THIRD PHOTOGRAPHIC AUCTION ASTA DI FOTOGRAFIA SENIGALLIA 2021

Another Gaudin stereo dag in the English Science Museum shows a very similar booth display in another location, probably Crystal Palace exhibition. In November 1851, Alexis Gaudin bought the newspaper La Lumière. His brother Marc Antoine became its chief scientific editor. Gaudin's house became one of the most important houses dedicated to photography, distributing books and prints from all over Europe (simple and stereoscopic), their correspondent in Italy was Bernoud. Since the publication of the famous daguerreotype of Baron Gros, as the cover image of the poster of the Metropolitan Museum of Art French daguerreotype exhibition, not many representations of a photography-related display have appeared.

The sun passing through large windows allowed this view of the interior, illuminating to the point of solarization the bright whiteness of the three bouquets of flowers, the floor of the salons and the ivory keys of the piano

French daguerreotypist

Sophie Rostopchine, comtesse de Ségur, Paris, late 1840s

Full plate daguerreotype, 220x165 mm, old frame, glass replaced

4.000/5.000

Few women had the features and appearance of the Countess, of Russian origin, raised in the Orthodox religion and then converted to Catholicism. A fervent Christian after the ordination of her son Gaston on December 17, 1847, she entered religion under the name of Sister Marie-Françoise, Tertiary of Saint Francis in 1866. We compare with the Garte portrait, 1860 published by Goupil in the Galerie Contemporaine, 1878.

Adrien Tournachon, dit Nadar jeune (1825-1903) Scène de cirque, Paris, c. 1855

Albumen prints on stereo card, 79x72 mm, signature stamp “Adrien Tournachon junior” verso and title, ink, verso

400/500

Hittorff built the famous Parisian Cirque Napoleon, rue Amelot in 1852. The name was changed in Cirque d’hiver after 4 Sept. 1870.

French stereo photographer after Antoine Watteau (1684-1721)

Blind Collector’s Bluff (a mise en scene with dolls created as an hommage to Watteau), Paris, c. 1855

Salt paper prints on stereo card, 75x76 mm, varnished, inscriptions pencil, verso, strong contrast

200/300

One inscription read “Première épreuve” the other, illegible, could be a name, with a capital letter K: Kroger ?

Circle of Camille Vert Presentation of a French Flying Machine "LE POISSON VOLANT" Paris, Palais de l’Industrie, 1859 Salt paper prints on stereo card, 69x73 mm 80/100

This flying machine was invented by the engineer-mechanic Camille Vert. This aircraft had the particularity to move in all directions by means of a steam engine. We notice an amusing number of stovepipe hats, some gentlemen wearing also whiskers, but in the European Continental fashion, with moustaches

Henri Auguste Durieu dit Muriel (1829-1877) Parisian Interior, quai Voltaire, circa 1865 Large albumen print, 367x274 mm, stamped "Photographie des Trois Empereurs" on the mount, old retouching in ink

200/300

Unusual and enigmatic photograph of an interior lit by numerous windows, which could be family Durieu's apartment on Quai Voltaire, in the same building as Count Vigier and Trémaux. Durieu is the son of famous Eugene Durieu, and adopted his mother’s name after his father went to jail.

During this year 1864, he took 140 photographs, the first of which he offered to the Imperial Prince with this dedication presenting his project. "Prince, To facilitate the study of nature, I have taken it in the act and I bring to the workers models which must make grow the industrial art a little compromised by the insufficient portfolio of the schools of drawing". Charles Aubry received a medal, but no commissions from institutions. Charles Aubry's business turned sour very quickly: due to his lack of familiarity with the photographic trade, and because of an unsuitable offer, he went bankrupt in 1865.

Edouard Baldus (1813-1889)

The Sun, decoration of the Tuileries Palace, Paris, c. 1855

Salt paper print from a paper negative, 220x220 mm, beautiful tonality

300/1000

The original paper negative was sold at auction on July 13, 2014 (Etude Goxe et Belaisch, Enghienles-bains, lot 313). The provenance of this print and the following ones is the sculptor Émile Knecht (1809-1989)

Edouard Baldus (1813-1889) Chapiteaux, Palais du Louvre réuni aux Tuileries, Paris, c. 1855

Six salt paper prints with gold toning, from 200x215 mm to 175x180 mm, strong tonalities

(6) 800/1000

The original paper negatives were sold at auction on July 13, 2014 (Etude Goxe et Belaisch, Enghien-les-bains, lot 313). The provenance of this print and the following ones is the sculptor Émile Knecht (1809-1989).

Edouard Baldus (1813-1889)

Le combat de l’oiseau et du serpent, sculptures décoratives du Palais des Tuileries, Paris, c. 1855

Five salt paper prints with gold toning, 62x330 mm et 65x225 mm, two mounted as a panorama, strong contrasts (5) 300/400

Edouard Baldus (1813-1889)

Éléments décoratif des Tuileries, Paris, c. 1855 Two salt paper prints with gold toning, 280x85 mm, strong tonality

(2) 300/400

The original paper negatives were sold at auction on July 13, 2014 (Etude Goxe et Belaisch, Enghien-les-bains, lot 313). The provenance of this print and the following ones is the sculptor Émile Knecht (1809-1989)

Charles Nègre (1820-1880)

Euclid and Pythagoras, Chartres Cathedral, Royal Portal, 1856 Very large steel heliograph, printed caption on the margin image: 60 x 45 cm, paper sheet: 71 x 54.7 cm

400/500

The right tympanum includes a representation of the Virgin on the throne, dominating scenes from her life. On the voussoirs are represented the seven liberal arts, with characters who illustrated it: Pythagoras for Music, Boethius for Arithmetic, Cicero for Rhetoric, Euclid for Geometry, Aristotle for Dialectics, Ptolemy for Astronomy, and finally Donatus for Grammar.

Charles

Bossu dit Marville (1813-1879)

Arc de Gaillon, École des Beaux-Arts, Paris, 1852

Salt paper print of fairly large dimensions, 255x355 mm, mounted on Blanquart-Evrard credited mount, pleasant B-E tonality

800/1.000

The architect Duban had reused architectural and decorative elements found after the ruins of the Revolution, first collected in the Museum of French Monuments, giving the school an undeniable unity. Among the most remarkable of these "re-employments" is the presence of elements from the castles of Anet and Gaillon, whose arch, placed between the entrance and main courtyards, was an integral part of the main facade of the Palais des études before its dismantling in 1977. Since then, the work of Félix Duban has been greatly distorted.

A somehow lighter print can be found in the Sam Wagstaff collection, Getty museum.

Louis Auguste Bisson (1814-1876)

Auguste-Rosalie Bisson (1826-1900)

Panorama of the Alps, Chamonix, 1862

Albumen print, 230x395 mm, signature stamp and embossed stamp on mount, nice color

500/600

Robert Turnbull Macpherson (1814-1872)

Tipografia Bartelli, Perugia, 1850s Print on salt paper, matte albumen varnish, 240x420 mm, marginal discoloration not affecting the central composition

James Anderson (1813-1877)

Castel San Angelo, Rome, 1856

Albumen print, 230x366 mm, on blank mount, different intriguing marks in the negative, including a mark resembling a small number “6”.

700/800

This early albumen was printed before the artist numbered his negative or from a variant negative very similar to the “45” plate.

James Anderson was born Isaac Atkinson in Blencarn, Cumberland, England and studied painting in Paris as William Nugent Dunbar. In 1838 he moved to Rome and began to produce sculpture as James Anderson.

The “Antico Forno Casereccio” inscription is the oldest known as we can observe it already on some 1845 daguerreian plate. The Colonnacce in the Forum of Nerva with the ground still to be excavated. The house numbers refer to Via della Croce Bianca, which crossed the more famous Via Alessandrina. We are used to seeing the words "Forno" (bakery) in this place, but in this little known photo, there is an evolution. "Edible Genera”.

James Anderson (1813-1877) Gallery of Statues at the Vatican Museum, 1850s Salt paper print with pleasant gold toning, 375x301 mm, dark contrast

Charles Thurston Thompson (1816–1868) after Raffaello Sanzio da Urbino (1483-1520) Raffaello’s drawings in the Royal Collection, 1857 Portfolio, printed title page plus 46 salt paper prints, differents sizes mounted on folios, 620x450 mm, foxing mainly on mounts with little on the prints, nice contrast, nice tonality for about half of them (46) 2.500/3.000 euros

All known copies have different numbers of plates

James Anderson (1813-1877)

Panorama from Monte Mario, behind St Peter, c.1860 Very large albumen print, 313x521 mm, collection stamp

1.500/1.800

Remarkable view by Anderson taken in 1860 or shortly thereafter in the negative format 55x40 that he calls "stragrande" and that he used from the sixties precisely. It was still as for sale in the catalog of 1881 as n.576. This print is trimmed at the top as was common with Anderson to provide more panoramic effect.

Detail: a tree in the field on the right of the image.

Alphonse Bernoud (1820-1889)

The Count of Trapani surrounded by his gentlemen Campania, September 1859

Albumen print, 191x253 mm, long notice by the artist, ink, verso, with a date : “le 9 septembre 1859”, two small pinholes, Bernoud’s “Naples” dry stamp on mount

500/600 euros

Francesco di Borbone-Due Sicilie, Count of Trapani, was the uncle of King Francesco II, last ruler of Naples.

Circle of Roberto Rives and Giorgio Sommer

Vesuvius eruption 26 April 1872, photomontage Albumen print, 248x207 mm, title in ink in French on mount : “Eruption Vésuve, 26 avril 1872”

500/600

On the classical views of Giorgio Sommer in the foreground is just a pier. The exact same negatives for the smoke and the boats have not been found so the montage cannot be attributed with certainty

Domenico Anderson (1854-1938)

Work in progress

Testaccio, Rome, c. 1920

Large tinted silver print, 421x752 mm, studio stamp on mount verso

800/1000

Very large and impressive composition by the second generation of the Anderson dynasty.

Adolphe Braun (1812-1877) & family Arch of Titus, Rome, c. 1868

Large carbon print, 400x500 mm, proof print with dark margins, unique mint unmounted color example 600/800

Adolphe Braun (1812-1877)

Arch of Titus, Rome, c. 1868

Large carbon print, 400x500 mm, proof print with dark margins, unique mint unmounted color example 600/800

Adolphe Braun (1812-1877) Jupiter & Minerva, Loggia dei Lanzi, Florence, c. 1868 Large carbon prints, circa 480x370 mm, on old mounts, small marginal tears

Adolphe Braun (1812-1877)

Ariane, Vatican Museum, Rome, c. 1868

Large carbon print, 369x473 mm, old mount, small marginal tears 300/400

Adolphe Braun (1812-1877) after Michelangelo (1475-1564)

Tomb of the Medici, Florence, 1868 Mammoth size carbon print, 600x800 mm, proof print with dark margins, unique mint unmounted color examples

Non identified primitive photographer (Philpot ?) Loggia dei Lanzi, Florence, circa 1850

Large early salt paper print, 412x270 mm, on double mount, 800/1.000

Perseus showing Medusa’s head is a fascinating theme for photographers. The large size is puzzling. One of the very first images by the Alinari “Bardi” is very similar, but taken from a few decimeters distant spot

Albert Chevojon (1864-1925) attr. Delmaet et Durandelle Gare St-Lazare, Paris, circa 1887

Very large albumen prints forming panorama, 422x800 mm, ingineer and architect name on the mount

1.200/1.500

A tour de force probably to be given credit to the young assistant of Durandelle and his wife, Albert Chevojon, who had succeed the founders the previous year. We can observe the return of the ghosts of the early years of photography.

Mario Nunes Vais (1856-1932) Eleonora Duse (D’Annunzio’s Muse) in Hedda Gabler, Lisbon, April 1898 Pictorialist portrait on matte paper, diameter 135 mm, inscription, pencil, mount verso “La Duse” 300/400

A careful observation of the print and its short trimmed old mount makes us think that the portrait was originally cut in a round shape but that it has been cut in a smaller circle (hint: pencil cut lines on the back)

Alfred Machin (1877-1929)

Academie Julian for Women, Paris, c. 1911 Vintage silver print on matte paper, 170x232 mm, signed in gold on black peluche paper

600/800

“Alfred Machin, a French director (at the time called "artistic director") who set up the first film studio in Belgium in Molenbeek: the Karreveld. He was born in the north of France and had been filming in Belgium since 1909. He had a long experience as a photographer (for the magazine «L’Illustration ») and as adocumentary filmmaker. But with Maudite soit la guerre, he struck hard by making one of the first large-scale films in history.”

Georg von Hoyningen-Huene (1900-1968) Marlene Dietrich, Study for Vogue, 1930

Vintage silver print, 244x197 mm, small tear in the upper right corner, signed, recto, dated, pencil, verso

3.000/4.000

After starting the previous year as an illustrator for Condé Nast, around 1926 (the year of Blanche et noire), Georg became head of photography for Vogue Paris, where he remained for about ten years. The images from the studio were intended for the French and American editions of Vogue, and he became known on the other side of the Atlantic as well. In 1931, he met Horst, the future photographer, who became his lover and his regular model, and traveled with him to England that winter.

Antoine Demilly (1892-1964)

Studio Blanc et Demilly

Mirror effect, Lyon, late 1930s

Vintage silver prints, on heavy matte paper, 120x180 mm, “Blanc et Demilly" stamp

(2) 600/800

Reminiscence of the opening pages of Formes Nues, 1935

Louis-Albert Fernique (1870-1928, dit Fernique fils) Chairs, Winter Palace (Beaumont Palace), Pau, ca. 1895 Large albumen print, 393x483 mm, names of the architect and photographer in the negative

400/500

Emile Bertrand architect. Isidore Geoffroy Saint-Hilaire organized a public competition for the Jardin d'Acclimatation, which was won in May 1890 by the architect Emile Bertrand. A native of the Aude region, he had already built official buildings in the Roussillon region, before distinguishing himself in the development of the Beaumont Palace in Pau. At the age of 34, he established himself as a master of modern elegance with the Winter Palace.

J. Mazet-Pons (attr.) (active 1900s, 1910s) General rehearsal for Les Esclaves, Théâtre des Arènes, Béziers, 1908 Large silver print 400/500 The cypresses are an element of decor, a painted canvas masking the horizon. Mazet-Pons published a series of postcards of the same reherseal.

Roger Parry (1905-1977) after Severini and De Chirico Lyre, violin, lute, guitar, drum and antiphonary, Paris, 1932 Vintage silver exhibition print, 290x320 mm, estate stamp 1.000/1.200

Roger Parry (1905-1977)

China Town - Soiries de Chine, Guadeloupe, 1932

170x230 mm, estate stamp

1.000/1.200

Let’s compare with Alvarez Bravo. The 1920s and 1930s saw the arrival of a wave of individual Chinese immigrants motivated by family reunification and the quest for a better life. These new arrivals specialized in convenience stores and restaurants, activities that their descendants continue to this day.

Théo Blanc (1891-1985) Antoine Demilly (1892-1964) Studio Blanc et Demilly Walking on the Saône river banks, Lyon c. 1943 Heavy matte paper, 150x200 mm with margins, photographers stamp

300/400

Maybe it's a walk, maybe it's something else, the passers-by seem to hate each other. During the occupation and its fuel shortages, walking was a necessary alternative to motorized travel.

Théo Blanc (1891-1985)

Antoine Demilly (1892-1964)

Studio Blanc et Demilly Glue, putty, rat poison, cockroach poison … Attractive storefront in Lyon, 1943

Vintage silver print on matte paper, 295x395 mm, annotations, red pencil, « devantures » et « essais ’43 », studio stamp and estate stamp

Théo Blanc (1891-1985)

Antoine Demilly (1892-1964)

Studio Blanc et Demilly

Les Skieurs (équipe lyonnaise, dossards 30 et 31)

Championnat de France de ski, 1938-1941 matte paper, 248x365 mm, annotations, pencil, « études 25x40 » et « Les skieurs », studio stamp

300/400

Sandro Guida (active 1937-1939)

Autogenous welding, Paris, 1937 Vintage silver print 214x162 mm

200/300

In June 1937, with an inheritance, Tuefferd opened Le Chasseur d’Images, at 46 rue du Bac, which was the first Paris gallery dedicated to photography. He showed both known and unknown photographers. Emmanuel Sougez was the first to exhibit there in June 1937. German photographer Herbert List pinned his prints directly to the wall as it was customary in the photo galleries of the time.. Later in the same year, on 17–30 November, was a show by Sandro Guida, mentioned just in time in « Ce soir, 27.11.1937 » .

Antoine Demilly (1892-1964)

Studio Blanc et Demilly

The spider web, Lyon, vers 1939

Vintage silver print on matte paper, 290x390 mm, signed, red pencil, recto, photographers’ stamp and estate stamp, verso 600/800

Circle of Robert Dasché (1907-1988) Study of an Undergrowth, 1949 Large silver exhibition print, on matte paper, 358x293 mm, four photo-club competition labels

200/300

This print participated in the competitions of Amiens (Picardy), 1949, Rouen (Salon Normand), 1949, Dieppe, 1949 and Louviers. Robert Dasché, maritime expert, was president of the Rouen photo-club from 1941 to 1963.

American Press Photographer

Santa's worker, Paris, December 1937 Vintage silver press print, 151x211 mm, agency stamp « Trampus, 9 decembre 1937 » 60/80

Photoreporter in Mexico Trotsky with his wife Natalia Sedova upon his arrival in Mexico, 1937 Silver press print, 194x144 mm, two newspaper cut-out, seven date stamps and one “Dead” stamp, verso 200/250

“During his stay, Trotsky became fond of cacti, to the point that he integrated nopales into his diet, and emphasized his admiration for Emiliano Zapata.” (Farenheit Magazine)

Photoreporter in Mexico (JKL JFM) Trotsky comments on the Moscow trials, Mexico, 10 April 1937 Vintage American press print, 213x168 mm, mimeographed caption with a curious incorrect date “4-10-1937” becoming “3-10-1937”

300 /350

The American philosopher John Dewey led a delegation to Mexico to interview Trotsky and hold hearings from April 10 to April 17, 1937. The hearings were conducted to investigate the allegations against Trotsky who publicly stated in advance of them that if he was found guilty as charged he would hand himself over to the Soviet authorities.

John Heartfield (1891-1968)

The lost photomontage — reproduction of a photomontage from 1934 East Berlin 1960s silver print, 262x205 mm, credit (in the hand of the artist's brother?) in red pencil on the reverse, the date has been corrected and Romeo Martinez has added a pencil note: « Montage, le négatif original n’existe plus »

200/300

Perhaps he most famous of all German anti-militaristic photomontages from the 1920s. When the editor of the magazine Camera asked Helmut Herzfeld in the mid-1960s for a print of his photomontage, there was no longer any collage or negative of the collage and Helmut Herzfeld sent him a reproduction of "Nach Zwanzig Jahren", published in Arbeiter Illustrierte Zeitung, September 13, 1934.

Jean Dieuzaide (1921-2003)

"17:06 Victory!" Liberation of Toulouse, 1944 Vintage silver print, 230x180 mm with the white lower margin, defect in upper right corner, Dieuzaide’s "Photo Yan" stamp, annotation in ink by the artist: "17h 6' La besogne touche à sa fin, .... " Victoire " - C'est le cri de la foule "

300/400

A vintage print of a very early famous work in Dieuzaide’s long carrer. " 5:6 p.m. The job is coming to an end, .... "Victory" - This is the crowd's scream "

Mario Carbone (born 1924) Visit at the Louvre museum, 1972 Vintage silver print, 214x288mm, signed in negative, collector’s stamp, verso

Libor Sir (born 1933)

We went out to see the royal visit, Paris, circa 1957 Vintage silver press print, 116x181mm, stamp 60/80

Robert Doisneau (1912-1994) Pierre Schaeffer with sounds collection, 1961 Later silver print, 1980s, 179x232mm, Doisneau red stamp

200/300

From Pierre Schaeffer’s archive. French composer, writer, broadcaster, engineer, musicologist and acoustician. His innovative work in both the sciences— particularly communications and acoustics—and the various arts of music, literature and radio presentation after the end of World War II, as well as his anti-nuclear activism and cultural criticism garnered him widespread recognition in his lifetime.

Denis Freppel (born 1938)

Smoker, Long Yegan, Sarawak, 1968

Silver print with selenium toning, printed in the 1990’s, 219x329 mm, signature and title, pencil, verso. 200/300

Denis Freppel (born 1938)

Portrait, Long Yegan, Sarawak, 1968

Silver print with selenium toning, 228x302 mm, printed in the 1990's, signature and title, pencil, verso. 200/300

Denis Freppel (born 1938)

Portrait, Nepal, December 1968

Silver print with selenium toning, 302,215 mm, printed in the 1990’s, signature and title, pencil, verso.

200/300

Denis Freppel (born 1938)

Portrait with jar, Cambodia, January 1968

Silver print with selenium toning, 228x301 mm, printed in the 1990's, signature and title, pencil, verso. 200/300

Enzo Carli (born 1949) “Lo sguardo”, Venezia, 1990 Vintage silver print, 300x400 mm, stamp and signature, verso 800/1.000

Enzo Carli (born 1949)

“Vitrina Veneziana”, Venezia, 1990 Vintage silver print, 300x400 mm, stamp, verso 800/1.000

Enzo Carli (born 1949) Kézmarok, Slovaquia Vintage silver print, 300x400 mm, stamp, verso 800/1.000