AUCTION 333 – Photographs from important european collections

Unique Color PrintCm 35 x 35 Edition of 15 never realized Signed on versoFramed (Black wood) size cm 52 x 42 x 3Original provenance: the artist, Milano

Unique Color PrintCm 35 x 35Edition of 15 never realized Signed on versoFramed (black wood) size cm 52 x 42 x 3Original provenance: the artist, Milano

Oil and acrylic glaze on canvasCm 36 x 36Original provenance: The artist, Catania

Lambda print2019Cm. 100 x 200Limited edition of 250Signed on front bottom rightCertificate of authenticity from “Storaro Art”The image with the photograph of Marlon Brando is taken from the film“Apocalypse Now” by Francis Ford CoppolaThree-time Oscar winner for photography Vittorio Storaro, forApocalypse Now, Reds and The Last Emperor, has neverstopped studying to refine his technique and photographiccomposition; colors are used to create psychological effects andinfluence emotions.“Apocalypse Now” from 1979 is not only a cinematographicproduct of considerable importance but also a trueartistic product: photography is part of the expressivearchitecture of the film in such a significant way thatit 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, entersthe scene through some photographic reproductions shown tothe one who will become his executioner.The representation has a clear evocative function; it refersto an individual whose features and voice we know but whois elusive from a psychological point of view; It is in the revelation ofthis dark point that the portraits of Colonel Kurtzlead the viewer to understand his mysterious andanguished side

Gelatin Silver PrintCm 30 x 40Framed (black wood with plexi) size cm 42 x 52 Signed on versoOriginal provenance: The artist, Senigallia

Original vintage black and white printCm 29.5 x 22.5 Wooden frame with VM130 Glass, cm 48 x 41 x 2Original provenance: Monserrato Arte 900 Gallery, Rome

C-print on aluminium and plexiglassCm 150 x 100 Unique in this format. Signed, dated and titled on the backExhibition “The Saints Are Coming - Last Act” at GalleriaEMMEOTTO, Rome, 2011Basilè's world is "an iconographic universe resolved betweentechnological mannerism and pictorial surrealism through aniconographic hybridization and a cultural contamination betweenEast and West" - Achille Bonito Oliva.The suggestions of the East coexist in fact with a deeprooting in Romanity.The search for harmony and balance between the masses and thechromatic agreements are distinctive elements of a research that pursuesbeauty as the ultimate goal, and with exoticism, becomes the absoluteprotagonist in images imbued with mysterious sensuality.A strong surrealist connotation characterizes the photographs oforiental characters lost in desolate landscapes, amongdistant architectures, dominated by livid and leaden skies.These calibrated iconographies live in surreal and virtual worldscreated digitally by moving from photographic imagesrealized with stagings like film sets; they shapethe 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 andprofane, future and tradition, East and West.Saints, madmen, warriors, monstrous creatures, or archaic faceslike those captured in travels in Southeast Asia, where theItalian photographer finds new impulses to tell that mysterythat is typical of man's existence.

Vintage cibachrome from a Polaroid Transfer CollageUnique work Cm 42 x 54Signed on versoFramed (black wood with plexi) size cm 48 x 60Original provenance: The artist, Modena

Vintage cibachrome from a Polaroid Transfer CollageUnique work Cm 42 x 54Signed on versoFramed (black wood with plexi) size cm 48 x 60Original provenance: The artist, Modena

Digital Lambda Prints mounted with plexi on forex. Work in 3 parts Cm 120 x 360With a certificate of authenticity Original provenance: The artist, Pesaro

4 portable transparency viewers (with electric cables and transformers)Work in 4 indivisible partsEach 37 x 27 cm Signed on work N. 1Original provenance: Galleria Continua, San Gimignano

(Diptych), 2 Vintage gelatin silver prints Each cm 18 x 24Framed (white wood with plexi) size cm 64 x 49 Each signed and annotated on versoOriginal provenance: The artist, Roma

Lambda print on Fuji paperCm 180 x 120Signed, numbered and artist's studio dry stampP. A 1/3Certificathe of authenticity from the artist 2020An unusual and original photographic project, born almost bychance during a night inside a small club inMinami and a love hotel in Osaka, Japan.Twenty images to tell the story of shibari, a culture withancient origins, which in Photogeisha today is documented froman unusual angle compared to the ideas that normallyaccompany this discipline. The images tell the story ofan art in which the spectator becomes a participant in the sharingof a living sculpture and a meditative practice that, throughthe flexibility of the body and mind, becomes an expression ofpower and exchange. A mix of body and spirit in which therope is the means and in which more than the final destination, thepath taken together counts.

Vintage gelatin silver printCm 30 x 40 Signed on versoFramed(cherry wood+plexi) size cm 55,5x64,5provenance: The artist, Milano

Vintage C-Print mounted on aluminiumCm 101 x 138Edition 5/5Signed on versoFramed (light wood and glass) size cm 105 x 136Original provenance: The artist, Helsinki

Retouched colored photographyCm 118 x 143Edition 1/3 With a certificate of authenticityFramed (white wood with plexi) size cm 125 x 150 Original provenance: Galleria Magazzino, Roma

Vintage color print mounted on aluminium Cm 120 x 153From an edition of 6 Signed on versoFramed (light wood with plexi) size cm 125x157Original provenance: The artist, Carpi

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

(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 ItalyMario 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

Gelatin Silver PrintCm 40 x 30Framed (black wood with plexi) size cm 52 x 42 Signed on versoOriginal provenance: The artist, Senigallia

Gelatin Silver PrintCm 30 x 40Framed (black wood with plexi) size cm 42 x 52Signed on versoOriginal provenance: The artist, Senigallia

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 3,5Original provenance: Auction Amici di Edoardo Onlus, Milano Italy

10 vintage gelatin silver prints mounted on aluminiumEach cm 49,5 x 39,350 of the intended 100 portfolios were produced by the artist before his deathWith a certificate of authenticity by Archivio MulasOriginal provenance: Francesco Buffa di Perrero, Milano

Mixed media: Retouched photograph with enamelCm 10 x 15Original artworkSigned on the versoOriginal provenance: Acquired from Studio d'Arte BorromeoThe 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.