Artfinding, the art market specialist

Artfinding now available on App Store & Android Market

2012-01-30T03:02:00.001-08:00

Artfinding, the art market specialist is now available on mobile phones and tablets. Powered by Apps-Builder, this new tool allows you to keep up-dated with the latest news & highlights, gives you direct access to the Blog, Facebook & Twitter pages, and many more.

To get the Apple application: LINK
To get the Android application: LINK

Your feed back will help us upgrade this 1.0 version :)

Press Review: Marché de l'art, une touche de plaisir dans votre patrimoine, dans La Tribune

2012-01-30T00:27:00.001-08:00

Actifs patrimoniaux à part entière, les oeuvres d'art permettent de diversifier son patrimoine de manière plaisante. Mais comme tous les marchés, celui des oeuvres d'art répond à des règles spécifiques. A l'occasion de la dernière université des CGPI, Delphine Brochand, fondatrice de Fin'Art Consulting l'a résumé ainsi devant un auditoire de conseillers en gestion de patrimoine, passionnés par le sujet : "ce marché est composé de différentes spécialités. Une multitude de données, tant rationnelles qu'irrationnelles le régulent et la seule cote officielle le concernant est celle des enchères."
En 2011, il a totalisé pas moins de 20 milliards d'euros, soit l'équivalent de quatre jours d'échanges sur le CAC 40. La transaction moyenne s'est établie à 15.000 euros et le dernier record en date a été réalisé avec une peinture de Picasso cédée pour 106 millions de dollars, soit environ 80 millions d'euros.
En France, plus de la moitié des ventes aux enchères (1.142 millions d'euros en 2010) concerne des objets artistiques, notamment du fait de la vente d'objets d'art contemporains qui a quasiment triplé entre 2009 et 2011. Notre pays se situe au quatrième rang mondial après la Chine, les Etats-Unis et le Royaume-Uni.
Marché en croissance
Mais, aujourd'hui, pourquoi investir dans une oeuvre d'art ? "Il s'agit d'un marché en pleine croissance sur lequel la notion de plaisir est centrale. La protection de l'investisseur y est généralement forte et les transactions sécurisées. La fiscalité y est attractive, par exemple pour les assujettis à l'impôt de solidarité sur la fortune, et plusieurs stratégies d'optimisation patrimoniale peuvent être mises en place", détaille Eric Bachmann, le dirigeant de Patrim'Art, un cabinet de conseil en investissement artistique et patrimonial. Il rappelle par ailleurs qu'il s'agit là d'un investissement procurant une satisfaction liée à sa possession. Son acquisition allie donc les avantages d'un investissement patrimonial et le plaisir de détenir un objet artistique. "Nos clients n'affichent pas leur relevé d'assurance-vie, de compte titres ou leurs actes de propriété, mais ils présentent bien volontiers leurs oeuvres d'art à leur entourage", note le conseiller.
De son côté, Delphine Brochand indique qu'il ne faut pas consacrer plus de 5% à 10% de son patrimoine global à l'art et rappelle deux grands principes que tout investisseur se doit de respecter : "Préférer une oeuvre majeure à plusieurs oeuvres de qualité moyenne et sélectionner le chef-d'oeuvre d'un artiste de second plan plutôt qu'une oeuvre moyenne d'un grand maître." Elle suggère aussi d'acquérir les artistes à contre-courant et d'éviter les artistes trop spéculatifs. "Les oeuvres d'art ne sont pas des valeurs refuges, elles doivent être considérées comme des investissements à part entière, qui peuvent donner lieu à des avantages fiscaux", ajoute-t-elle.
1 - Optimisez vos investissements en oeuvres d'art
Comme avec les autres actifs patrimoniaux, la bonne gestion commence par un bon achat. Il faut donc rechercher l'oeuvre, en fonction de ses préférences artistiques, étudier les cotes des oeuvres récemment négociées et situer l'artiste dans le marché. Est-ce la bonne période pour acheter ?
Mieux vaut en effet ne pas se précipiter sur l'oeuvre d'un artiste en vogue. Enfin, il vous faut obtenir confirmation de l'authenticité et de la qualité de l'oeuvre concernée.
Il faut aussi optimiser ses conditions de conservation. Choisir le lieu où l'oeuvre sera gardée : un domicile ou un coffre, et négocier un contrat d'assurance adapté. Quelle que soit la solution retenue, les experts recommandent d'estimer régulièrement les oeuvres détenues, de remplacer éventuellement les encadrements ou supports afin de les valoriser et, le cas échéant, les présenter dans le cadre d'expositions afin d'en améliorer la renommée.
La vente peut, elle aussi, être optimisée. Après avoir analysé les dernières transactions, il faut définir le canal de revente et choisir entre ventes aux enchères ou gré à gré.
L'identification des acheteurs potentiels et des grandes ventes susceptibles de réunir les amateurs de l'artiste en question peut significativement impacter le prix de revente final. Enfin, il faut s'informer des opportunités fiscales qui peuvent permettre d'échapper à la taxation sur les plus-values.
2 - Sollicitez un conseiller en investissement artistique
Dans le domaine de l'art, avoir recours à un expert est une évidence pour éviter les nombreuses mauvaises surprises. Depuis quelques années, on peut aussi s'adresser à un conseiller en investissement artistique.
Il s'agit d'une profession récente en France, apparue il y a à peine cinq ans. Ces professionnels, qui sont moins d'une dizaine dans le pays, se positionnent comme des intermédiaires "entre les désirs des clients et l'acte d'achat". Leur activité est orientée vers la recherche des meilleures opportunités sur les marchés d'oeuvres d'art, de collections ou d'antiquités.
Cette quête se fait avec l'aide de commissaires-priseurs et d'experts. Ils peuvent aussi se charger de la gestion, de l'optimisation de la détention et de la transmission du patrimoine artistique.
Ils interviennent auprès de leur propre clientèle mais aussi pour le compte de la clientèle des conseillers en gestion de patrimoine indépendants (CGPI) et d'établissements financiers comme les banques privées.
Ils font intervenir marchands et galeries, courtiers, collectionneurs, maisons de vente et artistes. L'émergence de cette profession coïncide avec le développement du marché de l'art auquel elle apporte une approche globale de la question, donne accès à des segments de marché généralement opaques aux néophytes, et apporte indépendance et transparence sur ledit marché tout en sécurisant les transactions.
3 - Rendez-vous dans les salles des ventes
N'hésitez pas à regarder les programmes des expositions à venir et à pousser la porte des hôtels de ventes. À Paris, un passage à Drouot est toujours un moment d'exception, même lorsqu'on s'y rend sans objectif précis.
La règle d'or que vous devez garder à l'esprit : ne pas se précipiter pour enchérir. Les opportunités de se faire plaisir sont nombreuses et l'univers artistique est suffisamment large pour compenser une enchère manquée par l'achat d'une autre oeuvre.
N'hésitez pas à visiter les expositions préalables à toute vente, soumettez au personnel des études toutes les questions que vous pouvez vous poser.
Construisez-vous une vraie culture non seulement pour éviter un mauvais achat mais aussi tirer pleinement parti de l'oeuvre que vous allez potentiellement acquérir.
Nicolas de Moustier, directeur général de Tajan rappelle : "Il n'y a de bon premier achat que celui qui allie le plaisir au besoin et qui se fait au juste prix. En d'autres termes, n'enchérissez que sur un objet qui vous plaît vraiment et dont vous aviez identifié le besoin ou l'intérêt décoratif. Et surtout, à moins qu'il ne s'agisse d'un authentique coup de coeur, restez dans la fourchette de l'estimation du commissaire-priseur."
Enfin, lors de l'achat, il est important de tenir compte des frais perçus, voisins de 20% hors taxes et des éventuels frais de transport pour les oeuvres de grande taille.
4 - Utilisez Internet comme source d'information
Si vous êtes novice, il est recommandé de commencer par quelques clics sur Internet, histoire de se familiariser avec l'environnement et le jargon du monde de l'art et des enchères.
Cela permet de s'informer facilement sur les ventes à venir via des sites comme www.interencheres.com ou www.auction.fr. Internet regorge aussi d'informations sur les artistes, leur biographie, les oeuvres. On y trouve des sites dédiés créés par des passionnés ou d'autres créés par les artistes eux-mêmes.
A cela s'ajoutent les galeries d'art en ligne, les sites d'information spécialisés, les sites d'enchères qui peuvent fournir une première indication quant à la valeur d'une oeuvre, les vitrines des plus grandes maisons de vente comme celles dédiées aux jeunes artistes, ainsi que des sites de location d'oeuvres.
Pour aller plus loin, on peut aussi s'informer sur les transactions réalisées lors des ventes via des sites comme Artprice et Artnet qui sont des références internationales pour les collectionneurs.
On y retrouve un historique des adjudications, très utiles pour définir le lieu et le prix auquel une oeuvre peut se négocier dans le meilleur intérêt du vendeur.
Enfin, certaines sociétés de conseil sont également présentes sur le Web. Artfinding.biz ou encore Patrim'Art y développent leurs offres et donnent quelques indications sur le fonctionnement du marché, sur la fiscalité et sur leurs partenaires.

Artfinding announces a new partnership with the EAC school to launch a biographies database

2012-01-27T09:23:00.001-08:00

Artfinding is pleased to announce a partnership with the EAC (Economy, Art & Communication), the first French art market specialized University whose founder, Guillaume Champavere, is an alumnus.

The partnership aims to publish on Artfinding a unique database of 120,000 biographies of artists, designers, painters... translated into 10 languages.

The data base will be open to Internet users free of charge and without identification. All visitors will be able to submit their own artists' biographies and thereby enrich the database.

The EAC and Artfinding will greet you in late March 2012 for the launch of this unique database.

Les tendances du marché de l'art 2011

2012-01-06T00:21:00.001-08:00

La cuvée des tendances du marché de l'art 2011 est arrivée ! Le marché des intentions d'achat se segmente en deux principales catégories, celle des spécialités qui ont connu une croissance par rapport à 2010 et celle des spécialités qui ont subit une chute par rapport à la même année.

La grande majorité des spécialités ont connu une croissance, ce qui traduit un intérêt croissant du public pour le marché de l'art et lesdites spécialités. Parmi celles-ci, notons que les gains d'intérêt concernent tous types d'art de toutes époques, à l'image des performances de l'art déco (+5.4%), de l'art contemporain européen (+12.19%) ou encore de l'archéologie classique (+15.45%). Cependant, deux évolutions à la hausse se distinguent nettement des autres en raison de facteurs économiques influençant directement les tendances : la spéculation en 2011 de l'or a impacté l'intérêt du public pour la bijouterie (17.32%), et la Chine par le dynamisme de ses collectionneurs a impacté les arts asiatiques (+22.07% en deux ans) ainsi que la céramique asiatique en particulier (+29.02% en deux ans), deux spécialités en quasi hausse constante depuis 2005.

Le marché de l'art a néanmoins connu quelques ralentissements de croissance, voir une chute par rapport à l'année précédente en matière d'intentions d'achats. Les maîtres anciens confirment leur place de valeur refuge en conservant une évolution positive, toute en restant bien moins importants que leurs homologues contemporains. Le mobilier médiéval & Renaissance semble boudé par le public depuis quelques années et a une fois encore connu une récession (-2.19%). Enfin, certaines valeurs pourtant jugées hyper stables car épargnées par toute spéculation ont toutefois connu une légère chute comme la numismatique (-3.69%) ou la militariat (-4.02%).

Malgré un santé économique mondiale en berne, le marché de l'art en 2011 clôture son année de manière très positive. 85% des spécialités du marché de l'art ont connu une évolution positive en d'intentions d'achat des collectionneurs, le marché français avec Drouot enregistre une hausse de 8% par rapport à 2010 (source : Drouot.com), les galeries d'art n'ont jamais fait autant d'expositions que cette année (source : Artfacts.net) et les foires d'art se multiplient tout en annonçant des records d'affluences (source : Theartnewspaper.com). La crise épargnerait-elle le marché de l'art ?

Read more here: http://www.artfinding.com/News/Les-tendances-du-marche-de-l%27art-2011/2677.html

Marc-Arthur Kohn, portrait of a Parisian auctioneer

2011-12-13T05:31:00.000-08:00

Marc-Arthur Kohn, portrait of a Parisian auctioneer. Please click on the link below to read more about this interview and watch the exclusive video by Artfinding.

Link : http://www.artfinding.com/News/Marc-Arthur-Kohn-portrait-of-a-Parisian-auctioneer/2651.html

The financial market Vs. the art market, by Artfinding

2011-11-02T09:07:00.000-07:00

The At first sight, the financial and the art markets don't seem to have much in common. The first is a very pragmatic and down-to-earth field animated by mathematical models and short term speculation, whereas the second relies on passion or feelings animated by art lovers who more often follow their gut rather than decide by empirical evidence. Read full article on Artfinding here: http://www.artfinding.com/News/The-Financial-Market-Vs-The-Art-Market/202.html

Twitter API now available on Artfinding.com

2011-10-24T07:35:00.000-07:00

Now follow Artfinding with the Twitter API on any page of your favorite art market website!

Press Review: Investir dans une oeuvre d'art avec Artfinding, dans Monaco Hebdo

2011-10-03T01:05:00.001-07:00

Press Review: Investir dans une oeuvre d'art avec Artfinding, dans Monaco Hebdo. Read more here: http://www.artfinding.com/News/Press-Review:-Investir-dans-une-oeuvre-d%27art-avec-Artfinding-dans-Monaco-Hebdo/2344.html

Press review, Artfinding on unebanque.net

2011-10-03T00:37:00.001-07:00

Artfinding.com consiste en une plateforme internationale, destinée aux marchands, aux collectionneurs et aux amateurs d’œuvres d’art de haute gamme.Read more here : http://www.artfinding.com/News/Press-Review:-Artfinding-qu%27est-ce-que-c%27est-sur-unbebanquenet/2343.html

Marcel Nies, expert in Oriental Arts

2011-09-26T05:45:00.000-07:00

Marcel Nies Oriental Arts interview about arts from the Himalayan and South East Asia. Read more here: http://www.artfinding.com/News/Marcel-Nies-Oriental-Arts-interview-about-arts-from-the-Himalayan-and-South-East-Asia/2312.html

Artfinding appears in Artribune.com

2011-09-22T01:27:00.001-07:00

Press review : Artfinding appears in Artribune.com. Read more here : http://www.artribune.com/2011/09/art-advisor-evoluzione-di-un-mestiere/

Exclusive interview with Oriana Schwaan, FIAC's Show Manager

2011-09-12T05:47:00.000-07:00

Bernard de Grunne expert in tribal arts: African Oceanic and Indonesian in Belgium

2011-08-30T06:28:00.001-07:00

Read more here: http://www.artfinding.com/News/Bernard-de-Grunne-expert-in-tribal-arts:-African-Oceanic-and-Indonesian-in-Belgium/2042.html

My name is Bernard de Grunne, I am a specialist in Tribal Art: African, Oceanic and Indonesian Tribal art. There are few leading cultures on the market: what is considered as "classic" is what is mostly searched for by collectors, such as the Kongo, the Luba, or the Dogon. But more and more clients are coming from the contemporary art market and are more into tribes that have forms related to what the European Artists got inspired from. Supply issues are common to the general art market. To avoid it, man needs to have a lot of imagination and perseveration such as finding unique groups of objects. In terms of provenances of my clients in a close future, the good old Paris-London-Brussels New York-Los Angeles won't disappear. I see a slight movement towards South America with Venezuela, Argentina and Brazil, but I don't see any access in Asia, neither in Africa. Compared to other fields (Chinese arts, contemporary and modern arts), Tribal Arts are really undervalued. But the African art market hasn't ever been an "investors art market"; my clients envoy buying pieces and keep them for a long time.

180, avenue Franklin Roosevelt
1050 Bruxelles
Belgique

Tél.: +32(0) 2 502 31 71
Mob. : +32(0) 475 61 62 14
Fax : +32(0) 2 503 39 69
E-mail : grunne@skynet.be

Yannick Durand expert in Pre-Columbian Art at Tefaf

2011-06-27T10:34:00.000-07:00

My name is Yannick Durand. In “Showcase” I present the objects that I usually exhibit in my gallery “1492” that is situated in Paris, 12 Jacob Street in the 6th disctrict. What I like in the Pre-Columbian Art is the Power of objects. It means that if we see an object we can’t stay insensitive. Read more here: http://www.artfinding.com/News/Yannick-Durand-expert-in-Pre-Columbian-Art-at-Tefaf/1001.html

Galerie Delaive, expert in contemporary art

2011-06-06T08:52:00.000-07:00

For over 30 years Nico Delaive has specialised in Modern and Contemporary Art. "My speciality is colourful paintings, such as Sam Francis, which I believe to have the largest collection in the World", says Nico Delaive. Read more here: http://www.artfinding.com/News/Galerie-Delaive-expert-in-contemporary-art/231.html

Arnoldi-Livie Gallery, expert in works on paper

2011-05-30T00:43:00.000-07:00

The Arnoldi-Livie Gallery has been dealing since 1972 in a large scope of specialties mostly based on works on paper and paintings. "We range from the Old Masters period to the classic modern one", says Caspar Livie.
Read more here: http://www.artfinding.com/News/Arnoldi-Livie-Gallery-expert-in-works-on-paper/230.html

Sebastian+Barquert, expert in contemporary design

2011-05-23T00:17:00.000-07:00

Read more here: http://www.artfinding.com/News/Sebastian+Barquert-expert-in-contemporary-design/229.html

Sebastian + Barquet is based in New York. This gallery has been coming to TEFAF now for three years since the opening of the design section. Nichiolas Kilner - the gallery's manager - deals with Post-War French, Italian American and Mexican design. "What I like so much about my specialty, is that the market for 20th century design is still very young, there’s still much to be learned about this section which might be a very interesting aspect to be dealing in. The design section is very young here at TEFAF". TEFAF has been running now for twenty four years, but it’s been focusing on the design section only for the last three years and it’s exciting to be involved in it.

Boulakia, expert in Modern & Contemporary art

2011-05-09T01:06:00.000-07:00

Boulakia, expert in Modern & Contemporary art. Read more here: http://www.artfinding.com/News/Boulakia-expert-in-Modern-&-Contemporary-art/227.html

Marc PERPITCH, expert in Medieval Art & Furniture, on Artfinding.com

2011-05-02T03:50:00.001-07:00

The Marc Perpitch Gallery is specialized in three centuries of furniture and works of art: 15th, 16th and 17th. Read more here: http://www.artfinding.com/News/Marc-PERPITCH-expert-in-Medieval-Art-&-Furniture/226.html

Montesino Gallery, expert in Egyptian Archaeology

2011-04-26T01:10:00.000-07:00

Jean-Pierre MONTESINO is an expert in Egyptian Archaeology in Paris. read more here: http://www.artfinding.com/News/Montesino-Gallery-expert-in-Egyptian-Archaeology/225.html

Le Couvent des Ursulines, Charles X furniture

2011-04-18T07:21:00.000-07:00

Jean-François Taziaux and Vincent de Lange are the managers of the Couvent des Ursulines gallery. The gallery is based in Liège since 20 years and is specialized in the Charles X period from 1820 to 1830. Read more here: http://www.artfinding.com/News/Le-Couvent-des-Ursulines-Charles-X-furniture/224.html

Jacques Germain, expert in primitive & tribal arts

2011-04-11T01:14:00.000-07:00

Exclusive interview with Jacques Germain, expert in primitive and tribal arts. Read more here: http://www.artfinding.com/News/Jacques-Germain-expert-in-primitive-&-tribal-arts/223.html

Christian Fleury, expert in modern art in Paris

2011-04-04T00:39:00.001-07:00

Read more here:http://www.artfinding.com/News/Christian-Fleury-expert-in-modern-art-in-Paris/222.html

Specialized in Mediterranean painting, the Christian Fleyry gallery exhibits paintings from the post-impressionism to the painters of 1980s (Ch. Camoin, R. Dufy, H. Manguin, A. Marquet, J. Puy, L. Valtat, H. Lebasque, M. Vlaminck, J. Cavaillès, Y. Brayer, B. Buffet, H. Hartung, G. Mathieu, A. Lanskoy, O. Zadkine, A. Volti, M-E. Sarthou...).

Cento Anni, specialist in Art Nouveau works of art, on Artfinding

2011-03-28T05:07:00.001-07:00

Read more here: http://www.artfinding.com/News/Cento-Anni-specialist-in-Art-Nouveau-works-of-art/221.html

Gallery Cento Anni was created in 1982 in Brussels by Maria Isabel Romero and Rodrigo Diaz. From the beginning their preference was for Art Nouveau and Art Deco items. The success they gained at the international level encouraged them to open a branch in the Louvre des Antiquaires in Paris in 1999 and another in the rue de Miromesnil in the 8th district in 2005. Today the gallery furnishes exceptional works of art to several museums in Japan and to discerning collectors around the world. A number of auctioneers have profited from their advice.

Galerie Delvaille, expert in French 18th Century furniture

2011-03-21T01:46:00.000-07:00

Read more here: http://www.artfinding.com/News/Galerie-Delvaille-expert-in-French-18th-Century/220.html

Founded in 1858 in Madrid, the Gallery Delvaille settled in Paris, Rue de Beaune, in 1955. It is now directed by Olivier Delvaille who succeeded his mother, Mrs Delvaille and still values her precious expertise. He specializes in paintings of the French schools from the middle of the 19th century to the post-impressionists, and also in exceptional French furniture of the 18th century. The strict standards he applies when selecting paintings and furniture have enabled him over the years to establish a strong bond of confidence and friendship with his clients.

Galerie Beres, expert from impressionism to cubism

2011-03-14T07:45:00.000-07:00

Galerie Beres

Read more here : http://www.artfinding.com/News/Galerie-Beres-expert-from-impressionism-to-cubism/219.html

The Galerie Berès on the Rive Gauche facing the southwest wing of the Louvre, was founded by Huguette Berès in 1952 and is now run by her daughter Anisabelle Berès. From the beginning, the gallery has focused on the graphic arts from the Far East and the avant-garde painting of the 19th and early 20th century in France, from the impressionists and post-impressionists to the modern art. Since 1995, it has turned towards the avant-garde trends of the 20th century, as well as the cubist movement. The last shows, 'Henri Laurens' in 2004, 'Au temps des Cubistes' in 2006 and 'Serge Férat' in 2010, turned out to be immense successes. The Galerie Berès is a member of the Syndicat National des Antiquaires and participates regularly in the TEFAF in Maastricht and in the Biennale des Antiquaires in Paris.

Zada Gallery, expert in antique rugs & tapestries

2011-03-08T08:54:00.000-08:00

Zada Gallery

The Zada Gallery possesses a wide collection of ancient decorative carpets from the 19th century and tapestries from the 16th to the 18th century. The workshops provide the promptest possible after-sales service, such as the repair and restoration of carpets and tapestries in the traditional method of hand-weaving. Emmanuel Zada is affiliated with the Royal Chamber of the Belgian Antique Dealers and the Belgian Chamber of Art Experts which vouch for the knowledge and expertise of their members as well as the high quality of their pieces. Recently, the gallery opened a new department with modern tapestries created by artists from 1930 to 1985.

Read more here: http://www.artfinding.com/News/Zada-Gallery-expert-in-antique-rugs-&-tapestries/218.html

Ludorff Gallery, expert in German expressionism

2011-02-28T05:52:00.000-08:00

Manuel Ludorff & father

Founded in 1975 Gallery Ludorff is one of the world's leading art dealers in German Expressionism, German Impressionism as well as in Post War Abstraction and the work of Selected Contemporary Artists such as Sam Francis and Serge Poliakoff.

Bernard Croissy, expert in antique arms & armours

2011-02-22T06:58:00.000-08:00

Bernard Croissy, on Artfinding

Bernard Croissy is a specialist in antique arms and historic souvenirs. Historic souvenirs are related to History, items that could have been belonged to public figures, both military or civil. read more here: http://www.artfinding.com/News/Bernard-Croissy-expert-in-antique-arms-&-armours/216.html

Thierry Portier, expert in Asian Arts and Ceramics

2011-02-15T00:30:00.001-08:00

Thierry Portier, expert in Asian Arts and Ceramics, exclusive interview by Artfinding.com.
Read more here: http://www.artfinding.com/News/Thierry-Portier-expert-in-Asian-Arts-and-Ceramics/215.html

Michel Vandermeersch, expert in European ceramics on Artfinding.com

2011-02-08T02:54:00.000-08:00

Watch Michel Vandermeersch's exclusive interview about European ceramics and his vission of the global art market on Artfinding.com.

Read more here: http://www.artfinding.com/News/Michel-Vandermeersch-expert-in-European-ceramics/213.html

Spotting real & fake glass with expert Tiny Esveld

2011-02-01T01:15:00.000-08:00

The secrets of French glass making finally revealed.
A practical guide exposes deception and falsification.

Tiny Esveld, an antique dealer, has written a practical guide book called Glass made Transparent about art glass produced by the great French glass artists Gallé, Daum and Schneider. The main objective of the book is to give a professional insight into the technique and production of these beautiful and exceptional pieces in order to protect lovers, connoisseurs and collectors from making a mistake. The world of glass is unfortunately full of deception. The pitfalls accompanying a purchase can be plentiful but however fraudulent or deceitful Esveld reveals all in Glass made Transparent, the first revealing publication of its kind. The book is a beautifully designed guidebook rich in illustration with excellent practical guidelines. French glass no longer maintains any secrets. Glass made Transparent is published in the English language with a resume in French, Dutch and Spanish and is also available as an e-book publication.

Title: Glass made Transparent – a practical guide to French glass etc….
Author: Tiny Esveld
Publisher: Tiny Esveld
Publication price: Euro 32,50
Available as an e-book publication in i-pad, kindle, epub and in every general reader. Price Euro 14,95

Available at a general bookshop or by order at:
Gallery Tiny Esveld
Oostmalsesteenweg 295
2310 Rijkevorsel, Belgium
Telephone: +32 3 312 5 190
Email: info@tinyesveld.com
www.tinyesveld.com

Read more here: http://www.artfinding.com/News/Spotting-real-&-fake-glass-with-expert-Tiny-Esveld/211.html

Armand Deroyan, expert in rugs and tapestries

2011-01-25T00:28:00.001-08:00

Armand Deroyan answers to the Artfinding's exclusive interview about his specialty and vision of the art market for antique and modern rugs, carpets and tapestries.

Read more here: http://www.artfinding.com/News/Armand-Deroyan-expert-in-rugs-and-tapestries/210.html

Cesare Lampronti, Old Masters Paintings specialist

2011-01-17T07:42:00.000-08:00

Cesare Lampronti answers to the Artfinding's exclusive interview about his specialty and vision of the art market for Italian Old Masters Paintings.

Read more here: http://www.artfinding.com/News/Cesare-Lampronti-Old-Masters-Paintings-specialist/209.html

2011-01-10T02:44:00.000-08:00

The Jason Jacques collection of European Art Nouveau and Japonist pottery is on par with the best public or private fin de siècle ceramics collections in the world. Jason Jacques answers to the Artfinding's exclusive interview about his specialty and vision of the art market.

Read more here: http://www.artfinding.com/News/Jason-Jacques:-Art-Nouveau-and-Japonist-pottery/208.html

Edward Horswell, expert in modern sculpture

2011-01-04T02:23:00.001-08:00

The Sladmore Gallery is the world's leading sculpture specialist with over 40 years' experience in supplying fine bronzes from 1850 to the present day. The Gallery is a specialist in works by the renowned sculptor Rembrandt Bugatti. Edward Horswell answers to the Artfinding's exclusive interview about his specialty and vision of the art market.

Read more on: http://www.artfinding.com/News/Edward-Horswell-expert-in-modern-sculpture/207.html

Real estate market anticipates art market's trends

2010-12-16T01:45:00.000-08:00

Traditionally, the art market trends are said to be unpredictable since they don't follow any mathematical rule like the stock market is. Yet their is one way that can help anticipating the art market trends. The key to this equation is the real estate market.

A sure fact is that in crisis periods the general prices for real estate use to drop, and obviously rise in more prosperous periods. The second point is that the art market is related to the real estate one: a boom in the real estate is obviously followed by a growing demand in furniture, pictures and works of art to make the newly bought houses' or flats' decoration.

Therefore the general prices for art can be anticipated by following the real estate trends. By simply comparing the prices trends for the 20th biggest capitals in the World from 2005 to 2010 and the general art prices trends between the same period, the results are very similar in evolution values. The only difference is that the art market seems to react later: the real estate started to collapse in fall 2008, while the art market stated its decline in the first months of 2009.

The art market and the real estate market art very similar. These two market are both:
-often approached as investments
-double advantage values: sure & useful, one can live in or with its investment
-sure values for top quality artworks or houses
-markets in which the average rang will be the first one to suffer from a recession

As Pierre-Edouard de Souzy, a French based antique dealer says, "the art market is like the real estate one: a wonderful flat in the most prestigious neighbourhood of Paris, the square meter's price might move a little but buyers will always be there. Same thing for a top quality painting, there will always be collectors". Therefore, many auction houses such as Sotheby's or Christie's - primarily specialized in art - have also opened a real estate department.

Since the real estate usually engages much higher prices than the artworks, a buyer usually apply for a bank loan, which are directly related to the financial market. This is why the real estate market is so much reactive than the art market.

For 2010 the general prices for the real estate in New-York, Hong-Kong, Paris, London and many other capitals are rising... perhaps a good time to collect some works of art!

Read more here: http://www.artfinding.com/News/Real-estate-market-anticipates-art-market%27s-trends/206.html

Jean Gismondi, a mixing of antiques & contemporary art

2010-12-13T05:29:00.000-08:00

Jean Gismondi, who exhibited during the 2010 edition of the Biennale des Antiquaires in Paris shared with Artfinding his vision of the art market.

The Gismondi gallery is one of the most important 17th and 18th Centuries art and antiques gallery in Southern France. First focused on Boulle marquetry commodes and French 17th Century cabinets, the gallery has recently chosen to expend his taste and open the gallery's door to contemporary art. This choice is the result of two aspects.

First of all today's collectors don't buy a full range of furniture and art works from a single period. If twenty years ago collectors use to recreate "period rooms" - following the museums strategy - nowadays people aren't afraid to mix different periods and styles in a same room.

The second reason is related to the prices that reach top quality artworks in auction, that makes these pieces totally unreachable from new collectors. "Greatest pieces reach top prices, they are very expensive and this is a pity because young collectors can't afford such pieces", says Jean Gismondi.

Read more here : http://www.artfinding.com/News/Jean-Gismondi-a-mixing-of-antiques-&-contemporary/205.html

What makes antiques sure values investments?

2010-12-08T07:43:00.000-08:00

According to the Art Market Poll Center, between 2008 and 2009, most of the art market specialties have collapse. But each specialty has suffered of a different level of decrease depending on two major ideas: are the artworks antiques or contemporary? Are the client collectors or investors?

Between 2008 and 2009, before and after the global financial crisis, all the art market can be divided in three groups.

The first one has largely suffered of a major decrease in both prices and buying intentions rates. The related specialties are mostly contemporary art. Between 2008 and 2009, the global market for contemporary art lost 23.63% in value and buying intentions. Traditionally, this market is much more subject to speculation than the other fields of the art market; the few real collectors can't support the market and all the investors polluting this market's health.

The second one has less suffered from the crisis. The related specialties are mostly Old Masters and 19th Century arts. Between 2008 and 2009, the global market for Old Masters lost less than 11% in value and buying intentions. The Old Masters market is more run by collectors than speculators; therefore a collector doesn't sell its collection at the first sight of a collapse in prices. So Old Masters are more stable since the clients are either less reactive than contemporary art ones, or they are simply following a different collecting logic.

The last one hasn't suffered from the crisis. The related specialties are niche markets such as stamps, coins, antique weapons and books. Between 2008 and 2009, the global market for "collection items" lost 1.6% in value and buying intentions. These fields are perfect examples of specialties totally disconnected from the financial market, and run buy pure collectors.

As an investor you are looking for a sure value? First focus on the buying motivations of the collectors and you will find your way.

Read more here: http://www.artfinding.com/News/What-makes-antiques-sure-investments-values/204.html

François Delestre, expert in impressionist art

2010-12-01T01:11:00.000-08:00

François Delestre, expert in impressionist art, answers to the Artfinding's exclusive interview about his specialty and vision of the art market.

Robert Stoppenbach and François Delestre founded the gallery Stoppenbach & Delestre in London in 1982. It specialises in French art of the 19th and 20th century. The challenge of dealing specifically in French paintings, drawings and sculpture was met with worldwide interest from collectors, museums and dealers. The international position of London in the art market had always meant that some galleries dealt with French art at the same time as British art and Old Masters. Located at 25 Cork Street in the West End, adjacent to Bond Street, the gallery is in the midst of other major galleries and auction houses. Stoppenbach & Delestre has close contacts all over the world, including France (François Delestre resides in Paris) the Netherlands and the USA. They are members of the Society of London Art Dealers and the Syndicat National des Antiquaires.

Stoppenbach & Delestre
25 Cork St
London W1S 3NB
United Kingdom

Tel: 020 7734 35 34 - Fax: 020 7494 3578
Email: contact@artfrancais.com

The Financial Market Vs. The Art Market

2010-11-23T05:23:00.000-08:00

The Financial Market Vs. The Art Market, by Artfinding

At first sight, the financial and the art markets don't seem to have much in common. The first is a very pragmatic and down-to-earth field animated by mathematical models and short term speculation, whereas the second relies on passion or feelings animated by art lovers who more often follow their gut rather than decide by empirical evidence.

However, the art market counts a growing number of art dealers who come from the financial industry and manage to deal with these two antagonistic fields in concert. Fréderic Sioufi, the Parisian 18th and 19th Centuries furniture and works of art dealer, worked for 15 years as a financial trader in Paris and Tokyo. Christophe Hioco, an expert and dealer in Indian Hinduist and Buddhist statuary, spent 27 years working with the prestigious business bank JP Morgan with which he still maintains close relations.

We, at Artfinding, believe that the financial and the art markets have much more in common than one could think.

First of all, many of the major art collectors are financiers: Vladimir Lopukhin (Russian Business Banker), Bonko Chan (Vice-President of China Assets), Ignacio Liprandi (Vice-President of Merill Lynch Argentina), Richard Kramlich (CEO of an investment company), Jean Bonna (Banker), Petr Aven (President of Alfa Bank)... to cite a few. So people can work in the financial industry and still have a strong interest in the arts.

The recent burst of the contemporary art market bubble have revealed the hidden tip of the iceberg: speculation. This dynamic consists in purchasing risky investments that present the possibility of large profits. The financial market is driven by speculation. Similarly, ever since the 80's, many art "collectors" have literally invested in several fields of contemporary art - which is much more volatile than ancient art - in order to make profits. But in 2009, the global crisis has broken the chain and without new buyers, prices of contemporary art have dropped anywhere from 20% to 50%. As Mr Sioufi admits, “lots of wealth managers advise their clients to diversify their risks by investing 1% to 5% of their assets in the art market, mostly in the contemporary art market". So all together 5% of these assets present a huge amount of money, which creates without fail a speculative bubble. On the other hand "antique arts are less speculative and a safer investment", agree Christophe Hioco and Fréderic Sioufi. In a nutshell speculation certainly is a key feature that the financial and the art markets share in common.

Last but not least, a growing number of people are starting to apply financial & mathematical models to the art market. “As a trader, I am familiar with the financial dynamics and I often apply them to my art business. For example, as I ask myself whether a particular piece might be a good investment in the future, I often look at the recent performance of similar pieces as a strong indicator”, says Christophe Hioco. As most antique dealers don't usually consider art as an investment, the strategy used by Mr. Hioco seems to be the one to follow: in 2009, in the middle of the global financial crisis, Mr Hioco's company's (which has two activities of financial advising and art trading) profit increase was 40% in one year!

The art market deals with billions of dollars each year, fluctuations in trends can offer great business opportunities, ... and many other reasons will encourage a number of financial players to get more and more involved in the art market. One single rule needs to be followed if one wishes to invest in art, in addition to clever advice by an art market specialist, the first buying motivation of a work of art should be passion. Investing in what you love is a safe value guarantee.

Fréderic Sioufi (Galerie Atena)
2 place du Palais Royal
75001 Paris - France
Tel: +33 (0)1 42 61 79 72
http://www.galerie-atena.com

Christophe Hioco (Galerie Hioco)
12, rue de Penthièvre
75008 PARIS - France
Tel : +33 1 53 30 09 65
http://www.galeriehioco.com

Read more on: http://www.artfinding.com/News/The-Financial-Market-Vs-The-Art-Market/202.html

Pierre Dumonteil, expert in contemporary sculpture

2010-11-22T05:30:00.000-08:00

Pierre M. Dumonteil

Pierre M. Dumonteil is an expert in modern and contemporary sculptures. He answers to the Artfinding's exclusive interview about his specialty and vision of the art market.

ARTFINDING: can you present yourself?

PIERRE M. DUMONTEIL: the gallery was created nearly 30 years ago in 1982. We are specialized in 20th Century figurative sculpture: from the end of WWI up to tomorrow's artists since half of our artworks have been made by contemporary artists.

AF: what do you like so much about sculpture?

PMD: I am into sculpture for three major reasons: first of all I think this art is above the others by its volume, as Bourdelle used to say. This three dimensions sensitive aspect is very important to me, because this is obviously what a flat two dimensions picture lacks.
Second point is related to my personal family background, which has to do with tapestry. This art mixes both pure artistic creation and craftsman skills. So same as tapestries, a sculpture is an art of transformation. And this idea of multiple actors in the creation process is very important to me.
And finally the last reason is that as an art dealer, I must be useful to art History. As I created my business, no one was interested by figurative sculpture and have and still make sure this art will be appreciated as a major one.

AF: you launched your gallery in China in the middle of the Chinese art market's crisis, why?

PMD: there isn't any relation between the opening of my new gallery in China and the collapse of the Chinese's contemporary art market. We are into China because Asia is in our culture, since my wife is from Asia, and China isn't a business opportunity, but a cultural and intellectual one. So we wanted to move in Asia and have chosen China, it's center and Shanghai, it's major door.
We are totally disconnected from the Asian market's evolutions : we only go there to promote our own modern and contemporary occidental artists, and if we happen one day to deal in Asian artists, the criteria will exclusively be based on our personal taste. We do exhibit all around the World in major art fairs, because clients are not present in a single Country. So we present our artworks to all the Countries where we feel like we will find strong and interested collectors. Same for our Chinese gallery we didn't created for opportunistic reasons, we don't sell to Abu Dhabi or Moscow because we will find money there, but because we will meet art lovers. This is part of what we owe to our artists as art dealers.

AF: how do you see the next years in this art market crisis?

PMD: what crisis? First of all there isn't a general crisis of the market, only a few aspects of the art market are affected. Fortunately our specialty is very protected because we are just a few dealers specialized in such a field and we deal with a very large demand. So we haven't been affected by the crisis. The even better news is that we have witnessed lower prices, and the come back of many clients who left for speculative artists, and decided to focus on more artistic and financial sure values. So this clientele is clearly coming back in our galleries.

Read more on: http://www.artfinding.com/News/Pierre-Dumonteil-expert-in-contemporary-sculpture/201.html

M&N Uzal Gallery, 19th Century furniture expert

2010-11-22T05:29:00.001-08:00

Marc Uzal

The 19th Century furniture is not limited to the Louis XV and the Louis XVI styles. There has been many creations at this period and not only copies of the past Centuries. The M&N Uzal Gallery based in France and Belgium is specialized in such creations.

The Parisian gallery's manager reminds us that the major private and public collections are mostly focused on these creations rather than Louis XV and Louis XVI copies, because these are totally new shapes, designs, techniques... "the 19th Century has rediscovered techniques such as the enamel which was totally forgiven before this Century makes its come back in 1830". Same for aluminium that is used for the first time in 1860, and is considered as the high-tech of this period as it was more expensive than gold.

The 19th Century is clearly the base that modern designers used for their creations with the notion of art and industry. "This specialty is very rich, still unknown and should soon come on top of the market because there are still many masterpieces to discover or to rediscover", says M&N Uzal Gallery.

Find more about the gallery and the 19th Century furniture and works of art market by watching the exclusive video interview of the M&N Uzal Gallery.

Read more on: http://www.artfinding.com/News/M&N-Uzal-Gallery-19th-Century-furniture-expert/200.html

Jacques de la Beraudière, expert in modern art

2010-11-22T05:28:00.000-08:00

Jacques de la Beraudière

Jacques de la Beraudière, expert in impressionist and modern masters, answers the Artfinding's exclusive interview about his specialty and vision of the global art market.

Specialized in the Masters of the 19th and 20th century, with a keen eye for excellence and an uncompromising demand on quality, Jacques de la Béraudière and his team opened the doors of the Geneva gallery in January 2009.

Following the success of his previous space on Avenue Matignon in Paris, where he and his partner, the late Philippe Cazeau, practiced their work with devotion, the gallery is now ideally situated in Switzerland at the heart of the European art market and aims to offer primary market museum quality painting and sculpture to demanding collectors and institutions around the world.

By participating in Art Fairs such as the Tefaf Maastricht, Art Basel, the Pavilion of Art & Design in London or the Biennale des Antiquaires in Paris, the gallery continues to animate the international art market.

Jacques de la Béraudière also offers a service of Expertise and Consulting and answers to specific requests in the field of his specialties.

Read more on: http://www.artfinding.com/News/Jacques-de-la-Beraudiere-expert-in-modern-art/199.html

Konrad Bernheimer, expert in Old Masters Paintings

2010-11-22T05:25:00.000-08:00

Konrad O. Bernheimer

Konrad O. Bernheimer, expert in Old Masters Paintings, answered the Artfinding's exclusive interview about his specialty and vision of the global art market.

Celebrating its 250th anniversary this year, Colnaghi is the world's oldest commercial art gallery and the only survivor of the grand Old Master galleries in London's Old Bond Street. Paul Colnaghi established the gallery with his partner Anthony Torre in Paris in 1760 and then in 1783 took over the London branch in Pall Mall. As a result of the French Revolution the business was transferred to London, becoming printsellers to King George IV. By the end of the 19th century the firm had begun dealing in Old Master paintings and drawings and was instrumental in the formation of some of the most important American collections, including that of Isabella Stewart Gardner, Henry Clay Frick and Andrew Mellon. In 2002, the Old Master paintings dealer Konrad O. Bernheimer acquired Colnaghi and joined forces with the renowned Old Master drawings dealer, Katrin Bellinger. Colnaghi continues to operate as one of the world's most important dealerships, specialising in Master paintings and drawings from the 15th to the 19th century.

Read more on: http://www.artfinding.com/News/Konrad-Bernheimer-expert-in-Old-Masters-Paintings/198.html

Michele Beiny, expert in European ceramic

2010-11-22T04:46:00.001-08:00

Michele Beiny

Michele Beiny Harkins started her own gallery in 1987 in New York specializing in 18th and early 19th century English and Continental porcelain and European faience, as well as French furniture and decorations, and objets de virtue and sèvres porcelain. She has been exhibited at many international antiques shows including TEFAF Maastricht in Holland, The Grosvenor House Art & Antiques Fair and The International Ceramics Fair and Seminar in London, The Winter Antiques Show in New York, the International Fairs in Basel and Munich, and the Paris Biennale. She is the founder and President of the Board of the American Friends of the Wallace Collection. She is also a member of the N.A.A.D.A.A.: The National Antique & Art Dealers Association of America, Inc and the C.I.N.O.A: Confédération Internationale des Négociants en Oeuvres d'Art.

She has a realistic vision of buyers towards the ceramic market, especially concerning French clients:
“In general English porcelain collectors and English silver collectors aren't chauvinistic. The English and the Americans would collect everything, the French won't collect English porcelain but they will collect German porcelain as much as French one, as the German factory is more fashionable that others. The Russian will focus on Russian porcelain and early 19th Century German and French porcelain because they are very similar to Russian productions.”

Let's do a historical revue of porcelain:

Meissen porcelain was developed in 1708 by Ehrenfried Walther von Tschirnhaus. After his death Johann Friedrich Böttger took on his work.The production of porcelain at Meissen, near Dresden, started in 1710 and became one of the most famous porcelain manufacture. Its logo is repesented by the mark of the crossed swords is one of the oldest trademarks in existence.

Another well known manufacture is the Sèvres. But before talking about it we must refer to the Vincennes manufacture. Sèvres is very close from the Russian porcelain design because Russian has been inspired by this fashionable style.
In 1740, the Vincennes manufactory was created, with the support of Louis XV and Madame de Pompadour. It moved to Sèvres in 1756, near Madame de Pompadour's Bellevue Palace. It became a royal factory in 1759.
Louis-Simon Boizot and Alexandre Brogniart were its representatives figures between 1773 and 1847.

According to Jean-Gabriel Peyre, an expert in ceramic, in the art market, it is Contemporary art that sells the most artwork. “I am member of the SNA as well, and we have well realized that of the 18th century artwork, only the exceptional pieces will always be sold, whereas in Contemporary art even the middle-quality artwork can be sold.” Crises have always existed, and this one is greater, but people will not sell their pieces because of that. A collector is impassioned by his collection and will keep its artwork. Collectors buy artwork because they enjoy them, and do not invest.”

The trend that the 18th century artwork is less sold than Contemporary art is present, but with ceramics, the trend comes because old collectors disappear, collectors own practically everything of the manufacture and look for the rarest pieces. There is however disaffection in ceramics, But not for all manufactures.

We can add that English ceramic that has been disliked in the past so underestimated, is know rediscovered by American whom buy it... more demand equals higher prices, so English 18th and 19th ceramic is definitely a safe investment!

Read more on: http://www.artfinding.com/News/Michele-Beiny-expert-in-European-ceramic/197.html

Koopman Rare Art, expert in antique silver

2010-11-22T04:45:00.002-08:00

Lewis Smith

The firm of E.& C. T. Koopman & Son Ltd was founded in 1958 by Eddy and Jacques Koopman. Since the '70s and '80s it is the largest firm of antique silver dealers in the UK. The gallery introduces several collections including the Mahdi Al Tajir collection and the Packer collection.

Since 1993 the company is successfully ran by Lewis Smith and contain Rare Art. The gallery place items of importance into museums as well as the homes of some of the most discerning collectors worldwide. It specialise in silver and all old silver between the 16th to the 20th century.

The company has clients from all over the world, as said Lewis smith there are no rules on the art market, no one will judge on the origin, all is about quality. But American are the best clients for any silver. “It's interesting to see how people don't necessarily buy silver produced in their own Country. The market is really about quality, and less about origin; my American clients could buy German or English silver. In the World silver art market, English silver has a cachet and is therefore more collectable than other silver. The major places for silver trading are America, the Netherlands through TEFAF Maastricht which brings clients from all over the World and London.” Lewis Smith

Historically, we know that the shapes of ceramic have been inspired by silver's shapes. It is also interesting to see how the percentages of the buying intentions for European ceramic (24.58%) and for silver (23.35%) are similar. In general English porcelain collectors and English silver collectors aren't chauvinistic. The English and the Americans would collect everything, the French won't collect English porcelain but they will collect German porcelain as much as French one, the Russian will focus on Russian porcelain and early 19th Century German and French porcelain because they are very similar to Russian productions.” Michele Beiny

read more on: http://www.artfinding.com/News/Koopman-Rare-Art-expert-in-antique-silver/196.html

Simon Phillips, expert in English furniture

2010-11-22T04:45:00.000-08:00

Simon Phillips

Simon Phillips, from Ronald Phillips limited is an expert in English 18th and 19th Centuries furniture. His furniture includes styles such as Queen Anne, George I, George II, George III, George IV and the Victorian period. He answered the Artfinding's exclusive interview about his specialty and vision of the global art market.

His gallery located in London, includes a wild range of amazing English furniture. According to Simon Phillips, among all the styles of English 18th Century furniture the Chippendale style is without a doubt by far the most fashionable. The Chippendale style took its name from Thomas Chippendale, a 18th century cabinetmaker, who got specialized in mixing English, Gothic, and Chinese decoration.

The 19th English furniture is not disregarded in England like the French 19h century's style is in France, mostly because the largest part of French 19th Century furniture is a copy of the previous Century's styles. Therefore the French collectors use to disregard the 19th Century Louis XV & Louis XVI styles since they are manufactured and are simply bad copies of the 18th Century's masterpieces.

But all the 19th Century French furniture is not disregarded by the French market; a few artists such as Beurdeley, Lièvre or Linke decided to create totally new designs. These artworks exhibited by major Parisian galleries such as M&N Uzal and Michel-Guy Chadelaud reach amazing prices and clearly lead the 19th Century furniture market. These artworks are bought mostly by the "Russian, Chinese and Middle-Eastern collectors", says Michel-Guy Chadelaud.

You can contact The Ronald Phillips gallery at:
26 bruton street
W1J 6QL London
+44 20 7493 2341
advice@ronaldphillips.co.uk

read more on: http://www.artfinding.com/News/Simon-Phillips-expert-in-English-furniture/195.html

Michael Cohen, expert in asian and export ceramics

2010-11-22T04:43:00.003-08:00

Michael Cohen

If you like Asian ceramic or simply the Asian style you can't miss the Cohen and Cohen gallery.
Michael Cohen, expert in Asian and export ceramics, answers to the Artfinding's exclusive interview about his specialty and vision of the global art market.

The leading Countries for Chinese export porcelain are America, Brazil and Portugal. English isn't a major place, since English collectors are mostly focused on English 19th Century porcelain, with pieces made while England was the most important porcelain producer. Portugal enjoys the Chinese style since it has been one the of the first European country to trade with the Asian continent; thanks to the “Portuguese East India Company”. America is the leading country in the art business, including Asian ceramics; and Brazilian collectors are big fans because of their Portuguese culture and financial power common to any emerging market.

Chinese collectors aren't much interested in Chinese export porcelain; they are collecting imperial porcelain which reaches amazing prices. Chinese export is definitely a great investment, since Chinese will soon have supply issues with imperial porcelain and will start collecting export porcelain which is technically and graphycally as valuable. "For the Chinese porcelain, we surely take advantage of the emerging markets such as China and Brazil, because of their historical and cultural attachment to this field. Chinese collectors and museums are buying back their own porcelains, even the ones created in the 18th Century for the export market". Jorge Welsh.

The gallery focuses much more on the historical value of the pieces displayed: “We are much interested with pieces which have a history rather than pieces that look great.” Michael Cohen.

PO Box 366
Reigate RH2 2BB -
Tel.: +44 (0) 1737 242180
Fax: +44 (0) 1737 226236
Email: cohenandcohen@aol.com

Read more on: http://www.artfinding.com/News/Michael-Cohen-expert-in-asian-and-export-ceramics/194.html

Gregg Baker, expert in asian arts and screens

2010-11-22T04:43:00.001-08:00

Gregg Baker

Gregg Baker, expert in asian arts and Japanese screens, answers to the Artfinding's exclusive interview about his specialty and vision of the global art market.

“London has more dealers in Asian arts than any other western capital I know. In 1985 when I opened my first gallery it was the bubble of the Japanese market: a hugely successful period, all you had to do was to buy and you could sell it.”

Nowadays things have changes, prices also. The Japanese have fallen off the market, but they are still buying high level of ceramics and other works of art. Americans are very active on the market, and obviously the Chinese whom buy their works of art back from their heritage, and hugely chasing anything decent around the World.

London has some of the greatest Asian Art museum collections in the word – The British Museum has the Sir Percival David Collection, the Victoria & Albert Museum and The British Library has a world famous collection of Chinese manuscripts including The Stein Collection of early manuscripts from Dunhuang.”

London is the original home city for the 3 leading auction houses, Sotheby's, Christie's and Bonhams. It is also well known as the centre of Asian Art because of the sheer quality of dealers covering art from many countries.

Jessica Curtis from The Asian Art in London gave us some background: “Historically London had the leading dealers in Asian Art – Spink & Son, Bluett & Son and John Sparks. There are numerous learned societies in the field of Asian Art e.g. Asia House who regularly hold lectures from scholars around the world.”

At the end of the 80's, it has been a big economical crisis and a long recession concerning all countries and particularly Japan and the Japanese market. That crisis had lots of consequences on the art market aswell because people were no longer investing on that field because it was too insecure.

Contact :

142 Kensington Church Street
Kensington
London
W8 4BN

Tel: +44 (0) 20 7221 3533
Fax: +44 (0) 20 7221 4410

Email: info@japanesescreens.com

Read more on: http://www.artfinding.com/News/Gregg-Baker-expert-in-asian-arts-and-screens/192.html

Eric Frank, expert in modern photography

2010-11-22T04:42:00.001-08:00

Eric Franck

Eric Franck, expert in modern photography, answers to the Artfinding's exclusive interview about his specialty and vision of the global art market.

“There are several fields in photography: 19th Century photography which is collected by museums and a few collectors and that can go to very high prices; there is normal reportage photography of the 20th Century; and there is contemporary photography which could also reach great prices for major artists such as Richard Prince, Cindy Sherman and this is a totally different market from fine art photography. India, China and Russia have a new client base for my specialty, but traditionally the business comes from the USA and Europe. The new Countries tend to first buy their inheritance that was sold to other Countries, and than come into the contemporary market.”

“Regarding the separation between classic 19th Century photography until the 50's, and contemporary photography, there is a first difference in sizes and the focus of it, even if at its beginning, the photographs tried to find a substitute to paintings; and these photographs used to be painters, so they used the same methodology and pictorial criteria.” Beaudoin LeBon

Nowadays the 19th Century photography is less searched for since 10 years, probably because it was very speculative for both big and smaller prices. So the little collectors couldn't collect any more... The entire specialty collapses; although there is a rarefaction of these pictures, so prices should rise. There is also a generation problem that explains the collapse of classic photography: all the major 80's and 90's collectors were well educated persons since such a specialty requires a certain amount of culture and curiosity. And today the global mass is more attracted by zapping, strong pictures, strong colors; the historical aspect has no importance.

“I have to confess that as a dealer I am afraid by such things because I don't think that anything can justify that a price can naturally follow such a rise. Or I would be OK with it if I could see the same rise for classical artists who are much more known. Today man can buy a masterpiece from Le Gray for 20 000 €, and 600 000 € for a Gursky! So there is a shift that I can't manage to accept.” In terms of the crisis, I think the market will be tough for the rest of 2010. 2011 should be better but I can't tell in which way the market will restart. This is a pretty exciting thing about the art market, nothing can be predicted, the market has its mysteries. Beaudoin Lebon

Paris is a major place for photography lovers, thanks to Paris Photo created in the 90's by Rick Gadella and galleries such as Baudoin Lebon, Blanca Bernheimer or Magnum Gallery that made photography become famous on the Art market. It has been also a successful period of auctions at Christie's and Sotheby's in the UK and in the USA, which are the two leading places for contemporary photography. Modern photographs are more fashionable that in Paris, therefore more expensive. For example; The Pond Moonlight" by Edward Steichen sold 2 928 000 $ in February 2006 at Sotheby's New York or "Los Alamos" by William Eggleston, sold 1 022 500 $ in October 2008 at Christie's in New York.

ERIC FRANCK FINE ART
61 Willow Walk
London, SE1 5SF
UK

Tel: +44 20 7394 9743
Fax: +44 20 7394 1956
Email: office@ericfranck.com

Read more on: http://www.artfinding.com/News/Eric-Frank-expert-in-modern-photography/190.html

Jean-David Cahn AG, expert in Ancient Art

2010-11-22T04:41:00.000-08:00

Jean-David Cahn

Jean-David Cahn AG is based in Basel, with large exhibition spaces at Malzgasse 23 which can be viewed by appointment. The gallery at Via Maistra 11, in the centre of St. Moritz, was inaugurated in 2006 and is open for the winter and summer seasons. Jean-David Cahn is expert in Classical Archaeology. He answers to the ARTFINDING's exclusive interview about his specialty and vision of the global art market.

The Artfinding Poll Center reveals a relatively slow evolution in prices for the Egyptian, Greek & Roman antiquities between 2007 and 2008, while in the meantime the contemporary art prices have experienced a very huge rise. Same for the 2009 financial crisis, the decrease of classic antiquities suffered of a much less important decrease than the contemporary art field. Simple reason: Ancient art is very less subject to speculation.

The reason why the antiquities market isn't speculative is because its buyers are usually well educated. They have "a logical thought of buying the piece for its artistic and historical values", says Jean-David Cahn. They buy the object because they love it, so they will cherish it. In their opinion, when they possess it, it is as if they possess a piece of history. Furthermore, the field of Greek, Roman and Egyptian art has been very conservative in the price developments in the last decade since its "the oldest collection field since the Renaissance, and so took the test of time through all the cultures".

Provenance of the piece is very important especially in archeology. Let's do a quick reminder of what is a provenance in Art: a provenance is the place the piece or masterpiece is coming from or the person it was belonging to in the past. The more the person was popular or known as a great collector, the more the pieces rise in value, therefore in price. For example if a piece has belonged to Napoleon 1er, you can sell it several times more that a piece from an unknown provenance. Most of the time, the provenance can guarantee the quality and authenticity of a piece. Its can therefore prevent from frauds.

The market of Greek, Roman and Egyptian ancient art is mostly in wealthy countries. China and ironically Italy, Greece and Egypt are not major centers of ancient art trading. China because it is not historically related and for the time being, Chinese collectors are focused on their own civilization. The three others because of strict restrictive laws who keep the dealers to export all the "National Treasures". Easy to import, difficult to export: very bad for the business. "I believe the market needs both a strict control, but also make sure for the collectors to feel free to buy and to sell art", says Jean-David Cahn.

Read more on : http://www.artfinding.com/News/Jean-David-Cahn-AG-expert-in-Ancient-Art/189.html