“Paris Tableau”

Christie’s inaugurates its Parisian season with a painting sale

On Wednesday 14 September, Christie’s Paris is holding its “Paintings 1400-1900” sale. Announcement of the sale follows the decision by the Paris Tableau fair to join forces with the Biennale des Antiquaires. The sale will offer nearly 200 lots, worth between two and three million euros. The key lot is the Triptyque de la Vierge des Litanies by Adriaen Isenbrant, a major painter from Bruges from the first half of the 16th century, expected to fetch between 200,000 and 300,000 euros. Other works include, from the 17th century, an impressive painting by Sébastien Bourdon, Salomon sacrifiant aux idoles (worth 130,000-180,000 euros), and from the 18th century, canvases by Gabriel de Saint-Aubin and Pierre Subleyras, as well as painted landscapes from the Minorco collection made up of 23 sketches by artists ranging from Pierre-Henri de Valenciennes to François-Marius...

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Dominique Chevalier: Selling dreams… but also more!

Renewal, identity, strategy, vetting, and a breath of fresh air. Working towards this goal is Dominique Chevalier, president of the Syndicat National des Antiquaires. We find out how and why. The Biennale des Antiquaires has undergone a change in pace. Now held yearly, this most chic of art-market events has also seen “deep evolutions” in its organisation. As organiser of this feast of excellence for over fifty years, the Syndicat National des Antiquaries (French National Syndicate of Antique Dealers) promises “new influence” for its twenty-eighth edition… AMA wanted to find out more on the behind-the-scenes of this event described as the “quintessence of French art de vivre”. A backstage visit on the eve of its opening, to be attended by some 7,000 guests. Peter Fuhring, Robert Landau, Maryvonne Pinault… The arts elite has gathered for this new “Biennale committee”. How have these “qualified figures” contributed to this edition? What the public of the Biennale des Antiquaires wishes for today is to be surprised. This is important, all the more so as there is now quite a wide number of antiques events, fairs and exhibitions, and it’s not rare to find the same paintings and furniture from one event to the next… Our prime motivation was therefore to bring real freshness to this new edition, namely with a few contemporary touches. This “Biennale committee” was composed by Henri Loyrette (editorial note: former head of the Musée du Louvre, from 2001 to 2013), with the idea of rebalancing power in the board of the Syndicat National des Antiquaires, made up of dealers. The choice of these new “qualified figures” who drew up the list of exhibitors allows us to avoid staying closed. It’s a way to disentangle ourselves from the influence of friendship or enmity. I like this idea of transversality,...

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The Echo of the Old Masters

The Old Masters market is a passionate market. It is primarily driven by the enthusiasm of its participants-gallery owners, dealers, collectors, art historians – to discover and rediscover forgotten pieces of history. A finite market in its very essence, the auction houses, however, still manage to emerge from the shadow of the large canvases of the masters. Product sales for the works of Old Masters, according to the Artprice report of 2014, has remained extremely stable over the decade of 2004-2014. A stable market that is becoming scarce Clear speculative issues and the price volatility inherent to the contemporary art market, the Old Masters market is, according to Artprice, the smallest segment of the art market in the West. In 2014, it took around $650 million award, or 6% of sales – against 10% in 2004 – to 4% of lots sold. However, the Old Master sales, deemed as being reserved for insiders, are essential to the renown of auction houses. In mid-October 2015, Christie’s revealed its new strategy to develop its Old Masters sales, which were first held in January 2015. The house has replaced the traditional sales in January with a new themed week of sales, the “Classic Art Week” to be held at the Rockefeller Centre in New York in April 2016. This initiative aims to revitalise the image of this category of works, increasingly neglected by collectors. Jussi Pylkkänen, president of Christie’s Europe, commented “The series promises to revitalize this wonderful area that is the DNA of the art market.” The best result of the January 2015 edition was €9 million for a portrait by Bronzino. If the market for old masters paintings is not so apparent in the media and more linear in terms of sales, despite regular surprises on some pieces of exceptional...

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Programme for Paris Tableau revealed

The fifth edition of Paris Tableau is to take place from 11 until 15 November 2015 at Palais Brogniart in Paris. This fair is specialised in Old Master painters, spanning the Middle Ages until 1990. Following the strong success of the 2014 edition, which brought in 6,500 visitors and curators from around the world, this year’s showing will be focused on the matter of the art of living and living with art. Bruno Frisoni, creative director of fashion designer house Roger Vivier, has been invited by Paris Tableau to present his perspectives for ancient paintings and its inspirations. Each exhibitor must incorporate the theme “Art and Wine” in the pieces they present to the public. Finally, a symposium will be organised on 11 November on the theme “Origins of taste: Baroque painting in the United States”; it will aim to reflect on the creation of vast baroque painting collections in the United States. Stéphane Loire, chief curator of the Painting Department at the Louvre, and Stephan Wolohojian, curator at the Metropolitan, will present particularly in the context of the seminar and will host several conferences. This year, 25 galleries specialising in paintings by old European Masters from France, Italy, the Netherlands, United Kingdom and Switzerland will present new works to an audience of amateurs and...

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Solid sales and increased attendance figures for Paris Tableau

Paris, 21 November 2013. Art Media Agency (AMA). Between 13 and 17 November, the third edition of Paris Tableau attracted 6,000 visitors – a 10% increase in attendance on last year’s fair – and offered artworks for prices ranging between €10,000 and €4 million. The show’s 24 exhibitors – including two framing specialists – who attended this year’s edition at the Palais Brongniart, attracted a number of international curators, including Keith Christiansen of the Metropolitan Museum in New York; James Clifton from Houston’s Museum of Fine Arts; Mary G. Morton of the National Gallery of Art in Washington; Humphrey Wine from London’s National Gallery; Bodo Brinkmann of Basel’s Kunstmuseum, and Matίas Díaz Padrón, curator emeritus of the Prado in Madrid, alongside several French curators. Regarding sales, the portrait of Sir Thomas Wyatt the Younger by Hans Holbein the Younger, for which art dealer Mark Weiss was asking £3.5 million, was the most expensive piece on offer at the salon- an institution is currently said to be reflecting upon its acquisition. Transactions were realised for Galerie De Jonckheere, which sold several paintings, including one signed by Pieter Aertsen, entitled The Parable of the Royal Wedding Feast (16th century), for around €2.5 million. The salon’s president Maurizio Canesso (Canesso Gallery) sold his most important painting: Le Triomphe de la Sagesse Divine sur le Démon, l’Avarice et le Péché by Domenico Piola, for which he was asking €780,000, as well as an oil canvas by François de Nomé (Metz, 1593 – Naples, 1640) entitled Les Marchands chassés du Temple. Galerie Talabardon & Gautier sold three paintings, including Le Tambourin de Faléro and Le Chapeau de paille, by Alfred Stevens, while a further two were reserved. Galerie Claude Vittet achieved a sale for one of its star pieces – a triptych produced by Adriaen Van Overbeke and his assistants. In the mythology-themed section, Jacques Leegenhoek sold an...

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