Denna underbara relief av Lucio Fontana har varit en samlarklenod inom samma familj sedan 1981. Den har varit nedpackad under nästan alla dessa ár i orginal-kartongen. (Finns kvar).

Reliefen är framställd i bara 75 exemplar (1967) och räknas som en av höjdpunkterna i Lucio Fontana:s konstnärliga skapande. Fullständigt oskadad. Denna relief har nummer 70 av 75 och är numrerad och signerad av konstnären pá baksidan.

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236.000 Swedish Krona = 25.941 Euro

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Lucio Fontana

one of the most important artists in Italy.

The forms and shapes he created have no visual counterpart in nature but have their origin in Fontana's imagination.

He wanted to demonstrate that beyond the three generally known dimensions - length, width, height - there is a fourth one: the invisible space.
Fontana worked for Rosenthal from 1967 until shortly before his death.

He created three objects of great visual impact for the limited art edition: »Concetto spaziale cratere«

»Concetto spaziale ovale«

»Concetto spaziale taglio«

(each 75 pieces).

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Mycket pengar, men inte för detta konstverk.

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Tips for Collectors
The golden rule for someone who wants to collect porcelain is to be informed, then buy. Useful information can normally be obtained from specialist trade literature, see bibliography. Should the appropriate books not be available, then a decent library is likely to have them. Unfortunately there is no trade magazine for porcelain which leaves the interested person to look for publications such as "Antiques journal", "World art" etc. which are also read by the dealer.
It is always recommended to seek out a reliable dealer. By talking to several dealers one develops a sense as to which one gives reasonable answers. One could for instance ask a dealer what one could expect with a budget set at say EUR 5000 or 750 if one wishes to collect dancers. Anyone who wishes to buy at auctions, needs experience. Initially it is best just to get a feeling by visiting an auction and making yourself familiar with the procedure. Dealers often bid at auctions because, as agents, they see the chance to buy more favourably there. If you bid along with the dealers, it can happen that they have stopped bidding before you have even realised it – this happens very quickly – and you may find yourself stuck with a bid that – in retrospect – may seem far too high.
The rule for an auction is to inspect the item beforehand and set oneself a price limit. However, anyone who is familiar with auctions can often buy cheaper than from an antique dealer.
The prospective collector should find out when an item originated how often it was reproduced or taken into production again at a later date. Forms and in particular decorations can change with time (sometimes even from item to item). Changes in form can be the result of technical development. It can be of great importance to know whether an article was taken into the "Classic Collection" in recent decades. Whilst such re-issues reflect the popularity of an object they have, however, much less value than an item from the original production. Some models have appeared in various sizes. It is not always easy in this case to find out special details.
The collector of Rosenthal porcelain – still – enjoys the knowledge that up to now no forgeries have come to light. But do look for damage. A respectable dealer will stand by his goods even after the sale. Whiteware poses a special problem. For instance there exists white ware such as the Rosenthal figurines from Klimsch, Schliepstein, Steeger and Wenck which was never painted and that is held in the highest regard because it is whiteware. All other objects e.g. all Art-deco-porcelain are held to be approximately 50% less valuable as whiteware than the decorated article. Anyone with a larger collection should always archive data on his objects, take colour photographs and take out a house contents insurance of, initially, up to EUR 150,000 and anything above that a special art insurance.

Service-Sets
Two very different customer groups buy service-sets. The larger groups buy them for use and the other, smaller, group collects service-sets to display them in their glass cabinets.

The second groups consist of hobby collectors who, for the moment, are quite happy with service-sets or parts thereof which show that they have been used. There is always a chance that one can change it at a later time for a better preserved example.

The question of how high a price to pay for a service or for a single piece depends on many factors. An important factor is always the rarity. Not only is the model itself important but also its decoration. A certain model can have been produced many times, but it does not always carry the decoration XYZ and therefore the model with such a special decoration is more valuable than any other mass produced decoration. The rule of thumb for a "normal" widely produced service from any time after the Second World War with a "normal" printed decoration is: half the price of a new comparable service that is DM 30 to DM 100 per place setting regardless as to whether the accessories (tea- and coffee-pots, lidded bowls, and tureens) are still in existence.
The difficulty is to locate the original production figures.

This is normally a question of experience which, apart from noted collectors, only a few serious dealers have. However, less experience is needed to establish whether a service is complete. Services are considered complete consisting of twelve, or at least six, cups and plates. An incomplete service e.g. with only five cups is of course considerably less valuable than a complete one. Age, as is widely thought, is not always proof of high value.
Some Rosenthal services have been produced for many decades with the appropriate decoration. It is comparatively easy to find out the production year by means of the stamps but, nevertheless, the item researched can still have been produced unchanged for some time afterwards. In such cases only the experience of a collector or dealer will help.
For anyone who wishes to start collecting, it is recommended that he initially start by concentrating on a certain time or on the signed pieces of a certain artist. A good start would be with coffee pots which somehow have "survived" and are therefore favorably priced.

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