SENIGALLIA 7/12/2019

PHOTOGRAPHIC AUCTION ASTA DI FOTOGRAFIA SENIGALLIA

Auditorium, Palazzetto Baviera Piazza del Duca

Saturday Dec 7, 2019, 3 pm Sabato 7 dicembre 2019, ore 15.00

Viewing / Mostra pubblica : 2/12 - 6/12 10.00-13.00 & 16.00-19.00 7/12 ore 10.00-13.00

Auctionner / Battitore : Raphaël Chicheportiche

Expert / Perizia : Serge Plantureux

Online auction / Asta a distanza : https://www.drouotonline.com/ventes/102455

IT CONSIGNED

Cover: Lot 147 Selfportrait Edmond Lambrichs (1830-1887) Brussels, 1870 Auction design: Ordine del catalogo:

THE FIRST 75 YEARS I PRIMI 75 ANNI 1839-1914 — lots 1-41

THE SHORT 20TH CENTURY IL BREVE 20° SECOLO 1914-1989 — lots 43-99

MADE IN SENIGALLIA, LOCAL ART SENIGALLIA CITTÀ DELLA FOTOGRAFIA — lots 101-122

DIGITAL AGE SENIGALLIA OGGI — lots 123-133

THE FIRST 75 YEARS OF PHOTOGRAPHY

I PRIMI 75 ANNI 1839-1914

Philibert Perraud American Daguerreotypists Senter B. Giddings Eugène Oulif French Ambrotypist Alexis Gouin (attr.) Deroche & Heyland Edmond Lambrichs Wilhelm von Glœden Adriano de Bonis Francis Bedford Roger Fenton Hervé & Perrier Achille Maiuri Charles Nègre Francesco Rocchini Philippe d’Orléans Achille Gianny Lai Fong Theophile Piry Arnold Genthe 1 Portrait of Angelo M. Philibert Perraud (1815-1863) probably , 6 August 1845

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 the daguerreotype or heliography* was made by Arago and the first photographic workshop ever took place in , 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).

800/1000 euros

*Since 1839 - 180 years from now - supporters of The drypoint signature Daguerre and supporters of Niepce argue on every located in the embroidery single step of the invention. In the first ten or twelve pattern of the tablecloth, years, supporters of Niepce refused to spell the odious visible only in low light. name of Daguerre and favorished heliography - traced with the sun, as in Société Héliographique, La firma a puntasecca si Mission Héliographique, etc... until, in 1852, trova nel motivo di everybody agreed on the word photography. ricamo della tovaglia. What Who ? Where, When

Why ? and Which ?

How ? Whose ? Provenance : 1 00 euros 2 The Love Letter American daguerreotypist, c. 1855

Sixth plate daguerreotype (selfportrait ?), 82x67 mm, Shakespearean message on the case behind the plate, pencil:

“With unbounded pleasure do I gratify you, my dear Adaline, in presenting you this as it is, when you gaze upon it think of me that loves you and no other, tis but a picture you now possess tis true, but some future day, I will give you myself, Fred S. K.”

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

600/800 euros 3 Isaac J. Warner with children American daguerreotypist, circa 1856

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

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

300/400 euros 4 Mother, Three Sons & One Daughter American daguerreotypist, circa 1855

Half plate daguerreotype, 140x108 mm

400/500 euros 55 Seven Members Family American daguerreotypist, circa 1855

Quarter plate daguerreotype, 80x108 mm

200/300 euros 6 Frank, Mary-Elizabeth, Hanna, Callie & Charles Trickey American daguerreotypist, circa 1856

Half plate daguerreotype, 108x140 mm, original case, a paper note found inside the case indicated the provenance : Elmar Trickey Boyd (1873-1942). The artist may have been a story-teller.

300/400 euros 7 Alexander McWhorter Bruen with Augusta Senter B. Giddings (1834-1880), New York, June 1852

Half plate daguerreotype, 138x108 mm, dated, signed in the case, with date and studio address : “179 Broadway, New York, 1st June 1852”.

1200/1500 euros 8 Boy with a Chimera American daguerreotypist, c. 1852

Ninth plate daguerreotype, 64x48 mm, case pattern Nolan #754. His toy is a chimera, with parts of zebra, hippopotamus and rhinoceros. 400/500 euros 9 Hiawatha Club Founding Members Wilheim (attr.), Columbia, Pennsylvania, 1856

Dag of dags orquarter plate daguerreotype reproducing ten daguerreian portraits of the founding members. The name of tht sport club may refer to the Hiawatha Island on the Susquehanna River, North of Columbia. 500/600 euros 10 The Twins on a Table Eugène Casimir Volmerange-Oulif (1804-1862) Metz, circa 1856

Collodion on glass dry plate negative, 13x10 cm

Oulif, an artist from Metz, one of the very first photographers to practice daguerreotypy in 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 11 Famille Montgolfier French Ambrotypist, Paris, c. 1856

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

Provenance : Famille Montgolfier. Note : these oversized French ambrotypes deserves special shipment.

(2) 1200/1500 euros 12 The Reader with a Friend Attr. a Alexis Gouin, Paris, c. 1858

Albumen print on stereo card, original mute mount, provenance: an old erotic collection, Vienna

300/400 euros 13 Temptation of a Monk Hippol. Deroche & Fr. Heyland Milan, 1863

Albumen silver print, 210x130, blind stamp 300/400 euros 14 Close Distance Selfportrait Edmond Lambrichs (1830-1887) Brussels, 1870

Vintage albumen silver print, 23.5x20 cm, on paper mount

A very early selfie by a Belgian friend of Charles Baudelaire. Provenance : Eugénie Beauvois.

2000/3000 euros 15 Nude Studies Edmond Lambrichs (1830-1887) Brussels, c. 1868

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 : Eugénie Beauvois.

(2) 800/1000 euros 16 Mother with Child, c. 1868 Edmond Lambrichs (1830-1887) Bruxelles, c. 1868

Vintage albumen silver print, 17.5x13.5 cm, on paper mount Provenance : Eugénie Beauvois.

400/500 euros 17 Extended Hand Study Edmond Lambrichs (1830-1887) Bruxelles, c. 1868

Vintage albumen silver print, 8.5x10.5 cm, on paper mount. Probably the left hand of the model photographed in n°19. Provenance : Eugénie Beauvois.

400/500 euros 18 Beggar with Child (l’Aumône) Edmond Lambrichs (1830-1887) Bruxelles, c. 1868

Vintage albumen silver print, 9.5x9.5 cm, on paper mount. The child has naked feet, also in the final version of the painting, L’Aumône, 1868-1870, Barat-Venker collection, Netherlands. 400/500 euros 19 Beggar with Child, second study Edmond Lambrichs (1830-1887) Bruxelles, c. 1868

Vintage albumen silver print, 14x11 cm, small paper loss (left). The child moved, the photographer kept the negative. Provenance : Eugénie Beauvois.

200/300 euros 20 Study for L'Offerta (The Offering) Wilhelm Freiherr von Gloeden (1856-1931) Taormina, 1902

Vintage albumen silver print, 22.4 x 16.8 cm, on mount

1500/1800 euros 21 Boy Playing Flute, with Dog Nedda Wilhelm Freiherr von Gloeden (1856-1931) Taormina, c. 1897

Vintage albumen silver print, 22.4 x 16.8 cm, on mount

1500/1800 euros

21 22 Arch of Dolabella, Piazza Celimontana Francesco Adriano De Bonis (1820–1884) Rome, c. 1862

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 23 Capitoline Hill Egyptian Lions Francesco Adriano De Bonis (1820–1884) Rome, c. 1862

Albumen silver print from collodion glass negative, 20x25.5 cm, small artist monogram on the print, some foxing, caption, pencil on mount: “Bottom of Capitol Steps”. Cordonata Capitolina.

300/400 euros

23 24 North Porch and Transept, Wells Cathedral Francis Bedford (1816-1894) London, Frith, 1865

Albumen print by Francis Frith, circa 1865, from a 1860 negative, 21x17 cm, title on mount. Francis Bedford deposited two thousand of his negatives with the Francis Frith Company.

400/500 euros 25 River Wharfe, Bolton Abbey Bridge Roger Fenton (1819-1869) London, Frith, 1862

Albumen print by Francis Frith, circa 1862 from a Fenton negative 1854, 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.

600/800 euros 26 Place Vendôme after the Commune Lucien Hervé & Charles Périer (attr.) Paris, June 1871

Collodion on glass negative, 21x27 cm, numbered “13” in lower left angle

400/500 euros 27 Ruins after the Commune Lucien Hervé & Charles Périer (attr.) Paris, June 1871

Collodion on glass negative, 27x21 cm, numbered “37” in lower left angle

400/500 euros 28 Saint-Cloud après l’assaut des Versaillais Lucien Hervé (1819-1894) Paris-Saint-Cloud, Mai 1871

Albumen silver print, 26x20 cm, red signature stamp. The original collodion on glass negative in the SFP collections (online sfp.asso.fr).

400/500 euros 29 Barricade des Fédérés à la Concorde attr. à Lucien Hervé (1819-1894) Paris, Mai 1871

Two albumen silver prints, 21x27 cm, printed labels on mount The Barricade was buit by Gaillard père.

(2) 800/1000 euros

What Who ? Where, When

Why ? and Which ?

How ? Whose ? Provenance : 00 euros 30 Italian Cast-iron Architecture, Alfred Cottrau Achille Maiuri & Alfredo Cottrau (1839-1898) Naples c. 1878

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

1200/1500 euros 31 Port d’Antibes, Midi de la France series Charles Negre (1813-1889) Antibes, c. 1863

Collodion on glass negative, 18x24 cm

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 Photographies".

1000/1200 euros 32 Panorama of Lisbon and the Tagus Francesco Rocchini (1820-1895, attr.) Lisbon, c. 1861

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. (2) 400/500 33 Royal Grand Tour Philippe d’Orléans Sicily-Spain, 1897

Panoramic citrate prints, 10x30.5 mm. Grand Tour of lost properties. (3) 300/400 euros 34 Aswan Low Dam Achille Gianny (active 1900s) Aswan, 1902

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). (5) 700/800 euros 35 Aswan Low Dam, Flooded Philae Achille Gianny (active 1900s) Aswan, Philae, Egypt, 1902

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). (3) 400/500 euros 36 The Woo Sing Sing Tea House Lai Fong (attr.) Shanghai, 1885

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。 300/400 euros 37 HSBC Building in the Hong-Kong Skyline Lai Fong (attr.) Hong-Kong, c. 1882

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 (cur- rently 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 Circle of Theophile Piry Beijing, c. 1899

Citrate prints, 28x9 cm, curious caption, French & English, pencil: “Entrée Forbidden City”. 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. (3) 300/400 euros 39 Stolen Images of Emperor Guangxu’s Funerals Circle of Theophile Piry Beijing, May 1909

Twelve vintage silver prints, 8x14 cm, initials signatures in the negatives. Photography was forbidden, the general aspect of this group confirm the hypothesis of unofficial unauthorized snapshots of the last Imperial Funerals in May 1909.

(12) 600/800 euros 40 San Francisco Fire after the April 1906 Earthquake Arnold Genthe (1869-1942) San Francisco, printed 1943

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.

Provenance : Published by the SF Palace of the Legion of Honor. 300/400 euros 41 Aftermath of the April 1906 San Francisco Fire Arnold Genthe (1869-1942) San Francisco, printed 1943

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. 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 David Hurn Hernan Diaz Manuel H Werner Bishof Henri Cartier-Bresson Osvaldo Civirani Aldo Graziati Angelo Novi Alberto Durazzo Enrico Villani Hans Genny Toon Michiels James McDivitt Zed Poinpoin 43 Mayakovsky with Pencils, 1924 Alexander Rodchenko (1891-1956) New croping, Moscow, c. 1930

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 fi- ninspektorom o poesii’.” (MoMA). This is a close-up croping of Mayakovsky sitting with a cigarette.

4000/5000 euros

44 Mayakovsky in Simferopol, 1926 Max Leonidovitch Polianovski (1901-1977) New croping, Moscow, 1940

Glass internegative, 12x8 cm, after ont of the portraits made in Simferopol, 7 July 1926. 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 in 1929 Alexey Temerin (1889-1977) Moscow, 1929

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 identified with a published variant portrait.

600/800 euros 46 Vakhtan, Stacking Lumber Alexander Rodchenko (1891-1956) Vakhtan Sawmill, 1930

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 47 Belomor Canal Treatment in the Forest. But the film company's Alexander Rodchenko camera equipment never functioned, Rodchenko Belomorkanal, 1933 rely on his personnal equipment including his famous Leica. The resulting series Stacking Lumber, Vintage silver print on matte Vakhtan Sawmill, was published in one 1936 issue paper, 24x18 cm, artist’s address of USSR in Construction, dedicated to the and telephone stamp, title in timber trade. Russian: “The Ship in the Lock at the Belomor Canal”. 1200/1500 euros The White-Sea-Baltic Canal was build by prisoners and Soviet Citizens knew how much suffering was in that place.

4000/5000 euros

48 Children's Mistrust Roger Parry (1905-1977) Pointe-à-Pitre, 1932

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 49 Photographic Modesty Roger Parry (1905-1977) Pointe-à-Pitre, 1932

Unmounted vintage silver exhibition print on heavy- weight matte paper, 24x30 cm, estate stamp

A selection of Parry’s Guadeloupe photographs, including this print, were exhibited in Paris in 1934 at The Galerie de la Pléiade.

1200/1500 euros

49 50 Securing the Ship's Mooring Line Roger Parry (1905-1977) Panama Canal, 1932

Vintage silver print, 29.5x39 cm, estate stamp. This print was exhibited in Paris, in 1934 at The Galerie de la Pléiade.

800/1000 euros 51 Pendant la traversée Roger Parry (1905-1977) Panama Canal, 1932

Vintage silver print, 29.5x22 cm, title by the artist under the print, pencil, estate stamp, mount verso.

This print was exhibited in Paris, in 1934 at The Galerie de la Pléiade.

“Souvent, pour s'amuser, les hommes d'équipage Prennent des albatros, vastes oiseaux des mers, Qui suivent, indolents compagnons de voyage, Le navire glissant sur les gouffres amers. A peine les ont-ils déposés sur les planches, Que ces rois de l’azur, maladroits et honteux, Laissent piteusement leurs grandes ailes blanches Comme des avirons traîner à côté d’eux...”

800/1000 euros 52 Cristo, San Jerónimo Tlacochahuaya, 1933 Paul Strand (1890-1976) Photogravure, 1940

Photogravure printed by Charles Furth, 32.5x24.5 cm, annotation by the artist, print verso, and on mount verso.

300/400 euros 53 Man of Tenancingo, Mexico, 1933 Paul Strand (1890-1976) Photogravure, 1940

Photogravure on paper, printed 1940, 23x18 cm, artist personal proof print, annotation by Hazel Strand on mount verso. Man, Tenancingo de Degollado was captured surreptitiously, using a camera with a right-angle lens; a technique he adopted for street work so his subjects would not know they were being photographed. He gravitated toward people "who have strength and dignity in their faces," he said.

400/500 euros 54 Vitruvian Man French Artist Paris, c. 1930

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 55 Moving Man French Artist Paris, c. 1930

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 Gertrude Fehr (1895-1996) Paris, c. 1936

Vintage silver print, 30x24 cm, Publiphot stamp

600/800 euros 57 Nude Gertrude Fehr (1895-1996) Territet, Switzerland, c. 1940

Vintage silver print, 27.5x20.6 cm, two name stamps

800/1000 euros 58 Entering a Korongo Nuba bedroom George Rodger (1908-1995) Kordofan, 1949

Vintage silver print on quality paper, 34x27.5 cm, stamp. Variant known title : Method of entering the bedroom of a Mesakin Quasar House.

1800/2000 euros 59 Cloud Study, Zuydersee Roger Parry (1905-1977) Netherlands, 1938

Vintage silver print, 18x24 cm with margins, estate stamp. This print was exhibited in Paris in 1938 at Galerie Paul Magné, ex- librairie-galerie de la Pléiade.

400/500 euros 60 Metro Train in the Solferino Station Roger Parry (1905-1977) Paris, 1939

Vintage silver print, 19x18 cm, estate stamp

400/500 euros 61 Solferino Metro Station Roger Parry (1905-1977) Paris, 1939

Vintage silver print, 18x24 cm with margins, estate stamp. The Kap poster: “Nous vaincrons parce que nous sommes les plus forts. Souscrivez aux bons d'armement”

400/500 euros 62 In the Moving Subway Mirjam Schwarz (1924-2005) Paris Metro, 1950

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

400/500 euros 63 In der fahrenden Metro Mirjam Schwarz (1924-2005) Paris, 1950

Vintage silver print on heavy matte paper, 17.5x17.5 cm, dated, signature and title: “in der fahrenden Metro, Paris 50”.

400/500 euros 64 Selfportrait shadow Mirjam Schwarz (1924-2005) France, 1949

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.

400/500 euros

64 65 Hand and Movement study Mirjam Schwarz (1924-2005) Marseille, 1949

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

1000/12500 euros 66 Teenager Freedom Fighter David Hurn (born 1934) Budapest, 1956

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

500/600 euros 67 Alejandro Obregón Hernan Diaz (1931-2009) Barranquilla, 1962

Vintage silver print, 24x18 cm, stamp, caption, pencil, verso : “Alejandro Obregón, el mejor pinctor”

300/400 euros 68 Gabriel Garcia Marquez Manuel H. (1920-2009) Bogotá, c. 1960

Vintage silver print, 25x20.5 cm, stamp

300/400 euros 69 Anjali Hora in her hotel room Werner Bischof (1916-1954) Bombay, 1951

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 70 Banker’s Trust, Manhattan Henri Cartier-Bresson (1908-2004) New York, 1960

Vintage silver print, 27x37 cm, blue 4-lines artist stamp, annotations, verso

In the 1960s several big, buttoned-up American corporations commissioned Cartier-Bresson to shoot their annual reports–most notably, Banker's Trust — and gave the photographer unprecedented access to their offices.

2000/3000 euros 71 Puebla Henri Cartier-Bresson Mexico, 1963

Vintage silver print, 24x30 cm, blue 4-lines artist stamp, verso

Henri Cartier-Bresson traveled for the first time to Mexico as a photographer for the 1935 expedition to map the Panamerican Highway. The project was postponed and Cartier-Bresson chose to stay in Mexico City, sharing a flat with Langston Hughes. Mexico was a warm artistic ground, Cartier-Bresson shared an exhibition with Manuel Álvarez Bravo at the Palacio de Bellas Artes, Mexico City in the same year 1935.

3000/4000 euros 72 La Dolce Vita di , 1960 Pathé poster artist Paris, 1969

Color lithograph, 160x120 cm, excellent condition

400/500 euros 73 Ladri di biciclette di Vittorio de Sica, 1949 Hervé Morvan (affichiste, 1917-1980) Paris, 1950

Color lithograph, 160x120 cm, mounted on canvas, excellent condition.

2500/3000 euros 74 Girotti e la Calamai Osvaldo Civirani (1917-2008) Ossessione, 1942

Vintage silver print, 22.5x9.5 cm, cropped by the artist, stamp, annotations, date in ink, verso: “15 August 1942”

“The fact is that the artistic cycle that had been inaugurated in Italy 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 ”

(Federico Zeri, La percezione visiva dell’Italia e degli Italiani, Enaudi, 1989)

This photograph was taken at an early stage of the shooting, in August 1942.

600/800 euros

75 Massimo Girotti Farley Granger Aldo Graziati (1905-1953) Senso, 1953

Two vintage silver prints, 27x21 cm, agency labels, verso

(2) 300/400 euros 76 Rossana Di Rocco as Angel of the Lord Angelo Novi (1930-1997) Il Vangelio secondo Matteo, 1964

Vintage silver print, 18x24.5 cm, stamp

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

200/300 euros 77 Pier Paolo Pasolini Shooting the Passion Alberto Durazzo, Agenzia Dufoto La ricotta, Cinecittà, 1962

Vintage silver print on double weight paper, 24x30.5 cm, stamp Pasolini, in a disclaimer tacked in the beginning of La Ricotta, affirms that the event narrated, the Passion, is the greatest event ever occurred, and as in The Gospel According to St. Matthew, stressed that he held in great respect the Christian heritage. Despite this assertion, Pasolini was accused of holding contempt for the state religion and was sentenced four months of conviction, which he avoided by paying a fine.

200/300 euros 78 Concrete Architecture Enrico Villani (1928-2016) Mexico, 1972

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 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 79 Un tocco di luce Enrico Villani (1928-2016) Vercelli, Lulio 1972

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 80 Vibration I (Sound effect) Hans Jenny (1904-1972) & Hans-Peter Widmer Cymatic photographic study, 1963 Vintage silver print on doubleweight paper, 23x28.5 cm, stamp In 1967, Jenny published the first volume of Cymatics: The Study of Wave Phenomena (the second volume came out in 1972) a writ- ten and photographic documentation of the effects of sound vi- brations on fluids, powders and liquid paste. Jenny made use of crystal oscillators and his so-called tonoscope to set plates and membranes vibrating. He spread quartz sand onto a black drum membrane 60 cm in diameter.

400/500 euros 81 Corresponds Image of the Eye Seeing Tone Hans Jenny (1904-1972) & Hans-Peter Widmer Cymatic study, 1963 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.

400/500 euros 82 Vibration of Quartz Sand I Hans Jenny & Hans-Peter Widmer Cymatic photographic study, c. 1970 Vintage silver print, 23x28.5 cm, Hans Jenny’s stamp

400/500 euros 83 Vibration of Quartz Sand II Hans Jenny & Hans-Peter Widmer Cymatic photographic study, c. 1970 Vintage silver print on doubleweight glossy paper, 24x30 cm, Hans Jenny’s stamp

400/500 euros 84 Vibration of Quartz Sand III Hans Jenny & Hans-Peter Widmer Cymatic photographic study, c. 1970

Vintage silver print on doubleweight glossy paper, 24x30 cm, Hans Jenny’s stamp

400/500 euros 85 Orange Vibration Hans Jenny (1904-1972) & Hans-Peter Widmer Cymatic photographic study, c. 1970 Vintage silver print on Kodak glossy color paper, 17.5x23.5 cm, Hans Jenny’s stamp

400/500 euros

What Who ? Where, When

Why ? and Which ?

How ? Whose ? Provenance : 00 euros 86 A la Biche, 1906 Eugène Atget (1857-1927) New edition, Paris, 1981

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

300/400 euros 87 A la Croix d’or, 1911 Eugène Atget (1857-1927) New edition, Paris, 1981

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

300/400 euros 88 Night scene Toon Michiels (1950-2015) New Orleans, November 1973

Vintage silver print, 30x40 cm inclu- ding 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 Examiner reporter San Francisco, c. 1959

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

200/300 euros 90 Digital Underground Victor Hall Oackland, July 1990

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

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

200/300 euros 91 Listo Mexicano Loco Robert Yager (b. 1964) Los Angeles, 1991

Silver print, printed 1997, 26.5x18 cm, captioned: “Listo Mexicano Loco”

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 92 Cosmic meteorit route recording Soviet Soyuz Programm Star City, c. 1967 Vintage silver prints, 12 parts chronophotography, 7x10 cm each, 83x10 cm all, marks and numbers in ink on montage

“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. 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 93 The Tadpole photo James McDivitt (born 1929) Gemnin Mission 1965

Vintage silver print, 20.5x25.5 cm, sixteen stamps, date stamps, verso. “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 ca- mera and took a few photographs of it ... Word of the "UFO photos" reached the press by the time the flight splashed down”.

300/400 euros 94 Dancer David Berlin (active 1960s) New York, c. 1960

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

100/150 euros 95 Phantom, Carlsbad Caverns Unidentified photographer New Mexico, c. 1960

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

200/300 euros 96 Paulo Klein and Dr Coutinho Zed Poinpoin (born 1961) Robot 1987 Series 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

96 97 Horacio and Dr Costa Zed Poinpoin (born 1961) Robot 1987 Series

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 sponta- neity. A premonitory in several respects, this set of Brazilian pho- tographic portraits from the 1950s taken in Chinese ink in 1987 illustrates a corporation of robots with which the artist will be- come singularly familiar in the following years.

(2) 300/400 euros 98 98 Prof. Carneiro Zed Poinpoin (b. 1961) Robot series, 1987

Ink on older monochrome Bra- zilian silver print (1950), 24x18 cm, signed on print, lower right corner

400/500 euros

99 Pipe Problem Zed Poinpoin (b. 1961) Robot series, Paris, 1987

Ink on older monochrome Brazilian silver print, 24x18 cm, signed

400/500 euros

MADE IN SENIGALLIA

LOCAL ART, SENIGALLIA CITTÀ DELLA FOTOGRAFIA

- LOTS 101>122

Giuseppe Cavalli Feruccio Ferronni Mario Giacomelli Enea Discepoli Michel Collet

DIGITAL AGE, SENIGALLIA CONTEMPORANEA

- LOTS 123>133

Paolo Monina Lorenzo Cicconi Massi Massimo Marchini Elisa Crostella 101 Paesaggio in Puglia Giuseppe Cavalli (1904-1961) Near Lucera, 1956

Vintage silver print, 16x40 cm, signed in intials and dated on the print, green ink, stamp and title, verso

3000/4000 euros

102 Window reflection I Ferruccio Ferroni (1920-2007) Senigallia, circa 1952

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 Ferruccio Ferroni (1920-2007) Senigallia, circa 1952

Vintage silver print, 13x10.5 cm, stamp

500/600 euros 104 Il vecchio muro Ferruccio Ferroni (1920-2007) Ancona, June 1989

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

104 105 La casa di vetro Ferruccio Ferroni (1920-2007) Kew Gardens, London, 14 June 1987

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 Mario Giacomelli (1925-2000) Printed Senigallia 1980

Silver print, printed 1980, 30x40 cm, three stamps verso

4000/5000 euros

106 107 Paesaggio Mario Giacomelli (1925-2000) Senigallia, c. 1978

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

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

2000/3000 euros

What Who ? Where, When

Why ? and Which ?

How ? Whose ? Provenance : 00 euros 108 La Buona Terra, 1965 Mario Giacomelli (1925-2000) Senigallia, c. 1975

Silver print, circa 1975, stamp, annotations, pencil

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

1800/2000 euros 109 Albero senza titolo Mario Giacomelli (1925-2000) Senigallia, circa 1980

Vintage silver print, 30.5x40.5 cm, stamp

The artist used a development cache.

1500/1800 euros

109 What Who ? Where, When

Why ? and Which ?

How ? Whose ? Provenance : 00 euros 110 The Land of Long Shadows, Ladakh, 1976 Enea Discepoli & Mario Giacomelli Printed Senigallia, 1976

Vintage silver print, 21.5x35 cm, artist proof, printed and annotated by Mario Giacomelli, pencil, verso: “visi appena piu chiaro”

At the time of the partition of India in 1947, the Dogra ruler Maharaja Hari Singh signed the Instrument of Accession of Ladakh to India. In 1949, China closed the border between Nubra and Xinjiang, blocking old trade routes. Since 1974, the Government of India successfully encouraged tourism. 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”.

1500/1800 euros

110 111 La terra dalle ombre lunghe, Ladakh, 1976 Enea Discepoli & Mario Giacomelli Printed Senigallia, 1976

Vintage silver print, 27x40 cm, printed, titled: “Tibet” and stamped by Mario Giacomelli, captioned, dated and signed by Enea Discepoli

Mario Giacomelli prepared and taught Enea Discepoli with a Mamya Press 6/9 camera, before his trip to Ladakh in 1976. “Le foto nel Ladakh le scattai quasi in trance, apposta per lui, volevo fosse contento, anche violando quello che era il mio spirito di avventuriero, che deve viverlo il momento e non guardarlo da dietro una macchina fotografica… Ma lui mi faceva notare che l’avventura (il mio specifico) poteva essere accompagnata dalla fotografia per animare l’avventura stessa.” (Enea Discepoli).

Provenance : Private collection, Roma

3000/4000 euros 112 Il mare dei miei racconti Mario Giacomelli (1925-2000) Senigallia, circa 1980

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

Provenance : collection Righetti

1500/1800 euros

112 113 The Wave Mario Giacomelli (1925-2000) Senigallia, circa 1980

Vintage silver print, 30.5x40.5 cm, stamp

From the series “Il mare dei miei racconti” / The Sea of my Tales.

1800/2000 euros 114 Il mare dei miei racconti Mario Giacomelli (1925-2000) Senigallia, 1986

Vintage silver print, 30.5x40.5 cm, signed in ink on the white of the middle pier, two stamps

1500/1800 euros 115 “Che si vedano i tetti” Mario Giacomelli (1925-2000)

Working silver print, 15.5x19 cm, drawing, an- notations in ink on print by the artist

800/1000 euros

What Who ? Where, When

Why ? and Which ?

How ? Whose ? Provenance : 00 euros 116 Corruption Mario Giacomelli (1925-2000) Senigallia, 1970s

Vintage print on color paper, 25x20 cm

800/1000 euros

116 117 La ruggine Mario Giacomelli (1925-2000) Senigallia, 1970s

Vintage print on color paper, 20x25 cm

800/1000 euros 118 Study for Caravaggio Michel Collet (born 1949) Syracuse, Sicilia, 1996

Vintage silver print, 30x40 cm dated and captioned by the artist, verso

300/400 euros 119 Les mains jointes, 1985 Michel Collet (born 1949) 1996

Vintage silver print, 40x30 cm dated and captioned by the artist, verso

300/400 euros 120 Les Chaises du Pape Michel Collet (born 1949) Cour du Vatican, 1985

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

300/400 euros 121 La madonna delle arpie Michel Collet (born 1949) 1996

Polaroid, 7.7x7.7 cm

After Andrea del Sarto’s Madonna of the Harpies and Caravaggio’s Crowning with Thorns

200/300 euros 122 L’incoronazione di spine Michel Collet (born 1949) 1996

Polaroid, 7.7x7.7 cm

After Andrea del Sarto’s Madonna of the Harpies and Caravaggio’s Crowning with Thorns

200/300 euros 122 Donne-moi une chose qui ne meurt pas Paolo Monina (born 1959) Senigallia, 2018

Fine art su tela cotone, 20x25 cm, signed Da scansione della Polaroid color 600 ovale, tiratura limitata a 5 copie.

Titolo condiviso con Christian Bobin e Edouard Boubat. “Donne moi quelque chose qui ne meure pas — Dammi qualcosa che non muore mai ... Allora con delle immagini di corpi e fiori, racconto ciò che spesso “finisce” per farmi ricordare l’episodio della metamorfosi narrata da Warhol nel libro From A to B and Back Again: —Quando acquistai il mio primo apparecchio TV, smisi di preoccuparmi tanto di avere dei veri rapporti con gli altri. Avevo sofferto molto, solo qualcuno innamorato può essere ferito come lo sono stato io. — Concludo così: — vorrei anche io essere una macchina”. (Paolo Monina).

350 euros 124 Ultime intimitá I Paolo Monina (born 1959) Senigallia, 2017

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 125 Ultime intimitá II Paolo Monina (born 1959) Senigallia, 2017

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 Le Rythme I Paolo Monina (born 1959) Senigallia, 2018

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 127 Le Rythme II Paolo Monina (born 1959) Senigallia, 2018

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 128 Paesaggi delle Marche, Sedie, 2002 Lorenzo Cicconi Massi (born 1966) Senigallia, 2019

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

400 euros 129 Paesaggi delle Marche, Mare, 2003 Lorenzo Cicconi Massi (born 1966) Senigallia, 2019

Scansionato e stampata fine 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 Massimo Marchini (born 1957) Senigallia, 2019

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.

300 euros 131 Hommage to P. Picasso and R. Capa Massimo Marchini (born 1957) Senigallia, 2019

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 Elisa Crostella (born 1992) Amman, 2018

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.” Li- mited edition of only five copies. This is copy number 2.

400 euros 133 Doorstep, Darat al Funun Elisa Crostella (born 1992) Amman, 2018

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 contem- porary photography of a private foundation of Modena.

1800 euros IT CONSIGNED

CONSIGNED IT, a benefit auction in support CONSIGNED IT è un’asta di beneficenza a sos- of the cultural heritage and photographic activi- tegno del patrimonio culturale del Comune di ties of the Municipality of Senigallia. Senigallia. Article 1. Two auctions specialized in photogra- Articolo 1. Si organizzano aste specializzate in phy are organized in the city of Senigallia under fotografia sotto il nome di CONSIGNED.it nella the name of CONSIGNED.it every year. città di Senigallia . Article 2. The Associazione Culturale “Sena Articolo 2. L’Associazione Culturale “Sena Nova”, beneficiary of the operation, helps for pro- Nova”, beneficiario dell’operazione, aiuta per la motion and logistics. promozione e la logistica. Article 3. The auctions offer both collector's pho- Articolo 3. Le aste propongono sia fotografie da tographs and other visual arts, both pre-digital collezione che altre arti visive, sia pre-digitali che and contemporary. The lots are meticulously des- contemporanee. I lotti sono meticolosamente des- cribed and presented with a printed catalogue and critti e presentati con un catalogo cartaceo e un an online site. sito online. Article 4. The proposed works shall be selected Articolo 4. Le opere proposte sono selezionate for their quality and rarity. The organizer, suppor- per la loro qualità e rarità. L’organizzatore, sup- ted by a scientific committee, reserves the right to portato da un comitato scientifico, si riserva la accept or reject a lot. possibilità di accettare o scartare un lotto. Article 5. When he registers, the buyer agrees to Articolo 5. Quando il compratore si registra, give to charity the part usually known as auction accetta di dare in beneficenza una parte cono- rights for the benefit of the collections of the City sciuta solitamente come diritti d’asta, a beneficio of Senigallia. This share is 20% of the price bea- del patrimonio fotografico di Senigallia, Città ten for each lot. della Fotografia. Questa quota è il 20% del prezzo The buyer may request that his donation be made battuto per ogni lotto. Il compratore può chiedere public. che sia resa pubblica la sua donazione. Article 6. The seller, for example an artist, may Articolo 6. Il venditore, per esempio un artista, give away a work of his, in which case the dona- può regalare una sua opera, in quel caso la dona- tion is indicated below the description of the lot. zione è indicata sotto la descrizione del lotto. Article 7. The product for the benefit of the City Articolo 7. Il prodotto a beneficio della Città sarà will be paid within three months from each auc- versato entro tre mesi da ogni asta all’Associazione tion to the Cultural Association "Sena Nova", via Culturale “Sena Nova”, via Oberdan 3, Senigallia Oberdan 3, Senigallia as a charity gift. This a titolo di elargizione benefica. Questi soldi possono money can be invested to enrich the collections of essere investiti per arricchire le collezioni di fotogra- pre-digital photography of the Municipality of fia pre - digitale del Comune di Senigallia (stampate Senigallia (printed before 1989), or for the creation prima del 1989), o per la creazione di un premio of an award for photography and studies in the sulla fotografia e sugli studi di storia della fotografia. history of photography. Ogni compratore puoi chiedere che la sua dona- Each buyer can ask that his donation be reserved zione elargizione benefica sia riservato alle for acquisitions or the creation of a prize called acquisizioni o alla creazione di un premio denomi- "Bugatti Prize" in honor of Carlo Emanuele Bu- nato “Premio Bugatti” in onore di Carlo Emanuele gatti and his ideas. Bugatti e delle sue idee. Article 8. The acquisitions can be made on the Articolo 8. Le acquisizioni possono essere effet- territory of the Municipality by families, at fairs tuate sul territorio del Comune dalle famiglie, alle and markets or during auctions, or by visitors who fiere e nei mercati oppure durante le aste, o dai visi- come to Senigallia to present proposals to those tatori che vengono a Senigallia per presentare responsible for acquisitions. proposte ai responsabili delle acquisizioni. Article 9. The seller shall pay 20 % of the ham- Articolo 9. Il venditore paga il 20 % del prezzo mer price for the various expenses, for each lot battuto per le varie spese, per ogni lotto venduto. Se sold. If it is not sold, there are no fees. non si vende, non ci sono. Please note: people who facilitate the delivery Nota Bene: le persone che agevolano la consegna of material receive a commission of 3% on the di materiale ricevono una commissione del 3% sul net result of the delivered. risultato netto del consegnato. Article 10. The minimum price at the start of Articolo 10. Il prezzo minimo di inizio asta coin- the auction coincides with the basic price. cide con il prezzo base. Therefore a lot valued at 300/400 euros will not Pertanto un lotto valutato 300/400 euro non sarà be offered for less than 300 euros. proposto a meno di 300 euro. Unsold lots can be traded the next day - usually I lotti invenduti possono essere negoziati il giorno on a Sunday - through bids called "after sale". Bids successivo - di solito una domenica - attraverso slightly below the basic price will be accepted with offerte chiamate “after sale”. Le offerte leggermente the agreement of the seller. Buyers pay the same inferiori al prezzo base sono accettate previo accordo fee for the collections of the Municipality of Se- con il venditore. I compratori pagano la stessa quota nigallia. a beneficio delle collezioni del Comune di Senigallia. Article 11. Descriptive data arecarefully verified: Articolo 11. Nelle descrizioni sono verificati i dati identification, attribution, date of printing, seguenti: identificazione, attribuzione, data della stamps, signatures, annotations and provenance. stampa, firme, timbri ed annotazioni, provenienza. The buyer receives a certificate and has a period Il compratore riceve un certificato e ha un periodo di of one month to contest the description with rele- un mese per contestare con pertinenti argomenta- vant arguments. zioni la descrizione. Article 12. Auctions are organised on Saturday Articolo 12. Le aste sono organizzate il sabato afternoons. The municipality of Senigallia pro- pomeriggio. Il Comune di Senigallia mette a dispo- vides the organization with the auditorium of the sizione dell’organizzazione il Palazzetto Baviera: Bavarian auction house for auction day as well as l’auditorium per il giorno dell'asta ed alcune sale some rooms of the auction house to ensure the espositive per assicurare l'esposizione degli oggetti display of objects for a period of 7 days. per un periodo di 7 giorni più la mattinata dell’asta. Viewing: The exhibition and the public visit lasts Orari: dal lunedi precedente al venerdì, dalle 10 alle 5 days plus the morning of the auction, from 10 13 e dalle 16 alle 19. Il giorno dell'asta dalle ore 10 am to 1 pm and from 4 pm to 7 pm. On the Sun- alle ore 13. Durante la domenica che segue l’asta, day following the auction, in addition to the bids oltre le offerte sui lotti invenduti, si procede alla ven- on unsold lots, the sale of lots of contained value dita dei lotti di valore contenuto proposti fuori will also take place. catalogo. Whenever possible, a partial exhibition is organi- Quando possibile, una mostra parziale è organizzata sed in Paris or New York. a Parigi o a New York nel mese precedente l’asta. Article 13. The auction is accessible online with Articolo 13. L’asta è accessibile online con la the French company Drouot Digital. We also ac- compagnia Francese Drouot Digital. Si accettano cept bids by phone or email during the previous anche offerte al telefono o per mail durante la setti- week. mana precedente. Bids received are recorded and the highest bid Le offerte ricevute vengono registrate e il giorno price is taken as the starting point on auction dell’asta si parte già dal prezzo più alto offerto. Il day. The hitter then announces the best bid. battitore annuncia allora la migliore offerta. Article 14. Italian photographs printed before Articolo 14. Le fotografie italiane stampate prima 1970 and sold over 10,000 euros, require a per- del 1970 vendute per più di 10.000 euro necessitano mit to leave the territory. The organiser assists di un permesso per uscire dal territorio. customers as far as possible free of charge. L’organizzatore assiste gratuitamente i clienti fin In general, the export permits that can be ob- dove possibile. In generale, i permessi di esportazione tained will be received before the auction. ottenibili saranno ricevuti prima dell’asta. Article 15. Anti-money laundering module. Articolo 15. Modulo antiriciclaggio. Ogni acqui- Every European buyer must agree to comply rente europeo deve accettare di conformarsi con la with the current anti-money laundering legisla- vigente normativa antiriciclaggio (Decreto Legisla- tion (Legislative Decree 231/2007). tivo 231/2007). Article 16. The calendar, the results, the past Articolo 16. Il calendario, i risultati, i cataloghi pas- catalogues, will be on the site consigned.it sati, saranno sul sito consigned.it The competent court is Ancona. Il tribunale competente è quello di Ancona. CONSIGNED.it di Serge Plantureux, CONSIGNED.it di Serge Plantureux, EU VAT: IT 02804640429. Partita IVA IT 02804640429.

Palazzo Arsilli Auguri Palazzo Arsilli Auguri Via Marchetti, 2 Via Marchetti, 2 60019 Senigallia 60019 Senigallia [email protected] [email protected] www.consigned.it www.consigned.it

Director Direttore Serge Plantureux Serge Plantureux [email protected] [email protected]

Assisted by: Assistito da: Elisa Crostella Elisa Crostella [email protected] [email protected] +(39) 373 798 60 40 +(39) 373 798 60 40

Comunication& Medias Relations Comunicazione e relazioni con i media Julia Delhomme Julia Delhomme [email protected] [email protected] +(33) 6 61 42 47 53 +(33) 6 61 42 47 53 Tutti legono i Taccuini maltagliati I taccuini Maltagliati sono pubblicati in primavera, sono distribuiti durante la Biennale di Senigallia, l'ultima settimana di maggio. Senigallia, 7 dicembre

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