Art Market Magazine


A hot start to the cultural season was announced, and that's exactly what happened! In tune with the weather (the Paris sky was glorious during September, with the barometer set fair) the "Parcours des mondes" attracted, as ever, a crowd of international collectors, for whom this stroll through Saint-Germain was more than ever a pilgrimage and a calling. The muchawaited and oft-disparaged Biennale lived up to expectations and more, leaving the Cassandras to their dismal prognostications. The general level was considerably higher, shored up by an elegant programme and staging (as we know, the Hermitage loaned some of its masterpieces). So how will the other major event of the Paris autumn turn out? The FIAC has a chaotic and controversial past, like its classical sister. Will it be able to reinvent itself in turn? We'll find out in a few days…

.Content - Number 62

It seems a long time since the FIAC was struggling to establish itself on the international contemporary art scene. Exiled from central Paris between 1999 and 2005 to a totally charmless exhibition centre at Porte de Versailles, the Paris fair was powerless to attract top international collectors (or even any French ones, sometimes), and consequently the world's leading galleries. The fact that it moved back to the centre of Paris with its handsome districts, occupying the magnificent Grand Palais once again in 2006, enabled the fair to win back collectors and galleries of an ever-higher level. For the last ten years, the FIAC's progress and success have been undeniable, making it one of the most important fairs in the world.


Art Market Magazine

After the legal challenging of a hammer price by an aggrieved vendor, an increasingly common approach seems to be a resale that satisfies both buyer and seller. The upcoming dispersion of several photographs reattributed to Gustave Le Gray illustrates this movement, which is now reflected in the law. Fluctuations lie at the heart of public auctions. This enables the market to fix the price of a work at a given moment, and to remedy any doubts as to authenticity.



Soon to be dispersed by Pierre Bergé in partnership with Christie's, at Drouot the Le Diberder collection is that of a man with a certain idea of good taste, and a distinct idea of great taste. While the pure lines typical of design held sway in his time, the industrialist Pierre- Yves Le Diberder swore by an older expertise: that of the Louis XVI and Louis-Philippe periods. His Avenue Foch apartment was refurbished over more than ten years by the interior designer Jean-Paul Faye



The hardstone cabinet bearing the arms of Paul Borghese, elected Pope in 1605, is now taking off for the J. Paul Getty Museum in Los Angeles. Knocked down for €2,499,000 to much applause from the public, it picked up a world record for a piece of Roman furniture on the way. It has come full circle. After being made for a Pope, owned by a king (George IV of England), the cabinet will now reign supreme in the temple of the American oil baron. The entire sale of Robert de Balkany's collection garnered over €13 million



He buys "everything – and at the beginning, almost any old thing," as he admits. Looking at the collection he has built up, it is hard to untangle the relationship between Olivier Mosset, Bustamante, Paul McCarthy, Gina Pane, Bruno Serralongue, Charles Sandison and the abstract paintings of Jean-Luc Poivret. And yet, there are definite links. First of all, his attentiveness to the young generation: not artists who have already made a name but those who will. In art, the market expert speculates on talent, whether confirmed or not, that has stood the test of time.



Immersed in war at an age when children usually go to school, Roger Tallon (1929-2011) was one of the determined young people who shaped modernity, and whose legacy affects to us all. If he described himself at the time as "Gallo-rican", it was because he was very much involved with the USA. As soon as his military service in Germany ended, he was recruited by American firms: Caterpillar, Dupont de Nemours and General Motors. A decisive turning point came when he met Jacques Viénot (1893-1959), an advocate of industrial aesthetics, and then joined Viénot's agency…



This lawyer collects 18th-century porcelains, Old Masters and contemporary art alike. The journey of an enthusiast who enjoys contact with people and art. You have succeeded in combining your work with your love of art through your career choices… I have been a lawyer since 1968. I began studying the legal aspects of the art market with Prof. Simonard, who worked as a lawyer for the Musées Nationaux. This meant that I worked on the Rodin estate and the Saint- Arroman’s Poussin case…



Art Market Magazine Gazette International

October 2016 Edition

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