PHOTOGRAPHIC AUCTION ASTA DI FOTOGRAFIA SENIGALLIA 2019 by Serge Plantureux

Palazzo Arsilli Auguri Via Marchetti, 2 60019 Senigallia (AN) consigned@plantureux.it

+39 349 7681022 +33 650 856074 raphael.chich@gmail.com

+33 652 963811 Press and Public Relations: jd@juliadelhomme.com

+33 661 424753 Online Registration: https://www.drouotonline.com

cover

Selfportrait / Autoritratto, Brussels, 1870 Edmond Lambrichs (1830-1887)

frontispice

Hand and Movement study, Marseille, 1949 Mirjam Schwarz (1924-2005)

back cover

â&#x20AC;&#x153;Che si vedano i tettiâ&#x20AC;?, Senigallia, c. 1990 Mario Giacomelli (1925-2000)

115

PHOTOGRAPHIC AUCTION ASTA DI FOTOGRAFIA Palazzetto Baviera, Piazza del Duca, Senigallia Saturday Dec 7, 2019 / Sabato 7 dicembre 2019 3 pm / ore 15.00 Viewing / Mostra pubblica : Paris, Cercle Wagram Nov 9 : 9-13 & 14-18 Senigallia, Palazzetto Baviera Nov 30 - Dec 7 : 10-13 & 16-19 Telephone +39 349 7681022

Auctionner / Battitore : RaphaĂŤl Chicheportiche raphael.chich@gmail.com

+33 652 963811

Expert / Perizia : Serge Plantureux consigned@plantureux.it

+33 650 856074

Online auction / Asta a distanza : https://www.drouotonline.com

CONSIGNED.it, un’asta di beneﬁcenza a sostegno del patrimonio culturale del Comune di Senigallia.

CONSIGNED.it, a beneﬁt auction in support of the cultural heritage and photographic activities of the Municipality of Senigallia.

Articolo 1. Si organizzano nella città di Senigallia sotto il nome di CONSIGNED.it due aste specializzate in fotograﬁa ogni anno.

Article 1. Two auctions specialized in photography are organized in the city of Senigallia under the name of CONSIGNED.it every year.

Articolo 2. Il Comune di Senigallia, beneﬁciario dell’operazione, aiuta per la promozione e la logistica.

Article 2. The City of Senigallia, beneﬁciary of the operation, helps for promotion and logistics.

Articolo 3. Le aste propongono sia fotograﬁe da collezione che altre arti visive, sia pre-digitali che contemporanee. I lotti sono meticolosamente descritti e presentati con un catalogo cartaceo e un sito online.

Article 3. The auctions offer both collector's photographs and other visual arts, both pre-digital and contemporary. The lots are meticulously described and presented with a printed catalogue and an online site.

Articolo 4. Le opere proposte sono selezionate per la loro qualità e rarità. L’organizzatore, supportato da un comitato scientiﬁco, si riserva la possibilità di accettare o scartare un lotto.

Article 4. The proposed works shall be selected for their quality and rarity. The organizer, supported by a scientiﬁc committee, reserves the right to accept or reject a lot.

Articolo 5. Quando si registra, il compratore accetta di dare in beneﬁcenza la parte conosciuta di solito come diritti d’asta a beneﬁcio delle collezioni del Comune di Senigallia. Questa quota è il 20% del prezzo battuto per ogni lotto.

Article 5. When he registers, the buyer agrees to give to charity the part usually known as auction rights for the beneﬁt of the collections of the Municipality of Senigallia. This share is 20% of the price beaten for each lot.

Il compratore può chiedere che sia resa pubblica la sua donazione.

The buyer may request that his donation be made public.

Articolo 6. Il venditore, per esempio un artista, può regalare una sua opera, in quel caso la donazione è indicata sotto la descrizione del lotto.

Article 6. The seller, for example an artist, may give away a work of his, in which case the donation is indicated below the description of the lot.

Articolo 7. Il prodotto a beneficio del Comune sarà versato entro tre mesi da ogni asta. Questi soldi devono essere investiti per arricchire le collezioni di fotografia pre - digitale del Comune di Senigallia (stampate prima del 1989) e per la creazione di un premio sulla fotografia e sugli studi di storia della fotografia. Il 50% del totale del prodotto sarà riservato alle acquisizioni e l’altro 50% alla creazione di un premio denominato “Premio Bugatti” in onore di Carlo Emanuele Bugatti e delle sue idee.

Article 7. The product for the beneﬁt of the municipality will be paid within three months of each auction. This money must be invested to enrich the collections of pre-digital photography of the Municipality of Senigallia (printed before 1989) and for the creation of a prize for photography and studies of the history of photography. The 50% of the total of the product will be reserved for acquisitions and the other 50% for the creation of a prize called "Bugatti Prize" in honor of Carlo Emanuele Bugatti and his ideas.

Articolo 8. Le acquisizioni possono essere effettuate sul territorio del Comune dalle famiglie, alle ﬁere e nei mercati oppure durante le aste, o dai visitatori che vengono a Senigallia per presentare proposte ai responsabili delle acquisizioni.

Article 8. The acquisitions can be made on the territory of the Municipality by families, at fairs and markets or during auctions, or by visitors who come to Senigallia to present proposals to those responsible for acquisitions.

Articolo 9. Il venditore paga il 20 % del prezzo battuto per le varie spese, per ogni lotto venduto. Se non si vende, non ci sono.

Article 9. The seller shall pay 20 % of the hammer price for the various expenses, for each lot sold. If it is not sold, there are no fees.

Nota Bene: le persone che agevolano la consegna di materiale ricevono una commissione del 3% sul risultato netto del consegnato.

Please note: people who facilitate the delivery of material receive a commission of 3% on the net result of the delivered.

Articolo 10. Il prezzo minimo di inizio asta coincide con il prezzo base.

Article 10. The minimum price at the start of the auction coincides with the basic price.

Pertanto un lotto valutato 300/400 euro non sarà proposto a meno di 300 euro. I lotti invenduti possono essere negoziati il giorno successivo - di solito una domenica - attraverso offerte chiamate “after sale”. Le offerte leggermente inferiori al prezzo base sono accettate previo accordo con il venditore. I compratori pagano la stessa quota a beneficio delle collezioni del Comune di Senigallia. Articolo 11. Descrizioni, sono verificati i dati seguenti: identificazione, attribuzione, data della stampa, firme, timbri ed annotazioni, provenienza. Il compratore riceve un certificato e ha un periodo di un mese per contestare con pertinenti argomentazioni la descrizione.

Therefore a lot valued at 300/400 euros will not be offered for less than 300 euros. Unsold lots can be traded the next day - usually on a Sunday - through bids called "after sale". Bids slightly below the basic price will be accepted with the agreement of the seller. Buyers pay the same fee for the collections of the Municipality of Senigallia. Article 11. Descriptions - The following data are veriﬁed: Identiﬁcation, attribution, date of printing, signatures, stamps and annotations and provenance.

Le correzioni e i chiarimenti sono pubblicati sul sito web CONSIGNED.it

The buyer receives a certiﬁcate and has a period of one month to contest the description with relevant arguments. Corrections and clariﬁcations are published on the website CONSIGNED.it

Articolo 12. Le aste sono organizzate il sabato pomeriggio. Il Comune di Senigallia mette a disposizione dell’organizzazione l’auditorio del palazzetto Baviera per il giorno dell'asta oltre ad alcune stanze del palazzetto per assicurare l'esposizione degli oggetti per un periodo di 7 giorni. La mostra e la visita pubblica dura 7 giorni più la mattinata dell’asta: dal sabato al venerdì seguente, dalle 10 alle 13 e dalle 16 alle 19. Il giorno dell'asta dalle ore 10 alle ore 13 è prevista una visita. Durante la domenica che segue l’asta, oltre le offerte sui lotti invenduti, si procede alla vendita dei lotti di valore contenuto proposti fuori catalogo.

Article 12. Auctions are organised on Saturday afternoons. The municipality of Senigallia provides the organization with the auditorium of the Bavarian auction house for auction day as well as some rooms of the auction house to ensure the display of objects for a period of 7 days. The exhibition and the public visit lasts 7 days plus the morning of the auction: from Saturday to the following Friday, from 10 am to 1 pm and from 4 pm to 7 pm. On the Sunday following the auction, in addition to the bids on unsold lots, the sale of the lots of contained value offered in the catalogue will also take place.

Quando possibile, una mostra parziale è organizzata a Parigi o a New York nel mese precedente l’asta.

Whenever possible, a partial exhibition is organised in Paris or New York in the month preceding the auction.

Articolo 13. L’asta è accessibile online con la compagnia Francese Drouot Digital. Si accettano anche offerte al telefono o per mail durante la settimana precedente. Le offerte ricevute vengono registrate e il giorno dell’asta si parte già dal prezzo più alto offerto. Il battitore annuncia allora la migliore offerta.

Article 13. The auction is accessible online with the French company Drouot Digital. We also accept bids by phone or email during the previous week. Bids received are recorded and the highest bid price is taken as the starting point on auction day. The hitter then announces the best bid.

Articolo 14. Le fotograﬁe provenienti d’Italia, stampate prima del 1970 e vendute per più di 10.000 euro, necessitano di un permesso per uscire dal territorio. L’organizzatore assiste gratuitamente i clienti ﬁn dove possibile. In generale, i permessi di esportazione ottenibili saranno ricevuti prima dell’asta.

Article 14. Italian photographs printed before 1970 and sold over 10,000 euros, require a permit to leave the territory. The organiser assists customers as far as possible free of charge. In general, the export permits that can be obtained will be received before the auction.

Articolo 15. Modulo antiriciclaggio. Ogni acquirente europeo deve accettare di conformarsi con la vigente normativa antiriciclaggio (Decreto Legislativo 231/2007) e dichiarare eventuali rapporti di famiglia con persone politicamente esposte.

Article 15. Anti-money laundering module. Every European buyer must agree to comply with the current anti-money laundering legislation (Legislative Decree 231/2007) and declare any family relationships with politically exposed persons.

Articolo 16. I nomi dei dodici periti del comitato scientiﬁco vengono pubblicati sul sitio. I compratori che lo desiderano, avranno il nome pubblicato tra i risultati. Il calendario, i risultati, i cataloghi passati, saranno sul sito CONSIGNED.it

Article 16. The names of the twelve experts of the Scientiﬁc Committee are published on the website. Buyers who so wish shall have the name published in the results. The calendar, the results, the past catalogues, will be on the site CONSIGNED.it — The competent court is Ancona.

Il tribunale competente è quello di Ancona. CONSIGNED.it di Serge Plantureux, Partita IVA IT 02804640429. Ordine del catalogo :

CONSIGNED.it di Serge Plantureux, EU VAT: IT 02804640429. Order of the catalogue

The First 75 Years, 1839-1914 / I primi 75 anni, 1839-1914 (lots 1-41) The Short 20th Century, 1914-1989 / Il breve 20° secolo, 1914-1989 (Lots 43-99) Local Art, Made in Senigallia / Senigallia nella storia della Fotograﬁa (Lots 101-122) Digital age, Senigallia Città della Fotograﬁa oggi (123-133)

THE FIRST 75 YEARS OF PHOTOGRAPHY I primi 75 anni. 1839-1914 Philibert Perraud American Daguerreotypists Senter B. Giddings French Calotypist Mysterious Artist in Rome Adriano de Bonis Roger Fenton Edmond Lambrichs Paris Commune Reporters Achille Gianny Arnold Genthe Theophile Piry

1 Portrait of Angelo M., probably Rome, 6 August 1845

Philibert Perraud (1815-1863) Quarter-plate daguerreotype, signed in point on the plate, lower left angle, caption and date on paper label, verso. In the famous Summer days of 1839 when the proclamation of the invention of daguerreotype or heliography* was made by Arago and the ﬁrst photographic workshop ever took place in Paris, among the public was Philibert Perraud who became an enthusiastic disciple and soon a missionary in Italy. In Rome, Perraud photographed French, Scandinavian and German artists, in Northern Italy, he photographed prominent characters such as Angelo. (Gabriella Bologna and Ken Jacobson, The Itinerant Daguerreotypist, A Case Study in Pre-Uniﬁed Northern Italy, 2012). Provenance : the Family of the sitter.

800/1000 euros

*Since 1839 - 180 years from now - supporters of Daguerre and supporters of Niepce argue on every single step of the invention. In the ﬁrst ten or twelve years, supporters of Niepce refused to spell the odious name of Daguerre and favorished héliographie, traced with the sun, Société Héliographique, Mission Héliographique, etc... until in 1852, everybody adopted the word photography.

"Con inﬁnito piacere ti compiaccio, mia cara Adalina, nel presentarti questo per come è, quando lo guardi pensa a me che ti amo e a nessun altro, è un'immagine che ora possiedi, ma un giorno ti darò me stesso", Fred S. K."

2 The Love-letter / La lettera d'amore, c. 1855

3 Isaac J. Warner, four daughters and a son / Famiglia Warner, circa 1856

American daguerreotypist (selfportrait ?)

American daguerreotypist (A family member ?)

Sixth plate daguerreotype, 82x167 mm, message on the case behind the plate: “With unbounded pleasure do I gratify you, my dear Adaline, in presenting you this as its is, when you gaze upon it think of me that loves you and no other, tis but a picture you now possess this true, but some future day I shall give you myself, Fred S. K.”

Quarter plate daguerreotype, 80x108 mm and dazzle star case (#13)

600/800 euros

Was the absent mother the photographer ? Provenance : Daguerreian Society Beneﬁt auction

300/400 euros

4 Mother, three sons & a daughter / Madre, tre ďŹ gli e una ďŹ glia

5 Seven Members Family / Sette membri famiglia

American daguerreotypist, circa 1855

Half plate daguerreotype, 140x108 mm Whose ? Provenance :

Quarter plate daguerreotype, 80x108 mm Whose ? Provenance :

400/500 euros

200/300 euros

6 Frank 14, Mary-Elizabeth 18, Hanna, Callie & Charles Trickey 16, c. 1856

American daguerreotypist

Alexander & Augusta McWhorter Bruen, 1852 Senter B. Giddings (1834-1880)

Half plate daguerreotype, 108x140 mm The artist may have been a story-teller. Provenance : Elmar Trickey Boyd (1873-1942).

Half plate daguerreotype, 138x108 mm, dated, signed in the case, with date and studio address : â&#x20AC;&#x153;179 Broadway, New York, 1st June 1852â&#x20AC;?.

300/400 euros

1200/1500 euros

8 Boy with a Chimera / Ragazzo con la chimera, c. 1852

9 Hiawatha Club, Columbia, Pennsylvania, 1856

American daguerreotypist

Wilheim (attr.)

Ninth plate daguerreotype, 64x48 mm, case pattern Nolan #754 Whose ? Provenance :

Quarter plate daguerreotype reproducing ten daguerreian portraits The ten founding members of the sport club may refer to the Hiawatha Island on the Susquehanna River, North of Columbia.

400/500 euros

500/600 euros

10 The Twins / Le gemelle, Metz, circa 1856

11 Famille Mongolﬁer, Paris, c. 1856

Eugène Casimir Volmerange-Oulif (1804-1862)

French Ambrotypist (Richebourg ?)

Collodion on glass dry plate negative, 13x10 cm

Very large ambrotypes, 28x21 et 30x24 cm, in original oval “poirier noirci” frames, 40x34

Oulif, an artist from Metz, one of the ﬁrst photographers to practice daguerreotypy in provincial France, as early as 1839, invented and developed a dry plate process in the mid 1850s - without licensing his invention. Provenance : collection Gimmon

400/500 euros

Provenance : Famille Montgolﬁer. These oversized French ambrotypes deserves special shipment.

(2) 1200/1500 euros

12 The Reader / La lettrice, Paris, c. 1858

Attr. a Alexis Gouin

13 The Monk / Il frate, Milano, 1863

Hippolyte Deroche & Francesco Heyland

Why ? and Which ? How ? Whose ? Provenance :

300/400 euros

Albumen silver print, 210x130, blind stamp on mount.

300/400 euros

15 Nude Studies / Studi sul nudo, Brussels, 1860s

Edmond Lambrichs (1830-1887) Two albumen silver prints, 10x5.5, 10x5.5 cm, on paper mounts. The artist learned photography in his family, his siter was married to Charles Neyt () who made the famous portraits of baudelaire with a cigar, Brussels, 1864. Provenance : EugĂŠnie Beauvois.

(2) 800/1000 euros

14 Close distance selfportrait/ Autoritratto, Brussels, 1870

Edmond Lambrichs (1830-1887) Vintage albumen silver print, 23.5x20 cm, on paper mount. A very early selďŹ e by a Belgian friend of Charles Baudelaire, we imagine the artist handing his camera. Provenance : EugĂŠnie Beauvois.

2000/3000 euros

16 Mother with child / Madonna con bambino, 1860s

17 Extended Hand Study / Studio della mano tesa, Brussels, 1860s

Edmond Lambrichs (1830-1887)

Vintage albumen silver print, 17.5x13.5 cm, on paper mount.

Vintage albumen silver print, 8.5x10.5 cm, on paper mount.

Provenance : Eugénie Beauvois.

Probably the left hand of the model photographed in n°19. Provenance : Eugénie Beauvois.

400/500 euros

18 Beggar with child / Mendicante con bambino (studio), 1860s

Edmond Lambrichs (1830-1887)

Beggar with child II / Mendicante con bambino II, 1860s Edmond Lambrichs (1830-1887)

Vintage albumen silver print, 9.5x9.5 cm, on paper mount.

Vintage albumen silver print, 14x11 cm, small paper loss (left).

The child has naked feet. Provenance : EugĂŠnie Beauvois.

The child moved, the photographer kept the negative. Provenance : EugĂŠnie Beauvois.

400/500 euros

200/300 euros

20 Study for The Offering / L'Offerta, Taormina, 1902

Wilhelm Freiherr von Gloeden (1856-1931)

Boy Playing Flute, with Dog Nedda, Taormina, c. 1897 Wilhelm Freiherr von Gloeden (1856-1931)

Albumen silver print, 22.4 x 16.8 cm, on mount

Salt paper print, 22.4 x 16.8 cm, on mount

1500/1800 euros

23 Capitoline Hill Egyptian Lions / Cordonata capitolina, Rome, c. 1862

Francesco Adriano De Bonis (1820–1884) Albumen silver print from collodion glass negative, 20x25.5, small artist monogram on the print, some foxing, caption, pencil on mount: “Bottom of Capitol Steps”

300/400 euros

22 Arch of Dolabella, Piazza Celimontana, Rome, c. 1862

Francesco Adriano De Bonis (1820–1884) Albumen silver print from collodion glass negative, 24.5x19.5 cm, small artist monogram on the print, caption, pencil on mount: “Arch of Dolla Bella”

300/400 euros

24 North Porch and Transept, Wells Cathedral, 1860

25 River Wharfe, Bolton Abbey Bridge, 1854/1862

Francis Bedford (1816-1894)

Roger Fenton (1819-1869)

Albumen print by Francis Frith, circa 1865, 21x17 cm, title on mount. Francis Bedford deposited two thousand of his negatives with the Francis Frith Company.

Albumen print by Francis Frith, circa 1862, 16.5x20.7 cm, printed title and credit on mount strong tonality. Francis Frith bought the bulk of Fenton's negatives at the 1862 sale of his photographic equipment and stock.

400/500 euros

600/800 euros

Place Vendôme after the Commune, Paris, June 1871 Lucien Hervé & Charles Périer (attr.) Collodion on glass negative, 21x27 cm, numbered “13” in lower left angle How ? Whose ? Provenance : the artist

400/500 euros

Ruins after the Commune, Paris, June 1871 Lucien Hervé & Charles Périer (attr.) Collodion on glass negative, 27x21 cm, numbered “37 in lower left angle How ? Whose ? Provenance : the artist

400/500 euros

28 Commune de Paris, Mai 1871

Lucien Hervé (1819-1894) Albumen silver print, 26x20 cm, red signature stamp Whose ? Provenance :

How much ? in euros

Barricade des fédérés, place de la Concorde, Commune de Paris, Mai 1871 attr. à Lucien Hervé (1819-1894) Two albumen silver prints, 21x27 cm, printed labels on mount The Barricade was buit by Gaillard pèreProvenance :

(2) 800/1000 euros

30 Cast-iron architecture, Album Alfred Cottrau, Naples c. 1878

31 Le Midi de la France, Antibes, c. 1863

Achille Maiuri & Alfredo Cottrau (1839-1898)

Charles Negre (1813-1889)

In-folio, original gilded leather binding, 72 small albumen prints mounted by 4 on 18 + 1 leaves, dedication by Cottrau on frontispice

Collodion on glass negative, 18x24 cm

The Italian Industrial Construction Company was directed by the engineer Alfredo Cottrau. The Studio fotograﬁco Achille Maiuri was commissioned to document the construction in Uniﬁed Italy of cast-iron architecture, bridges and railway stations. Alfredo Cottrau was a talented and creative engineer, Gustave Eiffel adopted his ideas of instantaneous military bridge “Ponti istantanei”.

In 1861 Nègre retired to Nice, where he made views and portraits for holiday makers, working on a personnal project he could never achieve: "Le Midi de la France, Nice, Menton, Antibes, Cannes, Grasse, Hyeres, Frejus, Toulon, Marseille, Arles, Sites pittoresques. Monuments historiques. Recueil de Photographie"

1200/1500 euros

1000/1200 euros

32 Panorama of Lisbon, c. 1861

33 Grand Tour of lost

Francesco Rocchini (1820-1895, attr.) Two albumen prints panorama, 25x17.5 and 25x18 cm We can observe the famous arch, Arco da rua Augusta in construction, without the statues added in 1862, for the wedding of the king Luís I of Portugal. Francesco Rocchini early works are still little known.

500/600 euros

properties, c. 1897 Philippe d’Orléans (1869-1926) Panoramic citrate prints, 10x30.5 mm

(3) 300/400 euros

35 Aswan Low Dam, Flooded Philae / Isola di File, 1903

34 Aswan Low Dam / Diga di Assuan, 1902

Achille Gianny (active 1900s)

Achille Gianny ()

Five collodion on paper prints, 20.5x27 cm, forming an horizontal panorama, total 20.5x135 cm, photographer stamp (1) and Parisian distributor “Abel Couvreux, rue d’Anjou” stamps (5), mint condition, long caption, pencil, verso : “Vue panoramique montrant le barrage du côté aval (5 plaques). cette vue est la dernière qui ait été prise, on y voit aussi l’eau sortant des vannes” / Panoramic view showing the dam on the downstream side (5 plates). This is the last view taken, you can also see the water coming out of the gates / Veduta panoramica che mostra la diga sul lato a valle (5 tavole). Questa è l'ultima vista presa, si vede anche l'acqua che esce dai cancelli.

Three collodion on paper prints, 20.5x27 cm, photographer and Parisian distributor stamps, mint condition, date: “9 avril 03”, and captions, verso : “Vue prise du sud-est, “Vue de l’entrée des écluses, côté aval”, “Philae, pylones”, “Philae, vue du kiosque prise de l’Ouest, regardant l’ancien village arabe actuellement submergé” / view from the southeast, view of the lock entrance, downstream side, Philae, pylons, Philae, view of the kiosk taken from the west, looking at the old Arab village now submerged / vista da sud-est, vista dell'ingresso della chiusa, lato a valle, Philae, piloni, Philae, vista del chiosco preso da ovest, guardando il vecchio villaggio arabo ora sommerso.

(5) 600/800 euros

(3) 400/500 euros

36 The Woo Sing Sing Tea House / Sala da tè, Shanghai, 1885

Lai Fong (attr.) Albumen print, 21x26.5 cm, numbered “35”, verso 至今湖心亭仍保留着当年所留下的一块由清朝文渊阁大理寺卿、上海人陆锡熊撰写的“湖心亭碑记”石碑。碑上刻有：“鱼鸟之出没，烟云竹树……一泓之池，视钱塘之西湖曾不足比拟百一。”据说湖心亭当时还有一幅对联，“叠烟千层石在水，野笛一声人过桥。”可见当时湖心亭周围景色之优美。

How much ? in euros

37 HSBC Building in the Hong-Kong Skyline / Crescita di una banca, c. 1882

Lai Fong (attr.) Albumen print, 21x26.5 cm, numbered “33” and captioned in english, ink and pencil, verso The ﬁrst generation of Hongkong and Shanghai Banking Corporation (HSBC) Buildings in Hong Kong. The Wardley House was located at the intersection of Queen's Road and Wardley Street (currently named Bank Street). The land was later bought by HSBC and used to built the 2nd (here the tall one near the left), 3rd and 4th generation building until now.

300/400 euros

38 Three Panoramic Views of the Forbidden City / Città Proibita, Beijing, c. 1899

Stolen Images of Emperor Guangxu’s Funerals, Beijing, May 1909

Circle of Theophile Piry

Citrate prints, 28x9 cm, curious caption, French & English, pencil: “Entrée Forbidden City”

Twelve vintage silver prints, 8x14 cm, initials signatures in the negatives

These panoramas come from the circle of Theophile Piry, and could be attributed to this diplomat and master of the Imperial Post Ofﬁce, a known amateur photographer.

Photography was forbidden, The general aspect of this group conﬁrm the hypothesis of unofﬁcial unauthorized snapshots of the last Imperial Funerals in May 1909.

(3) 300/400 euros

(12) 600/800 euros

40 San Francisco Fire after the April 1906 Earthquake

41 Aftermath of the San Francisco Fire

San Francisco dopo il terremoto, 18 Aprile 1906 Arnold Genthe (1869-1942)

San Francisco dopo l'incendio, 1906 Arnold Genthe (1869-1942)

Exhibition silver print, printed for the Legion from a new negative, 26x35 cm, printed 1943. The Genthe negatives and prints were acquired by the SF Palace of the Legion of Honor in 1943. A lot of the negatives were in bad shape even then so they made copy negatives off the prints where the negatives were missing. These Legion prints were exhibited several times after the 1943 acquisition.

Exhibition silver print, printed for the Legion from a new negative, 28.5x35.5 cm, printed 1943. Provenance : SF Palace of the Legion of Honor.

Provenance : Published by the SF Palace of the Legion of Honor.

300/400 euros

THE SHORT 20th CENTURY Il breve 20° secolo. 1914-1989 Alexander Rodchenko Alexey Temerin Roger Parry Paul Strand Gertrude Fehr George Rodger Mirjam Schwarz Werner Bishof Alberto Durazzo Enrico Villani Henri Cartier-Bresson Hans Genny Toon Michiels Zed Poinpoin

43 Mayakovsky with Pencils, April 1924

Rittrato di Majakovskij con matite Alexander Rodchenko (1891-1956) Silver print, printed after Mayakovsky’s suicide, 1930, 23x14.5 cm, stamp “In April 1924, Rodchenko made a series of six studio portraits of the poet — his ﬁrst lasting achievement as a photographer. In 1926 he used two of the pictures in collages for the front and back covers of Mayakovsky's book, ‘Razgovor c ﬁninspektorom o poesii’.” (MoMA). This is a close-up croping of Mayakovsky sitting with a cigarette.

4000/5000 euros

44 V.V. Mayakovsky, Simferopol, 7 July 1926

Max Leonidovitch Polianovski (1901-1977) Glass internegative, 12x8 cm Max Polianovski used his own photographs, including this cropped 1926 portrait to illustrate his biography of the poet: Mayakovsky Kinoaktor, Gozkinoizdat, 1940.

400/500 euros

45 V. V. Mayakovsky, Moscow, 1929

Alexey Temerin (1889-1977) Vintage silver print, 88x70 mm, pencil This little known ID portrait in an oval was given to the poet to a Leningrad publisher who was charmed. The photographer was identiďŹ ed with a published variant portrait.

600/800 euros

46 Stacking Lumber, Vakhtan Sawmill, 1930

Alexander Rodchenko (1891-1956) Vintage silver print, 11.5x18 cm, artist’s stamp In 1930, Rodchenko was commissioned to direct a soviet movie with the poetical name of Chemical Treatment in the Forest. But the ﬁlm company's camera equipment never functioned, Rodchenko rely on his personnal equipment including his famous Leica. The resulting series Stacking Lumber, Vakhtan Sawmill, was published in one 1936 issue of USSR in Construction, dedicated to the timber trade.

2000/3000 euros

47 White Sea–Baltic Canal / Belomorkanal, 1933

Alexander Rodchenko (1891-1956) Vintage silver print on matte paper, 24x18 cm, artist’s address and telephone stamp, title in Russian: “The Ship in the Lock at the Belomor Canal”. Soviet Citizens knew how much suffering was in that place. Gift from the artist’s grandson.

4000/5000 euros

49 Photographic Modesty/ Modestia fotograﬁca, Pointe-à-Pitre, 1932

Roger Parry (1905-1977) Unmounted vintage silver exhibition print on heavyweight matte paper, 24x30 cm, estate stamp

1200/1500 euros

48 Children's Mistrust / Difﬁdenza dei bambini, Pointe-à-Pitre, 1932

Roger Parry (1905-1977) Vintage silver exhibition print on heavy matte paper, 23.5x29.5 cm, estate stamp Roger Parry participated to a cinematographic expetition to Tahiti during the year 1932, traveling through the Panama Canal with a transit in Guadeloupe where he could make several drawings and photographs. A selection of his photographs, including this print, were exhibited in Paris in 1934 at The Galerie de la Pléiade.

800/1000 euros

50 Panama Canal/ Canale di Panama, 1932

Roger Parry (1905-1977) Vintage silver print, 29.5x39 cm, estate stamp. This print was exhibited in Paris, in 1934 at Galerie de la Pléiade.

800/1000 euros

51 “Pendant la traversée du Canal”, Panama, 1932

Roger Parry (1905-1977) Vintage silver print, 29.5x22 cm, titled by the artist on mount, pencil, estate stamp, mount verso. This print was exhibited in Paris, in 1934 at Galerie de la Pléiade “Souvent, pour s'amuser, les hommes d'équipage ...”

800/1000 euros

52 Cristo, San Jerรณnimo Tlacochahuaya, Oaxaca, 1933

53 Man of Tenancingo, Mexico, 1933

Photogravure after Paul Strand (1890-1976)

Photogravure printed in 1940 by Charles Furth, 32.5x24.5 cm, annotation by the artist, verso, and by Hazel Strand on mount verso.

Photogravure, printed 1940, 23x18 cm, artist personal proof print, annotation by Hazel Strand on mount verso.

300/400 euros

400/500 euros

54 Vitruvian Man / Uomo vitruviano, Paris, c. 1930

French Artist

Moving Man / Uomo in movimento, Paris, c. 1930 French Artist

Gelatin dry plate, glass negative, 17.5x13 cm Is it a naked self-portrait ? the model is in his forties. Provenance : collection Gimmon

300/400 euros

56 Nude / Studio del nudo, Paris, c. 1936

57 Nude / Studio del nudo, Territet, Switzerland, c. 1940

Gertrude Fehr (1895-1996)

Vintage silver print, 300x240 mm, Publiphot stamp How ? Provenance : collection Z

Vintage silver print, 275x206 mm, two name stamps How ? Provenance : collection Z

600/800 euros

800/1000 euros

58 Entering a Korongo Nuba bedroom, Kordofan, 1949

George Rodger (1908-1995)

Cloud Study, Zuydersee, Netherlands, 1938 Roger Parry (1905-1977)

Vintage silver print, stamp.

Vintage silver print, 18x24 cm with margins, estate stamp.

Variant title : Method of entering the bedroom of a Mesakin Quasar House. Provenance : private collection

This print was exhibited in Paris in 1938 at Galerie Paul MagnĂŠ, ex- librairie-galerie de la PlĂŠiade.

1800/2000 euros

400/500 euros

60 Solferino station, Paris Metro, 1939

61 Solferino station, Paris Metro, 1939

Roger Parry (1905-1977)

Vintage silver print, 19x18 cm, estate stamp

Vintage silver print, 18x24 cm with margins, estate stamp. The Kap poster: â&#x20AC;&#x153;Nous vaincrons parce que nous sommes les plus forts. Souscrivez aux bons d'armementâ&#x20AC;? Whose ? Provenance :

Whose ? Provenance :

400/500 euros

62 In the Moving Subway, Paris Metro, 1950

63 Nella metropolitana in movimento, Paris, 1950

Mirjam Schwarz (1924-2005)

Vintage silver print on heavy matte paper, 17.5x17.5 cm How ?

Vintage silver print on heavy matte paper, 17.5x17.5 cm, dated, signature and title on mount verso : â&#x20AC;&#x153;in der fahrenden Metro, Paris 50â&#x20AC;?.

400/500 euros

64 Selfportrait shadow, France, 1949

65 Hand and Movement study, Marseille, 1949

Mirjam Schwarz (1924-2005)

Vintage silver print on tinted matte paper, 17.5x17.5 cm, dated and initialed in ink on mount verso: “M. MI/1949”. A late afternoon selﬁe in a confused garden.

Vintage silver print, 20x18 cm, dated, signature and title in pencil on mount: “Marseille 49 / MMI Mirjam S.”

400/500 euros

1000/1200 euros

66 Teenager Freedom Fighter, Budapest, 1956

David Hurn (born 1934) Vintage silver print, 21.5x17 cm, Reﬂex Agency stamp, verso David Hurn covered the Hungarian Revolution.

500/600 euros

Alejandro Obregón in Barranquilla, 1962 Hernan Diaz (1931-2009) Vintage silver print, 24x18 cm, stamp, caption, pencil, verso : “Alejandro Obregón, el mejor pinctor”

300/400 euros

69 Anjali Hora in her hotel room / nella sua camera d'albergo, Bombay, 1951

Werner Bischof (1916-1954) Vintage silver print, 20.5x24.5 cm, stamp Bischof devoted much of his work looking for tranquility in traditional cultures, when picture editors were looking for hot topical material. And when he was sent to report on famine in India by Life magazine (1951), he created this portrait of Indian dancer Anjali Hora.

3000/4000 euros

68 Gabriel Garcia Marquez, Bogotรก, c. 1960

Manuel H. (1920-2009) Vintage silver print, 25x20.5 cm, stamp How ? Whose ? Provenance :

300/400 euros

70 Bankers Trust, Manhattan, New York, 1960

71 Puebla, Mexico, 1963

Henri Cartier-Bresson (1908-2004)

Why ? and Which ? How ? Whose ? Provenance :

2000/3000 euros

3000/4000 euros

72 La Dolce Vita (The Sweet Life)

Who ?

Le Voleur de Bicyclette, French Poster, 1949 Who ?

Why ? and Which ? How ? Whose ? Provenance :

How much ? in euros

Girotti e la Calamai, Ossessione, 1942 Osvaldo Civirani (1917-2008) Vintage silver print, 22.5x9.5 cm, cropped by the artist, stamp, annotations, date in ink, verso: “15 August 1942” This photograph was taken at an early stage of the shooting, in August 1942. Provenance :

600/800 euros

“The fact is that the cycle that had been inaugurated at the end of the 14th century and prolonged by the discovery of linear perspective reached its close only after the Second World War ... The description of Italy and Italians according to objective criteria had not disappeared however; its form of expression was no longer painting but the cinema. The transition from one to the other followed a process whose steps are not easy to identify ... the essential aspects of neorealism are deﬁned in Ossessione by Luchino Visconti” (Federico Zeri, La percezione visiva dell’Italia e degli Italiani)

Farley Granger e Massimo Girotti, Senso di Luchino Visconti, 1953 Aldo Graziati (1905-1953) Two vintage silver prints, 27x21 cm, agency labels, verso How ? Whose ? Provenance :

(2) 300/400 euros

77 Pier Paolo Pasolini on the set of La Ricotta, CinecittĂ , 1962

Angelo Novi (1930-1997)

Alberto Durazzo, Agenzia Dufoto

Vintage silver print, 18x24.5 cm, stamp

Vintage silver print on double weight paper, 24x30.5 cm, stamp

An angel photographed by an angel on the set of Pasolini's The Gospel According to St. Matthew.

Pasolini was accused of holding contempt for the state religion ...

200/300 euros

76 Rossana Di Rocco as Angel of the Lord, Surroundings of Matera, 1964

79 “Ho chiesto un tocco di luce”, Lulio 1972

Enrico Villani (1928-2016) Vintage silver print, 24x29.5 cm, dated, signed and dedicated with a poem in Italian to a Mexican friend, ink, verso “Colori accesi, ombre impenetrabili, lampi di luce, emozioni intense, soggetti riproposti, mai in maniera ripetitiva e banale, questa la cifra stilistica inconfondibile dell’Artista: la natura con pannocchie di mais, melograni, zucche, cardi, e poi architetture con torrioni e guglie ma soprattutto corpi di donna “tesi e scolpiti” come acutamente osserva ancora Elisabetta Dellavalle, che esprimono “con una pittura sincera e coraggiosa, …il bisogno di spiritualità, di solitudine, l’amore sognato, rubato, rimpianto, lontano” (Mostra retrospettiva, Comune di Vercelli, 2015). Provenance : Private collection, Mexico

300/400 euros

Brutalist architecture, Mexico, 1972 Enrico Villani (1928-2016) Vintage silver print, 24x29.5 cm “Bright colours, impenetrable shadows, ﬂashes of light, intense emotions, subjects reproposed, never in a repetitive and banal way, this is the unmistakable stylistic feature of the Artist: nature with corn 78 cobs, pomegranates, pumpkins, thistles, and then architecture with towers and spires but above all the bodies of a woman "tense and sculpted" as Elisabetta Dellavalle observes sharply, expressing "with a sincere and courageous painting, ... the need for spirituality, loneliness, love dreamed of, stolen, regretted, far away" (Mostra retrospettiva, Comune di Vercelli, 2015). Provenance : Private collection, Mexico

200/300 euros

Corresponds Image of the Eye Seeing Tone (Cymatic study), 1963 Hans Jenny (1904-1972) & Hans-Peter Widmer Vintage silver print on glossy paper, 16.5x23 cm, Hans Jenny’s stamp and two Hans Peter Widmer’s stamps on mount verso, numerous annotations: “entspricht bild von das auge sieht tone” Reproduced in Camera, n°11. Provenance : Hans Jenny’s collection.

Vibration I (Cymatic photographic study), 1963 Hans Jenny (1904-1972) & Hans-Peter Widmer Vintage silver print on doubleweight glossy paper, 23x28.5 cm, Hans Jenny’s stamp How ? Whose ? Provenance :

400/500 euros

Vibration I (Cymatic photographic study), 1963 Hans Jenny (1904-1972) & Hans-Peter Widmer Vintage silver print on doubleweight glossy paper, 24x30 cm, Hans Jennyâ&#x20AC;&#x2122;s stamp How ? Whose ? Provenance :

400/500 euros

82 What ? Where ? When ?

Hans Jenny (1904-1972) & Hans-Peter Widmer Vintage silver print, 23x28.5 cm, Hans Jennyâ&#x20AC;&#x2122;s stamp How ? Whose ? Provenance :

400/500 euros

Vibration I (Cymatic photographic study), 1963 Hans Jenny (1904-1972) & Hans-Peter Widmer Vintage silver print on Kodak glossy color paper, 17.5x23.5 cm, Hans Jennyâ&#x20AC;&#x2122;s stamp How ? Whose ? Provenance :

400/500 euros

86 A la Biche (Behind the Glass Door), Paris, 1906

87 A la Croix d’or (dietro la porta di vetro), Paris, 1911

Eugène Atget (1857-1927)

Late silver print, 1981, from collodion glass negative, 24x18 cm Edition by the Caisse des Monuments Historiques, at the beginning of photographic revival.

Late silver print, 1981, from collodion glass negative, 24x18 cm Little known edition by the French Institution with Atget’s original glass negatives.

300/400 euros

88 Night scene, New Orleans, November 1973

Toon Michiels (1950-2015) Vintage silver print, 30x40 cm including margins, stamp, date and title, pencil, on mount verso: “New Orleans, Nov 1973” Toon Michiels’ ﬁrst trips to the USA led to the series American Neon Signs By Day And Night.

300/400 euros

89 Ringing Street Telephone, San Francisco, c. 1959

San Francisco Examiner reporter Vintage silver press print, 25.5x20.5 cm, newspaper stamp Forty years before the release of The Matrix.

200/300 euros

90 Digital Underground

Oackland, July 1990 Victor Hall

Listo Mexicano Loco Los Angeles, 1991 Robert Yager (b. 1964)

Vintage silver print, 25.5x18 cm, newspaper date stamp, caption, verso

Silver print, printed 1997, 26.5x18 cm, captioned: â&#x20AC;&#x153;Listo Mexicano Locoâ&#x20AC;?

Following the release of their "Doowutchyalike" single and video in the summer of 1989, the band gained popularity with their song "The Humpty Dance" in 1990. Provenance : The San Francisco Examiner paper library.

Yager grew up in London and moved to Mexico before settling in California where Yager decided to delve into the world of Los Angeles Latino street gangs in 1991.

200/300 euros

Cosmic meteorit route recording, c. 1967 Soviet Soyuz Programm

Tadpole photo, 1965 James McDivitt (born 1929)

Vintage silver prints, 12 parts chronophotography, 7x10 cm each, 83x10 cm all, marks and numbers in ink on montage

Vintage silver print, 20.5x25.5 cm, sixteen stamps, date stamps, verso

“There are actually five retroreflectors on the Moon: three placed by Apollo astronauts and two that sit atop Soviet rovers. But only one of the Soviet reflectors could be used by astronomers; the other, on board Lunokhod 1, the first robotic rover to traverse the Moon, was lost in 1971.

“McDivitt commanded the Gemini 4 mission with Ed White as his copilot. On the second day, over Hawaii, while White was asleep, McDivitt happened to see an unidentified flying object, which he described as looking "like a beer can or a pop can, and with a little thing like maybe like a pencil or something sticking out of it." He got a camera and took a few photographs of it ... Word of the "UFO photos" reached the press by the time the flight splashed down”.

Over the decades astronomers occasionally looked for the rover but without success. Even with the best telescopes it's difﬁcult to spot something from here on Earth that's less than eight feet in length; the atmosphere interferes. And Hubble and other space telescopes aren't able to image the Moon in detail either.”

1200/1500 euros

300/400 euros

Dancer, New York, c. 1960 David Berlin (active 1960s)

Phantom, Carlsbad Caverns, New Mexico, c. 1960 Unidentiﬁed photographer

Vintage silver press print, 25.5x20.5 cm, stamp. The stamp precises “573 Grand Street”, a huge block near Williamburgh Bridge.

Vintage silver print on matt paper, 25.5x20.5 cm, title, pencil, verso. Any resemblance to real and actual names is purely coincidental.

100/150 euros

200/300 euros

96 Paulo Klein and Dr Coutinho, Portraits from The Robot 1987 Series, 1950-1987

Zed Poinpoin (born 1961) Ink on 1950 monochrome Brazilian silver prints, 18x13 cm, signed Under the pseudonym of Zed Poinpoin, this young French muralist was a free electron of the Free Figuration movement between 1983 and 1993. Outside galleries and museums, like the other artists of his generation, inspired by grafﬁti (Afﬁchage sauvage, Biennale de Paris — 1985), they devoted themselves to graphic design for various publishers (Exposition, VIA-1987).

(2) 300/400 euros

97 Horacio and Dr Costa, Portraits from The Robot 1987 Series, 1950-1987

Zed Poinpoin (born 1961) Ink on 1950 monochrome Brazilian silver prints, 18x13 cm, signed His forms of appropriation of different surfaces are marked by his qualities as a colourist and by a frank line of great spontaneity. A premonitory in several respects, this set of Brazilian photographic portraits from the 1950s taken in Chinese ink in 1987 illustrates a corporation of robots with which the artist will become singularly familiar in the following years.

(2) 300/400 euros

98 Prof. Carneiro, Robot, 1987, Zed Poinpoin (b. 1961) Ink on older monochrome Brazilian silver print, 24x18 cm, signed

400/500 euros 99 Prof. Carneiro, Robot, 1987, Zed Poinpoin (b. 1961) Ink on older monochrome Brazilian silver print, 24x18 cm, signed

400/500 euros

MADE IN SENIGALLIA Local Art, Senigallia Città della Fotograﬁa Giuseppe Cavalli Feruccio Ferronni Mario Giacomelli Enea Discepoli Michel Collet

101

“Paesaggio in Puglia”, 1956 Giuseppe Cavalli (1904-1961) Vintage silver print, 16x40 cm, signed in intials and dated on the print, green ink, stamp and title, verso How ? Whose ? Provenance :

3000/4000 euros

102

Window reflection I, Senigallia, circa 1952 Ferruccio Ferroni (1920-2007) Vintage silver print, 20x8 cm, stamp “Ferruccio Ferroni (Mercatello sul Metauro, 1920 Senigallia, 2007) is one of the protagonists of photography in Italy alongside his first master Giuseppe Cavalli, of Apulian origin and of lawyer training — endowed with his own strong artistic awareness and engaged in an intense theoretical and popular activity — and subsequently close to Paolo Monti, inspirer in particular of his material period and of elegant experimentations. After two years of war, the dramatic imprisonment in Germany — for refusing to join the Republic of Salò — and the hospitalization at the sanatorium of Forlì, in 1953 he graduated in law and worked as a lawyer until 1992. In parallel with his legal activity, he produced a vast photographic production which, although born in the amateur field at the end of the 1940s, was always distinguished by the rigour and balance of his professionalism. These will be accompanied, as a legacy of the Horse way, a meticulous organization of its archive of images, structured according to cataloguing criteria still current and usable. Thanks to Giuseppe Cavalli, in the forties and fifties Senigallia experienced a period of great intellectual ferment for various initiatives, not only in the field of photography, a case history rare in the cultural landscape of the time. The friendship between Ferroni and Cavalli will be nourished by precious external contributions, one of which will be Mario Giacomelli; the three of them will attend assiduously and very often Casa Ferroni will be the place for discussion and exchange of opinions.” (Alessia Venditti, Ferrucio Ferroni, Taccuini Maltagliati, Senigallia, 2019)

500/600 euros

103 Window reﬂection II, Senigallia, circa 1952

Ferruccio Ferroni (1920-2007) Vintage silver print, 13x10.5 cm, stamp How ? Whose ? Provenance :

500/600 euros

104 An Antic Wall / Il vecchio muro, Ancona, June 1989

Ferruccio Ferroni (1920-2007) Exhibition silver print, printed 1995, 30x40.5 cm, signature, title, stamp and annotation, verso: “Stampa eseguita dall’autore il 21.2.1995”. Ferruccio Ferroni documented every print he made himself.

1200/1500 euros

105 The Glasshouse / La casa di vetro, Kew Gardens, London, 14 June 1987

Ferruccio Ferroni (1920-2007) Exhibition silver print, printed 1997, 30x40.5 cm, signature, title, stamp and annotation, verso: “Stampa eseguita dall’autore il 14 nov 1997”. Ferruccio Ferroni documented every negative and every print he made.

1200/1500 euros

106 Scanno, 1959

107 Paesaggio, Senigallia, c. 1978

Mario Giacomelli (1925-2000)

Silver print, printed 1980, 30x40 cm, three stamps verso How ? Whose ? Provenance :

Vintage silver print, 30x40 cm, stamp, annotations, pencil

4000/5000 euros

Mario Giacomelli spent several days every week during one year with the family. Provenance : Family of the artist, private collection, Senigallia

2000/3000 euros

109

Tree study, Senigallia, circa 1980 Mario Giacomelli (1925-2000) Vintage silver print, 30.5x40.5 cm, stamp The artist used a development cache.

1500/1800 euros

108 La Buona Terra, Senigallia, 1965

Mario Giacomelli (1925-2000) Silver print, circa 1980, stamp, annotations, pencil Mario Giacomelli spent several days every week during one year with the family. Provenance : Family of the artist, private collection, Senigallia

1800/2000 euros

110 La terra dalle ombre lunghe, Ladakh, 1976

Enea Discepoli & Mario Giacomelli Vintage silver print, 21.5x35 cm, artist proof, printed and annotated by Mario Giacomelli, pencil, verso: “visi appena piu chiaro” Mario Giacomelli prepared and taught young Enea Discepoli with a Mamya Press 6/9 camera, before his trip to Ladakh in 1976. The negatives were then edited and printed in Senigallia by MG before being exhibited once in the USA (1980) and in Senigallia (2011). “Da queste foto emerge la sorprendente potenza del Giacomelli stampatore che imprime il suo inconfondibile stile anche in foto scattate da un'altra persona, Enea Discepoli”. Prov. : Private collection, Senigallia

1500/1800 euros

111 La terra dalle ombre lunghe, Ladakh, 1976

Enea Discepoli & Mario Giacomelli Vintage silver print, 24.5x30 cm, artist proof, printed and annotated by Mario Giacomelli Mario Giacomelli prepared and taught young Enea Discepoli with a Mamya Press 6/9 camera, before his trip to Ladakh in 1976. The negatives were then edited and printed in Senigallia by MG before being exhibited once in the USA (1980) and in Senigallia (2011). “Da queste foto emerge la sorprendente potenza del Giacomelli stampatore che imprime il suo inconfondibile stile anche in foto scattate da un'altra persona, Enea Discepoli”. Prov. : Private collection, Roma

1500/1800 euros

112 The Sea of my Tales / Il mare dei miei racconti, Senigallia, circa 1980

113 The Wave, Senigallia, circa 1980

Mario Giacomelli (1925-2000)

Vintage silver print, 26.5x31.5 cm, signed in ink, stamps

Vintage silver print, 30.5x40.5 cm, stamp

Provenance : collection Righetti

From the series â&#x20AC;&#x153;Il mare dei miei raccontiâ&#x20AC;? / The Sea of my Tales.

1500/1800 euros

1800/2000 euros

115 â&#x20AC;&#x153;Che si vedano i tettiâ&#x20AC;?, Senigallia, c. 1990

Mario Giacomelli (1925-2000) Working silver print, 15.5x19 cm, drawing, annotations in ink on print by the artist

800/1000 euros

114 Il mare dei miei racconti, Senigallia, 1986

Mario Giacomelli (1925-2000) Vintage silver print, 30.5x40.5 cm, signed in ink on the white of the middle pier, two stamps How ?

1500/1800 euros

116 Corruption, Senigallia, 1970s

117 La ruggine, Senigallia, 1970s

Mario Giacomelli (1925-2000)

Vintage print on color paper, 25x20 cm

20x25 cm

800/1000 euros

118 Study for Caravaggio, Syracuse, Sicilia, 1985

119

Michel Collet (born 1949) Vintage silver print, dated and captioned by the artist, verso How ? Whose ? Provenance :

Les mains jointes, Study for Caravaggio, 1985 Michel Collet (born 1949) Why ? and Which ? Whose ? Provenance :

300/400 euros 300/400 euros

120

121 La madonna delle arpie

The Chairs / Le sedie / Cour du Vatican, 1985 Michel Collet (born 1949)

L’incoronazione di spine Michel Collet (born 1949)

Two silver prints, 40x30 cm with margins, stamps, titles, dates, signatures

(2) 500/600 euros

Polaroid, 7.7x7.7 cm After Andrea del Sarto’s Madonna of the Harpies and Caravaggio’s Crowning with Thorns

200/300 euros

122 La madonna delle arpie

L’incoronazione di spine Michel Collet (born 1949) Polaroid, 7.7x7.7 cm After Andrea del Sarto’s Madonna of the Harpies and Caravaggio’s Crowning with Thorns

(2) 200/300 euros

DIGITAL AGE Senigallia Città della Fotograﬁa oggi Paolo Monina Lorenzo Cicconi Massi Massimo Marchini Elisa Crostella

123 “Donne-moi une chose qui ne meurt pas”, Senigallia, 2018

Paolo Monina (born 1959) Fine art su tela cotone, 20x25 cm, signed Da scansione della Polaroid color 600 ovale, tiratura limitata a 5 copie.

350 euros

125 Ultime intimitรก II, Senigallia, 2017

124 Ultime intimitรก I, Senigallia, 2017

Paolo Monina (born 1959)

Fine art su carte cotone color, 16.5x14.5 cm, signed

Da scansione della Polaroid color 600 ovale, tiratura limitata a 5 copie.

250 euros

126 Nude Study / Le Rythme, Senigallia, 2018

127 Nude Study II / Le Rythme, Senigallia, 2018

Paolo Monina (born 1959)

Fine art print su carte cotone color, 24x22 cm, signed

Da scansione del negativo 6x6 120 Ilford HP5, tiratura limitata a 5 copie.

300 euros

Da scansione del negativo 6x6 120 Ilford HP5, tiratura limitata a 5 copie.

300 euros

128

129 Paesaggi delle Marche, mare, 2003

Paesaggi delle Marche, sedie, 2002 Lorenzo Cicconi Massi (born 1966)

Lorenzo Cicconi Massi (born 1966)

Scansionato e stampata ďŹ ne art su carta Hahnemuhle baryta da 325 gr, 30x40 cm, signature and stamp, verso. Open edition / Edizione aperta.

400 euros

130 Hommage to Henri Cartier-Bresson, Senigallia, 2019

131 Hommage to P. Picasso and R. Capa, Senigallia, 2019

Massimo Marchini (born 1957)

Collodion on aluminium, 17x12 cm, signed with point, verso. This unique melanotype was published and exhibited in May 2019, “Il Giro della fotograﬁa in ottanta giorni”, Biennale of Senigallia.

Collodion on aluminium, 17x12 cm, signed with point, verso. This unique melanotype was published and exhibited in May 2019, Biblioteca Antelloniana, Senigallia.

300 euros

132 Upside-down, Amman, 2018

133 Doorstep, Darat al Funun, Amman, 2018

Elisa Crostella (born 1992)

Artist’s book on paper, 32x22 cm, “Color photographs from inside my room in Amman. The black and white pinhole photos at the Jabal Hussein refugee Camp.” Limited edition of only ﬁve copies. This is copy number 2.

Contemporary print on glass, 102x70 cm. Within a limited edition of ﬁve, this is the second printing made available after the ﬁrst went to the collection of contemporary photography of Fondazione Cassa di Risparmio di Modena.

400 euros

1800 euros

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