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Albert Renger-Patzsch, Töpferhände, 1925

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Description: Numbered 'Hd 9' in pencil as well as photographer's and copyright stamps on the verso.

Condition Report: Very slight oxidation mirroring. Slight fold lower left.

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Albert Renger-Patzsch, Rohlager von Baumwollstrümpfen, Strumpffabrik Schocken in Chemnitz, c. 1925

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Description: Photographer's and copyright stamps on the verso.

Condition Report: Yellowish discoloration in the left image.

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Albert Renger-Patzsch, Segelkutter, c. 1927

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Description: Signed and titled in ink, numbered in crayon, photographer's stamp and label of the '3. Salon International d'Art Photographique de Bruxelles 1929' on the verso.

Condition Report: Print with oxidation mirroring and traces of usage.

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August Sander, Der Stadtwald zu Köln im November, 1936

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Description: Signed, dated and titled in pencil lower right. Flush-mounted to original card.

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August Sander, Drachenfels und Rheintal (Drachenfels and the Rhine Valley), Before 1935

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Description: Photographer's blind stamp lower left. Photographer's Kuchhausen stamp on the verso.The vintage or early prints of landscape photographs of the Siebengebirge and of the Rhine near Königswinter (lot 31 - 33), probably photographed by August Sander in the 1930s, are from the estate of Inge Jansen (1933 ­- 2007) who worked as a trainee and assistant of Sander in Kuchhausen between 1953 and 1955.

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August Sander, Untitled (View on Rhine and Nonnenwerth island), Probably 1930s

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Description: Photographer's blind stamp lower left. Photographer's Lindenthal stamp, numbered in pencil and annotated in pencil in an unknown hand on the verso.The vintage or early prints of landscape photographs of the Siebengebirge and of the Rhine near Königswinter (lot 31 - 33), probably photographed by August Sander in the 1930s, are from the estate of Inge Jansen (1933 ­- 2007) who worked as a trainee and assistant of Sander in Kuchhausen between 1953 and 1955.

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August Sander, Mauerpfeffer, Sede Acre, 1930s/1940s

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Description: Photographer's blind stamp lower left. Photographer's Lindenthal and Kuchhausen stamps and annotated 'die Löwenburg' by Inge Jansen in pencil on the verso.The vintage or early prints of landscape photographs of the Siebengebirge and of the Rhine near Königswinter (lot 31 - 33), probably photographed by August Sander in the 1930s, are from the estate of Inge Jansen (1933 ­- 2007) who worked as a trainee and assistant of Sander in Kuchhausen between 1953 and 1955.

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Probably Hugo Schmölz, and Anonymous, Professor Karl Wach, Düsseldorf. Bauten und Entwürfe, c. 1920-27

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Description: Mounted to a total of 49 original cards, each consecutively numbered '1' to '49' in ink lower right (no 31 and 32 not included).The elaborate, artistically designed presentation portfolio was probably created around 1927, shortly before the architect Karl Wach (1878-1952) from Düsseldorf founded an office partnership with the government building officer Heinrich Rosskotten, the architectural office 'Wach & Rosskotten'.The portfolio documents 15 of the most important, award-winning competitions and projects by Wach to date, as e.g. the competition for the town hall in Düsseldorf and the competition for the Frauenfriedenskirche in Frankfurt a.M. (1926). The characteristic exterior and detailed views can probably be ascribed to Hugo Schmölz who worked for Wach and his later partner. Schmölz also produced stylistically comparable photographs for the GAG [real estate] in Cologne in the 1920s. Karl Wach, who taught at the Kunstakademie Düsseldorf, belongs to the 'most important and committed representatives of a moderate modernism in the Rhine/Ruhr area whose work has not been adequately acknowledged to date”. (cit. after Christian Welzbacher, Die Staatsarchitektur der Weimarer Republik, Berlin 2006, p. 311)Further images on request

Condition Report: Few prints with slight oxidation mirroring. Folder and cards with slight traces of usage.

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Werner Mantz, Wohnhausgruppe in Köln-Mülheim, Straßenfront (Kieler Straße), 1927/28
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Adolf Lazi, Untitled (Weißenhofsiedlung Stuttgart et al.), 1927-1932

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Description: Each with photographer's and copyright stamps respectively. Two prints with negative number, one print inscribed in an unknown hand in pencil on the verso.

Condition Report: One print with small fold.

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Max Baur, Untitled, 1930s

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Description: Hermann Baur collection stamp on the verso.

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Imre Kinszki, Untitled, 1930s

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Description: Signed in pencil and photographer's stamp on the verso.Greatly influenced by the modernism of photography and its protagonists such as Brassai and László Moholy-Nagy Kinszki was an important spokesman and a committed representative of the 'Neues Sehen' [New Vision] movement in Hungary during the 1920s. He was particularly interested in macro photography for which he developed a special camera, the 'Kinsecta'. Despite good contacts to countrymen abroad Kinszki didn't succeed in leaving the country and he fell a victim of the Nazi regime due to his Jewish origin. (cf. also Károly Kincses (ed.), Photographes. Made in Hungary, Milan 1998, pp. 167)

Condition Report: Here and there fine retouchings.

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Imre Kinszki, Wing of a lacewing, 1930s

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Description: Titled and inscribed '30 x' in pencil as well as typewritten photographer's name on the verso.Greatly influenced by the modernism of photography and its protagonists such as Brassai and László Moholy-Nagy Kinszki was an important spokesman and a committed representative of the 'Neues Sehen' [New Vision] movement in Hungary during the 1920s. He was particularly interested in macro photography for which he developed a special camera, the 'Kinsecta'. Despite good contacts to countrymen abroad Kinszki didn't succeed in leaving the country and he fell a victim of the Nazi regime due to his Jewish origin. (cf. also Károly Kincses (ed.), Photographes. Made in Hungary, Milan 1998, pp. 167)

Condition Report: Here and there very fine retouchings.

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Imre Kinszki, Railing, 1930s

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Description: Photographer's stamp as well as titled in Hungarian and numbered in pencil on the verso.Greatly influenced by the modernism of photography and its protagonists such as Brassai and László Moholy-Nagy Kinszki was an important spokesman and a committed representative of the 'Neues Sehen' [New Vision] movement in Hungary during the 1920s. He was particularly interested in macro photography for which he developed a special camera, the 'Kinsecta'. Despite good contacts to countrymen abroad Kinszki didn't succeed in leaving the country and he fell a victim of the Nazi regime due to his Jewish origin. (cf. also Károly Kincses (ed.), Photographes. Made in Hungary, Milan 1998, pp. 167)

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Emery P. Reves-Biro, Untitled, 1930s

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Description: Signed in white ink in the lower left. Flush-mounted to card, thereon annotated in an unknown hand in pencil below the image on the mount.

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Lajos Szabó, Geschickte Hände, c. 1937

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Description: Flush-mounted to card, signed in ink below the image on the mount, titled in Hungarian in ink and photographer's stamp on the reverse of the mount.Supplement: Die Fotografie mit Rolleiflex und Rolleicord. Zweimonats-Zeitschrift, edited by Dr. Walther Heering, Harzburg, issue 28, August 1938 (therein ill. p. 19)

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Ilse Bing, Rue de Valois, Paris, 1932

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Description: Photographer's and date stamps both on the verso and on the accompanying original mat.

Condition Report: Slight oxidation mirroring.

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Blanc & Demilly (Théo Blanc & Antoine Demilly), Nature Morte, Late 1930s

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Description: Flush-mounted to card, thereon titled in pencil, photographer's stamp, 'Archives Picault-Demilly' stamp as well as annotated in an unknown hand in ballpoint pen on the reverse of the mount.

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Dr. Paul Wolff, Spiel mit einer Glasschale, 1930s

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Description: Titled in pencil, photographer's stamp, therein negative number in pencil, 'Linden-Verlag, München' stamp (taped over) as well as numbered in pencil and crayon on the verso.

Condition Report: Slight traces of usage as well as fine retouchings here and there.

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Heinz Hajek-Halke, Untitled, 1930s-1950s

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Description: Estate stamp, therein inventory number in pencil, as well as annotated in an unknown hand in pencil on the verso.

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Theo Felten, Das Zeppelinluftschiff über Köln, 1930s

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Description: Two prints with photographer's stamp, thereof one and the third print with typewritten title, on the verso.

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Theo Felten, Leben im toten Wald (Hürtgenwald), 1945/46

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Description: Titled, detailed inscribed and information about the exposure in pencil and ballpoint pen as well as photographer's stamp on the verso.The battle of the Hürtgenwald was one of the most serious and involved the greatest losses of World War II. It took place on the Belgian-German border (Düren district) in Western Germany from 6th October 1944 until 10th February 1945.

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Karl Hugo Schmölz, Dom, zerstörte Westfassade, 1946

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Description: Inscribed (illegibly) in pencil and photographer's stamp on the verso.

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Lotte Jacobi, Käthe Kollwitz, 1929

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Description: Signed in pencil lower right. Numbered in an unknown hand in pencil on the verso.

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