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Josef Breitenbach Sold at Auction Prices

Photographer

Josef Breitenbach (April 3, 1896 in Munich, Germany – October 7, 1984 in New York City) was a photographer whose manipulated images and stark photographs were part of the Surrealistic movement.

Josef Breitenbach was born into a middle-class wine-merchant Jewish family, and came of age during the chaotic years of the First World War and its troubled aftermath. He attended technical high school from 1912–15 and trained as a salesman for an instrument firm and later as a bookkeeper for an insurance firm. He attended Ludwig-Maximillian University in Munich (philosophy and art history, 1914 to 1917) and became active in the Youth Section and later the Pacifist wing of the Social Democratic Party. In 1918, he took part in the Soviet-inspired Bavarian coup d’état, which was the first spark of the revolutionary fire that swept over Germany in the wake of the armistice. For a few months, Breitenbach also occupied an official position in the new government. Although the revolution was short-lived, the ties he forged with the radical circles of Munich’s intelligentsia later helped him establish his reputation as a photographer.

In 1932, after several unsuccessful years at the head of the family business—during which period he was mainly engaged with perfecting his use of a camera—Breitenbach opened his first photographic studio. His clients were prominent members of Munich’s bohemia, including actors and actresses performing in the Munich theater. Munich was a stronghold of libertarians and refined peoples, whose spirit Breitenbach captured in theatrical portraits of his friend, the journalist Theo Riegler. This world vanished in 1933 with Hitler’s takeover.

New Life in America: Breitenbach seemingly had no trouble adjusting to America. New York, the city in which he would spend the rest of his life, became home to him, as evidenced by his photomontage of 1942, "We New Yorkers." He responded to the electric beat of the city, composing photographs such as "Radio City" (1942) that have a jazz-like quality.

His first teaching appointment was at Black Mountain College near Asheville, North Carolina, where he was invited by Josef Albers to teach as Visiting Instructor in photography in summer 1944. In New York City, he taught at Cooper Union from 1946-1966 and the New School for Social Research from 1949-1975.[3]

The 1950s and 1960s were years of intense activity for Breitenbach. He did photographic reportage in Asia for the United Nations and other varied businesses, documenting relief work. He exhibited his photographs extensively in Europe in the 1930s (especially in Paris) and in the United States from the 1940s to the mid-1960s, including at the Museum of Modern Art and the Metropolitan Museum of Art, where he had work selected by Edward Steichen for the Museum's international touring exhibition The Family of Man. The time not spent on the road was spent absorbed by his teaching at Cooper Union and The New School.

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      • Josef Breitenbach, 1896-1984
        Feb. 27, 2024

        Josef Breitenbach, 1896-1984

        Est: €1,500 - €2,500

        Josef Breitenbach, 1896-1984 Bert Brecht, Paris 1937, Abzug 60er Jahre Verso signiert, datiert 1938, eigenhändig betitelt sowie eigenhändige Widmung Reprod. in: Die Sammlung Josef Breitenbach, Mchn. 1979, S. 134. T. O. Immisch u. a., Josef Breitenbach, Photographien, Mchn. 1996, Nr. 125. Real, SurReal, Meisterwerke der Avantgarde-Fotografie, Sammlung Siegert, Kunstmuseum Wolfsburg 2014, S. 38. Variante: L. Dryanski, Josef Breitenbach, Chalon-sur-Saone, Tafel 1 Ausstellung: Josef Breitenbach, Wanderung, Photo- und Filmmuseum München 1965, Nr. 112 (dort datiert 1939) Provenienz: Uli Rathje, Fotograf 35,3:28 cm

        Schneider-Henn
      • Josef Breitenbach, 1896-1984
        Feb. 02, 2024

        Josef Breitenbach, 1896-1984

        Est: €1,500 - €2,500

        Josef Breitenbach, 1896-1984 Bert Brecht, Paris 1937, Abzug 60er Jahre Verso signiert, datiert 1938, eigenhändig betitelt sowie eigenhändige Widmung Reprod. in: Die Sammlung Josef Breitenbach, Mchn. 1979, S. 134. T. O. Immisch u. a., Josef Breitenbach, Photographien, Mchn. 1996, Nr. 125. Real, SurReal, Meisterwerke der Avantgarde-Fotografie, Sammlung Siegert, Kunstmuseum Wolfsburg 2014, S. 38. Variante: L. Dryanski, Josef Breitenbach, Chalon-sur-Saone, Tafel 1 Ausstellung: Josef Breitenbach, Wanderung, Photo- und Filmmuseum München 1965, Nr. 112 (dort datiert 1939) Provenienz: Uli Rathje, Fotograf 35,3:28 cm

        Schneider-Henn
      • JOSEF BREITENBACH (1896-1984) The Sculptor (Portrait of Aristide Maillol 1861-1944).
        Oct. 05, 2023

        JOSEF BREITENBACH (1896-1984) The Sculptor (Portrait of Aristide Maillol 1861-1944).

        Est: $2,000 - $3,000

        JOSEF BREITENBACH (1896-1984) The Sculptor (Portrait of Aristide Maillol 1861-1944). Silver print, the image measuring 9 1/8x7 inches (23.2x17.8 cm.), with Breitenbach's Faubourg du Temple studio stamp and the title in ink, his Odéon, Paris and Central Park, NY copyright stamps, a copyright date stamp, and the title and negative date in pencil, on verso. 1936; printed before 1961

        Swann Auction Galleries
      • Josef Breitenbach 1896-1984
        Sep. 22, 2023

        Josef Breitenbach 1896-1984

        Est: €2,000 - €3,000

        Josef Breitenbach 1896-1984 James Joyce, Paris 1937, Abzug 1976 Signiert und datiert sowie eigenhändige Widmung des Fotografen mit Unterschrift Reprod. in: T. O. Immisch, Josef Breitenbach, Mchn. 1996, Nr. 114 Ausstellung: Josef Breitenbach, Fotomuseum München, (1965), Katalognr. 116 28:27,9 cm (11:11 in)

        Schneider-Henn
      • Josef Breitenbach 1896-1984
        Sep. 22, 2023

        Josef Breitenbach 1896-1984

        Est: €1,500 - €2,500

        Josef Breitenbach 1896-1984 Rooftop ventilaters, New York, ca. 1945, Vintage print Studiostempel verso, Adresse New York 27,9:28 cm (11:11 in)

        Schneider-Henn
      • Josef Breitenbach, Surrealist photograph
        Jul. 27, 2023

        Josef Breitenbach, Surrealist photograph

        Est: $100 - $150

        Josef Breitenbach (German-American, 1896-1984), "Wassily Kandinsky, 1938", manipulated photograph, gallery label verso, framed under UV Plexiglas, 14"h x 11"w (sheet), 21"h x 18"w (frame)

        Millea Bros Ltd
      • Josef Breitenbach, 1896-1984
        Jun. 16, 2023

        Josef Breitenbach, 1896-1984

        Est: €1,400 - €2,000

        Josef Breitenbach, 1896-1984 Indische Mutter, 1968, Vintage print Verso Studiostempel, Adresse New York, sowie eigenhändig datiert Provenienz: Sammlung Wischnewski 27,7:27,9 (35,2:27,9)cm

        Schneider-Henn
      • - Breitenbach, J., (Zuschreibung), Venedig.
        Dec. 14, 2022

        - Breitenbach, J., (Zuschreibung), Venedig.

        Est: - €400

        Silbergelatine-Abzug. Vintage. Nicht sign., dat. "April 1928". Auf Trägerpapier mont. Ca. 12,5 x 13,5 cm. (53) - Blick von der Seite des Palazzo Bolani über den Canal Grande auf die Pescheria des Mercato di Rialto. Recht frühe Arbeit des Münchener Photographen Josef Breitenbach (1896-1984), der 1932 sein Photostudio eröffnete, aber erst nach seinem Exil in Paris und später in der USA zu Ruhm fand.

        Zisska & Lacher
      • - Breitenbach, J., (Zuschreibung), Venedig.
        Dec. 01, 2022

        - Breitenbach, J., (Zuschreibung), Venedig.

        Est: - €400

        Silbergelatine-Abzug. Vintage. Nicht sign., dat. "April 1928". Auf Trägerpapier mont. Ca. 12,5 x 13,5 cm. (53) - Blick von der Seite des Palazzo Bolani über den Canal Grande auf die Pescheria des Mercato di Rialto. Recht frühe Arbeit des Münchener Photographen Josef Breitenbach (1896-1984), der 1932 sein Photostudio eröffnete, aber erst nach seinem Exil in Paris und später in der USA zu Ruhm fand.

        Zisska & Lacher
      • JOSEF BREITENBACH (1896-1984) Max Ernst and the Seahorse, New York.
        Feb. 10, 2022

        JOSEF BREITENBACH (1896-1984) Max Ernst and the Seahorse, New York.

        Est: $6,000 - $9,000

        JOSEF BREITENBACH (1896-1984) Max Ernst and the Seahorse, New York. Silver print, the image measuring 10 3/8x7 1/4 inches (26.3x18.4 cm.), with Breitenbach's PIX Agency stamp, later notations with the sitter's name, in pencil, and a library stamp, on verso. 1942

        Swann Auction Galleries
      • Josef Breitenbach (German-American, 1896-1984)
        Nov. 09, 2021

        Josef Breitenbach (German-American, 1896-1984)

        Est: £400 - £600

        Josef Breitenbach (German-American, 1896-1984) Josef Breitenbach (German-American, 1896-1984) Reflected portrait of Edith D’Amara, Munich, 1932 vintage silver gelatin print, with estate stamp verso 22.5 x 17cm

        Sworders
      • Josef Breitenbach, 1896-1984
        Sep. 21, 2021

        Josef Breitenbach, 1896-1984

        Est: €1,400 - €2,000

        Josef Breitenbach, 1896-1984 Palmenland, um 1960, Vintage print Verso Studiostempel, Ortsangabe New York 27,2:27,6 (35,1:27,6) cm

        Schneider-Henn
      • Josef Breitenbach (1896-1984)
        Sep. 07, 2021

        Josef Breitenbach (1896-1984)

        Est: £1,500 - £2,000

        Josef Breitenbach (1896-1984) Josef Breitenbach (1896-1984) MONTPARNASSE, PARIS, 1937-8, silver gelatin print, printed later, image size, 295 x 240mm, with estate stamp verso Provenance: Bonhams, Knightsbridge, The Jacob Collection, The Property of an Important Swiss Collector, 29th July 2020, Lot 68 Christie's, New York, 19th & 20th Century Photographs, 8 October 1993, lot 290. Literature: 'Departures: Photography 1924-89', New York, Hirsch & Adler Modern, p.33; Josef Breitenbach, Photographer, p.25 for an example in colour

        Chiswick Auctions
      • Josef Breitenbach (German-American, 1896-1984)
        Jul. 14, 2021

        Josef Breitenbach (German-American, 1896-1984)

        Est: £1,000 - £1,500

        Josef Breitenbach (German-American, 1896-1984) Josef Breitenbach (German-American, 1896-1984) Reflected portrait of Edith D’Amara, Munich, 1932 vintage silver gelatin print, with estate stamp verso 22.5 x 17cm

        Sworders
      • Josef Breitenbach: Nude
        Jun. 23, 2021

        Josef Breitenbach: Nude

        Est: €600 - €800

        BREITENBACH, JOSEF 1896 München - 1984 New York Title: Nude. Technique: Gelatin silver print. Depiction Size: 35,5 x 28cm. Notation: . Verso equipped with estate stamp.

        Van Ham Kunstauktionen
      • Josef Breitenbach (1896-1984)
        May. 28, 2021

        Josef Breitenbach (1896-1984)

        Est: £2,000 - £3,000

        Josef Breitenbach (1896-1984) MONTPARNASSE, PARIS, 1937-8, Bromoil transfer print, printed later, image size, 295 x 240mm, with estate stamp verso Provenance: Bonhams, Knightsbridge, The Jacob Collection, The Property of an Important Swiss Collector, 29th July 2020, Lot 68 Christie's, New York, 19th & 20th Century Photographs, 8 October 1993, lot 290. Literature: 'Departures: Photography 1924-89', New York, Hirsch & Adler Modern, p.33; Josef Breitenbach, Photographer, p.25 for an example in colour

        Chiswick Auctions
      • § JOSEF BREITENBACH (GERMAN 1896-1984) JAMES JOYCE
        Apr. 30, 2021

        § JOSEF BREITENBACH (GERMAN 1896-1984) JAMES JOYCE

        Est: £500 - £700

        studio stamp 'Estate of Josef Breitenbach' (to reverse), photographic print (Dimensions: the image 29.2cm x 28cm  (11.5in x 11in), the sheet 35.5cm x 28cm (14in x 11in)) (the image 29.2cm x 28cm  (11.5in x 11in), the sheet 35.5cm x 28cm (14in x 11in))

        Lyon & Turnbull
      • Josef Breitenbach, Untitled (from the series: This beautiful landscape), 1953
        Dec. 07, 2020

        Josef Breitenbach, Untitled (from the series: This beautiful landscape), 1953

        Est: €3,000 -

        RefPho301120 Photographer's estate stamp on the verso.

        Kunsthaus Lempertz KG
      • Josef Breitenbach, Badende, c. 1950
        Dec. 07, 2020

        Josef Breitenbach, Badende, c. 1950

        Est: €3,000 -

        RefPho301120 Photographer's estate stamp on the verso.

        Kunsthaus Lempertz KG
      • Josef Breitenbach (German, 1896-1984); Montparnasse, Paris;
        Jul. 29, 2020

        Josef Breitenbach (German, 1896-1984); Montparnasse, Paris;

        Est: £4,000 - £6,000

        Josef Breitenbach (German, 1896-1984) Montparnasse, Paris, 1937-8 Bromoil transfer on gelatin silver print, printed later, estate stamp on verso 295 x 240mm. For further information on this lot please visit the Bonhams website

        Bonhams
      • Josef Breitenbach - "Jeune fille en Deuil“ [Actress Edith Schultze- Westrum]
        Jul. 09, 2020

        Josef Breitenbach - "Jeune fille en Deuil“ [Actress Edith Schultze- Westrum]

        Est: €1,000 - €1,500

        Josef Breitenbach "Jeune fille en Deuil“ [Actress Edith Schultze- Westrum] Vintage. Gelatin silver print, exhibition print Monogrammed with white India ink in the image lower left. Laid down on original cardboard (41,7 x 30,8 cm). On reverse of the cardboard with address label of the photographer: "JOSEF BREITENBACH, PARIS VIe, 70 BIS, RUE N.-D. Of the CHAMPS, ODÉON 83-84“, thereupon titled with brown ink by Josef Breitenbach. Exhibition label of the "Société Francaise de Photographie et de Cinématographie“ of the "XXXe Salon International, d'art photographique, Paris 1935“ as well as estate stamp. Inscribed in pencil by an unknown hand 15 5/8 × 11 3/4 in.

        Grisebach
      • Fotografie. – Josef Breitenbach
        Jun. 17, 2020

        Fotografie. – Josef Breitenbach

        Est: €1,400 -

        (1896-1984). Eine Erscheinung. Fotografie, um 1960, Vintage print. Verso Studiostempel, Adresse New York. 35,1:27,8 cm.

        Schneider-Henn
      • Josef Breitenbach. Pair of portraits, photographs
        Nov. 11, 2017

        Josef Breitenbach. Pair of portraits, photographs

        Est: $200 - $300

        (German, 1896-1984). 1) Pensive Girl, signed in pencil "Breitenbach" lr, dated "New York, 1945" ll, sight size: 9 1/2 x 7 1/2 in., framed 2) Young Woman, signed in pencil "Joseph Breitenbach" lr, dated "New York, 1948" ll, sight size: 9 1/4 x 7 in., framed

        Alex Cooper
      • Josef Breitenbach. Pair of portraits, photographs
        Jan. 28, 2017

        Josef Breitenbach. Pair of portraits, photographs

        Est: $500 - $700

        (German, 1896-1984). 1) Pensive Girl, signed "Breitenbach" lr, dated "New York, 1945" ll, sight size: 9 1/2 x 7 1/2 in., framed 2) Young Woman, signed "Joseph Breitenbach" lr, dated "New York, 1948" ll, sight soze: 9 1/4 x 7 in., framed

        Alex Cooper
      • JOSEF BREITENBACH
        Dec. 13, 2015

        JOSEF BREITENBACH

        Est: €5,000 - €7,000

        Nude in a stream, USA ca. 1950 Verso: the Breitenbach estate stamp Vintage gelatin silver print 35.5 by 27.9 cm. Literature Josef Breitenbach, Photographien, Schimer/Mosel, 1996, p.154; Breitenbach Aktphotographien, Galerie Bodo Niemann, Berlin, p.25.

        Art Europe Auctions
      • Breitenbach, Josef: Sayoko (female nude)
        Dec. 02, 2015

        Breitenbach, Josef: Sayoko (female nude)

        Est: €1,000 - €1,500

        "Sayoko" (female nude). 1953. Vintage chromogenic print on Kodak paper. 20,5 x 25,7 cm. Monogrammed and dated in ink on the verso. Some edge wear, traces of previous mounting on the verso, some creases in corners, a few light scratches/scuff marks, especially near left edge, otherwise in good condition. Lit.: T.O. Immisch/U. Pohlmann/K.E. Göltz (eds.). Josef Breitenbach. Photographien. Munich 1996.

        Galerie Bassenge
      • JOSEF BREITENBACH (1896-1984) Penicillin, vers 1946-1949
        Nov. 13, 2015

        JOSEF BREITENBACH (1896-1984) Penicillin, vers 1946-1949

        Est: -

        JOSEF BREITENBACH (1896-1984) Penicillin, vers 1946-1949

        Christie's
      • JOSEF BREITENBACH (1896-1984) Max Ernst and the Seahorse, New Yo
        Nov. 13, 2015

        JOSEF BREITENBACH (1896-1984) Max Ernst and the Seahorse, New Yo

        Est: -

        JOSEF BREITENBACH (1896-1984) Max Ernst and the Seahorse, New York, 1942

        Christie's
      • Breitenbach, Josef: Selected images
        Jun. 03, 2015

        Breitenbach, Josef: Selected images

        Est: €10 - €1,200

        Selected images. 1939 - 53/printed 1960s/70s. 20 gelatin silver prints, hand-pulled on various papers. Each circa 38 x 28 cm.1 signed, several monogrammed and/or dated and a few with photographer's stamp on the verso. A selection of images including landscapes, portraits (John Dewey 1944 and Emile Bernard 1939), and two nudes, as well as many images of Korea. In the summer of 1952, Josef Breitenbach took on the position as photographer for the United Nations Korean Reconstruction Agency and moved to Korea. Includes "Chong No after Bombing, Seoul, Korea". – Some prints with minimal edge wear, Chong No print with a few spots of oxidation mirroring, two small creases in right portion, otherwise fine tonal prints in good to very good condition. Provenance: The photographer, thence by descent. Lit.: T.O. Immisch/U. Pohlmann/K.E. Göltz (eds.). Josef Breitenbach. Photographien. Munich 1996, ill. p. 190.

        Galerie Bassenge
      • Josef Breitenbach (German, 1896-1984) Electric Back, New York
        Jan. 25, 2015

        Josef Breitenbach (German, 1896-1984) Electric Back, New York

        Est: -

        Josef Breitenbach (German, 1896-1984) Electric Back, New York

        Bonhams
      • Josef Breitenbach (German, 1896-1984) Wassily Kandinsky, Paris
        Jan. 25, 2015

        Josef Breitenbach (German, 1896-1984) Wassily Kandinsky, Paris

        Est: $1,000 - $1,200

        Josef Breitenbach (German, 1896-1984) Wassily Kandinsky, Paris

        Bonhams
      • BREITENBACH, JOSEF (1896-1984) "Mother and Child, Near Jakarta, Java."
        Oct. 17, 2014

        BREITENBACH, JOSEF (1896-1984) "Mother and Child, Near Jakarta, Java."

        Est: $2,500 - $3,500

        BREITENBACH, JOSEF (1896-1984) "Mother and Child, Near Jakarta, Java." Silver print, 13 3/4x10 3/4 inches (34.9x27.3 cm.), with Breitenbach's signature, partial title, date, and inscription, in ink, on verso. 1960 (inscribed in 1968)

        Swann Auction Galleries
      • Breitenbach, Josef: Victorian house; Overgrown garden
        Jun. 04, 2014

        Breitenbach, Josef: Victorian house; Overgrown garden

        Est: €300 - €400

        Victorian house; Overgrown garden. Before 1966. 2 vintage ferrotyped gelatin silver prints. Each 25,4 x 21 cm. Each with photographer's Central Park South address (1941-1966) stamp on the verso. Each with light handling marks, minor surface scratching, Victorian house with small indentation in the margin, otherwise in very good condition. Lit.: T.O. Immisch/U. Pohlmann/K.E. Göltz (eds.) Josef Breitenbach. Photographien. Munich 1996.

        Galerie Bassenge
      • Josef Breitenbach, Lawyer, Paris, 1933-39
        May. 30, 2014

        Josef Breitenbach, Lawyer, Paris, 1933-39

        Est: €1,500 - €1,800

        Inscribed "Dr. S.A." in pencil on the verso.Josef Breitenbach (1896 - 1984) was already in his mid-thirties when he opened his own photo studio in Munich. As the son of a Jewish wine wholesaler, he first took over his parent's business, but as an autodidact he had also been engaged in photography from an early age and participated in competitions and exhibitions for amateur photographers. His close contacts with the Munich artist and literati scene - which went back to his time with the pacifist youth movement during the First World War and his time in the republic of councils of 1918/19 - helped him in getting his first commissions as a portrait photographer. In the autumn of 1932, he was employed at the Munich Kammerspiele but he emigrated to Paris - shortly after the coming into power of the National Socialists - where he was admitted to the artistic circle surrounding André Breton and exhibited together with Man Ray, Brassaï, Eli Lotar and Henri Cartier-Bresson. Here, Breitenbach took pictures of emigrated artist colleagues such as Helene Weigel, Bert Brecht, Max Ernst and Lyonel Feininger and participated in several solo as well as group exhibitions. In 1938, he was expatriated. In 1941, Breitenbach managed to emigrate to the USA via Marseille where he devoted himself to reporting and documentary photography and also worked as a photographer for various UN organisations.The pictures shown here, most of which are vintage copies, originate from the early 1930s - when Breitenbach got professionally established as a photographer in Munich - and from his early exile years in Paris. They are largely portrait shots of which several exhibit characteristics typical for Breitenbach such as double exposure (lot 94) and the use of mirrors (lot 88). At the same time, they document the great importance that Breitenbach ascribed to working in the darkroom: the imprinting of photo frames (lot 87-89, 91, 92 and 94) and the use of warm coloured, matt velvety photo paper (lot 85, 89, 96) are typical characteristics of Breitenbach's photographs of that time. Literature (at choice) Wanderung. 250 Photographien 1930 bis 1965 von Joseph Breitenbach, exhib.cat. Filmmuseum im Münchner Stadtmuseum, Munich n.d. [around 1966]Josef Breitenbach. Photographer. Essay by Holborn Mark, New York 1986T. O. Immisch, Ulrich Pohlmann, Klaus E. Göltz (ed.), Josef Breitenbach. Photographien, exhib.cat. Staatliche Galerie Moritzburg Halle, Fotomuseum im Münchner Stadtmuseum. Munich, Paris, London 1996Keith Holz, Wolfgang Schopf (ed.), Im Auge des Exils. Josef Breitenbach und die Freie Deutsche Kultur in Paris 1933-1941, Berlin 2001Larissa Dryansky, Josef Breitenbach. 1896-1984. Une photographie impure, exhib.cat. Musée Nicéphore Niépce, Paris 2001

        Kunsthaus Lempertz KG
      • Josef Breitenbach, Rue de la Grande Chaumière, Paris, 1937
        May. 30, 2014

        Josef Breitenbach, Rue de la Grande Chaumière, Paris, 1937

        Est: €2,000 - €2,400

        Monogrammed, dated and titled in ballpoint pen as well as inscribed in pencil on the verso.Josef Breitenbach (1896 - 1984) was already in his mid-thirties when he opened his own photo studio in Munich. As the son of a Jewish wine wholesaler, he first took over his parent's business, but as an autodidact he had also been engaged in photography from an early age and participated in competitions and exhibitions for amateur photographers. His close contacts with the Munich artist and literati scene - which went back to his time with the pacifist youth movement during the First World War and his time in the republic of councils of 1918/19 - helped him in getting his first commissions as a portrait photographer. In the autumn of 1932, he was employed at the Munich Kammerspiele but he emigrated to Paris - shortly after the coming into power of the National Socialists - where he was admitted to the artistic circle surrounding André Breton and exhibited together with Man Ray, Brassaï, Eli Lotar and Henri Cartier-Bresson. Here, Breitenbach took pictures of emigrated artist colleagues such as Helene Weigel, Bert Brecht, Max Ernst and Lyonel Feininger and participated in several solo as well as group exhibitions. In 1938, he was expatriated. In 1941, Breitenbach managed to emigrate to the USA via Marseille where he devoted himself to reporting and documentary photography and also worked as a photographer for various UN organisations.The pictures shown here, most of which are vintage copies, originate from the early 1930s - when Breitenbach got professionally established as a photographer in Munich - and from his early exile years in Paris. They are largely portrait shots of which several exhibit characteristics typical for Breitenbach such as double exposure (lot 94) and the use of mirrors (lot 88). At the same time, they document the great importance that Breitenbach ascribed to working in the darkroom: the imprinting of photo frames (lot 87-89, 91, 92 and 94) and the use of warm coloured, matt velvety photo paper (lot 85, 89, 96) are typical characteristics of Breitenbach's photographs of that time. Literature (at choice) Wanderung. 250 Photographien 1930 bis 1965 von Joseph Breitenbach, exhib.cat. Filmmuseum im Münchner Stadtmuseum, Munich n.d. [around 1966]Josef Breitenbach. Photographer. Essay by Holborn Mark, New York 1986T. O. Immisch, Ulrich Pohlmann, Klaus E. Göltz (ed.), Josef Breitenbach. Photographien, exhib.cat. Staatliche Galerie Moritzburg Halle, Fotomuseum im Münchner Stadtmuseum. Munich, Paris, London 1996Keith Holz, Wolfgang Schopf (ed.), Im Auge des Exils. Josef Breitenbach und die Freie Deutsche Kultur in Paris 1933-1941, Berlin 2001Larissa Dryansky, Josef Breitenbach. 1896-1984. Une photographie impure, exhib.cat. Musée Nicéphore Niépce, Paris 2001

        Kunsthaus Lempertz KG
      • Josef Breitenbach, Terrace Monte Bre, 1930s
        May. 30, 2014

        Josef Breitenbach, Terrace Monte Bre, 1930s

        Est: €1,200 - €1,440

        Titled in pencil on the verso.Josef Breitenbach (1896 - 1984) was already in his mid-thirties when he opened his own photo studio in Munich. As the son of a Jewish wine wholesaler, he first took over his parent's business, but as an autodidact he had also been engaged in photography from an early age and participated in competitions and exhibitions for amateur photographers. His close contacts with the Munich artist and literati scene - which went back to his time with the pacifist youth movement during the First World War and his time in the republic of councils of 1918/19 - helped him in getting his first commissions as a portrait photographer. In the autumn of 1932, he was employed at the Munich Kammerspiele but he emigrated to Paris - shortly after the coming into power of the National Socialists - where he was admitted to the artistic circle surrounding André Breton and exhibited together with Man Ray, Brassaï, Eli Lotar and Henri Cartier-Bresson. Here, Breitenbach took pictures of emigrated artist colleagues such as Helene Weigel, Bert Brecht, Max Ernst and Lyonel Feininger and participated in several solo as well as group exhibitions. In 1938, he was expatriated. In 1941, Breitenbach managed to emigrate to the USA via Marseille where he devoted himself to reporting and documentary photography and also worked as a photographer for various UN organisations.The pictures shown here, most of which are vintage copies, originate from the early 1930s - when Breitenbach got professionally established as a photographer in Munich - and from his early exile years in Paris. They are largely portrait shots of which several exhibit characteristics typical for Breitenbach such as double exposure (lot 94) and the use of mirrors (lot 88). At the same time, they document the great importance that Breitenbach ascribed to working in the darkroom: the imprinting of photo frames (lot 87-89, 91, 92 and 94) and the use of warm coloured, matt velvety photo paper (lot 85, 89, 96) are typical characteristics of Breitenbach's photographs of that time. Literature (at choice) Wanderung. 250 Photographien 1930 bis 1965 von Joseph Breitenbach, exhib.cat. Filmmuseum im Münchner Stadtmuseum, Munich n.d. [around 1966]Josef Breitenbach. Photographer. Essay by Holborn Mark, New York 1986T. O. Immisch, Ulrich Pohlmann, Klaus E. Göltz (ed.), Josef Breitenbach. Photographien, exhib.cat. Staatliche Galerie Moritzburg Halle, Fotomuseum im Münchner Stadtmuseum. Munich, Paris, London 1996Keith Holz, Wolfgang Schopf (ed.), Im Auge des Exils. Josef Breitenbach und die Freie Deutsche Kultur in Paris 1933-1941, Berlin 2001Larissa Dryansky, Josef Breitenbach. 1896-1984. Une photographie impure, exhib.cat. Musée Nicéphore Niépce, Paris 2001

        Kunsthaus Lempertz KG
      • Josef Breitenbach, Prof. E. Stern, Munich, before 1933
        May. 30, 2014

        Josef Breitenbach, Prof. E. Stern, Munich, before 1933

        Est: €1,400 - €1,680

        Josef Breitenbach (1896 - 1984) was already in his mid-thirties when he opened his own photo studio in Munich. As the son of a Jewish wine wholesaler, he first took over his parent's business, but as an autodidact he had also been engaged in photography from an early age and participated in competitions and exhibitions for amateur photographers. His close contacts with the Munich artist and literati scene - which went back to his time with the pacifist youth movement during the First World War and his time in the republic of councils of 1918/19 - helped him in getting his first commissions as a portrait photographer. In the autumn of 1932, he was employed at the Munich Kammerspiele but he emigrated to Paris - shortly after the coming into power of the National Socialists - where he was admitted to the artistic circle surrounding André Breton and exhibited together with Man Ray, Brassaï, Eli Lotar and Henri Cartier-Bresson. Here, Breitenbach took pictures of emigrated artist colleagues such as Helene Weigel, Bert Brecht, Max Ernst and Lyonel Feininger and participated in several solo as well as group exhibitions. In 1938, he was expatriated. In 1941, Breitenbach managed to emigrate to the USA via Marseille where he devoted himself to reporting and documentary photography and also worked as a photographer for various UN organisations.The pictures shown here, most of which are vintage copies, originate from the early 1930s - when Breitenbach got professionally established as a photographer in Munich - and from his early exile years in Paris. They are largely portrait shots of which several exhibit characteristics typical for Breitenbach such as double exposure (lot 94) and the use of mirrors (lot 88). At the same time, they document the great importance that Breitenbach ascribed to working in the darkroom: the imprinting of photo frames (lot 87-89, 91, 92 and 94) and the use of warm coloured, matt velvety photo paper (lot 85, 89, 96) are typical characteristics of Breitenbach's photographs of that time. Literature (at choice) Wanderung. 250 Photographien 1930 bis 1965 von Joseph Breitenbach, exhib.cat. Filmmuseum im Münchner Stadtmuseum, Munich n.d. [around 1966]Josef Breitenbach. Photographer. Essay by Holborn Mark, New York 1986T. O. Immisch, Ulrich Pohlmann, Klaus E. Göltz (ed.), Josef Breitenbach. Photographien, exhib.cat. Staatliche Galerie Moritzburg Halle, Fotomuseum im Münchner Stadtmuseum. Munich, Paris, London 1996Keith Holz, Wolfgang Schopf (ed.), Im Auge des Exils. Josef Breitenbach und die Freie Deutsche Kultur in Paris 1933-1941, Berlin 2001Larissa Dryansky, Josef Breitenbach. 1896-1984. Une photographie impure, exhib.cat. Musée Nicéphore Niépce, Paris 2001

        Kunsthaus Lempertz KG
      • Josef Breitenbach, Sybille Binder, c. 1932
        May. 30, 2014

        Josef Breitenbach, Sybille Binder, c. 1932

        Est: €1,400 - €1,680

        Titled in pencil and with photographer's stamp on the verso.Josef Breitenbach (1896 - 1984) was already in his mid-thirties when he opened his own photo studio in Munich. As the son of a Jewish wine wholesaler, he first took over his parent's business, but as an autodidact he had also been engaged in photography from an early age and participated in competitions and exhibitions for amateur photographers. His close contacts with the Munich artist and literati scene - which went back to his time with the pacifist youth movement during the First World War and his time in the republic of councils of 1918/19 - helped him in getting his first commissions as a portrait photographer. In the autumn of 1932, he was employed at the Munich Kammerspiele but he emigrated to Paris - shortly after the coming into power of the National Socialists - where he was admitted to the artistic circle surrounding André Breton and exhibited together with Man Ray, Brassaï, Eli Lotar and Henri Cartier-Bresson. Here, Breitenbach took pictures of emigrated artist colleagues such as Helene Weigel, Bert Brecht, Max Ernst and Lyonel Feininger and participated in several solo as well as group exhibitions. In 1938, he was expatriated. In 1941, Breitenbach managed to emigrate to the USA via Marseille where he devoted himself to reporting and documentary photography and also worked as a photographer for various UN organisations.The pictures shown here, most of which are vintage copies, originate from the early 1930s - when Breitenbach got professionally established as a photographer in Munich - and from his early exile years in Paris. They are largely portrait shots of which several exhibit characteristics typical for Breitenbach such as double exposure (lot 94) and the use of mirrors (lot 88). At the same time, they document the great importance that Breitenbach ascribed to working in the darkroom: the imprinting of photo frames (lot 87-89, 91, 92 and 94) and the use of warm coloured, matt velvety photo paper (lot 85, 89, 96) are typical characteristics of Breitenbach's photographs of that time. Literature (at choice) Wanderung. 250 Photographien 1930 bis 1965 von Joseph Breitenbach, exhib.cat. Filmmuseum im Münchner Stadtmuseum, Munich n.d. [around 1966]Josef Breitenbach. Photographer. Essay by Holborn Mark, New York 1986T. O. Immisch, Ulrich Pohlmann, Klaus E. Göltz (ed.), Josef Breitenbach. Photographien, exhib.cat. Staatliche Galerie Moritzburg Halle, Fotomuseum im Münchner Stadtmuseum. Munich, Paris, London 1996Keith Holz, Wolfgang Schopf (ed.), Im Auge des Exils. Josef Breitenbach und die Freie Deutsche Kultur in Paris 1933-1941, Berlin 2001Larissa Dryansky, Josef Breitenbach. 1896-1984. Une photographie impure, exhib.cat. Musée Nicéphore Niépce, Paris 2001

        Kunsthaus Lempertz KG
      • Josef Breitenbach, Portrait, 1930s
        May. 30, 2014

        Josef Breitenbach, Portrait, 1930s

        Est: €1,400 - €1,680

        Titled in pencil on the verso.Josef Breitenbach (1896 - 1984) was already in his mid-thirties when he opened his own photo studio in Munich. As the son of a Jewish wine wholesaler, he first took over his parent's business, but as an autodidact he had also been engaged in photography from an early age and participated in competitions and exhibitions for amateur photographers. His close contacts with the Munich artist and literati scene - which went back to his time with the pacifist youth movement during the First World War and his time in the republic of councils of 1918/19 - helped him in getting his first commissions as a portrait photographer. In the autumn of 1932, he was employed at the Munich Kammerspiele but he emigrated to Paris - shortly after the coming into power of the National Socialists - where he was admitted to the artistic circle surrounding André Breton and exhibited together with Man Ray, Brassaï, Eli Lotar and Henri Cartier-Bresson. Here, Breitenbach took pictures of emigrated artist colleagues such as Helene Weigel, Bert Brecht, Max Ernst and Lyonel Feininger and participated in several solo as well as group exhibitions. In 1938, he was expatriated. In 1941, Breitenbach managed to emigrate to the USA via Marseille where he devoted himself to reporting and documentary photography and also worked as a photographer for various UN organisations.The pictures shown here, most of which are vintage copies, originate from the early 1930s - when Breitenbach got professionally established as a photographer in Munich - and from his early exile years in Paris. They are largely portrait shots of which several exhibit characteristics typical for Breitenbach such as double exposure (lot 94) and the use of mirrors (lot 88). At the same time, they document the great importance that Breitenbach ascribed to working in the darkroom: the imprinting of photo frames (lot 87-89, 91, 92 and 94) and the use of warm coloured, matt velvety photo paper (lot 85, 89, 96) are typical characteristics of Breitenbach's photographs of that time. Literature (at choice) Wanderung. 250 Photographien 1930 bis 1965 von Joseph Breitenbach, exhib.cat. Filmmuseum im Münchner Stadtmuseum, Munich n.d. [around 1966]Josef Breitenbach. Photographer. Essay by Holborn Mark, New York 1986T. O. Immisch, Ulrich Pohlmann, Klaus E. Göltz (ed.), Josef Breitenbach. Photographien, exhib.cat. Staatliche Galerie Moritzburg Halle, Fotomuseum im Münchner Stadtmuseum. Munich, Paris, London 1996Keith Holz, Wolfgang Schopf (ed.), Im Auge des Exils. Josef Breitenbach und die Freie Deutsche Kultur in Paris 1933-1941, Berlin 2001Larissa Dryansky, Josef Breitenbach. 1896-1984. Une photographie impure, exhib.cat. Musée Nicéphore Niépce, Paris 2001

        Kunsthaus Lempertz KG
      • Josef Breitenbach, Jarmila Novotná in "The Bartered Bride", 1932
        May. 30, 2014

        Josef Breitenbach, Jarmila Novotná in "The Bartered Bride", 1932

        Est: €1,200 - €1,440

        Dated and titled as well as annotated in an unknown hand in pencil on the verso.Josef Breitenbach (1896 - 1984) was already in his mid-thirties when he opened his own photo studio in Munich. As the son of a Jewish wine wholesaler, he first took over his parent's business, but as an autodidact he had also been engaged in photography from an early age and participated in competitions and exhibitions for amateur photographers. His close contacts with the Munich artist and literati scene - which went back to his time with the pacifist youth movement during the First World War and his time in the republic of councils of 1918/19 - helped him in getting his first commissions as a portrait photographer. In the autumn of 1932, he was employed at the Munich Kammerspiele but he emigrated to Paris - shortly after the coming into power of the National Socialists - where he was admitted to the artistic circle surrounding André Breton and exhibited together with Man Ray, Brassaï, Eli Lotar and Henri Cartier-Bresson. Here, Breitenbach took pictures of emigrated artist colleagues such as Helene Weigel, Bert Brecht, Max Ernst and Lyonel Feininger and participated in several solo as well as group exhibitions. In 1938, he was expatriated. In 1941, Breitenbach managed to emigrate to the USA via Marseille where he devoted himself to reporting and documentary photography and also worked as a photographer for various UN organisations.The pictures shown here, most of which are vintage copies, originate from the early 1930s - when Breitenbach got professionally established as a photographer in Munich - and from his early exile years in Paris. They are largely portrait shots of which several exhibit characteristics typical for Breitenbach such as double exposure (lot 94) and the use of mirrors (lot 88). At the same time, they document the great importance that Breitenbach ascribed to working in the darkroom: the imprinting of photo frames (lot 87-89, 91, 92 and 94) and the use of warm coloured, matt velvety photo paper (lot 85, 89, 96) are typical characteristics of Breitenbach's photographs of that time. Literature (at choice) Wanderung. 250 Photographien 1930 bis 1965 von Joseph Breitenbach, exhib.cat. Filmmuseum im Münchner Stadtmuseum, Munich n.d. [around 1966]Josef Breitenbach. Photographer. Essay by Holborn Mark, New York 1986T. O. Immisch, Ulrich Pohlmann, Klaus E. Göltz (ed.), Josef Breitenbach. Photographien, exhib.cat. Staatliche Galerie Moritzburg Halle, Fotomuseum im Münchner Stadtmuseum. Munich, Paris, London 1996Keith Holz, Wolfgang Schopf (ed.), Im Auge des Exils. Josef Breitenbach und die Freie Deutsche Kultur in Paris 1933-1941, Berlin 2001Larissa Dryansky, Josef Breitenbach. 1896-1984. Une photographie impure, exhib.cat. Musée Nicéphore Niépce, Paris 2001

        Kunsthaus Lempertz KG
      • Josef Breitenbach, Untitled, Before 1933
        May. 30, 2014

        Josef Breitenbach, Untitled, Before 1933

        Est: €900 - €1,080

        Photographer's stamp on the verso.This photograph is probably identical with cat. 246 of the mentioned exhibition here titled 'Rosen. Testaufnahme für die Konstruktion des IMAGON' [referring to the smoothing camera lens by Rodenstock, which came on the market in 1931 a/n]Josef Breitenbach (1896 - 1984) was already in his mid-thirties when he opened his own photo studio in Munich. As the son of a Jewish wine wholesaler, he first took over his parent's business, but as an autodidact he had also been engaged in photography from an early age and participated in competitions and exhibitions for amateur photographers. His close contacts with the Munich artist and literati scene - which went back to his time with the pacifist youth movement during the First World War and his time in the republic of councils of 1918/19 - helped him in getting his first commissions as a portrait photographer. In the autumn of 1932, he was employed at the Munich Kammerspiele but he emigrated to Paris - shortly after the coming into power of the National Socialists - where he was admitted to the artistic circle surrounding André Breton and exhibited together with Man Ray, Brassaï, Eli Lotar and Henri Cartier-Bresson. Here, Breitenbach took pictures of emigrated artist colleagues such as Helene Weigel, Bert Brecht, Max Ernst and Lyonel Feininger and participated in several solo as well as group exhibitions. In 1938, he was expatriated. In 1941, Breitenbach managed to emigrate to the USA via Marseille where he devoted himself to reporting and documentary photography and also worked as a photographer for various UN organisations.The pictures shown here, most of which are vintage copies, originate from the early 1930s - when Breitenbach got professionally established as a photographer in Munich - and from his early exile years in Paris. They are largely portrait shots of which several exhibit characteristics typical for Breitenbach such as double exposure (lot 94) and the use of mirrors (lot 88). At the same time, they document the great importance that Breitenbach ascribed to working in the darkroom: the imprinting of photo frames (lot 87-89, 91, 92 and 94) and the use of warm coloured, matt velvety photo paper (lot 85, 89, 96) are typical characteristics of Breitenbach's photographs of that time. Literature (at choice) Wanderung. 250 Photographien 1930 bis 1965 von Joseph Breitenbach, exhib.cat. Filmmuseum im Münchner Stadtmuseum, Munich n.d. [around 1966]Josef Breitenbach. Photographer. Essay by Holborn Mark, New York 1986T. O. Immisch, Ulrich Pohlmann, Klaus E. Göltz (ed.), Josef Breitenbach. Photographien, exhib.cat. Staatliche Galerie Moritzburg Halle, Fotomuseum im Münchner Stadtmuseum. Munich, Paris, London 1996Keith Holz, Wolfgang Schopf (ed.), Im Auge des Exils. Josef Breitenbach und die Freie Deutsche Kultur in Paris 1933-1941, Berlin 2001Larissa Dryansky, Josef Breitenbach. 1896-1984. Une photographie impure, exhib.cat. Musée Nicéphore Niépce, Paris 2001

        Kunsthaus Lempertz KG
      • Josef Breitenbach, Untitled (Spring Twigs), 1930s
        May. 30, 2014

        Josef Breitenbach, Untitled (Spring Twigs), 1930s

        Est: €900 - €1,080

        Josef Breitenbach (1896 - 1984) was already in his mid-thirties when he opened his own photo studio in Munich. As the son of a Jewish wine wholesaler, he first took over his parent's business, but as an autodidact he had also been engaged in photography from an early age and participated in competitions and exhibitions for amateur photographers. His close contacts with the Munich artist and literati scene - which went back to his time with the pacifist youth movement during the First World War and his time in the republic of councils of 1918/19 - helped him in getting his first commissions as a portrait photographer. In the autumn of 1932, he was employed at the Munich Kammerspiele but he emigrated to Paris - shortly after the coming into power of the National Socialists - where he was admitted to the artistic circle surrounding André Breton and exhibited together with Man Ray, Brassaï, Eli Lotar and Henri Cartier-Bresson. Here, Breitenbach took pictures of emigrated artist colleagues such as Helene Weigel, Bert Brecht, Max Ernst and Lyonel Feininger and participated in several solo as well as group exhibitions. In 1938, he was expatriated. In 1941, Breitenbach managed to emigrate to the USA via Marseille where he devoted himself to reporting and documentary photography and also worked as a photographer for various UN organisations.The pictures shown here, most of which are vintage copies, originate from the early 1930s - when Breitenbach got professionally established as a photographer in Munich - and from his early exile years in Paris. They are largely portrait shots of which several exhibit characteristics typical for Breitenbach such as double exposure (lot 94) and the use of mirrors (lot 88). At the same time, they document the great importance that Breitenbach ascribed to working in the darkroom: the imprinting of photo frames (lot 87-89, 91, 92 and 94) and the use of warm coloured, matt velvety photo paper (lot 85, 89, 96) are typical characteristics of Breitenbach's photographs of that time. Literature (at choice) Wanderung. 250 Photographien 1930 bis 1965 von Joseph Breitenbach, exhib.cat. Filmmuseum im Münchner Stadtmuseum, Munich n.d. [around 1966]Josef Breitenbach. Photographer. Essay by Holborn Mark, New York 1986T. O. Immisch, Ulrich Pohlmann, Klaus E. Göltz (ed.), Josef Breitenbach. Photographien. Exhib.cat. Staatliche Galerie Moritzburg Halle, Fotomuseum im Münchner Stadtmuseum. Munich, Paris, London 1996Keith Holz, Wolfgang Schopf (ed.), Im Auge des Exils. Josef Breitenbach und die Freie Deutsche Kultur in Paris 1933-1941, Berlin 2001Larissa Dryansky, Josef Breitenbach. 1896-1984. Une photographie impure. Exhib.cat. Musée Nicéphore Niépce, Paris 2001

        Kunsthaus Lempertz KG
      • Josef Breitenbach, Edith d'Amara, 1932
        May. 30, 2014

        Josef Breitenbach, Edith d'Amara, 1932

        Est: €900 - €1,080

        Josef Breitenbach (1896 - 1984) was already in his mid-thirties when he opened his own photo studio in Munich. As the son of a Jewish wine wholesaler, he first took over his parent's business, but as an autodidact he had also been engaged in photography from an early age and participated in competitions and exhibitions for amateur photographers. His close contacts with the Munich artist and literati scene - which went back to his time with the pacifist youth movement during the First World War and his time in the republic of councils of 1918/19 - helped him in getting his first commissions as a portrait photographer. In the autumn of 1932, he was employed at the Munich Kammerspiele but he emigrated to Paris - shortly after the coming into power of the National Socialists - where he was admitted to the artistic circle surrounding André Breton and exhibited together with Man Ray, Brassaï, Eli Lotar and Henri Cartier-Bresson. Here, Breitenbach took pictures of emigrated artist colleagues such as Helene Weigel, Bert Brecht, Max Ernst and Lyonel Feininger and participated in several solo as well as group exhibitions. In 1938, he was expatriated. In 1941, Breitenbach managed to emigrate to the USA via Marseille where he devoted himself to reporting and documentary photography and also worked as a photographer for various UN organisations.The pictures shown here, most of which are vintage copies, originate from the early 1930s - when Breitenbach got professionally established as a photographer in Munich - and from his early exile years in Paris. They are largely portrait shots of which several exhibit characteristics typical for Breitenbach such as double exposure (lot 94) and the use of mirrors (lot 88). At the same time, they document the great importance that Breitenbach ascribed to working in the darkroom: the imprinting of photo frames (lot 87-89, 91, 92 and 94) and the use of warm coloured, matt velvety photo paper (lot 85, 89, 96) are typical characteristics of Breitenbach's photographs of that time. Literature (at choice) Wanderung. 250 Photographien 1930 bis 1965 von Joseph Breitenbach, exhib.cat. Filmmuseum im Münchner Stadtmuseum, Munich n.d. [around 1966]Josef Breitenbach. Photographer. Essay by Holborn Mark, New York 1986T. O. Immisch, Ulrich Pohlmann, Klaus E. Göltz (ed.), Josef Breitenbach. Photographien, exhib.cat. Staatliche Galerie Moritzburg Halle, Fotomuseum im Münchner Stadtmuseum. Munich, Paris, London 1996Keith Holz, Wolfgang Schopf (ed.), Im Auge des Exils. Josef Breitenbach und die Freie Deutsche Kultur in Paris 1933-1941, Berlin 2001Larissa Dryansky, Josef Breitenbach. 1896-1984. Une photographie impure, exhib.cat. Musée Nicéphore Niépce, Paris 2001

        Kunsthaus Lempertz KG
      • Josef Breitenbach, Winterlandschaft (Winter Landscape), Before 1933
        May. 30, 2014

        Josef Breitenbach, Winterlandschaft (Winter Landscape), Before 1933

        Est: €900 - €1,080

        Photographer's stamp on the verso.Josef Breitenbach (1896 - 1984) was already in his mid-thirties when he opened his own photo studio in Munich. As the son of a Jewish wine wholesaler, he first took over his parent's business, but as an autodidact he had also been engaged in photography from an early age and participated in competitions and exhibitions for amateur photographers. His close contacts with the Munich artist and literati scene - which went back to his time with the pacifist youth movement during the First World War and his time in the republic of councils of 1918/19 - helped him in getting his first commissions as a portrait photographer. In the autumn of 1932, he was employed at the Munich Kammerspiele but he emigrated to Paris - shortly after the coming into power of the National Socialists - where he was admitted to the artistic circle surrounding André Breton and exhibited together with Man Ray, Brassaï, Eli Lotar and Henri Cartier-Bresson. Here, Breitenbach took pictures of emigrated artist colleagues such as Helene Weigel, Bert Brecht, Max Ernst and Lyonel Feininger and participated in several solo as well as group exhibitions. In 1938, he was expatriated. In 1941, Breitenbach managed to emigrate to the USA via Marseille where he devoted himself to reporting and documentary photography and also worked as a photographer for various UN organisations.The pictures shown here, most of which are vintage copies, originate from the early 1930s - when Breitenbach got professionally established as a photographer in Munich - and from his early exile years in Paris. They are largely portrait shots of which several exhibit characteristics typical for Breitenbach such as double exposure (lot 94) and the use of mirrors (lot 88). At the same time, they document the great importance that Breitenbach ascribed to working in the darkroom: the imprinting of photo frames (lot 87-89, 91, 92 and 94) and the use of warm coloured, matt velvety photo paper (lot 85, 89, 96) are typical characteristics of Breitenbach's photographs of that time. Literature (at choice) Wanderung. 250 Photographien 1930 bis 1965 von Joseph Breitenbach, exhib.cat. Filmmuseum im Münchner Stadtmuseum, Munich n.d. [around 1966]Josef Breitenbach. Photographer. Essay by Holborn Mark, New York 1986T. O. Immisch, Ulrich Pohlmann, Klaus E. Göltz (ed.), Josef Breitenbach. Photographien, exhib.cat. Staatliche Galerie Moritzburg Halle, Fotomuseum im Münchner Stadtmuseum. Munich, Paris, London 1996Keith Holz, Wolfgang Schopf (ed.), Im Auge des Exils. Josef Breitenbach und die Freie Deutsche Kultur in Paris 1933-1941, Berlin 2001Larissa Dryansky, Josef Breitenbach. 1896-1984. Une photographie impure, exhib.cat. Musée Nicéphore Niépce, Paris 2001

        Kunsthaus Lempertz KG
      • Josef Breitenbach, Summer garden, Munich, c. 1932
        May. 30, 2014

        Josef Breitenbach, Summer garden, Munich, c. 1932

        Est: €900 - €1,080

        Photographer's stamp on the verso.Josef Breitenbach (1896 - 1984) was already in his mid-thirties when he opened his own photo studio in Munich. As the son of a Jewish wine wholesaler, he first took over his parent's business, but as an autodidact he had also been engaged in photography from an early age and participated in competitions and exhibitions for amateur photographers. His close contacts with the Munich artist and literati scene - which went back to his time with the pacifist youth movement during the First World War and his time in the republic of councils of 1918/19 - helped him in getting his first commissions as a portrait photographer. In the autumn of 1932, he was employed at the Munich Kammerspiele but he emigrated to Paris - shortly after the coming into power of the National Socialists - where he was admitted to the artistic circle surrounding André Breton and exhibited together with Man Ray, Brassaï, Eli Lotar and Henri Cartier-Bresson. Here, Breitenbach took pictures of emigrated artist colleagues such as Helene Weigel, Bert Brecht, Max Ernst and Lyonel Feininger and participated in several solo as well as group exhibitions. In 1938, he was expatriated. In 1941, Breitenbach managed to emigrate to the USA via Marseille where he devoted himself to reporting and documentary photography and also worked as a photographer for various UN organisations.The pictures shown here, most of which are vintage copies, originate from the early 1930s - when Breitenbach got professionally established as a photographer in Munich - and from his early exile years in Paris. They are largely portrait shots of which several exhibit characteristics typical for Breitenbach such as double exposure (lot 94) and the use of mirrors (lot 88). At the same time, they document the great importance that Breitenbach ascribed to working in the darkroom: the imprinting of photo frames (lot 87-89, 91, 92 and 94) and the use of warm coloured, matt velvety photo paper (lot 85, 89, 96) are typical characteristics of Breitenbach's photographs of that time. Literature (at choice) Wanderung. 250 Photographien 1930 bis 1965 von Joseph Breitenbach, exhib.cat. Filmmuseum im Münchner Stadtmuseum, Munich n.d. [around 1966]Josef Breitenbach. Photographer. Essay by Holborn Mark, New York 1986T. O. Immisch, Ulrich Pohlmann, Klaus E. Göltz (ed.), Josef Breitenbach. Photographien, exhib.cat. Staatliche Galerie Moritzburg Halle, Fotomuseum im Münchner Stadtmuseum. Munich, Paris, London 1996Keith Holz, Wolfgang Schopf (ed.), Im Auge des Exils. Josef Breitenbach und die Freie Deutsche Kultur in Paris 1933-1941, Berlin 2001Larissa Dryansky, Josef Breitenbach. 1896-1984. Une photographie impure, exhib.cat. Musée Nicéphore Niépce, Paris 2001

        Kunsthaus Lempertz KG
      • Josef Breitenbach, Sibylle Binder, 1932
        May. 30, 2014

        Josef Breitenbach, Sibylle Binder, 1932

        Est: €2,500 - €3,000

        Flush-mounted to original card. Signed and dated in pencil below the image on the mount. Titled in pencil and photographer's stamp on the verso.Josef Breitenbach (1896 - 1984) was already in his mid-thirties when he opened his own photo studio in Munich. As the son of a Jewish wine wholesaler, he first took over his parent's business, but as an autodidact he had also been engaged in photography from an early age and participated in competitions and exhibitions for amateur photographers. His close contacts with the Munich artist and literati scene - which went back to his time with the pacifist youth movement during the First World War and his time in the republic of councils of 1918/19 - helped him in getting his first commissions as a portrait photographer. In the autumn of 1932, he was employed at the Munich Kammerspiele but he emigrated to Paris - shortly after the coming into power of the National Socialists - where he was admitted to the artistic circle surrounding André Breton and exhibited together with Man Ray, Brassaï, Eli Lotar and Henri Cartier-Bresson. Here, Breitenbach took pictures of emigrated artist colleagues such as Helene Weigel, Bert Brecht, Max Ernst and Lyonel Feininger and participated in several solo as well as group exhibitions. In 1938, he was expatriated. In 1941, Breitenbach managed to emigrate to the USA via Marseille where he devoted himself to reporting and documentary photography and also worked as a photographer for various UN organisations.The pictures shown here, most of which are vintage copies, originate from the early 1930s - when Breitenbach got professionally established as a photographer in Munich - and from his early exile years in Paris. They are largely portrait shots of which several exhibit characteristics typical for Breitenbach such as double exposure (lot 94) and the use of mirrors (lot 88). At the same time, they document the great importance that Breitenbach ascribed to working in the darkroom: the imprinting of photo frames (lot 87-89, 91, 92 and 94) and the use of warm coloured, matt velvety photo paper (lot 85, 89, 96) are typical characteristics of Breitenbach's photographs of that time. Literature (at choice) Wanderung. 250 Photographien 1930 bis 1965 von Joseph Breitenbach, exhib.cat. Filmmuseum im Münchner Stadtmuseum, Munich n.d. [around 1966]Josef Breitenbach. Photographer. Essay by Holborn Mark, New York 1986T. O. Immisch, Ulrich Pohlmann, Klaus E. Göltz (ed.), Josef Breitenbach. Photographien, exhib.cat. Staatliche Galerie Moritzburg Halle, Fotomuseum im Münchner Stadtmuseum. Munich, Paris, London 1996Keith Holz, Wolfgang Schopf (ed.), Im Auge des Exils. Josef Breitenbach und die Freie Deutsche Kultur in Paris 1933-1941, Berlin 2001Larissa Dryansky, Josef Breitenbach. 1896-1984. Une photographie impure, exhib.cat. Musée Nicéphore Niépce, Paris 2001

        Kunsthaus Lempertz KG
      • Josef Breitenbach (German/American, 1896-1984) Angkor Cambodia, 1962. Identified on a label from the photographer affixed to the mount.
        Sep. 20, 2013

        Josef Breitenbach (German/American, 1896-1984) Angkor Cambodia, 1962. Identified on a label from the photographer affixed to the mount.

        Est: $200 - $250

        Josef Breitenbach (German/American, 1896-1984) Angkor Cambodia, 1962. Identified on a label from the photographer affixed to the mount. Gelatin silver print, image/sheet size 13 7/8 x 11 in. (35.0 x 28.0 cm), unmatted, unframed. Condition: Minor wear to edges of image, silvering out. Provenance: Through the estate of Matthew Wysocki (1920-1991), artist, photographer, professor and chairman of Dartmouth College's visual studies department (1966-1989), to the present owner by family descent, Connecticut.

        Skinner
      • Breitenbach, Josef1896 München - 1984 New YorkWeiblicher Akt. Um 1950. Vintage. Gelatinesilberabzug. Passepartout. 28 x 35,4cm Rückseitig Stempel des "Estate of Josef Breitenbach". Bildecken leicht bestoßen. Winzige rote Farbspur am oberen Bildrand.
        Dec. 07, 2012

        Breitenbach, Josef1896 München - 1984 New YorkWeiblicher Akt. Um 1950. Vintage. Gelatinesilberabzug. Passepartout. 28 x 35,4cm Rückseitig Stempel des "Estate of Josef Breitenbach". Bildecken leicht bestoßen. Winzige rote Farbspur am oberen Bildrand.

        Est: €4,000 - €6,000

        Breitenbach, Josef 1896 Munich - 1984 New York Female Nude. Circa 1950. Vintage. Gelatin silver print. Mat. 28 x 35,4cm. Stamped on verso "Estate of Josef Breitenbach". Image corners slightly bumped. A small trace of red pigment on the upper margin of the image. Verso with the remains of a previous mounting and some notations in pencil.

        Van Ham Kunstauktionen
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