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  Werner Rohde, Mask, Gelatin Silver Print c. 1920’s

  WERNER ROHDE (1906-1990) Germany

  Mask   c. 1920s

  Gelatin silver print

  Signed on the back of the photo: Werkbundausstellung “Film und Foto” (typed on label); 9.) 9/ (in ink and red crayon); Kupfer ofun Rourk 60 m R 10.5 x 14.5 cm / ump ubonpposhm bu 6/5 10088 (all in pencil script); fmlg-Rohde Woopswerk (in pencil); Werner Rohde Malen Breuien Oobben 58 (ink script)

  H: 21 7/16” x W: 18 13/16” (framed)

  Price: $17,500

  Werner Rohde’s visual play with the animate and inanimate draws him close to the aesthetics of the surrealists while maintaining a strong alignment with Germany’s new-vision avant-garde. Rohde experimented widely with double exposures, photomontage, perspective and dramatic lighting that reflected his interest in filmic effects. The son of a glass painter (a medium he would turn to later in life), Rohde took up photography during his studies at the Arts and Craft School in Halle. Like Kesting, Willy Zielke and Kretschmer, he participated in the 1929 ‘Film und foto’ exhibition in Stuttgart that remains one of the historical focal points for Germany’s new photographic vision. Despite this early recognition of his work, Rohde fell into obscurity after the war until the rediscovery of his photographs in the mid 1970s. Rohde’s fascination with the play between life and lifeless, animate and inanimate, has strong reverberations with surrealism. Masks, mannequins and paper models were used in his photographs to illuminate the uncanny. They were also employed in his self-portraiture in which he mimicked his idol Charlie Chaplin. These techniques of visual illusion provided a mnemonic tool for the images of his wife in which she is posed and photographed to resemble a doll or mannequin. In the act of art imitating life, ‘Wachspuppenkopf’ is uncanny in its mimicry of the human form with realistic teeth, eyes, skin and even the unusual detail of small wrinkles under the eyes. The downward angle, lighting and odd doubling of the neckline utilizes standard surrealist methods to infer life and movement.

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  Christian Vogt, Nude Female from the “Red Series”, Dye Transfer photograph 1976

  CHRISTIAN VOGT (b.1946) Switzerland

  Nude Female from the “Red Series” 1976

  Dye Transfer photograph
  (continuous-tone color photographic printing process).
  Matte black and gold wood frame

  Signed on back

  Photograph illustrated: Christian Vogt: Photographs, The Master Collection, Vol. 1, by Davis Sue (Geneva: Roto Vision, 1980)

  Marked: Print no. 12/33 1976
  Framed: H: 21 5/8” x W: 17 7/16”

  Price: $17,500

  Christian Vogt has exhibited internationally at venues including The Photographer’s Gallery, (London), the ICP (New York), the Kunsthaus (Zürich), the Yajima Gallery (Montreal), the Tel Aviv Museum (Isreal), the Rencontres Internationales (Arles), the Centre Pompidou (Paris), the Galerie Watari (Tokyo), the Preuss Museum (Norway), the Edwynn Houk Gallery (Chicago), the CCD Galerie (Düsseldorf) and the Kunstmuseum (Hannover) among many others.

  His photography is included in numerous important collections such as the Bibliotheque Nationale (Paris), the Swiss Foundation for Photography (Winterthur), the Musée de l’Elysee (Lausanne), the Modern Museet (Stockholm), the Tel Aviv Museum (Tel Aviv) and the Polaroid Collection (Cambridge, USA). He currently resides in Basel, Switzerland.