2021

TH 6 1 pril A ienna , V

1 23. OSTLICHT PHOTO AUCTION 23RD OSTLICHTPHOTO AUCTION

Freitag, 16. April 2021, 17 Uhr (MESZ) Friday, April 16TH 2021, 5 pm (CEST)

VORBESICHTIGUNG/VIEWING

ab Dienstag, 6. April nach persönlicher Vereinbarung: [email protected] from Tuesday, April 6th only by appointment: [email protected]

Tel.: +43 1 996 20 66 17

UPDATED BUYER’S PREMIUM The total purchase price for all lots consists of the hammer price plus the premium of 26 % (incl. the reduced VAT of 5 % only) for lots remaining in the EU. For lots that are exported to third countries or purchased with a valid VAT number the premium is 20 %.

For general enquiries about this auction, email LOT 149 should be addressed to [email protected] 2 FEATURED LOTS

1 HEINRICH KÜHN (1866 – 1944) ‘Nude Study’, Tyrol 1907 Gum pigment print, Vintage 30,4 × 24,7 cm (12 × 9.7 in) Registration marks by the photographer on the reverse LITERATURE Heinrich Kühn (1866 – 1944), Innsbruck 1978, p. 77; Heinrich Kühn, Die vollkommene Fotografie, Albertina Vienna 2010, p. 134. (Nude study Mary Warner). € 18.000 / € 30.000 – 40.000

Die 1907 entstandene Aktstudie zeigt Heinrich Kühns Muse Mary Warner. Die Wiedergabe der zarten Lichtreflexe im langen Haar, sowie der sorgfältig gesetzte Kontrast zwischen der hell schimmernden Haut und dem dunklen Hintergrund bezeugen Kühns künstlerische Meister- schaft. Mary Warner, welche Kühn selbst als das „geduldigste Modell“ bezeichnete, arbeitete ab 1904 als Kindermädchen für die Kühns und posierte oft stundenlang für die minutiös vorbereiteten Arran- gements, die alle darauf zielten „die delikatesten Feinheiten des Lichtspiels mit fast unübertrefflicher Vornehmheit und überzeugender Wahrheit zu schildern“, wie Kühn es beschrieb. Von 1896 bis etwa 1910 beschäftigte sich Kühn mit der Technik des Gummidrucks. Diese Technik beruht auf licht­ empfindlichen Schichten aus einer Mischung von in Wasser gelöstem Gummiarabikum, Pigmenten und Bichromat. Der vorliegende Gummidruck befindet sich in exzellentem Zustand und kommt aus einer Wiener Privatsammlung. The nude study was taken in 1907 and shows Heinrich Kühn’s muse Mary Warner. The rendition of soft reflections of light within single strands of hair and the carefully set contrast between brightly shimmering skin and dark background, testify Kühn’s immense set of artistic skill. From 1904 Mary Warner worked as a nanny for the Kühn family. Often she posed for hours at a time for Kühn’s meticulously arranged photographs. Kühn described her as ‘the most patient model’. The photo session’s purpose was always to depict ‘the most delicate subtleties of interplay of light with unsurpassable refinement and convincing truth’, as Kühn described himself. From 1896 till 1910 Kühn experimented with the process of rubber printing. This technique is based on a light sensitive coating made from a mixture of water dissolved gum arabic, pigment and bichromate. The present gum print is in very good condition and comes from a Viennese private collection.

4 5 7 Germaine Krulls Jahre in Berlin zwischen 1922 und 1925 waren in vielerlei Hinsicht RUDOLF KOPPITZ ein Neubeginn. Unter anderem wendete sie sich vermehrt der Aktfotografie zu, welche stark vom (1884 – 1936) experimentellen Theater, Oper und Modernen Tanz inspiriert war. Auch ihre jüngere Schwester Hedy Pfundmayr, c. 1920 Berthe wurde zu einem ihrer Modelle. Die bekannteste Serie von Aktaufnahmen entstand im Jahr Vintage silver print 1923, als Berthe ihre große Schwester in Berlin besuchte. Die damals fast 18-Jährige hatte Tanz- 22,9 × 10,6 cm (9 × 4.2 in) unterricht genommen und ließ sich von Krull in manierierten Posen ablichten. Die Konzeption der Photographer‘s studio stamp, his “Prof. Rudolf Koppitz, Photo-Werkstätte, Serie folgt der Tradition deutscher Aktfotografie des frühen 20. Jahrhunderts, wird jedoch durch Wien, V. Zeinlhoferg. 8” stamp on den Einsatz von Requisiten, wie der Fratzenmaske und orientalischen Tüchern, aufgelockert. Krull the reverse, handwritten notations in zeigt Berthe in teils dramatischen Anbetungsposen und treibt diese so ins Extreme. an unidentified hand in pencil on the Germaine Krull’s time in Berlin, from 1922 to 1925, in many ways depicts new reverse beginnings. Krull started to dedicate part of her artistic practice towards the exploration of nudes, € 1.800 / € 3.000 – 4.000 which were inspired by experimental theatre, opera and contemporary dance. Amongst Krull’s models was also her younger sister Berthe. The most famous series of nudes, from 1923, developed when Berthe visited her sister in Berlin. Berthe, at that time was nearly eighteen years old and had taken dancing lessons. She uses her learnt skills in the mannered poses she stages for Krull. The concept of the series follows the German tradition of early 20TH Century nude photography, but Krull’s use of props, like the mask or the oriental fabric, loosens the traditional formal structures. Krull depicts Berthe in dramatic poses of worship and exaggerates these to the extreme.

8 9 RUDOLF KOPPITZ GERMAINE KRULL (1884 – 1936) (1897 – 1985) ‘Bewegungsstudie’ (Movement ‘Dance Study with Mask II’, Study), 1925 Berlin 1923 Half tone print, beautifully warm Vintage silver print toned, printed c. 1928, signed in the 13,1 × 8,6 cm (5.2 × 3.4 in) original negative Annotated in an unidentified hand in 23,4 × 17,6 cm (9.2 × 6.9 in) pencil on the reverse, blacklight tested, “Bewegungs Studie by Rudolf Koppitz from the series „Spuk“ with the dancer from the Royal Photographic Society Berthe Krull, sister of Germaine Krull Collection” printed on the reverse PROVENANCE Private Collection, LITERATURE Monika Faber (ed.), through Galerie Johannes Faber, Vienna Rudolf Koppitz. 1884 – 1936, Vienna LITERATURE Michel Frizot (ed.), 1995, cover and p. 83; Monika Faber Germaine Krull, Ostifldern 2015, p. 32; (ed.), Rudolf Koppitz. Photogenie, Kim Sichel (ed.), Avantgarde als Vienna 2013, p. 133. Abenteuer. Leben und Werk der Photographin Germaine Krull, Essen € 3.800 / € 7.000 – 9.000 1991, p. 53. € 2.400 / € 4.000 – 5.000

6 7 12 15 RUDOLF KOPPITZ LOTHAR RÜBELT (1884 – 1936) (1901 – 1990) ‘Mädchen mit Springschnur’ Diver Dorothy Poynton-Hill, (Girl with a jump rope), c. Olympic gold medalist in 1930 artistic jumping, 1936 Vintage silver print Vintage silver print 18,6 × 17,3 cm (7.3 × 6.8 in)Photogra- 23 × 17 cm (9.1 × 6.7 in) pher‘s studio stamp and hand­­written Photographer‘s copyright stamp and notations in pencil on the reverse Rübelt‘s handwritten notation reading PROVENANCE Private Collection »Probebild mit 20 cm, Sportsucher aus Vienna; through Family Estate der Hand, auf 6 m«, »Kunstspringen Koppitz der Siegerin« on the reverse LITERATURE Monika Faber (ed.) LITERATURE Lothar Rübelt, Rudolf Koppitz Photogenie, Vienna Das Geheimnis des Moments, Vienna 2013, p. 168 (same series, here dated 1985, plate 12; Otto Hochreiter / „before 1936“). Timm Starl (ed.), Geschichte der Fotografie in Österreich, Bad Ischl € 1.600 / € 3.000 – 3.500 1983, p. 364; Walter Koschatzky, Die Kunst der Photographie, Salzburg 1984, p. 192 – 193; Uwe Schögl (ed.), Im Blickpunkt. Die Fotosammlung der Österreichischen Nationalbibliothek, Innsbruck 2002, p. 226. € 3.000 / € 5.000 – 6.000

13 STUDIO MANASSÉ (1922 – 1938) / OLGA WLASSICS (1896 – 1969) The dancer Maria Salvoty, c. 1927 Vintage silver print 21,7 × 14,6 cm (8.5 × 5.7 in)Photogra- pher‘s studio stamp in the negative lower right and several press stamps on the reverse LITERATURE Monika Faber: Die Frau, wie Du sie willst. Glamour, Kult und korrigierte Körper. Atelier Manassé 1922 – 1938. Vienna, p.97 € 1.200 / € 2.000 – 2.400

8 9 17 TRUDE FLEISCHMANN (1895 – 1990) The dancer Tilly Losch, Vienna 1927/28 Vintage silver print 23 × 11 cm (9.1 × 4.3 in) Photographer‘s blindstamp in the image lower left, her studio stamp and reproduction stamp on the reverse, press label with typographic description on the reverse (“Tilly Losch heiratet Dollarmillionär”) LITERATURE Anton Holzer / Frauke Kreutler (eds.), Trude Fleischmann, Der selbstbewusste Blick, Vienna 2011, p. 82.

€ 1.600 / € 3.000 – 4.000

20 FRANTISEK DRTIKOL (1883 – 1961) Female Portrait, c. 1910 – 1914 18 Vintage silver print YVA (1900 – 1942) 28,2 × 22,4 cm (11.1 × 8.8 in) Photographer‘s “Copryright Drti- Cilly Aussem wearing a Juvena kol-Prague” blind stamp in the image bathing suit, Berlin c. 1930 lower right, several handwritten Vintage silver print annotations in pencil on the reverse 22,8 × 17,6 cm (9 × 6.9 in) LITERATURE Anna Fárová /Stanislav Photographer‘s copyright stamp, Doležal (eds), František Drtikol, agency label and several handwritten Pracouní kniha fotografií, Prague 2006, notations in an unidentified hand in p. 23 (images of the same model, most pencil on the reverse likely the same series). € 600 / € 1.000 – 1.200 € 6.000 / € 10.000 – 12.000

10 11 23 26 RUTH BERNHARD FRANCO FONTANA (1905 – 2006) (* 1933) ‘Embryo’, 1934 ‘Fragment’, 1982 Gelatin silver print, printed in the 1980s, Cibachrome, Vintage mounted on the original cardboard 33,8 × 22,2 cm (13.3 × 8.7 in) 18,6 × 22,3 cm (7.3 × 8.8 in) Signed, titled and numbered by the Signed by the photographer in pencil photographer in ink in the margin, on the mount lower right, signed and edition no. 5/50 titled by her in pencil on the reverse, her copyright stamp also on the reverse € 1.200 / € 2.000 – 2.400 € 1.800 / € 3.000 – 3.500

24 RUTH BERNHARD (1905 – 2006) ‘In the Box-vertical’, 1962 Gelatin silver print, printed in the 1980s, mounted on the original cardboard 34,5 × 20,3 cm (13.6 × 8 in) Signed by the photographer in pencil on the mount lower right, signed and 27 titled by her in pencil on the reverse, her copyright stamp also on the reverse LEONARD FREED (1929 – 2006) € 1.800 / € 3.000 – 3.500 Nude Study, 2002 Vintage silver print 22,5 × 15,3 cm (8.9 × 6 in) Photographer‘s stamp and handwritten neg. no. in pencil on the reverse € 1.200 / € 2.000 – 2.400

12 13 28 AUGUST SANDER (1876 – 1964) ‘Zirkusartistin’ (Circus per- former), Cologne 1926 Gelatin silver print, printed 1991 by Gerd Sander 26 × 18,9 cm (10.2 × 7.4 in) With the blindstamp “Aug. Sander Köln Lindenthal” lower left, signed by Gerd Sander in pencil on the reverse, stamped “August Sander Archive [...]” with handwritten edition no. on the reverse, edition no. 3/12 LITERATURE Gunther Sander (ed.), August Sander, Menschen des 20. Jahrhunderts, Munich 1980, p. 351.

€ 2.800 / € 4.000 – 5.000

30 AUGUST SANDER (1876 – 1964) ‘Bürgerkinder’ (Middle-class children), 1925 Gelatin silver print, printed 1990 by Gerd Sander, a large format print in perfect condition 29 57 × 40,5 cm (22.4 × 15.9 in) AUGUST SANDER With the blindstamp “Aug. Sander Köln (1876 – 1964) Lindenthal” lower left, signed and dated ‘Blinde Kinder’ by Gerd Sander in pencil on the reverse, stamped “August Sander Menschen des (Blind children), Düren 1930 20. Jahrhunderts [...]” with handwritten Gelatin silver print, printed 1991 by captions on the reverse, edition no. 4/7. Gerd Sander PROVENANCE Acquired directly from 26 × 18,9 cm (10.2 × 7.4 in) the Sander family by the present owner With the blindstamp “Aug. Sander LITERATURE Gunther Sander (ed.), Köln Lindenthal” lower left, signed by August Sander, Menschen des 20. Gerd Sander in pencil on the reverse, Jahrhunderts, Munich 1980, p. 172. stamped “August Sander Archive [...]” with handwritten edition no. on the € 6.000 / € 12.000 – 15.000 reverse, edition no. 10/12 LITERATURE Gunther Sander (ed.), August Sander, Menschen des 20. Jahrhunderts, Munich 1980, p. 423; Manfred Heiting (ed.), August Sander, Cologne 1999, p. 157; Gunther Sander (ed.), August Sander. Menschen ohne Maske – Photographien 1906 – 1952, Munich 1976, pl. 233.

€ 2.400 / € 3.500 – 4.000

14 15 Brassaïs Transmutations zählen sicherlich zu den experimentellsten Arbeiten in der 34 Geschichte der Fotografie. Inspiriert von der Kunst der Surrealisten und seiner Zusammenarbeit mit JAROSLAV RÖSSLER Picasso begann Brassaï 1934 mit der Technik der Gravur auf fotografischen Glasplatten zu experimen­ ­ (1902 – 1990) tieren. Er arbeitete an circa dreißig Negativen von weiblichen Akten, alle zwischen 1931 und 1935 ‘Kytička’ (Flowers), c. 1958 aufgenommen, und machte etwa 150 Abzüge, die die verschiedenen Zustände der Fotografien zu Vintage silver print, rare large format unterschiedlichen Zeitpunkten im Prozess der Veränderung des Originalmaterials zeigen. Die Technik exhibition print 39,6 × 30,3 cm (15.6 × 11.9 in) der Gravur ist eng mit Brassaïs Interesse an Graffiti und alternativen Bildsprachen verbunden. Im Jahr Signed and annotated by the photo­ 1967 veröffentlichte Brassaï eine Auswahl von zwölf Fotografien, die er in der Mappe­Transmutations grapher in green ink on the reverse, zusammenfasste. In Femme Aux Voiles hat Brassaï die Fotografie eines weiblichen Aktes so stark photographer‘s Praha studio stamp on überarbeitet, dass nur noch eine Brust zu erkennen ist. Sonst bleiben lediglich biomorphe Formen the reverse, the print shows some earlier paper restauration signs on the übrig, die es dem Betrachter nur noch erlauben, Rudimente des weiblichen Körpers wahrzunehmen. reverse, a very similar print which is denn sie zeigen die Möglichkeiten einer alternativen Realität auf. part of the collection of the J. Paul Brassaï’s Transmutations surely count as one of the most experimental works in the Getty Trust (Object No.84. history of photography. Inspired by the surrealist movement and his collaboration with Picasso, Brassaï XM.146.31) is titled after the writing which is visible in the image. Rössler started experimenting with engraving photographic glass plates in 1934. He worked on around thirty himself titled the image “Prisma” on negatives of female nudes, dating from 1931 to 1935, and created more or less 150 prints, showing the the reverse different stages of the original photographs in their various transformational phases. Brassaï’s great € 8.000 / € 14.000 – 18.000 interest in graffiti and alternative imagery is linked to him experimenting with the technique of engraving onto existing images. In 1967 Brassaï released twelve of the images in a portfolio he called Transmutations. Femme Aux Voiles is an image, which was very heavily worked on in several layers. All that is left for one to clearly recognise is a breast, while the rest of the female nude has melted into a biomorphic shape, where one can only catch a glimpse at the edges of the female form.

← 33 BRASSAÏ (1899 – 1984) ‘Femme Aux Voiles’ (Lady with veils), Paris 1934 Gelatin silver print, printed in 1967 29,3 × 39,3 cm (11.5 × 15.5 in) Signed, dated and numbered by the photographer in ink in the image lower right, edition no. 3/6 PROVENANCE Private Collection Vienna; through Galerie Johannes Faber LITERATURE Brassai – Vom Surrealismus zum Informel, ex. catalogue, Barcelona 1994, plate 130. € 7.000 / € 14.000 – 18.000

16 17 40 BARBARA MORGAN (1900 – 1992) ‘Spring on Madison Square’, New York 1938 Gelatin silver print, printed c. 1980 35,5 × 43,3 cm (14 × 17 in) Signed, titled and dated by the photographer in ink in the margin; signed, titled and dated by the photographer in ink on the reverse € 1.800 / € 3.000 – 3.500

41 42 BARBARA MORGAN MARIO GIACOMELLI (1900 – 1992) (1925 – 2000) ‘Pearl Primus – Speak to Me Scanno, 1957 of Rivers’, 1944 Vintage silver print, printed in the Gelatin silver print, printed in the 1970s 29,8 × 39,5 cm (11.7 × 15.6 in) 1980s Photographer‘s stamp and Scanno 34 × 44,6 cm (13.4 × 17.6 in) series stamp on the reverse, several Signed, titled and dated by the handwritten notations in pencil on photographer in ink in the margin, the reverse signed and titled by the photographer LITERATURE John Szarkowski (ed.), in ink on the reverse Looking at Photographs. 100 Pictures from the Museum of Modern Art, € 1.600 / € 2.500 – 3.000 New York 1973; Alistair Crawford (ed.), Mario Giacomelli, New York 2001, p. 295; Alessandra Mauro (ed.), Mario Giacomelli. The Black is waiting for the White, Rome 2009, p. 148 – 149. € 3.000 / € 5.000 – 6.000

18 19 44 45 WILLY RONIS (1910 – 2009) MARC RIBOUD (1923 – 2016) ‘Chez Maxe’, Jointville Le ‘Le Peintre de la Tour Eiffel’, Pont, Nogent 1947 Paris 1953 Gelatin silver print, printed in the Vintage silver print 1990s 25,2 × 17,8 cm (9.9 × 7 in) 25,7 × 20 cm (10.1 × 7.9 in) Photographer‘s agency credit stamp on Photographer‘s copyright stamp and the reverse his handwritten title in pencil on the LITERATURE Marc Riboud, 50 Years reverse of Photography, Paris 2004, p. 53 LITERATURE Peter Hamilton (ed.), (same series). Willy Ronis – Photographs 1926 – 1995, Oxford 1995, p. 70; € 1.800 / € 2.800 – 3.400 Willy Ronis – Lungo il Fiume delle Domeniche, Milan 1994, pl. 5. € 1.600 / € 2.500 – 3.000

46 HENRI CARTIER-BRESSON (1908 – 2004) San Francisco, 1946 Gelatin silver print, printed in the 1980s 24,1 × 16,1 cm (9.5 × 6.3 in) Photographer‘s copyright stamp and collector‘s stamp on the reverse LITERATURE Wer sind Sie, Henri Cartier-Bresson?, Munich 2003, pl. 324. € 2.400 / € 4.000 – 5.000

20 21 Als Schlüsselfigur der russischen Avantgarde und des russischen Konstruktivismus, 50 nahm Alexander Rodtschenko aktiv am künstlerischen Diskurs teil und schloss sich der Gruppe EIKOH HOSOE (* 1933) Linke Front der Künste (LEF) an. Teil dieser Vereinigung war auch der Bildhauer Anton Lavinsky, ‘Ba-Ra-Kei: Ordeal by Roses der zum engeren Kreis um Rodschenko zählte. Rodschenkos Atelier galt als Treffpunkt der LEF #6’, 1962 und zwischen 1924 – 1928 entstanden hier auch eine Vielzahl von Porträts, darunter auch jenes von Gelatin silver print, printed in the Lavinsky. In seinen spontanen Porträts, versuchte Rodtschenko stets die manierierte Nüchternheit 1980s 20,7 × 29,6 cm (8.1 × 11.7 in) der Foto-Studios zu vermeiden und so gelang es ihm die Dynamik der neuen intellektuellen Bewegung Photographer‘s stamp on the reverse durch dessen Protagonisten lebendig fotografisch einzufangen. LITERATURE Eikoh Hosoe / As a key figure of the Russian avant-garde and Russian constructivism, Alexander Y. Mishima, Ba-Ra-Kei: Ordeal by Rodchenko took an active part in the in the artistic discourse of the time and joined the Left Front Roses, New York 1985. of the Arts (LEF). The sculptor Anton Lavinsky was also member of this association as well as part of € 2.400 / € 4.000 – 5.000 the intellectual circle around Rodchenko. Rodchenko’s studio was the meeting place for the LEF and numerous portraits of its members, such as the one of Lavinsky, where shot there between ­1924–1928. In these spontaneous portraits, Rodchenko tried to avoid the mannered and sterile feel of the classic photo studios at the time, which enabled him to depict the momentum of this new intellectual movement and its protagonists. 51 MAN RAY (1890 – 1976) Self-portrait, Paris 1924 Gelatin silver print, printed c. 1958 20,5 × 15,8 cm (8.1 × 6.2 in) Signed and dated in the original negative (image lower right) € 1.800 / € 2.500 – 3.000

← 49 ALEXANDER RODCHENKO (1891 – 1956) The sculptor Anton Lavinsky, USSR 1924 Vintage silver print, contact print 8,7 × 11,5 cm (3.4 × 4.5 in) Photographer’s copyright stamp on the reverse, the front showing Rodchenko’s crop marks PROVENANCE Acquired directly from the Estate of Alexander Rodchenko, Howard Schickler Fine Art, New York LITERATURE Alexander Lavrentiev, Rodchenko Photography 1924 – 1954, Cologne 1995, p. 87; Evelyn Weiss, Rodschenko. Fotografien 1920 – 1938, Cologne 1978, p. 127. € 5.000 / € 8.000 – 10.000 Originalgröße/Original size

22 23 Entstanden ist die Aufnahme auf Cartier-Bressons Chinareise, die er ab Ende 1948 im Auftrag von Life durchführte, um den turbulenten Übergang der Kuomintang-Regierung zu den Kommunisten zu dokumentieren. Der frühe Abzug (Papier, Stempel und Bezeichnungen belegen eine Entstehung in den frühen 1950er-Jahren) zeigt einen Eunuchen des Kaiserhofs der letzten Dynastie. Palasteunuchen gehörten vor allem in China zum kaiserlichen Hofstaat und verrichteten in strengen Hierarchien verschiedenste Tätigkeiten. The well-known shot originated from Cartier-Bresson’s travels through China at the end of 1948, when Life commissioned him to document the governmental transition from the Kuomintang to the Communist party. The rare early print (paper, stamp and annotations speak for a print origin in the early 1950s) shows a eunuch of the imperial court during the last dynasty. In Chinas monarchy it was common for eunuchs to be an integrated part of the imperial court. They had to perform different tasks following very strict hierarchies.

70 HENRI CARTIER-BRESSON (1908 – 2004) Eunuch of the Last Chinese Imperial Dynasty, Beijing 1948 Vintage silver print 24,6 × 16,9 cm (9.7 × 6.7 in) Photographer‘s copyright agency stamp and several handwritten notations (refering to the „Images à la Sauvette“ 69 publication which was published in ROBERT CAPA (1913 – 1954) 1952) in pencil on the reverse LITERATURE Henri Cartier-Bresson, ‘The Falling Soldier’ (Loyalist Images à la Sauvette, Paris 1952, pl. 118; Militiaman at the Moment The World of HenriCartier-Bresson, ­ of Death), Córdoba front, London 1968, p. 185; Henri Cartier-­ September 5th, 1936 Bresson: Photographer, 1979, pl. 65; Henri Cartier-Bresson. The Man, The Gelatin silver print, printed c. 1970 Image and The World, 2003, p. 284; 22,8 × 34 cm (9 × 13.4 in) Wer sind Sie, Henri Cartier-Bresson?, Photographer‘s agency stamp and Munich 2003, p. 286. handwritten numerical notations in pencil on the reverse € 6.000 / € 10.000 – 12.000 LITERATURE La Guerre Civile en Espagne, VU Magazine, 23.9.1936; Robert Capa, Death in Spain, Life Magazine, 12. Juli 1937; 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, p. 42 – 43.

€ 3.400 / € 6.000 – 7.000

24 25 75 INGE MORATH (1923 – 2002) The painter Hedda Sterne (from the series ‘Saul Steinberg Masks’), New York 1959 Vintage silver print 20,1 × 30,2 cm (7.9 × 11.9 in) Photographer‘s agency stamp, series no. stamp and several handwritten notations including the neg. no. on the reverse LITERATURE Sabine Folie / Gerald Matt (eds.), Inge Morath. Das Leben als Photographin, ex. cat. Kunsthalle Wien, Munich 1999, p. 153. € 1.800 / € 3.000 – 3.500

76 FRANZ HUBMANN (1914 – 2007) ‘Der legendäre Ober Ali’, Café Hawelka, Vienna 1956/57 Gelatin silver print, printed in the 1960s 16 × 23,6 cm (6.3 × 9.3 in) Photographer‘s studio and copyright stamp aon the reverse LITERATURE Franz Hubmann, Das Photographische Werk, Vienna / Munich 1999, p. 155; Franz Hubmann: Café Hawelka. Ein Wiener Mythos. Literaten, Künstler und Lebenskünstler im Kaffeehaus, Vienna 1982, p. 40/41; Christian Brandstätter (ed.): Das Wiener Kaffeehaus, Vienna 2020. p. 294/295.

€ 1.800 / € 3.000 – 3.500

77 FRANZ HUBMANN Photographer‘s stamp and copyright LITERATURE Christian Brandstätter (1914 – 2007) stamp on the reverse, handwritten (ed.): Das Wiener Kaffeehaus, Vienna notations by the photographer in 2020. p. 159. A Viennese garbage collector, pencil and ink on the reverse c. 1955 € 1.400 / € 2.000 – 2.400 Vintage silver print 24,3 × 19,7 cm (9.6 × 7.8 in)

26 27 80 82 WILL MCBRIDE (1931– 2015) WILLIAM KLEIN (* 1928) ‘Mike in the shower’, Schloss ‚Qui êtes-vous Polly Maggoo?’ Salem, 1963 (Who Are You, Polly Maggoo?), Gelatin silver print, printed in the 1966 2000s Gelatin silver print, printed in the 1990s 32,5 × 21,5 cm (12.8 × 8.5 in) 35 × 23,6 cm (13.8 × 9.3 in) Signed, annotated and dated by the Signed and titled by the photographer photographer in pencil on the reverse, in pencil on the reverse taken from the original series for LITERATURE William Klein: ABC, magazin „twen“ photographed by London 2012, p.114. (same series) Will McBride in Berlin at School Salem in 1963 this motive remains a € 2.400 / € 4.000 – 5.000 classic iconic image of the 20th century. It shows freedom, carefreeness and energy of life like rarely any other picture of this time. LITERATURE Will Mc Bride. I, Will McBride, Cologne 1997, p. 205; Coming of Age: Photographs by Will McBride. New York 1999, p. 29.

€ 1.300 / € 1.800 – 2.200

81 MARY ELLEN MARK (1940 – 2015) 83 Miami Gigolos 93 in Luigi’s WILLIAM KLEIN (* 1928) Italian American Club, Florida 1993 ‘Pachinko doorman’, Tokyo 1961 Gelatin silver print, selenium toned 38 × 48,3 cm (15 × 19 in) Gelatin silver print, printed in the 1970s Signed and numbered by the photo- 15,2 × 23 cm (6 × 9.1 in) ­grapher in pencil on the reverse, Annotated by the photographer in edition no. 7/25 pencil on the reverse, photographer‘s LITERATURE Michael E. Hoffman stamp on the reverse (ed.), Mary Ellen Mark. American LITERATURE William Klein: ABC, Odyssey. 1963 – 1999, New York London 2012, p. 77; William Klein, 1999, p. 97; Exposure Mary Ellen ex. catalogue Fondation Nationale de Mark. The iconic photographs, la Photographie 1978, p. 68. London 2005, p. 82 – 83. € 2.000 / € 3.500 – 4.500 € 2.000 / € 3.500 – 4.000

28 29 Now – looking back – all so normal! War photographer colleague Bob Capa said he’d introduce us – he was killed in Indochina – so double reason to say hello: my welcome would be eternal! (David Douglas Duncan)

Manche Freundschaften finden ihren Beginn unter einzigartigen Umständen oder an außergewöhnlichen Orten. Duncan klingelte nämlich 1956 einfach an der Tür von Picassos Villa La Californie in Cannes. Jacqueline öffnete, denn Picasso saß gerade in der Badewanne. Die ebenso kuriose wie intime Szene sollte Duncan denn auch gleich Gelegenheit für ein erstes Foto bieten – in gewisser Weise Fundament für die sich anbahnende tiefe Freundschaft zwischen den beiden Männern. Aus dieser ersten Begegnung entwickelt sich eine enge Freundschaft, die bis zum Tod Picassos währt. Picassos Villa in Südfrankreich wird zu Duncans zweiter Heimat. Mit seiner Leica fängt er den Künstler in ungewohnten Rollen ein. Die berührenden Momentaufnahmen aus dem Privatleben Picassos versprühen Herzlichkeit, Intimität und Vitalität, sie präsentieren einen Picasso, der zu seinen Lebzeiten nur wenigen Auserwählten bekannt war. Der vorliegende Abzug ist einer der frühesten der Aufnahme (was aus der eigenhändigen ausführlichen Beschriftung von Duncan hervorgeht) und kommt ursprünglich aus der Sammlung von Michel Sola, dem langjährigen Bild-Editor von Paris Match. Some friendships begin under unique circumstances or in extraordinary places. Duncan simply rang the doorbell of Picasso’s villa La Californie in Cannes in 1956. Picasso’s wife Jacqueline opened the door, Picasso was sitting in the bathtub. This scene, as odd as it was intimate, also offered Duncan the opportunity for his first photograph – in certain ways it laid the foundation for the deep friendship between the two men. A close friendship that lasted until Picasso’s death developed from this initial encounter. Picasso’s villa in the South of France became Duncan’s second home. With his Leica he captured the rare, evocative moments and presents the artist in an unusual role. Touching snapshots from Picasso’s private life radiate warmth, intimacy and vitality, they present 84 a Picasso known only to a few people during his lifetime. The present print is one of the earliest DAVID DOUGLAS ­DUNCAN LITERATURE David Douglas ones of the image (as evidenced by Duncan’s own detailed caption) and originally comes from the (1916 – 2018) Duncan, Viva Picasso, Munich 1980, p.1; David Douglas Duncan, Photo collection of Michel Sola, long time picture editor of Paris Match. Pablo Picasso, Villa La Nomad, Verona 2003, p. 12 – 13; Californie, Cannes 1957 Die private Welt von Pablo Picasso, Vintage silver print, mounted on the 1958, p.1. original cardboard PROVENANCE the print originally 25,4 × 38,2 cm (10 × 15 in) comes from the estate of Michel Sola Signed, titled, exposure and printing (editor-in-chief of the photography date, »Picasso at home Villa La Californie« department of Paris-Match for many annotated by the photographer on the years) lower mount, his copyright stamp in red, also signed and dedicated »For my treasured friend Michel Sola. This is one of my first prints of Picasso, made for the first maquettes for my first book about my new great friend: „The Private World of Pablo Picasso“. The morning we met, first shot. The print – like photographer and veteran editor – is somewhat bruised and battered today, which is why I now bring it to your home and understanding hands. DDD« on the reverse

€ 5.000 / € 10.000 – 12.000

30 31 Als Gjon Mili 1949 Pablo Picasso in Südfrankreich besuchte, führte die Begegnung dieser beiden Künstler zu einigen der außergewöhnlichsten Bilder der Fotogeschichte. Mili entwickelte zusammen mit Harold Eugene Edgerton fotografische Belichtungswerkzeuge und -techniken in den 1930er-Jahren. Diese Pionierarbeit der beiden sowie Milis eigene beeindruckende fotografische Praxis erregten die Aufmerksamkeit der Zeitschrift Life. Ab 1939 begann er als Free-­­ lancer für das Magazin zu arbeiten, was er auch bis zu seinem Tod im Jahr 1984 fortsetzte. Als Mili in Südfrankreich war, schickte Life ihn zu Pablo Picasso, um diesen in seinem Haus zu fotografieren. Mili wurden nur 15 Minuten mit dem Künstler gewährt. Der Fotograf zeigte ihm seine Experimente mit Licht und Bewegung und die beiden vereinbarten fünf zusätzliche Sitzungen. In diesen Sitzungen nahm Picasso eine Taschenlampe und begann in die Luft zu zeichnen, wobei er Zeichnungen von Zentauren, Stieren, griechischen Profilen und seiner Unterschrift projizierte. Die Fotografien wurden in einem abgedunkelten Raum mit zwei Kameras aufgenommen, eine für die Seitenansicht, die andere für die Vorderansicht. Indem er die Blende offen ließ, konnte Mili die durch den Raum wir­beln­den Lichtstreifen einfangen. Seit ihrem Erscheinen in Life wurden sie als Picassos „Lichtzeichnungen“ bekannt. Obwohl Picassos Bilder so schnell verschwanden, wie sie entstanden waren, sind sie sieben Jahrzehnte später in Milis hypnotischen Bildern immer noch lebendig. Viele dieser Fotografien wurden bereits kurz nach ihrer Entstehung im Frühjahr 1950 im New Yorker Museum of Modern Art ausgestellt. Die fünf spekta- kulären Vintage-Abzüge inkludieren das ikonische Bild „Picasso zeichnet einen Zentauren in die Luft“ und kommen direkt aus dem Nachlass von Milis Fotografenkollegen Lennart Nilsson. When Gjon Mili visited Pablo Picasso in the South of France in 1949, the meeting of these two artists resulted in some of the most extraordinary images in photo history. Mili developed photographic lighting tools and techniques with Harold Eugene Edgerton in the 1930s. It was this pioneering team work as well as Mili’s own impressive photographic practice that caught the attention of Life magazine. From 1939 he began working as a freelance photographer for the magazine, which he continued up until his death in 1984. When Mili was in South France Life sent him to photograph Pablo Picasso at his home. Mili was given only 15 minutes with the artist. The photographer had shown his experimentations with light and movement to the artist and the pair decided to try out something similar and they agreed for five extra sessions. In these sessions, Picasso took a penlight and began to draw in the air, projecting drawings of centaurs, bulls, Greek profiles and his signature. The photographs were taken in a darkened room, using two cameras, one for side view, another for front view. By leaving the shutters open, Mili was able to catch the light streaks swirling through space. Since their appearance in Life, the photographs became known as Picasso’s “light drawings”. Although Picasso’s images vanished as soon as they were created, they are still alive seven decades later, in Mili’s hypnotic images. Many of the photographs were already exhibited shortly after their making in early 1950 at New York’s Museum of Modern Art. The five spectacular vintage prints include the iconic image “Picasso draws a centaur in the air” and come directly from the estate of Mili’s photo- grapher colleague Lennart Nilsson.

32 33 85 GJON MILI (1904 – 1984) Annotations on the reverses reading: PROVENANCE Estate of the A group of five prints includ- *Squatting in the darkness, Picasso photographer Lennart Nilsson ing the iconic ‘Pablo Picasso draws a distorted spatial centaur. LITERATURE Speaking of Pictures: Picasso Tries New Art Form, Life, drawing a centaur in the air The lines are thick where he drew slowly and thin where he went fast. January 30, 1950, pp. 10 – 14; with light’, 1949 published in Paris Match the same year *Side view of Picasso designing Bull 5 Vintage silver prints each c. 34 × 26 cm (13.4 × 10.2 in) *Classic head is in many Picasso works Each with the photographer‘s credit *Running man stamp on the reverse, each with *A typical Picasso bull resembles the handwritten notations in unidentified figurative drawing found in caves hands in ink on the reverse € 12.000 / € 20.000 – 25.000

34 35 98 ROBERT MAPPLETHORPE (1946 – 1989) ‘Chest (Thomas)’, New York 1986 Vintage silver print, original artist frame 48,7 × 48,7 cm (19.2 × 19.2 in) Signed and numbered by the photo­ grapher in ink on the recto, stamp with signature, therein dated in pencil and signed by the estate administrator in ink on the reverse, edition no. 2/10. PROVENANCE former collection of Rudi Molacek, purchased at Staley Wise Gallery in the 1980s LITERATURE Mapplethorpe, Robert Mapplethorpe Foundation, Munich 1992, p. 273; Germano Celant (ed.), ­Mapplethorpe, New York 1992, p. 263 (different framing); Richard Marshall (ed.), Robert Mapplethorpe, New York 1988, p. 175.

€ 18.000 / € 28.000 – 32.000

Ab den 1980er Jahren beschäftigte sich Mapplethorpe vermehrt mit seiner Liebe zu klassischen Skulpturen und befasste sich mit deren Abgrenzungslinien zum menschlichen Körper. Auf der Suche nach der „Perfekten Form“ begann Mapplethorpe fast ausschließlich in seinem Studio zu arbeiten, wo mehrere Fotografien von Thomas entstanden. Chest (Thomas) zeigt die Könnerschaft der genauen Lichtregie Robert Mapplethorpes. Im Zwischenspiel von Licht, Schatten und Reflexion wird der Körper zu einer fast undurchdringlichen Hülle. Der vorliegende signierte Abzug wird im originalen Künstlerrahmen angeboten und befindet sich in sehr gutem Zustand. From the 1980s onward Mapplethorpe’s fascination and love for classical sculptures finds expression in his work, with particular interest in the borders between the sculptural form and the physical human body. Searching for the ‘perfect form’ Mapplethorpe started working almost entirely in his studio, where he created several works showing Thomas. In Chest (Thomas) Mapplethorpe once more proves his expertise, skill and perfection in directing the light. The interplay of shadow, light and reflection on the body transforms it into a sheer impenetrable shell. The present signed gelatin silver print is offered in its original artist frame and is in very good condition.

36 37 101 In ihrer Serie Körperkonfigurationen setzt sich Valie Export mit Körpersprache als RUDOLF geschlechtsspezifisch, sozial und historisch kodiertem Konzept auseinander. Die österreichische SCHWARZKOGLER Medienkünstlerin verfolgt eine kritische Praxis, indem sie sich in architektonischen und landschaft- (1940 – 1969) lichen Räumen positioniert, fotografiert und die Abzüge grafisch akzentuiert. Damit schreibt sie 6. Aktion, Nr. 69, Wohnung den weiblichen Körper in einen durch patriarchale Sehkonventionen bestimmten Bildraum ein und Schwarzkogler 1966 versucht diese Strukturen aufzubrechen. Photo by Michael Epp In her series Körperkonfigurationen (body configurations), Valie Export questions body Gelatin silver print, printed 1980, language – as a gender-specific, socially and historically coded concept. The Austrian media artist mounted on the original thin cardboard pursues a critical practice by positioning herself into architectural and landscape environments, taking 34 × 34 cm (13.4 × 13.4 in) Photographer‘s „Rudolf Schwarzkogler / photographs and graphically accentuating the prints. In doing so, she inscribes the female body in a 6. Aktion / wien 1966 / für die pictorial space determined by patriarchal visual conventions and attempts to break up these structures. 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, Rudolf Schwarzkogler. Leben und Werk, Museum Moderner Kunst, Vienna 1992, p. 235. € 2.000 / € 3.500 – 4.000

102 RUDOLF SCHWARZKOGLER (1940 – 1969) 4. Aktion, Nr. 16, Kaiserstraße, Wohnung Cibulka, 1965 Photo by Franziska Cibulka Gelatin silver print, printed 1980, mounted on the original thin cardboard 34 × 34 cm (13.4 × 13.4 in) Photographer‘s “rudolf schwarzkogler / 4. aktion / wien sommer 1965/ für die authenzitität / des 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, Rudolf Schwarzkogler. Leben und Werk, Museum Moderner 103 Kunst, Vienna 1992, p. 206. VALIE EXPORT (* 1940) Signed, dated, and stamped by the € 2.000 / € 3.500 – 4.000 ‘Nachfügung’ (from the series photographer in the image lower ‘Körperkonfigurationen’), 1974 center, titled in the image lower right in black ink Vintage silver print manipulated with LITERATURE Valie Export, acrylic paint Körpersplitter, Bd. 1, Konfigurationen. 38 × 52,5 cm (15 × 20.7 in) Fotografien 1968 – 77, Linz: Edition Neue Texte 1980, p. 43. € 18.000 / € 28.000 – 34.000

38 39 105 106 → NOBUYOSHI ARAKI (* 1940) HELMUT NEWTON Untitled (Kinbaku), from the (1920 – 2004) series ‘Blind Love’, 1996 ‘Lisa Lyon At Home’, Venice, Gelatin silver print California 1981 32,1 × 40,3 cm (12.6 × 15.9 in) Vintage silver print (printed in the Signed by the photographer in pencil mid / late 1980s) on the reverse 58,5 × 38,4 cm (23 × 15.1 in) LITERATURE Nobuyoshi Araki, Signed and titled by the photographer Tokyo Comedy, Tokio 1997, s.p.; in pencil on the reverse, edition no. 3/10 Wiener Secession, Nobuyoshi Araki, PROVENANCE Lempertz Auction Korinsha Press: Kyoto 1997, s.p.; 970, Photographie, 02.12.2010 Araki. Blind Love, Osiris 1999; LITERATURE Fernand Nathan (ed.), Nobuyoshi Araki, Personal Sentimen- Helmut Newton. Portraits, Munich talism in Photography [Shashin Shijo 1987, pl. 122; Karl Lagerfeld (ed.), Shugi], Tokio 2000, s.p. [same series]; Helmut Newton, Big nudes, Munich Araki by Araki. 2004, s.p. € 2.800 / € 5.000 – 7.000 € 12.000 / € 24.000 – 28.000

40 112 114 DENNIS STOCK ANDRÉ DE DIENES (1928 – 2010) (1913 – 1985) James Dean, New York Marilyn Monroe, Tobey Beach February 1955 1949 Gelatin silver print, printed in the 1960s Archival pigment print, printed in 2008 29,7 × 20,5 cm (11.7 × 8.1 in) 50 × 40 cm (19.7 × 15.7 in) Photographer‘s agency stamp, neg. no. Estate stamp and edition stamp on the stamp and several handwritten reverse, edition no. 100/200 notations in pencil on the reverse € 1.200 / € 1.800 – 2.000 € 1.800 / € 3.000 – 3.500

113 115 ROBERT LEBECK PHILIPPE HALSMAN (1929 – 2014) (1906 – 1979) Elvis Presley, Hessen 1958 ‘Marilyn at the Drive-in’, Gelatin silver print, printed in the 2000s c. 1955 36,5 × 35 cm (14.4 × 13.8 in) Gelatin silver print, printed in 1981 Signed, annotated and numbered by 25,3 × 33 cm (10 × 13 in) the photographer in ink on the reverse, Photographer‘s “Halsman / Marilyn, edition no. 1/25 (intended edition), Copyright Philippe Halsman ©81, the image shows Elivs Presley as a Edition Number 12 [handwritten] / 250” soldier, when he was based in Friedberg stamp on the reverse in Hessen € 1.400 / € 2.000 – 2.500 € 1.400 / € 2000 – 2400

42 43 130 LORD SNOWDON (1930 – 2017) Yves Saint Laurent, 1987 Chromogenic print 23,2 × 23,2 cm (9.1 × 9.1 in) Several handwritten notations including photographer‘s credit on the reverse, a beautiful strong print with a black margin € 1.200 / € 2.000 – 2.400

129 131 MARTIN PARR (* 1952) BETTINA RHEIMS (* 1952) ‘Kristen McMenamy with Ball of the Viennese Coffee black make-up on her hand’, Society (from the series ‘Cakes Paris 1994 & Balls’), 2016 Archival pigment print, printed in Pigment print 2004 37,2 × 27,1 cm (14.6 × 10.7 in) 50,7 × 76 cm (20 × 29.9 in) Signed, titled and numbered by the Signed, titled, dated, and numbered by photographer on the reverse, photo­ the photographer on the reverse with ink, with certificate of authenticity-signed by grapher‘s copyright stamp on the the photographer Edition no. 1/10 reverse, edition no. 45/50 PROVENANCE acquired directly from € 1.800 / € 3.500 – 4.000 the photographer LITERATURE Martin Parr, Cakes & Balls. Martin Parr in Vienna, Exhibition catalogue Kunst Haus Wien, Vienna 2016, s.p.

€ 2.800 / € 4.000 – 5.000

44 45 132 133 NAN GOLDIN (* 1953) NAN GOLDIN (* 1953) ‘Kee in his bed’, New York ‘Kenny on his bed’ (from »The 1988 Ballad of Sexual Dependency«), Cibachrome New York 1979 30 × 40 cm (11.8 × 15.7 in) Cibachrome Signed by the photographer in ink 50,5 × 61 cm (19.9 × 24 in) on the reverse Signed by the photographer in ink on € 2.000 / € 3.000 – 4.000 the reverse LITERATURE Nan Goldin, The Ballad of Sexual Dependency, New York 1986, p. 62 € 3.400 / € 6.000 – 7.000

46 47 135 WIM WENDERS (* 1945) ‘Ave Dollars, Gila Bend, Arizona’ (from ‘Written in the West’), 1983 Dye transfer print 33,5 × 42 cm (13.2 × 16.5 in) Signed, dated and numbered by the photographer in ink in the margin, edition no. 7/15 (+ 5 A.P.) LITERATURE Wim Wenders, Written in the West. Photographien aus dem amerikanischen Westen, Munich 1987, pl. 7. 136 137 € 2.000 / € 4.000 – 5.000 LUIGI GHIRRI (1943 – 1992) LUIGI GHIRRI (1943 – 1992) Versailles, 1985 Il lungomare, Trieste 1986 Vintage chromogenic print Vintage chromogenic print 22,7 × 47,2 cm (8.9 × 18.6 in) 23,5 × 47,2 cm (9.3 × 18.6 in) Signed, annotated and dated by the Label with handwritten annotation photographer in ink in the margin (most likely by the photographer) in ink on the reverse € 2.000 / € 3.500 – 4.000 € 1.800 / € 2.500 – 3.000

48 49 138 BERENICE ABBOTT (1898 – 1991) Poultry Shop, East Seventh Street, New York 1935 Gelatin silver print, printed in 1982, large format, mounted on the original cardboard 58 × 45 cm (22.8 × 17.7 in) Signed and numbered by the photo­­grapher in pencil on the mount, her stamp and title on the reverse, edition no. 34/40, from the project “Changing New York” LITERATURE Berenice Abbott. Photographs, Library of Congress 1970, p. 94; Berenice Abbott, Vol II New York, Göttingen 2008, p. 59. € 1.400 / € 2.500 – 3.000

This was on 7th Street. The light was great and the photograhic look of the scene was spectacular. I just knew it would make a good photograph. Many people don‘t understand there are a lot of good 140 LITERATURE Bernd & Hilla subjects that don‘t lend themselves BERND BECHER Becher, Fachwerkhäuser des Siegener to good photographs. This one did. (1931 – 2007) / Industriegebietes, Munich 2000, p. 11. (Berenice Abbott) HILLA BECHER (1934 – 2015) The residential house was built in ‘Ansichten eines Wohnhauses 1905 in Birken on Hauptstraße 3 by in Birken bei Siegen’, 1971 the builder Robert Utsch, who was a 8 Vintage silver prints, mounted and lathe operator by profession. It can be framed all together found in subgroup VI »Abwicklungen each c. 24 × 18 cm (9.4 × 7.1 in) Signed einzelner Häuser« (Developments of by Bernd Becher in pencil in the individual houses) – in the first cycle image lower right, titled in the lower of work completed by the Bechers. It left, “Galerie Sonnabend, Paris” label shows how industrial conditions shape and “Galleria Lucio Amelio, Neapel” the appearance and character of an stamp on the reverse of the frame entire region. The eight individual pictures follow a clearly comprehensible € 30.000 / € 50.000 – 60.000 movement around the building, which begins at the street-side front view. In the two rows of images, each frontal perspective is followed by a diagonal 139 view at one corner edge of the cuboid ALBERT RENGER-PATZSCH building. (1897 – 1966) Industrial building, 1925 Vintage silver print 22,7 × 16,5 cm (8.9 × 6.5 in) Photographer‘s stamp and studio stamp on the reverse € 3.000 / € 5.000 – 6.000

50 51 150 HERLINDE KOELBL ALL LOTS (* 1939) Angela Merkel (from the series ‘Spuren der Macht’), 1991 for more details visit our website 2 Gelatin silver prints, framed each c. 60 × 50 cm (23.6 × 19.7 in) www.ostlicht-auction.com Each signed by the photographer in pencil on the reverse, copyright stamps on the reverses, typographic date and quote on each original passe-partout UPDATED BUYER’S PREMIUM LITERATURE Herlinde Koelbl, The total purchase price for all lots consists of the hammer price plus the premium Spuren der Macht. Die Verwandlung of 26 % (incl. the reduced VAT of 5 % only) for lots remaining in the EU. des Menschen durch das Amt. Eine Langzeitstudie, Munich 2002, p. 39. For lots that are exported to third countries or purchased with a valid VAT number the premium is 20 %. € 4.000 / € 7.000 – 9.000

1 2 3 HEINRICH KÜHN JAROMIR FUNKE ANONYMOUS PHOTOGRAPHER ‘Nude Study’, Tyrol 1907 Children in the sunlight, c. 1922 The class of Griepenkerl € 18.000 / € 30.000 – 40.000 € 2.000 / € 3.000 – 4.000 (Akademie der bildenden Künste),1890 € 900 / € 1400 – 1800

4 5 6 WILHELM VON GLOEDEN WILHELM VON GLOEDEN RUDOLF KOPPITZ Male portrait, c. 1905 Taormina, 1903 ‘Am Weissensee’, Austria c. 1930 € 800 / € 1400 – 1800 € 2.000 / € 3.000 – 4.000 € 1.600 / € 2.500 – 3.000

52 Please visit www.ostlicht-auction.com for furher details about all lots. 7 8 9 19 20 21 RUDOLF KOPPITZ RUDOLF KOPPITZ GERMAINE KRULL YVA FRANTISEK DRTIKOL ALFRED EISENSTAEDT Hedy Pfundmayr, c. 1920 ‘Bewegungsstudie’ ‘Dance Study with Mask II’, Berlin Paula Schwarz, Berlin 1934 – 35 Portrait, c. 1910 – 1914 Society girl in Belgrad, 1934 € 1.800 / € 3.000 – 4.000 (Movement Study), 1925 1923 € 600 / € 1.000 – 1.200 € 6.000 / € 10.000 – 12.000 € 1.400 / € 2.000 – 2.400 € 3.800 / € 7.000 – 9.000 € 2.400 / € 4.000 – 5.000

10 11 12 22 23 24 EDWARD STEICHEN JACQUES-HENRI LARTIGUE RUDOLF KOPPITZ MARTIN IMBODEN RUTH BERNHARD RUTH BERNHARD Cover Design, 1904 ‘Nanik et Monsieur Plantevigne’, ‚Mädchen mit Springschnur’ Female portrait, Vienna c. 1930 ‘Embryo’, 1934 ‘In the Box-vertical’, 1962 € 1.000 / € 1.500 – 2.000 Villerville 1906 (Girl with a jump rope), c. 1930 € 1.600 / € 2.800 – 3.400 € 1.800 / € 3.000 – 3.500 € 1.800 / € 3.000 – 3.500 € 800 / € 1.400 – 1.800 € 1.600 / € 3.000 – 3.500

13 14 15 25 26 27 STUDIO MANASSÉ / STUDIO MANASSÉ LOTHAR RÜBELT PAUL WOLFF FRANCO FONTANA LEONARD FREED OLGA WLASSICS The photographer Olga Wlassiscs in Diver Dorothy Poynton-Hill, Olympic Nordseebad Wangerooge, c. 1934 ‘Fragment’, 1982 Nude Study, 2002 The dancer Maria Salvoty, c. 1927 a carnival costume, Vienna c. 1928 gold medalist in artistic jumping, 1936 € 1.200 / € 2.000 – 2.400 € 1.200 / € 2.000 – 2.400 € 1.200 / € 2.000 – 2.400 € 1.200 / € 2.000 – 2.400 € 1.400 / € 2.000 – 2.400 € 3.000 / € 5.000 – 6.000

16 17 18 28 29 30 TRUDE FLEISCHMANN TRUDE FLEISCHMANN YVA AUGUST SANDER AUGUST SANDER AUGUST SANDER ‘Frau Eva S.’, Vienna c. 1926 The dancer Tilly Losch, Cilly Aussem wearing a Juvena ‘Zirkusartistin’, Cologne 1926 ‘Blinde Kinder’, Düren 1930 Bürgerkinder € 1.600 / € 3.000 – 4.000 Vienna 1927/28 bathing suit, Berlin c. 1930 € 2.800 / € 4.000 – 5.000 € 2.400 / € 3.500 – 4.000 (Middle-class children), 1925 € 1.600 / € 3.000 – 4.000 € 600 / € 1.000 – 1.200 € 6.000 / € 12.000 – 15.000

Please visit www.ostlicht-auction.com for furher details about all lots. Please visit www.ostlicht-auction.com for furher details about all lots. 31 32 33 43 44 45 GERMAINE KRULL JOSEF SUDEK BRASSAÏ MARIO GIACOMELLI WILLY RONIS MARC RIBOUD Les Choux-Fleurs Untitled (from the series ‘Femme Aux Voiles’ ‘Presa di coscienza sulla natura’ ‘Chez Maxe’, Jointville Le Pont, ‘Le Peintre de la Tour Eiffel’, (from the series ‘Les Halles’), 1930 ‘Erinnerungen’), 1950s (Lady with veils), Paris 1934 (On being aware of nature), c. 1980 Nogent 1947 Paris 1953 € 2.400 / € 4.000 – 5.000 € 3.000 / € 5.000 – 6.000 € 7.000 / € 14.000 – 18.000 € 1.800 / € 2.800 – 3.400 € 1.800 / € 2.800 – 3.400 € 1.600 / € 2.500 – 3.000

34 35 36 46 47 48 JAROSLAV RÖSSLER ANSEL ADAMS ANSEL ADAMS HENRI CARTIER-BRESSON HENRI CARTIER-BRESSON HENRI CARTIER-BRESSON ‘Kytička’ (Flowers), c. 1958 ‘Dogwood’, Yosemite 1958 ‘El Capitan in Winter’, Yosemite 1952 San Francisco, 1946 Ivry-sur-Seine, France 1956 Refugee camp, India, Punjab, € 8.000 / € 14.000 – 18.000 € 1.800 / € 3.500 – 4.000 € 1.400 / € 2.000 – 2.500 € 2.400 / € 4.000 – 5.000 € 1.800 / € 2.500 – 3.000 Kurukshetra, 1947 € 2.400 / € 4.000 – 5.000

37 38 39 49 50 51 HERBERT LIST HERBERT LIST PAUL WOLFF ALEXANDER RODCHENKO EIKOH HOSOE MAN RAY ‘Junge am Hafen von Ermoupolis’, ‘Die Unbekannte von der Donau’, Climbing skills on the stacks of The sculptor Anton Lavinsky, USSR ‘Ba-Ra-Kei: Ordeal by Roses #6’, Self-portrait, Paris 1924 1938 Vienna 1944 boards of a sawmill, 1924 1962 € 1.800 / € 2.500 – 3.000 € 900 / € 1.400 – 1.800 € 900 / € 1400 – 1800 Garmisch-Partenkirchen 1936 € 5.000 / € 8.000 – 10.000 € 2.400 / € 4.000 – 5.000 € 1.200 / € 2.000 – 2.400

40 41 42 52 53 54 BARBARA MORGAN BARBARA MORGAN MARIO GIACOMELLI MAN RAY ANDRÉ KERTÉSZ ROBERT DOISNEAU ‘Spring on Madison Square’, ‘Pearl Primus – Speak to Me of Scanno, 1957 ‚Le Violon d‘Ingres’, 1924 Colette, Paris 1930 Au Saint Yves, Paris 1948 New York 1938 Rivers’, 1944 € 3.000 / € 5.000 – 6.000 € 600 / € 1.000 – 1.400 € 1.800 / € 3.000 – 4.000 € 900 / € 1.400 – 1.800 € 1.800 / € 3.000 – 3.500 € 1.600 / € 2.500 – 3.000

Please visit www.ostlicht-auction.com for furher details about all lots. Please visit www.ostlicht-auction.com for furher details about all lots. 55 56 57 67 68 69 FRANK HORVAT JESPER HOM MARC RIBOUD ALBERTO KORDA ELLIOTT ERWITT ROBERT CAPA Chanel Fashion Shooting, 1959 Nina Petrowna Chruschtschowa with Peasants visiting the birth house of Fidel Castro and Nikita Khrushchev, Che Guevara, Havana 1964 ‘The Falling Soldier’ (Loyalist € 1.600 / € 2.500 – 3.000 models, Paris 1961 Mao, Shaoshan 1965 1960 € 1.400 / € 2.000 – 2.400 Militiaman at the Moment of Death), € 600 / € 1.000 – 1.200 € 1.400 / € 2.500 – 3.000 € 500 / € 800 – 900 Córdoba front, September 5th, 1936 € 3.500 / € 6.000 – 7.000

58 59 60 70 71 72 ELLIOTT ERWITT ELLIOTT ERWITT BRUNO BARBEY HENRI CARTIER-BRESSON LOU STOUMEN ESTHER BUBLEY Parade Musicians, Saint Tropez, 1979 Florence, Italy 1949 Neapolitan Street Eunuch of the Last Chinese Imperial ‘Sailor with girl’, New York 1952 Ouro Preto, Brasil 1956 € 1.800 / € 3.000 – 4.000 € 2.400 / € 4.000 – 5.000 (from ‘The Italians’), 1964 Dynasty, Beijing 1948 € 1.600 / € 2.500 – 3.000 € 900 / € 1.400 – 1.800 € 1.200 / € 2.000 – 2.400 € 6.000 / € 10.000 – 12.000

61 62 63 73 74 75 TONY RAY-JONES TONY RAY-JONES CHRISTIAN BORCHERT BERENICE ABBOTT INGE MORATH INGE MORATH Ramsgate, 1967 At the aquarium, c .1970 ‘Regenschauer am S-Bahnhof Changing New York, Shop window, Down town (Couple on Brooklyn The painter Hedda Sterne € 400 / € 700 – 900 € 400 / € 700 – 900 Nöldnerplatz’, Berlin 1971 New York c. 1935 Bridge), New York 1961 (from the series ‘Saul Steinberg € 600 / € 1.000 – 1.200 € 1.200 / € 2.000 – 2.400 € 1.200 / € 2.000 – 2.400 Masks’), New York 1959 € 1.800 / € 3.000 – 3.500

64 65 66 76 77 78 MARY ELLEN MARK HIROJI KUBOTA ERICH LESSING FRANZ HUBMANN FRANZ HUBMANN FRANZ HUBMANN Mother Teresa, Calcutta 1980 Pjöngyang, North Korea 1978 Old woman with prayer book, ‘Der legendäre Ober Ali’, Café A Viennese garbage collector, c. 1955 In a suburban coffee place, c. 1958 € 1.800 / € 2.500 – 3.000 € 2.000 / € 3.500 – 4.000 Hungarian Revolution, Budapest 1956 Hawelka, Vienna 1956/57 € 1.400 / € 2.000 – 2.400 € 1.400 / € 2.000 – 2.400 € 1.800 / € 3.000 – 4.000 € 1.800 / € 3.000 – 3.500

Please visit www.ostlicht-auction.com for furher details about all lots. Please visit www.ostlicht-auction.com for furher details about all lots. 79 80 81 91 92 93 FRANZ HUBMANN WILL MCBRIDE MARY ELLEN MARK GISÈLE FREUND ROBERT LEBECK RAINER FICHEL Pablo Picasso, Villa La Californie, ‘Mike in the shower’, Schloss Salem, Miami Gigolos 93 in Luigi’s Italian Simone de Beauvoir, Paris 1948 Joseph Beuys, Düsseldorf 1970 Martin Kippenberger, Hamburg 1984 Cannes 1957 1963 American Club, Florida 1993 € 800 / € 1.400 – 1.800 € 1.200 / € 2.000 – 2.400 € 800 / € 1.400 – 1.600 € 1.600 / € 2.800 – 3.400 € 1.300 / € 1800 – 2200 € 2.000 / € 3.500 – 4.000

82 83 84 94 95 96 WILLIAM KLEIN WILLIAM KLEIN DAVID DOUGLAS DUNCAN ERWIN WURM ARNO RAFAEL MINKKINEN ARNO RAFAEL MINKKINEN ‘Qui etes-vous Polly Maggoo?’ ‘Pachinko doorman’, Tokyo 1961 Pablo Picasso, Villa La Californie, ‘One Minute Sculpture’, Vienna 1997 Sanary-Sur-Mer, France 1979 Kuusamo, Finland 1976 (Who Are You, Polly Maggoo?), 1966 € 2.000 / € 3.500 – 4.500 Cannes 1957 € 4.000 / € 6.000 – 7.000 € 1.600 / € 2.500 – 3.000 € 1.800 / € 3.000 – 3.500 € 2.400 / € 4.000 – 5.000 € 5.000 / € 10.000 – 12.000

85 86 87 97 98 99 GJON MILI ARA GÜLER ANDRÉ VILLERS ARNO RAFAEL MINKKINEN ROBERT MAPPLETHORPE SAM HASKINS A group of five prints incl. the iconic Pablo Picasso, 1971 Pablo Picasso, 1972 ‘Hyvinkää’, Finland 1975 ‘Chest (Thomas)’, New York 1986 Nude Collage, 1970s Pablo Picasso drawing a centaur in € 1.400 / € 2.000 – 2.400 € 1.200 / € 2.000 – 2.400 € 1.800 / € 3.000 – 3.500 € 18.000 / € 28.000 – 32.000 € 1.800 / € 3.000 – 3.500 the air with light, 1949 € 12.000 / € 20.000 – 25.000

88 89 90 100 101 102 ERNST SCHEIDEGGER PHILIPPE HALSMAN EVE ARNOLD JOCK STURGES RUDOLF SCHWARZKOGLER RUDOLF SCHWARZKOGLER Alberto Giacometti in his studio, Marc Chagall, Andy Warhol, New York 1964 Angela, Salmon River, California 1987 6. Aktion, Nr. 69, 4. Aktion, Nr. 16, Kaiserstraße, Paris 1962 Saint-Paul-de-Vence 1960 € 1.200 / € 2.000 – 2.400 € 1.400 / € 2.000 – 2.500 Wohnung Schwarzkogler, 1966 Wohnung Cibulka, 1965 € 600 / € 1.000 – 1.200 € 1.200 / € 2.000 – 2.400 € 2.000 / € 3.500 – 4.000 € 2.000 / € 3.500 – 4.000

Please visit www.ostlicht-auction.com for furher details about all lots. Please visit www.ostlicht-auction.com for furher details about all lots. 103 104 105 115 116 117 VALIE EXPORT PETER DRESSLER NOBUYOSHI ARAKI PHILIPPE HALSMAN PHILIPPE HALSMAN BERT STERN ‘Nachfügung’ (from the series A group of three photographs, Untitled (Kinbaku), from the series ‘Marilyn at the Drive-in’, c. 1955 Marilyn Monroe (Life Cover), 1952 ‘Marilyn Monroe, I Beg of You’ (from ‘Körperkonfigurationen’), 1974 1978 – 1989 ‘Blind Love’, 1996 € 1.400 / € 2.000 – 2.500 € 800 / € 1.400 – 1800 ‘The Last Sitting’), Los Angeles 1962 € 18.000 / € 28.000 – 34.000 € 500 / € 1.000 – 1.400 € 2.800 / € 5.000 – 7.000 € 1.200 / € 1.800 – 2.400

106 107 108 118 119 120 HELMUT NEWTON HELMUT NEWTON JEANLOUP SIEFF LORD SNOWDON / WILL MCBRIDE MICHAEL GILLIES ‘Lisa Lyon At Home’, Venice, ‘Cyberwoman I’, Hollywood 2000 Claire Motte ARMSTRONG JONES Romy Schneider, Paris 1964 Twiggy, 1967/68 California 1981 € 1.800 / € 2.500 – 3.000 (from the series ‘Danse’), Paris 1960 Marlene Dietrich at London‘s famous € 1.400 / € 2500 – 3000 € 400 / € 800 – 1.000 € 12.000 / € 24.000 – 28.000 € 1.800 / € 3.000 – 4.000 Café de Paris, 1955 € 1.200 / € 2.000 – 2.400

109 110 111 121 122 123 LUCIEN CLERGUE JAN SAUDEK FRANCO FONTANA DAVID GAHR TERRY O‘NEILL RICHARD AVEDON ‘Primavera in New York’, 1976 ‘White Blonde’, Prague 1988 Female Nudes, 1997 Bob Dylan and Joan Baez, Newport Raquel Welch and Ringo Starr, 1969 Audrey Hepburn and Mel Ferrer, 1960 € 1.200 / € 2.000 – 2.400 € 1.800 / € 3.000 – 4.000 € 800 / € 1.400 – 1.600 Folk Festival, 1963 € 1.200 / € 1.800 – 2.000 € 1.200 / € 2.000 – 2.400 € 400 / € 700 – 800

112 113 114 124 125 126 DENNIS STOCK ROBERT LEBECK ANDRÉ DE DIENES TAZIO SECCHIAROLI EVE ARNOLD ERNST HAAS James Dean, New York 1955 Elvis Presley, Hessen 1958 Marilyn Monroe, Tobey Beach 1949 Sophia Loren backstage with Orson Welles, 1966 The photographer Yul Brunner, 1958 € 1.800 / € 3.000 – 3.500 € 1.400 / € 2000 – 2400 € 1.200 / € 1.800 – 2.000 costume designers, Rome c. 1965 € 1.200 / € 2.000 – 2.400 € 800 / € 1.400 – 1.800 € 800 / € 1.400 – 1.800

Please visit www.ostlicht-auction.com for furher details about all lots. Please visit www.ostlicht-auction.com for furher details about all lots. 127 128 129 139 140 141 PAUL SLADE ANNIE LEIBOVITZ MARTIN PARR ALBERT RENGER-PATZSCH BERND BECHER / HILLA BECHER MIMMO JODICE ‘The Fight of the Century’ (Cassius Mike Tyson , 1987 Ball of the Viennese Coffee Society Industrial building, 1925 ‘Ansichten eines Wohnhauses in Untitled (Veiled car), 1980 Clay against Joe Frazer), 1971 € 800 / € 1.400 – 1.800 (from the series ‘Cakes & Balls’), 2016 € 3.000 / € 5.000 – 6.000 Birken bei Siegen’, 1971 € 800 / € 1.400 – 1.800 € 1.800 / € 3000 – 4000 € 2.800 / € 4.000 – 5.000 € 30.000 / € 50.000 – 60.000

130 131 132 142 143 144 LORD SNOWDON BETTINA RHEIMS NAN GOLDIN MIMMO JODICE MARIANA YAMPOLSKY MARIANA YAMPOLSKY Yves Saint Laurent, 1987 ‘Kristen McMenamy with black ‘Kee in his bed’, New York 1988 Vedute di Napoli, 1980 ‘Maguey de Papel’, Mexico 1986 ‘Caballeriza’ (Stables), Mexico 1980s € 1.200 / € 2.000 – 2.400 make-up on her hand’, Paris 1994 € 2.000 / € 3.000 – 4.000 € 800 / € 1.400 – 1.800 € 800 / € 1.500 – 2.000 € 800 / € 1.500 – 2.000 € 1.800 / € 3.500 – 4.000

133 134 135 145 146 147 NAN GOLDIN LISETTA CARMI WIM WENDERS AARON SISKIND YOKO YAMAMOTO RALPH GIBSON ‘Kenny on his bed’ (from »The Ballad ‘I Travestiti’, Travesty in Genoa, ‘Ave Dollars, Gila Bend, Arizona’ ‘Martha‘s Vineyard #7’, 1974 ‘First step into the town’, 1983 ‘Wine and Bread’, 1986 of Sexual Dependency«), New York 1969 (from ‘Written in the West’), 1983 € 1.400 / € 2.000 – 2.400 € 800 / € 1.400 – 1.800 € 800 / € 1.400 – 1.600 1983 € 2.400 / € 4.000 – 6.000 € 2.000 / € 4.000 – 5.000 € 3.400 / € 6.000 – 7.000

136 137 138 148 149 150 LUIGI GHIRRI LUIGI GHIRRI BERENICE ABBOTT RALPH GIBSON CHRISTO HERLINDE KOELBL Versailles, 1985 Il lungomare, Trieste 1986 Poultry Shop, East Seventh Street, ‘Abstract Plates’, 2000 Surrounded Islands, Biscayne Bay, Angela Merkel (from the series € 2.000 / € 3.500 – 4.000 € 1.800 / € 2.500 – 3.000 New York 1935 € 800 / € 1.400 – 1.600 Greater Miami, Florida (1983) ‘Spuren der Macht’), 1991 € 1.400 / € 2.500 – 3.000 € 600 / € 1.000 – 1.500 € 4.000 / € 7.000 – 9.000

Please visit www.ostlicht-auction.com for furher details about all lots. Please visit www.ostlicht-auction.com for furher details about all lots. UNSERE VERSTEIGERUNGSBEDINGUNGEN FINDEN SIE AUF www.ostlicht-auction.com FOR OUR CONDITIONS OF SALE PLEASE VISIT www.ostlicht-auction.com

IMPRESSUM / IMPRINT EXPERTEN / SPECIALISTS

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

COPYRIGHT OstLicht GmbH, Vienna 2021 Johannes Faber

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DRUCK / PRINT Druckerei Berger, Ferdinand Berger & Söhne Ges.m.b.H.

KONSERVATORIN / CONSERVATOR Taiyoung Ha LOT 25 67 23. OSTLICHT PHOTO AUCTION 23RD OSTLICHTPHOTO AUCTION

Freitag, 16. April 2021, 17 Uhr (MESZ) Friday, April 16TH 2021, 5 pm (CEST)

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