Dornumersiel.1976. Vintage gelatin silver print on Agfa paper. 28,7 x 23,5 cm (sheet 38,5 x 29,5 cm). Signed, titled and dated by the photographer in pencil on the verso.
The artist Gerhard Richter. 1991. Gelatin silver print, printed later. 27,2 x 18 cm (sheet 30,6 x 20,8 cm). Signed by the photographer in pencil as well as photographer's stamp and edition stamp on the verso.
Lachmöwe. 1930s. Vintage gelatin silver print on Agfa-Brovira paper. 17,9 x 13 cm. Photographer's studio stamp as well as annotated in pencil on the verso.
Friedrich Seidenstücker is best known for his animal photography, particularly images made at the Berlin Zoological Garden in the 1920s-1930s. Rather than presenting animals as spectacle, he approached them with a sculptural sensibility, emphasizing form, posture, and physical presence through careful observation and restrained composition. His work reflects both his training as a sculptor and the New Objectivity ethos, treating animals as autonomous subjects within a modern photographic framework.
Waldohreulen. 1930s. Vintage gelatin silver print on Agfa-Brovira paper. 12,8 x 17,6 cm. Photographer's studio stamp as well as annotated in pencil on verso.
Zoo-Photographien. 1927-1955. 6 gelatin silver prints, printed 2019 from the original negatives. Each ca. 24,2 x 17,7 cm (sheet 30 x 23,5 cm) and reverse. Each with printed Griffelkunst edition text on the verso. Presented in original half-canvas folder with illustrated text brochure.
Sewcz, Hans Martin
Berliner Tor, Berlin /Linienstraße am Koppenplatz, Berlin / Auguststraße, Berlin
Los 4276 [*]
Schätzung
1.500€ (US$ 1,705)
Berliner Tor, Berlin / Linienstraße am Koppenplatz, Berlin / Auguststraße, Berlin. 1979. 3 panoramic gelatin silver prints, printed 2005-2007. Each circa 24 x 57 cm and 24 x 57 cm (sheet 33 x 60,5 cm). Each signed, titled, and dated by the photographer in pencil as well as with photographer's stamp on the verso.
Hans Martin Sewcz studied at the Academy of Visual Arts in Leipzig and is best known for his photographic exploration of East Germany and other former Eastern Bloc countries. His work has been widely exhibited and is held in major public and private collections, including the Berlinische Galerie, the Deutsches Historisches Museum, the Institut für Moderne Kunst in Nuremberg, and the Deutsche Bank Collection in Frankfurt am Main.
Literatur: Marc Barbey, ed. Hans Martin Sewcz: Berlin-Mitte, Mai 1979. Berlin: Collection Regard, 2011, ill. pp. 10-11, 28-29 and 32.
Große Hamburger Straße, Berlin. 1979. Panoramic gelatin silver print, printed 2005-2007. Circa 24 x 56,5 cm (sheet 32 x 61 cm). Signed, titled, dated and editioned "E.A." by the photographer in pencil on the verso. Framed under plexiglass in wooden frame.
Literatur: Marc Barbey, ed. Hans Martin Sewcz: Berlin-Mitte, Mai 1979. Berlin: Collection Regard, 2011, ill. p. 15.
Sewcz, Hans Martin
Zeitungskiosk, Ost-Berlin, (Newsstand East Berlin)
Los 4278
Schätzung
750€ (US$ 852)
Zeitungskiosk, Ost-Berlin, (Newsstand East Berlin). 1981. Cibrachrome print, printed 1990s. 30 x 40,8 cm. Signed, titled, dated and editioned "E.A." by the photographer in ink on the verso.
In the 1980s, Hans Martin Sewcz's photography frequently focused on documenting the commercial displays of department stores and small businesses in the GDR, offering valuable insight into the commercial visual culture under communist rule. The present print is an example of that period.
Shulman, Julius
William Burgess House, Palm Springs, California
Los 4279 [*]
Schätzung
1.200€ (US$ 1,364)
William Burgess House, Palm Springs, California. 1984. Chromogenic print on Kodak Professional Digital paper, printed later. 31 x 41,5 cm (sheet 40,5 x 50,5 cm). Signed by the photographer in felt-tip pen on the verso.
Julius Shulman was a central figure in architectural photography, renowned for his ability to convey both the aesthetic clarity and lived experience of mid-century modern design through precise composition and masterful use of natural light. His images played a decisive role in shaping and popularizing modernist architecture, particularly in Southern California.
Harlem. 1935. Gelatin silver print, printed later, mounted to board. 27,7 x 35,5 cm. Signed in black ink below the image on the mount; annotated “Harlem 1935, Street Scene 3” in pencil on the verso.
Made during his early involvement with the Photo League, this work reflects Aaron Siskind’s engagement with socially grounded photography in 1930s Harlem, before his later turn toward abstraction. Rather than isolating a single subject, the image articulates a broader visual field in which everyday urban life is structured through layered planes, signage, and repeated forms, anticipating the formal concerns that would come to define his postwar practice.
Schaf, Hann. Münden. 1966. Gelatin silver print, printed 1990s. 37,5 x 27 cm (sheet 40,5 x 30,2 cm). Signed and dated by the photographer in pencil on the verso.
Walter Sittig was an internationally renowned animal photographer, known for his keen eye for capturing decisive and often unexpected moments. His photographs were widely published in magazines and newspapers across 36 countries, including leading German titles such as Stern, Quick, Die Welt, and Frankfurter Rundschau.
Steichen, Edward
Selected images from the portfolio "Steichen: In the Studio"
Los 4282
Schätzung
2.000€ (US$ 2,273)
Selected images from the portfolio: Steichen: In the Studio, Twelve Photographs. 1932-33. 3 gelatin silver prints, printed 1984-85 from the original negatives by George Tice, flush-mounted to archival portfolio boards. Each between ca. 34 x 26 cm and 24 x 19 cm (mounts 50,5 x 40,5 cm). Each with portfolio label, therein signed by George Tice and Joanna Steichen in ink on mount verso.
Edward Steichen was one of the leading portrait photographers of his time, known for his refined lighting and ability to convey both glamour and psychological presence in his depictions of prominent figures. This group includes the following images: Miss Sousa (1933); Joan Crawford (1932); and Marlene Dietrich, New York (1932).
Abschied Elfriede Schielski. 1971. Gelatin silver print, printed later. 16 x 24 cm (sheet 23,7 x 29,7 cm). Titled and dated in pencil, with photographer's stamp on the verso.
Uwe Steinberg, an exceptional photographer and chronicler of his time, skillfully navigated beyond the confines of official perspectives to capture the authentic essence of individuals. He harnessed photography as an autonomous medium, even within the constraints of a socialist context. Steinberg's extensive body of work, spanning various themes such as labor, daily life in the German Democratic Republic, and portraits of youth, serves as a testament to his discerning choice of subjects and his mastery of composition techniques.
Am Friedrichshain, Ost-Berlin. 1980. Gelatin silver print, printed later. 30,2 x 44,5 cm (sheet 32,5 x 47 cm). Titled and dated in pencil, with photographer's stamps and gallery stamp on the verso.
Stöcker, Alex
Scenes from the Rhön Glider Competition
Los 4285
Schätzung
1.000€ (US$ 1,136)
Scenes from the Rhön Glider Competition. 1920s. 11 vintage gelatin silver print on strong chamois paper. Each ca. 8,8 x 14,4 cm. Photographer's copyright stamp and numbered in pencil the verso.
Alexander Stöcker, a versatile German photographer, was known for his diverse portfolio encompassing aviation, sports, and early 20th-century history, particularly his meticulous documentation of the groundbreaking 1930 Rhön Glider Competition, a pivotal event that spurred significant advancements in aviation and gliding.
Berlin, Unter den Linden. 1928. Vintage gelatin silver print on ivory paper. 23,5 x 17,8 cm. Photographer's copyright stamps (Berlin and Brussels) as well as numbered and annotated in pencil and red ink on the verso.
Sasha and Cami Stone were key figures in Berlin’s dynamic photographic culture of the 1920s and early 1930s, celebrated for their modernist approach that merged architectural, commercial, and fine art photography. Their studio served as a hub for avant-garde visual expression in Weimar Berlin, reflecting the era’s embrace of functionalism, technological progress, and a bold new photographic aesthetic. With the rise of National Socialism, the Stones emigrated to Brussels, where they continued their creative work in exile.
Strüwe, Carl
Image from the series "Formen des Mikrokosmus": Bau einer Urpflanze (Meersalge Ballia).
Los 4287
Schätzung
750€ (US$ 852)
Image from the series "Formen des Mikrokosmus": Bau einer Urpflanze (Meersalge Ballia). 1930. Vintage gelatin silver print on Agfa-Brovira paper. 16,4 x 12,7 cm. Photographer's/copyright stamp on the verso.
Carl Strüwe is best known for his pioneering work in microphotography from the late 1920s-1950s, culminating in the publication of Formen des Mikrokosmos in 1955. His refined and often delicate images of plant and insect structures reveal an otherwise invisible world, combining scientific observation with a striking sense of form and abstraction.
Literatur: Carl Strüwe. Formen des Mikrokosmos: Gestalt und Gestaltung einer Bilderwelt. Munich: Prestel 1955, ill. p. 23.
Sutkus, Antanas
Boy from the Old Town, Vilnius, Lithuania
Los 4288
Schätzung
600€ (US$ 682)
Boy from the Old Town, Vilnius, Lithuania. 1970. Vintage, large-format matte gelatin silver print. 39,7 x 29,8 cm. Signed and dated by the photographer in pencil as well as label with title on the verso.
Antanas Sutkus was a founding member of the "Association of Lithuanian Photographers" in 1960. He joined the "International Federation of Photographic Art" under UNESCO in 1976. His poetic black-and-white images often reflect a deep connection to the Lithuanian village of his youth, capturing a sense of nostalgia and a way of life now largely gone.
Tairraz, Georges
Mountaineers at the summit of Aiguille du Grepon (Rateau de Chèvres), near Mont Blanc Massif
Los 4289
Schätzung
1.500€ (US$ 1,705)
Mountaineers at the summit of Aiguille du Grépon (Rateau de Chèvres), near the Mont Blanc massif. Ca. 1910. 2 vintage gelatin silver prints. Each ca. 69 x 21 cm. 1 signed by the photographer in ink in the lower right corner. Each framed under glass in contemporary wooden frame.
The Tairraz family of Chamonix brought forth several generations of Alpine photographers. In 1857 Joseph Tairraz began taking daguerrotypes and produced the first photographs at the summit of Mont Blanc in 1860. He provided tourists and mountaineers with souvenir portraits and mountain views. His son Georges, who was an apprentice to Pierre Petit in Paris, took over the studio circa 1882, which was then called "Tairraz Alpine Photographic Studio". The studio continued throughout the 20th century.
Literatur: Georges Tairraz. Le Massif du Mont-Blanc: Photographies de Georges Tairraz. Paris: Arthaud, 1947.
Tairraz II, Georges
Mont Blanc massif (Aiguille Verte/Les Drus)
Los 4290
Schätzung
750€ (US$ 852)
Mont Blanc massif (Aiguille Verte/Les Drus). 1960s. Vintage gelatin silver print. 39,5 x 29,5 cm. Photographer's stamp on the verso.
Tairraz II, Georges
Mountaineers at the summit of Mont Blanc
Los 4291
Schätzung
750€ (US$ 852)
Mountaineers at the summit of Mont Blanc. 1960s. Vintage gelatin silver print. 23,8 x 29,8 cm. Photographer's stamp on the verso.
Tairraz II, Georges
Aiguille du Midi gondola with Mont Blanc in the background
Los 4292
Schätzung
750€ (US$ 852)
Aiguille du Midi gondola with Mont Blanc in the background. 1960s. Vintage gelatin silver print. 29,7 x 23,5 cm. Photographer's stamp on the verso.
Design for wallpaper. 1930-31. Unique collage consisting of 2 vintage ferrotyped gelatin silver prints with added hand-painting, mounted to board. 32 x 20 cm. 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. In 1930 she met her future husband, the painter Hans Thiemann. After completing her studies, she returned to Berlin in 1931, where she worked as a freelance press photographer until 1960, when she moved to Hamburg following her husband’s appointment as professor at the Hochschule für Bildende Künste.
Provenienz: From the estate of the photographer
Literatur: Annemarie Jaeggi and Margot Schmidt (eds.). Elsa Thiemann: Fotografin. Bauhaus und Berlin. Berlin: Kupfergraben 2004, see pp. 18-27.
Design for wallpaper. 1930-31. 2 unique collages, one consisting of 2 and one of 4 vintage gelatin silver prints; one collage with individual prints mounted to board and joined with paper tape, the other taped together along the edges with paper tape. Circa 32 x 20 cm. Each with the photographer’s estate stamp on mount verso.
Provenienz: From the estate of the photographer
Literatur: Annemarie Jaeggi and Margot Schmidt, eds. Elsa Thiemann: Fotografin. Bauhaus und Berlin. Berlin: Kupfergraben, 2004, ill. pp. 18–27.
Structural study. 1930s. Vintage gelatin silver print on chamois Agfa-Brovira paper. 29,5 x 23,2 cm. Photographer's estate stamp on the verso.
Provenienz: From the estate of the photographer
Tobias, Herbert
Dick in front of the Window, Hotel Naumur
Los 4296
Schätzung
900€ (US$ 1,023)
Dick in front of the Window, Hotel Naumur, Rue Delambre, Paris Montparnasse. 1952. Gelatin silver print, printed later. 34,4 x 34,4 cm (sheet 50 x 40 cm). Signed, titled and dated by the photographer in pencil in lower margin.
Herbert Tobias is known for his psychologically charged portraiture, shaped by influences from dance, Surrealism, and theatrical staging. Emerging in postwar Berlin, he photographed figures from artistic and queer subcultures, often exploring themes of identity, performance, and gender through stylized, collaborative portraits.
Literatur: Herbert Tobias. Photographien. Berlin: Fröhlich & Kaufmann, 1985, ill. p. 51.
Arthur Umboh. 1980. Portfolio of 16 gelatin silver prints. Each 40 × 30,5 cm. Each signed, titled, and dated by the photographer in pencil below the image in the margin; “Herbert Tobias succession binoche” stamp on the verso. Presented in a golden folder. Dedication in felt-tip on the inside flap: “Für Pali with love, Weihnachten 1980 von Tobias.”
Portfolio with nudes and a few portraits of Arthur Umboh in various poses.
Literatur: Bernhard Albers, ed. Herbert Tobias: Fotografien aus der Sammlung Pali Meller Marcovicz. Aachen: Rimbaud, 1996, several ill. (unpaginated).
Untitled. 1960. Gelatin silver print on RC paper, printed later. 21 x 14 cm (sheet 25,2 x 20 cm). Signed by the photographer in ink and dated "1960" on the verso.
The Japanese photographer Shoji Ueda developed a distinctive and poetic photographic language. Working in his native Tottori, he repeatedly used the local sand dunes as a stage, transforming their stark terrain into subtly surreal, almost otherworldly landscapes. His spare, meticulously composed images - often featuring solitary figures or everyday objects set against the vast expanse - evoke a quiet, contemplative atmosphere, emphasizing the delicate interplay between human presence and the natural environment.
Schattenwunder. 1928. Gelatin silver print, printed ca. 1975. 28 x 20,5 cm (sheet 35,2 x 27,8 cm). Signed by the photographer in white ink in the lower right corner; portfolio/copyright stamp, therein numbered "32/50" in ink on the verso. From the UMBO Portfolio: 10 Photographien 1927-1930, Galerie Rudolf Kicken, Cologne, 1980.
Otto Umbehr, known as UMBO, was a key figure in early 20th-century avant-garde and modernist photography. The photograph offered here ranks among his most iconic series of street scenes taken from an aerial perspective. Only a few vintage prints of these works are known to exist, and in the mid- to late 1970s UMBO produced a small edition both with Galerie Rudolf Kicken and later with the Kestner Gesellschaft.
Literatur: Herbert Molderings. Umbo: Otto Umbehr 1902-1980. Düsseldorf: Richter 1995, ill. plate 53.
Villers, André
Pablo Picasso in Madoura, Vallauris
Los 4300 [*]
Schätzung
1.800€ (US$ 2,045)
Pablo Picasso in Madoura, Vallauris. 1954. Gelatin silver print, printed later. 30,2 x 40,2 cm. Signed by the photographer in ink in lower margin; signed titled and dated by the photographer on the verso.
André Villers made this portrait of Pablo Picasso in 1954 at the Madoura workshop in Vallauris, where Picasso was deeply engaged in ceramics. Reflecting their close relationship, the image favors an informal, intimate approach over conventional studio portraiture. Villers’ use of natural light and an unforced composition situates Picasso within his working environment, capturing a moment of creative maturity with a sense of immediacy and quiet presence.
[*]: Regelbesteuert gemäß Auktionsbedingungen. [^]: Ausgleich von Einfuhr-Umsatzsteuer.
* Alle Angaben inkl. 25% Regelaufgeld ohne MwSt. und ohne Gewähr – Irrtum vorbehalten.
Galerie Bassenge
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Öffnungszeiten:
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Telefon: +49 30 8938029-0
Fax: +49 30 8918025
E-Mail: info (at) bassenge.com
Impressum
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© 2026 Galerie Gerda Bassenge
Galerie Bassenge
Erdener Str. 5A
14193 Berlin
Öffnungszeiten:
Montag bis Donnerstag, 10–18 Uhr,
Freitag, 10–16 Uhr
Telefon: +49 30 8938029-0
Fax: +49 30 8918025
E-Mail: info (at) bassenge.com
Impressum
Datenschutzerklärung
© 2026 Galerie Gerda Bassenge