Artist Index: Thiemann, Elsa

Design for wallpaper.1930-31. Unique vintage ferrotyped gelatin silver print collage. 45,8 x 40 cm. Mounted to board (some wear, time-stained in edges), photographer's estate stamp on mount verso

Between 1929-1931, Elsa Thiemann's formative years at the Bauhaus in Dessau were marked by influential teachers like Josef Albers, Joost Schmidt, and, notably, Walter Peterhans, who guided her in photography. Her artistic development was strongly shaped by the New Objectivity movement and an emphasis on advertising photography in her Bauhaus education, instilling in her a deep appreciation for structure and innovative composition. Here she met her future husband, the painter Hans Thiemann, in 1930. Following her studies, she returned to Berlin in 1931, embarking on a career as a freelance press photographer until 1960 when she relocated to Hamburg with her husband, who had been appointed as a Professor at the Hochschule für Bildende Künste. – Some retouched spots, a few light surface scuff marks, some pressure marks from mounting and some edge wear in individual prints, photos lifting off of mount in some areas, otherwise in good condition.

Provenance: From the estate of the photographer

Lit.: Annemarie Jaeggi/Margot Schmidt (eds.). Elsa Thiemann: Fotografin. Bauhaus und Berlin. Berlin 2004, see pp. 18-27.

Design for wallpaper.1930-31. Unique vintage ferrotyped gelatin silver print collage. 49,7 x 42,3 cm. Mounted to board, photographer's estate stamp on mount verso.

Lifting off of mount in edges, some retouched spots/lines, some handling dents, some mirroring in edges.

Provenance: From the estate of the photographer

Lit.: Annemarie Jaeggi/Margot Schmidt (eds.). Elsa Thiemann: Fotografin. Bauhaus und Berlin. Berlin 2004, see pp. 18-27.

Design for wallpaper.1930-31. 4 unique vintage gelatin silver prints, finely hand-colored, mounted as a collage. 48 x 31,8 cm. Mounted to board; photographer's estate stamp and number 863 in red crayon and annoated in pencil on mount verso.

This unique photo collage is the only known color work by Elsa Thiemann. – Some photos lifting off mount, some light soiling, a few creases, otherwise in good condition.

Provenance: From the estate of the photographer

Lit.: Annemarie Jaeggi/Margot Schmidt (eds.). Elsa Thiemann: Fotografin. Bauhaus und Berlin. Berlin 2004, see pp. 18-27.

Structural study (dead wood). 1930s. Vintage gelatin silver print on chamois Agfa-Brovira paper. 29,5 x 22 cm. Estate stamp and note in pencil on the verso.

Between 1929-1931, Elsa Thiemann's formative years at the Bauhaus in Dessau were marked by influential teachers like Josef Albers, Joost Schmidt, and, notably, Walter Peterhans, who guided her in photography. Her artistic development was strongly shaped by the New Objectivity movement and an emphasis on advertising photography in her Bauhaus education, instilling in her a deep appreciation for structure and innovative composition. Here she met her future husband, the painter Hans Thiemann, in 1930. Following her studies, she returned to Berlin in 1931, embarking on a career as a freelance press photographer until 1960 when she relocated to Hamburg with her husband, who had been appointed as a Professor at the Hochschule für Bildende Künste. – Horizontal crease mark in mid portion, otherwise in very good condition.

Provenance: From the estate of the photographer

Designs for wallpaper.1930-31. 3 vintage gelatin silver prints on ivory paper. Various sizes ca 32 x 22,3 cm, 22,5 x 15 cm and 29,7 x 20 cm. Each with photographer's estate stamp on the verso.

Minimal edge wear, some retouched spots, a few small areas of light silver mirroring, otherwise fine tonal prints in very good condition.

Provenance: From the estate of the photographer

Lit.: Annemarie Jaeggi/Margot Schmidt (eds.). Elsa Thiemann: Fotografin. Bauhaus und Berlin. Berlin 2004, see pp. 18-27.

Detail studies (Forks, Grater, Ice cream cones). 1930s. 3 vintage ferrotyped gelatin silver prints on ivory paper. 18,5 x 8 cm, 18 x 13 cm and 21,2 x 12 cm. 2 with photographer's stamp, each with estate stamp and 2 annotated by the photographer in pencil on the verso.

In the 1930s-40s Elsa Thiemann made detail studies of various everyday objects, which were also published in magazines as "Rätselbilder" (mystery images). – A few light handling marks, one with crease in lower left corner, one with light glue stain from verso, otherwise in very good condition.

Provenance: From the estate of the photographer.

Lit.: Annemarie Jaeggi/Margot Schmidt (eds.). Elsa Thiemann: Fotografin, Bauhaus und Berlin. Berlin 2004, see pp. 62-67.

Detail study (cauliflower). 1930s. Vintage ferrotyped gelatin silver print on ivory paper. 18,2 x 12 cm. Estate notation in ink and number by the photographer in ballpoint pen on the verso.
Annemarie Jaeggi/Margot Schmidt (eds.). Elsa Thiemann: Fotografin, Bauhaus und Berlin. Berlin 2004, see pp. 62-67. – In the 1930s-40s Elsa Thiemann made detail studies of various everyday objects, which were also published in magazines as "Rätselbilder" (mystery images). – Edges slightly curled, otherwise in very good condition.
Provenienz: From the estate of the photographer.

Detail studies (Pineapple; Tortoise shell). 1930s. 2 vintage ferrotyped gelatin silver prints on ivory paper. Each circa 18 x 12,5 cm. 1 with photographer's stamp, each with estate stamp and 1 annotated by the photographer in pencil on the verso.

In the 1930s-40s Elsa Thiemann made detail studies of various everyday objects which were also published in magazines as "Rätselbilder" (mystery images). – A few light handling marks, otherwise in very good condition.

Provenance: From the estate of the photographer.

Lit.: Annemarie Jaeggi/Margot Schmidt (eds.). Elsa Thiemann: Fotografin, Bauhaus und Berlin. Berlin 2004, see pp. 62-67.

Detail study of sliced onions. 1930s. Vintage ferrotyped gelatin silver print on ivory paper. 18,5 x 16,5 cm. Photographer's stamp and annotated by the photographer in pencil, as well as estate stamp on the verso.

Slight buckling in lower area, corners slightly bumped, otherwise in very good condition.

Provenance: From the estate of the photographer.

Lit.: Elsa Thiemann: Fotografin, Bauhaus und Berlin. Berlin 2004, see p. 67 (cropped).

Detail study (Stacked cookies). 1930s. Vintage ferrotyped gelatin silver print on ivory paper. 18 x 12 cm. Photographer's stamp, estate stamp and annotated by the photographer in pencil on the verso.

In the 1930s-40s Elsa Thiemann made detail studies of various everyday objects which were also published in magazines as "Rätselbilder" (mystery images). – A few light handling marks, corners slightly bumped, otherwise in very good condition.

Provenance: From the estate of the photographer.

Lit.: Annemarie Jaeggi/Margot Schmidt (eds.). Elsa Thiemann: Fotografin, Bauhaus und Berlin. Berlin 2004, see pp. 62-67.

Design for wallpaper ("Tintenflecke").1930-31. 2 vintage ferrotyped gelatin silver prints on ivory paper. Each circa 23 x 17,5 cm. Each with photographer's stamp, estate stamp and annotated by the photographer in pencil on the verso.

Some retouched lines, some irregularities to ferrotype surface, a few cracks to emulsion, especially in lower left corner and left edge, otherwise fine tonal prints in very good condition.

Provenance: From the estate of the photographer.

Lit.: Annemarie Jaeggi/Margot Schmidt (eds.). Elsa Thiemann: Fotografin. Bauhaus und Berlin. Berlin 2004, see pp. 18-27.

"Strand Stilleben". 1930s. Vintage gelatin silver print. 17,5 x 23,5 cm. Photographer's stamp, estate stamp and titled by the photographer in pencil on the verso.

Edges slightly curled, some handling marks, some retouched spots/lines, otherwise in very good condition.

Provenance: From the estate of the photographer.

Portrait of the artist Hans Thiemann with head scarf, Dessau. 1930-31. Vintage ferrotyped gelatin silver print on Leonar paper. 17,9 x 12,9 cm. Annotated in ink and estate stamp on the verso.

Between 1929-1931 Elsa Thiemann studied at the Bauhaus Dessau. Among her teachers were Josef Albers, Joost Schmidt and most importantly Walter Peterhans for photography. The New Objectivity movement and the emphasis on advertising photography in the classroom greatly influenced Thiemann. The concern for structure and innovative composition evident in her work, originated here. She also met her future husband, the painter Hans Thiemann, at the Bauhaus in 1930. She returned to Berlin in 1931 and worked as a freelance press photographer until 1960 when she moved to Hamburg. – Small handling mark in right mid portion and in left edge, otherwise a fine tonal print in very good condition.

Provenance: From the estate of the photographer.

Lit.: Annemarie Jaeggi/Margot Schmidt (eds.). Elsa Thiemann: Fotografin, Bauhaus und Berlin. Berlin 2004, ill. p. 17.

Design for wallpaper ("Tintenflecke").1930-31. Vintage ferrotyped gelatin silver print on ivory paper. 23,3 x 17,6 cm. Photographer's stamp, estate stamp and annotated by the photographer in pencil on the verso.

Some retouched lines, handling crease near left edge at mid level, otherwise a fine tonal print in very good condition.

Provenance: From the estate of the photographer.

Lit.: Annemarie Jaeggi/Margot Schmidt (eds.). Elsa Thiemann: Fotografin. Bauhaus und Berlin. Berlin 2004, see pp. 18-27.

Detail study (Radiator). 1930s. Vintage ferrotyped gelatin silver print on ivory paper. 18 x 13 cm. Photographer's stamp, estate stamp and annotated by the photographer in pencil/ink on the verso.

In the 1930s-40s Elsa Thiemann made detail studies of various everyday objects which were also published in magazines as "Rätselbilder" (mystery images). – Some slight irregularities/scuff marks to ferrotype surface, corners slightly bumped, a few small retouched spots, otherwise in very good condition.

Provenance: From the estate of the photographer.

Lit.: Annemarie Jaeggi/Margot Schmidt (eds.). Elsa Thiemann: Fotografin, Bauhaus und Berlin. Berlin 2004, see pp. 62 - 67.