CAIAFA ARTE di MASSIMO CAIAFA Photography
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BABY- Black and white photography Italy 1970s
Located in Napoli, IT
Beautiful b/w photo depicting a little Peruvian girl
Category
1970s Photorealist Black and White Photography
Materials
Photographic Paper
'SCIMPANZE' WITH EYES - Black and white photograph Italy 1970s
Located in Napoli, IT
Small Photograph on photographic paper titled "Chimpanzee with Glasses" on ivory paper passpartu' and a 1970s briar frame
Category
1970s Photorealist Black and White Photography
Materials
Photographic Paper
ANCIENT STUFA - Sepia effect photograph, illegible shape, Italy 1990s
Located in Napoli, IT
Photograph on analog and photographic paper, signed and dated on back 1992. It depicts an antique stove, and the photo has been antiqued with a beautiful sepia effect,
Category
1990s Photorealist Figurative Photography
Materials
Photographic Paper
Wrapped Roman Wall - Photolithograph by Christo - 1974 ca
By Christo
Located in Napoli, IT
In February and March 1974, for a period of 40 days, a 820-foot long section of the Aurelian Walls was wrapped in polypropylene and rope, covering both sides, the top and the arches of the wall. Forty construction workers completed the temporary work of art in four days.
Christo Vladimirov Javachev (Christo) and his wife Jeanne-Claude are famous for making impressive and often controversial art installations. Their works include the wrapping of the Reichstag in Berlin, the Pont Neuf in Paris, a Roman wall...
Category
1970s Land Black and White Photography
Materials
Photographic Paper
NATURA - Photography on Aluminum Franco Fontana, Italy, 1976
By Franco Fontana
Located in Napoli, IT
Photographic print on aluminum, copy n.5 of the Natura series produced exclusively by Amar Collezioni Milano
Franco Fontana was born in Modena in 1933 and began taking photographs in...
Category
1970s Abstract Abstract Prints
Materials
Digital
Nivaldo 1998 by Salvino Campos
Located in Napoli, IT
Photo b/w signed and dated on back New York 1998, numbered 2 of 5
He was born in Brazil in 1970 in Quartel Geral, in the state of Minas Gerais, where he began his professional activi...
Category
1990s Photorealist Black and White Photography
Materials
Photographic Paper
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LE GRAY Gustave Villiers-le-Bel 1820 † 1884 Le Caire et MESTRAL Auguste Rans 1812 † 1884 id.
Autoportrait de Gustave Le Gray. 1851.
Photographie.
338 x 243 mm (épreuve). 450 x 314 mm (montage).
Feuille montée sur vélin. Manque important en pied, atteignant la pointe de la veste du photographe. Quelques très légères et fines griffures en surface. Au dos du montage : 3 gravures anciennes, et marque de collection mauve, « L. BONGARD » (lugt non décrit).
Épreuve sur papier salé, d’après un négatif papier ciré sec.
Numéroté « 540 » dans le négatif, dans l’angle supérieur gauche.
Marque des étaux bien visibles dans le négatif, dans l’angle supérieur droit, et dans l’angle inférieur gauche.
De toute rareté.
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Pierre Bergé & Associés, vente du 19 mars 2015, lot n°101.
La mission héliographique :
Au mois de mai 1851, Gustave Le Gray est délégué par la commission des Monuments historiques pour photographier une liste de monuments remarquables du sud-ouest de la France. D’autres figures pionnières de la photographie participent à cette vaste campagne de recensement, et doivent couvrir le reste du pays : Hippolyte Bayard, Henri Le Secq, Édouard Baldus et Auguste Mestral. Le Gray décide de fusionner son itinéraire avec celui de son élève et ami, Auguste Mestral. Entre juillet et octobre 1851, équipé d’une voiture et de deux chambres noires, le tandem sillonne le territoire de la Loire aux Pyrénées, du château de Chambord à la cité de Carcassonne. Les deux hommes, qui se connaissent depuis 1848, réalisent ensemble les prises de vue - et se présenteront d’ailleurs en tant que coauteurs devant la commission.
Un champ d’expérimentation
Pour Gustave Le Gray, qui vient de mettre au point le « négatif papier ciré sec », la mission héliographique est un champ d’expérimentation inespéré. Pendant trois mois, les photographes exécutent jusqu’à trente prises de vue par jour, une véritable prouesse rendue possible par l’invention de Le Gray. En effet, celle-ci dispense de maintenir humides les négatifs papier, facilitant considérablement le travail en extérieur. Les feuilles peuvent être préparées jusqu’à quinze jours à l’avance, et développées plusieurs heures après la prise de vue. « Tout le monde comprendra combien ce nouveau procédé facilite les opérations en voyage », écrit Le Gray. Méthodiques, les deux hommes numérotent les négatifs dans l’ordre chronologique.
Cette numérotation, allant jusqu’à 605, témoigne d’une production soutenue et indépendante, débordant largement le cadre imposé par la commission des monuments historiques.
Progressivement, le recensement scientifique s’accompagne de véritables digressions artistiques. Entre leur séjour à Carcassonne – point culminant du voyage – et leur retour à Paris, les « photographistes » s’autorisent de nombreux clichés personnels : des vues d’Amélie les Bain, du Pont Palaldas et du pont du Gard. Dans les Pyrénées-Orientales, les cloîtres gothiques d’Elne et d’Arles-sur-tech servent d’écrin à deux autoportraits de Gustave Le Gray. Le premier, réalisé à Elne, est aujourd’hui en mains privées (nous n’en avons trouvé aucune reproduction dans la littérature). Le second, pris très peu de temps après, n’est connu pour l’heure que par deux épreuves, dont celle que nous présentons.
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