, OCTOBER 2ND 2020

PHOTO AUCTION 77, EXPERTEN SPECIALISTS

PROF. JOHANNES FABER 22. Gründer der Galerie Johannes Faber in Wien, OSTLICHT Kunsthändler und Experte für klassische PHOTO AUCTION Fotografie; zahlreiche Ausstellungen, Preise, Freitag, 2. Oktober 2020, Stipendien und Publikationen. 17 Uhr (MESZ) Founder and director of Galerie Johannes Faber in Vienna, art dealer and expert for classic VORBESICHTIGUNG ; numerous exhibitions, awards, ab Mittwoch, 23. September scholarships and publications. nach persönlicher Vereinbarung: PHOTO [email protected], Tel.: +43 1 996 20 66 17

ND AUCTION 22 OSTLICHT ANNA ZIMM PHOTO AUCTION Kunsthistorikerin, Expertin für Fotografie, Researcher. Friday, October 2nd 2020, Seit 2008 bei OstLicht (früher WestLicht) Photo Auction. 5 pm (CEST) Art historian, Photographs Specialist, Researcher. Working for OstLicht (former WestLicht) Photo Auction VIEWING since 2008. from Wednesday, September 23rd [email protected] only by appointment: [email protected], Tel.: +43 1 996 20 66 17

MICHAEL KOLLMANN Kurator Fotobuch WestLicht / OstLicht, Begründer vom Vienna Photo Book Festival, Fotobuch- UPDATED BUYER’S Herausgeber und Experte für seltene Fotobücher. PREMIUM Photo book curator WestLicht / OstLicht, founder The total purchase price for of the Vienna Photo Book Festival, editor of photo all lots consists of the hammer books and expert for rare photo books. price plus the premium of Absberggasse 27, 26 % (incl. 5 % VAT) for lots [email protected] 1100 Vienna, remaining in the EU. Tel.: +43 1 996 20 66 17 For lots that are exported to For general enquiries third countries or purchased about this auction, email with a valid VAT number the should be addressed to premium is 20 %. [email protected] WWW.OSTLICHT-AUCTION.COM Chinese men on a ship, »30« plate mark on the image side in the upper left, newly glazed and sealed

1 ATTRIBUTED TO NATALIS RONDOT (1821–1900) Nine quarter-plate daguerreotypes including the first photograph of Shanghai, China 1844–45 Teahouse and bridge in Shanghai Yu Self-portrait of the photographer, 9 quarter-plate daguerreotypes each mounted in paper Garden, »30« plate mark in the lower right »60« and »GARANTIE« plate marks on passepartout behind modern mount and a flower-shaped plate mark in the the image side in the upper left, newly € 180.000 / € 350.000–400.000 upper right, newly glazed and sealed glazed and sealed

6 7 Die neun zwischen Sommer 1844 und Spätherbst 1845 Im Spätherbst 1845 stellte Rondot ausgedehnte Erkun- The nine daguerreotypes, which were created between In the late autumn of 1845, Rondot made extensive in China entstandenen Daguerreotypien die vor einigen dungen in der lokalen Textilindustrie in Shanghai an. Im summer 1844 and late autumn 1845, were discovered explorations of the local textile industry in Shanghai. Jahren entdeckt wurden bedeuten eine historische Zuge dieses Aufenthaltes fotografierte er im Teegarten, recently, and are a photo historical sensation. Not only During this stay he took photographs in the tea garden, Sensation. Damit wird nicht nur neues Licht auf die der mit seinen Pavillons und Felsgrotten um einen See does this shed new light on the introduction of photo- which with its pavilions and rock grottoes around a Einführung der Fotografie in China geworfen und ein für die Mitglieder der Mission der malerischste Ort der graphy in China and identify a previously unknown lake was the most picturesque place in the city for the bislang unbekannter französischer Bildautor identifiziert, Stadt war. Die erhaltene Aufnahme zeigt das Teehaus und French daguerreotypist, it also shifts the chronology of members of the mission. His photograph was thus taken sondern es verschiebt sich auch die Chronologie der die kleine Zubringer-Brücke in einer seitenverkehrten the earliest photographs taken in the city of Shanghai more than a decade before that of Louis Legrand, who frühesten Aufnahmen aus der Stadt Shanghai um mehr Ansicht. Dies beweist, dass die Kamera nicht mit einem by more than a decade. In any case, the series has an had photographed from the same vantage point. Both als ein Jahrzehnt. Die Serie besitzt jedenfalls einen außer- Prisma ausgestattet war, was für die frühen Daguerreo- exceptional status as an important cultural asset that pictures show the teahouse and the small feeder bridge, gewöhnlichen Stellenwert als bedeutendes Kulturgut, typen typisch ist. documents both French and Chinese history. In the but Rondot’s daguerreotype is shown in an inverted das sowohl französische wie chinesische Geschichte meantime, more detailed research results are available view. This proves that his camera was not equipped dokumentiert. Mittlerweile liegen nähere Forschungser- Ein Indiz zur Zuschreibung ist schließlich das schöne from Terry Bennett, the renowned researcher on the with a prism, which is typical for early daguerreotypes. gebnisse von Terry Bennett, dem renommierten Forscher Selbstporträt des jungen Delegierten, der nach seiner history of photography in Asia. zur Geschichte der Fotografie in Asien, vor. Rückkehr im Alter von 25 Jahren zum Ritter der Ehren- Finally, an indication of the attribution is the beautiful legion ernannt wurde. Die Identifikation von Rondot Natalis Rondot, an art historian and economist from self-portrait of the young delegate, who was made a Der aus Lyon stammende Kunsthistoriker und Ökonom als Autor der vorliegenden Aufnahmen ist außerdem Lyon, was 22 years old when he was commissioned to Knight of the Legion of Honor at the age of 25 after his Natalis Rondot hatte mit 22 Jahren den Auftrag erhalten, relevant, als mit Jules Itier ein weiterer Fotograf participate in the Lagrené mission to China as delegate return. The identification of Rondot as the author of als Handelsrepräsentant für Textilien an der Lagrené- (mit eigener Ausrüstung) die Lagrené-Chinamission of the Ministry of Commerce specialized in the wool the present daguerreotypes is furthermore relevant as Mission nach China teilzunehmen. Im Februar 1844 ver- begleitete. Allerdings verließ dieser die Reisegruppe be- textile industry. In February 1844, he left on another photographer (with his own equipment), Jules ließ er Frankreich an Bord der Dampfkorvette Archimède, reits Ende August 1845, also vor Eintreffen in Shanghai – board the Archimède steam corvette, whose captain, Itier, also accompanied the Lagrené China Mission. deren Kapitän, François-Edmond Pâris, eine Daguerreo- daher kann er diese Aufnahmen nicht gemacht haben, François-Edmond Pâris, carried a daguerreotype equip- However, he left the group at the end of August 1845, typie-Ausrüstung mitführte. Nachdem Rondot den die als geschlossene Gruppe in einer authentischen Holz- ment. After Rondot had accompanied the captain in before arriving in Shanghai, so he could not have taken Kapitän bei der Anfertigung von Daguerreotypien be- box aus der Entstehungszeit aufgefunden wurden. the making of daguerreotypes, he was able to use the these photographs, which were found as a group in gleitet hatte, konnte er die Ausrüstung im weiteren Ver- equipment himself as the journey progressed. This is their original wooden storage box. lauf der Reise auch selbst nutzen. Dies ist durch Berichte evidenced by reports that describe, for example, his belegt, die etwa seine Aufnahmetätigkeit anlässlich der photographic activities on the occasion of the signing Vertragsunterzeichnung in Whampoa im November 1844 of the contract in Whampoa in November 1844. The schildern. In China hatte Rondot schließlich die Gelegen- preserved plates show that Rondot photographed heit, anlässlich von Treffen der französischen Delegierten several times at meetings of French delegates with mit chinesischen Beamten zu daguerreotypieren, etwa Chinese officials, for example during reciprocal visits on bei gegenseitigen Besuchen auf Schiffen (die Aufnahmen ships (the daguerreotypes also show Chinese rigging). zeigen auch chinesische Takelagen).

8 9 1 2 3

4 5 6 List of plates: 1 Self-portrait of the photographer, »60« and »GARANTIE« plate marks on the image side in the upper left, newly glazed and sealed 2 Teahouse and bridge in Shanghai Yu Garden, »30« plate mark in the lower right and a flower-shaped plate mark in the upper right, newly glazed and sealed 3 Chinese men on a ship, »30« plate mark on the image side in the upper left, newly glazed and sealed 4 Two Chinese men on a ship, »60« and »GARANTIE« plate marks on the image side in the lower right, newly glazed and sealed 5 Chinese woman, »H.S« plate mark in the lower left and »30« plate mark in the lower right, newly glazed and sealed 6 Chinese official on a ship, »30« plate mark, newly glazed and sealed 7 Senior sailor sitting next to boxes and ropes on a ship, »60« and »GARANTIE« plate marks on the image side in the upper left, newly glazed and sealed 8 Lazarist missionary, unmounted 8 9 9 Standing European woman in a crinoline dress, »60« and »GARANTIE« plate marks on the image side in the upper left, unmounted 7

10 11 2 3 FRANZ K. STREZEK Attributed to (1809–1895) FRANÇOIS Cavalary Captain, BENJAMIN Vienna c. 1856 LAMICHE (1808–1875) Stereo-daguerreotype in the original leather case Cartomancer, 9,5 × 11,9 × 1,5 cm France c. 1855 Photographer’s embossing »STREZEK’S DAGUERROTYP- Stereo-daguerreotype ATELIER WIEN, LEOPOLDSTADT 8,4 × 17,1 cm 587« on the mount; integrated Newly sealed in stereo viewer by »ROSPINI reverse-painted glass K.K.HOF / Drechsler u. Opticus / mat with rectangular WIEN, Kärntnerstraße No. black frames around 1074.« double elliptical shaped windows and gilted € 1.800 / € 3.000–3.500 background, scratches accentuating the depicted jewellery in shine silver € 7.000 / € 12.000–14.000

Im Medium der Stereo-Daguerreotypie entwickelten die In the medium of the stereo daguerreotype, the pioneers Pioniere der erotischen Aktfotografie neue ikonografische of erotic nude photography developed new iconographic Typen, Produktions- und Vertriebsstrategien. Dabei blieb types, production and distribution strategies. In the Am 6. März 1854 veröffentlichte der Fotohändler und On March 6, 1854, Austrian photo dealer and optician das Repertoire an narrativen Darstellungen anfangs noch beginning, the repertoire of narrative images remained Optiker Carl Joseph Rospini (1818–1887) eine Anzeige im Carl Joseph Rospini (1818–1887) published an advertise- relativ schmal – es überwogen Boudoir- oder Küchen- relatively limited — boudoir or kitchen scenes, in which Wiener Fremden-Blatt, in der er ankündigt, ab sofort nach ment in the Wiener Fremden-Blatt announcing that from szenen, in denen die Darbietung körperlicher Reize im the presentation of physical attractions was in the fore- amerikanischem Vorbild und in Zusammenarbeit mit dem now on he would produce »case stereoscope portraits« Vordergrund stand. Umso ungewöhnlicher sind auf- ground, predominated. All the more unusual are more Daguerreotypisten Franz K. Strezek »Etuis-Stereoskop- based on the American model and in cooperation with the wändigere Inszenierungen wie die vorliegende, die elaborate stagings such as the present one, which expands Porträts« herzustellen. Beim erwähnten Vorbild handelte daguerreotypist Franz K. Strezek. The model mentioned ein anziehendes Arrangement um einen erzählerischen an attractive arrangement with a narrative context. The es sich um Mascher’s Improved Stereoscope, das 1853 was Mascher’s Improved Stereoscope, which had been Kontext erweitern. Die freizügige Aktfigur adressiert den open-minded nude addresses the viewer not only by her patentiert worden war. Goldfarbene, segmentbogen- patented in 1853. At the same time, the well-known Betrachter nicht nur durch ihren koketten Blick, sondern coquettish gaze, but also by laying the cards: the central förmige Passepartouts verwendete zeitgleich auch die German stereo daguerreotypist dynasty Schneider also auch, indem sie ihm die Karten legt: das zentrale Ergebnis, result, an Ace of Hearts, hardly needs any further inter- bekannte deutsche Stereo-Daguerreotypisten-Dynastie used gold-coloured, segmental-arched mounts. Franz K. eine Herz-As, braucht als Weissagung des Kommenden pretation as a prophecy of what is to come, especially Schneider. Franz K. Strezek war bereits seit den frühen Strezek had already been working as a daguerreotypist kaum weitere Interpretation, zumal die Karte so gehalten since the card is held in a position where it points in a 1840ern als Daguerreotypist in Wien tätig und betrieb ab in Vienna since the early 1840s, and from 1851 he ran wird, dass sie in eine eindeutige Richtung zeigt. clear direction. 1851 ein renommiertes Porträtatelier an der Ferdinands- a renowned portrait studio at the Ferdinand Bridge on brücke am Donaukanal (der heutigen Schwedenbrücke). the Danube Canal (today’s Schwedenbrücke). Despite Weitere Hinweise zur Deutung der Szene geben die Further clues for the interpretation of the scene are Trotz seines Erfolges haben sich nur wenige seiner his success, only a few of his portraits have survived in offene, schmucklos getragene Haartracht des Modells provided by the model’s open, undecorated hairstyle Porträtaufnahmen in gutem Zustand erhalten. good condition. (was selbst in lasziveren der frühen Aktdarstellungen (which rarely occurs even in the more lascivious of the selten vorkommt) und der gebauschte Tüllstoff (übrigens early nudes) and the bulbous tulle fabric (incidentally, Typisch für Strezeks Stereoporträts ist der überbreite Typical for Strezek’s stereo portraits is the extra-wide eine Erfindung des 19. Jahrhunderts aus der französischen a 19th century invention from the French town of Tulle). Abstand zwischen den beiden Objektiven, erkennbar distance between the two lenses, recognizable by the clear Stadt Tulle). Das Assoziationsfeld von spielerischem The field of associations of playful teasing is opened an den deutlichen Unterschieden zwischen den beiden differences between the two halves of the picture. This Necken eröffnet die Kleinplastik von James Pradier am by the small plastic by James Pradier at the fireplace, Bildhälften. Dem Blick durch die Linsen des ins Etui opens up particularly striking three-dimensional effects Kamin, die ein Kind darstellt, das mit einem Hund spielt. which represents a child playing with a dog. It is also an eingebauten Betrachters eröffnen sich dadurch besonders for the viewer’s gaze through the lenses integrated into Sie ist auch ein Indiz für den Fotografen Lamiche, der indication of the photographer Lamiche, who was known deutliche Raum-Effekte. Bei langen Belichtungszeiten und the case. With long exposure times and carefully arranged für seine Aufnahmen von Pradiers Statuetten bekannt for his photographs of Pradier’s statuettes — his stereo sorgfältig arrangierten Posen schuf Strezek ausdrucks- poses Strezek created expressive, serene portraits. There war – seine Stereo-Daguerreotypie von genau jenem daguerreotype of precisely this object with the playing starke, ruhige Porträts. Es sind einige Aufnahmen von are a few photographs of members of the K. K. militia Objekt mit dem spielenden Kind befindet sich heute im child is now in the Musée Nicéphore Niépce. He was also Mitgliedern der K. K. Armee bekannt, wobei die vorlie- known, the present one is undoubtedly one of the most Musée Nicéphore Niépce. Er war auch der Herausgeber the editor of the stereoscopic series Les Diableries, which gende zweifellos zu den attraktivsten Beispielen gehört. attractive examples. As the insignia on the collar of his der stereoskopischen Serie Les Diableries, die sich durch is characterized by a particular narrative and associative Wie die Abzeichen am Kragen seines weißen Waffen- white uniform coat indicate, the officer depicted had the besondere narrative und assoziative Vielschichtigkeit richness. In any case, the sharpness and technical quality rockes erkennen lassen, hatte der dargestellte Offizier rank of a cavalry captain in a cuirassier regiment. The auszeichnet. In jedem Fall sprechen Schärfe und technische of the photograph, which is also evident in the reflecting den Rang eines Rittmeisters in einem Kürassier-Regiment. black field cap is decorated with a gold cord, the sabre Qualität der Aufnahme, wie sie etwa auch am gespiegel- candelabra, speak for an experienced stereo daguerreo- Die schwarze Feldkappe ist mit einer Goldschnur with a golden portepee. ten Kandelaber deutlich wird, für einen versierten type artist. geschmückt, der Säbel mit einem goldenen Portepee. Stereo-Daguerreotypisten.

12 13 4 5 MORIZ NÄHR (1859–1945) AUGUST SANDER (1876–1964) , Vienna 1909 ›Der Maler (Gottfried Brockmann)‹, Vintage silver print, unusual large format print 1924 37,6 × 28 cm (14.8 × 11 in) Gelatin silver print, large format print, printed Signed by the photographer in pencil in the in 1990 by Gerd Sander image lower right 58,9 × 40,5 cm (23.2 × 15.9 in) LITERATURE With the blindstamp »Aug. Sander Köln Lindenthal« lower left, signed and dated by Gerd Sander in Uwe Schögl / Hans-Peter Wipplinger (eds.), pencil on the reverse, stamped »August Sander Moriz Nähr, Cologne 2018, p. 39; Agnes Menschen des 20. Jahrhunderts [..]« with hand- Husslein-Arco / Alfred Weidinger (eds.), Gustav written captions on the reverse, edition no. 2/12. Klimt & Emilie Flöge. Fotografien, / Berlin / / New York 2012, p. 110. PROVENANCE € 10.000 / € 20.000–25.000 Private Collection, through Galerie Johannes Faber, Vienna LITERATURE Gunther Sander (ed.), August Sander, Menschen des 20. Jahrhunderts, Munich 1980, p. 591. (Group V: The Artists) € 5.000 / € 10.000–12.000

Der Wiener Fotograf Moriz Nähr hat die bekanntesten Viennese photographer Moriz Nähr took the most well- Das Porträt des jungen Malers Gottfried Brockmann ist The portrait of the young painter Gottfried Brockmann Porträts von Gustav Klimt aufgenommen. Es ist anzu- known portraits of Gustav Klimt. It can be assumed that ein Klassiker aus Sanders epochemachendem Bildatlas is a classic from Sander’s epoch-making pictorial atlas nehmen, dass Nähr den Künstler 1902 auf der von der Nähr met the artist in 1902 at the Beethoven exhibition, Menschen des 20. Jahrhunderts, in dem er in perfekt arran- Menschen des 20. Jahrhunderts, in which he documented a Secession organisierten Beethoven-Ausstellung kennen- organised by the Secession.The relationship between gierter Porträtmanier eine systematische Typologie der systematic typology of the society of the Weimar Republic lernte. Die Beziehung zwischen Gustav Klimt und Moriz Gustav Klimt and Moriz Nähr was shaped by years of Gesellschaft der Weimarer Republik dokumentierte. Der in a perfectly arranged portrait style. The present print Nähr war geprägt von einem jahrelangen künstlerischen artistic interplay, which in turn also exemplified the vorliegende Abzug wurde 1990 von Gerd Sander in einer was printed in 1990 by Gerd Sander in a small edition Wechselspiel, das wiederum auch das Verhältnis zwi- relation between the medium of photography and kleinen Edition in exzellenter Manier geprintet. Brock- and perfect style. Brockmann appears twice in Sander’s schen dem Medium Fotografie und der modernen Kunst modern art in Vienna. Moriz Nähr photographed Gustav mann taucht zwei Mal in Sanders Bildatlas auf. Einmal pictorial atlas. Once in the group of artists and addition- in Wien verdeutlichte. Moriz Nähr fotografierte Gustav Klimt in three sessions altogether. All shots were produced in der Gruppe der Künstler und zusätzlich in einem ally in a double portrait with Willi Bongard. Here Brock- Klimt in insgesamt drei Sitzungen. Alle Aufnahmen on glass plates in large format and clearly followed the Doppelporträt mit Willi Bongard. Hier wird Brockmann mann is titled by Sander as »Bohemian« and assigned entstanden auf Glasplatten im Großformat und folgten intentions of the classical artist portrait. The present von Sander als »Bohemien« betitelt und der Gruppe to the group »Types and Figures of the Big City«. Sander deutlich der Intention des klassischen Künstlerporträts. photo was taken on July 8th, 1909, during Klimt’s visit »Typen und Gestalten der Großstadt« zugeordnet. Sander was close friends with many artists in Cologne. Brock- Das vorliegende Porträt entstand am 8. Juli 1909, wäh- to the International Art Show in Vienna. Nähr used this war mit vielen Künstlern in Köln eng befreundet. Brock- mann, who was part of the artist group »Kölner Progres- rend Klimts Besuch der Internationalen Kunstausstellung opportunity to take the painter’s picture in one of the mann, der Teil der Künstlergruppe »Kölner Progressive« sive«, even lived with Sander and his family in Cologne in Wien. Nähr nutzte die Gelegenheit, um den Maler in courtyards. Eight versions of the shooting emerged from war, lebte sogar zwei Jahre lang bei Sander und dessen for two years. In 1926 he moved to Düsseldorf and einem der Höfe zu fotografieren. Dabei entstanden acht this session, three of which differ only in the minimally Familie in Köln. 1926 übersiedelte er nach Düsseldorf und studied free and applied graphic arts at the art academy. Varianten, von denen sich drei nur durch die minimal altered position of the subject’s head. Today, most of the studierte an der Kunstakademie freie und angewandte In 1932 he received a teaching assignment as a tutor at the veränderte Kopfhaltung des Porträtierten unterscheiden. glass plates are in the Austrian National Library. Early Grafik. 1932 erhielt er einen Lehrauftrag als Tutor an der academy. As a politically interested artist, he came under Die meisten der Glasplatten befinden sich heute in der large format prints are hard to find; especially when they Akademie. Als politisch interessierter Künstler geriet er the scrutiny of the Nazi political rulers and was banned Österreichischen Nationalbibliothek. Frühe großformatige are signed and in such perfect condition as the present ins Visier der NS-politischen Machthaber und erhielt 1933 from the academy in 1933. Abzüge tauchen nur selten am Kunstmarkt auf, vor allem, one. ein Akademieverbot. wenn sie signiert und in so perfektem Zustand sind wie der vorliegende Abzug.

14 15 8 GERMAINE KRULL (1897–1985) Woman with dog, c. 1929 Vintage silver print 22,2 × 16,3 cm (8.7 × 6.4 in) Photographer’s agency stamp and several handwritten notations in pencil on the reverse € 2.000 / € 3.000–4.000

6 7 9 MADAME D’ORA (1881–1963) GERMAINE KRULL (1897–1985) GERMAINE KRULL ›La Argentina‹, c. 1925 The painter Mariette Lydis, Paris c. 1926 (1897–1985) Vintage silver print Vintage silver print Reflection in the mirror, 21,1 × 16,3 cm (8.3 × 6.4 in) 22,7 × 15,5 cm (8.9 × 6.1 in) Paris 1929 Photographer’s studio signature in the original Photographer’s copyright stamp and extensive Vintage silver print negative lower right, photographer’s Paris annotations in ink on the reverse »In einem 17,8 × 23,5 cm (7 × 9.3 in) reproduction stamp and several handwritten Kleid von Sonia Delaunay Aufsehen erregende Photographer’s copyright stamp notations (relating to publication) in unknown Ausstellung in Paris zur gleichen Zeit« on the reverse hands on the reverse LITERATURE PROVENANCE € 1.200 / € 2.000–2.400 Michel Frizot (ed.), Germaine Krull, Ostfildern 2015, Private Collection, through p. 174; Germaine Krull, Avantgarde als Abenteuer, Galerie Johannes Faber, Vienna Munich 1999; p. 149. € 2.400 / € 4.000–5.000 € 1.600 / € 2.500–3.500

16 17 10 YVA (1900–1942) study, c. 1932 Vintage silver print 23 × 16,7 cm (9.1 × 6.6 in) Photographer’s copyright stamp, agency label and several handwritten notations in unknown hands on the reverse € 800 / € 1.400–1.800

11 12 13 GRETE KOLLINER TRUDE FLEISCHMANN (1895–1990) TRUDE FLEISCHMANN (1895–1990) (1892–1933) The well-known gymnastics teacher The dancer Katta Sterna, Vienna c. 1925 The dancer Marga Bach, Hanne Wassermann, c. 1927 Vintage silver print Vienna c. 1930 Vintage silver print 21,1 × 14 cm (8.3 × 5.5 in) Photographer’s blindstamp in the image lower Vintage silver print 23,2 × 12,6 cm (9.1 × 5 in) left, her reproduction and studio stamp and several 16,5 × 22,5 cm (6.5 × 8.9 in) Photographer’s studio stamp, reproduction stamp and handwritten notation in pencil on the reverse Photographer’s studio stamp, several handwritten notations in pencil on the reverse reproduction stamp and several LITERATURE LITERATURE handwritten notations in pencil Anton Holzer, Frauke Kreutler (ed.), Trude Fleischmann, Anton Holzer, Frauke Kreutler (ed.), Trude Fleischmann, and ink on the reverse Der selbstbewusste Blick, Vienna 2011, p. 89. Der selbstbewusste Blick, Vienna 2011, p. 101. € 600 / € 1.000–1.200 € 1.600 / € 2.500–3.000 € 1.600 / € 2.500–3.000

18 19 14 16 FRANTIŠEK DRTIKOL MADAME D’ORA (1883–1961) (1881–1963) ›La femme avec le crâne‹, 1925 Beach fashion by Jane Vintage silver print on carte postal Regny, Paris c. 1931 10,2 × 8 cm (4 × 3.1 in) 22 × 10,9 cm (8.7 × 4.3 in) Credited and titled in the original Photographer’s studio signature negative, photographer’s studio stamp in the original negative lower in the negative lower right right, several handwritten € 1.200 / € 2.000–2.400 notations in unknown hands on the reverse € 800 / € 1.400–1.800

17 RUDOLF KOPPITZ (1884–1936) ›Konfirmation‹ (Confirmation), Tyrol 1922

15 Vintage silver print 13,1 × 22,9 cm (5.2 × 9 in) FRANTIŠEK DRTIKOL Photographer’s studio stamp and (1883–1961) handwritten notations in pencil on the reverse ›Le Repos‹, c. 1925 Vintage silver print, Bromografia PROVENANCE Private Collection Vienna; on blue toned paper (printed in 1930) through Family Estate Koppitz 28,4 × 22,6 cm (11.2 × 8.9 in) Stamped »4. Drtikol- Bromo- € 1.600 / € 3.000–3.500 grafia« in the image lower right in the negative, Bromografia stamp on the reverse € 1.800 / € 3.000–4.000

20 21 18 RUDOLF KOPPITZ (1884–1936) Nude study with child, c. 1928 Vintage silver print 20,8 × 15,4 cm (8.2 × 6.1 in) Photographer’s »FOTO KOPPITZ« stamp on the reverse PROVENANCE Private Collection Vienna; through Family Estate Koppitz LITERATURE Monika Faber (ed.) Rudolf Koppitz Photogenie, Vienna 2013, p. 123; (same series); Monika Faber (ed.) Rudolf Koppitz 1884–1936, Vienna 1995, p. 74–75 (same series). € 2.000 / € 3.500–4.500

19 EIKOH HOSOE (* 1933) Nude (Embrace), c. 1968 Vintage silver print 17,6 × 26,8 cm (6.9 × 10.6 in) Photographer’s copyright stamp on the reverse, annotated in an unidentified hand in pencil on the reverse LITERATURE Eikoh Hosoe, Embrace, Tokyo 1971, s. p. € 1.800 / € 4.000–5.000

20 RUTH BERNHARD (1905–2006) ›Triangles‹, 1946 Gelatin silver print, printed in the 1970s, mounted on the original cardboard 23,8 × 18,8 cm (9.4 × 7.4 in) Signed by the photographer in pencil on the mount lower right, signed and titled by her in pencil on the reverse PROVENANCE Peter Fetterman Gallery, acquired by the present owner in the late 1990s from above € 2.400 / € 4.000–5.000

22 23 21 22 23 JOSEF SUDEK (1896–1976) TRUDE FLEISCHMANN (1895–1990) ILSE BING (1899–1998) ›Miss K.‹, c. 1923 Ida Roland, Vienna c. 1926 Self portrait, 1931 Vintage silver print, Bromoid print, Vintage silver print Gelatin silver print, printed in 1988 mounted on the original cardboard 21,2 × 15,3 cm (8.3 × 6 in) 23,6 × 17 cm (9.3 × 6.7 in) 27,8 × 21,1 cm (10.9 × 8.3 in) Photographer’s blindstamp in the image lower left, Signed and dated by the photographer in black Signed by the photographer in her studio stamp and several handwritten notations in ink in the image lower left; signed and annotated pencil on the mount, his annotations pencil on the reverse by the photographer in pencil on the reverse in ink on the reverse, print was exhibited at the Toronto Salon of LITERATURE PROVENANCE Anton Holzer, Frauke Kreutler (eds.), Trude Fleischmann, acquired by the present owner directly from Photography in 1924 Der selbstbewusste Blick, Vienna 2011, p. 21. (same the photographer € 4.000 / € 8.000–10.000 series). € 1.800 / € 3.000–3.500 € 1.600 / € 3.000–3.500

24 25 24 26 JAN LAUSCHMANN RUDOLF KOPPITZ (1901–1991) (1884–1936) ›Sun bath‹, c. 1932 ›Am Sprungturm‹ (At Vintage silver print the diving platform), 17 × 23,5 cm (6.7 × 9.3 in) Weissensee, Austria 1930 Signed and annotated »Sun Vintage silver print bath« by the photographer 15,7 × 14,5 cm (6.2 × 5.7 in) in ink on the reverse Photographer’s studio stamp € 1.400 / € 2.400–2.800 and handwritten notations in pencil on the reverse PROVENANCE Private Collection Vienna; through Family Estate Koppitz € 1.600 / € 3.000–3.500

25 27 JAN LAUSCHMANN RUDOLF KOPPITZ (1901–1991) (1884–1936) ›The air and sun bath‹ Weissensee, Austria 1930 1932 Vintage silver print Vintage silver print, mounted 16,2 × 15,5 cm (6.4 × 6.1 in) on the original cardboard Photographer’s studio stamp 26,2 × 26,2 cm (10.3 × 10.3 in) and handwritten notations in Signed and dated by the pencil on the reverse photographer in pencil on the PROVENANCE mount, titled and credited by Private Collection Vienna; the photographer in ink on through Family Estate Koppitz the reverse, »Exhibition of Photographic Art Dunfermline LITERATURE 1933« label on the reverse Ruldof Koppitz, Zwei Seetöchter. Annemie (sic) und Ingeborg, € 1.600 / € 2.800–3.400 in: Die Bühne, 1935, p. 28. € 1.600 / € 3.000–3.500

26 27 28 PAUL WOLFF (1887–1951) Train station, 1931 Vintage silver print 23,7 × 17,7 cm (9.3 × 7 in) Two photographer’s stamps and several numerical handwritten notations in pencil on the reverse € 1.200 / € 2.000–2.400

29 30 Diese Fotografie der Freiheitsstatue ist um 1932 entstanden, PAUL WOLFF (1887–1951) BERENICE ABBOTT kurz nach Abbotts Rückkehr aus Europa, noch bevor sie mit ihrem Großprojekt Changing New York begonnen Jobless people in front of agency, (1898–1991) hatte. Auf der Rückseite ist Abbotts Studio-Stempel mit New York c. 1932 Statue of Liberty, der Adresse »1st West 67th Street« zu sehen, wo sie nur Vintage silver print New York c. 1932 kurz von 1930 bis ca. 1932 gearbeitet hatte. Die Adresse 23,9 × 17,6 cm (9.4 × 6.9 in) Vintage silver print, mounted wurde von ihr mit Bleistift durchgestrichen und durch Photographer’s stamp and several on thicker paper »50 Commerce St.« ersetzt, daher ist anzunehmen, dass handwritten notations (incl. image 24,5 × 18,9 cm (9.6 × 7.4 in) der vorliegende Abzug um die Zeit ihrer Übersiedelung description) in pencil on the reverse Photographer’s »Photo Berenice in das neue Studio entstanden ist. € 1.400 / € 2.000–2.400 Abott, 1 W 67th St., N.Y.C.« stamp and her handwritten notations in pencil on the reverse This photograph of the Statue of Liberty was taken around 1932, shortly after Abbott returned from Europe, LITERATURE before she had started working on her major photo series Berenice Abbott, Photographs, Changing New York. On the reverse it is marked with New York 1970, p. 64. Abbott’s studio stamp and the address »1st West 67th € 2.800 / € 5.000–6.000 Street«, where she only worked between 1930 and 1932. The address was crossed out by her with pencil and replaced by »50 Commerce St.«, this makes it likely that this print was made during the time she moved studios.

28 29 31 ANDRÉ KERTÉSZ (1894–1985) Park Scene, Paris 1980 Vintage silver print 16,2 × 24,5 cm (6.4 × 9.6 in) Signed by the photographer in pencil on the reverse € 1.800 / € 3.500–4.000

32 WILLY RONIS (1910–2009)

Greece, Nauplion, 33 1990 (1901–1983) Gelatin silver print 29,5 × 20,8 cm (11.6 × 8.2 in) Man with Pamphlets, Paris 1933–1938 Signed the photographer Gelatin silver print, printed in 1977 by Gerd Sander in ink in the margin 49,5 × 40 cm (19.5 × 15.7 in) Signed by the photographer in ink on the reverse PROVENANCE in focus Galerie, Cologne, LITERATURE acquired directly from the Ann Thomas (ed.), Lisette Model, Ottawa 1990, p. 180; photographer Lisette Model, ex. cat. Jeu de Peume, Paris 2010, p. 49. € 1.200 / € 2.000–2.400 € 2.400 / € 5.000–6.000

30 31 34 36 MARIO GIACOMELLI (1925–2000) (1925–2000) ›Felicità Raggiunta si ›Io non ho mani che mi Cammina‹ (Happiness accarezzino il volto‹ (There are Achieved), c. 1987 no hands to caress my face), Vintage silver print 1961–1963 29 × 39,3 cm (11.4 × 15.5 in) Gelatin silver print, printed in the 1980s Photographer’s stamp and hand- 40,4 × 30,3 cm (15.9 × 11.9 in) written notations by the photo- Signed by the photographer in ink in grapher »Felicità Raggiunta / 1987 / the image lower left, his photographer’s 1988 irredita, per una poesia che stamp and series stamp on the reverse, sto raccontando« in ink on the signed by him pencil on the reverse reverse LITERATURE € 1.600 / € 3.000–4.000 Alessandra Mauro (ed.), Mario Giacomelli. The Black is waiting for the White, Rome 2009, p. 236; Alistair Crawford, Mario Giacomelli, London 2001, p. 224. € 4.000 / € 8.000–9.000

35 MARIO GIACOMELLI (1925–2000) ›Presa di coscienza sulla natura (On being aware of nature)‹, 1979 Vintage silver print 38,6 × 28,8 cm (15.2 × 11.3 in) Photographer’s stamp and series stamp on the reverse, dated by the photographer in ink on the reverse LITERATURE Alistair Crawford (ed.), Mario Giacomelli, New York 2001, p. 331; Alessandra Mauro (ed.): Mario Giacomelli. The Black is waiting for the White, Rome 2009, p. 61. Für seine eindringlichen Fotoserien nahm sich Giacomelli Giacomelli always took time for his haunting photo € 1.800 / € 3.500–4.500 stets Zeit. Auch das Priesterseminar von Senigallia series. He also visited the seminary in Senigallia again besuchte er über einen Zeitraum von fast drei Jahren and again over a period of almost three years. The title immer wieder. Der Titel der Serie ist der Textzeile eines of the series is borrowed from the text of a poem by Gedichts von Pater David Maria Turoldo entlehnt, in Father David Maria Turoldo, which melancholically says dem es melancholisch heißt »ich habe keine Hände, die »I have no hands to caress my face tenderly …« These mir zärtlich das Gesicht streicheln …« Unverwechselbar photographs, most of which were taken in winter, are und von poetischer Intensität sind diese Aufnahmen, die unmistakable and of poetic intensity. Giacomelli usually größtenteils im Winter entstanden. Giacomelli arbeitete took his pictures from the balcony of the seminary. He von einem erhöhten Standpunkt aus mit langen Belich- worked with long exposures and additional flash. In this tungszeiten und zusätzlichem Blitzlicht. Details werden way, details are almost completely superimposed and the so fast vollkommen überblendet und die Priester scheinen priests seem to be lifted out of time and space. wie aus Zeit und Raum gehoben.

32 33 37 JAROSLAV RÖSSLER (1902–1990) Paris, 1926 Gelatin silver print, printed in the early 1960s 24 × 23,3 cm (9.4 × 9.2 in) Signed and dated by the photographer in pencil on the reverse, retouche paintings € 1.800 / € 3.000–4.000

38 39 JAROSLAV RÖSSLER WILLY RONIS (1910–2009) (1902–1990) ›Le vitrier‹ (The glasser), Paris 1949 La Rotonde, Paris, 1926 Vintage silver print Gelatin silver print, printed 25,3 × 19 cm (10 × 7.5 in) in the early 1960s Photographer’s stamp and handwritten 23,3 × 23 cm (9.2 × 9.1 in) annotations by the photographer on the Signed and dated by the reverse photographer in pencil on € 1.800 / € 3.000–3.500 the reverse € 2.000 / € 4.000–5.000

34 35 40 LUCIEN CLERGUE (1934–2014) Nu Zébré, New York 1997 Gelatin silver print 35,9 × 23,9 cm (14.1 × 9.4 in) Signed and numbered »XXX III / V« by the photographer in ink in the margin € 1.400 / € 2.500–3.000

41 LUCIEN CLERGUE (1934–2014) ›Nu de la mer‹, 1959 Gelatin silver print, large format print, printed in the 1990s 36 × 52,5 cm (14.2 × 20.7 in) Signed and numbered by the photographer in ink in the margin, signed by him hin pencil on the reverse, edition no. 17/50 (projected edition) € 1.600 / € 3.000–3.500

42 (1904–1983) ›Vastérival, Normandy‹, 1957 Gelatin silver print, printed in the late 1970s 34,1 × 29 cm (13.4 × 11.4 in) Signed by the photographer in ink in the margin

PROVENANCE Private Collection, Switzerland; Marlborough, London, 1980.

LITERATURE Bill Brandt, Shadow of Light, London 1977, p. 136. € 3.000 / € 5.000–7.000

36 37 43 WILLY RONIS (1910–2009) Charles Bridge, Prague 1967 Gelatin silver print, printed in the 1990s 20,1 × 29,5 cm (7.9 × 11.6 in) Signed the photographer in ink in the margin PROVENANCE acquired by the present owner directly from the photographer € 1.200 / € 2.000–2.400

44 RENÉ GROEBLI (* 1927) London, 1949 Gelatin silver print, printed in the 1990s 34,3 × 25,6 cm (13.5 × 10.1 in) Signed by the photographer in pencil on the mount, signed by him in pencil on the reverse, photographer’s copyright stamp and print stamp on the reverse, edition no. 5/7 PROVENANCE acquired by the present owner directly from the photographer € 1.600 / € 2.800–3.200

45 RENÉ GROEBLI (* 1927) ›Magie der Schiene‹ (Rail Magic), 1949 Vintage silver print 23,2 × 17 cm (9.1 × 6.7 in) Signed by the photographer in pencil on the reverse, photographer’s copyright stamp on the reverse PROVENANCE acquired by the present owner directly from the photographer LITERATURE René Groebli, Magie der Schiene, Zurich 1949, s. p. € 1.800 / € 3.000–4.000

38 39 46 CHARLES R. SHEELER (1883–1965) Spring Interior, 1950 Gelatin silver print, printed in the 1950s 22,2 × 18,2 cm (8.7 × 7.2 in) The Downtown Gallery’s archive stamp with credit and title written by the photographer on the reverse, silver print after a painting of the same title created in 1927 (oil on canvas), in 1931 Sheeler had his first solo exhibition at Downtown Gallery and he begins his exclusive affiliation with the gallery € 1.800 / € 3.000–3.500

47 48 CHARLES R. SHEELER PAUL WOLFF (1887–1951) (1883–1965) Roses in glass vase, c. 1929 Newhaven, 1933 Vintage silver print Vintage silver print 22,5 × 17,1 cm (8.9 × 6.7 in) 25 × 19,5 cm (9.8 × 7.7 in) Photographer’s agency label with »The Carnegie Institute« archive label typographic credit on the reverse with typewritten credit and title on € 1.200 / € 2.000–2.400 the reverse, silver print after a painting of the same title created in 1933 (oil on canvas) € 2.000 / € 3.500–4.000

40 41 50 LUIGI VERONESI (1908–1998) ›Studio Cinetico‹, 1939 Gelatin silver print, printed in the 1970s, mounted later 28 × 32,4 cm (11 × 12.8 in) Photographer’s studio stamp and handwritten title and date on the reverse € 1.800 / € 3.000–3.500

51 LUIGI VERONESI (1908–1998) ›Studio Cinetico‹, 1937 Gelatin silver print, printed in the 1970s, mounted later 30,6 × 31,8 cm (12 × 12.5 in) Signed and dated by the photographer on the mount, photographer’s studio stamp on the reverse € 1.800 / € 3.000–3.500

49 FLORIS NEUSÜSS (1937–2020) Barbie (Photogram), 1993 Gelatin silver print, autoreversal paper, unique print 41,8 × 29,5 cm (16.5 × 11.6 in) Signed and dated by the photographer in ink on the reverse PROVENANCE in focus Galerie, Cologne, acquired directly from the photographer € 1.200 / € 2.000–2.500

42 43 Original Size

53 UMBO (1902–1980) Charly Chaplin and Hans Albers, Berlin 1931 Vintage silver print 8,4 × 11,4 cm (3.3 × 4.5 in) Photographer’s »DEPHOT UMBO« stamp on the reverse € 3.000 / € 5.000–6.000

Charlie Chaplin beim Besuch von Hans Albers, aufge- Charlie Chaplin visiting Hans Albers, recorded in his nommen in dessen Garderobe nach der Aufführung dressing room after the performance of the play Liliom … des Theaterstückes Liliom … von keinem Geringeren als by none other than Umbo. Umbo was a great admirer of Umbo. Umbo schwärmte für Charlie Chaplin, frühe Charlie Chaplin, as early self-portraits prove, because Selbstporträts belegen das, denn sie zeigen ihn mit they show him with melon and moustaches. Like hardly Melone und Lippenbärtchen. Wie kaum ein anderer any other, Umbo shaped the photographic avant-garde prägte Umbo mit Ideenreichtum und Experimentierfreude of the 1920s and the photography of the »New Vision« die fotografische Avantgarde der 1920er Jahre und die with a wealth of ideas and the joy of experimentation. Fotografie des »Neuen Sehens«. Als Otto Maximilian Born Otto Maximilian Umbehr in Düsseldorf in 1902, he Umbehr 1902 in Düsseldorf geboren, kam er im Herbst came to the Weimar Bauhaus in the fall of 1921 to become 1921 ans Weimarer Bauhaus um Künstler zu werden. an artist. Unadjusted as he was, he was expelled from Unangepasst wie er war, folgte bereits nach zwei Jahren the school after only two years. In Berlin, at that time the der Verweis der Schule. In Berlin, damals Schmelztiegel melting pot and mecca of the avant-garde and bohemian, und Mekka der Avantgarde und Bohème, versuchte he tried to gain a foothold and yet lived in abject poverty. er Fuß zu fassen und lebte doch in bitterer Armut. Paul Paul Citroen, a friend from the Bauhaus days, took care 52 Citroen, ein Freund aus Bauhaustagen, nahm sich seiner of him and gave him his first camera in 1926. Umbo now W. EUGENE SMITH (1918–1978) an und schenkte ihm 1926 seine erste Kamera. Umbo turned completely to photography and became one of the Untitled study, 1960s wandte sich nun vollkommen der Fotografie zu und most sought-after photographers of the Weimar Republic wurde quasi über Nacht zu einem der gefragtesten virtually overnight. Beginning in 1928, he worked for the Vintage silver print Fotografen der Weimarer Republik. Ab 1928 arbeitete er renowned photo agency Dephot (Deutscher Photodienst). 32,2 × 21,3 cm (12.7 × 8.4 in) Photographer’s estate stamp on the reverse für die renommierte Fotoagentur Dephot (Deutscher The present print bears his Dephot name stamp. A variant Photodienst). Der vorliegende Abzug trägt seinen of the photograph is located in the Berlinische Galerie, € 2.000 / € 4.000–5.000 Dephot-Namensstempel. Eine Variante der Aufnahme where this year the large retrospective Umbo. Photographer befindet sich in der Berlinischen Galerie, in der dieses took place. Jahr die große Retrospektive Umbo. Fotograf stattfand.

44 45 54 55 56 LETIZIA BATTAGLIA (* 1935) LETIZIA BATTAGLIA (* 1935) WEEGEE (1899–1968) Market, Sicily 1970s Palermo, 1970s ›A Stitch in Time at Coney Island‹, 1941 Vintage silver print Vintage silver print Gelatin silver print, printed in the 1960s 39,7 × 29,7 cm (15.6 × 11.7 in) 36,5 × 24,5 cm (14.4 × 9.6 in) 26,8 × 34,2 cm (10.6 × 13.5 in) Photographer’s copyright stamp on the reverse Photographer’s copyright stamp on the reverse Photographer’s circlular credit stamp and »Arthur (Weegee) Fellig« stamp on the reverse € 800 / € 1.400–1.800 € 800 / € 1.400–1.800 LITERATURE Weegee, Naked City, New York 1945, p. 176. € 1.800 / € 3.000–3.500

46 47 57 (* 1928) Le Sphinx, Paris 1956 Gelatin silver print, printed in 1995 30 × 40 cm (11.8 × 15.7 in) Signed and numbered by the photographer in ink in the margin, annotatated in an unidentified hand in pencil on the reverse, edition no. 1/30

PROVENANCE acquired by the present owner directly from the photographer

LITERATURE Frank Horvat, Eintritt frei. Strip-Tease, Lausanne 1963. € 2.000 / € 4.000–5.000

58 JEAN-PHILIPPE CHARBONNIER (1921–2004) 59 PROVENANCE ›Behind Folies Bergère‹, Paris 1960 (1923–2016) in focus Galerie, Cologne, acquired directly from the photographer Gelatin silver print, printed in 2003 ›Hommage a André Kertész 35,4 × 24,3 cm (14 × 9.6 in) (Anouk Grinberg)‹, 1991 LITERATURE Marc Riboud, 50 Years of Photography, Signed, titled and numbered by the Gelatin silver print Paris 2004, p. 56. photographer in pencil on the reverse, 44 × 30 cm (17.3 × 11.8 in) edition no. 40/50 € 2.400 / € 4.000–5.000 Signed, titled and dated by the € 1.200 / € 2.000–2.500 photographer in ink in the margin

48 49 60 61 Halsman, der über 30 Jahre lang eng mit Dalí zusammen- ANONYMOUS arbeitete, hatte die Idee für diese Fotografie 1948. Zur PHOTOGRAPHER (1906–1979) gleichen Zeit vollendete Dalí eines seiner Hauptwerke Leda Atomica (rechts hinten zu sehen). Die Komposition, Alfred Hitchcock (Promotion ›Dalí Atomicus‹, die in Halsmans Studio in New York aufgenommen image for ›The Birds‹), 1962 New York 1948 wurde, dauerte sechs Stunden. Es benötigte 28 Sprung- Vintage silver print Gelatin silver print, printed later versuche, drei wütende Katzen und eine unbekannte 18,5 × 24,5 cm (7.3 × 9.6 in) 22,9 × 32,5 cm (9 × 12.8 in) Anzahl von Wassereimern, bis Halsman mit dem Ergebnis Numerical inprint in the lower left of Photographer’s »Halsman / Dalí zufrieden war. Der Fotografie wurde sogleich eine the image, numerical stamp and hand- Copyright, Philippe Halsman Doppelseite in Life gegeben und seitdem ist sie ein welt- written annotations on the reverse © 81, Edition Number 163 weiter Erfolg. € 500 / € 900–1.000 [handwritten] / 250« stamp on the reverse, edition no. 163/250 Halsman, who has worked with Dalí over 30 years, had LITERATURE the idea for this photograph in 1948, at a time when Dalí Philippe Halsman’s Jump had just completed his important painting Leda Atomica Book, New York 1959, p. 60–61; (pictured in the photograph behind the cats). Taken in Photographie des 20. Jahr- Halsman’s studio in New York, the composition took hunderts. Museum Ludwig Köln, six hours, 28 jumps, three angry cats, and an unknown Cologne 2007, p. 222; Halsman number of water buckets to complete before Halsman at Work, p. 84–85. was satisfied with the result. The image was immediately € 2.200 / € 4.000–5.000 given a two-page spread in Life and became a worldwide success.

50 51 62 63 64 (1908–2002) YOUSUF KARSH (1908–2002) RENÉ BURRI (1933–2014) Sir Edmund Hillary, 1960 Fidel Castro, 1971 Che Guevara, Cuba 1963 Vintage silver print Gelatin silver print, printed in the 1980s Gelatin silver print, contact sheet 24,5 × 19,3 cm (9.6 × 7.6 in) 34,2 × 27 cm (13.5 × 10.6 in) with three frames, printed in 2007 Photographer’s copyright stamp on the reverse; signed Photographer’s copyright stamp on the reverse 17,3 × 29,8 cm (6.8 × 11.7 in) by Hillary in ink on the original mat board enclosed Signed, titled and dated by the € 1.400 / € 2.000–2.400 photographer in pencil on the reverse € 1.200 / € 2.000–2.500 LITERATURE Hans-Michael Koetzle (ed.), René Sir Edmund Percival Hillary (1919–2008) was a New Burri Photographies, London 2004, Zealand mountaineer and explorer. Together with the p. 226–27; William Norton (ed.), In Nepalese mountaineer Tenzing Norgay, a Sherpa, he Our Time: The World As Seen by succeeded in climbing Mount Everest, the highest Magnum Photographers, 1989, p. 287. mountain on earth, on May 29, 1953. He was the first climber confirmed to have reached the summit. € 2.000 / € 3.000–4.000

52 53 65 W. EUGENE SMITH (1918–1978) ›Iwazo Funaba’s crippled hand‹, Minamata, 1972 Vintage silver print 20,6 × 19,7 cm (8.1 × 7.8 in) Photographer’s distribution stamp and press stamp on the reverse

LITERATURE W. Eugene Smith, Minamata, London 1975, p. 22. € 1.600 / € 2.800–3.400

Es war ein dramatischer Foto-Essay von W. Eugene Smith It was a dramatic photographic essay by W. Eugene 66 im Life Magazine, der die Aufmerksamkeit der Welt auf Smith in Life magazine that brought world attention to JEWGENI CHALDEJ (1917–1997) die Minamata-Krankheit lenkte. Verursacht durch the Minamata disease. Caused by methyl mercury in Above Sevastopol, 1944 Methylquecksilber im Industrieabwasser einer Chemie- industrial wastewater from a chemical factory from 1932 fabrik von 1932 bis 1968, forderte die Krankheit heimlich to 1968, the disease surreptitiously claimed thousands of Gelatin silver print, printed 1980s Tausende von Menschenleben, während die Regierung lives while the government and the company did little to 21,4 × 28,9 cm (8.4 × 11.4 in) und das Unternehmen wenig taten, um die Verschmutzung prevent the pollution. Smith and his later wife, a Japanese Signed by the photographer in pencil on the reverse zu verhindern. Smith und seine spätere Frau, eine American student named Aileen Mioko Sprague, decided € 700 / € 1.400–1.600 japanisch-amerikanische Studentin namens Aileen Mioko to document the scandal. Initially they planned to stay in Sprague, beschlossen den Skandal zu dokumentieren. Minamata for three weeks but ended up staying for three A unit of Soviet fighters (Jak–9) during a mission over Ursprünglich wollten sie drei Wochen in Minamata years. One of the most striking photographs of the essay Sevastopol (photographed from a »Boston« bomber bleiben, aber es wurden drei Jahre daraus. Eine der shows Iwazo Funaba’s crippled hand. The image was first of American origin), May 8, 1944, one day before the markantesten Fotografien zeigt die verkrüppelte Hand published in June 2, 1972, in Life magazine as one of the city was retaken by the Red Army. von Iwazo Funaba. Das Bild wurde erstmals am 2. Juni centerpieces of the essay Death-Flow from a pipe. 1972 im Life Magazine als eines der Herzstücke des Essays Death-Flow from a pipe publiziert.

54 55 67 69 ANDRÉ KERTÉSZ (1902–1984) (1894–1985) ›Moon and Half Dome, Yosemite Sunset, Esztergom 1917 National Park‹, California 1960 Gelatin silver print, printed Gelatin silver print, printed in the 1990s by in the early 1980s Alan Ross, mounted on cardboard 18 × 24,6 cm (7.1 × 9.7 in) 24 × 19,1 cm (9.4 × 7.5 in) Signed by the photographer Edition stamp »Photographs of Yosemite by in pencil on the reverse Ansel Adams« stamp on the reverse, printed from the original negative by Alan Ross LITERATURE Nicolas Ducrot (ed.), André LITERATURE Kertész. Sixty Years of Ansel Adams / Andrea G. Stillman / Michael L. Photography 1912–1972, Fischer (ed.), Yosemite. Ansel Adams, New York London 1972, p. 36–37. 1995, p. 55; Ansel Adams / James Alinder / (ed.), Ansel Adams: Classic Images, € 1.600 / € 2.800–3.200 New York 1986, cover; Ansel Adams, Yosemite and the Range of Light, Boston 1982, pl. 115. € 1.400 / € 2.000–2.500

68 70 ALFRED EISENSTAEDT ARTHUR ROTHSTEIN (1898–1995) (1915–1985) ›Fall, Shadows Grow Longer‹, ›Bleached Skull of a Steer‹ Czechoslovakia 1927 South Dakota 1936 Gelatin silver print, printed 1980s Gelatin silver print, printed in 26 × 34 cm (10.2 × 13.4 in) the 1970s Signed by the photographer in ink in 20,5 × 20,5 cm (8.1 × 8.1 in) the margin, his »PHOTO BY ALFRED Signed by the photographer in EISENSTAEDT« stamp and his pencil on the reverse, photographer’s annotations reading »This picture name stamp on the reverse of a tennis player in Johannisbach, € 1.200 / € 2.000–2.400 Bohemia, started my career, 1927« by Eisenstaedt in ink on the reverse

PROVENANCE Eisenstaedt Family Estate

LITERATURE The Eye of Eisenstaedt, London 1969, p. 13. € 1.600 / € 2.500–3.000

While on holiday in Johannisbach, today Luková, Eisenstaedt took this photograph, which was also his first picture to be published. He sold it for $ 3 to the German weekly Der Weltspiegel. The experience encou- raged him, and shortly afterwards, in 1928 he became a freelance photo- grapher of The Associated Press.

56 57 Im Jahr 1934 sollte Henri Cartier-Bresson den Bau der In 1934, Henri Cartier-Bresson was to photograph the Panamerikanischen Autobahn für eine französische construction of the Pan-American Highway for a French ethnographische Mission in Argentinien fotografieren. ethnographic mission in Argentina. The mission was Die Mission wurde jedoch ausgesetzt und stattdessen suspended, however, and instead Cartier-Bresson spent a verbrachte Cartier-Bresson ein folgenschweres und als momentous year in Mexico, which was a landmark year Fotograf stilbildendes Jahr in Mexiko. Henri Cartier- as a photographer. Henri Cartier-Bresson was 26 years Bresson war damals 26 Jahre alt und bereits weit gereist, old at the time and had already traveled far and wide, but aber dennoch völlig unbekannt. Er ließ sich in Mexiko- was still completely unknown. He settled in Mexico City Stadt in einer kleinen Absteige in der Candelaria de los in a small flophouse in the Candelaria de los Patos, a Patos nieder, einem gesetzlosen Bezirk in dem es von lawless district teeming with prostitutes, thieves and Prostituierten, Dieben und Kriminellen wimmelte. Die criminals. The vast majority of Cartier-Bresson’s photo- große Mehrheit von Cartier-Bressons Aufnahmen graphs were taken in this neighborhood. On one of his 71 entstand in dieser Nachbarschaft. Auf einem seiner forays, he discovered two prostitutes leaning out of their HENRI CARTIER-BRESSON (1908–2004) Streifzüge entdeckte er zwei Prostituierten, die sich aus narrow door windows. The two diverging halves of the ihren engen Türfenstern lehnen. Die zwei divergierenden picture almost seem like a diptych. The prostitute on the Calle Cuauhtemoctzin, Mexico City 1934 Bilderhälften wirken fast wie ein Diptychon. Die rechte right hardly leans out of her window and confronts the Gelatin silver print, printed c.1950 Prostituierte lehnt sich kaum aus ihrem Fenster und photographer directly with cool objectivity; the other, 17,3 × 25 cm (6.8 × 9.8 in) konfrontiert den Fotografen direkt mit kühler Sachlich- whose face is made up into a mask, curves her body Photographer’s agency stamp and several cropping remarks on the reverse, titled in an unidentified hand (maybe the photographer) in keit; die andere, deren Gesicht zu einer Maske geschminkt outwards and transforms into a phantasm of desire. pencil on the reverse, original cropping marks in white ink on the ist, wölbt ihren Körper nach außen und verwandelt sich recto, blacklight tested in ein Phantasma des Begehrens. In March 1935, Cartier-Bresson’s Mexico photographs were exhibited together with the Mexican photographer LITERATURE Im März 1935 wurden Cartier-Bressons Mexiko-Auf- Manuel Álvarez Bravo in the Palacio de Bellas Artes. Peter Galassi (ed.), Henri Cartier-Bresson. The Early Work (), New York 1987, p. 130; Henri Cartier-Bresson: Photo- nahmen zusammen mit dem mexikanischen Fotografen Cartier-Bresson had finally found international recognition. grapher, London 1980, p. 123; Philippe Arbaïzar et al., Henri Cartier- Manuel Álvarez Bravo im Palacio de Bellas Artes aus- Bresson: the Man, the Image, and the World, London 2003, pl. 126; gestellt. Die internationale Anerkennung hatte Cartier- The present early print was made around 1950 and Martine Franck (ed), Henri Cartier-Bresson. Scrapbook, New York 2006, Bresson endlich gefunden. originally comes from the private collection of the p. 158; Peter Galassi (ed.), Henri Cartier-Bresson. The Modern Century photographer Franz Hubmann. (Museum of Modern Art), New York 2010, p. 98; Clément Chéroux Der vorliegende frühe Abzug wurde um 1950 gemacht (ed.), Henri Cartier-Bresson. Here and Now, London 2014, pl. 89; Henri und kommt ursprünglich aus dem Privatbesitz des Cartier-Bresson. Seine Kunst – Sein Leben, Munich 1997, p. 23. Fotografen Franz Hubmann. € 12.000 / € 20.000–24.000

58 59 72 73 ELLIOTT ERWITT (* 1928) ELLIOTT ERWITT (* 1928) Wyoming, USA 1954 , 1969 Gelatin silver print, printed in the 1990s, Gelatin silver print, printed in the 1990s, large format print large format print 36,6 × 53,8 cm (14.4 × 21.2 in) 56 × 47,8 cm (22 × 18.8 in) Signed by the photographer in ink in the Signed by the photographer in ink in the margin, signed, titled and dated by the margin, signed, titled and dated by the photographer in pencil on the reverse photographer in pencil on the reverse

LITERATURE LITERATURE Elliott Erwitt, Snaps, London 2011, p. 478; Elliott Erwitt, Snaps, London 2011, William Manchester (ed.), Elliott Erwitt, p. 196; William Manchester (ed.), Elliott Personal Best, New York 2006, p. 432. Erwitt, Personal Best, New York 2006, p. 145. € 2.600 / € 4.000–5.000 € 2.600 / € 4.000–5.000

60 61 74 75 ELLIOTT ERWITT (* 1928) ELLIOTT ERWITT (* 1928) Paris, 1951 Des Moines, Iowa 1955 Gelatin silver print, printed in 2012, in the Gelatin silver print, printed in 1964 original black Chanel wooden frame 34,5 × 23 cm (13.6 × 9.1 in) 29,5 × 44 cm (11.6 × 17.3 in) Photographer’s agency stamp with print date (1964) and Signed by the photographer in ink in the margin, several handwritten notations in pencil on the reverse exhibition print for the Chanel Nexus Hall Photo

Exhibition »Elliott Erwitt’s Paris« in Tokyo, February LITERATURE Elliott Erwitt, Snaps, London 2011, p. 513; William 2012 Manchester (ed.), Elliott Erwitt, Personal Best, New York LITERATURE 2006, p. 58. Elliott Erwitt’s Paris, Kempen 2010, s. p. € 1.600 / € 3.000–3.500 € 2.400 / € 4.000–5.000

62 63 76 77 Nur wenigen Fotografen gelingt es solch einen Moment Only few photographers are capable of capturing such WILL McBRIDE (1931–2015) ALFRED EISENSTAEDT (1898–1995) überschwänglicher Freude, Angst und Begeisterung in intense joy, fear and enthusiasm in one single frame. einem Bild einzufangen. Alfred Eisenstaedt machte diese Alfred Eisenstaedt took this unforgotten photograph Florence, Italy 1957 ›Children at a Puppet Theatre‹, Paris 1963 unvergessene Aufnahme, als er 1963 für eine Reportage while on a documentary assignment from Life in Paris in Gelatin silver print, printed in the 1980s, Gelatin silver print, printed in the 1970s für Life in Paris war. Aus der ersten Reihe beobachtete 1963. He was observing children from the first row large format print 22,7 × 34,4 cm (8.9 × 13.5 in) er Kinder bei einem Puppenspiel im Tuilerien-Park. Der during a puppet play at Tuileries Garden, as the play 40,3 × 58,9 cm (15.9 × 23.2 in) Signed by the photographer in ink in the margin, his Schnappschuss zeigt den Moment als die Aufführung »St. George and the Dragon« reached its climactic moment. Signed, annotated and dated by the »PHOTO BY ALFRED EISENSTAEDT« stamp on the »Der Heilige Georg und der Drache« ihren Höhepunkt Saint George slays the dragon and the children open their photographer in ink in the margin reverse, annotation reading »Children watching Puppet Theatre in the Tuileries Garden of Paris at the moment erreicht. Das mystische Biest wird erschlagen. Die Kinder mouths in shock. This photograph may be Eisenstaedt’s PROVENANCE the dragon is slain« written by Eisenstaedt on the reverse reißen vor Entsetzen ihre Münder auf und schreien most beautiful non-staged icon. The signed print to be Private Collection Vienna, acquired vor Aufregung. Eisenstaedts vielleicht schönste nicht- auctioned comes directly from the family’s estate. by the present owner directly from the PROVENANCE inszenierte Ikone gelangt als signierter Print aus dem photographer acquired by the present owner from the Family Estate of Eisenstaedt, Allan Leas (nephew of Eisenstaedt) Familienbesitz zur Auktion. LITERATURE I, Will McBride, Cologne 1997, p. 114. LITERATURE Alfred Eisenstaedt (ed.), Eisenstaedt on Eisenstaedt. € 2.000 / € 3.000–3.500 A self-portrait, New York 1985, p. 105; Doris O’Neil, Eisenstaedt: Remembrances, Boston 1990, p. 114–115. € 8.000 / € 16.000–20.000

64 65 78 79 80 MARC RIBOUD MARC RIBOUD (1923–2016) LUCIEN CLERGUE (1923–2016) Moscow, 1962 (1934–2014) Festival on the Ganges, Vintage silver print ›Le Violoniste‹, Arles 1955 Calcutta 1956 29,4 × 19,6 cm (11.6 × 7.7 in) Gelatin silver print, mounted on the Photographer’s agency stamp and neg. Gelatin silver print, printed in original paper page, printed in the 1980s no. stamp on the reverse the 1980s, large format 28,4 × 20 cm (11.2 × 7.9 in) 36,2 × 54,4 cm (14.3 × 21.4 in) € 1.600 / € 3.000–3.500 Signed by the photographer in pencil Signed and annotated by the in the margin, typographc description of photographer in ink in the margin, the image on the reverse his studio stamp on the reverse € 800 / € 1.400–1.600 LITERATURE Marc Riboud – 50 Years of Photography, Paris 2004, p. 119. € 1.600 / € 3.000–4.000

66 67 81 82 MARY ELLEN MARK (1940–2015) LEONARD FREED (1929–2006) Homeless Kid, New York 1988 Muscle Boy, Harlem, New York 1963 Gelatin silver print Archival pigment print, printed in the 2000s 45,4 × 35,1 cm (17.9 × 13.8 in) 30,9 × 20,6 cm (12.2 × 8.1 in) Credited and annotated by an unidentified Signed and numbered by the photographer hand in pencil on the reverse in ink in the margin, copyright label and handwritten title in an unidentified hand in € 1.800 / € 3.000–4.000 pencil on the reverse, edition no. 10/45 LITERATURE Leonard Freed, Black in White America, New York 1967, p. 72, Leonard Freed, Photographies 1954–1990, Paris 1991, p. 13; W. Manchester (ed.), In our Time. The world as seen by Magnum photographers, London 1989, p. 115. 83 LITERATURE € 1.800 / € 2.800–3.400 WILLIAM KLEIN (* 1928) William Klein, New York: Life is Good & Good For You In New York, 1956, p. 96; William Klein, Gun 1, Broadway, New York 1954 Photographs, (Aperture) New York 1981, cover; Gelatin silver print, printed in the 1990s William Klein: ABC, London 2012 (Tate), cover; 46 × 32,6 cm (18.1 × 12.8 in) Hans-Michael Koetzle (ed.), Augen Auf. 100 Signed, titled and dated by the photo- Jahre Leica, Berlin 2014, p. 357. grapher in pencil on the reverse € 2.600 / € 4.000–5.000

68 69 84 85 HENRI CARTIER-BRESSON WILLIAM KLEIN (* 1928) (1908–2004) Gorki Street, Moscow 1961 Queued-up ladies, New York 1950s Gelatin silver print, printed in 1982 Vintage silver print 24 × 34,5 cm (9.4 × 13.6 in) 23,2 × 35 cm (9.1 × 13.8 in) Signed, dated (print date) and annotated Photographer’s agency credit stamp by the photographer in pencil on the and numerical handwritten notation in reverse, photographer’s stamp on the pencil on the reverse reverse € 2.000 / € 4.000–5.000 LITERATURE William Klein: ABC, London 2012, p. 42–43; William Klein, Photo Poche, Paris 1985, plate 30. € 2.000 / € 3.500–4.000

70 71 86 SEBASTIÃO SALGADO (* 1944) Workers on a sugar plant field, Cuba 1988 Vintage silver print 18,7 × 27,8 cm (7.4 × 10.9 in) Photographer’s copyright stamp and handwritten notations in pencil on the reverse

LITERATURE Sebastião Salgado, Workers, New York 1993, p. 28–29. € 1.400 / € 2.000–2.400

87 88 HENRI CARTIER- BRESSON (1908–2004) (1923–2002) The Oise ›department‹, Gypsies dancing in a camp Beauce, Picardie, 1960 near Ctesiphon, Iraq 1956 Gelatin silver print, printed in Vintage silver print the 1970s 21,8 × 32,8 cm (8.6 × 12.9 in) 16,3 × 24,2 cm (6.4 × 9.5 in) Photographer’s agency stamp on Overpainted photographer’s the reverse, annotated by the photo- copyright stamp on the reverse grapher in pencil on the reverse

LITERATURE LITERATURE Henri Cartier-Bresson. Seine Kurt Kaindl (ed.), Inge Morath. Kunst – Sein Leben, Munich 1997, Fotografien 1952–1992, Salzburg p. 79. 1992, p. 91; Inge Morath. Das Leben als Photographin, Munich € 2.000 / € 3.500–4.000 1999, p. 100–101. € 1.400 / € 2.000–2.400

72 73 89 90 91 FRED STEIN (1909–1967) FRED STEIN (1909–1967) HENRI CARTIER-BRESSON New York c. 1965 Children acrobats, New York c. 1965 (1908–2004) Vintage silver print Vintage silver print Mexico City, 1963 27,4 × 20,1 cm (10.8 × 7.9 in) 20 × 26,5 cm (7.9 × 10.4 in) Gelatin silver print, printed in the 1980s Photographer’s stamp and »Chicago Daily Photographer’s magazine label with 24,2 × 16,2 cm (9.5 × 6.4 in) News« stamp on the reverse typographic credit, date and caption and »Chicago Photographer’s copyright stamp on the reverse Daily News« stamp on the reverse € 1.400 / € 2.000–2.400 € 2.000 / € 3.500–4.000 € 1.400 / € 2.000–2.400

74 75 92 93 94 ÉDOUARD BOUBAT (1923–1999) WILLY RONIS (1910–2009) HIROJI KUBOTA (* 1939) Cynthia, Paris 1975 ›La Chevelure‹, Paris 1990 Mayanmar, Mai Hong Son, Birma 1977 Gelatin silver print, printed in the 1990s Gelatin silver print Gelatin silver print, printed in 2015 35,5 × 24,2 cm (14 × 9.5 in) 29,8 × 20,2 cm (11.7 × 8 in) 53,1 × 38,1 cm (20.9 × 15 in) Signed by the photographer in ink in the margin, Signed by the photographer in ink in Signed by the photographer in ink in the margin annotated by the photographer in ink on the the margin reverse LITERATURE PROVENANCE Hiroji Kubota. Photographer, New York 2015, p. 177. in focus Galerie, Cologne, acquired directly PROVENANCE € 2.000 / € 3.500–4.000 in focus Galerie, Cologne, acquired directly from from the photographer the photographer LITERATURE LITERATURE Sylvia Böhmer, (ed.), Willy Ronis. La vie en Édouard Boubat. Eine Monografie, Munich 2005, passant. C’est La Vie, Munich 2004, p. 103. p. 279. € 1.400 / € 2.000–3.000 € 1.800 / € 3.000–3.500

76 77 95 97 NEAL SLAVIN (* 1941) ELLIOTT ERWITT Stripped Bed, c. 1960 (* 1928) Vintage silver print, mounted Fashion shoot, inside passepartout New York City 1989 10 × 13 cm (3.9 × 5.1 in) Archival pigment print, printed Signed by the photographer in in the 2000s pencil on the mount lower right 20,9 × 31 cm (8.2 × 12.2 in) € 1.600 / € 3.000–3.500 Signed by the photographer in ink in the margin, signed, titled and dated by the photographer in pencil on the reverse

PROVENANCE acquired by the present owner directly from the photographer

LITERATURE 96 Elliott Erwitt’s Kolor, Kempen FRANCO ZECCHIN 2013, p. 36–37. (* 1953) € 2.000 / € 4.000–5.000 Sicily, 1970s Vintage silver print 30,5 × 40,5 cm (12 × 15.9 in) Photographer’s copyright stamp on the reverse € 800 / € 1.400–1.800

98 ELLIOTT ERWITT (* 1928) Daytona Beach, Florida 1975 Vintage silver print 27,2 × 40,2 cm (10.7 × 15.8 in) Signed by the photographer in pencil on the reverse € 1.600 / € 3.000–4.000

78 79 99 F. C. GUNDLACH (* 1926) ›Christa im Nerz‹, 1970 Gelatin silver print, printed in 1988 30,6 × 37,3 cm (12 × 14.7 in) Signed, dated and annotated by the photographer in pencil on the reverse, photographer’s stamp on the reverse PROVENANCE acquired by the present owner directly from the photographer € 1.800 / € 2.800–3.400

100 101 LITERATURE WILLIAM KLEIN (* 1928) William Klein: In & Out of Fashion, London 1994, ELFIE SEMOTAN (* 1941) cover (there titled Evelyn Tripp, Paris); Chorus ›Die schöne Jennersdorferin‹ ›Smoke and Veil‹ (Vogue), 1958 of Light: Photographs from the Sir Elton John (Barbara Mühl for Helmut Lang), Gelatin silver print, printed in the 1990s Collection, exh. cat., High Museum of Art, Atlanta 2000, p. 54; Carole Naggar (ed.), William 1989 47,6 × 34,2 cm (18.7 × 13.5 in) on 60 × 50 cm paper Signed, titled and dated by the photographer in Klein – Photograph etc., ex. cat. Paris/Centre Vintage silver print pencil on the reverse Georges Pompidou, Paris 2005, p. 83; Angeletti, 25 × 17 cm (9.8 × 6.7 in) N. & A. Oliva (eds.), In Vogue. The Illustrated Annotated in an unidentified hand in PROVENANCE History of the World’s Most Fashion Magazine, pencil on the reverse in focus Galerie, Cologne, acquired directly from New York, 2012, p. 18. the photographer € 700 / € 1.400–1.800 € 3.500 / € 6.000–7.000

80 81 102 103 104 BETTINA RHEIMS (* 1952) HORST P. HORST (1906–1999) LOUISE DAHL-WOLFE Riko, Tokyo 2007 Fashion for Vogue, New York 1937 (1895–1989) Archival pigment print , printed in the 1980s, Andrea Johnson Fashion, 41,9 × 27,1 cm (16.5 × 10.7 in) exhibition print New York 1948 48 × 38 cm (18.9 × 15 in) Signed, titled and numbered by Chromogenic print, printed in the »Vogue« stamp and »Exhibition print« stamp the photographer on the reverse, 1980s, Vogue exhibition print and handwritten annotation on the reverse photographer’s copyright stamp 44,6 × 36,7 cm (17.6 × 14.4 in) on the reverse, edition no. 3/50 € 1.800 / € 3.000–3.500 »Vogue« stamp and »Exhibition print« stamp and handwritten annotation on € 1.800 / € 3.000–3.500 the reverse € 1.400 / € 2.000–2.400

82 83 106 ARNO RAFAEL MINKKINEN (* 1945) ›Narragansett‹, Rhode Island 1973 Vintage silver print 12,7 × 19,7 cm (5 × 7.8 in) Photographer’s stamp and handwritten notations in pencil on the reverse

LITERATURE Arno Rafael Minkkinen, Frostbite, New York 1978, pl. 55; Arno Rafael Minkkinen, Minkkinen, Heidelberg 2019, p. 35. € 1.800 / € 3.000–3.500

107 ARNO RAFAEL MINKKINEN (* 1945) Self portrait with Dan, Fosters Pond 1993 Gelatin silver print 25,8 × 32,2 cm (10.2 × 12.7 in) Signed by the photographer in pencil the margin, annotated and numbered by him in pencil on the reverse, edition no.16/25 PROVENANCE in focus Galerie, Cologne, acquired directly from the photographer

LITERATURE Arno Rafael Minkkinen, Minkkinen, Heidelberg 2019, p. 155. (here titled »Dan with Ismo’s Stick«) € 1.600 / € 2.800–3.400

105 ARNO RAFAEL MINKKINEN (* 1945) Pachaug, Connecticut 1973 Gelatin silver print, printed in the 1980s 48,6 × 26,5 cm (19.1 × 10.4 in) Signed, titled and dated by the photographer in pencil in the margin

LITERATURE Arno Rafael Minkkinen, Minkkinen, Heidelberg 2019, p. 274. € 1.800 / € 3.000–3.500

84 85 108 PHILIPPE LEDRU (* 1942) Jack Nicholson, Cannes 1981 Gelatin silver print, RC coated 20 × 30 cm (7.9 × 11.8 in) Agency curtain stamps, archive stamp, no. stamp, agency text with photographer’s credit and handwritten annotations on the reverse € 500 / € 800–1.000

109 PAUL SLADE (1924–1979) Muhammad Ali before the historic fight against Joe Frazier, 1971 Vintage silver print 20,3 × 30 cm (8 × 11.8 in) Photographer’s credit stamp, archive stamp, agency curtain stamps, story no. and date stamp on the reverse € 600 / € 1.000–1.200

The boxing match between the two heavy- weight champions Muhammad Ali and Joe Frazier went down in history as »Fight of the Century«. It was the first time that two hitherto undefeated boxers fought each other for the heavyweight title. Frazier won in 15 rounds by points. It was the first fight of a trilogy, the following both won by Ali.

110 DENNIS STOCK (1928–2010) , ›Moody New Star‹, New York 1955 Gelatin silver print, printed c. 1960 29,8 × 21 cm (11.7 × 8.3 in) Photographer’s agency stamp and negative no. stamp »56-7-16/9« in ink, handwritten notations in pencil on the reverse.

LITERATURE »Moody New Star«, in: LIFE magazine, March 7, 1955, p. 125–128 (same series). € 2.000 / € 4.000–5.000

86 87 112 WILL McBRIDE (1931–2015) Tana & Victor, Munich 1965 Gelatin silver print, printed later 50 × 40 cm (19.7 × 15.7 in) Signed, annotated and dated by the photographer in pencil on the reverse € 1.400 / € 2.000–2.400

111 113 RALPH GIBSON (* 1939) WILL McBRIDE ›Man and Rocks‹ (from (1931–2015) ›Déjà-Vu‹), New York 1972 Open Air Concert, Berlin 1970 Vintage silver print Gelatin silver print, printed in the 1980s 21,9 × 14,9 cm (8.6 × 5.9 in) 22,7 × 33,3 cm (8.9 × 13.1 in) Photographer’s studio stamp and Signed and annotated by the photo- handwritten notations in pencil grapher in pencil on the reverse, series on the reverse published in Twen Magazine

PROVENANCE PROVENANCE Private Collection, through Galerie Private Collection Vienna, acquired by Johannes Faber, Vienna the present owner directly from the photographer LITERATURE Ralph Gibson, Tropism, New York € 1.400 / € 2.000–2.400 1987 (Aperture), p. 40; Ralph Gibson, Déjà-Vu, New York 1973, s. p. € 1.800 / € 3.000–4.000

88 89 114 115 BRUCE DAVIDSON (* 1933) BRUCE DAVIDSON (* 1933) ›Beatty-Cole-Hamid Circus at Palisades Girl on a blanket smoking (from ›Brooklyn Amusement Park‹, New Jersey 1958 Gang‹), New York City 1959 Vintage silver print Gelatin silver print, printed c. 2000 34,5 × 23 cm (13.6 × 9.1 in) 21 × 31,2 cm (8.3 × 12.3 in) Photographer’s agency credit stamp and handwritten Signed by the photographer in pencil on the reverse numerical notations in pencil on the reverse PROVENANCE LITERATURE Private Collection Vienna; Stephen Bulger Gallery Bruce Davidson. Black & White. Vol I. Circus,

Steidl, Göttingen 2012, p. 42. LITERATURE Bruce Davidson, Photographs, New York 1978, s. p.; € 2.400 / € 4.000–5.000 Bruce Davidson, Brooklyn Gang, Santa Fe 1998, s. p; Vicki Goldberg, Magnum Legacy. Bruce Davidson, Munich 2016, p. 59. € 2.000 / € 3.500–4.000

90 91 117 SAM HASKINS (1926–2009) Billiard Room (Montage), 1970s Vintage silver print 31 × 25,5 cm (12.2 × 10 in) Annotated in an unidentified hand in pencil on the reverse

LITERATURE Sam Haskins, November Girl, Lausanne 1968, unpaged. PROVENANCE Pentax Gallery, Tokyo The present print comes from the Pentax Gallery in Tokyo. Haskins had a long relationship with the camera company, their gallery in Tokyo organized several of his exhibitions. € 1.800 / € 4.000–5.000

116 118 EIKOH HOSOE (* 1933) SAM HASKINS (1926–2009) ›American Kitchen‹, 1992 Untitled (Montage and Double Vintage silver print, mounted on the Exposure), 1970s original cardboard Vintage silver print 21,3 × 25,4 cm (8.4 × 10 in) 31 × 25,4 cm (12.2 × 10 in) Signed and annotated »A. P.« by the Annotated in an unidentified hand in photographer in pencil in the margin, pencil on the reverse signed and annotated by him in pencil on the reverse (Japanese) PROVENANCE Pentax Gallery, Tokyo. The present print € 1.600 / € 3.000–3.500 comes from the Pentax Gallery in Tokyo. Haskins had a long relationship with the camera company, their gallery in Tokyo organized several of his exhibitions. € 1.800 / € 4.000–5.000

92 93 119 120 121 JAN SAUDEK (* 1935) JAN SAUDEK (* 1935) JACOB AUE SOBOL (* 1976) ›The Bonds of Love‹, Prague 1968 ›Tears of Love‹, Prague 1969 Untitled (from the series ›Arrivals Vintage silver print Vintage silver print and Departures‹), Beijing 2012 38,2 × 29,3 cm (15 × 11.5 in) 37,3 × 27,7 cm (14.7 × 10.9 in) Gelatin silver print Signed by the photographer in ink in Signed by the photographer in ink 48 × 32 cm (18.9 × 12.6 in) the image lower right in the image lower right Signed and numbered by the photographer on label on the reverse, edition no. 3/9 LITERATURE € 2.000 / € 3.500–4.000 Daniela Mrázková (ed.), Jan Saudek, Cologne LITERATURE 2006, p. 81; Jan Saudek, Life, Love, Death & Jacob Aue Sobol, Arrivals and Departures, Other Such Trifles, Art Unlimited 1991, p. 155. Warszawa 2013, cover. € 2.000 / € 3.500–4.000 € 1.600 / € 3.000–3.500

94 95 122 PROVENANCE 123 »On the way to the ferry of the JEANLOUP SIEFF (1933–2000) in focus Galerie, Cologne, acquired directly JEANLOUP SIEFF (1933–2000) from the photographer Isle of Skye, we passed this ›Twiggy in the ferns‹, 1967 Castle in Scotland, 1972 LITERATURE strange and mysterious castle Gelatin silver print, printed in the 1990s Jeanloup Sieff, 40 Years of Photography, Vintage silver print which gives credence to the 35,2 × 23,7 cm (13.9 × 9.3 in) Paris 1990, p. 125. 30,1 × 20,1 cm (11.9 × 7.9 in) Signed, titled and dated by the photographer Photographer’s stamp and handwritten beliefs in a Scotland inhabited in pencil on the reverse, his name stamp on € 2.200 / € 4.000–5.000 notations in pencil on the reverse the reverse by ghosts.« LITERATURE Jeanloup Sieff, 40 Years of Photography, Paris 1990, p. 191. Jeanloup Sieff € 1.800 / € 3.000–3.400

96 97 125 ANDRÉ DE DIENES (1913–1985) Marilyn Monroe (›Army blanket sitting‹), San Diego 1946 Archival pigment print 48,2 × 38,2 cm (19 × 15 in) Photographer’s estate and edition stamp on the reverse, edition no. 146/200 € 1.400 / € 2.400–2.800

126 ANDRÉ DE DIENES (1913–1985) Marilyn Monroe (›Army blanket sitting‹), San Diego 1946 Archival pigment print 48,2 × 38,2 cm (19 × 15.0 in) Photographer’s estate and edition stamp on the reverse, edition no. 175/200 € 1.400 / € 2.400–2.800

124 MICHAEL GILLIES (1937–2019) Twiggy, 1967/68 Vintage silver print 38 × 29,5 cm (15 × 11.6 in) Photographer’s stamp on the reverse, the edge areas show some creases € 600 / € 1.000–1.200

98 99 127 128 129 130 PATR ICK PATR ICK PHILIPPE HALSMAN (1906–1979) ANDRÉ SARTRES (1911–2010) DEMARCHELIER (* 1943) DEMARCHELIER (* 1943) ›Marilyn listening to music‹, 1952 Cary Grant and Kim Novak, Timothy Leary, 1993 Quincy Jones, East Hampton, Gelatin silver print, printed in 1981 Cannes 1959 Platinum print, printed in 1996 New York 1990 32,6 × 25,1 cm (12.8 × 9.9 in) Gelatin silver print, printed in the 1980s Photographer’s »Halsman / Marilyn, Copyright 51 × 41 cm (20.1 × 16.1 in) Platinum print, printed in 1996 19 × 19 cm (7.5 × 7.5 in) Philippe Halsman © 81, Edition Number 74 Signed, dated and numbered by the 51 × 38 cm (20.1 × 15 in) Copyright stamp with handwritten [handwritten] / 250« stamp on the reverse, photographer in pencil in the margin, Signed, dated and numbered by the photographer’s credit and date on edition no. 22/250 annotated in an unidentified hand in photographer in pencil in the margin, the reverse pencil on the reverse, edition no. 2/5 annotated in an unidentified hand in € 1.800 / € 3.000–3.500 € 800 / € 1.400–1.600 PROVENANCE pencil on the reverse, edition no. 2/5 in focus Galerie, Cologne, acquired PROVENANCE directly from the photographer in focus Galerie, Cologne, acquired € 1.800 / € 3.000–3.500 directly from the photographer € 1.800 / € 3.000–3.500

100 101 131 132 133 BARBARA PFLAUM FRANZ HUBMANN FRANZ HUBMANN (1914–2007) (1912–2002) (1914–2007) Kärntnerstrasse, Vienna c. 1955 The Kennedys in Vienna, 1961 , Vienna 1960 Vintage silver print Vintage silver print Vintage silver print 29,4 × 22,8 cm (11.6 × 9 in) 30,3 × 24 cm (11.9 × 9.4 in) 29,6 × 19,1 cm (11.7 × 7.5 in) Photographer’s studio stamp and handwritten Photographer’s stamp and several Photographer’s studio stamp and handwritten notation by the photographer in handwritten notations in ink on the several handwritten notations on pencil on the reverse reverse the reverse € 800 / € 1.400–1.800 € 600 / € 1.000–1.200 € 1.000 / € 1.800–2.200

102 103 134 WIM WENDERS (* 1945) ›Interior, Gila Bend, Arizona‹ (from ›Written in the West‹), 1983 Dye transfer print, printed in 1989 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. 26. € 1.800 / € 3.000–3.500

135 136 ERNST HAAS (1921–1986) ERNST HAAS (1921–1986) California, USA 1976 Western Skies Motel, Chromogenic print, printed later Colorado 1978 by Mark Doyle Chromogenic print, printed later 32,2 × 45,7 cm (12.7 × 18 in) by Mark Doyle Signed and annotated by the 31,5 × 46 cm (12.4 × 18.1 in) photographer’s son in ink on the Signed and annotated by the reverse, comes with certificate photographer’s son in ink on the of the estate, edition no. 2/25 reverse, comes with certificate of the estate, edition no. 7/25 PROVENANCE Family Estate of the Photographer PROVENANCE Family Estate of the Photographer LITERATURE Ernst Haas, Color Correction, LITERATURE Göttingen 2011, p. 143. Ernst Haas, Color Correction, € 1.600 / € 3.000–4.000 Göttingen 2011, p. 44. € 1.600 / € 3.000–4.000

104 105 137 138 WILLIAM EGGLESTON (* 1939) (* 1939) Untitled, (from »The Dallas, Texas (from »The Democratic Forest«), 1980s Democratic Forest«), 1980s Chromogenic print, Vintage Chromogenic print, Vintage 26,5 × 40,5 cm (10.4 × 15.9 in) 27,6 × 40,6 cm (10.9 × 16 in) Signed by the photographer in ink Signed by the photographer in ink on the reverse on the reverse

PROVENANCE LITERATURE Private Collection Berlin, acquired William Eggleston, The Democratic from the previous owner directly Forest, London 1989, p. 95. from the photographer PROVENANCE € 4.000 / € 7.000–9.000 Private Collection Berlin, acquired from the previous owner directly from the photographer € 8.000 / € 15.000–20.000

106 107 139 140 LUIGI GHIRRI (1943–1992) LUIGI GHIRRI (1943–1992) Pantheon, Rome 1982 Macherio, Villa Visconti, Brianza 1987 Vintage chromogenic print Vintage chromogenic print 32 × 47 cm (12.6 × 18.5 in) 36 × 45 cm (14.2 × 17.7 in) Signed, annotated and dated Signed, annotated and dated by the by the photographer in ink in photographer in ink in the margin the margin PROVENANCE PROVENANCE Collection of Roland Angst, acquired Collection of Roland Angst, acquired directly from the photographer in 1991 directly from the photographer in 1991 LITERATURE LITERATURE Luigi Ghirri, Il paesaggio dell’ architettura, Luigi Ghirri, Il paesaggio dell’ architettura, 2018, p. 79. (here dated 1988) Milan 2018, p. 79. € 2.000 / € 3.500–4.000 € 2.000 / € 3.500–4.000

108 109 141 142 143 MIROSLAV TICHÝ (1926–2011) FRANCO FONTANA (* 1933) LUCIEN CLERGUE (1934–2014) Untitled (Woman with geometric shirt), ›Fragment‹, 1982 Nude, Red Rock Canyon, 1984 c. 1975 Cibachrome Cibachrome, Vintage Vintage silver print, mounted on original blue thin 33,8 × 22,2 cm (13.3 × 8.7 in) 42,5 × 29,4 cm (16.7 × 11.6 in) cardboard, border line handpainted by the artist Signed, titled and numbered by the photographer Signed by the photographer in ink in the 18 × 13 cm (7.1 × 5.1 in) in ink in the margin, edition no. 7/50 margin, signed and annotated by him on the reverse, edition no. 8/25 Signed by the photographer in ink on the reverse € 1.200 / € 2.000–2.400 € 2.000 / € 3.500–4.000 € 1.200 / € 2.000–3.000

110 111 144 145 RUDOLF SCHWARZKOGLER RUDOLF SCHWARZKOGLER (1940–1969) (1940–1969) 3. Aktion, Nr. 52, Kaiserstraße, 3. Aktion, Nr. 57, Kaiserstraße, Wohnung Cibulka, 1965 Wohnung Cibulka, 1965 Photo by Ludwig Hoffenreich Photo by Ludwig Hoffenreich Gelatin silver print, printed in 1980 Gelatin silver print, printed in 1975 34 × 33,8 cm (13.4 × 13.3 in) 40 × 30,5 cm (15.7 × 12 in) Das Foto entstand während Schwarzkoglers 3. Aktion. Der The photograph was taken during Schwarzkogler’s rd Photographer’s »rudolf schwarzkogler / Nackte, der unbequem auf einem mit weißem Leintuch 3 Action. The naked man, partially wrapped in gauze Photographer’s authenticity stamp with date 3. aktion / wien sommer 1965 / für die bedeckten Brett liegt und dessen Körper zum Teil mit bandages, lying uncomfortably on a board covered in a »Sommer 1965«, signed by Hermann Nitsch authenzitität / des photos:« stamp, signed Mull verbunden ist, ist Heinz Cibulka. Er fungierte als white sheet, is Heinz Cibulka who served as the principal and estate stamp on the reverse, from the by Hermann Nitsch, on the reverse, from nd rd th Galerie Krinzinger portfolio »Aktionen Wien Hauptmodell in Schwarzkoglers 2., 3. und 4. Aktion. Diese model for Schwarzkogler’s 2 , 3 and 4 Action. All of the Galerie Krinzinger portfolio »Aktionen 1965/66« Aktionen fanden allesamt in Cibulkas Wohnung in der them took place in Cibulka’s apartment on Kaiserstraße Wien 1965/66« Wiener Kaiserstraße statt. Ludwig Hoffenreich (1975 in Vienna. Ludwig Hoffenreich (died 1975) documented LITERATURE verstorben) war alleinig für die Dokumentation der 2., the 2nd, 3rd and 5th Actions exclusively. The present photo- LITERATURE Eva Badura Triska / Hubert Klocker, Rudolf Eva Badura Triska / Hubert Klocker, Rudolf Schwarzkogler. Leben und Werk, Museum 3. und 5. Aktion verantwortlich. Das vorliegende Foto graph was printed posthumously for the Aktionen Wien Schwarzkogler. Leben und Werk, Museum Moderner Kunst, Vienna 1992, p. 201. wurde posthum für das von der Galerie Krinzinger Wien 1965/66 portfolio created by Galerie Krinzinger, Vienna, Moderner Kunst, Vienna 1992, p. 201. erstellte Portfolio Aktionen Wien 1965/66 abgezogen und and is signed by Hermann Nitsch on the reverse. € 2.000 / € 3.000–4.000 € 1.800 / € 3.000–3.500 auf der Rückseite von Hermann Nitsch signiert.

112 113 146 VALIE EXPORT (* 1940) ›Einschluss‹ (Inclusion), from the series ›Körperkonfigurati- onen‹, 1972 Vintage silver print manipulated with acrylic paint 37 × 49 cm (14.6 × 19.3 in) Signed, dated, titled and artist’s stamp in the image lower right, handwritten annotations »Auflage 3 Stück 3/2 V.E.« and »V.E. 4/1« on the reverse

LITERATURE Heimrad Bäcker (ed.), Körpersplitter Band 1, Konfigurationen, Fotografien 1968–77, Vienna 1980, p. 56. € 14.000 / € 26.000–30.000

In ihrer Serie Körperkonfigurationen setzt sich VALIE In her series Körperkonfigurationen (body configurations), EXPORT mit Körpersprache – als geschlechtsspezifisch, VALIE EXPORT questions body language as a gender- sozial und historisch kodiertem Konzept – auseinander. specific, socially and historically coded concept. The Die österreichische Medienkünstlerin verfolgt eine Austrian media artist pursues a critical practice by kritische Praxis, indem sie sich in architektonischen und positioning herself into architectural and landscape landschaftlichen Räumen positioniert, fotografiert und environments, taking photographs. She later graphically die Abzüge später grafisch akzentuiert, in diesem Fall accentuates the prints, in the present case by using acrylic mit Acrylstift. Damit schreibt sie den weiblichen Körper paint. In doing so, she inscribes the female body in a pic- in einen durch patriarchale Sehkonventionen bestimmten torial space determined by patriarchal visual conventions Bildraum ein und versucht diese Strukturen aufzubrechen. and attempts to break up these structures.

114 115 147 ANNIE LEIBOVITZ (* 1949) Brad Pitt, Las Vegas 1994 Chromogenic Print 28,5 × 41 cm (11.2 × 16.1 in) Signed by the photographer in ink in the margin € 2.000 / € 4.000–5.000

148 PETER DRESSLER (1942–2013) ›Mit grossem Interesse‹, (Akademie der Bildenden Künste Wien), 1993 Chromogenic print 50 × 70 cm (19.7 × 27.6 in) Signed by the photographer in ink on the reverse, his copyright stamp on the reverse € 900 / € 1.400–1.600

149 JULIAN SCHNABEL (* 1951) Untitled (Self portrait), 2008 Polaroid, large format c. 50 × 60 cm (20 × 24 in) Signed by the photographer on label on the reverse

LITERATURE Petra Giloy-Hirtz (ed.), Julian Schnabel. Polaroids, Munich 2010, p. 160. € 7.000 / € 12.000–16.000

116 117 150 HELMUT NEWTON (1920–2004) ›Naked and Dressed, Fashion Models Sitting, Paris‹, 1981 2 Gelatin silver prints, printed in the 1990s each c. 48 × 48 cm (20 × 24 in) Signed, annotated and dedicated »To John« by the photographer in pencil on the reverse, his Montecarlo copyright stamp and reproduction stamp on the reverse PROVENANCE former collection of John Dunnicliff, the former agent of Newton

LITERATURE Vogue, Paris, November 1981, pp. 180–181; Karl Lagerfeld (ed.), Helmut Newton. 47 Nudes, London 1982, p. 8; Haenlein (ed.), The Artificial of the Real: Trcka, Weston, Newton, Scalo 1998, pp. 158–159; Helmut Newton, Pages from the Glossies: Facsimiles 1956–1998, Scalo, 1998, pp. 426–427. € 28.000 / € 50.000–60.000

Das faszinierende Diptychon mit vier Superfrauen, die The stunning diptych of four super-women posing in der linken und rechten Hälfte exakt gleich posieren, exactly in the same way in the left and right halves was wurde erstmals 1981 in der französischen Vogue ver- first published in French Vogue in 1981. The women are öffentlicht. Die Frauen sind sowohl in ihrer nüchternen triumphant and empowered both in their high fashion Kleidung als auch in ihrer Nacktheit triumphierend und suits and in their nudity. In his introductory essay for kraftvoll. In seinem einleitenden Essay für Big Nudes Big Nudes, Karl Lagerfeld states that for Newton »… there verdeutlicht Karl Lagerfeld, dass es für Newton eben is no ›weaker sex‹. His women are part of a ›strong‹ sex.« »… kein ›schwächeres Geschlecht‹ gibt. Seine Frauen sind Newton started working for French Vogue in the 1960s. stets das ›starke‹ Geschlecht«. Newton begann in den While in his earlier work, the location in which he photo- 1960er-Jahren für die französische Vogue zu arbeiten. graphed his models added to the sexual fantasy of his Während in seinen früheren Arbeiten der Schauplatz, an images, he left the lush interiors and streets of Paris with dem er seine Modelle fotografierte, zur sexuellen Fantasie the Naked and Dressed series and shot his subjects in a seiner Bilder beitrug, verließ er mit der Dressed and Naked- studio. With no supporting props the dressed and naked Serie die opulenten Innenräume und Straßen von Paris models become the whole story. They are Amazons and und fotografierte seine Modelle in einem simplen Studio. one can only imagine the effect such subversively power- Ohne Requisiten werden die bekleideten und nackten ful images had on the public when they first appeared Modelle zur einzigen Geschichte, zu Amazonen. Man in the French Vogue. Since then, the Dressed and Naked kann sich vorstellen, welche provozierende Wirkung die images, have become icons. The present signed prints Dressed and Naked-Bilder auf das Publikum hatten, als sie come from the former collection of John Dunnicliff, zum ersten Mal in der französischen Vogue erschienen. who worked as an agent for Helmut Newton in Paris Später wurden sie zu Ikonen der Fotogeschichte. Die and introduced his work to a variety of publications vorliegenden signierten Prints kommen aus der ehema- and individual clients there. ligen Sammlung von John Dunnicliff, der als Agent für Helmut Newton in Paris arbeitete und dort seine Arbeit einer Vielzahl von Magazinen und Kunden vorstellte.

118 119 151 NEIL ARMSTRONG (1930–2012) GLOSSAR GLOSSARY Edwin ›Buzz‹ Aldrin with the flag of the , Apollo 11 Moon Landing, July 1969 Chromogenic print, Vintage ZU- / BESCHREIBUNG DER OBJEKTE NAME OF ARTIST / DESCRIPTION 30 × 28,4 cm (11.8 × 11.2 in) Für jedes Los wird der Fotograf in fett gedruckten Lettern For each lot the name of the photographer appears in Annotated »Astronautique USA Apollo 11 genannt. Auf Zuschreibungen, die Transkription von bold type heading. While every reasonable effort was made NASA« by an unidentified hand on the reverse Beschriftungen, Stempel und Datierung wurde größt­ to provide correct attributions, accurate transcriptions­ of € 1.400 / € 2.000–2.400 mögliche Sorgfalt verwandt. Für die Inhalte der deskriptiven inscriptions, stamps or dates, OstLicht Photo Auction does Bildbeschreibungen übernimmt OstLicht Foto Auktion keine not assume the responsibility for the contents of descriptive Verantwortung. texts.

TITEL TITLES Die durch Publikationen und andere Quellen (wie eigen- Generally accepted titles for photographs have been put händige Beschriftung der Fotografen) gesicherten Original­ in quotation marks; in other cases, descriptive titles have titel der Werke werden in Anführungszeichen angegeben; been used. in den übrigen Fällen handelt es sich um beschreibende Titel. PRINTS A vintage print is one made at roughly the same time as the DATIERUNG DER PRINTS negative by the photographer himself or by a person or Als Vintage-Print wird ein Abzug bezeichnet, der in un­­­ procedure satisfactory to the photographer. Specific dates mittelbarer zeitlicher Nähe zur Aufnahme bzw. Produktion of positive prints are rarely known. This distinction between des Negatives vom Fotografen selbst oder einer Person a vintage print and a print done considerably later would seines Vertrauens angefertigt wurde. Exakte Datumsanga- be expressed with the date referring to the production of ben für die Positive sind nur in den seltensten Fällen the negative. In case of a gelatin silver print: 1920, Vintage bekannt. Die Unterscheidung zwischen einem Vintage-Print silver print or 1920, Gelatin silver print, ­printed later. The und einem später produzierten Abzug wird in Relation zur approximate date, year, or decade of a positive print is Datierung des Negatives ausgedrückt, beispielsweise bei given when possible, based on the OstLicht’s knowledge of einem Silbergelatineprint: 1920, Vintage silver print oder the history of the photograph, its provenance, and our 1920, Gelatin silver print, printed later. Eine möglichst visual assessment of the photo­graph’s physical characteris- präzise Datierung, zumindest das Jahr oder Jahrzehnt der tics. We don’t guarantee the printing date of the Entstehung wird für jedes Lot angegeben. Die Angaben photograph. basieren auf dem Wissen des OstLicht-Expertenteams zur 152 Geschichte der jeweiligen Fotografie, ihrer Provenienz und MEASUREMENTS BUZZ ALDRIN (* 1930) visueller Begutachtung. Für die Angaben kann keine Measurements are given height preceding width. Unless Aldrin’s boot print on the surface of Gewähr übernommen werden. otherwise indicated dimensions given are those of the the moon, NASA Apollo 11, 1969 actual image size (excluding any margins). Some photo- Chromogenic print, Vintage MASSANGABEN graphs appear in the catalogue without margins illustrated. 28,5 × 28,5 cm (11.2 × 11.2 in) Bei den Maßangaben folgen die Maße der Bildbreite jenen Annotated »Astronautique USA Apollo 11 der Bildhöhe. Sofern nicht anders angegeben, beziehen FRAMING AND MATTING NASA« by an unidentified hand on the reverse sich diese Maße auf das tatsächliche Bildformat ohne Photographs described as framed are sold in the frames € 1.200 / € 2.000–2.400 jegliche Ränder. Einige Fotografien werden im ­Katalog in which they have been offered. OstLicht does not take ohne Rand abgebildet. responsibility for the appearance of the frames or mats, nor »The boot print on this talcum-like surface was for their conformity to proper standards of conservation. not like sand or plain old dust. It would fall away RAHMUNG UND PASSEPARTOUTS and it made a very distinct print. It fascinated Die als gerahmt oder montiert angeführten Fotografien CONDITION me and I wanted to take a good picture of this, werden als solche angeboten und verkauft. OstLicht The general practise is not to indicate condition or it ought to be a before and after. So I picked out übernimmt keine Verantwortung für den Zustand der defects. Prospective bidders are urged to inspect lots ­at a nice smooth spot, took a picture before, put mitgelieferten Passepartouts bzw. Untersatzkartons und our public viewing or ask for a condition report at our my foot down and this turned out to be quite a representative picture of the human print on the Rahmen, auch in Hinblick auf konservatorische Standards. auction department. For condition reports please contact: moon. It looked a little lonely, so I decided to [email protected] take another one, not quite as famous as this, ZUSTAND and I put my boot down and moved it a little bit Der Zustand der angebotenen Objekte wird im Allgemeinen so you could see the boot and the print itself. nicht im Katalog erfasst. Interessenten und Bieter werden The prints are fairly small, but each time you put your foot down as you’re walking, it sprays the ersucht, den Zustand der Lots anlässlich der öffentlichen dust to either side and it changes the colour of Vorbesichtigung zu prüfen oder einen detaillierten Zustands- the surface.« (Edwin Buzz Aldrin) bericht anzufordern: [email protected]

120 121 OstLicht Photo Auction AUCTION VENUE: OstLicht GesmbH Absberggasse 27 OstLicht. Gallery for Photography FOTOGRAFENINDEX 1100 Vienna, Austria Absberggasse 27 Tel.: +43 1 996 20 66-17 1100 Vienna, Austria INDEX OF PHOTOGRAPHERS [email protected] www.ostlicht-auction.com ABSENTEE BID FORM

First Name Second Name Customer No.

Street City, ZIP code Country

ABBOTT, BERENICE 30 GILLIES, MICHAEL 124 SCHNABEL, JULIAN 149 ADAMS, ANSEL 69 GROEBLI, RENÉ 44, 45 SCHWARZKOGLER, Tel Fax Email ALDRIN, BUZZ 152 GUNDLACH, F. C. 99 RUDOLF 144, 145 ARMSTRONG, NEIL 151 HAAS, ERNST 135, 13 SEMOTAN, ELFIE 100 Do not arrange shipping Shipping Airmail Courier Service AUE SOBOL, JACOB 121 HALSMAN, PHILIPPE 61, 129 SHEELER, CHARLES 46, 47 BATTAGLIA, LETIZIA 54, 55 HASKINS, SAM 117, 118 SIEFF, JEANLOUP 122, 123 PAYMENT METHOD BERNHARD, RUTH 20 HORST, HORST P. 104 SLADE, PAUL 109 BING, ILSE 23 HORVAT, FRANK 57 SLAVIN, NEAL 95 VISA MASTERCARD Number Exp. Date BOUBAT, ÉDOUARD 92 HOSOE, EIKOH 19, 116 SMITH, W. EUGENE 52, 65 BANK TRANSFER in € (all bank charges pre-paid and including shipping cost) BRANDT, BILL 42 HUBMANN, FRANZ 132, 133 STEIN, FRED 89, 90 Account name: OstLicht GmbH; Account number: 9317520, Bank: Raiffeisenlandesbank NOE-Wien AG, Michaelerplatz 3, BURRI, RENÉ 64 KARSH, YOUSUF 62, 63 STOCK, DENNIS 110 A–1010 Vienna; Code: 32000 / Swift code: RLNWATWW / IBAN: AT59 3200 0000 0931 7520 CARTIER-BRESSON, KERTÉSZ, ANDRÉ 31, 67 STREZEK, FRANZ 2 HENRI 71, 84, 87, 91 KLEIN, WILLIAM 83, 85, 101 SUDEK, JOSEF 21 I accept OstLicht Photo Auction to bid on my behalf on the following lots. Absentee bids must be received 24 hours prior to the CHALDEJ, JEWGENI 66 KOLLINER, GRETE 11 TICHÝ, MIROSLAV 141 start of the auction. The maximum bid price does not include the premium. I agree to be bound by the conditions of sale as printed CHARBONNIER, KOPPITZ, RUDOLF 17, 18, 26, 27 UMBO 53 in the catalogue. JEAN-PHILIPPE 58 KRULL, GERMAINE 7, 8, 9 VERONESI, LUIGI 50, 51 CLERGUE, KUBOTA, HIROJI 94 WEEGEE 56 LUCIEN 40, 41, 80, 143 LAUSCHMANN, JAN 24, 25 WENDERS, WIM 134 Date Signature DAHL-WOLFE, LOUISE 103 LEDRU, PHILIPPE 108 WOLFF, PAUL 28, 29, 48 DAVIDSON, BRUCE 114, 115 LEIBOVITZ, ANNIE 147 ZECCHIN, FRANCO 96 LOT NO. TITLE MAX. BID € * LOT NO. TITLE MAX. BID € * DE DIENES, ANDRÉ 125, 126 MARK, MARY ELLEN 81 Y VA 10 DEMARCHELIER, MCBRIDE, WILL 76, 112, 113 PATR ICK 127, 128 MINKKINEN, D’ORA, MADAME 6, 16 ARNO RAFAEL 105, 106, 107 DRESSLER, PETER 148 MODEL, LISETTE 33 DRTIKOL, FRANTISEK 14, 15 MORATH, INGE 88 EGGLESTON, NÄHR, MORIZ 4 WILLIAM 137, 138 NEUSÜSS, FLORIS 49 EISENSTAEDT, ALFRED 68, 77 NEWTON, HELMUT 150 ERWITT, PFLAUM, BARBARA 131 * Not necessary for telephone bidders. ELLIOTT 72, 73, 74, 75, 97, 98 RHEIMS, BETTINA 102 EX PORT, VALI E 146 RIBOUD, MARC 59,78,79 — I agree to be bound by the conditions of sale as printed in the catalogue. — The total purchase price for all lots consists of the hammer price plus the In the event that several bidders submitted identical highest bids, the premium of 26 % (incl. 5 % VAT) for lots remaining in the EU. FLEISCHMANN, RONIS, WILLY 32, 39, 43, 93 auctioneer will start by calling out a price in favour of the highest written bid For lots that are exported to third countries or purchased with a valid VAT TRUDE 12, 13, 22 RÖSSLER, JAROSLAV 37,38 that is 10 % higher than the second highest written bid. The one that was number the premium is 20 %. received first will be awarded the winning bid (unless on-site bids outbid the When bidding on one of the live bidding platforms (e. g. LiveAuctioneers), FONTANA, FRANCO 142 ROTHSTEIN, ARTHUR 70 highest written bid). an additional fee of 3 % to 5 % will be charged, depending on the platform. FREED, LEONARD 82 SALGADO, SEBASTIÃO 86 — Written bids must be received at least 24 hours before the start of the auction — Invoices for successful bids made in writing or by telephone will be sent out to and they must contain the exact address of the bidder along with the maxi- the respective highest bidders after the auction has ended. They have to be GHIRRI, LUIGI 139, 140 SANDER, AUGUST 5 mum bid exclusive any commission or other charges. All bids will be executed paid in full and without any deductions within eight days after reception. GIACOMELLI, MARIO 34, 35, 36 SARTRES, ANDRÉ 130 as cheaply as possible up to the maximum price indicated for each lot. — Telephone bids have to be confirmed in writing and are at the risk of — Bids will be increased in increments of 10 % of the starting price. The bids for the caller. OstLicht Photo Auction reserves the right to refuse absentee GIBSON, RALPH 111 SAUDEK, JAN 119, 120 lots valued at EUR 2,000 and higher will be raised in steps of EUR 200, lots or telephone bids without disclosing the reason. valued at EUR 4,000 and higher in steps of EUR 500. As a rule the starting price is the one listed in the catalogue, as long as there are not several higher 122 written bids at hand. 123 VERSTEIGERUNGSBEDINGUNGEN CONDITIONS OF SALE für Bieter der OstLicht Photo Auktion (OstLicht GesmbH) for Bidders at OstLicht Photo Auctions (OstLicht GesmbH)

1 Mit der Abgabe eines schriftlichen oder telefonischen Kaufauftrages, eines 8 Gesteigert wird um ca. 10 % des Ausrufpreises. Der Ausrufpreis ist in der 1 By submitting an absentee or telephone bid, making an on-line bid offer or 9 Ownership of the goods only passes to the buyer after payment in full has Online-Gebots oder durch die persönliche Teilnahme als Saalbieter erkennt jeder Regel der im Katalog angeführte Startpreis, sofern nicht mehrere höhere schriftliche by personal participation in an action each and every bidder agrees to abide by been made. When a lot is hammered down, the acquirer is obligated to accept Bieter bei der OstLicht Photo Auction die folgenden Versteigerungsbedingungen Gebote vorliegen. In diesem Fall ruft der Auktionator zu Gunsten des höchsten the following conditions of sale. These conditions also apply to subsequent sales. and pay for the lot for which he bid. In no circumstances will the auctioneer ausdrücklich an. Die Versteigerungsbedingungen gelten sinngemäß auch für den Bieters mit dem Betrag aus, der 10 % über dem schriftlichen Gebot des zweit- Where there is a conflict of meaning due to errors of translation, the German text, accept the return of any lots. Once the hammer has fallen all risk with regard to Nachverkauf. Bei Beanspruchungen aufgrund fehlerhafter Übersetzung ist der höchsten Bieters liegt. Liegen mehrere gleiche schriftliche Höchstgebote vor, so as printed in the auction catalogue, is binding. Commission bids and personal the article is transferred to the acquirer. However, the lot will only be delivered to deutsche Text der Versteigerungsbedingungen im gedruckten Katalog gültig. wird zu Gunsten des zuerst eingelangten Gebotes entschieden. Das zugeschla- information of those submitting lots for sale and bidders will be dealt with by the acquirer after full payment of the hammer price including all taxes, fees and Gebote und persönliche Daten der Bieter und Einbringer werden von OstLicht gene Gebot ist der Nettokaufpreis. OstLicht Photo Auctions in the strictest confidence and will not be passed on charges due. Photo Auction streng vertraulich behandelt und nicht an dritte Person to third parties. weitergegeben. 9 Das Eigentum der ersteigerten Ware geht erst nach vollständiger Bezahlung Should agreement be reached to deliver the item before full payment has been auf den Käufer über. Im Falle des Zuschlages verpflichtet sich der Ersteher zur 2 The auction is public and voluntary and will be conducted in accordance made, ownership of the article in question remains vested in the supplier until 2 Die Versteigerung ist öffentlich und freiwillig und wird nach den Bestimmun- Abnahme und Zahlung des von ihm ersteigerten Loses. Eine Rücknahme ver- with the regulations set forth in paragraph 288 a ff of the Trade Regulations of payment has been made in full. gen der §§ 284 a ff der Gewerbeordnung i. d. F. GRNov 1997 sowie nach den vor- steigerter Gegenstände seitens des Versteigerers ist ausgeschlossen. Mit dem 1997 and also in accordance with these conditions of sale. The auction will be liegenden Versteigerungsbedingungen durchgeführt. Die Versteigerung erfolgt Zuschlag geht die gesamte Haftung für den Versteigerungsgegenstand sofort conducted in our own name and account. Place of jurisdiction is Vienna. Austrian 10 In the absence of an agreement to the contrary, at the end of the auction im eigenen Namen sowie auf eigene Rechnung. Erfüllungsort und Gerichtsstand auf den Ersteher über. Das ersteigerte Los wird dem Ersteher jedoch erst nach law is also binding on all foreign bidders. bidders in the auction rooms must collect and pay for the lots they have acquired. ist Wien. Auch im Verhältnis zu ausländischen Bietern ist österreichisches Recht vollständiger Bezahlung des Zuschlagpreises und des Aufgeldes, sowie anfallender Where payment is to be made by bank transfer, the total purchase price is due maßgeblich. Steuern und Gebühren ausgehändigt. Wird vereinbart, den Gegenstand dennoch 3 The valuation and expert description of objects will be carried out by the immediately together with any bank charges. Invoices for the items acquired vor vollständiger Bezahlung auszuliefern, verbleibt der versteigerte Gegenstand experts of OstLicht Photo Auctions who will take all reasonable care to describe either in writing or by telephone will be sent to the highest bidder immediately 3 Die Schätzung und fachliche Bestimmung der Objekte erfolgt durch Experten bis zum vollständigen Forderungsausgleich Eigentum des Einlieferers. the condition of the lots in the catalogue as accurately as possible. All errors in after the end of the auction. These must be paid within 8 days of receipt, in full der OstLicht Photo Auction, die bemüht sind den Zustand der Lose im Katalog the catalogue are excepted. OstLicht Photo Auctions also reserves the right to and without deduction. Where payment is delayed interest will be due at a rate so adäquat wie möglich zu beschreiben. Irrtums- und Druckfehlerberichtigungen 10 Sofern keine anderen Vereinbarungen getroffen wurden, haben Saalbieter amend any description up to the time of auction. Auctioned items cannot be 5 % above the prevailing rate of the »European Interbank Offered Rate« bleiben vorbehalten. Ebenso behält sich OstLicht Photo Auction das Recht vor, das ersteigerte Gut nach Beendigung der Auktion abzuholen und zu bezahlen. returned (see also paragraph 12). (EURIBOR) / 3 months. Payment may also be made by cash on delivery, money Berichtigungen der Beschreibung bis zur Versteigerung vorzunehmen. Eine Rück- Bei Bezahlung durch Überweisung ist der Betrag sofort und netto inklusive or postal order or banker’s check. The acquirer accepts responsibility for all nahme ersteigerter Artikel ist prinzipiell ausgeschlossen (siehe Punkt 12). etwaiger Bankspesen fällig. Die Rechnungen der schriftlich oder telefonisch 4 Viewing of the objects intended for the auction is possible within the period expenses involved in these methods of payment. Costs relating to packing, trans- ersteigerten Gegenstände werden nach Beendigung der Auktion an den jeweiligen stipulated in the catalogue. If it is not possible for a bidder to view an object in port and transport insurance are not included and will be separately detailed on 4 Die Besichtigung der zur Versteigerung vorgesehenen Objekte ist innerhalb Höchstbieter verschickt. Diese sind innerhalb von 8 Tagen nach Erhalt an den person, we will be happy to forward them a more detailed description of the opti- invoices. We would also like to bring to your attention that we only invoice for des im Katalog angeführten Zeitraumes möglich. Ist einem Bieter die Besichti- Versteigerer netto ohne Abzug zu bezahlen. Bei Zahlungsverzug werden Verzugs- cal condition. This information may be given by telephone, in writing, or by email. packaging at cost price and that because of agreements reached with transport gung vor Ort jedoch nicht möglich, geben wir auf Anfrage gerne eine präzisere zinsen in Höhe von 5 % über dem Basiszinssatz der Österreichischen Nationalbank Additional photos can only be sent by e-mail. During both viewing and the companies we can offer favorable transport and insurance rates. Nevertheless, Beschreibung des optischen Zustandes. Diese Auskünfte erteilen wir sowohl verrechnet. Bei allen Zahlungsarten übernimmt der Ersteher allfällige Spesen. auction visitors and bidders should exercise the greatest of care since they will storage and packaging is at the buyer’s own risk. telefonisch, als auch schriftlich oder per E-Mail – zusätzliche Fotos können wir Kosten für Verpackung, Transport und Transportversicherung sind nicht inkludiert be responsible for any damage caused in full. jedoch nur per E-Mail zusenden. Während der Besichtigung und der Versteigerung und werden extra verrechnet. Wir weisen jedoch darauf hin, dass wir ausschließlich The auction house is entitled to collect a storage fee of € 1–€ 10 (depending haftet jeder Besucher für von ihm verursachte Schäden an den Losen in vollem die Selbstkosten verrechnen und aufgrund unserer Vereinbarung mit Transport- 5 Written bids may be submitted prior to the start of the auction (by letter, fax, on the size and value) per day and item for items auctioned which have not been Umfang. firmen für den Käufer günstige Transport- und Versicherungstarife anbieten e-mail or an on-line offer through our home-page). Written purchase orders must collected after the expiry of 30 business days from the date of the invoice. können. Jede Lagerung und Verpackung erfolgt jedoch grundsätzlich auf Gefahr reach the auctioneer at least 24 hours before the start of the auction and must be 5 Vor Versteigerungsbeginn können Gebote schriftlich (Brief, Fax, E-Mail) oder des Käufers. clearly legible. In order to be taken into account they must also contain the 11 In the case of refusal to accept delivery or late payment, the buyer is liable online über unsere Homepage) abgegeben werden. Schriftliche Kaufaufträge client’s exact address as well as their highest bid in EURO. The price specified for all damages and costs arising there from. In either of these cases the auction- müssen dem Versteigerer bis spätestens 24 Stunden vor Beginn der Versteigerung Für ersteigerte Gegenstände, die nach Ablauf von 30 Werktagen ab Rechnungs- therein will be regarded as the highest hammer price. In the case of a successful eer may require that either the contract be fulfilled or damages resulting from in gut leserlicher Form vorliegen. Um berücksichtigt zu werden, müssen sie außer- datum nicht abgeholt worden sind, ist das Auktionshaus berechtigt, eine bid, all additional charges will be added to the bill. We carry out written bids non-fulfillment be paid. The lots may then be auctioned again at the expense dem die genaue Anschrift des Auftraggebers, sowie das Höchstgebot in EURO Lagergebühr von 1 €–10 € (je nach Größe und Wert) pro Tag und Gegenstand, scrupulously, the highest bid designated therein only being made use of when of the buyer. In this case the buyer is liable for the reserve price and has no claim enthalten. Die darin genannten Preise gelten als Höchstpreise für den Zuschlag, zu erheben. other offers (written or verbal in the auction rooms) make it necessary to do so in on any additional revenue made. das Aufgeld wird im Falle des Zuschlages zusätzlich in Rechnung gestellt. Wir the interest of the bidder. Telephone bids are only possible on lots worth more führen schriftliche Gebote gewissenhaft aus, wobei das schriftliche Höchstgebot 11 Bei Annahmeverweigerung oder Zahlungsverzug haftet der Ersteher für alle than EURO 500 exclusive of charges. In the case of telephone bids too, it is 12 Auctioned items cannot be returned. However, any case of obvious nur dann ausgeschöpft wird, wenn andere schriftliche oder mündliche Gebote im daraus entstehenden Schäden und Folgekosten. Der Versteigerer kann in diesen necessary that the intention to bid by phone be deposited in writing with the misrepresentation must be reported immediately after the auction verbally or Saal dies im Interesse des Bieters notwendig machen. Telefonische Gebote sind Fällen entweder Erfüllung des Kaufvertrages oder Schadenersatz wegen Nicht- auctioneer at least 24 hours prior to the auction. Telephone bidders will then be in writing not more than 14 days thereafter. If the complaint is accepted as valid, erst ab einem jeweiligen Loswert von EURO 500 möglich. Auch für diese Art des erfüllung des Kaufvertrages verlangen. Das Versteigerungsgut kann auf Kosten called by OstLicht Photo Auctions before bidding starts on the relevant lots. the buyer has a right to the repayment of the purchase price and charges upon Bietens muss ein Auftrag spätestens 24 Stunden vor der Auktion schriftlich beim des Erstehers nochmals versteigert werden. In diesem Fall haftet der Ersteher für However, there can be no guarantee that a telephone connection can, in fact, simultaneous return of the auctioned object. No other claims will be entertained. Versteigerer vorliegen. Telefonbieter werden vor Aufruf der gewünschten Lose den Minderpreis und hat auf einen gegebenenfalls erzielten Mehrerlös keinen be made. After having been legitimated by means of an identification document von OstLicht Photo Auction angerufen. Eine Garantie für das Zustandekommen Anspruch. or credit card, auction-room bidders will be given a bidder number before the 13 After completion of the auction we are entitled to sell any non-auctioned der Telefonverbindung kann jedoch nicht gegeben werden. Nachdem sie sich mit auction starts. items subject to the normal conditions of business in the name of, and for the einem Ausweis oder einer Kreditkarte legitimiert haben, erhalten Saalbieter vor 12 Versteigerte Objekte werden prinzipiell nicht zurück genommen. Handelt account of, the supplier. Beginn der Auktion eine Bieternummer. es sich jedoch um offensichtliche Fehlbeschreibungen, müssen diese gleich nach 6 The total purchase price for all lots consists of the hammer price plus the der Auktion mündlich oder spätestens nach 14 Tagen schriftlich reklamiert premium of 26 % (incl. 5 % VAT) for lots remaining in the EU. 6 Der Kaufpreis für alle Lose besteht aus dem Zuschlagpreis (= Hammerpreis) werden. Wird die Reklamation als gültig anerkannt, hat der Ersteher bei gleich- zuzüglich dem Premium von 26 % (inkl. 5 % MWSt) für Lose die in der EU zeitiger Rückgabe des Versteigerungsgegenstandes das Recht auf Erstattung For lots that are exported to third countries or purchased with a valid VAT number verbleiben. des Kaufpreises und des Aufgeldes. Weitere Ansprüche können nicht geltend the premium is 20 %. gemacht werden. Für Lose die in Drittländer exportiert oder mit gültiger UID Nummer ersteigert When bidding on one of the live bidding platforms (e.g. LiveAuctioneers), an werden beträgt das Premium 20 %. 13 Nach abgeschlossener Auktion können wir nicht versteigerte Gegenstände additional fee of 3 % to 5 % will be charged, depending on the platform. zu den vorliegenden Versteigerungsbedingungen im Namen und für Rechnung Wenn über eine der Live Bidding Plattformen (z. B. LiveAuctioneers) geboten des Einlieferers freihändig verkaufen. 7 The lots will be auctioned in numerical order as listed in the catalogue. wird, werden je nach Plattform zwischen 3 % bis 5 % zusätzliche Gebühr The German text of the auction catalogue is binding. The auctioneer reserves the verrechnet. right to group numbered lots together during the auction, to separate them, to remove or to change the order as he sees fit. He may refuse an offer and rescind 7 Die Versteigerung erfolgt in der Reihenfolge der Katalognummerierung. an accepted bid in order to continue bidding. Maßgeblich ist der Katalogtext der gedruckten deutschen Ausgabe des Auktions- katalogs. Jedoch ist der Auktionator berechtigt, Katalognummern in der Verstei- 8 Bids will be in increments of approx. 10 % of the starting price. As a rule the gerung zusammen zu fassen, zu trennen, heraus zu nehmen oder die Reihenfolge start price is the one to be found in the catalogue unless there have been higher zu verändern. Er kann Angebote ablehnen und einen bereits erteilten Zuschlag written bids. In this case the auctioneer will call a bid favoring the highest bidder. aufheben, um den betreffenden Gegenstand weiter zu steigern. This will be approx. 10 % higher than the written offer made by the second highest bidder. Should there be more than one written, highest bid, the lot will be awarded to the first to arrive. The hammer price is the net purchase price.

124 125 HammerAlbrecht (Daniel Hammer, Varsek) Alexandra DESIGN DESIGNGRAFIK GRAPHIC Roebl Marie Zimm, Anna CATALOGUERS KATALOG- UND TEXTREDAKTION Coeln Peter RESPONSIBILITY FOR CONTENTS DENFÜR INHALT VERANTWORTLICH 2020 Vienna GmbH, OstLicht COPYRIGHT 27, 1100 Austria Absberggasse Vienna, GmbH, OstLicht Auction, Photo OstLicht PUBLISHER AND EDITOR HERAUSGEBER UND VERLEGER Taiyoung Ha KONSERVATORIN Ges.m.b.H. &Söhne Berger Ferdinand Berger, Druckerei DRUCK Kindl Keoma Friesenbichler, Fabian Kollmann, Michael FOTOGRAF IMPRINT IMPRESSUM 126 PRINT PHOTOGRAPHER

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