Australians don't seem to like the ostentation which goes with stardom perhaps because they are too busy playing their parents or grandparents for long

Australians don't seem to like the ostentation which goes with stardom, perhaps because they are too busy playing their parents or grandparents (for long stretches it seemed impossible to find any Australian film set in the present). Muffled in fur-collared coat, with bearskin hat and walking stick, he was easily mistaken for royalty in exile, Zog perhaps.Of the mysterious, rich prose deployed in his catalogues he provided a final example:Refusing galvanisation into the Cemetery of Uniforms and Liveries, Gallozzi is cutting the ropes and going to peer at farther shores, driven by survival instincts, calling, riding the bright wake ahead.Adrian DannattGuillaume Gallozzi, art dealer: born 11 February 1958; died Paris 25 December 1995.. That they were other people's monograms added to the mystique, an extensive wardrobe of handmade hand-me-downs. Gallozzi made one last grand tour of Italy, where he stayed every summer, often for months, with an extraordinary variety of collectors, artists, poets and aristocrats, one link in his chain of seemingly inexhaustible admirers.The merest anecdotal elements of Gallozzi's presence justified this network of affection, from his 4pm lunches to cork-tipped Craven A cigarettes in the fridge, tailor-made Cifonelli suits and monogrammed Turnbull & Asser shirts. Later exhibitions ranged from Brion Gysin, the cult kif avantgardist, to Steven Sykes, an octogenarian English recluse who had never shown previously, but subsequently exhibited at the Redfern Gallery in London as a result.Under financial pressure Gallozzi left his legendary townhouse, where in May 1995 he held a last benefit exhibition of 30 contemporary artists who donated work, including several portraits of himself, his playboy features having undergone interesting redefinition, slightly cross-eyed like Whistler's Robert de Montesquieu redone by Picasso. Left for dead at Bellevue hospital, surrounded by criminals, Gallozzi borrowed enough for a Concorde to Paris whereupon he was immediately arrested for avoiding military service.

Released with diplomatic assistance Gallozzi was, seemingly, miraculously cured by a specialist to whom he dedicated his comeback Manhattan show, "Metamorphose". By now Gallozzi was dealing "Aeropittura", Futurist plane paintings and British Neo-Romantics, not automatically lucrative areas. His connoisseur's approach to the byways of art history, the cultivation of neglected footnote figures, led Gallozzi's tastes to be described in the New Yorker as "old-fashioned, decidedly recherche".Five years ago his inoperable brain tumour appeared. Despite never owning a credit card Gallozzi maintained a series of anonymous accounts in Austrian banks, travelled in private jets and ran an art-smuggling ring through the Italian lakes.Graffiti was short-lived, and after building collections for optimistic Belgian and Dutch magnates Gallozzi jumped swiftly, landing at a magnificent house on West Houston Street once owned by Barney Rossett, founder of Grove Press, where the likes of Samuel Beckett had stayed. Setting up a loft where young black spraycan artists lived and worked in situ, he achieved celebrity and wealth, introducing them to the Basel Art Fair, creating a hip-hop spectacle for Valentino's 25th anniversary, taking his "Art Train" round America.

He moved to America in 1976 and after semi-clandestine activities in California relocated to Manhattan. Helping establish the groundbreaking night-club Pravda, Gallozzi was a central part of the late Seventies "scene", when New York really was New York. Paradoxically, renowned for arcane European interests, Gallozzi became familiar with that most fashionable movement, "Graffiti". Born in the shadow of de Sade's chateau, Gallozzi was a flag-carrying anarchist schoolboy in Nantes, home town to such kindred spirits as Alfred Jarry and Jacques Vache. As a Frenchman in New York specialising in British 20th-century art, Gallozzi was at an unfair advantage when it came to cosmopolitan charisma but it was his savoir-vivre that made him altogether novelistic, a character from a collaboration between Tom Wolfe and Henri de Montherlant.

If the best art dealers have a fictitious quality, Guillaume Gallozzi was great indeed and, despite his precocious demise at 37, more worthy of a novel than a brief obituary. He wrote studies of Bellini, Donizetti, Mascagni, Mussorgsky, Jancek and Pizzetti, and published several volumes of music criticism.Elizabeth ForbesGianandrea Gavazzeni, composer and conductor: born Bergamo 25 July 1909; Artistic Director, La Scala 1965-68; married twice (two sons); died Bergamo 5 February 1996.. In 1992 at Ravenna he conducted Donizetti's Poliuto with the same passion that he had brought to the music of his fellow citizen 20 or 30 years previously.Gavazzeni made many studio recordings, but he is best represented by his live recordings, such as Un ballo in maschera, with Callas and Giuseppe di Stefano, from La Scala (1957), in which the full scope of his magisterial command of a performance can be appreciated. In 1957 he conducted Rossini's Turco in Italia at Edinburgh and La Boheme at Chicago, and in 1965, Anna Bolena at Glyndebourne, with Gencer in the title-role.Throughout the 1970s and 1980s he continued to work as hard as ever - Simon Boccanegra at Trieste, Rossini's Elisabetta, regina d'Inghilterra in Palermo with Gencer, La Cenerentola in Geneva with Teresa Berganza; La Favorite in Turin with Luciano Pavarotti; Faust and Aida at the Teatro Colon, Buenos Aires. For the 1955 Maggio Musicale in Florence he made a new edition of Mascagni's Le maschere, which he also conducted.

Eliot's play) in 1958, Il calzare d'argento in 1961 and Clitennestra in 1965, as well as revivals of La figlia di Jorio, and Fedra, the latter with Regine Crespin.He also conducted Giordano's Fedora, with Maria Callas; Donizetti's Anna Bolena, also with Callas; Tosca with Renata Tebaldi; Meyerbeer's Les Huguenots, with Joan Sutherland; and Gluck's Alceste with Leyla Gencer, the Turkish soprano to whom he acted for many years as mentor.At the Rome Opera in 1953 he conducted Lucia di Lammermoor with Callas. A particular supporter of Pizzetti, his former teacher, he conducted the premieres of Murder in the Cathedral (based on T.S. From 1955 he conducted regularly at La Scala in a wide repertory that combined the popular Italian composers such as Rossini, Donizetti, Verdi, Mascagni and Puccini with the works of other, less well-known figures, including Respighi and Zandonai. Returning in 1954, he led a famous production of Honegger's Joan of Arc at the Stake, with Ingrid Bergman in the (spoken) title-role. Next year he conducted a double bill of Stravinsky's Mavra and Ghedini's La pulce d'oro, followed in 1948 by Tosca.