(Parma, 13 November 2018) - For Gotha, the Fiere di Parma fine antiques, arts and Twentieth Century event, this was intended to be the edition of change, and so it proved to be. It was so in terms of the public (14,000 visitors in four days), the high quality of the works on display (the vetting committee’s work made everything more smooth) and sales, some of which to wealthy collectors from abroad.

“We are very happy with the results - said Ilaria Dazzi, Brand Manager of Gotha-. We were able to attract a defined audience and arouse the interest of museum curators, including foreign ones. In the corridors of Pav. 3 - named after Courbet, A. Martini and Petitot - we spotted Sergey Khripun, curator of several art exhibitions in Russia, Elena Selina, gallery owner and modern art expert, gallery owner Vladimir Dudchenko, and Aidan Salakhova, a famous painter, gallery owner and daughter of the painter Tair Salahov (whose works are displayed in the Tretyakov Gallery), just to name a few.

"We will go on - added Ilaria Dazzi - working on internationalization: Parma Italian Capital of Culture, extended to 2021, will help us further. The current condition does not allow us to pursue the objectives that animated our work since 2018: also for this reason we have decided to start thinking in view of 2021 and not to waste the commitment lavished to date."

Rather than as an exhibition, Gotha presented itself as an art salon - including over sixty galleries - with a relaxed atmosphere but a museum level quality of exhibits, which represented a journey into the history of human creativity. 

Pieces such as the 16th-century bifacial multicoloured agate oscillum depicting Alexander the Great and Philip of Macedonia, a rare 15th-century Gothic wedding chest or the 10th-11th century ivory Christ with fin-like feet and hands (the only other similar piece is held by the Gomez Pardo Foundation, at the Félix Cañada Museum). And also Canaletto, Camillo Procaccini, Guido Reni, Ligabue, Renato Guttuso and Giò Ponti. Finally the jewels, David Webb’s highly colourful ones and the Zimmi Diamonds, whose vivid yellow colour was unknown until the recent discovery of a new mine in Sierra Leone.

Rare pieces that captivated the public to such an extent that four days were enough for the exhibitors to make significant sales.

These included two views of Rome by Amedeo Bocchi, a 16th-century writing cabinet from Genoa, a maiolica plate by Giò Ponti from the 1925 “Le mie donne” (My women) series and a 1910 Art Deco armchair by Bottega Bugatti.

More specifically, foreign dealers from Germany, France, Belgium and Russia chose the more classical pieces, favouring particularly Empire period furnishings, marble sculptures (objects that have greatly appreciated in international market value) and antique stone objects. As for paintings, the Swiss and French favoured sacred subjects, portraits and still lifes, with great attention to quality and state of conservation.

There were few disclosures on the part of exhibitors about prices and sales but the re-organization of display areas spoke clearly of successful business deals. 

“The support service for the Export of Cultural Goods provided by Fiere di Parma, in collaboration with the Artistic and Cultural Heritage Authority of Bologna - concluded Dazzi - made the difference, allowing foreign buyers to export goods minimizing the timing and issues imposed by strict Italian regulations.”

The winners, in short, were the new format and the great teamwork.