Flusspferde, Zoo Wilhelma, Stuttgart. 1989. Vintage ferrotyped gelatin silver print on Agfa paper. 30,8 x 40 cm. Photographer's stamp on the verso.
Walter Sittig was an internationally renowned animal photographer with a keen eye for decisive and unexpected moments. His photographs were widely published in magazines and newspapers across 36 countries, including German titles such as Stern, Quick, Die Welt and Frankfurter Rundschau.
Sutkus, Antanas
Jean Paul Sartre and Simone de Beauvoir, Lithuania
Los 4242
Schätzung
600€ (US$ 690)
Jean-Paul Sartre and Simone de Beauvoir, Lithuania. 1965. 3 vintage large-format matte gelatin silver prints. 2 ca. 28 x 50 cm and 1 print 38 x 50,3 cm. Each signed, titled and dated by the photographer in pencil on the verso.
A leading figure in Lithuanian photography, Antanas Sutkus is known for his poetic black-and-white images of everyday life, often recalling the rural world of his youth. In 1969, he co-founded the Lithuanian Society of Art Photography. These photographs belong to his celebrated series documenting Jean-Paul Sartre and Simone de Beauvoir during their visit to Lithuania in 1965.
S-Bahnhof Schönhauser Allee. 1980. Vintage gelatin silver print. 22,2 x 15,1 cm (sheet 23,8 x 18,2 cm). Photographer's stamp and annotated in pencil on the verso.
Uwe Steinberg was a significant representative of social documentary photography in the German Democratic Republic. Distancing his work from official state imagery, he focused on everyday life in East Berlin. Made as part of a long-term study of Schönhauser Allee, this photograph depicts its S-Bahn station, a central transit point in the Prenzlauer Berg district.
Literatur: Norbert Bunge and Norbert Moos, eds. Uwe Steinberg: Berlin. Leipzig: Lehmstedt, 2023, ill. p. 43.
Jutta stehend im Atelier. 1967. Vintage large-format gelatin silver print. 50 x 59,8 cm. Signed and inscribed "e.a." by the photographer in pencil in the lower left corner; signed, titled and dated by the photographer and photographer's copyright stamp on the verso.
Karin Székessy is best known for her poetic nude studies and staged compositions that blend surrealism, symbolism, and sculptural form. Beginning in the 1960s, she developed a distinctive visual language marked by dreamlike interiors, symbolic props, and an introspective treatment of the female body. Often working in natural light and using long exposures, Székessy’s photographs evoke the stillness of Old Master paintings while challenging conventional representations of femininity. Her work occupies a unique place in postwar European photography, bridging fine art, fashion, and surrealist traditions.
Joanna verschleiert. 1968. Vintage large-format gelatin silver print. 58,2 x 42,7 cm. Signed and editioned "3/15" by the photographer in pencil in the lower left corner; signed, titled and dated by the photographer in pencil and 2 photographer's copyright stamps on the verso.
Striptease. 1971. Vintage large-format gelatin silver print. 49,7 x 60 cm. Signed by the photographer in white crayon in the lower right; signed, titled and dated by the photographer in pencil and photographer's copyright stamp on the verso.
Nu de dos (solarization). 1929/30. Gelatin silver print, printed later by Pierre Gassmann. 28,3 x 20,7 cm (sheet 30,4 x 23,8 cm). Photographer's stamp, numbers in pencil and "Tirage Original réalisé par Pierre Gassmann" stamp on the verso.
The French photographer Maurice Tabard was a leading figure in Surrealist photography. Influenced by his friend Man Ray, he explored techniques including solarization, superimposition and photomontage, transforming familiar subjects into enigmatic images.
Tairraz II, Georges
Two mountaineers on the summit of a pinnacle, Mont Blanc Massif
Los 4248
Schätzung
750€ (US$ 862)
Two mountaineers on the summit of a pinnacle, Mont Blanc Massif. 1950. Vintage gelatin silver print on Kodak paper. 23,8 x 17,8 cm (sheet 29 x 23 cm). Photographer's stamp on the verso.
The Tairraz family of Chamonix established a remarkable tradition of Alpine photography spanning several generations. In 1857, Joseph Tairraz began making daguerreotypes and established a studio offering souvenir portraits and mountain views to tourists and mountaineers. His son Georges I trained with Pierre Petit in Paris before taking over the family studio around 1890. Georges II carried this legacy into the 20th century, combining photography and mountaineering in his images of the Mont Blanc Massif and its climbers.
Climbers, Mont Blanc Massif. 1950. Vintage gelatin silver print on Kodak paper. 18 x 23,8 cm (sheet 23 x 29 cm). Photographer's stamp on the verso.
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.
Winogrand, Garry
Santa Monica, California from the series 'Women are Better Than Men. Not Only Have They Survived, They Do Prevail'
Los 4265 [*]
Schätzung
1.200€ (US$ 1,379)
Santa Monica, California (from the portfolio "Women Are Better Than Men. Not Only Have They Survived, They Do Prevail"). 1978. Gelatin silver print, printed 1982. 22,5 x 33,5 cm (sheet 28 x 35,5 cm). Signed by the photographer in pencil on the verso. From an edition of 75, published by D.E.P. Editions Inc., New York.
Garry Winogrand's portfolio "Women Are Better Than Men. Not Only Have They Survived, They Do Prevail" brings together photographs made between 1969 and 1980. Known for his spontaneous approach to street photography, Winogrand captured fleeting gestures and encounters with a distinctive sense of energy and movement. His images of women in public form a vivid record of American society during a period of changing social attitudes. A print of this image is in the collection of the Whitney Museum of American Art, New York.
Winogrand, Garry
Beverly Hills, California from the series 'Women are Better Than Men. Not Only Have They Survived, They Do Prevail'
Los 4266 [*]
Schätzung
1.200€ (US$ 1,379)
Beverly Hills, California (from the portfolio "Women Are Better Than Men. Not Only Have They Survived, They Do Prevail"). 1979. Gelatin silver print, printed 1982. 22,5 x 33,5 cm (sheet 28 x 35,5 cm). Signed by the photographer in pencil on the verso. From an edition of 75, published by D.E.P. Editions Inc., New York.
A print of this image is in the Whitney Museum of American Art, New York.
Photographer unknown. Images of World War I. 1914-18. 104 vintage gelatin silver prints. Each ca. 12 x 16,5 cm. Most with number in the negative in the lower corners; some annotated in pencil and many with number stamp on the verso.
This extensive photographic record of World War I includes views from Russia, the Balkans and Flanders. The images show soldiers, weapons, tanks and front lines, as well as refugees, military hospitals and destroyed cities.
Dorotheenstraße, [Berlin] Mitte, 1995; Friedrichstraße/Leipziger Straße, Berlin Mitte, 1996. 2 vintage gelatin silver prints. 16,1 x 20 cm and 14,5 x 19,9 cm (sheets ca. 17,5 x 21 cm). Each with photographer's stamp, titled and dated by the photographer in pencil on the verso.
Ulrich Wüst is known for his precise, restrained photographs of urban landscapes and architecture in the GDR. His work continued to document the built environment after German reunification, recording the traces of history and the transformation of cities. These two views of Berlin-Mitte reflect his sustained attention to the changing face of the city.
Zamora, Guillermo
Interior of Frida Kahlo's house, Coyoacán, Mexico
Los 4269
Schätzung
600€ (US$ 690)
Interior of Frida Kahlo's house, Casa Azul, Coyoacán, Mexico City. 1950. Vintage gelatin silver print, hinge-mounted along the upper edge to mat. 30,5 x 40 cm. Annotated in pencil on the verso.
This photograph shows the interior of the Casa Azul, the house where Frida Kahlo grew up and later lived with Diego Rivera. Built in 1904 around a central courtyard, it now houses the Frida Kahlo Museum. The image shows Kahlo's collection of Judas figures, associated with the Mexican Holy Week tradition. Kahlo and Rivera collected works by the artisan Carmen Caballero Sevilla, who made and sold these papier-mâché figures for many years. The Mexican photographer Guillermo Zamora photographed Kahlo, Rivera and their home on numerous occasions. His work is represented in the collection of the Museum of Modern Art, New York.
Zint, Günter
Student demonstrations in Berlin, Kurfürstendamm
Los 4270
Schätzung
500€ (US$ 575)
Student demonstrations on the Kurfürstendamm, Berlin. 1968. 2 vintage ferrotyped gelatin silver prints. Each circa 22,5 x 30,7 cm. One signed by the photographer in black marker and with agency labels on the verso.
Günter Zint was one of the key photographic chroniclers of the 1968 student movement, documenting its protests from within the crowds. His work for magazines such as Der Spiegel captured the demonstrations that brought demands for political and social change onto the streets of West Berlin. These photographs show student protests on the Kurfürstendamm, a frequent setting for demonstrations against, among other issues, the Vietnam War.
[*]: Regelbesteuert gemäß Auktionsbedingungen. [^]: Ausgleich von Einfuhr-Umsatzsteuer.
* Alle Angaben inkl. 25% Regelaufgeld ohne MwSt. und ohne Gewähr – Irrtum vorbehalten.
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
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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