Rosangela Rennó Paintings & Artwork for Sale | Rosangela Rennó Art Value Price Guide

Feb. 21, 2024
Rosângela Rennó (n. 1962)"Phoenix"
Est: €7,000 - €9,000
Rosângela Rennó (n. 1962)"Phoenix" From the "Vulgo/Alias" series Laminated cibachrome made from negatives from the São Paulo Penitentiary Museum Signed and dated 98 on the reverse Ed. 3
Veritas Art Auctioneers
Oct. 11, 2023
Rosangela Renno, E-print, 1996
Est: $800 - $1,200
Rosangela Renno (Brazilian, b. 1962), "Untitled (Woman/Dress)", 1 of 2, photograph mounted on .25" thick black board, unframed, 40"h x 60"w
Millea Bros Ltd
May. 17, 2023
Rosangela Renno, E-print, 1996
Est: $1,500 - $2,500
Rosangela Renno (Brazilian, b. 1962), "Untitled (Woman/Dress)", 1 of 2, photograph mounted on .25" thick black board, unframed, 40"h x 60"w
Millea Bros Ltd
Feb. 28, 2023
Rosangela Renno, (b. 1962), "Usar algumas palavras que ainda nao tenham idioma (Group R) da Serie Materia de Poesia (Para Manoel de Barros)," 2013, The set of six inkjet prints in colors on Canson Rag Photographique pape
Est: $20,000 - $30,000
Rosangela Renno (b. 1962) "Usar algumas palavras que ainda nao tenham idioma (Group R) da Serie Materia de Poesia (Para Manoel de Barros)," 2013 The set of six inkjet prints in colors on Canson Rag Photographique paper laid to aluminum panels, as issued The first image signed and numbered 1/6 in ink on the label affixed to the frame's backboard: Renno Rosangela; each of the other images initialed and numbered 2/6-6/6, respectively, in ink on the label affixed to the frame's backboard
John Moran Auctioneers
Nov. 01, 2022
Rosangela Renno, (b. 1962), "Usar algumas palavras que ainda nao tenham idioma (Group R) da Serie Materia de Poesia (Para Manoel de Bar
Est: $30,000 - $50,000
Rosangela Renno (b. 1962) "Usar algumas palavras que ainda nao tenham idioma (Group R) da Serie Materia de Poesia (Para Manoel de Barros)," 2013 The set of six inkjet prints in colors on Canson Rag Photographique paper laid to aluminum panels, as issued The first image signed and numbered 1/6 in ink on the label affixed to the frame's backboard: Renno Rosangela; each of the other images initialed and numbered 2/6-6/6, respectively, in ink on the label affixed to the frame's backboard Sight of each: 29" H x 42.5" W Provenance: Galeria Vermelho, San Paolo, Brazil Notes: Rosangela Renno Gomes, was born in 1962 in Belo Horizonte, Minas Gerais, Brazil. She is a prominent Brazilian artist currently working in Rio de Janeiro. In 1986, Renno received a bachelor's degree in architecture, and in 1987 she received a degree in Fine Arts from the Guignard School. In addition, she authored a thesis for her doctorate in 1997 about the reproduction of photographic negatives from the archives of the Sao Paulo Penitentiary Museum (Fafich, 2017). With the experience of her doctorate thesis, it would be a turning point in her career, where archival photos she found would be a dominant part of her work. Gomes' "work consists of photographic images from public and private archives that question the nature of an image and its symbolic value" (Renno & Takahashi, 1998). Renno creates a space where interest arises in the viewer. Most notable is a quote from Renno herself about the purpose of these types of work, "the little stories of the downtrodden and the vanquished" (Renno, 2004). Vilem Flusser, a Czech photo theorist, and Andreas Muller Pohle, a German photographer, and theorist, were the two figures that influenced Renno's decision to recycle photographs. Renno's use of archival media and creating new images "introduces another sphere of connections and reinterpretations as she recontextualizes them, offering us the vision of yet another imaginary universe" (Silverio, 1). The current photographs are six digital prints from a more extensive collection of 42 images. The name of this collection is Materia de Poesia. These images are created by the overlay of multiple old slides and influenced by Manoel de Barros, an influential poet in Brazil. With the discovery of these old slides were visual "records of travels, views of cities, people from another time" (Molina, 2010). Renno's development when creating these new images for Materia de Poesia is to use "juxtaposing photographs that would be "garbage" - or, referring to Barros' poetry, Rosangela makes verses from what would be an insignificant element of nature, tiny details," (Molina, 2010). Renno's present work is a unique display of archival photography, especially with many different images to create an overlaying product. In addition, the current images were printed in a limited color palette; for instance, some are saturated in red with black shadows to contrast, while some pieces are blue and have a black shadow as a visual contrast. In more detail, the first image's most prominent details are that the background looks like a cathedral, with the pointed arches of the building itself. An intriguing part of this piece is the foreground from a different image used as the overlay: a female wearing a bathing suit. The second image has a background archival photo of the cityscape, the more prominent features being a couple of taller buildings on the left of the image. However, the overlay image looks like a scene inside a building. The third image is a background photograph of the inside of what looks to be an ancient amphitheater, and the foreground overlay is of an ornate gold emblem directly in the middle. The fourth image has a background of a marina with buildings and the main headsail peeking out at the top. Looking at the overlay image, a man on a horse is shown directly in the center of the image itself. When looking at the bottom of the image, there are multiple horse hooves and legs, but the viewer cannot see the bodies of the horse because of the shadow. Renno's fifth image has a background from an elevated perspective of a town filled with buildings with Spanish-style roofing. Looking closer, a lady in the very center overlaps the photograph. The overlay of these two images is fascinating; the city landscape juxtaposes the living beings presented. Lastly, the six images have an industrial scene in the background, an oil rig at the center of the background, and even old oil glass streetlamps are shown. The overlay image is a seated figure smiling inside a kitchen. Renno and her body of works have been shown not only widely in Brazil but also on an international scale. From Tate Modern, the Museum of Modern Art in New York, the Guggenheim Museum, Museo Nacional Centro de Arte Reina Sofia, and many more. The present images juxtapose the image's relationship with the environment. Deciphering what is happening in these images might not be clear, but "there is a precise sense of where they are heading: out of the frame, into a space beyond the surface where they are supported, into perception itself" (Biennale de Sao Paulo, 1994). Renno's execution of these images allows her audience to reflect on the living world, have a glimpse of the past, and divulge into our instinct of being curious individuals.
John Moran Auctioneers
Mar. 05, 2018
ROSÂNGELA RENNÓ | Scar and Double Crown from 'Vulgo' Series [Two Works]
Est: $10,000 - $15,000
cibachrome print laminated with archival film mounted on board
Sotheby's
May. 24, 2017
ROSÂNGELA RENNÓ - Fonte dos amores (From the series Poços de Caldas 1960-2015)
Est: $2,000 - $3,000
ROSÂNGELA RENNÓ - Fonte dos amores (From the series Poços de Caldas 1960-2015)
Phillips
May. 23, 2016
ROSÂNGELA RENNÓ - Untitled (bebê) (From the series "Vermelha"), 1996
Est: $12,000 - $18,000
ROSÂNGELA RENNÓ - Untitled (bebê) (From the series "Vermelha"), 1996
Phillips
Mar. 06, 2010
ROSANGELA RENNÓ
Est: $1,500 - $2,500
Red Series: Untitled Signed, dated and numbered 42/50 in pencil, unframed.
Phillips
Oct. 03, 2009
Untitled (Tree Man), 2000
Est: $5,000 - $7,000
Untitled (Tree Man), 2000 Laminated lightjet print on archival paper mounted to panel in artist's wooden frame. 72 3/4 x 41 1/4 in. (184.8 x 104.8 cm). Signed "Rosângela Rennó" and numbered of five on a label adhered to the reverse.
Phillips
Nov. 22, 2008
Untitled (Little Balls) from Red, 1996
Est: £5,000 - £7,000
Untitled (Little Balls) from Red, 1996 Colour coupler print. 180 x 101 cm. (70 7/8 x 39 3/4 in). Printed credit, title, date and number 5/5 on a label affixed to the reverse of the frame.
Phillips
Nov. 20, 2007
Rosângela Rennó (b. 1962) , Sem título (Little Balls) from the Red Series
Est: $15,000 - $20,000
laminated lightjet print on Fuji Crystal archive paper mounted on board Edition 2 of 5
Sotheby's
May. 30, 2007
Rosângela Rennó (b. 1962) , Sin Título (Nazzi) de la serie roja
Est: $15,000 - $20,000
digital chromogenic print mounted to board and laminated Edition 1of 2
Sotheby's