{"lots":[{"startPrice":2400,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36647/001/001.jpg"],"artist":{"it":"olivo barbieri"},"soldDate":"2025-06-18","available":false,"description":{"it":"vintage chromogenic print \n cm 57 x 30 (cm 53,5 x 26,5 picture) | 22.4 x 11.8 in. (21 x 10.4 in. picture) \n signed in pencil on the white inferior recto margin \n \n literature \n notte - olivo barbieri, arti grafiche friulane, pordenone, 1991 \n \n \n \n olivo barbieri (carpi, modena 1954) approached photography in the early 1970s in bologna, where he attended the extraordinary hotbed of talent that was dams. fascinated by the artificial lights that illuminate the night in urban centers, he used them for his first works with which he introduced himself to luigi ghirri who in 1984 included him, the youngest among the participants, in the great project \u201cviaggio in italia.\u201d in the 1990s he travels to the east and particularly to china, developing a different style: landscapes and architecture are made with aerial shots and a selective focus that highlights only certain levels. he establishes himself internationally with exhibitions - from the venice biennale to the new york triennial - catalogs and videos. the pictures offered here are particularly significant examples of the two chronologically successive ways in which the emilian photographer has approached the theme of the urban landscape. in the first one he investigates the charm of rome but does so avoiding the most predictable visions: he lurks in the night in search of a seductive theatricality because the foreground that occupies the lower and right part of the image acts as a backdrop to give depth to the vision and make the soaring pyramid stand out better against the background of a dark sky on which the moon glances. in the second everything has changed just as has happened to china where the bicycles of the 1960s have been replaced by cars, while the roads now defy modernity by creating paths that rise and fall as in roller coaster. the helicopter shot and the idea of blurring the definition toward the distant horizon create an effect of miniaturization of the landscape, however, questioned by the generous size of the print."},"estimateMax":4000,"lotNumber":"1","title":{"it":"olivo barbieri (1954) - roma, 1987"},"url":"https://it.bidspirit.com/ui/lotPage/finarte/source/catalog/auction/61725/lot/36647/view","tags":["itArt_Photography","itArt","itArt_all"],"directSalePrice":2400,"soldPrice":3300,"lastUpdate":"2026-07-21T21:44:41.114Z","textCase":"lower","estimate":"\u20ac3,000 - \u20ac4,000","currency":"EUR","id":36647,"estimateMin":3000},{"startPrice":4500,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36648/001/001.jpg"],"artist":{"it":"olivo barbieri"},"soldDate":"2025-06-18","available":false,"description":{"it":"vintage c-print \n cm 120 x 180 | 48.2 x 70.9 in. \n edition 2 of 6 label titled, dated, numbered and signed in black marker on the verso framed \n \n exhibitions \n other exemplar (edition 6/6) in unicredit art collection \n \n \n work accompanied by certificate of authenticity released by the photographer \n \n \n \n olivo barbieri (carpi, modena 1954) approached photography in the early 1970s in bologna, where he attended the extraordinary hotbed of talent that was dams. fascinated by the artificial lights that illuminate the night in urban centers, he used them for his first works with which he introduced himself to luigi ghirri who in 1984 included him, the youngest among the participants, in the great project \u201cviaggio in italia.\u201d in the 1990s he travels to the east and particularly to china, developing a different style: landscapes and architecture are made with aerial shots and a selective focus that highlights only certain levels. he establishes himself internationally with exhibitions - from the venice biennale to the new york triennial - catalogs and videos. the pictures offered here are particularly significant examples of the two chronologically successive ways in which the emilian photographer has approached the theme of the urban landscape. in the first one he investigates the charm of rome but does so avoiding the most predictable visions: he lurks in the night in search of a seductive theatricality because the foreground that occupies the lower and right part of the image acts as a backdrop to give depth to the vision and make the soaring pyramid stand out better against the background of a dark sky on which the moon glances. in the second everything has changed just as has happened to china where the bicycles of the 1960s have been replaced by cars, while the roads now defy modernity by creating paths that rise and fall as in roller coaster. the helicopter shot and the idea of blurring the definition toward the distant horizon create an effect of miniaturization of the landscape, however, questioned by the generous size of the print."},"estimateMax":8000,"lotNumber":"2","title":{"it":"olivo barbieri (1954) - shangai, 1997"},"url":"https://it.bidspirit.com/ui/lotPage/finarte/source/catalog/auction/61725/lot/36648/view","tags":["itArt_Photography","itArt","itArt_all"],"directSalePrice":4500,"soldPrice":4500,"lastUpdate":"2026-07-21T21:44:41.116Z","textCase":"lower","estimate":"\u20ac6,000 - \u20ac8,000","currency":"EUR","id":36648,"estimateMin":6000},{"startPrice":1800,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36649/001/001.jpg"],"artist":{"it":"gabriele basilico"},"soldDate":"2025-06-18","available":false,"description":{"it":"vintage gelatin silver print \n cm 30,5 x 40,3 (cm 17,1 x 31,2 picture) | 12 x 15.9 in. (6.7 x 12.3 in. picture) \n signed in pencil with photographer's red credit stamp and date stamp on the verso \n \n exhibitions \n other exemplar in permanent collection, gabriele basilico fund, museum of contemporary photography (mufoco), milan \n \n \n literature \n milano ritratti di fabbriche - gabriele basilico, first edition, sugarco, 1981, cover \n \n \n \n after graduating in architecture, gabriele basilico (milan, 1944 - 2013) dedicated himself totally to photography, immediately revealing an analytical and dry style following walker evans' model, thanks to which in 1984 he was the only italian to participate in the mission photographique de la datar. since then, he has had many assignments in metropolises all over the world, from beirut to bilbao, from san francisco to shanghai, from moscow to paris, not forgetting rome and milan, exhibited in museums and institutions and published in carefully edited photographic books. his awards include the prix mois de la photo, the osella d\u2019oro of the venice biennale. with ritratti di fabbriche, this was the image for the cover of the first 1981 edition of the book, gabriele basilico - who had also made a name for himself with reportage-style works such as \u2018dancing in emilia\u2019 - gained great attention from critics for his important reflection on the era of deindustrialisation. shot in milan with a nikon camera equipped with an off-center lens and the discipline that comes from his training as an architect, this work recalls the aesthetics dear to hilla and bernd becher, masters of the düsseldorf academy. when in 1991 he was commissioned to document the damage of fifteen years of war inflicted on beirut before its reconstruction, basilico was already working at the view camera, focusing on the ruins but hinting, in the perspectives glimpsed, the possibilities of a rebirth. what emerges here is that rigorous vision and ability to interpret the landscape in more humanistic terms that remain the fundamental characteristics of his style."},"estimateMax":3000,"lotNumber":"3","title":{"it":"gabriele basilico (1944 - 2013) - via giuseppe ripamonti. milano ritratti di fabbriche, 1983"},"url":"https://it.bidspirit.com/ui/lotPage/finarte/source/catalog/auction/61725/lot/36649/view","tags":["itArt_Photography","itArt","itArt_all"],"directSalePrice":1800,"soldPrice":2400,"lastUpdate":"2026-07-21T21:44:41.118Z","textCase":"lower","estimate":"\u20ac2,000 - \u20ac3,000","currency":"EUR","id":36649,"estimateMin":2000},{"startPrice":5500,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36650/001/001.jpg"],"artist":{"it":"gabriele basilico"},"available":false,"description":{"it":"gelatin silver print, mounted on dibond, printed in 2007 \n cm 120 x 150 | 47.2 x 59.1 in. \n edition 14 of 15 photographer's caption label signed in black ink on the verso framed \n \n provenance \n vm artecontemporanea, rome \n \n \n exhibitions \n exemplar in other edition in permanent collection at castello di rivoli museo d'arte contemporanea, rivoli-turin \n \n \n literature \n basilico. beyrouth, art&, udine, 1994 basilico. beyrouth, la chambre claire, paris, 1994 gabriele basilico, beirut 1991 (2003), baldini castoldi dalai editore, milan, 2003 \n \n \n opera accompagnata da certificato d'autenticità rilasciato da vm21 artecontemporanea, roma firmato dal fotografo \n \n \n \n after graduating in architecture, gabriele basilico (milan, 1944 - 2013) dedicated himself totally to photography, immediately revealing an analytical and dry style following walker evans' model, thanks to which in 1984 he was the only italian to participate in the mission photographique de la datar. since then, he has had many assignments in metropolises all over the world, from beirut to bilbao, from san francisco to shanghai, from moscow to paris, not forgetting rome and milan, exhibited in museums and institutions and published in carefully edited photographic books. his awards include the prix mois de la photo, the osella d\u2019oro of the venice biennale. with ritratti di fabbriche, this was the image for the cover of the first 1981 edition of the book, gabriele basilico - who had also made a name for himself with reportage-style works such as \u2018dancing in emilia\u2019 - gained great attention from critics for his important reflection on the era of deindustrialisation. shot in milan with a nikon camera equipped with an off-center lens and the discipline that comes from his training as an architect, this work recalls the aesthetics dear to hilla and bernd becher, masters of the düsseldorf academy. when in 1991 he was commissioned to document the damage of fifteen years of war inflicted on beirut before its reconstruction, basilico was already working at the view camera, focusing on the ruins but hinting, in the perspectives glimpsed, the possibilities of a rebirth. what emerges here is that rigorous vision and ability to interpret the landscape in more humanistic terms that remain the fundamental characteristics of his style."},"estimateMax":8000,"lotNumber":"4","title":{"it":"gabriele basilico (1944 - 2013) - beirut (rue dakar), 1991"},"url":"https://it.bidspirit.com/ui/lotPage/finarte/source/catalog/auction/61725/lot/36650/view","tags":["itArt_Photography","itArt","itArt_all"],"directSalePrice":5500,"lastUpdate":"2026-07-21T21:44:41.120Z","textCase":"lower","estimate":"\u20ac6,000 - \u20ac8,000","currency":"EUR","id":36650,"estimateMin":6000},{"startPrice":1200,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36651/001/001.jpg"],"artist":{"it":"gianni berengo gardin"},"soldDate":"2025-06-18","available":false,"description":{"it":"gelatin silver print, printed in 1970s/1980s \n cm 30,3 x 40,4 (cm 23 x 29,5 picture) | 11.9 x 15.9 in. (9.1 x 11.4 in. picture) \n photographer's credit stamp on the verso \n \n literature \n gianni berengo gardin, venise des saisons, editions clairefontaine, lausanne, 1965 gianni berengo gardin: fotografo 1953-1988, art&, udine, 1988 italo zannier (edited by), segni di luce, 3 voll., longo, ravenna, 1993 gianni berengo gardin, gli anni di venezia, federico motta editore, milan, 1994 roberta valtorta (edited by), pagine di fotografia italiana 1900-1998, charta, milan, 1998 gianni berengo gardin (edited by), gianni berengo gardin, peliti associati, rome, 2001 gli anni del neorealismo, fiaf, turin, s.d. [ma 2001] giovanna calvenzi (edited by), italia, contrasto, rome, 2003 uliano lucas (edited by), storia d'italia. annali 20. l'immagine fotografica, einaudi, turin, 2004 gianni berengo gardin, contrasto, rome, 2005 paolo morello (edited by), gianni berengo gardin: venezia, istituto superiore per la storia della fotografia, palermo, 2006, pl. 51 g. calvenzi (edited by), italia inside out, contrasto, milan, 2015, pp. 82-83 \n \n \n \n gianni berengo gardin (santa margherita ligure, genoa 1930) joined the la gondola club in venice, spent two years in paris in contact with ronis and doisneau and collaborated with il mondo. supported by romeo martinez, he became a professional photographer in 1964, moving to milan where he began working with t.c.i.. the following year, with venise san saisons, he published the first of his three hundred books. numerous exhibitions all over the world and awards such as the oskar barnack, the lucie award and an honorary degree from milan state university. he has always worked with black and white analogue photography with leica. if, in the endless production of a photojournalist like gianni berengo gardin, we wanted to identify the works that made him most famous, the two presented here are the chosen ones. underlining the great photographer's style, both were made by capturing the fleeting moment with clear rapidity. one day in 1977 in great britain he saw a car, a classic, old morris, parked with its nose facing a beach. inside, he sees the heads of a couple and immediately realises that the image created curiosity: why are they standing there, what are they saying to each other, what are they going to do? he stands behind them, putting the car in the centre, silhouetted against an almost metaphysical landscape. even more curious is the story of the photograph taken in venice: living on the lido and working in the family shop in the city, he took the vaporetto every day without leaving his trusty leica behind. suddenly an image appeared in front of his eyes: he caught the back of a man acting as a screen on which the rear window of the vehicle was projected, multiplying the presence of people crowding the scene."},"estimateMax":2500,"lotNumber":"5","title":{"it":"gianni berengo gardin (1930) - vaporetto, 1960"},"url":"https://it.bidspirit.com/ui/lotPage/finarte/source/catalog/auction/61725/lot/36651/view","tags":["itArt_Photography","itArt","itArt_all"],"directSalePrice":1200,"soldPrice":1400,"lastUpdate":"2026-07-21T21:44:41.122Z","textCase":"lower","estimate":"\u20ac1,800 - \u20ac2,500","currency":"EUR","id":36651,"estimateMin":1800},{"startPrice":2400,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36652/001/001.jpg"],"artist":{"it":"gianni berengo gardin"},"soldDate":"2025-06-18","available":false,"description":{"it":"vintage gelatin silver print \n cm 18,1 x 24 | 7.1 x 9.4 in. \n photogrpher's credit stamp on the verso framed \n \n literature \n gianni berengo gardin - viaggio in gran bretagna, editphoto, milan, 1978, cover gianni berengo gardin, ed. contrasto, milan, 2005, p. 87 g. meroni (edited by), gianni berengo gardin, galleria elleni, bergamo, 2009 \n \n \n \n gianni berengo gardin (santa margherita ligure, genoa 1930) joined the la gondola club in venice, spent two years in paris in contact with ronis and doisneau and collaborated with il mondo. supported by romeo martinez, he became a professional photographer in 1964, moving to milan where he began working with t.c.i.. the following year, with venise san saisons, he published the first of his three hundred books. numerous exhibitions all over the world and awards such as the oskar barnack, the lucie award and an honorary degree from milan state university. he has always worked with black and white analogue photography with leica. if, in the endless production of a photojournalist like gianni berengo gardin, we wanted to identify the works that made him most famous, the two presented here are the chosen ones. underlining the great photographer's style, both were made by capturing the fleeting moment with clear rapidity. one day in 1977 in great britain he saw a car, a classic, old morris, parked with its nose facing a beach. inside, he sees the heads of a couple and immediately realises that the image created curiosity: why are they standing there, what are they saying to each other, what are they going to do? he stands behind them, putting the car in the centre, silhouetted against an almost metaphysical landscape. even more curious is the story of the photograph taken in venice: living on the lido and working in the family shop in the city, he took the vaporetto every day without leaving his trusty leica behind. suddenly an image appeared in front of his eyes: he caught the back of a man acting as a screen on which the rear window of the vehicle was projected, multiplying the presence of people crowding the scene."},"estimateMax":3500,"lotNumber":"6","title":{"it":"gianni berengo gardin (1930) - gran bretagna, 1977"},"url":"https://it.bidspirit.com/ui/lotPage/finarte/source/catalog/auction/61725/lot/36652/view","tags":["itArt_Photography","itArt","itArt_all"],"directSalePrice":2400,"soldPrice":3800,"lastUpdate":"2026-07-21T21:44:41.123Z","textCase":"lower","estimate":"\u20ac2,800 - \u20ac3,500","currency":"EUR","id":36652,"estimateMin":2800},{"startPrice":350,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36653/001/001.jpg"],"artist":{"it":"antonio biasucci"},"soldDate":"2025-06-18","available":false,"description":{"it":"vintage gelatin silver print \n cm 24 x 30,3 (cm 19 x 27,5 picture) | 9.4 x 11.9 in. (7.5 x 10.8 in. picture) \n signed and dated in pencil with photographer's credit stamp on the verso framed \n \n \n antonio biasucci (dragoni, caserta 1961) has been practicing since the beginning personal research on the themes of southern culture, its rituals and environments. the collaboration begun in 1984 with the vesuvian observatory and since 1987 with antonio neiwiller's theater enriched his vision, which broadened, in more recent years, to a journey within the primary elements of existence. after the kodak prize in arles in 1992 that made him known to the public, he has received awards, published books, produced photographic exhibitions and participated in cultural initiatives of a social nature. one of the most obvious characteristics of antonio biasiucci's style is the continuous search for original framing, each time chosen to suit the project he is making. thus, in magma he approached dark matter to emphasize its archetypal plasticity while in vapori as in impasto he sublimates the gestures of ancient rituals. when, as in the two images of naples, taken at the beginning of his career he has to move within the boundaries of reportage, he chooses to bypass them by using decisive cuts that possess a theatrical breath: here emerges the ability to make the human figure converse with the landscape by playing determinedly on different levels. the boys seem to invite the observer to enter the scene, they stand aside to let the gaze drift away from them to be enchanted by the distant lines where the sea, the mountain, the sky, the clouds fill that great emptiness."},"estimateMax":800,"lotNumber":"7","title":{"it":"antonio biasucci (1961) - untitled (naples), 1986"},"url":"https://it.bidspirit.com/ui/lotPage/finarte/source/catalog/auction/61725/lot/36653/view","tags":["itArt_Photography","itArt","itArt_all"],"directSalePrice":350,"soldPrice":1200,"lastUpdate":"2026-07-21T21:44:41.125Z","textCase":"lower","estimate":"\u20ac500 - \u20ac800","currency":"EUR","id":36653,"estimateMin":500},{"startPrice":350,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36654/001/001.jpg"],"artist":{"it":"antonio biasucci"},"available":false,"description":{"it":"vintage gelatin silver print \n cm 19,3 x 30 (cm 18,7 x 29,4 picture) | 7.6 x 11.8 in. (7.4 x 11.6 in. picture) \n signed and dated in pencil on the verso framed \n \n \n antonio biasucci (dragoni, caserta 1961) has been practicing since the beginning personal research on the themes of southern culture, its rituals and environments. the collaboration begun in 1984 with the vesuvian observatory and since 1987 with antonio neiwiller's theater enriched his vision, which broadened, in more recent years, to a journey within the primary elements of existence. after the kodak prize in arles in 1992 that made him known to the public, he has received awards, published books, produced photographic exhibitions and participated in cultural initiatives of a social nature. one of the most obvious characteristics of antonio biasiucci's style is the continuous search for original framing, each time chosen to suit the project he is making. thus, in magma he approached dark matter to emphasize its archetypal plasticity while in vapori as in impasto he sublimates the gestures of ancient rituals. when, as in the two images of naples, taken at the beginning of his career he has to move within the boundaries of reportage, he chooses to bypass them by using decisive cuts that possess a theatrical breath: here emerges the ability to make the human figure converse with the landscape by playing determinedly on different levels. the boys seem to invite the observer to enter the scene, they stand aside to let the gaze drift away from them to be enchanted by the distant lines where the sea, the mountain, the sky, the clouds fill that great emptiness."},"estimateMax":800,"lotNumber":"8","title":{"it":"antonio biasucci (1961) - untitled (naples), 1986"},"url":"https://it.bidspirit.com/ui/lotPage/finarte/source/catalog/auction/61725/lot/36654/view","tags":["itArt_Photography","itArt","itArt_all"],"directSalePrice":350,"lastUpdate":"2026-07-21T21:44:41.127Z","textCase":"lower","estimate":"\u20ac500 - \u20ac800","currency":"EUR","id":36654,"estimateMin":500},{"startPrice":900,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36655/001/001.jpg"],"artist":{"it":"piergiorgio branzi"},"soldDate":"2025-06-18","available":false,"description":{"it":"gelatin silver print, printed later \n cm 29,4 x 39,5 | 11.5 x 15.5 in. \n signed, titled and dated in black ink with photographer's credit stamp on the verso \n \n \n piergiorgio branzi (signa, florence 1928 - campagnano di roma, rome 2022), openly influenced by the severity of tuscan art, began photographing in the early 1950s, travelling by motorbike in the most depressed areas of southern italy and veneto as well as greece and spain, and producing reportages published in mario pannunzio's il mondo. he switched to written journalism and then joined rai, in 1962 he was the first western correspondent in moscow before moving to paris and then travelling the world as a special correspondent. in those years, he took photographs for himself and only reappeared in the 1990s with exhibitions and books that certified his greatness. the eyes of the reporter he was can also be found in individual photographs such as the ones shown here. what is striking is his ability to capture many elements and bring them together in a single image that represents them well, a lesson learned from cartier-bresson. from a stylistic point of view, branzi is also a true independent: although his predilection for the high key prints of which giuseppe cavalli was a master, he does not share the croce aesthetic but is much closer to the documentaryism of luigi crocenzi. these two photographs are symptomatic in this sense. on one hand, the compositional attention (the bicycle, the man and the boat create a harmonious sense of depth emphasised by the empty space to the left of the image) and, on the other, the ironic atmosphere that branzi often chases and that here highlights two different ways of defending from the sun."},"estimateMax":1600,"lotNumber":"9","title":{"it":"piergiorgio branzi (1928 - 2022) - adriatico, 1956"},"url":"https://it.bidspirit.com/ui/lotPage/finarte/source/catalog/auction/61725/lot/36655/view","tags":["itArt_Photography","itArt","itArt_all"],"directSalePrice":900,"soldPrice":900,"lastUpdate":"2026-07-21T21:44:41.128Z","textCase":"lower","estimate":"\u20ac1,200 - \u20ac1,600","currency":"EUR","id":36655,"estimateMin":1200},{"startPrice":500,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36656/001/001.jpg"],"artist":{"it":"piergiorgio branzi"},"available":false,"description":{"it":"inkjet print, printed later \n cm 34 x 59,8 (cm 31 x 46,8 picture) | 13.4 x 23.5 in. (12.2 x 18.4 in. picture) \n signed in black ink with photographer's credit stamp on the verso framed"},"estimateMax":1000,"lotNumber":"10","title":{"it":"piergiorgio branzi (1928 - 2022) - untitled (adriatico), 1960s"},"url":"https://it.bidspirit.com/ui/lotPage/finarte/source/catalog/auction/61725/lot/36656/view","tags":["itArt_Photography","itArt","itArt_all"],"directSalePrice":500,"lastUpdate":"2026-07-21T21:44:41.130Z","textCase":"lower","estimate":"\u20ac700 - \u20ac1,000","currency":"EUR","id":36656,"estimateMin":700},{"startPrice":900,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36657/001/001.jpg"],"artist":{"it":"alfredo camisa"},"available":false,"description":{"it":"vintage gelatin silver print \n cm 27,7 x 14 | 10.9 x 5.5 in. \n photographer's credits stamps on the verso \n \n \n alfredo camisa (bologna 1927 \u2013 pescia, pistoia 2007) florentine by adoption, in the 1950s stands out as a valuable author and sharp critic in the debate that accompanies the postwar period in important magazines and within groups such as cavalli's misa and crocenzi's ccf. he published in \u201cil mondo\u201d and won various awards, but in the 1960s he abandoned photography to devote himself to his profession as a chemist. rediscovered in recent times both in his own world (the fiaf in 2002 dedicated a monograph to him) and in the world of exhibitions and collectors, he is sometimes improperly defined as a neorealist. a free spirit, he has walker evans and the social anthropology of \u201cthe family of men\u201d as references.  the two photographs proposed here belong to the first phase of camisa's research, the one in which he devoted himself to portraiture with rigor and originality. his various travels in the south and north africa put him in contact with different realities that he interprets with a dry style deliberately far from the rhetoric that had free circulation in the 1950s because, as we know, the poor are more photogenic and the grazing sheep make for much cheap folklore. the close-up shot of the swordfish stretching across the floor takes us directly to observe the woman and child barefoot and sitting on the scales on which the prey will be weighed: both embarrassed, much is told of their silent, ancient world. more direct, proud in their costumes are, on the other hand, the members of a brotherhood: one notices the photographer to whom he gives a curious glance, while the other is caught in the moment when, pensively, he lights a cigarette."},"estimateMax":1800,"lotNumber":"11","title":{"it":"alfredo camisa (1927 - 2007) - u pisci spada, 1950s"},"url":"https://it.bidspirit.com/ui/lotPage/finarte/source/catalog/auction/61725/lot/36657/view","tags":["itArt_Photography","itArt","itArt_all"],"directSalePrice":900,"lastUpdate":"2026-07-21T21:44:39.845Z","textCase":"lower","estimate":"\u20ac1,200 - \u20ac1,800","currency":"EUR","id":36657,"estimateMin":1200},{"startPrice":900,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36658/001/001.jpg"],"artist":{"it":"alfredo camisa"},"available":false,"description":{"it":"vintage gelatin silver print \n cm 22,5 x 17 | 8.8 x 6.6 in. \n photographer's credit stamp on the verso \n \n literature \n photography year book 1961, photography magazine, pl. 00 \n \n \n \n alfredo camisa (bologna 1927 \u2013 pescia, pistoia 2007) florentine by adoption, in the 1950s stands out as a valuable author and sharp critic in the debate that accompanies the postwar period in important magazines and within groups such as cavalli's misa and crocenzi's ccf. he published in \u201cil mondo\u201d and won various awards, but in the 1960s he abandoned photography to devote himself to his profession as a chemist. rediscovered in recent times both in his own world (the fiaf in 2002 dedicated a monograph to him) and in the world of exhibitions and collectors, he is sometimes improperly defined as a neorealist. a free spirit, he has walker evans and the social anthropology of \u201cthe family of men\u201d as references.  the two photographs proposed here belong to the first phase of camisa's research, the one in which he devoted himself to portraiture with rigor and originality. his various travels in the south and north africa put him in contact with different realities that he interprets with a dry style deliberately far from the rhetoric that had free circulation in the 1950s because, as we know, the poor are more photogenic and the grazing sheep make for much cheap folklore. the close-up shot of the swordfish stretching across the floor takes us directly to observe the woman and child barefoot and sitting on the scales on which the prey will be weighed: both embarrassed, much is told of their silent, ancient world. more direct, proud in their costumes are, on the other hand, the members of a brotherhood: one notices the photographer to whom he gives a curious glance, while the other is caught in the moment when, pensively, he lights a cigarette."},"estimateMax":1800,"lotNumber":"12","title":{"it":"alfredo camisa (1927 - 2007) - uomini della confraternita, 1956"},"url":"https://it.bidspirit.com/ui/lotPage/finarte/source/catalog/auction/61725/lot/36658/view","tags":["itArt_Photography","itArt","itArt_all"],"directSalePrice":900,"lastUpdate":"2026-07-21T21:44:39.846Z","textCase":"lower","estimate":"\u20ac1,200 - \u20ac1,800","currency":"EUR","id":36658,"estimateMin":1200},{"startPrice":4800,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36659/001/001.jpg"],"artist":{"it":"silvia camporesi"},"available":false,"description":{"it":"vintage c-print mounted on aluminium \n cm 49,5 x 69,5 | 19.5 x 27.4 in. \n edition 2 of 2 (from an edition of 5, 3 are in other size) titled, dated, numbered and signed in black marker on the verso \n \n literature \n c. de gregorio (edited by), chi sono io? autoritratti, identità, reputazione, contrasto 2017 m. paderni (edited by), laboratorio italia, la fotografia nell\u2019arte contemporanea, johan and levi 2009 m. l. frisa (edited by), lo sguardo italiano fotografie italiane di moda dal 1951 a oggi, exhibition catalogue (milano, rotonda della besana, 25 febbraio - 20 marzo 2005) charta 2005 m. coccia (edited by), robinson: geografie naturali e dell\u2019umano, exhibition catalogue (trevi, trevi flash art museum, 4 novembre 2004 - 15 gennaio 2005), futura ed., perugia 2004 f. boggiano (edited by), suoni e visioni. un viaggio attraverso la musica e la fotografia negli ultimi cinquant\u2019anni, exhibition catalogue (genova, museo d\u2019arte contemporanea di villa croce, 26 luglio - 10 settembre 2006), edizioni joyce & co. genova 2006 r. paiano e l. prati (edited by), premio carmen silvestroni 2004, società editrice il ponte vecchio, 2004 r. paiano (edited by), confini lo spazio del corpo il corpo dello spazio, exhibition catalogue (forlì, oratorio di san sebastiano, 24 marzo - 18 aprile 2007), la greca arti grafiche 2007 c. casali (edited by), silvia camporesi, exhibition catalogue (ravenna, mar museo d'arte della città di ravenna, dal 4 novembre al 2 dicembre 2007) 2007 \n \n \n work accompanied by certificate of authenticity released by the photographer"},"estimateMax":6000,"lotNumber":"13","title":{"it":"silvia camporesi (1973) - ofelia, 2004"},"url":"https://it.bidspirit.com/ui/lotPage/finarte/source/catalog/auction/61725/lot/36659/view","tags":["itArt_Photography","itArt","itArt_all"],"directSalePrice":4800,"lastUpdate":"2026-07-21T21:44:39.848Z","textCase":"lower","estimate":"\u20ac5,000 - \u20ac6,000","currency":"EUR","id":36659,"estimateMin":5000},{"startPrice":1500,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36660/001/001.jpg"],"artist":{"it":"silvia camporesi"},"soldDate":"2025-06-18","available":false,"description":{"it":"inkjet print mounted on dibond \n cm 50 x 67 | 19.7 x 26.4 in. \n edition 1 of 3 (from an edition of 3 + 2 artist's proofs) titled, dated, numbered and signed in black felt-pen with photographer's label and credit stamp on the verso framed \n \n literature \n s. camporesi, b. corà (edited by), la terza venezia, trolley books, 2011 \n \n \n work accompanied by certificate of authenticity released by the photographer \n \n \n \n silvia camporesi (forlì 1973) after graduating in philosophy, she approached photography in 2000 making her first works in the so-called staged photography, that is, the one where situations of cinematographic taste are created. she then devoted herself to different projects, some more intimate ones made during the lock down and others of wider range related to the reinterpretation of the italian landscape in a declared game of dissimulation between the real world and artifactual reality. winner of numerous awards, she also made her curatorial debut with a solo exhibition of tina modotti. who the character of ophelia is in our imagination is not so obvious because great literature transfers messages, to those who know her, that are difficult to interpret. thus, the young woman to whom shakespeare gifts a cruel fate becomes in silvia camporesi's mis en scene a romantic heroine immersed in a pre-raphaelite atmosphere that julia margaret cameron would have liked: she occupies the whole scene horizontally and dissolves her dress in the current in which she floats. the delicate, almost washed-out colors, the shot slightly from below, the highlighting of details such as the walls flayed by salt: are we sure we are in venice as the photographic reproduction of the facade of st. mark's cathedral certifies, or what we observe is a model with a fine realism? one can also reflect on the fact that each photograph is not the subject taken but its interpretation, so ..."},"estimateMax":1800,"lotNumber":"14","title":{"it":"silvia camporesi (1973) - souvenir #1 (la cartolina di san marco), 2011"},"url":"https://it.bidspirit.com/ui/lotPage/finarte/source/catalog/auction/61725/lot/36660/view","tags":["itArt_Photography","itArt","itArt_all"],"directSalePrice":1500,"soldPrice":1500,"lastUpdate":"2026-07-21T21:44:39.850Z","textCase":"lower","estimate":"\u20ac1,600 - \u20ac1,800","currency":"EUR","id":36660,"estimateMin":1600},{"startPrice":1000,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36661/001/001.jpg"],"artist":{"it":"lisetta carmi"},"soldDate":"2025-06-18","available":false,"description":{"it":"gelatin silver print, printed in 1980s \n cm 22,5 x 29 | 8.8 x 11.4 in. \n photographer's credit stamp on the verso \n \n literature \n l. carmi, i travestiti, essedi editrice, genova, 1972, p. 80 \n \n \n \n lisetta carmi (genoa 1924 \u2013 cisternino, brindisi 2022) forced by racial laws to leave high school devoted herself to the study of the piano with outstanding teachers and, after graduating from the conservatory of milan, began a brilliant concert career in the postwar period, which she interrupted in 1960 to devote herself to her \u201csecond life\u201d first as a stage photographer and then as a reporter in genoa (her work on camalli and transvestites is famous), paris, ireland, israel, and india. here she met yoga master babaij and in 1979 began her \u201cthird life\u201d by founding bhole baba ashram in cisternino, puglia. for six years starting in 1965 lisetta carmi closely followed the community of transvestites living in genoa's former jewish ghetto around via del campo. she established friendly relations with those people even before she photographed them for a book, i travestiti, which would be published in 1972 by essedi editions and would be opposed not only by conservative circles but also viewed with suspicion by the \u201cfriendly fire\u201d of certain bigoted leftists. these two portraits-which appear on pages 80 and 121 of the volume-are an important testimony to the relationship that bound the photographer to her subjects: if in one case there appears a joyful display in front of the lens, in the one featuring lo spagnolo there is an intimacy highlighted by the politeness with which she shows off the photographs she intends to share. the shadow shrouding the subject is a stylistic choice that is used to emphasize the situation by making the figure emerge from the darkness: lisetta carmi's previous experience as a theater photographer is felt here."},"estimateMax":2000,"lotNumber":"15","title":{"it":"lisetta carmi (1924 - 2022) - i travestiti, 1960s/1970s"},"url":"https://it.bidspirit.com/ui/lotPage/finarte/source/catalog/auction/61725/lot/36661/view","tags":["itArt_Photography","itArt","itArt_all"],"directSalePrice":1000,"soldPrice":2200,"lastUpdate":"2026-07-21T21:44:39.851Z","textCase":"lower","estimate":"\u20ac1,500 - \u20ac2,000","currency":"EUR","id":36661,"estimateMin":1500},{"startPrice":1300,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36662/001/001.jpg"],"artist":{"it":"lisetta carmi"},"soldDate":"2025-06-18","available":false,"description":{"it":"vintage gelatin silver print \n cm 24 x 18 | 9.4 x 7.1 in. \n titled in black ink with photographer's credit stamp on the verso framed \n \n literature \n l. carmi, i travestiti, essedi editrice, genova, 1972, p. 122 \n \n \n \n lisetta carmi (genoa 1924 \u2013 cisternino, brindisi 2022) forced by racial laws to leave high school devoted herself to the study of the piano with outstanding teachers and, after graduating from the conservatory of milan, began a brilliant concert career in the postwar period, which she interrupted in 1960 to devote herself to her \u201csecond life\u201d first as a stage photographer and then as a reporter in genoa (her work on camalli and transvestites is famous), paris, ireland, israel, and india. here she met yoga master babaij and in 1979 began her \u201cthird life\u201d by founding bhole baba ashram in cisternino, puglia. for six years starting in 1965 lisetta carmi closely followed the community of transvestites living in genoa's former jewish ghetto around via del campo. she established friendly relations with those people even before she photographed them for a book, i travestiti, which would be published in 1972 by essedi editions and would be opposed not only by conservative circles but also viewed with suspicion by the \u201cfriendly fire\u201d of certain bigoted leftists. these two portraits-which appear on pages 80 and 121 of the volume-are an important testimony to the relationship that bound the photographer to her subjects: if in one case there appears a joyful display in front of the lens, in the one featuring lo spagnolo there is an intimacy highlighted by the politeness with which she shows off the photographs she intends to share. the shadow shrouding the subject is a stylistic choice that is used to emphasize the situation by making the figure emerge from the darkness: lisetta carmi's previous experience as a theater photographer is felt here."},"estimateMax":2000,"lotNumber":"16","title":{"it":"lisetta carmi (1924 - 2022) - i travestiti - lo spagnolo, 1960s"},"url":"https://it.bidspirit.com/ui/lotPage/finarte/source/catalog/auction/61725/lot/36662/view","tags":["itArt_Photography","itArt","itArt_all"],"directSalePrice":1300,"soldPrice":2600,"lastUpdate":"2026-07-21T21:44:39.852Z","textCase":"lower","estimate":"\u20ac1,500 - \u20ac2,000","currency":"EUR","id":36662,"estimateMin":1500},{"startPrice":800,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36663/001/001.jpg"],"artist":{"it":"virgilio carnisio"},"soldDate":"2025-06-18","available":false,"description":{"it":"inkjet print, printed later \n cm 60 x 90 | 23.6 x 35.4 in. \n edition 19 of 20 titled, signed and dated in black ink with afi stamp on the verso \n \n literature \n sotto la neve di milano. fotografie di virgilio carnisio, edizioni photo project, perugia, 1985, cover \n \n \n work accompanied by certificate of authenticity released by afi and signed by the photographer \n \n \n \n virgilio carnisio (milan 1938) began photographing in the early 1960s and, fearing that a false interpretation of modernity could destroy the classic architecture of his city, he wandered between the centre and the suburbs, documenting in black and white courtyards, railing houses, taverns, neighbourhoods such as isola and garibaldi, old shops and artisan workshops with the anthropological and social approach dear to classic reportage. he creates, in particularly accurate exhibitions and books, an articulate survey of milan to which he combines investigations on valsesia and the realities of europe, asia and america, the destinations of his travels.  if today the naviglio is the scene of nightlife, in the 1960s it maintained the memory of an ancient milan crossed by waterways. always far from the traps of nostalgia (because the good old days were not so good), virgilio carnisio dwells on the simple harmony of the façade of a house reflected on the surface of the canal, but knows how to surprise with the figure of the woman washing clothes leaning against a stone slab, \u2018brellin\u2019 in milanese. the gaze focuses on her, on those ancient gestures that still survive and smell of reality. on 13 january 1985 it was sunday, at the san siro stadium the milan team was playing against como and the spectators ended up being distracted (not the visitors, who won 2-0) because the snow was whitening the field and would continue to fall for four days, covering the entire city. for a photographer like carnisio, a thousand possibilities opened to capture spectacular images like this one, which captures from afar the crossing of the pedestrians walking across piazza del duomo on the path traced in the snow. the photograph, which alludes to both the new landscape and the industriousness of a city that never stands still, became the cover of the volume under the snow of milan that carnisio published in the following months."},"estimateMax":1500,"lotNumber":"17","title":{"it":"virgilio carnisio (1938) - milano, piazza del duomo, 1985"},"url":"https://it.bidspirit.com/ui/lotPage/finarte/source/catalog/auction/61725/lot/36663/view","tags":["itArt_Photography","itArt","itArt_all"],"directSalePrice":800,"soldPrice":850,"lastUpdate":"2026-07-21T21:44:39.854Z","textCase":"lower","estimate":"\u20ac1,000 - \u20ac1,500","currency":"EUR","id":36663,"estimateMin":1000},{"startPrice":110,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36664/001/001.jpg"],"artist":{"it":"virgilio carnisio"},"soldDate":"2025-06-18","available":false,"description":{"it":"inkjet print, printed later \n cm 50 x 39,7 (cm 34,3 x 34,3 picture) | 9.7 x 15.6 in. (13.5 x 13.5 in. picture) \n signed in black ink on the white inferior recto margin \n \n \n virgilio carnisio (milan 1938) began photographing in the early 1960s and, fearing that a false interpretation of modernity could destroy the classic architecture of his city, he wandered between the centre and the suburbs, documenting in black and white courtyards, railing houses, taverns, neighbourhoods such as isola and garibaldi, old shops and artisan workshops with the anthropological and social approach dear to classic reportage. he creates, in particularly accurate exhibitions and books, an articulate survey of milan to which he combines investigations on valsesia and the realities of europe, asia and america, the destinations of his travels.  if today the naviglio is the scene of nightlife, in the 1960s it maintained the memory of an ancient milan crossed by waterways. always far from the traps of nostalgia (because the good old days were not so good), virgilio carnisio dwells on the simple harmony of the façade of a house reflected on the surface of the canal, but knows how to surprise with the figure of the woman washing clothes leaning against a stone slab, \u2018brellin\u2019 in milanese. the gaze focuses on her, on those ancient gestures that still survive and smell of reality. on 13 january 1985 it was sunday, at the san siro stadium the milan team was playing against como and the spectators ended up being distracted (not the visitors, who won 2-0) because the snow was whitening the field and would continue to fall for four days, covering the entire city. for a photographer like carnisio, a thousand possibilities opened to capture spectacular images like this one, which captures from afar the crossing of the pedestrians walking across piazza del duomo on the path traced in the snow. the photograph, which alludes to both the new landscape and the industriousness of a city that never stands still, became the cover of the volume under the snow of milan that carnisio published in the following months."},"estimateMax":350,"lotNumber":"18","title":{"it":"virgilio carnisio (1938) - milan, 1960s/1970s"},"url":"https://it.bidspirit.com/ui/lotPage/finarte/source/catalog/auction/61725/lot/36664/view","tags":["itArt_Photography","itArt","itArt_all"],"directSalePrice":110,"soldPrice":450,"lastUpdate":"2026-07-21T21:44:39.855Z","textCase":"lower","estimate":"\u20ac250 - \u20ac350","currency":"EUR","id":36664,"estimateMin":250},{"startPrice":900,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36665/001/001.jpg"],"artist":{"it":"vincenzo castella"},"soldDate":"2025-06-18","available":false,"description":{"it":"vintage chromogenic print \n cm 29,8 x 41,5 (cm 26,7 x 33,8 picture) | 11.7 x 16.3 in. (10.5 x 13.3 in. picture) \n monog. vc and dated in pencil with photographer's credit blindstamp on the lower white recto margin \n \n literature \n i. bignardi (edited by), zone: vincenzo castella, art&, 1991, p. 91 a. c. quintavalle (edited by), muri di carta, electa, milan, 1993, p. 287 d. m. pagano (edited by), blow up - la fotografia a napoli 1980-1990, artem, 2014 \n \n \n \n vincenzo castella (naples 1952) is an author of a thousand interests as evidenced by his degree in cultural anthropology. a professional guitarist, director in 1976 of the film \u201chammie nixon's people\u201d shot in the u.s. on blues culture, it is in the field of photography that he establishes himself with cultured references ranging from paul strand to james joyce that guide him in a research on cities such as his native naples and milan where he lives. in this role he participated in 1984 with some images of interiors and one of exteriors in the project \u201cviaggio in italia, \u201d developing since then an interest in urban space that characterizes the most recent works exhibited in international exhibitions published in books and magazines. these two views of naples well explain the expressive approach that characterizes vincenzo castella's vision. the outdoor shot is all played out on perspective planes: the first, that of the terrace surrounded by a wall, brings us closer to the statue that stands almost in the void and reminds us of the rock that emerges from the sea caressed by the froth of the waves crashing against it. it is castella himself who reminds us that panoramas of this kind do not correspond to the movements of the eye because visions like his must be lucidly aseptic. the second photograph presented here is also indicative of another aspect dear to the photographer: the lighting. this enriches the subject-in this case, a simple wall from which three framed images hang awkwardly exposed - not because it is illuminated, but because it is observed from a new angle."},"estimateMax":1800,"lotNumber":"19","title":{"it":"vincenzo castella (1952) - napoli, 1985"},"url":"https://it.bidspirit.com/ui/lotPage/finarte/source/catalog/auction/61725/lot/36665/view","tags":["itArt_Photography","itArt","itArt_all"],"directSalePrice":900,"soldPrice":1000,"lastUpdate":"2026-07-21T21:44:39.856Z","textCase":"lower","estimate":"\u20ac1,200 - \u20ac1,800","currency":"EUR","id":36665,"estimateMin":1200},{"startPrice":600,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36666/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36666/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36666/003/003.jpg"],"artist":{"it":"vincenzo castella"},"soldDate":"2025-06-18","available":false,"description":{"it":"vintage cromogenic print \n cm 35,4 x 27,6 (cm 34 x 22,5 picture) | 14 x 10.9 in. (13.4 x 8.9 in. picture) \n signed, dated and titled in black ink on the white inferior recto margin and dedicated and signed in blue pencil on the verso of the frame framed \n \n \n vincenzo castella (naples 1952) is an author of a thousand interests as evidenced by his degree in cultural anthropology. a professional guitarist, director in 1976 of the film \u201chammie nixon's people\u201d shot in the u.s. on blues culture, it is in the field of photography that he establishes himself with cultured references ranging from paul strand to james joyce that guide him in a research on cities such as his native naples and milan where he lives. in this role he participated in 1984 with some images of interiors and one of exteriors in the project \u201cviaggio in italia, \u201d developing since then an interest in urban space that characterizes the most recent works exhibited in international exhibitions published in books and magazines. these two views of naples well explain the expressive approach that characterizes vincenzo castella's vision. the outdoor shot is all played out on perspective planes: the first, that of the terrace surrounded by a wall, brings us closer to the statue that stands almost in the void and reminds us of the rock that emerges from the sea caressed by the froth of the waves crashing against it. it is castella himself who reminds us that panoramas of this kind do not correspond to the movements of the eye because visions like his must be lucidly aseptic. the second photograph presented here is also indicative of another aspect dear to the photographer: the lighting. this enriches the subject-in this case, a simple wall from which three framed images hang awkwardly exposed - not because it is illuminated, but because it is observed from a new angle."},"estimateMax":1200,"lotNumber":"20","title":{"it":"vincenzo castella (1952) - monte s. giacomo, salerno, 1975"},"url":"https://it.bidspirit.com/ui/lotPage/finarte/source/catalog/auction/61725/lot/36666/view","tags":["itArt_Photography","itArt","itArt_all"],"directSalePrice":600,"soldPrice":600,"lastUpdate":"2026-07-21T21:44:39.858Z","textCase":"lower","estimate":"\u20ac800 - \u20ac1,200","currency":"EUR","id":36666,"estimateMin":800},{"startPrice":3300,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36667/001/001.jpg"],"artist":{"it":"giuseppe cavalli"},"available":false,"description":{"it":"vintage gelatin silver print \n cm 12,2 x 17 | 4.8 x 6.7 in. \n photographer's credit stamp on the verso \n \n \n giuseppe cavalli (lucera, foggia 1904 \u2013 senigallia, ancona 1961) was born into a family of landowners and, although he graduated in law, he preferred to devote himself to the world of art following in the footsteps of his twin brother emanuele, an successful painter. a very cultured man, he developed in practice as well as in theory a type of photography that was as far away from pictorialism as from the hated fascist emphasis. in 1947, he founded the photographic group la bussola in milan, for which he drew up the manifesto that referred to croce's aesthetics, and in 1954, in senigallia, where he had moved, the gruppo misa. \u2018the important axiom is that in art the subject is of no importance, what counts is that the work has reached the sky of art: whether it is beautiful or not\u2019 wrote cavalli in the manifesto of the compass, and these words can guide us in reading these two images that are symptomatic of his choices. in the still life, the lightness of the feather prevails, juxtaposed with the physicality of the glass vase, elements united by the fact that they draw two delicate shadows in the background. in the landscape, on the other hand, it is the horizontal lines that occupy the space and draw a deliberate harmony. in both cases, the idea of the predominance of form over subject, of signifier over signified, is confirmed. we are also in front of two superb examples of how to make high key prints, that is, making light tones prevail in all their nuances."},"estimateMax":5000,"lotNumber":"21","title":{"it":"giuseppe cavalli (1904 - 1961) - untitled (still life), 1940s/1950s"},"url":"https://it.bidspirit.com/ui/lotPage/finarte/source/catalog/auction/61725/lot/36667/view","tags":["itArt_Photography","itArt","itArt_all"],"directSalePrice":3300,"lastUpdate":"2026-07-21T21:44:41.014Z","textCase":"lower","estimate":"\u20ac4,000 - \u20ac5,000","currency":"EUR","id":36667,"estimateMin":4000},{"startPrice":3200,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36668/001/001.jpg"],"artist":{"it":"giuseppe cavalli"},"soldDate":"2025-06-18","available":false,"description":{"it":"vintage gelatin silver print \n cm 35,8 x 28,4 | 14.1 x 11.2 in. \n signed and titled in black ink on the verso framed \n \n \n giuseppe cavalli (lucera, foggia 1904 \u2013 senigallia, ancona 1961) was born into a family of landowners and, although he graduated in law, he preferred to devote himself to the world of art following in the footsteps of his twin brother emanuele, an successful painter. a very cultured man, he developed in practice as well as in theory a type of photography that was as far away from pictorialism as from the hated fascist emphasis. in 1947, he founded the photographic group la bussola in milan, for which he drew up the manifesto that referred to croce's aesthetics, and in 1954, in senigallia, where he had moved, the gruppo misa. \u2018the important axiom is that in art the subject is of no importance, what counts is that the work has reached the sky of art: whether it is beautiful or not\u2019 wrote cavalli in the manifesto of the compass, and these words can guide us in reading these two images that are symptomatic of his choices. in the still life, the lightness of the feather prevails, juxtaposed with the physicality of the glass vase, elements united by the fact that they draw two delicate shadows in the background. in the landscape, on the other hand, it is the horizontal lines that occupy the space and draw a deliberate harmony. in both cases, the idea of the predominance of form over subject, of signifier over signified, is confirmed. we are also in front of two superb examples of how to make high key prints, that is, making light tones prevail in all their nuances."},"estimateMax":5000,"lotNumber":"22","title":{"it":"giuseppe cavalli (1904 - 1961) - senigallia (ancona), 1950"},"url":"https://it.bidspirit.com/ui/lotPage/finarte/source/catalog/auction/61725/lot/36668/view","tags":["itArt_Photography","itArt","itArt_all"],"directSalePrice":3200,"soldPrice":2600,"lastUpdate":"2026-07-21T21:44:41.015Z","textCase":"lower","estimate":"\u20ac4,000 - \u20ac5,000","currency":"EUR","id":36668,"estimateMin":4000},{"startPrice":700,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36669/001/001.jpg"],"artist":{"it":"carla cerati"},"soldDate":"2025-06-18","available":false,"description":{"it":"vintage gelatin silver print \n cm 24 x 30,5 | 9.4 x 12 in. \n photographer's credit stamp on the verso \n \n literature \n f. basaglia (edited by), morire di classe. la condizione manicomiale fotografata da carla cerati e gianni berengo gardin, einaudi, milano, 1969 \n \n \n \n carla cerati (bergamo 1926 - milan 2016) transformed her youthful artistic flair into a passion for photography that led her to make her first professional images of theater and then, in the 1960s, to investigate the world of youth by collaborating with newspapers such as l'illustrazione italiana and l'espresso. then she documents the theatrical avant-garde (kantor, carmelo bene, the living theater) and the protagonists of the cultural world to marry the social commitment that leads her to make important reportages and to sign with gianni berengo gardin the fundamental volume \u201cmorire di classe.\u201d she finally devoted herself to a careful photographic reflection on the female body. also important was her activity as a writer. between these two images is ideally placed the complicated professional story of carla cerati. when, at the end of the 1960s franco basaglia began his battle for the closure of mental institutions, real prison that denied dignity to those who were not cured but imprisoned, an important contribution to the success of the law that bears his name was constituted by that small but intense book published by einaudi in 1969 characterized by the beautiful title morire di classe that carla cerati signed with gianni berengo gardin. the close shot on the faces of people to whom no one gave attention indicates the desire to establish a contact to give them back that dignity every day trampled on. the framing that crosses the subjects gives to the picture a dynamism that seems to indicate hope. when, on the other hand, carla cerati begins to question herself about the female body (the volume corpo di donna will be published by mazzotta in 1978) what interests her is to investigate forms, to chase lines, to try to sublimate the traditional concept of femininity in a research that becomes almost abstract. continuing her research she arrives, as in this case, to expertly use the contrasts of black and white to arrive at a seductive harmony."},"estimateMax":1500,"lotNumber":"23","title":{"it":"carla cerati (1926) - morire di classe, manicomio di parma, 1969"},"url":"https://it.bidspirit.com/ui/lotPage/finarte/source/catalog/auction/61725/lot/36669/view","tags":["itArt_Photography","itArt","itArt_all"],"directSalePrice":700,"soldPrice":950,"lastUpdate":"2026-07-21T21:44:41.017Z","textCase":"lower","estimate":"\u20ac1,000 - \u20ac1,500","currency":"EUR","id":36669,"estimateMin":1000},{"startPrice":400,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36670/001/001.jpg"],"artist":{"it":"carla cerati"},"soldDate":"2025-06-18","available":false,"description":{"it":"gelatin silver print, printed in 2007 \n cm 4,4 x 8,4 (cm 11,8 x 17,5 cardboard) | 1.7 x 3.3 in. (4.6 x 6.9 in. cardboard) \n signed and dated in black ink on the cardboard recto \n \n literature \n carla cerati, forma di donna, mazzotta, milan, 1978, p. 27 \n \n \n \n carla cerati (bergamo 1926 - milan 2016) transformed her youthful artistic flair into a passion for photography that led her to make her first professional images of theater and then, in the 1960s, to investigate the world of youth by collaborating with newspapers such as l'illustrazione italiana and l'espresso. then she documents the theatrical avant-garde (kantor, carmelo bene, the living theater) and the protagonists of the cultural world to marry the social commitment that leads her to make important reportages and to sign with gianni berengo gardin the fundamental volume \u201cmorire di classe.\u201d she finally devoted herself to a careful photographic reflection on the female body. also important was her activity as a writer. between these two images is ideally placed the complicated professional story of carla cerati. when, at the end of the 1960s franco basaglia began his battle for the closure of mental institutions, real prison that denied dignity to those who were not cured but imprisoned, an important contribution to the success of the law that bears his name was constituted by that small but intense book published by einaudi in 1969 characterized by the beautiful title morire di classe that carla cerati signed with gianni berengo gardin. the close shot on the faces of people to whom no one gave attention indicates the desire to establish a contact to give them back that dignity every day trampled on. the framing that crosses the subjects gives to the picture a dynamism that seems to indicate hope. when, on the other hand, carla cerati begins to question herself about the female body (the volume corpo di donna will be published by mazzotta in 1978) what interests her is to investigate forms, to chase lines, to try to sublimate the traditional concept of femininity in a research that becomes almost abstract. continuing her research she arrives, as in this case, to expertly use the contrasts of black and white to arrive at a seductive harmony."},"estimateMax":800,"lotNumber":"24","title":{"it":"carla cerati (1926) - forma di donna, 1972"},"url":"https://it.bidspirit.com/ui/lotPage/finarte/source/catalog/auction/61725/lot/36670/view","tags":["itArt_Photography","itArt","itArt_all"],"directSalePrice":400,"soldPrice":900,"lastUpdate":"2026-07-21T21:44:41.019Z","textCase":"lower","estimate":"\u20ac500 - \u20ac800","currency":"EUR","id":36670,"estimateMin":500},{"startPrice":900,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36671/001/001.jpg"],"artist":{"it":"giovanni chiaramonte"},"soldDate":"2025-06-18","available":false,"description":{"it":"inkjet print, printed later \n cm 40,5 x 50,5 (cm 38 x 38 picture) | 15.9 x 19.9 in. (14.9 x 14.9 in. picture) \n edition 1 of 9 monog. gc and dated in black ink with photographer's credit blindstamp on the white inferior recto margin and numbered, titled, signed and dated in black ink on the verso \n \n \n giovanni chiaramonte (varese 1948 - milan 2023) immediately has references both in the photography of alfred stieglitz and minor white and, above all, in the work on the italian landscape of luigi ghirri with whom he formed a friendship that led him to found with him the punto e virgola publishing house and to collaborate on projects such as \u201cviaggio in italia\u201d and \u201cesplorazioni sulla via emilia.\u201d if wide and varied was his activity as an author characterized by the use of color that led him to create important exhibitions collaborating with international institutions, equally significant was his activity as a cultural promoter also in the direction of series for the publishers motta, jaca book, sei, meridiana, ultreya.  in giovanni chiaramonte's poetics, photography shot in medium and large format and printed from color negative plays a central role because here technique is not for its own sake, but functional to the message it wants to convey. immersed in a philosophical dimension that tends openly toward the spiritual, the photographer's path confronts authors such as andrej tarkovskij (of the director he discovers and disseminates, publishing it in a book, the photographic activity) in search of mediterranean-style atmospheres emphasized, as in these two examples, by warm and delicate chromatics that he captures in italy, europe and the middle east, but which he also transfers to the american landscape. in texas, in a small town with the high-sounding name of corpus christy, he photographs a large parking area in the style that has in its time characterized american photography of the so-called dialectical landscape. the space is defined by a distant horizon while it is the tall poles in the shape of an inverted l that ideally dialogue with the white stripes of the pavement. the photograph appears in the volume \u201cwestword\u201d published in 2014 by ultreya."},"estimateMax":1500,"lotNumber":"25","title":{"it":"giovanni chiaramonte (1948 - 2023) - padre pescatore, corpus christi, tx, 1991"},"url":"https://it.bidspirit.com/ui/lotPage/finarte/source/catalog/auction/61725/lot/36671/view","tags":["itArt_Photography","itArt","itArt_all"],"directSalePrice":900,"soldPrice":900,"lastUpdate":"2026-07-21T21:44:41.021Z","textCase":"lower","estimate":"\u20ac1,000 - \u20ac1,500","currency":"EUR","id":36671,"estimateMin":1000},{"startPrice":700,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36672/001/001.jpg"],"artist":{"it":"giovanni chiaramonte"},"soldDate":"2025-06-18","available":false,"description":{"it":"vintage c-print \n cm 30,4 x 39,5 (cm 27,8 x 36 picture) | 12 x 15.6 in. (10.9 x 14.2 in. picture) \n monog gc and dated in black ink on the white inferior recto margin \n \n literature \n u. fiori, giovanni chiaramonte, penisola delle figure, 24ore cultura, milan, 1993, p. 15 \n \n \n \n giovanni chiaramonte (varese 1948 - milan 2023) immediately has references both in the photography of alfred stieglitz and minor white and, above all, in the work on the italian landscape of luigi ghirri with whom he formed a friendship that led him to found with him the punto e virgola publishing house and to collaborate on projects such as \u201cviaggio in italia\u201d and \u201cesplorazioni sulla via emilia.\u201d if wide and varied was his activity as an author characterized by the use of color that led him to create important exhibitions collaborating with international institutions, equally significant was his activity as a cultural promoter also in the direction of series for the publishers motta, jaca book, sei, meridiana, ultreya.  in giovanni chiaramonte's poetics, photography shot in medium and large format and printed from color negative plays a central role because here technique is not for its own sake, but functional to the message it wants to convey. immersed in a philosophical dimension that tends openly toward the spiritual, the photographer's path confronts authors such as andrej tarkovskij (of the director he discovers and disseminates, publishing it in a book, the photographic activity) in search of mediterranean-style atmospheres emphasized, as in these two examples, by warm and delicate chromatics that he captures in italy, europe and the middle east, but which he also transfers to the american landscape. in texas, in a small town with the high-sounding name of corpus christy, he photographs a large parking area in the style that has in its time characterized american photography of the so-called dialectical landscape. the space is defined by a distant horizon while it is the tall poles in the shape of an inverted l that ideally dialogue with the white stripes of the pavement. the photograph appears in the volume \u201cwestword\u201d published in 2014 by ultreya."},"estimateMax":1200,"lotNumber":"26","title":{"it":"giovanni chiaramonte (1948 - 2023) - canopo, tivoli, 1990"},"url":"https://it.bidspirit.com/ui/lotPage/finarte/source/catalog/auction/61725/lot/36672/view","tags":["itArt_Photography","itArt","itArt_all"],"directSalePrice":700,"soldPrice":700,"lastUpdate":"2026-07-21T21:44:41.023Z","textCase":"lower","estimate":"\u20ac800 - \u20ac1,200","currency":"EUR","id":36672,"estimateMin":800},{"startPrice":1000,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36673/001/001.jpg"],"artist":{"it":"mario cresci"},"soldDate":"2025-06-18","available":false,"description":{"it":"vintage gelatin silver print on polycoated paper \n cm 40 x 30 (cm 17,5 x 25 picture) | 15.7 x 11.8 in. (6.9 x 9.8 in. picture) \n titled, dated and signed in black ink on the white inferior recto margin \n \n \n mario cresci (chiavari, genoa 1942) attended the advanced course in industrial design in venice where he met italo zannier who introduced him to photography. he moved to basilicata first in 1967 when he made his debut with visionary photographic work on tricarico and then in 1968 where he opened the region's first graphic design studio in matera. a multifaceted photographer, he moves from conceptual research (his is in 1969, at the gallery il diaframma in milan, the first photographic environement) to that of anthropological taste, from the investigation of the landscape with which he participates in \u201cviaggio in italia\u201d to recent considerations on the relationship between works and their representation. intense also his teaching experience in various cities and the direction from 1991 to 2000 of the accademia carrara in bergamo, where he lives. he could, working in one of the regions of what used to be called the deep south, pick up the thread of the great reportage tradition, but mario cresci has fortunately always been a restless spirit, always looking for something not taken for granted that so often runs under the veins of the real. so he came into the homes of his new fellow citizens and they showed him photographs kept at home and often from those of their relatives who had emigrated to faraway countries. this created a visual short-circuit in the contrast, clearly visible here, between the poverty of the protagonist's home as shown by the wall behind her and the exhibited elegance of those who put on party clothes for the portrait. the conceptual and the anthropological merge, on the other hand, in the matera interior where the precision of the details of the house is contrasted by the face of the protagonist who moves during the shot to evoke an ethereal presence of his own as if he were passing over the objects of the house."},"estimateMax":1600,"lotNumber":"27","title":{"it":"mario cresci (1942) - 2a fase ritratto reale tricarico, 1972"},"url":"https://it.bidspirit.com/ui/lotPage/finarte/source/catalog/auction/61725/lot/36673/view","tags":["itArt_Photography","itArt","itArt_all"],"directSalePrice":1000,"soldPrice":1000,"lastUpdate":"2026-07-21T21:44:41.024Z","textCase":"lower","estimate":"\u20ac1,200 - \u20ac1,600","currency":"EUR","id":36673,"estimateMin":1200},{"startPrice":900,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36674/001/001.jpg"],"artist":{"it":"mario cresci"},"soldDate":"2025-06-18","available":false,"description":{"it":"vintage gelatin silver print \n cm 17,1 x 23 | 6.7 x 9 in. \n signed, dated and titled in black ink with photographer's credit stamp on the verso \n \n \n mario cresci (chiavari, genoa 1942) attended the advanced course in industrial design in venice where he met italo zannier who introduced him to photography. he moved to basilicata first in 1967 when he made his debut with visionary photographic work on tricarico and then in 1968 where he opened the region's first graphic design studio in matera. a multifaceted photographer, he moves from conceptual research (his is in 1969, at the gallery il diaframma in milan, the first photographic environement) to that of anthropological taste, from the investigation of the landscape with which he participates in \u201cviaggio in italia\u201d to recent considerations on the relationship between works and their representation. intense also his teaching experience in various cities and the direction from 1991 to 2000 of the accademia carrara in bergamo, where he lives. he could, working in one of the regions of what used to be called the deep south, pick up the thread of the great reportage tradition, but mario cresci has fortunately always been a restless spirit, always looking for something not taken for granted that so often runs under the veins of the real. so he came into the homes of his new fellow citizens and they showed him photographs kept at home and often from those of their relatives who had emigrated to faraway countries. this created a visual short-circuit in the contrast, clearly visible here, between the poverty of the protagonist's home as shown by the wall behind her and the exhibited elegance of those who put on party clothes for the portrait. the conceptual and the anthropological merge, on the other hand, in the matera interior where the precision of the details of the house is contrasted by the face of the protagonist who moves during the shot to evoke an ethereal presence of his own as if he were passing over the objects of the house."},"estimateMax":1800,"lotNumber":"28","title":{"it":"mario cresci (1942) - ritratti mossi, matera, lucania, 1979"},"url":"https://it.bidspirit.com/ui/lotPage/finarte/source/catalog/auction/61725/lot/36674/view","tags":["itArt_Photography","itArt","itArt_all"],"directSalePrice":900,"soldPrice":950,"lastUpdate":"2026-07-21T21:44:41.026Z","textCase":"lower","estimate":"\u20ac1,200 - \u20ac1,800","currency":"EUR","id":36674,"estimateMin":1200},{"startPrice":330,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36675/001/001.jpg"],"artist":{"it":"gaetano d'agata"},"soldDate":"2025-06-18","available":false,"description":{"it":"gelatin silver print, rephotograph from original print \n cm 28,5 x 37,5 (cm 26 x 35 picture) | 11.2 x 14.7 in. (10.2 x 13.7 in. picture) \n photographer's signature from the original on the image with photographer's credit stamp on the verso \n \n \n gaetano d'agata (aci sant'antonio, catania 1883 - taormina 1949) has always been a decidedly unusual author: although he carried out his work in his famous studio located in the center of taormina, the town he chose after marrying a local girl, he traveled to spain, ireland, india and the united states where, in new york, he opened even if only for a short time a studio. above all, he achieved economic success with genre scenes (the classic characters wearing traditional clothes or exhibiting their crafts) and sicilian landscapes, all subjects aimed at tourists and destined to appear on postcards. he also devoted himself with dedication to the male nude.  even though some scientific evidence is lacking, it appears that d'agata was for some time an assistant to wilhelm von gloeden. it remains a fact that, for obvious reasons of proximity, he must have known the german photographer's work well, but while he does not appear interested in following in his footsteps on the theme of landscape, it is to that of the male nude that he takes decisive inspiration. as should always be, one should never directly compare the authors with each other, but in this case it is inevitable to do so because if in the two male nudes shot from behind placed against a rock the reference to von gloeden can be imagined, in \u201ccaino\u201d we are in front of the repetition of the same famous shot taken by the german photographer in 1898 with the only variation of having the sea instead of the mountain as background. on the other hand, it should be considered that von gloeden had already practiced a reproposition, that of hyppolite flandrin's painting made in 1836 and exhibited since 1855 in the louvre with a title \u201cgiovane uomo nudo\u201d that does not allude to cain."},"estimateMax":800,"lotNumber":"29","title":{"it":"gaetano d'agata (1883 - 1949) - caino, 1910s"},"url":"https://it.bidspirit.com/ui/lotPage/finarte/source/catalog/auction/61725/lot/36675/view","tags":["itArt_Photography","itArt","itArt_all"],"directSalePrice":330,"soldPrice":1300,"lastUpdate":"2026-07-21T21:44:41.027Z","textCase":"lower","estimate":"\u20ac500 - \u20ac800","currency":"EUR","id":36675,"estimateMin":500},{"startPrice":750,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36676/001/001.jpg"],"artist":{"it":"gaetano d'agata"},"soldDate":"2025-06-18","available":false,"description":{"it":"salt print \n cm 23,5 x 17 (cm 22 x 15 picture) | 9.2 x 6.5 in. (8.5 x 5.9 in. picture) \n signed in black ink on the lower left image with photographer's credit stamp and 347 on the verso \n \n \n gaetano d'agata (aci sant'antonio, catania 1883 - taormina 1949) has always been a decidedly unusual author: although he carried out his work in his famous studio located in the center of taormina, the town he chose after marrying a local girl, he traveled to spain, ireland, india and the united states where, in new york, he opened even if only for a short time a studio. above all, he achieved economic success with genre scenes (the classic characters wearing traditional clothes or exhibiting their crafts) and sicilian landscapes, all subjects aimed at tourists and destined to appear on postcards. he also devoted himself with dedication to the male nude.  even though some scientific evidence is lacking, it appears that d'agata was for some time an assistant to wilhelm von gloeden. it remains a fact that, for obvious reasons of proximity, he must have known the german photographer's work well, but while he does not appear interested in following in his footsteps on the theme of landscape, it is to that of the male nude that he takes decisive inspiration. as should always be, one should never directly compare the authors with each other, but in this case it is inevitable to do so because if in the two male nudes shot from behind placed against a rock the reference to von gloeden can be imagined, in \u201ccaino\u201d we are in front of the repetition of the same famous shot taken by the german photographer in 1898 with the only variation of having the sea instead of the mountain as background. on the other hand, it should be considered that von gloeden had already practiced a reproposition, that of hyppolite flandrin's painting made in 1836 and exhibited since 1855 in the louvre with a title \u201cgiovane uomo nudo\u201d that does not allude to cain."},"estimateMax":1200,"lotNumber":"30","title":{"it":"gaetano d'agata (1883 - 1949) - untitled (male nudes), 1890s"},"url":"https://it.bidspirit.com/ui/lotPage/finarte/source/catalog/auction/61725/lot/36676/view","tags":["itArt_Photography","itArt","itArt_all"],"directSalePrice":750,"soldPrice":1000,"lastUpdate":"2026-07-21T21:44:41.029Z","textCase":"lower","estimate":"\u20ac800 - \u20ac1,200","currency":"EUR","id":36676,"estimateMin":800},{"startPrice":3800,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36677/001/001.jpg"],"artist":{"it":"mario de biasi"},"soldDate":"2025-06-18","available":false,"description":{"it":"gelatin silver print, printed later \n cm 42,5 x 61,8 (cm 38,7 x 59 picture) | 16.7 x 24.3 in. (15.2 x 23.2 in. picture) \n signed in pencil on the verso \n \n literature \n e. viganò (edited by), mario de biasi. fotografie-photographs 1943-2003, marsilio editore, venice, 2021 \n \n \n \n mario de biasi (sois, bolzano 1923 - milan 2013) began photographing in germany, where he had been deported during world war ii. in 1948 he presented his first solo exhibition at the circolo fotografico milanese, and in 1953 he became a professional working in the staff of the magazine epoca to which he would remain bound until its closure in 1997 and for which he would publish more than a hundred covers and countless photo shoots making several trips around the world. extremely versatile, he produced countless exhibitions and published books on a wide variety of subjects. mario de biasi immediately acquired a personal style that led him to observe reality with curiosity without distinguishing between the great personalities he portrayed - from brigitte bardot to marlene dietrich - to simple people caught in their spontaneity with the eye of the valuable reporter. it is interesting to note that this ability is already found in \"domenica d\u2019agosto\", the shot taken still as an amateur anticipating the gesture of the girl who, to avoid getting wet, enters the puddle with her bicycle and joyfully lifts her legs. a curiosity: the negative of this photograph has been lost. instead, \u201cgli italiani si voltano\u201d was made when de biasi was already a professional: the weekly bolero film asked epoca to borrow him for a report on moira orfei in milan. the shoot begins in piazza san babila, and the queue of curious people follow him along corso vittorio emanuele to piazza del duomo. here de biasi has the idea of shooting the girl from behind wrapped in a tight white dress, silhouetted against the wall of men watching her fascinated. fifty years later the photograph will be shown at the guggenheim in new york in an exhibition on italian art curated by germano celant."},"estimateMax":5500,"lotNumber":"31","title":{"it":"mario de biasi (1923 - 2013) - gli italiani si voltano, 1954"},"url":"https://it.bidspirit.com/ui/lotPage/finarte/source/catalog/auction/61725/lot/36677/view","tags":["itArt_Photography","itArt","itArt_all"],"directSalePrice":3800,"soldPrice":4000,"lastUpdate":"2026-07-21T21:44:40.882Z","textCase":"lower","estimate":"\u20ac4,500 - \u20ac5,500","currency":"EUR","id":36677,"estimateMin":4500},{"startPrice":900,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36678/001/001.jpg"],"artist":{"it":"mario de biasi"},"soldDate":"2025-06-18","available":false,"description":{"it":"vintage gelatin silver print \n cm 23,7 x 18 | 9.4 x 7.1 in. \n photrographer's credit stamp on the verso \n \n literature \n aavv, neorealismo. the new image in italy 1932-1960, admira edizioni, milan, 2018, cover \n \n \n \n mario de biasi (sois, bolzano 1923 - milan 2013) began photographing in germany, where he had been deported during world war ii. in 1948 he presented his first solo exhibition at the circolo fotografico milanese, and in 1953 he became a professional working in the staff of the magazine epoca to which he would remain bound until its closure in 1997 and for which he would publish more than a hundred covers and countless photo shoots making several trips around the world. extremely versatile, he produced countless exhibitions and published books on a wide variety of subjects. mario de biasi immediately acquired a personal style that led him to observe reality with curiosity without distinguishing between the great personalities he portrayed - from brigitte bardot to marlene dietrich - to simple people caught in their spontaneity with the eye of the valuable reporter. it is interesting to note that this ability is already found in \"domenica d\u2019agosto\", the shot taken still as an amateur anticipating the gesture of the girl who, to avoid getting wet, enters the puddle with her bicycle and joyfully lifts her legs. a curiosity: the negative of this photograph has been lost. instead, \u201cgli italiani si voltano\u201d was made when de biasi was already a professional: the weekly bolero film asked epoca to borrow him for a report on moira orfei in milan. the shoot begins in piazza san babila, and the queue of curious people follow him along corso vittorio emanuele to piazza del duomo. here de biasi has the idea of shooting the girl from behind wrapped in a tight white dress, silhouetted against the wall of men watching her fascinated. fifty years later the photograph will be shown at the guggenheim in new york in an exhibition on italian art curated by germano celant."},"estimateMax":1800,"lotNumber":"32","title":{"it":"mario de biasi (1923 - 2013) - domenica d'agosto, milano, 1949"},"url":"https://it.bidspirit.com/ui/lotPage/finarte/source/catalog/auction/61725/lot/36678/view","tags":["itArt_Photography","itArt","itArt_all"],"directSalePrice":900,"soldPrice":1300,"lastUpdate":"2026-07-21T21:44:40.883Z","textCase":"lower","estimate":"\u20ac1,200 - \u20ac1,800","currency":"EUR","id":36678,"estimateMin":1200},{"startPrice":2000,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36679/001/001.jpg"],"artist":{"it":"ferruccio ferroni"},"available":false,"description":{"it":"vintage gelatin silver print \n cm 23,4 x 17,6 | 9.2 x 6.9 in. \n signed, titled and dated in blue ink on the verso \n \n \n ferruccio ferroni (mercatello sul metauro, pesaro-urbino 1920 - senigallia, ancona 2007) having refused to serve the republic of salò, was interned in germany from where he returned to spend a long convalescence in senigallia where he met giuseppe cavalli totally embracing his cause of a crocian style of photography. already a member of the venetian circle la gondola, he joined misa and formed a great friendship with mario giacomelli. from his lifelong profession as a lawyer, he inherited the precision for photographic work both in the care of the archives and in that of printing, which he always did personally. numerous participations in high-level exhibitions organized in italy and abroad such as the one on subjektive fotografie in saarbrucher in 1955. according to the canons of photography suggested by giuseppe cavalli in the 1947 \u201cmanifesto della bussola\u201d and reworked on the concepts of the crucian aesthetic, what really matters is only the way of representing the subject, not the historical, social or political context in which it is placed. if we want to simplify, this means chasing beauty as such. ferruccio ferroni had made this choice with conviction and not without a slight polemic against reportage that he did not inscribe within the boundaries of art. in his photographs, which mario giacomelli considered \u201cpoetic fragments, exquisitely composed formal images, \u201d each element loses its specificity to be inserted into a dimension dominated by harmony. these works must be admired closely to observe not only the balance with which they insert elements into space, but also the accuracy with which in the darkroom the author works to enhance all nuances and emphasize the delicacy of shadows in prints made in high key that convey a sense of quiet lyricism."},"estimateMax":3500,"lotNumber":"33","title":{"it":"ferruccio ferroni (1920 - 2007) - studio di esterno, senigallia, 1950"},"url":"https://it.bidspirit.com/ui/lotPage/finarte/source/catalog/auction/61725/lot/36679/view","tags":["itArt_Photography","itArt","itArt_all"],"directSalePrice":2000,"lastUpdate":"2026-07-21T21:44:40.885Z","textCase":"lower","estimate":"\u20ac2,500 - \u20ac3,500","currency":"EUR","id":36679,"estimateMin":2500},{"startPrice":2000,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36680/001/001.jpg"],"artist":{"it":"ferruccio ferroni"},"available":false,"description":{"it":"vintage gelatin silver print \n cm 17,3 x 17,3 | 6.8 x 6.8 in. \n photographer's credit stamp on the verso \n \n \n ferruccio ferroni (mercatello sul metauro, pesaro-urbino 1920 - senigallia, ancona 2007) having refused to serve the republic of salò, was interned in germany from where he returned to spend a long convalescence in senigallia where he met giuseppe cavalli totally embracing his cause of a crocian style of photography. already a member of the venetian circle la gondola, he joined misa and formed a great friendship with mario giacomelli. from his lifelong profession as a lawyer, he inherited the precision for photographic work both in the care of the archives and in that of printing, which he always did personally. numerous participations in high-level exhibitions organized in italy and abroad such as the one on subjektive fotografie in saarbrucher in 1955. according to the canons of photography suggested by giuseppe cavalli in the 1947 \u201cmanifesto della bussola\u201d and reworked on the concepts of the crucian aesthetic, what really matters is only the way of representing the subject, not the historical, social or political context in which it is placed. if we want to simplify, this means chasing beauty as such. ferruccio ferroni had made this choice with conviction and not without a slight polemic against reportage that he did not inscribe within the boundaries of art. in his photographs, which mario giacomelli considered \u201cpoetic fragments, exquisitely composed formal images, \u201d each element loses its specificity to be inserted into a dimension dominated by harmony. these works must be admired closely to observe not only the balance with which they insert elements into space, but also the accuracy with which in the darkroom the author works to enhance all nuances and emphasize the delicacy of shadows in prints made in high key that convey a sense of quiet lyricism."},"estimateMax":3500,"lotNumber":"34","title":{"it":"ferruccio ferroni (1920 - 2007) - senigallia, 1950"},"url":"https://it.bidspirit.com/ui/lotPage/finarte/source/catalog/auction/61725/lot/36680/view","tags":["itArt_Photography","itArt","itArt_all"],"directSalePrice":2000,"lastUpdate":"2026-07-21T21:44:40.886Z","textCase":"lower","estimate":"\u20ac2,500 - \u20ac3,500","currency":"EUR","id":36680,"estimateMin":2500},{"startPrice":2000,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36681/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36681/002/002.jpg"],"artist":{"it":"franco fontana"},"soldDate":"2025-06-18","available":false,"description":{"it":"vintage chromogenic print, mounted on original passepartout \n cm 50,8 x 61 (cm 60 x 80 passepartout) | 20 x 24 in. (23.6 x 31.5 in. passepartout) \n titled, signed and dated in black ink on the white superior recto margin and signed, titled and dated in pencil on the passeparout recto framed \n \n literature \n n. ballario, c. mestrovich (edited by), franco fontana. colore, ed. skira, 2024, cover \n \n \n \n already in his early days as a simple amateur, franco fontana (modena 1933) stood out for his choice of colour, thanks to which he obtained his first recognitions at the beginning of the 1960s, which encouraged him to turn to professional photography. since then he has been internationally recognised for his highly personal interpretation of landscapes, organising exhibitions in galleries and museums all over the world, publishing more than seventy books, collaborating with important newspapers and receiving prizes and awards.  while many photographers continued to prefer black and white for its ductility and undoubted appeal, franco fontana realised that these same characteristics could also be attributed to colour. it was in this chromatic universe that he brought out his vision of the world focused especially on a consideration of the landscape with implied but intuitable references to abstractionism. every single image such as this one (marked by the contrasts between the blue of the sky and the brown of the farmed land, between the horizontality of the lines and the verticality of the tree standing at the centre of the scene) contains the characteristics of his research in this field. even when he decides to set his eyes on the united states, he remains faithful to his vision: the journey along the legendary route 66 thus becomes a personal interpretation of reportage in a story punctuated by sudden visions and saturated colours."},"estimateMax":3500,"lotNumber":"35","title":{"it":"franco fontana (1933) - paesaggio (puglia), 1987"},"url":"https://it.bidspirit.com/ui/lotPage/finarte/source/catalog/auction/61725/lot/36681/view","tags":["itArt_Photography","itArt","itArt_all"],"directSalePrice":2000,"soldPrice":4000,"lastUpdate":"2026-07-21T21:44:40.888Z","textCase":"lower","estimate":"\u20ac2,500 - \u20ac3,500","currency":"EUR","id":36681,"estimateMin":2500},{"startPrice":2200,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36682/001/001.jpg"],"artist":{"it":"franco fontana"},"soldDate":"2025-06-18","available":false,"description":{"it":"vintage c-print mounted in aluminium, printed in 2003 \n cm 100 x 70 | 39.4 x 27.5 in. \n edition 2 of 15 caption label signed in black ink with photographer's credit stamp on the verso \n \n \n already in his early days as a simple amateur, franco fontana (modena 1933) stood out for his choice of colour, thanks to which he obtained his first recognitions at the beginning of the 1960s, which encouraged him to turn to professional photography. since then he has been internationally recognised for his highly personal interpretation of landscapes, organising exhibitions in galleries and museums all over the world, publishing more than seventy books, collaborating with important newspapers and receiving prizes and awards.  while many photographers continued to prefer black and white for its ductility and undoubted appeal, franco fontana realised that these same characteristics could also be attributed to colour. it was in this chromatic universe that he brought out his vision of the world focused especially on a consideration of the landscape with implied but intuitable references to abstractionism. every single image such as this one (marked by the contrasts between the blue of the sky and the brown of the farmed land, between the horizontality of the lines and the verticality of the tree standing at the centre of the scene) contains the characteristics of his research in this field. even when he decides to set his eyes on the united states, he remains faithful to his vision: the journey along the legendary route 66 thus becomes a personal interpretation of reportage in a story punctuated by sudden visions and saturated colours."},"estimateMax":4000,"lotNumber":"36","title":{"it":"franco fontana (1933) - route 66, illinois, 2001"},"url":"https://it.bidspirit.com/ui/lotPage/finarte/source/catalog/auction/61725/lot/36682/view","tags":["itArt_Photography","itArt","itArt_all"],"directSalePrice":2200,"soldPrice":1900,"lastUpdate":"2026-07-21T21:44:40.889Z","textCase":"lower","estimate":"\u20ac3,000 - \u20ac4,000","currency":"EUR","id":36682,"estimateMin":3000},{"startPrice":550,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36683/001/001.jpg"],"artist":{"it":"vincenzo galdi"},"soldDate":"2025-06-18","available":false,"description":{"it":"albumen print \n cm 22,3 x 16,5 | 8.8 x 6.5 in. \n photographer's credit stamp and code 3453 in pencil on the verso \n \n \n vincenzo galdi (naples, 1871 \u2013 rome, 1961), thanks to his good looks, began working as a model at a very young age, posing primarily for wilhelm von plüschow, from whom he learned photographic techniques. he followed von plüschow from naples to rome, where he opened his own studio near that of the german photographer. using the adjacent terraces\u2014screened from view by fabric hangings\u2014he produced nude portraits, both male and, above all, female. although he was the author of works of genuine artistic value, in 1907 galdi was arrested and convicted for offending public morals, an event that led him to change careers. he went on to open an art gallery on via del babuino. as a less well-known figure compared to his contemporaries von gloeden and von plüschow, galdi has been less studied by critics, also due to the 19th-century custom of co-signing prints or even leaving them unsigned. as a result, his works were often attributed to von plüschow, his former mentor, or grouped among the vast number of erotic photographs of the period. however, unlike much of that material, galdi\u2019s work stands out for the high quality of both the images and the prints. in this male nude, for example, one can observe his careful use of light, which casts subtle shadows, and above all the unusual posture of the subject, who does not face the camera but turns away from it, as if to avoid its gaze. the image clearly recalls classical painting, which, living in rome, galdi would have seen in the city\u2019s museums and galleries."},"estimateMax":1200,"lotNumber":"37","title":{"it":"vincenzo galdi (1874 - 1961) - untitled, 1900s"},"url":"https://it.bidspirit.com/ui/lotPage/finarte/source/catalog/auction/61725/lot/36683/view","tags":["itArt_Photography","itArt","itArt_all"],"directSalePrice":550,"soldPrice":650,"lastUpdate":"2026-07-21T21:44:40.891Z","textCase":"lower","estimate":"\u20ac800 - \u20ac1,200","currency":"EUR","id":36683,"estimateMin":800},{"startPrice":2400,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36684/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36684/002/002.jpg"],"artist":{"it":"maurizio galimberti"},"available":false,"description":{"it":"150 polaroids mounted as a mosaic \n cm 85 x 143 approx. | 33.5 x 56.3 in. approx. \n unique work titled, dated and signed in pencil on the white inferior recto margin framed \n \n \n maurizio galimberti (como 1956) has been passionate about photography since he was a boy, shooting in black and white, but also using a panoramic widelux camera as proof of his passion for research. after leaving his job as a surveyor, he married the profession of photographer using almost exclusively, since 1983, the polaroid instant film of which years later he would become testimonial. an acute scholar of the avant-garde, he makes the dada, surrealist, and futurist language his personal language to create projects on portraiture, landscape, and revisiting historical images that are exhibited in galleries and museum spaces, published in books and magazines, and used for advertising campaigns. even though his is a more wide-ranging research (this is confirmed by a booklet published by polaroid italia where he indicates the many creative possibilities of film) that includes ready-made and transfer, the manipulation of individual pictures during development and frottage, it is with the mosaic technique that galimberti has made himself known and appreciated. using a special spacer, he breaks down faces and bodies and then puts them back together in an explosion of forms, and he uses the same visual approach, but this time without a spacer - since the days of \u201cvucciria\u201d his first important site of an overall gaze - in front of the landscape. as a great soccer fan, here the photographer offers us two considerations on the sport: in one he focuses on the daring architecture of the meazza stadium in milan, which he revisits here by inserting its details in an image that expands horizontally, while in the other he emphasizes, in the multiplication of details, the dynamism of the disorienting and shameless gesture with which maradona went down in history and myth, not only in soccer."},"estimateMax":4000,"lotNumber":"38","title":{"it":"maurizio galimberti (1956) - stadio giuseppe meazza, milano. studio n. 1, 2011"},"url":"https://it.bidspirit.com/ui/lotPage/finarte/source/catalog/auction/61725/lot/36684/view","tags":["itArt_Photography","itArt","itArt_all"],"directSalePrice":2400,"lastUpdate":"2026-07-21T21:44:40.892Z","textCase":"lower","estimate":"\u20ac3,000 - \u20ac4,000","currency":"EUR","id":36684,"estimateMin":3000},{"startPrice":9500,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36685/001/001.jpg"],"artist":{"it":"maurizio galimberti"},"soldDate":"2025-06-18","available":false,"description":{"it":"224 polaroids mounted as a mosaic \n cm 131 x 135 | 51.6 x 53.1 in. \n unique work titled, dated and signed in pencil on the white inferior recto margin framed \n \n \n maurizio galimberti (como 1956) has been passionate about photography since he was a boy, shooting in black and white, but also using a panoramic widelux camera as proof of his passion for research. after leaving his job as a surveyor, he married the profession of photographer using almost exclusively, since 1983, the polaroid instant film of which years later he would become testimonial. an acute scholar of the avant-garde, he makes the dada, surrealist, and futurist language his personal language to create projects on portraiture, landscape, and revisiting historical images that are exhibited in galleries and museum spaces, published in books and magazines, and used for advertising campaigns. even though his is a more wide-ranging research (this is confirmed by a booklet published by polaroid italia where he indicates the many creative possibilities of film) that includes ready-made and transfer, the manipulation of individual pictures during development and frottage, it is with the mosaic technique that galimberti has made himself known and appreciated. using a special spacer, he breaks down faces and bodies and then puts them back together in an explosion of forms, and he uses the same visual approach, but this time without a spacer - since the days of \u201cvucciria\u201d his first important site of an overall gaze - in front of the landscape. as a great soccer fan, here the photographer offers us two considerations on the sport: in one he focuses on the daring architecture of the meazza stadium in milan, which he revisits here by inserting its details in an image that expands horizontally, while in the other he emphasizes, in the multiplication of details, the dynamism of the disorienting and shameless gesture with which maradona went down in history and myth, not only in soccer."},"estimateMax":15000,"lotNumber":"39","title":{"it":"maurizio galimberti (1956) - mexico city 22-6-1986 la mano de dios. maradona e shilton, 2019"},"url":"https://it.bidspirit.com/ui/lotPage/finarte/source/catalog/auction/61725/lot/36685/view","tags":["itArt_Photography","itArt","itArt_all"],"directSalePrice":9500,"soldPrice":14500,"lastUpdate":"2026-07-21T21:44:40.893Z","textCase":"lower","estimate":"\u20ac12,000 - \u20ac15,000","currency":"EUR","id":36685,"estimateMin":12000},{"startPrice":3500,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36686/001/001.jpg"],"artist":{"it":"giovanni gastel"},"soldDate":"2025-06-18","available":false,"description":{"it":"pigment print \n cm 84 x 104 (cm 53 x 79,5 picture) | 33.1 x 40.9 in. (20.9 x 31.3 in. picture) \n edition 2 of 5 framed \n \n exhibitions \n giovanni gastel. quarant\u2019anni di storia e immagini, palazzo della ragione, milan, 2016 \n \n \n literature \n g. celant (edited by), giovanni gastel, silvana editoriale, cinisello balsamo, 2016 \n \n \n \n giovanni gastel (milan 1955 - 2021) was born into a family where nobility is also expressed in the love of art. self-taught, in the early 1970s he worked for christie's, but in 1981 his meeting with his future agent carla ghiglieri, who introduced him to the world of fashion, turned his career around, leading him to work for vogue italia and then, thanks to flavio lucchini and gisella borioli, with mondo uomo e donna. in the 1980s and 1990s he signed prestigious international advertising campaigns, but he also decided to devote himself to personal research where he experimented in the artistic field with the themes of the figure, portrait, and still life already widely used in commissioned work. the major solo shows in milan curated by germano celant and the one at maxxi in rome certified him as a well-rounded author. if anyone had expected classic pictures in the sense of traditional it would have been useless to ask to giovanni gastel who, instead, preferred to convey to his photographs a dynamism and liveliness that made them unique. to evoke the refined atmospheres of dior here he literally makes the figure of the model vibrate as she wears a very elegant dress that stands out against the light background. it's interesting to note that, while not showing the details of the girl's face, the photographer is able to give us a glimpse of her playful expression that goes well with the posture of her arms that follow the sinuosity of her body. a man endowed with a great culture that on the one hand matched irony and on the other was open to a deeper dimension (that of his poems), giovanni gastel had grown up in the love of art: this photograph made \u201cin the manner of\u201d openly evokes the atmospheres dear to the painter edward hopper in a compositional game where colors with pastel tones play an important role."},"estimateMax":6000,"lotNumber":"40","title":{"it":"giovanni gastel (1955 - 2021) - ritratti di living, after hopper, 2013"},"url":"https://it.bidspirit.com/ui/lotPage/finarte/source/catalog/auction/61725/lot/36686/view","tags":["itArt_Photography","itArt","itArt_all"],"directSalePrice":3500,"soldPrice":4500,"lastUpdate":"2026-07-21T21:44:40.895Z","textCase":"lower","estimate":"\u20ac4,000 - \u20ac6,000","currency":"EUR","id":36686,"estimateMin":4000},{"startPrice":850,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36687/001/001.jpg"],"artist":{"it":"giovanni gastel"},"soldDate":"2025-06-18","available":false,"description":{"it":"inkjet print, printed in 2001 \n cm 48 x 34 (cm 33,3 x 26,3 picture) | 19 x 13.4 in. (13.1 x 10.4 in. picture) \n signed and dated in black ink opn the white inferior recto margin \n \n \n giovanni gastel (milan 1955 - 2021) was born into a family where nobility is also expressed in the love of art. self-taught, in the early 1970s he worked for christie's, but in 1981 his meeting with his future agent carla ghiglieri, who introduced him to the world of fashion, turned his career around, leading him to work for vogue italia and then, thanks to flavio lucchini and gisella borioli, with mondo uomo e donna. in the 1980s and 1990s he signed prestigious international advertising campaigns, but he also decided to devote himself to personal research where he experimented in the artistic field with the themes of the figure, portrait, and still life already widely used in commissioned work. the major solo shows in milan curated by germano celant and the one at maxxi in rome certified him as a well-rounded author. if anyone had expected classic pictures in the sense of traditional it would have been useless to ask to giovanni gastel who, instead, preferred to convey to his photographs a dynamism and liveliness that made them unique. to evoke the refined atmospheres of dior here he literally makes the figure of the model vibrate as she wears a very elegant dress that stands out against the light background. it's interesting to note that, while not showing the details of the girl's face, the photographer is able to give us a glimpse of her playful expression that goes well with the posture of her arms that follow the sinuosity of her body. a man endowed with a great culture that on the one hand matched irony and on the other was open to a deeper dimension (that of his poems), giovanni gastel had grown up in the love of art: this photograph made \u201cin the manner of\u201d openly evokes the atmospheres dear to the painter edward hopper in a compositional game where colors with pastel tones play an important role."},"estimateMax":1500,"lotNumber":"41","title":{"it":"giovanni gastel (1955 - 2021) - dior, brenda, 1988"},"url":"https://it.bidspirit.com/ui/lotPage/finarte/source/catalog/auction/61725/lot/36687/view","tags":["itArt_Photography","itArt","itArt_all"],"directSalePrice":850,"soldPrice":1200,"lastUpdate":"2026-07-21T21:44:42.813Z","textCase":"lower","estimate":"\u20ac1,000 - \u20ac1,500","currency":"EUR","id":36687,"estimateMin":1000},{"startPrice":5000,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36688/001/001.jpg"],"artist":{"it":"luigi ghirri"},"soldDate":"2025-06-18","available":false,"description":{"it":"vintage chromogenic print \n cm 20,3 x 25,4 | 8 x 10 in. \n \n literature \n attraverso l'italia, emilia romagna, fotografie di luigi ghirri, secondo volume, touring club italiano, 1986, p. 241 l. ghirri, paesaggio italiano, quaderni di lotus, electa, milan, 1989, p. 82 g. messori (edited by), luigi ghirri, atelier morandi, contrejour-palomar, bari, 1992, p. 75 g. bizzarri, p. barbaro (edited by), luigi ghirri lezioni di fotografia, quodlibet, macerata, 2010, p. 46 l. ghirri, pensare per immagini, museo maxxi roma, electa, verona, 2013, p. 340 luigi ghirri, pensar por imagens, instituto moreira salles, san paulo, ims, 2013, p. 221 \n \n \n work accompanied by certificate of authenticity released by archivio di luigi ghirri, roncocesi (reggio nell'emilia) \n \n \n \n luigi ghirri (scandiano, reggio emilia 1943 - reggio emilia 1992) a surveyor by training, when he began photographing in 1969 he made reference to the conceptual world that he filters into works where he plays between reality and artificiality, immediacy and ambiguity, high culture and consumer images dialoguing with writers like gianni celalti, musicians like lucio dalla, critics like massimo mussini and arturo carlo quintavalle. on the theme of landscape, he realized fundamental projects such as the group shows \u201cviaggio in italia\u201d and \u201cesplorazioni sulla via emilia, \u201d giving life with his personal research, which flowed into many exhibitions, to 31 books of great importance and to lucidly analytical essays such as \u201clezioni di fotografia, \u201d to a wide-ranging consideration that places him among the greatest photographers of his time. if luigi ghirri is one of the most beloved authors in the world of collecting this is due to his original gaze and on that only apparent linearity that characterizes his works. his ability to switch from small 35 mm to medium format, to alternate negative films, slides, polaroids always remaining faithful to the delicate chromaticisms of a very recognizable use of color make him a photographer more focused on philosophical reflection than on technical disputes. as the modena city rambles called him in one of their pieces, he was above all \u201cthe man of the plains.\u201d he would have liked the definition, but ghirri, we show here with these two works, was able to move in the most diverse spheres, passing from portraits to still life represented here by a magnificent test of comparison with the pictorial work of giorgio morandi made by visiting, to interpret it, his studio."},"estimateMax":8000,"lotNumber":"42","title":{"it":"luigi ghirri (1943 - 1992) - grizzana, bologna, from \"studio di giorgio morandi\" series, 1986"},"url":"https://it.bidspirit.com/ui/lotPage/finarte/source/catalog/auction/61725/lot/36688/view","tags":["itArt_Photography","itArt","itArt_all"],"directSalePrice":5000,"soldPrice":26000,"lastUpdate":"2026-07-21T21:44:42.815Z","textCase":"lower","estimate":"\u20ac6,000 - \u20ac8,000","currency":"EUR","id":36688,"estimateMin":6000},{"startPrice":2000,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36689/001/001.jpg"],"artist":{"it":"luigi ghirri"},"available":false,"description":{"it":"vintage chromogenic print \n cm 30 x 40 (cm 24,4 x 34,5 picture) | 11.8 x 15.7 in. (9.6 x 13.5 in. picture) \n \n literature \n l. ghirri, kodachrome, punto e virgola, modena, 1978, p. 79 l. ghirri, università di parma centro studi e archivio della comunicazione, feltrinelli, milan, 1979 l. ghirri, niente di antico sotto il sole, s.e.i., turin, 1997, p. 187 l. ghirri, kodachrome, mack, london, 2012, p. 79 e. taramelli (edited by), memoria come un'infanzia, il pensiero narrante di luigi ghirri, edizioni diabasis, parma, 2017 \n \n \n work accompanied by certificate of authenticity released by archivio di luigi ghirri, roncocesi (reggio nell'emilia) \n \n \n \n luigi ghirri (scandiano, reggio emilia 1943 - reggio emilia 1992) a surveyor by training, when he began photographing in 1969 he made reference to the conceptual world that he filters into works where he plays between reality and artificiality, immediacy and ambiguity, high culture and consumer images dialoguing with writers like gianni celalti, musicians like lucio dalla, critics like massimo mussini and arturo carlo quintavalle. on the theme of landscape, he realized fundamental projects such as the group shows \u201cviaggio in italia\u201d and \u201cesplorazioni sulla via emilia, \u201d giving life with his personal research, which flowed into many exhibitions, to 31 books of great importance and to lucidly analytical essays such as \u201clezioni di fotografia, \u201d to a wide-ranging consideration that places him among the greatest photographers of his time. if luigi ghirri is one of the most beloved authors in the world of collecting this is due to his original gaze and on that only apparent linearity that characterizes his works. his ability to switch from small 35 mm to medium format, to alternate negative films, slides, polaroids always remaining faithful to the delicate chromaticisms of a very recognizable use of color make him a photographer more focused on philosophical reflection than on technical disputes. as the modena city rambles called him in one of their pieces, he was above all \u201cthe man of the plains.\u201d he would have liked the definition, but ghirri, we show here with these two works, was able to move in the most diverse spheres, passing from portraits to still life represented here by a magnificent test of comparison with the pictorial work of giorgio morandi made by visiting, to interpret it, his studio."},"estimateMax":4000,"lotNumber":"43","title":{"it":"luigi ghirri (1943 - 1992) - bologna, from \"diaframma 11 1/125 luce naturale\" series, 1974"},"url":"https://it.bidspirit.com/ui/lotPage/finarte/source/catalog/auction/61725/lot/36689/view","tags":["itArt_Photography","itArt","itArt_all"],"directSalePrice":2000,"lastUpdate":"2026-07-21T21:44:42.816Z","textCase":"lower","estimate":"\u20ac3,000 - \u20ac4,000","currency":"EUR","id":36689,"estimateMin":3000},{"startPrice":3300,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36690/001/001.jpg"],"artist":{"it":"mario giacomelli"},"soldDate":"2025-06-18","available":false,"description":{"it":"gelatin silver print, printed 1970s \n cm 50,5 x 60,8 | 19.9 x 23.9 in. \n photographer's credit stamp on the verso \n \n literature \n a. crawford (edited by), mario giacomelli, phaidon, london, 2001, p. 225 (similar version) \n \n \n \n mario giacomelli (senigallia, ancona 1925-2000), fatherless at a very young age, worked as an assistant in the print shop that he bought after the war. in 1953 he took his first photograph with a simple bencini comet, immediately realising that he could express himself through photography. the support and guidance of giuseppe cavalli, paolo monti, luigi crocenzi and giuseppe turroni made him known as a breath of fresh air thanks to a style based on the contrasts of his black and white and a sensibility that led him to an expressionist vision of the landscape and a very intense way of interpreting the lyrics of great poets such as leopardi, cardarelli, turoldo and lee masters. he has had many exhibitions all over the world and produced many books. io non ho mani che mi accarezzino il volto (i have no hands to caress my face) is the best known and most appreciated work because it contains, in the blinding white of the snow on which the black of the seminarians' tunics stands out, the most evident characteristics of giacomelli's style. however, it is necessary to study this image well because the contrast is more metaphorical than aesthetic, comparing the happiness of the protagonists and the emotional loneliness that awaits them. it should also be remembered that here the true soul of the photographer from senigallia is revealed: he is a refined interpreter of poetry, in this case of the homonymous lyrics by david maria turoldo. absolutely fascinating scanno (the only italian photograph in the 1964 exhibition \u2018the photographers eye\u2019 at moma) is a true exercise in compositional style: the two women in the foreground crossing the space diagonally are contrasted, in a brilliant perspective shift, by the figure of the child advancing frontally towards the lens."},"estimateMax":6000,"lotNumber":"44","title":{"it":"mario giacomelli (1925 - 2000) - io non ho mani che mi accarezzino il volto, 1961/1963"},"url":"https://it.bidspirit.com/ui/lotPage/finarte/source/catalog/auction/61725/lot/36690/view","tags":["itArt_Photography","itArt","itArt_all"],"directSalePrice":3300,"soldPrice":11000,"lastUpdate":"2026-07-21T21:44:42.818Z","textCase":"lower","estimate":"\u20ac4,000 - \u20ac6,000","currency":"EUR","id":36690,"estimateMin":4000},{"startPrice":2400,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36691/001/001.jpg"],"artist":{"it":"mario giacomelli"},"soldDate":"2025-06-18","available":false,"description":{"it":"vintage gelatin silver print, printed in 1970s \n cm 30 x 40 | 11.8 x 15.7 in. \n signed in black ink on the image and titled in black ink on the verso \n \n literature \n a. crawford (edited by), mario giacomelli, phaidon, london, 2001, p. 169 j. szarkowski (edited by), looking at photographs: 100 pictures from the collection of the museum of modern art, new york graphic society ltd., 1973, p. 185 \n \n \n \n mario giacomelli (senigallia, ancona 1925-2000), fatherless at a very young age, worked as an assistant in the print shop that he bought after the war. in 1953 he took his first photograph with a simple bencini comet, immediately realising that he could express himself through photography. the support and guidance of giuseppe cavalli, paolo monti, luigi crocenzi and giuseppe turroni made him known as a breath of fresh air thanks to a style based on the contrasts of his black and white and a sensibility that led him to an expressionist vision of the landscape and a very intense way of interpreting the lyrics of great poets such as leopardi, cardarelli, turoldo and lee masters. he has had many exhibitions all over the world and produced many books. io non ho mani che mi accarezzino il volto (i have no hands to caress my face) is the best known and most appreciated work because it contains, in the blinding white of the snow on which the black of the seminarians' tunics stands out, the most evident characteristics of giacomelli's style. however, it is necessary to study this image well because the contrast is more metaphorical than aesthetic, comparing the happiness of the protagonists and the emotional loneliness that awaits them. it should also be remembered that here the true soul of the photographer from senigallia is revealed: he is a refined interpreter of poetry, in this case of the homonymous lyrics by david maria turoldo. absolutely fascinating scanno (the only italian photograph in the 1964 exhibition \u2018the photographers eye\u2019 at moma) is a true exercise in compositional style: the two women in the foreground crossing the space diagonally are contrasted, in a brilliant perspective shift, by the figure of the child advancing frontally towards the lens."},"estimateMax":4000,"lotNumber":"45","title":{"it":"mario giacomelli (1925 - 2000) - scanno, 1957"},"url":"https://it.bidspirit.com/ui/lotPage/finarte/source/catalog/auction/61725/lot/36691/view","tags":["itArt_Photography","itArt","itArt_all"],"directSalePrice":2400,"soldPrice":4500,"lastUpdate":"2026-07-21T21:44:42.820Z","textCase":"lower","estimate":"\u20ac3,000 - \u20ac4,000","currency":"EUR","id":36691,"estimateMin":3000},{"startPrice":800,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36692/001/001.jpg"],"artist":{"it":"paolo gioli"},"soldDate":"2025-06-18","available":false,"description":{"it":"vintage gelatin silver print on polycoated paper \n cm 12,4 x 17,7 | 4.9 x 7 in. \n titled and dated with photographer's notes in black ink on the verso \n \n \n paolo gioli (sarzano di rovigo, rovigo 1942 - lendinara, rovigo 2022) has a dazzling education between venice at the academy of fine arts and new york where in 1967-1968 he is in contact with new american cinema, the new york school and the gallery owners leo castelli and martha jasckson. equally important in this period is his meeting with his friend paolo vampa, who supports and produces his work. back in italy, he made the first of his many experimental films in rome and became interested in photography, using a camera he modified for photofinishing, bringing these experiences during the period 1970-1980 to milan. there he discovered the expressive potential of polaroid and the magic of pinhole imaging with works exhibited in the following years in important galleries in milan, paris, arles, new york, venice, rome, and florence. shy by character, he returned after 1980 to his native city polesine: by now exhibitions, books and awards certify him as one of the most interesting exponents of research photography not only in italy. in the works that we present here, we emphasize the close relationship that paolo gioli had, from the beginning, established between cinema and photography, languages that he immersed in a particular dimension, that of research. to remember that both, before arriving at the reassuring representation of reality, were generated by the anxiety given by the experimentation of materials, he has made suffered images with which the observer is called to confront. he does so already from the dialectical opposition between the history of the past and the use of contemporary materials such as the polaroids of geometrico continuo. symptomatic then is \u201cl\u2019assassino nudo\u201d, which refers to the film of the same name shot in 16 mm. (the author calls it a film-book) because eadweard muybridge, to whom it is dedicated, was the one who, by sequencing frames in fast-moving sequences, anticipated cinema. gioli himself wrote, saying that he used three books to reproduce them: \"i tried to animate the ink of moving images... but static ones. so, a film taken from the printing ink. incredible, how right nièpce was. in editing the film, i discovered what i could never have discovered by leafing through the three books i.e., an unintentional anticipation of film editing by muybridge. indeed, his camera angles appear to us as perfect television cutaways of exceptional actuality: direct edits before it was cinema.\""},"estimateMax":1500,"lotNumber":"46","title":{"it":"paolo gioli (1942 - 2022) - l'assassino nudo (muybridge), 1984"},"url":"https://it.bidspirit.com/ui/lotPage/finarte/source/catalog/auction/61725/lot/36692/view","tags":["itArt_Photography","itArt","itArt_all"],"directSalePrice":800,"soldPrice":650,"lastUpdate":"2026-07-21T21:44:42.822Z","textCase":"lower","estimate":"\u20ac1,000 - \u20ac1,500","currency":"EUR","id":36692,"estimateMin":1000},{"startPrice":1500,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36693/001/001.jpg"],"artist":{"it":"paolo gioli"},"available":false,"description":{"it":"four polaroids mounted as a mosaic \n cm 21,8 x 17,1 | 8.6 x 6.7 in. \n unique work each one titled and dated with photographer's notes in blue ink on the verso \n \n \n paolo gioli (sarzano di rovigo, rovigo 1942 - lendinara, rovigo 2022) has a dazzling education between venice at the academy of fine arts and new york where in 1967-1968 he is in contact with new american cinema, the new york school and the gallery owners leo castelli and martha jasckson. equally important in this period is his meeting with his friend paolo vampa, who supports and produces his work. back in italy, he made the first of his many experimental films in rome and became interested in photography, using a camera he modified for photofinishing, bringing these experiences during the period 1970-1980 to milan. there he discovered the expressive potential of polaroid and the magic of pinhole imaging with works exhibited in the following years in important galleries in milan, paris, arles, new york, venice, rome, and florence. shy by character, he returned after 1980 to his native city polesine: by now exhibitions, books and awards certify him as one of the most interesting exponents of research photography not only in italy. in the works that we present here, we emphasize the close relationship that paolo gioli had, from the beginning, established between cinema and photography, languages that he immersed in a particular dimension, that of research. to remember that both, before arriving at the reassuring representation of reality, were generated by the anxiety given by the experimentation of materials, he has made suffered images with which the observer is called to confront. he does so already from the dialectical opposition between the history of the past and the use of contemporary materials such as the polaroids of geometrico continuo. symptomatic then is \u201cl\u2019assassino nudo\u201d, which refers to the film of the same name shot in 16 mm. (the author calls it a film-book) because eadweard muybridge, to whom it is dedicated, was the one who, by sequencing frames in fast-moving sequences, anticipated cinema. gioli himself wrote, saying that he used three books to reproduce them: \"i tried to animate the ink of moving images... but static ones. so, a film taken from the printing ink. incredible, how right nièpce was. in editing the film, i discovered what i could never have discovered by leafing through the three books i.e., an unintentional anticipation of film editing by muybridge. indeed, his camera angles appear to us as perfect television cutaways of exceptional actuality: direct edits before it was cinema.\""},"estimateMax":3000,"lotNumber":"47","title":{"it":"paolo gioli (1942 - 2022) - geometrico continuo, 1970-1973"},"url":"https://it.bidspirit.com/ui/lotPage/finarte/source/catalog/auction/61725/lot/36693/view","tags":["itArt_Photography","itArt","itArt_all"],"directSalePrice":1500,"lastUpdate":"2026-07-21T21:44:42.823Z","textCase":"lower","estimate":"\u20ac2,000 - \u20ac3,000","currency":"EUR","id":36693,"estimateMin":2000},{"startPrice":4000,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36694/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36694/002/002.jpg"],"artist":{"it":"franco grignani"},"soldDate":"2025-06-18","available":false,"description":{"it":"vintage gelatin silver print \n cm 35,6 x 24,4 | 14 x 9.6 in. \n signed and dated with photographer's credit stamp on the verso text in pencil on the verso: doppia tecnica: fotogramma a luce inclinata (occhiali da sole) proiezione di vela. lavoro svolto tutto in camera oscura con composizione su velina (copertina di depliant per vacanze). \n \n \n franco grignani (pieve porto morone, pavia 1908 - milan 1999) graduated from turin university with a degree in architecture and approached first the second futurism then the constructivism and the geometric abstractionism. this led him to study visual perception and gestalt psychology, which he applied to photography by operating torsions, deformations, rotations, and perspective reversals to solicit in the observer curious suggestions to create what he called \u201cstructural tensions.\u201d to the research in the field of photography that anticipates optical art and led him to create exhibitions and appear in important collections he combined the profession of advertising, graphic designer and successful designer alongside his wife jeanne, a talented illustrator. he worked for clients such as pirelli, necchi, singer, penguins books, and pura lana vergine, whose brand he designed. exhibitions, books and awards certify him as one of the most interesting exponents of research photography not only in italy. these two examples illustrate very well franco grignani's flair, which already emerges in an early work from 1928 where the author demonstrates not only a remarkable creative imagination but also a great mastery of the camera obscura. here the double exposure sees the image of a sailboat towering decisively and meticulously detailed over which is overlaid the tripled frame of a pair of glasses placed in such a way as to distort its shape and make its presence almost diaphanous. \"\u2018tensione particolare\u2019 is, on the contrary, a classic example of the visual interventions created with very precise attention (before the polytechnic grignani had attended the faculty of mathematics and it is evident) by the underlining of the clear contrast between the white and black areas softened, however, by the curved lines that guide the gaze from the center of the work to its high edge and then bring it back from the periphery to the center in a visual game full of fascination."},"estimateMax":6000,"lotNumber":"48","title":{"it":"franco grignani (1908 - 1999) - due tecniche su un foglio di carta fotografica, 1928"},"url":"https://it.bidspirit.com/ui/lotPage/finarte/source/catalog/auction/61725/lot/36694/view","tags":["itArt_Photography","itArt","itArt_all"],"directSalePrice":4000,"soldPrice":4000,"lastUpdate":"2026-07-21T21:44:42.825Z","textCase":"lower","estimate":"\u20ac4,000 - \u20ac6,000","currency":"EUR","id":36694,"estimateMin":4000},{"startPrice":2200,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36695/001/001.jpg"],"artist":{"it":"franco grignani"},"available":false,"description":{"it":"gelatin silver print, printed in 1960s/1970s \n cm 50 x 40,4 | 19.6 x 15.9 in. \n titled, dated and signed in pencil with photographer's credit stamp on the verso framed \n \n \n franco grignani (pieve porto morone, pavia 1908 - milan 1999) graduated from turin university with a degree in architecture and approached first the second futurism then the constructivism and the geometric abstractionism. this led him to study visual perception and gestalt psychology, which he applied to photography by operating torsions, deformations, rotations, and perspective reversals to solicit in the observer curious suggestions to create what he called \u201cstructural tensions.\u201d to the research in the field of photography that anticipates optical art and led him to create exhibitions and appear in important collections he combined the profession of advertising, graphic designer and successful designer alongside his wife jeanne, a talented illustrator. he worked for clients such as pirelli, necchi, singer, penguins books, and pura lana vergine, whose brand he designed. exhibitions, books and awards certify him as one of the most interesting exponents of research photography not only italian.  these two examples illustrate very well franco grignani's flair, which already emerges in an early work from 1928 where the author demonstrates not only a remarkable creative imagination but also a great mastery of the camera obscura. here the double exposure sees the image of a sailboat towering decisively and meticulously detailed over which is overlaid the tripled frame of a pair of glasses placed in such a way as to distort its shape and make its presence almost diaphanous. \"\u2018tensione particolare\u2019 is, on the contrary, a classic example of the visual interventions created with very precise attention (before the polytechnic grignani had attended the faculty of mathematics and it is evident) by the underlining of the clear contrast between the white and black areas softened, however, by the curved lines that guide the gaze from the center of the work to its high edge and then bring it back from the periphery to the center in a visual game full of fascination."},"estimateMax":4000,"lotNumber":"49","title":{"it":"franco grignani (1908 - 1999) - tensione circolare (particolare), 1957"},"url":"https://it.bidspirit.com/ui/lotPage/finarte/source/catalog/auction/61725/lot/36695/view","tags":["itArt_Photography","itArt","itArt_all"],"directSalePrice":2200,"lastUpdate":"2026-07-21T21:44:42.827Z","textCase":"lower","estimate":"\u20ac3,000 - \u20ac4,000","currency":"EUR","id":36695,"estimateMin":3000},{"startPrice":1500,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36696/001/001.jpg"],"artist":{"it":"guido guidi"},"soldDate":"2025-06-18","available":false,"description":{"it":"vintage contact print \n cm 23,5 x 30 (cm 20 x 25 picture) | 9.2 x 11.8 in. (7.8 x 9.8 in. picture) \n signed in pencil on the verso \n \n literature \n m. gentili (edited by), forma. visioni e visione, arti grafiche friulane, fagagna, 1994, p. 187 \n \n \n \n guido guidi (cesena 1941) his studies in the field of industrial design and his interests in neorealism and conceptual art led him to elaborate a rigorous photographic style that investigates the spaces of a marginal architectural everyday life rarely at the center of interest. with this role he participates in important projects on the territory from \u201cviaggio in italia\u201d to \u201cl' archivio dello spazio della provincia di milano and \u2018linea di confine, \u2019 the project he conceived with paolo costantini and william guerrieri. many exhibitions exhibited especially in international museums and institutions including the very recent solo show at maxi in rome and significant is his commitment to teaching in academies and universities in venice, milan, lecce, bari. to understand guido guidi's photographic style, we must start from his use of a 20x25 view camera: this explains the meticulous attention he gives to his subjects, the rigor with which he creates formally impeccable frontal compositions capturing details that then appear surprising to us, the careful use of light that characterizes spaces where we can feel, implied, the human presence. he is an author who does not want to surprise because he is a photographer that moves in silence and demands attention. the detail of a window in chioggia caressed by the stems of a bush evokes the breath of the wind that moves the grass and bangs on the aged wood of the barred shutter. in contrast, the landscape shot in graz from the point of view of the foreground widens the gaze into a depth that is also symbolic and speaks to us of the great changes in the suburbs of post-industrial cities."},"estimateMax":4000,"lotNumber":"50","title":{"it":"guido guidi (1941) - graz, 1991"},"url":"https://it.bidspirit.com/ui/lotPage/finarte/source/catalog/auction/61725/lot/36696/view","tags":["itArt_Photography","itArt","itArt_all"],"directSalePrice":1500,"soldPrice":1600,"lastUpdate":"2026-07-21T21:44:42.829Z","textCase":"lower","estimate":"\u20ac3,000 - \u20ac4,000","currency":"EUR","id":36696,"estimateMin":3000},{"startPrice":2600,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36697/001/001.jpg"],"artist":{"it":"guido guidi"},"soldDate":"2025-06-18","available":false,"description":{"it":"vintage contact print \n cm 23,5 x 30 (cm 20 x 25 picture) | 9.3 x 11.8 in. (7.9 x 9.8 in. picture) \n signed, dated, titled and dedicated in pencil on the verso framed \n \n \n guido guidi (cesena 1941) his studies in the field of industrial design and his interests in neorealism and conceptual art led him to elaborate a rigorous photographic style that investigates the spaces of a marginal architectural everyday life rarely at the center of interest. with this role he participates in important projects on the territory from \u201cviaggio in italia\u201d to \u201cl' archivio dello spazio della provincia di milano and \u2018linea di confine, \u2019 the project he conceived with paolo costantini and william guerrieri. many exhibitions exhibited especially in international museums and institutions including the very recent solo show at maxi in rome and significant is his commitment to teaching in academies and universities in venice, milan, lecce, bari. to understand guido guidi's photographic style, we must start from his use of a 20x25 view camera: this explains the meticulous attention he gives to his subjects, the rigor with which he creates formally impeccable frontal compositions capturing details that then appear surprising to us, the careful use of light that characterizes spaces where we can feel, implied, the human presence. he is an author who does not want to surprise because he is a photographer that moves in silence and demands attention. the detail of a window in chioggia caressed by the stems of a bush evokes the breath of the wind that moves the grass and bangs on the aged wood of the barred shutter. in contrast, the landscape shot in graz from the point of view of the foreground widens the gaze into a depth that is also symbolic and speaks to us of the great changes in the suburbs of post-industrial cities."},"estimateMax":4000,"lotNumber":"51","title":{"it":"guido guidi (1941) - chioggia 03, 2000"},"url":"https://it.bidspirit.com/ui/lotPage/finarte/source/catalog/auction/61725/lot/36697/view","tags":["itArt_Photography","itArt","itArt_all"],"directSalePrice":2600,"soldPrice":4000,"lastUpdate":"2026-07-21T21:44:41.376Z","textCase":"lower","estimate":"\u20ac3,000 - \u20ac4,000","currency":"EUR","id":36697,"estimateMin":3000},{"startPrice":600,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36698/001/001.jpg"],"artist":{"it":"frank horvat"},"soldDate":"2025-06-18","available":false,"description":{"it":"vintage gelatin silver print \n cm 39 x 27 | 15.3 x 10.6 in. \n photographer's credit stamp on the verso \n \n \n frank horvat (abbazia, croatian 1928 \u2013 paris, france 2020) from a jewish family, escaped to switzerland where he sold his stamp collection and bought a camera with which, having moved to milan in 1947, he began a career that would change when in paris he met cartier-bresson and capa who initiated him into reportage. he implements this on a trip made without a return ticket to india and pakistan: here he makes images that allow him to collaborate with life. another fundamental meeting is with william klein, who introduces him to the world of fashion and to magazines such as les jardin des modes, elle, vogue, harper's bazaar. in the 1990s he is one of the first to experiment with fantastic stories using digital photomontages. frank horvat used to say that he willingly accepted work in fashion because, being shy, he could more easily connect with women. true or false, the fact remains that he brings to that world a different, more free and direct approach, the same one he used in his travel reports. like william klein, he makes his models move among the streets of cities by chasing them outdoors in a fake but well-studied normality as these two examples well demonstrate. we are faced-at least it seems so-with two girls moving through the city browsing here and there, one posing in front of a billboard as if to smile at a friend who wants to take her portrait, the other glancing off to who knows where with the neatly displayed goods of a local market behind her, where she seems to have been going shopping. and with mischievousness horvat makes us think that we would be lucky to meet her right there where perhaps we could go every morning."},"estimateMax":1000,"lotNumber":"52","title":{"it":"frank horvat (1928 - 2020) - untitled, 1970s"},"url":"https://it.bidspirit.com/ui/lotPage/finarte/source/catalog/auction/61725/lot/36698/view","tags":["itArt_Photography","itArt","itArt_all"],"directSalePrice":600,"soldPrice":600,"lastUpdate":"2026-07-21T21:44:41.378Z","textCase":"lower","estimate":"\u20ac700 - \u20ac1,000","currency":"EUR","id":36698,"estimateMin":700},{"startPrice":450,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36699/001/001.jpg"],"artist":{"it":"frank horvat"},"soldDate":"2025-06-18","available":false,"description":{"it":"vintage gelatin silver print \n cm 37,4 x 25,4 (cm 35,8 x 24 picture) | 14.7 x 10 in. (14.1 x 9.4 in. picture) \n photographer's credit stamp on the verso \n \n \n frank horvat (abbazia, croatian 1928 \u2013 paris, france 2020) from a jewish family, escaped to switzerland where he sold his stamp collection and bought a camera with which, having moved to milan in 1947, he began a career that would change when in paris he met cartier-bresson and capa who initiated him into reportage. he implements this on a trip made without a return ticket to india and pakistan: here he makes images that allow him to collaborate with life. another fundamental meeting is with william klein, who introduces him to the world of fashion and to magazines such as les jardin des modes, elle, vogue, harper's bazaar. in the 1990s he is one of the first to experiment with fantastic stories using digital photomontages. frank horvat used to say that he willingly accepted work in fashion because, being shy, he could more easily connect with women. true or false, the fact remains that he brings to that world a different, more free and direct approach, the same one he used in his travel reports. like william klein, he makes his models move among the streets of cities by chasing them outdoors in a fake but well-studied normality as these two examples well demonstrate. we are faced-at least it seems so-with two girls moving through the city browsing here and there, one posing in front of a billboard as if to smile at a friend who wants to take her portrait, the other glancing off to who knows where with the neatly displayed goods of a local market behind her, where she seems to have been going shopping. and with mischievousness horvat makes us think that we would be lucky to meet her right there where perhaps we could go every morning."},"estimateMax":800,"lotNumber":"53","title":{"it":"frank horvat (1928 - 2020) - untitled, 1970s/1980s"},"url":"https://it.bidspirit.com/ui/lotPage/finarte/source/catalog/auction/61725/lot/36699/view","tags":["itArt_Photography","itArt","itArt_all"],"directSalePrice":450,"soldPrice":500,"lastUpdate":"2026-07-21T21:44:41.379Z","textCase":"lower","estimate":"\u20ac500 - \u20ac800","currency":"EUR","id":36699,"estimateMin":500},{"startPrice":3500,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36700/001/001.jpg"],"artist":{"it":"francesco jodice"},"available":false,"description":{"it":"vintage c-print \n cm 100 x 125 | 39.4 x 49.2 in. \n edition 1 of 8 \n \n provenance \n photo & contemporary, turin \n \n \n work accompanied by certificate of authenticity released by the photographer \n \n \n \n francesco jodice (naples 1967) graduated in architecture in milan where he lives and works, since 1995 he has been using photography and later the medium of film to face the themes of change affecting large contemporary urban landscapes by participating in the establishment of the multiplicity group. other researches are then those related to megapolitism as to the crisis of the western system and its possible future scenarios always considering his work as a civil practice aimed at creating models of public participation. a lecturer at the naba academy, he has participated in major exhibitions in kassel, venice, new york, são paulo, london, and madrid. what we want is part of a larger project with the same name that critically investigates the relationship between large urban landscapes and the communities that inhabit them and that change them and are changed by them. as emphasized here, the photographer stands in the role of observer of the projection of collective desires onto the landscape. men and women, distant and therefore recognizable only as a crowd and not as individuals occupy the lower part of the image as squeezed between the flow of traffic and the wall that divides them from a construction site on which their moving figures stand out. the sky is there, distant and almost invisible because the space of the shot is completely occupied by a chase of constructions, advertising signs, buildings with closed windows, skyscrapers built and under construction. it is an organized disorder that appears to us or perhaps just an order that the chromatic delicacy of the whole makes slightly disturbing."},"estimateMax":4500,"lotNumber":"54","title":{"it":"francesco jodice (1967) - what we want, tokio t12, 1999"},"url":"https://it.bidspirit.com/ui/lotPage/finarte/source/catalog/auction/61725/lot/36700/view","tags":["itArt_Photography","itArt","itArt_all"],"directSalePrice":3500,"lastUpdate":"2026-07-21T21:44:41.380Z","textCase":"lower","estimate":"\u20ac3,800 - \u20ac4,500","currency":"EUR","id":36700,"estimateMin":3800},{"startPrice":4000,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36701/001/001.jpg"],"artist":{"it":"mimmo jodice"},"soldDate":"2025-06-18","available":false,"description":{"it":"gelatin silver print, printed in 1980s/1990s \n cm 29 x 16.5 | 11.4 x 6.5 in. \n signed and dated in black ink on the verso \n \n exhibitions \n exemplar in permanent collection at museo di fotografia contemporanea, fondo lanfranco colombo, cinisello balsamo (mi) \n \n \n literature \n mimmo jodice, senza tempo, skira, milan, 2024, p. 62 \n \n \n \n mimmo jodice (naples 1934) was interested in art, theatre, music and began as a self-taught artist in drawing and painting. this brought him closer to photography in the early 1960s, which he practised by experimenting with materials, codes and languages, as he was immersed in the neo-avant-garde atmosphere: he breathed it in the galleries of amelio, trisorio and rulla and made it his own by frequenting artists such as warhol, de dominicis, beuys, kosuth and kounellis. he expanded his interests first to anthropology and then to a new definition of urban space, which remains, together with his research into myth, his fundamental contribution to the non-documentary image confirmed in exhibitions, books and in awards such as his two honorary degrees in architecture in italy and switzerland. a nice title of a recent solo exhibition well defines mimmo jodice's research, because the enigma of light is the characteristic that helps us understand that very special fascination that emanates from images such as the ones presented here. to understand them, we need to go back to the time when jodice, by his own admission, having accepted that the change in which he had believed in the 1970s was not possible, made an ethical and aesthetic change that led him to show a naples without people but not without a soul. what he is looking for thus becomes a study of what space can tell, as is clearly evident in the almost chilling image of the albergo dei poveri where that iron bed placed across the room attracts attention with an intense evocative force. the sense of timelessness and that strange light that often emanates from the shapes playing with shadows characterises the second image so powerful in its compositional rigour. these are two works that stand, in a perfect even if not immediately obvious continuity, with his early research work when jodice more than anything else wanted to photograph ideas."},"estimateMax":6000,"lotNumber":"55","title":{"it":"mimmo jodice (1934) - vedute di napoli, opera 10, 1980"},"url":"https://it.bidspirit.com/ui/lotPage/finarte/source/catalog/auction/61725/lot/36701/view","tags":["itArt_Photography","itArt","itArt_all"],"directSalePrice":4000,"soldPrice":3800,"lastUpdate":"2026-07-21T21:44:41.382Z","textCase":"lower","estimate":"\u20ac5,000 - \u20ac6,000","currency":"EUR","id":36701,"estimateMin":5000},{"startPrice":4000,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36702/001/001.jpg"],"artist":{"it":"mimmo jodice"},"soldDate":"2025-06-18","available":false,"description":{"it":"vintage gelatin silver print, mounted on original passepartout \n cm 40,4 x 50,4 (cm 37 x 37 picture ; cm 58 x 58 passepartout) | 15.9 x 19.8 in. (14.6 x 14.6 in. picture ; 22.8 x 22.8 in. passepartout) \n edition 1 of 3 signed and dated in pencil on the passepartout recto and titled, signed, dated and numbered in pencil on the verso framed \n \n provenance \n arte moderna e contemporanea, christie's milan, may, 21st, 2007, lot 379 \n \n \n literature \n m. jodice (edited by), reale albergo dei poveri, federico motta editore, milan, 1999, p. 91 (another illustrated example) \n \n \n \n mimmo jodice (naples 1934) was interested in art, theatre, music and began as a self-taught artist in drawing and painting. this brought him closer to photography in the early 1960s, which he practised by experimenting with materials, codes and languages, as he was immersed in the neo-avant-garde atmosphere: he breathed it in the galleries of amelio, trisorio and rulla and made it his own by frequenting artists such as warhol, de dominicis, beuys, kosuth and kounellis. he expanded his interests first to anthropology and then to a new definition of urban space, which remains, together with his research into myth, his fundamental contribution to the non-documentary image confirmed in exhibitions, books and in awards such as his two honorary degrees in architecture in italy and switzerland. a nice title of a recent solo exhibition well defines mimmo jodice's research, because the enigma of light is the characteristic that helps us understand that very special fascination that emanates from images such as the ones presented here. to understand them, we need to go back to the time when jodice, by his own admission, having accepted that the change in which he had believed in the 1970s was not possible, made an ethical and aesthetic change that led him to show a naples without people but not without a soul. what he is looking for thus becomes a study of what space can tell, as is clearly evident in the almost chilling image of the albergo dei poveri where that iron bed placed across the room attracts attention with an intense evocative force. the sense of timelessness and that strange light that often emanates from the shapes playing with shadows characterises the second image so powerful in its compositional rigour. these are two works that stand, in a perfect even if not immediately obvious continuity, with his early research work when jodice more than anything else wanted to photograph ideas."},"estimateMax":5500,"lotNumber":"56","title":{"it":"mimmo jodice (1934) - napoli, real albergo dei poveri, 1999"},"url":"https://it.bidspirit.com/ui/lotPage/finarte/source/catalog/auction/61725/lot/36702/view","tags":["itArt_Photography","itArt","itArt_all"],"directSalePrice":4000,"soldPrice":4200,"lastUpdate":"2026-07-21T21:44:41.383Z","textCase":"lower","estimate":"\u20ac4,500 - \u20ac5,500","currency":"EUR","id":36702,"estimateMin":4500},{"startPrice":1800,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36703/001/001.jpg"],"artist":{"it":"massimo listri"},"soldDate":"2025-06-18","available":false,"description":{"it":"vintage c-print mounted on dibond \n cm 100 x 120 | 39.4 x 47.2 in. \n edition 2 of 5 titled, numbered and signed in black marker on the verso framed \n \n \n massimo listri (florence, 1953) began working at seventeen during his high school years portraying great cultural personalities in black and white, but his attention soon turned to architecture. the meeting with the publisher franco maria ricci marked a real turning point in his career because for the sophisticated magazine fmr he realised photo shoots interpreting the most beautiful public and private buildings in exteriors and above all interiors, creating an archive that allowed him to publish 80 books with european and american publishers and to organise many exhibitions in the most important institutions all over the world. massimo listri does not study the places he photographs; he prefers to be guided by his intuitions and the harmony with his subjects that comes from his love for harmony and beauty. even though he now shoots with more manageable digital cameras, having used the view camera for years has taught him a great compositional ability that is well highlighted in these two images of institutional places that characterise so many aspects of his style, the result of accurate work and a few well-researched images. if in the shot of the ducal castle of aglié in the turin area, already a savoy residence, he plays, as he often does, with the shades of white to highlight a perspective that he has chosen as essential, in the one of montecitorio he uses the natural symmetry of the great hall to give to the image the austerity that the parliament building deserves. in both cases, the large size of the images is a conscious stylistic choice by listri that allows lines, shadows and details to be fully appreciated, making it clear that, if the human figure does not appear, its presence is always felt."},"estimateMax":3000,"lotNumber":"57","title":{"it":"massimo listri (1955) - aglié, 2007"},"url":"https://it.bidspirit.com/ui/lotPage/finarte/source/catalog/auction/61725/lot/36703/view","tags":["itArt_Photography","itArt","itArt_all"],"directSalePrice":1800,"soldPrice":3800,"lastUpdate":"2026-07-21T21:44:41.384Z","textCase":"lower","estimate":"\u20ac2,000 - \u20ac3,000","currency":"EUR","id":36703,"estimateMin":2000},{"startPrice":2400,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36704/001/001.jpg"],"artist":{"it":"massimo listri"},"available":false,"description":{"it":"inkjet print, mounted on dibond \n cm 120 x 150 | 47.2 x 59 in. \n edition 1 of 5 titled, numbered, signed and dated in black feltpen on the verso framed \n \n \n massimo listri (florence, 1953) began working at seventeen during his high school years portraying great cultural personalities in black and white, but his attention soon turned to architecture. the meeting with the publisher franco maria ricci marked a real turning point in his career because for the sophisticated magazine fmr he realised photo shoots interpreting the most beautiful public and private buildings in exteriors and above all interiors, creating an archive that allowed him to publish 80 books with european and american publishers and to organise many exhibitions in the most important institutions all over the world. massimo listri does not study the places he photographs; he prefers to be guided by his intuitions and the harmony with his subjects that comes from his love for harmony and beauty. even though he now shoots with more manageable digital cameras, having used the view camera for years has taught him a great compositional ability that is well highlighted in these two images of institutional places that characterise so many aspects of his style, the result of accurate work and a few well-researched images. if in the shot of the ducal castle of aglié in the turin area, already a savoy residence, he plays, as he often does, with the shades of white to highlight a perspective that he has chosen as essential, in the one of montecitorio he uses the natural symmetry of the great hall to give to the image the austerity that the parliament building deserves. in both cases, the large size of the images is a conscious stylistic choice by listri that allows lines, shadows and details to be fully appreciated, making it clear that, if the human figure does not appear, its presence is always felt."},"estimateMax":4000,"lotNumber":"58","title":{"it":"massimo listri (1955) - palazzo montecitorio, 2009"},"url":"https://it.bidspirit.com/ui/lotPage/finarte/source/catalog/auction/61725/lot/36704/view","tags":["itArt_Photography","itArt","itArt_all"],"directSalePrice":2400,"lastUpdate":"2026-07-21T21:44:41.386Z","textCase":"lower","estimate":"\u20ac3,000 - \u20ac4,000","currency":"EUR","id":36704,"estimateMin":3000},{"startPrice":3500,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36705/001/001.jpg"],"artist":{"it":"nino migliori"},"soldDate":"2025-06-18","available":false,"description":{"it":"gelatin silver print, printed in 1980s \n cm 30,3 x 40,2 | 11.9 x 15.8 in. \n titled, dated and signed in pencil on the verso framed \n \n provenance \n keith de lellis gallery, new york \n \n \n literature \n segni: nino migliori, damiani editore, bologna, 2004, p. 11 a. mauro and d. curti (edited by), nino migliori, la materia dei sogni, contrasto, rome, 2012, pp. 64-65 mart.la fotografia della collezione trevisan. con gli occhi, con il cuore, con la testa, silvana editoriale, milan 2012, p. 105 \n \n \n \n nino migliori (bologna 1926) is an author with an extraordinary vitality and a desire for research so intense that it has led him, since 1948 when he began his professional career, to work on two parallel lines. on one hand he has expressed himself with classical images in the style of straight photography and on the other, having frequented the venetian milieu of peggy guggenheim, he has developed an incessant research on media and materials as well as on the relationship with conceptualism, the informal and the historical avant-garde as shown by the creation in 1982 of the futurist-inspired group abrecal. impossible here to mention all the exhibitions exhibited around the world, monographic volumes, teaching activities carried out in universities as kindergartens, and that of incessant cultural organizer. since 2016 he has established a foundation that bears his name. the two photographs we present here show with immediate effectiveness the two lines of expression that nino migliori has always pursued doing so, it should be noted, simultaneously. included in the series \u201c gente dell'emilia, \u201d part with \u201cgente del nord\u201d and \u201cgente del sud\u201d of the trilogy of neo-realist taste made in the 1950s, \u201cil tuffatore\u201d at a certain point somewhat unexpectedly takes on a strong autonomy of its own until it becomes one of the best-known (and most requested) photographs of the bolognese photographer also for its ability to combine the classicity of a graceful black and white with the originality of a shot with a bold contemporaneity. this splendid \u201cossidazione\u201d-we decide to call it by the term indicating the technique used to make it despite the fact that like every abstract work it proudly refuses a title- belongs to the wide and varied series of research pursued by migliori. it ranges from those pulled out of history such as collages, photograms, cliché-verre, images made with pinhole and calotypes to polaroid processing. this is without forgetting hydrograms, pyrograms, lucigrams, photographs made by candlelight or inserted in candles. to show that imagination knows no boundaries."},"estimateMax":5000,"lotNumber":"59","title":{"it":"nino migliori (1926) - il tuffatore, 1951"},"url":"https://it.bidspirit.com/ui/lotPage/finarte/source/catalog/auction/61725/lot/36705/view","tags":["itArt_Photography","itArt","itArt_all"],"directSalePrice":3500,"soldPrice":7500,"lastUpdate":"2026-07-21T21:44:41.387Z","textCase":"lower","estimate":"\u20ac4,000 - \u20ac5,000","currency":"EUR","id":36705,"estimateMin":4000},{"startPrice":1200,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36706/001/001.jpg"],"artist":{"it":"nino migliori"},"available":false,"description":{"it":"vintage chromogenic print \n cm 39,5 x 30 | 15.5 x 11.8 in. \n signed and dated with 21/250 in black ink on the image \n \n \n nino migliori (bologna 1926) is an author with an extraordinary vitality and a desire for research so intense that it has led him, since 1948 when he began his professional career, to work on two parallel lines. on one hand he has expressed himself with classical images in the style of straight photography and on the other, having frequented the venetian milieu of peggy guggenheim, he has developed an incessant research on media and materials as well as on the relationship with conceptualism, the informal and the historical avant-garde as shown by the creation in 1982 of the futurist-inspired group abrecal. impossible here to mention all the exhibitions exhibited around the world, monographic volumes, teaching activities carried out in universities as kindergartens, and that of incessant cultural organizer. since 2016 he has established a foundation that bears his name. the two photographs we present here show with immediate effectiveness the two lines of expression that nino migliori has always pursued doing so, it should be noted, simultaneously. included in the series \u201c gente dell'emilia, \u201d part with \u201cgente del nord\u201d and \u201cgente del sud\u201d of the trilogy of neo-realist taste made in the 1950s, \u201cil tuffatore\u201d at a certain point somewhat unexpectedly takes on a strong autonomy of its own until it becomes one of the best-known (and most requested) photographs of the bolognese photographer also for its ability to combine the classicity of a graceful black and white with the originality of a shot with a bold contemporaneity. this splendid \u201cossidazione\u201d-we decide to call it by the term indicating the technique used to make it despite the fact that like every abstract work it proudly refuses a title- belongs to the wide and varied series of research pursued by migliori. it ranges from those pulled out of history such as collages, photograms, cliché-verre, images made with pinhole and calotypes to polaroid processing. this is without forgetting hydrograms, pyrograms, lucigrams, photographs made by candlelight or inserted in candles. to show that imagination knows no boundaries."},"estimateMax":1800,"lotNumber":"60","title":{"it":"nino migliori (1926) - untitled (oxidation), 1973"},"url":"https://it.bidspirit.com/ui/lotPage/finarte/source/catalog/auction/61725/lot/36706/view","tags":["itArt_Photography","itArt","itArt_all"],"directSalePrice":1200,"lastUpdate":"2026-07-21T21:44:41.389Z","textCase":"lower","estimate":"\u20ac1,200 - \u20ac1,800","currency":"EUR","id":36706,"estimateMin":1200},{"startPrice":6000,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36707/001/001.jpg"],"artist":{"it":"carlo mollino"},"available":false,"description":{"it":"polaroid applied on original cardboard \n cm 10,8 x 8,5 | 4.3 x 3.3 in. \n framed unique work \n \n provenance \n design, artcurial, paris, december, 1st, 2015, lot 276 \n \n \n exhibitions \n carlo mollino, arabesques, castello di rivoli, museo d'arte contemporanea, 2006/2007 \n \n \n literature \n f. ferrari, n. ferrari, carlo mollino, arabesques, electa, verona, 2006. reproduit p. 274 \n \n \n \n carlo mollino (turin 1905 - 1973) was an intrepid character who eludes any simple definition because to his activity as a great and innovative architect he combined that of pilot of airplanes and racing cars, designer and ski instructor. from his engineer father he inherited a passion for photography, yet another area in which he excelled both as a theorist (\u201cthe message of the camera obscura\u201d published by chiantore in 1949 is a fundamental book on history and aesthetics) and as an author first of architectural and interior shots in both black and white and color and then of portraits and female nudes made with polaroid film. between 1956 and the mid-1970s mollino systematically photographed the female world, creating a real gallery of shots that did not stop at the threshold of eroticism, however present, but winked with refinement at surrealist references. like the many women, friends, casual acquaintances, and models who took turns in mollino's studio house, so, does the protagonist of this photograph embody the modules of an entire erotic imagination: nudity is exhibited with a nonchalance that nevertheless involves an elegant posture, the fur coat on which the girl sits is inviting, the shoes that represent the only item worn are a fetishistic allusion, the warm lighting creates an intimate atmosphere while the woman rather than \u201clooking into the camera\u201d fixes her direct gaze on us with a simplicity charged of sensuality."},"estimateMax":10000,"lotNumber":"61","title":{"it":"carlo mollino (1905 - 1973) - untitled, 1962/1973"},"url":"https://it.bidspirit.com/ui/lotPage/finarte/source/catalog/auction/61725/lot/36707/view","tags":["itArt_Photography","itArt","itArt_all"],"directSalePrice":6000,"lastUpdate":"2026-07-21T21:44:40.272Z","textCase":"lower","estimate":"\u20ac7,000 - \u20ac10,000","currency":"EUR","id":36707,"estimateMin":7000},{"startPrice":600,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36708/001/001.jpg"],"artist":{"it":"riccardo moncalvo"},"soldDate":"2025-06-18","available":false,"description":{"it":"vintage gelatin silver print \n cm 19,5 x 29,8 | 7.7 x 11.7 in. \n titled in blue ink, photographer's credit stamp and archivio riccardo moncalvo caption stamp with signature on the verso \n \n literature \n b. bergaglio (edited by), riccardo moncalvo fotografie 1932-1990, dario cimorelli editore 2025, pp. 50, 51 \n \n \n \n riccardo moncalvo (turin 1915 - 2008) has always combined professional work done in the atelier of artistic and industrial photography founded in 1925 by his father carlo emilio and personal research. a member of the historic subalpine photographic society, he started by publishing in the prestigious \u201clights and shadows yearbook.\u201d also technically ingenious, he was among the first in italy to use the handy leica camera on which he applied a rotating turret to more quickly use three lenses of different focal lengths. he worked for architects such as carlo mollino and ettore sottsass and published several books. his laboratory was one of the first in the postwar period to make the first professional photographic prints. at the beginning of his career, the photographer from turin was close to the romantic aesthetic, which he later abandoned\u2014as can easily be seen here\u2014in favor of a drier, more modern type of image influenced by the suggestions of the new objectivity movement. the essential nature of the forms and the geometric approach are clearly present in \"sul bordo\", a photograph that addresses one of moncalvo\u2019s favorite subjects: the mountains. he does so with an exceptional image, starting with the choice of vantage point, which creates a frame within which the figure of the climber appears. the climber\u2019s slightly backward-leaning posture is integrated into an original composition that cuts diagonally across the space. even more infused with a contemporary spirit is \"la vetrinista\", where one can note not only the author\u2019s great skill in managing color, but also his ability to construct a theatrically flavored scene. the foreground figures appear blurred and indistinct, the left side of the image reveals a perspective vanishing point, and the girl\u2014though seated with her back to the photographer\u2014rises to the role of elegant protagonist."},"estimateMax":1200,"lotNumber":"62","title":{"it":"riccardo moncalvo (1915 - 2008) - sul bordo, leo gasperl sul ghiacciaio di ventina, 1950/1951"},"url":"https://it.bidspirit.com/ui/lotPage/finarte/source/catalog/auction/61725/lot/36708/view","tags":["itArt_Photography","itArt","itArt_all"],"directSalePrice":600,"soldPrice":1400,"lastUpdate":"2026-07-21T21:44:40.275Z","textCase":"lower","estimate":"\u20ac800 - \u20ac1,200","currency":"EUR","id":36708,"estimateMin":800},{"startPrice":600,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36709/001/001.jpg"],"artist":{"it":"riccardo moncalvo"},"soldDate":"2025-06-18","available":false,"description":{"it":"vintage chromogenic print \n cm 20 x 29 | 8.2 x 11.4 in. \n timbro del fotografo al verso \n \n exhibitions \n ii mostra nazionale di fotografia artistica, ciriè 1959 salone della toro assicurazioni, 99 fotografie di riccardo moncalvo, torino 1976 galleria d\u2019arte pirra, moncalvo o il ritratto delle cose, torino 1993 \n \n \n literature \n la fotografia di riccardo moncalvo, tipografia torinese editrice, turin 1976 \n \n \n \n riccardo moncalvo (turin 1915 - 2008) has always combined professional work done in the atelier of artistic and industrial photography founded in 1925 by his father carlo emilio and personal research. a member of the historic subalpine photographic society, he started by publishing in the prestigious \u201clights and shadows yearbook.\u201d also technically ingenious, he was among the first in italy to use the handy leica camera on which he applied a rotating turret to more quickly use three lenses of different focal lengths. he worked for architects such as carlo mollino and ettore sottsass and published several books. his laboratory was one of the first in the postwar period to make the first professional photographic prints. at the beginning of his career, the photographer from turin was close to the romantic aesthetic, which he later abandoned\u2014as can easily be seen here\u2014in favor of a drier, more modern type of image influenced by the suggestions of the new objectivity movement. the essential nature of the forms and the geometric approach are clearly present in \"sul bordo\", a photograph that addresses one of moncalvo\u2019s favorite subjects: the mountains. he does so with an exceptional image, starting with the choice of vantage point, which creates a frame within which the figure of the climber appears. the climber\u2019s slightly backward-leaning posture is integrated into an original composition that cuts diagonally across the space. even more infused with a contemporary spirit is \"la vetrinista\", where one can note not only the author\u2019s great skill in managing color, but also his ability to construct a theatrically flavored scene. the foreground figures appear blurred and indistinct, the left side of the image reveals a perspective vanishing point, and the girl\u2014though seated with her back to the photographer\u2014rises to the role of elegant protagonist."},"estimateMax":1200,"lotNumber":"63","title":{"it":"riccardo moncalvo (1915 - 2008) - la vetrinista, salisburgo, 1952"},"url":"https://it.bidspirit.com/ui/lotPage/finarte/source/catalog/auction/61725/lot/36709/view","tags":["itArt_Photography","itArt","itArt_all"],"directSalePrice":600,"soldPrice":1600,"lastUpdate":"2026-07-21T21:44:40.276Z","textCase":"lower","estimate":"\u20ac800 - \u20ac1,200","currency":"EUR","id":36709,"estimateMin":800},{"startPrice":650,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36710/001/001.jpg"],"artist":{"it":"paolo monti"},"soldDate":"2025-06-18","available":false,"description":{"it":"vintage gelatin silver print \n cm 28,4 x 23,2 | 11.2 x 9.1 in. \n photographer's credit stamp on the verso \n \n literature \n i. zannier, p. mainardis de campo (edited by), san francisco venezia immagini di due città, exhibition catalogue (scuola grande dei carmini di venezia, 4 september - 31 october 1982) scuola grande dei carmini, venezia 1982, p. 18 \n \n \n \n paolo monti (novara 1908 \u2013 milan 1982), graduated in economics, moved to venice to work for the agricultural consortium of veneto. there, he shared his passion for photography with a group of friends and, inspired by news of the founding of the milanese group la bussola, he founded the la gondola photography club in 1948. under his guidance, it became an important point of reference and helped bring to light talents such as fulvio roiter. in 1953, he moved to milan, where, as a professional photographer, he documented the city\u2019s transformation, contributed to magazines and books, and collaborated with publishing houses. beginning in 1965, he carried out an original study of bologna\u2019s urban landscape in collaboration with architect cervellati. in 1967, the milanese gallery il diaframma opened with an exhibition of his chemigrams and abstract photographs. living in one of the most constantly photographed cities, paolo monti always chose to do so by deliberately avoiding any rhetoric and any aspect of the reassuring vision so beloved by tourists. with his stark black and white, he moved outside the well-known paths to explore the more working-class areas, the glimpses of reality, the walls where posters peel away, faded by humidity. in one shot of a calle, he plays with the light passing through the transparency of hanging laundry and their shadows stretching across the ground, letting the eye glide along the weathered wall on the right before settling on the background, where a female figure moves lightly. ironically contemplative, \u201cla domenica degli immigrati\u201d turns what could have been a classic amateur photography exercise into a powerful synthesis of the contradictions of the postwar world: on one side, the great internal migratory flows; on the other, signs of industrialization which, along with prosperity, also brought environmental damage, as shown and symbolized by the columns of smoke. in this image, one can discern the influence, not only aesthetic, of american photography from the farm security administration, which monti knows well."},"estimateMax":1000,"lotNumber":"64","title":{"it":"paolo monti (1908 - 1982) - calle veneziana, 1950s/1960s"},"url":"https://it.bidspirit.com/ui/lotPage/finarte/source/catalog/auction/61725/lot/36710/view","tags":["itArt_Photography","itArt","itArt_all"],"directSalePrice":650,"soldPrice":1000,"lastUpdate":"2026-07-21T21:44:40.278Z","textCase":"lower","estimate":"\u20ac700 - \u20ac1,000","currency":"EUR","id":36710,"estimateMin":700},{"startPrice":500,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36711/001/001.jpg"],"artist":{"it":"paolo monti"},"soldDate":"2025-06-18","available":false,"description":{"it":"vintage gelatin silver print \n cm 23 x 28,7 | 9.1 x 11.3 in. \n titled and dated in pencil with photographer's credit stamps on the verso \n \n literature \n p. monti (edited by), milano negli anni cinquanta, istituto di fotografia paolo monti, milano, 1986, p. 127 g. chiaramonte (edited by), paolo monti fotografie 1950-1980, federico motta editore, milan, 1983, pl. 72 \n \n \n \n paolo monti (novara 1908 \u2013 milan 1982), graduated in economics, moved to venice to work for the agricultural consortium of veneto. there, he shared his passion for photography with a group of friends and, inspired by news of the founding of the milanese group la bussola, he founded the la gondola photography club in 1948. under his guidance, it became an important point of reference and helped bring to light talents such as fulvio roiter. in 1953, he moved to milan, where, as a professional photographer, he documented the city\u2019s transformation, contributed to magazines and books, and collaborated with publishing houses. beginning in 1965, he carried out an original study of bologna\u2019s urban landscape in collaboration with architect cervellati. in 1967, the milanese gallery il diaframma opened with an exhibition of his chemigrams and abstract photographs. living in one of the most constantly photographed cities, paolo monti always chose to do so by deliberately avoiding any rhetoric and any aspect of the reassuring vision so beloved by tourists. with his stark black and white, he moved outside the well-known paths to explore the more working-class areas, the glimpses of reality, the walls where posters peel away, faded by humidity. in one shot of a calle, he plays with the light passing through the transparency of hanging laundry and their shadows stretching across the ground, letting the eye glide along the weathered wall on the right before settling on the background, where a female figure moves lightly. ironically contemplative, \u201cla domenica degli immigrati\u201d turns what could have been a classic amateur photography exercise into a powerful synthesis of the contradictions of the postwar world: on one side, the great internal migratory flows; on the other, signs of industrialization which, along with prosperity, also brought environmental damage, as shown and symbolized by the columns of smoke. in this image, one can discern the influence, not only aesthetic, of american photography from the farm security administration, which monti knows well."},"estimateMax":1200,"lotNumber":"65","title":{"it":"paolo monti (1908 - 1982) - la domenica degli immigrati, 1954"},"url":"https://it.bidspirit.com/ui/lotPage/finarte/source/catalog/auction/61725/lot/36711/view","tags":["itArt_Photography","itArt","itArt_all"],"directSalePrice":500,"soldPrice":600,"lastUpdate":"2026-07-21T21:44:40.280Z","textCase":"lower","estimate":"\u20ac800 - \u20ac1,200","currency":"EUR","id":36711,"estimateMin":800},{"startPrice":1000,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36712/001/001.jpg"],"artist":{"it":"ugo mulas"},"soldDate":"2025-06-18","available":false,"description":{"it":"vintage gelatin silver print, mounted on aluminium and printed in 1972 \n cm 36,8 x 25,3 | 14.5 x 10 in. \n \n literature \n castagnoli, italiano, mattirolo (edited by), ugo mulas. la scena dell'arte, electa 2007, pp. 324-333 \n \n \n work accompanied by certificate of authenticity released by archivio ugo mulas, milan \n \n \n \n ugo mulas (pozzolengo, brescia 1928 - milan 1973) frequented the milanese artistic milieu around the jamaica bar where he met mario dondero and began a career born of his many interests: reporter for l'illustrazione italiana and set photographer for the piccolo teatro, documenting the venice biennale from 1954 to 1972 he became close with artists such as alberto burri, lucio fontana, alik cavaliere, and fausto melotti. travels in the early 1960s to the u.s. from which came the volume \u201cnew york arte e persone\u201d introduced him to andy warhol, robert raushenberg, lee friedlander, robert frank. he participated in neo-avant-garde events directed by luciano caramel (campo urbano, como 1969) and paul restany (noveau réalisme, milan 1970). a deep consideration of the role of photography influenced by the theoretical contribution of marcel duchamp leads him to the metaphotographic work \u201cle verifiche\u201d published in 1972 by einaudi. his works, exhibited in museum spaces all over europe, and his numerous monographs are curated by the milan archive edited by his daughters melina and valentina. ugo mulas's long-standing relationship with lucio fontana allows the photographer a complicity with the artist that emerged in the famous 1964 sequence \u201cl'attesa\u201d with the cutting of the canvas. here, however, the photographer shows that skill in reproducing works acquired through frequenting the studios of painters and sculptors. these three prints thus become an effective reference to the artistic work of the great master of spatialism: one recognizes three famous spatial concepts from 1965 entitled \u201cteatrini\u201d because they are composed of perforated monochrome canvases inserted into shaped frames that are integral parts of the works. the portrait made of marcel duchamp - published several times in major monographs - is part of a large series of shots made in new york outdoors in washington square, inside the museum of modern art in front of his famous \u201cgrande vetro\u201d which he observes with distant detachment and, as in our case, in his home. it is mulas himself who reminds us that he was interested in highlighting duchamp's \u201cattitudes of non-doing\u201d and \u201chighlighting his renunciation.\u201d thus, he catches him as, sitting in his famous armchair, he casts a glance at the photograph of him playing chess with a naked woman. for the record, it had been made in 1963 at the pasadena museum of art, l.a., where walter hopps had curated the artist's first american retrospective. the author of the image, julian wasser, asked 20-year-old friend eva babliz during the opening to pose nude in homage to duchamp's provocative art, which she, the daughter of an artist, did with enthusiasm."},"estimateMax":2500,"lotNumber":"66","title":{"it":"ugo mulas (1928 - 1973) - marcel duchamp, new york, 1965/1967"},"url":"https://it.bidspirit.com/ui/lotPage/finarte/source/catalog/auction/61725/lot/36712/view","tags":["itArt_Photography","itArt","itArt_all"],"directSalePrice":1000,"soldPrice":1300,"lastUpdate":"2026-07-21T21:44:40.282Z","textCase":"lower","estimate":"\u20ac1,500 - \u20ac2,500","currency":"EUR","id":36712,"estimateMin":1500},{"startPrice":4000,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36713/001/001.jpg"],"artist":{"it":"ugo mulas"},"available":false,"description":{"it":"three vintage gelatin silver prints \n cm 25 x 21 (cm 19 x 19) approx. each | 0.8 x 8.3 in. (7.5 x 7.5 in. picture) approx. each \n photographer's credit stamp on the verso of each framed \n \n \n ugo mulas (pozzolengo, brescia 1928 - milan 1973) frequented the milanese artistic milieu around the jamaica bar where he met mario dondero and began a career born of his many interests: reporter for l'illustrazione italiana and set photographer for the piccolo teatro, documenting the venice biennale from 1954 to 1972 he became close with artists such as alberto burri, lucio fontana, alik cavaliere, and fausto melotti. travels in the early 1960s to the u.s. from which came the volume \u201cnew york arte e persone\u201d introduced him to andy warhol, robert raushenberg, lee friedlander, robert frank. he participated in neo-avant-garde events directed by luciano caramel (campo urbano, como 1969) and paul restany (noveau réalisme, milan 1970). a deep consideration of the role of photography influenced by the theoretical contribution of marcel duchamp leads him to the metaphotographic work \u201cle verifiche\u201d published in 1972 by einaudi. his works, exhibited in museum spaces all over europe, and his numerous monographs are curated by the milan archive edited by his daughters melina and valentina. ugo mulas's long-standing relationship with lucio fontana allows the photographer a complicity with the artist that emerged in the famous 1964 sequence \u201cl'attesa\u201d with the cutting of the canvas. here, however, the photographer shows that skill in reproducing works acquired through frequenting the studios of painters and sculptors. these three prints thus become an effective reference to the artistic work of the great master of spatialism: one recognizes three famous spatial concepts from 1965 entitled \u201cteatrini\u201d because they are composed of perforated monochrome canvases inserted into shaped frames that are integral parts of the works. the portrait made of marcel duchamp - published several times in major monographs - is part of a large series of shots made in new york outdoors in washington square, inside the museum of modern art in front of his famous \u201cgrande vetro\u201d which he observes with distant detachment and, as in our case, in his home. it is mulas himself who reminds us that he was interested in highlighting duchamp's \u201cattitudes of non-doing\u201d and \u201chighlighting his renunciation.\u201d thus, he catches him as, sitting in his famous armchair, he casts a glance at the photograph of him playing chess with a naked woman. for the record, it had been made in 1963 at the pasadena museum of art, l.a., where walter hopps had curated the artist's first american retrospective. the author of the image, julian wasser, asked 20-year-old friend eva babliz during the opening to pose nude in homage to duchamp's provocative art, which she, the daughter of an artist, did with enthusiasm."},"estimateMax":5500,"lotNumber":"67","title":{"it":"ugo mulas (1928 - 1973) - lucio fontana, concetto spaziale, 1960s"},"url":"https://it.bidspirit.com/ui/lotPage/finarte/source/catalog/auction/61725/lot/36713/view","tags":["itArt_Photography","itArt","itArt_all"],"directSalePrice":4000,"lastUpdate":"2026-07-21T21:44:40.283Z","textCase":"lower","estimate":"\u20ac4,500 - \u20ac5,500","currency":"EUR","id":36713,"estimateMin":4500},{"startPrice":400,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36714/001/001.jpg"],"artist":{"it":"carlo naya (attribuito a)"},"soldDate":"2025-06-18","available":false,"description":{"it":"albumen print hand coloured, applied on cardboard \n cm 54 x 42,5 (cm 55,4 x 44,3 cartoncino) \n unique work title from the negative on the image \n \n \n carlo naya (tronzano vercellese, vercelli 1816 - venice 1882) heir to a rich landowner after graduating in law, as an art lover he made a grand tour of europe, asia, egypt. he discovered photography in paris and opened a studio in constantinople, but in 1857 he was in venice where he worked in carlo ponti's atelier, then in his own ateliers in st. mark's square and campo san maurizio and in the store at the procuratie, which achieved great commercial success and appreciations for the technical and aesthetic quality of his works. a famous \u201cforgery\u201d trial he won against some colleagues who sold his photographs as their own gave birth to copyright law. two elements characterize carlo naya's style: the culture that came to him from a passion for art refined by direct vision of the works of antiquity including that scrovegni chapel in padua that he would magnificently reproduce; the technical skill acquired already in the days of the daguerreotype that enabled him to establish himself quickly internationally for his highly accurate venetian views. while other photographers often restricted themselves to a precise view, naya was noted for choosing to make large prints called extragrand or impérial and for the skill with which he intervened by coloring them, as is very evident in the photograph of the bridge of sighs. even more interesting and spectacular is the shot of st. mark's square with the procuratie and doge's palace acting as backdrops. here he is at his best in his specialty of the so-called \u201cmoonlight\u201d print obtained by mounting in register two negatives - one of the daytimes shot and one of the sky from which the sun peeks out - and then printing on colored papers to achieve a night-time effect."},"estimateMax":800,"lotNumber":"68","title":{"it":"carlo naya (attribuito a) (1816 - 1882) - venezia, ponte dei sospiri, 1960s"},"url":"https://it.bidspirit.com/ui/lotPage/finarte/source/catalog/auction/61725/lot/36714/view","tags":["itArt_Photography","itArt","itArt_all"],"directSalePrice":400,"soldPrice":400,"lastUpdate":"2026-07-21T21:44:40.284Z","textCase":"lower","estimate":"\u20ac600 - \u20ac800","currency":"EUR","id":36714,"estimateMin":600},{"startPrice":350,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36715/001/001.jpg"],"artist":{"it":"carlo naya (attribuito a)"},"soldDate":"2025-06-18","available":false,"description":{"it":"albumen print, handcoloured \n cm 42,5 x 55,5 | 16.7 x 21.9 in. \n unique work \n \n \n carlo naya (tronzano vercellese, vercelli 1816 - venice 1882) heir to a rich landowner after graduating in law, as an art lover he made a grand tour of europe, asia, egypt. he discovered photography in paris and opened a studio in constantinople, but in 1857 he was in venice where he worked in carlo ponti's atelier, then in his own ateliers in st. mark's square and campo san maurizio and in the store at the procuratie, which achieved great commercial success and appreciations for the technical and aesthetic quality of his works. a famous \u201cforgery\u201d trial he won against some colleagues who sold his photographs as their own gave birth to copyright law. two elements characterize carlo naya's style: the culture that came to him from a passion for art refined by direct vision of the works of antiquity including that scrovegni chapel in padua that he would magnificently reproduce; the technical skill acquired already in the days of the daguerreotype that enabled him to establish himself quickly internationally for his highly accurate venetian views. while other photographers often restricted themselves to a precise view, naya was noted for choosing to make large prints called extragrand or impérial and for the skill with which he intervened by coloring them, as is very evident in the photograph of the bridge of sighs. even more interesting and spectacular is the shot of st. mark's square with the procuratie and doge's palace acting as backdrops. here he is at his best in his specialty of the so-called \u201cmoonlight\u201d print obtained by mounting in register two negatives - one of the daytimes shot and one of the sky from which the sun peeks out - and then printing on colored papers to achieve a night-time effect."},"estimateMax":800,"lotNumber":"69","title":{"it":"carlo naya (attribuito a) (1816 - 1882) - untitled (venice, moonlight), 1870s"},"url":"https://it.bidspirit.com/ui/lotPage/finarte/source/catalog/auction/61725/lot/36715/view","tags":["itArt_Photography","itArt","itArt_all"],"directSalePrice":350,"soldPrice":1000,"lastUpdate":"2026-07-21T21:44:40.286Z","textCase":"lower","estimate":"\u20ac600 - \u20ac800","currency":"EUR","id":36715,"estimateMin":600},{"startPrice":260,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36716/001/001.jpg"],"artist":{"it":"arrigo orsi"},"soldDate":"2025-06-18","available":false,"description":{"it":"vintage dye transfer print \n cm 22,5 x 18,5 | 8.9 x 7.3 in. \n credit stamp opera vintage copyright by archivio opera arrigo orsi on the verso \n \n \n arrigo orsi (virgilio, mantua 1897 - 1967) belongs to that kind of non-professional photographer capable of great professional skills. a phthisiologist and university lecturer, he was a member of the circolo fotografico milanese from which he left in 1950, following pietro donzelli to the unione fotografica - an important group that brought international exhibitions to italy - of which he became director. his production is heterogeneous: it goes from landscapes, portraits and images of social commitment to research into a geometric abstractionism influenced by bauhaus aesthetics. looking at these two photographs, it seems difficult to attribute them to the same author because the only elements they have in common are great care for printing and an evident taste for research. the explanation is that arrigo orsi was, above all, a man full of curiosity: this drove him to develop ideas related to the classic aesthetics that were dominant in the second half of the 1930s when he began to take photographs, as is evident in this nude of expressionist taste. his friendship with luigi veronesi - a master of abstractionism in photography as well as in painting and graphics - cultivated also in their common activism in the photographic union, pushed him to research the dynamism of forms that others in europe were elaborating in black and white. orsi also produced them, but to these he added others within the expressive perimeter of colour: in this case he was one of the first, as early as the 1940s, to use a refined and complex subtractive printing technique marketed by kodak, the dye transfer, which made it possible to obtain works of outstanding chromatic quality by registering three negatives."},"estimateMax":500,"lotNumber":"70","title":{"it":"arrigo orsi (1897 - 1968) - untitled (play of light), 1950s"},"url":"https://it.bidspirit.com/ui/lotPage/finarte/source/catalog/auction/61725/lot/36716/view","tags":["itArt_Photography","itArt","itArt_all"],"directSalePrice":260,"soldPrice":300,"lastUpdate":"2026-07-21T21:44:40.287Z","textCase":"lower","estimate":"\u20ac400 - \u20ac500","currency":"EUR","id":36716,"estimateMin":400},{"startPrice":350,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36717/001/001.jpg"],"artist":{"it":"arrigo orsi"},"soldDate":"2025-06-18","available":false,"description":{"it":"vintage gelatin silver print \n cm 24,3 x 18 | 9.5 x 7 in. \n opera vintage copyright by archivio opera arrigo orsi stamps on the verso \n \n \n arrigo orsi (virgilio, mantua 1897 - 1967) belongs to that kind of non-professional photographer capable of great professional skills. a phthisiologist and university lecturer, he was a member of the circolo fotografico milanese from which he left in 1950, following pietro donzelli to the unione fotografica - an important group that brought international exhibitions to italy - of which he became director. his production is heterogeneous: it goes from landscapes, portraits and images of social commitment to research into a geometric abstractionism influenced by bauhaus aesthetics. looking at these two photographs, it seems difficult to attribute them to the same author because the only elements they have in common are great care for printing and an evident taste for research. the explanation is that arrigo orsi was, above all, a man full of curiosity: this drove him to develop ideas related to the classic aesthetics that were dominant in the second half of the 1930s when he began to take photographs, as is evident in this nude of expressionist taste. his friendship with luigi veronesi - a master of abstractionism in photography as well as in painting and graphics - cultivated also in their common activism in the photographic union, pushed him to research the dynamism of forms that others in europe were elaborating in black and white. orsi also produced them, but to these he added others within the expressive perimeter of colour: in this case he was one of the first, as early as the 1940s, to use a refined and complex subtractive printing technique marketed by kodak, the dye transfer, which made it possible to obtain works of outstanding chromatic quality by registering three negatives."},"estimateMax":900,"lotNumber":"71","title":{"it":"arrigo orsi (1897 - 1968) - untitled (nude), 1950s/1960s"},"url":"https://it.bidspirit.com/ui/lotPage/finarte/source/catalog/auction/61725/lot/36717/view","tags":["itArt_Photography","itArt","itArt_all"],"directSalePrice":350,"soldPrice":500,"lastUpdate":"2026-07-21T21:44:41.716Z","textCase":"lower","estimate":"\u20ac600 - \u20ac900","currency":"EUR","id":36717,"estimateMin":600},{"startPrice":800,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36718/001/001.jpg"],"artist":{"it":"dino pedriali"},"soldDate":"2025-06-18","available":false,"description":{"it":"vintage gelatin silver print \n cm 40,2 x 29,8 | 15.8 x 11.7 in. \n dated and signed in black ink with photographer's fingerprint on the verso \n \n literature \n l. inga pin (edited by), dino pedriali, raron book, milan, 1978 d. pedriali (edited by), pier paolo pasolini, fotografie di dino pedriali, johan&levi, monza, 2011 \n \n \n \n dino pedriali (rome 1950 - 2021) began his career at a very young age and, working at il fauno gallery in turin, frequented the art world. he thus became man ray's assistant whose parisian home-studio he documented, collaborated with andy warhol, and portrayed with great intensity figures such as de chirico, moravia, and fellini as anonymous young people with a style so intense that he was defined as caravaggesque by critic peter weiermair. despite his many works and international exhibitions, pedriali has become part of photography history for his association with pier paolo pasolini, whose last photographs he took the day before his tragic death. these two photographs are emblematic of the relationship pedriali established with pasolini. the one in which the director, observed and filmed from a distance as per his express wishes, appears naked in his bedroom, was taken inside the buen ritiro of torre di chia in the viterbo area (real name castello di corte casale) composed of a house with a glass roof that illuminated the studio and a tower that was not habitable. here pasolini worked on his novel \u201cpetrolio, \u201d planning to accompany it with photographs by pedriali, who, in his daily watching him, had caught - the photographer explained - its profound loneliness. different is the story of the close-up that pedriali himself remembers: the writer had placed himself in that beautiful pose with the close-up of his fist and the penetrating gaze but had remained there for very few seconds. promptly, while changing the position of the camera from vertical to horizontal, the photographer had the promptness to take the shot that would also become iconic for a strange reason. the printer mistakenly scratched the negative with tweezers, so each print bears the marks of retouching like a scar on pasolini's forehead."},"estimateMax":1500,"lotNumber":"72","title":{"it":"dino pedriali (1950 - 2021) - pier paolo pasolini, 1975"},"url":"https://it.bidspirit.com/ui/lotPage/finarte/source/catalog/auction/61725/lot/36718/view","tags":["itArt_Photography","itArt","itArt_all"],"directSalePrice":800,"soldPrice":1100,"lastUpdate":"2026-07-21T21:44:41.717Z","textCase":"lower","estimate":"\u20ac1,000 - \u20ac1,500","currency":"EUR","id":36718,"estimateMin":1000},{"startPrice":800,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36719/001/001.jpg"],"artist":{"it":"dino pedriali"},"soldDate":"2025-06-18","available":false,"description":{"it":"gelatin silver print, printed later \n cm 23,2 x 30,2 (cm 19,7 x 29 picture) | 9.1 x 11.8 in (7.7 x 11.4 in. picture) \n photographer's credit stamp and photographer's red finger print on the verso \n \n \n dino pedriali (rome 1950 - 2021) began his career at a very young age and, working at il fauno gallery in turin, frequented the art world. he thus became man ray's assistant whose parisian home-studio he documented, collaborated with andy warhol, and portrayed with great intensity figures such as de chirico, moravia, and fellini as anonymous young people with a style so intense that he was defined as caravaggesque by critic peter weiermair. despite his many works and international exhibitions, pedriali has become part of photography history for his association with pier paolo pasolini, whose last photographs he took the day before his tragic death. these two photographs are emblematic of the relationship pedriali established with pasolini. the one in which the director, observed and filmed from a distance as per his express wishes, appears naked in his bedroom, was taken inside the buen ritiro of torre di chia in the viterbo area (real name castello di corte casale) composed of a house with a glass roof that illuminated the studio and a tower that was not habitable. here pasolini worked on his novel \u201cpetrolio, \u201d planning to accompany it with photographs by pedriali, who, in his daily watching him, had caught - the photographer explained - its profound loneliness. different is the story of the close-up that pedriali himself remembers: the writer had placed himself in that beautiful pose with the close-up of his fist and the penetrating gaze but had remained there for very few seconds. promptly, while changing the position of the camera from vertical to horizontal, the photographer had the promptness to take the shot that would also become iconic for a strange reason. the printer mistakenly scratched the negative with tweezers, so each print bears the marks of retouching like a scar on pasolini's forehead."},"estimateMax":1500,"lotNumber":"73","title":{"it":"dino pedriali (1950 - 2021) - pier paolo pasolini, 1975"},"url":"https://it.bidspirit.com/ui/lotPage/finarte/source/catalog/auction/61725/lot/36719/view","tags":["itArt_Photography","itArt","itArt_all"],"directSalePrice":800,"soldPrice":5500,"lastUpdate":"2026-07-21T21:44:41.719Z","textCase":"lower","estimate":"\u20ac1,000 - \u20ac1,500","currency":"EUR","id":36719,"estimateMin":1000},{"startPrice":1000,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36720/001/001.jpg"],"artist":{"it":"fulvio roiter"},"soldDate":"2025-06-18","available":false,"description":{"it":"vintage gelatin silver print \n cm 30 x 24 | 11.8 x 9.4 in. \n titled and dated in black ink with photographer's credit stamp on the verso \n \n literature \n f. roiter, p. jacquet (edited by), ombrie terre de saint francois, editions clairefontaine (la guilde du livre), lausanne, 1955, cover forme di luce. il gruppo \u201cla bussola\u201d e aspetti della fotografia italiana del dopoguerra, alinari, florence, 1997 d. curti (edited by), fulvio roiter fotografie - phorographs 1948-2007, marsilio, venice, 2018, p. 53 \n \n \n \n fulvio roiter (meolo, venice 1926 - venice 2016) a trained chemical expert immediately preferred photography, which militancy in the la gondola circle and friendship with paolo monti refined. the success of the photographs taken in sicily and the books \u201cvenise à fleud d'eau\u201d and \"ombrie. terre de saint françois\" (nadar prize 1956) led him to avoid choosing newspapers and magazines to which he preferred books. he built projects thought out with professional precision: he also applied it in 1977 in \u201cessere venezia, \u201d not his finest book but the one that still holds a record with 700,000 copies sold. every trip to europe, brazil, mexico, the united states was an opportunity to produce volumes in which a great respect, more anthropological than social, for humans emerges. guided by a great passion fulvio roiter was also an extrovert, obstinate, determined man who loved to tell the story of his work thanks to a prodigious memory. the photograph taken in umbria was part of a project he had proposed to albert mermoud, publisher of the guilde du livre publishing house, thinking of capturing franciscan traces in that land. alerted only at the last of the snowfall that he had considered essential to his work, he rushed to the region and, having seen through the window of the bus in which he was traveling the scene of the man leading the two animals, convinced the driver to let him off, framed the scene and shot at the exact moment when the figures stood out dark against the glow of the snow. also playing on shades of white, the shot in algarve stops, on the other hand, an architectural space shot with great rigor but made truly special by the presence of a human figure that transforms it into the ideal background on which to cast its shadow."},"estimateMax":2000,"lotNumber":"74","title":{"it":"fulvio roiter (1926 - 2016) - umbria, 1955"},"url":"https://it.bidspirit.com/ui/lotPage/finarte/source/catalog/auction/61725/lot/36720/view","tags":["itArt_Photography","itArt","itArt_all"],"directSalePrice":1000,"soldPrice":1700,"lastUpdate":"2026-07-21T21:44:41.720Z","textCase":"lower","estimate":"\u20ac1,500 - \u20ac2,000","currency":"EUR","id":36720,"estimateMin":1500},{"startPrice":1000,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36721/001/001.jpg"],"artist":{"it":"fulvio roiter"},"available":false,"description":{"it":"vintage gelatin silver print \n cm 37 x 25,8 | 11.6 x 10.2 in. \n titled in black ink and dated in red ink with photographer's credit stamp on the verso \n \n \n fulvio roiter (meolo, venice 1926 - venice 2016) a trained chemical expert immediately preferred photography, which militancy in the la gondola circle and friendship with paolo monti refined. the success of the photographs taken in sicily and the books \u201cvenise à fleud d'eau\u201d and \"ombrie. terre de saint françois\" (nadar prize 1956) led him to avoid choosing newspapers and magazines to which he preferred books. he built projects thought out with professional precision: he also applied it in 1977 in \u201cessere venezia, \u201d not his finest book but the one that still holds a record with 700,000 copies sold. every trip to europe, brazil, mexico, the united states was an opportunity to produce volumes in which a great respect, more anthropological than social, for humans emerges. guided by a great passion fulvio roiter was also an extrovert, obstinate, determined man who loved to tell the story of his work thanks to a prodigious memory. the photograph taken in umbria was part of a project he had proposed to albert mermoud, publisher of the guilde du livre publishing house, thinking of capturing franciscan traces in that land. alerted only at the last of the snowfall that he had considered essential to his work, he rushed to the region and, having seen through the window of the bus in which he was traveling the scene of the man leading the two animals, convinced the driver to let him off, framed the scene and shot at the exact moment when the figures stood out dark against the glow of the snow. also playing on shades of white, the shot in algarve stops, on the other hand, an architectural space shot with great rigor but made truly special by the presence of a human figure that transforms it into the ideal background on which to cast its shadow."},"estimateMax":2000,"lotNumber":"75","title":{"it":"fulvio roiter (1926 - 2016) - algarve (portugal), 1964"},"url":"https://it.bidspirit.com/ui/lotPage/finarte/source/catalog/auction/61725/lot/36721/view","tags":["itArt_Photography","itArt","itArt_all"],"directSalePrice":1000,"lastUpdate":"2026-07-21T21:44:41.722Z","textCase":"lower","estimate":"\u20ac1,500 - \u20ac2,000","currency":"EUR","id":36721,"estimateMin":1500},{"startPrice":2000,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36722/001/001.jpg"],"artist":{"it":"ferdinando scianna"},"soldDate":"2025-06-18","available":false,"description":{"it":"inkjet print, printed later \n cm 54,3 x 74,3 (cm 39,6 x 59 picture) | 21.4 x 29.3 in. (15.6 x 23.2 in. picture) \n titled, dated and signed in pencil pon the white inferior recto margin framed \n \n exhibitions \n other exemplar in collection at the galleria civica d'arte moderna e contemporanea, turin - property of fondazione per l'arte moderna e contemporanea crt \n \n \n literature \n scianna. marpessa. un racconto, ed. leonardo, milan, 1993 \n \n \n \n ferdinando scianna (bagheria, palermo 1943) has always been guided a little by chance, as when in 1963 leonardo sciascia visited and appreciated his first exhibition, and a lot by determination, which pushed him to introduce himself to the writer who would become his great friend and shortly thereafter the extender of the text for \u201c feste religiose in sicilia, \u201d the first of the many beloved books he would publish. turning professional, for l' europeo he was a correspondent in paris where he met cartier-bresson, who introduced him to magnum, of which he became a member in 1989. always working in black and white, he combines magnificent reportages and appreciated portraits of great intellectuals with his collaboration with dolce and gabbana: he thus also established himself in the fashion world by publishing in vogue and grazia. when domenico dolce and stefano gabbana founded the fashion house that had their names on it in 1985, they could count on a modest budget but deeply innovative ideas. two years later, for the advertising campaign of their first catalog they involved model marpessa hennink, who agreed to work for free and do her own makeup, and ferdinando scianna to evoke the mediterranean roots that inspired the collection. it was his sicily that was the ideal set in which they shot photographs that mixed the charm of reportage dear to the photographer and the subtle mystery that emanated from the model. her face framed by her hair falling in a messy way occupies the upper part of the image, and the shot from bottom is emphasized by her upward gaze: in this way scianna transforms the dutch girl into an icon of sicilian-ness. this is even more evident in the very famous image where four simply dressed commoners and the model who stands out by moving her feet in a vexatious posture are placed side by side against the background of a white wall in a deliberate and emphasized contrast."},"estimateMax":3500,"lotNumber":"76","title":{"it":"ferdinando scianna (1943) - marpessa, modica, 1987"},"url":"https://it.bidspirit.com/ui/lotPage/finarte/source/catalog/auction/61725/lot/36722/view","tags":["itArt_Photography","itArt","itArt_all"],"directSalePrice":2000,"soldPrice":2600,"lastUpdate":"2026-07-21T21:44:41.723Z","textCase":"lower","estimate":"\u20ac2,500 - \u20ac3,500","currency":"EUR","id":36722,"estimateMin":2500},{"startPrice":800,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36723/001/001.jpg"],"artist":{"it":"ferdinando scianna"},"available":false,"description":{"it":"vintage gelatin silver print \n cm 30 x 23,8 (cm 29 x 20 picture) | 11.8 x 9.3 in. (11.4 x 7.8 in. picture) \n signed in black felt pen on the white recto margin \n \n \n ferdinando scianna (bagheria, palermo 1943) has always been guided a little by chance, as when in 1963 leonardo sciascia visited and appreciated his first exhibition, and a lot by determination, which pushed him to introduce himself to the writer who would become his great friend and shortly thereafter the extender of the text for \u201c feste religiose in sicilia, \u201d the first of the many beloved books he would publish. turning professional, for l' europeo he was a correspondent in paris where he met cartier-bresson, who introduced him to magnum, of which he became a member in 1989. always working in black and white, he combines magnificent reportages and appreciated portraits of great intellectuals with his collaboration with dolce and gabbana: he thus also established himself in the fashion world by publishing in vogue and grazia. when domenico dolce and stefano gabbana founded the fashion house that had their names on it in 1985, they could count on a modest budget but deeply innovative ideas. two years later, for the advertising campaign of their first catalog they involved model marpessa hennink, who agreed to work for free and do her own makeup, and ferdinando scianna to evoke the mediterranean roots that inspired the collection. it was his sicily that was the ideal set in which they shot photographs that mixed the charm of reportage dear to the photographer and the subtle mystery that emanated from the model. her face framed by her hair falling in a messy way occupies the upper part of the image, and the shot from bottom is emphasized by her upward gaze: in this way scianna transforms the dutch girl into an icon of sicilian-ness. this is even more evident in the very famous image where four simply dressed commoners and the model who stands out by moving her feet in a vexatious posture are placed side by side against the background of a white wall in a deliberate and emphasized contrast."},"estimateMax":1500,"lotNumber":"77","title":{"it":"ferdinando scianna (1943) - marpessa, late 1980s"},"url":"https://it.bidspirit.com/ui/lotPage/finarte/source/catalog/auction/61725/lot/36723/view","tags":["itArt_Photography","itArt","itArt_all"],"directSalePrice":800,"lastUpdate":"2026-07-21T21:44:41.725Z","textCase":"lower","estimate":"\u20ac1,000 - \u20ac1,500","currency":"EUR","id":36723,"estimateMin":1000},{"startPrice":700,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36724/001/001.jpg"],"artist":{"it":"tazio secchiaroli"},"soldDate":"2025-06-18","available":false,"description":{"it":"modern gelatin silver print \n cm 39,4 x 29,6 | 15.5 x 11.6 in. \n tazio secchiaroli/david secchiaroli credit stamp on the verso \n \n literature \n tazio secchiaroli, the original paparazzo, photology, milan, 1996 d. mormorio (edited by), tazio secchiaroli, dalla dolce vita ai miti del set, federico motta editore, milan, 1998 tazio secchiaroli, fellini 8 ½, federico motta editore, milan, 1999 g. bertelli (edited by), tazio secchiaroli, federico fellini, rizzoli, milan, 2003 t. secchiaroli, storie di cinema, contrasto, milan, 2004 g. bertelli, (edited by), giornate particolari, roma e il cinema nelle immagini mito di tazio secchiaroli, ciak mondadori, milan, 2006 \n \n \n work accompanied by certificate of authenticity released by david secchiaroli \n \n \n \n tazio secchiaroli (rome, 1925\u20131998) began his career in his early twenties as a street photographer, but it was his friend sergio strizzi who introduced him to the world of photo agencies. under the guidance of adolfo porry pastorel, he learned the tricks of the trade so well that his work was soon being published in epoca, l\u2019espresso, and le ore. he continued his work as a reporter capable of major scoops at roma press photo, the agency he founded in 1955. while documenting rome\u2019s vibrant nightlife\u2014brought to life by figures from the film world\u2014he met federico fellini. the connection they shared (it was secchiaroli who suggested the name paparazzo for one of the characters in la dolce vita) led him to a successful career as a set photographer, eventually becoming the official photographer of sophia loren. the set of 8½ must have been a show within the show, especially during the rehearsal of the scene where marcello mastroianni was to brandish and use a whip. to explain to his actors\u2014and even his actresses\u2014how to move, fellini often took it upon himself to act out the scene, fully embodying the role. under the sharp eye and keen lens of tazio secchiaroli, the director performed an audacious leap, creating a subtly ironic image because he was dressed in an immaculate white shirt and tie. the year is 1966, and to promote the film arabesque, starring gregory peck and sophia loren, the production team commissioned richard avedon to photograph the actress. the set quickly became a clash of stars: avedon did not want any intruders, while loren refused to be without secchiaroli, her official photographer, who had accompanied her and tazio, remained between amusement and irritation. while the portraits by the great american photographer were as beautiful as they were predictable, the italian one managed to capture a true masterpiece of mischief\u2014framing the composition he wanted, through the lenses of avedon\u2019s own glasses. chapeau."},"estimateMax":1500,"lotNumber":"78","title":{"it":"tazio secchiaroli (1925 - 1998) - federico fellini in \"8½\", 1962"},"url":"https://it.bidspirit.com/ui/lotPage/finarte/source/catalog/auction/61725/lot/36724/view","tags":["itArt_Photography","itArt","itArt_all"],"directSalePrice":700,"soldPrice":900,"lastUpdate":"2026-07-21T21:44:41.726Z","textCase":"lower","estimate":"\u20ac1,000 - \u20ac1,500","currency":"EUR","id":36724,"estimateMin":1000},{"startPrice":700,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36725/001/001.jpg"],"artist":{"it":"tazio secchiaroli"},"soldDate":"2025-06-18","available":false,"description":{"it":"modern gelatin silver print \n cm 40,8 x 30,1 (cm 39,7 x 29,2 picture) | 16.1 x 11.8 in. (15.7 x 11.5 in. picture) \n tazio secchiaroli/david secchiaroli credit stamp on the verso \n \n literature \n tazio secchiaroli, the original paparazzo, photology, milan, 1996 d. mormorio (edited by), tazio secchiaroli, dalla dolce vita ai miti del set, federico motta editore, milan, 1998 g. bertelli (edited by), tazio secchiaroli, sophia loren, rizzoli, milan, 2003 t. secchiaroli, storie di cinema, contrasto, milan, 2004 g. bertelli (edited by), giornate particolari, roma e il cinema nelle immagini mito di tazio secchiaroli, ciak mondadori, milan, 2006 (cover) u. lucas (edited by), vicino alle stelle, sophia e marcello, mazzotta editore, milan. 2006 \n \n \n work accompanied by certificate of authenticity released by david secchiaroli \n \n \n \n tazio secchiaroli (rome, 1925\u20131998) began his career in his early twenties as a street photographer, but it was his friend sergio strizzi who introduced him to the world of photo agencies. under the guidance of adolfo porry pastorel, he learned the tricks of the trade so well that his work was soon being published in epoca, l\u2019espresso, and le ore. he continued his work as a reporter capable of major scoops at roma press photo, the agency he founded in 1955. while documenting rome\u2019s vibrant nightlife\u2014brought to life by figures from the film world\u2014he met federico fellini. the connection they shared (it was secchiaroli who suggested the name paparazzo for one of the characters in la dolce vita) led him to a successful career as a set photographer, eventually becoming the official photographer of sophia loren. the set of 8½ must have been a show within the show, especially during the rehearsal of the scene where marcello mastroianni was to brandish and use a whip. to explain to his actors\u2014and even his actresses\u2014how to move, fellini often took it upon himself to act out the scene, fully embodying the role. under the sharp eye and keen lens of tazio secchiaroli, the director performed an audacious leap, creating a subtly ironic image because he was dressed in an immaculate white shirt and tie. the year is 1966, and to promote the film arabesque, starring gregory peck and sophia loren, the production team commissioned richard avedon to photograph the actress. the set quickly became a clash of stars: avedon did not want any intruders, while loren refused to be without secchiaroli, her official photographer, who had accompanied her and tazio, remained between amusement and irritation. while the portraits by the great american photographer were as beautiful as they were predictable, the italian one managed to capture a true masterpiece of mischief\u2014framing the composition he wanted, through the lenses of avedon\u2019s own glasses. chapeau."},"estimateMax":1500,"lotNumber":"79","title":{"it":"tazio secchiaroli (1925 - 1998) - sophia loren e richard avedon, roma, 1966"},"url":"https://it.bidspirit.com/ui/lotPage/finarte/source/catalog/auction/61725/lot/36725/view","tags":["itArt_Photography","itArt","itArt_all"],"directSalePrice":700,"soldPrice":800,"lastUpdate":"2026-07-21T21:44:41.728Z","textCase":"lower","estimate":"\u20ac1,000 - \u20ac1,500","currency":"EUR","id":36725,"estimateMin":1000},{"startPrice":550,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36726/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36726/002/002.jpg"],"artist":{"it":"vittorio sella"},"soldDate":"2025-06-18","available":false,"description":{"it":"gelatin silver print, print by the institute of alpine photography \u2018v. sella\u2019, printed in 1940s/1950s \n cm 39,5 x 29,8 (cm 32.5 x 28,8 picture) | 15.5 x 11.7 in. (12.7 x 11.3 in. picture) \n institute of alpine photography \u2018v. sella\u2019 stamp on the verso signed in blue and black ink on the lower white recto margin by the expedition members: erich abram, walter bonatti, achille compagnoni, mario fantin, cirillo floreanini, pino gallotti, lino lacedelli, guido pagani, ubaldo rey, gino soldà, sergio viotto framed \n \n \n vittorio sella (biella 1859 \u2013 1943) inherited his passion for photography from his father, a textile entrepreneur and author of the treatise \u201cil plico fotografico\u201d and combined it with the passion for the mountains acquired from his uncle quirino, founder of the italian alpine club (cai). a skilled mountaineer, he used his 30x36 cm view camera to document the expeditions that took him between 1889 and 1909 to the caucasus, alaska, the ruwenzori, the karakoram, and both sides of the alps. over the years, he employed a variety of photographic techniques, from different-sized collodion plates to bromide plates, and even invented sophisticated transport systems, such as padded backpacks, to carry cameras, glass plates, and chemical supplies to mountain summits. his works had also great success at major international exhibitions, and it is thanks to him that this genre of photography came to be known as foto alpinismo (mountain photography), even when practiced far from the alps. as an entrepreneur, he also managed the family\u2019s textile mill and contributed to the founding of the sella & mosca winery. it is difficult today to imagine the challenges faced by a photographer in the late 1800s who have to capture the mountains in order to highlight their majesty. while small portable cameras could certainly be used to do that (sella himself carried a 9x12 kodak, though only for snapshots), achieving the kind of extraordinary quality seen in these images required the use of large, complicated view cameras. these allowed to get from large negatives for contact surprisingly detailed pictures. to do so, one also had to be inventive to develope methods to protect the camera tripod from the wind and have the mountaineer\u2019s skill to reach the right vantage points. this explains how vittorio sella was able, in 1885, to produce a meticulous eleven-shot study of the matterhorn summit, seen here shrouded in clouds. equally remarkable is his photograph of k2, taken in june 1909 from a nearby high peak that was later named after him. captured with a 20x25 cm english dallmeyer camera, the image shows the towering mountain from below, emphasizing its upward thrust. the exceptional quality of sella\u2019s prints came also from his unique use of a personal double-tone toning process. one final, rare element of this photograph stays in the signatures at the bottom\u2014those of the climbers from the 1954 italian expedition that, for the first time, successfully reached the summit of k2."},"estimateMax":800,"lotNumber":"80","title":{"it":"vittorio sella (1859 - 1943) - k2 dal colle \"v. sella\", 1909"},"url":"https://it.bidspirit.com/ui/lotPage/finarte/source/catalog/auction/61725/lot/36726/view","tags":["itArt_Photography","itArt","itArt_all"],"directSalePrice":550,"soldPrice":2200,"lastUpdate":"2026-07-21T21:44:41.729Z","textCase":"lower","estimate":"\u20ac600 - \u20ac800","currency":"EUR","id":36726,"estimateMin":600},{"startPrice":800,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36727/001/001.jpg"],"artist":{"it":"vittorio sella"},"soldDate":"2025-06-18","available":false,"description":{"it":"gelatin silver print, printed in 1900s \n cm 40 x 30 (cm 37,5 x 28 picture) | 15.7 x 11.8 in. (14.8 x 11 in. picture) \n photographer's credit blindstamp on the image framed \n \n \n vittorio sella (biella 1859 \u2013 1943) inherited his passion for photography from his father, a textile entrepreneur and author of the treatise \u201cil plico fotografico\u201d and combined it with the passion for the mountains acquired from his uncle quirino, founder of the italian alpine club (cai). a skilled mountaineer, he used his 30x36 cm view camera to document the expeditions that took him between 1889 and 1909 to the caucasus, alaska, the ruwenzori, the karakoram, and both sides of the alps. over the years, he employed a variety of photographic techniques, from different-sized collodion plates to bromide plates, and even invented sophisticated transport systems, such as padded backpacks, to carry cameras, glass plates, and chemical supplies to mountain summits. his works had also great success at major international exhibitions, and it is thanks to him that this genre of photography came to be known as foto alpinismo (mountain photography), even when practiced far from the alps. as an entrepreneur, he also managed the family\u2019s textile mill and contributed to the founding of the sella & mosca winery. it is difficult today to imagine the challenges faced by a photographer in the late 1800s who have to capture the mountains in order to highlight their majesty. while small portable cameras could certainly be used to do that (sella himself carried a 9x12 kodak, though only for snapshots), achieving the kind of extraordinary quality seen in these images required the use of large, complicated view cameras. these allowed to get from large negatives for contact surprisingly detailed pictures. to do so, one also had to be inventive to develope methods to protect the camera tripod from the wind and have the mountaineer\u2019s skill to reach the right vantage points. this explains how vittorio sella was able, in 1885, to produce a meticulous eleven-shot study of the matterhorn summit, seen here shrouded in clouds. equally remarkable is his photograph of k2, taken in june 1909 from a nearby high peak that was later named after him. captured with a 20x25 cm english dallmeyer camera, the image shows the towering mountain from below, emphasizing its upward thrust. the exceptional quality of sella\u2019s prints came also from his unique use of a personal double-tone toning process. one final, rare element of this photograph stays in the signatures at the bottom\u2014those of the climbers from the 1954 italian expedition that, for the first time, successfully reached the summit of k2."},"estimateMax":1200,"lotNumber":"81","title":{"it":"vittorio sella (1859 - 1943) - cervino, dai pressi della vetta del dent d'hérens, 1885"},"url":"https://it.bidspirit.com/ui/lotPage/finarte/source/catalog/auction/61725/lot/36727/view","tags":["itArt_Photography","itArt","itArt_all"],"directSalePrice":800,"soldPrice":1300,"lastUpdate":"2026-07-21T21:44:41.102Z","textCase":"lower","estimate":"\u20ac800 - \u20ac1,200","currency":"EUR","id":36727,"estimateMin":800},{"startPrice":500,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36728/001/001.jpg"],"artist":{"it":"enzo sellerio"},"soldDate":"2025-06-18","available":false,"description":{"it":"gelatin silver print, printed in 1980s \n cm 60,6 x 41 | 23.8 x 19.9 in. \n signed in black ink with photographer's credit stamp on the verso \n \n literature \n enzo sellerio: fotografo in sicilia, arti grafiche friulane, udine, 1996, cover enzo sellerio, fotografie 1950-1989, federico motta editore, palermo, 2000, p. 137 enzo sellerio, fermo immagine, alinari, florence, 2007, p. 127 i fotografi, silvia editrice, cologno monzese (mi), 2012, p. 36 \n \n \n \n enzo sellerio (palermo 1924 - 2012) born in a family of intellectuals, he graduated in law and quit his university career to embrace in the early 1950s the career of photographer by publishing in the periodicals \u201csicilia, \u201d \u201ccinema nuovo\u201d and \u201cil mondo\u201d with images of neorealist taste thanks to which he made his first personal exhibitions. reportages in the swiss magazine \u201cdu\u201d allowed him, in the first half of the 1960s, to work as a freelancer between paris and new york for vogue portraying important cultural personalities. a new and different interest in publishing led him to put photography aside and found, with his wife elvira, sellerio edizioni, which published both art and fiction books. those who do not know about photography are always a little surprised to discover that enzo sellerio was not only a great publisher, but when he sees the image of this girl standing on the balcony of a house, something snaps inside him because this photograph, without knowing who had taken it, he had already seen it. it is the destiny, not necessarily negative, of some authors to be remembered mainly for one of their works, but on the other hand the fact that linguaglossa appears on the cover of the monograph \u201cenzo sellerio. \u201cfotografo in sicilia\" that art& published in 1996 something has to say. that shot from below, that mischievous smile and especially the sinuous shape of the girl that dialogues with those of the decorations on the balcony and the supports of the electric wires that follow one another on the wall, indicate the author's predilection for the harmony of details. in the photograph taken in the smallest town in the province of palermo we grasp another aspect that characterizes his vision, the sense of a composition that seems to give order where there is none."},"estimateMax":1200,"lotNumber":"82","title":{"it":"enzo sellerio (1924 - 2012) - linguaglossa, 1963"},"url":"https://it.bidspirit.com/ui/lotPage/finarte/source/catalog/auction/61725/lot/36728/view","tags":["itArt_Photography","itArt","itArt_all"],"directSalePrice":500,"soldPrice":750,"lastUpdate":"2026-07-21T21:44:41.110Z","textCase":"lower","estimate":"\u20ac800 - \u20ac1,200","currency":"EUR","id":36728,"estimateMin":800},{"startPrice":600,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36729/001/001.jpg"],"artist":{"it":"enzo sellerio"},"soldDate":"2025-06-18","available":false,"description":{"it":"gelatin silver print, printed in 1970s \n cm 46,7 x 60 | 13.4 x 23.6 in. \n signed in black ink with photographer's credit stamp on the verso \n \n literature \n i fotografi, silvia editrice, cologno monzese (mi), 2012, p. 37 \n \n \n \n enzo sellerio (palermo 1924 - 2012) born in a family of intellectuals, he graduated in law and quit his university career to embrace in the early 1950s the career of photographer by publishing in the periodicals \u201csicilia, \u201d \u201ccinema nuovo\u201d and \u201cil mondo\u201d with images of neorealist taste thanks to which he made his first personal exhibitions. reportages in the swiss magazine \u201cdu\u201d allowed him, in the first half of the 1960s, to work as a freelancer between paris and new york for vogue portraying important cultural personalities. a new and different interest in publishing led him to put photography aside and found, with his wife elvira, sellerio edizioni, which published both art and fiction books. those who do not know about photography are always a little surprised to discover that enzo sellerio was not only a great publisher, but when he sees the image of this girl standing on the balcony of a house, something snaps inside him because this photograph, without knowing who had taken it, he had already seen it. it is the destiny, not necessarily negative, of some authors to be remembered mainly for one of their works, but on the other hand the fact that linguaglossa appears on the cover of the monograph \u201cenzo sellerio. \u201cfotografo in sicilia\" that art& published in 1996 something has to say. that shot from below, that mischievous smile and especially the sinuous shape of the girl that dialogues with those of the decorations on the balcony and the supports of the electric wires that follow one another on the wall, indicate the author's predilection for the harmony of details. in the photograph taken in the smallest town in the province of palermo we grasp another aspect that characterizes his vision, the sense of a composition that seems to give order where there is none."},"estimateMax":1600,"lotNumber":"83","title":{"it":"enzo sellerio (1924 - 2012) - sclafani bagni, 1966"},"url":"https://it.bidspirit.com/ui/lotPage/finarte/source/catalog/auction/61725/lot/36729/view","tags":["itArt_Photography","itArt","itArt_all"],"directSalePrice":600,"soldPrice":600,"lastUpdate":"2026-07-21T21:44:41.116Z","textCase":"lower","estimate":"\u20ac1,200 - \u20ac1,600","currency":"EUR","id":36729,"estimateMin":1200},{"startPrice":500,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36730/001/001.jpg"],"artist":{"it":"pino settanni"},"soldDate":"2025-06-18","available":false,"description":{"it":"c-print, printed in 2010 on dibond \n cm 149,5 x 100 | 58.9 x 39.4 in. \n signed in black marker on the verso \n \n exhibitions \n pino settanni, il vento, il velo, il volto, lattuada studio, milan, 2010 \n \n \n \n pino settanni (grottaglie, taranto 1949 - rome 2010) left his job at italsider in taranto to follow his passion for photography in rome. there he collaborated with several newspapers and frequented the avant-garde world that gravitated around some galleries such as that of monique gregory, his future wife. he thus expands his vision by creating serial projects such as portraits of personalities in culture and art and interpretations of tarot cards, zodiac signs, and the seven deadly sins. he continues his reportages in the balkans and afghanistan commissioned by the italian army in the late 1990s to create digitally processed images. his archive is held by the istituto luce. well capable as in his reportages of representing the world as it appears, pino settanni had been too influenced by his knowledge of avant-garde works not to create for himself a personal creative space within which he sublimates reality. sometimes he works in a way that we might call more traditional, as in the reflection of architectural details in a puddle elaborated with graphic interventions although it is the transformations enabled by digital that open new horizons for him. the \u201cbeggar widow\u201d that he photographed in kabul during one of his reportages is isolated from its historical context and transformed into a vertigo of shapes and colors where the long robe of an original burka becomes a snake that winds its chromatics in space."},"estimateMax":1200,"lotNumber":"84","title":{"it":"pino settanni (1949 - 2010) - kabul (vedova mendicante 2), 2002"},"url":"https://it.bidspirit.com/ui/lotPage/finarte/source/catalog/auction/61725/lot/36730/view","tags":["itArt_Photography","itArt","itArt_all"],"directSalePrice":500,"soldPrice":550,"lastUpdate":"2026-07-21T21:44:41.118Z","textCase":"lower","estimate":"\u20ac800 - \u20ac1,200","currency":"EUR","id":36730,"estimateMin":800},{"startPrice":350,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36731/001/001.jpg"],"artist":{"it":"pino settanni"},"soldDate":"2025-06-18","available":false,"description":{"it":"vintage gelatin silver print with black ink interventions, applied on original cardboard \n cm 24,5 x 27,4 | 9.6 x 10.7 in. \n unique work signed, datetd and titled in blue ink on the cardboard verso \n \n \n pino settanni (grottaglie, taranto 1949 - rome 2010) left his job at italsider in taranto to follow his passion for photography in rome. there he collaborated with several newspapers and frequented the avant-garde world that gravitated around some galleries such as that of monique gregory, his future wife. he thus expands his vision by creating serial projects such as portraits of personalities in culture and art and interpretations of tarot cards, zodiac signs, and the seven deadly sins. he continues his reportages in the balkans and afghanistan commissioned by the italian army in the late 1990s to create digitally processed images. his archive is held by the istituto luce. well capable as in his reportages of representing the world as it appears, pino settanni had been too influenced by his knowledge of avant-garde works not to create for himself a personal creative space within which he sublimates reality. sometimes he works in a way that we might call more traditional, as in the reflection of architectural details in a puddle elaborated with graphic interventions although it is the transformations enabled by digital that open new horizons for him. the \u201cbeggar widow\u201d that he photographed in kabul during one of his reportages is isolated from its historical context and transformed into a vertigo of shapes and colors where the long robe of an original burka becomes a snake that winds its chromatics in space."},"estimateMax":600,"lotNumber":"85","title":{"it":"pino settanni (1949 - 2010) - volo e barocco (voligrammi), 1980"},"url":"https://it.bidspirit.com/ui/lotPage/finarte/source/catalog/auction/61725/lot/36731/view","tags":["itArt_Photography","itArt","itArt_all"],"directSalePrice":350,"soldPrice":450,"lastUpdate":"2026-07-21T21:44:41.120Z","textCase":"lower","estimate":"\u20ac400 - \u20ac600","currency":"EUR","id":36731,"estimateMin":400},{"startPrice":180,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36732/001/001.jpg"],"artist":{"it":"bruno stefani"},"soldDate":"2025-06-18","available":false,"description":{"it":"vintage gelatin silver print \n cm 39 x 29,1 | 15.4 x 11.5 in. \n titled in pencil with photographer's credit stamp on the verso \n \n \n bruno stefani (forlì 1901 - milan 1978) moved in 1925 to milan because of the frequent clashes with the fascists, he works professionally for the publisher rizzoli and in the studios aragozzini and camuzzi but also carries out personal research close to pictorialism. the transition, among the first in italy, to leica suggests a new style close to constructivism and the bauhaus lesson that brings both in the amateur world (in 1930 founded with giuseppe cavalli, secco d'aragona, ferruccio leiss, alfredo ornano, giò ponti, emilio sommariva and federico vender the milanese photographic circle) both in the professional world, working for the tci and, with the innovative studio boggeri, for dalmine, olivetti, pirelli. his archive is deposited at the csac in parma. if in his professional work, bruno stefani was known for the innovative way with which, first using black and white and then color, he approached industrial photography, his personal research is often characterized by the attention with which he produced impeccable prints in the darkroom. the two panoramas presented here are real exercises of style because in one the attention is all focused on the spectacularity of the clouds that stand out on a sky where the shades of gray come in succession, while in the other is the white color that dominate in a composition in which branches in the foreground give the whole a theatrical depth. the care of the print should not surprise: in amateur photography was a fundamental trait and stefani put his own to show that he could achieve valuable results because in those years who used 35 mm film was looked with suspicion by those who preached the indispensability of the medium format."},"estimateMax":500,"lotNumber":"86","title":{"it":"bruno stefani (1901 - 1976) - brinata in lombardia, 1940s"},"url":"https://it.bidspirit.com/ui/lotPage/finarte/source/catalog/auction/61725/lot/36732/view","tags":["itArt_Photography","itArt","itArt_all"],"directSalePrice":180,"soldPrice":330,"lastUpdate":"2026-07-21T21:44:41.121Z","textCase":"lower","estimate":"\u20ac300 - \u20ac500","currency":"EUR","id":36732,"estimateMin":300},{"startPrice":180,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36733/001/001.jpg"],"artist":{"it":"bruno stefani"},"available":false,"description":{"it":"vintage gelatin silver print \n cm 39,3 x 29,3 | 15.5 x 11.5 in. \n titled in pencil with photographer's credit stamp on the verso \n \n \n bruno stefani (forlì 1901 - milan 1978) moved in 1925 to milan because of the frequent clashes with the fascists, he works professionally for the publisher rizzoli and in the studios aragozzini and camuzzi but also carries out personal research close to pictorialism. the transition, among the first in italy, to leica suggests a new style close to constructivism and the bauhaus lesson that brings both in the amateur world (in 1930 founded with giuseppe cavalli, secco d'aragona, ferruccio leiss, alfredo ornano, giò ponti, emilio sommariva and federico vender the milanese photographic circle) both in the professional world, working for the tci and, with the innovative studio boggeri, for dalmine, olivetti, pirelli. his archive is deposited at the csac in parma. if in his professional work, bruno stefani was known for the innovative way with which, first using black and white and then color, he approached industrial photography, his personal research is often characterized by the attention with which he produced impeccable prints in the darkroom. the two panoramas presented here are real exercises of style because in one the attention is all focused on the spectacularity of the clouds that stand out on a sky where the shades of gray come in succession, while in the other is the white color that dominate in a composition in which branches in the foreground give the whole a theatrical depth. the care of the print should not surprise: in amateur photography was a fundamental trait and stefani put his own to show that he could achieve valuable results because in those years who used 35 mm film was looked with suspicion by those who preached the indispensability of the medium format."},"estimateMax":500,"lotNumber":"87","title":{"it":"bruno stefani (1901 - 1976) - passo di gavia - lago bianco, 1940s"},"url":"https://it.bidspirit.com/ui/lotPage/finarte/source/catalog/auction/61725/lot/36733/view","tags":["itArt_Photography","itArt","itArt_all"],"directSalePrice":180,"lastUpdate":"2026-07-21T21:44:41.123Z","textCase":"lower","estimate":"\u20ac300 - \u20ac500","currency":"EUR","id":36733,"estimateMin":300},{"startPrice":400,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36734/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36734/002/002.jpg"],"artist":{"it":"renzo tortelli"},"soldDate":"2025-06-18","available":false,"description":{"it":"vintage gelatin silver print \n cm 28,8 x 35,4 | 11.4 x 13.9 in. \n signed and dated in black ink on the image and signed and dated in black ink with photographer's credit stamp and exhibition stamps on the verso \n \n literature \n renzo tortelli. di terra e di gente, fotoclub potenza picena, 2011, p. 36 \n \n \n \n renzo tortelli (potenza picena, macerata 1926 \u2013 civitanova marche, macerata 2019) when he opened an optical store in the marche region in 1952 was influenced by suggestions from luigi crocenzi's center for the culture of photography in fermo and giuseppe cavalli's gruppo misa in senigallia. marriage to photographer edela pettinelli and frequentation with paolo monti, ferruccio ferroni and especially mario giacomelli (with whom he would make the famous 1957 and 1959 reportages in scanno) introduced him to the authorial world. he made exhibitions in italy and around the world with works that ranged from research on childhood to the documentation of the works of artists and sculptors that led him to join the intrarealism group. education as an optical expert allows renzo tortelli to make perfectly composed images, but in l'abbeverata also emerges the lesson of crocenzi, who theorized about \u201cspeaking through images\u201d when he referred to the narrative capacity of good photography. here this is evident in the comparison between the horse's drinking and its owner's affectionate attitude as well as in the choice of a refined title with an almost musical rhythm. la portatrice di legno is affected, on the other hand, by the expressive strength dear to his friend mario giacomelli (the two families also spent vacations together) in its desire to move away both from mere representation and from the temptation of mannered folklore that even the women of scanno when they wore traditional costumes could suggest. instead, tortelli, by perfectly focusing only on the hands firmly holding the fascina, tells us about work and a peasant society firmly tied to everyday reality."},"estimateMax":800,"lotNumber":"88","title":{"it":"renzo tortelli (1926 - 2019) - la portatrice di legno, 1958"},"url":"https://it.bidspirit.com/ui/lotPage/finarte/source/catalog/auction/61725/lot/36734/view","tags":["itArt_Photography","itArt","itArt_all"],"directSalePrice":400,"soldPrice":450,"lastUpdate":"2026-07-21T21:44:41.125Z","textCase":"lower","estimate":"\u20ac600 - \u20ac800","currency":"EUR","id":36734,"estimateMin":600},{"startPrice":400,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36735/001/001.jpg"],"artist":{"it":"renzo tortelli"},"available":false,"description":{"it":"gelatin silver print, printed in 1960s/1970s \n cm 37 x 27,3 | 14.2 x 10.8 in. \n titled, signed and dated in pencil with photographer's credit stamp on the verso \n \n \n renzo tortelli (potenza picena, macerata 1926 \u2013 civitanova marche, macerata 2019) when he opened an optical store in the marche region in 1952 was influenced by suggestions from luigi crocenzi's center for the culture of photography in fermo and giuseppe cavalli's gruppo misa in senigallia. marriage to photographer edela pettinelli and frequentation with paolo monti, ferruccio ferroni and especially mario giacomelli (with whom he would make the famous 1957 and 1959 reportages in scanno) introduced him to the authorial world. he made exhibitions in italy and around the world with works that ranged from research on childhood to the documentation of the works of artists and sculptors that led him to join the intrarealism group. education as an optical expert allows renzo tortelli to make perfectly composed images, but in l'abbeverata also emerges the lesson of crocenzi, who theorized about \u201cspeaking through images\u201d when he referred to the narrative capacity of good photography. here this is evident in the comparison between the horse's drinking and its owner's affectionate attitude as well as in the choice of a refined title with an almost musical rhythm. la portatrice di legno is affected, on the other hand, by the expressive strength dear to his friend mario giacomelli (the two families also spent vacations together) in its desire to move away both from mere representation and from the temptation of mannered folklore that even the women of scanno when they wore traditional costumes could suggest. instead, tortelli, by perfectly focusing only on the hands firmly holding the fascina, tells us about work and a peasant society firmly tied to everyday reality."},"estimateMax":800,"lotNumber":"89","title":{"it":"renzo tortelli (1926 - 2019) - firenze - l'abbeverata, 1955"},"url":"https://it.bidspirit.com/ui/lotPage/finarte/source/catalog/auction/61725/lot/36735/view","tags":["itArt_Photography","itArt","itArt_all"],"directSalePrice":400,"lastUpdate":"2026-07-21T21:44:41.126Z","textCase":"lower","estimate":"\u20ac600 - \u20ac800","currency":"EUR","id":36735,"estimateMin":600},{"startPrice":3000,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36736/001/001.jpg"],"artist":{"it":"oliviero toscani"},"soldDate":"2025-06-18","available":false,"description":{"it":"vintage c-print \n cm 50,3 x 61 (cm 59,5 x 46 picture) | 19.8 x 24 in. (23.4 x 18.1 in. picture) \n dedicated and signed in black ink on the white inferior recto margin framed \n \n literature \n benetton - toscani, storia di un'avventura, 1984-2000, bolis, 2002, cover \n \n \n \n oliviero toscani (cecina 1942 \u2013 livorno 2025), son of photojournalist fedele and brother of marirosa who, together with her husband aldo ballo, would found one of the most important design studios, he studied photography at the kunstgewerbeschule in zurich and began his career as an advertising photographer (algida, facis, jesus jeans) and fashion photographer (\u201celle, \u201d \u201cvogue, \u201d \u201cdonna\u201d), creating campaigns for major brands such as chanel and fiorucci before joining benetton in a historic collaboration that lasted from 1982 to 2000. with benetton, in addition to producing major advertising campaigns, he launched the magazine \u201ccolors\u201d and the creative center \u201cfabrica\u201d. he continued his work with projects that were at times provocative but always characterized by a strong social commitment, which he also brought into the political sphere by working for and with the radical party. only the naive could believe that advertising was born to inform potential customers, yet every campaign signed by oliviero toscani was hit with criticism by those who accused it of the crime of communication. it\u2019s like when people questioned benetton's sponsorship of formula 1: what do sweaters have to do with race cars? meanwhile, other cars were dressed up like cigarette packs. toscani was in his element in such controversy, because, having studied in zurich with one of the foremost experts on duchamp\u2019s work, he knew how to communicate not so much the product, but its aura. on giant billboards, he threw uncomfortable issues in the public\u2019s face and destroyed conventions. sure, a handcuffed black man is, sadly, nothing new, but what if he\u2019s cuffed to a white man? what does one think about? and while everyone was busy debating the message, few paused to notice the compositional clarity of the photographs toscani shot in his studios in milan and paris. with the same style and the same sense of social responsibility, he later launched the project \u201crazza umana\u201d: portraits of people from different social, geographical, anthropological, and aesthetic backgrounds, that his photographs revealed as mere variations of the same human species."},"estimateMax":4500,"lotNumber":"90","title":{"it":"oliviero toscani (1942) - manette, campagna pubblicitaria united colors of benetton, 1989"},"url":"https://it.bidspirit.com/ui/lotPage/finarte/source/catalog/auction/61725/lot/36736/view","tags":["itArt_Photography","itArt","itArt_all"],"directSalePrice":3000,"soldPrice":5000,"lastUpdate":"2026-07-21T21:44:41.128Z","textCase":"lower","estimate":"\u20ac3,500 - \u20ac4,500","currency":"EUR","id":36736,"estimateMin":3500},{"startPrice":700,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36737/001/001.jpg"],"artist":{"it":"oliviero toscani"},"soldDate":"2025-06-18","available":false,"description":{"it":"vintage c-print \n cm 14,6 x 11,4 | 5.7 x 4.5 in. \n signed in black ink on the verso framed \n \n literature \n oliviero toscani. lezioni di fotografia, il tempo, corriere dello sport, milan, 2018, p. 101 \n \n \n \n oliviero toscani (cecina 1942 \u2013 livorno 2025), son of photojournalist fedele and brother of marirosa who, together with her husband aldo ballo, would found one of the most important design studios, he studied photography at the kunstgewerbeschule in zurich and began his career as an advertising photographer (algida, facis, jesus jeans) and fashion photographer (\u201celle, \u201d \u201cvogue, \u201d \u201cdonna\u201d), creating campaigns for major brands such as chanel and fiorucci before joining benetton in a historic collaboration that lasted from 1982 to 2000. with benetton, in addition to producing major advertising campaigns, he launched the magazine \u201ccolors\u201d and the creative center \u201cfabrica\u201d. he continued his work with projects that were at times provocative but always characterized by a strong social commitment, which he also brought into the political sphere by working for and with the radical party. only the naive could believe that advertising was born to inform potential customers, yet every campaign signed by oliviero toscani was hit with criticism by those who accused it of the crime of communication. it\u2019s like when people questioned benetton's sponsorship of formula 1: what do sweaters have to do with race cars? meanwhile, other cars were dressed up like cigarette packs. toscani was in his element in such controversy, because, having studied in zurich with one of the foremost experts on duchamp\u2019s work, he knew how to communicate not so much the product, but its aura. on giant billboards, he threw uncomfortable issues in the public\u2019s face and destroyed conventions. sure, a handcuffed black man is, sadly, nothing new, but what if he\u2019s cuffed to a white man? what does one think about? and while everyone was busy debating the message, few paused to notice the compositional clarity of the photographs toscani shot in his studios in milan and paris. with the same style and the same sense of social responsibility, he later launched the project \u201crazza umana\u201d: portraits of people from different social, geographical, anthropological, and aesthetic backgrounds, that his photographs revealed as mere variations of the same human species."},"estimateMax":1200,"lotNumber":"91","title":{"it":"oliviero toscani (1942) - razza umana, 2006"},"url":"https://it.bidspirit.com/ui/lotPage/finarte/source/catalog/auction/61725/lot/36737/view","tags":["itArt_Photography","itArt","itArt_all"],"directSalePrice":700,"soldPrice":700,"lastUpdate":"2026-07-21T21:44:40.699Z","textCase":"lower","estimate":"\u20ac800 - \u20ac1,200","currency":"EUR","id":36737,"estimateMin":800},{"startPrice":300,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36738/001/001.jpg"],"artist":{"it":"federico vender"},"soldDate":"2025-06-18","available":false,"description":{"it":"gelatin silver print on coated paper, printed later \n cm 17,8 x 24 (cm 17 x 21,2 picture) | 7 x 9.4 in. (6.7 x 8.3 in. picture) \n signed, titled and dated in black ink with provincia autonoma di trento stamp on the verso \n \n literature \n federico vender fotografo, dragoni edizioni, brescia, 1991, cover \n \n \n \n federico vender (schio, vicenza 1901 - arco, trento 1999) joined the circolo fotografico milanese in the 1930s, of which he was director until after the war, achieving success and recognition in paris and new york. in his travels with the plaubel makina 6x9 in italy and abroad he developed his own dry, sunny style, always of the highest formal quality. in 1947 he is one of the signatories of the manifesto of the la bussola group while at the same time he is influenced by the suggestions of neorealism. he worked on fashion for ferrania to later be hired by the publishers rizzoli and delduca as a photo story photographer. vender's cultural points of reference are numerous and range from german photography of the 1920s to pictorialism with an eye turned, albeit in a non-dogmatic way, to that idea inspired by the crucian aesthetic of the accurate high key print dominated by bright tones. this is evident in the portrait of the woman with the black hat, an image so important that it appeared on the cover of the monograph \u201cfederico vender fotografo\u201d published in 1991 by the brescian editor dragoni. in the careful setting of the face that occupies the central part, finding in the dress and the hat's flaps the ideal frame, one finds the compositional features present in the top-down, diagonal shot of st. mark's square. the orderly geometries of the spaces allow the dark areas placed in the upper left and lower right to converse with the lighter central one punctuated by the stretching shadows of the walkers and those of the pigeons that look like elements of a strange punctuation."},"estimateMax":800,"lotNumber":"92","title":{"it":"federico vender (1901 - 1998) - il cappello nero, 1942"},"url":"https://it.bidspirit.com/ui/lotPage/finarte/source/catalog/auction/61725/lot/36738/view","tags":["itArt_Photography","itArt","itArt_all"],"directSalePrice":300,"soldPrice":300,"lastUpdate":"2026-07-21T21:44:40.702Z","textCase":"lower","estimate":"\u20ac500 - \u20ac800","currency":"EUR","id":36738,"estimateMin":500},{"startPrice":1100,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36739/001/001.jpg"],"artist":{"it":"federico vender"},"soldDate":"2025-06-18","available":false,"description":{"it":"vintage gelatin silver print \n cm 23,9 x 18,1 (cm 23,4 x 15,8 picture) | 9.4 x 7.1 in. (9.2 x 6.2 in. picture) \n photographer's credit stamp on the verso framed \n \n literature \n \n \n \n \n federico vender (schio, vicenza 1901 - arco, trento 1999) joined the circolo fotografico milanese in the 1930s, of which he was director until after the war, achieving success and recognition in paris and new york. in his travels with the plaubel makina 6x9 in italy and abroad he developed his own dry, sunny style, always of the highest formal quality. in 1947 he is one of the signatories of the manifesto of the la bussola group while at the same time he is influenced by the suggestions of neorealism. he worked on fashion for ferrania to later be hired by the publishers rizzoli and delduca as a photo story photographer. vender's cultural points of reference are numerous and range from german photography of the 1920s to pictorialism with an eye turned, albeit in a non-dogmatic way, to that idea inspired by the crucian aesthetic of the accurate high key print dominated by bright tones. this is evident in the portrait of the woman with the black hat, an image so important that it appeared on the cover of the monograph \u201cfederico vender fotografo\u201d published in 1991 by the brescian editor dragoni. in the careful setting of the face that occupies the central part, finding in the dress and the hat's flaps the ideal frame, one finds the compositional features present in the top-down, diagonal shot of st. mark's square. the orderly geometries of the spaces allow the dark areas placed in the upper left and lower right to converse with the lighter central one punctuated by the stretching shadows of the walkers and those of the pigeons that look like elements of a strange punctuation."},"estimateMax":1800,"lotNumber":"93","title":{"it":"federico vender (1901 - 1998) - venezia, 1950s/1960s"},"url":"https://it.bidspirit.com/ui/lotPage/finarte/source/catalog/auction/61725/lot/36739/view","tags":["itArt_Photography","itArt","itArt_all"],"directSalePrice":1100,"soldPrice":850,"lastUpdate":"2026-07-21T21:44:40.703Z","textCase":"lower","estimate":"\u20ac1,200 - \u20ac1,800","currency":"EUR","id":36739,"estimateMin":1200},{"startPrice":3800,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36740/001/001.jpg"],"artist":{"it":"paolo ventura"},"available":false,"description":{"it":"inkjet print \n cm 88 x 70 | 34.6 x 27.6 in. \n artist's proof edition 1 of 2 (from an edition of 10 + 2 ap) numbered, dated and signed in black feltpen on the verso framed \n \n literature \n p. ventura (edited by), war souvenir, contrasto, milan, 2006, cover \n \n \n \n paolo ventura (milan 1968) son of a well-known illustrator of children's books after his studies at the brera academy of fine arts worked for a long time and successfully as a fashion photographer, but when he moved to brooklyn, he discovered a new and original vocation that enhanced his manual skills. he builds, and then takes photographs of them, dioramas where he evokes atmospheres by creating costumes, scenes, objects, and details with meticulous philological precision. he moves from historical situations (the 1940s) to fantasy subjects where circus characters and puppets appear or imaginative settings where he and his family members appear. he then combines painting and collage with a masterful use of digital. appearing on the cover of the volume \u201cin tempo di guerra\u201d published by contrasto in 2006, this photograph illustrates very well the photographer's work, which starts from a careful study of every detail: the heavy clothes worn during the war in winter by the protagonists, the bicycle in the foreground, the posters a bit torn that cover the wall, the theatrical gesture of the couple in love. making everything even more realistic is the study of lights that here wraps the scene as livid as the times that are recounted here. there was a time when traveling photographers went around with their scenes proposing to potential clients to be filmed in unusual situations such as this one in which a young man pretends to drive an unusual airplane. this is a tribute to those ingenuous enactments, but also a reminder of the potential falsity of which photography is capable. indeed, michele smargiassi used this image for the cover of his essay \u201cun\u2019autentica bugia. la fotografia, il vero, il falso\u201d."},"estimateMax":5500,"lotNumber":"94","title":{"it":"paolo ventura (1968) - war souvenir #9, 2007"},"url":"https://it.bidspirit.com/ui/lotPage/finarte/source/catalog/auction/61725/lot/36740/view","tags":["itArt_Photography","itArt","itArt_all"],"directSalePrice":3800,"lastUpdate":"2026-07-21T21:44:40.705Z","textCase":"lower","estimate":"\u20ac4,500 - \u20ac5,500","currency":"EUR","id":36740,"estimateMin":4500},{"startPrice":4500,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36741/001/001.jpg"],"artist":{"it":"paolo ventura"},"available":false,"description":{"it":"inkjet print mounted on aluminium \n cm 75 x 95,5 | 29.5 x 37.5 in. \n artist's proof edition 2 of 2 signed in black felt-pen on the verso framed \n \n literature \n p. ventura, winter stories, contrasto, milan, 2009, p. 31 \n \n \n work accompanied by certificate of authenticity released by the photographer \n \n \n \n paolo ventura (milan 1968) son of a well-known illustrator of children's books after his studies at the brera academy of fine arts worked for a long time and successfully as a fashion photographer, but when he moved to brooklyn, he discovered a new and original vocation that enhanced his manual skills. he builds, and then takes photographs of them, dioramas where he evokes atmospheres by creating costumes, scenes, objects, and details with meticulous philological precision. he moves from historical situations (the 1940s) to fantasy subjects where circus characters and puppets appear or imaginative settings where he and his family members appear. he then combines painting and collage with a masterful use of digital. appearing on the cover of the volume \u201cin tempo di guerra\u201d published by contrasto in 2006, this photograph illustrates very well the photographer's work, which starts from a careful study of every detail: the heavy clothes worn during the war in winter by the protagonists, the bicycle in the foreground, the posters a bit torn that cover the wall, the theatrical gesture of the couple in love. making everything even more realistic is the study of lights that here wraps the scene as livid as the times that are recounted here. there was a time when traveling photographers went around with their scenes proposing to potential clients to be filmed in unusual situations such as this one in which a young man pretends to drive an unusual airplane. this is a tribute to those ingenuous enactments, but also a reminder of the potential falsity of which photography is capable. indeed, michele smargiassi used this image for the cover of his essay \u201cun\u2019autentica bugia. la fotografia, il vero, il falso\u201d."},"estimateMax":8000,"lotNumber":"95","title":{"it":"paolo ventura (1968) - 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1998) investigated in the most different fields with a style inspired by the bauhaus lesson. in painting, he was an important exponent of abstractionism (he signed its first italian manifesto and joined the parisian group abstraction-création) and, from 1949, of mac art. since the 1920s, he worked as a textile designer (often in paris where he was a proud anti-fascist) and as a graphic designer for magazines such as poligono, campo grafico, casabella and ferrania. research also saw him as a protagonist in the field of photography: like man ray and moholy-nagy, he developed the photogram technique; in 1947 he signed the \u2018manifesto della bussola\u2019 in milan and in 1950 he joined the unione fotografica. his interventions in the theatre field and the research he carried out with malipiero on visual music are excellent. in luigi veronesi's photography the elements of his job as a bold and visionary graphic designer are mixed in an explicit way. in la ballerina all this is very evident: it was made in 1950 when in the past three years the great adventure of \u201cferrania\u201d has started, the magazine of which he is a graphic designer, and which is conceptually close to the photographic group la bussola of which he is a member. the skill with which he proposes the collage of the figure in silhouette in different shades, sizes and orientations gives this image a lightness and gracefulness underlined by the lines crossing the background obtained with a pseudosolarization intervention of which veronesi is a master. the 1972 fotogramma is a fine example of his use of color but also of his search for geometric elements that allow him to achieve abstract-like results using relatively simple tools (he used a simple, cheap russian zenit slr with helios lens and operated in his painter's studio) but with extraordinary creativity."},"estimateMax":2500,"lotNumber":"96","title":{"it":"luigi veronesi (1908 - 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(59.1 x 74.8 in. picture) \n label agence regionale du patrimoine paca on the verso \n \n exhibitions \n monuments et paysages, chartreuse, de villeneuve-lez-avignon, 2009 monumenti e paesaggi, il filatorio, cesac, caraglio, cuneo, 2007 \n \n \n \n massimo vitali (como 1944) finished high school and studied photography in london at the london college of printing and devoted himself to reportage working with european agencies and especially with simon guttmann's report. disappointed by the expectations placed on concerned photography, in the 1980s he worked as a director of photography in television and cinema and then returned to photography this time with a more creative attitude. he thus invented in 1994, with the only view camera that the robbers of his equipment left him, a new project that led him to photograph from above the tuscan beaches crowded with bathers, thanks to which he obtained among gallery owners and collectors a great international success. to understand these photographs, it is necessary to reconstruct one of the most unique sets ever imagined. vitali shoots with his 20x25 view camera from a very tall tripod placed in one case facing the beach and in the other, holding it at the edge and making the sea the centre of attention. however, he is not interested in the landscape but in those who live in it: he himself declared, after returning from abroad and settling in lucca, that he wanted to understand with his pictures who were the italians in that historical phase characterized by berlusconi's electoral victory. even if realized with other technical and expressive media, this work evokes the reportage spirit but veers it to the anthropological: instead of approaching the subjects to create a story, he keeps them at a proper distance and immobilizes their stories in a single image; instead of sharing their experience, he observes their dynamics with the gaze of an entomologist. the highly accurate and precious prints where colors take on delicate shades and the great depth of field, which brings all planes into focus, allow the viewer to follow the details of the scenes: as in the paintings of bruegel the elder, the individual's postures make us imagine stories, and the details (the towels on the sand, the parked bicycles, the flags moved by the wind, the curious elegance of the trash cans) fill the scene in an admirable balance."},"estimateMax":30000,"lotNumber":"98","title":{"it":"massimo vitali (1944) - negresco mare , 2005"},"url":"https://it.bidspirit.com/ui/lotPage/finarte/source/catalog/auction/61725/lot/36744/view","tags":["itArt_Photography","itArt","itArt_all"],"directSalePrice":17000,"lastUpdate":"2026-07-21T21:44:40.711Z","textCase":"lower","estimate":"\u20ac20,000 - \u20ac30,000","currency":"EUR","id":36744,"estimateMin":20000},{"startPrice":4500,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36745/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36745/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/finarte/cloned-images/36745/003/003.jpg"],"artist":{"it":"massimo vitali"},"available":false,"description":{"it":"c-print mounted on aluminium \n cm 88,5 x 109 (cm 64 x 84,5 picture) | 34.8 x 42.9 in. 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