dEmo (Spanish, b. 1960)

Gominolas (Gummy Bears)

Fiberglass, polyester and resin with interior base of steel

Finished with UV protective coating for exterior placement.

Limited Editions available in: Small 75cm

Medium 115cm

Large 200cm

Monument- Price upon request

Available in various colors. Inquire to Reed@robinrile.com.

www.robinrile.com

Joan Beltran Bofill (Spanish, 1939-2009)

“Flores”

Original oil on canvas painting, 59.7cm x 80.6cm”

Pristine condition with stamping confirming provenance to Wally Findlay Gallery.

PRICE: Upon request

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Joan Beltrán Bofill (Spanish, 1939-2009)

Perisatisa (1987)

Oil on canvas

SIZE: 39 3/8″ x 28 3/4″

Provenance: Wally Findlay Galleries (NY) to Present Collection, NY (1987)

PRICE: Upon request

Joan Beltrán Bofill (Spanish, 1939-2009)

” La Barca”

72x98cms

Provenance: Wally Findlay Galleries to Present Collection, MA (mid-1980’s)

PRICE: Upon request

CONTACT: Reed@robinrile.com

See Blog post on Bofill http://robinrile.com/blog/?p=675

Salvador Dali (Spanish, 1904-1989)

“Winged Triton” (c. 1972)

Edition of 199.

78cm x 77cm x 43cm (including base).

Literature: Catalogue Raisonne “Le Dur et le Mou” by Robert & Nicolas Descharnes, pg. 164-165, Ref #413.

Present value: $50,000.

PRICE: Upon Request.

P.E. casts of the 78 x 77 x 43 cm edition are part of the permanent collections of the Spurlock Museum (Illinois, USA) and of the Memorial Art Gallery (New York, USA).

In mythology, charitable half-god who comes from the depths of the sea, on occasions he is also bloodthirsty. According to the legend, Triton used to appear above the waters to calm the waves and lull the storms.

Did Triton ever emerge from the deep waters at Cape Creus? Did Dali ever see him all powerful conquering the forces of nature? This thought comes to our mind when we see how many drawings are conserved in which the painter, with raised hand, drew various silhouettes of Neptune’s son.

Salvador Dali (Spanish, 1904-1989)

“Gala Gradiva” (c. 1970)

Edition of 99.

89.5cm (including base).

Literature: Catalogue Raisonne “Le Dur et le Mou” by Robert & Nicolas Descharnes, pg. 170, Ref #430.

Present value: $50,000.

PRICE: Upon Request

A P.E. cast of the 89,5 x 48 x 45 cm edition is part of the permanent collection of the Butler Institute of American Art (Ohio, USA).

After having read Freud’s analysis of W. Jensen’s Gradiva, Dali recognized Gala as his Gradiva and, like Hanold, the main character of Jensen’s story, “He was unable to explain what it was in her that aroused his interest; he only knew that from the first moment he had felt dominated by an intense attraction which time did not succeed in weakening”.

“as she walks, she gathers up her flowing garments, revealing her sandaled feet, one of which rests completely on the ground, whilst with the other she is on tiptoes, the sole and ankle almost perpendicular to the earth. This pose is not at all usual and the artist wished to place it in his sculptural work because of the special attraction it produces.” Sigmund Freud on “Gradiva” by W. Jensen.

Salvador Dali (Spanish, 1904-1989)

“Carmen Castanets” (c. 1970)

Edition of 199.

70cm (including base).

Literature: Catalogue Raisonne “Le Dur et le Mou” by Robert & Nicolas Descharnes, pg. 174-175, Ref #445.

Present value: $50,000.

PRICE: Upon Request.

Beautiful Spaniard woman archetype performing a Flamenco dance. Carmen is depicted as the beautiful and wild gypsy dancing to the sound of the castanets which she holds between her fingers. Seducing the watcher in the same way Merimee’s heroine seduced all men around her.

Prosper Merimée said of his leading character in Carmen that she spoke Basque and exerted a maddening effect on men that eventually lead her to destruction. This novel, published in 1845, quickly became the stereotype of Spanish women: free, fiery, superstitious, proud and wild, provoking uproar in the society of the time which demanded the exact opposite of women: virtue and maternity, laboriousness, obedience and submission.

Richard MacDonald (b. 1946)

“Flight in Attitude”(2002)

bronze edition of 90

33” x 13” x 14.5”

Pristine condition with certification of authenticity from MacDonald Studios.

Present list price: $27,500.

Our price is MUCH Lower. On request to reed@robinrile.com.

Auguste Rodin (French, 1840-1917)

“Femme  accroupie de face”

Circa 1900, Graphite on lined Japan paper

29.5 cm x 19.3 cm

Signed at the bottom right A. Rodin

PRICE: ON request to reed@robinrile.com

Christina Uribe Buley writes;

“This rapidly executed drawing of a crouching woman is an excellent example of the technique used by Rodin starting in the mid 1890′s, whereby the models, often either actresses or female dancers, would freely move around in the studio.  The drawings that were resulted from these sessions were not classic nudes or studio studies, but portrayals of women simultaneously aggressive and humorous, crouching, pointing their fingers, and sticking their tongues out to the audience.  During these sessions, Rodin only had eyes for his models and would deliberately not look at the sheet of paper as he drew.  The result is a surprisingly accurate synthesis of the whole body, in which proportions are expressively distorted and muscle forms altered.  The Austrian poet Rainer Maria Rilke wrote what is perhaps the best description of these drawings:

“But finally, the day gives birth to these strange instantaneous documents, of that which passes imperceptibly.  Rodin suspected that if he could summarize the insignificant moves of the model, unaware of being observed, that they would contain an unexpectedly intense expression, because we are not used to giving them active and deep attention.  Keeping the model in sight and applying to the paper his swift and experienced hand, he drew a multitude of gestures previously unobserved, always neglected, and the strength of expressions emanating were immense.  Such ensembles of movements never before seen or discerned as part of the form of the whole, were outlined thus, and contained everything there that was immediate, dynamic and passionate in a truly sensual life.”

By executing the drawing without looking directly at the sheet, Rodin impregnated the profiles and reliefs of the human body with meaning, as they evolved in front of him  He was then able to transcribe to paper the shape that he had observed in an instant, thanks to the exceptional visual memory acquired during his years of training at the Petite Ecole.  The result appears in the form of drawings that were revolutionary at that time.”

~Christina Uribe Buley is  the Rodin drawings expert who authenticates Rodin drawings and creates certificates for them (required now by Sotheby’s and Christie’s for more valuable Rodin drawings passing through auction)

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Auguste Rodin (French, 1840-1917)

“Sapphic Couple” (1898 – 1900)

Graphite on wove paper mounted on board.

24.1 x 31.8 cm

Signed in graphite at the bottom left: A.R.

inscribed on the verso on the board: with stencil, black ink: A. Rodin/Drawing/Frame no. 153;

annotated with brush: a picture framer label 106: Moirinat

Exhibuted: 1900, Paris, Pavillon de l’Alma, number Druet: 153 and hanging number 106

Christina Uribe Buley writes:

“The Sapphic Couple with very refined lines and in which paleness is like an invitation to look very closely, had probably been pre-selecte to be exhibited at the pavillon de l’alma, where Rodin organized his first grand Parisian retrospective.  It is not absolutely certain however that it was displayed.  It includes all characteristics of the drawing of the alma: it is glued on a board support with a number written with stencil (number 153) has a number inscribed by hand (106) and has the label of the picture framer Moirinat, who was solicited for all the drawings and pictures of this exhibit.  However, it doesn’t appear on the list of the works registered in the “Cahiers Gris” (Gray notebook) that details the hanging order of the drawings.  The pose of the two lovers was perhaps considered as too audacious to be shown to the naive audience of the World Fair.  This drawing very probably suffered the same fate as its preparatory version done with graphite and stumping in the collection of the Rodin Museum (D.5967), and was finished in the portfolios of his “musee secret”.  In fact, Rodin kept in his studio, hidden from public eye, hundreds of erotic drawings and small delicieusement impudiques that he never displayed in any exhibit.  Only a few favored visitors could leaf through the drawings of this “secret museum“.

~ Christina Uribe Buley, the Rodin drawings expert who authenticates Rodin drawings and creates certificates for them (required now by Sotheby’s and Christie’s for more valuable Rodin drawings passing through auction)

FOR IMMEDIATE RELEASE:

ROBIN RILE FINE ART SELLS MAJOR OIL PAINTING FROM SALVADOR DALI

Miami, FL USA- January 2013- ROBIN RILE FINE ART, is honored to have just found a new home for a major 1963 oil on canvas painting from Spanish master Salvador Dali (1904-1989) entitled, “Still life in a Tin Vase with Lilies” (Oil on canvas, 45.9cm x 56cm). This original painting was sold from an investment collector to a private client who will now feature the work prominently in his home. The work was authenticated by Robert & Nicolas Descharnes, the world’s foremost authorities on the works of Salvador Dali and descends from Subasta Ansorena Madrid and Galerie Rienzo in past sales.

Lilies were Dali’s favorite flower and are a central theme as they are inherently sexual in nature, exposing both the male and female organs in one image. As an artist they transcend the senses as they are beautiful to see, smell and touch. Dali’s lilies float centrally in their vase as if guided by an unseen force, erect and in varying states of bloom, both mature and adolescent. One bloom, detached from the whole, delicately exits stage right as a dying ember. The lemon is complete, but the apple is halved. Lemons possesses a harder skin to penetrate but the freshly cut apple exposes its soft innards to the air and will soon become brown with age. The sun shines through thick clouds on the undulating hills under the watchful eye of the angel (Gala?) and allows for rebirth, hope and love embodied in the tiny egg. Symbolically, this work is rich and multi-layered, just as Dali himself was. The “Still Life” is indicative of Dali’s reverence for another of the great surrealist masters, Rene Magritte.

The painting is favorably compared to Dali’s “Paysage De Port Lligat, Avant La Tempête” (1956) which sold at Sotheby’s Paris on May 30, 2012 for a price of $2.3M.

The purchase price is private and will not be disclosed.

For information on other available Dali original works Contact:
Reed V. Horth
ROBIN RILE FINE ART
Miami, FL USA
www.robinrile.com
reed@robinrile.com
PH: (813) 340-9629
Skype: reed.v.horth
LinkedIn: www.linkedin.com/in/rvhorth
Facebook: www.facebook.com/robinrile

Richard MacDonald (American, b. 1946)
Orpheus Ascending
Bronze
48.26 x 241.3 x 45.72 cm (19″ x 7’11″ x 18″)

Present List: $350,000. SOLD OUT edition!

Our price is much better. On request to

Reed@RobinRile.com

CONTACT:
Reed V. Horth
ROBIN RILE FINE ART
Miami, FL USA
www.robinrile.com
reed@robinrile.com
PH: (813) 340-9629
Skype: reed.v.horth
LinkedIn: www.linkedin/in/rvhorth
Facebook: www.facebook.com/robinrile

Richard MacDonald (American, b. 1946)

Blind Faith, Third Life

(bronze, edition of 75)

32” x 14.5” x 10”.

Original certification from MacDonald Studios

Present list price: $75,000.

Richard MacDonald (American, b. 1946)

Leap of Faith, Third Life

(bronze, edition of 75)

31” x 9.75” x 13.25”.

Original certification from MacDonald Studios

Present list price: $40,000.

TOTAL value for PAIR: $115,000.

PRICE: $65,500. FIRM, FOR PAIR.

(Not for individual sale)

Photos of Actual sale works. More photos can be provided upon request.

CONTACT:
Reed V. Horth
ROBIN RILE FINE ART
Miami, FL USA
www.robinrile.com
reed@robinrile.com
PH: (813) 340-9629
Skype: reed.v.horth
LinkedIn: www.linkedin/in/rvhorth
Facebook: www.facebook.com/robinrile

Over the past several days Kat and I have been honored to be in the presence of some of the world’s finest artworks, by some of the more prominent names in 20th Century and Contemporary Art.

Among them are: 20th Century masters Pablo Picasso, Salvador Dali, Jean-Michel Basquiat, Joan Miro, Mark Rothko, Robert Motherwell, Robert Indiana, Giorgio deChirico, Sherard Fairey, Paul Delveaux, Amedeo Modigliani and others.

As a service and reference to our clients, we’d love to share with you some of our favorite sights we recently had the opportunity to see firsthand. Enjoy!

Pablo Picasso (Spanish, 1881-1973)

Joan Miro (Spanish, 1893-1983)

Mark Rothko (American, 1903-1970)

Jean-Michel Basquiat (American, 1960-1988)

Roy Lichtenstein (American, 1923-1997)

Pablo Picasso (Spanish, 1881-1973)

Jean-Michel Basquiat (American, 1960-1988)

Keith Haring (American, 1958-1990)

Giorgio de Chirico (Italian, 1888-1978)

Roberto Matta (Chile, 1911-2002)

Amedeo Modigliani (Italian, 1884-1920)

Robert Motherwell (American, 1915-1991)

Salvador Dali (Spanish, 19041-1989)

Shepard Fairey (American, b. 1970)

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Photography DOES NOT denote availability from RRFA. These are reference photos denoting our favorite selections from the past weeks.

****

For information on privately-available works from these artists, please contact reed@robinrile.com directly.

We also saw an impromptu concert from world-renowned tachno recording artist MOBY. Thanks to our friend, Artist Steven Gamson.

From: http://passportmiami.com/customers/detail/1058

De 6 a 9 de dezembro de 2012, a Exposição Art Basel de Miami Beach, o maior evento da temporada, aterrissará no sul da Flórida. A décima primeira edição da Art Basel de Miami Beach atrairá os colecionadores de arte mais importantes de todo o mundo. A chegada da Art Basel de Miami Beach é um bom momento para comparar o potencial do investimento em imóveis no Sul Florida com o do mundo da arte.

Ao longo dos últimos anos, o preço dos imóveis de luxo no sul da Flórida se valorizou não só em função da recuperação dos mercados globais, mas também porque os investidores estão sempre à procura de oportunidades de investimento com grande potencial de crescimento. Só nos últimos 12 meses, os investidores estrangeiros pressionaram os preços dos imóveis de luxo de Miami a um crescimento superior a 13%. Os preços dos imóveis em Miami Beach subiram até 27%, e os em Downtown Miami, até 19%. É impossível ignorar essa vigorosa recuperação dos preços do setor imobiliário do sul da Flórida aos níveis pré-recessão.

As notícias para os investidores do mundo da arte são ainda melhores. De fato, o mercado global de arte experimentou uma incrível valorização de 63% desde a crise do mercado em 2009, elevando-se a níveis superiores a 55 bilhões de dólares. Os mercados de arte moderna e contemporânea (que representam cerca de 70% de todo o mercado de arte) estão atingindo níveis superiores ao do boom de 2007-2008.

Em 2011, obras de arte originais de Clyfford Still (62 milhões de dólares) Gustav Klimt (40 milhões), Andy Warhol (38 milhões), Mark Rothko (34 milhões) e Francis Bacon (25 milhões) foram vendidos a preços semelhantes aos de mansões na Quinta Avenida de Nova York com sobrenomes emblemáticos como Getty, Vanderbilt e Guggenheim (entre 26 e 88 milhões de dólares). O volume total de vendas de Andy Warhol subiu 4% em um aumento 0,5% em lotes vendidos por um total de 325 milhões. Da mesma forma, as vendas de Picasso em 2011 totalizaram 314 milhões de dólares em 3387 lotes vendidos.

Benjamin Mandel, economista do Banco Central de Nova York, estuda as tendências do mercado de arte porque, diz ele, “é uma ótima maneira de estudar as avaliações de preços de bens” porque esse mercado, na verdade, não é parte da economia global geral. Ao contrário, é um setor da economia reservado exclusivamente a um grupo minúsculo dos super-ricos, muitas vezes não afetado por outros fatores de mercado.

Este tipo de investidor do mundo da arte deseja ter as obras mais importantes, em suas residências multimilionárias. Eles tendem a evitar os modismos da arte. Em vez disso, buscam artistas e obras de arte que alteraram de forma fundamental os conceitos da arte e, de certa maneira, o mundo em geral. É por isso que as listas dos preços mais altos pagos por obras de arte tendem a ser pontilhadas pelos mais importantes artistas do século 20, como Pablo Picasso, Andy Warhol, Willem deKooning, Salvador Dali, Auguste Rodin, Henri Matisse, Mark Rothko, Jackson Pollack, Amedeo Modigliani, Francis Bacon, Robert Rauschenberg e outros.

Estes artistas são ícones reconhecidos instantaneamente. Para um bilionário com ativos superiores a 10 bilhões de dólares, gastar 10 milhões de dólares em uma pintura de um artista consagrado representa uma despesa de apenas 0,1% do seu patrimônio líquido global, e proporciona-lhe um bem que, além de conferir status, tende a solidificar e diversificar a sua carteira de ativos.

Durante o crash da bolsa de 2008, a fortuna do bilionário Eli Broad foi fortalecida pela sua coleção de arte contemporânea que, somente naquele ano, valorizou-se em 72%, ultrapassando 1,9 bilhão de dólares. Embora a idéia de ter US $ 10 milhões acumulados em um banco possa parecer atraente para a maioria, o simples prazer de ter um ativo na forma de uma grande obra de arte encanta esses investidores. A diretora de arte contemporânea da Sotheby’s faz o melhor retrato dessa situação em uma conversa com um colecionador americano anônimo a quem ela perguntou: “Você percebe que no mercado atual, podemos obter 50 milhões de dólares pelo seu Rothko?”. Ao que o coletor respondeu: “É muito bom saber disso. Mas, o que diabos eu faria com 50 milhões de dólares no banco?”

Com o dinheiro dos investidores retornando ao mercado global de arte, encontrar um marchand ao mesmo tempo ético e experiente nesse universo se tornou difícil para muitos investidores. Um contingente de novos “negociantes de arte” surge a cada ciclo ascendente do mercado, prometendo exclusividade e acesso às melhores obras do mundo. Apesar das promessas, o que oferecem aos investidores são sobras, obras a preços excessivos e o acesso a redes de intermediários, o que tende a tornar a compra tediosa e arriscada.

Para obter acesso direto a obras-primas de propriedade particular, um marchand tem que ter experiência, boa reputação e habilidades desenvolvidas ao longo de décadas, podendo assim lidar com o comprador e o vendedor de forma justa e direta. Esta é a melhor maneira de assegurar a um investidor acesso a obras de nível superior comprovado, a preços de mercado justos.

Além disso, um marchand experiente pode também avaliar as motivações, estilo e gostos específicos de um cliente, e pré-selecionar obras que ele apreciará e que se tornarão um bom investimento. Assim, um marchand opera de forma semelhante a um corretor de imóveis que seleciona residências e apresenta as melhores oportunidades ao cliente. Em suma, um marchand experiente e de boa reputação entende o mercado, e este conhecimento gera para o cliente os melhores resultados para seus investimentos em arte.

CONTATO:
Reed V. Horth
ROBIN RILE FINE ART
Miami, FL USA
www.robinrile.com
reed@robinrile.com
Tel.: (813) 340-9629

ROBIN RILE FINE ART

Reed V. Horth reed@robinrile.com Tel.: (813) 340-9629 Skype: reed.v.horth LinkedIn: www.linkedin/in/rvhorth Facebook: www.facebook.com/robinrile