Estimate
€ 2.200 - 2.800
Aggiudicato
Current bid Starting bid
€ 1.600
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At auction on Monday 18 May 2026 at 16:00
Information
Ten inkjet prints in original box
cm 25 x 18 approx. (cm 18 x 18 approx. picture) each. ; cm 43 x 33 x 5,5 box | 9.8 x 9.8 in. approx. (7.1 x 7.1 in. approx. picture) ; 16.9 x 13 x 2.2 in. box
Edition 28 of 50
Each one signed in black ink with photographer's credit stamp on the verso and numbered with progressive number in pencil on the white inferior recto margin
Porfolio for Cassa Lombarda, titles: Natura Morta, Muro a Fiorio, Muro Bianco, Muro Nero, Parigi Muro, Firenze Vicolo de' Donati, Villaggio nella Sierra Segura, Mykonos, Adriatico, Adriatico
cm 25 x 18 approx. (cm 18 x 18 approx. picture) each. ; cm 43 x 33 x 5,5 box | 9.8 x 9.8 in. approx. (7.1 x 7.1 in. approx. picture) ; 16.9 x 13 x 2.2 in. box
Edition 28 of 50
Each one signed in black ink with photographer's credit stamp on the verso and numbered with progressive number in pencil on the white inferior recto margin
Porfolio for Cassa Lombarda, titles: Natura Morta, Muro a Fiorio, Muro Bianco, Muro Nero, Parigi Muro, Firenze Vicolo de' Donati, Villaggio nella Sierra Segura, Mykonos, Adriatico, Adriatico
Piergiorgio Branzi (Signa, Florence 1928 - Campagnano di Roma, Rome 2022), openly influenced by the severity of Tuscan art, began photographing in the early 1950s, travelling by motorbike in the most depressed areas of Southern Italy and Veneto as well as Greece and Spain, and producing reportages published in Mario Pannunzio's Il Mondo. He switched to written journalism and then joined RAI, in 1962 he was the first western correspondent in Moscow before moving to Paris and then travelling the world as a special correspondent. In those years, he took photographs for himself and only reappeared in the 1990s with exhibitions and books that certified his greatness.
The eye of the photojournalist he once was is also evident in individual photographs such as those presented here. Indeed, his ability to capture numerous elements and weave them into a single image that effectively represents them is striking – a skill he acquired by taking Cartier-Bresson’s teachings to heart. From a stylistic point of view, too, Branzi is a true independent: although his preference for high-key prints—of which Giuseppe Cavalli was a master—is evident, he does not share Crocian aesthetics but is much closer to the cultured documentary style of Luigi Crocenzi. For all these reasons, the portfolio presented here is invaluable, showcasing some of his best-known photographs, ranging from the irony that Branzi manages to capture even when photographing a wall, to the well-known compositions where the space resembles a theatrical scene.
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Condition report
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The department will provide you with a general report of the condition of the property described above. Please note that what Finarte declares with respect to the state of conservation of the objects corresponds only to a qualified opinion and that we are not professional conservators or restorers.
We urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. We always suggest prospective buyers to inspect each lot to satisfy themselves as to condition during the exhibition days as indicated in the catalog.
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