Estimate
€ 1.500 - 2.000
Aggiudicato
Current bid Starting bid
€ 1.000
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At auction on Wednesday 18 June 2025 at 16:00
Information
Vintage gelatin silver print
cm 37 x 25,8 | 11.6 x 10.2 in.
Titled in black ink and dated in red ink with photographer's credit stamp on the verso
Fulvio Roiter (Meolo, Venice 1926 - Venice 2016) a trained chemical expert immediately preferred photography, which militancy in the La Gondola circle and friendship with Paolo Monti refined. The success of the photographs taken in Sicily and the books “Venise à fleud d'eau” and "Ombrie. Terre de Saint François" (Nadar Prize 1956) led him to avoid choosing newspapers and magazines to which he preferred books. He built projects thought out with professional precision: he also applied it in 1977 in “Essere Venezia,” not his finest book but the one that still holds a record with 700,000 copies sold. Every trip to Europe, Brazil, Mexico, the United States was an opportunity to produce volumes in which a great respect, more anthropological than social, for humans emerges.
Guided by a great passion Fulvio Roiter was also an extrovert, obstinate, determined man who loved to tell the story of his work thanks to a prodigious memory. The photograph taken in Umbria was part of a project he had proposed to Albert Mermoud, publisher of the Guilde du Livre publishing house, thinking of capturing Franciscan traces in that land. Alerted only at the last of the snowfall that he had considered essential to his work, he rushed to the region and, having seen through the window of the bus in which he was traveling the scene of the man leading the two animals, convinced the driver to let him off, framed the scene and shot at the exact moment when the figures stood out dark against the glow of the snow. Also playing on shades of white, the shot in Algarve stops, on the other hand, an architectural space shot with great rigor but made truly special by the presence of a human figure that transforms it into the ideal background on which to cast its shadow.
cm 37 x 25,8 | 11.6 x 10.2 in.
Titled in black ink and dated in red ink with photographer's credit stamp on the verso
Fulvio Roiter (Meolo, Venice 1926 - Venice 2016) a trained chemical expert immediately preferred photography, which militancy in the La Gondola circle and friendship with Paolo Monti refined. The success of the photographs taken in Sicily and the books “Venise à fleud d'eau” and "Ombrie. Terre de Saint François" (Nadar Prize 1956) led him to avoid choosing newspapers and magazines to which he preferred books. He built projects thought out with professional precision: he also applied it in 1977 in “Essere Venezia,” not his finest book but the one that still holds a record with 700,000 copies sold. Every trip to Europe, Brazil, Mexico, the United States was an opportunity to produce volumes in which a great respect, more anthropological than social, for humans emerges.
Guided by a great passion Fulvio Roiter was also an extrovert, obstinate, determined man who loved to tell the story of his work thanks to a prodigious memory. The photograph taken in Umbria was part of a project he had proposed to Albert Mermoud, publisher of the Guilde du Livre publishing house, thinking of capturing Franciscan traces in that land. Alerted only at the last of the snowfall that he had considered essential to his work, he rushed to the region and, having seen through the window of the bus in which he was traveling the scene of the man leading the two animals, convinced the driver to let him off, framed the scene and shot at the exact moment when the figures stood out dark against the glow of the snow. Also playing on shades of white, the shot in Algarve stops, on the other hand, an architectural space shot with great rigor but made truly special by the presence of a human figure that transforms it into the ideal background on which to cast its shadow.
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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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