Until 1989, that is, until the first volume of the General Catalogue Raisonné of futuristic works by Roberto Marcello Baldessari was released, the market and the demand for Baldessari’s works were practically non-existent, or really small. In other words, interest in the artist was limited to a few galleries, and just a few collectors specialized in Futurism. Most of the ‘others’ (from the market and collectors) were concentrated on the’ usual ‘names, that is to say the’ founding fathers’ (Balla, Boccioni, Carrà, Russolo and Severini), in addition to a small number of so-called ‘ second Futurists’ including Depero, Prampolini and Dottori, who had to struggle not only with ignorance of the market but also with the heavy political censure, often arbitrary and disinformed. Just to give an example, in 1947 Depero proposed to the National Gallery of Modern Art in Rome, on behalf of Boccioni’s sister, the large painting “La Madre”: the laconic response of the direction was “we do not buy fascist art”. Unaware answer, because the painting is of 1913, Boccioni died in 1916, and fascism was established in 1922 … This is to say that ‘still’ towards the end of the eighties of the last century, despite a certain number of exhibitions in various galleries in Italy, the interest in the artist was minimal, so Baldessari’s works did not require an archive , and whenever for those few who wanted information or comfort on a work, in Rovereto at Baldessari’s heirs was always very helpful Mrs. Olga Ferrari, who supported the artist since the time of his return to Italy, in 1947. Then the release of the first volume of the general catalog in 1989, as they say, moved the waters and raised interest in the artist. In particular, the catalogue revealed to some merchants that the works signed RMB, they had often seen in many houses, were actually by Baldessari, and therefore this prompted the search and finding of a certain number of works, so that in 1996 it was necessary a second volume of the general catalogue and, a year later, the opening of the artist’s website. Meanwhile, Maurizio Scudiero, who had been studying Baldessari since the 70s and was the author of the first two volumes of the general catalogue, was entrusted by the Baldessari family with the responsibility of the Baldessari’s Archive. With reference to the abovesaid, any other person who issues verbal or written opinions, on Roberto Marcello Baldessari’s works acts in a personal capacity, and such opinions are acknowledged neither by the Baldessari Archive nor by the Baldessari Family. The registrations of the Baldessari Archive are the only ones recognized by all Italian and European Auction Houses.