AUCTION 333 – Photographs from important european collections

(Triptych), 3 Vintage gelatin silver prints, a work in 3 parts (sequence)Each cm 25,2 x 20,2On each verso: dated, stamped, titled and signed with a unique hand-typed journalistic description by GalellaEach framed (black wood with plexi) size cm 42 x 37Original provenance: The artist, Montville USA

(Diptych, photo 1 by Joe Smith) 2 Vintage gelatin silver prints Photo 1 cm 24, 5 x 15 - Photo 2 cm 24 x 19,5 Each signed, titled, dated and stamped on versoEach framed (black wood) size cm 42 x 37Original provenance: The artist, Montville, USA It was late in the afternoon around 4.30 PM. I finished photographing a model, Joe Smith, who needed pictures for her portfolio. I wasn’t getting payed for it so I thought I might as well shoot in Central Park across from Jackie’s apartment in case I get lucky, and I did! Upon leaving the park I saw Jackie leave her apartment on 85th Street and head towards Madison Avenue. Joy could not believe it was Jackie! We were behind her at 85th street and Madison Avenue. Jackie made a left going north. I decided not to run in front of her, if I did she would have put on those dark glasses. So we hopped a cab to get in front of her so she couldn’t see me. “Follow that woman!” I told the cab driver. For once, Jackie’s instincts were all wrong; instead of turning away she turned right towards ma after hearing the first two clicks of the camera from the cab window. After getting out of the cab she spotted me and immediately put on sungalsses. I then handed Joy one of my cameras with a wide angle lens and prefocused to 15 feet. I told her to get the two of us together. Both Joy and I were clicking and laughing until Jackie furious turned and said “Are you pleased with yourself?” Well I knew then to stop and said “Thank you !” This is my favorite photo because it captures the qualities of paparazzi style; offguard, unrehearsed, spontaneous; the dramatic soft backlighting and the over-the-shoulder composition show her at her sexiest. She was casually dressed, wore no make-up and her hair was windblown which all added up to natural beauty. This is in contrast to the usual studio style picture. All the natural elements worked for me, including a little luck! Da Vinci had his “Mona Lisa” and I have my “Windblown Jackie”, my favorite, the most famous photo of Jackie.Ron Galella© 2004 Photology Editions Ron Galella Esxclusive Diary

Vintage gelatin silver print mounted on wood by the artist Cm 64 x 49 Signed on verso, on wood Framed (black wood and plexi) size cm 74 x 64 x 5 Original provenance: the artist, Rome ItalyTazio Secchiaroli (Rome 1924-1998) is among the most interesting and relevant Italian photographers of the 20th Century. Born in Rome, he was devoted to “La Città Eterna“ for his entire life, shooting pictures with a small camera since he was a young kid. Street life, friends and family occasions were his first imagery, while later he was concentrating more on people portraits while walking in the center of Rome. He started making some money taking pictures of tourists as souvenirs of their Roman holidays and later, as a professional photographer for official visits of foreign politicians; this job was appointed by the agency V.E.D.O owned by Porry Pastorel a real teacher for Secchiaroli. Both were happily working together on very special projects such as reportage of peripheral areas of Rome which were published by local newspapers each Sunday. He soon opened his personal photo-agency, Roma’s Press Photo in order to have exclusive direct assignments to sell to specific magazines. Tazio Secchiaroli became a reference of the Italian lifestyle, only through his methodical photo- work in Via Veneto where mega Hollywood stars were spending their nights in hotels, restaurants and cafes. He was well known as the most controversial action- photographer, becoming part of the Roman cultural circle. Federico Fellini built on his deeds the character of Paparazzo for his Academy awarded movie “La Dolce Vita”. Secchiaroli is suddenly a real star by himself, nevertheless he feels it’s time to change his artistic path again. With the help of Fellini he decides to move his scenes from Via Veneto to Cinecittà where all the major movie productions are now based. Starting in 1962 with some of the famous Fellini movies such as 8 and 1/2, Secchiaroli concentrates the rest of his life to movie sets and cinema. He works with all the majors film directors and actors of the 60’s and 70’s, traveling all over the world; a special mention for Sophia Loren who decides to have Tazio Secchiaroli as her exclusive photographer for more than 20 years. He will retire from professional photography in 1992 when his long time friend Fellini releases his last movie “La voce della luna”, and dies soon after.Giovanna Bertelli

(Polyptych), 6 Vintage gelatin silver prints. Work in 6 parts (sequence)Sizes vary from cm 13 x 18 to cm 20 x 30Each framed (black wood with plexi) size cm 37x 42Each Stamped by Marcello Geppetti on verso Original provenance: Geppetti Family, Roma

Vintage gelatin silver print Cm 33 x 25 ca.Framed (black wood with plexi) size cm 52 x 42 Stamped on verso by the artistOriginal provenance: Private collection, Milano

Vintage gelatin silver printCm 30 x 20Stamped Agenzia Elio SorciFramed (black wood with plexi) size cm 37 x 42 Original provenance: Agenzia Masi, Milano

(Diptych), 2 Vintage gelatin silver prints Photo 1, cm 19 x 24 – Photo 2, cm 19 x 24.5 Each signed and annotated on verso Each framed (black wood) size cm 42 x 37 Original provenance: the artist, Roma Italy Q. > Can you tell us about what is still considered as the most popular episode, that is the running after of Walter Chiari an Tazio Secchiaroli which took place in Piazza di Spagna? A. > I remember it very well, it is so popular also because Fellini took the idea for his movie, even though he had already thought of doing something on what was taking place in Rome; and yet, it was that reportage that trigered it all. He wanted to talk to Secchiaroli: the reportage was published on Settimo Giorno, he found the photographer and made him tell him all about what was taking place. Q. > What happened that night in Piazza di Spagna?A. > We were in Via Veneto; I got a phone call from one of my collaborators who had seen Ava Gardner with Walter Chiari in a place nearby the American embassy. I went there with another colleague. After a while, Secchiaroli arrived, certainly someone had called him too, and we started to follow the couple until we reached Piazza di Spagna, ehere she was living; when she got out of the car, Secchiaroli, who got closer, became the target of Walter Chiari who threatened to hit him, even though he never hit any photo-reporters and he would never do it. Many others did, but he was very nice to us. Of course, he took such a threatening attitude in front of Gardner, and it seemed that were fighting each other.An Elio Sorci interviewA Flash of Art © 2004 Photology Editions

(Diptych), 2 Vintage gelatin silver prints. Work in 2 parts (sequence)Each cm 35 x 24 ca. Each signed and stamped on versoEach framed (black wood with plexi) size cm 52 x 42Original provenance: The artist, Roma

(Quadriptych), 4 Vintage gelatin silver prints. Work in 4 parts (sequence)Each cm 29,5 x 24Each stamped “Pierluigi” on versoEach framed (black wood)size cm 42 x 52 x 2Original provenance: © Reporters Associati, Roma

(Triptych), 3 Vintage gelatin silver prints. Work in 3 parts (sequence)Each cm 23 x 18 ca.Each signed and stamped by the artistFramed (white wood with plexi) size cm 64 x 48 Each with a unique hand-typed journalistic description by Pierluigi PraturlonOriginal provenance: © Reporters Associati, Roma

Vintage Gelatin Silver Print Cm 45 x 35Framed (light wood with plexi) size cm 62x52 A/P # 2Signed on versoOriginal provenance: PDNB Gallery, Dallas USA

Vintage color print mounted on aluminiumSigned on versoCm 125x100Edition 1/3 Framed (black wood)With a certificate of authenticity by Paul ThuileOriginal provenance: The artist, Gargazzone (BZ)

Original albumen photographCm 18 x 13,5Original provenance: Aquired from a Private Collection, Belgium

Original albumen photographCm 11.5 x 16.3Wooden lacquered frame, cm 24 x 34 x 2.5Original provenance: Aquired from Giuseppe Casetti, Il museo del louvre, Rome

Gelatin silver printCm 31 x 24Framed (black wood with plexi) size cm 42 x 37Edition 21/50Stamped “Rodchenko atelier” and annotated on versoOriginal provenance: Private collection, Milano

Gelatin silver printCm 30 x 24Framed (black wood with plexi) size cm 42 x 37Edition 21/50Stamped “Rodchenko atelier” and annotated on versoOriginal provenance: Private collection Milano

Gelatin silver printCm 30 x 23Framed (black wood with plexi) size cm 42 x 37Edition 21/50Stamped “Rodchenko atelier” and annotated on versoOriginal provenance: Private collection, Milano

Vintage master gelatin silver printCm 12 x 17Framed (black wood and plexi) size cm 29x32 Signed on rectoOriginal provenance: The artist, New York

Early gelatin silver press print (printed 1973) Cm 25 x 20Extensively annotated, dated and stamped Life Magazine on verso Framed (dark blunt wood with plexi) size cm 59 x 49 x 1 Original provenance: Agenzia Masi, Milano ItalyI reconcile myself to life.Today, thirty years after the invention of the Internet, when everybody is sailing the virtual seas of the world, clicking and following life via the computer (Tomorrow this could all be happening on the cellphone display) today - I was saying - Eisenstaedt’s most famous photograph, the one of the kiss in Times Square, still gives us that wonderful sense of sexuality, the joy of simple emotions and light after the tragic destruction of the war. He really had navigated the seas of the Pacific, lived through the deaths of thousands of his military comrades, slept with fear, and, using the then available technology, had spied on the enemy’s moves. He had survived, now burst into the tumult of the streets of New York which was celebrating Victory and kissed everyone of them. Overcome with the sheer joy and sensuality of it, he just did it. To everyone’s delight and approval. And “She”, the subject and object of life which was starting over, didn’t raise the least resistance because she knew how the sailor’s love legend always went. It could have been a scene out of a Frank Sinatra film but it was just a moment out of life that a great artist fixed on film without the help of lights, computers or assistants. If life is the art of meeting then photography is the art of catching life and Alfred Eisenstaedt was its great songster. Leafing through his pictures is like sailing over the marvellous fickleness life offers us.Internet - You must be joking!G. Alberto Orefice© 2000 Photology Editions 100 to 2000 the century of Photoart

Vintage silver print Cm 28 x 22Stamped and annotated on versoFramed (black wood with plexi) size cm 46x37Original provenance: Agenzia Masi, Milano

Digital ink jet print on watercolor cardboard, mounted on aluminiumCm 85 x 130From an edition of 3Signed on a labelFramed (light wood and plexi) size cm 88x133Original provenance: the artist, Milano

Graphite drawing on paper mounted on d-bondCm 100 x 70Framed (light wood + plexi) size cm 110x83With a certificate of autencityOriginal provenance: Galleria Continua, San Gimignano

Cm 54 x 53Vintage gelatin silver print in an original African wooden frame (size cm 78 x 77) Edition 1/10Signed on verso and framed by Mauro Mori MilanoOriginal provenance: The artist, Milano

Color print on Hahnemuhle paper (printed 2018) Cm 61 x 77 Unique work in this size Signed on artist label Framed (white wood + plexi) size cm 84 x 101 x 4,5 Original provenance: The artist, New York USA I met Robert Smithson in the early 1970’s at Max Kansas City, in New York, an American bar near Union Square that was very much in vogue among the artists of the time. Indeed the bar was mainly frequented by the “New York Art Scene” and could be compared to Caffè Rosati in Rome or Bar Giamaica in Milan. He was usually with Carl Andre and Richard Serra, who I already knew. So, whenever my eyes met with Smithson’s it was obviously a cordial greeting. One evening someone, I can’t remember who, took me to his studio in the Village; he told me that he would be going to Utah in the Spring to find a location for his next project: a Land Art piece in the Great Salt Lake. He showed me some drawings he had done of a road that lead into a lake, ending in an islet. It was then that I proposed to document what was to become his most famous work, the Spiral Jetty.Gianfranco Gorgoni© 2010 Photology Editions Gianfranco Gorgoni Spiral Jetty