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.
Light traces of previous mounting in upper edge on verso, small retouched mark in upper right in margin, otherwise in excellent condition.
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. – Some scuff marks, a small ink stain, and faint traces of silver mirroring; otherwise in good condition.
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.
Some scuff and pressure marks as well as a retouching spot; otherwise in good condition.
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. – A few small flecks in the negative, otherwise in excellent condition.
Steichen, Edward
Selected images from the portfolio "Steichen: In the Studio"
Los 4282
Ergebnis (inkl. Aufgeld) *
1.500€ (US$ 1,724)
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). – Fine tonal prints in excellent condition.
Stöcker, Alex
Scenes from the Rhön Glider Competition
Los 4285
Ergebnis (inkl. Aufgeld) *
1.000€ (US$ 1,149)
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. – Some very faint scuff marks and stains on some prints, otherwise all in near excellent condition.
Stone, Sasha and Cami
Berlin, Unter den Linden
Los 4286
Ergebnis (inkl. Aufgeld) *
750€ (US$ 862)
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. – Corners slightly bumped, a few light handling dents, some surface irregularities in lower right and center, otherwise in good condition.
Strüwe, Carl
Image from the series "Formen des Mikrokosmus": Bau einer Urpflanze (Meersalge Ballia).
Los 4287
Ergebnis (inkl. Aufgeld) *
625€ (US$ 718)
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. – Traces of previous mounting on the verso, otherwise in excellent condition.
Lit.: Carl Strüwe. Formen des Mikrokosmos: Gestalt und Gestaltung einer Bilderwelt. Munich: Prestel 1955, ill. p. 23.
Tairraz II, Georges
Mountaineers at the summit of Mont Blanc
Los 4291
Ergebnis (inkl. Aufgeld) *
625€ (US$ 718)
Mountaineers at the summit of Mont Blanc. 1960s. Vintage gelatin silver print. 23,8 x 29,8 cm. Photographer's stamp on the verso.
Minimal silver mirroring in edges, one light handling dent in right area, otherwise a fine, tonal print in very good condition.
Tairraz II, Georges
Aiguille du Midi gondola with Mont Blanc in the background
Los 4292
Ergebnis (inkl. Aufgeld) *
625€ (US$ 718)
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.
Minimal silver mirroring in edges, otherwise a fine, tonal print in very good condition.
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. – Some retouched spots, a few light surface scuff marks, photos lifting off of mount in some areas, otherwise in good condition.
Provenance: From the estate of the photographer
Lit.: 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.
Paper tape slightly torn in parts at joints, one collage slightly soiled and with crease in upper right, the other with light handling marks, corners slightly bumped, otherwise in very good condition.
Provenance: From the estate of the photographer
Lit.: Annemarie Jaeggi and Margot Schmidt, eds. Elsa Thiemann: Fotografin. Bauhaus und Berlin. Berlin: Kupfergraben, 2004, ill. pp. 18–27.
Tobias, Herbert
Dick in front of the Window, Hotel Naumur
Los 4296
Ergebnis (inkl. Aufgeld) *
1.375€ (US$ 1,580)
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. – A few spots in margins, otherwise a rich dark print in very good condition.
Lit.: 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. – Folder with rubbed edges and general signs of use. Some scuff marks on individual prints, slight buckling along the edges, otherwise stong prints with a fine tonal quality.
Lit.: 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. – A few light handling dents, otherwise in good condition.
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. – Buckled in edges, otherwise in excellent condition.
Lit.: Herbert Molderings. Umbo: Otto Umbehr 1902-1980. Düsseldorf: Richter 1995, ill. plate 53.
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Galerie Bassenge
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Freitag, 10–16 Uhr
Telefon: +49 30 8938029-0
Fax: +49 30 8918025
E-Mail: info (at) bassenge.com
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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