25/01/2002
by Alex Kearney

2001 was a good year for Rome’s first maestro of the flower-piece, Mario Nuzzi (‘Mario dei Fiori’, Rome 1603 – Rome 1673) and his followers. It began with an exceptionally fragrant performance from an attributed pair, Still Lives of Flowers in terracotta vases in landscapes (oil on canvas, 130.8 x 95.9 cm), which sold at Christie’s, New York on the 26^th of January 2001 for $130,850 (€ 149,400), well above its estimate of $ 60,000-80,000 (€ 68,300-91,100). An autograph Tulips, Carnations, Chrysanthemums and other Flowers in a Sculpted Vase (oil on canvas, 91.8 x 71.7 cm) also put on a strong show at Christie’s, Amsterdam, hammering for $ 23,250 (€ 26,500) (estimate: $ 15,900-23,900, € 18,150-27,200) on the 9^th of May 2001.

However, not all went Nuzzi’s way and two other autograph works either didn’t sell or failed to meet estimates. An affirmed if unattractive Still Life of Flowers in a Sculpted Vase (oil on canvas, 91.3 x 57.2 cm) seemed to shrivel up at Sotheby’s, New York on the 23^rd of May, eventually fetching a mere $ 14,600 (€ 16,600) against an estimate of $ 20,000-30,000 (€ 22,800-34,150). A Flower Garland with Erminia among the Shepherds, (oil on canvas, 102 x 89 cm) also failed to go at the Dorotheum, Vienna on the 22^nd of March (estimate: $ 44,650-63,800, € 50,900-72,700). The same house had previously offered the work with an estimate of $ 57,400-76,550 (€ 65,400-87,200) on the 4^th of October 2000, again without any takers. Some bidders may have been deterred by the diminutive figures painted by another artist within the garland. Such collaboration, however, was not unusual for Nuzzi and the Dorotheum may have been encouraged by the success they had reaped some years earlier on the 15^th of October 1996 with Child with an Assortment of Flowers (oil on canvas, 101 x 81 cm). Nuzzi is believed to have worked on this canvas with Carlo Maratta and the final price of $ 95,650 (€109,000) (estimate: $ 44,650-57,400, € 50,900-65,400) reflects an altogether more appealing image.

Where Nuzzi’s market has really shot up is in the demand for attributed and derivative works. While only 3 affirmed paintings came on the market in 2001, as opposed to 8 the previous year, some 15 attributed and non-autograph works have been offered since last January. This compares with only 5 such works in 2000 and a combined total of 7 autograph and non-autograph Nuzzis in 1999. Though roughly half of this year’s 15 failed to sell, most of those that did find a buyer either met or exceeded estimates and non-autograph works outperformed all but the highest-flying originals. On the 31^st of October last year a fine ‘School of’ still life, Roses, Tulips, Daffodils, Morning Glory, Peonies and Other Flowers (oil on canvas, 124.8 x 99.7 cm) was offered at Christie’s, South Kensington with an estimate of $ 9,950-14,250 (€ 11,350-16,200). It eventually hammered for a remarkable $ 85,350 (€ 97,250), an indication that some bidders felt that the ‘School of’ tag offered no clue to its true value. Only a week later, on the 7^th of November, an unspectacular ‘School of’ Flowers in a Basket on a Wooden Ledge (oil on panel, 39.1 x 58.4 cm) went for an impressive $ 18,800 (€ 21,400) (estimate: $ 4,800- 6,600, € 5,500–7,500) at Christie’s Amsterdam.

But aside from the extraordinary performance at Christie’s, New York in late January, attributed works have, if anything, done less well than their anonymous siblings. Yet the absence of signed or documented Nuzzis makes it all the more difficult for a distinct pedigree of work to emerge. Perceived quality and decorative appeal are watchwords in this market and have allowed certain derivative works to go for serious prices. For the moment Nuzzi and his followers just keep on smelling of roses.