Art Market Magazine
Well, this is the last one! All good things come to an end, and this is my last magazine, my last two international issues with the Gazette Drouot. "Last but not least", as the British say. The Chinese say 压轴之作 – but perhaps you don't speak Chinese… Six years ago, the Gazette Drouot decided to publish two international issues in English and Chinese each month, as well as its parent version in French, to reach out to collectors and art lovers all over the world in a passion that knows no frontiers. During these six years, the team of the Gazette have selected the very best of art and its market in order to share and distribute it internationally, at no cost. A generous and pioneering venture… This most recent issue, like those to follow, is no exception and its hundred or so pages feature the main upcoming events and get-togethers, reports on the best sale results and interviews with the leading players in the market. Art, as we know, is a daily chronicle. La Gazette has been writing its own for 125 years. Those to follow will be written with others. Thank you for these wonderful years…
.Content - Number 63
Paris Photo is looking after its image. Shrugging off a difficult year, the Paris fair is marking its 20th anniversary by hosting a record number of galleries (153 instead of 143 in 2015) and publishing a retrospective at Xavier Barral featuring a plethora of contributors. However, what has become a must for collectors is emerging from a tough period. Forced to close early after the terrorist attacks of 13 November 2015, it suffered a loss of income and incurred the dissatisfaction of exhibitors. Then, in the spring, the third Paris Photo Los Angeles had to be called off, bringing the Hollywood adventure to an end. The reason: the market is too immature. Successive changes in management and the end of a monopoly – the fair must now compete with its British cousin, Photo London – made matters worse. The 2016 edition, then, must prove it is alive and kicking with a programme alternating, as usual between galleries and publishers, duo and solo shows – 16 in all – lectures on the medium, the Aperture book award ceremony and, to fittingly celebrate its 20th anniversary, daily broadcasts on Radio Nova. Launched in 2015 to rival Art Basel Unlimited, the PRISMES section focuses on serial and large-format works.
A foray into the Gare du Nord (Raphaël Dallaporta’s hoarding) timidly treads the path of hors-les-murs exhibitions, like the FIAC.
Shocking or classical, with some never previously published, the photographs featuring in the Paris sale programme this season provide choice pickings for the collectors who turn up in droves to Paris Photo. Several events stand out in the week, during which Drouot is hosting several auctions, including one with the Le Mouel auction house on7 November, with Viviane Esders as expert…
On 7 and 8 November, the Lasseron & Associés auction house will offer the Château de Villepreux’s magnificent collections for sale at Drouot. Paintings and drawings by Girodet, Ingres, Valenciennes and Drölling, marble sculptures by Tenerani and furniture by Molitor and Jacob are the highlights of this event, which has created quite a stir in the normally staid world of 19th-century art dealers. The history of the families that left their mark on Villepreux will be told during the first sale (7 November)…
This auction lived up to expectations. In three sessions, the 800 items up for sale garnered €19.3 M, at the end of the €15/€20 M estimate range. “With 96.2% of the lots sold,” said Damien Leclère, who teamed up with Sotheby's for this sale, “the auction underscores the unexpected buoyancy of a market eager for outstanding provenance and quality.” Highlights included the prestigious Borghese-Windsor cabinet sold for €2,5M a monumental clock by the London master Charles Clay and the incredible collection of pendulum clocks, were an invitation to travel back in time…
After the daring times that incited the FIAC to attempt to stage its own – official – fringe two years ago, the experiment was abandoned. Too far away from the Grand Palais, the building of the Cité de la Mode et du Design in Paris's 13th arrondissement never managed to attract enough collectors, making participation in this FIAC outpost far too expensive for galleries. For many it mainly concerned boosting their image by capitalising on the FIAC's reputation, while hoping to get into the main event at a later date.
Emperors prized it, just as collectors and the market do today. The Musée Guimet exhibition offers an opportunity to pierce the secrets of a little-known stone. Jade had long beguiled China’s emperors, Samarkand’s sultans, Moghul India’s rulers and Persia’s Safavid shahs before enthralling European courts. It was just a matter of time before oriental jades entered France’s royal collections, which happened in the 17th century. Their popularity has stood the test of time.
As their friend and founder of the Mr. Chow restaurant chain, Michael Chow, told them, “The secret is to sell Chinese food, the best cuisine, served by Italians, the best waiters, in an English setting, the best decor.” The Eskenazi family applied that recipe to art. While Giuseppe, who founded the gallery, was bidding on the most beautiful lots at the autumn auctions in Hong Kong, Daniel, his son, met with us in his London office. He unfolded a plum-coloured silk scarf and put three ravishing jades on it. “Jade is meant to be touched,” he said. The Neolithic objects must be caressed in order to be appreciated.
November 2016 Edition
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