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Top 200 Collectors

Black-and-white portrait of a young-looking middle aged white woman in an elegant dress
Andrea Basile

Patrizia Sandretto Re Rebaudengo

Turin, Italy

Industrial manufacturing, renewable energy, and energy efficiency

Contemporary art


Patrizia Sandretto Re Rebaudengo’s collection includes more than 1,500 contemporary pieces, many of them dating from the last 25 years, as well as around 1,000 pieces of costume jewelry and roughly 3,000 photographs. She owns work by Maurizio Cattelan, Ian Cheng, Berlinde de Bruyckere, Cerith Wyn Evans, Damien Hirst, Josh Kline, Sarah Lucas, Lynette Yiadom-Boakye, Mark Manders, Charles Ray, Cindy Sherman, Rudolf Stingel, Rosemarie Trockel, and Adrián Villar Rojas, among many others. Re Rebaudengo told ARTnews that, if any one piece best encapsulates the collection’s spirit, it would be a sculpture of a squirrel by Maurizio Cattelan, Bidibidobidiboo—“a sort of mascot,” she said.The title refers to the Fairy Godmother’s spell on Cinderella in the Disney movie. I saw it at Laure Gennilard Gallery in London in 1996, and it was love at first sight.” 

Sandretto Re Rebaudengo comes from a family of collectors. Her mother collected porcelain, and her father, who owned a plastic-injection company, collected historical plastic objects dating back to the late 19th century. His collection is on display at a museum in Pont Canavese, Italy.

With the aim of bringing work by her favorite artists to the public, she founded the Fondazione Sandretto Re Rebaudengo in Turin, Italy, in 1995, just three years after she started collecting. (There had been plans to open a 67,800-square-foot outpost of the foundation in Madrid, but in 2020, Sandretto Re Rebaudengo abandoned them amid “structural problems” with the space in which it was to be set.) One of its most ambitious—and pungent—exhibitions staged at the Foundazione was Villar Rojas’s 2015 outing, featuring work comprised of 109 large boulders topped with all kinds of found organic matter—fish, cheese, salami, fruit. The exhibition lasted longer than three months, so Villar Rojas requested no heating during the show, to minimize the rotting stench for visitors. “It was winter when we had the exhibition, so many of the visitors came when the daylight was fading,” Sandretto Re Rebaudengo said. “It was like being on the moon.”