Setdart
  • Zadounaisky mirror and console table

    Auction March 25th

  • "Papillons" Le Verre Français, ca.1930

    Auction March 25th

  • Shodana in the Shibayama style. Japan, Meiji period (1868–1912).

    Auction March 25th

  • Mascaron, following Greco-Roman models, 19th century.

    Auction March 25th

  • Italian school (northern region), late 17th century – early 18th century.

    Auction March 25th

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Setdart Magazine

Skulls in art: from memento mori to hope
March 20

Skulls in art: from memento mori to hope

In art, skulls have been, since ancient times, one of the most powerful symbols to reflect on the human condition. Their presence in ancient painting not only responds to a disturbing aesthetic, but to a deep philosophical and spiritual charge that crosses centuries of history. Triumphal parades in ancient Rome occurred on rare occasions, usually after a major military conquest. The procession of legionaries, captives of the defeated people, treasures and exotic animals culminated with the entrance of the victorious general, acclaimed by the crowd. However, next to him, another man held the laurel wreath and whispered a warning: “you
Art and geography: territory as a strategic asset in the art market
March 19
Art and geography: territory as a strategic asset in the art market

In the current context of the art market – increasingly oriented to traceability, historical contextualization and narrative construction – the precise identification of the place represented in a work has become a differential factor of high economic and patrimonial impact. Within this framework, the axis of art and geography acquires a remarkable relevance. It is not only a matter of determining whether a landscape corresponds to a specific mountain or an identifiable aqueduct; it is a matter of transforming an aesthetic image into a documented territorial asset. When a work can be linked to a verifiable geographical enclave, its value
Francis Picabia in the 1940s: beauty as insurrection
March 6
Francis Picabia in the 1940s: beauty as insurrection

To speak of Francis Picabia is to invoke the great chameleon of the avant-garde, an artist who made contradiction his only homeland. Francis Picabia was a cubist, the driving force of Dadaism in New York and a convinced surrealist, but none of his phases has generated as much discomfort, debate and, finally, fascination as his production during the 1940s. As Europe crumbled under the weight of World War II, Francis Picabia deliberately abandoned abstraction and intellectual experimentalism to embrace an aesthetic that many labeled “vulgar”: female portraiture inspired by the eroticism of mass-market magazines and the iconography of cinema. Picabia
Sarah Grilo or when metropolis became art
February 27
Sarah Grilo or when metropolis became art

The concept of the wall as a canvas does not arise in isolation, but as a response to the saturation of the metropolis. Before Sarah Grilo turned urban typography into poetry, other pioneers had already understood that the wall is the raw record of collective existence, accumulated layer after layer. The first antecedents are to be found in European Informalism and Art Brut, where figures like Jean Dubuffet discovered in the walls of Paris -scratched and worn down by the war- a truth that refined painting concealed. This impulse was joined by French affichistes, such as Raymond Hains or Jacques
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