Mer de Glace, Chamonix Valley, Alps. 1950. Vintage gelatin silver print on Kodak paper. 18 x 23,8 cm (sheet 23,3 x 29,3 cm). Photographer's stamp on the verso.
Design for wallpaper. 1930-31. Unique photo collage, mounted to board. 26,8 x 32,5 cm.
Elsa Thiemann studied at the Bauhaus in Dessau from 1929 to 1931, where her teachers included Josef Albers, Joost Schmidt and the photographer Walter Peterhans. During this period, she created experimental wallpaper designs that brought photography and applied design together, reflecting the interdisciplinary spirit of the Bauhaus. Using photograms and photographic collage, she explored the decorative possibilities of repeated imagery, ranging from organic and floral motifs to more geometric compositions. After completing her studies, she worked as a freelance press photographer in Berlin. In 1960, she moved to Hamburg following her husband Hans Thiemann's appointment as a 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. Unique collage consisting of 2 vintage ferrotyped gelatin silver prints, joined with linen tape. 22,8 x 30,7 cm. Photographer's "Bln.-Neukölln, Hertzbergstr. 7/8" stamp and annotated "Nr. 43, grosse Flecken" on the verso.
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.
Photographer: Peter Preller (b. 1940). Herbert Tobias. 1975. 2 unique Polaroid color prints. Each 11 x 9 cm.
Herbert Tobias is known for his psychologically charged portraits of figures from postwar Germany's artistic and queer circles. His work often explores identity and performance through carefully staged images. Taken at Studio Peter Preller in Hamburg, these two Polaroids place Tobias himself before the camera: in one he appears casually dressed in a relaxed setting, and in the other, heavily made up as Marlene Dietrich.
van Duyvendijk, Marco
Lanterns, Hong Kong and Kapok, Hong Kong from the series "Watch the Weather Change"
Los 4254
Schätzung
600€ (US$ 690)
Lanterns, Hong Kong and Kapok, Hong Kong, from the series "Watch the Weather Change". 2011. 2 fine art prints, printed 2014. Each ca. 44 x 32,5 cm (sheet 52,5 x 42 cm). Each signed by the photographer in pencil on the verso. From an edition published by Griffelkunst-Vereinigung Hamburg e.V.
On his extensive travels, the Dutch photographer Marco van Duyvendijk captures fleeting moments in which beauty emerges from the everyday - a shop window display, the outline of a rock or the graphic arrangement of cacti in a greenhouse. His work is distinguished by the rhythm and structure of his image sequences, which bring disparate subjects and moments together into a single narrative.
Das schöne Berlin. Ca. 1928. Vintage gelatin silver photo postcard. Ca. 10,3 x 14,7 cm. Title, "Original-Handdruck aus der Sammlung Vennemann" and copyright text printed on the verso.
Albert Vennemann's dynamic photomontages present Berlin as a vibrant modern metropolis during the Weimar era. Combining views of streets, railway stations and industrial architecture, his striking postcard series helped shape the city's image for residents and visitors alike and contributed to early city marketing and tourism campaigns. This particular postcard features Potsdamer Platz and was sent from Berlin on December 16, 1935, by M. Albersmeyer to Madame Jean Vidal at 5, rue Burcq, Paris, reportedly the residence of the French film critic and filmmaker Jean Vidal (1904-2003).
Photographers: Fritz Eschen (1900-1964), Karl and Helma Tölle (active ca. 1950-1952) and unknown. Marianne Vogelsang performing "Tanzzyklus über das Thema der sieben Todsünden". 1950s. 6 vintage gelatin silver prints, 2 ferrotyped and 2 on Agfa-Brovira paper. Various sizes, up to ca. 30 x 23,9 cm. 2 with photographer's copyright stamp and 4 annotated in ink on the verso.
The dancer and choreographer Marianne Vogelsang (1912-1973) studied with Gret Palucca in Dresden and later worked with Rudolf von Laban. Combining classical and expressive dance, she developed a repertoire that explored emotions and dramatic themes through movement. Her postwar cycle on the seven deadly sins, set to music by Ullrich Keßler, brought themes of pride, envy and wrath into the language of German expressive dance.
Villers, André
Pablo Picasso in his studio in Cannes
Los 4257 [*]
Schätzung
1.500€ (US$ 1,724)
Pablo Picasso in his studio in Cannes. 1955. Unique gelatin silver print with partial solarization on RC paper, printed later, hinge-mounted in mat. 29,7 x 40,5 cm. Signed by the photographer in white ink in the lower right corner; signed and annotated "Tirage unique ..." by the photographer in ink, and photographer's copyright stamp on the verso.
André Villers photographed Pablo Picasso over many years, creating an extensive record of the artist at work, at home and among friends in southern France. Their close friendship gave Villers access to Picasso's daily life and creative surroundings, resulting in portraits ranging from intimate observations to playful and experimental images. The partial solarization of this print reflects Villers' interest in exploring the expressive possibilities of photographic processes.
Literatur: Christina Ossowski, ed. Pablo Picasso photographiert von André Villers 1953-1962. Leonberg: Mack, 1998, similar images illustrated.
Surface of the Moon. 1964-1968. 85 vintage gelatin silver prints. Each 21 x 21 cm. Each with a label containing detailed information on the date, lunar phase and location of the photograph on the verso.
Between 1964 and 1969, Adolf Voigt and Hans Giebler photographed the Moon at the Wilhelm-Foerster-Sternwarte in Berlin, using its 12-inch Bamberg refractor and a specially constructed camera. Their systematic record of the lunar phases formed the basis of the Berliner Mondatlas, an observational resource valued for its detailed depiction of the changing appearance of the Moon's surface. Made during the space race, the photographs combine scientific documentation with the era's fascination with lunar exploration.
VIE 10 (from the series "Eingebrannte Bilder"). 1997. Gelatin silver print. 30,4 x 40,4 cm. Signed, titled and dated by the photographer in pencil on the verso.
Since the 1990s, Ernst Volland has reinterpreted historical photographs and iconic images of contemporary history in his series "Eingebrannte Bilder" (Branded Images). By enlarging and blurring familiar images, he transforms them into visual puzzles that invite viewers to consider how photographs become embedded in collective memory. Works from the series have been exhibited at the Deutsches Historisches Museum in Berlin.
Literatur: Ernst Volland. Eingebrannte Bilder, Plakate, Cartoons, Buntstiftbilder, Fakes, Dokumente. Berlin: Hirnkost, 2018, ill. p. 14.
NM 1 (from the series "Eingebrannte Bilder"). 1999. Gelatin silver print. 28,4 x 38,3 cm. Signed, titled and dated by the photographer in pencil on the verso.
Literatur: Ernst Volland. Eingebrannte Bilder, Plakate, Cartoons, Buntstiftbilder, Fakes, Dokumente. Berlin: Hirnkost, 2018, ill. p. 83.
Marilyn Monroe (Distortion). Ca. 1952. Vintage ferrotyped gelatin silver print. 25,2 x 20,6 cm. Dedicated and signed by the photographer in turquoise ink in the lower right corner.
Weegee, born Arthur Fellig, became known for his unflinching photographs of crime scenes and urban life in New York during the 1930s and 1940s. His later work reveals a more playful side: using distortions and visual exaggeration, he transformed images of celebrities into photographic caricatures. Here, Marilyn Monroe appears by a pool, multiplied into a kaleidoscopic composition.
Weegee
Jersey Joe Walcott and Rocky Marcianoboxing match (Distortion)
Los 4262
Schätzung
2.000€ (US$ 2,299)
Jersey Joe Walcott and Rocky Marciano boxing match (Distortion). 1952. Vintage ferrotyped gelatin silver print. 20,4 x 25,2 cm. Dedicated and signed by the photographer in turquoise ink in lower margin.
New York (Distortion). Ca. 1950. Vintage gelatin silver print. 25 x 20,3 cm. Dedicated and signed by the photographer in turquoise ink in the lower area.
Miracle Mile, Los Angeles (Distortion). Circa 1955. Vintage gelatin silver print. 25 x 20,2 cm. Dedicated and signed by the photographer in turquoise ink in lower margin.
[*]: 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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Telefon: +49 30 8938029-0
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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