City photography becomes truly captivating when it allows for comparisons between different eras and the varied styles of photographers who have captured these urban landscapes. Let’s start with Venice, a city that, due to its overwhelming popularity, has nearly exhausted its image. Among the earliest documenters of Venice was Carlo Naya (lots 260, 261, 262, 263, 264), whose collection here includes a striking panoramic view from the top of the Campanile di San Marco, a classic shot of the Ponte dei Sospiri, and a unique image of the Basilica di San Marco with the Torre dell’Orologio, initially captured in albumen and later hand-coloured. 

Fast forward to the 1940s, and we find a completely different perspective in the work of Osvaldo Bohm (lots 27, 28, 29, 30), who photographed a Venice we might not recognize today, preserving its ancient daily life.

Finally, we move to the 1960s with Fulvio Roiter (lots 294, 295, 296), whose black-and-white images present Venice without any romanticized sentimentality, followed by a later series from the 1980s showing the Carnival and its masks before they became a commercialized spectacle. 

A similar approach can be applied to Rome. We begin with two 19th-century images: Luigi Sacchi’s (lot 306) view of the Palazzo della Cancelleria, described as “fotografo e luci rafo” for his meticulous composition, and Robert Macpherson’s (lot 227) depiction of the Fontana di Trevi. These are contrasted with William Klein’s (lot 195) bold take on Rome, presented in his book Roma, showcasing a city transformed by modern sensibilities. 

Paris, a city marked by the legacy of countless photographers, features two unusual images by André Kertèsz (lot 191, 192) that offer a fresh view of the city. Milan, on the other hand, is more extensively covered: from Bruno Stefani’s (lot 330) meticulously composed images to Angelo Mereu’s (lotto 235) focus on intricate details, and finally to Maurizio Galimberti’s (lots 124, 125, 128) modern, dynamic style. 

For a daring comparison, we turn to London, where Francis Frith’s (lot 121) 1860 documentation of the construction of the Crystal Palace showcases a marvel that fascinated the public of its time. In contrast, we see Marco Zanta’s (lots 378, 379) 2011 photographs of Shanghai, a city punctuated by skyscrapers that, in today’s world, no longer evoke the same sense of wonder. 

Article by Roberto Mutti

The grandeur of nature is most striking when humanity, having conquered the feat of scaling mountains, takes on the equally formidable challenge of capturing them through the lens. This spirit is epitomized by Vittorio Sella (lot 318), whose life was shaped by his dual passions for mountaineering and photography. Sella was a pioneer, credited with defining the concept of photo-alpinism as he traversed remote mountain ranges across Asia and Africa. The early 20th century presented significant challenges: cumbersome view cameras and fragile glass plate negatives were the tools of his trade. Yet, despite these limitations, Sella managed to convey the breathtaking spectacle of the natural world, as exemplified by the image presented here of the waterfall in Val Formazza.

In the 1930s, many photographers followed in Sella’s footsteps, inspired by his achievements and his ability to capture the majesty of the high mountains. Cesare Giulio (lots 158, 159), a Torinese and active member of the C.A.I. (Italian Alpine Club), founded the Fotogruppo Alpino, with his work featured in the esteemed magazine Luci e Ombre. Alessio Nebbia (lots 265, 266), originally from Asti and well-known in Courmayeur for establishing the Bottega d’Arte Alpina, where he sold his work, was another notable figure. Giacinto Oriani (lot 270), from Novara, also made significant contributions to the field, alongside Swiss photographers such as Lorenzo Steineman (lot 333), Andreas Pedrett (lot 278), and Albert Steiner (lot 334). Steiner, in particular, distinguished himself with a level of mastery and artistic insight that set his work apart and remains impressive to this day.

Two Italian photographers of particular note for collectors are Domenico Riccardo Peretti Griva (lots 279–283) and Riccardo Moncalvo (lots 237–246). Peretti Griva, a true master of pictorialism, is renowned for his exquisite bromoil prints. Meanwhile, Moncalvo’s works showcased here provide a glimpse into his expansive and versatile vision.

View Complete Catalogue https://www.finarte.it/asta/fotografia-under-1k-milano-2024-12-18?lang=en

Questo articolo è stato originariamente pubblicato il 4/12/2024 sul sito del Circolo Canottieri Roma

Tenutasi il 3 dicembre 2024, presso il Circolo Canottieri Roma la presentazione ufficiale della nuova partnership: un incontro di grande spessore culturale che ha visto la partecipazione di numerosi soci.

Dopo i saluti del Presidente Vitale la serata è stata condotta dall’Amministratore Delegato di Finarte, il dott. Alessandro Guerrini, il quale ha illustrato il contenuto di questa collaborazione, evidenziando l’opportunità per i soci di accedere a servizi esclusivi di consulenza gratuita sul proprio patrimonio artistico, con valutazione, per gioielli, quadri d’autore, orologi, armi storiche edaltri oggetti preziosi. Durante la presentazione, Guerrini ha sottolineato la flessibilità del mercato dell’arte e del loro lavoro: non è necessario essere collezionisti di opere da cifre milionarie per approfittare della consulenza e vendere o acquistare oggetti preziosi a cifre accessibili.

Durante la serata sono intervenuti: Dott. Matteo Gardonio, responsabile del Dipartimento di Arte Figurativa tra XIX e XX secolo, Dott.ssa Georgia Bava, responsabile del Dipartimento di Arte Moderna e Contemporanea, Dott. Alessio Coccioli, responsabile del Dipartimento di Orologi.

Ogni intervento ha approfondito il valore culturale e storico delle opere e dei beni presentati, trasmettendo ai presenti la passione e l’esperienza che contraddistinguono il team di Finarte.

La serata è stata impreziosita dalla presentazione di alcune opere d’arte, grafica, dipinto, orologi, che andranno in asta la prossima settimana, quale simbolo del livello d’eccellenza offerto dalla casa d’aste:

• Joan Mirò, Le Vent Parmi les Roseaux (1971), acquaforte e acquatinta a colori, stima € 2.000-3.000.

• Gustave Courbet, Rochers d’Ornans, olio su tela, stima € 50.000-70.000.

• Vacheron Constantin, Cioccolatone 4737, anni ’50, base d’asta € 12.000.

• Rolex, modello 1897, anni ’30, base d’asta € 20.000.

• Cartier, Gondole Jumbo 97051, anni ’70, base d’asta € 8.000.

Oltre alla consulenza gratuita offerta a tutti i soci, i più interessati potranno accedere all’appena creato Club Amici di Finarte, esclusivamente a favore del Circolo Canottieri Roma, e che prevederà un ancora più intenso rapporto di informazione e valutazione, attraverso un questionario che sarà distribuito nei prossimi giorni. L’accordo con Finarte avrà una durata triennale.

La partnership è un’occasione per avvicinare i soci al mondo dell’arte e del collezionismo, non solo come passione, ma anche come forma di investimento e valorizzazione del proprio patrimonio personale.

If the Women Artists Market Report compiled by Artsy indicates that only 25% of works by women photographers are sold at auction in 2023, it is equally true that interest in their works at Finarte’s recent sale on October 15th far exceeded this percentage. The auction room in Milan recorded nearly complete sales, generating numerous bids.

The star of the sale was American photographer Cindy Sherman, whose widely published work Untitled #119 (1983) sold for €35,370, making it the top lot of the auction. This work secured second place on the Italian record podium, tying with another piece. If we set aside auction results from 2011 and 2017, which may now be less relevant, this achievement is particularly noteworthy.

An excellent result was also seen for Francesca Woodman, an American photographer with a deep connection to Italy, especially Rome. Her work Untitled (1979/1980)—a print made by Igor Bakht, signed and numbered by Betty and George Woodman—was highly sought after, selling for €16,470 against an estimate of €4,000-6,000, thus breaking the record for the sale of one of her works in Italy.

Also featured was Margaret Bourke-White, the first woman photographer for Life magazine and a pioneer of photojournalism. Her works are rare on the Italian market, with only 21 sold since 2001. Her silver salt gelatin print Political Rally in Small German Town (1938), a slightly later print from the 1940s/1950s, was offered and sold for €2,070.

Shirin Neshat, an Iranian artist and photographer popular in the United States, continued to attract attention at Finarte auctions. Her unique C-print, Game of Desire – Solo #1 (2008), sold for €9,540.

Vanessa Beecroft, an Italian photographer with a significant international following, was auctioned with a smaller piece (Schipper and Krome, 1994/2000) that sold for €5,640.

Italian photographer Silvia Camporesi, despite her relatively young age (born 1973) and career, has been active in the auction market since 2008. Her work Orologio (Ficarolo) (2014) confirmed its estimate, selling for €1,680.

In this sale, Berenice Abbott and Beth Moon were less fortunate, while two small works from 1995 by Milanese artist Alessandra Spranzi found new buyers, each selling for €774.

Purchased in Paris in 1904 by Pietro Romanelli, the painting then passed to the art dealer Bruno Lorenzelli, who was the first to correctly attribute it to the hand of the Master of Ornans. After various moves, it came to the Finazzi heirs, where Jean-Jacques Fernier examined it for the first time in 2011.

‘The artwork represents,’ Fernier himself writes, ’a stream between two cliffs, with the more distant one illuminated by the sun’s rays under a blue sky, while the foreground is in shadow.’ This recurring theme in Courbet’s 1970s works, strikes Fernier as the glow of the last Jura landscapes, a final impression of his beloved native landscape.

The uniqueness of ‘Rochers d’Ornans’ lies in a diagonal that divides the painting: on one side the shadow that envelops the material and on the other the light that highlights a chromatic range of red, blue, violet and green.

By capturing nature without filters, Courbet confirmed himself as a genius of realism and a leading figure capable of influencing 20th century artists such as Morandi and Morlotti. His assimilation of the great Flemish painters and the light-shadow contrast of the 17th century intertwined with the young Impressionists who worshipped him.

You will find this fantastic painting at auction on 11 December in Milan within the catalogue Figurative Art between the 19th and 20th century

In search of an American publisher for the book he wanted to create about New York, William Klein received responses from all his editorial contacts that they did not relate to his grainy photographs, shots filled with reflections, dazzling lights, and overly shiny car bodies. Some even told him his images were trash, though that wasn’t exactly the term used. Thus, one of the finest books about the city was published with the original title “New York. Life is good and good for you in New York” (today, they might say that such a title would make the book unsellable…) in Europe.

Richard Avedon, on the other hand, had a much smoother experience. At thirty-six, for his first book, Observations, he benefited from texts by Truman Capote and, most importantly, the extraordinary graphic design by Alexey Brodovitch, his mentor at Harper’s Bazaar. The volume featured full-page portraits of key figures in the cultural and artistic world, adorned with the classic Bodoni typeface cherished by the Russian-born graphic designer and art director. 

That the United States has always been a privileged place for photography is well-known, and this is highlighted by some of the images presented here, taken by authors who have observed America (as the US is commonly called) both from within, through the eyes of someone like Aaron Siskind with an artistic vision, and through the lens of European culture.

This includes the Italian American Ron Galella, who, as the only non-Italian member of the heterogeneous group of “paparazzi,” uses New York as if it were Via Veneto for his candid portraits. Then there’s Riccardo Moncalvo and later Maurizio Galimberti, who chase the allure of a seductive city. Finally, Olivo Barbieri plays with the vast spaces that characterize the country.

Text by Roberto Mutti

View full catalogue of the Photographs auction to be held October 15th in Milan

Diana Dalziel Vreeland’s Story
Born in 1903 in Paris from an American mother and a British father, Diana Dalziel Vreeland inherited the typical high society charm and cosmopolitanism of the time. She wasn’t just a simple editor, yet one of the most influential figures of the 20th century, who was able to shape fashion through an unparalleled energy and unique vision.

After moving to the United States at the end of World War I, the Dalziel family quickly established themselves in elite circles. In 1924, Diana married Thomas Reed Vreeland, and the couple settled in London, where she opened a ladies’ boutique that attracted high-profile clients, including Wallis Simpson, the future Duchess of Windsor. During this time, Diana frequently traveled to Paris, forging connections with fashion icons like Coco Chanel and her jeweler friend Suzanne Belperron in 1926. By 1937, Diana returned to New York, where she began her successful career as an editor for Harper’s Bazaar, the renowned fashion magazine, where she took care of the column Why Don’t You…? that suggested daring and eccentric fashion ideas. In 1965, she was celebrated in the Hall of Fame as one of the world’s most elegant women. From 1962 to 1972, she led Vogue America as editor-in-chief, where her visionary influence on frashion didn’t go unnoticed. Her famous motto, “ugly is boring,” perfectly described her attitude towards life and creativity.

The Cup
During the wedding celebration in 1924, the Vreelands received a commissioned sterling silver centerpiece from Tiffany & Co. as a wedding gift.

The cup is a stunning example of elegance and craftsmanship, featuring a circular base, an engraved crest, and essential lines. It also shows an inscription celebrating the union of the couple: “DIANA DALZIEL – THOMAS REED VREELAND – MARCH 1 1924.” On the back, the crest of Scroll & Key, the prestigious secret society of Yale University to which Thomas Reed Vreeland belonged. The “Scroll & Key” is accompanied by the initials “C.S.P.” and “C.C.J.,” acronyms adopted by the fraternity.

Engraved around the base of the cup are fifteen crests in high relief, bearing the names of members of the Vreeland delegation of Scroll & Key. Prominent among the names are those of personalities who would achieve extraordinary success, such as Godfrey Stillman Rockefeller and Charles Shipman Payson.

Founded in 1842, the Scroll & Key society was famous thanks to its intellectual and literary spirit, selecting fifteen members of the junior class each year to lead the fraternity. The centerpiece cup is in fact a symbol of a union between two distinguished families and a connection to one of America’s most exclusive academic institutions. Tiffany & Co. has created a tribute that combines art, history and tradition.

View the full Antique and 20th Century Silver Auction Catalogue

Cover image: Photograph of Exhibit Developer Diana Vreeland Giving First Lady Betty Ford a Tour of the “American Women of Style” Exhibit at the Metropolitan Museum of Art – Courtesy Gerald R. Ford Presidential Library

Ma l’Italia è davvero quello che convenzionalmente viene ancora chiamato il Bel Paese con buona pace dell’abate Stoppani e di Petrarca? Se lo è chiesto Luigi Ghirri nel 1984 progettando quella mostra corredata da un bel libro-catalogo diventata poi famosa proprio perché già nel titolo “Viaggio in Italia” promuoveva una visione diversa e contemporanea del paesaggio nostrano. Per questa e altre ragioni possiamo qui fare il punto con una riflessione che indaga sui luoghi più significativi che hanno caratterizzato la visione fotografica sull’Italia.  

Ci sono città, e Venezia è una di quelle, che hanno stabilito con la fotografia un rapporto stretto e profondo. Si è arrivati al punto che alcune immagini sono diventate delle vere e proprie icone di quel luogo magico e unico. Questo ha riguardato autori locali come Fulvio Roiter (di cui qui si propongono alcune immagini a colori da lui stesso particolarmente amate – Lotto 11, 12 e 13) come anche altri che qui, pur non essendoci nati, sono stati a lungo di casa come Gianni Berengo Gardin e Paolo Monti (Lotto 17). Ma Venezia ha coinvolto anche fotografi come il paesaggista Michael Kenna (Lotto 16) e Franco Fontana, che l’ha a lungo frequentata realizzando sempre immagini non convenzionali e soffermandosi sugli aspetti più innovativi offerti dalla città (Lotto 18).  

Alla silenziosa eleganza di Riccardo Moncalvo, Milano contrappone la sua austerità (Lotto 9). I fotografi, infatti, l’hanno sempre vista come lo spazio dove vivere la quotidianità di strade e scalinate colte da Luigi Ghirri (Lotto 5) e Riccardo Moncalvo stesso, ma anche dove sono ben presenti i segni di quella industriale che Gabriele Basilico, in una indagine ormai diventata famosissima, ha interpretato in “Ritratti di fabbriche”. Il leggendario dinamismo cittadino lo si ritrova perfino in una piazza del Duomo che ora si fa spettacolare nella ripresa della Galleria realizzata da Ugo Mulas (Lotto 8), ora sorprendente nella fila di passanti che cammina rapida sfidando l’ostacolo della Grande Nevicata del 1985 in una piacevolissima ripresa di Virgilio Carnisio (Lotto 7). 

Alla bellezza ben esibita di Roma – Luigi Ghirri (Lotto 25) la sottolinea nei Castelli, Mario De Biasi la trova nelle architetture del centro – alle suggestive contraddizioni di Napoli dove possono convivere il ragazzino seduto per strada ripreso da Mario De Biasi (Lotto 27) e le splendide sculture cui Mimmo Jodice ha conferito una fortissima vitalità (Lotto 30).

Al di là delle città, ci sono in Italia spazi regionali che sono stati oggetto di attente osservazioni che li hanno resi famosi in tutto il mondo. L’Emilia per la sua immagine ha così potuto contare su grandi fotografi, da Franco Fontana a Luigi Ghirri (Lotto 21), ma anche su Gianni Berengo Gardin che nel 1975 ritornò a Luzzara per riprendere il filo del discorso iniziato vent’anni prima da Paul Strand che quel luogo aveva trasformato nel simbolo della vitalità che animava i paesi di quell’area della Pianura Padana (Lotto 126). Il fotografo americano e quello italiano erano stati accompagnati da Cesare Zavattini e dall’editrice Einaudi che nel 1955 aveva pubblicato “Un paese” e nel 1975 “Un paese vent’anni dopo”.

Basta scendere di pochi km e ci si ritrova nelle Marche dove i segni della visione di Mario Giacomelli sono così forti da fare specchio: chi conosce le opere del fotografo di Senigallia le ritrova in quei paesaggi collinari, chi ha confidenza solo con questi ultimi si sorprende di come si sono trasporti in queste intense immagini.

Altra grande terra di fotografi è la Sicilia: se chi la visita ne coglie i cromatismi abbaglianti come ha fatto un grande maestro del colore come Franco Fontana (Lotto 33 e 34), chi la conosce per esserci vissuto come Enzo Sellerio e Ferdinando Scianna preferisce i toni smorzati di un bianco e nero classico. 

di Roberto Mutti

Scopri il catalogo completo dell’Asta di Fotografia che si terrà a Milano il 15 ottobre