Information
Vintage gelatin silver print
cm 39,3 x 29,3 | 15.5 x 11.5 in.
Titled in pencil with photographer's credit stamp on the verso
Bruno Stefani (Forlì 1901 - Milan 1978) moved in 1925 to Milan because of the frequent clashes with the fascists, he works professionally for the publisher Rizzoli and in the studios Aragozzini and Camuzzi but also carries out personal research close to pictorialism. The transition, among the first in Italy, to Leica suggests a new style close to Constructivism and the Bauhaus lesson that brings both in the amateur world (in 1930 founded with Giuseppe Cavalli, Secco D'Aragona, Ferruccio Leiss, Alfredo Ornano, Giò Ponti, Emilio Sommariva and Federico Vender the Milanese Photographic Circle) both in the professional world, working for the TCI and, with the innovative Studio Boggeri, for Dalmine, Olivetti, Pirelli. His archive is deposited at the CSAC in Parma.
If in his professional work, Bruno Stefani was known for the innovative way with which, first using black and white and then color, he approached industrial photography, his personal research is often characterized by the attention with which he produced impeccable prints in the darkroom. The two panoramas presented here are real exercises of style because in one the attention is all focused on the spectacularity of the clouds that stand out on a sky where the shades of gray come in succession, while in the other is the white color that dominate in a composition in which branches in the foreground give the whole a theatrical depth. The care of the print should not surprise: in amateur photography was a fundamental trait and Stefani put his own to show that he could achieve valuable results because in those years who used 35 mm film was looked with suspicion by those who preached the indispensability of the medium format.
cm 39,3 x 29,3 | 15.5 x 11.5 in.
Titled in pencil with photographer's credit stamp on the verso
Bruno Stefani (Forlì 1901 - Milan 1978) moved in 1925 to Milan because of the frequent clashes with the fascists, he works professionally for the publisher Rizzoli and in the studios Aragozzini and Camuzzi but also carries out personal research close to pictorialism. The transition, among the first in Italy, to Leica suggests a new style close to Constructivism and the Bauhaus lesson that brings both in the amateur world (in 1930 founded with Giuseppe Cavalli, Secco D'Aragona, Ferruccio Leiss, Alfredo Ornano, Giò Ponti, Emilio Sommariva and Federico Vender the Milanese Photographic Circle) both in the professional world, working for the TCI and, with the innovative Studio Boggeri, for Dalmine, Olivetti, Pirelli. His archive is deposited at the CSAC in Parma.
If in his professional work, Bruno Stefani was known for the innovative way with which, first using black and white and then color, he approached industrial photography, his personal research is often characterized by the attention with which he produced impeccable prints in the darkroom. The two panoramas presented here are real exercises of style because in one the attention is all focused on the spectacularity of the clouds that stand out on a sky where the shades of gray come in succession, while in the other is the white color that dominate in a composition in which branches in the foreground give the whole a theatrical depth. The care of the print should not surprise: in amateur photography was a fundamental trait and Stefani put his own to show that he could achieve valuable results because in those years who used 35 mm film was looked with suspicion by those who preached the indispensability of the medium format.
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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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