FORTUNA

A room held in golden tension — where decadence meets defiance.

At the center: a rare bar cabinet by Osvaldo Borsani, designed in 1946, its lacquered façade opening to an Egyptian-influenced interior — a shrine to ritual and display.

Flanking the space, a pair of ornate French “torchères”, circa 1920s, bloom like wrought iron vines, casting amber light on walls of broken symmetry and quiet suggestion.

Above, Chaïm Soutine’s “Le Petit Pâtissier” (c. 1927) confronts the viewer — his stance both proud and vulnerable, caught mid-thought beneath the weight of his own presence.

To the left, “Adam” by Auguste Rodin — conceived in 1880, cast in 1973 — stands in sublime, torqued suspension. A bronze echo of the divine, anchored in human sorrow.

Scattered on the floor: platform heels. Gold-threaded, feminine, ghostly.
As if someone left the room — or never quite arrived