We’re Living in a Moment for ‘Great Art’ Creation, Says Collector Valeria Napoleone

After more than three decades of collecting, Valeria Napoleone isn’t changing her perspective.

The Italian art collector, whose self-estimated 580-piece collection consists primarily of female artists, has moved around and currently calls New York City home, but has a broadstroke view on her art assemblage ahead of her 60th birthday later this year.

“I rotate and change things quite often,” she said. “I want to live with my art, and when you change a piece, it resets the room.”

Sculpture is a particular focus for Napoleone, who’s helped elevate a range of emerging female sculptors over the past decade through her collaboration with SculptureCenter in New York.

Her ongoing collecting includes creators such as Italian artist Margherita Manzelli, Dutch painter Lily van der Stokker and German artist Nicole Wermers.

Napoleone is also the co-chair of New York University’s President’s Global Council and funds an annual professor role at the intersection of art and gender studies. Her homes in New York and London are revolving testaments to support of female-created and female-powered art, and she teased an upcoming project in Milan that will be another significant moment to showcase portions of her collection.

“What I buy in the U.S. mainly stays here, and it’s the same in the U.K. and Europe, but my largest storage area is in the U.K.,” she said.

Napoleone’s prominent role as a voice for female artists, both emerging and established, comes at a moment when new channels of accessibility and growth for these artists are being challenged by rollbacks in Diversity, Equity and Inclusion programs in higher education alongside a general overall slowdown in the art market.

Mansion Global caught up with Napoleone on a video call while she was at her New York City residence.

Mansion Global: How do you stay motivated to find emerging female artists to add to your collection?

Valeria Napoleone: Sometimes, I feel like, “do I need another piece?” I want to contribute, and always be impactful with what I do. I like to collect artists in the middle of their career, and the motivation is just to support and be impactful.

It’s important to give to the artist to make a difference, and as a collector sometimes I think ‘no, I don’t need another one,’ but it’s not an option to not continue collecting.

Is there an artist you haven’t collected yet, but would like to?

(American sculptor) Cady Noland. In the mid-1990s, women were trying new languages across art, and I found that very inspiring. Cady is the godmother of that generation, and her work isn’t only rare, but it’s also very expensive. I also don’t have to own everything in life, and her work might be something I can admire from a distance.

You once mentioned that you ‘generally only buy pieces that contribute massively to contemporary discourse.’ How do you define that portion of the discourse?

Our family’s agenda is to bring together exceptional female artists. Some are political, some are formal, but each of them have their own voice. I don’t look at this in terms of gender politics, but rather with new languages and new ideas.

I want to be surprised by the way the artist takes me into the issues. It’s a very personal reaction, but it has to tick boxes. I buy what I deeply connect to.

As an active member of leadership within higher education, are you concerned about how active attacks on DEI and similar initiatives might affect the accessibility and growth of female artists?

I think female artists have resilience. They’ve been totally ignored forever, and if anything this moment will make them more eager to get their voice out there. Usually, great art comes from moments of crisis and significance because there’s this sense of urgency. Female artists have been suffering forever, and they will continue to work and be recognized.

This interview has been edited for length and clarity.

Italian fine wines are gaining momentum among Australian collectors and drinkers, with new data from showing a surge in interest driven by value, versatility and a new generation of producers.

Long dominated by France, the premium wine conversation is beginning to shift, with Italy increasingly positioned as a compelling alternative for both drinking and collecting.

According to Langtons, the category is benefiting from a combination of factors, including its breadth of styles, strong food affinity and more accessible price points compared to traditional European benchmarks.

“Italy has always offered fine wine fans an incredible range of wines with finesse, nuance, expression of terroir, ageability, rarity, and heritage,” said Langtons General Manager Tamara Grischy.

“There’s no doubt the Italian wine category is gaining momentum in 2026… While the French have long dominated the fine wine space in Australia, we’re seeing Italy become a strong contender as the go-to for both drinking and collecting.”

The shift is being reinforced by changing consumer preferences, with Langtons reporting increased demand for indigenous Italian varieties and lighter, food-first styles such as Nerello Mascalese from Etna and modern Chianti Classico.

This aligns with the broader rise of Mediterranean-style dining in Australia, where wines are expected to complement a wider range of dishes rather than dominate them.

Langtons buyer Zach Nelson said the category’s versatility is central to its appeal.

“Italian wines often have a distinct, savoury edge making them an ideal pairing for a variety of cuisines,” he said.

The move towards Italian wines also comes as prices for traditional French regions continue to climb, particularly in Burgundy, prompting collectors to look elsewhere for value without compromising on quality.

Italy’s key regions, including Piedmont and Etna, are increasingly seen as offering that balance, with premium wines available at comparatively accessible price points.

Nelson said value is now a defining factor for buyers in 2026.

“Value is the key driver for Australian fine wine consumers… Italian wines are offering exactly that at an impressive array of price points to suit any budget,” he said.

The category is also proving attractive for newer collectors, offering what Langtons describes as “accessible prestige” and a more open entry point compared to the exclusivity often associated with Bordeaux.

Wines such as Brunello di Montalcino and Nebbiolo-based expressions are increasingly being positioned as entry points into cellar-worthy collections, combining ageability with relative affordability.

At the same time, a new generation of Italian producers is reshaping the category, moving away from heavier, oak-driven styles towards wines that emphasise site expression and vibrancy.

“There’s definitely a ‘new guard’ of Italian winemaking… stripping away the makeup… to let the raw, vibrating energy of the site speak,” Nelson said.

Langtons is also expanding its offering in the category, including exclusive access to wines from family-owned producer Boroli, alongside a broader selection spanning Piedmont, Veneto, Sicily and Tuscany.

The company will showcase the category further at its upcoming Italian Collection Masterclass and Tasting in Sydney, featuring more than 50 wines from 23 producers across four key regions.

For collectors and drinkers alike, the message is clear: Italy may have been overlooked, but it is no longer under the radar.

We’re Living in a Moment for ‘Great Art’ Creation, Says Collector Valeria Napoleone

The longtime champion of female artists is celebrating a decade of her namesake sculpture center in New York and an ever-growing collection of more than 550 pieces.

Italian wines are emerging as a serious contender for Australian collectors, offering depth, rarity and value as French benchmarks continue to climb.