AUCTION 333 – Photographs from important european collections
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Lot 49 FEDERICO GAROLLA (Napoli , 1925 - Milano, 2012)
Claudia Cardinale 1964 ca.
Unique Color Print
Cm 35 x 35
Edition of 15 never realized
Signed on verso
Framed (Black wood) size cm 52 x 42 x 3
Original provenance: the artist, Milano -
Lot 50 FEDERICO GAROLLA (Napoli , 1925 - Milano, 2012)
Claudia Cardinale 1964 ca.
Unique Color Print
Cm 35 x 35
Edition of 15 never realized
Signed on verso
Framed (black wood) size cm 52 x 42 x 3
Original provenance: the artist, Milano -
Lot 51 GIUSEPPE LANA (Catania, 1979 - )
Hostile environment 2019
Oil and acrylic glaze on canvas
Cm 36 x 36
Original provenance: The artist, Catania -
Lot 52 VITTORIO STORARO (Roma, 1940 - )
The Way 2019
Lambda print
2019
Cm. 100 x 200
Limited edition of 250
Signed on front bottom right
Certificate of authenticity from “Storaro Art”
The image with the photograph of Marlon Brando is taken from the film
“Apocalypse Now” by Francis Ford Coppola
Three-time Oscar winner for photography Vittorio Storaro, for
Apocalypse Now, Reds and The Last Emperor, has never
stopped studying to refine his technique and photographic
composition; colors are used to create psychological effects and
influence emotions.
“Apocalypse Now” from 1979 is not only a cinematographic
product of considerable importance but also a true
artistic product: photography is part of the expressive
architecture of the film in such a significant way that
it takes on a fundamental role in the poetics of the entire film.
The image of the work refers to the crucial sequence of the film;
the central character, Colonel Kurtz / Marlon Brando, enters
the scene through some photographic reproductions shown to
the one who will become his executioner.
The representation has a clear evocative function; it refers
to an individual whose features and voice we know but who
is elusive from a psychological point of view; It is in the revelation of
this dark point that the portraits of Colonel Kurtz
lead the viewer to understand his mysterious and
anguished side -
Lot 53 MARIO GIACOMELLI (Senigallia, 1925 - Senigallia, 2000)
Lourdes 1957
Gelatin Silver Print
Cm 30 x 40
Framed (black wood with plexi) size cm 42 x 52
Signed on verso
Original provenance: The artist, Senigallia -
Lot 54 PASQUALE DE ANTONIS (Teramo, 1908 - Roma, 2001)
Untitled 1950 ca
Original vintage black and white print
Cm 29.5 x 22.5
Wooden frame with VM130 Glass, cm 48 x 41 x 2
Original provenance: Monserrato Arte 900 Gallery, Rome -
Lot 55 MATTEO BASILÉ (Roma, 1974 - )
Ofelia - The Saints are Coming - Last Act 2010
C-print on aluminium and plexiglass
Cm 150 x 100
Unique in this format. Signed, dated and titled on the back
Exhibition “The Saints Are Coming - Last Act” at Galleria
EMMEOTTO, Rome, 2011
Basilè's world is "an iconographic universe resolved between
technological mannerism and pictorial surrealism through an
iconographic hybridization and a cultural contamination between
East and West" - Achille Bonito Oliva.
The suggestions of the East coexist in fact with a deep
rooting in Romanity.
The search for harmony and balance between the masses and the
chromatic agreements are distinctive elements of a research that pursues
beauty as the ultimate goal, and with exoticism, becomes the absolute
protagonist in images imbued with mysterious sensuality.
A strong surrealist connotation characterizes the photographs of
oriental characters lost in desolate landscapes, among
distant architectures, dominated by livid and leaden skies.
These calibrated iconographies live in surreal and virtual worlds
created digitally by moving from photographic images
realized with stagings like film sets; they shape
the real through fantasy, transported into a dreamlike dimension,
out of time and beyond a precise and identifiable physical space:
they are beautiful and restless and combine sacred and
profane, future and tradition, East and West.
Saints, madmen, warriors, monstrous creatures, or archaic faces
like those captured in travels in Southeast Asia, where the
Italian photographer finds new impulses to tell that mystery
that is typical of man's existence. -
Lot 56 FRANCO FONTANA (Modena, 1933 - )
New York 1997
Vintage cibachrome from a Polaroid Transfer Collage
Unique work
Cm 42 x 54
Signed on verso
Framed (black wood with plexi) size cm 48 x 60
Original provenance: The artist, Modena -
Lot 57 FRANCO FONTANA (Modena, 1933 - )
New York 1997
Vintage cibachrome from a Polaroid Transfer Collage
Unique work
Cm 42 x 54
Signed on verso
Framed (black wood with plexi) size cm 48 x 60
Original provenance: The artist, Modena -
Lot 58 STEFANO CANTARONI
Ultima cena 2000
Digital Lambda Prints mounted with plexi on forex. Work in 3 parts
Cm 120 x 360
With a certificate of authenticity
Original provenance: The artist, Pesaro -
Lot 59 LUCA PANCRAZZI (Figline Valdarno, 1961 - )
Polvere 1998
4 portable transparency viewers (with electric cables and transformers)
Work in 4 indivisible parts
Each 37 x 27 cm
Signed on work N. 1
Original provenance: Galleria Continua, San Gimignano -
Lot 60 SERGIO SPINELLI
World war II Roma 1945
(Diptych), 2 Vintage gelatin silver prints
Each cm 18 x 24
Framed (white wood with plexi) size cm 64 x 49
Each signed and annotated on verso
Original provenance: The artist, Roma -
Lot 61 UMBERTO STEFANELLI
Look at me - pHOTogeisha serie, one night stand in Osaka 2010
Lambda print on Fuji paper
Cm 180 x 120
Signed, numbered and artist's studio dry stamp
P. A 1/3
Certificathe of authenticity from the artist 2020
An unusual and original photographic project, born almost by
chance during a night inside a small club in
Minami and a love hotel in Osaka, Japan.
Twenty images to tell the story of shibari, a culture with
ancient origins, which in Photogeisha today is documented from
an unusual angle compared to the ideas that normally
accompany this discipline. The images tell the story of
an art in which the spectator becomes a participant in the sharing
of a living sculpture and a meditative practice that, through
the flexibility of the body and mind, becomes an expression of
power and exchange. A mix of body and spirit in which the
rope is the means and in which more than the final destination, the
path taken together counts. -
Lot 62 MARIO DE BIASI (Sois, 1923 - Milano, 2013)
Gamba de legno Milano, 1951
Vintage gelatin silver print
Cm 30 x 40
Signed on verso
Framed(cherry wood+plexi) size cm 55,5x64,5
provenance: The artist, Milano -
Lot 63 JANNE LEHTINEN (Karhula, 1970 - )
Sacred bird 2004
Vintage C-Print mounted on aluminium
Cm 101 x 138
Edition 5/5
Signed on verso
Framed (light wood and glass) size cm 105 x 136
Original provenance: The artist, Helsinki -
Lot 64 DANIELE PUPPI (Pordenone, 1970 - )
Fatica #26 (Frammento) 2004
Retouched colored photography
Cm 118 x 143
Edition 1/3
With a certificate of authenticity
Framed (white wood with plexi) size cm 125 x 150
Original provenance: Galleria Magazzino, Roma -
Lot 65 OLIVO BARBIERI (Carpi, 1954 - )
Stadi Bari 1999
Vintage color print mounted on aluminium
Cm 120 x 153
From an edition of 6
Signed on verso
Framed (light wood with plexi) size cm 125x157
Original provenance: The artist, Carpi -
Lot 66 MARIO DE BIASI (Sois, 1923 - Milano, 2013)
Gli Italiani si voltano Milano, Italy, 1954
Vintage gelatin silver print
Cm 21 x 30
Signed, dated, annotated on verso
Framed dark grey wood (size 42 x 52 cm)
Original provenance: The artist, Milano
Modernism, with its “straight” formulas, was doubtlessly a major artistic inspiration, almos a school, for De Biasi and we find its work, the travel and urban exploration pieces as well as the nature and photojournalism work, which is also organized in rectangles with homogeneous surface shot straight on or from above. In his work the central nucleus blends in harmoniously with the surrounding matrix, creating quickly extemporized metaphors “à la sauvette”, that sometimes recall Cartier - Bresson, perhaps the conceptually closest photographer to De Biasi.
They also share a very explicit humanistic leaning, latina warmth, a nostalgic yearning and a rhapsodic longing for the beautiful, the sublime, wich comes across with De Biasi in a very charming, serene way, without bitterness or insincere intellectual irony.
Italo Zannier
© 1994 Photology Editions
Mario De Biasi Neorealismo e Realtà -
Lot 67 MARIO GIACOMELLI (Senigallia, 1925 - Senigallia, 2000)
Scanno 1957
(Diptych) 2 vintage gelatin silver prints
Cm 27 x 36 (left) and 30 x 40 (right)
Both signed, stamped Via Mastai 6 and annotated on verso
Each framed (dark grey wood + plexi) size cm 42 x 52 x 2,5
Original provenance: the artist, Senigallia Italy
Mario Giacomelli’s picture is a pattern of dark shapes on a gray ground, all revolving around the small boy who levitates within the halo of the worn footpath, framed by the trembling wintry crones - two of a presumably endless line that scuttle past like the mechanical targets in a shooting gallery. The first pattern seems at first glance almost symmetrical, but its balance is in fact not so simple: the frame has been shifted leftward from the boy to accommodate the weight of the three figures in the upper lefthand corner. These three vertical strokes relate to the two black strokes of the figures above the boy’s head, and the two formed by the feet of the foreground figure, all of these together describing one of the several triangles of which the picture seems to be constructed.
The black squares of the windows in the upper right are equally part of the life and rhythm of the picture as can be easily demonstrated by covering them with a swatch of gray paper. Such analysis is of course irrelevant except as a way of wondering why the picture has succeeded. Analysis was surely useless to Giacomelli during the thin slice of a second during which this picture was possible, before the black shapes slid into an irretrievably altered relationship with each other, and with the ground and frame.
It seems in fact most improbable that a photographer’s visual intelligence might be acute enough to recognise in such a brief and plastic instant the pictorial (two dimensional) significance of the action unfolding in the deep stage before his lens.
Yet many photographers of recent years have educated their instincts so well that they do precisely this, and anticipate their results within narrow tolerances.
John Szarkowski -
Lot 68 MARIO GIACOMELLI (Senigallia, 1925 - Senigallia, 2000)
Non ho mani che mi accarezzino il volto 1961-63
Gelatin Silver Print
Cm 40 x 30
Framed (black wood with plexi) size cm 52 x 42
Signed on verso
Original provenance: The artist, Senigallia -
Lot 69 MARIO GIACOMELLI (Senigallia, 1925 - Senigallia, 2000)
Non ho mani che mi accarezzino il volto 1961-63
Gelatin Silver Print
Cm 30 x 40
Framed (black wood with plexi) size cm 42 x 52
Signed on verso
Original provenance: The artist, Senigallia -
Lot 70 OLIVIERO TOSCANI (Milano , 1942 - Cecina, 2025)
Suora e prete 1991
Canson Baryta inkjet print (printed 2010 ca.)
Cm 70 x 92
Signed on recto
Signed by the artist on Amici di Edoardo Certificate of authenticity
Framed (black aluminium + plexi) size cm 90 x 110 x 3,5
Original provenance: Auction Amici di Edoardo Onlus, Milano Italy -
Lot 71 UGO MULAS (Pozzolengo, 1928 - Milano, 1973)
The Marcel Duchamp Portfolio 1970 ca.
10 vintage gelatin silver prints mounted on aluminium
Each cm 49,5 x 39,3
50 of the intended 100 portfolios were produced by the artist before his death
With a certificate of authenticity by Archivio Mulas
Original provenance: Francesco Buffa di Perrero, Milano -
Lot 72 MARIO SCHIFANO (Homs, 1934 - Roma, 1998)
La Pistola 1990
Mixed media: Retouched photograph with enamel
Cm 10 x 15
Original artwork
Signed on the verso
Original provenance: Acquired from Studio d'Arte Borromeo
The work is archived at the Mario Schifano Foundation (Archivio Generale delle Opere di Mario Schifano) under archive number F90-97/6007, dated August 2, 2007. It is published in the catalog Mario Schifano: Fotografie Ritoccate, Volume I, page 19. This original artwork is certified by the Archivio Generale delle Opere di Mario Schifano.
Mario Schifano was a pivotal figure in Italian post-war art, often associated with the Scuola di Piazza del Popolo. His artistic practice extended beyond painting into photography, where he developed a unique approach by manually altering and retouching photographic prints with enamel and other materials. This technique blurred the boundaries between photography and painting, transforming mechanical images into expressive, one-of-a-kind artworks. His photographic works, such as La Pistola, reflect his fascination with mass media, imagery, and the intersection of reality and artistic intervention.