Il mercato dell’arte in Italia: Ettore Spalletti

Room 1 – Salon. Photos by Matteo De Fina

Room 1 – Salon. Photos by Matteo De Fina
Room 1 – Salon. Photos by Matteo De Fina
 
PESCARA, Italia – “Il colore, come si sposta, occupa lo spazio e noi entriamo. Non v’è più la cornice che delimitava lo spazio. Togliendola, il colore assume lo spazio e invade lo spazio. E quando questa cosa riesce, è miracolosa”.

Con queste parole l’artista italiano Ettore Spalletti, nato nel 1940 a Cappelle sul Tavo in provincia di Pescara, dove ancora vive e lavora, riassume il processo che si innesca di fronte alle sue opere: tele e sculture monocrome sospese tra pittura e scultura, geometria minimalista e classicità rinascimentale.Continue reading

Art Market Italy: Ettore Spalletti

Room 1 – Salon. Photos by Matteo De Fina

Room 1 – Salon. Photos by Matteo De Fina
Room 1 – Salon. Photos by Matteo De Fina
 
PESCARA, Italy – “The color moves and occupies the space that we enter. There is no frame to enclose the space anymore. By removing it, the color takes on the space and invades it. When this succeeds, it is like a miracle.”

With these words Italian artist Ettore Spalletti (below) – born in 1940 in Cappelle sul Tavo near Pescara, where he still lives and works – summarizes the process that triggers in front of his works: monochrome paintings and sculptures that are suspended between painting and sculpture, minimalist geometry and Renaissance classicism.Continue reading

Morphy’s sets sights on historical guns for May 23 Firearms Auction

Singer Mfg Model 1911 A1 semi-automatic pistol, one of the great rarities in the Colt collecting field, estimate $80,000-$120,000. Morphy Auctions image
Singer Mfg Model 1911 A1 semi-automatic pistol, one of the great rarities in the Colt collecting field, estimate $80,000-$120,000. Morphy Auctions image

DENVER, Pa. – More than 800 lots of top-notch firearms, knives and ammunition will be offered at Morphy’s May 23 auction, with Internet live bidding through LiveAuctioneers. The gun lineup is led by one of the great rarities of the Colt collecting field: a Singer Mfg Model 1911 semi-automatic pistol.

Known worldwide for its high-quality sewing machines, Singer was granted a government commission in 1940 to produce 500 Colt-designed Model 1911 A1 pistols for the US Army Air Force. The example in Morphy’s sale is identified through its serial number as being the 170th pistol of the production run. To ensure its absolute originality, Morphy’s asked noted Colt 1911 authority Eric Gustafson to disassemble the gun and compare each of its parts to those of a known-original Singer 1911 A1.

“The comparison showed that every aspect of the pistol in our sale is 100% correct and original,” said Morphy Auctions founder and president Dan Morphy. “Also, it appears as if the gun saw little or no use at all, and therefore it should be regarded as one of the finer-condition Singers ever to reach the open market.” Entered as Lot 285, the pistol is expected to make $80,000-$120,000.

Another very rare gun is Lot 718, a Colt S.A.A. flat-top nickel .32 target model. Only nine flat-top single-action target Colt Armies were ever manufactured in the .32-.44 Smith & Wesson cartridge. Of those nine, one can only speculate as to how many were factory nickel-finished like the one in Morphy’s sale.

“The action works like a Swiss watch, the bore is excellent, and the condition overall is breathtaking. This is one of the rarest, if not the rarest, Colt single-action Armies in existence,” said Morphy’s Firearms Division expert Dave Bushing. The gun, which originally shipped in 1889, is estimated at $15,000-$20,000.

Other prized handguns include Lot 284 (shown below left), an unfired, boxed US&S Switch & Signal Colt 1911 pistol produced under government commission in 1943, which is estimated at $6,000-$9,000; and Lot 577 (shown below right), a high-condition Remington Model 1875 single-action Army revolver whose production run was from 1875 to 1889. “This model is best known for having been the favorite handgun of outlaw Frank James of the James Gang,” Bushing noted. Estimate: $4,500-$7,500.

Several very fine rifles will cross the auction block. Lot 480 is a .44 caliber US Martial Contract Henry lever-action rifle whose serial number confirms it was issued to Company B of the First DC Cavalry. This unit participated in many Civil War battles, including Gettysburg, Spotsylvania and Cold Harbor; and was responsible for the capture of John S Mosby, the Confederate Army commander nicknamed the “Gray Ghost.” The rifle is extremely clean with perfect factory stamps, and its action is flawless. Estimate: $25,000-$45,000.

Two particularly beautiful sporting rifles will take the auction spotlight. Lot 662, an exquisite Ernest Dumoulin (Belgian) Deluxe Sporting Rifle, was custom built by Dumoulin himself. It was crafted utilizing the Mauser long action and chambered for the classic and powerful .375 H&H cartridge. “This luxury firearm is a work of art and demonstrates the quality and excellence of one of the masters of gunmaking,” said Bushing. Its pre-sale estimate is $25,000-$40,000.

The second sporting rifle warranting special mention is Lot 655 (shown at top of article), a Maynard French-fitted First Model that was presented to William G Freeman, an arms industry executive who played a significant role in gun production during the Civil War. The innovative design of the Maynard allowed the user to have a single gun with three barrels. This versatile feature allowed the user to adapt swiftly to various situations. The circa-1856 gun still exhibits 90% of its high-polish fire-blue finish and has its original accessories and case.

“This rifle would be a prize in any collection. We will never see another one quite like it,” Bushing said. Estimate: $20,000-$25,000.

On Friday, May 22, from 5-9 p.m., Morphy’s will host a special preview night for collectors or those with an interest in starting a collection. Cocktails and refreshments will be served at this friendly social gathering, and experts from Morphy’s Firearms Division will be on hand to answer any questions pertaining to guns entered in the auction or in general.

The May 23 auction will begin at 9 a.m. Eastern Time. Absentee and Internet live bidding will be available through LiveAuctioneers. For additional information on any item in the sale, call 717-335-3435 or email serena@morphyauctions.com.

View the fully illustrated catalog and register to bid absentee or live via the Internet as the sale is taking place by logging on to www.LiveAuctioneers.com.

Heritage Auctions offers top names in pinups, illustration art May 14-15

Leroy Neiman, perhaps the most influential sports artist of the 1960s and 1970s, is represented in the auction by his masterful 1967 acrylic on Masonite titled ‘Racing,’ which is expected to bring more than $50,000. Heritage Auctions images.
Leroy Neiman, perhaps the most influential sports artist of the 1960s and 1970s, is represented in the auction by his masterful 1967 acrylic on Masonite titled ‘Racing,’ which is  expected to bring more than $50,000. Heritage Auctions images.

BEVERLY HILLS, Calif. – Heritage Auctions will offer the greatest names in pinups, pulps and illustration art on May 14-15. Original works by Gil Elvgren, Patrick Nagel, Leroy Neiman and Alberto Vargas top the auction lineup.

LiveAuctioneers.com will provide absentee and Internet live bidding.

Featured is Gil Elvgren and his 1950 Brown & Bigelow calendar illustration, High and Shy (estimate: $60,000+).

Patrick Nagel, one of the greatest modern illustrators, is represented by a vintage, peak period work: an acrylic on canvas titled Mirage, 1982 (estimate $50,000+).

After Elvgren, in terms of pinups, there is none greater than the name of Alberto Vargas, represented in this auction with a tantalizing watercolor, Red-headed Pin-Up with Guitar (estimate: $20,000+).

View the fully illustrated catalog and register to bid absentee or live via the Internet as the sale is taking place by logging on to www.LiveAuctioneers.com.

Greece opts for diplomatic route in seeking return of Elgin Marbles

View of British Museum exhibition of Elgin Marbles. Copyright Andrew Dunn, 5 December 2004, courtesy Wikipedia Creative Commons.


View of British Museum exhibition of Elgin Marbles. Copyright Andrew Dunn, 5 December 2004, courtesy Wikipedia Creative Commons.

ATHENS (AFP) – Greece will not seek to settle a decades-old dispute with the British Museum over the Parthenon sculptures in court, the culture minister said on Wednesday.

“One cannot go to court over whichever issue and besides, in international courts the outcome is uncertain,” Culture Minister Nikos Xydakis told Mega TV.

Instead, Athens would follow a “diplomatic and political” approach, Xydakis said, arguing that the climate was slowly changing in Greece’s favor.

The Parthenon sculptures are part of the collection popularly known as the Elgin Marbles, which were acquired by Lord Elgin in the early 1800s when he was ambassador to the Ottoman court. The British parliament purchased the art treasures in 1816 and gave them to the British Museum.

For the past 30 years Athens has been demanding the return of the sculptures, which had decorated the Parthenon temple on the Acropolis in Athens from ancient times.

The British Museum recently turned down a proposal by UNESCO, the UN cultural agency, to mediate in the dispute.

According to Greek reports, a legal recourse had been suggested by lawyer Amal Alamuddin Clooney, the wife of actor George Clooney, who is part of a team advising the Greek campaign.

Iraq says IS demolishes ruins to cover up looting operations

Nimrud Lamassu's at the North West Palace of Ashurnasirpal in Iraq. Image by M.Chohan, courtesy of Wikimedia Commons.


Nimrud Lamassu's at the North West Palace of Ashurnasirpal in Iraq. Image by M.Chohan, courtesy of Wikimedia Commons.

BAGHDAD (AP) – The videos of Islamic State militants destroying ancient artifacts in Iraq’s museums and blowing up 3,000-year-old temples are chilling enough, but one of Iraq’s top antiquities officials is now saying the destruction is a cover for an even more sinister activity – the systematic looting of Iraq’s cultural heritage.

In the videos that appeared in April, militants can be seen taking sledgehammers to the iconic winged-bulls of Assyria and sawing apart floral reliefs in the palace of Ashurnasirpal II in Nimrud before the entire site is destroyed with explosives. But according to Qais Hussein Rashid, head of Iraq’s State Board for Antiquities and Heritage, that was just the final step in a deeper game.

“According to our sources, the Islamic State started days before destroying this site by digging in this area, mainly the palace,” he told The Associated Press from his office next to Iraq’s National Museum – itself a target of looting after the 2003 U.S.-led invasion that ousted Saddam Hussein. “We think that they first started digging around these areas to get the artifacts, then they started demolishing them as a cover up.”

While there is no firm evidence of the amount of money being made by the Islamic State group from looting antiquities, satellite photos and anecdotal evidence confirm widespread plundering of archaeological sites in areas under IS control.

Nimrud was also the site of one of the greatest discoveries in Iraqi history, stunning golden jewelry from a royal tomb found in 1989, and Rashid is worried that more such tombs lie beneath the site and have been plundered. He estimated the potential income from looting to be in the millions of dollars.

Experts speculate that the large pieces are destroyed with sledgehammers and drills for the benefit of the cameras, while the more portable items like figurines, masks and ancient clay cuneiform tablets are smuggled to dealers in Turkey.

On Wednesday, Egypt, together with the Antiquities Coalition and the Washington-based Middle East Institute will be holding a conference in Cairo entitled “Cultural Property Under Threat” to come up with regional solutions to the plundering and sale of antiquities.

This isn’t the first time, of course, that Iraq’s antiquities have fallen victim to current events. There was the infamous looting of the museum in 2003 and reports of widespread plundering of archaeological sites in the subsequent years, especially in the south. U.S. investigators at the time said al-Qaida was funding its activities with illicit sales of antiquities.

What appears to be different this time is the sheer scale and systematic nature of the looting, especially in the parts of Syria controlled by the Islamic State group. Satellite photos show some sites so riddled with holes they look like a moonscape.

The G-7’s Financial Action Task Force said in a February report that the Islamic State group is making money both by selling artifacts directly – as probably would be the case with material taken from the museums – or by taxing criminal gangs that dig at the sites in their territory. After oil sales, extortion and kidnapping, antiquities sales are believed to be one of the group’s main sources of funding.

In February, the United Nations passed a resolution recognizing that the Islamic State group was “generating income from the direct or indirect trade,” in stolen artifacts, and added a ban on the illicit sale of Syrian antiquities to the already existing one on Iraqi artifacts passed in 2003.

While Iraq contains remains from civilizations dating back more than 5,000 years, the hardest hit artifacts have come from the Assyrian empire, which at its height in 700 B.C. stretched from Iran to the Mediterranean and whose ancient core almost exactly covers the area now controlled by the Islamic State group.

The looted artifacts most likely follow the traditional smuggling routes for all sorts of illicit goods into Turkey, according to Lynda Albertson, head of the Association for Research into Crimes Against Art. From there, the most common route is through Bulgaria and the Balkans into Western Europe. Britain and the United States remain the biggest markets for antiquities, though wealthy collectors are emerging in China and the Gulf – especially for Islamic-era artifacts.

International bans make the ultimate sale of illicit antiquities difficult, but not impossible. So far, there have been no reports of major, museum-quality pieces from IS-held territory appearing in auction houses, so the artifacts must be going to either private collectors or they are being hoarded by dealers to be slowly and discretely released onto the market, said Patty Gerstenblith, Director of the Center for Art, Museum and Cultural Heritage Law at DePaul University.

“I do believe that dealers are willing to warehouse items for a long time and that they may be receiving some ‘financing’ to do this from well-heeled collectors or other dealers operating outside of the Middle East,” she said. “It is relatively unlikely that a major piece would be plausibly sold on the open market with a story that it was in a private collection for a long period of time.”

Mesopotamian sculptures, jewelry and stelae sold legally have commanded stunning sums, up to $1 million in some cases, but the looters would be selling them to dealers for a fraction of that cost – with the profit margin coming from the sheer number of artifacts being sold.

Iraq has sent lists to the International Council of Museums, the U.N. and Interpol detailing all the artifacts that might have been looted from the museum in Mosul, Iraq’s second-largest city overrun by IS last June. Harder to stop, however, is the sale of never-before-seen pieces that have been newly dug up and never registered.

There is new legislation going through the U.S. Congress to tighten controls on illicit trafficking of materials from the Middle East, though Albertson contends that the laws are less important than the manpower devoted to enforcing them.

“A new resolution is just another well-intentioned piece of ineffective paper,” she said.

The Iraqi government is now rushing to document the remaining sites in the country, especially in the disputed province of Salahuddin, just south of the Islamic State stronghold in Nineweh province. Nineweh itself is home to 1,700 archaeological sites, all under IS control, said Rashid of the antiquities department.

As a number of experts point out, though, most sites in Iraq have not been completely excavated and there are likely more winged bull statues and stelae waiting to be found under the earthen mounds scattered throughout this country – assuming the Islamic State group and its diggers don’t find them first.

_____

Associated Press writer Sinan Salaheddin contributed to this report from Baghdad.

Copyright 2015 Associated Press. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.

AP-WF-05-12-15 0651GMT

Yoko Ono is star of one-woman MoMA exhibition


'Cut Piece' (1964) performed by Yoko Ono in New Works of Yoko Ono, Carnegie Recital Hall, New York, March 21, 1965. Photograph by Minoru Niizuma. © Minoru Niizuma. Courtesy Lenono Photo Archive, New York


'Cut Piece' (1964) performed by Yoko Ono in New Works of Yoko Ono, Carnegie Recital Hall, New York, March 21, 1965. Photograph by Minoru Niizuma. © Minoru Niizuma. Courtesy Lenono Photo Archive, New York

NEW YORK (AFP) – Yoko Ono is most famous as the widow of John Lennon. But on Sunday, New York’s Museum of Modern Art explores the avant-garde artist with a major retrospective.

“Yoko Ono: One Woman Show” is MoMA’s first exhibition dedicated entirely to the Japanese-born artist and musician, exploring her creative output from 1960-1971 when she was influential in the underground New York scene.

Wearing her trademark dark glasses and straw boater, paired with a black leather zip-up jacket, the 82-year-old New Yorker took time out of her schedule Tuesday to brief reporters on the exhibition.

“It is really good to know that everything you do is going to be recognized by people, and one day it is going to blossom. And that’s the reason why I am here now and why we are doing this show,” she said.

The idea for the exhibition dates back to 1971, when Ono announced a one-woman exhibition at MoMA irreverently titled “Museum Of Modern (F)art.”

But when visitors arrived, they found only a man wearing a sandwich board saying that Ono had released a multitude of flies and that the public was invited to follow them within the museum and across the city.

It was this incident that led to the idea of the exhibition, museum director Glenn Lowry told reporters at the preview.

Ono said that in 1971 she had considered the idea of a “conceptual exhibition” as “something very serious.”

“But very few people noticed … I don’t know how I did it, 40 years, not being recognized and just doing it,” Ono added.

Set out chronologically and thematically, the exhibition brings together 125 of her early objects, works on paper, installations, performances, audio recordings and films, alongside archival materials.

Her earliest works were often based on instructions, communicated in verbal or written form, and which MoMA called “at times poetic, humorous, unsettling and idealistic.”

“She is one of those people who truly redefined the art of her time, but to whom we have never really given credit,” one of the exhibition’s two curators, Christophe Cherix, told AFP.

In bed with John Lennon

“She is partly responsible because she became so popular at the end of the ’60s,” he added.

Cherix said the exhibition explores the little-known period when Ono made “major contributions” to the art scene, particularly as a 25- to 30-year-old.

There are clips from her performance “Bag Piece,” in which people are invited to undress, sit down in a white room and cover themselves in black.

Her 1964 film, Cut Piece, shows Ono sitting on a stage, as spectators enter one by one to cut up her clothes and leave with a piece of fabric.

The tone of the exhibition is set from the beginning, with a green apple on a pedestal of Plexiglas, captioned “apple,” and dating back to 1966.

“The idea is to confront the visitor as directly and immediately as possible and expose them to the radical nature of her work, made 40 years ago,” Cherix told reporters.

The majority of the exhibits are devoted to Ono, but her famous collaborations with Lennon are also featured, notably their 1969 Bed-In film in which they sat in white pajamas talking in bed for hours.

Filmed during their honeymoon in Amsterdam, they talked politics and world peace to artists, journalists and activism.

Next to it is a sign saying “war is over.”

On Tuesday, Ono advised reporters about creative energy and read from one of her missives on the importance of cultivating inner peace.

Then the woman, who became a recluse for a time after Lennon was murdered in 1980, counseled everyone to smile, calling it “good for the health.”

The exhibition runs from May 17 until Sept. 7.