Robert Ryman, American Master of Minimalism, Passed Away

Robert Ryman, great representative of minimaism, died on Friday 8 February at his home in New York. He was 88 years old.

The fascinating journey of Robert Ryman, a self-taught master, is a perfect embodiment of the American myth of the “self made man”: having arrived in New York with the idea of ​​becoming a jazz musician, he is hired as a security guard at the MoMA where he makes friends with Sol LeWitt and Dan Flavin who will have a great influence on the development of his future research.

Among the halls of the museum, Ryman is passionate about art, particularly impressed by Kazimir Malevich and abstract expressionism by Mark Rothko, Robert Rauschenberg, Jasper Johns and Agnes Martin.

From them he takes inspiration when he starts painting in 1955, the year of his first monochrome painting “Untitled (Orange Painting)”, but it is only later that he will begin a systematic investigation insisting on the infinite potential that a single color – white – offers.

The variety of techniques used such as oil, acrylic, casein, tempera, gypsum and enamels, combined with an equally wide variety of supports such as metal, paper, linen and cotton combine to shape each time a different imprint, towards a spasmodic search for the expressive potential of color characterized by artisan quality and rough elegance.

The rigorous investigation of monochrome white on white painting by Robert Ryman nullifies the apparent simplicity of his paintings, aimed at representing infinite variations of painting as a subject in and of itself.

The artist has not always avoided the use of color that, especially at the beginning of his career, has been hidden under a more superficial layer of white, a recovery of the visible/invisible binomial that refers to an underlying reality that is not perceptible, the concept subsequently used also by other artists.

Robert Ryman, Untitled



The relationship between painting and light was at the center of the research that led Ryman to the conviction that every single detail contributes to the experience of the viewer and that each work interacts with the surrounding environment, especially with the wall (usually white) and with light.

Let us remember that in parallel also in Europe a revolutionary artistic movement was born with some similar needs, open to a radical change in the use of monochrome – often white, materials, interaction of lights and shadows: Gruppo Zero, a movement to which great Italian artists like Piero adhered Manzoni, Lucio Fontana and Enrico Castellani.

Piero Manzoni, Achrome



Robert Ryman had his first solo show in 1967 at the Bianchini Gallery in New York followed by an important Solo Show at the Guggenheim NY in 1972; has repeatedly participated in the Venice Biennials and the Whitney Biennals, as well as important solo and group exhibitions all over the world.

In 1993, exactly 40 years after being hired as a security guard, a large retrospective dedicated to the artist was organized at the MoMA.


“The real purpose of painting is to give pleasure”

Robert Ryman


“The shades of the art rainbow are endless: choose your favorite!”

Main Art World Events of 2018 in 5 Minutes

Also 2018 is about to end and the time has come to summarize the main events and market trends that have emerged over the past twelve months.

What are they?

Among the absolute novelties is the entry of the creative expression generated by the artificial intelligence into the algorithmic art market. The Parisian collective “Obvious” has been noted with “Portrait of Edmond de Belamy”, a canvas sold at Christie’s auction for € 380,228. The work was created using a mathematical formula that at the end of a complex calculation gave the result on the canvas with a jet of ink. If art by definition is a creative, emotional, reflective expression, a person’s creation, and is appreciated for these reasons, it is to be seen whether this type of “artistic intervention” that excludes improvisation and human genius will find space in the market also in the long term.

This was the year of the 12th edition of Manifesta, a nomadic biennial that brought the whole art world to Palermo, a city little accustomed to contemporary art that has been able to enchant visitors with its traditions and historical-artistic beauties that sometimes they have even overshadowed the contemporary works of the event. The Biennale for this city was a great occasion also promoted by the presence of strong Palermo collectors, opening the doors of their homes for a few connoisseurs. Numerous international artists have participated in investigating the geopolitical, social and ecological phenomena of today with “The Planetary Garden. Cultivating coexistence “. In evidence the painful and current theme of migrants, a wound of today’s world.

Moving to the north, the new “Sound” section dedicated to contemporary sound investigations was widely accepted at Artissima Torino. The fair in general is always of a good standard and much appreciated, with the participation of many important foreign collectors.

Certainly it was a remarkable year for Alberto Giacometti, after the biggest retrospective proposed by the Tate Modern in 2017, this year a dialogue show with Francis Bacon equally exciting at the Fondation Beyeler in Basel, at the Guggenheim in New York and Bilbao, at Musée Maillol in Paris, at the Musée National des Beaux-Arts du Québec.

After long waits in July, the Alberto Giacometti Foundation opened its doors to the new “Giacometti Institute” exhibition site in Paris, which houses an archive of almost 400 works including sculptures and paintings, 5000 drawings and the reconstruction of the artist’s studio. Amusing  is the historical-contemporary dialogue proposed by the installation artist Annette Messager on display in the Foundation. A winning choice by the artist, spouse of Christian Boltanski, who bears the same name as the wife and muse of Giacometti.

Mario Merz, another great Italian artist, is celebrated at the Hangar Bicocca in Milan with a retrospective dedicated to one of the most iconic artistic research, the “Igloos“, grandiose constructions that accompanied his activity from 1968 until his death. For the first time, gathered in a single space, the thirty great works constitute a sort of village and can be visited until November 24, 2019.

Adrian Piper is the first living artist in the history of MoMA to receive the entire sixth floor of the institution for a major retrospective that brought together installations, abstract compositions and videos. After the MoMA in New York the exhibition will be exhibited at the Hammer Museum in Los Angeles and at the Haus der Kunst in Munich. Piper, who received the prestigious Golden Lion at the Venice Biennale in 2015, has always focused on the major American social problems such as racism, class divisions and misogyny.

A very positive year also for Tomás Saraceno, protagonist of the 4th edition of “Cartes Blanches” at the Palais de Tokyo in Paris: visiting “On Air”, you find yourself in an immersive and dreamlike atmosphere in which Aerocene is revealed, an interdisciplinary artistic project that intertwines high mathematics, physics and chemistry using a team of highly specialized experts and figures. A truly extraordinary exhibition that highlights the profound preparation of the Argentine artist and his great originality with an absolutely different proposal than any other artist. The floating spheres of Saraceno also flew this year to the eighteenth-century Karlskirche church in Vienna and to Manifesta in Palermo, while at Art Basel Miami Beach the artist planted upside down umbrellas designed to capture solar energy on the beach. Listed in the list of the most influential artists of 2018 alongside great figures from the art world. Congratulations Tomás and best wishes for an even brighter 2019!

A name that surely always enjoys strong interest from art lovers is Jean Michel Basquiat. He was dedicated a grandiose retrospective at the Fondation Louis Vuitton Paris with the important collection of works from museums and private collections. Absolutely to see, ends January 14th! Also in London the artist had a major retrospective at the Barbican Gallery which ended last January, which brought together more than 100 works from museums and private collections.

A year full of awards also for one of the greatest figurative artists of the early twentieth century, Egon Schiele. 100 years after the death of the Austrian artist, the Louis Vuitton Foundation dedicated a retrospective to him, showing the 100 most significant works of his short life. The Leopold Museum in Vienna has also dedicated a beautiful exhibition to him until March 10, 2019, while the Royal Academy joins Gustav Klimt, another great Austrian master, in an unprecedented dialogue that sees their designs as protagonists.

The revolutionary acts have always characterized the art of Banksy who has still been talked about thanks to the unexpected performance that took place during the London auction of Sotheby’s. It was a real surprise for the bidders in the hall when they saw the work “Girl with Baloon” just sold for £ 1,042,000, self-destructing thanks to a mechanism hidden inside the frame that reduced the work into small strips. About a month after this coup de theater, a major exhibition on the artist was inaugurated at the Mudec in Milan, the first monographic exhibition hosted in an Italian public museum. “A Visual Protest” collects about 80 works and promises to be a public success as the retrospective on Frida Kahlo ended in June. Among unauthorized exhibitions, claims on social networks and the discovery of new works – the last appearance in Wales on the night of Tuesday 18 December – the Bristol artist does not miss a beat in terms of popularity.

Who are this year’s winners?

One of the most prestigious annual awards for an artist, the Turner Prize, was awarded to Charlotte Prodger who presented the video work “Bridgit” made with the mobile phone in which thoughts on mythology, landscape and gender identity are intertwined. The hallmark of her research is the very introspective character of the films, aimed at revealing the contradictions of our time. Prodger was also chosen to represent Scotland at the Venice Biennale in 2019.

At our house is Fabrizio Cotognini, the winner of the 19th edition of the Cairo Prize with the work “Aurora”, a reworking of two original 18th century engravings, on which the Marche artist applied gold leaves, white lead and pencil in a close dialogue between past and present. An interesting proposal precisely because in relation to the values ​​of ancient art, the artist uses precious materials and gives a second life to the milestones of our history.

This tendency to revive a sort of revision of the old masters is becoming increasingly popular and Cotognini is not the only artist to have fun with the ancient world dressed in contemporary clothes. Fabrizio Cotognini this year was the protagonist of a solo show at the Sandretto Re Rebaudengo Foundation in Turin as well as exhibitions in various galleries and exhibition spaces; he also participated in Manifesta12.

Simone Leigh, who has always been committed to combating the marginalization of black women in particular, is the winner of the Hugo Boss Prize that will take her to exhibit at the Guggenheim in NY in 2019. This year Leigh also had her first solo show at Luhring Augustine in New York, where a sculpture depicting a huge woman dominated almost entirely the gallery space.

Helen Cammock is the winner of the 7th edition of the Max Mara Art Prize for Women, a prestigious biennial award in collaboration with the Whitechapel Gallery that promotes young British artists. Cammock, of Jamaican origins, has developed an interdisciplinary approach that has led her to a reflection on the emotionality of mourning, on the sound of the voice that becomes lamentation in an interpenetration between singing, music and writing. Thanks to the prize the artist had the opportunity to spend six months in six Italian cities – a sort of traveling artist’s residence – in order to create a new project that will be exhibited at the Whitechapel Gallery in 2019 and then included in the Maramotti Collection. In our country, Helen Cammock has conducted research in various fields such as the Baroque opera, poetry, dance to understand the expressive modalities of emotion in Italian culture.

There was a great rediscovery of ceramics, seen not only as a craft material but also as a precious support for contemporary art, which began to apply this precious material in sculptures of visionary or hyper-realistic forms. More and more galleries are in fact specializing in this direction and many artists use porcelain, ceramics and stoneware for their work. Bertozzi & Casoni were among the first to achieve great recognition by focusing on the various aspects of this extremely versatile material, but they are certainly not the only ones. Picasso, Fontana, Peter Voulkos are among the illustrious names of the past who have experimented with this technique; at the same time Hirst, Ai Weiwei, Takuro Kuwata and The Haas Brothers and many others are the emerging contemporaries. There are more and more fairs dedicated to ceramics.

The real “king” of 2018 is David Hockney, crowned as the most expensive living artist in the world thanks to the sale by Christie’s New York of “Portrait of an Artist (Pool with Two Figures)” of 1972, become the most expensive beaten work in the auction of an artist still alive. Sold for $ 90.3 million (about € 80 million), five years later it exceeded Jeff Koons’ previous record with the 1994 work “Orange Balloon Dog” sold in 2013 for $ 58.4 million. Accomplices of the great success were the recent retrospectives dedicated to Hockney, one of which was held at the Metropolitan in New York in addition to that of the Pompidou Center. Gerhard Richter is still on the podium, one of the most important European artists of our time, very shy and equally critical of today’s market dynamics.

The trend of the auctions has confirmed high and stable quotations for some young artists such as Adrian Ghenie, Avery Singer, Nicolas Party, Jonas Wood. The most popular are Basquiat, Peter Doig, Rudolf Stingel, George Condo, Antony Gormley. Christopher Wool, Mark Bradford, Richard Prince, Tauba Auerbach, Jenny Saville and Kerry James Marshall also enjoyed great recognition thanks to various exhibitions and the activity of gallery owner David Zwirner. Also Kaws, who surprises us with his always entertaining works, for some time now has been making large collections at auction, followed by Shepard Fairey which records a very high number of lots sold at auction, but for the latter we must consider that 90% of these are mostly prints that do not exceed $ 1,000.

If you look at our local art, in addition to the historicized names, Maria Lai, Carol Rama and Leoncillo stand out, who are experiencing a rediscovery by collectors, including foreigners, as evidenced by the excellent recent results at auction. If 2017 ended with a very strong interest in the Italian conceptual art of 50s and 60s, this year there was a greater appreciation for contemporary art and with the desire to bet on names that are still of little trend.

A steady rise in appreciation towards the African art has emerged; the interest rising for a new, interesting and different market is a bit like it was a decade ago for contemporary Chinese art. Several factors contributed to the growth of this sector, including the interest of great collectors such as Jean Pigozzi, some important exhibitions and the opening of museums of contemporary African art such as the Zeitz MOCAA in Cape Town and also galleries that have specialized in this area. Fairs like “1-54 Contemporary African Art Fair” in London and “AKAA – Also Known As Africa” ​​in Paris did the rest, making contemporary African art known to the general public. Some established African artists with very high prices are Kerry James Marshall, El Anatsui, Julie Mehretu, Chérie Samba.

The Chinese market, while remaining in second place as a global player, is a bit suffering although there are interesting proposals as evidenced by the prices reached by established artists such as Zeng Fanzhi, Ai Weiwei and Zhou Chunya.

Some women artists who have enjoyed little consideration by critics and the public are experiencing an important reassessment. Frieze London moved towards this direction by introducing “Social Works”, a section dedicated to eight artists active between the 80s and 90s who challenged the art market and who stood out for their strong political and social commitment. Jenny Saville redeems women by becoming the most expensive female artist in the world thanks to the result of “Propped”, (work of 1992) sold for £ 9.5 million. May this strong wave of feminism that pervades the entire art world be also due to the #MeeToo movement?

What do the researchers say?

From the analyses of the past year it seems that the feminist reflections have sprung up also thanks to #MeeToo, placed third in the ranking “Power 100 most influential people in the contemporary artworld 2018”. A year after the Weinstein scandal, questions are still being asked about the repercussions and how this movement has also influenced the world of art. In the first place of the ranking we obviously find the gallerist David Zwirner, elected the most influential man in the art world, while the silver medal goes to the artist Kerry James Marshall, result perhaps also due to the great results at auction as for “Past Times” of 1997 at $ 21.1 million.

There is a lot of talk about the increasingly predominant role of guarantees in auctions all over the world, a policy that helps auctions attract some of the best works.

According to estimates, this year the number of guaranteed lots has increased by 53% and guarantees are becoming a reference point for the value of a work. To be totally dependent on it is the high end of the market, which sees the use of these increasingly frequent, which could be a sign of short-term financial speculation.

Will the forecast of the Sotheby’s CEO Tad Smith be true, which predicted that the art market in 2019 will be more subdued than at the beginning of 2018? The assumption could be supported by the slight contraction in sales recorded in postwar and contemporary art auctions.

There is great anticipation for the opening in January of ICA Milan, the first Italian institute for contemporary art that follows the London model established in 1946. Private non-profit foundation, the exhibition center will be directed by Alberto Salvadori which aims to create a contemporary arts laboratory in which international artists will create site-specific works accompanied by a vast interdisciplinary program that will involve the public. Milan reaffirms itself as the Italian city most attentive to the contemporary art, and the Porta Romana district, with the presence of ICA, the Prada Foundation and a large redevelopment project, will be even richer in cultural initiatives.

To steal the scepter of queen of the contemporary, Venice will take care of the 58th Biennale of Art and the curiosity about the Italian Pavilion curated by Milovan Farronato will grow more and more, presenting the works of Enrico David, Liliana Moro and Chiara Fumai.

In short, it was a very interesting year and full of unexpected events.

We hope that 2019 is even more sparkling and dynamic, we’ll see!

Happy New Year to all!!!

“The shades of the art rainbow are endless: choose your favorite!”

London Auctions October 2018

The London autumn art week has ended, including Frieze, collateral fairs, many appointments and contemporary art auctions.



4-5 OCTOBER 2018

AUCTION of at 4 OCTOBER EVENING. Total sales: £ 84,610,000 including premium.

AUCTION at 5 OCTOBER DAY. Total sales: £ 20,844,000 including premium.

For this auction session, Christie has fielded several lots of the highest quality. The highest expectation is the “Figure in Movement” canvas dated 1972 by Francis Bacon, on the cover of the catalogue, which from an estimate of £ 15,000,000-20,000,000 was sold for £ 19,921,250 including premium. The work came from the private collection of Magnus Konow and portrays George Dyer, Bacon’s muse and lover who died of an overdose shortly after the creation of this canvas that had always remained in the Konow’s collection.

Francis Bacon, Figure in Movement, 1972

Oil and dry transfer writing on canvas

198 x 148 cm


Jean Dubuffet also performed well with “Lady in Garden”, oil and collage on canvas from 1956, which from an estimate of £ 2,500,000-3,500,000 was sold at £ 4,508,000 including interest.

Jean Dubuffet, Lady in Garden, 1956

Oil and collage on canvas

148 x 120 cm


Also good for Keith Haring’s great work “Untitled” of 1984, given an estimate of £ 3,000,000-5,000,000, it was sold at £ 3,946,250 including interest.

Keith Haring, Untitled, 1984

Acrylic on canvas, work in 4 parts

Total dimensions: 304.8 x 304.8 cm


Record for “Bull with Hole”, oil and resin on canvas of 1986 by Albert Oehlen, estimated £ 800,000-1,200,000 reached the amount of £ 3,608,750 thus exceeding the record of 2.9 million reached in 2017.

Albert Oehlen, Bull with Hole, 1986

Oil and resin on canvas, Diptych

Single canvas size: 187.6 x 188.3 cm

Total dimensions: 187.6 x 376.6 cm


Hurvin Anderson who with the oil on canvas of the 2003 “Country Club” adventured on £ 2,048,750 including interest, from an estimate of 1,000,000-1,500,000 £.

Hurvin Anderson, Country Club, 2003

Oil painting on canvas

162 x 265 cm


At the Lot 49 we find another work by Francis Bacon, “Painted Screen “, three panels joined by iron hinges of 1929 estimated at £ 700,000-1,000,000, which doubled and exceeded the highest estimate reaching £ 2,408,000 including interest.

Francis Bacon, Painted Screen, about 1929

Oil on plywood with metal hinges

Each panel: 183 x 61 x 2.8 cm

Total dimensions: 183 x 183 x 2.8 cm


Very good for the Turin artist Aldo Mondino, who on the occasion of his 70th birth anniversary marks the new record during the First World War and contemporary art auction with “Tappeti Stesi” (Carpets), the work of 1989, sold for £ 68,750 including interest. The starting estimate was £ 30,000-50,000 (Lot 343).

The Tappeti Stesi are wall compositions that entered Eraclite between the 80s and 90s and include one of the most famous cycles among those unleashed by the artist, fascinated by Middle Eastern culture.

Aldo Mondino, Tappeti Stesi, 1989

Acrylic on compressed chipboard, Diptych

Overall dimensions: 250 x 200 cm


Disappointment instead for “Skull”, oil on canvas of 1983 by Gerhard Richter published on the second cover, which remained unsold for 11.5 million pounds (estimate on request).

Same fate also for Jeff Koons’ “Cracked egg (blue)”, unsold 8.5 million pounds: it started from an estimate of 10,000,000-15,000,000 pounds.

Gerhard Richter, Skull, 1983

Oil painting on canvas

80.4 x 65 cm


Jeff Koons, Cracked Egg (blue), 1994-2006

One of the unique works of a series of 5

Mirror polished steel with transparent coating

165.1 x 159.1 x 159.1 cm

100 x 159.1 x 159.1 cm


Even “Still life with Zimmerlinde”, an unusual subject by Lucian Freud, remains unsold at £ 750,000 being above the maximum rating of £ 600,000.

Lucian Freud, Still life with Zimmerlinde, about 1950

Oil painting on canvas

25 x 21.5 cm


Withdrawal from the auction for Georg Baselitz’s 11 oils on canvas, estimated between 6 and 10 million pounds.



OCTOBER 4, 2018

Total sales: £ 40,408,000 including premium.

Thinking of Christie’s Italian, the first edition represents the evolution of Italian sales, a format that for the first time in 20 years has not been renewed by Sotheby’s, which has chosen to include art in art. October 5 and 6.

The evening with Christie, also packed with Italian collectors and operators, continued with a catalogue of the highest level made up of 37 important works ranging from Futurism to Arte Povera: many and predictable relaunched during the auction.

Learn more about the price achieved by the rare work “Space concept, The end of God” of 1963 which, starting at £ 12.5 million, was sold to an anonymous telephone collector for £ 17,108,750 including interest. The estimate was on demand, around £ 17 million. With this release “Spatial concept, The end of God” has become the second best-selling work at auction by Lucio Fontana.

The work had already gone up for auction in 2013 from Christie’s in New York and had reached £ 13 million on that occasion.

Lucio Fontana, Spatial Concept, The end of God, 1963

Oil and glitter on canvas

178 x 123 cm

“Spatial Concept” of 1953, a delicate and beautiful composition in oil and glass on canvas on the cover of the catalogue, reaches £ 1,832,750, interest included from a starting estimate of £ 1,600,000-2,500,000.

Lucio Fontana, Spatial Concept, 1953

Oil and glass on canvas

60 x 73 cm


The second work by price made is a “Achrome” by Manzoni from 1957-58 which was included in the Contemporary Art section and which was then moved to “Think Italian” (Lot 119A). The canvas made £ 3,608,750 including interest from an estimate of £ 3,000,000-5,000,000.

Piero Manzoni, Achrome, 1957-58

Kaolin on canvas

61 x 81 cm


Another Manzoni’s “Achrome” dated 1958-59 (Lot 118) touched the amount of £ 1,928,750 interest included from an estimate of £ 1,000,000-1,500,000.

Piero Manzoni, Achrome, 1958-59

Kaolin on canvas

60 x 80 cm


The other protagonists of this part of the evening were the Italian artists who imposed attention by setting some records.


Salvatore Scarpitta realized for £ 1,808,750 interest included with the work of 1960 from the Leo Castelli’s gallery “Alta Sposa”, starting estimate £ 1,000,000-1,500,000.

Salvatore Scarpitta, High Bride, 1960

Bandages on mixed supports on canvas

152.5 x 102 cm


Maria Lai’s work “Sheet” of 1989 from an estimate of £ 20,000-30,000 flied to £ 150,000 including interest, far exceeding the previous record of € 32,000 in 2015.

Maria Lai, Sheet, 1989

Thread and fabric embroidered on fabric

141.7 x 230 cm


Alberto Savinio also flied high with “Croix marine”, oil on canvas from 1929 estimated at £ 600,000-800,000 and sold for £ 692,000 including premium.

Alberto Savinio, Croix Marine, 1929

Oil painting on canvas

73 x 92 cm


“Great mutilation”, sculpture more than two meters high dated 1962 by Leoncillo, reached £ 728,750 including interest (estimate £ 350,000-500,000) and thus exceeded the € 283,000 record of the Christie’s auction in Milan in April 2018.

Leoncillo, Great mutilation, 1962

Stoneware and glaze

218 x 39 x 39 cm


Alberto Burri with “Sacco Nero Rosso” of 1957 reached £ 980,750 including interest from an estimate of £ 450,000-600,000.

Alberto Burri, Sacco Nero Rosso, 1957

Sackcloth, acrylic, plastic burning and vinavil on fabric

38 x 46 cm


Another nice surprise was Carol Rama, who with “Untitled”, a work of 1977, managed to double the estimate of £ 60,000-80,000 to reach £ 175,000 including interest.

Carol Rama, untitled, 1977

Tissue paper, tire, pastel, tempera, cotton thread and metal hook on soft top canvas

130.5 x 75 cm


Gino Severini with “Portrait de l’auteur” of 1916, displayed the £ 908,000 interest included from the estimate of £ 700,000-1,000,000.

Gino Severini, Portrait de l’auteur, 1916

Oil painting on canvas

100.3 x 74.3 cm


There were surprises among the unsold, including two Fontana’s works: red “Spatial Concept, Waiting” (Lot 125) and white “Spatial Concept, Waiting” (Lot 129).



The David Teiger collection and Contemporary Art achieved the total revenue of £ 69,787,000 including premia, against the high estimate of £ 73.5 million.


OCTOBER 5, 2018

Total sales: £ 35,921,100 including premia.

Sotheby’s opened the auction session with 25 works mainly by contemporary artists from the collection of David Teiger, almost all of them getting a somewhat lower value than expected.

The evening was opened by the artist’s record reached by “Wants to see it all”, a work of 2002, by Kai Althoff, which from the estimate of £ 80,000 – 120,000 got £ 574,000 including interest, after a long battle between collectors on the phone.

Kai Althoff, Wants to see it all, 2002

Paint, tempera and paper on canvas, edged with iron

50.2 x 60 cm


No twists and turns until Lot 6, when “Propped”, oil on canvas of 1992 by Jenny Saville, chosen for the catalogue cover and estimated £ 3,000,000-4,000,000, came with a £ 9,537,250 including premium, after a long phone battle between collectors marking the record for a living woman artist. This result reflects competition, and the competition in the role of women in art.

This large canvas, which made Saville famous thanks to the exhibition “Sensation” held in 1997 at the Royal Academy of Arts, was owned by the magnate Charles Saatchi, and it revolutionizes the traditional representation of the woman’s body.

Jenny Saville, Propped, 1992

Oil painting on canvas

213.4 x 182.9 cm


“Station Buffalo I “, oil on canvas dated 1997-1998, reached £ 7,561,500 including premium from the estimate of £ 6,000,000-8,000,000.

With the same estimate, according to the characteristics of the former in terms of subject, data, size, and technique, the result was different for ” Station Buffalo II”, which was sold at the price of £ 4,513,000. Probably this second work by Doig went to the third party guarantor, who had ensured the painting.

Peter Doig, Buffalo Station I, 1997-98

Oil painting on canvas

175.3 x 269.9 cm

Peter Doig, Buffalo Station II, 1997-98

Oil painting on canvas

175.3 x 269.9 cm


Not very good however for “Minerva”, oil on canvas by John Currin, which first remained unsold and was then put up for auction again at only £ 370,000, included, in a starting forecast of £ 800,000 – £ 1,200,000.

John Currin, Minerva, 2000

Oil painting on canvas

71.1 x 55.9 cm



5-6 OCTOBER 2018

EVENING AUCTION 5 OCTOBER: Total sales: £ 33,865,900, including premiа.

DAY AUCTION 6 OCTOBER: Total sales: £ 14,008,500, including premiа.

After the Teiger collection, the evening continued at Sotheby’s with 40 lots of Contemporary Art.

The undisputed star of all the international press was Banksy’s work, which suddenly destroyed itself after being sold for £ 1,042,000, including interest. “Girl with Ballon”, made in 2006, was the last lot of the auction and was estimated at £ 200,000-300,000. Shortly after the time, the mechanism hidden inside the frame activated and the work of the artist from Bristol was shredded in small strips. The bewildering and surprising performance immediately made Banksy claimed on social media. The value of the work has been exceeded with regards to marketing and resonance it made.

Banksy, Girl with Baloon, 2006

Spray paint and acrylic on canvas, mounted on a frame by the artist

101 x 78 x 18 cm


Part of Banksy’s unexpected performance were a few twists in this auction session. Hence two works by Georg Baselitz that far exceed expectations: “Ohne Titel” of 1966 from an estimate of £ 450,000-650,000 reached £ 1,150,000 including interest; while “Kopfkissen”, oil on canvas of 1987, took the figure of £ 1,450,000, the starting estimate was £ 40,000-600,000.

Georg Baselitz, Ohne Titel (Der Neue Typ), 1966

Tempera, ink and pastel on paper

39.1 x 26 cm

Excellent result for Adrian Ghenie’s “Boogeyman” dated 2010, which from an estimate of £ 2,000,000-3,000,000 flied to £ 4,851,900 including premium.

Adrian Ghenie, Boogeyman, 2010

Oil painting on canvas

200 x 335 cm


Among the unsold, some also present some excellent names, such as a “Spatial Concept, Expectations” by Lucio Fontana, a Castellani “Troika” and two Kapoor “Parabolic Mirror, Asagi” and “Untitled”.

“Again and again”, Kaws acrylic on canvas depicting the cartoon character Sponge Bob, set a record and a Taiwanese dealer was awarded after a long telephone battle, flying from the estimate of £ 250,000-350,000 to £ 1,030,000 interest included.

Kaws, again and again, 2008

Acrylic on canvas

172.8 x 172.8 cm




Total sales: £ 2,493,250 including premia.

The Phillips auction house, in addition to being increasingly attentive to and publishes photography (auction on 4 October), dedicates an entire session to ceramics intended to strengthen the dialogue between art, design and craftsmanship.

Ceramics, a technique traditionally placed among the decorative arts, is now viewed with renewed interest also by the so-called “emerging” collectors. With a private auction, Phillips captured the public’s attention by presenting the material in a completely different light.

The new interest in ceramic artists had already emerged in New York last December during the evening design auction when the work “Rondena” by Peter Voulkos, sculpture of powerful dimensions, set a record for an American ceramic artist totalling $ 915,000, premium included, $ 400,000 beyond its high rating.

As we saw in the Christie’s Thinking Italian auction on October 4, the excellent result achieved by Leoncillo is the market trend: the “Great Mutilation” stoneware sculpture was sold at £ 728,750 against a high estimate of £ 500,000.

On the occasion of the autumn auction of Phillips, the curator Francesco Bonami proposed 32 works both modern and contemporary signed by Fontana, Ai Weiwei, Fausto Melotti, Picasso and Roy Lichtenstein followed by other lesser-known masters who worked in this material.



Total sales: $ 6,198,625 including premia

Peter Voulkos, Rondena, 1958

Porcelain stoneware, brushed cobalt, iron, epoxy resin

157.5 x 95.9 x 82.6 cm

Estimate: $ 300,000-500,000

Sold for $ 915,000, including premium


Lucio Fontana, Horse, 1935-36

59.5 x 79.5 x 46 cm

Estimate: £ 400,000- £ 600,000

Sold for £ 549,000, including premium


Roy Lichtenstein, Ceramic Sculpture # 10, 1965

21.6 x 22.5 x 21.6 cm

Estimate: £ 250,000-350,000

Sold for £ 309,000 prize included


Ai Weiwei, He Xie, 2010

Variable dimensions

Estimate: £ 400,000- £ 600,000

Sold for £ 609,000 including premium


Pablo Picasso, Hibou (Owl), 1975

34 x 20 x 4 cm

Estimate: £ 50,000-70,000

Sold for £ 93,750 including premium


Fausto Melotti, Female Figure, about 1950

Height 21.7 cm

Estimate: £ 40,000-60,000

Sold at £ 56,250 prize included


“The shades of the art rainbow are endless: choose your favorite!”



All the autumn exhibitions not to be missed!



Fondation Beyeler, Basel

September 2 – January 1, 2019


The exhibition, in collaboration with the artist’s family and curated by Raphael Bouvier and Michiko Kono, presents fifty of the most significant works of the artist’s career and is the first major retrospective dedicated to Balthus in German-speaking Switzerland.

The artist’s bond with these places has always been strong, both for his marriage to the Swiss aristocrat Antonietta de Watteville and for the childhood spent between Bern and Geneva.

Balthus, pseudonym of Balthasar Klossowski de Rola, was born in Paris to an art critic father and painter mother, thanks to his parents he had the opportunity to travel and get closer to the world of art from an early age.

It will be the first trip to Italy in 1926 to bring him closer to the Tuscan Renaissance masters, in particular to Piero della Francesca, whom he considered to be his mentor.

Taking the compositional system from the great painters of the past, then expertly mixing it with the other Italian artistic currents, such as Magic Realism and Metaphysics: it is from this particular combination that the enigmatic static nature characteristic of his works is born, which can combine daily life and mystery, dream and reality.

Balthus has been able to revolutionize the figurative tradition in open opposition to the avant-garde currents of the time, in a historical period that featured painters such as Picasso and Matisse.

Little understood by his contemporaries, after the thirties his iconography was oriented towards the representation of nudes characterized by an almost sculptural immobility; among these his main subjects are young children in the toilet that also earned him pornography charges.

The delicacy of the nudes, caught in moments of daily intimacy and anything but mischievous, clearly expresses Balthus’s intent to tell the psychological aspect of the subjects and to cite the classical masters.

The bond with Italy is expected to strengthen from 1961, when the artist is appointed director of the Academy of France in Rome, an assignment that will last 17 years during which Balthus will create several works set in the eternal city.

The great retrospective that will end in Basel on January 1, 2019, will move to Madrid at the National Thyssen-Bornemisza Museum.

Balthus, Thérèse, 1938

Oil on cardboard mounted on wood

100.3 x 81.3 cm


Renzo Piano

The Art of Making Buildings

Royal Academy of Arts, London

September 15 – January 20, 2019


United by a sense of lightness thanks to the use of large windows, a mixture of invention and tradition, function and context, Renzo Piano’s buildings are now part of the public imagination.

His projects have changed the skyline of metropolises all over the world through futuristic and immediately recognizable lines, the result of a work of constant research and experimentation with materials and architectural typologies.

The exhibition, designed and curated in close collaboration with the same Plan, traces the architect’s career from the Genoese heritage of the construction builder father to the studies carried out in Florence and Milan, passing through international experiences and worldwide acclaim alongside his friend and collaborator Richard Rogers.

Focused on 16 key projects, the exhibition explores the architect’s modus operandi, highlighting the wise use of shapes, materials and engineering to materialise elegant and pioneering ideas.

The Centre George Pompidou in Paris, a project of 1971 that brought him worldwide fame, the London Shard, and the New York Times headquarters in the Big Apple stand out among the most famous projects designed by Piano.

On display there will be not only photographs and projects but also many hand drawings in which you can follow the flow of ideas and inspirations that led to the creation of futuristic buildings that have become icons and symbols of absolute modernity.

In addition to the projects that made him crown “archistar”, the lesser known ones dating back to the 1970s, the beginning of the career of the well-known Genoese architect, will also be visible.

At the centre of the exhibition is the imaginary “Island“, a sculptural installation specially designed for the monograph of the Royal Academy that brings together almost 100 projects that recount Renzo Piano’s 30 years of career.

The Shard, also called London Bridge Tower

London, 2013-2016.


Salvator Mundi by Leonardo da Vinci

Abu Dhabi Louvre

September 18


Leonardo’s Salvator Mundi will be finally exhibited at the Louvre in Abu Dhabi, after being purchased for the record of $ 450 million by the United Arab Emirates Department of Culture and Tourism in November 2017 during the Christie’s auction in New York.

Just one week after the museum’s inauguration, the purchase has been an excellent marketing operation and has further clarified the economic power of the Emirates

However, this is a temporary exhibition, because the work will return to the Louvre in Paris on the occasion of the exhibition that will take place from 24 October 2019 until 24 February 2020 to celebrate the anniversary of the death – 500 years in May 2019 – of the Tuscan master.

The oil on board representing Christ blessing has long been considered to come from Leonardo’s workshop, and over time the attributions by international experts, who have long debated on the authorship of the work, have been very controversial.

Painted between 1490 and around 1515, it was finally recognized as Leonardo’s work only in 2011 on the occasion of the exhibition at the National Gallery in London.

The Salvator Mundi promises to be the centrepiece of the Abu Dhabi collection and represents an excellent piece to counterbalance the Mona Lisa, exhibited in the Parisian museum of the same name.

The collaboration between the two Louvres foresees that the Abu Dhabi museum can use the name – which has become almost a brand – for about 30 years.

The terms of the agreements provide that France undertakes to guarantee a constant loan of works through the Agence France-Muséums, an institution that brings together the 13 major French museums involved in the partnership with Abu Dhabi. These thirteen museums will also ensure the rotation of four exhibitions per year for 15 years at the Arab facility.

France also has the obligation of bringing curators, experts and highly qualified figures who will train the staff to the Louvre in Abu Dhabi: in this way the museum will have time to build its own permanent collection and to manage itself within a few years.

Leonardo da Vinci, Salvator Mundi, around 1490-1515.

Oil on wallnut

66 x 46 cm


The World on Paper

New Cultural Headquarters of the Deutsche Bank, Berlin.

Opening September 27th.


On September 27, the new cultural headquarters of the Deutsche Bank will open in Berlin under the direction of Svenja von Reichenbach, formerly responsible for exhibitions at the Berlin office and director of the Deutsche Bank KunstHalle since 2013.

The Centre is spread over a total area of 3,000 square metres occupying the building renamed “Palais Populaire” and the spaces adjacent to it.

In the artistic field, the German bank is known for a collection focused on photography and works on paper among the most important in the world, but the cultural centre of Berlin will host events of all kinds including exhibitions, concerts and sports.

The exhibition that inaugurates the spaces, “The World on Paper” curated by Friedhelm Hütte, sees protagonists precisely with the works of the Deutsche Bank collection, but information about it is once again very scarce, probably to intrigue the public by focusing on the surprise effect.

Exterior view of the Palais Populaire, Berlin


Real Bodies: discover the human body

Spazio Ventura XV, Milan

October 6 – January 31, 2019


The exhibition on human anatomy returns to Milan two years after the first exhibition held at the Fabbrica del Vapore, where it had reached a record attendance with 280 thousand visitors, certainly thanks to the intriguing and attracting particularity of the “objects” on display.

The 500 artifacts preserved by plastination are organs of men and women who voluntarily decided to donate their post mortem body in the name of science.

This year, on the occasion of the 500th anniversary of the death of Leonardo da Vinci, a section of the exhibition will be dedicated to the Tuscan master, undisputed pioneer of forensic medicine and a great scholar of human body.

The thirty installations of human artefacts will reproduce Leonardo da Vinci’s anatomical sketches contained in the Windsor code in a direct comparison between his studies and reality.

Another novelty compared to the previous edition is the presence of animal organs, including the heart of a humpback whale, the largest heart muscle on Earth that measures 1-meter-wide and is capable of pumping 220 litres of blood.

The exhibition, through the study of the human body, aims to make known the progress of biomechanics and reconstructive surgery, to sensitize people on the fight against addictions and to facilitate disease prevention. The high scientific and educational value makes the exhibition an unmissable appointment for school children and curious people in general.

Leonardo da Vinci, Windsor codex, detail of a drawing



Carte Blanche to Tomás Saraceno

On Air

Palais de Tokyo, Paris

October 17 – January 6, 2019


Tomás Saraceno will be the protagonist of the fourth edition of the “Cartes Blanches” series, monumental exhibitions cyclically entrusted to different artists that started in 2013 with Philippe Parreno, then continued in 2016 with Tino Sehgal and with Camille Henrot in 2017.

On Air” promises to be the largest project ever created by the artist, whose research develops and concretizes in the mixture of architecture, art science and philosophy.

The exhibition brings together a selection of his main works and new productions that will transform the 13,000 square metres of the Palais de Tokyo into a truly unique experience.

By combining the smaller and larger stairs, the exhibition will seek to reveal the connection between a spider web, a particle of dust, an architecture and the redistribution of the atmosphere through the Aerocene, an interdisciplinary artistic project that proposes a collective rethinking of the way men inhabit the world.

Aerocene imagines the creation of a new infrastructure that redefines the international right to mobility, reviewing the freedom of movement between countries and reminding us that air is a precious asset that belongs to all living beings.

The exhibition space of the Palais de Tokyo thus becomes a huge stage that shows the richness and complexity of everything that makes up the universe, transporting us to a place where the microscopic and the cosmic coexist, transcending human perception to explore the world from different points of view.

Flanked by a team of international professionals that sees the participation of architects, researchers and astrophysicists from all over the world, Tomás Saraceno invites us to rethink our way of experiencing the planet.

Tomás Saraceno, detail of a work, 2017


Picasso Metamorphosis

Palazzo Reale, Milan

October 18 – February 17, 2019


The European exhibition promoted by the Musée Picasso in Paris also stops in Milan and presents 200 works that include both works by Picasso and pieces of ancient art from important international museum institutions.

The focus of the exhibition is the relationship between the painter and the myth of antiquity, a source of inspiration highlighted by the many references that Picasso has included in his works during his artistic career: therefore, the mythological themes emerge thanks to a direct comparison between pieces of ancient art and master’s works.

The exhibition is part of a series of events dedicated by the Royal Palace to the Spanish painter, which began in 1953 with the exhibition of Guernica in the Sala delle Cariatidi and ended with the large monographic exhibition of 2012.

Pablo Picasso, Women at the spring, 1921

Paris, Musée de l’Orangerie

Oil on canvas

50 x 52 cm


Mario Merz


Hangar Bicocca, Milan

October 24 – February 24


The exhibition curated by Vicente Todolí and created in collaboration with the Merz Foundation, offers the unique opportunity to be able to admire for the first time 30 igloos from private collections and museums, created by the artist between 1968 and 2003.

The exhibition opens with 1987’s “La Goccia d’Acqua”, which with its 12 meters in diameter is the largest igloo created by Merz for an internal exhibition space, on the occasion of the solo exhibition at the Musée d’Art Contemporain in Bordeaux .

In the space of the Navate, with an area of 5,500mq, the exhibition itinerary then proceeds in chronological order starting with the igloos created in the sixties.

Thanks to this substantial body of works, the exhibition takes us through the most innovative aspects and components of Merz, very tied to the particular use of both natural and industrial materials and attentive to the dialogue between natural space and architecture.

A key figure in Arte Povera, Mario Merz was among the first in Italy to use the artistic installation as an artistic means of expression, inserting neon and everyday objects on the canvas. In addition to these, he has often also used some elements belonging to the scientific field, such as the Fibonacci sequence.

It is from 1968 that he introduces a theme that will remain one of the most representative of his research: the igloo.

This particular type of home becomes a metaphor for the relationships between physical space and conceptual space, between individual and community, a place of refuge and ephemeral isolation from external reality.

Igloos are often created through metal structures covered with various elements, from clay to glass, from stone to jute.

Since the 1980s there has been an evolution in the structure of the igloos, which become more complex, characterized by intersecting lines and the addition of neon writing.

The symbolic value of these delicate installations sometimes assumes even political meanings, thus opening up to contemporary debates.

Mario Merz, The Drop of Water, 1987

Diameter: 12 meters


The shades of the rainbow of art are infinite: choose your favourite!

Italian Auctions June 2018

The beginning of the month featured national auctions of modern and contemporary art, which achieved excellent results and confirm the market trend that sees the figurative and sculpture sector growing.

Il Ponte, thanks to a very accurate catalog edited by Freddy Battino, has achieved a remarkable result with sales that have exceeded 6 and a half million euros with a sales rate of 90% in lots and has also set new records for the artists Antonio Sanfilippo, Irma Blank, Mario Negri, Emilio Scanavino.

The latter with the work “Triumph of death” reached € 140,000 from a starting estimate of € 70-100,000.

During the auction, Palazzo Crivelli was crowded with collectors and dealers from all over the world and many foreigners also participated by telephone, especially from China, Japan and Russia.

Top lot of the evening “White surface – 2 – II” the work of 1977 by Enrico Castellani that from an estimate of 200-250 thousand euros has flown to 450 thousand euros including auction rights, a sale that suggests the recovery of the market of a great master who passed away recently.

Enrico Castellani, “White surface – 2 – II”, 1977

Acrylic on stretched canvas

100 x 120 cm


Emilio Scanavino, “The Triumph of Death”, 1961

Oil painting on canvas

200 x 300 cm


Blindarte of Naples (total auction € 1,400,000 including fees) stands out for two sales in particular: “Portrait of the Princess Giovanna Pignatelli d’Aragona Cortés”, the highly sought-after screen-print by Andy Warhol of 1975, which from an estimate of € 120,000-180,000 reached the 210,000 euros including fees.

“Opening”, the work of 1983 by Richard Hambleton, was awarded to an American collector for 185,000 euros (including fees) against the initial estimate of 7-10 thousand euros.

It can be said that he is one of the protagonists of the auctions of this spring, given that on 26 June another of his works, “As the world burns” will be auctioned by Artcurial for € 474,000 (price including expenses) with an initial estimate of just 120-150 thousand euros.

Andy Warhol, “Portrait of Princess Giovanna Pignatelli d’Aragona Cortés”, 1975

Acrylic and screen printing on canvas

66 x 56 cm


Richard Hambleton, “Opening”, 1983

Acrylic on canvas

217 x 139 cm


This also a very positive period for the auction house Wannenes Art Auctions, which closes at 1,147,410 euros including fees.

Also in this case, the sales confirm a growing trend for magic realism and figurative painting, as shown by the excellent result obtained by Antonio Vonghi’s “Vase of flowers” of 1936, which reaches 56,250 euros including fees, from an estimate of € 40-50,000.

Protagonist announced – the work was on the cover of the catalog – Alighiero Boetti, awarded for € 137,000 including fees with “Melting like snow in the sun”, small white embroidery from 1988: award record of the smallest work ever sold at auction and figure never reached by a total white Boetti on the public market. The tapestry started from an estimate of € 20,000-30,000.

Alighiero Boetti, “Melting like snow in the sun”, 1988

Embroidery on fabric

20 x 21,5 cm


Farsetti Arte di Prato, with its auctions held on 8 and 9 June, reached a total of 4,000,000 euros including fees.

Artists renown internationally, now historicized and representing a solid and safe investment, far from the cautious speculations of the art market, were presented at the auction.

Spearhead Alberto Savinio who, with the oil on canvas “Pégase”, is awarded 272,200 euros including fees, was initially estimated of 200-300 thousand euros.

The small work of mixed technique on paper by Alberto Burri, “Combustion T. n. 7″of 1959, as often happens, exceeded the maximum estimate reaching € 204,950, including fees.

Alberto Burri, “Combustion T. n. 7”, 1959

Paper, acrylic, vinavil, burning on paper

35,5 x 26,6 cm


Alberto Savinio, “Pègase”, 1930

Oil painting on canvas

74 x 92 cm


Pandolfini closed the auction on 11 June at € 1,201,542 including fees, and at 65% sale rate in lots.

Among the works on auction, three works by Jean-Michel Basquiat, typical “postcards” of the early 1980s depicting themes dear to the artist, were awarded for € 93,750, € 62,500 and € 131,250 respectively (lots 82-83-84; expenses included) for a total of almost 300,000 euros.

Sebastian Matta, the Chilean artist, a point of reference for Italian abstractionism, also reached excellent results with the work “Tu beninteso cascellato” of 1963 sold for € 56,250 from an estimate of € 40,000-60,000.

Mario Schifano reached 31,250 euros with the large work “Untitled” depicting palms and hearts.

The sculpture section features Giò Pomodoro’s bronze “Marat, volume sculpture ” was sold for € 47,500 from an estimate of € 40,000-60,000.

Sebastian Matta, “Tu beninteso cascellato”, 1963

Colored sand on canvas reproduced on panel

120 x 175 cm


Giò Pomodoro, “Marat”, volume sculpture, 70s


180 x 60 x 60 cm


Jean-Michel Basquiat, “Untitled”, 1982

Lot 82

Acrylic, oil and organic pigments on postcard

17,78 x 12,7 cm


Jean-Michel Basquiat, “Untitled”, 1981

Lot 84

Acrylic, oil and organic pigments on postcard

17,78 x 12,7 cm


Jean-Michel Basquiat, “Untitled (Everlast)”, 1982

Lot 83

Acrylic, oil and organic pigments on postcard

17,78 x 12,7 cm



The shades of the rainbow of art are infinite: choose your favorite!

Fairs in June 2018

June was the month of major international contemporary art events: Art Basel in Basel which in turn includes eight major collateral fairs; Miami Design; Masterpiece London; Manifesta12 in Palermo and Milan Photo Week.



Manifesta, the European nomadic Biennale, was established in Amsterdam in the early 90s thanks to the art historian Hedwig Fijen. Aimed at promoting social integration in Europe, Manifesta invites the international artistic community to create works and installations in the context in which it takes place: it is therefore a site-specific project that aims to establish a dialogue between social structures, culture and art.

The travelling fair opened the doors of the splendid Sicilian city, little accustomed to the artistic avant-garde compared to other European metropolises, but perfect frame for the event.

Selected by the Manifesta committee, Palermo was the ideal city to organize this edition thanks to some of its characteristics, which well represent two crucial themes of today’s Europe: the issue of migrants and the change in global climatic conditions.

Throughout history, Palermo has been occupied by different civilizations and therefore has an interesting cultural stratification and strong ties with North Africa and the Middle East thanks to its geographical position, a crossroads of three continents.

For the city it could be an excellent opportunity for redevelopment and an opportunity to help citizens regain possession of certain areas of the urban structure.

Manifesta brings with it 71 side events selected through an international call, whose programs take place in parallel with the main one of the Biennale.

The curators of this edition are four: the Dutch Bregtje van deer Haak, the Spanish Andrés Jacques, the Swiss Mirjam Varadinis and the Italian Ippolito Pestellini Laparelli.

There are also four main sections: Garden Flows (Botanical Garden, Palazzo Butera), Out of Control Room (Kalsa district, ancient Arab heart with Palazzo Forcella De Seta, Palazzo Ajutamicristo), City on Stage (Palazzo Costantino) and Teatro Garibaldi (general neighborhood of the Biennale).

The most politically engaged section is undoubtedly Out of Control Room, which is divided into two main offices: Palazzo Ajutamicristo and Palazzo Forcella De Seta.

The first opens with the spectacular installation “Citizen ex” by James Bridle, featuring colorful flags fixed to the ceiling. The journey ends with “The Third Choir” by Lydia Ourahmane, which brings 20 oil barrels exported from Algeria to Palermo in 2014, each of which contains a mobile phone.

James Bridle, Citizen ex

Installation at Ajutamicristo Palace


Continue to Palazzo Forcella De Seta, a beautiful building renovated in the nineteenth century. Here the video installations almost become journalistic documentaries on immigration and colonization thanks to Kader Attia’s film “The Body’s Legacies. The Post-Colonial Body” and a “Liquid Violence” by Forensic Oceanography.

More sculptural work “The Soul of Salt” by Patricia Kaersenhout, which fills one of the rooms of the palace with a pyramid of salt: visitors are invited to interact with the work thanks to the possibility of taking and bringing home some salt to remove negativity from one’s life.

Patricia Kaersenhout, The Soul of Salt

Installation at Palazzo Forcella De Seta


Garden of Flows is perhaps the most poetic section of the Biennale: it starts with the Botanical Garden, where the works of eight artists are inserted among the wonderful plants of the park, in a bucolic context reminiscent of the nineteenth-century romantic gardens.

Radiceterna was created in an entrance hall, a refined library and project room that focuses on the combination of Art and Nature. Here will alternate exhibitions of Poi and Calzadilla, Kathinka Bock, Bjorn Braun and Ignazio Mortellaro.

Radiceterna, a project created in collaboration with the Mario Merz Foundation, refers to the artist’s work “If the shape disappears, its root is eternal” of 1984.

In the spaces of the Botanical Garden the theme of this edition of Manifesta finds its perfect stage: the metaphor of the garden as a place where life is born, a land where the diversity of plants and living beings that coexist side by side is cultivated .

Another seat of this section is Palazzo Butera, a splendid residence of the Princes of Branciforte recently renovated thanks to Massimo and Francesca Valsecchi, who in 2019 will bring their collection here to make it become a center of contemporary art.

Inside, the beautiful frescoed rooms exhibit six artists, who interpreted the theme of Manifesta in totally different ways: from the documentary “Night Soil” by Melanie Bonajo to the majolica by Maria Thereza Alves “A proposal of Syncretism (this time without genocide) ”, a project born from some tiles found at the Palermo market in Piazza Marina.

To conclude the photographed “Theater of the Sun” by the American collective Fallen Fruit that covers one of the rooms of the Palazzo with brightly colored wallpaper: an “immersive” / enveloping installation that depicts the fruit trees of the Palermo area and creates a sort of mapping of shrubs often overlooked or ignored.

Fallen Fruit, Theater of the Sun

Palazzo Butera


In the historical center, Palazzo Mazzarino hosts various exhibition projects for the occasion, some of which are site specific.

At the entrance of the building, in the internal arcaded courtyard, you can admire “Games without borders”, an interactive sculpture by the Polish artist Marcin Dudek.


Marcin Dudek, Games without frontiers

Palazzo Mazzarino


In the former horse riding spaces Cavallerizza, the installation of Per Barclay implemented by Francesco Pantaleone creates a mirror, in which the colonnade is reflected, a play of reflections made possible thanks to the use of waste oil. The Norwegian artist carries out a reflection on the passage of time through a game of references between ancient architecture and the present space.

Entering the innermost rooms we meet the works of the collective “The call of Cthulhu”, an exhibition curated by Lorenzo Benedetti that presents seven artists.

The last room hosts the “La Febbre” project, a collective exhibition curated by Vincenzo Schillaci that presents 10 international artists.

Per Barclay, Cavallerizza

Palazzo Mazzarino


The most proposed collateral events have a central role in the installations proposed in recently restored churches.

The Church of the Madonna del Soccorso, also called “della Mazza”, closed to the public for about forty years, finally reopens its doors thanks to the project of Duskmann, a collective established in 2015. The installation “Prelude” culminates in a huge marble heart placed in the center of the nave and has the additional advantage of accentuating the sober elegance of the interior of the church.

Duskmann, Prelude

Church of the Madonna del Soccorso


Another church that has been closed for a long time due to the renovation works is the Church of Santa Venera, built in 1493 and remodeled at the end of the 18th century in the neoclassical style at the time. On the occasion of Manifesta, the small nave hosts two works by the Belgian artist Berlinde De Bruyckere entitled “Mantel I” and “Mantel II”, presented by the Galleria Continua.

The torn blankets, exposed to the elements for months, are inspired by the habit of Saint Francis painted by the Spanish painter Francisco de Zurbaran (1598-1664): works that are certainly less provocative than those most known by the artist, but which blend in well with the religious space.

The Cuban artist Carlos Garaicoa’s first Sicilian solo show is also very interesting, exhibited at the headquarters of the Francesco Pantaleone Contemporary Art gallery, a stone’s throw from the Quattro Canti and Palazzo Mazzarino.

Through his installations, the artist guides us through a reflection on the relationship between society, architecture and the surrounding environment.

“Garden”, a scale representation of a landscape, subverts reality in an alienating operation that places the visitor as “an almighty god”, giant compared to the nature reproduced. The small monitor showing a dead tree surrounded by ruined buildings takes us back to reality: man’s powerlessness in the face of defeats and, worse, his destructive hand as a negative entity and not as a life-creating superior essence.

“And after, what will we do?” is a site-specific installation that brings together, thanks to the large windows, wooden beams recovered from old Palermo buildings with the external buildings. Small plastic ants that have imaginary buildings instead of the head, prowling the beams and devouring them: a metaphor for the city that builds itself and devours itself, but also a controversy on sustainability and the relationship between man and architecture.

Carlos Garaicoa, And after, what will we do?

Site specific installation


Pinksummer Gallery in Genoa offers a collective entitled “Pictorial Goose Turn”, which can be visited until 6 October in the spaces of Via Patania, in collaboration with the Palermo curator Paolo Falcone. The title of the exhibition joins the title of William J. T.’s essay “Pictorial Turn” and the goose game, also in reference to the nine exhibition rooms that could ideally correspond to nine boxes of the game.

Among the exhibited artists, Peter Fend, Invernomuto, Tobias Putrih and Tomás Saraceno.

Tomás Saraceno

Pinksummer Gallery goes to Palermo


The International Center of Photography directed by Letizia Battaglia, inaugurated at the Cantieri Culturali della Zisa in 2017, which currently hosts a group of international photographers, is a must for all photography enthusiasts.

We had the honor of meeting the great photographer in person, who dedicated precious moments to us by telling us about her own path, closely connected with a Palermo, marked by the interference of the mafia in the life of the city and its inhabitants.

Among the goodies that we were lucky enough to visit are the temporary seat of the Galleria Viasaterna in Milan, which in an ancient building has created an atelier, halfway between the residence and the exhibition space, involving eight Italian and international artists, who will exhibit alternating weekly. At the time of our visit it was the turn of Theo Drebbel, an artist originally from Naples, who creates delicate dioramas composed of small figures and plant elements.

Oli Bonzanigo’s artist studio instead gave us an atmosphere of the past, almost dreamlike, in a space that develops between romantic frescoes and a breathtaking view.

The Milanese artist will also exhibit his visionary embroideries at the Viasaterna Gallery from 16 to 22 July.

Another atmosphere, refined and once again seeming to take us back in time, is the one you breathe on the main floor of Palazzo Mazzarino, where the imposing works of Damien Hirst perfectly interpenetrate in a highly sought-after space of noble taste, among frescoes , brocades and the “Portrait of Franca Florio” (1901-1924) by Giovanni Boldini.

During these days dedicated to Manifesta, Palermo really amazed and fascinated everyone with the decadent beauty of its buildings, which also made them look away from the works on display, sometimes more “informative” than contemplative.

The city also amazed at the degree of real integration between different cultures: it is impossible not to realize that Palermo is used to welcoming “the different” much more than many could have imagined. The perfect theater to stage the artistic debate: as the director of Manifesta called it, Hedwig Fijen “complex and layered, it is a city much more than European, transnational”.

A global but problematic Palermo, which has to deal with immigration, the emigration of Sicilians to the big cities of the north, the tourist impact and climate change.



June 28 – July 4

The 9th edition of Masterpiece London took place at the Royal Hospital Chelsea, a historic building designed by Christopher Wren, which saw the participation of 190 galleries, including the most prestigious in the world.

Among the 29 new entries stand out the Kallos Gallery, specialized in antiquity, Hauser & Wirth that stands out for modern painting, Landau Fine Art which has proposed a fantastic portfolio of works including a late Picasso, a rare René Magritte and a Modigliani.

Masterpiece is certainly the most important fair in the world for the joint collection of heterogeneous sectors: it ranges from archaeological finds to modern and contemporary art, from design to jewelry, from ancient books to watches to cover a range of six thousand years of history.

This mix of different artistic genres makes Masterpiece London the only happening that combines art and luxury, a fair that, since the first edition of 2010, has distinguished itself for the very high quality of the pieces offered and which is destined to improve over time.

All this is made possible thanks to the artistic commission made up of 150 international experts from the major public and private institutions, who examine every single piece to certify and guarantee its quality.

The arrangement of the stands by President Philip Hewat-Jaboor, in turn a collector and art advisor, has promoted and enhanced the mix of different genres and sectors, an idea that has had the advantage of making collectors known and purchased even objects unrelated to their usual terrain of action.

Starting from last year, the Masterpiece Presents section was introduced, a space at the entrance of the fair used for the exhibition of innovative works.

This year to welcome visitors was “Five Stages of Maya Dance”, an installation by Marina Abramović, consisting of 5 portraits of the artist carved in alabaster with three-dimensional rendering and illuminated by LEDs.

Presented by Factum Arte (a company based in Madrid, Milan and London specializing in digital mediation) in collaboration with Lisson Gallery, 3D portraits manage to combine performance, sculpture and digital technology thanks to the translucent properties of alabaster: as the spectator moves you have the feeling that Abramović’s image is decomposing into intricate landscapes, creating the effect of a sort of performance.

The work, created over the past five years, represents the five stages of the Mayan dance and is the result of a series of reflections on the ephemeral and eternity.

Marina Abramović, Five Stages of Maya Dance, 2013

Masterpiece Presents 2018


Another contemporary star is the Japanese artist Chiharu Shiota, famous for the enveloping cobwebs, who has created an immersive site-specific installation for the Blain Southern Gallery. Red threads completely enveloped the space furnished with suitcases, maps and books, often personal belongings of Shiota that symbolize delicate existential issues.

Chiharu Shiota, Turning World, 2018

Blain Southern Gallery, Masterpiece London 2018


Taking a step back in time, many stands exhibited impressionist and modern works.

Die Galerie focused on works by three surrealist artists: has presented a monumental bronze statue of Max Ernst, works by André Masson and Roberto Matta.

Mazzoleni, present for the fourth consecutive time, has proposed works by great artists dating back to the 20th century, both Italian and international, including Giacomo Balla, Agostino Bonalumi, Alberto Burri, Marc Chagall, Giorgio de Chirico, Lucio Fontana, Hans Hartung, Fausto Melotti , Victor Vasarely.

Robilant + Voena has instead decided to broaden the spectrum by exhibiting works from different eras: from the serigraphs of Andy Wharol to the Views of the eighteenth century. The absolute rarity proposed by the gallery is the support surface of a table belonging to the collection of Francesco I de’ Medici, dating back to the regency period between 1568 and 1577: the beautiful slab is composed of colored marbles and hard stones set to form a geometric design in shades of ocher and cobalt blue. Perfectly preserved, there are only three specimens in the world that still have the original border and inlaid apron.

Precious stone table belonging to Francesco I de ‘Medici,


Marble and hard stones

141.5 x 87 x 70.5 cm

Robilant + Voena, Masterpiece London 2018


M&L Fine Art presented paintings from the early twentieth century, including a 1916 “Metaphysical Composition” by Giorgio de Chirico, and works from the post-war period by Piero Manzoni, Lucio Fontana and Enrico Castellani.

The Ronald Philips gallery, on the occasion of the 300th anniversary of the birth of Thomas Chippendale, exhibited as a tribute to the famous British cabinetmaker about 20 pieces of furniture made by the master.

There was no shortage of rarities that attracted the attention of many visitors: among them a gogotte exhibited at the stand of the Art Ancient gallery, a very rare anthropomorphic sculpture dating back to 30 million years ago formed from quartz crystals and calcium carbonate. This particular sculptural stone presents modern forms and gives the impression of having just been conceived by a contemporary artist, despite his birth dating back to the Oligocene period.

The curiosities presented by Art Ancient to satisfy lovers of natural history and the mystery of the creation of the world did not stop at gogotte: the gallery also exhibited a rare meteorite formed 4.6 billion years ago and a lightning bolt frozen in the sand of the desert, then sold for £ 70,000.

During the days of the fair many negotiations were concluded, some of which also featured major institutions such as the Metropolitan Museum of Art, the British Museum, the Victoria & Albert Museum, the Getty Museum.

Piano Nobile, a London gallery, sold the plaster model of the 1938 sculpture “Recumbent Figure” by Henry Moore to a British collector, whose bronze copy is on display in the Tate Collection. Asking price: £ 250,000.

Henry Moore, Recumbent figure, 1938

Plaster model

Piano Nobile Galerie, Masterpiece London 2018


Mazzoleni sold Giorgio de Chirico’s 1971 “Great Metaphysical with Teams” for about € 430,000 and Victor Vasarely’s “Bellatrix-Bie” for € 100,000.

The fair was held in conjunction with the London Art Week which featured the auctions of modern, contemporary and Old Masters art, a factor that certainly attracted collectors already present in the city to visit Masterpiece by registering about 51,000 visitors, for 16 % more than the last edition.

The exhibition, born in 2010, was purchased in December 2017 for 67.5% by the Swiss group MCH Group, already owner of Art Basel and other international artistic events.

The main sponsor of the fair for the 5th year in a row was the Royal Bank of Canada.


The next appointment is set for June 27, 2019.


The shades of the rainbow of art are infinite: choose your favorite!

Openings of all exhibitions at Palazzo Reale suspended until further notice

Following an accident that occurred on July 9, a day before the birthday of the great master Agostino Bonalumi, the opening of the exhibition dedicated to him has been postponed.

“Bonalumi 1958 – 2013” presented by Palazzo Reale in Milan is the first major anthology on Agostino Bonalumi and aims to retrace his steps from the beginning until the passing in 2013: there are 120 works on display, the most significant of the entire production of the Milanese master, who became one of the greatest abstract artists of the twentieth century.

Famous for everted and monochrome canvases, Bonalumi began his artistic career / took his first steps in art in 1958 with Enrico Castellani and Piero Manzoni with an exhibition at the Galleria Pater in Milan, which was followed by other exhibitions in Rome and Lausanne.

Recently the artist has achieved an international rediscovery and revaluation, also thanks to the large exhibition organized in 2013 by Robilant + Voena in London; subsequently in 2015 the catalogue raisonné published by Skira gave further stability to the auction prices.

The retrospective exhibition “Bonalumi 1958 – 2013” should have been inaugurated in a few days, but during the staging, his historic assistant and right arm Luca Lovati – 69 years old – fell from a height of three meters.

The accident seems to have happened due to an illness that suddenly caught Lovati, while he was at the top of a ladder in an attempt to place a work.

This is the sculpture Modular white structure, an installation composed of square modules in fiberglass, exhibited for the first time at the XXXV Venice Biennale in 1970 in a personal room entirely dedicated to Bonalumi.

The structure is part of a group of three large installations that characterize the exhibition itinerary of the Palazzo Reale exhibition: together with the white modular structure, it is possible to admire the Habitable Blu, a work of environmental painting, and the third work presented in 2003 at the Institut Mathildenhöhe of Darmstadt in Germany, consisting of a very large wall.

These large installations, artistic typology often not easy to set up, presuppose a great knowledge of the artist’s work and a technical mastery that not everyone possesses: Luca Lovati, restorer and owner of the fitting company, had collaborated for a lifetime with Bonalumi, he knew every detail of the artist’s work and probably for this reason he had decided to climb this ladder personally.

Following the accident, the Prosecutor’s Office opened a file to clarify the incident and understand if the law on safety at work was violated and if all the necessary precautions had been taken during the preparation.

As a sign of condolence from the city of Milan, the inauguration of the exhibition “Pino Pinelli Painting beyond the limit” was also suspended. It had to take place on the day of the tragedy. The Sicilian artist (Catania 1938), master of Analytical Painting, seeks the overcoming of the shape-painting by resorting to monochrome to find the sensitive value of color. Established internationally, the artist is part of that artistic movement that since the 1960s has been seeking the destructuring of the painting as a physical-spatial limitation.

We express deep condolences to Luca Lovati’s family for the tragic loss.

Cover image of the work presented at the Venice Biennale in 1970, on which Luca Lovati was speaking.

“The shades of the art rainbow are endless: choose your favorite!”


Report Aste Giugno 2018


“The Writings on the Wall”

Parigi, 26 giugno 

Il catalogo della casa d’aste parigina proponeva 76 opere di Street Art, alcune delle quali firmate da grandi nomi di questa corrente artistica.
Il risultato ha superato le stime previste raggiungendo un totale di 1.543.120€, complici anche due nuovi record mondiali che vedono protagonisti Richard Hambleton e DRAN.

“As the world burns” di Hambleton viene aggiudicato alla cifra di 474.000€ contro la stima di 120.000-150.000€. L’artista canadese, scomparso a giugno scorso, era l’unico membro supertstite del gruppo che, insieme a Keith Haring e Jean-Michael Basquiat, ha fatto la storia della street art newyorkese negli anni ‘80.

Il secondo record vede protagonista “Escape”, opera del 2008 dell’artista DRAN venduta a 46.800€: conosciuto anche come “il Banksy francese”, DRAN affronta temi legati alla denuncia sociale e mette in atto una forte critica verso consumismo e capitalismo.



Richard Hambleton
As the world burns, 1983
Acrilico su tela
244 x 244 cm



Escape, 2008
Pittura spray e pastello su tela
120 x 100 cm





Arte contemporanea e del XX secolo

Londra, 26 – 27 giugno

Day Sale 26 giugno : £ 10.757.313
Evening Sale 27 giugno : £ 34.416.000

Ottimo risultato per l’asta serale di Phillips che può vantare un “White Glove Sale” con tutti i 31 lotti in catalogo aggiudicati.

La casa d’aste era già partita bene con il Day Sale, che aveva raggiunto il risultato più alto mai ottenuto nella storia della compagnia.

Ad aprire la serata un autoritratto di Martin Kippenberger aggiudicato a £8.4 milioni, il prezzo più alto raggiunto dall’artista tedesco in Europa.

Protagonisti di molti rilanci sono stati Lucio Fontana con “Concetto spaziale, Natura” del 1960, Jonas Wood e Sean Scully con un lavoro del 2014.


Martin Kippenberger
Ohne Titel (aus der Serie Das Floß der Medusa), 1996
Olio su tela
150 x 180 cm




Contemporary Art Evening Sale

Londra, 26 giugno

44 Lotti.
Stima pre-asta: 80-108 milioni di £.
Risultato: 125,3 milioni di £.

Ottimo risultato per Sotheby’s che raggiunge un tasso di venduto pari al 98% con tre nuovi record e cinque opere acquistate sopra i 10 milioni di sterline.

Tra i principali protagonisti della serata troviamo 5 pittori inglesi appartenenti a correnti stilistiche diversissime tra loro ma che insieme ci accompagnano nella storia dell’arte britannica del dopoguerra.

Primo tra tutti Lucian Freud che raggiunge la cifra record di 22,5 milioni di £ con un nudo di grandi dimensioni datato 2002-2003, stima iniziale – già molto alta – di 17-20 milioni di £.

“Portrait on a white cover”, capolavoro tardo dell’artista, rappresenta Sophie Lawrence e il tema è uno dei preferiti di Freud, il nudo sdraiato.
Segue un lavoro “difficile” di Francis Bacon, uno studio per figura maschile del 1954 piuttosto cupo ma che faceva parte della collezione Gianni Agnelli, acquistato per poco più di 3 milioni di £.

David Hockney, con il dittico datato 1994 “Double East Yorkshire”, supera di poco la stima bassa raggiungendo 11,3 milioni di £ ma rispetto a 5 anni fa il prezzo di aggiudicazione in asta dell’artista si è triplicato.

Gli altri due artisti inglesi viventi che ottengono ottimi risultati sono Peter Doig e Cecily Brown, quest’ultima contesissima viene acquistata per 3 milioni di £ rispetto a una stima di partenza di 750.000-950.000 £.

Tra i primi dieci top lots troviamo ben tre lavori di Jean-Michael Basquiat venduti per un totale di 26,7 milioni di £ e un “mobile” di Calder aggiudicato sotto la stima bassa.

Accoglienza positiva anche per altri artisti viventi che segnano i tre nuovi record: Henry Taylor raggiunge i 275.000£ grazie a un collezionista asiatico, Sam Gilliam supera di molto la stima con 910.000£ dopo una battaglia tra cinque collezionisti (il vincitore anche in questo caso è asiatico) e Jennifer Guidi contesa da sei offerenti per poi essere acquistata a 274.000£.


David Hockney
Double East Yorkshire, 1998
Olio su tela
Dittico. Dimensioni totali : 152,4 x 386 cm




Lucian Freud
Portrait on a white cover, 2002-03
Olio su tela
116,5 x 143 cm




Impressionist & Modern Art Evening Sale

Londra, 20 Giugno

Serata molto positiva per l’asta serale di Christie’s su arte moderna e impressionismo che realizza un totale di 128.081.750£.

La serata è iniziata molto bene già dal primo lotto, il pastello “Le moineau” di Eva Gonzalès che viene battuto a 200mila sterline (248.750£ incluse le spese) e stabilisce un nuovo record per un lavoro su carta dell’artista francese.
La stima dell’opera era 200-300.000£.


Eva Gonzalès, Le moineau, 1865-1870

Dettaglio. Lotto n. 1

Pastello su carta

61,5 x 50,5 cm

Ottimo risultato anche per Marc Chagall che con il delicato dipinto del 1926 “La chaise à Toulon or Les fleurs du Mourillon” quasi raddoppia la stima massima di 1.800.000£, per essere venduto a 2,6 milioni di sterline (spese incluse 3.128.750£).


Marc Chagall, La chaise à Toulon or Les fleurs du Mourillon, 1926

Lotto n. 3

Olio su tela

100 x 81,5 cm



Non sono mancate però le sorprese, come nel caso del dipinto “Téte d’homme” di Picasso, in copertina al catalogo, rimasto invenduto a 2 milioni di sterline a fronte della stima di 2,5 – 3,5 milioni.
Stessa sorte per due opere su carta dell’artista spagnolo che restano invendute rispettivamente a 210.000£ e 380.000£.
È andata meglio invece ad altre due opere, sempre su carta, battute a 2 milioni di sterline e a 680 mila sterline.
Bene anche per l’olio su tela del 1942 “Femme dans un fauteuil (Dora Maar)” che, partito da 14 milioni di sterline, viene venduto a 17 milioni (19.358.750£ spese incluse).


Pablo Picasso, Femme dans un fauteuil (Dora Maar), 1942

Lotto n. 20

Olio su tela

92 x 73 cm


Uno dei protagonisti indiscussi della serata è stata l’opera “Drei Pferde” del 1912 di Franz Marc che ottiene il record mondiale di vendita dell’artista in asta e viene battuto a 13.500.000£ (spese incluse 15.421.250£), partendo da una stima di 2.500.000-3.500.000£.

Il dipinto è stato oggetto di moltissimi i rilanci, conteso da un collezionista in sala e dall’art dealer Jeffrey Loria al telefono da New York, che alla fine riesce a spuntarla.


Franz Marc, Drei Pferde, 1912

Lotto n. 14

Gouache su carta

33,5 x 47,5 cm


Altra opera molto contesa e di indiscussa bellezza “La Gare Saint-Lazare, vue extérieure”, un Monet del 1877 combattuto a lungo tra due collezionisti presenti in sala: viene aggiudicato a 22 milioni di sterline (24.983.750£ incluse le spese).
La stima era di 22-28.000.000£.


Claude Monet, La Gare Saint-Lazare, vue extérieure, 1877

Lotto n. 25

Olio su tela

60,4 x 80,2 cm


“Landscape”, gouache del 1911, segna il record per un lavoro su carta di Kazimir Malevič e viene battuto a 6.800.000£ (incluse le spese 7.883.750£).
La grande tela quadrata dell’artista russo che ha teorizzato e fondato il Suprematismo, anticipa la creazione di questa corrente artistica e fa parte di un gruppo di opere denominate “The Red Series”, contraddistinte per un uso espressivo del colore e pennellate molto gestuali con chiari rimandi al Cubismo e al Fauvismo.
L’opera “Landscape” è stata esposta per oltre 50 anni al Kunstmuseum di Basilea, prima di essere restituita agli eredi dell’artista.


Kazimir Malevič, Landscape, 1911

Lotto n. 17

Gouache su carta

106 x 106 cm



La sezione dedicata alla scultura ha avuto la sua punta di diamante nella statua di Rodin “Baiser, moyen modèle dit Taille de la Porte – modèle avec base simplifiée” del 1890, che da una stima di 5-7 milioni di sterline viene aggiudicata a 11 milioni (12.608.750£ incluse le spese), anch’essa dopo essere stata a lungo combattuta tra sala e collezionisti al telefono.



Auguste Rodin

Baiser, moyen modèle dit Taille de la Porte – modèle avec base simplifiée, 1980

Lotto n. 21

Bronzo, patina marrone con sfumature rosse

Altezza: 86,4 cm




Ottimi risultati anche per le quattro sculture di Camille Claudel, allieva, collaboratrice e amante di Auguste Rodin che riesce a ricreare nelle sue opere un incredibile senso del movimento e dinamismo.
Le opere vengono battute rispettivamente a 300, 950, 600 e 920 mila sterline (spese non incluse) per i lotti 38, 39, 40, 41, tutte sopra la stima massima tranne la prima, il lotto 38.
La scultura che più rappresenta la maturità artistica di Claudel è “La Valse” (Lotto 41), tema di cui esistono diverse versioni – una delle quali esposta al Museo Rodin di Parigi – di chiara ispirazione musicale forse influenzata dalla sua amicizia con il compositore Claude Debussy.


Camille Claudel, La valse o Les valseurs, grand modèle, 1895

Lotto n. 41

Bronzo, patina nera

Altezza: 46,5 cm


Il risultato molto positivo dell’asta serale è stato sicuramente dovuto all’accurata selezione dei lotti, molti dei quali mai proposti in asta negli ultimi 20 anni.
Primo tra tutti il dipinto di Monet, seguito dalle opere su carta di Franz Marc e di Kazimir Malevič.
Altro fattore che ha aiutato la buona riuscita dell’appuntamento londinese è stato probabilmente anche il tour in Asia di alcune opere avvenuto nei mesi precedenti l’asta: non a caso molti degli acquirenti provenivano dal continente asiatico.


Le sfumature dell’arcobaleno dell’arte sono infinite: scegliete la vostra preferita!

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