A20 West Licht Photo Auction

VIENNA, OCTOBER 12 TH 2019
PHOTO AUCTION
81, LOUIS FAURER
EXPERTEN NEW
SPECIALISTS LOCATION
OSTLICHT.
GALLERY FOR
PHOTOGRAPHY
PROF. JOHANNES FABER 20.

geb. 1952, ist der Gründer der Galerie Johannes WESTLICHT
Faber in Wien, Kunsthändler und Experte für FOTO-AUKTION
klassische Fotografie; zahlreiche Ausstellungen, Samstag, 12. Oktober 2019,
Preise, Stipendien und Publikationen 16 Uhr (MESZ)
b. 1952, is the founder and director of Galerie
Johannes Faber in Vienna, art dealer and expert VORBESICHTIGUNG
for classic photography; numerous exhibitions, Mittwoch, 2. Oktober
awards, scholarships and publications bis Samstag, 12. Oktober
14 –18h und nach Vereinbarung
20 TH
WESTLICHT
PHOTO AUCTION
ANNA ZIMM Saturday, October 12th 2019,
4 pm (CEST)
zimm@westlicht.com
VIEWING
Wednesday, October 2nd
to Saturday, October 12th
2– 6 pm and by appointment
MICHAEL KOLLMANN
(Fotobücher Photobooks)
kollmann@westlicht.com
Absberggasse 27,
1100 Vienna, Austria
Tel.: +43 1 996 20 66 17
For general enquiries
about this auction, email
should be addressed to
info@westlicht-photo-auction.com
PHOTO
AUCTION
WWW.WESTLICHT-PHOTO -AUCTION.COM
4
Original Size
1
ROGER FENTON
(1819–1869)
Self-portrait in Zouave
uniform, 1855
Salt paper print from wet
collodion negative, mounted
on original paper page
20,7 × 16,3 cm (8.1 × 6.4 in)
original page with captions
from portfolio, publisher
Thomas Agnew & Sons,
Manchester 1856
LITERATURE
Gordon Baldwin (ed.), Roger
Fenton: Pasha and Bayadere
(The J. Paul Getty Museum,
1996), p. 55.
€ 6.000 / € 10.000–12.000
Das Porträt zeigt Roger Fenton in einem traditionellen The portrait shows Roger Fenton dressed in a traditional
Zouave-Kostüm, mit einem Gewehr in beiden Händen Zouave costume, holding a rifle with both hands and
und einer Zigarre im Mund. Auf dem Tisch links neben with a cigar in his mouth. There is a bottle and a tankard
ihm stehen eine Flasche und ein Krug und dahinter ist ein on the table beside him to the left and a plain cloth back-
einfacher Stoffhintergrund drapiert. Es wurde von Fenton drop draped behind. It was arranged by Fenton himself
selbst arrangiert, jedoch von seinem Assistenten Marcus but photographed by his assistant Marcus Sparling.
Sparling fotografiert. Zouave-Regimenter aus Algerien Zouave regiments from Algeria served with the French
dienten während des Krimkrieges bei der französischen army during the Crimean War, and had a distinctive
Armee und trugen eine unverwechselbare nordafrika- North African uniform. Fenton photographed Zouaves on
nische Uniform. Fenton fotografierte Zouaves während several occasions during his time in the Crimea, as well
seiner Zeit auf der Krim mehrmals und posierte darüber as posing for this series of self-portraits. Using glass plate
hinaus für diese Serie von Selbstporträts. Mit Glasplatten- negatives and the wet collodion process, he captured
negativen und dem Nasskollodiumverfahren machte er striking images during the war, mainly in springtime
während des Krieges eindrucksvolle Bilder, vor allem im when the light was strong. The lack of blurring in most
Frühjahr, wenn das Licht stark war. Obwohl die Belich- of his images, even though exposure times were between
tungszeiten zwischen drei und zwanzig Sekunden lagen, three and twenty seconds, shows his technical mastery.
zeigt die fehlende Unschärfe in den meisten seiner Bilder His photographs were published by Agnew & Sons and
seine technische Meisterschaft. Seine Fotografien wurden sold by subscription in several portfolios between 1855
bei Agnew & Sons veröffentlicht und zwischen 1855 und and 1856. The present print is is in very good condition
1856 im Abonnement in mehreren Portfolios verkauft. Der and shows a high degree of contrast.
vorliegende Abzug ist in sehr gutem Zustand und zeigt
einen hohen Kontrastanteil.
5
2
EUGÈNE ATGET
(1857–1927)
Ménagerie, Paris c. 1920
Matt albumen print from
gelatin dry plate negative,
mounted on cardboard
17,5 × 23 cm (6.9 × 9.1 in)
Negative number in the
negative lower left
€ 2.000 / € 4.000–4.500
3
ANNE BRIGMAN
(1869–1950)
›Scene from The end of
a perfect day‹, c. 1915
Vintage silver print, double-
mounted on original cardboard
18,3 × 24 cm (7.2 × 9.4 in)
Signed by the photographer
in pencil on the mount,
annotated by her in pencil
on the reverse
€ 2.400 / € 4.000–5.000
6
4
VINCENZO GALDI
(1874–1961)
Male portrait, Italy 1890s
Albumen print
22,4 × 16,4 cm (8.8 × 6.5 in)
Photographer’s Sardegna studio
stamp on the reverse
€ 800 / € 1.400–1.600
5
WILHELM VON
GLOEDEN (1856 –1931)
Boy with cloth,
Taormina 1904
Albumen print
22 × 16,8 cm (8.7 × 6.6 in)
Photographer’s handwritten
negative number in blue pencil
on the reverse
€ 1.200 / € 2.000–2.400
7
6
GERMAINE KRULL (1897–1985)
›Der Akt – Zwanzig photographische
Aufnahmen weiblicher Körper nach der
Natur‹ (The Nude Study – Twenty photo-
graphs of the female body taken after
nature), Einhorn-Verlag, Dachau 1918
Rare complete portfolio of »Der Akt«, 30,3 × 40,4 cm
(11.9 × 15.9 in), 20 black and white photogravures,
each 16,3 × 24,5 cm, printed on Japanese paper and
mounted on cardboard, further containing images by
Prof. J. Pèsci and W. v. Debeschitz-Kunowski, the
portfolio is housed in a simple yellow paper slipcase,
the present copy could be an artist proof created for
testing purposes of the leather-bound edition wich is
limited to only 50 copies.
€ 2.400 / € 4.000–5.000
8
7
ANTON JOSEF TRČKA
(1893–1940)
›Aktstudie‹, Vienna c. 1925
Vintage silver print
17,8 × 13 cm (7 × 5.1 in)
€ 5.000 / € 10.000–12.000
Anton Josef Trčka begann seine künstlerische Ausbildung Anton Josef Trčka started his artistic education in 1911
1911 an Karel Nováks Fotoklasse an der Grafischen in Karel Novák’s photography class at the Grafische Lehr-
Lehr- und Versuchsanstalt. Erlangte er schon zu Lebzeiten und Versuchsanstalt. Unfortunately his career was not
kaum wirtschaftlichen Erfolg, wurde seine Rezeption very successful and his oeuvre was almost completely
dadurch erschwert, dass 1944 ein Großteil seines Œuvres destroyed when in 1944 a bomb strike hit his studio.
durch einen Bombentreffer zerstört wurde. Trčka arbeitete Trčka had been working at the studio of photographer
seit ca. 1925 im Atelier der Fotografin Hella Katz am Hella Katz, situated on the Viennese Stubenring since
Wiener Stubenring und gründete 1926 an ihrer Adresse 1925, there he founded the »Ringwerkstätten für Kunst-
die »Ringwerkstätten für Kunsthandwerk und Lichtbild- handwerk und Lichtbildkunst« in 1926, which existed
kunst«, die bis ca. 1934 bestanden. In dieser Zeit schuf until 1934. During this time Trčka was working on a
Trčka neben Porträts vor allem Akt- und Tanzstudien, group of nude and dance studies, including the present
darunter auch die vorliegende, bis dato nicht publizierte print, which has not been published until now. The model
Fotografie. Das Modell findet sich auf mehreren publizierten appears on a couple of published nude studies, which
Aktstudien wieder, was die Zuschreibung und Datierung makes it easy to attribute and date the print. (see: Monika
erleichtert. (vgl. Monika Faber, Anton Josef Trčka. Faber, Anton Josef Trčka. 1893–1940, Vienna 1999, p. 104).
1893–1940, Vienna 1999, p. 104). Der Vintage-Abzug wird The vintage print is offered for the first time at an auction.
das erste Mal bei einer Auktion angeboten.
9
8
RUDOLF KOPPITZ
(1884–1936)
Nude study with child,
c. 1928
Gelatin silver print, printed
in the 1930s
20,8 × 25,4 cm (8.2 × 10 in)
Photographer’s studio stamp
on the reverse
LITERATURE
Monika Faber (ed.) Rudolf
Koppitz. Photogenie, Vienna 2013,
p. 74–75.
€ 2.000 / € 3.500–4.500
9
RUDOLF KOPPITZ
(1884–1936)
›Edition Die Galerie‹,
Verlag Josef Gottschammel,
Vienna 1937
First edition, hardcover,
29,6 × 31,7 cm (11.7 × 12.5 in),
60 pages, 24 black and white
photogravures with glassine
protective sheets, preface written
by Rudolf Junk in German, English
and French, in extremely good
condition, limited edition of 1,000
unnumbered copies from the only
existing Koppitz photo book,
which was still authorized by the
photographer
* € 800 / € 1.400–1.600
10
10
RUDOLF KOPPITZ
(1884–1936)
›Bewegungsstudie‹
Movement Study,
Vienna 1925
Vintage silver print, carte postale
13 × 9,4 cm (5.1 × 3.7 in)
Photographer’s blindstamp in
the margin lower right, annotated
»Bewegungs-Studie« by the photo-
grapher in pencil in the margin,
his studio stamp on the reverse
LITERATURE
Monika Faber (ed.), Rudolf
Koppitz. 1884–1936, Vienna 1995,
cover and p. 83; Monika Faber
(ed.), Rudolf Koppitz. Photogenie,
Vienna 2013, p. 133.
€ 5.000 / € 10.000–12.000
Original Size
Koppitz’ berühmtestes Werk und eines der meist bewun- Koppitz’s most famous work and one of the most ad-
derten Bilder des 20. Jahrhunderts. Die Bewegungsstudie mired images of the 20 th century. This image was pro-
wurde von Koppitz in den unterschiedlichsten Techniken duced in a variety of print forms. There exist silver,
ausgearbeitet. Es existieren Silber- und Karbonabzüge, carbon, toned bromoil prints and gravures from the
Bromöldrucke und Gravuren vom originalen Negativ. original negative. The photograph offered here is a silver
In diesem Fall handelt es sich um einen Vintage-Silber- print, printed around 1930, in very good condition.
gelatineabzug von ca. 1930. Dargestellt sind Tänzer der Depicted are dancers from the Vienna State Opera; the
Wiener Staatsoper; die Aktfigur wurde früher als Claudia nude figure was long known to be Claudia Issatschenko,
Issatschenko identifiziert, die heutige Forschung geht but the latest studies tend to say that it is more likely her
jedoch davon aus, dass es sich um deren Tochter Tatyana daughter Tatyana. The »Movement Study« is a perfect
handelt. Die »Bewegungsstudie« ist ein perfektes Beispiel example of Koppitz’s graphic style and his preference for
für Koppitz’ graphischen, vom Jugendstil und Symbolis- compositional clarity, which follows the tradition of the
mus geprägten Stil und seine Vorliebe für kompositionelle Symbolism and Jugendstil. This is for good reason, as no
Klarheit. Keine andere Fotografie erfasst die kulturellen photograph better captures the cultural strands that char-
Grundlagen besser, die die österreichische Avantgarde acterized the Austrian avant-garde at that time. Here one
dieser Zeit charakterisieren. Hier werden die graphische can see a graphic strength and compositional clarity that
Stärke und Klarheit der Komposition deutlich, die das reflects the modernist ambitions initiated by the Secession
modernistische Streben widerspiegeln, das von der Seces- and Wiener Werkstätte.
sion und der Wiener Werkstätte eingeleitet wurde.
11
11
JAROMÍR FUNKE (1896 –1945)
Still life with glass bottle, 1924
c. 20 × 28 cm (7.9 × 11 in)
LITERATURE
Antonín Dufek (ed.), Jaromír Funke, Prague 2003,
s. p; Jaromír Funke, Pioneering Avant-Garde
Photography 1896–1945, Brno 1996, s. p
€ 4.000 / € 8.000–10.000
12
12
HORACIO COPPOLA
(1906 –2012)
Estudio Bauhaus, 1932
15,2 × 16,5 cm (6 × 6.5 in)
Signed and dated by the photographer in
pencil on the reverse.
Loaned to MoMA from the 14 April 2014 –
13 October 2015 for the exhibtion »From
Bauhaus to Buenos Aires: Grete Stern and
Horacio Coppola«.
PROVENANCE
Purchased from Guillermo de Osma Gallery,
Madrid
€ 2.600 / € 5.000–7.000
13
HORACIO COPPOLA
(1906 –2012)
Bauhaus, 1932
17,5 × 26,7 cm (6.9 × 10.5 in)
Signed, titled and dated by the photographer
in pencil on the reverse.
Loaned to MoMA from the 14 April 2014–
13 October 2015 for the exhibition »From
Bauhaus to Buenos Aires: Grete Stern and
Horacio Coppola«.
PROVENANCE
Purchased from Guillermo de Osma Gallery,
Madrid
€ 2.800 / € 5.000–7.000
13
14 15
HORST P. HORST (1906 –1999) FERDINAND SCHMUTZER
Raymond Massey as Lincoln, 1938 (1870–1928)
Vintage silver print, contact print Arthur Schnitzler, Vienna 1912
25,3 × 20,3 cm (10 × 8 in) Gelatin silver print, printed in 2002
Photographer’s »Photograph by HORST« stamp 30,1 × 24 cm (11.9 × 9.4 in)
and date stamp on the reverse Photographer’s estate stamp »aus dem Nachlass
€ 1.600 / € 2.500–3.000 Ferdinand Schmutzer« on the reverse
LITERATURE
Ferdinand Schmutzer, Das fotografische Werk
1894–1928, Vienna 2008, p. 33 (same series).
€ 1.000 / € 1.600–1.800
14
16 17
AUGUST SANDER (1876 –1964) AUGUST SANDER (1876 –1964)
The painter Jankel Adler, Cologne 1928 The painter Franz Wilhelm Seiwert,
Gelatin silver print, printed in 1986, mounted Cologne 1928
on the original thin cardboard Gelatin silver print, printed in the 1990s, mounted
25 × 17,4 cm (9.8 × 6.9 in) on the original thin cardboard
With the blindstamp »Aug. Sander Köln Lindenthal« 25 × 17,4 cm (9.8 × 6.9 in)
in the lower left, »August Sander Menschen des With the blindstamp »Aug. Sander Köln Lindenthal«
20. Jahrhunderts [..]« label attached on the reverse in the lower left, »August Sander Menschen des
20. Jahrhunderts [..]« label attached on the reverse
LITERATURE
Gunther Sander (ed.), August Sander, Menschen LITERATURE
des 20. Jahrhunderts, Munich 1980, p. 325; August Gunther Sander (ed.), August Sander, Menschen des
Sander, Antlitz der Zeit, Munich 1976 (New edition), 20. Jahrhunderts, Munich 1980, p. 322.
p. 50.
€ 1.800 / € 3.000–3.500
€ 1.800 / € 3.000–3.500
15
18
LOTTE JACOBI (1896 –1990)
Lotte Lenya, Berlin 1928
Gelatin silver print, printed in the 1960s,
carte postale
8 × 10 cm (3.1 × 3.9 in)
Signed by the photographer in pencil in
the margin lower right, annotated in an
unidentified hand in pencil on the reverse
PROVENANCE
Private Collection, purchased from Galerie
Johannes Faber, Vienna
LITERATURE
Kelly Wise (ed.), Lotte Jacobi, 1978, p. 153.
€ 2.400 / € 4.000–5.000
19 20
MAN RAY (1890–1976) GERMAINE KRULL (1897–1985)
Self-portrait, Paris 1924 André Malraux, Paris 1930
Gelatin silver print, printed in 1958 Gelatin silver print, printed in the 1970s
20,5 × 15,8 cm (8.1 × 6.2 in) 23,5 × 17,5 cm (9.3 × 6.9 in)
Signed and dated in the original Credited and annotated (most likely by the
negative (image lower right) photographer) in pencil on the reverse
€ 2.000 / € 3.500–4.500 PROVENANCE
Private Collection, purchased from Galerie
LITERATURE
Germaine Krull, Photographie 1924–1936,
Musées d’Arles 1988, p. 77.
€ 1.600 / € 2.500–3.000
16
21
AUGUST SANDER (1876 –1964)
The Dadaist Raoul Hausmann, Berlin 1928/1930
Gelatin silver print, printed in 1998
24,7 × 17,4 cm (9.7 × 6.9 in)
With the blindstamp »Aug. Sander Köln Lindenthal« in the lower left,
»August Sander Menschen des 20. Jahrhunderts [..]« label attached,
handwritten annotation in pencil on the reverse, edition no. 3/12
LITERATURE
Manfred Heiting (ed.), August Sander 1876–1964, Cologne
1999, p. 151; Gunther Sander (ed.), August Sander, Menschen des
20. Jahrhunderts, Munich 1980, p. 317.
€ 2.000 / € 4.000–5.000
17
22 23 24
STUDIO MANASSÉ MARTA HOEPFFNER ANDRÉ KERTÉSZ
(1922–1938) / (1912–2000) (1894–1985)
OLGA WLASSICS ›Torso‹ (Nude solarized), ›Distortion #40‹, Paris
(1896 –1969) 1940 1933
Nude study, 1949 Gelatin silver print, printed in Gelatin silver print, printed in
Vintage silver print the late 1950s the late 1950s, framed
19,5 × 14,9 cm 28,6 × 24,2 cm (11.3 × 9.5 in) 19,7 × 24,6 cm (7.8 × 9.7 in)
Photographer’s studio stamp and Signed and dated by the photo- Signed, titled and dated by the
copyright stamp on the reverse grapher in ink in the image lower photographer in pencil on the
right, photographer’s label on reverse
€ 1.200 / € 2.000–2.400 the reverse
LITERATURE
PROVENANCE André Kertész. Sixty Years of
in focus Galerie, Cologne Photography 1912–1972,
London 1972, p. 75; Robert
* € 2.000 / € 3.000–4.000
Delpire (ed.), André Kertész,
Photo-Galerie Bd. 2, Munich
1978, p. 81.
* € 4.500 / € 9.000–11.000
18
Bereits zu Beginn seiner Karriere begann Kertész, visuelle Kertész began incorporating visual distortions into his
Verzerrungen in seine Bilder zu integrieren. Underwater images already at the start of his career. 1917’s Underwater
Swimmer von 1917 ist das früheste Beispiel. In den frühen Swimmer is the earliest example. In the early 1930s Kertész
1930er Jahren wurde Kertész von der Zeitschrift Le Sourire was invited by the magazine Le Sourire to produce nude
eingeladen, Aktfotos zu machen. Er kaufte zwei verzer- photographs. He bought two distorting mirrors on the
rende Spiegel auf dem Flohmarkt und die Redaktion flee market and the editors provided him with a studio
stellte ihm einen Studio-Raum und zwei Modelle zur space and two models. Within only two-weeks, Kertész
Verfügung. Innerhalb von nur zwei Wochen produzierte produced around 200 nude distortions on glass negatives.
Kertész rund 200 Nude Distortions auf Glasnegativen. Der The photographer stretched and warped nude models —
Fotograf streckte und verformte die Aktmodelle – ihre their floating, elongated shoulders, heads, and arms make
schwebenden, länglichen Schultern, Köpfe und Arme the figures particularly surreal. Kertész used the mirrors
machen die Figuren besonders surreal. Kertész nutzte die to create a sense of unreality and to subvert an otherwise
Spiegel, um ein Gefühl der Unwirklichkeit zu erzeugen conventional genre by disorganizing and transforming
und ein ansonsten konventionelles Genre zu untergraben, it to something surreal and grotesque. Distortion #40,
indem er es desorganisierte und in etwas Surreales und present as beautiful early contact print, was selected for
Groteskes umwandelte. Distortion #40, der als perfekter the cover of Kertész’s first publication of this series in
früher Kontaktabzug vorliegt, wurde 1976 für das Cover 1976. (New York: Alfred A. Knopf, 1976).
von Kertész’ erster Veröffentlichung dieser Serie ausge-
wählt. (New York: Alfred A. Knopf, 1976).
19
27
ILSE BING (1899–1998)
Self-portrait with Leica, Paris 1931
26,2 × 29,6 cm (10.3 × 11.7 in)
Signed and dated by the photographer in ink in the
image upper left, signed and dated (print date) by
the photographer in pencil on the reverse
LITERATURE
Ilse Bing, femmes, de l’enface à la vieillesse
1929/1955, Paris 1982, Cover and pl. 31; Hilary
Schmalbach (ed.), Ilse Bing Fotografien 1929–1956,
Aachen 1996, pl. 4; Larisa Dryansky (ed.), Ilse Bing:
Photography Through The Looking Glass, New York
2006, p. 109; Ilse Bing, La reine du Leica, 1899–1998,
Paris 2009, p. 2; Abe Frajndlich (ed.), Penelopes
hungriger Blick. Portraits von Photographen, Munich
2011, p. 53.
€ 3.400 / € 5.500–6.000
25
ANDRÉ KERTÉSZ (1894–1985)
Colette, Paris 1930
Gelatin silver print, mounted on cardboard,
printed in 1982
7,8 × 9,5 cm (3.1 × 3.7 in)
Signed by the photographer in pencil on the
mount, annotated in pencil on the reverse
LITERATURE
André Kertész. Photographe, Musée
Jacquemart-André, Paris 1987, p. 63; André
Kertész. A Lifetime of Perception, New York
1982, p. 96.
€ 2.400 / € 4.000–5.000
26
ILSE BING (1899–1998)
Fading tulips, 1939
Gelatin silver print, printed in the 1960s
23 × 33,7 cm (9.1 × 13.3 in)
Signed and dated by the photographer
in ink in the image upper right; signed,
titled and dated by her in pencil on the
reverse
PROVENANCE
Private Collection, through Galerie
€ 1.800 / € 3.000–3.500
20
Ilse Bing, geboren 1899 als Tochter einer großbürgerlichen Ilse Bing, born into a grand-bourgeois Jewish family in
jüdischen Familie in Frankfurt am Main, gehört zu jenen Frankfurt am Main in 1899, was one of the influential
maßgeblichen Persönlichkeiten, die das Paris der dreißiger personalities who turned 1930s Paris into a centre of
Jahre zu einem Zentrum der fotografischen Moderne ge- photographic modernism. Her Self-Portrait with Leica
macht haben. Ihr Selbstporträt mit Leica aus dem Jahr 1931 of 1931 is a complex portrait, reflecting not just the photo-
ist ein komplexes Porträt, das nicht nur die Fotografin, grapher, but also the photographic idiom of the avant-
sondern auch die Bildsprache einer Avantgarde zwischen garde between the wars. The question underlying
den Kriegen reflektiert. Dem Autoporträt zugrunde liegt the auto-portrait is that of her position in the context of
die Frage nach der eigenen Position im Kontext des creation and influence. Ilse Bing poses with her Leica I —
Schaffens und Wirkens. Ilse Bing inszeniert sich mit ihrer presumably this is her first Leica, purchased in 1929. It
Leica I – wahrscheinlich handelt es sich dabei um ihre is no coincidence that Emmanuel Sougez called her the
erste Leica, die sie 1929 erwarb. Nicht zufällig nannte sie »queen of the Leica«. In her self-portrait, Bing gives spe-
Emmanuel Sougez »Königin der Leica«. In ihrem Selbst- cial importance to the camera, the tool of her creations,
porträt räumt Bing der Kamera, dem Werkzeug ihres by positioning it so that it is as prominent as her face.
Schaffens, einen besonderen Stellenwert ein, indem sie The mirror motif takes on the role of an image within an
diese gleichberechtigt zu ihrem Gesicht positioniert. Der image. The image has long held its place among the icons
Spiegel fungiert als Bild-im-Bild Motiv. Längst zählt die of a New Vision; it also stands for an epoch in which
Aufnahme zu den Ikonen eines Neuen Sehens und steht women sought to emphasise their independence — using
zudem für eine Zeit, in der Frauen ihre Unabhängig- the medium of photography, among others.
keit – auch über das Medium Fotografie – zu unterstreichen
suchten.
21
28
ÉDOUARD BOUBAT
(1923–1999)
›Femmes aux fleurs‹,
Portugal 1958
in the 1990s
23,8 × 35,4 cm (9.4 × 13.9 in)
in pencil on the reverse
PROVENANCE
in focus Galerie, Cologne
LITERATURE
Édouard Boubat. Eine
Monographie, Munich 2005,
p. 142.
* € 1.000 / € 1.800–2.500
29
KIICHI ASANO
(1914–1993)
Himi, February 1956
in the 1990s
32 × 44,4 cm (12.6 × 17.5 in)
Hand-calligraphed title sheet
on Japanese paper, bearing
the seals of the artist (in black
ink) and his son (in red ink),
tipped to the verso of the print
with archival wheat paste,
edition of 100
PROVENANCE
Purchased by the present
owner from the Kiichi Asano
Estate
€ 1.400 / € 2.000–3.000
22
30
HERBERT LIST (1903–1975)
›Nach dem Bade‹ (After the
bath), Portofino 1936
29,8 × 23,4 cm (11.7 × 9.2 in)
Photographer’s estate stamp with hand-
written title, edition number and date on
the reverse, signed by Max Scheler in ink
on the reverse, edition no. 12/15
€ 1.400 / € 2.000–2.400
31
WILLY RONIS (1910–2009)
›Chez Maxe‹, 1947
29,8 × 23,2 cm (11.7 × 9.1 in)
Signed by the photographer in ink in
the margin
PROVENANCE
* € 1.400 / € 2.000–2.500
23
32
WILLY RONIS
(1910–2009)
›Rue de Mogador,
Noel‹, 1952
in the 1990s
30 × 39,8 cm (11.8 × 15.7 in)
in ink in the margin; annotated
in an unidentified hand in
pencil on the reverse
PROVENANCE
LITERATURE
Paul Ryan (ed.), Willy Ronis
(55), London 2002, p. 57.
* € 1.400 / € 2.000–2.500
33
GERMAINE KRULL
(1897–1985)
Lovers in a bar, Paris c. 1928
15,6 × 15,2 cm (6.1 × 6 in)
Photographer’s copyright stamp,
press stamps and labels on the
reverse
€ 1.800 / € 3.000–3.500
24
34
ROBERT FRANK (* 1924)
Mary and Andrea (from ›The Lines
of my Hand‹), Southampton 1954
20,2 × 29,7 cm (8 × 11.7 in)
Signed by the photographer in ink on the reverse,
photographer’s archive stamp on the reverse
LITERATURE
Robert Frank, The Lines of my Hand, Tokyo 1972, s. p.
€ 3.000 / € 5.500–6.500
25
35
ALEXANDER
RODCHENKO
(1891–1956)
Moscow, c. 1928
Gelatin silver print,
printed in the 1980s
16 × 23,8 cm
Two photographer’s estate
stamps on the reverse
€ 1.200 / € 2.000–2.400
36
CORNELL CAPA
(1918–2008)
Boys entering the chapel
at Winchester College,
England 1951
25,7 × 33,8 cm (10.1 × 13.3 in)
Photographer’s copyright
stamp, agency stamp and
various notations in pencil
on the reverse
LITERATURE
Richard Whelan (ed.), Cornell
Capa. Photographs; 1992, p. 53.
€ 1.200 / € 2.000–2.400
26
37
LUIGI VERONESI
(1908–1998)
›Sovrimpressione‹, 1957
Vintage, Photogram on gelatin
colour print
29 × 29 cm (11.4 × 11.4 in)
in ink in the margin, photographer’s
stamp and »Galleria il Diaframma Canon /
Milano« stamp on the reverse
€ 2.400 / € 4.000–5.000
38
FRANCO GRIGNANI
(1908–1999)
Untitled (Photogramm), 1928
18 × 24,1 cm (7.1 × 9.5 in)
Signed, dated by the photographer
in pencil on the reverse, two photo-
grapher’s stamps on the reverse, small
brownish chemical stains in the lower
right corner
€ 2.000 / € 3.000–4.000
27
39
BRASSAÏ
(1899–1984)
›Feu d’artifice‹, Tour
Eiffel, Paris 1944
29 × 23,3 cm (11.4 × 9.2 in)
Photographer’s studio stamp
and press label with typographic
description on the reverse
€ 2.400 / € 5.000–6.000
40 41
ERICH MENDEL- LIONEL WENDT
SOHN (1887–1953) (1900–1944)
›Amerika: Bilderbuch ›Lionel Wendt’s Ceylon‹,
eines Architekten‹ Lincolns-Prager
(America: An Architect’s Publishers, London 1950
Picturebook), Berlin: First edition, hardcover with
Rudolf Mosse Buch- full black cloth and dust
verlag, 1926 jacket in perfect condition,
27 × 19,5 cm (10.6 × 7.7 in), 255
The true first printing,
pages, 120 black and white
published two years before the
photogravures, text in English
more common second printing,
hardcover, 34,5 × 24,3 cm LITERATURE
(13.6 × 9.6 in), 228 pages, Martin Parr / Gerry Badger
without dustjacket (as issued), (eds.), The Photobook,
no slipcase, text by Erich Volume 2, p. 99.
Mendelsohn
* € 500 / € 800–1.000
* € 600 / € 1.000–1.200
28
42
HAROLD EDGERTON
(1903–1990)
Death of a Light Bulb, 1936
in the late 1980s
31,4 × 47,1 cm (12.4 × 18.5 in)
€ 2.000 / € 4.000–5.000
43
RENÉ GROEBLI (* 1927)
›Magie der Schiene‹
(Rail Magic), 1949
19,9 × 28,7 cm (7.8 × 11.3 in)
Photographer’s copyright stamp
on the reverse
LITERATURE
René Groebli, Magie der Schiene,
Zurich 1949, s. p.
* € 1.800 / € 2.500–3.500
29
44
ROBERT CAPA (1913–1954)
›The Falling soldier‹ (Loyalist Militiaman
at the Moment of Death), Córdoba front,
September 5 th, 1936
22,8 × 34 cm (9 × 13.4 in)
Photographer’s »IMAGES OF WAR« publication
stamp and copyright agency stamp on the reverse
PROVENANCE
Estate of James A. Fox (former Magnum editor
in chief)
LITERATURE
La Guerre Civile en Espagne, VU Magazine,
23.9.1936; Robert Capa, Death in Spain, Life
Magazine, 12. Juli 1937; Robert Robert Capa /
Gerda Taro (eds.), Death In The Making: Photo-
graphs by Robert Capa and Gerda Taro, New York
1938, cover; Richard Whelan (ed.), Robert Capa –
The definitive collection, London 2001, p. 81;
Cornell Capa / Richard Whelan (eds.), Robert Capa.
Photographs, New York 1985, p. 42–43.
€ 5.000 / € 10.000–12.000
30
45
ROBERT CAPA (1913–1954)
U.S. soldiers on their way to Paris,
Liberation of France 1945
34 × 26 cm (13.4 × 10.2 in)
Photographer’s »IMAGES OF WAR«
publication stamp and several distribution
stamps and handwritten notations in ink
and pencil on the reverse
€ 1.000 / € 1.800–2.400
46
DMITRI BALTERMANTS
(1912–1990)
Hô Chí Minh, 1955
Gelatin silver print, rare large format
print, printed in the 1980s
57,4 × 49 cm (22.6 × 19.3 in)
Stamped and titled on the reverse,
the photographer’s personal stamp as
Okonyok magazine picture editor on
the reverse
PROVENANCE
Purchased by the present owner from
White Space Gallery, London
€ 1.600 / € 2.800–3.400
31
47
JANE BOWN
(1925–2014)
Henri Cartier-Bresson
with Leica M3, Paris
1957
in the 1970s
17,6 × 17,8 cm (6.9 × 7 in)
Signed and annotated by
the photographer in pencil
on the reverse
* € 1.200 / € 2.000–2.400
48
DENNIS STOCK
(1928–2010)
Arthur Miller and Inge
Morath, USA c. 1961
19 × 25,2 cm (7.5 × 9.9 in)
Photographer’s agency stamp
on the reverse
€ 1.400 / € 2.000–2.400
32
49
OKKY OFFERHAUS
(* 1933)
Elliott Erwitt with his
two Leica M3s, Jamaica
1964
Gelatin silver print, mat paper,
printed later
29,7 × 19,7 cm (11.7 × 7.8 in)
Initialized and annotated by
the photographer in ink in the
margin, signed and annotated
by her in pencil on the reverse,
photographer’s stamp on the
reverse
€ 1.400 / € 2.000–2.400
50
ANONYMOUS
PHOTOGRAPHER
Marc Riboud, c. 1970
17 × 13 cm (6.7 × 5.1 in)
»The Concerned Photographer
2, 1972«, copyright stamp
Grossman-Viking and ICP, label
with photographer’s biography
on the reverse
€ 600 / € 1.000–1.200
33
51
MARC RIBOUD
(1923–2016)
A fisherman takes a
nap with his chicken,
Acapulco 1958
in the 1970s
33,6 × 47 cm (13.2 × 18.5 in)
in pencil in the margin; signed,
annotated and dated by the
photographer in pencil on the
reverse
LITERATURE
Marc Riboud, Portfolio, Munich
2001, pl. 36; Linda Gerdiner (ed.),
Marc Riboud – 50 Years of
Photography, Paris 2004, p. 133.
€ 1.800 / € 3.000–3.500
52
MARC RIBOUD
(1923–2016)
Reception room at
a factory, Beijing 1965
in the 1970s
16,1 × 24,2 cm (6.3 × 9.5 in)
agency stamp and handwritten
notations in ink on the reverse
* € 1.600 / € 2.500–3.000
34
53
BRIAN BRAKE
(1927–1988)
The Sanmenxia Dam,
China 1957
23,4 × 32 cm (9.2 × 12.6 in)
Photographer’s agency stamp
and various handwritten
notations in pencil on the reverse
€ 1.600 / € 2.500–3.000
54
MARC RIBOUD (1923–2016)
Moscow, 1960
19,4 × 30 cm (7.6 × 11.8 in)
Photographer’s agency stamp, neg. no.
stamp and several handwritten notations
in ink and pencil on the reverse
* € 2.000 / € 3.000–3.500
35
55
HENRI CARTIER-BRESSON (1908–2004)
Marseilles, France, 1932
Gelatin silver print, printed 1999
35,6 × 24 cm (14 × 9.4 in)
Signed by the photographer in black ink in the margin, his
copyright blindstamp in the margin lower left
PROVENANCE
Christie’s Paris HCB Fondation auction
LITERATURE
Henri Cartier-Bresson: Photographer, London 1979, p. 91.
€ 4.000 / € 8.000–10.000
36
Henri Cartier-Bresson reiste zum ersten Mal im Dezember
1947 nach Indien und nahm die Seereise von England
in Kauf. Bei seiner Ankunft erreichte er eine gerade erst
neue unabhängige Nation, deren Bevölkerung aufgrund
der religiös begründeten Teilung Indiens und Pakistans
unter wachsenden Spannungen litt. Inmitten dieses
Konflikts hat Cartier-Bresson eine seiner bekanntesten
56 Fotografien aufgenommen, Srinagar, Kashmir, 1948,
HENRI CARTIER-BRESSON (1908–2004) welche muslimische Frauen zeigt, die auf dem Hügel
Hari Parbal beten, wobei die aufgehende Sonne den
Srinagar, Kashmir, 1948
Himalaya beleuchtet. Im Laufe der nächsten 40 Jahre
Gelatin silver print, printed in 1976 sollte Cartier-Bresson sechs Mal bis 1987 nach Indien
24 × 36 cm (9.4 × 14.2 in)
zurückkehren.
Contour lines of the figures traced in with ink on the reverse,
dated (print date) on the reverse
Henri Cartier-Bresson first traveled to India in December
LITERATURE 1947, taking the long journey by sea from England. Upon
Henri Cartier-Bresson in India, London 1987, cover; Henri
arriving, he encountered a newly independent nation
Cartier-Bresson, The Decisive Moment, New York 1952, pl. 87;
whose people were experiencing mounting tensions due
Henri Cartier-Bresson, The World of Henri Cartier-Bresson,
pl. 162; Peter Galassi (ed.), Henri Cartier-Bresson: The Early to the religiously based partition of India and Pakistan.
Work, The Museum of Modern Art, New York 1987, p. 120; Amidst this conflict, Cartier-Bresson captured one of
Henri Cartier-Bresson: The Image and The World, pl. 407; his best known images, Srinagar, Kashmir, 1948, which
Henri Cartier-Bresson: Photographer, London, pl. 77; depicts Muslim women praying on Hari Parbal Hill,
Jean-Pierre Montier (ed.), L’art sans art d’Henri Cartier- with the rising sun illuminating the Himalayas. Over the
Bresson, Paris 1995, pl. 247. course of the next 40 years, Cartier-Bresson continued
€ 3.000 / € 5.500–7.000 to return to India, traveling there six times through 1987.
37
»Cartier-Bresson’s visceral intuition, the Surrealist principle
of dislocation, and the instantaneity of the Leica, have come together
to transform the ordinary incident into an image of rapture.«
(Peter Galassi)
38
57
HENRI CARTIER-BRESSON (1908–2004)
Valencia, Spain 1933
Gelatin silver print, printed in the 1960s, exhibition print
32,7 × 49 cm (12.9 × 19.3 in)
Annotated in an unidentified hand in pencil on the reverse
PROVENANCE
Estate of James A. Fox (former Magnum editor in chief)
LITERATURE
Henri Cartier-Bresson, The Decisive Moment, New York
1952, s. p; Robert Delpire (ed.), Henri Cartier-Bresson:
Photographer, New York 1979, p. 89; Peter Galassi (ed.),
Henri Cartier-Bresson: The Early Work, New York 1987,
p. 107; Ben Maddow (ed.), Faces, Boston 1977, pl. 495;
Daniel Wolf (ed.), The Art of Photography, 1839–1989,
New Haven 1989, pl. 280; Jean-Pierre Montier, Henri Cartier-
Bresson and the Artless Art, Boston 1996, pl. 166, p. 169.
€ 4.500 / € 8.000–10.000
Cartier-Bresson arbeitete mit einer kleinen Leica-Hand-

kamera und produzierte vor allem in den 1930er Jahren
eine Reihe von Bildern, die sich durch ihre Komplexität
auszeichnen. In diesem Bild zeigt sich Cartier-Bressons
Genialität vor allem in dem, was er außerhalb des
Rahmens belassen hat. Es findet sich keine Erklärung für
die ausgestreckten Arme und den ekstatischen Ausdruck
des Buben. Das Kind beugt sich zurück, so, als ob es er-
stochen worden wäre. Tatsächlich wartet der Bub auf das
Herabfallen eines Balls, der gerade in die Luft geworfen
wurde. Der vorliegende Abzug befindet sich in schönem
Zustand und stammt ursprünglich aus der Privatsamm-
lung von James A. Fox, der mehr als 30 Jahre lang als
Redakteur für Magnum arbeitete.
Working with a small hand-held Leica camera,

Cartier-Bresson produced especially in the 1930s a body
of images notable for their complexity. In this image
Cartier-Bresson’s genius is evident especially in what he
chose to leave outside the frame of the picture. There is
no explanation present in the picture for the young
boy’s outstretched arms and ecstatic expression. The
child is bending back, but as if stabbed. In fact, the boy
is awaiting the descent of a ball that has just been thrown
in the air. The present print is in beautiful condition and
comes originally from the private collection of James A.
Fox, who worked as an editor for Magnum for more
than 30 years.
39
58
HENRI CARTIER-
BRESSON (1908–2004)
Cardinal Pacelli, Later
Pope Pius XII, Montmartre,
Paris, 1938
printed in 1999
30 × 44,8 cm (11.8 × 17.6 in)
Signed by the photographer in black
ink in the margin, his copyright
blindstamp in the margin lower left
LITERATURE
Henri Cartier-Bresson: Photo-
grapher, London 1992, p. 99.
€ 5.000 / € 9.000–11.000
59
MARTINE FRANCK
(1938–2012)
Henri Cartier-Bresson
drawing a self-portrait,
Paris 1992
19 × 28,6 cm (7.5 × 11.3 in)
Signed and dedicated »Pour
Josep Martinez« by the photo-
grapher in ink in the margin
€ 1.500 / € 2.500–3.000
40
Der französische Maler Henri Matisse ist unserem
Gedächtnis für immer eingebrannt durch Cartier-Bresson.
Das Bild zeigt den Maler zuhause, in seiner »Villa Le
Rêve«, umgeben von Vögeln und den Kopf mit einem
Turban bedeckt. Obwohl es 1944 aufgenommen wurde,
zehn Jahre vor dem Tod des Meisters, war Matisse bereits
ein gebrochener Mann. 1939 hatten er und seine Frau sich
60 nach 41-jähriger Ehe getrennt. 1941 unterzog er sich einer
HENRI CARTIER- Kolostomie, worauf er an den Rollstuhl gefesselt war.
BRESSON (1908–2004) Cartier-Bresson bewunderte Matisse zutiefst, der später
Henri Matisse, Vence den Schutzumschlag für seinen Fotobuch-Klassiker
February 1944 The Decisive Moment entwarf.
Gelatin silver print, printed in
the late 1980s / early 1990s The French painter Henri Matisse has been forever fixed
24 × 36 cm (9.4 × 14.2 in) in our minds by Cartier-Bresson. The picture shows the
Signed by the photographer in painter at his home, the »Villa Le Rêve«, surrounded by
ink in the margin, his blindstamp birds and his head draped by a turban. Although it was
in the margin lower left taken in 1944, ten years before the master’s death, Matisse
LITERATURE was already a broken man. In 1939, he and his wife had
Peter Galassi (ed.), Henri Cartier- separated after 41 years of marriage. In 1941 he under-
Bresson: The Modern Century, went a colostomy, which confined him to a wheelchair.
New York 2010, p. 226. Cartier-Bresson deeply admired Matisse who later designed
€ 6.000 / € 10.000–12.000 the jacket of his photo book classic The Decisive Moment.
41
61
CORNELL CAPA
(1918–2008)
Hebrew lesson, Brooklyn,
New York 1955
34,2 × 22 cm (13.5 × 8.7 in)
Photographer’s credit stamp
on the reverse, annotated
in an unidentified hand in ink
in the margin
LITERATURE
Richard Whelan (ed.), Cornell
Capa. Photographs; 1992, pl. 104.
€ 1.500 / € 2.500–3.000
62
HORACE BRISTOL
(1908–1997)
Grapes of Wrath –
Family Album, 1938
in the 1970s
17,8 × 14,4 cm (7 × 5.7 in)
in pencil on the reverse »When
this photograph was taken,
both Steinbeck and I felt it
represented a Madonna figure,
with the newborn baby at its
mother’s swelling breasts,
a faint suggestion of proud
fatherhood in the background
legs and hand.« (Horace
Bristol) He later titled this
picture Rose of Sharon after
Steinbeck’s fictitious character.
€ 1.400 / € 2.000–2.400
42
63
ANTANAS SUTKUS (* 1939)
Pioneer (from the series ›Lithuanian
People‹), Ignolina 1964
33 × 28,7 cm (13 × 11.3 in)
Photographer’s stamp and several exhibition
stamps on the reverse
LITERATURE
Antanas Sutkus, People of Lithuania, 2015, p. 113.
€ 2.000 / € 3.000–4.000
43
64 65
ANONYMOUS PHOTOGRAPHER OSVALDO SALAS (1914–1992)
Studio Portrait of Che Guevara, Ernesto Che Guevara, Cuba 1960
Cuba c. 1960 Gelatin silver print, printed in the 1980s
Vintage silver print, rare large format, framed 34,3 × 24 cm (13.5 × 9.4 in)
60 × 50 cm (23.6 × 19.7 in) Signed, dated and annotated by the photographer
€ 2.000 / € 3.000–3.500 in ink, two blindstamps in the margin
€ 2.400 / € 4.000–5.000
44
66
RENÉ BURRI (1933–2014)
›Che Guevara y su tabaco‹,
Cuba 1963
38 × 25,4 cm (15 × 10 in)
Signed, annotated and dated by the
photographer in pencil on the reverse
PROVENANCE
acquired by the present owner directly
from the photographer
LITERATURE
L. Bergquist, Most revealing Report on
Cuba since the missile Crisis, in: LOOK,
April 9, 1963; Hans-Michael Koetzle, René
Burri. Fotografien, Berlin 2003, p. 226
(same series).; Hans-M. Koetzle, Photo-
Icons 1827–1991, Cologne 2005, p. 264
(same series).
€ 2.800 / € 5.000–6.000
Vier Jahre nach der kubanischen Revolution von 1959 Four years after the Cuban revolution in 1959, Magnum
schickte Magnum René Burri mit dem Auftrag nach Kuba, sent René Burri to Cuba to take photographs of Ernesto
Ernesto »Che« Guevara anlässlich eines Interviews für »Che« Guevara during an interview for the widely
das amerikanische Magazin Look zu fotografieren. Che circulated American magazine Look. As President of the
Guevara, als Präsident der Nationalbank und Industrie- National Bank and Minister of Industry, Che Guevara was
minister der nach Fidel Castro zweitmächtigste Mann the second most powerful man in Cuba and had person-
auf Kuba, hatte die amerikanische Starjournalistin Laura ally invited the American star journalist Laura Bergquist
Bergquist persönlich auf die Zuckerinsel eingeladen. Vor to the Sugar Island so that she could form her own
Ort sollte sie sich ein Bild von den Erfolgen der Revolu- opinion about the success of the revolution. In retrospect,
tion machen. Die Atmosphäre des Gesprächs wird Burri Burri would describe the atmosphere of the conversation
rückblickend als »angespannt« bezeichnen. Ihm selbst as »tense«. Right at the start, Che denied Burri his request
wird Che gleich zu Beginn die Bitte abschlagen, die to open the blinds to improve the lighting situation in the
Jalousien öffnen zu dürfen, um die Lichtsituation im room. Furthermore, he would not deign to look at Burri
Raum zu verbessern. Auch wird er Burri während des during the three-hour interview, during which the photo-
dreistündigen Interviews, bei dem dieser sechs Filme grapher exposed six rolls of film. »I could expose all of
belichten wird, keines Blickes würdigen. »Ich konnte alle his characteristics: charm, power of persuasion and anger.
seine Eigenschaften ablichten, Charme, Überzeugungs- But he did not look into the camera one single time.«
kunst und Wut. Aber kein einziges Mal hat er in die
Kamera geschaut.«
45
67 68
LEONARD FREED (1929–2006) LEONARD FREED (1929–2006)
Muscle Boy, Harlem, New York 1963 St. Peter’s Square, Rome 1958
Archival pigment print, printed in the 2000s Archival pigment print, printed in the 2000s
30,7 × 20,7 cm (12.1 × 8.1 in) 31,1 × 20,7 cm (12.2 × 8.1 in)
Signed and numbered by the photographer Signed and numbered by the photographer
in ink in the margin, copyright label and hand- in ink in the margin, copyright label and
written title in an unidentified hand in pencil handwritten title in an unidentified hand in
on the reverse, edition no. 10/45 pencil on the reverse, edition no. 14/45
LITERATURE LITERATURE
Leonard Freed, Photographies 1954–1990, Leonard Freed, Photographies 1954–1990,
Paris 1991, p. 13. Paris 1991, p. 107.
€ 1.600 / € 2.500–3.000 € 1.400 / € 2.000–2.400
46
69 70
ARA GÜLER (1928–2018) MARC RIBOUD (1923–2016)
Istanbul, 1957 Ispahan, Iran 1956
Gelatin silver print, large format print, Vintage silver print
printed in the 2000s 29,8 × 20 cm (11.7 × 7.9 in)
60 × 40 cm (23.6 × 15.7 in) UNESCO credit stamp and label with
Signed by the photographer in pencil in photographer’s credit and description
the margin, blindstamp in the margin and on the reverse
photographer’s stamp on the reverse
€ 1.800 / € 3.000–3.500
LITERATURE
Ara Güler / Orhan Pamuk (eds.), Istanbul,
Cologne 2010, cover and p. 65.
€ 2.800 / € 5.000–6.000
47
71
FRITZ HENLE
(1909–1993)
Auf dem Sonnendeck,
1936
16,6 × 22,5 cm (6.5 × 8.9 in)
Photographer’s stamp, Black Star
stamp and several handwritten
€ 800 / € 1.400–1.600
72
ALFRED
EISENSTAEDT
(1898–1995)
›The Can Man‹,
New York c. 1936
19,7 × 24,2 cm (7.8 × 9.5 in)
Photographer’s agency (PIX)
€ 1.200 / € 2.000–2.500
48
73
F. C. GUNDLACH (* 1926)
Judy Dent, Kreuzberg, Berlin 1962
40,3 × 27,8 cm (15.9 × 10.9 in)
Signed, dated (print date) and annotated by
the photographer in pencil on the reverse
PROVENANCE
* € 1.400 / € 2.500–3.500
74
PETER BRÜCHMANN (* 1932)
U.S. Army at Checkpoint Charlie,
Berlin 1960s
32,3 × 48,3 cm (12.7 × 19 in)
Photographer’s copyright stamp on
the reverse
€ 1.000 / € 2.000–2.500
49
75
DAVID SEYMOUR (1911–1956)
Prostitute near the partially destroyed
Krupp factory, Essen 1947
15,3 × 13,5 cm (6 × 5.3 in)
Photographer’s agency stamp and label with
typographic press description on the reverse
PROVENANCE
Estate of James A. Fox (former Magnum
editor in chief)
€ 2.600 / € 4.500–5.000
50
76
SUSAN MEISELAS (* 1948)
›Lena on the Bally Box‹ (from
›Carnival Strippers‹), Essex
Junction, Vermont 1973
35,5 × 53 cm (14 × 20.9 in)
Signed, titled and dated by the
PROVENANCE
LITERATURE
Susan Meiselas, Carnival Strippers,
New York 1976, cover.
€ 2.200 / € 3.600–4.600
77
›Backstage, Carlisle‹
(from ›Carnival Strippers‹),
Pennsylvania 1975
29,8 × 44,3 cm (11.7 × 17.4 in)
PROVENANCE
€ 1.800 / € 3.000–4.000
78
›Carnival Strippers‹, Farrar,
Strauss and Giroux, New York
1976
Original first edition (There was also a later
edition in 2003), SIGNED by Susan Meiselas,
hardcover with dust jacket, 25 × 22 cm
(9.8 × 8.7 in), 150 pages, text in English
LITERATURE
Andrew Roth, The Book of 101 Books,
p. 238–239; The Open Book, Hasselblad
Center, p. 312/313; 802 Photo Books from
the M + M Auer Collection, p. 599.
* € 700 / € 1.200–1.400
51
79
ELLIOTT ERWITT
(* 1928)
Empire State Building,
New York 1955
in the 1990s
44,6 × 29,5 cm (17.6 × 11.6 in)
in ink in the margin, signed,
titled and dated by the photo-
grapher in pencil on the
reverse
PROVENANCE
LITERATURE
Elliott Erwitt, New York, Berlin
2015, p. 101; Elliott Erwitt,
Personal Best, New York /
Kempen 2006, cover.
* € 2.600 / € 4.500–6.000
52
80 Elliott Erwitts ikonische Fotografie California, 1955 fängt
ELLIOTT ERWITT (* 1928) wie kaum ein anderes Bild einen Moment reinen Glücks
California, USA 1955 ein, in einer Komposition, die eine zufällige Entdeckung
nahelegt. Es spricht für Erwitts Talent, zur richtigen Zeit
29,8 × 44,5 cm (11.7 × 17.5 in)
am richtigen Ort zu sein. »Manchmal weiß man, dass
Signed by the photographer in ink in the man eine gute Aufnahme hat, normalerweise aber nicht«,
margin, signed, titled and dated by the erinnert sich Erwitt später. »Ich wusste nie, dass ich
photographer in pencil on the reverse dieses Bild hatte, erst 25 Jahre nachdem ich die Aufnahme
gemacht hatte«, als er sie auf einem Negativ-Kontakt-
LITERATURE
Elliott Erwitt, Snaps, London 2011, streifen entdeckte.
p. 502; William Manchester (ed.),
Elliott Erwitt, Personal Best, New York Elliott Erwitt’s iconic photograph California, 1955 like
2006, p. 434; Elliott Erwitt, Fotografien almost no other image it captures a moment of pure
1946–1988, Lausanne 1988, p. 77. happiness with a composition that evokes an accidental
€ 2.800 / € 5.500–7.000 discovery. It speaks to Erwitt’s talent at being in the right
place at the right time. »Sometimes you know you have
a good shot, but usually you don’t,« Erwitt later recalls.
»I never knew that I had that picture until 25 years after
I took it.«, when he discovered it on a negative contact
strip.
53
81
LOUIS FAURER (1916 –2001)
Men in front of movie cinema,
New York c. 1948
18,8 × 28 cm (7.4 × 11 in)
Signed, annotated and dated by the
€ 1.800 / € 2.500–3.500
82
HELEN LEVITT (1913–2009)
›A Way of Seeing‹, The Viking Press,
New York 1965
First edition, first printing, hardcover with full
black cloth and jacket in perfect condition,
23,5 × 19,7 cm (9 1/4 × 7 3/4 inch), 78 pages. 51 black
and white photographs, essay: James Agee.
Text in English.
LITERATURE
Martin Parr / Gerry Badger (eds.), The Photobook,
Volume 1, p. 252 and 253.
* € 800 / € 1.200–1.400
54
83
VIVIAN MAIER
(1926 –2009)
New York, 1954
in the 2010s
30,2 × 30,5 cm (11.9 × 12 in)
Photographer’s estate stamp with
handwritten date, print date and
ed. number on the reverse, edition
no. 14/15, signed by John Maloof
on the reverse
LITERATURE
John Maloof (ed.), Vivian Maier.
Street Photographer, Munich 2014,
p. 109.
€ 2.600 / € 4.000–5.000
84
VIVIAN MAIER
(1926 –2009)
New York, 1954
the 2010s
30,2 × 30,5 cm (11.9 × 12 in)
Photographer’s estate stamp with
handwritten date, print date and
ed. number on the reverse, edition
no. 6/15, signed by John Maloof
on the reverse
LITERATURE
John Maloof (ed.), Vivian Maier.
Street Photographer, Munich 2014,
p. 116.
€ 2.600 / € 4.000–5.000
55
85
ELLIOTT ERWITT (* 1928)
Tokyo, Japan 1960
20,8 × 31,5 cm (8.2 × 12.4 in)
Signed by the photographer in ink in the
margin, signed, titled and dated by the
PROVENANCE
LITERATURE
Elliott Erwitt, Snaps, London 2011, p. 392.
€ 2.000 / € 3.500–4.000
56
86
MARC RIBOUD
(1923–2016)
Red Light District,
Tokyo 1958
in the 1990s
28,5 × 42,8 cm (11.2 × 16.9 in)
in pencil on the reverse,
photographer’s studio stamp
on the reverse
PROVENANCE
* € 2.000 / € 3.500–4.500
87
JEANLOUP SIEFF
(1933–2000)
Claire Motte (from
the series ›Danse‹),
Paris 1960
24,1 × 35,9 cm (9.5 × 14.1 in)
Photographer’s stamp on
the reverse, annotated in
an unidentified hand in ink
on the reverse, label with
notations referring to book
project (title »Danse«, page.
no., format) on the reverse
* € 1.600 / € 2.800–3.200
57
88 89
JEANLOUP SIEFF (1933–2000) JEANLOUP SIEFF (1933–2000)
Charlotte Rampling, Normandie 1985 Nude on bed, Paris 1969
Vintage silver print Vintage silver print
30 × 20 cm (11.8 × 7.9 in) 30 × 20 cm (11.8 × 7.9 in)
Signed and and dated by the photographer in ink Photographer’s stamp and several handwritten
in the margin, his name stamp on the reverse notations in unknown hands on the reverse
PROVENANCE € 2.400 / € 5.000–6.000

LITERATURE
Jeanloup Sieff, 40 Years of Photography, Paris
1990, p. 263 and 231 (same series).
* € 2.400 / € 4.000–5.000
58
»And I was in love with the girl, the girl who is my wife.
I think a series of photographs should be compared with a novel
or even a poem rather than a painting: let us tell something!«
René Groebli
90 Die Fotografie, die als schöner großformatiger Platin-

RENÉ GROEBLI (* 1927) druck vorliegt, ist Teil der Serie Eye of Love, in der Groebli
›Das Auge der Liebe‹ 1952 seine frisch verheiratete Frau Rita fotografiert. Er
(The eye of love), 1952 dokumentiert ihre Pariser Flitterwochen. Die meisten
Fotos wurden in einem kleinen, einfachen Hotelzimmer
Platinum print, printed in the 2000s
in Montparnasse aufgenommen. Eine junge Frau, die mit
36 × 45 cm (14.2 × 17.7 in)
Signed by the photographer in pencil in den Augen ihres liebenden jungen Mannes gesehen wird.
the margin, signed by him in pencil on the
reverse, his copyright stamp with hand- The image, present as a beautiful large format platinum
written edition no. and print stamp on the print, is part of the series Eye of Love, in which Groebli
reverse, edition no. 2/7 photographs his newly wed wife Rita in 1952. He docu-
PROVENANCE ments their Paris honeymoon. Most of the photographs
in focus Galerie, Cologne were taken in a small, simple hotel room in Montparnasse.
A young woman seen through the eyes of her adoring
LITERATURE
young husband.
René Groebli, Das Auge der Liebe,
Zurich 1954, s. p.
* € 2.800 / € 5.000–6.000
59
91
PANORAMIC IMAGE
Viking 2 lander image of Utopia Planitia, Mars 1975
Vintage silver prints, mounted on the original cardboard
12,5 × 56 cm (4.9 × 22 in)
This rocky panoramic scene is the second picture of the Martian
surface that was taken by Viking 2 lander shortly after touchdown
on September 3 rd at 3:58 PM (Earth received time). The site is
on a northern plain of Mars, known as Utopia Planitia. The picture
sweeps around 330 degrees, rare vintage print montage
€ 1.200 / € 2.000–2.400
92
BUZZ ALDRIN
›Moonfire‹, Benedikt Taschen
Verlag, Cologne 2009
The Epic Journey of Apollo 11, limited
edition book in original case with signed
and numbered framed photo of Buzz
Aldrin, texts by Norman Mailer, Colum
McCann, and Buzz Aldrin, published for
the fortieth anniversary of the landmark
Apollo 11 mission, this amazing 348-
page, numbered, edition no. 1716/1969,
hardcover book is housed in a custom-
molded white resin box with a convex
plexiglas window; 15.5 × 18.5 in, with a
stunning 12.7 × 15.7 in archival-quality
color photograph of the famous »visor«
photo of Aldrin on the moon in a
14.5 × 17.5 in plexiglass frame, book is
still in original shrink wrap, the print is
pristine, the custom case is excellent
€ 2.500 / € 4.000–5.000
60
93
NEIL ARMSTRONG
(1930–2012)
Buzz Aldrin climbing off
Lunar Module Eagle, NASA
Apollo 11, July 1969
Chromogenic print
30,9 × 28,4 cm (12.2 × 11.2 in)
Handwritten notations »Astronautique
USA Apollo 11« in an unidentified
hand in ink on the reverse
€ 1.400 / € 2.000–2.400
94
NEIL ARMSTRONG
(1930–2012)
Buzz Aldrin with a seismic
experiment, NASA Apollo 11,
July 1969
Chromogenic print
30,3 × 27,9 cm (11.9 × 11 in)
Handwritten notations »Astronautique
USA Apollo 11« / »NASA« / »1969«
in an unidentified hand in ink on the
reverse
€ 1.400 / € 2.000–2.400
61
95
THOMAS HOEPKER
(* 1936)
Spain, 1966
19,4 × 28,8 cm (7.6 × 11.3 in)
Photographer’s Stern copyright
stamp and numerical stamp
on the reverse
€ 1.200 / € 2.000–2.400
96
THOMAS HOEPKER
(* 1936)
Spain, 1966
28,7 × 19,3 cm (11.3 × 7.6 in)
Photographer’s Stern copyright stamp,
numerical stamp and several handwritten
€ 1.200 / € 2.000–2.400
62
97
ASTRID KIRCHHERR
(* 1938)
John Lennon, Hamburg 1962
18 × 24 cm (7.1 × 9.4 in)
Signed by the photographer in pencil
on the reverse
€ 900 / € 1.400–1.600
98
ASTRID KIRCHHERR
(* 1938)
Paul McCartney, Germany 1960
18 × 24 cm (7.1 × 9.4 in)
on the reverse
€ 900 / € 1.400–1.600
63
99 100
DOUGLAS KIRKLAND (* 1934) EVE ARNOLD (1912–2012)
›Marilyn with Douglas‹, 1961 Norman Parkinson with Celia
Archival pigment print, printed in 2010 Hammond, London, 1966
44,6 × 31 cm (17.6 × 12.2 in) Gelatin silver print, printed in the 1980s
Signed and annotated by the photographer 40 × 27,3 cm (15.7 × 10.7 in)
in pencil in the margin Signed, titled and dated by the photographer
€ 1.800 / € 3.500–4.000 in pencil on the reverse
PROVENANCE
purchased by the present owner from
the Norman Parkinson Estate
€ 1.800 / € 2.500–3.000
64
102
DENNIS STOCK
(1928–2010)
James Dean in his
aunt’s and uncle’s 101
basement, Indiana, ALFRED WERTHEIMER (1929–2014)
Fairmount, 1955 Elvis Presley, New York 1956
Vintage silver print Gelatin silver print, RC paper, printed in 1987
21,3 × 29,4 cm (8.4 × 11.6 in) 16 × 24 cm (6.3 × 9.4 in)
Photographer’s agency stamp Signed by the photographer in ink in the margin,
and various handwritten notations photographer’s copyright and reproduction stamp
in pencil on the reverse on the reverse
* € 2.000 / € 4.000–5.000 € 600 / € 1.000–1.200
65
103
JAMES A. FOX
(* 1935)
Muhammad Ali,
late 1970s
printed in the 1990s
35,7 × 24,2 cm (14.1 × 9.5 in)
in pencil on the reverse,
blindstamp in the margin
€ 1.000 / € 1.600–2.000
104
JAMES A. FOX
(* 1935)
Jean Baptiste Piedvache
vs. Colin Powers, Paris
1978
in the 1990s
21,5 × 31,6 cm (8.5 × 12.4 in)
Signed, annotated and dated
by the photographer in pencil
on the reverse, blindstamp in
the margin
€ 800 / € 1.400–1.600
66
105
FLIP SCHULKE
(1930–2008)
Muhammad Ali boxing
underwater, Miami 1961
in the 1990s
20,3 × 31,8 cm (8 × 12.5 in)
in pencil on the reverse, his
label on the reverse
LITERATURE
Flip Schulke, Muhammad Ali:
the Birth of a Legend. Miami
1961–1964, London 2000.
€ 1.600 / € 2.500–3.000
67
106
BRUCE DAVIDSON (* 1933)
Central Park, New York City 1992
22 × 32,4 cm (8.7 × 12.8 in)
on the reverse
LITERATURE
Bruce Davidson, Central Park,
New York 1995, s. p.
€ 1.800 / € 3.000–3.500
107
JEAN-PHILIPPE
CHARBONNIER (1921–2004)
Dimanche du Printemps,
Paris 1970
35,3 × 24,9 cm (13.9 × 9.8 in)
Signed, titled, dated and numbered by
the photographer in pencil on the reverse,
edition no. 11/50
PROVENANCE
* € 1.200 / € 2.000–2.500
68
108
PHILIPPE HALSMAN (1906 –1979)
›Dalí Atomicus‹, New York 1948
22,9 × 32,5 cm (9 × 12.8 in)
Photographer’s »Halsman / Dalí Copyright, Philippe
Halsman © 81, Edition Number 112 [handwritten] /250«
stamp on the reverse, edition no. 112/250
LITERATURE
Philippe Halsman’s Jump Book, New York
1959, p. 60–61.
€ 1.800 / € 4.000–5.000
69
109
DIANE ARBUS (1923–1971)
›Loser at a Diaper Party‹, New Jersey 1967
Gelatin silver print, printed by Neil Selkirk
36,2 × 37,5 cm (14.3 × 14.8 in)
Signed by Doon Arbus on the reverse, titled and
numbered 17/75 by her on the edition stamp, dated
»67« on the copyright stamp and with the estate
LITERATURE
Doon Arbus / Marvin Israel (eds.), Diane Arbus: an
aperture monograph, New York 1972, s. p; Diane Arbus:
Revelations, New York 2005, p. 117.
€ 8.000 / € 14.000–16.000
70
110
›The Dwarf, Palisades Amusement
Park‹, New Jersey 1958
34,9 × 23 cm (13.7 × 9.1 in)
Photographer’s agency credit stamp
and handwritten numerical notations on
the reverse
* € 2.600 / € 5.000–6.000
111
›Circus‹, Steidl, Göttingen 2007
First edition, first printing, SIGNED BY BRUCE
DAVIDSON, hardcover in linen without
dustjacket (as issued), 88 pages, 131 photos,
29,7 × 29 cm (11.7 × 11.4 in)
€ 400 / € 700–800
In der Zeit seiner ersten Aufträge für Magnum wurde At the time of his first Magnum commissions, Bruce
Bruce Davidson durch einen Hinweis des zirkusbegeis- Davidson was inspired to undertake an independent
terten Magnum-Archivars Sam Holmes auch zu einem project by Magnum’s archivist Sam Holmes, a circus
unabhängigen Projekt angeregt. Der 24-jährige Fotograf enthusiast. The 24-year-old photographer spent several
verbrachte mehrere Wochen mit der Truppe des Clyde weeks with the Clyde Beatty Circus troupe, named for its
Beatty Circus um den namensgebenden Raubkatzen- main protagonist, a tamer of big cats. Davidson’s main
dompteur. Davidsons Hauptaugenmerk galt weniger den focus was not on the shows but rather on the strenuous
Shows, als dem anstrengenden Alltag einzelner Artisten. daily life of individual artists. He developed a particularly
Besonders zum kleinwüchsigen Clown Jimmy Armstrong strong bond with the clown Jimmy Armstrong, a person
entwickelte er eine enge Beziehung. Die Charakterstärke of short stature. The strength of character and the lone-
und Einsamkeit, die Davidson in der Persönlichkeit des liness Davidson saw in the »Little Man’s« personality
»Little Man« sah, beeindruckten ihn tief. Die vorliegende, impressed him greatly. The present, rarely offered image,
selten angebotene Aufnahme, zeigt Davidsons untrüg- shows Davidson’s unerring instinct for touching moments
lichen Instinkt für berührende Momente, die gerade in whose poetry unfolds especially in their contingency
ihrer Kontingenz und Flüchtigkeit Poesie entfalten. and fleetingness.
71
113
RICHARD AVEDON (1923–2004)
Allen Ginsberg and Peter Orlovsky,
Poets, New York City, December 30 th,
1963
112 Gelatin silver print, printed in 1980, framed
59,5 × 49,8 cm (23.4 × 19.6 in)
RICHARD AVEDON Signed by Avedon, Ginsberg and Orlovsky, dated
(1923–2004) and editioned: signed and numbered by Richard
›In the American West‹, Harry Avedon, additionally signed, dated »1981«,
N. Abrams, New York 1985 annotated »Halloween NYC« by Allen Ginsberg
and signed by Peter Orlovsky, all in ink with title,
First edition, first printing, SIGNED with
dated and copyright stamps on the reverse,
vintage dedication by Richard Avedon in
edition no. AP 5/5 from an edition of 50 + 5 APs
1985, hardcover with clear acetate jacket;
28,5 × 36,3 cm (11.2 × 14.3 in), 174 pages, PROVENANCE
100 photos in black and white, text in Purchased from Phillips de Pury, previously owned
English by Allen Ginsberg
LITERATURE LITERATURE
Martin Parr / Gerry Badger (eds.), Avedon, Autobiography, pl. 139 Random House,
The Photobook, Volume 2, p. 38. Richard Avedon: Evidence 1944–1994, p. 147.
* € 500 / € 800–1.000 € 12.000 / € 20.000–25.000
Allen Ginsberg, einer der führenden Schriftsteller der Allen Ginsberg, one of the leading writers of the Beatnik
Beatnik-Generation, erregte 1957 mit der Veröffentlichung Generation, gained much attention in 1957 when his
seines Gedichts Howl große Aufmerksamkeit. Es wurde poem Howl was published. It became the center of an
zum Zentrum eines Obszönitätsprozesses und eröffnete obscenity trial and opened a wild discussion about
eine wilde Diskussion über Homosexualität, die immer homosexuality, which was still a taboo topic and had
noch ein Tabuthema war und in der etablierten Literatur been largely absent from mainstream literature. Richard
weitgehend fehlte. Richard Avedon fühlte sich vom rebel- Avedon was drawn to the rebellious spirit of Ginsberg
lischen Geist Ginsbergs angezogen und lud den Schrift- and invited the writer and his longtime partner, Peter
steller und seinen langjährigen Partner Peter Orlovsky Orlovsky, for a portrait at his studio. The couple is gaz-
für ein Porträt in sein Atelier ein. Das Paar blick ruhig ing calm into the camera, Ginsberg embracing Orlovsky.
in die Kamera, Ginsberg umarmt Orlovksy. Mit seinem With his egalitarian eye Avedon captured the tender
egalitären Blick erfasste Avedon die zarte Vertrautheit familiarity between the couple. It does not surprise that
zwischen den beiden. Es überrascht nicht, dass das Bild the image became an icon of the gay rights movement in
in den 1960er Jahren zu einer Ikone der Schwulenrechts- the 1960s and enjoyed wide circulation in the community.
bewegung wurde und eine weite Verbreitung in der Ginsberg would later refer to it as having »wide use as a
Community fand. Ginsberg würde es später als »eine Art sort of pinup«. First featured on the cover of the liberal
Pin-up mit weitläufiger Nutzung« bezeichnen. Erstmals publication Evergreen Review in 1970, it was later used as
auf dem Titelblatt der liberalen Publikation Evergreen the frontispiece of Ginsberg’s Straight Hearts Delight, an
Review 1970 erschienen, wurde es später als Titelbild von anthology of letters and poems between the two men.
Ginsbergs Straight Hearts Delight verwendet, einer An- Avedon created an image whose relevance still remains
thologie von Briefen und Gedichten zwischen den beiden undiminished. The present print originally belonged to
Männern. Avedon schuf ein Bild, dessen Relevanz immer Allen Ginsberg and is signed by the photographer and
noch ungebrochen ist. Der vorliegende Abzug gehörte both depicted writers.
ursprünglich Allen Ginsberg und ist vom Fotografen und
den beiden abgebildeten Autoren signiert.
72
73
114
LUCIEN CLERGUE
(1934–2014)
Nu Zébré, 1998
25,2 × 36,5 cm (9.9 × 14.4 in)
Signed, annotated and numbered
by the photographer in ink in the
margin, edition no. 6/30
PROVENANCE
* € 1.800 / € 3.000–3.500
115
FLORIS NEUSÜSS (* 1937)
Barbie (Photogram), 1993
Gelatin silver print, autoreversal paper,
unique print
44 × 32 cm (17.3 × 12.6 in)
PROVENANCE
€ 1.400 / € 2.000–2.500
74
116 PROVENANCE
IRVING PENN The present contact sheet
comes from the collection of
(1917–2009) Austrian photographer Roland
›Woman in Chicken Pleterski, who worked as an
Hat (Lisa Fonssagrives- assistant for Penn in 1953 in
Penn)‹, New York 1949 New York. Pleterski became
a close friend of Penn and
Vintage contact print with
his wife Lisa Fonssagrives,
11 images
to whom he shared a special
25,4 × 20,7 cm (10 × 8.1 in)
relationship.
Copyright stamp »PROOF,
Date of Sitting Dec 2–1949 LITERATURE
The Condé Nast Publishers, John Sarkowski (ed.), Irving
Inc.)« stamp on the reverse Penn, Museum of Modern
Art, New York 1984, pl. 50
(same series).
€ 3.000 / € 6.000–7.000
75
117 118
FRANZ HUBMANN FRANZ HUBMANN
(1914–2007) (1914–2007)
›Weinkost bei der Messe‹ Joe Zawinul, Vienna
(Wine tasting at the 1958
fair), Vienna 1962 Vintage silver print
Vintage silver print 24 × 15 cm (9.4 × 5.9 in)
24 × 17,9 cm (9.4 × 7 in) Photographer’s studio stamp
Photographer’s studio stamp and several handwritten nota-
and annotated by him in ink tions by the photographer in
on the reverse pencil and ink on the reverse
PROVENANCE PROVENANCE
Estate of Franz Hubmann Estate of Franz Hubmann
LITERATURE € 1.200 / € 2.000–2.400

Franz Hubmann, Das Photo-
graphische Werk, Vienna /
Munich 1999, p. 134; Margit
Zuckriegl / Gerald Piffl (ed.),
Franz Hubmann, Photograph,
Vienna 2001, p. 80.
€ 1.200 / € 2.000–3.000
76
119
INGE MORATH
(1923–2002)
Romeria del Rocio,
Almonte, Spain 1955
22,5 × 33,1 cm (8.9 × 13 in)
Signed, titled and numbered
on the reverse
LITERATURE
Kurt Kaindl (ed.), Inge Morath.
Fotografien 1952–1992, Salz-
burg 1992, p. 42, Inge Morath.
Das Leben als Photographin,
Munich 1999, p. 51.
€ 1.800 / € 3.000–3.500
77
120
Marilyn Monroe in ›The Misfits‹,
Nevada 1960
19,6 × 29,8 cm (7.7 × 11.7 in)
Photographer’s agency stamp, neg. no.
stamp and several handwritten notations
LITERATURE
James Goode, The Story of The Misfits,
Indianapolis 1961 [daily record of the shoo-
ting]; Alain Bergala, Magnum Cinéma. Des
histoires de cinema par les photographes
de magnum, Paris 1994, p. 11f. and 170
[same series]; Arthur Miller, Serge Toubiana,
The Misfits. Story of a Shoot, London:
Phaidon 2000, p. 42, 92–95, 131, 133, 136,
137 [same series].
* € 2.400 / € 4.000–5.000
121
PHILIPPE HALSMAN
(1906 –1979)
›Marilyn jumping‹, 1952
Gelatin silver print, printed 1981
25,3 × 33 cm (10 × 13 in)
Photographer’s »Halsman / Marilyn,
Copyright Philippe Halsman © 81,
Edition Number 149 [handwritten] /
250« stamp on the reverse
€ 1.800 / € 2.500–3.500
78
122
INGE MORATH
(1923–2002)
Sevilla, 1987
21,7 × 33,5 cm (8.5 × 13.2 in)
Signed and annotated by the
photographer in pencil on
the reverse
LITERATURE
Kurt Kaindl (ed.), Inge Morath
New York, Salzburg / Vienna
2002, cover.
€ 2.400 / € 4.000–5.000
123
NICOLAS
TIKHOMIROFF
(1927–2016)
Orson Welles, Anthony
Perkins and Romy
Schneider, The Trial,
Paris 1961
in the 1990s
23,5 × 35,5 cm (9.3 × 14 in)
Photographer’s blindstamp
in the margin; signed by
on the reverse
€ 1.600 / € 2.500–3.000
79
124
ANDRÉ DE DIENES
(1913–1985)
Marilyn Monroe, Tobey
Beach 1949
Archival pigment print, printed
in 2006
50 × 40 cm (19.7 × 15.7 in)
Estate stamp and edition stamp
* € 1.400 / € 2.000–2.400
125
BERT STERN
(1929–2013)
Marilyn Monroe
(›The Last Sitting‹),
Los Angeles 1962
Chromogenic print, printed
in the 1980s, rare large format
exhibition print
61,5 × 50,7 cm (24.2 × 20 in)
Signed and numbered by the
photographer in ink in the
margin, edition no. 68/250
PROVENANCE
* € 2.400 / € 4.000–5.000
80
126
BETTINA RHEIMS (* 1952)
Karen Elson, Paris 2009
Archival pigment print
37 × 27 cm (14.6 × 10.6 in)
Signed, titled and numbered by
the photographer on the reverse,
photographer’s copyright stamp
LITERATURE
Bettina Rheims, Retrospective,
Munich 2004, pl. 109 and cover.
€ 1.800 / € 3.500–4.000
127
BETTINA RHEIMS (* 1952)
Nataša Vojnović, Paris 2005
37 × 27 cm (14.6 × 10.6 in)
Signed, titled and numbered by
the photographer on the reverse,
photographer’s copyright stamp
€ 1.800 / € 3.500–4.000
81
128
PATRICK
DEMARCHELIER
(* 1943)
Roy Lichtenstein,
New York 1993
in the 1990s
60,6 × 50,6 cm (23.9 × 19.9 in)
Signed, annotated and numbered
on the reverse, his copyright and
edition stamp on the reverse,
edition no. 4/20
PROVENANCE
* € 2.000 / € 3.200–4.200
129
KARIN SZÉKESSY
(* 1939)
Joseph Beuys, 1960
in the 1990s
32,7 × 48 cm (12.9 × 18.9 in)
Signed and annotated by
on the reverse
€ 1.200 / € 2.000–2.400
82
130
DAVID BAILEY (* 1938)
Lord Snowdon, 1965
Gelatin silver print, contact sheet
from the 1970s
25,5 × 20,2 cm (10 × 8 in)
Annotated »DBx 58« in the margin
and several handwritten notations
on the reverse
€ 1.600 / € 2.500–3.000
83
131
DAVID DOUGLAS
DUNCAN (1916 –2018)
Pablo Picasso – The Great
Snow Owl, Villa La Californie,
Cannes 1957
Gelatin silver print
23 × 34 cm (9.1 × 13.4 in)
Photographer’s stamp and several
numerical notations in ink on the reverse
LITERATURE
David Douglas Duncan, Viva Picasso,
Zu seinem 100. Geburtstag, Vienna
et al. 1981, p. 86f.
€ 2.400 / € 4.000–5.000
132
PHILIPPE HALSMAN
(1906 –1979)
Salvador Dalí with Rhinoceros
Head, New York 1956
25,5 × 32,8 cm (10 × 12.9 in)
Photographer’s »Halsman / Dalí
Copyright, Philippe Halsman © 81, Edition
Number 133 [handwritten] / 250« stamp
LITERATURE
Philippe Halsman’s Jump Book,
New York 1959, p. 60–61.
€ 1.400 / € 2.000–2.400
84
133
ABE FRAJNDLICH (* 1946)
Roy Lichtenstein, New York 1985
C-print, printed in 2000
30,7 × 25,5 cm (12.1 × 10 in)
Signed and annotated by the photographer
in ink on the reverse
PROVENANCE
€ 900 / € 1.400–1.600
85
134 135
SEPP DREISSINGER (* 1946) INGE MORATH (1923–2002)
Thomas Bernhard, Café Bräunerhof, Heinrich Böll, Cologne 1972
Vienna 1988 Vintage silver print
Vintage silver print 34 × 22,5 cm (13.4 × 8.9 in)
27,3 × 18,2 cm (10.7 × 7.2 in) Signed, titled and numbered by the
Photographer’s copyright label on the reverse photographer in pencil on the reverse,
agency stamp on the reverse
€ 1.000 / € 2.000–2.400
€ 1.400 / € 2.000–2.400
136
ISOLDE OHLBAUM (* 1953)
Thomas Bernhard, Ottnang, 1978
Gelatin silver print, RC paper
26,6 × 39,8 cm (10.5 × 15.7 in)
Photographer’s copyright stamp and
Literaturarchiv Winterthur label on the reverse
€ 600 / € 1.000–1.200
86
137
INGE MORATH (1923–2002)
›Saul Steinberg‹ (from the series ›Saul
Steinberg Masks‹), New York 1959
32,7 × 22 cm (12.9 × 8.7 in)
Annotated by the photographer in pencil on the
reverse, copyright agency stamp on the reverse
LITERATURE
Saul Steinberg Masquerade. Photographs by
Inge Morath, Viking Studio 2000, p. 10.
€ 2.000 / € 4.000–5.000
87
138
LISETTE MODEL (1901–1983)
›Sailor and Girl‹ and the Aperture
Monograph ›Lisette Model‹, New
York: Aperture, 1979
Limited edition of only 300 numbered copies,
ed. no 286/300, a large monograph with a
preface by Berenice Abbott, hardcover in cloth
slipcase with print »Sailor and Girl« BOOK AND
PRINT SIGNED BY LISETTE MODEL, print size:
48,3 × 40,4 cm (19 × 15.9 in)
€ 1.200 / € 2.500–3.000
139
MIKE BRODIE (* 1985)
›A Period of Juvenile Prosperity‹,
TBW Books, Oakland 2013
Limited edition book with chromogenic print
(9 × 12 in), edition no. 32/75, book and print
SIGNED by Mike Brodie, hardcover with dust
jacket housed in a screen printed, signed and
numbered chipboard slipcase; 34,3 × 29,2 cm
(13.5 × 11.5 in), 60 color plates, the jacket design
originates from Brodie’s handwritten notes from
the afterword of the book itself. 13 × 11 in
LITERATURE
Martin Parr / Gerry Badger (eds.), The
Photobook, Volume III. (London and New York:
Phaidon, 2014]
€ 2.000 / € 3.000–4.000
140
ED VAN DER ELSKEN
(1925–1990)
›De ontdekking van Japan‹
(Discovering Japan), Fragment
Uitgeverij, Amsterdam 1988
First and limited edition with print SIGNED by
Ed van der Elsken, hardcover with dust jacket,
176 pages with 151 black-and-white plates
edition no. 24/50, signed by Ed van der Elsken.
»Ratatouille Japonica« is a separate 35 page
staple bound paperback tucked into the inside
rear cover. Laid in is a photo designated »Tokyo
1981« signed in pencil on the rear with the
additional notation »Printed by E« by the photo-
grapher, text in Dutch by Ed van der Elsken.
€ 1.800 / € 2.600–3.000
88
141
DAVID GOLDBLATT
(1930–2018)
›Particulars‹, Johannesburg:
Goodman Gallery Editions, 2003
First edition, special edition with print,
limited edition of 100 copies, book
edition no. 1/100, gelatin silver print
(1975) edition no.1/25 (4 different prints
à 25 copies), book and print are signed
and numbered, 60 pages, hardback with
full black cloth, slipcase in black linen, 27
black and white photographs, 37 × 35 cm
(14.5 × 13.5 in)
LITERATURE
Martin Parr / Gerry Badger (eds.), The
Photobook, Volume 2, p. 114–115.
€ 1.800 / € 2.600–3.000
142
PIETER HUGO (* 1976)
›Nollywood‹, Prestel Verlag,
Munich 2009
Special edition, first printing, SIGNED
book with signed and numbered c-print
(16 × 16 cm), strongly limited edition
of 150, edition no. 91/150, new, mint,
unread; still originally shrink-wrapped in
publisher’s paper, hardcover with black
slipcase, 25 × 26,5 cm (9.8 × 10.4 in). 112
pages. 41 colour photos, text in English
* € 900 / € 1.400–1.600
143
DAVID ALAN HARVEY
(* 1944)
›(Based on a true story)‹,
New York: Burn Books, 2012
First limited edition, with SIGNED
20 × 15 cm print (2 of 5), hardcover outer
cover with loose folded pages, folded
over blue silk thread, attached to cover
through holes and a bead at each end,
book accompanied by a poster in a
slip-on cover, 24,5 × 17 cm (9.6 × 6.7 in),
132 pages, numerous color photographs,
print size 20 × 15 cm
€ 700 / € 1.400–1.600
89
144
ARNO RAFAEL
MINKKINEN (* 1945)
Narragansett, Rhode
Island, 1973
35,3 × 49,3 cm (13.9 × 19.4 in)
Signed by the photographer in
pencil in the margin (embossed
writing)
LITERATURE
Arno Rafael Minkkinen, Saga. The
Journey of Arno Rafael Minkkinen,
San Francisco 2005, cover.
* € 1.600 / € 2.500–3.000
145
ARNO RAFAEL
MINKKINEN (* 1945)
Self-portrait, (from the
series »Water and Sky«),
Bern 1975
37,2 × 35,2 cm (14.6 × 13.9 in)
Signed by the photographer in
pencil in the margin (embossed
writing)
* € 1.800 / € 2.800–3.400
90
146
EIKOH HOSOE (* 1933)
›Embrace‹ #28, 1969
22 × 15 cm (8.7 × 5.9 in)
Signed and dated by the photographer in pencil 147
in the margin, signed, titled and dated by the
›Man and Woman‹ #33, 1960
€ 1.800 / € 3.000–3.500
15 × 23,3 cm (5.9 × 9.2 in)
Signed and dated by the photographer in pencil
in the margin, signed, titled and dated by the
LITERATURE
Eikoh Hosoe, Man and Woman, Tokyo 1961, s. p.
€ 1.800 / € 3.000–3.500
148
›Shadow of a Badhi Tree‹, 1992
Gelatin silver print, mounted on the original
cardboard
20,3 × 19,8 cm (8 × 7.8 in)
Signed and numbered by the photographer in
pencil in the margin, signed, titled and dated by
him in pencil on the reverse, edition no. 11/20
€ 1.800 / € 3.000–3.500
91
149
WILL McBRIDE (1931–2015)
›Pause in Les Beaux bei Arles‹, 1978
19,4 × 28,9 cm (7.6 × 11.4 in)
€ 1.400 / € 2.000–2.400
150
LARRY CLARK (* 1943)
›Teenage Lust‹, Self-published,
New York 1983
First edition, first printing, SIGNED by Larry
Clark, softcover, 22,8 × 29,3 cm (9 × 11.5 in),
unnumbered pages, text in English
LITERATURE
Andrew Roth, The book of 101 books,
p. 244/245; Martin Parr / Gerry Badger (eds.),
The Photobook, Volume 1, p. 260. Named by
Andrew Roth as one of the 101 most influential
photobooks of the 20 th century (p. 244/245).
* € 800 / € 1.400–1.600
92
151
JOCK STURGES
(* 1947)
›Vanessa, Montalivet‹,
France 2000
37 × 47,7 cm (14.6 × 18.8 in)
PROVENANCE
acquired by the present owner
directly from the photographer
€ 1.400 / € 2.000–2.400
152
JOCK STURGES
(* 1947)
›Fanny, Montalivet‹,
France 1995
25 × 33 cm (9.8 × 13 in)
on the reverse, edition no.
12/25
€ 1.000 / € 1.800–2.400
93
153
NOBUYOSHI ARAKI
(* 1940)
Untitled #28 (Love by
Leica), Japan 2006
16,9 × 25,5 cm (6.7 × 10 in)
LITERATURE
Nobuhiko Kitamura (ed.),
Nobuyoshi Araki. Love by
Leica, Tokio 2006, s. p.
* € 2.600 / € 5.000–6.000
154
NOBUYOSHI ARAKI
(* 1940)
Leica), Japan 2006
16,9 × 25,5 cm (6.7 × 10 in)
LITERATURE
* € 2.600 / € 5.000–6.000
94
155
NOBUYOSHI ARAKI
(* 1940)
Leica), Japan 2006
16,9 × 25,5 cm (6.7 × 10 in)
LITERATURE
* € 2.600 / € 5.000–6.000
156
NOBUYOSHI ARAKI
(* 1940)
Leica), Japan 2006
16,9 × 25,5 cm (6.7 × 10 in)
LITERATURE
* € 2.600 / € 5.000–6.000
95
157
HELMUT NEWTON (1920–2004)
Violetta Sanchez, Paris 1979
Gelatin silver print, between acrylic glass, framed
35 × 26,7 cm (13.8 × 10.5 in)
on the reverse
PROVENANCE
€ 5.000 / € 10.000–12.000
96
158
JAN SAUDEK (* 1935)
›Playing Card #377‹, Prague c. 1990
Vintage silver print, hand coloured, by Saudek,
large format print
59,8 × 50,5 cm (23.5 × 19.9 in)
in ink in the margin
PROVENANCE
LITERATURE
Daniela Mrázková, Jan Saudek. Divadlo Života
(Theatre of Life), Prague 1991, p. 181.
* € 2.000 / € 3.500–4.500
159
JAN SAUDEK (* 1935)
›Mother and daughter‹,
Prague 1991
Vintage silver print, hand coloured
by Saudek, large format print
59 × 50,5 cm (23.2 × 19.9 in)
Signed and dated by the
photographer in ink in the margin
PROVENANCE
* € 1.600 / € 3.000–4.000
97
160 Franz West entwickelte ab 1973–1974 seine rätselhaften
FRANZ WEST (1947–2012) und in der Kunstszene viel beachteten »Passstücke«.
›Spanische Nächte‹ (Collage, Franz Diese Plastiken aus Materialien wie Papiermaché und Gips
West and others posing with his sollten als benutzbare Objekte und plastische Erweiterung
›Adaptives‹), 1980s des menschlichen Körpers dienen. Beide vorliegende
Kontaktabzüge zeigen für West typische Szenarien einer
Contact prints, gelatin silver prints
Anweisung zur Benutzung seiner Passstücke. Die Collage
c. 18,5 × 22,2 cm (7.3 × 8.7 in)
collage made of 17 different sized prints and
ist intuitiv von West aus unterschiedlich zugeschnittenen
contact prints, total of 30 images, comes with und zerrissenen Kontaktstreifen zusammengefügt. Die
certificate by the archive of Franz West, titled Aufnahmen zeigen Franz West und andere Akteure in
in pencil (most likely by the artist) on the gewitzten Choreografien beim Hantieren mit Passstücken
reverse und verdeutlichen, dass Wests Arbeiten ihre Vervollstän-
€ 8.000 / € 14.000–16.000 digung oft erst durch deren Rezeption erfahren.
98
From 1973–1974, Franz West developed his enigmatic 161
»Passstücke« (fitting pieces or adaptives), which attracted FRANZ WEST (1947–2012)
a great deal of attention in the art world. These sculptures Untitled (Couple posing with his
made of materials such as papier mâché and plaster ›Adaptives‹), late 1970s
were meant as usable objects and sculptural extensions of
Contact sheet with 36 images,
the human body. Both these contact prints show scenarios
gelatin silver print
typical for West — instructions for the use of his adaptives. 30,4 × 23,9 cm (12 × 9.4 in)
The collage is intuitively assembled by West from
€ 2.000 / € 4.000–5.000
differently cut and ripped contact strips. The photographs
show Franz West and other participants in shrewd choreo-
graphies handling his »Passstücke«, and make it clear,
that West’s works are often only completed through
their reception.
99
162
ELINOR CARUCCI
(* 1971)
Haircut, 1994
Chromogenic print
33 × 49 cm
photographer in ink on the
reverse, edition no. 9/15
€ 800 / € 1.400–1.600
163
ELINOR CARUCCI
(* 1971)
Mirror Reflection, 1994
Chromogenic print
33 × 49 cm (13 × 19.3 in)
photographer in ink on the
reverse, edition no. 3/15
€ 800 / € 1.400–1.600
100
164
NAN GOLDIN (* 1953)
›Nan at the hospital after battering‹,
Berlin 1984
Cibachrome, printed in the 1980s
40,5 × 60 cm (15.9 × 23.6 in)
Signed, titled and annotated »A.P.« by the
photographer in ink on the reverse
€ 3.400 / € 7.000–8.000
101
165
CHRISTER
STRÖMHOLM
(1918–2002)
Car with leaves, 1960s
printed 1980
20,1 × 27,7 cm (7.9 × 10.9 in)
in ink on the reverse, his finger-
print stamp on the reverse
€ 2.000 / € 3.500–4.000
166
JEFF WIDENER
(* 1956)
Mailbox, Badlands, 2010
33 × 48 cm (13 × 18.9 in)
Signed and annotated by the
reverse, his copyright stamp on
the reverse, edition no. 2/4
€ 1.200 / € 2.000–2.400
102
167
ABELARDO
MORELL (* 1948)
Camera Obscura Image
of the Brooklyn Bridge
in Bedroom, 1999
Gelatin silver print, framed
45,8 × 56,5 cm (18 × 22.2 in)
Signed, titled, dated and
numbered by the photographer
on the reverse, from an edition
of 30
€ 2.800 / € 4.500–5.500
168
BERND BECHER (1931–2007)
HILLA BECHER (1934–2015)
›Anonyme Skulpturen. Eine Typologie
technischer Bauten‹, Düsseldorf: Art-Press
Verlag. Wittenborn &; Co, 1970
The first book by the Bechers, with dust jacket in sensational
condition, one of the most influential photobooks ever,
hardback with full blue cloth and jacket, 194 black and white
photographs 28 × 21,7 cm (11 × 8.5 in), 216 pages, text in
German, French, English
LITERATURE
Andrew Roth, Book of 101 Books, p. 194/195; Martin Parr /
Gerry Badger (eds.), The Photobook, Volume 1, p. 266.
* € 900 / € 1.500–1.800
103
169
LUIGI GHIRRI
(1943–1992)
Untitled, Italy 1973
Vintage chromogenic print
28 × 39,5 cm (11 × 15.6 in)
Signed and dated by the
photographer in ink in the
image lower right
€ 2.000 / € 3.500–4.500
170
WIM WENDERS
(* 1945)
›Now showing, Lowell,
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
LITERATURE
Wim Wenders, Written in
the West. Photographien aus
dem amerikanischen Westen,
Munich 1987, pl. 33.
* € 2.400 / € 3.500–4.500
104
171
JOEL MEYEROWITZ
(* 1938)
Porch, Provincetown,
1977
Chromogenic Print, 8 × 10 inch
contact print
20,3 × 25,4 cm (8 × 10 in)
by the photographer in ink on
LITERATURE
Museum of Fine Arts, Cape
Light, Color Photographs,
Boston 1987, p. 3 and cover.
€ 2.000 / € 4.000–5.000
172
JOEL MEYEROWITZ
(* 1938)
Beach of Provincetown,
1979
Chromogenic Print, 8 × 10 inch
contact print
20,3 × 25,4 cm (8 × 10 in)
by the photographer in ink on
€ 1.600 / € 2.500–3.500
105
173
ERNST HAAS (1921–1986)
Lights of New York City, 1970
Chromogenic print, printed later by Mark Doyle
32,2 × 45,7 cm (12.7 × 18 in)
Signed and annotated by the photographer’s
son in ink on the reverse, comes with certificate
of the estate, edition no. 11/100
* € 1.200 / € 2.000–2.500
106
174
THOMAS HOEPKER (* 1936)
9/11, Manhattan and the Brooklyn
Bridge after the attack on the World
Trade Center, New York 2001
40 × 60 cm (15.7 × 23.6 in)
Signed, titled and numbered by the photographer
in pencil on the reverse, edition no. 6/25
PROVENANCE
* € 1.400 / € 2.000–2.400
107
175
JEANLOUP SIEFF
(1933–2000)
Yves Montand, 1961
the 1990s
35,2 × 23,8 cm (13.9 × 9.4 in)
reverse, his name stamp on the
reverse
PROVENANCE
LITERATURE
Jeanloup Sieff, 40 Years of
Photography, Paris 1990, p. 126
(same series).
* € 2.000 / € 3.000–3.500
176
ABE FRAJNDLICH
(* 1946)
Dennis Hopper, Venice,
California 1987
in 1998
24 × 24 cm (9.4 × 9.4 in)
Signed, annotated and num-
bered by the photographer
in pencil on the the reverse,
edition no. 9/15
PROVENANCE
€ 900 / € 1.400–1.800
108
177
BRYAN ADAMS (* 1959)
Sean Penn, Nova Scotia 1999
Pigment print, framed in the original artist’s wood frame
90 × 121 cm (35.4 × 47.6 in)
Signed by the photographer on label on the reverse,
edition no. 2/7
LITERATURE
Bryan Adams, Exposed, Steidl Verlag 2013, s. p.
€ 5.000 / € 9.000–10.000
178
WOLFGANG WESENER (* 1960)
Lou Reed, Hard Rock Cafe, New York 1986
23,5 × 15,5 cm (9.3 × 6.1 in)
Photographer’s blindstamp in the margin, signed
and annotated by him in pencil on the reverse, copyright
€ 800 / € 1.400–1.600
109
179
PATRICK
DEMARCHELIER
(* 1943)
Cameron Diaz and
Matt Dillon, 1998
Gelatin silver print, mounted
on thicker paper
32,4 × 23,8 cm (12.8 × 9.4 in)
stamp with handwritten date
* € 1.400 / € 2.000–2.500
180
PATRICK
DEMARCHELIER
(* 1943)
Kate Winslet, 1997
Gelatin silver print, mounted on
thicker paper
32,6 × 25 cm (12.8 × 9.8 in)
Photographer’s copyright stamp
with handwritten date in pencil
on the reverse
* € 1.400 / € 2.000–2.500
110
181
HELGA KNEIDL (* 1939)
Romy Schneider, Paris 1973
24,4 × 36 cm (9.6 × 14.2 in)
Signed and annotated by the photo-
grapher in pencil on the reverse,
her copyright label on the reverse
€ 1.000 / € 1.600–2.200
182
GREG GORMAN
(* 1949)
Kim Basinger, 1986
47,8 × 38 cm (18.8 × 15 in)
Photographer’s stamp on the
reverse, therein signed and
annotated by the photographer
in pencil, edition no. 6/20
PROVENANCE
€ 1.600 / € 2.500–3.500
111
183
HELMUT NEWTON (1920–2004)
Dalila Di Lazzaro for Karl Lagerfeld, 1977
Vintage silver print, RC paper
30,3 × 20,5 cm (11.9 × 8.1 in)
Stern copyright stamp with handwritten credit
in ink on the reverse
€ 600 / € 1.000–1.200
112
GLOSSAR GLOSSARY
ZU- / BESCHREIBUNG DER OBJEKTE NAME OF ARTIST / DESCRIPTION

Für jedes Los wird der Fotograf in fett gedruckten Lettern For each lot the name of the photographer appears in
genannt. Auf Zuschreibungen, die Transkription von bold type heading. While every reasonable effort was made
Beschriftungen, Stempel und Datierung wurde größt to provide correct attributions, accurate trans criptions of
mögliche Sorgfalt verwandt. Für die Inhalte der deskriptiven inscriptions, stamps or dates, WestLicht Photographica
Bildbeschreibungen übernimmt WestLicht Photographica Auction does not assume the responsibility for the contents
Auction keine Verantwortung. of descriptive 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, p rinted 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 WestLicht’s knowledge
einem Silbergelatineprint: 1920, Vintage silver print oder of 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 WestLicht-Expertenteams zur
Geschichte der jeweiligen Fotografie, ihrer Provenienz und MEASUREMENTS
visueller Begutachtung. Für die Angaben kann keine Measurements are given height preceding width. Unless
Gewähr übernommen werden. otherwise indicated dimensions given are those of the
actual image size (excluding any margins). Some photo-
MASSANGABEN graphs appear in the catalogue without margins illustrated.
Bei den Maßangaben folgen die Maße der Bildbreite jenen
der Bildhöhe. Sofern nicht anders angegeben, beziehen FRAMING AND MATTING
sich diese Maße auf das tatsächliche Bildformat ohne Photographs described as framed are sold in the frames
jegliche Ränder. Einige Fotografien werden im K atalog in which they have been offered. WestLicht does not take
ohne Rand abgebildet. responsibility for the appearance of the frames or mats, nor
for their conformity to proper standards of conservation.
RAHMUNG UND PASSEPARTOUTS
Die als gerahmt oder montiert angeführten Fotografien CONDITION
werden als solche angeboten und verkauft. WestLicht The general practise is not to indicate condition or
übernimmt keine Verantwortung für den Zustand der defects. Prospective bidders are urged to inspect lots at
mitgelieferten Passepartouts bzw. Untersatzkartons und our public viewing or ask for a condition report at our
Rahmen, auch in Hinblick auf konservatorische Standards. auction department. For condition reports please contact:
anna.zimm@westlicht.com
ZUSTAND
Der Zustand der angebotenen Objekte wird im Allgemeinen
nicht im Katalog erfasst. Interessenten und Bieter werden
ersucht, den Zustand der Lots anlässlich der öffentlichen
Vorbesichtigung zu prüfen oder einen detaillierten Zustands-
bericht anzufordern: anna.zimm@westlicht.com
123, NICOLAS TIKHOMIROFF
FOTOGR AFENINDEX
INDEX OF PHOTOGR APHERS
ADAMS, BRYAN 177 ERWITT, ELLIOTT 79, 80, 85 MEYEROWITZ, JOEL 171, 172
ALDRIN, BUZZ 92 FAURER, LOUIS 81 MINKKINEN,
ARAKI, FENTON, ROGER 1 ARNO RAFAL 144, 145
NOBUYOSHI 153, 154, 155, 156 FOX, JAMES A. 103, 104 MODEL, LISETTE 138
ARBUS, DIANE 109 FRAJNDLICH, ABE 133, 176 MORATH, INGE 119, 122, 135, 137
ARMSTRONG, NEIL 93, 94 FRANCK, MARTINE 59 MORELL, ABELARDO 167
ARNOLD, EVE 100 FRANK, ROBERT 34 NEUSÜSS, FLORIS 115
ASANO, KIICHI 29 FREED, LEONARD 67, 68 NEWTON, HELMUT 157, 183
ATGET, EUGÈNE 2 FUNKE, JAROMIR 11 OFFERHAUS, OKKY 49
AVEDON, RICHARD 112, 113 GALDI, VINCENZO 4 OHLBAUM, ISOLDE 136
BAILEY, DAVID 130 GHIRRI, LUIGI 169 PENN, IRVING 116
BALTERMANTS, DMITRI 46 GOLDBLATT, DAVID 141 RAY, MAN 19
BECHER, BERND & HILLA 168 GOLDIN, NAN 164 RHEIMS, BETTINA 126, 127
BING, ILSE 26, 27 GORMAN, GREG 182 RIBOUD, MARC 51, 52, 54, 70, 86
BOUBAT, ÉDOUARD 28 GRIGNANI, FRANCO 38 RODCHENKO,
BOWN, JANE 47 GROEBLI, RENÉ 43, 90 ALEXANDER 35
BRAKE, BRIAN 53 GÜLER, ARA 69 RONIS, WILLY 31, 32
BRASSAÏ 39 GUNDLACH, F. C. 73 SALAS, OSVALDO 65
BRIGMAN, ANNE 3 HAAS, ERNST 173 SANDER, AUGUST 16, 17, 21
BRISTOL, HORACE 62 HALSMAN, SAUDEK, JAN 158, 159
BRODIE, MIKE 139 PHILIPPE 108, 121, 132 SCHMUTZER, FERDINAND 15
BRÜCHMANN, PETER 74 HARVEY, DAVID ALAN 143 SCHULKE, FLIP 105
BURRI, RENÉ 66 HENLE, FRITZ 71 SEYMOUR, DAVID 75
CAPA, CORNELL 36, 61 HOEPFFNER, MARTA 23 SIEFF, JEANLOUP 87, 88, 89, 175
CAPA, ROBERT 44, 45 HOEPKER, THOMAS 95, 96, 174 STERN, BERT 125
CARTIER-BRESSON, HORST, HORST P. 14 STOCK, DENNIS 48, 102
HENRI 55, 56, 57, 58, 60 HOSOE, EIKOH 146, 147, 148 STRÖMHOLM, CHRISTER 165
CARUCCI, ELINOR 162, 163 HUBMANN, FRANZ 117, 118 STURGES, JOCK 151, 152
CHARBONNIER, HUGO, PIETER 142 SUTKUS, ANTANAS 63
JEAN-PHILIPPE 107 JACOBI, LOTTE 18 SZÉKESSY, KARIN 129
CLARK, LARRY 150 KERTÉSZ, ANDRÉ 24, 25 TIKHOMIROFF, NICOLAS 123
CLERGUE, LUCIEN 114 KIRCHHERR, ASTRID 97, 98 TRČKA, ANTON JOSEF 7
COPPOLA, HORACIO 12, 13 KIRKLAND, DOUGLAS 99 VAN DER ELSKEN, ED 140
DAVIDSON, KNEIDL, HELGA 181 VERONESI, LUIGI 37
BRUCE 106, 110, 111, 120 KOPPITZ, RUDOLF 8, 9, 10 VON GLOEDEN, WILHELM 5
DE DIENES, ANDRÉ 124 KRULL, GERMAINE 6, 20, 33 WENDERS, WIM 170
DEMARCHELIER, LEVITT, HELEN 82 WENDT, LIONEL 41
PATRICK 128, 179, 180 LIST, HERBERT 30 WERTHEIMER, ALFRED 101
DREISSINGER, SEPP 134 MAIER, VIVIAN 83, 84 WESENER, WOLFGANG 178
DUNCAN, MANASSÉ, STUDIO 22 WEST, FRANZ 160, 161
DAVID DOUGLAS 131 McBRIDE, WILL 149 WIDENER, JEFF 166
EDGERTON, HAROLD 42 MEISELAS, SUSAN 76, 77, 78
EISENSTAEDT, ALFRED 72 MENDELSOHN, ERICH 40
116
WestLicht Photo Auction
AUCTION VENUE
OstLicht GesmbH
OstLicht. Gallery for Photography
Absberggasse 27 / 1100 Vienna, Austria
Absberggasse 27 / 1100 Vienna, Austria
Tel.: +43 1 996 20 66-17
www.westlicht-photo-auction.com
info@westlicht-photo-auction.com
ABSENTEE BID FORM
First Name Second Name Customer No.
Street City, ZIP code Country
Tel Fax Email
Do not arrange shipping Shipping Airmail Courier Service
PAYMENT METHOD
VISA MASTERCARD Number Exp. Date
BANK TRANSFER in € (all bank charges pre-paid and including shipping cost)
Account name: OstLicht GmbH; Account number: 9317520, Bank: Raiffeisenlandesbank NOE-Wien AG, Michaelerplatz 3,
A–1010 Vienna; Code: 32000 / Swift code: RLNWATWW / IBAN: AT59 3200 0000 0931 7520
I accept WestLicht Photo Auction to bid on my behalf on the following lots. Absentee bids must be received 24 hours prior to the
start of the auction. The maximum bid price does not include the premium. I agree to be bound by the conditions of sale as printed
in the catalogue.
Date Signature
LOT NO. TITLE MAX. BID € * LOT NO. TITLE MAX. BID € *
* Not necessary for telephone bidders.
I agree to be bound by the conditions of sale as printed in the catalogue. In the catalogue, as long as there are not several higher written bids at hand. The
event that several bidders submitted identical highest bids, the auctioneer will buyer’s premium for all items exported out of the European Community (E.C.)
start by calling out a price in favour of the highest written bid that is 10 % higher is 20 %. For items marked with *, sold and / or shipped within the E.C. the premium
than the second highest written bid. The one that was received first will be is 20 % plus VAT on hammer price and premium (13 % on photographs; 10 % on
awarded the winning bid (unless on-site bids outbid the highest written bid). books). For all other items sold and / or shipped within the E.C. the premium is
Written bids must be received at least 24 hours before the start of the auction 24 % (including VAT). Invoices for successful bids made in writing or by telephone
and they must contain the exact address of the bidder along with the maximum will be sent out to the respective highest bidders after the auction has ended.
bid exclusive any commission or other charges. All bids will be executed as They have to be paid in full and without any deductions within eight days after
cheaply as possible up to the maximum price indicated for each lot. Bids will be reception. Telephone bids have to be confirmed in writing and are at the risk
increased in increments of 10 % of the starting price. The bids for lots valued at of the caller. WestLicht Photo Auction reserves the right to refuse absentee or
EUR 2,000 and higher will be raised in steps of EUR 200, lots valued at EUR 4,000 telephone bids without disclosing the reason.
and higher in steps of EUR 500. As a rule the starting price is the one listed in the
117
V ERSTEIGERUNGSBEDINGUNGEN
für Bieter der WestLicht Photo Auktion (OstLicht GesmbH) Stand: 10.2018
1 Mit der Abgabe eines schriftlichen oder telefonischen Kaufauftrages, eines Während oder unmittelbar nach der Auktion ausgestellte Rechnungen bedürfen
Online-Gebots oder durch die persönliche Teilnahme als Saalbieter erkennt jeder der Nachprüfung; Irrtümer sind vorbehalten.
Bieter bei der WestLicht Photo Auction die folgenden Versteigerungsbedingungen
ausdrücklich an. Die Versteigerungsbedingungen gelten sinngemäß auch für den 7 Die Versteigerung erfolgt in der Reihenfolge der Katalognummerierung.
Nachverkauf. Bei Beanspruchungen aufgrund fehlerhafter Übersetzung ist der Maßgeblich ist der Katalogtext der gedruckten deutschen Ausgabe des Auktions-
deutsche Text der Versteigerungsbedingungen im gedruckten Katalog gültig. katalogs. Jedoch ist der Auktionator berechtigt, Katalognummern in der Verstei-
Gebote und persönliche Daten der Bieter und Einbringer werden von WestLicht gerung zusammen zu fassen, zu trennen, heraus zu nehmen oder die Reihenfolge
Photo Auction streng vertraulich behandelt und nicht an dritte Person zu verändern. Er kann Angebote ablehnen und einen bereits erteilten Zuschlag
weitergegeben. aufheben, um den betreffenden Gegenstand weiter zu steigern.
2 Die Versteigerung ist öffentlich und freiwillig und wird nach den Bestimmun- 8 Gesteigert wird um ca. 10 % des Ausrufpreises. Der Ausrufpreis ist in der
gen der §§ 284 a ff der Gewerbeordnung i. d. F. GRNov 1997 sowie nach den vor- Regel der im Katalog angeführte Startpreis, sofern nicht mehrere höhere schriftliche
liegenden Versteigerungsbedingungen durchgeführt. Die Versteigerung erfolgt Gebote vorliegen. In diesem Fall ruft der Auktionator zu Gunsten des höchsten
im eigenen Namen sowie auf eigene Rechnung. Erfüllungsort und Gerichtsstand Bieters mit dem Betrag aus, der 10 % über dem schriftlichen Gebot des zweit-
ist Wien. Auch im Verhältnis zu ausländischen Bietern ist österreichisches Recht höchsten Bieters liegt. Liegen mehrere gleiche schriftliche Höchstgebote vor, so
maßgeblich. wird zu Gunsten des zuerst eingelangten Gebotes entschieden. Das zugeschla-
gene Gebot ist der Nettokaufpreis.
3 Die Schätzung und fachliche Bestimmung der Objekte erfolgt durch Experten
der WestLicht Photo Auction, die bemüht sind den Zustand der Lose im Katalog 9 Das Eigentum der ersteigerten Ware geht erst nach vollständiger Bezahlung
so adäquat wie möglich zu beschreiben. Irrtums- und Druckfehlerberichtigungen auf den Käufer über. Im Falle des Zuschlages verpflichtet sich der Ersteher zur
bleiben vorbehalten. Ebenso behält sich WestLicht Photo Auction das Recht vor, Abnahme und Zahlung des von ihm ersteigerten Loses. Eine Rücknahme ver-
Berichtigungen der Beschreibung bis zur Versteigerung vorzunehmen. Eine Rück- steigerter Gegenstände seitens des Versteigerers ist ausgeschlossen. Mit dem
nahme ersteigerter Artikel ist prinzipiell ausgeschlossen (siehe Punkt 12). Zuschlag geht die gesamte Haftung für den Versteigerungsgegenstand sofort
auf den Ersteher über. Das ersteigerte Los wird dem Ersteher jedoch erst nach
4 Die Besichtigung der zur Versteigerung vorgesehenen Objekte ist innerhalb vollständiger Bezahlung des Zuschlagpreises und des Aufgeldes, sowie anfallender
des im Katalog angeführten Zeitraumes möglich. Ist einem Bieter die Besichti- Steuern und Gebühren ausgehändigt. Wird vereinbart, den Gegenstand dennoch
gung vor Ort jedoch nicht möglich, geben wir auf Anfrage gerne eine präzisere vor vollständiger Bezahlung auszuliefern, verbleibt der versteigerte Gegenstand
Beschreibung des optischen Zustandes. Diese Auskünfte erteilen wir sowohl bis zum vollständigen Forderungsausgleich Eigentum des Einlieferers.
telefonisch, als auch schriftlich oder per E-Mail – zusätzliche Fotos können wir
jedoch nur per E-Mail zusenden. Während der Besichtigung und der Versteigerung 10 Sofern keine anderen Vereinbarungen getroffen wurden, haben Saalbieter
haftet jeder Besucher für von ihm verursachte Schäden an den Losen in vollem das ersteigerte Gut nach Beendigung der Auktion abzuholen und zu bezahlen.
Umfang. Bei Bezahlung durch Überweisung ist der Betrag sofort und netto inklusive
etwaiger Bankspesen fällig. Die Rechnungen der schriftlich oder telefonisch
5 Vor Versteigerungsbeginn können Gebote schriftlich (Brief, Fax, E-Mail) oder ersteigerten Gegenstände werden nach Beendigung der Auktion an den jeweiligen
online über unsere Homepage) abgegeben werden. Schriftliche Kaufaufträge Höchstbieter verschickt. Diese sind innerhalb von 8 Tagen nach Erhalt an den
müssen dem Versteigerer bis spätestens 24 Stunden vor Beginn der Versteigerung Versteigerer netto ohne Abzug zu bezahlen. Bei Zahlungsverzug werden Verzugs-
in gut leserlicher Form vorliegen. Um berücksichtigt zu werden, müssen sie außer- zinsen in Höhe von 5 % über dem Basiszinssatz der Österreichischen Nationalbank
dem die genaue Anschrift des Auftraggebers, sowie das Höchstgebot in EURO verrechnet. Bei allen Zahlungsarten übernimmt der Ersteher allfällige Spesen.
enthalten. Die darin genannten Preise gelten als Höchstpreise für den Zuschlag, Kosten für Verpackung, Transport und Transportversicherung sind nicht inkludiert
das Aufgeld wird im Falle des Zuschlages zusätzlich in Rechnung gestellt. Wir und werden extra verrechnet. Wir weisen jedoch darauf hin, dass wir ausschließlich
führen schriftliche Gebote gewissenhaft aus, wobei das schriftliche Höchstgebot die Selbstkosten verrechnen und aufgrund unserer Vereinbarung mit Transport-
nur dann ausgeschöpft wird, wenn andere schriftliche oder mündliche Gebote im firmen für den Käufer günstige Transport- und Versicherungstarife anbieten
Saal dies im Interesse des Bieters notwendig machen. Telefonische Gebote sind können. Jede Lagerung und Verpackung erfolgt jedoch grundsätzlich auf Gefahr
erst ab einem jeweiligen Loswert von EURO 500 möglich. Auch für diese Art des des Käufers.
Bietens muss ein Auftrag spätestens 24 Stunden vor der Auktion schriftlich beim
Versteigerer vorliegen. Telefonbieter werden vor Aufruf der gewünschten Lose Für ersteigerte Gegenstände, die nach Ablauf von 30 Werktagen ab Rechnungs-
von WestLicht Photo Auction angerufen. Eine Garantie für das Zustandekommen datum nicht abgeholt worden sind, ist das Auktionshaus berechtigt, eine
der Telefonverbindung kann jedoch nicht gegeben werden. Nachdem sie sich mit Lagergebühr von 1 €–10 € (je nach Größe und Wert) pro Tag und Gegenstand,
einem Ausweis oder einer Kreditkarte legitimiert haben, erhalten Saalbieter vor zu erheben.
Beginn der Auktion eine Bieternummer.
11 Bei Annahmeverweigerung oder Zahlungsverzug haftet der Ersteher für alle
6 Der Kaufpreis besteht aus dem Zuschlagpreis (= Hammerpreis) zuzüglich daraus entstehenden Schäden und Folgekosten. Der Versteigerer kann in diesen
Aufgeld. Fällen entweder Erfüllung des Kaufvertrages oder Schadenersatz wegen Nicht-
erfüllung des Kaufvertrages verlangen. Das Versteigerungsgut kann auf Kosten
Für Lose, die in Länder außerhalb der EU exportiert werden, beträgt das Premium des Erstehers nochmals versteigert werden. In diesem Fall haftet der Ersteher für
20 % (wenn über LIVEAUCTIONEERS geboten wurde 25 %). den Minderpreis und hat auf einen gegebenenfalls erzielten Mehrerlös keinen
Anspruch.
Für Lose, die in der EU verbleiben, beträgt das Premium 24 % (wenn über
LIVEAUCTIONEERS geboten wurde 30 %). 12 Versteigerte Objekte werden prinzipiell nicht zurück genommen. Handelt
es sich jedoch um offensichtliche Fehlbeschreibungen, müssen diese gleich nach
Auf Lose, die im Katalog mit * markiert sind, wird Mehrwertsteuer in Höhe der Auktion mündlich oder spätestens nach 14 Tagen schriftlich reklamiert
von 13 % für Fotografien oder 10 % für Bücher auf Hammerpreis und Premium werden. Wird die Reklamation als gültig anerkannt, hat der Ersteher bei gleich-
verrechnet (Vollbesteuerung), sofern sie in der EU verbleiben. zeitiger Rückgabe des Versteigerungsgegenstandes das Recht auf Erstattung
des Kaufpreises und des Aufgeldes. Weitere Ansprüche können nicht geltend
Nimmt ein Käufer mit Wohnsitz außerhalb der EU die ersteigerten Lose selbst gemacht werden.
in Staaten außerhalb der EU mit, wird ihm im Fall der Regelbesteuerung die
Mehrwertsteuer erstattet, sobald er den österreichischen zollamtlichen Ausfuhr- 13 Nach abgeschlossener Auktion können wir nicht versteigerte Gegenstände
nachweis vorlegt. Im Ausland anfallende Einfuhrumsatzsteuer und Zölle trägt zu den vorliegenden Versteigerungsbedingungen im Namen und für Rechnung
der Käufer. des Einlieferers freihändig verkaufen.
118
CONDITIONS OF SALE
for Bidders at WestLicht Photo Auctions (OstLicht GesmbH) October 2018
1 By submitting an absentee or telephone bid, making an on-line bid offer or 7 The lots will be auctioned in numerical order as listed in the catalogue.
by personal participation in an action each and every bidder agrees to abide by The German text of the auction catalogue is binding. The auctioneer reserves the
the following conditions of sale. These conditions also apply to subsequent sales. right to group numbered lots together during the auction, to separate them, to
Where there is a conflict of meaning due to errors of translation, the German text, remove or to change the order as he sees fit. He may refuse an offer and rescind
as printed in the auction catalogue, is binding. Commission bids and personal an accepted bid in order to continue bidding.
information of those submitting lots for sale and bidders will be dealt with by
WestLicht Photo Auctions in the strictest confidence and will not be passed on 8 Bids will be in increments of approx. 10 % of the starting price. As a rule the
to third parties. start price is the one to be found in the catalogue unless there have been higher
written bids. In this case the auctioneer will call a bid favoring the highest bidder.
2 The auction is public and voluntary and will be conducted in accordance This will be approx. 10 % higher than the written offer made by the second
with the regulations set forth in paragraph 288 a ff of the Trade Regulations of highest bidder. Should there be more than one written, highest bid, the lot will
1997 and also in accordance with these conditions of sale. The auction will be be awarded to the first to arrive. The hammer price is the net purchase price.
conducted in our own name and account. Place of jurisdiction is Vienna. Austrian
law is also binding on all foreign bidders. 9 Ownership of the goods only passes to the buyer after payment in full has
been made. When a lot is hammered down, the acquirer is obligated to accept
3 The valuation and expert description of objects will be carried out by the and pay for the lot for which he bid. In no circumstances will the auctioneer
experts of WestLicht Photo Auctions who will take all reasonable care to describe accept the return of any lots. Once the hammer has fallen all risk with regard to
the condition of the lots in the catalogue as accurately as possible. All errors in the article is transferred to the acquirer. However, the lot will only be delivered to
the catalogue are excepted. WestLicht Photo Auctions also reserves the right to the acquirer after full payment of the hammer price including all taxes, fees and
amend any description up to the time of auction. Auctioned items cannot be charges due.
returned (see also paragraph 12).
Should agreement be reached to deliver the item before full payment has been
4 Viewing of the objects intended for the auction is possible within the period made, ownership of the article in question remains vested in the supplier until
stipulated in the catalogue. If it is not possible for a bidder to view an object in payment has been made in full.
person, we will be happy to forward them a more detailed description of the opti-
cal condition. This information may be given by telephone, in writing, or by email. 10 In the absence of an agreement to the contrary, at the end of the auction
Additional photos can only be sent by e-mail. During both viewing and the bidders in the auction rooms must collect and pay for the lots they have acquired.
auction visitors and bidders should exercise the greatest of care since they will Where payment is to be made by bank transfer, the total purchase price is due
be responsible for any damage caused in full. immediately together with any bank charges. Invoices for the items acquired
either in writing or by telephone will be sent to the highest bidder immediately
5 Written bids may be submitted prior to the start of the auction (by letter, fax, after the end of the auction. These must be paid within 8 days of receipt, in full
e-mail or an on-line offer through our home-page). Written purchase orders must and without deduction. Where payment is delayed interest will be due at a rate
reach the auctioneer at least 24 hours before the start of the auction and must be 5 % above the prevailing rate of the »European Interbank Offered Rate«
clearly legible. In order to be taken into account they must also contain the (EURIBOR) / 3 months. Payment may also be made by cash on delivery, money
client’s exact address as well as their highest bid in EURO. The price specified or postal order or banker’s check. The acquirer accepts responsibility for all
therein will be regarded as the highest hammer price. In the case of a successful expenses involved in these methods of payment. Costs relating to packing, trans-
bid, all additional charges will be added to the bill. We carry out written bids port and transport insurance are not included and will be separately detailed on
scrupulously, the highest bid designated therein only being made use of when invoices. We would also like to bring to your attention that we only invoice for
other offers (written or verbal in the auction rooms) make it necessary to do so in packaging at cost price and that because of agreements reached with transport
the interest of the bidder. Telephone bids are only possible on lots worth more companies we can offer favorable transport and insurance rates. Nevertheless,
than EURO 500 exclusive of charges. In the case of telephone bids too, it is storage and packaging is at the buyer’s own risk.
necessary that the intention to bid by phone be deposited in writing with the
auctioneer at least 24 hours prior to the auction. Telephone bidders will then be The auction house is entitled to collect a storage fee of € 1–€ 10 (depending
called by WestLicht Photo Auctions before bidding starts on the relevant lots. on the size and value) per day and item for items auctioned which have not been
However, there can be no guarantee that a telephone connection can, in fact, collected after the expiry of 30 business days from the date of the invoice.
be made. After having been legitimated by means of an identification document
or credit card, auction-room bidders will be given a bidder number before the 11 In the case of refusal to accept delivery or late payment, the buyer is liable
auction starts. for all damages and costs arising there from. In either of these cases the auction-
eer may require that either the contract be fulfilled or damages resulting from
6 The total purchase price consists oft the hammer price, the buyer’s premium non-fulfillment be paid. The lots may then be auctioned again at the expense
and applicable VAT or amount in lieu of VAT at applicable rate. of the buyer. In this case the buyer is liable for the reserve price and has no claim
on any additional revenue made.
For items exported to Non EC countries, the premium is 20 % (if you use
LIVEAUCTIONEERS: 25 %) 12 Auctioned items cannot be returned. However, any case of obvious
misrepresentation must be reported immediately after the auction verbally or
For items not exported outside the EC the premium is 24 % (if you use in writing not more than 14 days thereafter. If the complaint is accepted as valid,
LIVEAUCTIONEERS: 30 %) the buyer has a right to the repayment of the purchase price and charges upon
simultaneous return of the auctioned object. No other claims will be entertained.
On items marked with * 13 % (for photographs) or 10 % (for books) will be added
on hammerprice and premium for buyers within the EC. 13 After completion of the auction we are entitled to sell any non-auctioned
items subject to the normal conditions of business in the name of, and for the
For property with * symbol VAT registered buyers from European Union (EU) account of, the supplier.
contries may have the VAT refunded if they provide us with their VAT
identification number when registering for bidding.
Buyers taking property to a non EU country in person may have the VAT refunded
if they provide evidence that the property has been removed to another country
outside the EU in the form of a copy of customs export documention stamped
by customs officers.
119
IMPRESSUM
IMPRINT
VERLEGER UND HERAUSGEBER

EDITOR AND PUBLISHER
WestLicht Photo Auction,
OstLicht GmbH, Absberggasse 27, 1100 Vienna, Austria
COPYRIGHT
OstLicht GmbH, Wien Vienna 2019
FÜR DEN INHALT VERANTWORTLICH

RESPONSIBILITY FOR CONTENTS
Peter Coeln
KATALOG- UND TEXTREDAKTION

CATALOGUERS
Anna Zimm
Michael Kollmann (Fotobücher Photobooks)
GRAFIK DESIGN GRAPHIC DESIGN

HammerAlbrecht (Daniel Hammer, Alexandra Varsek)
FOTOGRAF PHOTOGRAPHER
Michael Kollmann, Fabian Friesenbichler
BILDBEARBEITUNG IMAGE EDITING

Pixelstorm – Kostal & Schindler OG
DRUCK PRINT Vorbehaltlich Irrtümer, Satz- und

Druckerei Berger, Ferdinand Berger & Söhne Ges.m.b.H. Druckfehler. Veröffentlichungen
aus diesem Katalog bedürfen der
schriftlichen Genehmigung des
AUKTIONS-AUSSTELLUNG
Verlegers.
VIEWING AND EXHIBITION
We can take no responsibility for
Rebekka Reuter
any mistakes, errors or omissions.
Reproduction of all or any part
KONSERVATORIN CONSERVATOR of this catalogue only with written
Taiyoung Ha permission of the publisher.
137
96, THOMAS HOEPKER
WWW.WESTLICHT-PHOTO-AUCTION.COM

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VIENNA, OCTOBER 12 TH 2019

PROF. JOHANNES FABER 20.

Cartier-Bresson arbeitete mit einer kleinen Leica-Hand-

Working with a small hand-held Leica camera,

PROVENANCE € 2.400 / € 5.000–6.000

90 Die Fotografie, die als schöner großformatiger Platin-

LITERATURE € 1.200 / € 2.000–2.400

ZU- / BESCHREIBUNG DER OBJEKTE NAME OF ARTIST / DESCRIPTION

ABSENTEE BID FORM

First Name Second Name Customer No.

Street City, ZIP code Country

Tel Fax Email

Do not arrange shipping Shipping Airmail Courier Service

* Not necessary for telephone bidders.

VERLEGER UND HERAUSGEBER

FÜR DEN INHALT VERANTWORTLICH

KATALOG- UND TEXTREDAKTION

GRAFIK DESIGN GRAPHIC DESIGN

BILDBEARBEITUNG IMAGE EDITING

DRUCK PRINT Vorbehaltlich Irrtümer, Satz- und

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