SENIGALLIA 7/12/2019

PHOTOGRAPHIC AUCTION ASTA DI FOTOGRAFIA SENIGALLIA Auditorium, Palazzetto Baviera Piazza del Duca Saturday Dec 7, 2019, 3 pm Sabato 7 dicembre 2019, ore 15.00 Viewing / Mostra pubblica : 2/12 - 6/12 10.00-13.00 & 16.00-19.00 7/12 ore 10.00-13.00 Auctionner / Battitore : Raphaël Chicheportiche Expert / Perizia : Serge Plantureux Online auction / Asta a distanza : https://www.drouotonline.com/ventes/102455

Cover: Lot 147 Selfportrait Edmond Lambrichs (1830-1887) Brussels, 1870

CONSIGNED IT

Auction design: Ordine del catalogo: THE FIRST 75 YEARS I PRIMI 75 ANNI 1839-1914 — lots 1-41 THE SHORT 20TH CENTURY IL BREVE 20° SECOLO 1914-1989 — lots 43-99 MADE IN SENIGALLIA, LOCAL ART SENIGALLIA CITTÀ DELLA FOTOGRAFIA — lots 101-122 DIGITAL AGE SENIGALLIA OGGI — lots 123-133

THE FIRST 75 YEARS OF PHOTOGRAPHY

I PRIMI 75 ANNI 1839-1914 Philibert Perraud American Daguerreotypists Senter B. Giddings Eugène Oulif French Ambrotypist Alexis Gouin (attr.) Deroche & Heyland Edmond Lambrichs Wilhelm von Glœden Adriano de Bonis Francis Bedford Roger Fenton Hervé & Perrier Achille Maiuri Charles Nègre Francesco Rocchini Philippe d’Orléans Achille Gianny Lai Fong Theophile Piry Arnold Genthe

1 Portrait of Angelo M. Philibert Perraud (1815-1863) probably Rome, 6 August 1845 Quarter-plate daguerreotype, signed in point on the plate, lower left angle, caption and date on paper label, verso. In the famous Summer days of 1839 when the proclamation of the invention of the daguerreotype or heliography* was made by Arago and the first photographic workshop ever took place in Paris, among the public was Philibert Perraud who became an enthusiastic disciple and soon a missionary in Italy. In Rome, Perraud photographed French, Scandinavian and German artists, in Northern Italy, he photographed prominent characters such as Angelo. (Gabriella Bologna and Ken Jacobson, The Itinerant

Daguerreotypist, A Case Study in Pre-Unified

Northern Italy, 2012).

800/1000 euros

*Since 1839 - 180 years from now - supporters of

Daguerre and supporters of Niepce argue on every

single step of the invention. In the first ten or twelve

years, supporters of Niepce refused to spell the odious

name of Daguerre and favorished heliography -

traced with the sun, as in Société Héliographique,

Mission Héliographique, etc... until, in 1852,

everybody agreed on the word photography.

The drypoint signature located in the embroidery pattern of the tablecloth, visible only in low light. La firma a puntasecca si trova nel motivo di ricamo della tovaglia.

What Who ? Where, When Why ? and Which ? How ? Whose ? Provenance : 00 euros1

The Love Letter American daguerreotypist, c. 1855 Sixth plate daguerreotype (selfportrait ?), 82x67 mm, Shakespearean message on the case behind the plate, pencil: “With unbounded pleasure do I gratify you, my

dear Adaline, in presenting you this as it is, when

you gaze upon it think of me that loves you and no

other, tis but a picture you now possess tis true, but

some future day, I will give you myself, Fred S. K.”

"Con infinito piacere ti compiaccio, mia cara

Adelina, nel presentarti questo per come è, quando lo

guardi pensa a me che ti amo e a nessun altra, è

un'immagine che ora possiedi, ma un giorno ti darò

me stesso, Fred S. K.” 600/800 euros

2

3 Isaac J. Warner with children American daguerreotypist, circa 1856 Quarter plate daguerreotype, 80x108 mm, dazzle star case (Nolan #13) Was the photographer the absent mother ? Provenance: Daguerreian Society Benefit auction 300/400 euros

Mother, Three Sons & One Daughter American daguerreotypist, circa 1855 Half plate daguerreotype, 140x108 mm 400/500 euros

4

5 5 Seven Members Family American daguerreotypist, circa 1855 Quarter plate daguerreotype, 80x108 mm 200/300 euros

Frank, Mary-Elizabeth, Hanna, Callie & Charles Trickey American daguerreotypist, circa 1856 Half plate daguerreotype, 108x140 mm, original case, a paper note found inside the case indicated the provenance : Elmar Trickey Boyd (1873-1942). The artist may have been a story-teller. 300/400 euros

6

Alexander McWhorter Bruen with Augusta Senter B. Giddings (1834-1880), New York, June 1852 Half plate daguerreotype, 138x108 mm, dated, signed in the case, with date and studio address : “179 Broadway, New York, 1st June 1852”. 1200/1500 euros

7

Boy with a Chimera American daguerreotypist, c. 1852 Ninth plate daguerreotype, 64x48 mm, case pattern Nolan #754. His toy is a chimera, with parts of zebra, hippopotamus and rhinoceros. 400/500 euros

8

9 Hiawatha Club Founding Members Wilheim (attr.), Columbia, Pennsylvania, 1856 Dag of dags orquarter plate daguerreotype reproducing ten daguerreian portraits of the founding members. The name of tht sport club may refer to the Hiawatha Island on the Susquehanna River, North of Columbia. 500/600 euros

The Twins on a Table Eugène Casimir Volmerange-Oulif (1804-1862) Metz, circa 1856 Collodion on glass dry plate negative, 13x10 cm Oulif, an artist from Metz, one of the very first photographers to practice daguerreotypy in France, as early as 1839, invented and developed a dry plate process in the mid 1850s - without licensing his invention. Provenance : collection Gimmon. 400/500 euros

10

11 Famille Montgolfier French Ambrotypist, Paris, c. 1856 Very large ambrotypes, 28x21 et 30x24 cm, in original oval “poirier noirci” frames, circa 40x34 cm. Provenance : Famille Montgolfier. Note : these oversized French ambrotypes deserves special shipment. (2) 1200/1500 euros

The Reader with a Friend Attr. a Alexis Gouin, Paris, c. 1858 Albumen print on stereo card, original mute mount, provenance: an old erotic collection, Vienna 300/400 euros

12

13 Temptation of a Monk Hippol. Deroche & Fr. Heyland Milan, 1863 Albumen silver print, 210x130, blind stamp 300/400 euros

Close Distance Selfportrait Edmond Lambrichs (1830-1887) Brussels, 1870 Vintage albumen silver print, 23.5x20 cm, on paper mount A very early selfie by a Belgian friend of Charles Baudelaire. Provenance : Eugénie Beauvois. 2000/3000 euros

14

Nude Studies Edmond Lambrichs (1830-1887) Brussels, c. 1868 Two albumen silver prints, 10x5.5, 10x5.5 cm, on paper mounts The artist learned photography in his family, his siter was married to Charles Neyt () who made the famous portraits of Baudelaire with a cigar, Brussels, 1864. Provenance : Eugénie Beauvois. (2) 800/1000 euros

15

Mother with Child, c. 1868 Edmond Lambrichs (1830-1887) Bruxelles, c. 1868 Vintage albumen silver print, 17.5x13.5 cm, on paper mount Provenance : Eugénie Beauvois. 400/500 euros

16

17 Extended Hand Study Edmond Lambrichs (1830-1887) Bruxelles, c. 1868 Vintage albumen silver print, 8.5x10.5 cm, on paper mount. Probably the left hand of the model photographed in n°19. Provenance : Eugénie Beauvois. 400/500 euros

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

18

Beggar with Child, second study Edmond Lambrichs (1830-1887) Bruxelles, c. 1868 Vintage albumen silver print, 14x11 cm, small paper loss (left). The child moved, the photographer kept the negative. Provenance : Eugénie Beauvois. 200/300 euros

19

Study for L'Offerta (The Offering) Wilhelm Freiherr von Gloeden (1856-1931) Taormina, 1902 Vintage albumen silver print, 22.4 x 16.8 cm, on mount 1500/1800 euros

20

21

21 Boy Playing Flute, with Dog Nedda Wilhelm Freiherr von Gloeden (1856-1931) Taormina, c. 1897 Vintage albumen silver print, 22.4 x 16.8 cm, on mount 1500/1800 euros

Arch of Dolabella, Piazza Celimontana Francesco Adriano De Bonis (1820–1884) Rome, c. 1862 Albumen silver print from collodion glass negative, 24.5x19.5 cm, small artist monogram on the print, caption, pencil on mount: “Arch of Dolla

Bella”. 300/400 euros

22

Capitoline Hill Egyptian Lions Francesco Adriano De Bonis (1820–1884) Rome, c. 1862 Albumen silver print from collodion glass negative, 20x25.5 cm, small artist monogram on the print, some foxing, caption, pencil on mount: “Bottom of Capitol Steps”. Cordonata Capitolina. 300/400 euros

23

23

North Porch and Transept, Wells Cathedral Francis Bedford (1816-1894) London, Frith, 1865 Albumen print by Francis Frith, circa 1865, from a 1860 negative, 21x17 cm, title on mount. Francis Bedford deposited two thousand of his negatives with the Francis Frith Company. 400/500 euros

24

River Wharfe, Bolton Abbey Bridge Roger Fenton (1819-1869) London, Frith, 1862 Albumen print by Francis Frith, circa 1862 from a Fenton negative 1854, 16.5x20.7 cm, printed title and credit on mount strong tonality. Francis Frith bought the bulk of Fenton's negatives at the 1862 sale of his photographic equipment and stock. 600/800 euros

25

Place Vendôme after the Commune Lucien Hervé & Charles Périer (attr.) Paris, June 1871 Collodion on glass negative, 21x27 cm, numbered “13” in lower left angle 400/500 euros

26

27 Ruins after the Commune Lucien Hervé & Charles Périer (attr.) Paris, June 1871 Collodion on glass negative, 27x21 cm, numbered “37” in lower left angle 400/500 euros

Saint-Cloud après l’assaut des Versaillais Lucien Hervé (1819-1894) Paris-Saint-Cloud, Mai 1871 Albumen silver print, 26x20 cm, red signature stamp. The original collodion on glass negative in the SFP collections (online sfp.asso.fr). 400/500 euros

28

Barricade des Fédérés à la Concorde attr. à Lucien Hervé (1819-1894) Paris, Mai 1871 Two albumen silver prints, 21x27 cm, printed labels on mount The Barricade was buit by Gaillard père. (2) 800/1000 euros

What Who ? Where, When Why ? and Which ? How ? Whose ? Provenance : 00 euros

29

Italian Cast-iron Architecture, Album Alfred Cottrau Achille Maiuri & Alfredo Cottrau (1839-1898) Naples c. 1878 In-folio, original gilded leather binding, 72 small albumen prints mounted by 4 on 18 + 1 leaves, dedication by Cottrau on frontispice. The Italian Industrial Construction Company was directed by the engineer Alfredo Cottrau. The Studio fotografico Achille Maiuri was commissioned to document the construction in Unified Italy of cast-iron architecture, bridges and railway stations. Alfredo Cottrau was a talented and creative engineer, Gustave Eiffel adopted his ideas of instantaneous military bridge “Ponti istantanei”. 1200/1500 euros

30

Port d’Antibes, Midi de la France series Charles Negre (1813-1889) Antibes, c. 1863 Collodion on glass negative, 18x24 cm In 1861 Nègre retired to Nice, where he made views and portraits for holiday makers, working on a personnal project he could never achieve: "Le Midi de la France, Nice, Menton, Antibes, Cannes, Grasse, Hyeres, Frejus,

Toulon, Marseille, Arles, Sites pittoresques. Monuments historiques. Recueil de

Photographies". 1000/1200 euros

31

Panorama of Lisbon and the Tagus Francesco Rocchini (1820-1895, attr.) Lisbon, c. 1861 Two albumen prints panorama, 25x17.5 and 25x18 cm. We can observe the famous arch, Arco da rua Augusta in construction, without the statues added in 1862, for the wedding of the king Luís I of Portugal. Francesco Rocchini early works are still little known. (2) 400/500

32

33 Royal Grand Tour Philippe d’Orléans Sicily-Spain, 1897 Panoramic citrate prints, 10x30.5 mm. Grand Tour of lost properties. (3) 300/400 euros

Aswan Low Dam Achille Gianny (active 1900s) Aswan, 1902 Five collodion on paper prints, 20.5x27 cm, forming an horizontal panorama, total 20.5x135 cm, photographer stamp (1) and Parisian distributor “Abel Couvreux, rue d’Anjou” stamps (5), mint condition, long caption, pencil, verso: “Vue

panoramique montrant le barrage du côté aval (5 plaques).

Cette vue est la dernière qui ait été prise, on y voit aussi

l’eau sortant des vannes” (Panoramic view showing the dam on the downstream side (5 plates). This is the last view taken, you can also see the water coming out of the gates / Veduta panoramica che mostra la diga sul lato a valle (5 tavole). Questa è l'ultima vista presa, si vede anche l'acqua che esce dai cancelli). (5) 700/800 euros

34

Aswan Low Dam, Flooded Philae Achille Gianny (active 1900s) Aswan, Philae, Egypt, 1902 Three collodion on paper prints, 20.5x27 cm, photographer and Parisian distributor stamps, mint condition, date: “9 avril 03”, and captions, verso: “Vue prise du sud-est,

“Vue de l’entrée des écluses, côté aval”, “Philae, pylones”, “Philae, vue du kiosque prise de l’Ouest,

regardant l’ancien village arabe actuellement submergé” (View from the southeast, view of the lock entrance, downstream side, Philae, pylons, Philae, view of the kiosk taken from the west, looking at the old Arab village now submerged / Vista da sud-est, vista dell'ingresso della chiusa, lato a valle, Philae, piloni, Philae, vista del chiosco preso da ovest, guardando il vecchio villaggio arabo ora sommerso). (3) 400/500 euros

35

The Woo Sing Sing Tea House Lai Fong (attr.) Shanghai, 1885 Albumen print, 21x26.5 cm, numbered “35”, verso 至今湖心亭仍保留着当年所留下的一块由清朝文渊阁大理寺卿、上海人陆锡熊撰写的“湖心亭碑记”石碑。碑上刻有：“鱼鸟之出没，烟云竹树……一泓之池，视钱塘之西湖曾不足比拟百一。”据说湖心亭当时还有一幅对联，“叠烟千层石在水，野笛一声人过桥。”可见当时湖心亭周围景色之优美。 300/400 euros

36

HSBC Building in the Hong-Kong Skyline Lai Fong (attr.) Hong-Kong, c. 1882 Albumen print, 21x26.5 cm, numbered “33” and captioned in english, ink and pencil, verso The first generation of Hongkong and Shanghai Banking Corporation (HSBC) Buildings in Hong Kong. The Wardley House was located at the intersection of Queen's Road and Wardley Street (cur-rently named Bank Street). The land was later bought by HSBC and used to built the 2nd (here the tall one near the left), 3rd and 4th generation building until now. 300/400 euros

37

Three Panoramic Views of the Forbidden City Circle of Theophile Piry Beijing, c. 1899 Citrate prints, 28x9 cm, curious caption, French & English, pencil: “Entrée Forbidden City”.

These panoramas come from the circle of Theophile Piry, and could be attributed to this diplomat and master of the Imperial Post Office, a known amateur photographer. (3) 300/400 euros

38

39 Stolen Images of Emperor Guangxu’s Funerals Circle of Theophile Piry Beijing, May 1909 Twelve vintage silver prints, 8x14 cm, initials signatures in the negatives. Photography was forbidden, the general aspect of this group confirm the hypothesis of unofficial unauthorized snapshots of the last Imperial Funerals in May 1909. (12) 600/800 euros

San Francisco Fire after the April 1906 Earthquake Arnold Genthe (1869-1942) San Francisco, printed 1943 Exhibition silver print, printed for the Legion from a new negative, 26x35 cm, printed 1943. The Genthe negatives and prints were acquired by the SF Palace of the Legion of Honor in 1943. A lot of the negatives were in bad shape even then so they made copy negatives off the prints where the negatives were missing. These Legion prints were exhibited several times after the 1943 acquisition. Provenance : Published by the SF Palace of the Legion of Honor. 300/400 euros

40

Aftermath of the April 1906 San Francisco Fire Arnold Genthe (1869-1942) San Francisco, printed 1943 Exhibition silver print, printed for the Legion from a new negative, 28.5x35.5 cm, printed 1943. Provenance : SF Palace of the Legion of Honor. 300/400 euros

41

THE SHORT 20th CENTURY

IL BREVE 20° SECOLO 1914-1989 Alexander Rodchenko Alexey Temerin Roger Parry Paul Strand Gertrude Fehr George Rodger Mirjam Schwarz David Hurn Hernan Diaz Manuel H Werner Bishof Henri Cartier-Bresson Osvaldo Civirani Aldo Graziati Angelo Novi Alberto Durazzo Enrico Villani Hans Genny Toon Michiels James McDivitt Zed Poinpoin

43 Mayakovsky with Pencils, 1924 Alexander Rodchenko (1891-1956) New croping, Moscow, c. 1930 Silver print, printed after Mayakovsky’s suicide, 1930, 23x14.5 cm, stamp. “In April 1924, Rodchenko made a series

of six studio portraits of the poet — his first lasting achievement as

a photographer. In 1926 he used two of the pictures in collages for

the front and back covers of Mayakovsky's book, ‘Razgovor c fi-

ninspektorom o poesii’.” (MoMA). This is a close-up croping of Mayakovsky sitting with a cigarette. 4000/5000 euros

Mayakovsky in Simferopol, 1926 Max Leonidovitch Polianovski (1901-1977) New croping, Moscow, 1940 Glass internegative, 12x8 cm, after ont of the portraits made in Simferopol, 7 July 1926. Max Polianovski used his own photographs, including this cropped 1926 portrait to illustrate his biography of the poet: Mayakovsky Kinoaktor, Gozkinoizdat, 1940. 400/500 euros

44

V. V. Mayakovsky in 1929 Alexey Temerin (1889-1977) Moscow, 1929 Vintage silver print, 88x70 mm, pencil. This little known ID portrait in an oval was given to the poet to a Leningrad publisher who was charmed. The photographer was identified with a published variant portrait. 600/800 euros

45

47 Belomor Canal Alexander Rodchenko Belomorkanal, 1933 Vintage silver print on matte paper, 24x18 cm, artist’s address and telephone stamp, title in Russian: “The Ship in the Lock at the

Belomor Canal”.

The White-Sea-Baltic Canal was build by prisoners and Soviet Citizens knew how much suffering was in that place. 4000/5000 euros

Vakhtan, Stacking Lumber Alexander Rodchenko (1891-1956) Vakhtan Sawmill, 1930 Vintage silver print, 11.5x18 cm, artist’s stamp In 1930, Rodchenko was commissioned to direct a soviet movie with the poetical name of Chemical

Treatment in the Forest. But the film company's camera equipment never functioned, Rodchenko rely on his personnal equipment including his famous Leica. The resulting series Stacking Lumber,

Vakhtan Sawmill, was published in one 1936 issue of USSR in Construction, dedicated to the timber trade. 1200/1500 euros

46

Children's Mistrust Roger Parry (1905-1977) Pointe-à-Pitre, 1932 Vintage silver exhibition print on heavy matte paper, 23.5x29.5 cm, estate stamp Roger Parry participated to a cinematographic expetition to Tahiti during the year 1932, traveling through the Panama Canal with a transit in Guadeloupe where he could make several drawings and photographs. A selection of his photographs, including this print, were exhibited in Paris in 1934 at The Galerie de la Pléiade. 800/1000 euros

48

Photographic Modesty Roger Parry (1905-1977) Pointe-à-Pitre, 1932 Unmounted vintage silver exhibition print on heavy-weight matte paper, 24x30 cm, estate stamp A selection of Parry’s Guadeloupe photographs, including this print, were exhibited in Paris in 1934 at The Galerie de la Pléiade. 1200/1500 euros

49

49

Securing the Ship's Mooring Line Roger Parry (1905-1977) Panama Canal, 1932 Vintage silver print, 29.5x39 cm, estate stamp. This print was exhibited in Paris, in 1934 at The Galerie de la Pléiade. 800/1000 euros

50

Pendant la traversée Roger Parry (1905-1977) Panama Canal, 1932 Vintage silver print, 29.5x22 cm, title by the artist under the print, pencil, estate stamp, mount verso. This print was exhibited in Paris, in 1934 at The Galerie de la Pléiade. “Souvent, pour s'amuser, les hommes d'équipage

Prennent des albatros, vastes oiseaux des mers,

Qui suivent, indolents compagnons de voyage,

Le navire glissant sur les gouffres amers.

A peine les ont-ils déposés sur les planches,

Que ces rois de l’azur, maladroits et honteux,

Laissent piteusement leurs grandes ailes blanches

Comme des avirons traîner à côté d’eux...” 800/1000 euros

51

Cristo, San Jerónimo Tlacochahuaya, 1933 Paul Strand (1890-1976) Photogravure, 1940 Photogravure printed by Charles Furth, 32.5x24.5 cm, annotation by the artist, print verso, and on mount verso. 300/400 euros

52

Man of Tenancingo, Mexico, 1933 Paul Strand (1890-1976) Photogravure, 1940 Photogravure on paper, printed 1940, 23x18 cm, artist personal proof print, annotation by Hazel Strand on mount verso. Man, Tenancingo de

Degollado was captured surreptitiously, using a camera with a right-angle lens; a technique he adopted for street work so his subjects would not know they were being photographed. He gravitated toward people "who

have strength and dignity in their faces," he said. 400/500 euros

53

Vitruvian Man French Artist Paris, c. 1930 Gelatin dry plate, glass negative, 17.5x13 cm Is it a naked self-portrait ? the model is in his forties. Provenance : collection Gimmon. 300/400 euros

54

Moving Man French Artist Paris, c. 1930 Gelatin dry plate, glass negative, 17.5x13 cm Is it a naked self-portrait ? the model is in his forties. Provenance : collection Gimmon 300/400 euros

55

Nude Gertrude Fehr (1895-1996) Paris, c. 1936 Vintage silver print, 30x24 cm, Publiphot stamp 600/800 euros

56

57 Nude Gertrude Fehr (1895-1996) Territet, Switzerland, c. 1940 Vintage silver print, 27.5x20.6 cm, two name stamps 800/1000 euros

Entering a Korongo Nuba bedroom George Rodger (1908-1995) Kordofan, 1949 Vintage silver print on quality paper, 34x27.5 cm, stamp. Variant known title : Method of entering the bedroom of a Mesakin Quasar House. 1800/2000 euros

58

59 Cloud Study, Zuydersee Roger Parry (1905-1977) Netherlands, 1938 Vintage silver print, 18x24 cm with margins, estate stamp. This print was exhibited in Paris in 1938 at Galerie Paul Magné, ex- librairie-galerie de la Pléiade. 400/500 euros

Metro Train in the Solferino Station Roger Parry (1905-1977) Paris, 1939 Vintage silver print, 19x18 cm, estate stamp 400/500 euros

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Solferino Metro Station Roger Parry (1905-1977) Paris, 1939 Vintage silver print, 18x24 cm with margins, estate stamp. The Kap poster: “Nous vaincrons parce que nous sommes les plus forts. Souscrivez aux bons d'armement” 400/500 euros

61

In the Moving Subway Mirjam Schwarz (1924-2005) Paris Metro, 1950 Vintage silver print on heavy matte paper, 17.5x17.5 cm 400/500 euros

62

In der fahrenden Metro Mirjam Schwarz (1924-2005) Paris, 1950 Vintage silver print on heavy matte paper, 17.5x17.5 cm, dated, signature and title: “in der fahrenden Metro, Paris 50”. 400/500 euros

63

64

Selfportrait shadow Mirjam Schwarz (1924-2005) France, 1949 Vintage silver print on tinted matte paper, 17.5x17.5 cm, dated and initialed in ink on mount verso: “M. MI/1949”. A late afternoon selfie in a confused garden. 400/500 euros

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65 Hand and Movement study Mirjam Schwarz (1924-2005) Marseille, 1949 Vintage silver print, 20x18 cm, dated, signature and title in pencil on mount: “Marseille 49 / MMI Mirjam S.” 1000/12500 euros

Teenager Freedom Fighter David Hurn (born 1934) Budapest, 1956 Vintage silver print, 21.5x17 cm, Reflex Agency stamp, verso. David Hurn covered the Hungarian Revolution. 500/600 euros

66

67 Alejandro Obregón Hernan Diaz (1931-2009) Barranquilla, 1962 Vintage silver print, 24x18 cm, stamp, caption, pencil, verso : “Alejandro Obregón, el mejor pinctor” 300/400 euros

Gabriel Garcia Marquez Manuel H. (1920-2009) Bogotá, c. 1960 Vintage silver print, 25x20.5 cm, stamp 300/400 euros

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69 Anjali Hora in her hotel room Werner Bischof (1916-1954) Bombay, 1951 Vintage silver print, 20.5x24.5 cm, stamp Bischof devoted much of his work looking for tranquility in traditional cultures, when picture editors were looking for hot topical material. And when he was sent to report on famine in India by Life Magazine (1951), he created this portrait of Indian dancer Anjali Hora. 3000/4000 euros

Banker’s Trust, Manhattan Henri Cartier-Bresson (1908-2004) New York, 1960 Vintage silver print, 27x37 cm, blue 4-lines artist stamp, annotations, verso In the 1960s several big, buttoned-up American corporations commissioned Cartier-Bresson to shoot their annual reports–most notably, Banker's Trust — and gave the photographer unprecedented access to their offices. 2000/3000 euros

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Puebla Henri Cartier-Bresson Mexico, 1963 Vintage silver print, 24x30 cm, blue 4-lines artist stamp, verso Henri Cartier-Bresson traveled for the first time to Mexico as a photographer for the 1935 expedition to map the Panamerican Highway. The project was postponed and Cartier-Bresson chose to stay in Mexico City, sharing a flat with Langston Hughes. Mexico was a warm artistic ground, Cartier-Bresson shared an exhibition with Manuel Álvarez Bravo at the Palacio de Bellas Artes, Mexico City in the same year 1935. 3000/4000 euros

71

La Dolce Vita di Federico Fellini, 1960 Pathé poster artist Paris, 1969 Color lithograph, 160x120 cm, excellent condition 400/500 euros

72

Ladri di biciclette di Vittorio de Sica, 1949 Hervé Morvan (affichiste, 1917-1980) Paris, 1950 Color lithograph, 160x120 cm, mounted on canvas, excellent condition. 2500/3000 euros

73

Girotti e la Calamai Osvaldo Civirani (1917-2008) Ossessione, 1942 Vintage silver print, 22.5x9.5 cm, cropped by the artist, stamp, annotations, date in ink, verso: “15 August 1942”

“The fact is that the artistic cycle that had been

inaugurated in Italy at the end of the 14th century

and prolonged by the discovery of linear

perspective reached its close only after the

Second World War ...

The description of Italy and Italians according to

objective criteria had not disappeared however; its

form of expression was no longer painting but the

cinema. The transition from one to the other

followed a process whose steps are not easy to

identify ... the essential aspects of neorealism are

defined in Ossessione by Luchino Visconti” (Federico Zeri, La percezione visiva dell’Italia e

degli Italiani, Enaudi, 1989) This photograph was taken at an early stage of the shooting, in August 1942. 600/800 euros

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75 Massimo Girotti Farley Granger Aldo Graziati (1905-1953) Senso, 1953 Two vintage silver prints, 27x21 cm, agency labels, verso (2) 300/400 euros

Rossana Di Rocco as Angel of the Lord Angelo Novi (1930-1997) Il Vangelio secondo Matteo, 1964 Vintage silver print, 18x24.5 cm, stamp An angel photographed by an angel on the set of Pasolini's The Gospel

According to St. Matthew in the surroundings of Matera. 200/300 euros

76

Pier Paolo Pasolini Shooting the Passion Alberto Durazzo, Agenzia Dufoto La ricotta, Cinecittà, 1962 Vintage silver print on double weight paper, 24x30.5 cm, stamp Pasolini, in a disclaimer tacked in the beginning of La Ricotta, affirms that the event narrated, the Passion, is the greatest event ever occurred, and as in The Gospel According

to St. Matthew, stressed that he held in great respect the Christian heritage. Despite this assertion, Pasolini was accused of holding contempt for the state religion and was sentenced four months of conviction, which he avoided by paying a fine. 200/300 euros

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Concrete Architecture Enrico Villani (1928-2016) Mexico, 1972 Vintage silver print, 24x29.5 cm “Bright colours, impenetrable shadows, flashes of light, intense emotions,

subjects reproposed, never in a repetitive and banal way, this is the

unmistakable stylistic feature of the Artist: nature with corn cobs,

pomegranates, pumpkins, thistles, and then architecture with towers and

spires but above all the bodies of a woman "tense and sculpted" as

Elisabetta Dellavalle observes sharply, expressing "with a sincere and

courageous painting, ... the need for spirituality, loneliness, love dreamed

of, stolen, regretted, far away" (Mostra retrospettiva, Comune di Vercelli, 2015). Provenance : Private collection, Mexico 200/300 euros

78

79 Un tocco di luce Enrico Villani (1928-2016) Vercelli, Lulio 1972 Vintage silver print, 24x29.5 cm, dated, signed and dedicated with a poem in Italian to a Mexican friend, ink, verso “Colori accesi, ombre impenetrabili, lampi di luce, emozioni intense,

soggetti riproposti, mai in maniera ripetitiva e banale, questa la cifra

stilistica inconfondibile dell’Artista: la natura con pannocchie di mais,

melograni, zucche, cardi, e poi architetture con torrioni e guglie ma

soprattutto corpi di donna “tesi e scolpiti” come acutamente osserva

ancora Elisabetta Dellavalle, che esprimono “con una pittura sincera e

coraggiosa, …il bisogno di spiritualità, di solitudine, l’amore sognato,

rubato, rimpianto, lontano” (Mostra retrospettiva, Comune di Vercelli, 2015). Provenance : Private collection, Mexico 300/400 euros

Vibration I (Sound effect) Hans Jenny (1904-1972) & Hans-Peter Widmer Cymatic photographic study, 1963 Vintage silver print on doubleweight paper, 23x28.5 cm, stamp In 1967, Jenny published the first volume of Cymatics: The Study

of Wave Phenomena (the second volume came out in 1972) a writ-ten and photographic documentation of the effects of sound vi-brations on fluids, powders and liquid paste. Jenny made use of crystal oscillators and his so-called tonoscope to set plates and membranes vibrating. He spread quartz sand onto a black drum membrane 60 cm in diameter. 400/500 euros

80

81 Corresponds Image of the Eye Seeing Tone Hans Jenny (1904-1972) & Hans-Peter Widmer Cymatic study, 1963 Vintage silver print on glossy paper, 16.5x23 cm, Hans Jenny’s stamp and two Hans Peter Widmer’s stamps on mount verso, numerous annotations: “entspricht

bild von das auge sieht tone” Reproduced in Camera, n°11. Provenance : Hans Jenny’s collection. 400/500 euros

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

82

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

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

84

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

What Who ? Where, When Why ? and Which ? How ? Whose ? Provenance : 00 euros

85

A la Biche, 1906 Eugène Atget (1857-1927) New edition, Paris, 1981 Late silver print, 1981, from collodion glass negative, 24x18 cm. Little known edition by the French Institution with Atget’s original glass negatives, at the beginning of photographic revival. 300/400 euros

86

A la Croix d’or, 1911 Eugène Atget (1857-1927) New edition, Paris, 1981 Late silver print, 1981, from collodion glass negative, 24x18 cm. Lit-tle known edition by the French Institution with Atget’s original glass negatives. 300/400 euros

87

Night scene Toon Michiels (1950-2015) New Orleans, November 1973 Vintage silver print, 30x40 cm inclu-ding margins, stamp, date and title, pencil, on mount verso: “New Orleans,

Nov 1973” Toon Michiels’ first trips to the USA led to the series American Neon Signs By

Day And Night. 300/400 euros

88

Ringing Street Telephone San Francisco Examiner reporter San Francisco, c. 1959 Vintage silver press print, 25.5x20.5 cm, newspaper stamp. Forty years before the release of The Matrix. 200/300 euros

89

Digital Underground Victor Hall Oackland, July 1990 Vintage silver print, 25.5x18 cm, newspaper date stamp, caption, verso Following the release of their "Doowutchyalike" single and video in the summer of 1989, the band gained popularity with their song "The Humpty

Dance" in 1990. Provenance : The San

Francisco Examiner paper library. 200/300 euros

90

Listo Mexicano Loco Robert Yager (b. 1964) Los Angeles, 1991 Silver print, printed 1997, 26.5x18 cm, captioned: “Listo Mexicano Loco” Yager grew up in London and moved to Mexico before settling in California where Yager decided to delve into the world of Los Angeles Latino street gangs in 1991. 200/300 euros

91

Cosmic meteorit route recording Soviet Soyuz Programm Star City, c. 1967 Vintage silver prints, 12 parts chronophotography, 7x10 cm each, 83x10 cm all, marks and numbers in ink on montage “There are actually five retroreflectors on the Moon: three placed by

Apollo astronauts and two that sit atop Soviet rovers. But only one of

the Soviet reflectors could be used by astronomers; the other, on board

Lunokhod 1, the first robotic rover to traverse the Moon, was lost in

1971. Over the decades astronomers occasionally looked for the rover

but without success. Even with the best telescopes it's difficult to spot

something from here on Earth that's less than eight feet in length; the

atmosphere interferes. And Hubble and other space telescopes aren't able

to image the Moon in detail either.” 1200/1500 euros

92

93 The Tadpole photo James McDivitt (born 1929) Gemnin Mission 1965 Vintage silver print, 20.5x25.5 cm, sixteen stamps, date stamps, verso. “McDivitt

commanded the Gemini 4 mission with Ed White

as his copilot. On the second day, over Hawaii,

while White was asleep, McDivitt happened to see

an unidentified flying object, which he described as

looking "like a beer can or a pop can, and with a little thing like maybe like a pencil or something sticking out of it." He got a ca-

mera and took a few photographs of it ... Word of

the "UFO photos" reached the press by the time the

flight splashed down”. 300/400 euros

Dancer David Berlin (active 1960s) New York, c. 1960 Vintage silver press print, 25.5x20.5 cm, stamp. The stamp precises “573 Grand

Street”, a huge block near Williamburgh Bridge. 100/150 euros

94

Phantom, Carlsbad Caverns Unidentified photographer New Mexico, c. 1960 Vintage silver print on matt paper, 25.5x20.5 cm, title, pencil, verso. Any resemblance to real and actual names is purely coincidental. 200/300 euros

95

Paulo Klein and Dr Coutinho Zed Poinpoin (born 1961) Robot 1987 Series Ink on 1950 monochrome Brazilian silver prints, 18x13 cm, signed. Under the pseudonym of Zed Poinpoin, this young French muralist was a free electron of the Free Figuration movement between 1983 and 1993. Outside galleries and museums, like the other artists of his generation, inspired by graffiti (Affichage

sauvage, Biennale de Paris — 1985), they devoted themselves to graphic design for various publishers (Exposition, VIA-1987). (2) 300/400 euros

96

96

Horacio and Dr Costa Zed Poinpoin (born 1961) Robot 1987 Series Ink on 1950 monochrome Brazilian silver prints, 18x13 cm, signed His forms of appropriation of different surfaces are marked by his qualities as a colourist and by a frank line of great sponta-neity. A premonitory in several respects, this set of Brazilian pho-tographic portraits from the 1950s taken in Chinese ink in 1987 illustrates a corporation of robots with which the artist will be-come singularly familiar in the following years. (2) 300/400 euros

97

98

98

Pipe Problem Zed Poinpoin (b. 1961) Robot series, Paris, 1987 Ink on older monochrome Brazilian silver print, 24x18 cm, signed 400/500 euros

Prof. Carneiro Zed Poinpoin (b. 1961) Robot series, 1987 Ink on older monochrome Bra-zilian silver print (1950), 24x18 cm, signed on print, lower right corner 400/500 euros

99

MADE IN SENIGALLIA

LOCAL ART, SENIGALLIA CITTÀ DELLA FOTOGRAFIA - LOTS 101>122 Giuseppe Cavalli Feruccio Ferronni Mario Giacomelli Enea Discepoli Michel Collet

DIGITAL AGE, SENIGALLIA CONTEMPORANEA - LOTS 123>133 Paolo Monina Lorenzo Cicconi Massi Massimo Marchini Elisa Crostella

101 Paesaggio in Puglia Giuseppe Cavalli (1904-1961) Near Lucera, 1956 Vintage silver print, 16x40 cm, signed in intials and dated on the print, green ink, stamp and title, verso 3000/4000 euros

Window reflection I Ferruccio Ferroni (1920-2007) Senigallia, circa 1952 Vintage silver print, 20x8 cm, stamp “Ferruccio Ferroni (Mercatello sul Metauro, 1920 -

Senigallia, 2007) is one of the protagonists of photography

in Italy alongside his first master Giuseppe Cavalli, of

Apulian origin and of lawyer training — endowed with his

own strong artistic awareness and engaged in an intense

theoretical and popular activity — and subsequently close to

Paolo Monti, inspirer in particular of his material period

and of elegant experimentations.

After two years of war, the dramatic imprisonment in

Germany — for refusing to join the Republic of Salò, and

the hospitalization at the sanatorium of Forlì, in 1953 he

graduated in law and worked as a lawyer until 1992.

In parallel with his legal activity, he produced a vast

photographic production which, although born in the amateur

field at the end of the 1940s, was always distinguished by

the rigour and balance of his professionalism. These will be

accompanied, as a legacy of the Horse way, a meticulous

organization of its archive of images, structured according to

cataloguing criteria still current and usable.

Thanks to Giuseppe Cavalli, in the forties and fifties

Senigallia experienced a period of great intellectual ferment

for various initiatives, not only in the field of photography, a

case history rare in the cultural landscape of the time. The

friendship between Ferroni and Cavalli will be nourished by

precious external contributions, one of which will be Mario

Giacomelli; the three of them will attend assiduously and

very often Casa Ferroni will be the place for discussion and

exchange of opinions.” (Alessia Venditti, Ferrucio Ferroni,

Taccuini Maltagliati, Senigallia, 2019) 500/600 euros

102

Window reflection II Ferruccio Ferroni (1920-2007) Senigallia, circa 1952 Vintage silver print, 13x10.5 cm, stamp 500/600 euros

103

104

Il vecchio muro Ferruccio Ferroni (1920-2007) Ancona, June 1989 Exhibition silver print, printed 1995, 30x40.5 cm, signature, title, stamp and annotation, verso: “Stampa eseguita dall’autore

il 21.2.1995”. Ferruccio Ferroni documented every print he made himself. 1200/1500 euros

104

105 La casa di vetro Ferruccio Ferroni (1920-2007) Kew Gardens, London, 14 June 1987 Exhibition silver print, printed 1997, 30x40.5 cm, signature, title, stamp and annotation, verso: “Stampa eseguita dall’autore il 14 nov 1997”. Ferruccio Ferroni documented every negative and every print he made. 1200/1500 euros

106

Scanno, 1959 Mario Giacomelli (1925-2000) Printed Senigallia 1980 Silver print, printed 1980, 30x40 cm, three stamps verso 4000/5000 euros

106

What Who ? Where, When Why ? and Which ? How ? Whose ? Provenance : 00 euros

107 Paesaggio Mario Giacomelli (1925-2000) Senigallia, c. 1978 Vintage silver print, 30x40 cm, stamp, annotations, pencil, verso Mario Giacomelli spent several days every week during one year with the family. Provenance : private collection, Senigallia 2000/3000 euros

La Buona Terra, 1965 Mario Giacomelli (1925-2000) Senigallia, c. 1975 Silver print, circa 1975, stamp, annotations, pencil Mario Giacomelli spent several days every week during one year with the family. Provenance: private collection, Senigallia 1800/2000 euros

108

109 What Who ? Where, When Why ? and Which ? How ? Whose ? Provenance : 00 euros

109 Albero senza titolo Mario Giacomelli (1925-2000) Senigallia, circa 1980 Vintage silver print, 30.5x40.5 cm, stamp The artist used a development cache. 1500/1800 euros

110

The Land of Long Shadows, Ladakh, 1976 Enea Discepoli & Mario Giacomelli Printed Senigallia, 1976 Vintage silver print, 21.5x35 cm, artist proof, printed and annotated by Mario Giacomelli, pencil, verso: “visi appena piu chiaro” At the time of the partition of India in 1947, the Dogra ruler Maharaja Hari Singh signed the Instrument of Accession of Ladakh to India. In 1949, China closed the border between Nubra and Xinjiang, blocking old trade routes. Since 1974, the Government of India successfully encouraged tourism. Mario Giacomelli prepared and taught young Enea Discepoli with a Mamya Press 6/9 camera, before his trip to Ladakh in 1976. The negatives were then edited and printed in Senigallia by MG before being exhibited once in the USA (1980) and in Senigallia (2011). “Da queste foto

emerge la sorprendente potenza del Giacomelli stampatore che imprime il suo inconfondibile stile anche

in foto scattate da un'altra persona, Enea Discepoli”. 1500/1800 euros

110

111 La terra dalle ombre lunghe, Ladakh, 1976 Enea Discepoli & Mario Giacomelli Printed Senigallia, 1976 Vintage silver print, 27x40 cm, printed, titled: “Tibet” and stamped by Mario Giacomelli, captioned, dated and signed by Enea Discepoli Mario Giacomelli prepared and taught Enea Discepoli with a Mamya Press 6/9 camera, before his trip to Ladakh in 1976. “Le foto nel Ladakh le scattai quasi in trance, apposta per lui,

volevo fosse contento, anche violando quello che era il mio spirito di avventuriero, che deve viverlo il momento

e non guardarlo da dietro una macchina fotografica… Ma lui mi faceva notare che l’avventura (il mio

specifico) poteva essere accompagnata dalla fotografia per animare l’avventura stessa.” (Enea Discepoli). Provenance : Private collection, Roma 3000/4000 euros

Il mare dei miei racconti Mario Giacomelli (1925-2000) Senigallia, circa 1980 Vintage silver print, 26.5x31.5 cm, signed in ink, stamps Provenance : collection Righetti 1500/1800 euros

112

112

The Wave Mario Giacomelli (1925-2000) Senigallia, circa 1980 Vintage silver print, 30.5x40.5 cm, stamp From the series “Il mare dei miei racconti” / The Sea of my Tales. 1800/2000 euros

113

Il mare dei miei racconti Mario Giacomelli (1925-2000) Senigallia, 1986 Vintage silver print, 30.5x40.5 cm, signed in ink on the white of the middle pier, two stamps 1500/1800 euros

114

What Who ? Where, When Why ? and Which ? How ? Whose ? Provenance : 00 euros

115 “Che si vedano i tetti” Mario Giacomelli (1925-2000) Working silver print, 15.5x19 cm, drawing, an-notations in ink on print by the artist 800/1000 euros

Corruption Mario Giacomelli (1925-2000) Senigallia, 1970s Vintage print on color paper, 25x20 cm 800/1000 euros

116

116

La ruggine Mario Giacomelli (1925-2000) Senigallia, 1970s Vintage print on color paper, 20x25 cm 800/1000 euros

117

Study for Caravaggio Michel Collet (born 1949) Syracuse, Sicilia, 1996 Vintage silver print, 30x40 cm dated and captioned by the artist, verso 300/400 euros

118

Les mains jointes, 1985 Michel Collet (born 1949) 1996 Vintage silver print, 40x30 cm dated and captioned by the artist, verso 300/400 euros

119

Les Chaises du Pape Michel Collet (born 1949) Cour du Vatican, 1985 Two silver prints, 40x30 cm with margins, stamps, titles, dates, signatures 300/400 euros

120

La madonna delle arpie Michel Collet (born 1949) 1996 Polaroid, 7.7x7.7 cm After Andrea del Sarto’s Madonna of the Harpies and Caravaggio’s Crowning with Thorns 200/300 euros

121

122 L’incoronazione di spine Michel Collet (born 1949) 1996 Polaroid, 7.7x7.7 cm After Andrea del Sarto’s Madonna of the Harpies and Caravaggio’s Crowning with Thorns 200/300 euros

122 Donne-moi une chose qui ne meurt pas Paolo Monina (born 1959) Senigallia, 2018 Fine art su tela cotone, 20x25 cm, signed Da scansione della Polaroid color 600 ovale, tiratura limitata a 5 copie. Titolo condiviso con Christian Bobin e Edouard Boubat. “Donne moi quelque chose qui ne meure pas — Dammi qualcosa che non muore mai ... Allora con delle immagini di corpi e fiori,

racconto ciò che spesso “finisce” per farmi ricordare l’episodio della metamorfosi narrata da Warhol nel libro From A to B and Back Again: —Quando acquistai il mio primo apparecchio TV, smisi di preoccuparmi tanto di avere dei veri rapporti con gli altri.

Avevo sofferto molto, solo qualcuno innamorato può essere ferito come lo sono stato io. — Concludo così: — vorrei anche io essere

una macchina”. (Paolo Monina). 350 euros

Ultime intimitá I Paolo Monina (born 1959) Senigallia, 2017 Fine art su carte cotone color, 16.5x14.5 cm, signed Da scansione della Polaroid color 600 ovale, tiratura limitata a 5 copie. 250 euros

124

Ultime intimitá II Paolo Monina (born 1959) Senigallia, 2017 Fine art su carte cotone color, 16.5x14.5 cm, signed Da scansione della Polaroid color 600 ovale, tiratura limitata a 5 copie. 250 euros

125

Le Rythme I Paolo Monina (born 1959) Senigallia, 2018 Fine art print su carte cotone color, 24x22 cm, signed. Da scansione del negativo 6x6 120 Ilford HP5, tiratura limitata a 5 copie. 300 euros

126

Le Rythme II Paolo Monina (born 1959) Senigallia, 2018 Fine art print su carte cotone color, 24x22 cm, signed. Da scansione del negativo 6x6 120 Ilford HP5, tiratura limitata a 5 copie. 300 euros

127

Paesaggi delle Marche, Sedie, 2002 Lorenzo Cicconi Massi (born 1966) Senigallia, 2019 Scansionato e stampata fine art su carta Hahnemuhle baryta da 325 gr, 30x40 cm, signature and stamp, verso. Open edition / Edizione aperta. 400 euros

128

Paesaggi delle Marche, Mare, 2003 Lorenzo Cicconi Massi (born 1966) Senigallia, 2019 Scansionato e stampata fine art su carta Hahnemuhle baryta da 325 gr, 30x40 cm, signature and stamp, verso. Open edition / Edizione aperta. 400 euros

129

Hommage to Henri Cartier-Bresson Massimo Marchini (born 1957) Senigallia, 2019 Collodion on aluminium, 17x12 cm, signed with point, verso. This unique melanotype was published and exhibited in May 2019, “Il Giro della fotografia in ottanta giorni”, Biennale of Senigallia. 300 euros

130

Hommage to P. Picasso and R. Capa Massimo Marchini (born 1957) Senigallia, 2019 Collodion on aluminium, 17x12 cm, signed with point, verso. This unique melanotype was published and exhibited in May 2019, Biblioteca Antelloniana, Senigallia. 300 euros

131

Upside-down Elisa Crostella (born 1992) Amman, 2018 Artist’s book on paper, 32x22 cm, “Color photographs from inside my room in

Amman. The black and white pinhole photos at the Jabal Hussein refugee Camp.” Li-mited edition of only five copies. This is copy number 2. 400 euros

132

Doorstep, Darat al Funun Elisa Crostella (born 1992) Amman, 2018 Contemporary print on glass, 102x70 cm. Within a limited edition of five, this is the second printing made available after the first went to the collection of contem-porary photography of a private foundation of Modena. 1800 euros

133

CONSIGNED IT è un’asta di beneficenza a sos-tegno del patrimonio culturale del Comune di Senigallia.

Articolo 1. Si organizzano aste specializzate in fotografia sotto il nome di CONSIGNED.it nella città di Senigallia .

Articolo 2. L’Associazione Culturale “Sena Nova”, beneficiario dell’operazione, aiuta per la promozione e la logistica.

Articolo 3. Le aste propongono sia fotografie da collezione che altre arti visive, sia pre-digitali che contemporanee. I lotti sono meticolosamente des-critti e presentati con un catalogo cartaceo e un sito online. 

Articolo 4. Le opere proposte sono selezionate per la loro qualità e rarità. L’organizzatore, sup-portato da un comitato scientifico, si riserva la possibilità di accettare o scartare un lotto.

Articolo 5. Quando il compratore si registra, accetta di dare in beneficenza una parte cono-sciuta solitamente come diritti d’asta, a beneficio del patrimonio fotografico di Senigallia, Città della Fotografia. Questa quota è il 20% del prezzo

CONSIGNED IT, a benefit auction in support of the cultural heritage and photographic activi-ties of the Municipality of Senigallia.

Article 1. Two auctions specialized in photogra-phy are organized in the city of Senigallia under the name of CONSIGNED.it every year.

Article 2. The Associazione Culturale “Sena Nova”, beneficiary of the operation, helps for pro-motion and logistics.

Article 3. The auctions offer both collector's pho-tographs and other visual arts, both pre-digital and contemporary. The lots are meticulously des-cribed and presented with a printed catalogue and an online site. 

Article 4. The proposed works shall be selected for their quality and rarity. The organizer, suppor-ted by a scientific committee, reserves the right to accept or reject a lot.

Article 5. When he registers, the buyer agrees to give to charity the part usually known as auction rights for the benefit of the collections of the City of Senigallia. This share is 20% of the price bea-ten for each lot.

CONSIGNED IT

battuto per ogni lotto. Il compratore può chiedere che sia resa pubblica la sua donazione.

Articolo 6. Il venditore, per esempio un artista, può regalare una sua opera, in quel caso la dona-zione è indicata sotto la descrizione del lotto.

Articolo 7. Il prodotto a beneficio della Città sarà versato entro tre mesi da ogni asta all’Associazione Culturale “Sena Nova”, via Oberdan 3, Senigallia a titolo di elargizione benefica. Questi soldi possono essere investiti per arricchire le collezioni di fotogra-fia pre - digitale del Comune di Senigallia (stampate prima del 1989), o per la creazione di un premio sulla fotografia e sugli studi di storia della fotografia.

Ogni compratore puoi chiedere che la sua dona-zione elargizione benefica sia riservato alle acquisizioni o alla creazione di un premio denomi-nato “Premio Bugatti” in onore di Carlo Emanuele Bugatti e delle sue idee.

Articolo 8. Le acquisizioni possono essere effet-tuate sul territorio del Comune dalle famiglie, alle fiere e nei mercati oppure durante le aste, o dai visi-tatori che vengono a Senigallia per presentare proposte ai responsabili delle acquisizioni.

Articolo 9. Il venditore paga il 20 % del prezzo battuto per le varie spese, per ogni lotto venduto. Se non si vende, non ci sono.

Nota Bene: le persone che agevolano la consegna di materiale ricevono una commissione del 3% sul risultato netto del consegnato.

Articolo 10. Il prezzo minimo di inizio asta coin-cide con il prezzo base.

The buyer may request that his donation be made public.

Article 6. The seller, for example an artist, may give away a work of his, in which case the dona-tion is indicated below the description of the lot.

Article 7. The product for the benefit of the City will be paid within three months from each auc-tion to the Cultural Association "Sena Nova", via Oberdan 3, Senigallia as a charity gift. This money can be invested to enrich the collections of pre-digital photography of the Municipality of Senigallia (printed before 1989), or for the creation of an award for photography and studies in the history of photography.

Each buyer can ask that his donation be reserved for acquisitions or the creation of a prize called "Bugatti Prize" in honor of Carlo Emanuele Bu-gatti and his ideas.

Article 8. The acquisitions can be made on the territory of the Municipality by families, at fairs and markets or during auctions, or by visitors who come to Senigallia to present proposals to those responsible for acquisitions.

Article 9. The seller shall pay 20 % of the ham-mer price for the various expenses, for each lot sold. If it is not sold, there are no fees.

Please note: people who facilitate the delivery of material receive a commission of 3% on the net result of the delivered.

Article 10. The minimum price at the start of the auction coincides with the basic price.

Pertanto un lotto valutato 300/400 euro non sarà proposto a meno di 300 euro.

I lotti invenduti possono essere negoziati il giorno successivo - di solito una domenica - attraverso offerte chiamate “after sale”. Le offerte leggermente inferiori al prezzo base sono accettate previo accordo con il venditore. I compratori pagano la stessa quota a beneficio delle collezioni del Comune di Senigallia.

Articolo 11. Nelle descrizioni sono verificati i dati seguenti: identificazione, attribuzione, data della stampa, firme, timbri ed annotazioni, provenienza.

Il compratore riceve un certificato e ha un periodo di un mese per contestare con pertinenti argomenta-zioni la descrizione.

Articolo 12. Le aste sono organizzate il sabato pomeriggio. Il Comune di Senigallia mette a dispo-sizione dell’organizzazione il Palazzetto Baviera: l’auditorium per il giorno dell'asta ed alcune sale espositive per assicurare l'esposizione degli oggetti per un periodo di 7 giorni più la mattinata dell’asta.

Orari: dal lunedi precedente al venerdì, dalle 10 alle 13 e dalle 16 alle 19. Il giorno dell'asta dalle ore 10 alle ore 13. Durante la domenica che segue l’asta, oltre le offerte sui lotti invenduti, si procede alla ven-dita dei lotti di valore contenuto proposti fuori catalogo.

Quando possibile, una mostra parziale è organizzata a Parigi o a New York nel mese precedente l’asta.

Articolo 13. L’asta è accessibile online con la compagnia Francese Drouot Digital. Si accettano anche offerte al telefono o per mail durante la setti-mana precedente.

Therefore a lot valued at 300/400 euros will not be offered for less than 300 euros.

Unsold lots can be traded the next day - usually on a Sunday - through bids called "after sale". Bids slightly below the basic price will be accepted with the agreement of the seller. Buyers pay the same fee for the collections of the Municipality of Se-nigallia.

Article 11. Descriptive data arecarefully verified: identification, attribution, date of printing, stamps, signatures, annotations and provenance.

The buyer receives a certificate and has a period of one month to contest the description with rele-vant arguments.

Article 12. Auctions are organised on Saturday afternoons. The municipality of Senigallia pro-vides the organization with the auditorium of the Bavarian auction house for auction day as well as some rooms of the auction house to ensure the display of objects for a period of 7 days.

Viewing: The exhibition and the public visit lasts 5 days plus the morning of the auction, from 10 am to 1 pm and from 4 pm to 7 pm. On the Sun-day following the auction, in addition to the bids on unsold lots, the sale of lots of contained value will also take place.

Whenever possible, a partial exhibition is organi-sed in Paris or New York.

Article 13. The auction is accessible online with the French company Drouot Digital. We also ac-cept bids by phone or email during the previous week.

Le offerte ricevute vengono registrate e il giorno dell’asta si parte già dal prezzo più alto offerto. Il battitore annuncia allora la migliore offerta.

Articolo 14. Le fotografie italiane stampate prima del 1970 vendute per più di 10.000 euro necessitano di un permesso per uscire dal territorio.

L’organizzatore assiste gratuitamente i clienti fin dove possibile. In generale, i permessi di esportazione ottenibili saranno ricevuti prima dell’asta.

Articolo 15. Modulo antiriciclaggio. Ogni acqui-rente europeo deve accettare di conformarsi con la vigente normativa antiriciclaggio (Decreto Legisla-tivo 231/2007).

Articolo 16. Il calendario, i risultati, i cataloghi pas-sati, saranno sul sito consigned.it

Il tribunale competente è quello di Ancona.

CONSIGNED.it di Serge Plantureux,

Partita IVA IT 02804640429.

Bids received are recorded and the highest bid price is taken as the starting point on auction day. The hitter then announces the best bid.

Article 14. Italian photographs printed before 1970 and sold over 10,000 euros, require a per-mit to leave the territory. The organiser assists customers as far as possible free of charge.

In general, the export permits that can be ob-tained will be received before the auction.

Article 15. Anti-money laundering module. Every European buyer must agree to comply with the current anti-money laundering legisla-tion (Legislative Decree 231/2007).

Article 16. The calendar, the results, the past catalogues, will be on the site consigned.it

The competent court is Ancona.

CONSIGNED.it di Serge Plantureux,

EU VAT: IT 02804640429.

Palazzo Arsilli Auguri Via Marchetti, 2 60019 Senigallia social@consigned.it www.consigned.it Director Serge Plantureux consigned@plantureux.it Assisted by: Elisa Crostella elisa.crostella92@gmail.com +(39) 373 798 60 40 Comunication& Medias Relations Julia Delhomme jd@juliadelhomme.com +(33) 6 61 42 47 53

Palazzo Arsilli Auguri Via Marchetti, 2 60019 Senigallia social@consigned.it www.consigned.it Direttore Serge Plantureux consigned@plantureux.it Assistito da: Elisa Crostella elisa.crostella92@gmail.com +(39) 373 798 60 40 Comunicazione e relazioni con i media Julia Delhomme jd@juliadelhomme.com +(33) 6 61 42 47 53

Tutti legono i Taccuini maltagliati

I taccuini Maltagliati sono pubblicati in primavera, sono distribuiti durante la Biennale di Senigallia, l'ultima settimana di maggio.

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Senigallia, 7 dicembre