Art Market Magazine


For this September issue, because the new autumn season is around the corner, and – to be honest – we are feeling a little nostalgic, we have decided to look back and relish the highlights of the summer. During this season, as we know, the activity of the art market flees those over-heated capital cities for holiday venues beloved by the gentry and the jet-set. And this year, in Monaco, Deauville and Cannes, jewellery has yet again sent the auction barometer soaring, along with collectors' cars: two particularly flourishing sectors, as revealed by the latest report of the Conseil des Ventes Volontaires (French Auction Market Authority) published in June, to which we will be devoting an article. Despite the downturn, this has confirmed the market's healthy resistance as a whole. How will things be in the second half of this year? A well-filled sales calendar gives grounds for continued optimism. And that's another good reason to read us!

.Content - Number 28

One thing is certain: the Beirut Art Fair has become a key event in the city's cultural and economic landscape. The most speaking sign is that the fourth in the series is under the patronage of His Excellency the President of the Lebanese Republic, General Michel Sleiman. Not only that, but the Ministries of Culture and Tourism are also involved, as is Beirut City Hall and the French Institute, which naturally supports French-speaking concerns. So this fair, now well-established in the city, is endeavouring to carve itself a firm place in the Fertile Crescent.

This year, full meaning is given to this geographical group, which includes the Lebanon and goes by the acronym MENASA (Middle East/North Africa/Southern Asia). It is claimed as the very identity of the Beirut Art Fair, as it is part of the baseline. The selected galleries are promoting artists who come mainly from these different territories, with the creation this year of an Asian pavilion coordinated by gallery owner, specialist and exhibition curator Richard Koh


Art Market Magazine

Art is an endless succession of new beginnings. Architectural works – destroyed one day, fervently sought the next – are no exception to the rule, as witness the 200-odd sculptures and ornaments from the Demotte-Andrée Macé collection being dispersed in Suresnes (inner Paris suburb) on 23 September (Jean-Claude Renard auction house).
They include not only stone and marble elements from the distant past, but also plaster moulds retracing changes in style from the Middle Ages to the early 20th century.



This summer, mercury also rose in the sale rooms which, as usual during the sunny season, were set in holiday destinations like Deauville, Cannes and Monaco. True to its commitments in Monaco, the Paris auction house Artcurial staged various sales from 22 to 24 July, garnering €17.2 M. The menu was extremely wide-ranging – from jewellery, The Rock's speciality, to collectors' cars. The proceedings opened with the latter, with the top bid, €440,000 going to an AC Cobra 427 Roadster – above its estimate…



Chinese painting. After the vogue of imperial stamps and objects in jade, the ancient Middle Kingdom's painted rolls are now the top of the auction league, but not just any sort. The latest example is very recent: 19 June at Drouot, when the Thierry de Maigret auction house sold an enthusiast's collection built up in the early 20th century. This contained various Chinese objects, including bronzes and some 18th and 19th century paintings



This event is now a classic. Since 2001, the CVV (French Auction Market Authority) has made an annual presentation of its activity report. The latest in the series, held on 26 June in Paris, posted mixed results. On the legal side, it was an opportunity to take stock of various innovations introduced by the legislative reform of 20 July 2011, starting with the right for operators to carry out private transactions and disperse new goods (at auction). It must be said that there have been very few dispersions of this kind (the total amount from sales was under €2 million), while private transactions involved 10% of auction houses specialising in the "Art and collectors' objects" sector.



One section of the Marseille-Provence 2013 exhibition "Le Grand Atelier du Midi" is being staged in the newly revamped Palais Longchamp in Marseille. This impressive water tower, whose amphitheatre façade, double colonnade and fountain typify the eclectic architecture of the 19th century, houses the fine arts and natural history museum. For the occasion, the fine arts museums in the left wing is hosting part of this open-air Provencal workshop: a breeding ground for painters who liberated representations of landscape, and emancipated light, colour and form from their Classical hangovers.



Charles Ratton (1897-1986) left Mâcon for Paris to enrol at the École du Louvre, but the First World War interrupted his studies. He was initially interested in the Middle Ages and the Renaissance. In the Twenties, drawn to Africa by encounters with the "Negro" trend started by the Cubists, his interest widened to the Americas and Oceania. On 19 March 1927, Ratton was authorised to act as an antiques dealer using his home as a gallery, and he worked as a valuer at the Hôtel Drouot from 1931. He rapidly made a name for himself there as a tireless promoter of the so-called "primitive" arts of Africa, Asia, the Americas and Oceania.



Art Market Magazine Gazette International

September 2013 Edition

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