Fleischmann by Steffi Brandl

**Steffi Brandl** (1899–1966) ~ Trude Fleischmann, Austria, Vienna, ca. 1925 | src OstLicht Photo Auction

Rare portrait of the famous Viennese photographer, at whose studio Brandl worked. Fleischmann was what is now called a good networker and cultivated customer contacts like friendships with costume parties in her studio. The portrait most likely shows her dressed for such an occasion.

Seltenes Porträt der berühmten Wiener Fotografin, in deren Atelier Brandl arbeitete. Fleischmann war, wie man heute sagt, eine gute “Netzwerkerin”, die ihre Kundenkontakte und Freundschaften auch mit der Veranstaltung von Kostümfesten in ihrem Atelier pflegte. Es ist anzunehmen, dass sie dieses Porträt in einer Garderobe für einen solchen Anlass zeigt.

Portrait by Steffi Brandl

**Steffi Brandl** (1899–1966) ~ Portrait of a woman, Vienna, Austria, ca. 1924. Signed with her maiden name: Stefanie Katser

**Steffi Brandl** (1899–1966) ~ Portrait of a woman, Vienna, Austria, ca. 1924 | src Ostlicht Auktionen

Barbara Hoyer by Artur Nikodem

**Artur Nikodem** (1870–1940) ~ Barbara (Hoyer) with an orange, Innsbruck, Austria, 1928 | src OstLicht Auktionen

Trained in Munich by Defregger and Kaulbach, the Innsbruck artist enjoyed international success as a landscape painter from 1920 until his career ended with the Nazi takeover. He did not use photography for templates, but as a medium in its own right and experimented in many photographic genres and pictorial languages in his mostly very small-format prints; yet his astonishing photographic oeuvre did not receive attention until the 1980s. This photo features the artist’s second wife Barbara Hoyer (1907–1970), who posed for many of his staged photographs.

**Artur Nikodem** (1870–1940) ~ Barbara with an orange, Innsbruck, Austria, 1928 | src OstLicht Auktionen

Portrait still-life by Imboden

Martin Imboden (1893–1935) ~ Stillleben, Wien, um 1930 | src Ostlicht Auktionen

The Swiss cabinetmaker and talented amateur photographer Martin Imboden received important impulses in 1929 when he visited the legendary ‘FIFO’, the international exhibition of the German Werkbund. He accentuated his pictorial language, which was oriented towards the New Objectivity, with tight cropping and strong contrasts. During his most productive years as a photographer he lived in Vienna, where his photographs appeared in magazines such as ‘Der Kuckuck’ and ‘Die Bühne’. Despite favorable reactions, he did not want to make photography his profession and concentrated on selected photo projects as an amateur.