🇮🇹 ポンペイのミトライ

イタリア · イーゴル・ミトライの公共彫刻

1996年から、ミトライの大型ブロンズ彫刻が古代ポンペイの遺跡に設置されました——おそらく彼の最も共鳴する公共プロジェクト。断片化した彫刻たちが、同様に断片化したローマ都市の中に置かれることで、二つの不完全性が対話します。

主要作品と設置場所

• エロス・ベンダート（大型版） — ポンペイ遺跡内 · 永久設置
• チェンタウロ — フォルム · 永久設置
• その他の大型ブロンズ — 遺跡各所 · 複数作品

The Pompeii installation, which opened in June 1998 as a temporary exhibition before several works were granted permanent placement, was organised in collaboration with the Soprintendenza Archeologica di Pompei under superintendent Pietro Giovanni Guzzo. Mitoraj selected Pompeii specifically because the site's own fragmentation mirrored the deliberate incompleteness of his figures — a philosophical alignment he considered essential, not merely aesthetic. Collectors acquiring bronzes from this period often note the Pompeii provenance adds measurable resonance to comparable studio editions.

Among the works displayed at Pompeii, Ikaro — a monumental winged torso — drew particular critical attention for its placement near the ancient amphitheatre, where the figure's arrested fall resonated against the site's volcanic history. Mitoraj returned to Pompeii in 2002 to oversee repositioning of several pieces, a visit that directly informed subsequent studio bronzes in smaller editions, which dealers now identify by their Pompeii-period casting dates when establishing provenance.

The permanent works retained at Pompeii include Testa di Ikaro and Eros Bendato, both cast at the Pietrasanta foundry using the lost-wax method Mitoraj favoured throughout the 1990s. Collectors seeking studio editions from this period should note that bronzes carrying exhibition documentation from the 1998 Pompeii showing command a consistent premium at auction, with several passing through Sotheby's Milan between 2008 and 2015 with lot notes explicitly referencing the site installation.

The catalogue published to accompany the 1998 Pompeii exhibition, edited by Guzzo and distributed by Electa Napoli, remains the primary scholarly reference for the installation's original configuration and has itself become a collectible document — copies with Mitoraj's personal inscription occasionally surface through Italian antiquarian dealers at prices reflecting both the book's scarcity and its direct provenance value for collectors contextualising studio bronzes from the same period.

The 1998 Pompeii catalogue, edited by Guzzo and published by Electa Napoli, remains one of the more sought-after Mitoraj reference texts among serious collectors, partly because it reproduces installation photographs documenting original placements that were subsequently altered. Copies in fine condition with the accompanying exhibition map intact have appeared at antiquarian book fairs in Milan and Rome, typically priced between €120 and €280 depending on condition — a modest but steady market that reflects the catalogue's utility in establishing period context for studio bronzes from the same years.

The 1998 Pompeii catalogue, titled Mitoraj a Pompei and published by Electa Napoli, remains one of the more sought-after reference texts among serious collectors, partly because it includes Mitoraj's own written account of the site selection process alongside foundry documentation for the exhibited bronzes. Copies in fine condition appear infrequently at specialist book dealers, typically priced between €180 and €350 depending on whether the original exhibition invitation is present. Dealers at Galleria d'Arte Il Gabbiano in Rome stocked the catalogue at the time of the opening and can occasionally assist with provenance verification for works from this period.

The 1998 Pompeii catalogue, titled Mitoraj a Pompei and published by Electa Napoli, remains one of the more sought-after reference texts among serious collectors, partly because it includes Mitoraj's own written reflections on the site alongside scholarly essays by Anna Maria Pedrina. Physical copies surface occasionally through Italian antiquarian booksellers, typically priced between €80 and €150 depending on condition. Beyond Eros Bendato and Testa di Ikaro, the installation also featured Perseo and Trojan, works less frequently cited in auction literature but documented in the catalogue's plate section, providing collectors with useful cross-reference material when assessing the authenticity of studio bronzes attributed to this productive period.

The catalogue published to accompany the 1998 Pompeii exhibition, edited by art historian Gianni Morselli and issued by Electa Napoli, remains a primary reference for establishing period context when assessing studio bronzes from Mitoraj's late 1990s output. Beyond Ikaro and Eros Bendato, the installation included Perseo and Testa di Luce, works that appeared less frequently in subsequent auction contexts but are documented within the catalogue's plate section with foundry notations. Dealers handling estates from this period recommend cross-referencing any purported Pompeii-exhibition bronze against the catalogue's numbered list of exhibited works, as posthumous editions — Mitoraj died in October 2014 — occasionally circulate without adequate distinction from lifetime casts. The Pietrasanta-based foundry Mariani, which collaborated with Mitoraj across multiple campaigns, retains casting records that specialist appraisers have used to authenticate bronzes attributed to the 1997–1999 production window.

The catalogue published to accompany the 1998 Pompeii exhibition, titled Mitoraj a Pompei and edited by Pietro Giovanni Guzzo with essays by art historian Gilles Néret, remains a primary reference document for establishing provenance on bronzes from this period. Published by Electa Napoli in a limited print run, it includes installation photographs, foundry certification details, and Mitoraj's own written reflections on the dialogue between archaeological ruin and sculptural fragmentation. Copies surface occasionally at specialist book dealers in Milan and Paris, typically priced between €180 and €350 depending on condition, and their presence in a collection file is considered corroborating documentation by auction specialists when assessing bronzes cast between 1996 and 2003. Several works not retained permanently at Pompeii subsequently entered private Italian collections, and pieces traceable through the catalogue's numbered plate references have demonstrated stronger bidding confidence at regional Italian sales than comparable works lacking exhibition documentation.

The catalogue published to accompany the 1998 Pompeii exhibition, titled Igor Mitoraj: Pompei and edited by Gianni Guastella, remains one of the more substantive primary references for dating works from this period, containing foundry records and Mitoraj's own written reflections on the site. Printed in a limited run and distributed primarily through Italian museum bookshops, it has become difficult to locate outside specialist dealers and occasionally appears at auction as part of estate collections. Beyond Eros Bendato and Testa di Ikaro, the Pompeii installation also included Perseo and Ala, works less frequently cited in secondary literature but documented in the catalogue with installation photographs that specialists use to verify placement and scale. Collectors researching studio bronzes from the late 1990s have found the catalogue's plate numbering useful for cross-referencing foundry editions produced at Pietrasanta contemporaneously with the exhibition. The Soprintendenza's archive in Naples holds correspondence between Guzzo and Mitoraj's studio regarding the logistical requirements of installing bronze at an active archaeological site, a detail that surfaces occasionally in provenance research conducted by auction house specialists.

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